Writing Studio Pedagogy: Space, Place, and Rhetoric in Collaborative Environments

Writing Studio Pedagogy (WSP) breaks from the tradition of teaching and responding to writing in traditional ways and moves the teaching and learning experience off the page and into engaging spaces in multiple ways, which can enhance the composing process. Through this collection, scholars interested in rethinking approaches to teaching, writing pedagogy, and innovative learning will find new ways to challenge their own understandings of space, place, and collaboration. WSP involves an attention to space and place in the development of rhetorical acts by focusing on the ways in which they enhance pedagogy.This book takes a unique opportunity to return to pedagogy as the foremost priority in any learning space. Educators might preference WSP for its emphasis on student-centeredness by creating productive interactions, intersections, and departures that arrive from prioritizing learning. WSP acknowledges the centralized role of students and teachers as co-facilitators in learning and writing. These threads are intentionally broad-based, as the chapters contained in this book speak to the complexity of WSP across institutions.

Reference

Carpenter, Russell

Kim, Matthew

Words, Language & Grammar

Rowman & Littlefield Publishers

Here is a new text that fulfills an emerging need in both higher and public education and stands to break new ground in addressing critical skills required of graduates. When working on their last book, It Works for Me, Creatively, the authors realized that the future belongs to the right-brained. While Daniel Pink and other visionaries may have oversimplified a bit, higher education is ripe for the creative campus, while secondary education is desperately seeking a complement to the growing assessment/teach-to-the-test mentality. You don’t have to study the 2010 IBM survey of prominent American CEOs to know that the number one skill business wants is students who can think creatively. To meet the demand of new courses, programs, and curricula, the authors have developed a 200-page “textbook” suitable for secondary or higher education courses that are jumping on this bandwagon. Introduction to Applied Creative Thinking, as the title suggests, focuses not on just developing the skills necessary for creative thinking, but on having students apply those skills; after all, true creative thinking demands making something that is both novel and useful. Such a book may also be used successfully by professional developers in business and education. For this book, Hal Blythe and Charlie Sweet are joined in authorship by Rusty Carpenter. He not only directs Eastern Kentucky University’s Noel Studio for Academic Creativity but has co-edited a book on that subject, Higher Education, Emerging Technologies, and Community Partnerships (2011) and the forthcoming Cases on Higher Education Spaces (2012). Introduction to Applied Creative Thinking is student-friendly. Every chapter is laced with exercises, assignments, summaries, and generative spaces. Order copies now or contact the publisher for further information.

Introduction to Applied Creative Thinking: Taking Control of Your Future

Education & Teaching

Blythe, Hal

Sweet, Charlie

Schools & Teaching

New Forums Press

The authors of Teaching Applied Creative Thinking: A New Pedagogy for the 21st Century believe this book to be the first in the field about teaching creative thinking in the new millennium. While many books talk about creativity and provide the justification for adding creative thinking as a student learning outcome, this book focuses on applying creativity to the teaching and learning process. The authors ask, “does anyone truly believe the world’s problems are going to be solved by students with only a high proficiency in common core competencies?” With student learning outcomes as a goal, we must rethink teaching and learning to include creativity. Posed for the 21st-Century learner, their new paradigm, Mentor-from-the-Middle, replicates scholarly inquiry by developing a scholarly frame of mind. The teacher assumes new roles in this paradigm of scholar, mentor, facilitator, coach, model, and critical reflector. These roles in turn combine to help transform the learner into an active creative thinker.

Teaching Applied Creative Thinking: A New Pedagogy for the 21st Century (ACT Creativity Series)

Apostel, Shawn

Higher & Continuing Education

We hope readers will consider these threads when reviewing the teaching tips in this collection: 1. Teaching metacognition demands intention and modeling of the strategies. 2. Using metacognition in the classroom requires establishing the students as willing and interested learners in the first place. 3. Teaching students how to apply metacognitive strategies also means that we are teaching students to learn about the learning process. 4. Teaching metacognition encourages students to become active, critical, and creative learners. In short, metacognition offers a way for you to rethink instruction while also, as the authors learned at their own institution, reconsidering the relationship between teaching and learning. As you read, however, we encourage you to think differently about the ways you apply metacognitive strategies in your teaching and the ways you ask students to incorporate these concepts in your assignment, course, and service or administrative work on campus. No doubt you’ll develop your own effective metacognitive strategies, and referring to this title will go a long way in the right direction.

It Works for Me, Metacognitively: Shared Tips for Effective Teaching

Blythe Phd, Hal

Sweet PhD, Charlie

High impact practices are a twenty-first-century phenomenon, but if you’ve read any of the authors’ books, you know, for instance, that for many years they have been collaborating, instructing undergraduates how to research like full professors, and teaching writing intensive courses—in short, employing some high impact practices, even though, back then, they were merely effective teaching strategies. What impresses the authors the most about HIPs is that they have been rigorously assessed, and no doubt remains that they work, resulting in deeper learning. Moreover, what started as a top-ten practices list has already grown to eleven with the demonstrated efficacy of the e-portfolio. And that list will surely grow as more and more research is performed. For this title, there is one point the authors would like to stress: No law exists that prevents you from using more than one HIP at a time in a learning experience. In fact, as their PLC experience proved, piggybacking the HIPs makes them even more effective, or, as Mae West said, “Too much of a good thing can be . . . wonderful.”

