Himley, Margaret. “Writing Programs and Pedagogies in a Globalized Landscape. WPA: Writing Program Administration 26 (2003): 49-66.
- H. uses Saskia Sassen’s work to frame globalization as an age of fluid movement of capital, bodies, and culture (49). She uses the SU lower-division writing sequence as a space to consider how curricular reform can explicitly recognize the processes and effects of globalization.
- H. claims that her work is an exploration of authorship that starts with a fundamental claim: “as writing teachers and as a discipline, we have shifted our thinking and our tropes – from a domestic classroom, focused on the creative moment of the student composing process, to a globalized classroom, engaged in multimedia and multimodal textual production, distribution, and consumption” (49).
- H. recalls the story of how the lower division committee and the Writing Program at large reworked the curriculum in the face of changing theories of writing from the field, extra-departmental pressures (deans, committees, student complaints), and institutional evaluation/revisions.
- H. draws attention to the transition from “conversation” in the Burkean sense to “circulation” in the materialist rhetoric sense to underscore how students operate in a textual economy at the level of physico-material practice when composing (56). She does this (via Trimbur among others) to underscore how we actually recognize the larger, more complex, often globalized landscapes of writing instead of the bounded space-of-mind that the Burkean parlor metaphor presents.
- H. wonders aloud whether at an expensive school like Syracuse we might be producing what Ahmed calls “global nomads”: “highly skilled workforce, whose intercultural communication, linguistic competency, and management of diversity make them very useful in a globalized economy of difference” (60).
- H. claims that the writing program – while teaching globalization-based inquiries – is involved in an archaeological analysis – “an intellectual process that works to excavate the many meanings of events, artifacts, and texts, as the critical practice of thinking and writing” (63) – especially in a globalizing context where the macro and micro constantly interplay in more visible ways.