Design Discourse - Composing and Revising Programs in Professional and Technical Writing, 2010a
Design Discourse - Composing and Revising Programs in Professional and Technical Writing, 2010a Design Discourse - Composing and Revising Programs in Professional and Technical Writing, 2010a
Henze, Sharer, and Tovey Prior to our proposal for an RSPW curriculum, the consensus among a significant segment of the faculty for several semesters had been that we needed to reevaluate and reconfigure our undergraduate major and consider possible changes, particularly to the overburdened and perhaps overly specific core. The reasons for such a reconfiguration were several: 1. Use of faculty strengths: The course options in the existing curriculum did not take advantage of the department’s growing number of faculty (fifteen at the time of this writing) with strengths in technical and professional writing, discourse analysis, linguistics, and rhetoric and composition, particularly at the upper-division undergraduate level. For example, faculty specialists in rhetoric and composition had only one upper-division course at the undergraduate level: English 3810: Advanced Composition. 2. Recognition of disciplinary diversity: The limited selection of core and elective courses in these areas reflected a lack of recognition and value for these areas in the undergraduate curriculum. 3. Response to student course needs: The selection of writing courses was heavily weighted toward creative writing and did not address the needs of students in the writing concentration who were not interested in creative writing. Creative writing workshops—two each in poetry, fiction, playwriting, and creative nonfiction—offered a variety of writing experiences for those interested, but there was a noticeable absence of courses in rhetorical theory and composition studies. Other “non-creative” writing courses included two services courses, business writing and scientific writing (both grandfathered in when the WAC program established writing requirements in all disciplines), and only three courses created especially for professional writing: editing, publications development, and internships. 4. Coordination of departmental programs: The undergraduate curriculum was not clearly coordinated with the graduate curriculum. We believed that our strong MA program in professional and technical communication would be enhanced by a strong BA in writing, as would the department’s PhD program in Technical and Professional Discourse. This PhD program includes three focus areas: technical and professional communication, writing studies and pedagogy, and discourses and cultures. While the third area—discourses and cultures—was represented in several of the department’s literature 66
Disciplinary Identities courses, the first two areas and the study of linguistics (an important component of the third area) lacked a strong emphasis in the undergraduate major. In response to these situations, we proposed a curriculum that decreased the number of required (core) courses, created new courses in both rhetorical studies and professional writing, and provided more flexibility for students: 2004-2005 ba in english (36 s.h.) Concentration in English 2000. Interpreting Literature 3000. Lit in English to 1700 3010. Lit in English, 1700-1880 3020. Lit in English, 1880-Present Concentration in Writing 2000. Interpreting Literature 3000. Lit in English to 1700 3010. Lit in English, 1700-1880 3020. Lit in English, 1880-Present One SHAKESPEARE (Comedies, Histories, or Tragedies) One SHAKESPEARE (Comedies, Histories, or Tragedies) One course in LANGUAGE or COMPOSITION (includes courses in linguistics, composition, and creative writing, but not prof comm) Six courses in WRITING (includes courses in composition, prof comm, and creative writing) Six ENGLISH ELECTIVES (excludes writing courses) One ENGLISH ELECTIVE (excludes writing courses) figure 2a: comparison of 2004-2005 and proposed bachelor of arts curricula in english 67
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Henze, Sharer, <strong>and</strong> Tovey<br />
Prior to our proposal for an RSPW curriculum, the consensus among a significant<br />
segment of the faculty for several semesters had been that we needed<br />
to reevaluate <strong>and</strong> reconfigure our undergraduate major <strong>and</strong> consider possible<br />
changes, particularly to the overburdened <strong>and</strong> perhaps overly specific core. The<br />
reasons for such a reconfiguration were several:<br />
1. Use of faculty strengths: The course options <strong>in</strong> the exist<strong>in</strong>g curriculum did<br />
not take advantage of the department’s grow<strong>in</strong>g number of faculty (fifteen at<br />
the time of this writ<strong>in</strong>g) with strengths <strong>in</strong> technical <strong>and</strong> professional writ<strong>in</strong>g,<br />
discourse analysis, l<strong>in</strong>guistics, <strong>and</strong> rhetoric <strong>and</strong> composition, particularly at<br />
the upper-division undergraduate level. For example, faculty specialists <strong>in</strong><br />
rhetoric <strong>and</strong> composition had only one upper-division course at the undergraduate<br />
level: English 3810: Advanced Composition.<br />
2. Recognition of discipl<strong>in</strong>ary diversity: The limited selection of core <strong>and</strong><br />
elective courses <strong>in</strong> these areas reflected a lack of recognition <strong>and</strong> value for<br />
these areas <strong>in</strong> the undergraduate curriculum.<br />
3. Response to student course needs: The selection of writ<strong>in</strong>g courses was<br />
heavily weighted toward creative writ<strong>in</strong>g <strong>and</strong> did not address the needs<br />
of students <strong>in</strong> the writ<strong>in</strong>g concentration who were not <strong>in</strong>terested <strong>in</strong> creative<br />
writ<strong>in</strong>g. Creative writ<strong>in</strong>g workshops—two each <strong>in</strong> poetry, fiction,<br />
playwrit<strong>in</strong>g, <strong>and</strong> creative nonfiction—offered a variety of writ<strong>in</strong>g experiences<br />
for those <strong>in</strong>terested, but there was a noticeable absence of courses <strong>in</strong><br />
rhetorical theory <strong>and</strong> composition studies. Other “non-creative” writ<strong>in</strong>g<br />
courses <strong>in</strong>cluded two services courses, bus<strong>in</strong>ess writ<strong>in</strong>g <strong>and</strong> scientific writ<strong>in</strong>g<br />
(both gr<strong>and</strong>fathered <strong>in</strong> when the WAC program established writ<strong>in</strong>g requirements<br />
<strong>in</strong> all discipl<strong>in</strong>es), <strong>and</strong> only three courses created especially for<br />
professional writ<strong>in</strong>g: edit<strong>in</strong>g, publications development, <strong>and</strong> <strong>in</strong>ternships.<br />
4. Coord<strong>in</strong>ation of departmental programs: The undergraduate curriculum<br />
was not clearly coord<strong>in</strong>ated with the graduate curriculum. We believed that<br />
our strong MA program <strong>in</strong> professional <strong>and</strong> technical communication would<br />
be enhanced by a strong BA <strong>in</strong> writ<strong>in</strong>g, as would the department’s PhD program<br />
<strong>in</strong> <strong>Technical</strong> <strong>and</strong> <strong>Professional</strong> <strong>Discourse</strong>. This PhD program <strong>in</strong>cludes<br />
three focus areas: technical <strong>and</strong> professional communication, writ<strong>in</strong>g studies<br />
<strong>and</strong> pedagogy, <strong>and</strong> discourses <strong>and</strong> cultures. While the third area—discourses<br />
<strong>and</strong> cultures—was represented <strong>in</strong> several of the department’s literature<br />
66