Drawing on historical studies as well as on current innovations of composing, Assembling Composition provides a new framework for understanding composing. Collectively, contributors complicate and enrich our understandings of composing, our sense of what constitutes a text, and our expectation of the potential effects of texts.

Mobility Work in Composition explores work in composition from the framework of a mobilities paradigm that takes mobility to be the norm rather than the exception to a norm of stasis and stability. Both established and up-and-coming scholars bring a diversity of geographic, institutional, and research-based perspectives to the volume, which includes in-depth investigations of specific forms of mobility work in composition, as well as responses to and reflections on those explorations. Eight chapters present specific cases or issues of this work and twelve shorter response chapters follow, identifying key points of intersection and conflict in the arguments and posing new questions and directions to pursue. Addressing matters of knowledge transfer and meaning translation, immigrant literacy practices, design pedagogy, academic career changes, student websites, research methodologies, school literacy programs, and archives, Mobility Work in Composition asks what mobility in composition means and how, why, and for whom it might work. It will be of broad interest to students and scholars in rhetoric and composition. Contributors: Anis Bawarshi, Elizabeth Chamberlain, Patrick Danner, Christiane Donahue, Keri Epps, Eli Goldblatt, Rachel Gramer, Timothy Johnson, Jamila Kareem, Carmen Kynard, Rebecca Lorimer Leonard, Andrea Olinger, John Scenters-Zapico, Khirsten L. Scott, Mary P. Sheridan, Jody Shipka, Ann Shivers-McNair, Scott Wible, Rick Wysocki

Edited by four nationally recognized leaders of composition scholarship, Composition, Rhetoric, and Disciplinarity asks a fundamental question: can Composition and Rhetoric, as a discipline, continue its historical commitment to pedagogy without sacrificing equal attention to other areas, such as research and theory? In response, contributors to the volume address disagreements about what it means to be called a discipline rather than a profession or a field; elucidate tensions over the defined breadth of Composition and Rhetoric; and consider the roles of research and responsibility as Composition and Rhetoric shifts from field to discipline. Outlining a field with a complex and unusual formation story, Composition, Rhetoric, and Disciplinarity employs several lenses for understanding disciplinarity—theory, history, labor, and pedagogy—and for teasing out the implications of disciplinarity for students, faculty, institutions, and Composition and Rhetoric itself. Collectively, the chapters speak to the intellectual and embodied history leading to this point; to questions about how disciplinarity is, and might be, understood, especially with regard to Composition and Rhetoric; to the curricular, conceptual, labor, and other sites of tension inherent in thinking about Composition and Rhetoric as a discipline; and to the implications of Composition and Rhetoric’s disciplinarity for the future. Contributors: Linda Adler-Kassner, Elizabeth H. Boquet, Christiane Donahue, Whitney Douglas, Doug Downs, Heidi Estrem, Kristine Hansen, Doug Hesse, Sandra Jamieson, Neal Lerner, Jennifer Helene Maher, Barry Maid, Jaime Armin Mejía, Carolyn R. Miller, Kelly Myers, Gwendolynne Reid, Liane Robertson, Rochelle Rodrigo, Dawn Shepherd, Kara Taczak

Addressing how composers transfer both knowledge about and practices of writing, Writing across Contexts explores the grounding theory behind a specific composition curriculum called Teaching for Transfer (TFT) and analyzes the efficacy of the approach. Finding that TFT courses aid students in transfer in ways that other kinds of composition courses do not, the authors demonstrate that the content of this curriculum, including its reflective practice, provides a unique set of resources for students to call on and repurpose for new writing tasks. The authors provide a brief historical review, give attention to current curricular efforts designed to promote such transfer, and develop new insights into the role of prior knowledge in students' ability to transfer writing knowledge and practice, presenting three models of how students respond to and use new knowledge—assemblage, remix, and critical incident. A timely and significant contribution to the field, Writing across Contexts will be of interest to graduate students, composition scholars, WAC and writing-in-the-disciplines scholars, and writing program administrators.

