the inclusion of all learners in the instruction of

ABSTRACT KETO, ALEXIS DAGNY. Integrating Brain-Based Learning in the College Composition Classroom. (Under the Direction of Chris Anson, Ph.D)

Due to the influx of greater access to and rising enrollments at four- and two-year

institutions, there has been rapid diversification within the demographics of first-year

students. Culturally, socially and intellectually, students are entering colleges with a

dearth of knowledge and skills often neglected in favor of current-traditional instruction.

The general impression by the leaders of these “new” concepts remains that teachers fail

to recognize the differences between the students within the classroom. Multiple recent

studies have identified major learning preferences, across races as well as between

genders (Kolb, 2000, Jensen, 2000, Flynn, 1998).

Brain Based Learning offers an alternative for college composition instructors

when approaching a classroom of students with multiple goals and varied abilities. As a

relation of many education theories, like multiple intelligence theory and experiential

education, it offers the flexibility of learning style education and appeal of MI theory

while allowing for individualized learning like experiential education. Exploring the

relation ships between Brain Based learning and other theories helps to authenticate the

use of the theory in composition classes. A sample course syllabus using Brain-Based

Learning within existing composition requirements is provided along with a PowerPoint

presentation for use with training classes for prospective or current instructors.

Biography

Ms. Alexis Keto was born in Boise, Idaho in 1978 to Mary & Steve Keto. She is

applying for her Masters Degree in English at N.C. State University to complement her

Undergraduate B.A.- English degree from Northwestern University. She currently

resides in Denver, Colorado with her husband, Kyle Davenport and her two large felines.

She has continued to apply her knowledge and enthusiasm for kinetic and multi-

disciplinary education to coaching swimming as Head Swim Coach of the Colorado

Athletic Club. While she may return to academia one day, the active participation of

enthusiastic athletes, ridiculous autonomy and the flexible schedule of coaching holds too

much draw for her to part with in the near future.

ii

Acknowledgements

I would like to thank my husband, Kyle and my parents for not letting me give up

on myself despite ongoing personal frustrations and a wicked case of writer’s block. Your

eternal belief that I am, in fact, an intelligent person has kept me “in the game” and

focused on finally getting that dang sheepskin.

I would also like to thank my committee chair, Dr. Chris Anson, and my

committee members, Drs. Michael Carter, James Clark & Ed Maxa. It is a great relief to

know there are patient, understanding professors who can tolerate a slightly disheveled

and disorganized Masters’ candidate who clearly tries to tackle too much without

knowing any better.

iii

Table of Contents Introduction................................................................................................................1 Brain-Based Learning’s Relationship to Alternative Pedagogy................................9 Experiential Learning ..................................................................................................................................................14 Multiple Intelligence Theory .......................................................................................................................................17 Kinesthetic Education..................................................................................................................................................23 Applying Brain-Based Learning Theory to College Composition Courses ............29 Applying Brain-Based Learning to Classroom Material .........................................34 Course Syllabus for English 100 .................................................................................................................................35

Course Description ..............................................................................................................................................35 Required Texts/Materials: ...................................................................................................................................35 Course Requirements & Grading:........................................................................................................................36 Journal Work .......................................................................................................................................................36 Classroom Attendance Policy..............................................................................................................................36 Late Paper Policy.................................................................................................................................................37 Paper Policies ......................................................................................................................................................37 Academic Integrity ..............................................................................................................................................37 Campus Resources...............................................................................................................................................38

Daily Schedule for English 100...................................................................................................................................39 Writing Response #1............................................................................................................................................42 Writing Response #3............................................................................................................................................43

Writing Assignments ...................................................................................................................................................44 Project #1 – A Picture is Worth a Thousand Words. .......................................................................................44 Project #2 – Exemplification ...........................................................................................................................45 Paper #3 – Cause & Effect...............................................................................................................................47 Paper #4 -Comparison/Contrast.......................................................................................................................48 Final Paper/Exam – Argumentation ................................................................................................................49

Bibliography.............................................................................................................51Appendix A...............................................................................................................55

iv

Judy gazed back at the card. “I think he wants us to try, at least. I can go first if you want.” She sat for a second and then said, “I am amazingly overtaxed after eating at an average….agh, I can’t think of anything for cafeteria that begins with a vowel!” “Hmm… eatery?”

Miles laughed. “How about this? I endured an extensive evening of eating and imbibing. I am extremely exhausted. That sounds like a rap or something!” Muffled laughter intermixed with the sounds of Thelonious Monk from the radio and the traffic whizzing by the open class window. The professor sat up from his cup of joe, removed his jacket and began walking around the room, presented the next activity, “Make sure you write those down, I’m hearing a few good ones. How many of you felt frustrated by a lack of words to adequately express yourselves?”

A few hands wavered by the desks. “Good. Because that’s how you’re going to feel as you begin to communicate with other people in your fields. Each field has a unique vocabulary and you’re going to have to learn it to join the community. How many of you are somewhat shocked at that.”

No hands went up and a few eyes rolled. “But what you do have, like you do with the words with vowels, is some knowledge of what to expect and you can’t be afraid to use it. In this class we’re going to learn to use what we know alongside of what we don’t know. Do any of you feel a little better knowing you have some expertise?”

A few hands went up. The professor looked somewhat disconcerted, but smiled nonetheless, “Marvelous, now that we’re relaxed and confident in our knowledge, let’s discover our physical space in the classroom. Try the yellow card.” Miles dug into the baggie, pulled out the yellow card, and chuffed. “Alright, get this, ‘Act out your career plans and your partner has to interpret it in written word while your charade continues.’ That’s ridiculous. I’m not going first, that’s for sure.” Judy read the card again, and proceeded to watch for her classmates’ reactions. They all seemed to have the same reservations. Finally, a large fellow stood up and began tackling a desk feverishly, making quite a racket followed by an impassioned celebration dance. His partner, another large fellow, laughed and scribbled something on the card. That seemed to break the ice, and the partners began flailing around the room in somewhat silent chaos.

Judy turned back to Miles who was hastily chipping away at his desk while wiping away invisible sweat. He looked at her, “Aren’t you going to write something down? I’m my career, can’t you tell?” Judy watched him for a second, then made a quick note, Dinosaur Excavator…in the Sahara. This “writing” class was definitely going to be different from what she expected.

Students enter into college under-prepared at an alarming rate and their knowledge of

basic skills like writing and comprehension fails to be supported outside of the English

2

Composition faculty. However, these basic skills programs still receive some of the harshest

criticism from employers when these students graduate. This unjust and misplaced criticism of

the programs further magnifies the need for a universally competent writing instruction program

that ignites students’ desire and, to some extent, passion for writing proficiency. To reach the

broad spectrum of students, the instructors of the introductory composition classes must act as

coaches, mentors and advisors as students enter the first months of adjustment at the university

level. Instructors must be willing to encourage them to explore and find their written voice

within the university consortium. These roles require extensive patience and time that each

instructor must allot on a daily basis around the requirements of the department responsibilities.

Flexibility requires developing a new perspective for the composition teacher to define

composition to encompass a wider spectrum of student involvement. Where does the writing go?

What are the tangible effects of understanding? Does understanding last beyond the completion

of a paper? Marshall Gregory (2001) discusses the importance of enabling the bond between the

teaching and the material. “Teaching finds its final cause when it is taken in by students who

understand, acknowledge it power, and who respond to it not just with intelligence but with

pleasure,” (74). The teacher must realize that first the students must learn to think like the

academy before they acceptably write for the academy and many of these students, especially at

the basic writing level, are struggling to feel included in the fringe of the academy. Brain Based

Learning provides instructors with a proven method to guide students through the realm of the

academy, coaching students to discover their potential as writers, but also recognizing them as

viable members into the elite company of the professional academicians.

Students must be freed from the focus on the grade and develop personal interest in the

forum of the written word in order to learn how to write well. Theoretically, incoming students

3

are more comfortable with the concept of computer-based writing. More students use online

forums and instant messenger as a predominant form of communication, helping them begin to

establish a written identity. Passably decent writers can no longer be the goal of the writing

program. With the immense specter of the Internet holding sway over a significant part of

society, the importance of developing proficient writing skills has never been more universally

important.

More and more frequently, current trends encourage instructors to take a vested interest

in the student by promoting increased student-teacher contact (Harris, 2004, Zull, 2002, Cheville,

2001, Promislow, 1999, Siberman, 1996). One-on-one conferencing, detailed and innovative

feedback on papers, peer-editing groups intended to sharpen their writing skills by identifying

and utilizing personal writing skills to critique other students work – all concepts intended to

promote the development of individualized composition instruction. Peter Elbow (1996)

encourages students to “distrust language” while they try to interpret various literary works. If

instructors wish for students to discard their fear of writing and embrace their written voice, there

cannot be an absolute authority in the writing classroom. The process of self-discovery has to

become an intensely individual process, allowing students to incorporate their prior knowledge

and writing experiences. Granting authority to a first-year student helps them identify with the

university on a very personal level. When they consider changing their forms of expression to

conform to university standards, it becomes increasingly important for the instructor to help

students maintain the appropriate elements of “their” voices while adhering to these new

standards.

As a typical state-sponsored academic institution where a substantial number of the

student population comes from the home state, North Carolina State University (N.C. State)

4

provides a legitimate “case-study” to begin investigation into the pedagogical theories of

composition education at the university level and to approach possible integration of new

tautology. At N.C. State, like many state-sponsored higher education institutions, most of the

incoming student population enrolls in composition classes within their first two semesters on

campus. No other college class at a university has higher enrollment and therefore, a greater

universal impact on the university than the introductory composition course. Every student must

complete some form of composition requirement to graduate. A graduate of N.C. State will have

completed English 101 at a minimum and most will have participated in a 300-level major-

specific composition course. Unfortunately, these students just aren’t developing the necessary

skills for the workplace, students either re-take composition courses or finish with the bare

minimum and “escape” the English department with a sigh of relief, leaving very few to actually

obtain effective communication skills expected by the outside world. In entrance surveys, the

majority of incoming students (nearly 60%) acknowledge their deficiency in written

communication. Surveys of potential employers evaluate NCSU graduates’ writing skills at

mediocre survey levels, even though the same employers (50% of respondents) rank writing skill

as one of the most valued proficiencies of a prospective employee, regardless of degree achieved

(NCSU, 2003 Baccalaureate Alumni Employer Survey).

These problems aren’t peculiar to N.C. State. At universities across the country, the

composition classes are regularly altered to attempt to obtain the desired results, with little

success. Schools like Boise State and Arizona State have hired composition-only faculty,

creating more positions as the needs arise. Other schools have created writing centers, staffed

with trained tutorial professionals. Of course, not all schools have the luxury of a healthy budget

or the desire to completely isolate the composition courses in a separate department. These

5

changes usually occur over a long period of time and with significant backing from the faculty

across the university as well as the state-wide university system. Despite these obstacles the

reality remains: students need more assistance – intellectually, physically and emotionally - from

the faculty and from the university if they are to learn how to write well.

Increased open-admissions policies across the country, like the Lifelong Education

Program at N.C. State or the Distance Education program at East Carolina University, have made

a university education more accessible to more of the general populations. As a result, more

students enter college with seriously sub-standard writing ability and need substantial time and

effort on the part of both the students and the professors to obtain proficiency. Course objectives

for introductory writing courses at N.C. State include a variety of goals from learning basic

principles of rhetoric to practicing research strategies to refining technical skills such as grammar

and citation, (NCSU Course Objectives English 101). Most of the objectives are geared towards

the students’ relationships to pre-existing scholarship thereby establishing academia as an

authority beyond that of a freshman writer. The actual skill of writing appears to be lost and

alternative methods to pursing the skill discouraged while students muddle through a series of

writing classes which fails to address their specific needs as they work to find their authorial and

academic voice.

Composition, it seems, is still quite difficult for students who are more suited towards

non-writing based majors and universities are having difficult creating a program to effectively

providing for these students. Students choosing non-writing majors often feel abandoned in

writing and composition courses taught by literature graduate assistants who are ill equipped to

appropriately minister to the needs of individual students. Theose students with non-writing

majors usually display proficiency in other styles of learning or strength in other intelligences

6

rather than the methods demonstrated in the standard composition classroom. The newfound

instructors have yet to identify their roles as a writing instructor and the importance that their

instruction really carries with each student. Many schools, like N.C. State opt for a short week

prior to the onset of school to “train” these students in developing curriculum, but very few of

these preliminary courses instruct these new teachers in appropriate or alternative instructional

methods for the university classroom beyond the curriculum development to facilitate the needed

individualized instruction. These instructors are usually quite proficient writers, and always have

been, and the inability to write well seems somewhat incomprehensible. Therefore, due to a lack

of coping mechanisms, new instructors present themselves as the gatekeeper to the halls of

wisdom for undergraduates, some of who are only a few years younger than the instructors

themselves. Since the administration finds itself responsible for the failure or success of these

composition students, it falls to the administration to resolve the obvious inadequacy of teacher

training. Several pedagogies offer options to instructors for activities, attitudes, or professional

demeanor but few offer a feasible method for best reaching students on a daily basis in the

classroom.

Due to the influx of greater access to and rising enrollments at four- and two-year

institutions, there has been rapid diversification within the demographics of first-year students.

Culturally, socially and intellectually, students are entering colleges with a dearth of knowledge

and skills often neglected in favor of current-traditional instruction. The general impression by

the leaders of these “new” concepts remains that teachers fail to recognize the differences

between the students within the classroom. Multiple recent studies have identified major learning

preferences, across races as well as between genders (Jensen, 2000, Flynn, 1998).

7

Multiple factors hinder the success of the composition program, ranging from insufficient

funding to poorly trained graduate assistants to inadequate educational material to insufficient

teaching aids. The first problem, funding especially at a publicly funded institution, cannot be

resolved by the faculty alone through better instruction and lower re-enrollment, but, more

practically, through better and increased stable funding from the governmental body that

provides public funding to the institution. In the case of N.C. State, as with many public

institutions, this body is the North Carolina General Assembly. Specializing the program to meet

the needs of its various incoming students can alleviate the third problem, inadequate material, as

more courses can become structured to accommodate for the needs of specific areas of study.

Unfortunately, it is the second factor, the poorly trained, ill-equipped graduate assistants or non-

tenured lecturers that are charged with instruction of these students and are armed with little

more than their knowledge of how to write a good paper.

The cheapest, easiest and most flexible solution for any educational institution lies in

remodeling the pedagogy and resources for these fledgling teachers. Brain Based Learning

integrates concepts from multiple current pedagogies to facilitate such a re-education and helps

to accommodate the rapidly growing need for learner-centered education. Creating a pedagogy

centered in Brain-Based Learning will help these graduate students find a way to effectively

access the varying type of student in their classes by providing everyone with the skills necessary

to recognize the various needs of each student.

