Conditions of Use
This book is intended specifically for teachers of writing. It discusses the practice of yoga in the writing classroom as one topic within the larger field contemplative pedagogy. While Wenger draws on a variety of sources in the field of... read more
This book is intended specifically for teachers of writing. It discusses the practice of yoga in the writing classroom as one topic within the larger field contemplative pedagogy. While Wenger draws on a variety of sources in the field of contemplative and embodied pedagogy, her book is the first of its kind to combine the fields of composition study and yoga practice/philosophy. As such, it has the onus of creating an initial framework and argument for why teachers of writing should consider adopting contemplative writing pedagogy in their classroom. The focus is heavily theoretical but features "inter-chapters" that attempt to offer practical application of the pedagogy with stories from the author's own writing seminar. Unfortunately, these sections, while offering stories from her classroom and some personal reflection, are not markedly different from the "regular" chapters in tone or approach. A couple of appendices offering brief exercises in asanas (yoga poses) and pranayama (breathing technique) are also included.
Wenger is clearly a writing teacher first and a yogi second. (Certified yoga teachers do the actual yoga teaching in her classroom). Because the author proves she is well-grounded in her own discipline and in the theoretical conversations around the idea of writing and embodiment, her discussion of teaching yoga as contemplative pedagogy is persuasive.
Contemplative pedagogy—using mindfulness techniques in the classroom—is becoming more common in higher education settings in general and in writing courses in particular, as teachers seek to engage their students in the practices of reflection and self-awareness that enhance students’ ability as writers. Composition studies has struggled with the idea of the writing subject, which was more or less done away with by postmodernist concepts of disembodied agency but which nevertheless lingered within feminist and multicultural perspectives on embodiment and the significance of individual experience. Wenger leans heavily on the work of feminist anthropologist Donna Haraway in finding middle ground through Haraway’s perspective on the “indeterminacy of materiality” and the “generative paradox” of embracing both. Few scholars have tried to traverse this chasm in composition studies, but Wenger’s attempt to do so makes contemplative pedagogy relevant for the majority of teachers of writing.
This book is intended primarily for teachers with a grounding in composition theory who have an interest in embodied pedagogical practice. For educators less versed in the field, the theory-intensive discussions will make for challenging but still intelligible reading.
The prose style, level of engagement with concepts, pacing of the author’s discussion, tone, and approach remain consistent throughout.
The book is divided into essentially 6 chapters (3 chapters plus “intercepters”) along with an introduction and conclusion. Inside each chapter are subheadings that make it somewhat easier to move through dense theoretical information in the teaching and practice of writing, mindfulness, and yoga. Even so, the background explanation and arguments are complex, and I did find myself wishing they could broken up more frequently. Since I read on a Kindle device, the font in the PDF was quite small and rarely included subheadings, or other visual dividers.
I found the subjects for the 3 main chapters unintuitive. The first chapter, “The Writing Yoga: Lessons for Embodied Change” made sense as the place to start. But the second chapter on personal presence and the third chapter on emotion ("situated feelings") did not seem to advance the basic argument for why we should teach yoga to writing students significantly beyond what the first chapter had already accomplished. I was puzzled by how much material seemed to be repeated, from the discussion of subjectivity (already thoroughly discussed in the introduction) to Haraway’s modified stance on situatedness (also discussed previously) and even to the author's discussion of her students’ writing and their response to yoga, the later chapters did not significantly add to what I felt I learned in Introduction and Chapter 1.
This is a criticism not only of this text but of the majority of texts I’ve encountered in OER. In general, there is little to no sense that the online environment requires an approach uniquely suited to a digital reading experience. Instead, this text is nothing but a digitized version of print. Few authors or publishers engage the medium for what it is has to offer, mostly because there are few discussions about the difference between print culture and digital culture. The former cannot simply be uploaded into a digital format. Or, rather, it can be but it shouldn’t be. To “upload” uncritically, with little concept of the possibilities for and responsibilities to readers’ experience is to dramatically limit the potential of this and any other text. OER seems not to recognize or capitalize on the distinction, primarily because most writers are not also skilled in design and digital culture. That is the role of publishers—hence, the glaring lack of the very features that would enhance reading.
No problems here.
