{"id":6496,"date":"2006-01-30T15:30:58","date_gmt":"2006-01-30T15:30:58","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/01\/30\/the-end-of-comp\/"},"modified":"2006-01-30T15:30:58","modified_gmt":"2006-01-30T15:30:58","slug":"the-end-of-comp","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/01\/30\/the-end-of-comp\/","title":{"rendered":"The End of Composition Studies<\/i>; The Start of…"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>

In some ways, it’s like the Blockbuster video ad campaign from a year
\nago–The End of Late Fees; The Start of More. The title of David Smit’s The
\nEnd of Composition Studies<\/i> invokes an endism that one might take to suggest
\nto the demise of the discipline of writing studies. In Advanced Philosophy
\nand Theory of Composition, we’re looking at the first half of Smit’s book for
\ntomorrow afternoon (also looking at two chapters from Cosgrove and Barta-Smith’s
\nIn Search of Eloquence<\/i>, which, fingers crossed, will arrive in the mail
\nlater this afternoon). Smit’s forthright early on about playing double
\nentendre with "end," both as a variation of "teleology" or "aim" and also as
\n"termination" or "cessation." I’ve been reading with a stronger sense of
\nthe first connotation (teleology\/aim) because 1.) people still write and 2.)
\nwriting is sufficiently complex to warrant the continuation of its study,
\ndefine it however you will<\/i>. And actually, that’s one of Smit’s chief
\ncomplaints. He finds that those who would self-identify with the field of
\nrhetcomp have yet to agree on what writing even is, much less how to best to
\nteach it given the institutional constraints of fifteen weeks (more or less in
\nsome places, but the bugbear of layering writing rhythms with institutional
\ntimeframes is what I’m thinking about) and wildly divergent positions on what
\nought to constitute writing practices and curriculum in the first place. <\/p>\n

<\/p>\n

Like Fulkerson, whose
\n
\n"Composition at the End of the Twenty-First Century"<\/a> appeared in CCC<\/i>
\nlast summer making similar claims about the field’s disunity and failures to
\nachieve sustained agreement on what is good writing, Smit’s project, or at least
\nthe half I’ve read of it, is troubling because he’s right on several counts.
\nWe lack shared definitions, insights into how people learn to write (in any way
\nthat can be recast as curriculum), sufficiently complex models for how people
\ncompose, nuance in what we mean by "social," and, most importantly for Smit, we
\nlack evidence of transfer, "the degree to which our ability to use a word, an
\nintroduction, or a problem-solving strategy in one context will carry over into
\nanother context" (121). I won’t go into full-blown chapter summaries here,
\nbut basically each chapter in the first half of the book, "Conceptual Limits,"
\ncalls out just that–fuzziness or ambiguity in the presumed givens of
\ncomposition: how students come to be rhetorically mature, what we mean by
\ndiscourse communities (and how to tell what distinguishes one such community
\nfrom another, specifically), what is the relationship of writing activity to
\nthinking (especially "critical thinking," which he deals with at length), and so
\non. The second half of the book promises to deliver a curriculum (much
\nlike other "Comp Liquidation…But Wait!" projects), so it’s clear that Smit
\nhasn’t completely given over to despair. We’ll get to those sections next
\nweek.<\/p>\n

Two thoughts I’ll take into class tomorrow: For all of the discussion
\nof not agreeing on what writing is (or isn’t…Is not! Is so!), Smit doesn’t
\nmention technologies, discourses of interface, networks or digitality.
\nProvided that Yancey’s address from ’04,
\n"Made
\nNot Only In Words: Composition in a New Key,"<\/a> is explicit about the role of
\ntechnologies (throughout all of time) as co-constitutive of writing, I’m
\nconcerned at this absence. It’s not, as you might think, that I would
\nprefer a technojubilee somewhere in there, but there are moments when I find
\nthat Smit, despite his early claims about widespread divisiveness on what
\nwriting is, has closed on a particular, none-too-expansive notion of what
\nwriting activity is<\/i> (especially in institutional contexts; none of this
\nextracurricular business here). <\/p>\n

Secondly, in his chapter on transfer, Smit uses an analogy from D. Russell on ball games (120). But I’m not sure the comparison is
\nadequate, or, to put it another way, I don’t have the impression that Smit really
\nwants to go the distance with the correspondence between writing instruction and learning to play games
\nwith balls. Raising a skeptical series of questions about transfer, Smit reasons
\nthat, following the ball game analogy, skillful performance in one ball game
\nwould, in turn, lead to skillful performance in others. Rather than
\n"rhetorical maturity," I think this comparison works better with notions of
\n"rhetorical agility," a phrase that played over and over in CCR601 last year.
\nAgility in one ball game (or genre) stands to transfer to other ball games,
\nexcept that the system of the sport (roles, rules, etc.) doesn’t make the
\nstaging of transfer a priority. You wouldn’t know from playing basketball
\nwith me that I never started shutting off passing lanes effectively with my feet
\n(and often kicking the ball) until I started coaching Ph.’s soccer team when he
\nwas seven. Right, I was done playing for high stakes by then, but the
\npoint I’m trying to get at is that some kind of transfer is, at the very least,
\nnotable enough to report. And perhaps this isn’t enough proof to say, finally
\nand for good, that transfer happens.<\/p>\n","protected":false},"excerpt":{"rendered":"

\u23f3 Approximate reading time: <\/span> 3<\/span> mins<\/span><\/span>In some ways, it’s like the Blockbuster video ad campaign from a year ago–The End of Late Fees; The Start of More. The title of David Smit’s The End of Composition Studies invokes an endism that one might take to suggest to the demise of the discipline of writing studies. In Advanced Philosophy and Theory…<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"closed","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_feature_clip_id":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[167],"tags":[178,403,537,538,536,535,140],"class_list":["post-6496","post","type-post","status-publish","format-standard","hentry","category-reading_notes","tag-composition","tag-disciplinarity","tag-endism","tag-smit","tag-teleology","tag-transfer","tag-writing"],"yoast_head":"\nThe End of Composition Studies; The Start of... - Earth Wide Moth<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.earthwidemoth.com\/blog\/2006\/01\/30\/the-end-of-comp\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The End of Composition Studies; The Start of... - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 3 minsIn some ways, it’s like the Blockbuster video ad campaign from a year ago–The End of Late Fees; The Start of More. 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Smit opens for us with six chapters leading down the skeptic's infinite regress into complandia's hopeless abyss before turning to his recommendations for reform. 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