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ix, 568 pages : 18 cm

As composition teachers work to develop process approaches to writing instruction, science teachers work to develop strategies for teaching science as a process of inquiry. In continuing efforts to revitalize science education, teachers use writing as a tool of inquiry. Exploratory writing, written field observations, close description, and written discussions, among other activities, are essential components of scientific inquiry. Just as science teachers have benefited from research on the writing process, writing teachers in the discipline can benefit from recent advancements in the theory and practice of teaching science as a process of inquiry. This paper first describes the traditional approach to science education, an approach that, while emphasizing the transmission of factual data, often tends to devalue the broader roles of writing as a tool for scientific inquiry. Next, the paper identifies theoretical assumptions that, in contrast to traditional principles, inform current efforts to teach science as inquiry. Finally, to illustrate how teaching science as a process of inquiry utilizes writing, the paper describes selected writing projects of effective teachers in general education courses. It contends that without effective writing instruction in the sciences and social sciences, students cannot master a full range of composition skills. (Contains 24 references.) (NKA)

As composition teachers work to develop process approaches to writing instruction, science teachers work to develop strategies for teaching science as a process of inquiry. In continuing efforts to revitalize science education, teachers use writing as a tool of inquiry. Exploratory writing, written field observations, close description, and written discussions, among other activities, are essential components of scientific inquiry. Just as science teachers have benefited from research on the writing process, writing teachers in the discipline can benefit from recent advancements in the theory and practice of teaching science as a process of inquiry. This paper first describes the traditional approach to science education, an approach that, while emphasizing the transmission of factual data, often tends to devalue the broader roles of writing as a tool for scientific inquiry. Next, the paper identifies theoretical assumptions that, in contrast to traditional principles, inform current efforts to teach science as inquiry. Finally, to illustrate how teaching science as a process of inquiry utilizes writing, the paper describes selected writing projects of effective teachers in general education courses. It contends that without effective writing instruction in the sciences and social sciences, students cannot master a full range of composition skills. (Contains 24 references.) (NKA)

Includes bibliographical references and index

Two instruments were used to discover current faculty practices and attitudes about student writing at a college that was about to begin a college-wide writing program. The attitude survey included a number of items about writing as a college-wide enterprise, relating instruction in writing to the goals of a liberal arts education, and concerning writing as a complex process that takes a lifetime to learn. The behavior survey asked teachers to tell what they did in their classes. Also, teachers were asked to grade a sample student essay as they would any paper in their courses. It was found that most faculty members saw composition instruction as the task of the entire college; English faculty members required more papers than others, although a majority of courses included writing assignments; and most faculty members commented on the content of student writing as well as on the form. (Both questionnaires are included.) (TJ)

Two instruments were used to discover current faculty practices and attitudes about student writing at a college that was about to begin a college-wide writing program. The attitude survey included a number of items about writing as a college-wide enterprise, relating instruction in writing to the goals of a liberal arts education, and concerning writing as a complex process that takes a lifetime to learn. The behavior survey asked teachers to tell what they did in their classes. Also, teachers were asked to grade a sample student essay as they would any paper in their courses. It was found that most faculty members saw composition instruction as the task of the entire college; English faculty members required more papers than others, although a majority of courses included writing assignments; and most faculty members commented on the content of student writing as well as on the form. (Both questionnaires are included.) (TJ)

Two instruments were used to discover current faculty practices and attitudes about student writing at a college that was about to begin a college-wide writing program. The attitude survey included a number of items about writing as a college-wide enterprise, relating instruction in writing to the goals of a liberal arts education, and concerning writing as a complex process that takes a lifetime to learn. The behavior survey asked teachers to tell what they did in their classes. Also, teachers were asked to grade a sample student essay as they would any paper in their courses. It was found that most faculty members saw composition instruction as the task of the entire college; English faculty members required more papers than others, although a majority of courses included writing assignments; and most faculty members commented on the content of student writing as well as on the form. (Both questionnaires are included.) (TJ)

Two instruments were used to discover current faculty practices and attitudes about student writing at a college that was about to begin a college-wide writing program. The attitude survey included a number of items about writing as a college-wide enterprise, relating instruction in writing to the goals of a liberal arts education, and concerning writing as a complex process that takes a lifetime to learn. The behavior survey asked teachers to tell what they did in their classes. Also, teachers were asked to grade a sample student essay as they would any paper in their courses. It was found that most faculty members saw composition instruction as the task of the entire college; English faculty members required more papers than others, although a majority of courses included writing assignments; and most faculty members commented on the content of student writing as well as on the form. (Both questionnaires are included.) (TJ)

