Writing In Canada Research Articles

Introduction: Special Issue on Teaching Academic Writing in Canada

This article introduces a Special Issue of Discourse and Writing/Rédactologie: Teaching Academic Writing in Canada. It contextualizes the research and pedagogical discussions contained herein, and it underlines how these contributions emphasize two major trends on the Canadian landscape of academic writing: the movement toward decolonizing academic writing and diverse approaches to writing in the disciplines and writing centre practices.

Second Language Writing in Canada

Second Language Writing in Canada

"Grandparents for the Next Generation"

Paul Kei Matsuda (1999) has written about the divide between U.S. composition and applied linguistics, which he attributes to an institutionalization of the division of labour between Applied Linguistics and composition in the early 1960’s. As such, when language concerns resurfaced in composition in the early-2000s, this division of labour led to a “lack of a community of knowledgeable peers who [could] ensure intellectual accountability” among compositionists (Matsuda 2013). Did this same divide occur in a Canadian context, or has the field of second language writing developed differently in Canada? The goal of this paper is to construct a history of L2 writing scholarship, reading for any collaboration with writing studies as both fields “grew up” together in Canada. To this end, the paper extends the work of Alister Cumming who narrates the evolution of L2 writing scholarship in Canada. Using data from Cumming’s “Studies of Second-Language Writing in Canada: Three Generations,” this paper reports findings from archival research that traces the publication history of key knowledge-workers (identified by Cumming) from the 80s to the 2000s. These findings tell a story about how L2 writing developed as a field in Canada and the ways it was influenced by fields like education and applied linguistics. Ultimately, these findings contribute to the broader narrative of how L2 writing has professionalized in Canadian higher education. By investigating the historic formation of L2 writing in Canada, scholars, writing instructors, and writing program administrators can draw on historic relations to create writing pedagogy that best meets the needs of an increasingly linguistically diverse writing classroom.

Studies of Second-Language Writing in Canada

Canada’s social and educational policies have always involved immigrant settlement and English-French bilingualism. Research on writing in second languages emerged in the 1980s from graduate programs of education and applied linguistics at major universities in Toronto, Montreal, Ottawa, and Vancouver, particularly scholars investigating cognitive and learning processes and rhetorical characteristics of writing in English as a mother tongue. In the 1990s several Canadian scholars established systematic programs of research focused on L2 composing processes, writing for academic purposes, assessment, and innovative educational programs— spawning, in turn, in the 2000s a third generation of L2 writing researchers who have now established themselves across Canada and around the world.

Teaching Elementary ESL Writing in Canada

Writing is an important skill for children’s academic success (e.g., Fitts et al., 2016), underlining the need for effective ESL writing instruction in the elementary classroom (Brisk, 2012; Mohr, 2017; O’Hallaron, 2014). However, there is a paucity of research on elementary ESL writing instruction in Canada. Specifically, we have little understanding about the pedagogical practices in this context. To fill this gap, this paper reports on findings of a study that investigated: (a) factors that influence teacher preparedness, and (b) challenges teachers encounter in teaching ESL writing. Eight elementary teachers, each with at least three years of teaching experience, participated in the study. Data were collected from interviews and online surveys. Findings suggest that teacher preparedness was affected by four factors: (a) background knowledge of teaching ESL writing, (b) professional learning opportunities, (c) self-learning and experience as a teacher, and (d) collaboration, mentorship, and support for teachers. The challenges teachers encountered were grouped into five categories: (a) making sense of the writing curriculum, (b) finding relevant resources, (c) lack of time, (d) difficulty providing feedback, and (e) parental involvement at home. Drawing on these findings, the paper discusses implications and recommendations for ESL writing instruction in the elementary classroom.

Women’s Writing in Canada by Patricia Demers

<i>Women’s Writing in Canada</i> by Patricia Demers

Women’s Writing in Canada. Patricia Demers.

<i>Women’s Writing in Canada</i>. Patricia Demers.

