Competing Theories of Process: A Critique and a Proposal

Faigley, Lester

doi:10.2307/376707

Cited by 182 publications

(67 citation statements)

References 23 publications

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“…Não admira portanto que essa experiência de escrita evoque episódios e mesmo envolvimentos, consignados no "jogo de forças" presente no título, que trabalhos de investigação na área procuram desvendar por meio de metodologias, do tipo de diários (CROWLEY, 1977;SOMMERS, 1978) ou de "think/talk aloud protocols" (PENROSE e GEISLER, 1994;YANG e SHI, 2003), que tendem a trazer para a ribalta os bastidores da escrita, interpretada neste enquadramento como processo compositivo (ver, por exemplo, CROWLEY, 1977;SOMMERS, 1979;FAIGLEY, 1986;MATSUDA, 2003) com raízes de natureza sociopolítica (CASANAVE, 2003) e não como simples produto acabado, como era conceituado na corrente retórica tradicional (ver MATSUDA, 2003).…”

Section: Nota De Aberturaunclassified

A escrita académica: um jogo de forças entre a geração de ideias e a sua concretização

Pinto

2016

SIGNO

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A escrita académica: um jogo de forças entre a geração de ideias e a sua concretizaçãoAcademic writing: a power game between the generation and accomplishment of ideas M a r i a d a G r a ç a L i s b o a C a s t r o P i n t oFaculdade de Letras da Universidade do Porto -UP -Porto -PortugalResumo: Pretende-se, neste texto, olhar para o autor de um trabalho académico como um tecelão que, no seu labor de reescrita assente em escrita, combina informação de várias proveniências com vista a conferir à sua produção textual a originalidade esperada em resultado da pesquisa efetuada. Referem-se diferentes conceitos associados à originalidade (autoria, identidade, voz, posição, atribuição, citação, paráfrase, intertextualidade transgressiva, plágio e "patchwriting") e apela-se à importância de saber usar as fontes devidamente, após uma leitura cuidada, profunda e crítica das mesmas, a fim de que a interpretação se sobreponha à reprodução, a intertextualidade não seja transgressiva e subsequentemente o "patchwriting" ou mesmo o plágio só possam ser tolerados como medida pedagógica numa fase inicial da composição. Ademais, lançam-se pistas de intervenção para ajudar os estudantes a encontrarem a sua voz de autores e sublinha-se que a escrita deve ser entendida como um hábito, como uma disciplina, como uma luta e como um ofício que espera muito rigor e empenhamento por parte de quem a pratica.Palavras-chave: Escrita académica. Geração de ideias. Fontes. Originalidade. Abstract:This text aims at viewing the author of academic writing as a weaver who combines information from different research sources into his/her production in order to achieve the degree of originality expected at this level. This implies dealing with different concepts associated with originality, such as authorship, identity, voice, position, attribution, citation, paraphrase, transgressive intertextuality, plagiarism and patchwriting. Furthermore attention is drawn to the proper use of sources after careful critical reading so that interpretation will replace reproduction and intertextuality will not be transgressive, bearing in mind that patchwriting or even plagiarism may only be tolerated in an early stage of written production. Moreover, students are given intervention cues so as to help them find their own voices as authors, and writing is highlighted as a habit that requires discipline and struggling as well as a craft that implies rigour and commitment.

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Section: Nota De Aberturaunclassified

A escrita académica: um jogo de forças entre a geração de ideias e a sua concretização

Pinto

2016

SIGNO

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“…(See Faigley's article [19] for an overview.) Such studies have traditionally examined changes in drafts via textual analysis, often contextualized through observations and interviews.…”

Section: Research On Revision In Professional Communicationmentioning

confidence: 99%

“…In the 1980s, it was dominated by cognitivist theoretical frameworks, but from the mid-1990s to the present, it has been informed by interpretivist frameworks. Next, Author 1 identified significant research studies representing each framework and consulted overviews such as those by Faigley [19] as welll as Jakobs and Spinuzzi [33] To better understand what is already known about the pitch and value propositions, Author 1 performed a Google Scholar search for keywords such as "pitch presentations" and "value proposition" and selected the most relevant results. Author 1 then read the articles, identified relevant citations from those articles, and read the cited articles.…”

Section: Selection Of the Literature For Reviewmentioning

confidence: 99%

Making the Pitch: Examining Dialogue and Revisions in Entrepreneurs' Pitch Decks

Spinuzzi

Nelson

Thomson

et al. 2014

IEEE Trans. Profess. Commun.

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“…Critics have charged that traditional workshop pedagogy's emergent (McCarthey, 2007) or expressivist (Faigley, 1986;Snaza & Lensmire, 2006) theory of composition ignores cultural and political dimensions of classroom interaction and writing for an audience. A pedagogy built around giving students freedom over how they reveal themselves in writing does not adequately account for how strongly the classroom writing environment is mediated by, among other things, teacher norms for acceptable writing (McCarthey, 1994) and social relations among students that are inflected by social status, race, and gender (Christianakis, 2010;Henkin, 1995;Lensmire, 1994;Rowe, Fitch, & Bass, 2001).…”

mentioning

confidence: 99%

Writing Workshop Revisited

Scarbrough

Allen

2014

Journal of Literacy Research

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Workshop pedagogy is a staple of writing classrooms at all levels. However, little research has explored the pedagogical moves that can address longstanding critiques of writing workshop, nor the sorts of rhetorical challenges that teachers and students in secondary classrooms can tackle through workshops. This article documents and analyzes the work that two high school educators do to organize a writing workshop around the writing and performance of spoken word poetry. Through a qualitative case study of a four-week spoken word poetry unit, we present features of the unit that both align with tenets of traditional workshop pedagogy and focus that pedagogy on the social and cultural situatedness of literacy. We show that the teachers in this case organized the classroom as a strong discursive community (Matusov, 2007) characterized by collective engagement with a genre, anticipation of a real audience, and renegotiation of classroom authority. We then analyze two discussions that arose during the unit in order to explore how students and teachers grappled with key dilemmas at the heart of writing well: how to shape one's text and message for an authentic audience, and what role(s) teachers and peers should play in students' writing. The analysis suggests that engagement with critical literacy practices like spoken word poetry can leverage writing workshop in ways that highlight the cultural and political dimensions of literacy pedagogy. We conclude by discussing how the communicative dilemmas that arose in this classroom relate to common goals of literacy curriculum, teaching, and research more broadly.

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Competing Theories of Process: A Critique and a Proposal

Cited by 182 publications

References 23 publications

A escrita académica: um jogo de forças entre a geração de ideias e a sua concretização

A escrita académica: um jogo de forças entre a geração de ideias e a sua concretização

Making the Pitch: Examining Dialogue and Revisions in Entrepreneurs' Pitch Decks

Writing Workshop Revisited

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