It Works for Me with High Impact Practices

When asked, “What’s your elevator pitch for higher education?” Cornell University Professor of Economics Robert Frank offered an explanation that underscored the significance of critical thinking:"When you meet somebody who’s well trained in critical thinking, it’s immediately apparent to you. We’re living in a world now where people can doctor photographs. They can shout fake news. They can spin a conspiracy theory. If you’re not equipped to think skeptically about the arguments people make to you, then you’re ever more at risk in the environment we inhabit now."Critical thinking has become the central topic of many higher education conversations. And just as Elvis pushed for “a little less conversation, a little more action,” so has academia. The purpose of this book is to provide a venue for that action, to allow our colleagues from across the country to share what works for them.Simply put, the academy must become better at instilling critical thinking so that for graduates it becomes a habit of mind.In this book, the twelfth in our “It Works for Me Series,” you will find the selections are more evidence-based and focused than when we began twenty years ago, and our contributors seem to be applying more critical thinking to their own writing.

It Works for Me with Critical Thinking: A Step-by-Step Guide

As a platform for discussing workplace effectiveness and workplace differences, generational differences help provide context. Unfortunately, generational differences in higher education can be a difficult subject to explore. For one, there is a broad spectrum represented by generations in higher ed. Comparatively, the retirement age of faculty is older than the traditional workplace and the starting age of new faculty is older as well because of the time it takes to complete degree requirements. This creates a unique and complex environment. It is important though, especially as we start to see a wave of millennial faculty, that we appropriately address how faculty demographics will change and how that will impact the higher education environment at large. For the purposes of this volume, the reader needs to think strategically about how to engage millennial faculty in what has been a typically anti-millennial infrastructure. The authors would ask that you be patient with this volume; it has been developed as a practical resource. Pause as you fume at generalized generational differences and remember that not everyone fits into one box: every millennial is different, every boomer is different, etc. Still, we hope this volume will be helpful, no matter your feelings on generational differences, as you look to serve and support all faculty.

Engaging Millennial Faculty

Strawser, Michael G.

DESIGN FOR COMPOSITION offers a range of creative, multimodal projects aimed at improving student proficiency and awareness of how we create visual, verbal, vocal, and multimodal messages. With an emphasis on learning by doing, these projects give students an active introduction to modes, composition processes, and design concepts essential for twenty-first-century literacy. Design for Composition is unique in focusing on creativity as a heuristic, as a part of the composing process, and as a tool or skill that can be applied across a wide range of making.. Each chapter introduces students to different multimodal projects (visual, tactile, auditory, verbal, physical/embodied, or a combination), layered with different levels of creative engagement. DESIGN FOR COMPOSITION provides students with experiences in composing and communicating that are creative, fun, and relatable. Each creative project comes with its own chapter and includes samples, steps in the process, suggested tools, collaboration guidelines, context discussions, and reflection questions.\nDESIGN FOR COMPOSITION: INSPIRATION FOR CREATIVE VISUAL AND MULTIMODAL PROJECTS is printed in full color, presented on high-quality 70# acid-free paper, and includes a bibliography, index, and project checklists.\nSohui Lee is Associate Professor and Faculty Director of the Writing and Multiliteracy Center at California State University Channel Islands. She is co-editor of The Routledge Reader on Writing Centers and New Media (2013) and Disruptive Stories: Amplifying Voices from Writing Center Margins (Utah State University Press, forthcoming 2024). She also worked as associate editor at WLN: A Journal of Writing Center Scholarship (2017-2021) and has published over thirty articles and chapters in peer-reviewed journals.\nRussell Carpenter is Assistant Provost and Professor of English at Eastern Kentucky University. He serves as editor-in-chief of the Journal of Faculty Development and has written or edited a wide range of books and articles, including Engaging Millennial Faculty, Studio-Based Approaches for Multimodal Projects, Writing Studio Pedagogy, and Sustainable Learning Spaces.

Design for Composition: Inspiration for Creative Visual and Multimodal Projects

Arts & Photography

Lee, Sohui

Graphic Design

Parlor Press

See the best price to sell, buy, or rent books by Carpenter, Russell. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Books by Carpenter, Russell

See the best price to sell, buy, or rent books by Carpenter, Russell. BookScouter helps to compare book prices from 25+ online bookstores and 30+ buyback vendors with a single search.

Writing Studio Pedagogy: Space, Place, and Rhetoric in Collaborative Environments

Writing Studio Pedagogy: Space, Place, and Rhetoric in Collaborative Environments

Introduction to Applied Creative Thinking: Taking Control of Your Future

Teaching Applied Creative Thinking: A New Pedagogy for the 21st Century (ACT Creativity Series)

It Works for Me, Metacognitively: Shared Tips for Effective Teaching

It Works for Me with High Impact Practices

It Works for Me with Critical Thinking: A Step-by-Step Guide

Engaging Millennial Faculty

Design for Composition: Inspiration for Creative Visual and Multimodal Projects