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An Introduction to Composition Studies
Nine commissioned essays introduce the non-specialist to the rapidly evolving field of composition studies, discussing the nature of the field, the relationship between composition and rhetoric and between theory and practice, the history of the discipline, its bibliogrphic sources and problems, its methods of research, teaching writing, and the politics of the profession. A concluding personal essay describes a life in the profession. Written by prominent authorities, these essays describe current developments in the field, outline the major issues, and suggest needed research. Most essays provide a brief bibliography of further readings. This important book gives students and teachers an invaluable overview of composition studies, a vital field of English and literacy education.
208 pages, Paperback
First published June 20, 1991
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February 7, 2010
This book is a compilation of essays written by professionals in the field of composition studies. Some of the essays also examine the relationship between rhetoric and composition as well as between theory and practice. One essayist reviews the history of composition studies and two others discuss the politics and life in the profession. The essayists, known experts in the field, introduce the broad spectrum of composition studies to the “non-specialist.” As stated in the preface, the thesis of this text is to provide insight into the nature of composition studies and direction in how to approach the study and teaching of composition.
The main strength of this text is that it offers a holistic look at composition studies from the nature of the field, the issues of research in the field and a broad look at what one can expect when entering the field of composition studies. Among the nine essays, four offer excellent foundational introductions to those approaching the door of the English department. These four essays focus on the contrast and comparison of rhetoric and composition, the discussion of theory and practice, the topic of teaching writing, and a look into life in the profession. These serve to draw back the veil of mystery for graduate students interested in the field. Other essays about the history of the discipline, the issues and methods of research, and the discussion of bibliographical resources and problems offer valid information but were less interesting than the previously mentioned. James Slevin’s essay entitled The Politics of the Profession is not for the faint of heart. His discussion on the politics of a college campus while serving to prepare the novice might also push the quiet, gentle English major further into solitude!
John Gage, from the University of Oregon, tackles the delineations between rhetoric and composition and describes the historical and technical differences between the two terms. The word rhetoric, in popular culture, usually has a negative connotation because general society perceives rhetoric as something used by politicians and denotes trickery and deception. Literally, rhetoric uses methods of reason by which to convince the reader or audience to embrace a certain stance. Argumentative and analytical writing is a part of most all freshman composition courses and this instruction mirrors an introductory level of rhetorical writing. Gage, at the end of this essay, explains that rhetoric follows a process of reasoning that starts with a view of the whole and drills down to functional parts; a dissection rather than composing. With composition, one starts with pieces or components and moves toward building the whole. This analogy provides the reader with a clearer picture of the two concepts. No longer is rhetoric a dirty word.
Charles Schuster in Theory and Practice sets out to “complicate” the general assumption that “composition studies is essentially defined in terms of practice rather than theory” (33). For the beginning student, Schuster’s complication strives to demonstrate that while there is a sense of “mutual tension” between the concepts of practice and theory, the two flourish when worked out together in the composition classroom. He concludes, “theory is a form of practice and that practice is the operational dimension of theory” (43). A prospective teacher of composition should keep this in mind when approaching the maze of theories presented as vehicles that will produce the desired outcomes in the classroom. He offers encouragement to his readers regarding theorists like Foucault and Derrida, who are, at times, confusing and abstract. He also suggests reviewing others like Mina Shaughnessy, Mike Rose, David Bartholomae and Janet Emig. These writers offer ideas that are equally beneficial to the composition studies student.
Instead of the “nuts and bolts” treatment implied by the title, Teaching Writing, Lisa Ede’s essay seeks to set the landscape or paint a picture depicting what it is like to teach writing and face the obstacles of underprepared students as well as the colleagues who do not understand nor appreciate the respective challenges of the field. Deeper into her essay, she offers a survey of the theorists and their practices weighing them against “cultural, political and ideological forces” that influence both students and instructors (127). At the end of her essay, she states that teachers need to be ready to confront rather than evade the “politically and ideologically situated nature of our work” (131). Ede’s essay is a bit confusing as she jumps back and forth, between what she paints as a bleak landscape for learning and to fighting the good fight by turning the arguments back onto the accusers. To Ede’s credit, the broad range of theorists mentioned in the essay benefits the student teacher by providing excellent bibliographic reference for research.
The best essay in the book is not one that points to theory and practice or history but to actual experience in the life of teaching writing. Charles Moran from the University of Massachusetts at Amherst shares his life’s journey in the profession. At age 54, Moran chronicles his journey as an undergraduate to graduate to Ph.D., detailing his learning, mistakes, and perceptions regarding the Life in the Profession. Sensibly placed at the end of the book, it is as if the editors attempted to show both the positive and negative aspects of the experience surrounding composition studies and its practice.