Bhattacharyya (1997) finds that universities must scramble to accommodate students who are Deaf-blind "because of limited literature regarding post secondary education for Deaf-blind students and the fact they have not yet experienced serving this unique population." Many Australian universities employ Academic Language and Learning (ALL) tutors whom any students may consult to develop their academic skills and in particular, their writing. The literature offers little guidance to students with Deaf-blindness, or to tutors, on how to make this work for students with a dual sensory impairment. This paper focuses on a supportive collaboration between an ALL tutor, a B.A. student with Deaf-blindness, and her interpreter.

This master's project contains two essays and a long poem, examining the possibilities of creative writing as a tool of inquiry in mathematics, history, science, film, art, and architecture. The project's first essay, "The Poet in the Warehouse," introduces a brief history of imaginative writing and an argument for its inclusion in multi-disciplinary high school and undergraduate programs. It is noted that since the piece strives to spotlight the importance of creative writing in learning, it alternates between the essay and a story which mirrors the issues in the essay, thus letting the form echo the function of the enterprise itself. In the project's second essay, "Space, Structure, Storage," a curriculum model is presented, pivoting on an essential question--architecture becomes a frontier for creative writing to thrive, though any subject might be chosen for the exploration (the model is flexible and expansive). The project's third selection, "The Glass Passage," is a long poem and commentary in which a way to understand more about architecture is assembled as an example of creative writing as inquiry. The project, as a whole, draws on psychologists, learning theorists, poets and fiction writers, creativity specialists, composition and reading theorists, poets and fiction writers, creativity specialists, composition and reading theorists, linguists and educational philosophers. (Contains 60 references and 4 appendixes of research material, much with illustrations.) (TB)

This master's project contains two essays and a long poem, examining the possibilities of creative writing as a tool of inquiry in mathematics, history, science, film, art, and architecture. The project's first essay, "The Poet in the Warehouse," introduces a brief history of imaginative writing and an argument for its inclusion in multi-disciplinary high school and undergraduate programs. It is noted that since the piece strives to spotlight the importance of creative writing in learning, it alternates between the essay and a story which mirrors the issues in the essay, thus letting the form echo the function of the enterprise itself. In the project's second essay, "Space, Structure, Storage," a curriculum model is presented, pivoting on an essential question--architecture becomes a frontier for creative writing to thrive, though any subject might be chosen for the exploration (the model is flexible and expansive). The project's third selection, "The Glass Passage," is a long poem and commentary in which a way to understand more about architecture is assembled as an example of creative writing as inquiry. The project, as a whole, draws on psychologists, learning theorists, poets and fiction writers, creativity specialists, composition and reading theorists, poets and fiction writers, creativity specialists, composition and reading theorists, linguists and educational philosophers. (Contains 60 references and 4 appendixes of research material, much with illustrations.) (TB)

This master's project contains two essays and a long poem, examining the possibilities of creative writing as a tool of inquiry in mathematics, history, science, film, art, and architecture. The project's first essay, "The Poet in the Warehouse," introduces a brief history of imaginative writing and an argument for its inclusion in multi-disciplinary high school and undergraduate programs. It is noted that since the piece strives to spotlight the importance of creative writing in learning, it alternates between the essay and a story which mirrors the issues in the essay, thus letting the form echo the function of the enterprise itself. In the project's second essay, "Space, Structure, Storage," a curriculum model is presented, pivoting on an essential question--architecture becomes a frontier for creative writing to thrive, though any subject might be chosen for the exploration (the model is flexible and expansive). The project's third selection, "The Glass Passage," is a long poem and commentary in which a way to understand more about architecture is assembled as an example of creative writing as inquiry. The project, as a whole, draws on psychologists, learning theorists, poets and fiction writers, creativity specialists, composition and reading theorists, poets and fiction writers, creativity specialists, composition and reading theorists, linguists and educational philosophers. (Contains 60 references and 4 appendixes of research material, much with illustrations.) (TB)

