Discovery of Competence shows how the writing classroom can be reconceived as an environment for collaborative inquiry by students and teachers. It presents new ways of thinking about program design, redefines the nature of writing assessment, and offers alternative conceptions of multicultural curriculums. Drawing on students' writing and research, it suggests how teachers can recognize their students' competence and help them build on it systematically. While the book speaks to all teachers of writing, it will be of considerable interest to those who work with diverse student populations, including ESL students. The authors make it clear that the writing classroom is a place where both students and their teachers may build on their competence and realize their possibilities as writers and learners.

shows how expressivism is historically related to romanticism and interprets this connection in a positive light. It historicizes and then theorizes some of the primary texts in the romantic/expressivist tradition of language study and production. The book connects William Wordsworth, Samuel Taylor Coleridge, Matthew Arnold, John Stuart Mill, and John Dewey, among others, with contemporary compositionists such as Donald Murray, Ann Berthoff, James Britton, and Peter Elbow. Using the history of romanticism, the author shows how expressivism relates to social construction and argues that reclaiming a romantic heritage enriches contemporary composition theories. By historicizing the expressivist tradition and connecting the texts of both the romantic poets and Mill, Arnold, and Dewey with education in their times and ours, demands a reconsideration of the expressivist composition theories that have been berated and misunderstood for the past few years. This book is the first to re-examine our understanding of what it means to be romantic, while connecting that new understanding to both education in general and writing instruction in particular. It does not ignore or simplify the current arguments condemning expressivism, but devotes considerable thought to the summary of and response to critics of expressivism. is an important book for scholars, theorists, practitioners of composition, and graduate students. Those devoted to the academic discourse, social constructivism/social-epistemic approach to teaching and scholarship will find Romancing Rhetorics inspiring reading.

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I always thought it was unfair to compare people you've just met to people you've known before. But as I was sitting in class today, I realized I was doing that with you. My first semester here I got into a [composition] class that was marvelous. Jim and the style he used helped take down the bricks that had formed my writing blocks. It was like seeing and feeling and breathing for the very first time. It was exciting. Today, I thought, This woman will have to be pretty good to be as good as he was. Then I mentally slapped myself.

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This accessible and versatile text has been used in college English, creative writing, and composition courses, as well as middle and high school classrooms, college remedial and honors programs, graduate seminars, and teacher training courses. Chapters move through the writing process as students find a focus, choose a genre, develop a draft, and find a voice. Murray is professor emeritus of English at the University of New Hampshire. Annotation (c)2003 Book News, Inc., Portland, OR (booknews.com)

academic discourse community has become a commonplace in discussions of writing across the disciplines. The purpose of this article is to critically examine this commonplace. Specifically, I argue that while many students may be unfamiliar with the specialized conventions of different disciplines, an image of our students as uninitiated outsiders fails to recognize that students are already longstanding members of the culture of school and are highly literate about how classrooms work. This image fails to account for the powerful legacy of school experiences that students bring with them every time they step into the classroom and undertake a writing assignment. That is, as Stanley Fish reminds us, our students are already in possession of (or more often

Introduction. I. THE NEW RHETORICS: OVERVIEW AND THEORY. Ferdinand de Saussure, Nature of the Linguistic Sign. I. A. Richards, From How to Read a Page and Speculative Instruments. Kenneth Burke, Definition of Man. Mikhail M. Bakhtin, Toward a Methodology for the Human Sciences. Richard Weaver, The Cultural Role of Rhetoric. Ernesto Grassi, Rhetoric and Philosophy. Stephen Toulmin, The Layout of Arguments. Richard McKeon, The Uses of Rhetoric in a Technological Age: Architectonic Productive Arts. Chaam Perelman, The New Rhetoric: A Theory of Practical Reasoning. Michel Foucault, What Is an Author? Michael Polyani, Scientific Controversy. JUrgen Habermas, Intermediate Reflections: Social Action, Purposive Activity, and Communication. Roland Barthes, The Pleasure of the Text. Wayne Booth, The Idea of a University-as Seen by a Rhetorician. Bibliography I: Overviews and Theories. II. THE NEW RHETORICS: COMMENTARY AND APPLICATION. Donald C. Bryant, Rhetoric: Its Functions and Its Scope. Richard Ohmann, In Lieu of a New Rhetoric. Robert L. Scott, On Viewing Rhetoric as Epistemic. Douglas Ehninger, On Systems of Rhetoric. S. Michael Halloran, On the End of Rhetoric, Classical and Modern. Terry Eagleton, Conclusion: Political Criticism. E. D. Hirsch, Jr., Cultural Literacy. Walter R. Fisher, Narration as a Human Communication Paradigm: The Case of Public Moral Argument. Andrea A. Lunsford and Lisa S. Ede, On Distinctions between Classical and Modern Rhetoric. Jim W. Corder, Argument as Emergence, Rhetoric as Love. Paulo Freire and Donaldo Macedo, The Illiteracy of Literacy in the United States. Patricia Bizzell, Arguing about Literacy. James A. Berlin, Poststructuralism, Cultural Studies, and the Composition Classroom: Postmodern Theory in Practice. Bibliography II: Commentary and Application. Index.

