{"id":7083,"date":"2006-11-22T17:06:22","date_gmt":"2006-11-22T17:06:22","guid":{"rendered":"http:\/\/www.earthwidemoth.com\/blog\/2006\/11\/22\/fulkerson-compo\/"},"modified":"2006-11-22T17:06:22","modified_gmt":"2006-11-22T17:06:22","slug":"fulkerson-compo","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2006\/11\/22\/fulkerson-compo\/","title":{"rendered":"Fulkerson, “Composition at the Turn of the Twenty-First Century”"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 4<\/span> mins<\/span><\/span>\n

Fulkerson, Richard.
\n "Summary and Critique: Composition at the Turn of the Twenty-first
\n Century." CCC<\/i> 56.4 (2005): 654-687.<\/p>\n

<\/p>\n

Fulkerson’s ten-year <\/b>follow-up to earlier reports on the condition
\nof composition studies<\/b> concludes with premonitions about the field’s
\ndisunity<\/b> and the "new theory wars<\/b>" (681). As a "map<\/b> [of] a
\nlarge and complicated region" (679), "Composition at the Turn of the
\nTwenty-First Century" advances speculative claims<\/b> (probabilities?) based
\non what Fulkerson calls "indirect evidence<\/b>." Given that he ends up
\nmentioning North’s 1987 concerns in The Making of Knowledge<\/i> about the
\nsustainability of composition studies <\/b>given methodological pluralism<\/b>,
\nit’s worth raising questions about just how different "indirect evidence" is
\nfrom "lore<\/b>"–the tacit knowledge circulated informally by practitioners
\nwho represented the largest segment of the field (rel. to researchers and
\nscholars). Fulkerson suggests that the divergence in the field at the turn of
\nthe twenty-first century goes well beyond methodologies, extending to matters "axiological,
\npedagogical, and processual<\/b>" (681).<\/p>\n

Fulkerson admits "frustration<\/b>" as his motivation for trying to make
\nsense of the field every ten years. He compares two teaching sourcebooks<\/b>,
\none from 1980 and another from 2001, and based on a comparison of their
\ntables of contents<\/b>, concludes that the new chapters (ch. 5-8, pp. 656)
\nrepresent "variations of the major new area of scholarly interest in composition
\nas we begin the twenty-first century, critical\/cultural studies (CCS)" (657). Of
\ncourse, both teaching guides do very little to address writing technologies
\nand new media<\/b>; the more recent guide includes one essay by Charlie Moran.<\/p>\n

To explain the disunity of the field that now applies to perspectives beyond
\nmethodologies, Fulkerson presents a grid<\/b>, which he says the work of his
\nessay will fill in. <\/p>\n

\n
\n\"Fulkerson<\/a>\n<\/p>\n

Fulkerson spends most of the pieces, however, on expressivism<\/b>,
\ncritical\/cultural studies<\/b>, and procedural rhetoric<\/b>, as these are the
\nperspectives best represented in the journals. Current-traditional rhetoric, on
\nthe other hand, lingers as a given<\/b>. Fulkerson’s presents a hard critique
\nof critical\/cultural studies, noting that it suffers from "content envy<\/b>,"
\nfinds itself more concerned with "’liberation<\/b>‘ from dominant discourse"
\nthan with "improved writing<\/b>" (660), involves indoctrination<\/b>, and
\ndisplaces attention to writing with too much emphasis on reading<\/b> (665).
\nHe also addresses the current state of expressivism and procedural rhetoric
\n(which he identifies as "the dominant tradition of composition in the 1970s and
\n1980s" (671). Accordingly, it’s fairly clear that composition studies has grown
\nmore complex, and this Balkanization presents problems for the field and
\nespecially for teacher training. Fulkerson concludes with seven implications
\n(complexity; disagreement about what is good writing?; smorgasbord confusion;
\npublic responsibility to articulate what we do; no ultimate answer; must be
\nresolved at program level; and mess this creates for coherent graduate
\ntraining). <\/p>\n

Four general perspectives (rows):<\/p>\n

    \n
  1. Current-Traditional<\/li>\n
  2. Expressivism<\/li>\n
  3. Critical\/Cultural Studies<\/li>\n
  4. Procedural Rhetoric (subdivisions: "composition as argumentation,
    \n genre-based composition, and composition as an introduction to an academic
    \n discourse community" (671))<\/li>\n<\/ol>\n