This master's project contains two essays and a long poem, examining the possibilities of creative writing as a tool of inquiry in mathematics, history, science, film, art, and architecture. The project's first essay, "The Poet in the Warehouse," introduces a brief history of imaginative writing and an argument for its inclusion in multi-disciplinary high school and undergraduate programs. It is noted that since the piece strives to spotlight the importance of creative writing in learning, it alternates between the essay and a story which mirrors the issues in the essay, thus letting the form echo the function of the enterprise itself. In the project's second essay, "Space, Structure, Storage," a curriculum model is presented, pivoting on an essential question--architecture becomes a frontier for creative writing to thrive, though any subject might be chosen for the exploration (the model is flexible and expansive). The project's third selection, "The Glass Passage," is a long poem and commentary in which a way to understand more about architecture is assembled as an example of creative writing as inquiry. The project, as a whole, draws on psychologists, learning theorists, poets and fiction writers, creativity specialists, composition and reading theorists, poets and fiction writers, creativity specialists, composition and reading theorists, linguists and educational philosophers. (Contains 60 references and 4 appendixes of research material, much with illustrations.) (TB)

This master's project contains two essays and a long poem, examining the possibilities of creative writing as a tool of inquiry in mathematics, history, science, film, art, and architecture. The project's first essay, "The Poet in the Warehouse," introduces a brief history of imaginative writing and an argument for its inclusion in multi-disciplinary high school and undergraduate programs. It is noted that since the piece strives to spotlight the importance of creative writing in learning, it alternates between the essay and a story which mirrors the issues in the essay, thus letting the form echo the function of the enterprise itself. In the project's second essay, "Space, Structure, Storage," a curriculum model is presented, pivoting on an essential question--architecture becomes a frontier for creative writing to thrive, though any subject might be chosen for the exploration (the model is flexible and expansive). The project's third selection, "The Glass Passage," is a long poem and commentary in which a way to understand more about architecture is assembled as an example of creative writing as inquiry. The project, as a whole, draws on psychologists, learning theorists, poets and fiction writers, creativity specialists, composition and reading theorists, poets and fiction writers, creativity specialists, composition and reading theorists, linguists and educational philosophers. (Contains 60 references and 4 appendixes of research material, much with illustrations.) (TB)

This master's project contains two essays and a long poem, examining the possibilities of creative writing as a tool of inquiry in mathematics, history, science, film, art, and architecture. The project's first essay, "The Poet in the Warehouse," introduces a brief history of imaginative writing and an argument for its inclusion in multi-disciplinary high school and undergraduate programs. It is noted that since the piece strives to spotlight the importance of creative writing in learning, it alternates between the essay and a story which mirrors the issues in the essay, thus letting the form echo the function of the enterprise itself. In the project's second essay, "Space, Structure, Storage," a curriculum model is presented, pivoting on an essential question--architecture becomes a frontier for creative writing to thrive, though any subject might be chosen for the exploration (the model is flexible and expansive). The project's third selection, "The Glass Passage," is a long poem and commentary in which a way to understand more about architecture is assembled as an example of creative writing as inquiry. The project, as a whole, draws on psychologists, learning theorists, poets and fiction writers, creativity specialists, composition and reading theorists, poets and fiction writers, creativity specialists, composition and reading theorists, linguists and educational philosophers. (Contains 60 references and 4 appendixes of research material, much with illustrations.) (TB)

Suggesting that poetry can be inserted into any classroom in any curricular area, this paper discusses reading and writing poetry in middle school classrooms. The paper begins with advice on reading poetry in content classrooms, and then presents a 31-item bibliography of poetry sources "for browsing." The paper then presents tips for writing content poems and a 10-item bibliography on writing poetry. It then presents descriptions, teaching methods, and samples of 10 types of poems: acrostics, biopoems, cinquain poems, concrete poems, diamante poetry, found poetry, letter poems, list poems, recipe poems, and visual response poetry. (RS)

Suggesting that poetry can be inserted into any classroom in any curricular area, this paper discusses reading and writing poetry in middle school classrooms. The paper begins with advice on reading poetry in content classrooms, and then presents a 31-item bibliography of poetry sources "for browsing." The paper then presents tips for writing content poems and a 10-item bibliography on writing poetry. It then presents descriptions, teaching methods, and samples of 10 types of poems: acrostics, biopoems, cinquain poems, concrete poems, diamante poetry, found poetry, letter poems, list poems, recipe poems, and visual response poetry. (RS)

