So often left unquestioned is the very place in and from which scholarly ethos and praxis are being proposed. The goal of this essay is to call for and work towards establishing a foundation to explore such questions vis-à-visdeep rhetoricity.Deep rhetoricityinvites and demands of us all returns, careful reckonings, and enduring tasks. We illustrate possibilities ofdeep rhetoricityacross these three epistemic principles. Ultimately, we argue fordeep rhetoricityboth as an intervention into rhetorical practices and as a praxis of invention.

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This issue of RSQ offers an intriguing showcase of the wide range of topics, places, and subjects that rhetoricians now study on a regular basis. We encounter a finely detailed portrait of the hist...

In 1934 Gertrude Stein returned to the United States, for the first time in thirty years, to give her Lectures in America. Approaching the delivery of her lectures within their historical context, mediating communicative shifts from the nineteenth-century novel to twentieth-century publicity, and accounting for distinctions between speaking and writing, Stein used public relations strategies to capitalize on her celebrity and to introduce audiences to her modernist compositional processes. The lecture tour became an occasion for engaging the public relations culture that dictated the terms of her image's circulation and for retheorizing delivery in an age of publicity.

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.

Kirsch explores “the connection between spirituality and civic engagement,” suggesting that “spirituality—broadly defined to include mindfulness, introspection, and reflection—can play an important role in enabling rhetorical agency.”

This article elucidates Gertrude Stein's theory of rhetorical grammar by locating it in her studies at Harvard University/Radcliffe College in the mid-1890s and by demonstrating how for Stein the study of grammar correlates with rhetoric's first canon, invention. In her experimental primer, How to Write (1931), a book about the craft of composition, Stein devotes chapters to vocabulary, sentences, paragraphs, grammar, and forensics, but refuses to reduce writing to mechanical correctness. For Stein, a grammar that supposes invention as both discovering and creating does something much more than offer pre-existing rules for writers to follow. Placing Gertrude Stein's writing practices in the rhetorical traditions of the nineteenth century reveals a Gertrude Stein who is not necessarily or not only a literary figure, but rather a twentieth-century rhetorician who refigures past traditions to teach a new century how to write.

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In this ethnographic study of the teaching of writing, Karen Surman Paley reveals the social significance of first-person writing and the limitations of a popular taxonomy of composition studies. Paley looks critically at the way social constructionists have created an Other in the field of composition studies and named it expressivist. Paley demonstrates the complexity of approaches to teaching writing through an ethnographic study of two composition faculty at Boston College, a program that some would say is expressivist. She prompts her colleagues to consider how family experiences shape the way students feel about and treat people of races, religions, genders, and sexual preferences other than their own. Finally, she suggests to the field of composition that practitioners spend less time shoring up taxonomies of the field and more time sharing pedagogies.

Deborah Brandt, Ellen Cushman, Anne Ruggles Gere, Anne Herrington, Richard E. Miller, Victor Villanueva, Min-Zhan Lu, Gesa Kirsch, The Politics of the Personal: Storying Our Lives against the Grain. Symposium Collective, College English, Vol. 64, No. 1 (Sep., 2001), pp. 41-62

This symposium presents a written dialogue of scholars expressing not only excitement but also frustration over the ways in which current work in composition and literacy studies has explored the politics of the personal.

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Examines the effects of reading and writing multivocal texts and argues that writers need to assume interpretive responsibility for creating new forms of discourse.

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(1995). Revising for publication: Advice to graduate students and other junior scholars. Rhetoric Society Quarterly: Vol. 25, No. 1-4, pp. 237-246.

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I write in response to James Raymond's I-Dropping and Androgyny: The Authorial I in Scholarly Writing (CCC 44.4, December 1993, 478-83). I appreciate Raymond's reflections on the increased uses of the authorial I in scholarly writing; his observations are particularly noteworthy because, serving as former editor of College English, he not only observed trends in the field but actively shaped them. What interests me here is how Raymond poses the question about the authorial I in terms of appropriateness and then identifies three qualities as typical of its successful use: topical relevance, authoritative voice, and energy of novelty and dissent (479). As Raymond puts it:

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

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In original essays, fourteen nationally known scholars examine the practical, philosophical, and epistemological implications of a variety of research traditions. Included are discussions of historical, theoretical, and feminist scholarship; case-study and ethnographic research; text and conversation analysis; and cognitive, experimental, and descriptive research. Issues that cross methodological boundaries, such as the nature of collaborative research and writing, methodological pluralism, the classification and coding of research data, and the politics of composition research, are also examined. Contributors reflect on their own research practices, and so reflect the current state of composition research itself.

This book brings together the best current original work on the concept of audience in written communication. Firstly examining historical and theoretical perspectives on audience, the contributors explore and synthesize current theories on its shifting and intangible nature as well as the broader context of post-structuralist concepts of reader, writer and text. The second part of the book embraces a wide variety of research on audience and serves to illuminate contested theoretical points of earlier chapters. Authors of chapters report on case studies, textual analyses, comparative experimental research and protocol analysis.

This study explores audience awareness of writers as they compose for contrasting audiences. Experienced writers—all of them writing instructors at large public universities―composed aloud for two audiences which differed along the dimension of authority: incoming freshmen and a faculty committee. Protocols were analyzed for patterns of writing activities among all writers and for individual writers. Among all writers, two clear patterns emerged. Writers analyzed the faculty audience less frequently than the freshman audience, but they evaluated their text and writing goals more frequently when addressing the faculty. For individual writers, strong “interpretive frameworks” emerged, unique ways in which writersi nterpreted audiences and writing tasks, foregrounding quite different elements of the rhetorical situation. At times, interpretive frameworks overrode differences between the two audiences presented in the writing tasks; that is, writers attributed the same characteristics to both audiences despite the difference in these audiences’ social status within the university structure.

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