For these reasons, instructors are continuously looking for ways to
respond efficiently to student work. Seasoned instructors have developed
systems that work well for them. We offer a few here:
Don't comment on everything. Tell students that in your
responses to a particular paper you intend to focus on their thesis
sentences and introductions, or their overall structure, or their use of
sources, etc. This method works particularly well in courses that
require students to do several papers. Instructors can, as the term
progresses, focus on different aspects of student writing.
Space or stagger deadlines so that you are not overwhelmed by
drafts. If the thought of grading eighteen essays in two or three days
is daunting, divide the class in half or into thirds and require
different due dates for different groups.
Use peer groups. Ask students to meet outside of class (or
virtually, on the Blackboard discussion board) to talk with one another
about their papers. Peer groups work best when you've modeled the
critiquing process in class, and when you provide students with models
or guidelines for critiquing. See our page on Collaborative Learning for
a fuller discussion.
Ask for a Writing Assistant. The Writing Assistant reviews drafts of
papers and makes extensive comments. Students benefit by having an
additional reader; instructors benefit because they get better papers.
If you'd like more information about using a Writing Assistant in your
course, contact Stephanie
Boone, Director of Student Writing Support.
Berylaube 00 on 15 Jul 12"Ecstatic Alphabets/Heaps of Language brings together historical and contemporary works of art that treat language not merely as a system of communication governed by grammatical rules and assigned meanings, but as a material that can be manipulated with creative freedom, like paint, clay, or any other artistic medium. The exhibition is divided into two sections. The first is a historical overview of 20th-century art that experiments with the graphic, sonic, and kinetic possibilities of letters and words. With a few notable exceptions, these works are confined to the two-dimensional parameters of a page. The second section presents an installation of contemporary works, most of which do away with the page; some do away with writing altogether. The artist and poet Emmett Williams observed that "the poem as picture is as old as the hills," citing its beginnings in hieroglyphics,"
