{"id":9368,"date":"2024-07-13T10:50:56","date_gmt":"2024-07-13T14:50:56","guid":{"rendered":"https:\/\/www.earthwidemoth.com\/blog\/?p=9368"},"modified":"2024-07-13T10:52:58","modified_gmt":"2024-07-13T14:52:58","slug":"theoroses","status":"publish","type":"post","link":"https:\/\/www.earthwidemoth.com\/blog\/2024\/07\/13\/theoroses\/","title":{"rendered":"Theoroses \ud83c\udf4e"},"content":{"rendered":"\u23f3 Approximate reading time: <\/span> 5<\/span> mins<\/span><\/span>\n
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Photo by Nazarizal Mohammad<\/a> on Unsplash<\/a><\/figcaption><\/figure>\n\n\n\n

In what will be the fourth<\/em> new grad class prep for me in two years, in seven more Mondays, I will begin teaching ENGL6524: Theories of Written Communication<\/em>. 6524 is one of four required core courses in VT’s rhetoric and writing PhD program. The course description, which I would carbon date back to the program’s launch in 2007, reads, “Studies in theories applied to written communication. May be repeated twice for credit for a total of 9 hours when the topic varies.” Two sentences. The first sounds quite a bit like tautology, or maybe even doublespeak because the repetition isn’t varied enough: theories of written communication is a class that promises studies in theories applied to written communication. Notable here is that this graduate program also features an MA-level (5xxx-numbered) class called “Composition Theory,” and by implied design, I guess this means that theories of written communication and composition theory are demarcated well enough that these are two classes but not one and the same. The second sentence from the course description suggests that the class could be repeated not once, but twice, for a total of nine graduate credits. Trouble is, the class is only offered once every other year, or one time in each two-year cycle of coursework. So it hardly seems possible to repeat it even once, much less twice.<\/p>\n\n\n\n

As I’m prone to doing with most classes I teach, I have been mulling over possibilities for several weeks albeit in a low-key, backburner sort of way. I notified the bookstore on Tuesday that I will not<\/em> be ordering any books for the class. Instead we will sift then trace theoretical antecedents from shorter units of scholarship: 1) published articles, 2) book introductions, and 3) dissertation introductions (or first chapters). In practice, several weeks (~9) of the semester will entail reading the article or chapter along with the theoretical referent and, as such, learning to alternate similar to the way theater-goers might, between actors and props, and a cyclorama<\/strong>, or backdrop. Finding and following theory’s antecedent traces should, if things go well, reward us with a repertoire for theory-finding and, in turn, for theorizing. The approach is similar to the one taken in Cultural Conversations: The Presence of the Past<\/em>, a textbook that I happen to be familiar with not only because I taught with it a few times but also because a professor and mentor in my MA program at UMKC, Stephen Dilks, was the book’s co-author and co-editor. Cultural Conversations<\/em> laid out a two-step archeology: a historical-archival text, a contemporary uptake, and then contextualizing pieces that drew connections and filled in gaps. Our upcoming fall semester is fifteen weeks long, but some of the weeks will focus on short-form presentations, or pitches, conferences, workshopping one another’s work, and so on. The class will include weekly writing and a larger project designed in the spirit of anthologics<\/strong>, or assembling and introducing an album of theoretical favorites, influential and inspirational beacons for scholarly offerings students one day hope to create, whether with their own dissertations, with articles or chapters, with teaching materials, with all of it, and so on etcetera.<\/p>\n\n\n\n

I want to begin the class with some consideration, together, of our experiences with theory, especially if there are any adverse reactions to theory. I am thinking here both of fear and loathing. Under what conditions, if any, has theory been scary? Are there theories that you loathe? That elicit worry? Why? Like distasteful foods, how many times would you suggest trying a theory before disqualifying it, ruling it out, casting it aside, or dismissing it altogether? This opening segment, then, points to the title of this entry. With theoroses<\/em>, or something like theory’s neuroses, we might begin to parse why and to what extent theory designated as such may be offputting, difficult, time-consuming, perhaps even abruptive, steep, hazardous-seeming, or even upsetting, dare say violent. Part of this line of inquiry is meant to open up a greater awareness of our dispositions toward (or against) theory and what has formed that disposition. And part of this line of inquiry is meant to reset theory with a light-admitting aperture of possibility. If there is a third part to this line of inquiry, it rests in a few questions I don’t know the answers to yet: Must theories be named<\/em> to be useful? Must theory be communicable<\/em> to be useful? Can scholarship proceed with unnamed theories, and might there be any advantages in (or rationale for) shedding antecedents? Can scholarship in rhetoric and writing be theoryless?<\/p>\n\n\n\n