Three methods have recently increased in popularity for the generic classroom

environment to address the educational needs of a changing population: kinesthetic activities,

experiential education and universal design. While subtle instructional variations distinguish the

three from one another, all three inform and justify a closer look at the potential role the newer

8

fourth method of Brain-Based Learning. All three theories rely on the ability of the instructor to

manage the acculturation of the first year student to university life through the coursework. All

three theories encourage increased student-faculty interaction combined with persistent feedback.

All three theories advocate the multi-faceted approach towards education, pushing the envelope

of creativity as students discover their written voice. .

Initially, the review will introduce the basic principles and philosophy of Brain-Based

Learning to better establish the parameters for comparison with the other relevant theories. Also

addressed within this review will be the relationship of Brain-Based Learning to Kinesthetic

Activities, Experiential Learning, Multiple Intelligences and Universal Design. As these theories

can be seen as predecessors of Brain-Based Learning, various aspects of each will be explored

within the context of their contribution to the eventual development of Brain-Based Learning.

Finally, the Brain-Based Learning technique will be applied to the English 101 constraints to be

presented within the context of a two-hour orientation for instructors of composition, using the

N.C. State Objectives as a basis for the sample curriculum and daily pedagogy.

Brain-Based Learning’s Relationship to Alternative Pedagogy The reticence, reluctance and general disbelief on the part of current faculty and graduate

assistants makes full integration of any of the “new” trends into a department exceedingly

difficult. Many instructors mistakenly believe students are happier with the current-traditional

method of writing because they, the instructors, learned to write by reading professorial feedback

and the resulting trial-and-error experience. Who wants to share feelings? Teachers added

impassioned and often bizarre re-interpretations of writing during the expressionist period and

were left feeling they had inadequately prepared their students for actual academic discourse

despite the discovery of the writing identities of their students. Most of the criticism of

9

Expressionism claims students miss the predefined “skill” aspects of the assignments, leaving

them to focus solely on the emotional experience of writing rather than the practical. In many of

the “new” theories, more aspects of the learning process must be considered and addressed to

better educate burgeoning writers on the importance of the whole writer, including the emotional

attachment of writer to document. Expressionism, even for its critics acknowledges the

importance of the body and experience of the writer within the process. To take these concepts

into the classroom requires that the instructors become “orchestrators” of instruction and

environment rather than criminal masterminds (Caine & Caine, 2001). Instructors can be

uncomfortable with assigning importance to students’ environmental perceptions, at both

conscious and unconscious levels, as coordinating the experience can be time-consuming and

nerve-wracking.

The new genre of students want to feel comfortable and “in-touch” with their overall

experience in order to write well and this can be understandably awkward and unpleasant for

many instructors. Their problems aren’t my problems, professors say, these students are in

college, and they should be expected to face the difficult levels of composition that will meet

them. What this attitude doesn’t account for is the wide range of skills and talents that today’s

freshman has, a concept originating with Multiple Intelligence and Learning Style theory. These

students are proficient at art, music, athleticism, or kinesthetic work – not just intellectual and

experimental knowledge – making these students radically different from freshmen even ten

years ago. More freshmen are first-generation students with more than just a degree riding on

their success. More students are older, more worldly and experienced and are returning to

college to finally achieve or complete a college degree. (Strahl & East, 1982; Rose 1985;

Hannaford, 1995; Kezar, 2001; Herremans & Murch, 2003) Not everyone comes to college with

10

a priority on writing composition, but everyone comes to college knowing they must write

papers, and this scares them.

James East and Ronald Strahl (1982) from Indiana University Purdue University

Indianapolis (IUPUI) describe a program that integrates these new students into a more

comfortable learning environment by using the facilities available at a suburban shopping center.

The premise for the program created an atmosphere of “a kind of neutral ground for theses

students where they could ‘attempt’ the most dreaded of all college classes – Basic Composition

– without in a sense becoming totally vulnerable to failure,” (East & Strahl, 1982,. The IUPUI

Learn & Shop program was successful for students and faculty, because the students’ emotional

make-up was dramatically different and the environment adapted to the needs of each tentative

student. Inevitably, instructors teaching in this environment found themselves more relaxed and

more engaged in the process of education rather than the end result. Many instructors cited the

removal of the stressor of the collegiate environment and the accompanying expectations as a

means to a more productive end. This concept of a “neutral territory” (270) predates the

development of Brain-Based Learning and espouses some of the early concepts of “Body-

Focused” learning environments.

Brain-Based Learning encourages a similar view of education, and can be applied at the

university level. Recent research has debunked the right/left side brain philosophy in exchange

for a universal picture of the neurological exchange of information from one receptacle to

another. James E. Zull (2002) depicts a brain composed of four general cortex that interact with

one another to solve problems and adapt to situations of day-to-day life. The brain is not

intended to memorize and regurgitate, but to process and integrate knowledge and skills into

daily life. Therefore, to adequately instruct students, instructors must consider the brain. The

11

brain must be enriched using multiple methods and situations, from physical to emotional to

environmental and eventually, intellectual.

Eric Jensen, considered to be the predominant mind of Brain-Based Learning, takes all

aspects of the environment of the brain into account when developing his teaching techniques

and encourages others to do the same. For Jensen, optimal instruction considers all aspects of

the learning process. By integrating brain research into the instructional process, he creates a

classroom environment that combines multiple stimuli for the brain to respond to within the

context of learning objectives. Instructors are challenged to integrate material with environment

and experience. Jensen also encourages the independence of the student with regard to the

learning experience. Each student can and should determine the manner that he/she could best

begin to understand the learning objectives. According to Jensen, the instructor should account

for 18 different facets of the learning environment:

o Pre-Exposure & Priming o Sufficient Time for Learning o Low or No Threat o Prep for Final Performance o High Engagement o Positive Emotional Engagement o Learner Choice o Moderate to High Challenge o Strong Peer Support o Mastery Goals o Sufficient Non-Learning Time

o Balancing Novelty & Predictability

o Safe for Taking Risks o Moderate Stress o Alternating Low to High Energy o Multi Modal Input o Frequent Feedback o Celebrate!

Jensen ,2000a.

By beginning to consider each and every aspect in conjunction with multi-sensory input, and

approaching material with various practices. The instructor can begin to better accommodate

each and every student. Some of the concepts listed above seem obvious for college education,

like sufficient time for learning or mastery goals. Others are harder to visualize integration, such

as multi-modal input and sufficient non-learning time. The dichotomy between the two aspects

demands a great deal of commitment and dedication on the part of the instructor to preserve the

12

integrity of the classroom as well as the individual. Each student has the ability to contribute to

the education of the whole, utilizing his strengths but also by acknowledging and strengthening

weaknesses. Each student, too, has the opportunity to grow and learn in the manner that he/she

chooses, rather than through a series of methods predetermined either by curriculum or

departmental procedure.

To understand Brain-Based Learning, discussing relationships with other more

recognizable theories may be useful. Many researchers have explored ways to diminish stress

levels within the classroom by better integrating learner motivation into the environment of the

classroom. Experiential education, for example, takes learning into other venues to broaden the

experience and provide more natural, acceptable settings for students to learn. Multiple

Intelligence Theory (MI Theory) promotes the integration of a broad spectrum of material to

appeal to a wide variety of students. MI Theory’s relative concept, Learning Style Instruction,

focuses on the process in which material is introduced to the students and the methods for

instruction within the classroom. Specific learning styles have also fournd new life in the

classroom. For example, Kinesthetic Learning encourages students to interact with one another

and their compositions on a very physical level by integrating movement into assignments.

All of these theories contribute to the effectiveness of Brain-Based Learning and provide

for its inclusion as a valid approach to composition education. While there seems to be a sense of

chaos in most Brain-Based Learning classrooms, it is usually because the students are actively

engaging in the material introduced by the professor and by the ideas of their peers. Students can

walk, talk, interact and have free reign of the classroom space without feeling trapped in the

microcosm of the university classroom with the omnipresent need for knowledge or for total

understanding. Their process is one of active exploration, just by creating a space that can be

13

deemed safe for wrong answers and for personal interpretations. Each of the preceding theories

provide the introductory resources for integrating some of these concepts into the classroom.

Experiential Learning Experiential Learning encourages students to incorporate much of the same universal

environmental philosophies as Brain-Based Learning and qualifies as the closest relative to the

Brain-Based Learning environmental aspects. Supporters of Experiential Learning cite the

importance of students “living” the subject of their education and allowing for interaction with

the “real world,” (Quay, 2003, Pace & Simon 2002, Kolb, 2000, Pfeiffer & Jones, 1969). Irene

Herremans and Ron Murch (2003) apply Experiential Learning in the MBA setting by creating

set situations that would occur outside of the school in the “real world”- client meetings, business

negotiations, etc. They call this practice “andragogy,” or redefining the learning process by using

what the learner already knows to formulate the experience (Herremans & Murch, 75).

Herremans and Murch find that the use of these experiential models assists in combining

students and professors into a symbiotic learning environment. This union helps reinforce the

goals and values of the department and university by combining the professor (a representative

of the university) with the student (a product of the university) and facilitates the diffusion of

departmental and university philosophy. In a well-established institution, the philosophy

encourages the inclusion of the student into the society of university academia. Repeated use of

role-play within the context of the individual experience allows for evaluation not only of the

multiple viewpoints of the situation, but of the overall value system in place within the

department. Extending this reflection and evaluation into the classroom setting enables the new

knowledge to interact and develop with the intelligence students convey with them into the class.

14

Rosalind Pace and Marcia Simon (2002) create a similar workshop in the composition

environment, a weeklong experience of creating a book and analyzing the process of developing

a unique and coherent piece of literature, academic or otherwise. Students physically participate

in the creation of book, literally from scraps of paper. Pace and Simon’s workshop focuses on

the students’ interpretations of what each aspect of the book-making process means to them.

The purpose of teaching creativity in the schools is not to train book designers or

poets, or even to improve reading scores, but to develop people who can think

creatively, who can find solutions to problems, trust their instincts and go beyond

the boundaries of the expected,

“The Image-Making Workshop: An Introduction to Creative Book-Making,” 80.

Each workshop participant, both students and teachers, develop a book reflecting on something

meaningful to them and then in the daily workshop reflect on their experience with questions

relating to specific points. While Pace and Simon acknowledges the absence of tangible

“academic” knowledge, they focus on the importance of learning a method of thinking and

reflecting important to the process of composition. The instructor, rather than evaluating for

correctness, provides feedback (an important distinction) on content and form, and answer

questions like “How does this work make me feel?” rather than “Does this work say what I want

it to say?” By transforming the role of supreme authority, Experiential Learning lets the teacher

become part of the process and part of the emotional development.

Ed Maxa, in Heads-on, Hands-on: the Power of Experiential Learning, focuses on the

importance of reflection, offering facilitators a series of suggested reflection questions for post-

experience meditation. These questions are similar to those used by Eric Jensen in his work on

Brain-Based Learning that offer consistency in reflection and encourage instructors to spend time

away from active learning. Questions usually relate specifically to the task at hand with expected

and predictable responses (for the most part), but add moments for reflection and personal

15

interpretation of the learning objectives and the experience as a whole. Maxa, et.al anticipate the

unease of facilitators with regard to the coordination of the experience and offers detailed

outlines for managing the chaos. Like with the MBA program and the book-making workshop,

the activity is presented so students can achieve a desired response and complete learning

experience.

Brain-Based Learning integrates experience into the classroom as one of the primary

means of education. It takes the concept of “learning by doing” one step further. By analyzing

the processes involved in learning and creating a constant welcoming environment for all

students to learn, Brain-Based Learning helps instructors tackle more indefinite problems while

consulting with one another and with students. While students are encouraged to work together

to solve a problem, Brain-Based Learning invites students to openly disagree, challenge and

incorporate this topic into an academic or non-academic setting. Experiential learning creates

day-to-day experiences so participants relate to the desired topic with a desired concluding

experience. Incorporating Brain-Based Learning also invites writers to involve more of

themselves into their work with anticipation of uncertain results. What do they want to discover?

The instructor does not guide the interpretation of learning but suggests initial approaches to not

only determining the material but also discerning what can serve as a resource for the student.

The students generate personalized results and draw independent solutions as they forge through

the perils of education, slowly creeping further into the jungle of knowledge and wisdom.

Experiential learning assumes general truths about the brain, beginning with the initial

survival and adaptation needs of the brain. Like Experiential Learning, Brain Based Learning

presumes true knowledge best occurs when the entire environment of the brain is taken into

account when designing a curriculum. Geoffrey and Renate Caine (2001) emphasize

16

consideration of the physical space of the classroom, as they detail the importance of

unconscious learning and the stress factors evident in the physical constraints of the classroom.

These constraints hinder the emotional development of the brain, especially when the classroom

separates “life” from “learning,” and thereby decreasing the probability of students’ motivation

to learn. Several of Jensen’s 18 facets encourage similar concerns for the students’ well being,

considering the students’ engagement as well as the level of stress in the environment and the

promise of emotional safety for their intellectual expression. Eventually the students discover

their method of composition and feedback that they can share with others.

Experiential Learning relies heavily on the instructor’s ability facilitate and enhance

exercises to allow for students to learn at their own speed. Similarly, Brain-Based Learning, the

initial exercise may be suggested while later exercises and results should be spontaneous and

random in nature, often presented or planned by the students themselves to share with the class.

Each student has the liberty to choose and design his or her own interpretation of the concepts

while thoroughly exploring each idea in the medium that best expresses comprehension. While

Experiential Learning eschews the concept of static learning environments, Brain-Based

Learning acknowledges that there may be a place for “quiet” learning and a forum for sharing

information in a presentation or lecture format, albeit brief in nature, for the purposes of initial

orientation with a specific subject or for a specific student’s individual learning needs.

Multiple Intelligence Theory Multiple intelligence pedagogy is founded on the general belief that learning operates at

multiple levels, and students possess some ability at all levels that should be explored through

each project series. Emotional, Physical, Intellectual, Musical…the list continues as the desire to

cater to individual preference emerges. While this concept is related to Learning Styles, the

17

Multiple Intelligence Theory (MI) promotes developing intelligence in all areas, but some

intelligences are more refined than others. Usually Multiple Intelligence Theory relates to the

content of knowledge rather than the method that knowledge is best expressed - an important

distinction when considering university implementation. Some students may be more proficient

at expressing their thoughts artistically, others may be more comfortable with a dramatic

interpretation and still others may need to spend quiet time absorbing the information and

creating a personal relationship or scenario from which to understand the topic on a social level.

MI study encourages instructors to embrace these differences, in a kind of Ayn Rand

“Objectivist” manner, and have each person bring those intelligences to the community table to

enhance the learning experiences of others. The group of community learning helps develop

individual responses to a specific assignment.

What are the classifications of Multiple Intelligences? Adrienne Kezar (2001) describes

the intelligences with respect to feasible consideration in the college classroom. She chooses to

highlight the eight intelligences identified by Howard Gardner (1985): musical, bodily-

kinesthetic, logical-mathematical, spatial, linguistic, interpersonal, intrapersonal and naturalist.