As Andrea Lunsford writes in the introductory essay, she wishes to understand, “as contextually as possible”, why it is that she does what she does in a professional sense. Her review of her journey is similar to Moran’s but she offers it at the beginning and quotes Kenneth Burke who says, “the best thing one can do is to try different approaches toward the same center” (3). From beginning to end this book contains bittersweet challenges filled with conflicts and tension and says that a life in the profession is worth the ink stains and bloody paper cuts acquired along the way.
The main strength of this text is that it offers a holistic look at composition studies from the nature of the field, the issues of research in the field and a broad look at what one can expect when entering the field of composition studies. Among the nine essays, four offer excellent foundational introductions to those approaching the door of the English department. These four essays focus on the contrast and comparison of rhetoric and composition, the discussion of theory and practice, the topic of teaching writing, and a look into life in the profession. These serve to draw back the veil of mystery for graduate students interested in the field. Other essays about the history of the discipline, the issues and methods of research, and the discussion of bibliographical resources and problems offer valid information but were less interesting than the previously mentioned. James Slevin’s essay entitled The Politics of the Profession is not for the faint of heart. His discussion on the politics of a college campus while serving to prepare the novice might also push the quiet, gentle English major further into solitude!
John Gage, from the University of Oregon, tackles the delineations between rhetoric and composition and describes the historical and technical differences between the two terms. The word rhetoric, in popular culture, usually has a negative connotation because general society perceives rhetoric as something used by politicians and denotes trickery and deception. Literally, rhetoric uses methods of reason by which to convince the reader or audience to embrace a certain stance. Argumentative and analytical writing is a part of most all freshman composition courses and this instruction mirrors an introductory level of rhetorical writing. Gage, at the end of this essay, explains that rhetoric follows a process of reasoning that starts with a view of the whole and drills down to functional parts; a dissection rather than composing. With composition, one starts with pieces or components and moves toward building the whole. This analogy provides the reader with a clearer picture of the two concepts. No longer is rhetoric a dirty word.
Charles Schuster in Theory and Practice sets out to “complicate” the general assumption that “composition studies is essentially defined in terms of practice rather than theory” (33). For the beginning student, Schuster’s complication strives to demonstrate that while there is a sense of “mutual tension” between the concepts of practice and theory, the two flourish when worked out together in the composition classroom. He concludes, “theory is a form of practice and that practice is the operational dimension of theory” (43). A prospective teacher of composition should keep this in mind when approaching the maze of theories presented as vehicles that will produce the desired outcomes in the classroom. He offers encouragement to his readers regarding theorists like Foucault and Derrida, who are, at times, confusing and abstract. He also suggests reviewing others like Mina Shaughnessy, Mike Rose, David Bartholomae and Janet Emig. These writers offer ideas that are equally beneficial to the composition studies student.
Instead of the “nuts and bolts” treatment implied by the title, Teaching Writing, Lisa Ede’s essay seeks to set the landscape or paint a picture depicting what it is like to teach writing and face the obstacles of underprepared students as well as the colleagues who do not understand nor appreciate the respective challenges of the field. Deeper into her essay, she offers a survey of the theorists and their practices weighing them against “cultural, political and ideological forces” that influence both students and instructors (127). At the end of her essay, she states that teachers need to be ready to confront rather than evade the “politically and ideologically situated nature of our work” (131). Ede’s essay is a bit confusing as she jumps back and forth, between what she paints as a bleak landscape for learning and to fighting the good fight by turning the arguments back onto the accusers. To Ede’s credit, the broad range of theorists mentioned in the essay benefits the student teacher by providing excellent bibliographic reference for research.
The best essay in the book is not one that points to theory and practice or history but to actual experience in the life of teaching writing. Charles Moran from the University of Massachusetts at Amherst shares his life’s journey in the profession. At age 54, Moran chronicles his journey as an undergraduate to graduate to Ph.D., detailing his learning, mistakes, and perceptions regarding the Life in the Profession. Sensibly placed at the end of the book, it is as if the editors attempted to show both the positive and negative aspects of the experience surrounding composition studies and its practice.
As Andrea Lunsford writes in the introductory essay, she wishes to understand, “as contextually as possible”, why it is that she does what she does in a professional sense. Her review of her journey is similar to Moran’s but she offers it at the beginning and quotes Kenneth Burke who says, “the best thing one can do is to try different approaches toward the same center” (3). From beginning to end this book contains bittersweet challenges filled with conflicts and tension and says that a life in the profession is worth the ink stains and bloody paper cuts acquired along the way.
September 12, 2022
Want to change the mind of someone looking to be an English major? Just give them this book. I would've dropped right out of my BA program.
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