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Transcript of We (per)form.
We wish to cultivate textual practices that risk a bit of discomfort in order to air different insights, different knowledges, different bodies, different ways of being. We see this work as not just the
(re) claiming of lost voices
, but of cultivating useful rhetorical practices that might still find a place for critical work today (Alexander and Rhodes 193).
I speak, I speak
like the people with whom I live (Lyons 1145)
To queer the composing process both in content and form, to resist status quo/normativity.
To make new meaning using various semiotic domains, various form(ing)s.
Re(j/v)oice Other rhetorics
To be performative, to embody.
To enact queerness via multiple modes
What might it mean, then, to "compose queerly"?
(Alexander and Rhodes 197)
(Lundsford): Certainly some in composition studies have thought that that’s what the university was for, that’s what the composition teacher is for: to help the students become
the university, rather than to help them challenge the reality of the universe (1413).
We write not as isolated individuals but as members of communities whose beliefs, concerns, and practices both instigate and constrain, at least in part, the sorts of things we can say (Harris 749).
The borders of most discourses are hazily marked and often travelled…the communities they define are thus often indistinct and overlapping (Harris 753).
(Anzaldua): This liminal, borderland, terrain or passageway, this interface, is what I call
el lugar en medio
, the space in between, the middle ground (1418).
reclamation of sovereignty
by any group remains…a recognition of that group’s power—a recognition made by both self and other (Lyons 1137).
For a composition class…the aim is the formation of a critical capacity to see difference and understand relationships formed around conceptions of difference (Schneider 927)
Language is best understood not as a neutral vehicle of communication but as a site of struggle among competing discourses (Lu 772).
It leaves us with seeds of Western Civilization establishing rules of
forced assimilation and limited access
for those it colonized (Villanueva 993).
I have been compelled on too many occasions to count to sit as
, silently, in a state of tolerance that requires me to be as expressionless as I can manage (Royster 1118)
Consensus, I will argue, can be a powerful instrument for students to generate differences, to identify the systems of authority that organize these differences, and to transform the
relations of power that determine who may speak
and what counts as a meaningful statement (Trimbur 734).
“One language/one nation” ideology has led to a conception of English writing in the US as a unidirectional and monolingual acquisition of literate
competence (Canagarajah 1617).
When we demand a certain language, a certain dialect, and a certain rhetorical manner in using that dialect and language, we seem to be working counter to the cultural multiplicity we seek (Villanueva 992).
We argue that a tacit language policy of unidirectional English monolingualism has shaped the historical formation of U.S. writing instruction and
continues to influences its theory and practice in shadowy, largely unexamined ways (Horner and Trimbur 594-5).
One is always simultaneously a part of several discourses, several communities, is always already committed to a number of conflicting beliefs and practices (Harris 755).
The conversation, in Bakhtin’s word, is ‘heteroglot,’ a
of vernaculars, the multi-accented idiomatic expression of race, class, and gender differences (Trimbur 740).
fragments to make a garment which you wear, which represents you, your identity and
in the world (Lunsford 1409).
Our experience of gender and the use of language are wrapped up in the politics of manipulation and marginalization (Alexander 49).
Contact zone literacies resist from
without the outsiders understanding their full import: they appropriate the codes of the powerful for the
purposes of the subaltern, and they demystify the power, secrecy, and monopoly of the dominant codes (Canagarajah 1628).
Using subject position as a terministic screen in cross-boundary discourse permits analysis to operate kaleidoscopically, thereby permitting interpretation to be richly informed by the converging of dialectical perspectives (Royster 1117).
... groping toward articulation of something all-together Other, not yet spoken, but often felt (Alexander and Rhodes 190).
The point of collaborative learning is not simply to demystify the authority of the knowledge by revealing its social character but to
transform the productive apparatus
, to change the social character of its production
Sir Ken Robinson
who gets to speak, and why?
Linguistic competence is a political
about legitimacy (Horner & Trimbur 612).
refers to dissensus, to
, the resistance and contestation both within and outside the conversation…the discourses out of power…
offers a way to analyze the strategic moves by which discourse communities legitimize their own conversation by marginalizing others (Trimbur 739).
The time has come to acknowledge that
, at least as we have constructed it so far, is deeply complicit with the same culture of
that makes possible Elvis look-alikes (Spellmeyer 839).
language of the academy
is seen as discrete from the language of the outside, associated with students’ home neighborhoods or ethnic, class, and racial identities (Horner and Trimbur 614).
Assimilation is a cultural flattening (Villanueva 996).
Instead of presenting academic discourse as coherence and well-defined, we might be better off viewing it as polyglot, as a sort of space in which competing beliefs and practices intersect with and confront one another (Harris 756).
I am interested in exploring how we can accommodate more than one code within the bounds of the same text…this strategy will result in a hybrid text that contains divergent varieties of English (Canagarajah 1626)
There will be this kind of hybridity of equal parts, instead of a graft and a major tree (Lunsford 1427).
Now, it seems more important to see how queerness challenges the very subject of composition, of what it means to compose, of what it means to be composed
(Alexander and Rhodes 182).
“Genius emerges from hybridity” (Royster 1124)
We have to rethink ‘language’ as multimodal phenomenon. (Kress “Multimodal” 184)
We might also begin asking how the purposeful uptake, transformation, incorporation, combination, juxtaposition, and even three-dimensional layering of
words and visuals—as well as textures, sounds, scents, and even tastes—provide us with still other ways of imagining the work students might produce for the composition course (Shipka 278).
If queerness means more than just one more static representation of “diversity,” containable in its knowability, then it must move in multiple directions at once, embracing multi-modality, multi-genre texts, and even, when available or perhaps necessary, multi-media (Alexander and Rhodes 183).
EN silencio las palabras que
vuelan hasta mi mente...
En silencio las imagenes
que juegan sin verte....
En silencio el silencio
para regarlarte mis suenos