While she does acknowledge the critique of intelligences as merely reclassification of talents,

Kezar is careful to point out the benefits of assigning significance to these gifts. Once the

“talents” are qualified as valid expressions of intelligence, they can then be discussed as

legitimate forms of academic discourse. Harvey Silver, et. al (2000) believe intelligences must be

considered in classrooms as students come to universities from more diverse backgrounds where

different intelligences are approached with different levels of importance within the culture.

Instructors become responsible for exemplifying each intelligence through every major

assignment by allowing for multiple mini-exercises within each activity that appeal to each

18

intelligence. Again, this practice becomes especially important as the college community

validates more and more varied abilities. Kezar’s observations (2001) regarding the popularity of

one-dimensional testing, like multiple-choice evaluations, reflect the growing apathy towards

these new students regardless of research providing alternative information. The general belief

regarding testing procedures claims testing and evaluation should add to the learning process

rather than provide additional stress that unfortunately results in a decrease in thinking

productivity (Cheville, 2001, Wolfe 2001, Silver, Strong & Perini, 2000, Silberman 1996,).

Each person must learn to incorporate multiple strategies when considering a project, and some

of those strategies, like personal intelligences, develop much later into the college career, (Kezar,

150). Multiple facets of the student’s intelligence can be fostered through the integration of

collaborative exercises and in-class presentations as well as by establishing and maintaining a

close relationship between student and professor. Kezar highlights the importance of the

strength of the universal values of the composition department with special consideration given

to the collaboration and Multiple Intelligences of the department as a whole. A department that

does not adapt some semblance of a philosophy on a pedagogical scale runs the risk of

invalidating the universal practice they espouse, (154).

bell hooks, in her short essay, “art is for everybody,” provides an example of the benefits

of a Multiple Intelligence Theory-based classroom. She encourages the integration of artwork

into a composition class as a method to address cultural issues both from the students and

instructor’s perspective. By advocating an open classroom where students can interpret how and

what they like, they find what communicates to them on a personal level.

I did not just learn to think about art on my own – there were always teachers

who saw me looking, searching the visual for answers, and who guided me in my

search,

19

“Art is for Everybody,” 33.

Her experience led her to better interpret the world around her, first through art, then through

words. Social as well as cultural factors inhibited her ability to accurately express herself in the

written form. She acknowledges the lack of development of the visual culture with the African

culture as part of the source of her deficiency and encourages professors to look past the

stereotypical ability of the students. From her own experience, hooks believes a full responsive

instructor can help students connect with deeper parts of their academic experience and gain

ownership of their education. Similarly, Patricia Wolfe (2001) illustrates the importance of

musically based education.

In facet, many musical experiences can activate the cognitive, visual,

auditory, affective and motor systems, depending on whether you are reading

music, playing and instrument, composing a song, beating out a rhythm or just

listening to a melody

Wolfe, 161

Along the same line as hooks and Wolfe, Clara Park describes her research with regard to

the racial myriad of her student population with respect to what she calls “learning style

preferences.” Certain races of people, Park determines, do have predispositions towards specific

types of learning. Silver, et al (2000) view dispositions as a predilection for intelligences and

should be taken seriously.

From an intelligences standpoint, a disposition is a sensitivity for a

particular type of intelligence. A sensitivity may lead to an inclination for using

that intelligence and in the right environment and under the right circumstances,

and inclination can be translated into an ability to use the intelligence in a variety

of contexts.

10, Stone, Strong & Perini, 2000

20

While much of her work revolves around statistical analysis of respondents, Park’s conclusions

highlight a distinct correlation between some races and learning styles, much like Stone, et al

believe various cultures can develop specific intelligences. Some racial groups appear to prefer

Group Learning (Mexican & Hmong), others prefer Tactile or Hands-on Learning (Hmong &

Hispanic) and still others prefer Auditory (Hispanic, Mexican and Hmong) or Visual (Hmong).

All groups showed enthusiasm for Kinesthetic Education or movement-based exercise and a

slight disinterest in Individual Learning – the latter being the basis of most Current-Traditional

Composition pedagogy. Park determines this research should encourage teachers to begin to

develop weaknesses and share strength of their students within the context of classroom

activities, similar to the Experiential Learning process of Herremans & Murch in the MBA

classroom.

Establishing the need for a broader more Multiple Intelligence based model is important,

as it also develops similar concepts expressed in Brain-Based Learning, and with deeper

comparison of the potential implications in the classroom, the effect of MI theory becomes quite

apparent. In the Basic Writing e-Journal, Patricia McAlexander (2004) illustrates a potential

plan under the moniker of “Universal Design.” Her theory suggests application of Multiple

Intelligences within the context of each assignment in an attempt to garner students’ attention

and to increase their motivation to learn. While she avoids actually challenging the Current-

Traditional system, she does present valid points with regard to individual interpretation of

pedagogical implementation. Class material should be relevant to a wide range of students within

the context of composition, but flexible enough to adjust to various learning strengths and

weaknesses of all of the students. An instructor must separate personal preference and comfort

levels to develop the intelligences or learning styles of her students (Wolfe, 2001). McAlexander

21

encourages emphasis on the process as well as the role of the teacher, at least temporarily, as a

source for feedback rather than criticism. Not every assignment or writing genre lends itself to

every intelligence, but by spreading the ideas around within the development of a final product

allows for every student to feel some level of academic comfort.

Brain-Based Learning supports the existence of these learning differences, and

extrapolates the MI theory into the context of a greater conception of whole-brain education.

Rather than characterizes weaknesses and strengths, Brain-Based Learning encourages the

development of the whole experience of learning. While everyone may have these

“intelligences” the Brain-Based Learning approach utilizes avenues towards overall

understanding and incorporation through a Multi-Modal approach. Each person may be stronger

in one than another, but that strength merely makes it more important to focus on his or her

weaknesses with the assumption that this work will enhance the strengths. By focusing on say,

the musical interpretation of Hamlet, an aurally-inclined student might better interpret the play’s

emotions and better analyze recurring themes, while through the same incorporation of music,

the visually-inclined student can address the intellectual interpretation of the play and the

characters as well. Each aspect of learning enhances the other aspects; none is mutually

exclusive and should not be regarded as such. Through their motivation to learn, students will

become desirous of learning through any means available and allowed.

Conceptually, Brain-Based Learning demonstrates that environment can be an important

facet of the learning experience, through the application of Multiple Intelligence awareness and

Learning Style-based instruction concurrently. Each day a student participates in the learning

experience is another opportunity to affect the circumstances of learning. Can the physical space

of a classroom further allow the learner to relax and more receptive to new ideas? For example,

22

oral learners and kinesthetic learners are often defined as a result of racial profiling, sometimes

experience difficulty adjusting to the deeply individual academic arena of composition. What

will allow them to best uncover their hidden writers? With the Brain-Based Learning Technique,

the instructor must consider both the subject of study (would these writers better interpret

cinematic literature?) as well as the method of study (do these writers need more flexibility with

their interaction with other students?). Then, these ideas are broken into smaller daily activities

that characterize both the strengths and weaknesses of the student, perhaps by having students

read cinematic criticism or watching Ebert & Roeper, followed by an interpretation or

comparison paper on the two mediums of criticism with regard to the efficacy of the

presentation. In a Brain-Based classroom, these activities would be developed by the student

with minimal instructor assistance to best accentuate their strengths & develop their weaknesses.

Each revolutionary pedagogy attempts to engage more students by changing overall curriculum

ideology, but none endeavors to fully examine daily pedagogical practices of the instructors like

Brain-Based Learning.

Kinesthetic Education Kinesthetic education is a specific division of learning styles focused on the integration

of the body into the educational process. Research has shown that exercise and tactile

experiences can help produce specific type of nerve cells that help accelerate the synapse

between larger nerve cells (Hannaford 1995, Jensen 2000, Caine & Caine 2001, Wolfe 2001,

Levy, et al 2003, Quay 2003). Kinesthetic education is a means for introducing this type of

learning into the classroom. By facilitating movement of blood to the head from extremities the

movement will creating whole body communication and integration of the body into the learning

process. Kinesthetic Education permits students to re-invent writing experiences within the

23

physical space and unearth new methods of understanding and interpretation through the

incorporation of bodily movements. This concept is frequently used in poetry classes where

students physically recreate meter, form, or diction using claps, stomps or physical re-

interpretation. Instructors encourage a corporeal understanding of the words on the page by

pounding out rhythms of syncopated lines, dramatizing stanzas of prose poems or interpreting

emotions of wildly modern poems, (Zimmerman, 2002). Students begin to understand poetry,

not as solely words on a page but as physical representations of personal expression. Ideally,

through the use of kinesthetic education, composition education could accomplish similar results.

Integrating exercises that encourage students to go beyond the written word of the assignment

and to create a unique neurological pathway to understanding. Ultimately, these exercises could

engage previously isolated learners and help instructors capture subtle nuances of the activity of

learning.

Kinesthetic Education is alive at the university level already. A science lab works well

because students actively participate with their hands, feet, torso – to create results – even the

simple act of standing or simply walking invigorates and stimulates the body by increasing the

blood flow which, in turn, facilitates new ideas and interpretations. But involving the body can

create a full experience for the writer. Sondra Perl encourages the development of the connection

between writing and the bodily reaction to writing through the use of Felt Sense. Felt Sense, a

theory of writing composition based on feelings from within the body, encourages whole body

awareness during the writing experience (Perl 5-12). A guided experience asks writers to

consider the feelings, both physical and emotional, associated with successful writing to

minimize symptoms of writer’s block with questions for self-evaluation. What does the body do

when writing, how does a good paper feel – what can good writing create?

24

…[I]n each [experience] there is a connection to the body – and that the bodily

connection is related to words. When the words that are emerging feel right, we

often feel excited or at least pleased; we experience a kind of flow. Physically

and mentally, we are aligned.

Perl, 3

Kinesthetic theorists (Perl, 2004, Roth & Lawless 2002, Goldberg, 1986) have long been

active in the elementary and secondary settings as advocates of “re-presenting” their learning in

new physical spaces and with parts of the body beyond the brain. Students are encouraged to

invigorate the brain by stimulate thoughts or to relaxing away the physical presentations of

stress. Jensen (2000a) encourages instructors to reduce the heavy stress of threats and encourage

students to “feel the flow” (p. 130). By integrating the body into the learning process, all five

senses (or six depending on the person) respond to assist with further academic interpretation by

allowing for bodily integration. Students are encouraged to spatially represent aspects of their

composition and create tangible representations of the written word. James Zull (2002) argues

that these kinetic processes encourage anticipated movement and enhance the probability that

students will enjoy the process, not only of learning but of discovery as well. Each student, as a

corporeal being, contributes to the construction of a grand interpretation of composition as a

process and as a product by interacting on a distinctive physical level.

Strict interpretations of Kinesthetic Education involve active movement, either through

organized activities like cross-lateral motions or random movements allowing free motion

throughout the class period. Virginia Zimmerman (2002) describes the incorporation of body

movement to interpret meter in a poem, stamping, pounding, counting – actively experiencing

the movement of poem. She found startling results. Classmates worked through difficult

concepts of meter together while playing silly meter games and had a great deal of fun in the

process. The increased class community allowed for students to feel secure in discussing and

25

interpreting complex poetic concepts such as a poet’s use of meter, allowing the class to break

through preconceived notions of poetry. Utilizing kinesthetic concepts provides a safe

environment for learning and exploring where the experience of learning incorporates more parts

of the body and environment. Brain-Based learning encourages the development of a safe

environment, where all learners and instructors are equal.

Julie Cheville (2001) details evidence of the detriment of non-kinesthetic education

courses occur as student-athletes at University of Iowa struggled through their classes. Their

knowledge on the basketball court was one of community and movement, where they could

freely exchange motivation and education and work together to adjust to situations as they

presented themselves. Each success was rewarded with positive comments and the entire team

regardless of individual performances celebrated wins. The student-athletes could think quickly

on their feet, but not on their hindquarters. In an average week, Twenty hours (or more) are

consumed by strictly kinesthetic activity – a significantly higher amount than the 12-15 hours

they spend in the classroom, participating in dramatically different activity. For some, the

physical rigor of daily workouts provided enough of a kinesthetic outlet that they could partially

succeed in the college classroom. For most, however, the static environment of the classroom

left them feeling isolate under the whims of a capricious professor. Without the ability to use

their kinesthetic skills they had obtained on the court, the isolated athletes wandered aimlessly

through their studies, unable to develop their substantial academic weaknesses without the use of

their athletic strengths.

The result for these athletic ladies exemplifies the problems facing many athletes and

other similarly incapacitated students. Without incorporating a full-body learning scheme,

uninspired students are more likely to fall asleep in class out of boredom and lack of stimulation.

26

Unless they’re regulated by an attendance policy, many disinterest students cease attending class

altogether. Sitting still magnifies the impediments to their learning of composition. But why

does this seem to be the case and is it a problem for any athletes? In Smart Moves, Carla

Hannaford (1995) describes the functions of the brain that apply to the concept of the classroom

while advocating a body-based pedagogy. She spends a significant amount of time describing

methods to integrate the body into study habits and classroom activities from allowing free

movement to simple 1-2 minute Brain Gym exercises. Words cannot replace actions as those

actions allow for bond to develop between a representative memory of a specific experience and

a classroom concept. Movement, as she describes it, creates dendrites, which in turn, bond

together to facilitate synapse, or inter-cell communication and total brain usage. Hannaford asks

teachers to take the initiative and lead students in cross lateral movements periodically

throughout the class. The moments of movement actually lessen the stress on the body and

allow for increased conscientious learning to occur.

Sharon Promislow (1999) offers a simpler interpretation of these complex

communications between cortexes. Her book, Making the Brain/Body Connection, describes a

welcoming environment where the reader can explore his physical responses to learning and

learn to break down the physical barriers to learning, such as emotional hurdles or external

stressors. While her approach may superficially appear touch juvenile, Promislow asks readers of

any age to evaluate themselves as a novice learner rather than a expert. By repositioning any

student as a novice learner, the reader can better access “fun”, even within the context of a

classroom, and let themselves experience Kinesthetic Education at its best. Like Hannaford

(1995), Promislow describes activities like the Hook-Ups and Brain Buttons, carried over from

Brain Gym, to stimulate blood flow to the brains of the every learner.

27

Another Expressionist pedagogy invites learners to develop an awareness of how learning

and thinking and writing feel rather than the expected production. While not expressly

kinesthetic learning, Felt Sense calls on writers to concentrate on the bodily experience of

writing Through a series of breathing exercises and visualization, Sondra Perl (2004) created an

audio experience that guides the struggling writer though a series of questions that evaluate pre-

knowledge and generate free-thinking at a physical level similar to yoga or mediation. Perl uses

Kinesthetic Education to interpret the meaning and moment of writing awareness.