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arrett Wendell, a composition teacher at Harvard in the late-19th century, is often associated with product-oriented currenttraditional rhetoric by Berlin, Kitzhaber and other historians of the field. Yet Wendell's relationship to current-traditional rhetoric is not so clear cut. Archival holdings indicate that many pedagogical techniques associated with modern writing pedagogy are ones Wendell used at Harvard one hundred years ago. Wendell, as Katherine Adams and John Adams have said about him, recognized the effectiveness of peer editing and conferencing-he knew that students needed an audience (429). Further, Wendell wrote an unpublished critique of the modes of discourse that predates those of James Kinneavy and James Britton and his associates, which Thomas Newkirk has described in a recent Rhetoric Review article. These

Gary A. Olson presents six in-depth interviews with internationally prominent scholars outside of the discipline and twelve response essays written by noted rhetoric and composition scholars on subjects related to language, rhetoric, writing, philosophy, feminism, and literary criticism. The interviews are with philosopher of language Donald Davidson, literary critic and critical legal studies scholar Stanley Fish, cultural studies and African American studies scholar bell hooks, internationally renowned deconstructionist J. Hillis Miller, feminist literary critic Jane Tompkins, and British logician and philosopher of science Stephen Toulmin. Susan Wells and Reed Way Dasenbrock provide distinctly divergent assessments of the application of Donald Davidson s language theory to rhetoric and composition, and especially to writing pedagogy. Patricia Bizzell and John Trimbur explore how Stanley Fish s neopragmatism might be useful both to composition theory and to literacy education. And Joyce Irene Middleton and Tom Fox discuss bell hooks s notions of how race and gender affect pedagogy. In two frank and sometimes angry responses, Patricia Harkin and Jasper Neel take J. Hillis Miller to task for seeming to support rhetoric and composition while continuing to maintain the political status quo. Similarly, Susan C. Jarratt and Elizabeth A. Flynn express skepticism about Jane Tompkins s vocal support of composition and of radical pedagogy particularly. And Arabella Lyon and C. Jan Swearingen analyze Stephen Toulmin s thoughts on argumentation and postmodernism. Internationally respected anthropologist Clifford Geertz provides a foreword; literacy expert Patricia Bizzell contributes an introduction to the text; and noted reader-response critic David Bleich supplies critical commentary. This book is a follow-up to the editor s (Inter)views: Cross-Disciplinary Perspectives on Rhetoric and Literacy, already a major work of scholarship in the field.

Conflict Pedagogy and Student Experience Ships in the Night Revisited, Gerald Graff, I Came to Believe: Ethnography, Anonymity, and the Private I, Anonymous Response, Beth Daniell, Interpreting Interpretations of Divergence, Thomas G. O’Donnell, Response, Helen Rothschild Ewald and David L. Wallace

1. Introduction: The Politics of Official Knowledge 2. The Politics of Common-sense: Why the Right is Winning 3. Cultural Politics and the Text 4. Regulating Official Knowledge 5. Creating the Captive Audience: Channel One and the Political Economy of the Text 6. Whose Curriculum is This Anyway? (with Susan Jungck) 7. Hey Man, I'm Good! The Art and Politics of Creating New Knowledge in Schools 8. The Politics of Pedagogy and the Building of Community Appendix Education, Power, and Personal Biography: An Interview.