    Four questions (columns):<\/p>\n

      \n
    1. The axiological question: in general, what makes writing “good”?<\/li>\n
    2. The process question: in general, how do written texts come into
      \n existence?<\/li>\n
    3. The pedagogical question: in general, how does one teach college students
      \n effectively, especially where procedural rather than propositional knowledge
      \n is the goal? And <\/li>\n
    4. The epistemological question: “How do you know that?” which underlies
      \n answers to all the others. (657-658)<\/li>\n<\/ol>\n

      Conclusions and implications (679)
      \nSee responses in
      \n      CCC<\/i>
      \n57.4 (2006)<\/a> and also in       the carnival<\/a>.<\/p>\n

      Key terms: frustration (654), comp-landia (655), composition landscape (655),
      \naxiological consensus (655), pedagogical diversity (655), Kuhn’s "paradigm
      \nshift" (656), content envy (665), indoctrination (665), process and post-process
      \n(669), indirect evidence (669), argument (671), genre (674), Bartholomae and
      \ndiscourse community (677), stasis theory (677).<\/p>\n

      "My central claim is that we have diverged again<\/b>. Within the
      \nscholarship<\/b>, we currently have three alternative axiologies<\/b> (theories
      \nof value): the newest one, “the social” or “social-construction” view, which
      \nvalues critical cultural analysis; an expressive one; and a multifaceted
      \nrhetorical one" (655).<\/p>\n

      "These four chapters [5-8 in Tate et.al.’s A Guide to Composition
      \nPedagogies<\/i>] represent variations of the major new area of scholarly
      \ninteres<\/b>t in composition as we begin the twenty-first century,
      \ncritical\/cultural studies<\/b> (CCS), showing the impact of postmodernism,
      \nfeminism, and British cultural studies" (657).<\/p>\n

      "Just as no one actually knows<\/b> how widespread CCS composition courses
      \nare, the same is true for expressive courses grounded in the views and
      \nexperiences of the student authors. We have lots of indirect evidence<\/b> for
      \nboth" (669).<\/p>\n

      "In contemporary composition practice, I see rhetorical philosophies<\/b>
      \ntaking three different emphases: composition as argumentation<\/b>,
      \ngenre-based<\/b> composition, and composition as introduction to an academic
      \ndiscourse community<\/b>" (671).<\/p>\n

      "Genre-based courses<\/b> and CCS courses<\/b> thus share an extensive
      \nfocus on close reading of texts<\/b> and on culturally determined patterns<\/b>,
      \nbut the goals of the reading differ. In the CCS course, the students are to
      \nread critically and cite<\/b> the texts read in their own papers on related
      \ntopics. In the genre course, the readings serve as discourse models<\/b> from
      \nwhich students can generalize. Both approaches presume that texts<\/b> are
      \nsocially constructed<\/b> and intertextual<\/b>" (675).<\/p>\n

      \n
      Related sources:<\/dt>\n
      Berlin, James. "Contemporary Composition: The Major Pedagogical Theories."
      \n College English<\/i> 44 (Dec. 1982): 765–77.<\/dd>\n
      Hairston, Maxine. "Diversity, Ideology, and Teaching Writing." CCC<\/i>
      \n 43 (May 1992): 179–93.<\/dd>\n
      North, Stephen M. The Making of Knowledge in Composition: Portrait of
      \n an Emerging Field.<\/i> Upper Montclair, NJ: Boynton, 1987.<\/dd>\n<\/dl>\n","protected":false},"excerpt":{"rendered":"

      \u23f3 Approximate reading time: <\/span> 4<\/span> mins<\/span><\/span>Fulkerson, Richard. "Summary and Critique: Composition at the Turn of the Twenty-first Century." CCC 56.4 (2005): 654-687.<\/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":[174],"tags":[1674,213,1675,414,178,1075,1676,2004,645,232,415,1677,944,862,1678,319,1679,445,809,278,130,543,1130,1680,291,140],"class_list":["post-7083","post","type-post","status-publish","format-standard","hentry","category-writing_technol","tag-approaches","tag-argument","tag-axiology","tag-complandia","tag-composition","tag-content","tag-courses","tag-cultural-studies","tag-discipline","tag-discourse","tag-disunity","tag-divergence","tag-expressivism","tag-field","tag-frustration","tag-genre","tag-indoctrination","tag-knowledge","tag-mapping","tag-pedagogy","tag-process","tag-stasis","tag-students","tag-teachers","tag-teaching","tag-writing"],"yoast_head":"\nFulkerson, "Composition at the Turn of the Twenty-First Century" - 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\/11\/22\/fulkerson-compo\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Fulkerson, "Composition at the Turn of the Twenty-First Century" - Earth Wide Moth\" \/>\n<meta property=\"og:description\" content=\"\u23f3 Approximate reading time: 4 minsFulkerson, Richard. 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