Recent (Re)Visions of Canlit: Partial Stock-Taking

Abstract This article approaches recent discussions on the state of contemporary CanLit as a body of literary texts, an academic field, and an institution. The discussion is informed primarily by a number of recent or relatively recent publications, such as Trans.CanLit. Resituating the Study of Canadian Literature (Kamboureli &amp; Miki 2007), Refuse. CanLit in Ruins (McGregor, Rak &amp; Wunker 2018), Luminous Ink: Writers on Writing in Canada (McWatt, Maharaj &amp; Brand 2018), and the discussions and/or controversies some of those generated – expressed through newspaper and magazine articles, scholarly essays, but also through tweets, etc. The texts have been written as a response to the current state and – in some cases – scandals of CanLit. Many constitute attempts at starting or contributing to a discussion aimed at not only taking stock of, but also reinterpreting and re-defining the field and the institution in view of the challenges of the globalising world. Perhaps more importantly, they address also the challenges resulting from the rift between CanLit as implicated in the (post)colonial nation-building project and rigid institutional structures, perpetuating the silencings, erasures, and hierarchies resulting from such entanglements, and actual literary texts produced by an increasingly diversified group of writers working with a widening range of topics and genres, and creating often intimate, autobiographically inspired art with a sense of responsibility to marginalised communities. The article concludes with the example of Indigenous writing and the position some young Indigenous writers take in the current discussions.

Women’s Writing in Canada by Patricia Demers

Women’s Writing in Canada by Patricia Demers

Unarrested Archives: Case Studies in Twentieth-Century Canadian Women’s Authorship by Linda M. Morra

Reviewed by: Unarrested Archives: Case Studies in Twentieth-Century Canadian Women’s Authorship by Linda M. Morra Tanis MacDonald UNARRESTED ARCHIVES: CASE STUDIES IN TWENTIETH-CENTURY CANADIAN WOMEN’S AUTHORSHIP, by Linda M. Morra. Toronto: University of Toronto Press, 2014. 244 pp. $70.00 cloth; $29.95 paper; $29.95 ebook. At the Affecting Women’s Writing in Canada and Québec Today conference held at the Université de Montréal in November 2013, poet and essayist Erín Moure noted, “It’s so hard for women to leave a trace.”1 [End Page 288] She was speaking about a series of chapbooks produced in the 1980s by the Feminist Caucus of the League of Canadian Poets: stapled booklets with bright paper covers enclosing typed or early word-processed pages of feminist writing. Those booklets, made for wide distribution and fashioned by expedience, are fraying; they may not last for more than another few years. Moure’s comment, made in post-presentation discussion, has rung in my head ever since and seems destined to ring there a little longer as I consider feminist archival theory and its satisfyingly subversive practices in Linda M. Morra’s Unarrested Archives: Case Studies in Twentieth-Century Canadian Women’s Authorship. In Canada, where a decade of conservative government cutbacks has profoundly threatened the existence and breadth of the national repository, Library and Archives Canada, the importance of preserving different histories through a wide variety of archival practices has become vital not only to scholarship but also, and more fundamentally, to acknowledging, recording, and asserting the significant materiality of those histories. Whenever I teach, I emphasize to students that the texts they are holding are in print only because a chain of people throughout history thought the texts good enough to print and to keep in print: a perpetually precarious state, especially if the text is more than two decades old and written by a woman whose background and politics are at odds with mainstream corridors of power. Unarrested Archives delves into women writers’ withheld, refused, or redistributed archival materials with an emphasis upon the nation-state’s reliance on official archives to shape its narrative. As Morra points out in her introduction, the dynamics of the archive—including its necessary partiality—also form the idea of the citizen or who can “say the nation,” and women are not always considered citizens with a say. “Unarrested” literary archives, repositories of papers that are strategically positioned by the author, assert that citizenship has been painstakingly negotiated by these women writers precisely because the nation-state has rendered their citizenship limited or non-negotiable on the basis not only of their gender but also their race, class, or sexual identity. The list of women writers chosen by Morra as her case studies reads like a who’s who of Canadian female writers: Pauline Johnson, Emily Carr, Sheila Watson, Jane Rule, and M. NourbeSe Philip. Morra’s writers demonstrate that canonicity is a double-edged sword; while their written texts are problematically preserved, their archives note the decades of struggle to assert the value of their voices, the writers’ desire to control their own narratives (both literary and lived), and their understanding that female citizenship is forever under the threat of erasure. I have been teaching long enough to see Johnson’s work resurrected in the late 1990s and early 2000s by feminist and First Nations scholars and now see that [End Page 289] her scholarly star has begun to wane. Morra’s investigation into Johnson’s popular performances of her politically accusatory poem “A Cry From an Indian Wife” (1885) in the years after the Northwest Rebellion as an archive (with due reference to Ann Cvetkovich) is enlivened by the texts of public protest coming out of the Idle No More movement. Morra’s work with the archives of Carr and Watson, the two modernists in the study, gives intriguing consideration to their choice to enlist male allies as designated archivists and prompts a welcome discussion about how men can be respectful allies in the political fight to preserve women’s voices. Carr and Watson are good examples of female authors who knew that they could not...

