In this essay, I narrate how and why I, as a “senior faculty member,” have begun to compose and teach with digital media. I reflect on my experiences learning to use multimodality, consider what is at stake for English faculty who, like me, make this move later in their academic careers, and offer strategies for inducing senior colleagues to compose and teach with digital media.
This article focuses on the collective/public aspects of the mourning process in online environments. It explores how the World Wide Web shapes the production of both memorial “spaces” and the process of mourning by allowing both producers and reader/users to renegotiate the public and private functions of mourning through alterations in the ways texts are produced but even more importantly through the connection and juxtapositions of textual elements, rhetorical goals, and varying audiences. Initially, most discussions of memorial activities are focused on the issue of exigency—the need of an individual or group to somehow communicate grief and to remember the dead. However, the specific affordances of online space may require an altered focus—one in which acts of pure grief are mingled with a range of other impulses. This article uses the specific example of the World Trade Center attack and the memorial spaces that have evolved since the event to consider how the process of memorialization online might be used to understand issues of space, time, memory, and the continuity of human relationships.
Writing teachers have always had to contend with plagiarism. However, the technology of the Internet and the thorny issues of copyright law complicate how we teach legal and ethical use of others’ materials in the networked classroom. Our pedagogy and curriculum choices and our students’ writing practices are shaped by a legal infrastructure that includes the fair use doctrine. Our understanding and knowledge of the fair use doctrine should become second nature to us. Critical awareness of fair use, the four-factor test, and how to conduct appropriate analyses when using others’ materials must become part of the everyday digital writing/new media classroom curriculum. To this end, the author summarizes the salient points of law and practice of fair use and demonstrates, in small ways, how the fair use doctrine can inform the teaching of writing in digital contexts. As teachers, researchers, and experts of writing, the discourse of fair use must be considered in addition to the discourse of plagiarism.
The incarnation of many Internet-based courses is informed by traditional notions of classroom instruction in which course/content management systems (CMSs) like WebCT™ and Blackboard™ are used to reproduce actions undertaken in brick-and-mortar classrooms. In this article, I argue that the way in which the CMS is configured and deployed can provide students with the sense that they are immersed in a social activity other than taking a college course. Elaborating on a simulation-building methodology developed by Clark Aldrich, I show how we have created a CMS that helps communication instructors evoke and immerse students in discourse-demanding situations. This sense of immersion is especially important for communication-intensive courses in which students seek to practice disciplinary and workplace genres whose social motive may not be readily reproducible within the confines of the (computer) classroom.
Keeping with the currency of the print-based journal, Print to Screen focuses on the themes found in the recent issues of Computers and Composition, and includes multimodal commentaries that explore and remediate relationships between print and screen.
Section Editor — Elizabeth Monske