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The purpose of this paper is to address the lack of knowledge of the accounting occupational group in England prior to the formation of professional accounting bodies. It aims to do so by focusing on attempts made by writing masters and accountants to establish a recognisable persona in the public domain, in England, during the seventeenth and eighteenth centuries, and to enhance that identity by behaving in a manner designed to persuade the public of the professionalism associated with themselves and their work.

The study is based principally on the contents of early accounting treatises and secondary sources drawn from beyond the accounting literature. Notions of identity, credentialism and jurisdiction are employed to help understand and evaluate the occupational history of the writing master and accountant occupational group.

Writing masters and accountants emerged as specialist pedagogues providing the expert business knowledge required in the counting houses of entities that flourished as the result of rapid commercial expansion during the early modern period. Their demise as an occupational group may be attributed to a range of factors, amongst which an emphasis on personal identity, the neglect of group identity and derogation of the writing craft were most important.

The paper highlights Early English Books Online (available at: http://eebo.chadwyck.com/home), Eighteenth Century Collections Online (available at: www.gale.cengage.com/DigitalCollections/products/ecco/index.htm) and the seventeenth and eighteenth century Burney Collection Newspapers as first class electronic resources now available for studying accounting history from the sixteenth century through to the eighteenth century.

The paper advances knowledge of accounting history by: profiling commercial educators active in England in the early modern period; studying the devices they employed to achieve upward social and economic trajectory; explaining the failure of an embryonic professionalisation initiative; and demonstrating the contingent nature of the professionalisation process.

By engaging levels of W/writerliness, this paper aims to identify how English Language Arts teachers’ personal and professional W/writerly identities impact their performance of pedagogical agency.

In this narrative inquiry, the author draws on theories of writing identity and agency to analyze how four mid-career English teachers’ personal beliefs around writing intersect with their professional practice. Data sources include interviews, journal entries and classroom observations.

Nuanced differences in teachers’ W/writerly identities produce more substantial differences in their pedagogy, especially impacting their performance of agency to (re)define successful writing outcomes and to balance process and product in their writing instruction.

This paper presents one method to expand preservice and in-service English Language Arts (ELA) practitioners’ approaches to teaching writing even alongside limitations of their teaching context by (1) emphasizing their ownership over their own writing in university methods courses; (2) leading teachers on an exploration of W/writerly identities; and (3) investigating ways teachers can transfer their personal and professional learning to students via their own pedagogical agency.

The study extends the work of scholars in the National Writing Project, suggesting that nuanced exploration of ELA teachers’ W/writerly identities in preservice and in-service settings could increase their sense of agency to work against and within cultures of standardization.

To describe the role one classroom writing community played in shaping students’ understandings of the analytical writing genre; and to discuss the impact the community had on students’ developing academic writing identities.

While research has demonstrated the impact of classroom writing communities on student writing practices and identities at the elementary level (Dyson, 1997) and for secondary students engaged in fiction writing (Halverson, 2005), less is known about the role classroom writing communities may play for secondary students who are learning to write in academic discourses. This chapter explores the practices of one such classroom community and discusses the ways the community facilitated students’ introduction to the discourse of analytical writing.

The teacher turned the classroom writing community into an authentic audience, and in so doing, he developed students’ understandings of the analytical writing genre and their growing identities as academic writers. First, he used the concept of immediate audience (i.e., writing to persuade real readers) as the primary rationale for students to follow the outlined expectations for analytical writing. Second, he used inquiry discussions around student work (i.e., interacting with other members of the writing community) to prepare students for a future audience of prospective independent school English classrooms.

By turning the classroom writing community into an authentic audience through inquiry discussions, teachers can develop students’ deep and flexible understandings of a potentially unfamiliar writing genre. Furthermore, by employing the classroom writing community as a support for moving students through moments of struggle, teachers implicate students’ expertise as academic writers, thereby facilitating their willingness to take on academic writing identities.

