Download Emancipatory Movements in Composition: The Rhetoric of by Andrea Greenbaum PDF

By Andrea Greenbaum

Emancipatory pursuits in Composition presents an summary of the 4 significant disciplines that experience, for the final ten years, motivated and guided the course of composition stories. Drawing on modern social and rhetorical concept, this is often the 1st cultural experiences textual content deeply educated via classical rhetoric, feminism, and postcolonial stories. Readable and fascinating, it merges conception and pedagogy, supplying a rubric for realizing severe pedagogy, neosophistic rhetoric, service-learning, and ethnographic learn. This self-reflexive and important booklet examines the moral dimensions of participating in liberatory studying practices within the modern composition lecture room.

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Sample text

They are absent from the classic sub-cultural ethnographic studies. . When they do appear, it is either in ways that uncritically reinforce the stereotypical image of women with which we are now so familiar . . or they are fleetingly and marginally presented” (209). This gender gap in ethnographic cultural critique transforms itself into a subcultural oppositional discourse, since it resists normative assumptions of knowledge claims generated by dominant, patriarchal ideology. Further, these disruptions, these forms of resistance to hegemonic ideologies, laid the theoretical groundwork for the infusion of feminist critique into cultural studies, specifically in regard to the re-enunciation of ethnographic research.

To ignore this teaching imperative is to be derelict in one’s duties, and “from a Sophistic point of view, teachers who refuse to make judgments about which issues are more important than others, which issues deserve to be studied, and which issues should be ignored abdicate their responsibilities to their students, and to their communities” (333). Patricia Bizzell sees this positionality, or what she terms “rhetorical authority,” as a necessary component to teaching, and she contends that such a pedagogy of persuasion is more respectful to students’ values, since the admission of a position problematizes the value-neutral classroom.

Or they are fleetingly and marginally presented” (209). This gender gap in ethnographic cultural critique transforms itself into a subcultural oppositional discourse, since it resists normative assumptions of knowledge claims generated by dominant, patriarchal ideology. Further, these disruptions, these forms of resistance to hegemonic ideologies, laid the theoretical groundwork for the infusion of feminist critique into cultural studies, specifically in regard to the re-enunciation of ethnographic research.

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