Parallel Educational Tools

Yancey (1992) argues portfolios have three characteristics in common: “They are, first, longitudinal in nature; second, diverse in content; and third, almost always collaborative in ownership and composition” (p. 102). These three essential qualities are also found in multimodal composition.

Portfolio Contents Home The Background Guiding Questions Portfolios, Technologies, and the Composition Classroom EPortfolios Why Portfolios? Outlining Multimodal Composition The Cs Enhanced Writing   Parallel Educational Tools First Parallel Second Parallel Third Parallel Fourth Parallel New Directions: Into Infinity (Expanding Ideas) Tangent Line 1 Tangent Line 2 Tangent Line 3 Final Reflections References

By looking at four particular areas of emphasis in contemporary composition classrooms, the convergent nature of multimodal assignments and the uses of portfolios as assessment and learning emerge. Portfolios and multimodal composition come together most obviously in their abilities to emphasize purpose and audience in text construction; emphasize a process of text construction; emphasize student growth; and emphasize collaboration. These are all areas in which portfolios and multimodal composing positively converge, encouraging student writing development and reflective teaching pedagogy. Portfolios and multimodal composition, when used individually or coupled, can also have negative effects on classroom experiences for teachers and students.

When meant to compliment students’ learning styles, give students the benefit of the doubt, or encourage collaborative enterprises, the use of portfolios and assignments calling for multimodal composition can alienate students. On the other hand, when poorly developed or developed with little regard to classroom context, portfolios and multimodal composing are ineffective learning tools that may ultimately be detrimental to students’ and teachers’ learning processes.