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• W237366824 abstract "Most of us as teachers of basic/developmental composition get to know our as individuals as well as writers while we help them improve their content, organization, and grammar. see our job as helping underprepared become better writers and thinkers, so that they can achieve success in college and in the world of work beyond. Yet there co-exists for some writing teachers, including many well-known scholars in the field (Min-Zhan Lu and Ira Shor, for example), complex web of political theory, often Marxist or postcolonial in origin, through which they view their students. These teachers seem to define writers mainly as various types of oppressed minorities-members of the working class, immigrants, people of color. According to this view, writing (BW) are victims of society and of academe, for they are on the margins of both. Yet, as the BW classroom becomes contact zone, place where different cultures meet (the phrase was originated by Mary Louise Pratt, 1991), these borderlands can, the theory goes, provide wisdom and insight to their fellow and their teachers. Such views, now extended to the multicultural and working in more advanced composition classes, are both upheld and questioned in academe. find in the January 2003 issue of the widely-read journal College working-class culture group presenting call for papers on in the writing class (pp. 325-326), while Harriet Malinowitz, in Business, Pleasure, and the Personal Essay, wryly comments, Freirians, feminists, cultural studies mavens, just about everybody in the [composition] field and her sister, it sometimes seems, have touted the eye-opening joys of marginality that composition affords (p. 313). Tom Fox, in his articulate and often convincing book Defending Access (1999), supports the borderlands view. His arguments about ethnic, working class, and African American composition relate both to his experiences as teacher of writing and of multicultural first-year composition. Fox has served as coordinator of the writing program at California State University, Chico, and taught writing; he also teaches multicultural composition classes, designed to attract students of color (p. 93). he states that his book's focus is on African Americans (p. v), for whom, he states, the term basic writer is often euphemism (p. 45). Fox argues that the literacy standards set by academe and American culture are way to exclude ethnic or African-American from higher education and from the American dream. he charges that gatekeeping is simply tool to protect the present social hierarchy and that literacy standards, usually based on standardized tests, are unfair because social and political circumstances, rather than lack of ability, usually cause the low scores resulting in denial of access-or placement into non-credit writing classes. Mina Shaughnessy was no doubt shaper of the tradition whereby writers are defined by their ethnic or racial background. Basing her descriptions on her 1970s at the City College of New York, she writes, We can infer that [basic writers] have never written much in school or out, [and] that they have come from families or neighborhoods where people speak in other languages or variant. . . forms of English (Basic Writing, 1976, p. 139). In Errors and Expectations, she goes on to describe BWs as qualitatively different from traditional students, of a different order. ... as if they had come . . . from different country (1977, p. 2). Shaughnessy also was an early defender of the intelligence of these students. She saw logic in their writing errors, logic that gave new insights into writing theory, and argued that these were capable both of steady growth and dramatic leaps into new levels of competence (The Miserable Truth, 1976; rpt. …" @default.
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• W237366824 date "2003-10-01" @default.
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• W237366824 title "Tom Fox and Politics in Basic Writing" @default.
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