The following discourse analysis examines the ways open-ended feedback, defined as dialogic, interpretative, and revisionary, fosters co-regulation and metacognition. Data come from a Writing in the Major course at a large land-grant institution in the Pacific Northwest. Students’ written essays and reflections, both with teacher feedback included, were collected along with interviews with both students and teachers. Analysis focused on instances of interdiscursivity, when students incorporated their teachers’ discourse into their revisions and reflections. The study suggests that open-ended feedback promotes opportunities for co-regulation and metacognition when students become active agents in the assessment process.
SUMMARY
In December 2014, I traveled to Cuba as part of an ethnographic research team to explore the hybrid identities of those in Perico and Agramonte, Cuba who descend from the Arará. Despite the fact that my family's history is tied to Cuba, this was my first trip to the island. The research project became a personal journey into the ways faith, science, and performance are all intertwined but also unravel one another.
The conclusion directly focuses on how the book contributes to the metaculture of Arará formed not only by practitioners but also by scholars. The result is our continued contribution to, in particular, an Arará metaculture that bridges not only the scholarly community but also the communities in Dzodze and Adjodogou. While the narratives in West Africa appear more stable than Perico and Agramonte, there is still the complexity of Anlo-Ewe ritual traditions and the multiple interpretations of the various deities to confront and wrestle into discourse. The conclusion emphasizes how those layers act as discursive retellings of stories from those of enactment in West Africa to those of Arará stories in Cuba. The conclusion brings together the scholarship of Kristina Wirtz and Stephan Palmié to leave the reader with the call to continue responsible contributions to metaculture so that, as scholars and artists, we don’t just take knowledge with us; we also “do something with it.”
This chapter serves as a theoretical and methodological framework for the book. The central discussion examines Patricia Leavy’s argument of how writing is itself a performative act that intersects with knowledge in ways that go beyond traditional data. Critically to the book, this chapter extends James Clifford’s definition of the term true fiction. The authors also offer the additional term choreographed narrative. They describe their application as fieldwork methods. In order to open up possibilities of other ways of knowing—the imaginative, the sensuous, the aesthetic—the authors rely on particular performances of writing (true fiction and choreographed narrative) in order to posit a notion of writing, regardless of genre (e.g., literary, scientific), as both a method of research and a method of performance.
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