Abstract
Composition studies began to take its contemporary form only in the early 1960s. There is no unbroken theoretical tradition from classical rhetoric to the present, although scholars in composition studies have attempted to reinvent the work of earlier theorists as foundations for their own work.' Perhaps because of this discontinuity in the tradition and because composition studies has been constituted as a field so recently, there is also no dominant theory governing composition studies today. Some theorists seek the universal laws of composition, or at least a universally applicable method for investigating such laws, while others seek to understand discourse in its historical context. Not coincidentally, the period in which composition studies has developed has also been a period of theoretical upheaval in English studies, the parent discipline. Composition theorists have drawn on the contending literary theories of this period as much as on the rhetorical tradition in shaping their own debates. One reason for this influence of literary theory on composition theory is that almost every active scholar in composition studies today holds a degree in English literature, not in composition and rhetoric. This situation is changing as degree programs in composition proliferate, but the majority of faculty who design and teach in these degree programs were themselves trained as literary critics. Much important work in composition studies shows the influence of the scholars' literary training. For example, Mina Shaughnessy has subjected the essays of unsuccessful student writers to a sort of new-critical close-reading. She is thus able to show that the students' tortured sentence structures are actually attempts to make meaning, albeit meaning in an unfamiliar world, the academic. Elaine Maimon has analyzed as literary genres the various kinds of academic discourse, thus uncovering their knowledge-generating conventions. Ann Berthoff has generalized a theory of the poetic imagination, derived primarily from the work of I. A. Richards, to explain all attempts at making meaning in language. Composition specialists have not only used literary training in their own work but also urged on their students a kind of literary close-reading ability as a means to develop the students' own writing. Pedagogy such as that of Peter Elbow and Ken Macrorie assumes that the same critical eye that allows the