“Against the South”: The Mississippis of Black Writing in Canada

Building upon recent work by Zandria Robinson, which explores how African American publics are often constituted “[i]n and through the idea of the South” (35), as well as work by Jade Ferguson, which demonstrates how white Canadians, at key historical moments, have likewise exhibited strong social and psychological investments in an imagined black South, this essay analyzes fiction by black writers residing in Canada during the nineteenth and twentieth centuries. It argues that black Canadian writers have represented the black US South for several distinct but overlapping reasons: to assert a broader or “unified” New World black experience; to distinguish the political, cultural, and affective landscapes of Canada; and, finally, to contest the myth of a color blind or “post-racial” Canada. In a robust yet still under-recognized current of black hemispheric thought, Canada stands polysemously “against” the South, exhibiting both opposition to and intimacy with the more prominent discursive space of blackness, while simultaneously illuminating the conflicting and mutually constitutive scripts of national identity and diasporic identification.

Ukrainians, Cossacks, Mazepists

Viktor Brekhunenko, Kozaky na stepovomu kordoni levropy: Typolohiia kozats 'kykh spil'not XVI--pershoi polovyny XVII st. (Cossacks on Europe's Steppe Frontier: Typology of Cossack Communities in the 16th and First Half of the 17th Centuries). 504 pp. Kyiv: Natsional'na akademiia nauk Ukrainy, 2011. ISBN-13 978-9660258440. Zenon Kohut, Making Ukraine: Studies on Political Culture, Historical Narrative, and Identity. 340 pp. Edmonton: Canadian Institute of Ukrainian Studies Press, 2011. ISBN-13 978-1894865210. Tat'iana Tairova-Iakovleva, Ivan Mazepa i Rossiiskaia imperiia: Istoriia predatel 'stva (Ivan Mazepa and the Russian Empire: A Story of Betrayal). 528 pp. Moscow: Tsentrpoligraf, 2011. ISBN-13 978-5227025784. This review's title is deliberately at variance with Andreas Kappeler's 2003 article on the position of Ukrainians in the ethnic hierarchy of the Russian Empire. This informal order in Russia, as in other premodern multiethnic empires, was based on criteria of political loyalty, estate, and social and cultural affiliation. The stratification of Ukrainians made it possible to attribute them to different categories: khokhly, mostly peasants; malorossy, Russian-speaking Ukrainians loyal to the Romanov dynasty; or Mazepists (mazepintsy), those forging Ukrainian cultural and national identity. Kappeler noted that these categories were interwoven, and the position of Ukrainians in the Russian Empire was therefore extremely complex. (1) This complexity represents key subject for several recent publications about early modern Ukraine. In particular, the Cossack past, construed as historical precursor to the contemporary Ukrainian state, plays crucial role both in scholarly debates and in the national narrative. (2) The issues of loyalties, identities, and cultural, religious, and political entanglements are also of key interest, and they occupy prominent place in the studies under review here. (3) Writing in Canada, Ukraine, and Russia, the authors are acclaimed experts in early modern studies, and their new publications strengthen, advance, and sometimes revise their own earlier work. Collectively they offer broad spectrum of approaches and methodological insights and show how complex and controversial research in Ukrainian history can be. In volume encompassing 12 articles published between 1977 and 2006 and three new studies, Zenon Kohut focuses on elite culture, predominantly in the 18th century, and on identity transformations. (4) The book spans the whole modern era from the 17th through the 20th centuries. Kohut offers revisionist view on some positions and concepts declared in his previous publications and stresses that the construction of the modern Ukrainian state and began in the early modern period (xi). Working with the same sources, he emphasizes new aspects: for instance, in his reading of the famous 17th-century Kyivan Synopsis. While Kohut previously delineated the linkage between Ukraine and Russia through dynasty, religion, state structure, and ethnicity, he now refers to this text as an address to all the Slavs, not to any specific East Slavic people or nation (xii). (5) Kohut's novel emphasis on proto-nationalist and nationalist movements is linked to an acknowledgment of the multiplicity of trajectories leading from the Ruthenian to the contemporary Ukrainian nation. This variety of paths, often interwoven and complex, are the focus of Kohut's book. For the 17th and 18th centuries Kohut defines two competing state-building projects: the Hetmanate and the Russian Empire. He identifies major conflict between the idea of the centrally regulated absolutist monarchy and the notion of Little Russian rights and liberties. For Kohut these were two incompatible poles, and the clash was inevitable. In this regard, the analysis touches on the classical question of whether contemporary Ukraine can be considered a non-historical nation. …