…Bodies – or human beings – do not exist in isolation. We are enmeshed in

situations, and both situations and human beings are shot through with language.

It is from within this interconnectedness of bodies, language, and situations that a

theory of embodied knowing is derived.

Felt Sense, 52.

She encourages classes to listen to her CD and create active writing experiences together. Each

writing experience offers something new to the student and allows him or her to create

something that is uniquely his but can be openly shared with peers. While Perl does not discuss

the act of physical movement from one segment of composition to another, she does present the

important of awareness of the active experience of the corporeal writer through her description of

monitored breathing, heart rate and uninhabited imagination.

While all these interpretations of incorporating the body are important, they are only part

of Brain-Based Learning and identifying the possibilities of the whole body experience. One

theory addresses the corporeal physicality of learning (KE) and another incorporates the spiritual

experience of learning. Brain-Based Learning goes beyond both, and invites students to

incorporate even more faculties – visual, tactile, oral, metaphysical and more – to interpret their

learning experiences.

28

Applying Brain-Based Learning Theory to College Composition Courses If students come to the class apprehensive of the learning process, especially in

composition, then it is the responsibility of the instructor, to develop a desire to learn and help

students acquire motivation to delve into composition and to access the inner writer. Students

don’t have to be perfect writers or perfect academics, but they need to be allowed the authority to

belong to the academic community by a member of the community. Composition classes are the

ideal way to incorporate first-year students into the community and to share knowledge with

them. To maintain their appearance of cold objectivity, many instructors resist displaying their

more personal sides; yet “warming” the classroom goes a long way towards engaging students

and earning their trust (Elbow 1996, Crowley 1998, Cross 1999). What instructors wear – are

they overly professional? What instructors eat – are they drinking water with class? Eating a bag

of M&M’s? Do instructors get frustrated with their work – do they get writer’s block?

Answering these questions earn students’ trust. There are multiple arguments for/against the

deconstruction of the professional exterior, drawing the line between guide and friend can be

difficult. Many of the activities suggested by Brain-Based supporters require the instructor to

become as vulnerable as the student.

While Brain-Based Learning acknowledges the need for teacher supervision, there is

noted opportunity for students to direct these personal experiences while participating a

welcoming environment. Each student enters the classroom a level of responsibility for the

outcome of the work produced across the whole class. Jensen (2000a, 2000b) iterates the need

for students to create their assignments within their comfort zone and through discovery of their

weaknesses and strengths. The instructor initiates the impetus for composition but actual classes

by the needs of the student rather than restrictions of the syllabus. Such a pliable outlook can be

difficult within the constraints of the departmental guidelines, and some creativity and course

29

innovation will be beneficial, and perhaps liberating for many instructors to find correlation

between class activities and departmental regulations.

The basic curriculum can still involve, and should involve, aspects from multiple genres

of university education to capitalize on the multiple intelligences of the classroom, but it should

also allow for students to develop written work interpretations based on their experiences and in

anticipation of expected experience. For example, a comparison/contrast essay can evolve from

a photo-journalistic spread paralleling community social changes over a period of time. The

writing can develop from the students’ interpretations of their experiences of composition of the

essay. Perhaps the student chooses to integrate a small lab project from another class to describe

the environmental ramifications of the social climate of a troubled country. The writing

component could detail the decision-making process using qualities like narrative structure,

researched arguments supporting interpretation or observation strategies conducive to

interpretation. The possibilities are limitless so long as the instructor is willing to adapt the

syllabus to the needs of each student.

The syllabus is not the only aspect that must adapt – pedagogy and environmental factors

equally impact classroom productivity. A desire identify external factors influencing students

facilitates identifying ongoing problems throughout the classroom has finally justified valid

investigation into how feeling and experiences allow for camaraderie to develop between student

and teacher. Like Cheville illustrates (1995), athletes provide a useful example of how

environment affects interest and ability. A football player probably doesn’t want to write a

paper on the gender of a literary character, because he may not relate to his work in a strictly

focused paper, so his instructor should find another medium to begin analysis of a literary work.

His first priority may be learning to write coherently and analyze his work effectively, which

30

could be addressed through a more interesting method. The instructor facilitate the creation of a

topic that interests him and allow him begin developing a relationship with writing – from there

parallels can be draw to academic writing. Academic writing for the athlete, or any apparently

inaccessible student, is a daunting task as the student may have trouble conceptualizing the

relevance of writing to their day-to-day life. In the 1980s, Bartholomae (1987) encouraged the

development of expository writing as a legitimate academic genre, especially for remedial

writers. Bartholomae (1985) establishes what needs to be taught first is the learning, how to

begin to articulate in the normal diction of day-to-day conversation, if for no other reason that to

establish relevance to the student. Thinking beyond the original questions and developing new

concepts can allow for assignments to advance in any number of ways. From his thoughts (and

others in the field) Social Constructivism emerges with journal writing and informal free-writes,

to get at the heart of the matter for students.

The inclusion of all learners in the instruction of composition at every level should be the

objective of every composition classroom as well as creating a safe environment where student

and instructors can feel comfortable sharing, accepting and critiquing written work honestly.

Accommodating students usually left behind in Current-Traditional classes helps to pinpoint

areas that make the learning environment inaccessible in every aspect that students may feel

isolated. Each student wants to be better at writing, some accept their inability as inevitable and

permanent, others feel like a gerbil on the spinning wheel of composition purgatory, always

feeling close, but never achieving fluid writing ability. The instructor must learn to incorporate

strengths of many students into one close-knit family that relies upon each other for support and

assistance towards discovering each person’s special connection with composition. It becomes

the responsibility of the instructor, not to solely instruct in the manner of composition, but to

31

provide that all aspects of a student’s learning experience enable optimum writing to occur, like

proper nutrition, sleep habits, exercise and learning environment.

The brain works in many ways, and in order for this optimum writing to occur, the

instructor must examine the ways in which the brain can enhance the composition process. This

idea of the multidimensional education approach reaches back to the initial research on learner-

centered pedagogy movement of the early 1980s with researchers like David Bartholomae and

Mike Rose. As part of the social constructivist movement, both Bartholomae and Rose express

frustration with the current-traditional methodology of plan-write-revise-grade, where much of

the educational process focuses on the teacher’s interpretation of the almighty “correct” paper.

In “Teaching Basic Writing: An Alternative to Basic Skills,” Bartholomae (1987) suggests a

more learner-centered approach, much akin to the development of a writing center, where the

curriculum focuses on the development of the writing and the relationship of the student to his

writing. Students develop their interpretation of composition and begin to translate their

colloquialisms into legitimate academic discourse. He encourages a departure from literal

analysis by allowing students to investigate their feelings and reactions to the texts at hand.

While he focuses predominantly on basic writers, Bartholomae agrees that most composition

classes could benefit from a more “holistic” approach to writing.

Mike Rose (1985) shares the frustration of the skills-centered approach to composition

education, and in “The Language of Exclusion: Writing Instruction at the University,” he mourns

the difficult position of the composition department within the university – not quite a member

of the sciences, but not quite in the humanities either. Where Bartholomae sees the necessity of

interacting with the learner, Rose characterizes a new learner, the result of a more accessible

university system, who enters the writing programs with vastly different levels of pre-exposure.

32

These students and their instructors need to re-examine the very definition of knowledge

in order to integrate facts into writing that can be truly characterized as a personal experience.

To some extent, the brain-based learning experience in a composition classroom requires much

of the same universal approach as coaching a sport, like Julie Cheville illustrates. Students enter

into the athletic realm with little to no prior knowledge and usually a great deal of fear and

apprehension. They willingly submit their bodies and minds to hours of physical and mental

torture with the hope of achieving success. The most proficient athletes accelerate because they

quickly acquire the basic skills to progress into sophisticated maneuvers, but even the struggling

athlete, given the right motivation, will succeed to some degree. Coaches must acknowledge the

varying goals of each athlete and adjust accordingly. Instructors of writers must act in the same

way by learning about each student and his/her writing goals. Rather than constantly correct and

barrage athletes with criticism at each moment, coaches must balance the positive with the

negative, celebrate the successes and utilize the failures as moments for growth and athletic

maturation. Athletes, like burgeoning writers, internalize most criticism as a critique of their

identities and so coaches must establish a bond of trust with each athlete and take the time to

customize entire yearly plans to best accommodate each athlete or writer.

Like coaches, writing instructors have to be incredibly aware of each writer’s individual

needs and goals. Therefore, the day-to-day activity becomes quite important in developing the

student’s identity and assisting them in the pursuit of their goals. In the attached daily plan for

an introductory basic writing class, each main assignment consists of multiple smaller

assignments geared at facilitating exploration throughout the topic and each topic builds to help

each student become more aware of his writing persona.

33

Applying Brain-Based Learning to Classroom Material When approaching the construction of the syllabus and classroom material for a composition

class, the instructor must take conscientious steps to maintain the integrity of the program goals,

especially if the department as a whole has not yet embraced Brain-Based Learning.

Brain Based Learning Presentation (Appendix A) will simplify the process of developing the

brain-based learning techniques in conjunction with the departmental guidelines. I have taken

the English 100 guidelines for N.C. State University and applied Brain-Based Learning

techniques, not only to the project goals but also the development of the classroom itself.

34

Course Syllabus for English 100

Instructor: Alexis Keto Office: Tompkins, Room 777 Office Hours: MWF 9-10a Email: [email protected] Course Description Intensive introduction to critical writing and reading in academic contexts. Exploration of writing processes and academic literacy skills: interpreting assignments; comprehending, analyzing, and evaluating college-level texts; inventing, drafting, and revising; seeking, providing, and responding to constructive feedback; collaborating effectively under varied learning models. Extensive writing practice and individualized coaching. Attention to grammar and conventions of standard written English. Intended as preparation for ENG 101. Learning Objectives Students will 1. Develop an understanding of the rhetorical purposes of written texts in the academic community. 2. Expand their repertoire of writing skills by learning methods of rhetorical invention, drafting techniques, and strategies for substantive revision. 3. Learn analytical reading strategies that will help them comprehend, critically evaluate, and respond to information in academic sources. 4. Practice writing original arguments for academic audiences. 5. Learn to critically evaluate their own and others' work and to collaborate effectively with other writers throughout the writing process. 6. Practice and refine technical skills in areas such as grammar and mechanics. Required Texts/Materials:

- Kirschner, Laurie G. & Stephen R. Mandell, Patterns for College Writing: A Rhetorical Reader & Guide, 9 ed. Bedford/St. Martin’s, 2003. [K&M]th

- Troyka, Lynn Quitman, Simon & Schuster Handbook for Writers, 6th ed. Prentice-Hall, 2002. $44.70 [S&S]

- A box of colored pencils or pens.

35

Alexis Keto

This, as well as the Learning Objectives, are standard for the curriculum guide, and are required to be published in all syllabi.

Alexis Keto

This text takes a multi-faceted approach towards composition studies, using aspects like graffiti and casual papers to relate popular composition difficulties. Ideally, in a Brain-Based classroom, the textbook will be used as an auxiliary piece rather than a guideline for class development. Since this Course Plan is intended to be a first-year transition plan, it is advisable to utilize approved resources for the department.

Alexis Keto

This will be used in their peer review exercises when we are not in the computer lab.

mailto:[email protected]

John Murray

Note

Unmarked set by John Murray

John Murray

Note


John Murray

Note


Course Requirements & Grading: 80% of your final grade will come from papers, and peer review will account for 5% of each paper Description 10% Exemplification 15% Cause & Effect 20% Comparison & Contrast 20% Argument/Final 15% 20% of your grade will come from the following Class participation 15% On-line Forum Response 5% Journal Work Each chapter in Patterns contains several readings that are considered to be examples of successful writing. In your journal, you will have the opportunity to respond to as many of the readings as you may like for bonus credits. In order to be counted as a response, your entry must contain the following:

- Title & Author of article - Location in Text: Chapter & Pages - Responses to either the Purpose & Audience section, Style & Structure Section or

Journal section

Classroom Attendance Policy Because of the collaborative and cooperative nature of the first year writing courses, class attendance is crucial. In ENG 100 and 101 students who miss 9 or more 50-minute classes or 5 or more 100-minute classes will earn a grade of F. That is, more than two weeks' worth of absences will result in failure to meet this element of the General Education Requirement, and you will need to repeat the course.

This policy does not distinguish between "excused" and "unexcused" absences, even in the case of emergencies. All absences will count toward the total number, and this policy obtains from the moment you are registered in the course. As is the case for all courses, students experiencing extended medical or family emergencies during the semester should consult with the instructor about seeking a medical drop.

The first two weeks of missed classes will be treated as excused absences, and you will be allowed to make up all course work missed. Instructors will establish make-up assignments, standards for evaluation of such assignments, and a reasonable period after the absence within which they must be turned in. If you fail to turn in make-up assignments or if the make-up assignments are of insufficient quality, your grade will be penalized. Because this policy includes all types of absences, those defined by the university as excused do not have to be cleared with the instructor beforehand.

36

Alexis Keto

By including peer review in the grade for the papers, I hope to encourage the students to participate actively in the peer review sessions. Also, you’ll note that I decided to weight the final substantially less. It is going to be a combination in class/ out of class project. The initial projects are worth substantially less, as the students will be getting their feet wet and we’ll be doing substantially more “hand-holding” through the initial stages of the writing process. Both papers are simpler forms of writing but will entail more work from the professors end, which I would prefer not to reward with a higher grade.

Alexis Keto

I’d obviously have to learn how to set one of these up, but I would use this as an area for a variety of exercises, some fun and trivial, others expressing more serious matters in the writing world. I envision having questions ranging from Student posts (a section where only students respond to questions) to Scavenger Hunt questions from their books that they would have to bring to class to helpful hints about particular papers where students can post questions that might be useful to everyone to open discussion about topic raised in class. Ideally, this would result in a free 5% as students would like to respond on the forum, but it would vary from class to class.

Alexis Keto

I really like this multi-faceted aspect of the Patterns text and by creating an optional journal, hopefully students will at least look at some of the material associated with the broader concepts. It also seemed like an effective way to avoid assigning specific passages and reading samples.

Alexis Keto

This aspect is counter-intuitive to Jensen, but bonus points do offer minimal risk rewards that students can relate to, plus the bonus points may help students who gradually grow into better writers later in the semester. Depending on the depth of response within journals I can assign additional points throughout the semester. For example, if I collect journals around October 1st, I could evaluate them and allow the students to select where they want additional points or a negated absence.

Alexis Keto

This is included as departmental policy, but I encourage leniency on the part of the instructor as if the class is entertaining and the students find it useful, there will not be a need for a policy.

No matter what the cause of the absences, as a student you are responsible for finding out what material was covered, getting notes, being prepared for class on the day you return, and turning in subsequent assignments on time. Since due dates for major assignments are established at the beginning of the semester, and since these projects are developed over a series of class periods, students are advised that submitting these projects late may result in penalties.

