Revolution Lullabye

October 15, 2013

Dadas, Reaching the Profession

Dadas, Caroline. “Reaching the Profession: The Locations of the Rhetoric and Composition Job Market.” College Composition and Communication 65.1 (September 2013): 67-89. Print.

Dadas argues that the discipline and specifically hiring committees need to investigate the locations  in which the composition and rhetoric job market process occurs and work to make hiring practices in these spaces more humane, ethical, and non-discriminatory. Dadas interviews 57 rhetoric and composition scholars who have either gone on the job market and/or have been a member of a hiring committee within the past ten years. She codes the transcripts of her interviews through grounded theory in order to find trends and patterns in the responses. Dadas’ article is organized around three locations of the composition and rhetoric job market: the phone interview, the Internet (including video/Skype interviews and the academic job wiki), and the MLA convention. She notes how each of these locations have embedded discriminatory practices: the phone interview, with its lack of visual cues, relies on the auditory modality and can force candidates to disclose disabilities that they otherwise wouldn’t; video/Skype interviews overemphasize appearances, visual cues, and the use of a sometimes spotty and new technology; the academic job wiki can increase candidate anxiety and spread false information about searches; and the MLA convention is cost prohibitive to many graduate student candidates who wouldn’t have normally attended the conference because it is not a central one to hte field.

Dadas focuses on the MLA convention timeline, asking whether or not it is in the best interest of candidates and search committees to have a coordinated timeline for the job search process. She points out that having a common timeline helps candidates compare and negotiate job offers, but questions whether or not the MLA conference – a conference that can be seen as marginalizing the field of composition and rhetoric – is the appropriate fulcrum for the comp/rhet job search process.

Dadas argues that hiring committees should practice empathy and think from the candidate’s perspective when deciding on the job hiring process and the locations in which they will interview candidates.  Dadas points out that one simple way to do this is for hiring committees to ask candidates what hiring practices could help them perform their best in the job search process, and that fair and ethical hiring practices don’t necessarily mean the same hiring processes for all candidates.

Notable Notes

need to look at timing and structure of job searches (84)

2008 recession led to an increase in phone/internet interviews over MLA convention and a jumping of the job search timeline by many institutions (80).

looks at the literature on the job market – almost all the scholarship focuses on the health of the market, the number of jobs, not the job search itself

relies on theories of location/place/space, both virtual and non-virtual (68)

Quotable Quotes

“We need to educate [equal opportunity offices] that ‘fair’ does not mean ‘the same for all.’ Only in challenging these institutional constraints can we work toward a more flexible process that allows all candidates to perform their best.” (85).

“Based on the dissatisfaction of many of the survey participants and on a decades-long acknowledgement that rhetoric and composition occupies a marginalized position within English studies, I pose a question to our discipline as a whole: is it best that we make MLA the center of our hiring universe?” (83).

“We have to talk about [the job market]. We have to theorize it. We have to give grad students some control over the parts that they can control so that the parts that they can’t control don’t feel so overwhelmingly difficult. And I think we should do that as a discipline, not just program to program” (Survey participant, qtd in Dadas 67).

Rose, Mastrangelo, and L’Eplattenier, Directing First-Year Writing

Rose, Shirley K, Lisa S. Mastrangelo, and Barbara L’Eplattenier. “Directing First-Year Writing: The New Limits of Authority.” College Composition and Communication 65.1 (September 2013): 43-66.

The authors repeated and expanded a study conducted by Gary A. Olson and Joseph M. Moxley in 1989 on the responsibilities, power, influence, and authority held by directors of first-year writing programs. The study is based on 312 responses to an online survey distributed through the WPA-L listserv and a direct-email list of department chairs, and respondents included WPAs, chairs of English or independent writing programs, directors of college writing programs or writing centers, and those who report to directors of first-year writing. In this article, the authors focus on two trends in their results: 1. the perceptions of the most important roles and responsibilities of the first-year composition director and 2. how administrative responsibilities differ among WPAs with tenure, WPAs without tenure but on the tenure track, and those WPAs who hold non-tenure-track administrative lines. What Rose, Mastrangelo, and L’Eplattenier note in their results is that, compared to Olson and Moxley’s 1989 study, the responsibilities that WPAs take on – hiring and training teaching staff, determining curriculum, developing assessment models, writing policy statements, and managing student/grade/personnel issues – are more often shared and negotiated among several people (most notably the chair and other members of a faculty council) depending the particular contexts of the institution, department, and the WPA herself (especially in regards to whether or not the WPA has tenure.) The authors argue that the WPA is not a powerless position (as Olson and Moxley contend); rather, through both new articulations of WPA theory through postmodern and feminist lenses as well as the growth of the discipline in the past 25 years, the WPA position has become more situated, negotiated, and nuanced.

Notable Notes

NTT WPAs (those not on the tenure track) are often given roles “related to management and supervision” like supervision and hiring of teaching staff, scheduling and staffing, establishing common syllabi, handling disputes and political problems (61-62)

not-yet-tenured WPAs are often given responsibilities that are “clearly pedagogical rather than political in focus,” probably out of a desire to protect new faculty pre-tenure and because many are fresh out of graduate school with a current understanding of comp theory and pedagogy (60).

as compared to the 1989 Olson and Moxley survey, many respondents noted curriculum and assessment as WPA responsibilities, probably due to pressures on higher education and accreditation (55)

most important responsibility of the first-year writing director (as noted by chairs in the 1989 survey, chairs in the 2012 survey, and 2012 directors of first-year writing) is communicating well (which includes staying in touch with the chair, being accessible, etc.) (53)

explains definitions of power, authority, and influence described by David V.J. Bell and used by Thomas Ambrose in his article “WPA Work at the Small College or University.” (51)

interesting power dynamic present in many of the responses: female WPA/male chair

limitations – very few (5) responses from two-year schools, which further emphasizes the invisibility of the 2-year college WPA in our scholarship (47)

WPAs as “middle management” (45).

Quotable Quotes

“Although Olson and Moxley defined power in the duties of a writing program director and concluded that composition directors were relatively powerless, respondents to our survey suggest that our understanding of the situated and strategic negotiation of WPA agency has become more nuanced, accounting for the agency of others with whom we work as well as our own” (63).

“Our discipline’s understanding of power, especially as it relates to writing program administration, and how it functions has shifted dramatically in the last quarter of a century due to feminist, Foucauldian, and post-Foucauldian theory, as well as our own maturing as a discipline. THe power of writing program directors, whether they are first-year program directors or other program directors, continues to be a topic of interest to composition studies scholars because power itself is so fluid and complicated” (63).

“The WPA’s job is now recognized as collaborative and inter relational, with the WPA observing and interacting daily with constituencies who have multiple – and sometimes contradictory – agendas” (50).

“We draw from the survey results, respondents free-text comments, and the literature to suggest that a more useful method of thinking about WPA’s agency is to recognize that these different political instruments are always negotiated, that they are consistently and constantly changing, and that the rhetorical situation in all of its complexity always impacts a WPA’s ability to make change. A rhetorically and politically astute WPA can examine which political instrument – influence, power, or authority – would have the greatest impact, as well as the compromises and negotiations she or he is willing to make to accomplish his or her long- and short-term goals” (51-52).

“A WPA’s activities create cultural capital that determines his or her role within the institution” (45).

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