"The Fiction of Belonging": On Second-Generation Black Writing in Canada

"The Fiction of Belonging":On Second-Generation Black Writing in Canada David Chariandy (bio) On January 12th, 2007, the Globe and Mail, Canada's longest running national newspaper, published a front-page story entitled "How Canadian Are You?" The story was based on a study by the sociologists Jeffrey Reitz and Rupa Banerjee, who had just finished analyzing the data from a landmark ethnic diversity survey. Apparently, some strikingly discrepant trends were taking place among self-identified ethnic groups in Canada. Among white immigrants, for instance, 47.9% of those responding to the survey expressed a meaningful sense of belonging to Canada, while among their Canadian-born children ("second-generation" white immigrants), 57.3% expressed the same. Among visible-minority immigrants, a full 60.7% expressed a meaningful sense of belonging to Canada (notably higher than white immigrants), but among their children ("second-generation" visible-minority immigrants) only 44.1% expressed the same. Perhaps most striking were the responses of those self-identifying as black. Among recent black immigrants, 65.3% expressed a sense of belonging to Canada. Moreover, among earlier waves of first-generation black immigrants, a full 69.1% expressed the same—an articulation of belonging, at least within the terms of the survey, that was higher than for any other categorized ethnic group. However, among second-generation blacks in Canada, only 37.0% felt it possible to articulate a strong sense of belonging to Canada—a statistic lower than for any other group. This clear waning of belonging on the part of Canadian second-generation visible minorities, but especially second-generation blacks, could not quickly be dismissed as a universal trend in an ostensibly "post-national" or "global" era, since white Canadian immigrants, at least over the generations, were apparently growing more likely to express a sense of belonging to the nation. Moreover, as both the study and newspaper story made explicit, considerable irony lay between the results of the survey and the existence of multiculturalism, a policy and act that has often been celebrated as a unique "success" by Canadians themselves and touted, across the world, as Canada's ideological gift to less enlightened liberal democracies. Despite the existence, in Canada, of seemingly robust policies, institutions, and discourses whose concerted purpose it is to instill a sense of cultural citizenship among all ethnic groups, the Canadian-born children of visible-minority immigrants were progressively identifying less with Canada. So what exactly was happening? How, indeed, to interpret these figures? Likely, the front-page status that news story enjoyed was not entirely due to the unusual scope and authority of the ethnic diversity survey (involving more than forty thousand respondents), nor to the meticulousness of the academic analysis of it, but to the fact that the story broke in the midst of a deepening climate of uncertainty and fear regarding the [End Page 818] place of second-generation visible minorities in Canada and, indeed, around the world. On November 12th, 2005, not too long before "How Canadian Are You?" was published, the Globe and Mail published another front-page story entitled "Could It Happen Here?" which referenced the "rioting" of second-generation Arabs and Africans in France, and which was accompanied by considerable editorial debate on the degree to which disaffection of that nature might emerge in Canada. Similarly, on June 3rd, 2006, the "rival" Canadian national newspaper, the National Post, ran its own front-page story entitled "Nevermind Foreign Terrorists, Why Is Canada Growing Its Own Extremists?"—a story alluding not only to the breakup, only a day before, of an alleged terrorist plot in Toronto, but also to the broader specter of "homegrown terror" that appeared to be looming in modern Western states, and which appeared most frightfully in the 7/7 London transit bombings (quickly observed to be the work of second-generation British citizens). Allen Gregg, a Canadian journalist and former pollster for the Progress Conservative Party of Canada, effectively indicated and elaborated upon this growing climate of fear and uncertainty in a magazine article entitled "Identity Crisis," and subtitled "Multiculturalism: A Twentieth-Century Dream Becomes a Twenty-First-Century Conundrum" (Walrus, March 2006). Gregg's thesis, that "multiculturalism" was now in...

