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The Making of an Avant-Garde Composition: Intersections of Composition Theory and Innovative Poetics, explores how current discussions in the field of Composition and Rhetoric intersect with the theories and practices of select members of the avant-garde poetry community, focusing on the issues of genre, identity, and language. It examines each of these issues by juxtaposing discussions of leading Composition and Rhetoric scholars with creative and critical work of avant-garde poets, identifying common concerns, and describing diverse approaches to creating innovative writing practices. It demonstrates the connections between Theresa Hak Kyung Cha's multilingual text, DICTEE, and recent scholarship by Min-Zhan Lu and A. Suresh Canagarajah on multilingual student writers in order to argue for more discussion of language politics and linguistic awareness in the composition classroom. It also outlines the connections between Harryette Mullen's creative and critical work and scholarship by Donna LeCourt and Roz Ivanic on writer identity to explore new approaches to interpreting and responding to student texts. Finally, it reads Susan Howe's The Midnight in conversation with leading genre theorists such as Amy Devitt and compositionists such as Robert Davis and Mark Shadle who argue for assigning multigenre papers. / English

Depuis une vingtaine d’années, la didactique de l’écrit enrichit ses réflexions et ses pratiques par les recherches menées notamment en sciences du langage et en génétique textuelle (Fabre, 1990 ; Doquet, 2011 ; Chiss, 2012). Ces travaux, qui envisagent l’écriture dans sa dynamique scripturale, s’interrogent sur la façon dont se construit l’écriture en acte (Fénoglio & Chanquoy, 2007). En effet, après les travaux de J. Derrida (1967) et de J. Goody (1977/1979), qui ont destitué l’hégémonie de la pensée logocentriste, nous ne pouvons plus réduire l’écriture à un code second, comme double représentation de la pensée et du langage qui l’oralise. L’écriture, par ses fonctions spécifiques, tisse des liens étroits avec la mémoire, à la fois par l’activation anamnésique et par l’usage averti des artefacts hypomnésiques (instrument graphique et support). Ce double jeu de la mémoire (anamnèse et hypomnèse), qui répond à celui de l’écriture, permet le passage au scriptural en orchestrant une chaîne qui, de façon symbolique, réunit voix et écriture et ouvre ainsi des espaces d’inscription du sujet écrivant. Cette réflexion épistémologique a nourri l’élaboration de séquences didactiques expérimentales favorisant le passage à l’écriture d’adultes migrants, sous la forme d’ateliers d’écriture, qui s’inscrivent dans l’introduction didactique des Arts du Langage (Meschonnic, 1982 ; Auger & Pierra, 2006 ; Aden, 2008) dans des contextes d’enseignement-apprentissage de français langue seconde (FLS). Ce dispositif a permis de construire un corpus de 74 textes manuscrits, recueillis en observation participante, en contexte associatif. L’analyse qualitative des données, en mobilisant les outils théoriques et méthodologiques de l’analyse du discours et de la génétique textuelle, s’est organisée autour d’une triple mise en perspective des notions de passage et d’écriture. L’examen des traces graphiques permet en effet de mettre au jour (1) les stratégies d’entrée des scripteurs dans l’écriture en FLS, (2) les retours sur le déjà écrit, notamment par le biais des ratures, qui donnent à voir une dialogisation interne (Bres, 1988) inhérente à la mise en écriture et (3) l’émergence des souvenirs reconstruisant le parcours migratoire, créant ainsi une écriture du passage. / For the last twenty years, writing pedagogy has been enriched in reflection and practice by research, most notably, from linguistics and genetic criticism (Fabre, 1990; Doquet, 2011; Chiss, 2012). These studies, which consider writing within its scriptural dynamic, have examined the construction of the act of writing (Fénoglio & Chanquoy, 2007). In light of the contributions of J. Derrida (1967) and J. Goody (1977/1979), who dismissed the hegemony of logocentric thought, writing can effectively no longer be reduced to a secondary code, a dual representation of thought and the language that gives voice to it. With its specific functions, writing is intertwined with memory, both through anamnesic activation and the informed use of hypomnesic artifacts (writing instruments and media). The double memory game (anamnesis and hypomnesis), which contributes to the process of writing, enables the transition to the written mode by orchestrating a chain that, in a symbolic way, links voice and writing and thus opens inscriptional spaces for the writing subject. This epistemological refection supported the development of experimental instructional sessions, which took the form of writing workshops, designed to support migrant adults’ transition to writing. The workshops were implemented as part of a broader introduction to the language arts (Meschonnic, 1982; Auger & Pierra, 2006; Aden, 2008) in contexts of teaching and learning French as a second language (FSL). This arrangement allowed for the construction of a corpus of 74 textual manuscripts, collected by means of participant observation in the context of volunteer work. The qualitative analysis of data, examined through the application of theory and methods from discourse analysis and textual genetics, was organized around a three-pronged approach to the notions of transition and writing. The examination of graphic marks makes it possible to uncover (1) the initial strategies of FLS writers, (2) their reconsideration of previously written text, notably by means of deletions, which reveal inner dialogism (Bres, 1988) inherent to the production of writing, and (3) the emergence of memories that reconstruct the migrant experience, and which constitute writing in transition.

