2010, <<An Attempt at a Compositionist
Manifesto>>, New Literary History, 41,3: 471-490.
Through readings of the fragmented bodies that challenge the reader in Rainer Maria Rilke and Virginia Woolf, I will suggest that a compositionist
ethics of reading points us toward a new understanding of the fragile, processual, and vital imbrication of politics, objects, institutions, and attachments in literary modernism, a critical position with implications for the ethics of literary critique more generally.
10) Recognizing ourselves in this compositionist
method, literary artists and scholars might direct our curiosity toward the place of recent anthropogenic climate change in the long history of climate change on Earth.
In illuminating the constitutive role played by particular concerns such as globalism, simulation and prediction in the historical emergence of climate modeling and the accompanying pattern of inclusions and exclusions, I have firmly adhered to my compositionist
account of scientific practice introduced above.
This challenges the idea of writing as a primarily solitary endeavor, as reflected in the pedagogical work of scholars like the compositionist
Peter Elbow, who famously envisioned writing as an expressivist means of self-discovery and personal reflection.
The five paragraph theme is probably still the dominant model, even though it is politely dismissed by compositionist
post-humanism connects with a body of "new" or radically reconceptualized materialisms, such as Steven Shaviro's commentaries on those predecessors (2009), Bennett's theories of vital materialism or "vibrant matter" (2010), or Brian Massumi's "activist philosophy" (2011).
27) Bruno Latour, "An Attempt at a Compositionist
Manifesto," New Literary History 41 (2010): 481.
Janet Emig (who began her career in English Education and only later in her career came to identify as a compositionist
For the novice compositionist
, the moments offer a framework to begin understanding the current state of the field, background to understand why Asao Inoue in chapter four, for instance, might "calculate course grades by labor completed and dispense almost completely with judgments of quality when producing course grades" in an effort "to cultivate a more critical, democratic community" (70).
Jackson became a real compositionist
only when he began to follow his heart: discovering he had a voice and vision worth sharing, then realizing he had to abandon his struggle for the correct line and embark on the search for a personally useful and perfectible line to perfect his inner vision.
This paper contends that modern compositionist
courses have successfully met the goal of training students to become socially productive citizens by teaching them to be proficient "readers" who critically examine the sources and dissemination of knowledge, but that the field has fallen short of its goal of training students to actively produce their own knowledge because it is presenting a restricted view of what it means to "write" well.