This study extends the corpus of an earlier qualitative content analysis about women and feminism and identifies the knowledge claims and themes in the 20 articles that discuss gender differences. Knowledge claims are reflected in expressions such as androgyny; natural collaborators; hierarchical, dialogic, and asymmetrical modes; web; connected knowers; different voice; ethic of care; ethic of objectivity; continuous with others; connected to the world; the cultural divide; visual metaphor; andgender-free science. Built from knowledge claims, the themes in the 20 articles include gender differences in language use, learning, and knowledge construction; gender differences in collaboration; and reviews of research about gender differences and political calls for action. Although the 20 articles provide little support for the existence of gender differences, by introducing, discussing, testing, and revising new ideas about women and feminism, they serve as an example of the process of knowledge accumulation and remodeling in technical communication.

The temperance movement was the largest single organizing force for women in American history, uniting and empowering women seeking to enact social change. By the end of the century, more than two hundred thousand women had become members of the Woman's Christian Temperance Union (WCTU), and numerous others belonged to smaller temperance organizations. Despite the impact of the movement, its literature has been largely neglected. In this collection of nineteen temperance tales, Carol Mattingly has recovered and revalued previously unavailable writing by women. Mattingly's introduction provides a context for these stories, locating the pieces within the temperance movement as well as within larger issues in women's studies. The temperance movement was essential to women's awareness of and efforts to change gender inequalities in the United States during the nineteenth and early twentieth centuries. In their fiction, temperance writers protested physical and emotional abuse at the hands of men, argued for women's rights, addressed legal concerns, such as divorce and child custody, and denounced gender-biased decisions affecting the care and rights of children. Temperance fiction by women broadens our understanding of the connections between women's rights and temperance, while shedding light on women's thinking and behavior in the nineteenth century. Temperance writers featured in this reader include Louisa May Alcott, Mary Dwinell Chellis, Elizabeth Fries Lummis Ellet, Frances Dana Gage, Frances Ellen Watkins Harper, Caroline Lee Whiting Hentz, Marietta Holley, Elizabeth Stuart Phelps (Ward), Lydia Howard Huntley Sigourney, Elizabeth Cady Stanton, and Harriet Beecher Stowe. Water Drops from Women Writers features biographical sketches of each writer as well as thirteen illustrations.

Research Article| January 01 2002 Learning, Reading, and the Problem of Scale: Using Women Writers Online Julia Flanders Julia Flanders Search for other works by this author on: This Site Google Pedagogy (2002) 2 (1): 49–60. https://doi.org/10.1215/15314200-2-1-49 Cite Icon Cite Share Icon Share Twitter Permissions Search Site Citation Julia Flanders; Learning, Reading, and the Problem of Scale: Using Women Writers Online. Pedagogy 1 January 2002; 2 (1): 49–60. doi: https://doi.org/10.1215/15314200-2-1-49 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search Dropdown Menu toolbar search search input Search input auto suggest filter your search Books & JournalsAll JournalsPedagogy Search Advanced Search The text of this article is only available as a PDF. © 2002 Duke University Press2002 Article PDF first page preview Close Modal Issue Section: Cluster on Technology You do not currently have access to this content.

Considers how reading Jane Tompkins’ “Sensational Designs” helps foster a new appreciation of the ways in which students contribute to the creation of a literary work. Discusses how students responded to their semester-long study of various “neglected” 19th-century women writers.

A Group of Their Own: College Writing Courses and American Women Writers, 1880–1940, by Katherine H. Adams; Everyone Can Write: Toward a Hopeful Theory of Writing and Teaching Writing, by Peter Elbow; Teaching Composition as a Social Process, by Bruce McComiskey.

Studying corporate documents provides clues to the larger philosophy of the organization. This article explores a sales document redesign that indicates a subtle shift in ideology for a women's clothing company. The corporation uses direct sales to market clothes to a variety of women. In one season, the documents change from relatively outdated designs to more updated, professional layouts. However, the content of the documents changes very little. The author contends that the document redesign indicates a move to a more feminist outlook for the company and uses the concept of ethos to describe how the document design represents a slowly changing ethos for the corporation. A specific content shift towards feminism is, however, less apparent.