In terms of “sensitivity” issues, the book is without flaw in addressing the topics of yoga, bodies, and embodiment. I did wonder, though—and this is related to some of my comments in the organization section—about a lack of (avoidance of?) subjects that I expected a book like this would address. The aforementioned topics would almost certainly lead to stickier questions related to bodies—things like trauma, abuse, disability, identity even just the subject of physical pain. Layer in the fact that the author is teaching post-secondary young adults, and it’s a surprise that the subjects of mental health, sexuality, and addiction are left unmentioned. The author does address body image and feminist perspectives a great deal, but it seems largely removed from the everyday experiences of what I would expect students to feel, and the examples she does give from the students’ blogs seem strikingly free of these subjects. Somehow, despite the intimacy of the practice of yoga and mindfulness in writing, the weightier cultural aspects of embodiment seem almost untouched.
The book is an important early contribution to the subject of yoga in the writing classroom.
I wouldn't necessarily say this was comprehensive, or not, as it focused on a specific kind of rhetorical and writing approach. From that standpoint - the one of yoga and meditation writing, it did a great job at addressing everything from... read more
I wouldn't necessarily say this was comprehensive, or not, as it focused on a specific kind of rhetorical and writing approach. From that standpoint - the one of yoga and meditation writing, it did a great job at addressing everything from disability incorporation to blogging to the mixture of Eastern vs. Western.
I didn't see errors anywhere. Even the citations looked spot on!
Yoga and writing are both fields where things are constantly updating. From new forms of yoga, to the latest trend in mindfulness, I think this book inherently has a precedent for eventually needing to be updated. That being said, it does appear to organized in a way where examples could be changed out, and information could be added at the end, as there are several appendices already.
This was very easy to read and follow. The PDF version didn't have hyperlinks in the TOC, which would've been nice.
I think the style remains consistent throughout!
This isn't so easy to be adapted into a modular text. While it does have headings and subchapters, it would likely need to be digested all at once. That being said, for snippets of information, including tips, or maybe a mini lesson on journaling/blogging, this would be a great addition to just read portions of.
I think this was organized in a good way!
The interface does have some issues, as noted above in the PDF. My only other wish would be to include more pictures, graphics, and examples. Not to mention, the images in the appendices for the yoga poses aren't the most visually friendly.
I didn't notice any issues.
I think this would be a toss-up depending on how people see it fitting into the larger narrative. Yoga is inherently bringing a non-American culture into the classroom, but the dichotomy of East vs. West is still a bit skewed towards changing the values of the western classroom. Additionally, some of the language, while backed up by quotes, isn't totally PC or reader friendly.
I think this books makes a good companion to mindfulness education practices. It does a good job at illustrating the sheer physical effort often neglected that is associated with writing, including staring, thinking, and sitting. It does a good job to put this into the context of emotions and breathing as they connect to writing, which can be used to be mindful in lieu of stretching or moving the physical body. I don't think this could serve as a single text book for a class, but it will make a lovely companion in my class where I often discuss these sort of alternative techniques to becoming a better writer.
Yoga Minds, Writing Bodies sits at the nexus of feminist theory, embodied writing, and contemplative pedagogy within the field of rhetoric and composition. Thorough attribution and citation practice, extensive endnotes and bibliography, Wenger... read more
Yoga Minds, Writing Bodies sits at the nexus of feminist theory, embodied writing, and contemplative pedagogy within the field of rhetoric and composition. Thorough attribution and citation practice, extensive endnotes and bibliography, Wenger shows thorough grounding in all of these areas. The book does not include an index, which would have been nice, or a glossary. It does, however, include two appendices that explicate the hatha yoga asanas and pranayama terms and techniques that Wenger used with her students and that readers might adopt in their own classrooms.
Throughout, Wenger takes care to address the points of contention within the fields she is bringing together and engages with the naysayers in her text fairly. She is also honest about her own doubts as she brought yoga into her classroom early in her process. Wenger's acknowledgement of disagreement in the field and doubts in her own experience adds credibility to her ultimate report of success at bringing student writers' awareness of their own physical selves to the writing process through yoga in the classroom.
This content is timely, as our popular culture broadly turns toward contemplatively and mindfulness evidenced by the proliferation of meditation apps and the popularity of yoga classes. Yoga Minds, Writing Bodies also speaks to the spread of contemplative pedagogy across campuses in the U. S.
Wenger references both foundational texts in her fields of inquiry and recent work by rising scholars. These references are embedded in the text. Updates to thinking about philosophy of mind, contemplative pedagogy, or cognitive science that would impact Wenger's theory and practice would not easily be added.
This text was a pleasure to read. Wenger writes about complex theory in ways that are accessible to readers who are not thoroughly read in all of her fields of inquiry. She takes care to explain concepts and carefully connects the ideas she is putting into conversation with one another.
