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ABSTRACTAlthough most instructors care deeply about student writing, they often give little attention to the part of the writing process over which they maintain complete control: the assignment itself. Yet, the written prompt that we distribute is often where student confusion (and confused writing) begins. Using Bloom's taxonomy as inspiration, we offer instructors a typology directly linked to course objectives, which we believe can be readily understood by student writers.

Is there a difference between writing by men and that produced by women? What does that difference look like? What about writing by non-binary individuals? Aimee Armande Wilson surveys critical responses to these questions (including ones from Gloria Anzaldúa, Judith Butler, Hélène Cixous, Elaine Showalter, and Alice Walker) before moving into a discussion of the most important factor affecting writing in the twenty-first century, the internet. More specifically, Wilson considers electronic writing, blogs, and social media using the theories of Anne Balsamo, Donna Haraway, Katherine Hayles, and Sherry Turkle. Although the intensely personal, confessional style that characterizes most blogs and social media posts is practically synonymous with many people's understanding of "women's writing" (for right or wrong), blogs and social media posts are nevertheless designed to be public, and often with political intent. These genres therefore necessitate new answers to old questions about privacy, power, style, and gender.

As writing classrooms may be the primary locations where students' military experiences are shared, writing instructors bear special ethical responsibility when teaching veterans. A discussion of research conducted with the support of a Conference on College Composition and Communications (CCCC) Research Initiative Grant, investigating the demographics of Post-9/11 military veterans who are entering college writing courses.

Prefaces was the last of four books by Søren Kierkegaard to appear within two weeks in June 1844. Three Upbuilding Discourses and Philosophical Fragments were published first, followed by The Concept of Anxiety and its companion--published on the same day--the comically ironic Prefaces. Presented as a set of prefaces without a book to follow, this work is a satire on literary life in nineteenth-century Copenhagen, a lampoon of Danish Hegelianism, and a prefiguring of Kierkegaard's final collision with Danish Christendom. Shortly after publishing Prefaces, Kierkegaard began to prepare Writing Sampler as a sequel. Writing Sampler considers the same themes taken up in Prefaces but in yet a more ironical and satirical vein. Although Writing Sampler remained unpublished during his lifetime, it is presented here as Kierkegaard originally envisioned it, in the company of Prefaces.

Early Polemical Writings covers the young Kierkegaard's works from 1834 through 1838. His authorship begins, as it was destined to end, with polemic. Kierkegaard's first published article touches on the theme of women's emancipation, and the other articles from his student years deal with freedom of the press. Modern readers can see the seeds of Kierkegaard's future career these early pieces. In "From the Papers of One Still Living," his review of Hans Christian Andersen's novel Only a Fiddler, Kierkegaard rejects the notion that environment is decisive in determining the fate of genius. He also puts forward his belief that each person needs a life-view or life for which and by which to live, a thought he explores further in the comic play The Battle between the Old and the New Soap-Cellars

Early Polemical Writings covers the young Kierkegaard's works from 1834 through 1838. His authorship begins, as it was destined to end, with polemic. Kierkegaard's first published article touches on the theme of women's emancipation, and the other articles from his student years deal with freedom of the press. Modern readers can see the seeds of Kierkegaard's future career these early pieces. In "From the Papers of One Still Living," his review of Hans Christian Andersen's novel Only a Fiddler, Kierkegaard rejects the notion that environment is decisive in determining the fate of genius. He also puts forward his belief that each person needs a life-view or life for which and by which to live, a thought he explores further in the comic play The Battle between the Old and the New Soap-Cellars.

Das Writing Fellow-Programm wurde an Schreibzentren in den USA zur Förderung wissenschaftlicher Schreibkompetenzen entwickelt. Seit einigen Jahren wird es auch in den Schreibzentren deutscher Universitäten eingesetzt. Nach ihrer Ausbildung zum Writing Fellow geben die studentischen Tutor:innen Textfeedback an Studierende, begleiten Fachseminare und tragen dazu bei, dass die Studierenden Strategien im wissenschaftlichen Schreiben entwickeln und erfolgreich anwenden. Gleichzeitig erarbeiten sie zusammen mit den Lehrenden Erwartungen und Bewertungskriterien für die Seminararbeiten und nehmen so eine Brückenfunktion ein. Die Autor:innen haben die Effekte des Programms auf das Schreibverhalten der Studierenden erforscht und stellen ihre Ergebnisse in diesem Band vor. Das Buch dient als Anleitung zur Einführung und Umsetzung des Programms in der Praxis und enthält didaktische Materialien, die Hochschulen bei dessen Einführung unterstützen. In einem Gastbeitrag beleuchtet Tobias Jenert die Chancen und Herausforderungen des Innovationstransfers an Hochschulen. Das vorliegende Handbuch für Writing Fellows bringt den angehenden Fellows die Inhalte und Ziele des Writing Fellow-Programms nahe. Es bietet Hilfestellung in der Kommunikation mit Lehrenden sowie Studierenden, gibt Tipps zu schriftlichem Feedback wie auch zur Schreibberatung und liefert Beispiele für das Design von Schreibaufgaben.

Writing is key in anthropology, as one of its main modes of communication. Teaching, research, publications, and outreach all build on, or consist of, writing. This entry traces how anthropological writing styles have evolved over time according to changing politics in the discipline. It starts out in the late nineteenth century, showing how early writings in the discipline aimed to be objective. While writing anthropology in a literary mode goes a long way back, it was not until the 1970s that writing began to be collectively acknowledged as a craft to be cultivated in the discipline. This led to a boom of experimental ethnographic writing from the 1980s, as part of the 'writing culture' debate. The idea behind experimental narratives was that they might convey social life more accurately than conventional academic writing. Today, literary production and culture continue to be a source of inspiration for anthropologists, as well as a topic of study. Anthropological writing ranges from creative nonfiction to memoirs, journalism, and travel writing. Writing in such non-academic genres can be a way to make anthropological approaches and findings more widely known, and can inspire academic writing to become more accessible. Recent developments in anthropological writings include collaborative text production with interlocutors and artists. However, the tendency for experimentation is also held in check, as publishing in academic publication formats and featuring in citation indices is crucial for anthropologists' careers. Still, as our writing moves increasingly online, there is a growth of flexible formats for publishing, including online books, essays on current affairs, and conversations in journals. ; The Cambridge Encyclopedia of Anthropology (CEA) is an open-access teaching and learning resource.

There is no law making without law writing. Creating an act of law means organizing (coding) a rule into a strictly designed form. That form and the knowledge of coding allows a reader to extract rules from statues. The knowledge necessary for law writing includes but is not limited to the following elements of acts of law: statues, directives, editing, text structure, rules for amending and unifying etc. Development of legislative techniques and quality control in law writing are necessary to provide high quality law that citizens can trust.

The Teaching Writing series publishes user-friendly writing guides penned by authors with publishing records in their subject matter. While ethnographers inevitably write up their findings from the field, many ethnography textbooks focus more on the 'ethno' portion of our craft, and less on developing our 'graph'skills. Gullion fills that gap, helping ethnographers write compelling, authentic stories about their fieldwork. From putting the first few words on the page, to developing a plot line, to publishing, Writing Ethnography offers guidance for all stages of the writing process. Writing prompts throughout the book encourage the development of manuscripts from start to finish. Appropriate for both new and emerging scholars, Writing Ethnography is a useful text for qualitative methods, research methods courses across disciplines