This article extends current thinking about the rhetoric of technology by making a preliminary inquiry into what a feminist rhetoric of technology might look like. On the basis of feminist critiques of technology in various disciplines, the author suggests three ways in which feminist approaches to building a rhetoric of technology might differ from current nonfeminist approaches to this task. First, feminist scholars should adopt a more expansive definition of technology than that which informs current rhetoric of technology research. Second, feminist scholars should ask research questions different from those being asked by current rhetoric of technology researchers. Third, feminist scholars should move beyond the design and development phases of technology, which most of the current research on the rhetoric of technology emphasizes.

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(1999). Constructing essences: Ethos and the postmodern subject of feminism. Rhetoric Review: Vol. 18, No. 1, pp. 82-91.

Composition (at its best) and feminism work against the grain of conventional institutional practices. Both challenge assumptions and seek to transform ways of thinking, teaching, and learning. Both are complex, containing different agendas and different voices. Feminism and Composition Studies: In Other Words is a feminist project that boldly places at its center differences among women. Topics discussed include American history, politics, language, racism, pedagogy, contingent labor in the teaching of writing, e-mail behavior, and the need for educational and institutional reform. Teachers, graduate students, program administrators, and feminists will find valuable the critiques, theoretical as well as personal, contained in this unusually honest and thought-provoking volume.

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Argues that literature by Caribbean women writers of the 20th century offers two-year college students models for surmounting obstacles, resisting oppression, and holding life in fragile equilibrium. Discusses various Caribbean women authors and the influences upon them. Describes numerous ways that specific Caribbean works could be used in the two-year-college curriculum.

Suggests that moves to dispersed authorship signal not a challenge to the old ideology of authorship, but rather its appropriation for commercial ends. Identifies alternatives to this appropriation and explains why embracing these alternatives is important. Concludes that scholars of rhetoric and composition need to identify, theorize, practice, and teach alternative forms of subjectivity and alternative modes of ownership.

This qualitative content analysis identifies 40 articles about women and feminism published in five technical communication journals in a period of nine years, beginning with the publication of Mary Lay's award-winning “Interpersonal Conflict in Collaborative Writing” in 1989. Along with numeric trends about the frequency of articles about women and feminism in technical communication journals, this study also identifies major themes, all of which concern inclusion: through eliminating sexist language, providing equal opportunity in the workplace, valuing gender differences, recovering women's historical contributions to technical communication, and critiquing previously uncontested terms and concepts. The study concludes that although research about women and feminism has been accepted as part of the scholarly purview of technical communication, the ways in which this research has influenced workplace or classroom practice are unclear.

Reviews three books: Time to Know Them: A Longitudinal Study of Writing and Learning at the College Level, by Marilyn S. Sternglass; Feminism and Composition Studies: In Other Words, ed. by Susan C. Jarratt and Lynn Worsham; The Performance of Self in Student Writing, by Thomas Newkirk.

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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-

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(1995). “Breaking up”; [at] phallocracy: Postfeminism's chortling hammer. Rhetoric Review: Vol. 14, No. 1, pp. 126-141.

This article reviews selected gender scholarship that informs the study of professional communication as well as some recent articles on professional communication that make use of gender studies. The article also suggests future research directions that include a merger of gender and professional communication scholarship. Topics covered include gender and communication and gender identity, along with gender and writing, reading, speaking language choice, visual communication, collaboration, content analysis, management, history and case studies.

Recent trends in gender and writing research avoid or ignore the issue of essentialism while attempting to formulate a theory of “composing as a woman” that might rely on essentialist assumptions. Codifying the characteristics of “writing like a woman” or “writing like a man” can result in a limited—and limiting—conception of gender and its effect on writing. To illustrate this argument, this article uses as an example of I'écriture féminine the writing of Kenneth Burke and as an example of writing like a man the prose of Julia Kristeva. It argues for conceptualizing and studying gender as a secondary factor affecting writing rather than the principal factor.