Wenger clearly signposts the two-part framework she adopts--alternating theory and practice chapters. She also takes care to define terms and concepts relate to feminist theory, contemplative pedagogy, and yoga in her preface and introduction and then uses them consistently throughout the text.
Wenger's chapters are relatively short and include subheadings as expected for a book whose audience is teachers of writing. The preface and index are easily excerpted for the reader who only wishes an overview of the project. In a Study of Composition course, this text would likely need to be read over 1-2 course meetings, not spread over the semester, and the book's length is suited to this kind of engagement.
Wenger organizes her praxis into three theory chapters, one each focusing on body, mind, and spirit, drawing heavily on relevant current and foundational sources. These chapters are each followed by what Wenger calls an "interchapter" in which she outlines how she has put these theories into practice in her classroom. Chapters and interchapters are comparable in length. As a reader, I appreciated this separation of theory and practical application.
The production of this text is excellent.
Wenger does not address issues of race, ethnicity, and cultural appropriation in any sustained way in this text, and this is, I feel, a shortcoming. As a white American woman studying yoga and bringing it into the composition classroom in combination with a feminist consciousness of systems of power in the classroom, Wenger should have taken up the discussion of American commodification of yoga. She does acknowledge her status as a student of yoga herself, not a teacher, a co-learner along with her students, and her discussions of yoga's value above other contemplative practices does not exoticize or fetishize it. Nonetheless, I would have appreciated greater acknowledgement of the positionality of Wenger, her yoga teacher, and her students.
This book came up in my search of the OTL catalog along with composition textbooks that I would use as an instructor in the undergraduate composition classroom, but this book is not intended for that audience. Wenger writes for her fellow teachers of writing. This book would best be read by those currently teaching and those preparing to teach. The context of Wenger's teaching is higher ed, but many of these ideas may also be applicable in secondary classroom settings.
The book has a thoughtful and thorough entrance into contemplative pedagogies. It cracks into the field of embodied rhetorics and the juxtaposition of them with feminist pedagogy. It also outlines practical methods to enact "Embodied Change"... read more
The book has a thoughtful and thorough entrance into contemplative pedagogies. It cracks into the field of embodied rhetorics and the juxtaposition of them with feminist pedagogy. It also outlines practical methods to enact "Embodied Change" within the FYW classroom. Additionally, it provides comprehensive exploration of the scholarly discourse that should be considered before as adjustments are made to FYW pedagogy.
It is academic and analytical in its prose. The caliber of the research is of peer-reviewed quality.
References are cited from the late 80s through 2012 and catalog integral voices in the realm of Composition/Rhetoric. It shows the pedagogies leading up to the current climate within Comp./Rhet.
Clarity for this book depends on audience. It reads as a theoretical framework that is accessible to those with Comp./Rhet. background. It will be clearest to those with some preliminary understanding of differing rhetorics--especially embodied rhetorics. It is a book for graduate-level readers and above.
The text is consistent in its use of terminology and adherence to the framework established in the introduction.
For a graduate-level seminar, this book would work well as it is currently broken up. Sub-headings are useful and provide accessibility to the complex topics outlined in the book.
Chapters and corresponding interchapters may be less accessible for those unfamiliar with this structure. However, this move is useful to readers seeking to apply the contextual framework to their own classes. The chapters provide context. Their corresponding interchapters provide tangible ways to apply these contexts within the classroom.
Formatting and presentation is careful and intentional. Navigation is intuitive and linear. Internal hyperlinks on the Table of Contents provide quick access to specific chapters without the lag of scrolling.
The caliber of writing in the book is polished and accessible.
As in alignment with the central theme of this book, "students" as examples are not categorized by demographic markers, which is refreshing. Rather, examples referencing students seem to call more focus to the student as seeking to unify the work of their brain and writerly selves through the mindfulness of the body. The absence of these sorts of markers makes for a text that feels inclusive and concerned with the practical ways students can use mindfulness to become better observers and writers.
This book provides an excellent framework for those wanting a comprehensive exploration of academic discourse surrounding the way current mindfulness-based pedagogies apply specifically to the Composition classroom. An excellent resource for current FYW instructors and future FYW instructors.
What a refreshing perspective to writing! Yoga Minds, Writing Bodies: Contemplative Writing Pedagogy by Christy Wenger is an interesting link of Yoga and writing! The book is comprehensive in areas of promoting writing and developing writing... read more
What a refreshing perspective to writing! Yoga Minds, Writing Bodies: Contemplative Writing Pedagogy by Christy Wenger is an interesting link of Yoga and writing! The book is comprehensive in areas of promoting writing and developing writing skills in learners. The intended audience is those involved with writing pedagogy. It is not a textbook but includes pedagogical approaches. The book has a very holistic approach. It is a good fit for educators who teach writing across the curriculum.
