It is easy to argue that the need for attention to how we navigate rhetorically within and across cultures has never been greater, given ever-increasing global migrations and seemingly instantaneous global communication. Yet, the conceptual basis of intercultural rhetoric (also known in the past as contrastive rhetoric) has been under fire ever since it first emerged as an area of research and pedagogical interest. In recent years, Ulla Connor has built a steadily more extensive and sophisticated case for how a culturally contextualized study of rhetoric in any media can be carried out without static and reductive over-generalizations about culture/s or rhetoric. This volume provides both an eloquent summation and further theoretical expansion of Connor’s arguments. Readers who have wondered about the possibility of exploring connections between their students’ (or anyone’s) culture and discourse style will find many of their questions addressed in this volume; other readers who have not previously raised such questions will very likely begin to see the value of doing so.

Shows how a person's first language and culture influence writing in a second language.

This volume was written to make the case for changes in second language writing practices away from the five-paragraph essay and toward purposeful, meaningful writing instruction. As the volume editors say, “If you have already rejected the five-paragraph essay, we offer validation and classroom-tested alternatives. If you are new to teaching L2 writing, we introduce critical issues you will need to consider as you plan your lessons and as you consider/review the textbooks and handbooks that continue to promote the teaching of the five-paragraph essay. If you need ammunition to present to colleagues and administrators, we present theory, research, and pedagogy that will benefit students from elementary to graduate school. If you are skeptical about our claims, we invite you to review the research presented here and consider what your students could do beyond writing a five-paragraph essay if you enacted these changes in practice.” Part 1 discusses what the five-paragraph essay is not: it is not a very old, established form of writing; it is not a genre; and it is not universal. Part 2 looks at writing practices to show the essay’s ineffectiveness in elementary schools, secondary schools, first-year writing classes, university writing courses, undergraduate discipline courses, and graduate school. Part 3 looks beyond the classroom at testing. At the end of each chapter, the authors--all well-known in the field of second language writing--suggest changes to teaching practices based on their theoretical approach and classroom experience. The book closes by reviewing some of the major questions raised in the book, by exploring which questions have been left unanswered, and by offering suggestions for teachers who want to move away from the five-paragraph essay. An assignment sequence for genre-aware writing instruction is included.

In today's integrated global economy, technical communicators often collaborate in international production teams, work with experts in overseas subject matter, or coordinate documentation for the international release of products. Working effectively in such situations requires technical communicators to acquire a specialized knowledge of culture and communication. This book provides readers with the information needed to integrate aspects of intercultural communication into different educational settings.

This volume explores contrastive rhetoric for audiences in both ESL contexts and international EFL contexts, exposing the newest developments in theories of culture and discourse and pushing the boundaries beyond any previously staked ground. The book presents a comprehensive set of empirical investigations involving a number of first languages; 13 of the 17 authors are English-as-a-second-language speakers, many working in non-US contexts. This work develops a coherent agenda for contrastive rhetoric researchers, studying genres such as school writing, grant proposals, business letters, newspaper editorials, book reviews, and newspaper commentaries. Four chapters provide ethnographies and observations about contrastive rhetoric and the teaching of EFL and ESL. The book ends with a look to the future, suggesting it is more accurate to use the term ‘intercultural rhetoric’ to account for the richness of rhetoric variation of written texts and the varying contexts in which they are constructed.

Reflection in writing studies is now entering a third generation. Dating from the 1970s, the first generation of reflection focused on identifying and describing internal cognitive processes assumed to be part of composing. The second generation, operating in both classroom and assessment scenes in the 1990s, developed mechanisms for externalizing reflection, making it visible and thus explicitly available to help writers. Now, a third generation of work in reflection is emerging. As mapped by the contributors to A Rhetoric of Reflection, this iteration of research and practice is taking up new questions in new sites of activity and with new theories. It comprises attention to transfer of writing knowledge and practice, teaching and assessment, portfolios, linguistic and cultural difference, and various media, including print and digital. It conceptualizes conversation as a primary reflective medium, both inside and outside the classroom and for individuals and collectives, and articulates the role that different genres play in hosting reflection. Perhaps most important in the work of this third generation is the identification and increasing appreciation of the epistemic value of reflection, of its ability to help make new meanings, and of its rhetorical power—for both scholars and students. Contributors: Anne Beaufort, Kara Taczak, Liane Robertson, Michael Neal, Heather Ostman, Cathy Leaker, Bruce Horner, Asao B. Inoue, Tyler Richmond, J. Elizabeth Clark, Naomi Silver, Christina Russell McDonald, Pamela Flash, Kevin Roozen, Jeff Sommers, Doug Hesse

Applying the complexities of literacy development and personal ethos to the teaching of composition, Zan Meyer Goncalves challenges writing teachers to consider ethos as a series of identity performances shaped by the often-inequitable social contexts of their classrooms and communities. Using the rhetorical experiences of students who identify as lesbian, gay, bisexual, and/or transgender, she proposes a new way of thinking about ethos that addresses the challenges of social justice, identity, and transfer issues in the classroom. Goncalves offers an innovative approach to teaching identity performance theory bound by social contexts. She applies this new approach to theories of specificity and intersectionality, illustrating how teachers can help students redefine the relationship between their social identities and their writing. She also addresses bringing social activism and identity politics into the classroom, helping writers make transfers across rhetorical contexts and linking students' interests to public conversations. Theoretical and practical, Sexuality and the Politics of Ethos in the Writing Classroom provides teachers of first-year and advanced composition studies with useful, detailed assignments based in specific identity performance. Goncalves offers techniques to subvert oppressive language practices, while encouraging students to recognize themselves as writers, citizens, and active participants in their own educations and communities.