The authors discuss courses in which they examined with students female rhetors’ historical presence in the public imagination, investigating how rhetorical work has inscribed these women into public memory and erased them from it.

Recently, human and user-centered design methods have challenged older system-centered practices, enriching resources and providing better technological artifacts for end-users. This article argues that though design has become more user-centered, something is still lacking: more opportunities exist for articulating feedback already present in technology-culture networks. To encourage the recovery of this feedback, this article examines discourses surrounding transportation technology and the Chōra, the variety of stakeholders who shape the progression of technology through use, negation, or re-appropriation. While this article is far from a programmatic or procedural document, it suggests opening design processes to a variety of cultural inputs beyond those marked as “users.” It attempts to open a space for technical communicators in these multifaceted feedback loops, where Chōral influences are articulated and rearticulated for more effective transportation design.

This review essay places Local Histories in the context of recent books and studies examining the wide variety of composition and rhetoric courses and pedagogical practices that existed in nineteenth-century America. The book has two general foci as represented in its split title: Local Histories, or microhistories of institutions, curricula, and figures; and Reading the Archives of Composition, an extended look at several hitherto unexamined archival sources and their associated projects. The editors identify three central purposes for their book: to challenge the “Harvard narrative,” which, they claim, places the origin of “composition” at Harvard and other elite Eastern colleges; to offer several alternative “microhistories” from various institutional sites, and to document, interpret, and interrogate specific archival holdings and the nature of archival work in composition. While the reviewers find the challenges to “the Harvard model” as history and historiography overstated, overall, they find the collection important for its studies of diverse sites and its attention to less visible figures: teachers who acted as early innovators, and students whose written compositions, informal diaries and letters offer new lenses for making history. The authors of various chapters who unveil their documentary and archival work in process, disclosing both finds and gaps and offering their developing understandings of the archive as construct, perform a valuable service to future scholars of composition studies.

Abstract Co-owning and writing for one of the world's largest private publishing houses in the 1920s and 1930s, Marcet Haldeman-Julius's (1887–1941) position should have guaranteed her a place in American women's literary history. Haldeman-Julius's socialist and feminist exigency, though, was elided by a complex and emotionally abusive marriage to her editor and publisher, Emanuel Haldeman-Julius, whose final approval represented her chance to effectively enter the public sphere. This study recovers Haldeman-Julius's work and traces her significant attempts to negotiate the paradox of writing as a feminist in ways rhetorically coded to escape certain audiences and to activate others. Notes 1I want to thank Catherine Hobbs for her meticulous reading of my manuscript and her insightful and charitable guidance in bringing this piece through the review stages. I would also like to thank Breon Mitchell at Indiana University's Lilly Library, as a portion of my research was made possible by a Helm Visiting Fellowship. Thanks also to Randy Roberts and Janette Mauk at the Leonard Axe Library at Pittsburg State University for their generous assistance during the research process as well as Teresa Coble at the Kansas State Historical Society. I would also like to publicly express my gratitude to Frank Farmer, Maryemma Graham, Brian Donovan, Amy Devitt, Susan Gubar, Bill Tuttle, Ann Schofield, and James Gunn for their guidance, time, and encouragement, at various stages of this process. In the end, though, I owe the most to Rebecca, Gus, Mae Hazel, Reba, and Steve for their patience, energy, and optimism.

This article examines the historiographic trajectory of rhetoric and composition studies by analyzing archival research practices, using Kenneth Burke’s dramatistic pentad as our analytical tool. We rely on a Burkean framework of “scenes, acts, agents, agencies, purposes, and attitudes” to invigorate our understanding of historiographic methods and to open up new possibilities for future histories of rhetoric and composition.

In reporting their research, historians of rhetoric and composition should be more explicit and specific about their investigative methods.

Contemporary Chicano codex rhetorics subversively question the alleged superiority of Western writing traditions, while reminding us that Mesoamerican pictographs have been an important—although repressed—part of rhetorical history.

This article proposes a strategy for teaching students about periodization, canonicity, and recovery work. It assigns Mary Darby Robinson's reading list as course material in women's literature as well as in Romantic-period classes and other kinds of eighteenth- and nineteenth-century interdisciplinary courses.