The focus of this book is surface modification, with the goal of tailoring materials for a specific application. By means of this approach, ideal bulk properties of a material, such as its tensile strength (temperature stability, density, or even cost) can be combined with optimized surface properties, such as hardness, biocompatibility, low or high friction or adhesion, water repellency or wettability, or catalytic activity.The works of the author — many of his crucial papers are included — deal with the understanding and modification of surfaces and span fields including catalysis, analytical surface science, self-assembled monolayers, tribology, biomaterials, superhydrophobicity and polymer coatings.

Multimodal composition is becoming increasingly popular in university classrooms as faculty, students, and institutions come to recognize that old and new technologies have enabled, and even demanded, the use of more than one composing mode for communicating, solving problems, and keeping up with the latest discourse. Professionalizing Multimodal Composition embraces and enacts multimodal composition in various writing courses and programs by exploring institutional, programmatic, and individual faculty initiatives for capacity building and human resource development across institutions. Academic leaders, scholars, and faculty who have successfully designed and launched academic programs or faculty development initiatives discuss the theoretical and logistical questions considered in their design, the outcomes they achieved, and how others can emulate them. This exchange of knowledge, insight, experiences, and lessons learned among community members is critical for enabling or inspiring other programs, departments, and institutions to conceive, design, and launch academic programs or faculty development initiatives for their own faculty. The larger goal of professionalizing is to work with teaching faculty to increase their interactional expertise with multimodal composition, and this collection offers a set of models for how faculty can do that at their own institutions and in their own programs.

Writing Changes moves beyond restrictive thinking about composition to examine writing as a material and social practice rich with contradictions. It analyzes the assumed dichotomy between writing and multimodal composition (which incorporates sounds, images, and gestures) as well as the truism that all texts are multimodal. Organized in four sections, the essays explore • alphabetic text and multimodal composition in writing studies • specific pedagogies that place writing in productive conversation with multimodal forms • current representations of writing and multimodality in textbooks, of instructors' attitudes toward social media, and of writing programs • ideas about writing studies as a discipline in the light of new communication practices Bookending the essays are an introduction that frames the collection and establishes key terms and concepts and an epilogue that both sums up and complicates the ideas in the essays.

This collection explores the role of individual faculty initiatives and institutional faculty development programs in supporting programmatic adoption of multimodal composition across diverse institutional contexts. The volume speaks to the growing interest in multimodal composition in university classrooms as the digital media and technology landscape has evolved to showcase the power and value of employing multiple modes in educational contexts. Drawing on case studies from a range of institutions, the book is divided into four parts, each addressing the needs of different stakeholders, including scholars, instructors, department chairs, curriculum designers, administrators, and program directors: faculty initiatives; curricular design and pedagogies; faculty development programs; and writing across disciplines. Taken together, the 16 chapters make the case for an integrated approach bringing together insights from unique faculty initiatives with institutional faculty development programs in order to effectively execute, support, and expand programmatic adoption of multimodal composition. This book will be of interest to scholars in multimodal composition, rhetoric, communication studies, education technology, media studies, and instructional design, as well as administrators supporting program design and faculty development.

The goal of the International Conference on Software Composition is to advance the state of research on modularity and reuse in the context of software development based on components, services, features, or models. Software composition is becoming more and more important as innovation in software engineering shifts from the development of individual components to their reuse and recombination in novel ways. To this end, for the 2010 edition, researchers were solicited to contribute on topics such as component adaptation techniques, composition languages, modeling, as well as emerging composition techniques such as aspect-oriented programming, servi- oriented architectures, and mashups. In line with previous editions of SC, contri- tions were sought focusing on both theory and practice, with a particular interest in efforts relating them. This LNCS volume contains the proceedings of the 9th International Conference on Software Composition, which was held during July 1–2, 2010, as a collocated event of the TOOLS 2010 Federated Conferences, in Malaga, Spain.