DAVID BARTHOLOMAE INVENTING THE UNIVERSITY PDF

Here's a link to his faculty "about" page from the University of Pittsburgh. Based on the number of times that I've been assigned readings by Bartholomae, I think it's safe to assume he's a well respected, big deal in composition circles. This post is about his most cited work, "Inventing the University. He begins with this quote by Foucault. As far as I can tell this is creating a kind of warrant between the reader and Bartholomae: what and how we teach is governed by our politics or those above us and is used to control how people talk.

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Here's a link to his faculty "about" page from the University of Pittsburgh. Based on the number of times that I've been assigned readings by Bartholomae, I think it's safe to assume he's a well respected, big deal in composition circles. This post is about his most cited work, "Inventing the University. He begins with this quote by Foucault. As far as I can tell this is creating a kind of warrant between the reader and Bartholomae: what and how we teach is governed by our politics or those above us and is used to control how people talk.

I believe he claims here also that how people talk controls how they think a Burkean idea of terministic screens , which I find suspect. Too, there is in quoting Foucault a kind of endorsement of cultural Marxism, the idea that everything is about power and dominance, and that "merit" is a word the powerful use to mean "like me. I've long considered construence of constructs to be constructed.

When Bartholomae says "inventing the university," he means that students must understand their professors as their audience.

Since professors share standards with certain fields, like History, or a complete lack of standards with other fields, which shall go unnamed, the student must understand that aspect of the university, manifested as a particular way of writing that says "I'm part of the in-group.

He gives students who make this attempt credit for trying to do something they are not prepared to do. The language of the discourse community with all its jargon and bafflegab.

They are pretending to be experts in the field they are writing in. Bartholomae explains on page As an aside, Bartholomae implicitly claims here that academic scholarship is rooted in "analysis or research," and I find that "or" to be slightly too intentional. Un-digressing, he claims here that the writing doesn't need to be revised. And here we have the reason the Foucault led us off. The argument here is that successful composition is not a matter of skill, practice, or knowledge of anything real, but rather it is an expression of power.

The parenthetical here is ironically louder than it would be outside those marks. Should we not expect a college composition professor's writing to be better than a first year college student's? Is this article by Bartholomae famous for only arbitrary reasons? I've no illusions about the quality of this blog post relative to Bartholomae's essay, or to the grace of my prose compared to his.

Still, to reduce all competence to something arbitrary is the most naive kind of post-modernism. Or perhaps it isn't naive, but if not, then it is a militant assault on morality under the guise of egalitarianism. I would agree with Bartholomae if he were to claim that the utterances of his students were equally as meaningful as his in the sense that they are the expression of human minds and, because of incalculable value of human consciousness, things to be respected and treasured.

But to claim that the difference between two pieces of writing is arbitrary is so obviously false that no students would take him seriously were he to claim it. Despite our fundamental disagreement on the ways of valuing writing and seeing the world, the pedagogical path that Bartholomae lays out is, I think, a good one. Break down what makes academic discourse academic discourse, then have students adopt the identity of someone who can write that way.

Adjust their failures slowly and consistently until they arrive at a better academic mask. In continuing his claims about how to make academic discourse more approachable, he writes the following:.

I believe this sounds like a good idea, but it also seems slightly prescriptive. What are we to do of the mechanical attention to detail within a given discourse community? Following this, he gives three examples of student writing. The first is a jazz piece unsuccessful , the second a football piece okay but not great , and the third is a piece on composing music very successful. Bartholomae explains how identity and access to discursive practices are the primary issue.

His analysis of the student text is impressive. I mean that completely seriously. You should read it pages But I believe there is a simpler way to differentiate between these three pieces, something the unsuccessful ones do less and the successful one does more: connect ideas.

The sentences in the third piece move from the known to the unknown, then take the now-made-known and use it as the foundation for the next sentence.

When we read this piece, it constructs something for us, it builds meaning like so many bricks laid together just so. When we read the first piece, it's just a pile of bricks. Of course, my reading of these essays posits an absolute value in a certain type of structure, which basically makes me a fascist.