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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

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My contribution to this issue of RSQ relates my thoughts and conclusions about the value of some of Bakhtin's ideas to conversations about reading and feminism, and in that respect it resembles a traditional academic essay., But what began as a traditional essay that presented and defended a thesis is now informed by an overt narration of the development of my thinking and reading. I make this statement not to disclaim but to explain my approach to writing as a woman about Bakhtin. To read or write about reading and writing processes is a difficult undertaking; as readers and writers in the academy we are hyperaware of the claims made by an author and the degree to which her text adheres to or embodies her claims. What follows is as much an attempt to recreate and relate the changing relationship between Bakhtin's work and my own thought as it is to outline and review feminist interpretations of Bakhtin's work. At some point after first reading Marxism and the Philosophy of Language and The Dialogic Imagination, when composing the first draft of my dissertation, I felt compelled to stop and consider my reading process because I was having trouble writing about what I had read. When stumbling through writing the section of my dissertation that explicated some of Bakhtin's concepts, I thought I was facing a case of writer's block, and when I questioned the cause of the block, I attributed it to lack of comprehension. So I began rereading, secretly hoping that careful reading-noting important concepts and topic sentences and underlining and looking up unfamiliar words as my elementary and high school teachers had suggested-would bring me better understanding. I found as I reread Bakhtin that my trouble wasn't lack of comprehension; I could reel off neat definitions and thorough explanationsthat's what passing my Ph.D orals was all about. The trouble was, I wasn't contributing anything. My writing was empty. Paragraph after paragraph did nothing but paraphrase and quote Bakhtin and his commentators, allowing them a monologue in my text. Some writing teachers would argue that I began writing too soon or that I hadn't spent enough time prewriting and formulating my own opinions about the material, and this is probably true to some extent. But more than a matter of the writing process, my difficulties resulted from my sense of myself as a reader and novice theorist and Bakhtin as a writer, master theorist, and authority. What I was encountering in my reading process is what I believe many students (particularly those designated developmental) experience. Teachers, textbook authors, counselors, administrators, parents-by virtue of

As feminism has sought to contest patriarchy in ever more diverse sites of culture and increasingly to interrogate power/knowledge relations in a variety of disciplines, its languages have become more complex and difficult. This creates the paradox of a feminism much more capable of reunderstanding reality-and thus changing it-in profoundly different ways and yet much less accessible and understandable to those whose lives it seeks to affect. In other words, a widening gap is developing between the advanced languages and discourses of feminism-especially feminist theory-and its main constituency: those women (and men) who rely on its insights and the movement it articulates to orient their lives in more egalitarian and non-exploitative ways-in sexual relations, in raising children, in the politics of the work place and domestic arrangements. In fact, the difficulty of recent (postmodern) feminist theory has led many to reject it altogether as too remote and politically ineffective. But I believe that feminist theory is necessary for social change and that, rather than abandon it as too abstract, we need to reunderstand it in more social and political terms. I have thus attempted in this essay to rearticulate some of the main theoretical concepts of contemporary feminism in a more available language and, more important, to offer a political rewriting of these concepts. My text, therefore, is a series of explanatory speculations on feminist theory, its main concepts and the way these concepts enable a feminist rewriting of patriarchy. In doing so, it points to the emergence of what I call materialist feminist theory. In feminism, as elsewhere, postmodern has become a loaded and politically volatile word. Many feminists are opposed to it, worried that such a term may trivialize the serious import of feminism, which is intervention and social change. Underlying such mistrust is the common misunderstanding of postmodernism as a fad based on passing desires and trivial pursuits. This may be true of some aspects of postmodernism, but it is not at all characteristic of postmodernism in general; it is a significant political, cultural, and historical development. Teresa L. Ebert teaches critical theory and feminism at the State University of New York at Albany. She has completed a book on materialist feminism called Patriarchal Narratives and is at work on another on feminist theory and politics. In 1990 she organized and directed the conference on Rewriting the (Post)modern: (Post)colonialism/Feminism/Late Capitalism at the University of Utah where she was a Fellow in the Humanities Center.

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