Goshert, Josh. “Reproductions of (il)Literacy: Gay Cultural Knowledge and First Year Composition Pedagogy.” Composition Studies 36.1 (2008): 11-28. Print.

Goshert makes the argument that we, as composition teachers, are often allowing students to be assured of their “quotidian,” non-critical positions by allowing them to compose in new modalities – notably, digitally and through still photography and film.  Because students inhabit a world, and are produced by and through dominant discourses, it is really uncritical to assume that they, as participants in this world, are capable of engaging and battling hegemonic discourses when they first arrive at college.  Goshert sees many analogues between the non-critical stance engendered by the “seduction” of technology and the position that gay culture – in today’s context – has often embraced cultural sensibilities that value conformity and encourage a reproduction of injurious representations of gay people.  As such, we – as composition teachers – must make composition a critical enterprise and must remain skeptical of the awe-inducing qualities of multimodal technological productions.

Circ, Geoffrey. “Writing Classroom as Factory.” Composition Studies 36.1 (2008): 29-38. Print.

By tracing Andy Warhol’s pop sensibilities and productive practices, Circ makes an argument that as composition instructors we should stop encouraging only expository writing; rather, we should embrace the descriptive and the narrative.  We should also work hard to incorporate deep play and accept assignments that encourage multi-modal composition through photography, film performance, music, drawing, and painting.

Kyburz, Bonnie Lenore. “”Totally, Tenderly, Tragically”: Godard’s Contempt and the Composition Qu’il y Aurait (that Might Have Been).” Composition Studies 36.1 (2008): 39-56. Print.

Kyburz seems to be arguing for the integration of filmmaking into the composition classroom – or at least an adoption of cinematic method/aesthetics.  Because working in film criticism is much too easy, kyburz suggests that film “production” is vastly “more interesting, challenging, and capable of engaging existing and shaping emerging rhetorical knowledge and skill” (51).  By thinking with film, multimodal composition might re-imagine composition studies to fulfill the “postmodern promise” of anything goes.

Reynolds, Thomas. “Publishing in ’63: Looking for Relevance in a Changing Scene.” Composition Studies 36.1 (2008): 57-68. Print.

In this article Reynolds traces the condition of publishing in 1963 as a metaphor for how we can see our students working through digital writing toward publishing.  After looking at glossy magazines, “little” magazines and underground presses, Reynolds concludes that an awareness of production technologies – and especially digital representational technologies – and how those production technologies serve different audiences/purposes will allow our students to be more productive, relevant wrhetors.

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