Revolution Lullabye

October 15, 2013

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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May 26, 2009

Kolko, Intellectual Property in Synchronous and Collaborative Virtual Space

Kolko, Beth E. “Intellectual Property in Synchronous and Collaborative Virtual Space.” Computers and Composition 15 (1998): 163-183.

Kolko discusses the challenges of citing conversations from MOOs (like chat rooms.) These conversations are inherently responsive and recursive (making it impossible to pull one comment out of context), sit on the border between the private and the public (making it questionable whether the person is publishing their words to the whole world, and thus whether or not you can use it), are a hybrid of writing and speaking (also making it difficult to know how and if to cite this material), and have no stable author (use of pseudonyms.) Kolko tries to define how to cite MOOs (which she does in her paper) and what can be used for research through the framework of copyright law, but then, at the end  of her piece, argues that we need to stop using copyright law to determine how we treat these sources, instead looking at the nature of digital MOO collaborative conversations first.

Quotable Quotes

“Definitions of ownership and property fracture when we rethink the relationship of an individual contribution to a larger social space” (164).

Notable Notes

conflation of copyright and plagiarism. Asks two questions: 1. how do we assign rights/ownership to digital Internet conversations (often anonymous/pseudonymous) and 2. how do we cite these conversations – can we?

internet researchers don’t have to go through the same loops as in-person researchers, they can stalk these MOOs and pull off comments and conversations like a fly on the wall, not having to go through all the work

what kind of space is the MOO?

uses feminist theory to talk about the blurring of private and public spaces, collaborative ownership and authorship

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