The establishment of academic voice, authority and identity in international fora, this chapter argues, is both a central challenge and a central benefit of international academic relations. For the presentation (of new ideas, papers, paradigms: the lifeblood of academic interchange) entails the mediation not just of a text but also of persona: both must be ‘translated’ for the ‘foreign’ and host audience; both are changed in the process. As always, that which is found, as well as lost, in translation reveals much about the essential qualities of the ‘original’: here the author's ‘original’ academic voice and identity.

This chapter draws on ethnographic and inter-cultural representational models to explore the proper form of recording and reflecting/reflecting on one particular intercultural academic encounter. It uses explanatory models drawn from Academic Literacies, Sociolinguistics and Translation Studies to try to analyse and understand the process, effect and implications of that encounter. In order to establish that which is performative in academic identity, it gives an evaluative account of what it means to lose, and regain, one's academic voice.

The purpose of this paper is to examine youth literacy and writing practices in select, contemporary young adult literature (YAL), especially how and why literate activity is sponsored, negotiated or occluded by teachers and schools.

The authors position young adult fiction as case studies of youth composing in and out of school. Drawing on Stake's (1995) features of case study research in education, the authors present readings of Gabi, a Girl in Pieces by Isabel Quintero and The Vigilante Poets of Selwyn Academy by Kate Hattemer that highlight particular problems and insights about youth literacy practices that are worth extended examination and reflection.

Both novels feature youth engaging in powerful literacy and writing practices across a range of modes to critically read and write their worlds. These particular texts – and other YAL featuring youth composing – offer teacher educators and pre-service teachers opportunities for critical reflection on their evolving stances on literacy instruction; identities as writing and literacy educators; and pedagogies that enable robust literate activity.

In the US educational context, teacher education programs are required to provide pre-service teachers numerous opportunities to observe and participate as teachers in public school classrooms. YAL offers a unique setting of experience that can be productively paired with more traditional field placements to complement pre-service writing teacher education. Reading YAL featuring youth composing can serve as a useful occasion of reflection on pedagogies that limit and/or make possible students’ meaningful engagement with words and the world.

The purpose of this article is to disseminate to a readership of researcher development professionals the authors' own experiences of having organised four writing retreats, and to share their tips for good practice.

Although the authors do draw upon references to pertinent literature, they choose a predominantly descriptive format. They detail the format of each retreat and present their reflections on the process of organising and delivering the retreats.

Retreats are positive, inspirational and valuable to those involved. They provide an opportunity to participate in the practices that are generally central to an academic identity and that can help participants in their identity transitions.

This is not intended to be an academic article.

The article can inform practice and provides practical recommendations for delivery of writing retreats.

The article incorporates discussion of the authors' experientially‐informed view that writing retreats offer supportive environments for developing early career researchers, and enabling their career growth through publishing, and often they provide opportunities for engaging with the academic community, which participants may not have experienced before.

There are few published articles that focus on writing retreats. What this article offers is a culmination of experiences from four different retreats. It has the potential to provide a reference point for academic developers and those considering writing retreats or related researcher development interventions.

This study aims to explore the textual and sociopolitical relationships of kinship writing as 15 youth wrote politically charged poetry while participating in a four-week summer writing program grounded in a Black studies curriculum.

The authors explore the following research questions: How do youth writers draw upon each other’s writing to compose sociopolitical kinship poems when writing about critical issues affecting Black lives? What topics and oppressions do youth choose to write about and how do they write about these topics?

The authors found that the youth wrote across multiple topics affecting Black lives in their kinship poems. These include the appropriation of black beauty, gun violence and police brutality, love and Black lives, the need for equality, negative depictions and misrepresentations of Black people, the neglect and omission of Black lives and suppression of freedom. The youth took up various critical issues in their poems, which addressed what they deemed as most urgent in the lives of Black people, and these selected topics were highly historicized. We also found that the youth used the content, styles and audience of the original poems to pen their own pieces.

Writing with another peer afforded collaborative writing and spaces for youth to read and interrogate the world while building criticality through their writing.

Kinship writing is a genre in which one piece of writing has a relationship with another piece of writing. Kinship writing carries significance in the Black literary community as the history of Black education has been interlaced with ideals of social learning, community, family and kinship. This literary approach contributes to ways Black people used each other’s writings to offer healing, comfort and care in a turmoil filled world.