Wegner shares her perspective on writing as linked to yoga. She points out that yoga requires preparation, technical skills, breathing—much as writing. There is a strong holistic focus on body and mind for yoga and writing. A note section provides additional information. There are also references which include credible and scholarly sources.
The relevance of preparing one’s body and mind for yoga is also relevant to writing. The content is up-to-date but does make some pop culture references. The yoga-writing relevance will be relevant for the long term, but some of the pop culture examples may eventually lose some readers.
The book is very clear and easy to follow. Many examples are used. The integration of Eastern philosophy is clear to promote a higher level of contemplation about writing.
The writing style is consistent throughout the book. I like the rich examples that allowed me to consistently visualize the descriptions. The frame of reference is consistent and the author does not contradict herself.
The book includes chapters and interchapters. There is a distinct division of sub-topics that are present and easy to identify. There is also a Notes section to add clarification or further details to certain aspects in the book. Appendix A and Appendix B includes handouts that can be used as activities.
I loved the short interchapters! Nice touch to break up the ideas! The topics are presented in a logical, organized manner.
I did not experience any interface issues, such as navigation concerns or distortion.
The book is free of grammatical errors.
The book is culturally relevant in that it is inclusive, incorporates Eastern philosophy and open mindedness. The author did not say anything explicitly offensive or insensitive.
I enjoyed the way Wegner used yoga to reframe thinking about writing.
The text was very comprehensive. It covered theory, as well as a very well designed explanation of complative practices. Different theories were also discussed, making the text very diverse. The author examines how yoga and the art of being in... read more
The text was very comprehensive. It covered theory, as well as a very well designed explanation of complative practices. Different theories were also discussed, making the text very diverse. The author examines how yoga and the art of being in touch with the mind body connection can help students and instructors alike become better writers. The text is also very comprehensive in explaining how to incorporate yoga into the mind and emotion in order to become a better writer.
The book is very accurate. There is a strong body mind connection and if people can get in touch with this body mind connection, it can have amazing results. Connecting with writing and understanding how we function can be one very important feature.
The relevance/longevity is very good! Yoga is an ancient practice that has been around for thousands of years. We are consistently researching and finding more and more health benefits to yoga.
The book was very clear, it was very easy to understood exactly what the book was about and how yoga could help writers.
The text was very consistent, the content flowed throughout the book. The topics built upon each other and made a strong case on how to use yoga as a body mind connection to help in writing. It also discussed getting in touch with emotions and how students are not encouraged to do this.
The text was divided very easily. In the first chapter the author starts with the feminist theory and highlights three parts of embodiment. The second chapter moves to encouraging student to be writing yogis. Finally the third chapter discusses theory and highlighting how yoga helps with writing techniques, is then discussed after a strong base was set.
The structure built on each other, I would have expected a book with size to have more than three chapters. However, they were consistent and in a straight forward manner.
The navigation, because there were only three chapters was a little more complicated. There were inter chapters which I am not familiar with. It would have been nice if maybe there were some diagrams or pictures it may have helped explain some of the elements of the book.
I did not see any grammatical errors.
The text is in no way culturally insensitive. It is very inclusive and explains theories that are not always used such as the feminist theory. Yoga was presented as culturally significant, and i found the insights to be very beneficial.
This book brought up many areas of yoga that I have not considered. I have taught yoga for about 15 years and this was definitely a new insight.
The author takes an innovative approach to introduce Yoga in the classroom of her University writing students. Wegner hopes they will take this unique experience and make the connection between Yoga and writing on their own. Although this is not... read more
The author takes an innovative approach to introduce Yoga in the classroom of her University writing students. Wegner hopes they will take this unique experience and make the connection between Yoga and writing on their own. Although this is not a textbook, it is an interesting example of teaching outside the box as we see her worlds merge as a student and a teacher.
As an experienced and registered Yoga teacher, I found Wegner's book to demonstrate supporting evidence on the parallells of Yoga and writing. The author references Ivengar, the founder of the type of hatha Yoga in which she practices. She includes explaining intention, body alignment, and the breath work needed to sustain the yoga poses and experience the yolk of the body, mind and spirit. In addition, she uses Sanskrit, the universal language of Yoga, terminology in a way the reader can understand. She strives to move the theories of writing subjects to "writing yogis" by teaching them to use imagination and approach writing with mindfulness in their stories.