I am of the opinion that the nepenthe for sentence level errors is reading in heavy doses. Sentence level errors do not a basic writer make. And for all my complaints about the Foucaultian warrant, perhaps there is something to the idea of identity and authority playing a role in composing. About Point Point Science Fiction. But we well know that in its distribution, in what it permits and in what it prevents, it follows the well-trodden battle-lines of social conflict. Every educational system is a political means of maintaining or of modifying the appropriation of discourse, with the knowledge and the powers it carries with it.

Bartholomae explains on page 6: It is very hard for them to take on the role-the voice, the person-of an authority whose authority is rooted in scholarship, analysis, or research. They slip, then, into the more immediately available and realizable voice of authority, the voice of a teacher giving a lesson or the voice of a parent lecturing at the dinner table. They offer advice or homilies rather than "academic" conclusions.

I think he articulates the problem most lucidly on page nine: Writers who can successfully manipulate an audience or, to use a less pointed language, writers who can accommodate their motives to their readers' expectations are writers who can both imagine and write from a position of privilege.

They must, that is, see themselves within a privileged discourse, one that already includes and excludes groups of readers. They must be either equal to or more powerful than those they would address. The writing, then, must somehow transform the political and social relationships between basic writing students and their teachers.

He reifies this claim on page There may be much that they know that I don't know, but in the setting of the university classroom I have a way of talking about the town that is "better" and for arbitrary reasons than theirs. In continuing his claims about how to make academic discourse more approachable, he writes the following: One response to the problems of basic writers, then, would be to determine just what the community's conventions are, so that those conventions can be written out, "demystified," and taught in our classrooms.

Teachers, as a result, could be more precise and helpful when they ask students to "think," "argue," "describe," or "define. If we look at their writing, and if we look at it in the context of other student writing, we can better see the points of discord when students try to write their way into the university For all our points of disagreement, though, we agree on this extremely important point In fact, one of the problems with curricula designed to aid basic writers is that they too often 17 begin with the assumption that the key distinguishing feature of a basic writer is the presence of sentence level error.

Students are placed in courses because their placement essays show a high frequency of such errors and those courses are designed with the goal of making those errors go away. This approach to the problems of the basic writer ignores the degree to which error is not a constant feature but a marker in the development of a writer

DERIVACIONES BILIODIGESTIVAS PDF

Bartholomae’s “Inventing the University”

They cannot sit through lectures and read textbooks and, as a consequence, write as sociologists or write literary criticism. There must be steps along the way. Some of these steps will be marked by drafts and revisions. Some will be marked by courses, and in an ideal curriculum the preliminary courses would be writing courses, whether housed in an English department or not. His text is divided into three sections. He examines a student writing sample and discusses the moves the student has made, illustrating how the student at times appropriates and at times fails to appropriate convention. Much of the written work that students do is test-taking, report or summary — work that places them outside the official discourse of the academic community, where they are expected to admire and report on what we do, rather than inside that discourse, where they can do its work and participate in a common enterprise.

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David Bartholomae

Welcome to Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history. Welcome to MR the podcast for beginngs and insiders aboutt he ideas, people and movements who have shaped rhetorical history. For many of them, this was the first time they had been asked to write a rhetorical analysis and this assignment always makes me nervous. I give them sample papers.

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Mere Rhetoric

Writing on the Margins pp Cite as. Every time a student sits down to write for us, he has to invent the university for the occasion — invent the university, that is, or a branch of it, like history or anthropology or economics or English. The student has to learn to speak our language, to speak as we do, to try on the peculiar ways of knowing, selecting, evaluating, reporting, concluding, and arguing that define the discourse of our community. Or perhaps I should say the various discourses of our community, since it is in the nature of a liberal arts education that a student, after the first year or two, must learn to try on a variety of voices and interpretive schemes — to write, for example, as a literary critic one day and as an experimental psychologist the next; to work within fields where the rules governing the presentation of examples or the development of an argument are both distinct and, even to a professional mysterious. Unable to display preview. Download preview PDF. Skip to main content.

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