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Writing in the Devil's Tongue: A History of English Composition in China
Winner, CCCC Outstanding Book Award
Until recently, American composition scholars have studied writing instruction mainly within the borders of their own nation, rarely considering English composition in the global context in which writing in English is increasingly taught. Writing in the Devil’s Tongue challenges this anachronistic approach by examining the history of English composition instruction in an East Asian country. Author Xiaoye You offers scholars a chance to observe how a nation changed from monolingual writing practices to bilingual writing instruction in a school setting. You makes extensive use of archival sources to help trace bilingual writing instruction in China back to 1862, when English was first taught in government schools. Treating the Chinese pursuit of modernity as the overarching theme, he explores how the entry of Anglo-American rhetoric and composition challenged and altered the traditional monolithic practice of teaching Chinese writing in the Confucian spirit. The author focuses on four aspects of this the Chinese negotiation with Anglo-American rhetoric, their search for innovative approaches to instruction, students’ situated use of English writing, and local scholarship in English composition. Unlike previous composition histories, which have tended to focus on institutional, disciplinary, and pedagogical issues, Writing in the Devil’s Tongue brings students back to center stage by featuring several passages written by them in each chapter. These passages not only showcase rhetorical and linguistic features of their writings but also serve as representative anecdotes that reveal the complex ways in which students, responding to their situations, performed multivalent, intercultural discourses. In addition, You moves out of the classroom and into the historical, cultural, and political contexts that shaped both Chinese writing and composing practices and the pedagogies that were adopted to teach English to Chinese in China. Teachers, students, and scholars reading this book will learn a great deal about the political and cultural impact that teaching English composition has had in China and about the ways in which Chinese writing and composition continues to be shaped by rich and diverse cultural traditions and political discourses. In showcasing the Chinese struggle with teaching and practicing bilingual composition, Writing in the Devil’s Tongue alerts American writing scholars and teachers to an outdated English monolingual mentality and urges them to modify their rhetorical assumptions, pedagogical approaches, and writing practices in the age of globalization.
Until recently, American composition scholars have studied writing instruction mainly within the borders of their own nation, rarely considering English composition in the global context in which writing in English is increasingly taught. Writing in the Devil’s Tongue challenges this anachronistic approach by examining the history of English composition instruction in an East Asian country. Author Xiaoye You offers scholars a chance to observe how a nation changed from monolingual writing practices to bilingual writing instruction in a school setting. You makes extensive use of archival sources to help trace bilingual writing instruction in China back to 1862, when English was first taught in government schools. Treating the Chinese pursuit of modernity as the overarching theme, he explores how the entry of Anglo-American rhetoric and composition challenged and altered the traditional monolithic practice of teaching Chinese writing in the Confucian spirit. The author focuses on four aspects of this the Chinese negotiation with Anglo-American rhetoric, their search for innovative approaches to instruction, students’ situated use of English writing, and local scholarship in English composition. Unlike previous composition histories, which have tended to focus on institutional, disciplinary, and pedagogical issues, Writing in the Devil’s Tongue brings students back to center stage by featuring several passages written by them in each chapter. These passages not only showcase rhetorical and linguistic features of their writings but also serve as representative anecdotes that reveal the complex ways in which students, responding to their situations, performed multivalent, intercultural discourses. In addition, You moves out of the classroom and into the historical, cultural, and political contexts that shaped both Chinese writing and composing practices and the pedagogies that were adopted to teach English to Chinese in China. Teachers, students, and scholars reading this book will learn a great deal about the political and cultural impact that teaching English composition has had in China and about the ways in which Chinese writing and composition continues to be shaped by rich and diverse cultural traditions and political discourses. In showcasing the Chinese struggle with teaching and practicing bilingual composition, Writing in the Devil’s Tongue alerts American writing scholars and teachers to an outdated English monolingual mentality and urges them to modify their rhetorical assumptions, pedagogical approaches, and writing practices in the age of globalization.
256 pages, Paperback
First published January 1, 2010
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Displaying 1 - 4 of 4 reviews
February 7, 2012
This is a very important book for the histories of composition and rhetoric. First and foremost, it is one of the first such histories that makes a substantive move to describe English composition from an indigenous point of view. It certainly has to be the first to do so from a Chinese point of view. You describes how composition ideologies described by James Berlin were combined with Chinese rhetorical traditions to create composition instruction that fit with each specific socio-cultural context. Though this produces a fairly linear piece that relies a lot on essentialist notions of nationality and culture, the result is a thought-provoking counter-history to our own.
Anyone who teaches English to Chinese students should know from experience, that there is no monolithic writing tradition that we can use to interpret and evaluate student writing. This book shows the varied approaches to composition, both in Chinese and English writing, that impacts how students have learned writing. I see my Chinese students writing in an entirely different light now.
My only complaint about this book is the ending which relies too much on grand narratives, so much so the chapter is almost useless. But I guess one has to find a way to end a book.
Anyone who teaches English to Chinese students should know from experience, that there is no monolithic writing tradition that we can use to interpret and evaluate student writing. This book shows the varied approaches to composition, both in Chinese and English writing, that impacts how students have learned writing. I see my Chinese students writing in an entirely different light now.
My only complaint about this book is the ending which relies too much on grand narratives, so much so the chapter is almost useless. But I guess one has to find a way to end a book.
March 29, 2012
I'm doing research on Chinese students.
You is primarily concerned with writing about the history of teaching English in China. Within his discussion of how English composition was taught, he also provides a discussion of how Chinese writing was taught to students. Several of his chapters are important to my own research including his chapter titled "Writing in Traditional Chinese Education" which discusses the ways that traditionally Chinese students have been taught to write. Two other important chapters are "Chinese Proletarian Rhetoric" and "Creativity and Individuality in Chinese Composition." Both of these chapters contain information on how writing in taught in China.
You is primarily concerned with writing about the history of teaching English in China. Within his discussion of how English composition was taught, he also provides a discussion of how Chinese writing was taught to students. Several of his chapters are important to my own research including his chapter titled "Writing in Traditional Chinese Education" which discusses the ways that traditionally Chinese students have been taught to write. Two other important chapters are "Chinese Proletarian Rhetoric" and "Creativity and Individuality in Chinese Composition." Both of these chapters contain information on how writing in taught in China.
January 27, 2013
A very comprehensive history of teaching English in China since the beginning. It's a really excellent analysis of the Chinese rhetorical situation as well as many of the forms of Chinese essay writing. The 8-legged Confucian essays were particularly interesting.
December 18, 2010
Awesome book that covers so many issues that resonate with me! The tunnel-vision of US rhet/comp studies, English ed in China, world Englishes...really excited about this book.
Displaying 1 - 4 of 4 reviews