While the importance of “expressive writing,” or informal, self-directed writing, has been well established, teachers underutilize it, particularly in technical writing courses. We introduce the term expressive/exploratory technical writing (XTW), which is the use of informal, self-directed writing to problem-solve in technical fields. We describe how engineering students resist writing, despite decades of research showing its importance to their careers, and we suggest that such resistance may be because most students only see writing as an audience-driven performance and thus incompletely understand the link between writing and thinking. The treatment of invention in rhetorical history supports their view. We describe two examples of using XTW in software engineering to plan programming tasks. We conclude by discussing how a systematic use of XTW could shift the technical writing curriculum, imbuing the curriculum with writing and helping students see how to problem-solve using natural language.

Abstract This study offers scholars in composition and communication studies an opportunity to reflect on the relationship between feminists and rhetoric in the context of edited collections. The author first recasts recovery and gender critique as inventive arts for editors, and then analyzes a selection of edited collections' framing texts to demonstrate how editors compose their collections by mediating these arts. This work reveals that an early either/or relationship between the arts of recovery and gender critique gives way to a both/and approach that opens possibilities for multiple, rich avenues of inquiry in feminist rhetorical studies.

Reviewed are: A Communion of Friendship: Literacy, Spiritual Practice, and Women in Recovery, by Beth Daniell; Naked in the Promised Land: A Memoir, by Lillian Faderman; and Gut Feelings: A Writer’s Truths and Minute Inventions, by Merrill Joan Gerber.

In three voices - one as a scholar, one as a writer, and one as an alcoholic - Hindman considers the question: in what ways can our own personal writing illuminate the theory and practice of teaching composition? Demonstrating the process of composing the self within the professional, she responds both passionately and personally to literary criticisms about recovery discourse. Her purpose is to “make writing matter” and, in doing so, to attempt to dispel the tension between competing versions of how the self is constructed. She also considers how, in and for recovery, she learned to write, and how it has affected her professional writing. This type of writing, which she has called “embodied rhetoric,” offers lessons for composing a better life.

Discusses the topic of reading typographical errors as an example of archival work. Suggests that reading typos is a practice within textual scholarship which is a rather venerable if now somewhat overshadowed tradition of humanistic research and pedagogy. Begins with two examples of typo reading and then presents some general claims about editing as a paradigm for critical interpretation.

Beginning in the 1850s, authors of American and British scientific and technical publications began to integrate photographs into their texts. These chemical and photo-mechanically reproduced images often functioned as the basis for carefully defined claims for truth. In the natural sciences, in microscopy, in medicine, in the emerging studies of psychology and the social sciences, and in the dissemination and promotion of technological accomplishments, the verity of early published photographs led authors to claim that an image could be equal to its referent in nature, or even exceed its referent when conveying scientific and technical information. This article presents a technological, cultural, and rhetorical history of published photographs based upon twenty-three images selected from a review of forty photographically illustrated texts published between 1854 and 1900.

The roles of physicians and nurses working in trauma centers are mirrored in their writing. Physicians must focus intensely on patients' injuries if lives are to be saved. Their professional prose is correspondingly, and appropriately, focused, with attention given to injuries and their repair. The doctors' partners in the admitting area, trauma nurses, adopt a holistic view, caring for patients' physiologic and psychologic stability. Nurses tend to be more comprehensive in their writing, describing patients as individuals, the families involved, and the threatening and encouraging events that emerge during recovery. Although the distance and impersonal nature of medical writing, as a subset of technical writing, is criticized by technical writing scholars, published works by trauma surgeons may require exactly those characteristics. Perhaps a reflection of that disparity, medical publishers give mixed messages regarding style to physicians and nurses who choose to be authors.

(1989). Rhetorical history as a component of composition studies. Rhetoric Review: Vol. 7, No. 2, pp. 230-240.

Most rhetorical history has concerned itself with the theory of argumentation discourse as it developed from classical to modern times. This article traces a parallel but much less investigated strand of rhetorical history: the theory and practice of explanation. The slow growth of a body of knowledge about how information could best be communicated without necessary reference to overt persuasion is followed from Henry Day's Art of Rhetoric through contemporary explanatory rhetoric.

Most rhetorical history has concerned itself with the theory of argumentative discourse as it developed from classical to modern times. This essay traces a parallel but much less investigated strand of rhetorical history: the theory and practice of explanation. The slow growth of a body of knowledge about how information could best be communicated without necessary reference to overt persuasion is followed from Aristotle's Rhetoric through the beginnings of a theory of written discourse in the American nineteenth century. A later continuation of this essay will trace explanatory rhetoric into modern times.