This Research Brief provides an overview of the current scholarship on transnational feminist rhetorics (TFR), drawing from interdisciplinary traditions. TFR inquiries should always begin with “a cogent analysis of power” (Dingo et al.), attending to how transnational power dynamics act on gendered bodies and how those bodies engage with and speak back to intersectional geopolitical forces. They rely primarily on the analysis of textual and visual artifacts in historical and contemporary contexts and use a variety of concepts and theories from rhetoric and elsewhere, grounded in the lived experiences of marginalized communities. The Research Brief ends with a discussion of future directions for this field, calling for more interdisciplinary inquiries, continued critical intersectional engagement with diverse transnational communities and subjectivities, reflexive and ethical research practices, and pedagogical applications.

This dialogue between a first-year composition (FYC) instructor and administrator proposes listening-oriented curricula to cultivate actionable empathy in FYC: an attempt at understanding and acceptance when engaging across difference that results in naming how power shapes engagement. Actionable empathy can help students become introspective, flexible communicators and help instructors develop pedagogical agency.

If, as I argue, student-to-student peer review is animated by “improvement imperatives” that make peer review a form of what Lauren Berlant calls “cruel optimism,” then rhetoric and composition will need to imagine theories and structures for peer review that do not repeat cruel attachments. I offer slow peer review as a strategy for queer rhetorical listening that maintains our commitments to peer review without the limitations created through the improvement imperative.

This article argues that rhetoric-focused first-year composition curricula may effectively use feminist revisions to rhetoric by employing a method the author calls procedural feminism, or the distillation of feminist rhetorical practices and theory within curricular development that does not make feminism a topic students will directly engage. The author argues that employing procedural feminism can move students to become more ethical participants in public discourse while circumventing student resistance to ideological classrooms.

Reviewed are: Networking Arguments: Rhetoric, Transnational Fitalicinism, and Public Policy Writing Rebecca Dingo Conversational Rhetoric: The Rise and Fall of a Women’s Tradition, 1600–1900 Jane Donawerth Fitalicinist Rhetorical Resilience Elizabeth A. Flynn, Patricia Sotirin, and Ann Brady, editors Writing a Progressive Past: Women Teaching and Writing in the Progressive Era— Lisa Mastrangelo— Fitalicinist Rhetorical Practices: New Horizons for Rhetoric, Composition, and Literacy Studies Jacqueline Jones Royster and Gesa E. Kirsch

Reviewed are: The Changing of Knowledge in Composition: Contemporary Perspectives, Lance Massey and Richard C. Gebhardt, editors, The Present State of Scholarship in the History of Rhetoric: A Twenty-First Century Guide, 3rd edition, Lynée Lewis Gaillet and Winifred Bryan Horner, editors, Rhetorica in Motion: Feminist Rhetorical Methods and Methodologies, Eileen E. Schell and K. J. Rawson, editors, The Ethics of Internet Research: A Rhetorical, Case-Based Process, Heidi A. McKee and James E. Porter, Becoming a Writing Researcher, Ann Blakeslee and Cathy Fleischer

In this article, we undertake three critical tasks: First, we delineate major shifts in feminist rhetorical inquiry, thus describing a new and changed landscape of the field. Second, we argue that as feminist rhetorical practices have shifted, so have standards of excellence. To articulate excellence in feminist rhetorical studies, we draw attention to interconnections among three critical terms of engagement: critical imagination, strategic contemplation, and social circulation. Third, we propose an enhanced inquiry model for understanding, interpreting, and evaluating feminist rhetorical work in rhetoric and writing studies.

This essay attempts to demonstrate how transgender theories can inspire pedagogical methods that complement feminist compositionist pedagogical approaches to understanding the narration of gender as a social construct. By examining sample student writing generated by a prompt inspired by transgender theories, the author’s analysis suggests how trans theories might usefully expand and extend—for both instructors and students—our analysis of the stories we tell personally, socially, and politically about gender. Ultimately, the author argues that trans theories and pedagogical activities built on them can enhance our understanding of gender performance by prompting us to consider gender as a material and embodied reality.

I make the following moves in this article: (1) I briefly trace how rhetorical listening emerged in my thinking; (2) I explore disciplinary and cultural biases that subordinate listening to reading and writing and speaking; (3) I speculate why listening is needed; (4) I offer an extended definition of rhetorical listening as a trope for interpretive invention; (5) I demonstrate how it may be employed as a code of cross-cultural conduct; and (6) I listen to a student’s listening.