Paired with the theoroses check-in, I want us to read Eve Tuck and C. Ree’s “A Glossary of Haunting.” The glossary is a list of keywords, and these keywords are followed by vignettes, images, and microhistories\/microanalyses. The set is referential, naming other texts, but it is also personal, heeding gravity in the co-authors’ standpoints, which intersect in their collaboration but also outwardly to their respective and sometimes overlapping ways of being, knowing, and acting. So I am imagining this as an imitable text; each project (theory microanthology) will include a custom glossary of haunting and an introduction to the contents, including some engagement with the question-led threads above: fear? loathing? named? unnamed? possibilities opened? foreclosed?<\/p>\n\n\n\n

Some of what I’m sorting out includes, Where to start with theory? And, How well-formed a grounding case, or object of analysis, will serve us well in coming to terms with any theory? There is of course the French critical deck with cards featuring major figures from the 1960s and 1970s. There is, alternatively, a cluster of more contemporary theorists who have given language to deleterious and destructive -isms, late Capitalism, the Anthropocene, climate collapse, globalization, and colonization and its aftermath. And, too, there are earlier models, like Stephen Pepper’s World Hypotheses: A Study in Evidence<\/em> , which looks into root metaphors<\/em> for formism, mechanism, organicism, and contextualism, notably nodding toward but then leaving out animism and mysticism. In yet another deck, we could have theories that direct us to consider phenomena differently still, such as with CRT, standpoint theory, intersectionality, and misogynoir, though this might also include Polanyi’s The Tacit Dimension<\/em> (1966). Whichever thread I begin to work with, it pulls the others, and eventually what surfaces returns to the other part of the course title, written communication. <\/p>\n\n\n\n

I would like our step-back antecendent throughlines to follow a narrowed few specific choices. Early maybes<\/em> are from Alt Dis<\/em>, such as Royster’s “Academic Discourses or Small Boats on a Big Sea,” stepped back to Deborah Brandt’s Literacy as Involvements<\/em> (1990) or Beverly Moss’s Literacy Across Communities<\/em> (1994), or Malea Powell’s “Listening to Ghosts,” stepped back to de Certau’s The Practice of Everyday Life<\/em> (1984) or Harjo’s The Woman Who Fell From the Sky<\/em> (1994). Another possibility is Jenny Rice’s CE<\/em> article, “Para-Expertise, Tacit Knowledge, and Writing Problems” (2015) stepped back to Polanyi or to Stewart’s Ordinary Affects<\/em> (2007). Another is Cynthia Haynes’ JAC<\/em> article (later updated in The Homesick Phone Book<\/em> (2016)), “Writing Offshore” (2003) stepped back to Worsham, “Writing Against Writing” (1991), Graff, “Hidden Intellectualism” (2001), or De Landa, “Extensive Borderlines and Intensive Borderlines” (1998). Another is Paul Prior and Jody Shipka’s “Chronotopic Lamination” (2003) stepped back to Bakhtin’s The dialogic imagination<\/em> (1981) or Engestr\u00f6m for a check-in on CHAT. And for the book introduction step-backs, I am thinking in particular of the winner, runners-up, and perhaps a few other nominees for the RSA Book Award this year: Hsu’s Constellating Home<\/em> (2022), Hawhee’s A Sense of Urgency<\/em> (2023), Smilges’ Queer Silence<\/em> (2022), LeMesurier’s Inscrutable Eating<\/em> (2023), Detweiler’s Responsible Pedagogy<\/em> (2022). And this leaves as yet-to-be gathered a small set of dissertations whose introductions and\/or first chapters we’ll read similarly. <\/p>\n\n\n\n

I’ll pause here, this entry vining long enough and several other to-dos lingering. But I hope to return to this, to say more about the short-form weekly writing, the intervals of pitches and workshopping, the build-ups to the larger project, which I hope will find synchrony with lead-ins to our exams process at VT. I would also like to work back to first principles, to say a bit about what I understand theory to be and do in the context of research, scholarship, teaching, and writing, both within and beyond the academy, and also to revisit the commonplace in rhetoric and composition that theorein<\/em> requires practice, or application, that theory without practice is baseless, harmful, chaotic-evil, etc. <\/p>\n","protected":false},"excerpt":{"rendered":"

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