Denna uppsats handlar om hur digitala verktyg praktiskt kan implementeras under skrivprocessen vid undervisning av hur man skriver en argumenterande text. Vidare har studien även som avsikt att ta reda på elevernas åsikter kring att använda digitala verktyg under skrivprocessen. För att uppnå detta syfte genomfördes en designbaserad aktionsstudie som bestod av en intervention där en lektionsserie på sju lektioner observerades samt efterföljande fokusgruppsintervjuer med de 14 deltagande eleverna. De digitala verktyg som interventionen ämnade att testa var Mural, PowerPoint och ChatGPT. Resultatet utifrån observationen av interventionen och intervjuerna tyder på att digitala verktyg kan användas som stöd under skrivprocessen men att eleverna behöver mer övning, mer tid och tydligare instruktioner. Detta gäller framförallt vid användandet av digitala verktyg som är nya för eleverna. Även tekniska strul är något som studiens resultat visar är något som lärare bör ha i åtanke vid användning av digitala verktyg vid processorienterad skrivundervisning. Överlag indikerar resultatet av studien att lärare bör inkludera digitala verktyg vid processorienterad skrivundervisning men att mer tid och kunskap krävs för att kunna implementera dem på bästa sätt. / This essay is about how digital tools practically can be implemented during the writing process when teaching how to write argumentative texts. Furthermore, the study also has the intention to find out the students’ opinions about using digital tools during the writing process. In order to achieve this aim a design based action research study, that consisted of an intervention where seven lessons was observed and follow up focus group interviews with the 14 participating students, was conducted. The digitals tools that the intervention aimed to test were Mural, PowerPoint and ChatGPT. The results based on the observation of the intervention and the interviews indicate that digital tools can be used as support during the writing process, but that the students need more practice, more time and clearer instructions. This especially applies when digital tools that are new to the students are being used. Technical issues are also something that the result of this study shows is something that teachers should keep in mind when using digital tools to teach writing. Overall, the study’s result indicates that teachers should include digital tools when teaching writing in a process-oriented manner but that more time and knowledge is needed to implement them in the best way.

Indiana University-Purdue University Indianapolis (IUPUI) / Beyond the boundaries of the classroom, the idea of emancipatory authority is a worldview which encourages the empowerment of the public to embrace different roles of authority, and take action as members of the local, regional, and global community. Within the classroom, emancipatory authority provides students and teachers with opportunities to create an atmosphere where both parties take responsibility for the development of education in one community, as well as creating a diverse environment where voices and ideas blend, and without the traditional classroom hierarchy.

This licentiate thesis investigates fiction writing and reading in up- per secondary school in Sweden. Inspired by fanfiction I created a teaching project of derivative writing in which the students in a se- cond-year social science class wrote short stories derived from 20th century novels. They also gave peer response, both orally and in writing. Finally they wrote a reflective text about the project. The main purpose of the study is to describe and analyse the teaching project. The primary material is the students’ short sto- ries. Drawing from theories of intertextuality, most notably Genette’s transtextuality theory and fanfiction theories, I analyse how the students make use of the source text. Theories of narratology have been used to analyse techniques of storytelling, mainly characterization and focalization. In the analysis of the stu- dents’ written comments on each other’s texts I draw from re- sponse theories. The results show that the students tend to stay close to the source texts. The most common subgenre is refocalization, that is to change the perspective to one of the secondary characters’ view. Refocalization seems to be an efficient way of deepening the under- standing of the main character of the source text; in many of the students’ stories the protagonist functions as the focalized object. Which novel the students read plays an important part in how fo- calization is expressed, however. Short stories based on novels with complex focalization tend to be focalized in a variety of ways whereas stories based on novels with fixed focalization mostly fol- low the pattern of the source text. Reading the short stories and, not least, the reflective texts it becomes evident that the characters  are extremely important in this kind of literature, more so than semiotic theories of characters have acknowledged; the characters are more than merely functions. In the chapter about peer response I argue that many students write analyses of the text they are about to respond to rather than give advice about how to proceed. It is difficult to see if the response is of any help to the writer. Thus, I question whether peer response has any other effect than strength- ening the social bonds between the group members. The study shows that creative writing could very well be an in- tegral part of the education in Swedish in upper secondary school. Derivative writing may function as an alternative to traditional lit- erary analyses. Refocalizing is a way of seeing the story from a dif- ferent viewpoint, which could enhance the students’ sense of empa- thy. Questions of focalization might also lead to discussions of power. Furthermore, creative writing may make the students more attentive as writers. In the new syllabus Gy 11, however, the op- portunities for working with creative writing are, unfortunately, limited.

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