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Beyond Postprocess

edited by Sidney I. Dobrin, J.A. Rice, and Michael Vastola

Publication Year: 2011

Contributors to Beyond Postprocess reconsider writing and writing studies through posthumanism, ecology, new media, materiality, multimodal and digital writing, institutional critique, and postpedagogy. Through the lively and provocative character of these essays, Beyond Postprocess aims to provide a critical site for nothing less than the broad reevaluation of what it means to study writing today. Its polyvocal considerations and conclusions invest the volume with a unique potential to describe not what that field of study should be, but what it has the capacity to create. The central purpose of Beyond Postprocess is to unleash this creative potential.

Published by: Utah State University Press


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pp. vii-x

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Preface: Righting Writing

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pp. xi-xxii

During a family dinner, my young granddaughter began to eat before all of us at the table were served. She caught my eye, and I raised my eyebrows. In turn, she rolled her eyes, smiled broadly, and put down her fork. I knew that she knew the social conventions that constitute the dining-out script, and my raised eyebrows simply reminded her of one of those conventions: one waits until everyone is served before digging in. ...

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Introduction: A New Postprocess Manifesto: A Plea for Writing

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pp. 1-18

When first published over a decade ago, Thomas Kent’s Post-Process Theory: Beyond the Writing-Process Paradigm participated in a transitional moment in composition scholarship. Before Kent’s collection (and his previously published articles on the subject) began to galvanize the postprocess movement, it was difficult to describe writing practices and theories that departed from the process movement in strictly positive terms. ...

Part 1: Interventions of Postprocess

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1. Writing and Accountability

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pp. 21-40

Writing has a material focus for scholars and teachers in the academy. Students in writing classes expect to be given writing assignments and to have papers, e-journals, and other such experiences graded. They also expect to be told whether their writing is grammatically correct and effective and whether it meets expectations. ...

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2. What Constitutes a Good Story? Narrative Knowledge in Process, Postprocess, and Post-Postprocess Composition Research

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pp. 41-60

To describe composing as a process is to tell a story. Theories of the composing process (including postprocess or post-postprocess theories), that is, are narrative accounts. As narrative explanations, they relate a series of events or episodes (selected out of the myriad things that happened and that were not included in the narrative), and they organize those events in terms of their sequential and causal relations. ...

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3. Putting Process into Circulation: Textual Cosmopolitanism

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pp. 61-74

The primary thesis of Walter Benjamin’s 1936 essay, “The Work of Art in the Age of Mechanical Reproduction,” is that photography, film, and advances in printmaking had changed the way in which art was valued. Benjamin argues that before the advent of these “reproductive technologies,” the value of individual art objects “originated in the service of ritual—first the magical, then the religious kind.” ...

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4. Reassembling Postprocess: Toward a Posthuman Theory of Public Rhetoric

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pp. 75-93

In Thomas Kent’s introduction to Post-Process Theory, he argues that the three main assumptions behind the emerging postprocess movement are writing is public, writing is interpretive, and writing is situated. By public he means dialectical exchange among writers and audiences through language; by interpretive he means that since humans can never fully understand ...

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5. The Page as a Unit of Discourse: Notes toward a Counterhistory for Writing Studies

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pp. 94-114

The page is a fundamental feature of print culture that has been largely overlooked in mainstream writing studies. For the most part, the monochromatic page dense with writing has been taken for granted as the norm and icon of mature literacy, a semiotic zone where writers and readers exchange meanings and identities without the ostensibly preliterate support of pictorial ...

Part 2: Postprocess in New Media

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6. Folksonomic Narratives: Writing Detroit

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pp. 117-131

Off Woodward Avenue in the north end of Detroit, The Model T factory in Highland Park sits abandoned. Motorists see broken windows in the vacant factory as they make their way along Woodward Avenue, heading north to the suburbs or south to Detroit. A small sign outside the factory, alongside Woodward Avenue, notes the factory’s historic importance to Detroit and American automotive culture. ...

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7. Old Questions, New Media: Theorizing Writing in a Digital Age

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pp. 132-144

For those who have followed the evolution of the postprocess conversation in rhetoric and composition studies, this collection’s call to move beyond postprocess will strike a curiously familiar chord. In 2003, Theresa Enos and Keith Miller coedited the book Beyond Postprocess and Postmodernism in which contributors reconsidered the work of the late Jim Corder in order to expand the field’s research beyond (meaning, away from) postprocess theories and pedagogies. ...

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8. Postconflict Pedagogy: Writing in the Stream of Hearing

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pp. 145-162

At first he appears nervous, but he’s speaking in his own words. Then he’s reading something scripted, like a robot, and he’s afraid. There are Arabic words in one corner of the screen. And unspeakable images in the other. You brace yourself. Your heart is pounding. You pray. You pray hard. Then death. The harrowing of all humanity in a split second. ...

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9. Being Delicious: Materialities of Research in a Web 2.0 Application

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pp. 163-180

It is a commonplace that technological change in turn transforms writing and rhetorical practices, if not the human being itself. Well before Eric Havelock and Walter Ong claimed that writing changed human consciousness and thought patterns, Plato complained that writing made us stupid and forgetful. ...

Part 3: Postprocess and Post(?)pedagogy

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10. First, A Word

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pp. 183-194

In academic discourse, the gesture of moving “beyond” an established perspective is familiar. Even in composition studies, whose theorists are more likely to imagine themselves as dialogicians than as dialecticians, the temptation of the “beyond” is hard to resist. In the late 1980s, it appeared in claims that the field should move beyond process theory and toward ...

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11. The Salon of 2010

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pp. 195-218

I think of the history of composition as a series of abandoned rooms. Again and again, a terrific, heightened, pointed scene coalesces through mutual enthusiasm out of the otherwise shapeless social. Glasses are filled, appetizers sampled, and the conversational chatter goes from zero to sixty in a matter of seconds. All sorts of brilliant, witty things get said (and a lot of overindulgent foolishness, of course). ...

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12. Postpedagogical Reflections on Plagiarism and Capital

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pp. 219-231

I believe in pedagogy. I have devoted a career to curriculum and pedagogy, and I continue in that work today. Because my scholarly research focuses on authorship and specifically on plagiarism, especially student plagiarism, it might seem that my work, if successful, would lead toward better pedagogy, which would in turn lead to a diminished incidence of plagiarism. ...


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pp. 232-235


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pp. 236-238

E-ISBN-13: 9780874218329
Print-ISBN-13: 9780874218312

Page Count: 232
Illustrations: none
Publication Year: 2011

Edition: 1st Edition