College Composition & Communication - Volume 67, Issue 1, 2015

There has been a remarkable surge of interest in creativity in a wide variety of disciplines in recent years. Taken in aggregate, this body of work now theorizes creativity as a—foundational aspect of human cognition and intelligence. If we theorize creativity as a highly sophisticated and valuable form of cognition, it must also then be regarded as a necessary—and indispensable part of the curriculum in the writing classroom.

In this article, I turn to a grounded theory study that examines the experiences of students participating in an individual project-based FYW course, exploring up close the exploits,—practices, and products of one student “writing to assemble.” I question pedagogy stayed to theory that would treat writing as primarily a technology of representation, and in its place—introduce the concept of “writing as assemblage.” Positing a theory of the writing space that underscores writing’s more generative qualities, I call for a new definition of proficiency—for all manner of first-year writing courses.

Through an analysis of student writing and interviews, this article examines hyperbole as a neglected rhetorical device. The authors trouble notions of hyperbole as error and argue for a—reconceptualization of hyperbole as potentially highly communicative and able to convey emotional tone, passion, and significance while maintaining brevity.

Reviewed are: Literacy as Translingual Practice: Between Communities and Classrooms A. Suresh Canagarajah, editor Translingual Practice: Global Englishes and Cosmopolitan Relations A. Suresh Canagarajah Shaping Language Policy in the U.S.: The Role of Composition Studies Scott Wible Other People’s English: Code-Meshing, Code-Switching, and African AmericanLiteracy Vershawn Ashanti Young, Rusty Barrett, Y’Shanda Young-Rivera, and Kim Brian Lovejoy

A literacy narrative.

A literacy narrative.

A literacy narrative.