The author's experience not as a Yoga teacher but as a writing professor and Yoga practitioner connects the paralells of Yoga and writing by demonstrating a modern approach to introducing mindfulness in a classroom of collegiate writing students. Wegner inspires them to set and intention in their Yoga practice as they would with choosing a topic for their writing. She has her Yoga teacher instruct them with cues to enable them to let go and just be in the moment. In addition they learn to become aware of their suptle bodies and alignment. As her students learn what is happening in their bodies they were able to establish a connection to their own physical practices and write about that. For example, one student talks about how he feels when he is playing baseball. Another student explains her body's movement as she swims etc...
As I am by no means a writing professor, I was unfamiliar with the term 'pedagogy' although I was able to research what that meant. This particular term was used over and over again in the book. In addition if this book was to be assigned to first year writing students, the writing excerpts were a little complex to follow. However, as an E-RYT her Yoga examples and understanding were right on the money.
Again, I was unfamiliar with some of the writing terminology. Her Yoga terminology was very thorough as she not only was able to explain the Sanskrit terminology she was able to have me the reader visualize what it felt like for her to be on her matt. The structure and composition made sense. She enabled my mind to understand how she actually 'got it' as she is learning to live her life as a yogis on and off the matt. The introducition and conclusion were simple but consistent with opening and closing as we do in a Yoga session, which for me tied it all together.
This is not a course textbook but the modularity can definately be broken down in different points if given as a supplemental reading in a course. This book had Chapters in addition to Interchapters.
Wegner was able to lead you through a yoga class virtually with a clear understanding of the experience the yogis has both physically and mindfully. Within the first chapter of the book you could see the parallells with her genius theory of the parallells of Yoga and writing. It was a very clever and brave approach for her to introduce yoga into her collegiate writing course.
I was able to read through this book on a laptop, computer and ipad. I wasn't familiar with open text books and did not know how to save the page I was on, but luckily was able to save the text I was reading under favorites. Her stick figures of mountain and tree yoga poses were a nice addition.
I did not note any grammatical errors.
Wegner married the parallells of the writer to the writing yogis. Not only was she able to translate Sanskrit the Universal language, into English terminology she was able to explain it in a way that made sense to all students including those who have never stepped on a yoga matt before. She is able to site Iyengar quotes with this traditional approach to Patanjali's eight limbs of yoga.
As an adjunct professor of kinesiology and yoga teacher I would be open to recommending this text as a supplemental reading for a Yoga course or an excerpt for potential extra credit in my course.
Wegner's book argues that students can better be taught to write by helping them understand the multiple ways that their bodies are also engaged in this process. She uses her own experience as a yogi to work through how she models this process in... read more
Wegner's book argues that students can better be taught to write by helping them understand the multiple ways that their bodies are also engaged in this process. She uses her own experience as a yogi to work through how she models this process in her writing classes. However, this book is NOT as textbook for a writing class, or any class, so I cannot really give it a score for conmprehensiveness.
Again, as this is NOT a textbook, I cannot address the book's accuracy in that light. Her scholarly arguments are thoughtfully laid out, and grounded in the appropriate theory.
Wegner's arguments about understanding through yoga how the body is implicated in the writing and learning process are extremely relevant given the popularity of yoga in the United States at the moment. In that way, I believe that the book is timely. Too, I believe that Wegner's ideas will have some longevity as university students in physiology, kinetics, pre-med, physical therapy, psychology, biology, and sports medicine programs are studying how exercise affects mood, and are pursuing modes of therapy such as "exercise as medicine" which might eventually change how practitioners think about physical therapy. But again, this book is not a textbook. It's audience is not students, but rather, their teachers who are interested in changing what they do in the writing classroom.
If I judged this book as an academic book, then yes, Wegner's writing is clear and relatively free of jargon, a remarkable accomplishment for many academic books. However, her prose is too difficult for students in most introductory writing classes to understand. I teach at a Research I institution, and I know that my students would be confused if I assigned a chapter of this book to them for use in our classroom. Again, this book is NOT a textbook.
Yes, the book extremely consistent in this regard. The writer structures her thoughts of writing about the body around how her own practice of yoga has transformed how she thinks about the multiple ways that her body is involved in her writing process.
