In a book that itself exemplifies the dialogic scholarship it proposes, Kay Halasek reconceives composition studies from a Bakhtinian perspective, focusing on both the discipline's theoretical assumptions and its pedagogies.
Framing her discussions at every level of the discipline—theoretical, historical, pedagogical—Halasek provides an overview of portions of the Bakhtinian canon relevant to composition studies, explores the implications of Mikhail Bakhtin's work in the teaching of writing and for current debates about the role of theory in composition studies, and provides a model of scholarship that strives to maintain dialogic balance between practice and theory, between composition studies and Bakhtinian thought.
Halasek's study ranges broadly across the field of composition, painting in wide strokes a new picture of the discipline, focusing on the finer details of the rhetorical situation, and teasing out the implications of Bakhtinian thought for classroom practice by examining the nature of critical reading and writing, the efficacy and ethics of academic discourse, student resistance, and critical and conflict pedagogy. The book ends by setting out a pedagogy of possibility, what Halasek terms elsewhere a "post-critical pedagogy" that redefines and redirects current discussions of home versus academic literacies and discourses.
In Performing Antiracist Pedagogy, Frankie Condon and Vershawn Ashanti Young seek to help create openings to address race and racism not only in course readings and class discussion in writing, rhetoric, and communication courses but also in wider public settings. The contributors to this collection, drawn from a wide range of disciplines, urge readers to renew their commitment to intelligently and publicly deliberate race and to counteract the effects of racism. The book is both theoretically rigorous and practical, providing readers with insightful analyses of race and racism and useful classroom suggestions and examples.
Contributors: Chiara Bacigalupa, Sophia Bell, Susan Leigh Brooks, Frankie Condon, Rasha Diab, John Dean, Thomas Ferrell, Beth Godbee, Dae-Joong Kim, Timothy Lensmire, Calvin M. Logue, Aja Y. Martinez, Rebecca Nathan, Bobbi Olson, Jessica Parker, Charise Pimentel, Octavio Pimentel, Mya Poe, Neil Simpkins, Nathan Snaza, Deatra Sullivan, Vershawn Ashanti Young
In Postprocess Postmortem, Kristopher M. Lotier surveys the postprocess era-that-never-was, its end, and its after-lives. Employing cutting-edge digital research tools to track the circulation of texts and shifting scales from the global to the local and back again, he offers a revisionist history of a largely unchronicled past. From one perspective, the history of postprocess might seem to be a history of failure: what could have become The Next Big Thing in composition and writing studies during the 1990s and early 2000s never quite ascended. Today, few writing studies scholars apply the term postprocess to their own research or self-identify with a postprocess movement. And yet, as Lotier demonstrates, numerous core postprocess tenets have attained disciplinary centrality. The result: whether they admit to doing so or not, many contemporary scholars employ a postprocess vocabulary, allowing the ideas underlying this important movement/theory/period/attitude to live on.
Breaking with the still-dominant process tradition in composition studies, post-process theory—or at least the different incarnations of post-process theory discussed by the contributors represented in this collection of original essays—endorses the fundamental idea that no codifiable or generalizable writing process exists or could exist. Post-process theorists hold that the practice of writing cannot be captured by a generalized process or a "big" theory.
Most post-process theorists hold three assumptions about the act of writing: writing is public; writing is interpretive; and writing is situated. The first assumption is the commonsensical claim that writing constitutes a public interchange. By "interpretive act," post-process theorists generally mean something as broad as "making sense of" and not exclusively the ability to move from one code to another. To interpret means more than merely to paraphrase; it means to enter into a relationship of understanding with other language users. And finally, because writing is a public act that requires interpretive interaction with others, writers always write from some position or some place. Writers are never nowhere; they are "situated."
Leading theorists and widely published scholars in the field, contributors are Nancy Blyler, John Clifford, Barbara Couture, Nancy C. DeJoy, Sidney I. Dobrin, Elizabeth Ervin, Helen Ewald, David Foster, Debra Journet, Thomas Kent, Gary A. Olson, Joseph Petraglia, George Pullman, David Russell, and John Schilb.
Practicing Writing examines a pivotal era in the history of the most ubiquitous-and possibly most problematic-course in North American colleges and universities: the requireAd first-year writing course generally known as “freshman English.”
Thomas Masters's focus is the mid-twentieth century, beginning with the returning waves of World War II veterans attending college on the GI Bill. He then traces the education reforms that took place in the late 1950s after the launch of Sputnik and the establishment of composition as a separate discipline in 1963. This study draws upon archives at three midwestern schools that reflect a range of higher education options: Wheaton, a small, sectarian liberal arts college; Northwestern, a large private university; and Illinois, a large public university.
Practicing Writing gives voice to those whose work is often taken for granted or forgotten in other studies of the subject: freshman English students and their instructors. Masters examines students' papers, professors' letters, and course descriptions, and draws upon interviews conducted with teachers to present the practitioners' points of view.
Unlike other studies of the subject, which have tended to focus more on the philosophy, theory, and ideology of teaching composition and rhetoric, Masters reveals freshman English to be a practice-based phenomenon with a durable ideological apparatus. By reexamining texts that had previously been considered insignificant, he reveals the substance of first-year composition courses and the reasons for their durability.
In Process This, Nancy DeJoy argues that even recent revisions to composition studies, cultural studies, service learning, and social process movements--continue to repress the subjects and methodologies that should be central, especially at the level of classroom practice. Designed to move student discourses beyond the classroom, these approaches nonetheless continue to position composition students (and teachers) as mere consumers of the discipline. This means that the subjects, methodologies, and theory/practice relationships that define the field are often absent in composition classrooms.
Arguing that the world inside and outside of the academy cannot be any different if the profession stays the same, DeJoy creates a pedagogy and a plan for faculty development that revisions the prewrite/write/rewrite triad to open spaces for participation and contribution to all members of first-year writing classrooms.
READERS
Browse our collection.
PUBLISHERS
See BiblioVault's publisher services.
STUDENT SERVICES
Files for college accessibility offices.
UChicago Accessibility Resources
home | accessibility | search | about | contact us
BiblioVault ® 2001 - 2024
The University of Chicago Press