WPA: WRITING PROGRAM ADMINISTRATION publishes articles and essays concerning the organization administration practices and aims of college and university writing programs. Possible topics include writing faculty education training and professional development; writing program creation and design the development of rhetoric and writing curricula; writing assessment within programmatic contexts advocacy and institutional critique and change; writing programs and their extra-institutional relationships with writing s publics; technology and the delivery of writing instruction within programmatic contexts; WPA and writing program histories and contexts; WAC / ECAC / WID and their intersections with writing programs; the theory and philosophy of writing program administration issues of professional advancement and WPA work; and projects that enhance WPA work with diverse stakeholders. CONTENTS OF WPA 48.2 (Spring 2025): FROM THE EDITORS: Manifesting Our Value in This Moment by Tracy Ann Morse Patti Poblete Wendy Sharer and Kelly Moreland EVERYTHING IS PRAXIS: Addressing Equity Gaps in an HSI First-Year Writing Program: Institutional Initiatives and Faculty Collaborations by Md Mijanur Rahman Danelle Dyckhoff Stelzriede and Linda Margarita Greenberg For TAs By TAs: Building Community Through a Teacher s Guide by Emma Boddy Destiny Brugman Rena Perez and Sara Webb-Sunderhaus ESSAYS: WPA Protocols for Increased Retention: Writing Program Administrators and Health of the University by Kay Siebler Navigating Competing Values at Public Liberal Arts Colleges: WPA Work and Mission Alignment by N. Claire Jackson Reframing Composition Discourse in the Age of Completion-Based Policy Reform by Halle M. Neiderman Toward an Intellectually Honest Evaluation of Writing Administration s Quotidian Labor by Daniel Libertz and Joshua Barsczewski BOOK REVIEWS: Review: Desegregation State: College Writing Programs after the Civil Rights Movement by Nicole O Connell Review: Systems Shift: Creating and Navigating Change in Rhetoric and Composition Administration by Anjelica Rechsteiner

Of Course I Hate You

The Second Course of Orthographic Projection by William S. Binns is a detailed exploration of mechanical and engineering drawing techniques as they were understood in the 19th century. This volume serves as a continuation of Binns s new method for teaching the science delving into more advanced topics. It offers practical insights into the intricacies of drawing with specific attention to the creation of accurate and informative technical illustrations. The book features comprehensive instructions on the projection of shadows and the principles of shading crucial elements for creating realistic and visually clear drawings. Additionally it provides specific guidance on the design and representation of the teeth of wheels an essential component in many mechanical systems. This historical text offers modern readers a glimpse into the engineering practices of the past and remains valuable for those interested in the history of technical drawing and engineering education. This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact and remains as true to the original work as possible. Therefore you will see the original copyright references library stamps (as most of these works have been housed in our most important libraries around the world) and other notations in the work. This work is in the public domain in the United States of America and possibly other nations. Within the United States you may freely copy and distribute this work as no entity (individual or corporate) has a copyright on the body of the work. As a reproduction of a historical artifact this work may contain missing or blurred pages poor pictures errant marks etc. Scholars believe and we concur that this work is important enough to be preserved reproduced and made generally available to the public. We appreciate your support of the preservation process and thank you for being an important part of keeping this knowledge alive and relevant.

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