Contemporary Jewish Writing in Canada: An Anthology (review)

Contemporary Jewish Writing in Canada: An Anthology, edited by Michael Greenstein. Jewish Writing in Contemporary World. Lincoln: University of Nebraska Press, 2004. 232 pp. $60.00. What is distinctive about contemporary writing? In Contemporary Jewish Writing in Canada: An Anthology, part of Jewish Writing in Contemporary World series edited by Sander L. Gilman, Michael Greenstein provides two answers. first answer appears in an introduction subtitled Sambation to Saskatchewan. Citing Mordecai Richler's description of Canada as of north, Greenstein adapts this Jewish version of many truisms that foreground Canadian inadequacy in relation to USA by asserting, Jewish writing in Canada is doubly ghettoized and regionalized between Montreal and prairies. Montreal dominates; cross looming over Mount Royal contrasts with the welcoming words of Emma Lazarus on Statue of Liberty. In a nine-part introduction, five parts are devoted to writing produced in Montreal: first its Yiddish sources; then work of A. M. Klein, the father of literature; followed by Klein's relationship to Montrealers Irving Layton and Leonard Cohen; Montreal's other major Jewish Mordecai Richler, writer who, until recent international success of Anne Michaels's Fugitive Pieces, is likely writer best known outside Canada; and finally French connections. Greenstein's geographical introduction then leaps over Ontario to Winnipeg and work of Jack Ludwig, Miriam Waddington, and Adele Wiseman, continuing its westward trek in next subheading, West of Winnipeg: Eli Mandel and Henry Kreisel. Only last two subheadings, Ontario's Outsiders and The Drift of New Voices, allow for possibility of other stories, something Greenstein does acknowledge: there are a number of distinctive voices during course of twentieth century who find mythologies outside of national boundaries. These distinctive voices challenge introduction's reliance upon two well-worn generalizations about Canadian writing. first is myth that Canada has no mythology, a view expressed by Sacvan Bercovitch: Canada's status as a colonial country without a mythology in contrast to 'America' with its indigenous, imperialist sense of identity. second adapts Northrop Frye's garrison mentality metaphor. Admitting that a garrison is not a ghetto, Greenstein appears reluctant to abandon metaphor completely even though many critics of Canadian writing have done so: Canadian-Jewish writing internalizes ghetto-garrison mentality as each writer seeks a means of escaping ghetto while adhering to its traditions. Obviously series of which Contemporary Jewish Writing in Canada is a part requires that editor offer his readers a pithy statement that sums up his subject, even if thesis seems both too grand-does each writer really seek a means of escaping ghetto?-and also not specific enough. Surely such generalizations about escaping ghetto/adhering to traditions might also apply to other countries' contemporary Jewish writing. In contrast to grand narrative of his introduction, in which A. M. Klein remains source and mouth of Jewish writing in Canada, seventeen writers Greenstein includes in anthology represent more than tributaries of A. M. Klein, and in that sense, offer a different story about literature, which is less coherent, and more interesting. Although male authors dominate discussion in introduction, anthology includes writing by nine men and eight women. Greenstein offers no explanation for his editorial choices. …

Adjacencies: Minority Writing in Canada (review)

Adjacencies: Minority Writing in Canada (review)

Creative Writing in Canada: A Brief Overview of Degree Programs

With a couple of exceptions, credit programs in Creative Writing are a relatively new phenomenon in Canada. In comparison to programs in the traditional academic disciplines, they’re also surprisingly scarce. Even compared to the trendy multidisciplinary degrees offered at many Canadian universities - What institution doesn’t have its Women’s Studies and Cultural Studies departments? - the Creative Writing degree is rare. This is in marked contrast to the US, where the Associated Writing Programs website lists over 300 member institutions, and there are 34 degree programs in California alone, 12 in Florida, and 7 in Connecticut. (Pro-rated by population, Canada should host more than 30 degree programs rather than the current eight.)…

