Keywords in Writing Studies

Paul Heilker, Peter Vandenberg, Paul Heilker, Peter Vandenberg

• Publisher: Utah State University Press
• Year: 2015
• Print ISBN: 9780874219739
• eBook ISBN: 9780874219746
• Topic: Lingue e linguistica
• Subtopic: Scrittura creativa

Keywords in Writing Studies is an exploration of the principal ideas and ideals of an emerging academic field as they are constituted by its specialized vocabulary. A sequel to the 1996 work Keywords in Composition Studies, this new volume traces the evolution of the field's lexicon, taking into account the wide variety of theoretical, educational, professional, and institutional developments that have redefined it over the past two decades.

Contributors address the development, transformation, and interconnections among thirty-six of the most critical terms that make up writing studies. Looking beyond basic definitions or explanations, they explore the multiple layers of meaning within the terms that writing scholars currently use, exchange, and question. Each term featured is a part of the general disciplinary parlance, and each is a highly contested focal point of significant debates about matters of power, identity, and values. Each essay begins with the assumption that its central term is important precisely because its meaning is open and multiplex.

Keywords in Writing Studies reveals how the key concepts in the field are used and even challenged, rather than advocating particular usages and the particular vision of the field that they imply. The volume will be of great interest to both graduate students and established scholars.

Work

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DYLAN B. DRYER

Work is an exceptionally old word, as is its first documented association with the labor of writing (“On þære bec, þic worhte” circa 900 CE [Compact Oxford English Dictionary 1991, 2338]). Few other words have become such powerful organizing constructs for everyday life (Thompson 1967), or are as susceptible to changes produced and reflected by social and technological transformation (Takayoshi and Sullivan 2007), or are as vulnerable to specifically motivated interpretations (Gee, Hull, and Lankshear 1996). As Bruce Horner has already shown, its uses in composition studies are complex: its gerund (typically modifying conditions) is usually distinct from its noun, which tends to signify “published scholarship,” and both those meanings are distinct from its predicate, which usually refers to teaching (Horner 2000, 1–29). Horner’s discussion of the persistent idealization of these three meanings illustrates that arguments about work in composition are always partial views of what the field should be (or should resist becoming). Work is thus employed as much to retrench as to include.

While no amount of backing up will get the entire landscape of this problematically capacious word within the frame of this essay, it is still useful to recall that composition is also a “federation of knowledge structures” (Martin 2008, 807) initially forged in 1970s hotel conference rooms that “crackled . . . with the intensity of revival meetings” (North 1987, Preface). As composition emerged from (its memories of) those rooms, those bonds weakened under strains introduced, paradoxically, by composition’s efforts to have its work recognized as legitimate by the departments in which it was housed (Bloom 2003; Mahala and Swilky 1997; 2003; Phelps 1995; Winterowd 1998). Hairston thus urged composition to end its exploitation by those who valued us only for our willingness to do the “work they don’t want” and to resolve instead “to put our primary energy into the teaching of writing and into research that informs the teaching of writing” (Hairston 1985, 276, 281).

It should be clear from Hairston’s insistence on the primacy of teaching that there was already disagreement over what work in composition should be. But an attempt to reconsolidate the meaning of “our work” as “teaching writing” founders on disagreements concealed by the word itself: how writing should be taught, what sorts of writing should be taught, and how (or even whether) it should be assessed. Such disagreements are philosophical, but are also grounded in material conditions of practicability. In fact, since four-fifths of composition courses appear to be taught by “guest workers” (Columb 2010, 14) and administered by the so-called “boss compositionist” (Bousquet, Scott, and Parascondola 2004; Sledd 2001), the more relevant possessive pronoun is often your work (see Gere 2009). Alienation in these conditions is inevitable: some teachers will always find some elements of any mandatory curriculum objectionable (Welch 1993); some metrics for rehire are actively contradictory (Henry, Kahn, and Lynch-Biniek 2012, 2); and dominant assumptions about “your” gender (Grego and Thompson 1996, 65–68; Holbrook 1991; Miller 1991; Tuell 1993), “your” race (Behm and Miller 2012) or “your” job security (Crowley 1998; Fitts and Lalicker 2004; Sch...

Table of contents

• Cover
• Title Page
• Contents
• Introduction
• Agency
• Body
• Citizen
• Civic/Public
• Class
• Community
• Computer
• Contact Zone
• Context
• Creativity
• Design
• Disability
• Discourse
• Ecology
• English
• Gender
• Genre
• Identity
• Ideology
• Literacy
• Location
• Materiality
• Multilingual/ism
• Network
• Other
• Performance
• Personal
• Production
• Queer
• Reflection
• Research
• Silence
• Technical Communication
• Technology
• Work
• Writing across the Curriculum/ Writing in the Disciplines
• About the Contributors