LENSES ON COMPOSITION STUDIES Edited by Sheryl I. Fontaine and Steve Westbrook Most treatments of plagiarism as part of undergraduate education deal with the issue in an overly simplistic and misleading fashion, tending to imply that plagiarism is a concept easily understood and easily avoided, casting the problem as an ethical issue-a choice between honesty and dishonesty-and/or as a technical issue, best avoided by attention to appropriate citation formats. Edited by Michael Donnelly, Rebecca Ingalls, Tracy Ann Morse, Joanna Castner Post, and Anne Meade Stockdell-Giesler, CRITICAL CONVERSATIONS ABOUT PLAGIARISM instead invites students and teachers to engage in deep, critical discussions about a complicated topic in ways that are both accessible and intellectually challenging. The essays address a range of complex, interrelated ideas, concepts, and issues: theories about knowledge creation and ideas about authorship; issues of collaboration, borrowing, remixing, and plagiarism; copyright and intellectual property; historical constructions of authorship; student and teacher identities and roles; cross-cultural perspectives on plagiarism; and the impact of new technologies. Contributors include Phillip Marzluf, Jessica Reyman, Esra Mirze Santesso, Paul Parker, Richard Schur, Martine Courant Rife, Danielle Nicole DeVoss, Deborah Harris-Moore, Sean Zwagerman, Bridget M. Marshall, Rachel Knaizer, Lise Buranen, and Anne-Marie Pedersen. Rather than speak down to students about what they don't know or understand, these essays invite students to explore and discuss in depth the controversies about plagiarism that writers constantly negotiate across a variety of contexts. CRITICAL CONVERSATIONS ABOUT PLAGIARISM makes such discussions accessible to undergraduate and graduate students, and, at the same time, it provides teachers with tools for facilitating those conversations. CRITICAL CONVERSATIONS ABOUT PLAGIARISM is the second volume in Parlor Press's LENSES ON COMPOSITION STUDIES series, which features texts written specifically for upper-level undergraduate and entry-level graduate courses in composition studies.

Signs and Wonders traces the intertwining of Protestant religion and the development of the deaf community from the nineteenth through the twenty-first century. Tracy Ann Morse draws on nineteenth-century speeches, sermons, and pamphlets; highlights the role of missionary movements in the spread of sign language; and shows how film and stage productions drew on religious themes in their portrayal of the deaf community and its struggles. The first book to take a serious look at the intersection of religion and the deaf community, Signs and Wonders breaks new ground and opens up new avenues for continuing study.