A tardy arrival occurs when a students enters the classroom after the door has closed. Four tardy arrivals will be equal to one absence. If there is a logical recurring reason why you will be late to class, please notify the professor in writing no later than one week after initiating your experience with English 100. Late Paper Policy. There will be no papers accepted past 11:59p on the due date of any given paper. No exceptions. Paper Policies Each paper can be rewritten once for a replacement grade provided the paper is re-submitted within seven days of its return to the student. . All papers are to be submitted with the following specifications

- 12 point Times New Roman font - 1-inch margins - Double Spaced - Title on first page in Bold - Page Numbers in the upper right corner - Works Cited Page (if needed) - Name, Course # - Section & Date in top left hand corner of first page - Additional Drafts should be attached

Your grade will be reduced by 5 points if any specification is neglected, unless the assignment dictates otherwise. Papers can be submitted either by paper or via email unless otherwise specified in the assignment. If you submit a paper electronically, the file should be named <yourname><paper#>-<version>.doc so if I was writing the final draft of the first paper, it would be named AlexisKeto1-3.doc. Subsequent drafts should be submitted in a similar fashion. Academic Integrity Plagiarism is defined as copying the language, phrasing, structure, or specific ideas of others and presenting any of these as one's own, original work; it includes buying papers, having someone else write your papers, and improper citation and use of sources. When you present the words or ideas of another (either published or unpublished) in your writing, you must fully acknowledge your sources. Plagiarism is considered a violation of academic integrity whenever it occurs in written work, including drafts and homework, as well as for formal and final papers.

37

Alexis Keto

I think three is just too few to qualify a problem, especially if they’re spread out over the semester. Four, to me, signifies a chronic problem that must be addressed as a serious disregard for the class.

Alexis Keto

This is the easiest way to handle late papers – I may be in a position where I need to more flexible for a student, but it is far easier to be more flexible than to be more strict, so initiating a strong front will inspire students to submit assignments early. Since I work with an open-ended re-write policy, there’s no reason to accept late papers, the students have to turn SOMETHING in, regardless of its actual merit.

Alexis Keto

My responsibility as a professor, first and foremost, is to help prepare students to write essays at the college level. If I am not adequately helping them become better writers and revisers, I am not fulfilling that responsibility. By allowing students to re-write papers for improved (or not) grades, I facilitate the familiarity with revision and encourage students to embrace revision as an important phase of the writing process.

Alexis Keto

By creating a standard format, there is significant reduction in faulty presentation.

Alexis Keto

Intertextual comments provide an easy way for students to see a physical interaction and movement within the text.

The NCSU Policies, Regulations, and Rules on Student Discipline (http://www2.ncsu.edu/prr/student_services/student_conduct/POL445.00.1.htm) sets the standards for academic integrity at this university and in this course. Students are expected to adhere to these standards. Plagiarism and other forms of academic dishonesty will be handled through the university's judicial system and may result in failure for the project or for the course.

See the Office of Student Conduct website for additional information about academic integrity: http://www.ncsu.edu/student_affairs/osc/AIpage/acaintegrity.html. Campus Resources Writing and Speaking Tutorial Services

For help with any writing assignment, for any course, visit one of the free walk-in centers on campus. Writing Tutors are available through the University Tutorial Center in Leazar Hall, as well as in other locations on campus. For hours and further information, see http://www.ncsu.edu/tutorial_center/writespeak.html.

Ask a Librarian

Visit http://www.lib.ncsu.edu/risd/libref/ to learn how to reach the Reference Staff and D.H.Hill Library.

Disability Services for Students

Reasonable accommodations will be made for students with verifiable disabilities. In order to take advantage of available accommodations, students must register with Disability Services for Students at 1900 Student Health Center, Campus Box 7509, 515-7653, http://www.ncsu.edu/provost/offices/affirm_action/dss/.

38

http://www.ncsu.edu/student_affairs/osc/AIpage/acaintegrity.html

http://www.ncsu.edu/tutorial_center/writespeak.html

http://www.lib.ncsu.edu/risd/libref/

http://www.ncsu.edu/provost/offices/affirm_action/dss/

Daily Schedule for English 100 Date Assignment Class Activity 8/21, Thursday Introduction Basic Skills 8/22, Friday Patterns 1-12 20 Minute Freewrite/Writing Sample 8/25, Monday 1-2 page at home sample due

Bring a scarf or bandana to class S&S 8-14 Online Forum Question

Begin Description Unit Audience Exercise

8/26, Tuesday Patterns 136-139, 144-150

Discussion/Definition of Description v. Summary Recap description language from Audience exercise, highlight & identify different types of language Introduce Paper #1

8/28, Thursday Find an object to describe Patterns 15-29 Online Forum Question

Discuss pre-writing strategies Begin pre-writing work on Paper #1 Discuss Thesis formulation

8/29, Friday Formulate thesis S&S 37-40 Patterns 29-35

More Thesis work In small groups – refining thesis and identifying potential ways to develop thesis – continuing pre-writing or begin rough draft

9/1, Monday Labor Day – No Class 9/2, Tuesday Paper #1 Rough Draft #1 Due Pre-Write

Writing Group Exercise #1RESPONSE #1 9/3, Thursday Rough Draft #2 Writing Group Exercise #2 9/4, Friday Rough Draft #3 – Submit to prof via

email by midnight Writing Group Exercise #3Writing Response #3

9/8, Monday Paper #1 Due Pre-WriteBegin to discuss the Exemplification unit

9/9, Tuesday Patterns 205-6, 218-222, plus questions

Define Exemplification, its uses. Journal Entry in class as Pre-Write How to use examples to prove a point

9/11, Thursday Patterns 191-196 Pre-Write Brainstorm about five general topics Develop your initial paper strategies Introduction of Paper #2

9/12, Friday Patterns 191-196 Online Forum Response

Begin brainstorming on individual project ideas

9/15, Monday Meet in the Library S&S 527-542 Library Tour

Library Scavenger Hunt

9/16, Tuesday Meet in the Library Begin initial research on topic 9/18, Thursday Bring summary of 2 researched

arguments to class S&S 754 - 759 Divide the class into groups based on project ideas of 3-5 people

Receive handout on group project aspect

9/19, Friday Allow time for group planning S&S 766-776 – Group Presentations

9/22, Monday Rough Drafts Due Writing Response #19/23, Tuesday Revisit Rough Draft, Bring two

copies of Second Draft to class Writing Response #3

39

Alexis Keto

Tell me about your experiences with writing. Do you like to write? When do you like to write? Are there specific situations where writing works for you? Use examples where necessary.

Alexis Keto

Attached. Desert Island Prompt.

Alexis Keto

Why must writers consider audience? Are there day-to-day situations where you consider your own audience?

Alexis Keto

The students will be partnered up at random (names from a hat etc.). I will bring a bag of 22 weird and strange objects. One person in each pair will be blindfolded and each person will select an object from the bag. First the “seeing” person will describe the object with the assumption the person blindfolded is an expert on the object but cannot see it. Then the “blind” person will describe the object with the assumption that the seeing person knows nothing about the object they are holding but they can only use the knowledge gained by feel. After both partners have described their objects, the blind person will guess what the seeing person had and the seeing person will try to think of another object with the same description as the blind person has described. The class will conclude with a “de-briefing” to discuss what considerations had to be taken into account in order to successfully complete the assignment…perhaps done in small groups and then reported to class, depending on time. I will ask them to make notes about their description so that they can refer to them on Tuesday.

Alexis Keto

What are your pre-writing/invention strategies? What are some new strategies that might work for you?

Alexis Keto

Identify three strategies that emerge from Forum and formulate class-wide strategies. For example, if I see a lot of students understanding some of webbing – we’ll develop their knowledge of webbing into a more sophisticated approach. What goes in the bubbles? How does it relate to other strategies? How can I find a thesis?

Alexis Keto

Remind students about using language specific to audience. Ask them what characteristics need to be kept in mind when writing this paper.

Alexis Keto

At the end of class, maybe the last 10 minutes, begin discussing thesis ideas. How does the pre-writing help develop possible thesis ideas?

Alexis Keto

Chosen at random – from a hat or some other means

Alexis Keto

What are your initially impressions/reactions to the paper? Feel free to be informal.

Alexis Keto

This will be an exercise where students will respond to the writing in groups. These groups are going to be chosen on the basis of the early writing exercises at the beginning of the quarter and the forum postings. This will be the first standard exercise that students will do for each paper.

Alexis Keto

This draft will be brought in on disk. Each student will pair up with someone and participate in a computer based review session.

Alexis Keto

The second exercise will be more active, and will require students to move between papers. This will be different for each paper. For this paper, the students will mix up their paper and their group mates will rearrange sentences/paragraphs etc.

Alexis Keto

A standard exercise for each paper, the students will respond on a sentence level, looking for specific errors. They will get some practice on working with these papers and making comments or corrections internally.

Alexis Keto

What did you find easy about paper #1? What did you find difficult? What would you change to make the paper more effective?

Alexis Keto

Assume that you are learning to speak English as a second language. What aspect of the language do you think would give you the most trouble? Why? (from Patterns, 221) or Would you ever get a tattoo? Why? Use examples to support your reasoning. (Patterns, 206)

Alexis Keto

You can change one thing at N.C. State. What would that be and why?

Alexis Keto

For example: water filtration, fast food options, student fees, having a bar on campus, all-campus wireless

Alexis Keto

How can you use the reading from Patterns to develop your paper? What were your pre-writing strategies for this project? How will you approach the group aspect of the paper.

Alexis Keto

During class we will walk through 3-4 good websites and 2-3 “bad” or popular websites and discuss how to use both of them to find a topic.

Alexis Keto

I’d like to have the students find specific areas of the library, so I’ll select specific books, research sits etc, and place clues around the library for them to find. It’ll be a project that they can do either in trios or pairs and I’ll orchestrate it to have different groups going to different places. I would want it to be a true scavenger hunt with clues, etc, that they could do after a library tour that would take about 15-20 minutes.

Alexis Keto

Hopefully by waiting until the students have done some research on their own, they will have an appreciation for the individual vs. group component of the project. I’m sure some of the papers will resemble one another, but by separating the two components maybe some of the class will see the two as related but separate.

9/25, Thursday Presentations (Groups 1,2,3,4) 9/26, Friday Presentations (Groups 5,6,7,8) 9/29, Monday Paper #2 Due Post-Writing Exercise 9/30, Tuesday Begin the third unit, Cause & Effect

Online Scavenger Hunt Pre-Writing Exercise

10/2, Thursday Discussing the possibilities/results Patterns 303-312

Beginning to plan the paper

10/3, Friday Patterns 313-318 JOURNAL COLLECTION!

Discuss picture on 319, appropriate language Plan a paper with the whole class input about the picture

10/6, Monday Bring 2 copies of your rough draft to class

Writing Response #1

10/7, Tuesday Optional Class – Individual Conferences

Encourage students to ask prof & each other for help

10/9, Thursday Fall Break – No Class 10/10, Friday Fall Break – No Class 10/13, Monday Bring a copy of rough draft #2 on

disk Writing Response #2

10/14, Tuesday Respond to Pre-writing responses Spend time talking about different topics – allow for personal reflection in classroom setting Allow for time to work on papers

Pre-Writing Exercise

10/16, Thursday Meet in the Library S&S 512, 527-543 – Library Research ONLINE FORUM RESPONSE

Additional Research Day

10/17, Friday In-Class Writing Workshop Writing Response #310/20, Monday Paper #3 Due

Cookies & Juice Reflection Day

Post-Writing Exercise

10/21, Tuesday Comparison & Contrast Discuss the terminology


10/23, Thursday Introduction of assignment Bring in 4-5 early articles to read Discuss language similarities Patterns 363-369

10/24, Friday ACCULTURATION DAY

1900 show & tell – bring in an object, picture, activity from 1900-1955

10/27, Monday Begin online research Bring in early article. Find relevant late article Begin outlining

Create outline

10/28, Tuesday Begin to write from outline in class 10/30, Thursday Bring 2 copies of rough draft to

class Writing Response #1

10/31, Friday Discuss grammar concerns Use today to catch up – maybe re-visit writing responses JOURNAL COLLECTION


11/3, Monday Spend time re-writing paper with a partner (switch papers at 20 min) Patterns 370-371

11/4, Tuesday Writing Workshop Writing Response #2 11/6, Thursday Discuss different organizational

40

Alexis Keto

Bring in cookies, juice etc. Have them discuss their anxieties over the presentations, the paper, what they felt worked in their groups, what didn’t. Then, mention possible steps from here, where do we go? Is there a logical progression?

Alexis Keto

Find the big ticket scientific issues in the following disciplines – Biology, Anatomy, Chemistry, Astronomy, Physics, Geology and Meteorology.

Alexis Keto

Do you have any apprehension when you are told you are going to write a scientific paper? What are your biggest concerns? What would you like to be able to do better?

Alexis Keto

Midway status reports. Address any major concerns. Develop plans and goals for the rest of the semester.

Alexis Keto

This exercise will involve summary. In groups of 5-6, the students will take a blank sheet of paper and summarize each paragraph of a given paper independent of the paper as a whole, taking turns with each paper. The author will receive the “summarized” copy to evaluate the overall flow of the paper.

Alexis Keto

How are papers going? What are some of your concerns? What would you do differently?

Alexis Keto

What are you going to be looking for in the library?

Alexis Keto

What went well? What did you learn? What could you have done better?

Alexis Keto

Two Paintings are on the board (probably a late romantic & an impressionist) – Compare & Contrast the two.

Alexis Keto

Divide into groups & report back as to what “big” things are afoot.

Alexis Keto

This will be an optional activity – those who want to bring items can, those who don’t, won’t. I might encourage them to bring something from their major – what was the “big” thing in 1945. Let the class vote on which years to concentrate on. I can bring music, food and create the ambience from the era they opt to cover.

Alexis Keto

If you lived in 1900-1955, what would be different for you from now?

Alexis Keto

Mad Libs. The author copies the topic sentences of their papers onto a blank document and rearranges them, numbering them in their new order. The students then will sit at 5 different computers and try to guess what order the sentences belong in their order of relevance and will have to support their sorting. This exercise is to work on overall paper flow. There’s a lot of different ways to organize a C&C paper, so it’d be interesting to see what the students are attuned to.

strategies. Try the second writing response with the class. Read Patterns 426 in class ONLINE FORUM QUESTION

11/7, Friday Writing Workshop Writing Response #311/10, Monday Writing Time

Discuss Critical Reading Citation & Quote Integration

11/11, Tuesday Writing Time or Research Time 11/13, Thursday Writing Workshop Writing Response #3 11/14, Friday Paper #4 Due

Cookies & Juice Reflection Day

Post-Writing Response

11/17, Monday Argumentation Patterns 528-543 – Argumentation Discuss Argumentation strategies


11/18, Tuesday Introduction of Assignment #4 Group Work


11/20, Thursday ONLINE FORUM RESPONSE Meet in the Library to research topics. At library divide into research “teams.”