Icelandic-Canadian Literature and Anglophone Minority Writing in Canada

Icelandic-Canadian Literature and Anglophone Minority Writing in Canada

Body Inc.: A Theory of Translation Poetics by Pamela Banting

W O R K S C IT E D Chicago Cultural Studies Group. “Critical Multiculturalism.” Critical Inquiry 18 (Spring 1992): 530-55. Gunew, Sneja. “Multicultural Multiplicities: Canada, U.S.A., and Australia.” Social Pluralism and Literary History: The Literature of Italian Emigration. Ed. Francesco Loriggio. Toronto: Guernica, 1996. 29-47. Loriggio, Francesco. “The Question of the Corpus: Ethnicity and Canadian Literature.” Future Indicative: Literary Theory and Canadian Literature. Ed. John Moss. Ottawa: U of Ottawa P, 1987. 53-69. Padolsky, Enoch. “Cultural Diversity and Canadian Literature: A Pluralistic Approach to Majority and Minority Writing in Canada.” International Journal of Canadian Studies 3 (1991). Rpt. in New Contexts of Canadian Criticism. Ed. Ajay Heble, Donna Palmateer Pennee, and J.R. (Tim) Struthers. Peterborough: Broadview, 1997. 24-42. d o n n a p a l m a t e e r p e n n e e / University of Guelph Pamela Banting, Body Inc.: A Theory of Translation Poetics (Winnipeg: Turnstone Press, 1995). xx, 250. $16.95 paper. By her own admission, Pamela Banting speaks only English. In her ac­ knowledgements, she (ironically?) thanks her professor “in Spanish 100” a decade ago for having “impelled this project in translation” (xviii). It is a project in “improper” translation, translation effects within a single “na­ tional” language. “The Promise of Translation,” title of the final chapter of her Body Inc.: A Theory of Translation Poetics, holds out the hope of a model of translation as seduction, translation as promissory, which doubles the covenant of a people among themselves even as it delays or defers such shared meaning by foregrounding the differences between languages. Follow­ ing the logic of translation she presents, Banting’s book offers no revelation, but revivifies the promise, suggestively braiding three strands of argument concerning the poetics of ordering the long poem, Canadian literature theo­ rizing, and translation as somatized practice. These are concisely linked in the final sentence of the book: “Translating, the long poem composes the body Canadian” (231). Translating Derrida into Canadian terms and in the process rewriting Robert Kroetsch to stretch further his punning “For Play and Entrance: The Contemporary Canadian Long Poem,” this book enacts the poetics of deferral it proposes by preferring such (in)conclusions. Some of the strands are subject to more delay than others. A more salient formu­ lation of their interweaving is offered in the second last sentence: “The long poem is an ‘owner’s manual’ for the body.” The amassing of rich detail con­ cerning the theoretical positions on language and translation of Fred Wah, 224 Daphne Marlatt, and Kroetsch supports interesting and insightful readings of a number of their poems in an argument for an embodied poetics where text and body overlap, enwrap, interrogate each as signifier for the other. Translation, however, as becomes an art of approach, is a promise not fully respected (kept). Banting adopts Roman Jakobson’s distinction between three different types of translation to organize the sections of her book, one devoted to each of the poets whose texts are examined in three or four chapters. Fred Wah’s work with the pictograms of B.C. First Nations people and with the paratactical syntax of Chinese, his father’s tongue, is classified as “interlin­ gual” translation. Robert Kroetsch’s concern to rewrite classical epics in prairie vernacular, his focus on alphabets, archeology, and a decoding that will recover lost connections by rooting the borrowed word in an experience that questions its “proper” usage, is identified as “intralingual” translation or rewording in the same (national) language. Marlatt’s project of shifting the body from under the weight of the patriarchal dictionary that involves etymological investigations in order to re-member lost sensory memories of the body, an approach to language that sees it as part of a continuous rela­ tion to the phenomenological world where it is simultaneously mothertongue and (m)othertongue, is categorized as “intersemiotic” translation or rework­ ing of one sign system into another. Ethnicity, region, and gender as these inform language practices are the operative frames for Banting’s analysis of contemporary Canadian poetics. In each section, however, she blurs Jakobson’s distinctions to demonstrate that all three types of translation are practised...

Teaching Technical Writing in Canada

The results of a 1987 survey of seventy Canadian four-year colleges and universities indicate that approximately half of the thirty-five responding institutions offer some form of technical writing. While courses are well-received by students and have stable or growing enrollments, faculty attitudes toward professional writing courses are mixed, varying from enthusiastic to disapproving. The other half of the responding institutions do not offer professional writing courses and have no plans to do so. Faculties at these institutions are generally against establishing such courses because they do not see technical writing as a legitimate subject.

Functional Writing in Canada: An Overview of Career Opportunities

Functional Writing in Canada: An Overview of Career Opportunities