This book has a very different idea of language awareness. COmposition studies and linguists use the term very differently.
http://www.bedfordstmartins.com/newcatalog.aspx?isbn=0312463162&disc=English&course=Composition&detail=toc
Showing posts with label ENG 104. Show all posts
Showing posts with label ENG 104. Show all posts
Sunday, September 19, 2010
Diversity, Ideology, and Teaching Writing
http://www.jstor.org/stable/357563
by Maxine Hairston
She thinks it's bad for FYC teachers to teach about politics or diversity. She highlights Marxism in FYC courses and says that English departments shouldn't let literary critics run things. She says we should just teach writing, period, free of democratic ideals.
by Maxine Hairston
She thinks it's bad for FYC teachers to teach about politics or diversity. She highlights Marxism in FYC courses and says that English departments shouldn't let literary critics run things. She says we should just teach writing, period, free of democratic ideals.
Wednesday, February 3, 2010
Zombies, Malls, and the Consumerism Debate: George Romero's Dawn of the Dead
by Stephen Harper
Romero says that malls and a consumer culture make us into zombies.
Romero says that malls and a consumer culture make us into zombies.
Tuesday, February 2, 2010
Raising the Dead
by Kyle Bishop in http://heldref-publications.metapress.com/media/6a86qnuqypdxfqqyhnr2/contributions/3/4/6/k/346k07hv3887qrhn.pdf
An examination of why zombies fascinate us. Goes into history: from actual Voudan practice to the film WHite Zombie, then pulp comics, then Romero.
Zombies reflect our fear that deep down we are nothing but appetite. They are uncanny in Freudian sense because they are dead, and yet they move. They sometimes have the faces of our friends and family who have been turned.
They are essentially cinematic because they are so graphic.
An examination of why zombies fascinate us. Goes into history: from actual Voudan practice to the film WHite Zombie, then pulp comics, then Romero.
Zombies reflect our fear that deep down we are nothing but appetite. They are uncanny in Freudian sense because they are dead, and yet they move. They sometimes have the faces of our friends and family who have been turned.
They are essentially cinematic because they are so graphic.
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