Select topic. Compose 1-2 pages on what you already know about BOTH sides of the argument.

11/21, Friday Group Work Summarize the articles Begin developing both outlines

11/24, Monday Bring both outlines to class Group work

Writing Response #1

11/25, Tuesday No Class – individual conferences 11/27, Thursday Thanksgiving Break – No Class 11/28, Friday Thanksgiving Break – No Class 12/1, Monday Practice Composition Period 12/2, Tuesday Group Work

JOURNAL COLLECTION Writing Response #1

12/4, Thursday How to approach composition in a timed period.

Pre Writing Exercise

12/5, Friday Group work with outlines 12/10, Wednesday 1 hour of composition

2 hours of presentations Post Writing Exercise

41

Alexis Keto

Gwendolyn Brooks poem – “Sadie and Maud”. The big question beyond historical context – what is the debate? Do you agree? Are there similar debates going on in music today? (“I Am Beautiful – Cristina Aguilera, “My Band,” D12)

Alexis Keto

What makes a good comparison/contrast paper work? Do you think there should be more research involved with the paper?

Alexis Keto

Repeating the close reading of this paper will help students see flaws/strengths.

Alexis Keto

What worked for you in this paper? What do you think you learned about your writing? What didn’t work for you? What did you find difficult about this assignment?

Alexis Keto

Because this assignment is so complex, I want to make sure everyone understands the purpose of the project – to defend and understand an argument & be capable of defending both sides.

Alexis Keto

Define Argument & Debate.

Alexis Keto

In Random Groups of 3-5, decipher the assignment using what you have each learned about Lincoln-Douglas Debates

Alexis Keto

Learn all you can about Lincoln-Douglas Debates in 10 minutes using the internet

Alexis Keto

Does Public Speaking make you nervous? Why?

Alexis Keto

Decide which five resources your group will choose as “common” information. These will be the only five sources (besides your prior knowledge from the 20th) that you will be able to use in the final class period.

Alexis Keto

This will be done with members from the other groups – help to find communal understanding of arguments.

Alexis Keto

Status Report & Work on individual concerns with presentation

Alexis Keto

Students work from outlines to develop working presentable paper of 2-3 pages in length.

Alexis Keto

Working from the in-class essay from Monday – students will look for holes in argument within the group of researchers on that particular topic. Are there universal holes? Is one of the team members weak on one side of the argument?

Alexis Keto

Discuss strategies that worked, share ideas, finish with a 15 minute practice plan of someone else’s paper from their outline. (how good is your outline??)

Alexis Keto

What scares you about the 10th?

Alexis Keto

Last minute tuning & support session. May let out early.

Alexis Keto

What did you gain from having a well developed outline, complete with citations?

Writing Response #1 First Impressions. Evaluator ____________________________________ Ink Color: _______________________ Author _______________________________________ In 15 Words or Less, what is the general TOPIC of the paper? In 15 Words or Less, what is the THESIS of the paper? Draw a box around the thesis. Identify all SUPPORT STATEMENTS or “BODY PARAGRAPHS,” underline them, and summarize them below. Put a star next to any point in the paper you think works really well. Explain your stars below. Put an X next to any point of the paper that you think doesn’t work very well for whatever reason. Explain your Xs below. Do you have any questions that you would like to ask the author?

42

Alexis Keto

This exercise will give the students some clue of the overall mechanism of the paper. Plus, they may find out that they do understand writing a little bit and may find some confidence in slowly approaching feedback. They all understand first impressions, so we’ll pre-empt the response time with a discussion on how first impressions are important, not just in papers, but in everything else. After two students review the paper, the author will take the time to look over the responses, and then we’ll talk about how to use this kind of feedback to improve your paper.

Alexis Keto

I want both reviewers to see how each other responded to the paper, plus the author can then see where two different people felt differently and where they agreed, both in problem spots and in good spots.

Alexis Keto

We’ll discuss this difference in the Thesis lesson the day before.

Alexis Keto

I think body paragraphs is too close to the five paragraph theme. If I’m trying to break them of the habit of thee theme paper, I should disregard the terminology as well. Unfortunately, it may mean in situations where I have a very specific feedback goal in mind, that I need to fall back on old terms.

Alexis Keto

This way there’s not a lot of writing on the paper itself. They’ll be plenty of time for that. Some students get too into line-by-line problems when writing (I do!) and have a tendency to lose the overall object of the paper.

Alexis Keto

I want to open a dialogue of writing. I think they may not like this the first time around, but after a few responses, they’ll want to engage in the students writing more.

Writing Response #3 Making the little pieces count

Author:___________________________ Paper Title: __________________________________ Reviewer: __________________________ Learning to edit – Adapted from Patterns & Simon & SchusterChoose at least 4 of the following to identify in the paper you are examining. For definitions and for help identifying the below, consult either pg. 66-67 in Patterns or pg. 57 in S &S Subject Verb agreement – In BLUE, CIRCLE any subjects/verbs that do not agree in number with their subject. Verb Tenses – In PURPLE, UNDERLINE any verb tenses that are incorrect or inconsistent. Parallelism – In YELLOW, STAR any uses or unsuccessful attempts at usage or a good point to use Parallelism. Pronouns – In GREEN, SQUARE any unclear use of pronouns. Fragments – In RED, BRACKET any sentence fragments. Run-On Sentences & Comma Splices – In BROWN, place PARENTHESES around run-ons or comma splices Spelling – In PENCIL, CIRCLE any spelling errors. Guidelines – In ORANGE, CHECK for all required guidelines as outlined in the syllabus. Any further comments or concerns with regard to their paper?

43

Alexis Keto

This exercise utilizes color to help trigger non-conscious relationships between color and major grammatical errors. The students will work with a partner to work through a paper. It will probably take all class period, but that’s probably a good thing, especially the first few days. Especially good reviewers may earn extra points at the end of paper process in acknowledgment of their thoroughness.

Writing Assignments Project #1 – A Picture is Worth a Thousand Words. Rough Draft Due: September 2, 2003 Final Draft Due: September 8, 2003 Length: 1000 words Audience: A classroom of sight impaired individuals Choose one of the following: 1 – A particularly compelling photograph from your personal collection, magazine or an online gallery (note: if you choose to use an online photo or magazine, you must cite it accurately – see Simon & Schuster for more detail) 2 – A work of art at a local museum or gallery. 3 – A work of nature, such as a strikingly unique tree on campus Describe this item in full using colorful and inventive language. Tell the story reflected in the photograph or artwork or the gnarl in the side of a tree. Develop an implicit thesis that the image is attempting convey – ie. the immense spectrum of the world, the importance of multiculturalism or the awesome power of Mother Nature – and describe, in detail, how that message is reflected in the image. You will be expected to submit a copy of the photo or a photo of the object you have chosen to describe along with your rough draft and your final paper. You will print two copies of your rough draft in preparation for in-class exercises on the 2nd. You will be graded on your ability to adequately demonstrate the following:

- Elements of both objective and subjective description - Appropriate use of sentence transitions - Logical development of description - Ample analysis of specific details - Present a well-written essay that adheres to the standards of accepted grammar and

mechanics

44

Alexis Keto

In this unit we’re going to be learning about peer review skills, so I anticipate spending a great deal on time on that, which lends itself to more than a two-day return period. With basic writing students, I’m looking to help them embrace peer revising and editing as a useful tool to improve their writing skills.

Alexis Keto

A picture is worth 1000 words. Students can appreciate subtlety.

Alexis Keto

I’m looking for this unit to open up a lot of discussion about Audience, and having a specific audience that the freshmen can relate to (see peer exercise on 8/28 & 9/2) may help target the development of a more varied vocabulary.

Project #2 – Exemplification Rough Draft Due: September 18, 2003 Final Paper Due: September 27, 2003 Length: 4-5 pages Audience: Members of the University Board of Directors You and your team have been selected by the University Board of Directors to suggest an improvement for the University. This is an assignment in two parts: a group presentation and an individual paper. Group Presentation: Provided you present a valid argument, they are willing to move forward immediately on your proposal, regardless of cost, so pay attention to the following constraints:

1) You must provide adequate support of a need for this proposal, such as evidence from descriptions of pre-existing conditions.

2) We at the university do not like to make waves or set trends, therefore, your proposal must be supported by evidence of implementation in at least one other university. (Please sufficiently document the university website)

3) You must provide sufficient examples of potential concerns regarding implementation as well as potential solutions

4) Your group will be expected to provide a handout to accompany your presentation. You will be allotted the following:

1) 15 minutes in which you and your team can present your ideas to the committee 2) The use of only an overhead projector and chalkboard.

You will be graded on the clear and logical presentation of your ideas, not the feasibility of the ideas themselves. You will be expected to provide handouts that clearly articulate both the problem as well as potential solutions in easy to follow formats. These handouts will act as a supplement to your presentation not an outline of your presentation. Creativity is welcome, but please remember to be aware of your audience. The group presentation grade will account for 30% of the paper grade for this unit, so work together!

45

Alexis Keto

This will be 3-4 people. I will select them based on a pre-write done on the first day of the unit and divide them into groups.

Alexis Keto

By developing an elaborate group project early in the semester, the students will become familiar with each other and will develop confidence in the skills of their peers. The Basic Writing classroom can only be truly universally successful if each student contributes, therefore introducing this concept of teamwork early allows for students to interact in a way possibly more natural than writing groups.

Alexis Keto

In theory, they will be able to draw from skills learned in the last unit to create descriptions and then use those descriptions to further enhance their work as example.

Alexis Keto

Using another university website helps students learn to navigate the web in a low-key manner. Without the pressure of an “academic” site like an e-journal or scholarly institute. University Websites are intended to inform the public of different policies and services available at the university, and therefore would provide students with a good example of exemplification while encouraging them to avoid plagiarism in their examples. Because the “University” services would be open for interpretation, for the most part, it would encourage students to read “in-between-the-lines.” Hopefully. This could really backfire if I don’t closely monitor their progression through the paper. I would think that the nomenclature of the “UNIVERSITY” would be enough to establish a need for presenting ideas as examples rather than research.

Alexis Keto

Making handouts is a key aspect to this project as well, since even at the graduate level, I see so many students who just hand me their outline & read it word for word. If students are preparing for a career in science/technology, at some point they will have to present, and I guarantee few companies care if the handout is fully outlined, but rather if it highlights the “selling points” of the product or experiment. Teaching students to do this within context of the project could take as little as one period, with perhaps a great amount of collaborative work outside of the classroom.

Alexis Keto

Important because many basic writers may feel their ideas are assaulted rather than the writing. By separating the ideas from the writing, the student can feel a sense of independence with the project.

Alexis Keto

Including the presentation as part of the paper encourages students to see writing as more than a written medium, and more of a living speaking organism as well as allows for an avenue of creativity.

The Individual Paper

Each member of your proposal team will be responsible for a 4-5-page paper with an individual interpretation of the group’s problem and solution, with thorough description presentation, as well as any other considerations not addressed in the presentation. Each student should have a specific aspect of the problem to relate to the group’s presentation. Each member of the group will submit a 4-5 page paper which will exhibit the following characteristics to be considered an average (C) paper: 1) Description of the problem through the eyes of the individual, supported with clear

examples of why this problem particularly interested you as a student. 2) Potential remedies that may or may not have been used in the presentation but are

explicitly addressed in your researched article. 3) Suggestions of further research with supporting examples to demonstrate a need for

further investigation and/or support your remedies. Above average papers, besides demonstrating the minimum requirements in conjunction with accurate use of grammar and syntactical rules, will also demonstrate the following: 1) Examples of specific circumstances without become narrative, and then demonstration of

the correlation of the examples to the problem 2) Good sense enough not to overwhelm the paper with examples standing without

interpretation 3) Evasion of the over-analysis of the examples, transforming the paper in to an argument. Suggestions for Topics – feel free to branch out

- UV Filtered drinking fountains around campus - Increase in recycling awareness - More pedestrian walkways - Decrease in professor-student ratios - Mandatory addition of cable to on-campus housing bills - Campus-wide wireless internet access - Improved lottery for student tickets to athletic contests.

46

Alexis Keto

I like the idea of presenting characteristics of a ‘C’ paper. Brain-based writing encourages the development of open-ended evaluation, which setting an average standard facilitates. It’s not quite a rubric, but it gives students general guidelines that will be present in the rubric, so they cannot debate the bare minimum.

Alexis Keto

I think recognizing good examples is the first step towards “good” writing, so therefore, better writing would be using those example as effective argumentation.

Alexis Keto

The difference between argumentation and exemplification is a very subtle difference, but I would imagine it would be a difficult distinction for many Basic Writers to make. There will be an exercise in this unit that will demonstrate the presentation of examples as a sophisticated form of argument, as most of the paper will demonstrate that.

Paper #3 – Cause & Effect Rough Draft #1 Due: Monday, October 13 Rough Draft #2 Due: Monday, October 20 Final Draft Due: Friday, October 24 Paper Length: 4-5 pages Audience: Scientific Journalists and an educated readership Scientific achievements have defined the current era. An online symposium has been formed to glorify or denounce specific scientific accomplishments. As a part of this assignment, you are going to use your skills as a writer to help communicate these popular positions to the scientific world. The topics are broad in nature, but since scientists choose to specialize within their discipline, therefore, part of your assignment will require you to find a specific aspect of the general topic to discuss. A good portion of your paper will demonstrate an understanding of the subtle nuances of the scientific area you have chosen. By understanding the area you wish to research, you can then present the effects, positive and negative, of the scientific developments. In an average paper, you will be expected to:

- Present an accurate summary of the scientific area you have chosen to study. - Demonstrate examples of the positive and negative effects of the scientific area as well as

illustrate the relationship in a concise thesis statement speaking to the importance of the causal relationships.

- Show relationships between the cause and the subsequent effects. - Use at least one and no more than four academically reputable sources effectively as well

as provide adequate citation - Adhere to universally accepted grammatical convention

Excellent papers will accomplish all of the above, as well as smoothly present relationships between scientific accomplishments and the effects. These papers will also demonstrate potential future effects and elaborate on causal relationships between invention and reality. For up to an extra five points, you can create a web-page or powerpoint presentation that demonstrates your point of view with regard to the effects of scientific development.

47

Alexis Keto

I’m going to want these topics to be restricted to exclude the social sciences. Looking towards 101, students need to be comfortable with scientific dialogue. Even in the social sciences, the language can be difficult, so perhaps humanizing the sciences might present a good forum for objectively analyzing language.

Alexis Keto

We’ll discuss topics in class and then work through one to show the various potential paper topics. I’m looking at potential topics like technological invention (TV, internet, telephone) or scientific advancements (genetic research, cloning).

Alexis Keto

This will prove to be a good exercise in objective vs. subjective language again, and can help the students learn to carefully integrate opinion into a factual paper.