Is it possible to teach English so that people stop killing each other? When a professor dropped this question into a colloquium for young college teachers in 1967, at the height of the Vietnam War, most people shuffled their feet. For Mary Rose O'Reilley it was a question that would not go away; Peaceable Classroom records one attempt to answer it. Out of her own experience, primarily as a college English teacher, she writes about certain moral connections between school and the outside world, making clear that the kind of environment created in the classroom determines a whole series of choices students make in the future, especially about issues of peace and justice. Animated throughout by the spirit of the personal essayist, Peaceable Classroom first defines a pedagogy of nonviolence and then analyzes certain contemporary approaches to rhetoric and literary studies in light of nonviolent theory. The pedagogy of Ken Macrorie, Peter Elbow, and the National Writing Project is examined. The author emphasizes that many techniques taken for granted in contemporary writing pedagogy -- such as freewriting and journaling -- are not just educational fads, but rather ways of shaping a different human being. Finding then, is not only an aspect of writing process, but a spiritual event as well. To find voice, and to mediate personal voice in a community of others, is one of the central dialectics of the peaceable classroom. The author urges teachers to foster critical encounters with the intellectual and spiritual traditions of humankind and to reclaim the revolutionary power of literature to change things.

In Disturbing Pleasures Henry Giroux demonstrates how his well-known theories of education, critical and popular culture can be put to use in the classroom and in other cultural settings. Adding an entirely new dimension to his thinking about the cultural sites at which pedagogical practice takes place, Giroux illustrates how professors, school teachers and other cultural workers can appropriate what he refers to as a pedagogy of cultural studies.

The Politics of I-Dropping Gesa Kirsch Response James Raymond What Kind of Place Is the Writing Classroom? Dale Sullivan Response  Gregory Clark

Preface Reversing the Polarity between Writing and Psychology Beyond Audience: Understanding Writer-Reader Relationships in Psychology The Genre Question in Psychology The Elements of APA Style Teaching Writing and Psychology References Index

I often hear assertions, says Wendy Bishop, writing classes have no content, especially when compared to literature classes or other classes in other disciplines where famous texts by famous authors are commonly under discussion. In this unique compilation of essays, Bishop brings together the voices of teachers and students to affirm that the content of writing classrooms is the work that these individuals do together. It is this focus on reading and writing about writing that has made Subject Is Writing such a popular text. Like earlier editions, the third edition serves as both a classroom reader and a rhetoric for first-year college writing. End-of-chapter questions invite students to respond to the essayists with essays of their own. Turning to the appendix of Hint Sheets, teachers and students will find a selection of handouts filled with practical advice that will help them navigate through the daily life of their classrooms. The third edition has been enhanced with three new essays by teachers and the work of four new student authors. They discuss choosing topics, developing voice in writing, and understanding classroom writing assignments; they offer insights into drafting practices and encourage readers to investigate their writing lives in similar ways. The essays in Subject Is Writing are not esoteric, academic treatises, but relevant and earnest communications that speak to all writers as peers, colleagues, and interested adult makers of meaning.

university campuses gathered at the University of California, Santa Barbara, at a conference we organized to discuss the pedagogy and politics of in the disciplines. Some teams were comprised of writing program lecturers at University of California campuses; teams from other universities consisted of tenure-track faculty in composition and other fields who were developing and teaching in WAC programs at their campuses. Discussion centered around the politics of WAC, institutional constraints, collegial networking, faculty development, and teaching models and objectives. Though participants welcomed such discussion, when group members began to name what they did and to define their goals, a level of conflict emerged that surprised us. Some participants spoke long and heatedly about the primacy of writing to learn, while others argued with equal heat for the power of discourse conventions in specific fields. A gap soon opened between the two groups that seemed almost unbridgeable. Upon reflection, we realized that the conference was playing out in microcosm one of the major conflicts in our field-a conflict variously expressed as voice versus discourse, learning versus performance, process versus form. In this article we explore the theoretical and pedagogical implications of this conflict for writing across the curriculum. We argue that the conflict itself is based on a false dichotomy and that work in the social construction of knowledge-particularly the concept of rhetoric of

