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This dissertation, "(De)Compose, Shape-Shift, and Suture: Toward a Monstrous Rhetoric of Fan Compositions," argues that the multimodal compositions of fans--specifically, fan fiction, meta, videos, and visual-spatial compositions--are articulations of a new kind of rhetoric: a monstrous rhetoric. This monstrous rhetoric is characterized by the dissolution of textual, corporeal, and cosmological boundaries; intense affective engagement; decomposition and recomposition; shape-shifting; and reanimation. Employing a feminist nomadic research methodology, I rhetorically analyze multiple fan compositions across several online fandoms and explore how these creative works inform and challenge current conversations about embodiment, affect, subjectivity, and composition pedagogy. As a project grounded in pedagogical practice, this dissertation is concerned with how a greater awareness of fan cultures and practices can lead to a greater understanding of what drives and sustains student engagement and participation in the context of an increasingly digital and mobile media landscape. Ultimately, this project offers a new rhetorical framework located at the intersection of fandom and monstrosity, and, from that new framework, a pedagogy of the monstrous, which proffers new strategies for approaching, creating, and analyzing new media and multimodal compositions in college writing classrooms.

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published_or_final_version / Language Studies / Master / Master of Arts

published_or_final_version / abstract / toc / Chinese / Master / Master of Philosophy

published_or_final_version / English Studies and Comparative Literature / Master / Master of Philosophy

published_or_final_version / Chinese / Master / Master of Philosophy

This dissertation develops out of an extensive program of research investigating the intersection and apparent contradictions of two trends: the expansion of community-based activities and activist rhetorics in higher education, and the growing critiques of the university as functioning primarily for corporate and dominant interests. Employing Marxist critique, I examine the ways institutionalized higher education perpetuates problematic dominant socio-economic structures as well as the possibilities available from sites of higher education for challenging those structures through critical pedagogy and community-based programs. I contextualize my analysis of current practices in community-based learning by deconstructing the rhetoric of liberal ideology embedded within both the current and historical discourse surrounding the mission and development of public higher education with extensive analysis of the Land Grant Act in chapter one. In my discursive analysis of the discourse and history surrounding the creation of land grant colleges, I explicate the importance of a theory of cultural hegemony as it relates to universities functioning under dominant cultural logic. In chapter two, I analyze specific university-based community outreach programs in order to deconstruct and situate the rhetoric and practices of these programs in a broader socio-economic context. I draw out theories of cultural hegemony from Marx and Gramsci to identify and characterize American liberal capitalism as a system which depends upon perceived freedom and equity while requiring inequity and exploitation. I situate higher education within that system as a cultural institution that provides necessary means for capitalism (in the forms of technology, knowledge, and trained labor) as well as creates ideological apparatuses to contain possible resistance to the dominant system. I deconstruct and re-theorize the ways in which voluntarism and community service enable contemporary capitalism to remain hegemonic, and I look specifically at such activities generated from and institutionalized in higher education to critique the implications of this relationship. In the third chapter, I argue that although the tendencies of dominant institutions are to contain "radical" or transformational practices, no system is an utterly closed system. Consequently, the critical enactment of community-based activities in higher education may provide an opening for counter-hegemonic responses, but only through a carefully articulated theory of critical pedagogy. Drawing on Paulo Freire, Paula Allman, and others, I lay out the principles of critical pedagogy. I also outline what I understand to be necessary limitations on institutional work and institutionalized critical pedagogies based on the analyses of the previous chapters. Based on that critical pedagogy, in the final chapter I outline a practical method of enacting critical community-based work by looking at the issue of accountabilities, outcomes, and measurements in order to identify practices that may serve to create conditions for counter-hegemonic, transformative activities to occur. I conclude the dissertation with some reflection on activities in the university other than community-based learning programs where critical pedagogy has a significant role to play.

Employing ethnographic and case study research methods, this study attempts to examine student attitudes toward, and senses of purpose about, a first-year college writing course and their roles as students and writers within it. The study argues that students possess clear and highly articulated conceptions of writing classes, of writing's place both within and outside academia, and of themselves as students and writers. These conceptions, like all theories, exhibit both strengths and weaknesses. However, students rarely have the opportunity to engage in dialogue about their views on writing. Because of this, the students in this study generally accommodate themselves to, but compartmentalize, the writing course and the strategies they are exposed to in it. The study suggests, therefore, that writing teachers approach their students not as novices to be corrected concerning the "true" ways of writing, or rejected for their unwillingness to accept these truths. Rather, we should consider writing students an audience to be persuaded to a concept of writing both different from, and similar to, the concepts they already hold. This means that writing teachers must elicit, listen to, and engage with the writing conceptions of their students. Means for fostering this dialogue include having students create narratives of their writing development, asking students to develop mini-ethnographic language projects, and historicizing with and for them standard academic English style.