Alexis Keto

Object: to get students prepared for 101 assignments as well as develop earlier writing skills

Alexis Keto

Answering the “so what?” question is one of the problems I have in my writing, so I would imagine that basic writing students would find it difficult, so we’ll spend several days developing coherent thesis.

Alexis Keto

Object: develop ability to use samples to present arguments

Alexis Keto

Some papers may lend themselves to research, whereas others may not, but some research skills are necessary in this unit, so we’ll discuss ways that students can use different resources as well as why some topics will require more research than others.

Alexis Keto

“A” grades cannot be arbitrary, therefore, I think it would be a good idea to give the students, in writing, some example of what makes better than average writing now that they have theoretically become better writers.

Alexis Keto

Many scientific organizations, like pharmaceutical companies, have websites aimed at bringing science to the general public. I understand some students may not be able to compile a sophisticated site, but most of them will have some idea of what makes a good website. I may let them set the breakdown of how the five points will be awarded, as a precursor to the final paper.

Paper #4 -Comparison/Contrast Rough Draft #1 Due: Thursday, November 6 Rough Draft #2 Due: Tuesday, November 11 Final Paper Due: Monday, November 17 Length: 6-8 pages Audience: Experts in the area you researched “College students today…” “Kids today…” “When I was your age…”

These phrases populate conversations since time immemorial. It seems that at no time has progeny been capable of eclipsing the accomplishments of their predecessors and none ever will. Students view professors as old, stodgy and full of misplaced values. Professors view students as naïve, lazy and full of misplaced values. But from where do these misplaced values originate? For this assignment you will find a newspaper, journal or magazine article written between 1900-1955 and an article addressing the same or similar topic written between 1985-2005 from your current major field. These articles can be from a “reputable” popular source such as Time or National Geographic or from a newspaper like the New York Times or from accepted academic journals of the field. Be prepared to support your popular source with documentation for authentic journals. By examining these two articles, you will be expected to accomplish the following:

- Contrast the progression of the technology or thought sequences. Is there a completely new trend in the field? Are there new frontrunners?

- Contrast the style of presentation. How do the two articles differ in their presentations? Does one use more graphs or images?

- Compare the two articles. Are the “new” ideas in each article presented in similar ways? Do the authors anticipate similar reader response?

- Draw conclusions about audience awareness. How has it changed? What can be concluded about the authors and the time period?

- Adhere to accepted grammatical convention Your thesis will utilize the above information to make a statement about the differences between students reading at the time of your early article versus students reading articles now. Your paper should answer the questions: Why is it important to consider the change in audience? What does this consideration lead you to believe about student-teacher relationships?

48

Alexis Keto

I’ll expect citations of these to articles, but any other research will be up to the student. Some of the students may find their articles have sufficient information.

Alexis Keto

This will also lend to good discussion of the difference between sources etc. I’ll bring some example to class. Ideally, I would like to find some Good Housekeeping archived articles, but I might have to go to other universities to find them.

Alexis Keto

I think by slowly building into the deeper stylistic elements will be more fruitful than jumping right into questions regarding overall assumptions.

Alexis Keto

We’ll spend a whole class or two working on developing thesis from the above classifications.

Final Paper/Exam – Argumentation Summary of Resources Due via Email: Tuesday, November 25 Practice Final: Monday, December 1 Final Outlines/Notes Due: Thursday, December 4 Final Paper/Exam: Wednesday, December 10 Length: 3-5 Pages Audience: Your professor and classmates Topics – choose one:

1) Should the legal drinking age be lowered, raised or stay the same? 2) Should full-scholarship college athletes be allowed to have jobs? 3) Should animals be used for scientific experiments? 4) Should the U.S. Government endorse human cloning?

Resources (minimum of five with the following restrictions):

1) Two academic journal articles 2) One academic website/online journal 3) One popular source 4) One book

You will be participating in a Lincoln-Douglas Debate on the 10th of December – the following format adapted from University Interscholastic League - http://www.uil.utexas.edu/aca/hsrule/1002.html Lincoln-Douglas debate provides excellent training for development of skills in argumentation, persuasion, research, and audience analysis. Through this contest, students are encouraged to develop a direct and communicative style of oral delivery. Lincoln-Douglas debate is a one-on-one argumentation in which debaters attempt to convince the judge of the acceptability of their side of a proposition. One debater shall argue the affirmative side of the resolution, and one debater shall argue the negative side of the resolution in a given round. EVIDENCE.

1. Use. Supporting evidence adds to the persuasiveness of the reasoning and argumentation of the debate. Whenever a debater quotes at any length the words of another, the fact must be plainly stated.

2. Availability of Materials. Speakers will use a full written copy of their speech. If charts, maps, books, or other printed materials are used by either debater, they should be left before the audience and shall be available for use by the opposing debater in refutation. A computer or other electronic retrieval device shall not be used during a debate, except with prior written approval of the Professor. The written request should be made at least two weeks prior to the contest, and, if approved, the equipment shall be made available.

49

Alexis Keto

With a class of 18-20, I would expect 4-5 students per topic.

Alexis Keto

By this time, they should be familiar with the library and be able to find five sources relatively quickly.

Alexis Keto

I’m looking to help them develop skills arguing both sides of the question and teaching them to think outside of their opinions in order to become more assertive in their answers.

Alexis Keto

Definition from the University Interscholastic League

Alexis Keto

After the first practice paper composition, the students will be allowed to share sources with others in their topic area.

Alexis Keto

If they really want to use a computer the day of the final, I will let them, but I will have to know prior to Thanksgiving. Again, the important consideration here is removal of stress. For many students, the ability to handwrite a paper is a source of stress, either due to speed or legibility.

http://www.uil.utexas.edu/aca/hsrule/1002.html

3. Available in Writing on Demand. All participants submitting evidence in competition shall possess and present upon demand of debater such evidence in written form. This written form must display full bibliographic source citation, even if the full citation is not orally delivered. Full citation should include the following elements: author's name, author's qualifications, complete source information, complete date, and page number. Citations of on-line publications or from on-line databases also require the publication medium (on-line), the Internet URLs, or the name of the computer service, and the date of access. Failure to meet this requirement can, at the discretion of the Professor, result in reduction in final grade.

4. The contest director shall be empowered with the final decision in questions concerning falsification of evidence.

As in any academic situation, you should be prepared to argue both sides of the argument, and therefore, your research should cover both sides, not just the side you personally agree with. On the 1st of December, you will participate in a practice composition period where you will be given the class period to compose a 3 page argument on the side of your choice. You will be allowed to bring any research with you to class, provided you also bring correct citations of each article you bring with you. I will collect your citations at the beginning of the class. On the 4th of December, you will bring in your full outlines/pre-writing for arguments on both sides. We will work in class to develop good strategies for the final paper. On the 10th of December, the final paper will be composed during the final exam period. Each student will come into class with the research and outlines. You will be turning in your outlines before class begins. Students will be told at random which side of their arguments they will be arguing and will have exactly ONE hour to compose a 3-5 page argument. At the conclusion of the hour, each student will read his/her paper aloud to the class and answer 2-3 questions from the opposing side. The students in the audience will anonymously grade the presenters on the following scale: 1- provided adequate information and was aware of the topic 2- spoke well, engaged my interest and I would have liked to learn more 3- Totally awesome. I had no idea there was so much at stake and I wish I had looked into this

topic more thoroughly. Each student will also give comments with regard to the topic and the presentation style. The Team of presenters (both sides of the argument) with the three highest total scores from their classmates will receive two extra points on their overall paper grade. The class will determine the percentage breakdown of the final grade, which will be comprised of the following components: Summary of Researched sources 25% Paper practice on 12/1 15% Preliminary Outlines 25% Final Paper 20% Presentation 10% Response to Questions 5%

50

Alexis Keto

The greatest thing about an L-D debate is that every competitor must provide citation as a part of the rules, which reinforces concepts at work in the classroom and provides a semi-“real world” example.

Alexis Keto

This way they can experience the pressure of the speed composition without feeling jeopardized. These papers will be edited the following day in class and the students will be able to compose opposing arguments with students who wrote on the same topic.

Alexis Keto

I will be looking for two things: comprehension of both sides of the argument and utilization of source material.

Alexis Keto

This way all students will stay engaged with the arguments at hand.

Alexis Keto

I’ve shown how I would like to see the emphasis meted out across the components, which I may or may not share with the class, depending on the class.

Alexis Keto

The ability to summarize and use the sources is the most important part of the assignment.

Alexis Keto

It has to be worth something in order to get a good effort out of it, but I will probably grade on trying and on the rebuttal argument of the next day in conjunction with this paper.

Alexis Keto

I would like students to understand the importance of planning ahead for written exams. While in many classes they won’t have to read them aloud, they will have to write thoroughly and concisely. By outlining ahead of time, and working with those outlines, the students will become experts in this new area of research.

Alexis Keto

Only 30% of the paper will be based on the work done in the final exam period so students can feel the fun of the debate setting but not worry too much about the pressure.

Bibliography Bartholomae, D. (1985). Inventing the university. When a Writer Can’t Write: Studeis in

Writer’s Block and Other Composing Process Problems. (M. Rose, Ed) New York: Guilford Press.

Bartholomae, D. (1987). Teaching Basic Writing: An Alternative to Basic Skills. In A

Sourcebook for Basic Writing Teachers. (Theresa Enos, Ed.) New York: Random House, Inc., 84-103.

Bergen, D. (2002). Evaluating Brain-Based Curricular Claims. Social Education 66.6, 376-379. Bizzell, P. (1986). What Happens When Basic Writers Come to College? College Composition

and Communication 37.3, 294-301. Caine, G., & Caine, R. N. (2001). The brain, education and the competitive edge. Lanham, MD:

Scarecrow Press, Inc. Cheville, J. (2001). Minding the Body: What Student-Athletes Know About Learning.

Portsmouth, NH: Boynton-Cook. Chickering, A.W. & Gamson, Z.F.. (1991). Seven Principles for Good Practice in Undergraduate

Education. New Directions for Teaching and Learning 47, 63-69. Colin, B. (2002). The Train in the Chimney: Teaching Writing by Discovering Art. Third Mind:

Creative Writing through Visual Art. (Tonya Foster and Kristin Prevallet, Eds.) New York: Philmark Lithographies, 26-31.

Cross, P. K. (1999). What do we know about students writing and how do we know it?

Innovative Higher Education 23, 255-270. Crowley, S. (1998). Composition in the University: Historical and Polemical Essays. Pittsburgh,

U of Pitt Press, 228-249. East, J. R. & Strahl, L. (1982). Learn & shop: teaching composition in shopping centers. College

Composition and Communication 33:3, 267-275. Elbow, P. (1996). Being a writer vs. being an academic: a conflict in goals. College Composition

and Communication 46.1, 72-83. Eves-Bowdon, A. (2001) What basic writers think about writing. Journal of Basic Writing 20.2,

71-87. Fishman, S. M. & McCarthy, L.P. (1992). Is Expressivism dead? Reconsidering its romantic

roots and its relation to Social Constructionism. College English 54.6, 647-661.

51

Flynn, E. A. (1988). Composing as a woman. College Composition and Communication 39:4, 423-435.

George, D. (2002). From analysis to design: visual communication in the teaching of writing.

College Composition and Communication 54.1, 11-39. Goldberg, N. (1986). Writing Down the Bones: Feeling the Writer Within. Boston, MA:

Shambhala Publications, Inc. Gregory, M. (2001). Curriculum, pedagogy and teacherly ethos. Pedagogy 1.1, 69-89. Hannaford, C. (1995). Smart Moves: Why learning is not all in your head. Arlington, VA: Great

Ocean Press. Hairston, M. (1992). Diversity, ideology, and teaching writing. College Composition and

Communication 43.2, 179-195. Harris, R. (2004). Encouraging emergent moments: The personal, critical and rhetorical in the

writing classroom. Pedagogy 4.3, 401-418. Herremans, I.M. & Murch, R. (2003). Multidisciplinary decision making through Experiential

Learning: Perspectives from practical trials. Innovative Higher Education 28.1, 65-79. hooks, bell. (2002). art is for everybody. Third Mind: Creative Writing through Visual Art (T.

Foster & K. Prevallet, Eds.) New York: Philmark Lithographies, 2002. 32-39. Jensen, E. (2000a). Brain Based Learning. San Diego: The Brain Store Press. Jensen, E. (2000b). Learning with the Brain in Mind: The Scientific Basis for Energizers,

Movement, Play, Games and Physical Education. San Diego: The Brain Store Press. Jensen, E. (2000c). Moving with the brain in mind. Educational Leadership 11, 34-38. Johnson, S. C. (1995). Making a place for music in basic writing. Journal for Basic Writing 14.2,

31-37. Jorgenson, O. (2003). Brain Scam? Why educators should be careful about embracing ‘brain

research.’ The Educational Forum. Summer 2003. Retrieved February 28, 2005, from http://www.kdp.org/publications/educational.php

Kezar, A. (2001). Theory of Multiple Intelligences: implications for higher education.

Innovative Higher Education 26.2, 141-154. Kirch, A. (1996). A basic writer’s topoi for timed essay tests. Journal for Basic Writing 15.2,

112-124.

52

Kolb, B. (2000). Experience and the Developing Brain. Education Canada 39.4, 24-26. Kostelanetz, R. (2001). Teaching and the alternative writer. College English 64.2, 228-234. Levy, J., Den Brok, P., Wubbels, T., & Brekelmans, M. (2003). Students’ perceptions of

interpersonal aspects of learning environment. Learning Environments Research 6, 5-36. Maxa, Ed L. et al. (2003). Heads-on, Hands-on: The Power of Experiential Learning,

Facilitator’s Guide. Raleigh, NC: North Carolina State U P. McAlexander, P. J. (2004). Using principles of Universal Design in college composition courses.

Basic Writing e-Journal 5.1, Retrieved November 10, 2004, from http://www.asu.edu/clas/english/composition/cbw/bwespring2004.html

McLeod, S. & Maimon, E. (2000). Clearing the air: WAC myths and realities. College English

62.5, 573-583. Nelson, J. (1995). Reading classrooms as text: exploring student writers’ imperative practices.

College Composition and Communication 46.3, 411-429. Odell, L. (1995). Basic Writing in context: rethinking academic literacy. Journal of Basic

Writing 14.1, 43-56. Quay, J. (2003). Experience and participation: relating theories of learning. The Journal of

Experiential Education 26.2, 105-116. Pace, R. & Simon, M. (2002). The image-making workshop: An introduction to creative

bookmaking. Third Mind: Creative Writing through Visual Art (T. Foster & K. Prevallet, Eds.) New York: Philmark Lithographies, 69-80.

Park, C. C. (2001). Learning Style preferences of Armenian, African, Hispanic, Hmong, Korean,

Mexican and Anglo students in American secondary schools. Learning Environments Research 4, 175-191.