Rachel brings together nineteen previously unpublished essays concerned with ways in which recent research on workplace writing can contribute to the future direction of the discipline of technical and professional Hers is the first anthology on the social perspective in professional writing to feature focused discussions of research advances and future research directions.The workplace as defined by this volume is a widely diverse area that encompasses small companies and large corporations, public agencies and private firms, and a varied population of writersengineers, managers, nurses, social workers, government employees, and others. Because much research has been conducted on the relationship between workplace writing and social contexts since the ground breaking 1985 publication of Odell and Goswami s Writing in Nonacademic Settings, Spilka contends that this is an appropriate time for the professional writing community to consider what it has learned to date and where it should be heading next in light of these recent discoveries. She argues that now professional writers should try to ask better questions and to define new directions.Spilka breaks the anthology into two parts. Part 1 is a collection of ten essays presenting textual and qualitative studies conducted by the authors in the late l980s on workplace has chosen these studies as representative of the finest research being conducted in professional writing that can serve as models for current and future researchers in the field. Barbara Couture, Jone Rymer, and Barbara Mirel report on surveys they conducted relying on the social perspective both to design survey instruments and to analyze survey data. Jamie MacKinnon assesses a qualitative study describing what workplace professionals might need to learn about social contexts and workplace Susan Kleimann and editor Rachel discuss multiple case studies they conducted that help explain the value during the composing process of social interaction among the participants of a rhetorical situation. Judy Z. Segal explores the negotiation between the character of Western medicine and the nature of its professional discourse. Jennie Dautermann describes a qualitative study in which a group of nurses claimed the authority to restructure their own procedural information system. Anthony Parefinds in a case study of social workers that writing can be constrained heavily by socially imposed limitations and restrictions. Graham Smart describes a study of discourse conventions in a financial institution. Geoffrey A. Cross reports on a case study of the interrelation of genre, context, and process in the group production of an executive letter and report.Part 2 includes nine essays that assess the implications of recent research on workplace writing on theory, pedagogy and practice, and future research directions. Mary Beth Debs considers research implications for the notion of authorship. Jack Selzer explores the idea of intertextuality. Leslie A. Olson reviews the literature central to the concept of a discourse community. James A. Reither suggests that writing-as-collaboration in the classroom focuses more on the production of texts to be evaluated than on ways in which texts arise out of other texts. Rachel continues Reither s discussion of how writing pedagogy in academia might be revised with regard to the social perspective. Patricia Sullivan and James E. Porter respond to the debate about the authority of theory versus that of practice on researchers notions of methodology. Mary Beth Debs considers which methods used in fields related to writing hold promise for research in workplace Stephen Doheny-Farina discusses how some writing researchers are questioning the underlying assumptions of traditional ethnography. Finally, Tyler Bouldin and Lee Odell suggest future directions for the research of workplace writing.

In the ideal composition class of the 1990s, everything seems to run smoothly: all learning is happily collaborative, all authority is successfully de-centered, and all students are part of a conflict-free community of writers. No student is ever bored or boring, angry or provocative, and no teacher ever responds in ways that are self-serving, subjective, or idiosyncratic. Since most books and articles on the teaching of writing describe the ideal as if it were the norm, many teachers feel embarrassed by what does or doesn't happen in their own classrooms- and envious of what they believe is happening down the hall. Writing Relationships goes beyond the idealized talk about what should happen in teaching to examine what actually occurs: competition and cooperation, peer pressure and identification, resistance and sexual tension. This book is about how interpersonal relationships -- between teacher and student, student and student, and teacher and teacher -- shape the ways that teachers read and grade their students' writing and the ways students respond, or don't respond, to their teacher's suggestions. Through narratives and case studies, the author demonstrates that much of the tension, confusion, and anxiety associated with a process approach is inevitable and, in part, desirable. But this book is more than a series of failure stories: the author gives teachers specific and useful ideas and strategies for: reading student essays responding to student writing leading a discussion of an essay running a writing workshop grading setting up peer and co-authoring groups conferencing publishing in the field.

