This collection of nine commissioned essays introduces the non-specialist to the rapidly evolving field of composition studies, discussing the nature of the field, the relationship between composition and rhetoric and between theory and practice, the history of the discipline, its bibliographic sources and problems, its methods of research, teaching writing, and the politics of the profession.

This volume describes the formative years of English composition courses in college through a study of the most prominent documents of the time: magazine articles, scholarly reports, early textbooks, teachers' testimonies-and some of the actual student papers that provoked discussion. Includes writings by leading scholars of the era such as Adams Sherman Hill, Gertrude Buck, William Edward Mead, Lane Cooper, William Lyon Phelps, and Fred Newton Scott.

First Published in 2005. Routledge is an imprint of Taylor & Francis, an informa company.

Composition in the University examines the required introductory course in composition within American colleges and universities. According to Sharon Crowley, the required composition course has never been conceived in the way that other introductory courses have been—as an introduction to the principles and practices of a field of study. Rather it has been constructed throughout much of its history as a site from which larger educational and ideological agendas could be advanced, and such agendas have not always served the interests of students or teachers, even though they are usually touted as programs of study that students "need." If there is a master narrative of the history of composition, it is told in the institutional attitude that has governed administration, design, and staffing of the course from its beginnings—the attitude that the universal requirement is in place in order to construct docile academic subjects. Crowley argues that due to its association with literary studies in English departments, composition instruction has been inappropriately influenced by humanist pedagogy and that modern humanism is not a satisfactory rationale for the study of writing. She examines historical attempts to reconfigure the required course in nonhumanist terms, such as the advent of communications studies during the 1940s. Crowley devotes two essays to this phenomenon, concentrating on the furor caused by the adoption of a communications program at the University of Iowa. Composition in the University concludes with a pair of essays that argue against maintenance of the universal requirement. In the last of these, Crowley envisions possible nonhumanist rationales that could be developed for vertical curricula in writing instruction, were the universal requirement not in place. Crowley presents her findings in a series of essays because she feels the history of the required composition course cannot easily be understood as a coherent narrative since understandings of the purpose of the required course have altered rapidly from decade to decade, sometimes in shockingly sudden and erratic fashion. The essays in this book are informed by Crowley's long career of teaching composition, administering a composition program, and training teachers of the required introductory course. The book also draw on experience she gained while working with committees formed by the Conference on College Composition and Communication toward implementation of the Wyoming Resolution, an attempt to better the working conditions of post-secondary teachers of writing.

Kelly Ritter and Paul Kei Matsuda have created an essential introduction to the field of composition studies for graduate students and instructors new to the study of writing. The book offers a careful exploration of this diverse field, focusing specifically on scholarship of writing and composing. Within this territory, the authors draw the boundaries broadly, to include allied sites of research such as professional and technical writing, writing across the curriculum programs, writing centers, and writing program administration. Importantly, they represent composition as a dynamic, eclectic field, influenced by factors both within the academy and without. The editors and their sixteen seasoned contributors have created a comprehensive and thoughtful exploration of composition studies as it stands in the early twenty-first century. Given the rapid growth of this field and the evolution of it research and pedagogical agendas over even the last ten years, this multi-vocal introduction is long overdue.

Rhetoric and composition is an academic discipline that informs all other fields in teaching students how to communicate their ideas and construct their arguments. It has grown dramatically to become a cornerstone of many undergraduate courses and curricula, and it is a particularly dynamic field for scholarly research. This book offers an accessible introduction to teaching and studying rhetoric and composition. By combining the history of rhetoric, explorations of its underlying theories, and a survey of current research (with practical examples and advice), Steven Lynn offers a solid foundation for further study in the field. Readers will find useful information on how students have been taught to invent and organize materials, to express themselves correctly and effectively, and how the ancient study of memory and delivery illuminates discourse and pedagogy today. This concise book thus provides a starting point for learning about the discipline that engages writing, thinking, and argument.

Writing is omnipresent in our lives, yet we rarely stop and consider its history and material culture. This volume introduces student readers to the development of writing across time and societies. The book incorporates autoethnography and asks readers to consider writing histories, influences, processes, and tools in their own lives. Short readings are included for each chapter. Designed for composition courses with a Writing About Writing focus or courses in Writing Studies, A Writing Studies Primer is a distinctive, visually engaging introduction to writing through its material culture.

This is a book about the creative dynamics that arise from the interrelation of writing, teaching writing, and ways of reading - and the scholarship and administrative issues engendered by both. To regard composition studies as a creative art is to engage in a process of intellectual or aesthetic free play, and then to translate the results of this play into serious work that yet retains the freedom and playfulness of its origins. The book is fueled by a mixture of faith in the fields that compose composition studies, hope that the efforts of composition teachers can make a difference, and a sense of community in its broadest meaning.

Keywords in Composition Studies is the first systematic inquiry into the vocabulary of writing teachers and theorists. In brief yet heavily researched essays, contributors explore the development of and interconnections among fifty-five of the most consequential words in the field. It is with these critical terms that the contemporary field of composition has been composed, and in this sense, Keywords in Composition Studies is an introduction to the principal ideas and ideals of compositionists. Yet this book is neither a dictionary nor an encyclopedia; it does not attempt to capture the established knowledge of a unified discipline through its vocabulary but rather explores the multiple layers of meaning inhabiting the words writing teachers and theorists have depended and continue to depend on most. Each essay begins with the assumption that its central term is important precisely because its meaning is open, overdetermined. The purpose of each essay is to foreground a range of meaning signified by its central term rather than to pinpoint a meaning. In this sense, Keywords in Composition Studies is a practical model for reading the texts of an expanding and unsettled field.

Setting forth an innovative new model for what it means to be a writing teacher in the era of writing across the curriculum, The End of Composition Studies urges a reconceptualization of graduate work in rhetoric and composition, systematically critiques the limitations of current pedagogical practices at the postsecondary level, and proposes a reorganization of all academic units. David W. Smit calls into question two major assumptions of the field: that writing is a universal ability and that college-level writing is foundational to advanced learning. Instead, Smit holds, writing involves a wide range of knowledge and skill that cannot be learned solely in writing classes but must be acquired by immersion in various discourse communities in and out of academic settings. The End of Composition Studies provides a compelling rhetoric and rationale for eliminating the field and reenvisioning the profession as truly interdisciplinary—a change that is necessary in order to fulfill the needs and demands of students, instructors, administrators, and our democratic society.