Perl, S. (1980). Understanding composing. College Composition and Communication 31.4, 363-

369. Perl, S. (2004). Felt Sense: Writing with the Body. Portsmouth, NH: Boynton/Cook Press. Pfieffer, J.W. & Jones, J.E. (1969). A Handbook of Structured Experiences for Human Relations

Training, Volume I. San Francisco, CO: Adult Education Press. Promislow, S. (1999) Making the Brain/Body Connection. Vancouver: Kinetic P Company. Rose, M. (1985). The language of exclusion: writing instruction at the university. College

English 47.4, 341-359.

53

Roth, W.M. & Lawless, D.V. (2002). How does the body get into the mind? Human Studies 25,

333-358. Rouzie, A. (2001). Conversation and carrying-on: play, conflict, and Serio-Ludic discourse in

synchronous computer conferencing. College Composition and Communication 53.2, 251-299.

Silberman, M. (1996). Active Learning: 101 Strategies to teach any Subject. Needham Heights,

MA: Allyn & Bacon. Silver, H., Strong, R.W., & Perini, M.J. (2000). So Each May Learn: Integrating Learning Styles

and Mulitple Intelligences. Trenton, NJ: Association for Supervision and Curriculum Development.

Smith, L. Z. (1984). Composing composition courses. College English 46.5, 480-469. Smith, K. O. (2001). Teaching our mutual friends. Pedagogy 1.2, 327-335. Stefanou, C. R. & Salisbury-Glennon, J.D. (2002) .Developing motivation and cognitive

learning strategies through an undergraduate learning community. Learning Environments Research 5, 77-97.

Wolfe, P. (2001). Brain Matters: Translating Research into Classroom Practice. Alexandria,

VA: Association for Supervision and Curriculum Development. Zimmerman, V. (2002). Moving poems: kinesthetic learning in the literature classroom.

Pedagogy: Critical Approaches to Teaching Literature, Language, Composition and Culture 2.3, 409-412, 424-5.

Zull, J. E. (2002). The Art of Changing the Brain: Enriching the Practice of Teaching by

Exploring the Biology of Learning. Sterling, VA: Stylus Press.

54

Appendix A PowerPoint Presentation

Attached you will find the Powerpoint Presentation, complete with notes, should a department

wish to educate their instructors. It is intended to act as an exposure document only to inspire

creative thought and begin discussion of integration of Brain Based Learning.

55

1

Brain Based Composition InstructionA Re-Invention of N.C. State’s

English 100 SyllabusAlexis Keto

Activity #1 – Paint. On the walls there are several sheets of paper and next to those sheets of paper are several paints and paintbrushes. Just paint. Anything. When you are done, put your brush down. [aim for ~ 5 min max] Discussion questions: With some of the people around you spend some time discussing your painting – why did you paint what you did? Is there significance to you? To anyone in your group? What do you expect from the next x minutes of time? How did this exercise change your perception of what you were going to experience? How could this possibly relate to pedagogy/composition education? How would our students react to such an exercise? Spend some time sharing with the entire group about the conclusions/suppositions. Write some of these suggestions on the board, make these the underlying goals for the session. How do we incorporate these goals into our classroom? Be prepared to revisit these ideas later.

56

2

Brain-Based?Isn’t that all education?

Predecessors• Kinesthetic Learning• Experiential Education• Multiple Intelligence

Theory• Learning Styles• Expressionism• Social Constructivism

Similarities• Advocates whole body

incorporation• Alternative interpretations for

lessons involving the experience• Integration of multiple medium

of learning • Introduction of material through

multiple learning styles• Discovery of Self through

writing• Discovery of Community

through Classroom

Identifying more familiar theories helps validate the correlation between Brain Based Education and other more recognizable theories and concepts, as well as allows for consideration of Brain Based learning in the composition classroom.

57

3

Six Components of English 100

Introduction to reading & writing in academic contextsExplore multiple writing processesAnalyzing & Evaluating college-level texts

Inventing, Drafting & Revising their own workSeeking, providing & responding to constructive feedbackCollaborating effectively under varied learning models

Adapted from NCSU English 100 Course Description

What will students learn in English 100?

Before putting up the slide – see how many students can accurately define the goals of the department. Give them 3 minutes to come up with at least 4. Discuss the relationship between experiential learning/Brain-Based learning and how this pedagogy may reflect the ideology of the department/instructor either positively or negatively.

58

John Murray

Text Box

4

Brain Base it!

How to go from “meah” to “wow!” in one year or less

Give a quick overview of Brain-Based Learning. Concept developed in late 1990s-early 2000 that takes multi-disciplinary studies and experiential learning to a new level by integrating the two into a pedagogy that takes into account the well-being of all aspects of the learner – emotional, physical and intellectual. By helping students to interpret their own meaning from the material, they more readily engage in day-to-day class activities. Our job, as instructors, is not to present material but to engage in the material and to create a safe environment where students can gain some feelings of authority.

59

5

The Brain-Based ClassCharacteristics from Jensen’s Learning with the Brain in Mind

Pre-Exposure & PrimingSufficient Time for LearningLow or No ThreatPrep for Final PerformanceHigh EngagementPositive Emotional EngagementLearner ChoiceModerate to High ChallengeStrong Peer SupportMastery GoalsSufficient Non-Learning TimeBalancing Novelty & Predictability

Safe for Taking RisksModerate StressAlternating Low to High EnergyMulti Modal InputFrequent FeedbackCelebrate!

Indicates relationship to English 100

Brain-Based Learning’s “forefather” and foremost advocate is Bruce Jensen. He puts forth a series of criteria that he feels enhance students experience in the classroom and help engage students on a day to day basis. The starred articles indicate traits that can be easily adapted into the English 100 classroom with significant results.

60

6

ENERGIZE!!

Stand up. Touch your ear to your shoulder and hold for 10 seconds. Then repeat on the other side. Write a haiku about your painting. (5-7-5)Get a drink of water, if you don’t have water with you.

But before we go any further, let’s take a energizing 5 minutes. Spend some time reflecting on what we’re talking about and re-invigorate your learning systems. By a quick exercise (pt. 1) you will open up bloodstreams to your brain that have become sedentary while seated. Then reflect on your time here so far with a quick haiku – opening up your artistic, less formulaic side. Finally, fulfill your body’s need for nourishment and get some water to help refresh your physical side. We’ll re-commence in five minutes or so.

61

7

Pre-Exposure & Priming

Brain-Based Learning’s Way• Summary or mind-map• Environmental

situation• Let students learn

about units gradually

Into Composition• Pre-writing exercise• Reading assignments• Acculturation day!

• Replication of era or of situation

Change the seating arrangement. Ask the students to sit in alternative positions. On the floor (provide towels/blankets/pillows) standing, on a desk, whatever is comfortable but within the classroom. We’re now going to explore some of the more explicit interpretations of Brain-Based Learning. If you have a question, let’s get it out on the floor asap. –Pre-writing exercise that would pre-expose students to a unit – simply have them define or describe what they believe a writing assignment for x unit will be like. ~ Balderdash. – Reading assignments –find a “fun” article on the topic you’re planning on having them write about. –Acculturation – have them experience the topic first-hand – if you’re going to have a unit compare/contrast paper – set it during a time period and have them find something from that time period to bring to class (video, newspaper, magazine, clothes, anything) and provide popular food or presentations.

62

8

Positive Emotional Engagement

Brain-Based Learning’s Way• Teach learners to

manage learning states• Change activities• Provide physical

“relief”• Challenge level high

Into Composition• Frequent pre-writing

exercises examining writing comfort level

• Encourage students to share stresses – with instructor or in groups

• Involve alternative activities to “sit-in-class” & engage library use

-move the class – what are ways you can change the physical environment of the classroom setting? -This one can be scary – have to allow yourself to become available – these students are going to be at risk for failure…how can you help them succeed? Can we share as faculty?

63

9

Learner Choice

Brain-Based Learning’s Way• Balance between too

much & too little choice

• Perception of empowerment

• Control over destiny

Into Composition• Offer multiple

interpretations of each project

• Create opportunities for students to weigh in on composition practices & become the experts

- Like the first exercise today, there can be activities with little instructor input where students have free reign to some extent. With little exercises, you open the door for students to ask about the larger projects, and the instructor must be open to student interpretation. Set the boundaries early, however, and challenge the student to prove the correlation between their suggestion and the class goals for the project.

64

10

Moderate to High Challenge

Brain-Based Learning’s Way• Increase/decrease time

allotted for activity• Raise/lower final

standards• Increase/decrease

availability of resources

• Alter circumstances

Into Composition• Couple a written report

with an oral presentation• Change the number of

group members in a group as projects progress

• Add additional requirements or restrictions as a project develops

- Alternate the intensity of the assignment. Allow for re-invention of assignments – what happens if students or professor add to the assignment. What if the paper is read aloud? How does this change what the students perceive as the goal of the assignment?

65

11

Strong Peer Support

Brain-Based Learning’s Way• Encourage positive

peer affiliation• Formal & informal

groupings• Enable external

relationships• All learners work

together to achieve goal

Into Composition• Make peer writing

evaluation more interactive & varied

• Create ongoing conversations in class & online

• Allow for class communication & general interpretation as a group

Here is where peer writing groups can work. Allowing students to develop strong bonds within their writing groups will increase the “safe” quotient in the classroom and help foster honest and worthwhile writing criticism.

66

12

Mastery Goals

Brain-Based Learning’s Way• Set high standards• Acknowledge

achievement• Share & post goals for

the class

Into Composition• Help students draw

parallels between course objectives & assignments

• Encourage students to rewrite coursework for higher grades

Brain-Based learning branches from sports and activity learning – setting higher goals and working daily to achieve them. Breaking course objectives into realistic daily activities will help students learn to develop realistic writing goals.

67

13

Balancing Novelty with Predictability

Brain-Based Learning’s Way• Provide a balance for

writers within the environment of the classroom –comfortable material with new material

• Juxtapose new activities with old, predictable formats

Into Composition• Gradually work in less

standard composition practices

• Make group work inventive and challenge them regularly

• Incorporate new forms of pre-writes that engage other learning practices.

Here, Brain-Based Learning capitalizes on the research of Multiple Intelligences and Learning Style Instructional Techniques. Allow for students to draw on their intellectual background, but also challenge them to draw parallels using other concepts.

68

14

Safe for Taking Risks

Brain-Based Learning’s Way• Zero tolerance for

teasing• Let class determine

guidelines for rule-breakers

• Model appropriate responses

Into Composition• Equalize all writers• Allow everyone to feel

like their writing matters by creating plenty of time before & after class for office hours

• Encourage online sharing and discussion

It’s important for students to have quality time with professors, more than just one meeting. Professors must have accessible office hours and be receptive to students. By eliminating risk, students can overcome fear of writing, which inhibits successful development of the technical skills of writing.

69

15

Frequent Feedback

Brain-Based Learning’s Way• Every student gets

feedback every thirty minutes

• Can be from professor or peers or self-review

Into Composition• Provide meaningful

evaluation exercises• Create an open office

policy towards the rough drafts

• Allow for rewrites

Within the structure of the class, multiple opportunities exist to give feedback to students, both from their peers as well as from professors. Peer Review, anonymous or public; frequent & accessible office hours for professors, and numerous rewrite opportunities all aid in the development of the student as a writer.

70

16

Prep for Final Performance

Brain-Based Learning’s Way• Replicate similar stress

situations• Eliminate pop quizzes• Help students decipher

their weaknesses & strengths

Into Composition• Practice in-class

writing situations• Allow time for re-

writes• Create open dialogue

between teachers and students

By allowing students to have trial runs of the in-class writing experience, they will learn to become acclimated to the stress of time-pressure.

71

17

Celebrate the Learning

Brain-Based Learning’s Way• From a high-five to a

student planned party• Close each unit with a

celebration

Into Composition• Post-Writing exercises

of written and non-written nature

• Polite social at the end of every unit

• Allow for socialization time before & after class, with the instructor!

This is the fun part of education – acknowledging success. Let students embrace their accomplishments by letting them relax.

72

1

ENERGIZE!!!

Take Right hand, Touch Left foot. Hold for 10 seconds. Then lift foot off the ground. Hold for 3 seconds. Repeat on other side. Add the words of your haiku to your painting in a meaningful wayHave a snack!

Time for a break! Engage the bi-lateral nature of your brain. Physically open up communications by crossing the boundary. Second, reevaluate where you are in your thought process and design a meaningful haiku painting. Third, feed yourself if you haven’t already. You have five minutes.

73

2

Special Considerations What are departmental restrictions

that might inhibit brain-based implementation?

At this point, encourage the students to spend some time listing possible restraints and compare with the list on the next slide. Did anyone have anything that could be added to the slide?

74

3

Logistical ConstraintsClassroom Size/EnvironmentLength of Class TimeMandatory Supplemental ReadingsLack of accurate & comprehensive skills assessmentMandatory In-Class Timed Writing Assignment

80% of grade must come from written work/finished productClassroom Attendance PolicyRequirement for instruction in appropriate formatMandatory Group ProjectMinimum of 25 pages of finish product

Adapted from NCSU English Department “Guidelines.”

See if anyone has additional restraints

75

21

And what does the future hold?

Where the curriculum needs to move from here

Discussion of development is crucial to continuing the brain-based theory, it is always evolving and always changing, so professors must be willing to examine ways to grow as an instructor and as a department.

76

22

TWO YEARS FROM NOW

Move to eliminate the page requirement from the department to a final product systemEncourage teachers to hold more frequent office hours at more convenient timesReduce the number of classes and increase the class time (2-3 classes at 75 minutes)

Small growth within the first year addresses the need to accommodate student needs first: stress, accessibility and sufficient time for learning.

77

23

THREE YEARS FROM NOW

Increase the number of composition-only instructors & hire faculty trained in composition instructionCreate a true writing center staffed by composition faculty to facilitate relationships between students & facultyAllow for more instructor freedom to interpret course objectives

Three years from now, small growth can address how the department needs to grow. Presenting writing specific faculty helps to prepare students more effectively and allowing those instructors to help champion their own strengths.

78

24

FOUR YEARS FROM NOW

Create a Communication sequence that involves both composition & communication introductory courses into a full-year long sequence.Create men’s-only & women’s-only coursesCreate concentration options for composition studies (ie. Engineering etc.)

Once the writing department starts to see some results from its brain-based courses, the department can look at how the course offerings are addressing the multiple intelligences within the concentrations for the courses themselves.

79

25

Painting…what of the haiku?

Where do I begin? From the painting –each student is capable of beautiful creation…it is the instructor’s responsibility to help them access it.

Reflect on what has been created during the span of class. An integration of word and art. For many students, this activity makes more sense than a term paper and they can derive meaning. You could write a paper on the process of creating this single piece of artwork and they could begin to access their analytical ability already inherent in themselves.

80

the inclusion of all learners in the instruction of

Documents