I was wondering what you thought about the broadened definition
of writing I presented as a basis for pedagogy. I realize it's
(need one say?) useful & important to distinguish acts of writing
from oral performances, but wouldn't want to restrict a writing
pedagogy to the demands of on-line composition. Face-to-face is
very much a part of the context for writing. What do you
think?
Can you say more about how your "voice/presence/kairos triumvirate"
informs your pedagogy? I'm quite interested. What resources re:
performance studies do you draw on? And are you familiar
with the recent publication, _Performance & Cultural Politics_ edited
by Elin Diamond (Routledge; 1996)? I was wondering if critical
theory was implicated at all in your work, & if so, how so.
- Judy
At 09:26 AM 5/8/96 EDT, you wrote:
>Judy, I think I might just be defining voice and presence more broadly
>than a writing teacher would. Broad in the sense that I aim for a
>physical sense of self under the gaze of others (a frightening thing in
>the face-to-face context, less so when text, time and geography shield
>one from an audience), and a sensitivity to the processes whereby people
>match their implicit knowledge schemas. The various uses of language that
>a writing teacher might discuss to develop 'voice' and 'presence' are
>also applicable to a speaking situation, but the language itself is
>a minor part of what I'm teaching. Kairos is the third part of my voice/
>presence/kairos triumvirate; in speaking it has to be a real-time set of
>decisions, not something that can be done with those slow explicit processes
>that writing depends on.
>dale
>
>
>
Judy Diamondstone
Graduate School of Education
Rutgers, the State University of New Jersey
10 Seminary Place
New Brunswick, NJ 08903
diamonju who-is-at rci.rutgers.edu
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