In Rehearsing New Roles: How College Students Develop as Writers, Lee Ann Carroll argues for a developmental perspective to counter the fantasy held by many college faculty that students should, or could, be taught to write once so that ever after, they can write effectively on any topic, any place, any time. Carroll demonstrates in this volume why a one- or two-semester, first-year course in writing cannot meet all the needs of even more experienced writers. She then shows how students’ complex literacy skills develop slowly, often idiosyncratically, over the course of their college years, as they choose or are coerced to take on new roles as writers. As evidence, Carroll offers a longitudinal study of a group of students and the literacy environment they experienced in a midsize, independent university. Her study follows the experiences that altered their conception of writing in college and fostered their growing capacities as writers. Carroll’s analysis of the data collected supports a limited but still useful role for first-year composition, demonstrates how students do learn to write differently across the curriculum in ways that may or may not be recognized by faculty, and evaluates the teaching and learning practices that promote or constrain students’ development.
... Natalie Miyar, Howard Morgan, Peter Morgan, Nick Morriss, Lady Mountbatten, James Murray, John Julius Norwich (2nd Viscount), Columbus O'Donnell, Charlie Ottley, Stephen Overy, Sara Parker Bowles, César Pelli, Prudence Penn, ...
can 17 the woman she knew as her aunt - requires her to play a new role in relation to her former servants . ... The Davises initially reject this proposal ; they prefer to continue rehearsing the roles of servant and mistress to which ...
... could weigh in from New York. With Hyman's input, the director then made final decisions as to who would play which role. The reader can see the final cast and crew in Table 1. Rehearsals and Production may As the intention of The ...
acting performances of, 116, 117, 122, 125, [27, 139 background and early career, 137 non-theatre employment of, 142 as stage and acting manager, 134, 137 Roberts, J. B. (juggler), 74 Robertson, Agnes (Boucicault, Mrs. Dion), 107—8, ...
For the first time since rehearsals began, the Remington Theater felt safe and comfortable to Nancy. Zoe and Kate were nowhere to be seen. Bess was comfortable in her new role. Nancy was even starting to enjoy playing the maid.
No one has to “own” the secrets, or reveal the password, or shoulder the entire burden of saying something true. The fifth chapter of Mark, as the repertory church showed me, is a brilliant place to look for new role models.
that they should not invent new lines when they got there, whether for comic effect or to bridge the gaps in their memory. At a time when any given actor might well be rehearsing three new roles a week, such reminders were unfortunately ...
Sharma, A., Kramer, M., Wick, P.F., Liu, D., Chari, S., Shim, S., Tan, W.-B., Ouellette, D., Nagata, M., DuRand, C., Kotb, M. and Deth, R.C.: Dopamine D4 receptor-mediated methylation of membrane phospholipids and its implications for ...
accommodate the larger grouping, but you must also predict where the singer will continue. His pickup to m. 3 is only an eighth note, again insufficient for you to fully prep the larger group. Here you think along with the singer; ...
New York: Penguin, 1987. Print. Carey, Kevin. “Who Will Hold Colleges Accountable?” 9 December. New York Times. 2012. Print. Carroll, Lee Ann. Rehearsing New Roles: How College Students Develop as Writers. Carbondale: Southern Illinois ...