Computers and Composition
Volume 25, Number 1
Table of Contents
Number of articles: 7
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Digital Divide 2.0: “Generation M” and Online Social Networking Sites in the Composition Classroom
Stephanie Vie
The digital divide has been largely theorized as a problem of access. Compositionists have attempted to move beyond a binary view of technology access in examining the digital divide and in doing... More
pp. 9-23
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“What South Park Character Are You?”: Popular Culture, Literacy, and Online Performances of Identity
Bronwyn Williams
In this essay, I study MySpace and Facebook pages, as well as interviews with the university students who created them, in order to address how online literacy practices of contemporary convergence... More
pp. 24-39
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The Low Bridge to High Benefits: Entry-Level Multimedia, Literacies, and Motivation
Daniel Anderson
Low-bridge approaches to multimedia in the writing classroom rely on familiar literacies, free consumer-level software, and remix uses of materials to facilitate student production of new media... More
pp. 40-60
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Portable Composition: iTunes University and Networked Pedagogies
Alex Reid
The development of mobile, convergent media networks is altering the context of professional, educational, and everyday communication. This essay examines the incorporation of iTunes University... More
pp. 61-78
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Media Convergence: Grand Theft Audio: Negotiating Copyright as Composers
Dànielle Nicole DeVoss & Suzanne Webb
Today, writing often requires composers to draw upon multiple modes of meaning making. Today's computers and robust networks allow writers to choreograph audio, video, other visual elements, text, ... More
pp. 79-103
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Ethical and legal issues for writing researchers in an age of media convergence
Heidi A. McKee
With the convergence of digital media into ever-widening social and technological networks for creation and distribution, the contexts for writing and the study of writing and writers have... More
pp. 104-122
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Response to Thomas Skeen's “constructing essentialism” : Computers and Composition and the “risk of essence”
Kristine Blair
pp. 130-133