Composition studies: Dappled discipline

Abstract

Over the last two decades, the development of graduate programs in composition has provoked a number of questions: Is this study a genuine discipline? What are its origins, its domain of investigation, its modes of inquiry and methods of evaluation? To some it seems a newcomer to academia even though part of its work reinstates and reorients the written branch of rhetoric, one of the most ancient disciplines of higher education. To others its character is puzzling because its scholarship has a highly multidisciplinary cast. These attitudes manifest themselves in many circumstances. A panel at the last meeting of the Modern Language Association raised questions about criteria for assessing composition research. A recent article in College English by Scott and Castner implied this puzzlement by offering some bibliographic starting places for those wishing to enter the field.' Such questions are normal and appropriate for a developing field, which must define itself. This essay does not attempt to offer definitive answers to these questions but rather some preliminary reflections on the nature of composition studies as a discipline, first delineating some of its distinctive features and then discussing advantages and dangers associated with these features.

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