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Ecocomposition examines current trends in universities toward more environmentally sound work, explores the intersections between composition research—that is, discourse studies—and ecostudies, and offers possible pedagogies for the composition classroom. Never before have the intersections between ecotheory and composition studies in theory and pedagogy been addressed in this much depth or detail. As universities become increasingly concerned with issues of the environment within academic disciplines across the spectrum, this book brings together a diverse group of prominent voices to discuss the development of ecocomposition and its possibilities, and to argue for a greening of composition studies through which to engage the world in which we live.
Explores the intersections between writing and ecological studies.
The first full-length book to address the relationships between environment and discourse, Natural Discourse explains why and how ecocomposition has become such a critical part of composition studies. Beginning by exploring the roots of ecocomposition, including a history of the use of the term ecocomposition, the book then examines ecological aspects of composition studies, and looks at how ecocomposition is informed by ecocriticism, cultural studies, ecofeminism, environmental rhetoric, and composition studies. The authors draw on their own experiences as teachers of writing and outdoor enthusiasts to describe how ecocomposition can address issues of language and nature, public intellectualism, and pedagogy.
THE BEST OF THE INDEPENDENT RHETORIC AND COMPOSITION JOURNALS 2010 represents the result of a nationwide conversation—beginning with journal editors, but expanding to teachers, scholars and workers across the discipline of Rhetoric and Composition—to select essays that showcase the innovative and transformative work now being published in the field’s independent journals. Representing both print and digital journals in the field, the essays featured here explore issues ranging from classroom practice to writing in global and digital contexts, from writing workshops to community activism. Together, the essays provide readers with a rich understanding of the present and future direction of the field.
Now more than ever—in a time when Americans still do not believe that humans are the primary cause of Earth's climate change crisis, the burden on educators to inform, challenge, and motivate students about sustainability is greater than it ever has been. On college campuses, writing intensive courses, often located within First-Year or General Education curricula, are an ideal place to take up this charge because of the flexibility of their content and the high volume of students that they reach. In this volume, a varied group of composition instructors with wide ranges and types of experiences provides best practices for bringing issues surrounding climate change into the writing classroom. From literature-based composition and creative writing courses to design thinking workshops to seminars "against sustainability," the authors in this volume lay out a multitude of possibilities for blending writing and environmental concerns that fellow practitioners can easily adopt or modify for their own use.
Moving beyond ecocomposition, this book galvanizes conversations in ecology and writing not with an eye toward homogenization, but with an agenda of firmly establishing the significance of writing research that intersects with ecology. It looks to establish ecological writing studies not just as a legitimate or important form of writing research, but as paramount to the future of writing studies and writing theory. Complex ecologies, writing studies, and new-media/post-media converge to highlight network theories, systems theories, and posthumanist theories as central in the shaping of writing theory, and this study embraces work in these areas as essential to the development of ecological theories of writing. Contributors address ecological theories of writing by way of diverse and promising avenues, united by the underlying commitment to better understand how ecological methodologies might help better inform our understanding of writing and might provoke new theories of writing. Ecology, Writing Theory, and New Media fuels future theoretical conversations about ecology and writing and will be of interest to those who are interested in theories of writing and the function of writing.
Leading a burgeoning self-critical moment in composition studies and writing program administration, Postcomposition is a fundamental reconsideration of the field that attempts to shift the focus away from pedagogy and writing subjects and toward writing itself. In this forceful and reasoned critique of many of the primary tenets and widely accepted institutional structures of composition studies, Sidney I. Dobrin delivers a series of shocks to the system meant to disrupt the pedagogical imperative and move beyond the existing limits of the discipline. Dobrin evaluates the current state of composition studies, underscoring the difference between composition and writing and arguing that the field's focus on the administration of writing students and its historically imposed prohibition on theory greatly limit what can be understood about writing. Instead he envisions a more significant approach to writing, one that questions the field's conservative allegiance to subject and administration and reconsiders writing as spatial and ecological. Using concepts from ecocomposition, spatial theory, network theory, complexity theory, and systems theory, Postcomposition lays the groundwork for a networked theory of writing, and advocates the abandonment of administration as a useful part of the field. He also challenges the usefulness of rhetoric in writing studies, showing how writing exceeds rhetoric. Postcomposition is a detailed consideration of how posthumanism affects the field's understanding of subjectivity. It also tears at the seams of the "contingent labor problem." As he articulates his own frustrations with the conservatism of composition studies and builds on previous critiques of the discipline, Dobrin stages a courageous-and inevitably polemical-intellectual challenge to the entrenched ideas and assumptions that have defined composition studies.
This thematically-arranged reader for first-year composition presents 56 provocative readings that encourage students to think about how they interact with the natural world and how the act of writing affects that interaction.
Composition and the Rhetoric of Science: Engaging the Dominant Discourse calls for instructors of first-year writing courses to employ primary scientific discourse in their teaching and for rhetoricians of science to think about teaching scientific discourse as a literacy skill. Author Michael J. Zerbe argues that inclusion of scientific discourse is crucial because of this rhetoric’s status as the dominant discourse in western culture. The volume draws on Lyotard, Žižek, Foucault, and Althusser to argue that while important theorists such as these have recognized the dominance of scientific discourse, rhetoric and composition has not—to its detriment. The textillustrates that scientific discourse remains a miniscule part of the enterprise of rhetoric and composition and thus the field is not fulfilling its mission of providing students with the writing and reading skills they need to live and work in a science- and technology-dependent society. Zerbe provides an analysis of science popularizations and demonstrates how these works can be used to contextualize primary scientific research. He also presents three pedagogical scenarios, each built around a carefully chosen, accessible example of scientific discourse, that demonstrate how articles from scientific journals can be used in writing courses. Only by gaining a meaningful fluency in this discourse—one that is not offered by science textbooks—can a more sophisticated scientific literacy be assured. Composition and the Rhetoric of Science effectively explores the relatively limited amount of work done in rhetoric and composition on scientific discourse and questions this state of affairs. Zerbe presents for the first time cultural studies and science literacy as gateways for incorporating scientific discourse into first-year writing courses.
The Locations of Composition examines how spaces, places, and locations define, problematize, and shape composition studies. From a wide variety of perspectives, including critical theory, rhetoric, cultural geography, genre theory, postcolonial studies, and media studies, the contributors explore the disciplinary boundaries and authority of composition studies, how teachers of writing can engage students in more place-centered pedagogies, and how compositionists can sort through the often hidden and intricate relationships between and among composition's places. The book reveals the complex ways that places are central to the field's history, identity, and ability to move and change.