THE DISSERTATION

"By recognizing, examining, and validating the labor of our own bodied pedagogies, we have an opportunity to critically value the ways in which we teach with feeling."

My research focuses on writing and composition as a bodied, sensory, and emotive practice, one that informs how we write as well as how we teach writing. While embodied composition appears as a well accepted, and in some cases, common sense approach to writing for scholars and teachers, the discomfort and hesitation to discuss how emotions, sensory conditions, and affect influence our writing processes, even our pedagogy, hinders opportunities for revision. My dissertation, "Teaching With Feeling: An Analysis of Embodied Pedagogies in a First-Year Writing Classroom," sketches a better understanding for how writers and teachers of writing encounter composition as a materially and sensory diverse activity, making visible those mediations which center and value who we are as bodied thinkers, crafters, and teachers. While my focus is the emotional and material experience of composing, my research hopes to bring the concerns of the classroom as it is experienced to administration and scholarship.

Dissertation Overview

Under the direction and guidance of Dr. Chris Anson and Dr. Zachary Beare, I have developed as a researcher, teacher, and storyteller. Guided by a focus on First-Year Writing faculty, their classroom, their students, and mediated encounters within their writing classroom, I am contributing to the development of our theoretical orientations to writing as a richly material, affective, and sensory process.

My dissertation thickens the relationship between writing pedagogy, mediated experiences of learning, and materials used to teach and to compose. 

My close analysis of audio and video captured data offers a glimpse into the college writing classroom at NC State University. This perspective, paired with the insights of instructors themselves, gives shape to how we might not only better understand composition as material and the classroom as affective, but also how we as teachers of writing make more visible, or less visible, the corporeal processes of composing and teaching.