This work collects together the writings of Gertrude Buck (known for her work on the history of composition), aiming to show her thoughts on rhetorical theory, some selections from her textbooks on argumentative and expository writing, her poetry and fiction, and a play, Mother-Love.

n the introduction to The Origins of Composition Studies in the American College, 1875-1925, John Brereton remarks that few signs exist of explicitly feminist rhetoric texts in the late 19th and early 20th centuries, despite the presence of many women composition teachers in America at this time. While Brereton acknowledges the contributions of women professors who authored innovative textbooks (the first reader to use student papers, by Francis Campbell Berkeley, for example, as well as one of the first handbooks, by Luella Clay Carson), he argues that feminist rhetoric texts are conspicuously absent from the history of rhetoric and composition. Brereton asks to what extent publishing houses may have restricted explicitly feminist modes of writing and speaking instruction. He suggests that feminist rhetoric texts and pedagogies by women during this period perhaps operated in a more subversive fashion, reflecting the conservative climate of the time, and he suggests that women's rhetoric texts (as well as their pedagogical artifacts) ought to be read in terms of the climate of the historical moment (20-21). With Brereton's remarks in mind, I wish to discuss Mary Augusta Jordan's Correct Writing and Speaking, a rhetoric text authored for women who studied writing and speaking outside of the formal academy. Jordan (1855-1941) is a rhetorician to be added to the list of other remarkable women professors who wrote textbooks for new audiences at this time. Her work makes a con-

If workshop time permits, presenting faculty with the theory behind the pedagogical suggestions is helpful in convincing them to adopt these techniques. One might briefly introduce the major studies of women's moral, psychological and intellectual development, as well as recent feminist epistemological theories which have begun to influence feminist compositionists. In The Reproduction of Mothering Nancy Chodorow argues that women's continuing identification with the mother makes connected, interpersonal relationships central to their sense of self and representations of their lives. Men, on the other hand, spend a great amount of psychic energy separating themselves from the mother, and a process of isolated individuation is central to their development. Similarly, Carol Gilligan maintains, in In a Different Voice, that women's morality is based on relationships and their contexts rather than adherence to abstract principles of right. In Women's Ways ofKnowing, Mary Field Belenky and her co-authors have

Julie M. Farrar, Laurence E. Musgrove, Donald C. Stewart, Wayne Cosby, Responses to Catherine E. Lamb, "Beyond Argument in Feminist Composition", College Composition and Communication, Vol. 42, No. 4 (Dec., 1991), pp. 493-498

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Preface 1. THE CONTEXTS OF TEACHING PERSPECTIVES Richard Fulkerson: Four Philosophies of Composition James Berlin: Rhetoric and Ideology in the Writing Class Edward P.J. Corbett: Rhetoric, the Enabling Discipline Min-Zhan Lu and Bruce Horner: The Problematic of Experience: Redefining Critical Work in Ethnography and Pedagogy TEACHERS Peter Elbow: Embracing Contraries in the Teaching Process Donald M. Murray: The Listening Eye: Reflections on the Writing Conference Lad Tobin: Reading Students, Reading Ourselves: Revising the Teacher's Role in the Writing Class Dan Morgan: Ethical Issues Raised by Students' Personal Writing STUDENTS Mina P. Shaughnessy: Diving In: An Introduction to Basic Writing Vivian Zamel: Strangers in Academia: The Experiences of Faculty and ESL Students Across the Curriculum Todd Taylor: The Persistence of Difference in Networked Classrooms: Non-Negotiable Difference and the African American Student Body LOCATIONS Hephzibah Roskelly: The Risky Business of Group Work Gail E. Hawisher and Cynthia L. Selfe: The Rhetoric of Technology and the Electronic Writing Class Muriel Harris: Talking in the Middle: Why Writers Need Writing Tutors APPROACHES Min-Zhan Lu: Redefining the Legacy of Mina Shaughnessy: A Critique of the Politics of Linguistic Innocence Mariolina Salvatori: Conversations with Texts: Reading in the Teaching of Composition Gary Tate: A Place for Literature in Freshman Composition Carolyn Matalene: Experience as Evidence: Teaching Students to Write Honestly and Knowledgeably about Public Issues 2. THE TEACHING OF WRITING ASSIGNING Mike Rose: Writing Courses: A Critique and a Proposal David Peck, Elizabeth Hoffman, and Mike Rose: A Comment and Response on Remedial Writing Courses Richard L. Larson: The Research Paper in the Writing Course: A Non-Form of Writing Jeanne Fahnestock and Marie Secor: Teaching Argument: A Theory of Types Catherine E. Lamb: Beyond Argument in Feminist Composition RESPONDING AND ASSESSING Brooke K. Horvath: The Components of Written Response: A Practical Synthesis of Current Views David Bartholomae: The Study of Error Jerry Farber: Learning How to Teach: A Progress Report COMPOSING AND REVISING Nancy Sommers: Between the Drafts James A. Reither: Writing and Knowing: Toward Redefining the Writing Process David Bleich: Collaboration and the Pedagogy of Disclosure AUDIENCES Douglas B. Park: The Meanings of Lisa Ede and Andrea Lunsford: Audience Addressed/Audience Invoked: The Role of Audience in Composition Theory and Pedagogy Peter Elbow: Closing My Eyes as I Speak: An Argument for Ignoring Audience STYLES Robert J. Connors: Static Abstractions and Composition Winston Weathers: Teaching Style: A Possible Anatomy Elizabeth D. Rankin: Revitalizing Style: Toward a New Theory and Pedagogy Richard Ohmann: Use Definite, Specific, Concrete Language