is both "not about you" and "about you," and how these processes of identity formation are the kinds of processes necessary to critically evaluate public discourse. Furthermore, Jennifer S. Wilson's approach to critical pedagogy in second-language writing as she describes it in her article, "Engaging Second Language Writers in Freshman Composition: A Critical Approach," utilizes a perspective that provides opportunities for the types of writing necessary for students to critically analyze and evaluate ideologies entrenched in the dominant discourse, even as they are learning English as their second language. In other words, the four major elements of the course that Wilson describes, especially with respect to the ideas she offers for critical writing assignments, create alternative pathways for students to produce writing that has the potential to disrupt cultural and political ideologies represented in various avenues and niches of the dominant public discourse. For example, in addition to incorporating "local topics," Wilson provides options for students to "investigate language use in certain communities, societies, or cultures" as well as "investigating" the relationships between language and power (8-9). Even more important, she insists that "[c]ritical pedagogy is concerned with minimizing the power differential between student and teacher; in composition classrooms, one way for students to maximize their voices is to publish their work in authentic ways" (9). Writing across the curriculum Because academic discourse is not monolithic (in other words, there are curricula that address that the concept of academic discourse can be applied to specific parts of a writing curriculum), many compositionists have created writing across the curriculum (WAC) movement that situates writing-intensive instruction in specific academic discourse communities. The reading and apprenticeship connections According to some writing theorists, reading for pleasure provides a more effective way of mastering the art of writing than does a formal study of writing, language, grammar, and vocabulary.The apprenticeship approach provides one variant of the reading connection, arguing that the composition classroom should resemble pottery or piano workshops—minimizing dependence on excessive self-reflection, preoccupation with the audience, and explicit rules. By watching the master, according to Michael Polanyi, an "apprentice unconsciously picks up the rules of the art, including those which are not explicitly known to the master himself." Writing instructors, according to this approach, serve as models and coaches, providing explicit feedback in response to the learner's compositions. Students focus their attention on the task at hand, and not on "an inaccessible and confusing