Recently, practitioner literature in English education has taken up the issue of writing-related shame in classrooms, calling for teachers to help students develop resilience. One possible approach for nurturing shame resilience around writing is dialogic collaging: students make and dialogically engage with collages and with colleagues to explore the self-as-writer and to connect with others around writing struggles and joys. The purpose of this paper is to share and critically reflect on this pedagogical approach.

To share, interpret and consider the limitations and implications of the dialogic collaging pedagogy in service of writing-related shame resilience, the authors offer a multi-voiced narrative about one classroom instantiation of college, from the perspective of a university writing teacher and a student of writing.

On the interpretation, this story unfolds three central themes as follows: dialogic collaging can help students to develop a more realistic and situated sense of self-as-writer. That is, students can come to appreciate how “becoming a writer” is a process they – and others around them – are already in, rather than an unreachable achievement at which they will inevitably fail. The stance of playfulness nurtured through the dialogic collage process can provide a helpful distance between self and writing. These processes may – under certain conditions – support shame resilience.

The conclusion reflects on whether more explicit attention to shame could be fruitful and on the dynamics of teacher vulnerability in writing classrooms.

The authors hope to inspire writing teachers – particularly in secondary, post-secondary and adult education – to engage with dialogic collaging as part of their pedagogical repertoires.

Dialogic collaging is a pedagogical approach not previously discussed in the literature on secondary and post-secondary writing instruction, offering one promising way to address writing-related shame. It can make visible and build solidarity around how others are also in the midst of a process of becoming – as writers and/or with writing. This appreciation can help nurture a more realistic, playful and shame-resilient stance toward self-as-writer.

Extant research has painted a clear picture of the myriad ways that schools are failing to provide a meaningful education, and meaningful literacy pedagogies, to all youth. Given this crisis shouldered disproportionately by youth of color in urban schools, this paper aims to take a retrospective approach to understanding the lasting reverberations of a high school poetry class on a group of students who experienced urban traumas including but not limited to educational injustices. In contrast to the representations of failing schools, some current research offers various portraits of urban students engaging in empowering ways in classrooms that make critical use of media arts, poetry and hip hop. The questions driving this study are based on what happens once students step out of these alternative classroom spaces. For youth who have dropped out of the traditional system, what was the nature of the writing they produced in an alternative literacy learning space and what relationship did it have to their development as young adults?

Using qualitative case study methodology, this paper explores the memorable writing produced in the context of a high school poetry class by six case study participants to understand its meaning in their lives over time. It is through a dialogic lens that this research makes sense of the relationship between the written words produced by these youth, their actions in and on the world in their early adulthood, and their moments of development as survivors of trauma and as civic actors.

Student discussion of what I describe as touchstone poems revealed how these poems functioned to reorganize experiences and memories for the case study participants that enabled them to feel increased agency in relation to their personal and socio-cultural struggles.

For these students who were perpetually labeled as at-risk, poetry class served as a space where they could collectively engage in positive risk-taking that held meaning in their lives after high school and catalyzed the development of agentive identities.

The purpose of this study is to explore Master’s students’ literature reviews to better understand the literacies required for engaging in complexity in this genre and to inform graduate student pedagogy.

In this qualitative study, data were collected in the form of student literature review papers (23 drafts and 23 final versions) from students attending a research seminar course in an all-course Master’s program. All papers were analyzed for citations patterns, genre awareness and levels of complexity.

Results highlight the nature of complexity in this genre – that this complexity is underpinned by discursive issues such as “truth”, “claims” or “facts” that often mislead novice academic writers, and recognizing that knowledge contested in academic contexts is important to understanding and teaching students about complexity in writing.

One of the most challenging writing tasks graduate students face, is the literature review. Literature reviews require sophisticated conceptual maneuverings. Despite being analytical in nature, many students find it difficult to engage with the layers of complexity required in this genre. How do we make the complexity in literature reviews more visible and accessible? The argument in this paper is that understanding the nature of complexity in literature reviews can enhance writing processes and intentional explicit pedagogy.