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Collaborative Practices
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Cross-Cultural BibliographyAllaei, Sara and Ulla Maija Connor. “Exploring the Dynamics of Cross-Cultural Collaboration in Writing Classrooms.” The Writing Instructor 10.1 (1990): 19–28.
A reflective case study that describes the interaction of culturally dissimilar students in a writing course. Used primarily as a means to illustrate the varied and potentially incongruous cultures in a writing classroom.
Bruffee, Kenneth. “Collaborative Learning and the Conversation of Mankind.” Cross-Talk in Comp Theory. Ed. Victor Villanueva. 2nd ed. Urbana, IL: NCTE Press, 2003. 415–436.
A seminal work that explores the relationship between conversation, the nature of knowledge and thought, and the construction of knowledge. Referenced to illustrate the connection between social interaction and improved individual writing.
Elbow, Peter. “Using the Collage for Collaborative Writing.” Composition Studies 27.1 (1999): 7–14.
A brief piece that describes the author’s model for productive collaborative writing projects. Cited to illustrate the practice of silencing cultural minorities in the classroom, as well as strengthen the connection between peer dissension and improved solo writing.
Fox, Thomas. “Race and Gender in Collaborative Learning.” Writing With: New Directions in Collaborative Teaching, Learning, and Research. Ed. Sally Barr Reagan, Thomas Fox, and David Bleich. Albany, NY: SUNY P, 1994. 111–22.
A work (with concrete examples) depicting the difficulties faced by cultural minorities and women in composition classes. Used to describe the recreation of skewed socio-political power relationships in the classroom.
Hairston, Maxine. “Diversity, Ideology, and Teaching Writing.” Cross-Talk in Comp Theory. Ed. Victor Villanueva. 2nd ed. Urbana, IL: NCTE Press, 2003. 697–713.
A work that details the importance of diversity in writing classes. Used to show the role of culture in the construction of identity, and the importance of communication in fostering multi-cultural growth and recognition.
Matsuda, Paul Kei and Tony Silva. “Cross-Cultural Composition: Mediated Integration of U.S. and International Students.” Composition Studies 27.1 (1999): 15–29.
This piece details the construction and implementation of a cross-cultural composition course. Used to describe illustrate the pedagogy, challenges, and benefits of a cross-cultural writing course.
Powell, Malea. “Blood and Scholarship: One Mixed Blood’s Story.” Race, Rhetoric, and Reality. Ed. Keith Gilyard. Portsmouth: Boynton/Cook, 1999. 1–16.
This piece is a self-reflexive account of the challenges faced by the author as a Native American and compositionist. Used to show the Euro-centric nature of the academy.
Pratt, Mary Louise. “Arts of the Contact Zone.” Profession 91. NY: MLA, 1991. 33–40.
A pivotal work that typifies the writing classroom as a place where “cultures meet, clash, and grapple with each other, often in the context of highly asymmetrical relations of power” (34). Referenced to show the dynamic and challenging nature of basic writing classes.
Trimbur, John. “Consensus and Difference in Collaborative Learning.” Cross-Talk in Comp Theory. Ed. Victor Villanueva. 2nd ed. Urbana, IL: NCTE Press, 2003. 461–478.
This piece explores the themes of dissensus and the collective investigation of differences to ensure equitable collaborative learning. Cited to introduce the notion of unbiased collaboration, or “a heterotopia of voices—a heterogeneity without hierarchy” (477).
Uehling, Karen. “The Conference on Basic Writing, 1980–2005.” The Bedford Bibliography for Teachers of Basic Writing.” Ed. Linda Adler-Kassner and Gregory R. Glau. NY: Bedford, 2005. 8–23.
A retrospective piece that details the formation and development of the Conference on Basic Writing. Cited to illustrate the typically high degree of diversity in basic writing courses.
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