Key Words

Audience	This refers to the intended recipient of the author’s message. Aristotle recognized the importance of audience in rhetoric in ancient Greece. He advocated appealing to the audience through ethos, pathos and logos. Ede and Lunsford also write about the importance of audience how the two schools of thought on audience (addressed and invoked) fail to grasp the complexity of the rhetorical situation. Ede and Lunsford suggest that the audience is addressed when the composition is edited to meet their expectations and they are invoked when the author imagines the role that the audience will play and builds prompts into the writing for the audience to recognize their role.
David Bartholomae	Author of “Inventing the University,” Bartholomae writes about the difficulties that students face in their attempt to enter academia. Students must learn the language, customs, and “codes” of the academy in order to become part of a discourse community that they are somewhat ignorant of (at least to begin with). Bartholomae indicates the student’s work can be analyzed to ascertain where the students are within this discourse community and society as a whole.
Patricia Bizzell	Talks about contact zones as a new way to approach composition studies. The contact zone is defined as a meeting place between cultures where conflict occurs. According to Bizzell, literary study should be divided and studied based on contact zones in order for students to have a true multicultural understanding of how knowledge and power was constructed.
Critical thinking	Critical thinking is the ability to analyze and reflect upon an idea and understand the relationships that the idea has with the world around. Ira Shor and James Berlin are proponents of pedagogies that encourage critical thinking. In their writings they state that students should be taught about how knowledge is formed and the social nature of knowledge building. Understanding that knowledge creation is a social function allows the student to explore beyond the façade of the concept, and to join in the academic discussion as a peer within the discourse community.
Peter Elbow	Elbow wrote about the “mother tongue” and the academy’s past record of trying to eradicate all but Standard Written English from formal composition. Elbow suggests that allowing students to identify and use their own dialects will enrich the world of composition by allowing a range of voices to be heard that had previously been suppressed. The students would benefit from using their mother tongue because they would no longer be marginalized, and would be able to establish their own identity in their work.
Freewriting	Peter Elbow wrote about the benefits of freewriting. Freewriting is when you begin writing whatever comes to mind and you do not stop to edit. Elbow suggests that writing is often encumbered by simultaneous editing that detracts from the rhythm of the composition. Freewriting allows the student to focus on what they want to say, and to spend less time focusing on how they say it. By freewriting, Elbow suggests that students will be able to find their “voice” as writers.
Richard Fulkerson	Fulkerson wrote about the four philosophies of composition which he identified as formal, expressive, rhetorical and mimetic.  Formalist composition values internal forms such as spelling and grammar and good writing is measured by the writer’s ability to write correctly. Expressionist composition values personal exploration rather than formal structures and the author’s “voice” is seen as a key component of “good” writing. Mimetic composition states that good writing is a reflection of good thinking and that logical, well-reasoned and factually substantiated writing is good writing. Rhetorical composition measures good writing by the author’s ability to achieve the desired effect on the desired audience.