I could easily use parts of this book in a senior or graduate seminar in rhetoric and composition. However, I couldn't use any part of this book in an introductory writing course because the writing level is too advanced for those students. Also, Wegner's book in no way resembles any composition book that I have ever seen. It does not have enough examples and exercises to be a book that could be used to help students understand what constitutes a good piece of writing, and the writing level is too complex to use parts of the book as food for thought in a class where I might encourage students to think about some of the issues that Wegner explores such as the discipline of the body as Foucault described it, or the spurious model of a mind body split that we have been habituated into using in order to understand ourselves and our world.
The writer has chapters and another element that she calls "interchapters." I don't understand what these things are or why they are necessary. Why can't they be chapters of their own, or attached to the other chapters and labeled something else? That element was just too clever by half and really irritated me.
It was very easy for me to navigate this book on my Surface Pro, and I assume that any other student who had a tablet or computer would be similarly able to find things with ease. However, I was unable to do some things with the book that I have come to expect in both PDFs and e-books such as search for a specific word or phrase. That's a shame. I would like to see this book and all open textbooks really structured so that they are searchable as a other types of ebooks.
I did not see any obvious grammatical errors.
This book is a model of cultural relevance. The body is the primary site of oppression, and the writer examines how discipline facilitates this oppression through promoting the idea of mind body dualism. To support this argument, she offers examples of how differently abled people approach writing, as well as of how her students' attitudes towards the writing process changed once they were given mindfulness exercises to consider how their own bodies were involved in the writing posture. Too, the writer's use of yoga as a tool to unpack the idea of mind body dualism is also culturally relevant and sensitive. Yoga is an ancient Eastern practice that has only recently become popular in the west, and some easterners and westerners see this popularity as nothing more than cultural appropriation that has erased the spiritual elements of yoga and turned it into a multi-million dollar industry selling lessons and specialized clothing that plays into patriarchal norms of women's bodies. .
While I love this writer's topic, her book is not suitable as a textbook, at least, not in most college level introductory writing classrooms. The writing level is too theoretical for these level of students, who need writing instruction most of all, and it addresses the teacher rather than these students. However, people who teach writing might find this book useful for helping them develop their own assignments, or even designing a course around the theme of writing about the body.
Table of Contents
- Introduction: From the Sticky Mat to the Classroom: Toward Contemplative Writing Pedagogy
- Chapter One: The Writing Yogi: Lessons for Embodied Change
- Interchapter One: Using "Body Blogs" to Embody the Writer's Imagination
- Chapter Two: Personal Presence, Embodied Empiricism and Resonance in Contemplative Writing
- Interchapter Two: Habits of Yoga Minds and Writing Bodies
- Chapter Three: Situating Feelings in Contemplative Writing Pedagogy
- Interchapter Three: The Writer's Breath
- Conclusion: Namaste
About the Book
In Yoga Minds, Writing Bodies, Christy Wenger argues for the inclusion of Eastern-influenced contemplative education within writing studies. She observes that, although we have "embodied" writing education in general by discussing the rhetorics of racialized, gendered, and disabled bodies, we have done substantially less to address the particular bodies that occupy our classrooms. She proposes that we turn to contemplative education practices that engages student bodies through fusing a traditional curriculum with contemplative practices including yoga, meditation, and the martial arts. Drawing strength from the recent "quiet revolution" (Zajonc) of contemplative pedagogy within postsecondary education and a legacy of field interest attributable to James Moffett, this project draws on case studies of first-year college writers to present contemplative pedagogy as a means of teaching students mindfulness of their writing and learning in ways that promote the academic, rhetorical work accomplished in first-year composition classes while at the same time remaining committed to a larger scope of a writer's physical and emotional well-being.
About the Contributors
Christy I. Wenger is Assistant Professor of English, Rhetoric and Composition at Shepherd University, where she directs the Writing and Rhetoric program. Her research has focused on the intersections between feminisms, contemplative traditions and composition. In addition to bringing her own practice of yoga into the classroom, she has partnered with local yoga instructors to create learning communities between first-year experience courses and first-year writing courses and her research has benefited greatly from the generosity of her yoga community. Her work on the materiality of teaching and the value of contemplative pedagogy for writing studies has previously appeared in journals including English Teaching and Practice and JAEPL, and has been shared at conferences held by the Conference on College Composition and Communication, the Rhetorical Society of America, and the Association for the Contemplative Mind in Higher Education, among others. She serves on the board of the Assembly for the Expanded Perspectives on Learning, an organization that allows her to connect with other compositionists interested in alternative pedagogies. Her additional scholarly interests include feminist writing program administration, digital pedagogy and feminist disability studies.