Suggesting that poetry can be inserted into any classroom in any curricular area, this paper discusses reading and writing poetry in middle school classrooms. The paper begins with advice on reading poetry in content classrooms, and then presents a 31-item bibliography of poetry sources "for browsing." The paper then presents tips for writing content poems and a 10-item bibliography on writing poetry. It then presents descriptions, teaching methods, and samples of 10 types of poems: acrostics, biopoems, cinquain poems, concrete poems, diamante poetry, found poetry, letter poems, list poems, recipe poems, and visual response poetry. (RS)

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

This study examined the relationship between teacher written feedback and change in the disciplinary writing of tertiary students in their final year of undergraduate study. The student texts and teacher written feedback examined arose naturally out of a third year disciplinary-based unit in which each student submitted a text three times over the course of a semester, each time receiving feedback and a mark prior to rewriting and resubmitting. In analyzing the relationship between the different types of feedback and the changes that occurred, the feedback was categorized according to the issue that was being addressed, the manner in which it was given, and its scope. The different types of feedback were directly related to the changes that occurred in the students' subsequent rewrites. The analysis shows that certain types of feedback are more strongly related to change than other types of feedback. In addition, the analysis shows that change is further influenced by the balance between the various individual points of feedback and the degree to which they reinforce each other. The findings show that the use of feedback that is strongly related to change can improve the writing of students in the disciplines. (Contains 4 tables and 1 figure.)

Issued with: The Holt handbook / Laurie G. Kirszner, Stephen R. Mandell.--New York : Holt, Rinehart and Winston, 1989

The writing across the curriculum program at Michigan Technological University was designed to change teacher and student attitudes about course-assigned writing as well as to change writing practices by means of a series of faculty workshops. After four years, a team of seven faculty members from rhetoric and composition, literature, psychology, and linguistics--with the help of faculty from several other fields--designed a research and evaluation program to determine the success of the writing across the curriculum project. The evaluation proved that many students and instructors came to view writing as a complex and central activity, integral to learning and understanding in all disciplines. A total of 20 individual studies was conducted for the evaluation, including the following: (1) two studies of student laboratory reports, in biology and engineering, which showed the success of the faculty workshops; (2) a writing assessment of engineering students, which showed that the evaluation design had not been integrated to program goals as well as it might have been, and that the program itself was not quite as effective with engineering students as the faculty had hoped; and (3) two studies of student journals in mathematics and civil engineering, which showed that speculative writing plays an important role in student learning in content area courses. Among other things learned by this evaluation was the value of the multiple measures approach. (HTH)

This study aimed to evaluate how peer-to-peer interactions through writing impact student learning in introductory-level massive open online courses (MOOCs) across disciplines. This article presents the results of a qualitative coding analysis of peer-to-peer interactions in two introductory level MOOCs: English Composition I: Achieving Expertise and Introduction to Chemistry. Results indicate that peer-to-peer interactions in writing through the forums and through peer assessment enhance learner understanding, link to course learning objectives, and generally contribute positively to the learning environment. Moreover, because forum interactions and peer review occur in written form, our research contributes to open distance learning (ODL) scholarship by highlighting the importance of writing to learn as a significant pedagogical practice that should be encouraged more in MOOCs across disciplines.

Issued with: The Holt handbook / Laurie G. Kirszner, Stephen R. Mandell.--New York : Holt, Rinehart and Winston, 1989

Issued with: The Holt handbook / Laurie G. Kirszner, Stephen R. Mandell.--New York : Holt, Rinehart and Winston, 1989

This volume is part of a series of 18 monographs on service learning and the academic disciplines. These essays highlight some of the benefits and problems of service-learning in the college composition curriculum and present further areas for study. Following the Introduction, "Service-Learning and Composition at the Crossroads," by Linda Adler-Kassner, Robert Crooks, and Ann Watters, and an Introduction, "Service-Learning: Help for Higher Education in a New Millennium?" by Lillian Bridwell-Bowles, the essays are: "Writing across the Curriculum and Community Service Learning: Correspondences, Cautions, and Futures" (Tom Deans); "Community Service Writing: Problems, Challenges, Questions" (Nora Bacon); "Community Service and Critical Teaching" (Bruce Herzberg); "Rhetoric Made Real: Civic Discourse and Writing beyond the Curriculum" (Paul Heilker); "Democratic Conversations: Civic Literacy and Service-Learning in the American Grains" (David D. Cooper and Laura Julier); "Partners in Inquiry: A Logic for Community Outreach" (Linda Flower); "Service-Learning: Bridging the Gap between the Real World and the Composition Classroom" (Wade Dorman and Susann Fox Dorman); "Systems Thinking, Symbiosis, and Service: The Road to Authority for Basic Writers" (Rosemary L. Arca); "Combining the Classroom and the Community: Service-Learning in Composition at Arizona State University" (Gay W. Brack and Leanna R. Hall); "The Write for Your Life Project: Learning To Serve by Serving To Learn" (Patricia Lambert Stock and Janet Swenson); and "On Reflection: The Role of Logs and Journals in Service-Learning Courses" (Chris M. Anson). Appended are a 39-item annotated bibliography and a list of program descriptions by institution. (All papers contain references.) (SM)

