An often overlooked and undervalued component of disciplinary studies is the way learning and growth are informed by how fluently students understand the discipline’s language. It is difficult, and often impossible, for someone to engage in conversations if she or he cannot speak the language. It is thus difficult to feel a sense of belonging to a community if one cannot join its conversations. This scholarly work analyzes a term I call literary language, which is a literary term-based language informed by literary and rhetorical strategies. Students learn when they are active participants in their learning process. They cannot fully engage in this learning if they do not know the discourse’s language. For students to become better compositional and creative writers, they need opportunities to learn literary language and participate in larger craft-specific discussions. Spaces that invite students—in their various learning stages—to read like writers, think like writers, and write like writers help them learn, retain, and apply literary language in its intended context. The research included in this pedagogical study tests and analyzes face-to-face, online, and hybrid workshop learning models, which rely on learner-centered strategies that help students accurately and easily understand and use literary language. This fluency allows them to fully immerse themselves in their academic communities where they can begin to take pride in learning its cultural values and language so they can blend into this new world like they always belonged.
References
[1]
Cohen, P.M. (2012) Pop Studies: Glory at the Fountain of Coca Cola. Drexel University. www.thesmartset.com/article/article12091301.aspx
[2]
Beacon Literacy Inc. (2010) About Reading and Reading Difficulties. Calgary, Alberta. http://www.literacycanada.com
[3]
Scholes, R.E. (1985) Textual Power: Literary Theory and the Teaching of English. Yale University Press.
[4]
Dawson, P. (2003) Towards a New Poetics in Creative Writing Pedagogy. University of New South Wales. www.textjournal.com.au/april03/dawson.htm
[5]
Gross, P. (2010) Ch. 3: Small Worlds: What Works in Workshops If and When They Do? Does the Writing Workshop Still Work? In: Donnelly, D., Ed., Multilingual Matters, Bristol, Buffalo. https://trove.nla.gov.au/nbdid/45508169
[6]
La Femina, G. (2011) Demystifying and Demythifying the Workshop: On the Supposed “Lore” of Creative Writing Pedagogy. Association of Writers & Writing Programs. https://www.awpwriter.org/magazine_media/writers_chronicle_issues/onlineonlyexclusives
[7]
Haake, K. (2010) Ch. 14: Re-Envisioning the Workshop: Hybrid Classrooms, Hybrid Texts. Does the Writing Workshop Still Work? In: Donnelly, D., Ed., Multilingual Matters, Bristol, Buffalo. https://trove.nla.gov.au/version/50291192
[8]
Gaffigan, M. (1995) Reinventing the Undergraduate Poetry Workshop: Results from a Nationwide Survey of Undergraduate Poetry Writing Instructors. Association of Writers & Writing Programs.
[9]
Thursby, J. (2002) Inquiry, Folkloristics, and Discussion: Unbinding Literature in the Classroom. In: Holden, J. and Schmit, J., Eds., Inquiry and the Literary Text: Constructing Discussions in the English Classroom. Classroompractices in Teaching English, National Council of Teachers of English. http://files.eric.ed.gov/fulltext/ED471390.pdf