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Unifying the many definitions and practices of is the notion of training the mind, which suggests that the technique of could usefully supplement courses designed to train people to think and write critically, analytically, or academically. In Riding the Ox Home: A History of Meditation from Shamanism to Science, Willard Johnson argues that meditation has no intrinsic goal or meaning; it is rather technique, way of developing consciousness (3). Coming from Hindu tradition, Ekneth Easwaran similarly defines as a systematic technique for taking hold of and concentrating to the utmost degree our latent mental power (9). Most frequently is discussed within spiritual context, yet for beginning college students, who often report difficulty keeping their minds on what they read, practice in could be as useful as other study techniques frequently taught, such as focused free writing, mapping, and dialogic reading logs. Yet work linking writing and remains on the fringes of our discipline. In this essay I want to review the scholarship on the connections between and writing, analyze objections to the use of in writing classroom, and suggest that writing teachers consider using with apprehensive or blocked writers, population I have studied and seen it serve. Most of my experience with and writing has occurred outside the academy; I've led workshops at bookstore, in therapist's office, and most frequently through Unity, center for spiritual growth. Teaching at spiritual site helped me shift my focus from helping writers produce good prose to helping them enjoy the process of meditating and writing regardless of the outcome. I have also guest taught in elementary and high school classes and typically offer an optional day of meditating and writing in my university writing courses. Despite enthusiastic student response, the marginality of meditative practice within the academy has discouraged me, as an untenured faculty member, from regularly offering to writing classes. Peter Elbow relates similar reluctance to bring new practices into his university classes: The

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An Unquiet Pedagogy argues for a new approach to teaching English in the high school and college classroom, one that reconceives the relationship of literacy and the learner. The title is taken from an essay by Paulo Freire in his book with Donaldo Macedo entitled Literacy: Reading the Word and the World. Like Freire, the authors believe that pedagogy must be critical -- that it must examine the assumptions that teachers and students bring to any educational enterprise, that it must take into account the contexts of learners' lives, and that it must question, rather than quietly accept, existing practices. Voices of beginning and experienced teachers are heard often in the book, exploring how such an unquiet pedagogy might come to be. The authors examine the experiences of these teachers, as well as their own, showing how the classroom can become a place of inquiry for both teachers and students and how theory and research that provide an integrated perspective on language, literacy, and culture must inform teaching practice. Their aim is to transform the English classroom into a place where the imagination becomes central and where learners construct knowledge in the development of real literacy.

An Unquiet Pedagogy: Transforming Practice in the English Classroom, Eleanor Kutz and Hephzibah Roskelly Social Issues in the English Classroom, C. Mark Hurlbert and Samuel Totten Empowering Education: Critical Teaching for Social Change, Ira Shor, Robert Brooke Sophistication: Rhetoric and the Rise of Self-Consciousness, Mark Backman, Timothy W. Crusius The Context of Human Discourse: A Configurational Criticism of Rhetoric, Eugene E. White, Timothy W. Crusius Sociomedia: Multimedia, Hypermedia, and the Social Construction of Knowledge, Edward Barrett, Gary Heba

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To understand the ways students learn to write, we must go beyond the small and all too often marginalized component of the curriculum that treats writing explicitly and look at the broader, though largely tacit traditions students encounter in the whole curriculum, explains David R. Russell, in the introduction to this singular study. The updated edition provides a comprehensive history of writing instruction outside general composition courses in American secondary and higher education, from the founding of public secondary schools and research universities in the 1870s, through the spread of the writing-across-the-curriculum movement in the 1980s, through the WAC efforts in contemporary curriculums.

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New Visions of Collaborative Writing, Janis Forman Alice M. Gillam Methods and Methodology in Composition Research, Gesa Kirsch and Patricia A. Sullivan Russel K. Durst Gaining Ground in College Writing: Tales of Development and Interpretation, Richard Haswell Robert Brooke Beyond Outlining: New Approaches to Rhetorical Form, Betty Cain Richard M. Coe Portfolios in the Writing Classroom: An Introduction, Kathleen Blake Yancey Karen L. Greenberg Reading and Writing Essays: The Imaginative Tasks, Pat C. Hoy II David Z. Londow To Make a Poem, Alberta Turner Working Words: The Process of Creative Writing, Wendy Bishop Diane Kendig Teaching Hearts and Minds: College Students Reflect on the Vietnam War in Literature, Barry Kroll Lucille Capra Illumination Rounds: Teaching the Literature of the Vietnam War, Larry R. Johannessen Lucille Capra Vietnam, We’ve All Been There, Eric James Schroeder Lucille Capra