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

Includes bibliographical references

To analyze the appropriateness of textual media in the construction of meaning, this paper first provides a review of the psychological research on semiotics and multiple intelligences that supports a broadened notion of text. The paper next reports on preliminary research on the construction of non-print texts in disciplines other than English/Language Arts. The paper next reviews studies on the production of non-written texts in English/Language Arts classes. The paper argues that this research, taken together, suggests that an exclusive focus on writing as a mode of learning is limiting, rather than enabling, to students in their efforts to construct meaning across the curriculum; that other composing processes are more appropriate to the construction of meaning in other disciplines; and that students would benefit from having more flexibility in the media through which they express and develop their understanding of conceptual knowledge. (Contains 38 references.) (RS)

A mistake is made when writing is taught as though what students learn in one discipline (usually English) can simply be carried forward unchanged to any number of different writing situations and tasks, and when linear metaphors are used to describe the processes of learning such a "basic skill" as writing. The slogan of every writing across the curriculum program should be that grammar changes from discipline to discipline. These variations occur at every level of text structure, from syntax through global discourse structure, and they occur in ways that are miscellaneous and unpredictable. The dominant grammatical feature of student-produced texts is that these texts make points, but where and how points can be made, and even what counts as a point worth making, changes from discipline to discipline. The metaphors that are commonly used to describe learning are linear and based on natural development and growth. Better metaphors are ones involving an "outsider" trying to get into an "interpretive" community. If new students are thought of as novices and if the goal of writing instruction is to make them socialized members of a community of knowers, learners, and teacher, then a better understanding can be had of teaching the social activity that is called writing. If writing is best learned in the disciplines, then maybe it is there that all writing teachers ought to be. (Eleven references are attached.) (RS)

The forebears of writing "in" and "across" the disciplines are such historical figures as Aristotle and Cicero. They believed that rhetoric contained within itself all other disciplines. Renaissance rhetoricians also insisted upon assigning a moral cross-disciplinary dimension to rhetoric while at the same time the intellectual reforms and principles of Peter Ramus were stripping invention and arrangement away from rhetoric, leaving it master only of florid and obfuscated style. Sir Francis Bacon preferred not to have the arts and sciences separated, but would have them nourish and inform one another. He drew upon Aristotle's term "invention" to show how the "across the disciplines" character of rhetoric can teach the arts and sciences how to speak to each other. Thus it is appropriate to speak of both writing "in" the disciplines and writing "across" the disciplines, for it is neither the practical character of these courses nor their interdisciplinary nature that are their strengths, but only the two taken together, engendering inevitably the ethical, moral, and political questions and imperatives that should be at the core of any education. Three principles should guide current cross-disciplinary writing programs: (1) that writing promotes learning; (2) that writing is a complex developmental process; and (3) that a full universe of discourse must include a broad range of writing functions and audiences. (HTH)

Written by teachers, the chapters in this book show how writing fosters learning in math, science, English, social studies, foreign language, philosophy, psychology, and art. Following an introduction by Anne Ruggles Gere, the first chapter, "Writing to Learn: The Nurse Log Classroom," by Steve Pearse, presents a comprehensive overview of a writing to learn classroom. The remaining chapters, each presenting a different angle on writing to learn, are as follows: "Writing for Art Appreciation" by Priscilla Zimmerman, "Writing to Learn German" by Deborah Peterson, "Writing to Learn Social Studies" by Bruce Beaman, "Teaching Special Education History Using Writing-to-Learn Strategies" by Ray Marik, "Writing to Learn Science" by Patricia Johnston, "Writing in Math Class" by Don Schmidt, "Writing to Learn Philosophy" by Jessie Yoshida, "Writing to Learn History" by Tom Watson, "Better Writers, Better Thinkers" by Stephen Arkle, "Writing to Learn Means Learning to Think," by Syrene Forsman, "Thirty Aides in Every Classroom" by Janet K. West, "The Course Journal" by Pat Juell, "An Impartial Observer's View of Write-to-Learn Classes" by Barbara Bronson, and "Writing and Learning: What the Students Say" by Ralph S. Stevens III. A glossary and an annotated bibliography conclude the book. (EL)

