By Bruce Horner
Each bankruptcy of Rewriting Composition focuses on one key time period, discussing how boundaries set by way of dominant definitions form and direct what compositionists do and the way they consider their paintings. the 1st bankruptcy, “Composition,” evaluations a discourse of composition as missing and consequently as short of being both positioned to an finish, renamed, aligned with different fields, or supplemented with paintings in different disciplines or other kinds of composition. instead of seeing composition as whatever to be deserted, changed, or supplemented, Horner indicates methods of productively enticing with the normal paintings of composition whose ostensible lack is believed within the dominant discourse. next chapters observe this reconsideration to different key phrases, critiquing dominant conceptions of “language” and English as good; interpreting how “labor” in composition is divorced from the efficient strength of social relatives to which language paintings contributes; rethinking the phrases of worth wherein the exertions of composition academics, directors, and scholars is measured; and wondering the appliance of traditional definitions educational disciplinarity to composition. by way of exposing boundaries in dominant conceptions of the paintings of composition and via modeling and beginning up area for brand spanking new conceptions of key terms, Rewriting Composition offers lecturers of composition and rhetoric, writing students, and writing application directors the severe instruments valuable for charting the way forward for composition studies.