John Trimbur, Robert G. Wood, Ron Strickland, William H. Thelin, William J. Rouster, Toni Mester, Maxine Hairston, Responses to Maxine Hairston, "Diversity, Ideology, and Teaching Writing" and Reply, College Composition and Communication, Vol. 44, No. 2 (May, 1993), pp. 248-256

So ends Arthur Clarke's classic 2001: A Space Odyssey, and, as David Bowman contemplates with some dismay his seeming mastery of the universe, his unstated question is one the contemporary writing or literature teacher might well appropriate for his or her own contemporary pedagogical dilemma: So what do I do now with my students? It is the question a high-school English teacher once asked me as she read some Derrida and Nietzsche as part of a required Contemporary Theory and Pedagogy class I was teaching. Her pedagogical quandary was not an isolated one. I answered her with another question: What if a student in your freshman writing class submits to you a rough draft of a paper which you consider to be racist-very racist? Would you, or should you, with that paper-or perhaps one that asserts that it is the duty of Christians to ferret out every gay and 'beat some sense into him'-mark it as any other paper? She seemed to squirm in her seat. She had, in fact, once gotten a racist paper, and her response had been unequivocal: she did not allow the paper and sat the student down and set him right. Whatever truth there is to Foucault's assertion that each society has its regime of truth, its 'general politics' of truth-i.e., the types of discourse which it accepts and makes function as true (Truth 131), and whatever personal power agendas are working subtly at the heart of any particular discourse, still, to that teacher that morning, there were some things you could be certain about. In the case of a racist paper, some seemingly universal principle far beyond political correctness, beyond situational truths, was at issue. Still, as she struggled through some of the assigned readings for the course, it was clear she was having some difficulty reconciling her own moral fervor

Responses to Maxine Hairston, “Diversity, Ideology, and Teaching Writing” John Trimbur, Robert G. Wood, Ron Strickland, William H. Thelin, William J. Rouster, and Toni Mester Reply Maxine Hairston Responses to the Editor’s Column on Reader Reactions to “Diversity, Ideology, and Teaching Writing” Ralph F. Voss and Laurence Behrens

This kind of emotional reaction was typical of what the students wrote in response to reading about poverty and homelessness. That particular semester, I assigned readings on one particular theme-i.e., poverty and homelessness. Over the course of the first few weeks, we read about a dozen essays, then a longer nonfiction piece, Jonathan Kozol's Rachel and Her Children, and finally, a novel, Kaye Gibbons's Ellen Foster. I hoped the students would find the readings interesting and that, taken as a whole, they would provide a common classroom experience upon which to base our discussions. I also tried to choose material that I thought would provoke strong student reactions.

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This book is a critically informed challenge to the traditional histories of rhetoric to the current emphasis on Aristotle Plato as the most significant classical voices in rhetoric. In it, Susan C. Jarratt argues that the first sophistsa diverse group of traveling intellectuals in the fifth century B.C.should be given a more prominent place in the study of rhetoric composition. Rereading the ancient sophists, she creates a new lens through which to see contemporary social issues, including the orality/literacy debate, feminist writing, deconstruction, writing pedagogy.The sophists pleasure in the play of language, their focus on historical contin-gency, the centrality of their teaching for democratic practice were sufficiently threatening to their successors Plato Aristotle that both sought to bury the sophists under philosophical theories of language. The censure of Plato Aris-totle set a pattern for historical views of the sophists for centuries. Following Hegel Nietzsche, Jarratt breaks the pattern, finding in the sophists a more progressive charter for teachers scholars of reading writing, as well as for those in the adjacent disciplines of literary criticism theory, education, speech communication, ancient history.In tracing the historical interpretations of sophistic rhetoric, Jarratt suggests that the sophists themselves provide the outlines of an alternative to history-writing as the discovery recounting of a set of stable facts. She sees sophistic use of narrative in argument as a challenge to a simple division between orality literacy, current discussions of which virtually ignore the sophists. Outlining similarities between ecriture feminine and sophistic style, Jarratt shows that contemporary feminisms have more in common with sophists than just a style; they share a rhetorical basis for deployment of theory in political action. In her final chapter, Jarratt takes issue with accounts of sophistic pedagogy focusing on technique the development of the individual. She argues that, despite its employment by powerful demagogues, sophistic pedagogy offers a resource for today s teachers interested in encouraging minority voices of resistance through language study as the practice of democracy.