Written by teachers, the chapters in this book show how writing fosters learning in math, science, English, social studies, foreign language, philosophy, psychology, and art. Following an introduction by Anne Ruggles Gere, the first chapter, "Writing to Learn: The Nurse Log Classroom," by Steve Pearse, presents a comprehensive overview of a writing to learn classroom. The remaining chapters, each presenting a different angle on writing to learn, are as follows: "Writing for Art Appreciation" by Priscilla Zimmerman, "Writing to Learn German" by Deborah Peterson, "Writing to Learn Social Studies" by Bruce Beaman, "Teaching Special Education History Using Writing-to-Learn Strategies" by Ray Marik, "Writing to Learn Science" by Patricia Johnston, "Writing in Math Class" by Don Schmidt, "Writing to Learn Philosophy" by Jessie Yoshida, "Writing to Learn History" by Tom Watson, "Better Writers, Better Thinkers" by Stephen Arkle, "Writing to Learn Means Learning to Think," by Syrene Forsman, "Thirty Aides in Every Classroom" by Janet K. West, "The Course Journal" by Pat Juell, "An Impartial Observer's View of Write-to-Learn Classes" by Barbara Bronson, and "Writing and Learning: What the Students Say" by Ralph S. Stevens III. A glossary and an annotated bibliography conclude the book. (EL)

ix, 568 pages : 18 cm

In this article, we provide a theoretical framework for understanding how written peer critique can be used successfully to develop authority in students' writing in the disciplines. We suggest that having students respond to their peers in writing rather than orally and positioning students to write their critiques from a strong knowledge base are key elements in making peer critique valuable to the responder. We describe the use of written peer critique in a second-year communications studies course and discuss examples from students' critiques of summaries written by their peers. A strong authorial presence is revealed in three main areas: students' evaluative comments related to disciplinary content; students' evaluative comments on their peers' handling of the summary genre; and students' personal authority derived from their experience as readers.

In this article, we provide a theoretical framework for understanding how written peer critique can be used successfully to develop authority in students' writing in the disciplines. We suggest that having students respond to their peers in writing rather than orally and positioning students to write their critiques from a strong knowledge base are key elements in making peer critique valuable to the responder. We describe the use of written peer critique in a second-year communications studies course and discuss examples from students' critiques of summaries written by their peers. A strong authorial presence is revealed in three main areas: students' evaluative comments related to disciplinary content; students' evaluative comments on their peers' handling of the summary genre; and students' personal authority derived from their experience as readers.

In this article, we provide a theoretical framework for understanding how written peer critique can be used successfully to develop authority in students' writing in the disciplines. We suggest that having students respond to their peers in writing rather than orally and positioning students to write their critiques from a strong knowledge base are key elements in making peer critique valuable to the responder. We describe the use of written peer critique in a second-year communications studies course and discuss examples from students' critiques of summaries written by their peers. A strong authorial presence is revealed in three main areas: students' evaluative comments related to disciplinary content; students' evaluative comments on their peers' handling of the summary genre; and students' personal authority derived from their experience as readers.

In this article, we provide a theoretical framework for understanding how written peer critique can be used successfully to develop authority in students' writing in the disciplines. We suggest that having students respond to their peers in writing rather than orally and positioning students to write their critiques from a strong knowledge base are key elements in making peer critique valuable to the responder. We describe the use of written peer critique in a second-year communications studies course and discuss examples from students' critiques of summaries written by their peers. A strong authorial presence is revealed in three main areas: students' evaluative comments related to disciplinary content; students' evaluative comments on their peers' handling of the summary genre; and students' personal authority derived from their experience as readers.

Russell, David R. (2002, 1991). 'Writing in the Academic Disciplines: A Curricular History'. With a Foreward by Elaine P. Maimon. Second edition. Carbondale & Edwardsville, Illinois, U S. A.: Southern Illinois University Press. ISBN 0809324679 (paper : alk. paper). (Note: A Python script was written to collate the pages of this volume, as they were discovered as individual PDF pages in an archive. One page was corrupted: p. 35. For the content of that page, please refer first edition.).