Teaching writing: pedagogy, gender, and equity by Cynthia L. Caywood, Gilian R. Overing

By Cynthia L. Caywood, Gilian R. Overing

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The teacher, while she must eventually move into the role of evaluator, is more of a collaborator with the student in his struggle for "fluency," a term which includes generating ideas and information, selecting, focusing, getting started, composing, communicating, and correcting. When the teacher moves into the role of evaluator, her "ideal texts" are formed by both the experiences of the students and her authority as a more practiced and knowledgeable member of the learning community. Just as process subsumes the principles of product into a larger definition of what writing is, the feminist restructuring of cultural models urges the same subsuming of exclusive masculinist aesthetics into larger conceptual frameworks that can include the full range of all human experience.

These private acts of writing and their exclusion from the public domain, or in this case, publication, are parallel to the suppression of the composing self necessitated by the product model. Feminist critics have also pushed this exploration of women's silence into the area of linguistic space, claiming that not only discourse forms but language itself are exclusive. The model of writing as a process is less rigidly structured. Much more emphasis is given to the act of writing, to both revealing and examining the private process of discovery.

In recent feminist literary criticism, attention is beginning Page 13 to turn toward describing a new and experimental "women's style," as well as looking at the precursors of that style as Gertrude Stein. " with a qualified yes. 4 In a paper I presented at the National Women's Studies Association Conference in June, 1984, I talked about the politics of style of twentieth century feminist essayists like Woolf, Meridel LeSueur, and Adrienne Rich, particularly in relation to the tension of writing for more than one audience (Annas, "Style as Politics").

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