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MIAMI UNIVERSITY the Graduate School Certificate for Approving The MIAMI UNIVERSITY The Graduate School Certificate for Approving the Dissertation We hereby approve the Dissertation of Dominic Micer Candidate for the Degree: Doctor of Philosophy __________________________________ Director Cindy Lewiecki-Wilson ______________________________________________ Reader LuMing Mao ______________________________________________ Reader Laura Mandell ______________________________________________ Graduate School Representative Carolyn Haynes ABSTRACT ANOTHER PHILOSOPHY, ANOTHER COMPOSITION by Dominic Micer This dissertation explores ontological issues, the real conditions of experience, and their relation to contemporary composition studies. Given the shifting terrain of contemporary socio-cultural practices concerned with issues of experience, affect, and labor, I explore alternative ways of thinking about and understanding these concerns. In order to develop this concern, I argue for a relational ontology that is normative rather than absolute and which speaks to the real conditions of experience and transforming the double binds that capture students, teachers, and institutions in oversimplified modern and postmodern ontologies. In Section One, I raise three concerns about the way students and composition scholars typically treat experience. I argue that composition studies would be best served by making relations, rather than student agency, the subject matter of composition. I then explore two attempts that try to develop the idea of experience and relations pointing out that these attempts need to go farther. In Section Two, I argue that a model of composition studies generated by an understanding of relations needs a different model of critique. Such a model of critique emphasizes the study of bodies and emotions and recognizes that the point of critique is to transform persons’ feelings about and sensibility of experience. I use what I call the Spinozist assemblage to reconstruct thinking about affect, experience, and bodies along radical monistic lines that develop the thought of difference. In Section Three, I turn to the issue of labor—particularly the work composition studies asks its students to do. I take the insight of composition scholars that what students produce by their labor are social relations and push this insight to a radical conclusion: I theorize writing as a kind of becoming—a symbiotic process whereby multiple bodies interact on affective, perceptual, and conceptual levels to think differently and beyond the boundaries of a simplistic ontology. Another Philosophy, Another Composition A Dissertation Submitted to the Faculty of Miami University in partial fulfillment of the requirements for the degree of Doctor of Philosophy Department of English by Dominic Micer Miami University Oxford, Ohio 2004 Dissertation Director: Cindy Lewiecki-Wilson Acknowledgements Since one never does anything alone, I would like to acknowledge the multiple bodies that influenced and made possible the completion of this project. First, and without reservation, I thank my ever changing committee. The people who left: Bob Johnson, Susan Jarratt, Vicki Smith, Scott Shershow and others. But more so, I would like to thank Lu Ming Mao, and Laura Mandell for sticking through with the project as it developed. A very special thanks to Cindy Lewiecki-Wilson for pushing me to finish in a timely fashion and not allowing me to get bogged down in the dark soup of indecision. Without her, I may have never started finishing. Next, I would like to thank the colleagues whose never ending discussions about bodies and relations forced my hand to try to understand such things in new ways. This list should be endless, but cannot, and so I list only a few: Malea Powell, Scott Lyons, Jill Swiencicki. A special and enduring gratitude for Michael Mitchell, Michael Templeton, Susan Pelle, and Lisa Roulette who have re-taught me the value of friendship, taught me the value of collegiality, and unlearned me of the conditions of negativity that turn everything into its opposite. Without them, I never would have continued finishing. In addition, the host of faculty members that have consistently offered me encouragement and helped me get through and tolerate the process: Jennie Dautermann who made me feel smart when I really wasn't; Cheryl Johnson whose kind yet prodding words from time to time were helpful; and Mary Jean Corbett for making it all seem so real. The staff of the English Department deserves special consideration especially Trudi and Jackie. But I would be completely remiss if I did not thank my partner in smoking, and the person who pushed me in all the right directions, and helped me with dotting my t's and crossing my i's, Debbie Morner. She made the last two or three years beyond my allotted time fun. Without her, I never would have finished my thoughts about finishing. Last, I need to thank my family who have supported me in ways too numerous to count. I thank my father, mother, grand-parents, sisters and brothers. I thank Derek and Katy for reminding me consistently that not only am I not God, I'm not even the chairman of the board. But at the end of the day, I thank Sherry: no matter how far I descended into the depths of despair she pulled me back, no matter what the level of the depression she lightened me, no matter how successful or arrogant I became she humbled me; without her, I never would have finished at all. ii Table of Contents Section 1: Experience 1 Chapter 1: Lessons from an Ontological Illusion 2 Chapter 2: The Pedagogical Imperative and the Subjects of Composition 17 Chapter 3: Rethinking Experience and Relations in Composition 28 Section 2: Affect 36 Chapter 4: Critical Conditions: The Point of Critique 37 Setting the Stage 37 Nobody Likes Being Made an Example Of 39 Leading By Example, With Your Chin 43 Missing the Point 46 The Counter-tradition in Composition: The Production of Dissensus 50 Situating Affect 59 Critical Affirmation and the Point of Critique 62 Chapter 5: The Spinozist Assemblage: From Ethos to Ethology 66 Ethos and Haunting 67 Spinozist Interventions: From Counter-Modern to Anti-Modern 70 Feminist Supplements: From Ethos to Ethology 80 Section 3: Labor 85 Chapter 6: Affective Labor: Returning to the Subject of Composition 86 Chapter 7: Affect, Value, and the Work of Becoming 93 Real Subsumption: Affect Becomes the Measure of Value 93 Rethinking Standpoints: Irony and Self-Valorization 97 iii Becoming, Writing, and Affirmative Critique 103 Chapter 8: Becoming and Writing: Some Examples 109 On Experimental Writing 109 Hypertext and the Event of Capture 112 Experimental Becoming in a First-Year Composition Class 121 Appendix A: Web Assignment 127 Appendix B: "Samuel Taylor Coleridge's 'Work Without Hope'" by Jon Sonnheim 129 Appendix C: "S. T. Coleridge" by Melina Vissat 142 Appendix D: "The History of Jen Kay as a Scholar" and "Malcolm X Speaks to Me" 153 Appendix E: Glossary of Selected Terms 158 Works Cited 161 iv Section One: Experience 1 Chapter One Lessons From an Ontological Illusion Regardless of its name, what we now refer to as philosophical ontology has sought the definitive and exhaustive classification of entities in all spheres of being. It can thus be conceived as a kind of generalized chemistry. The taxonomies which result from philosophical ontology have been intended to be definitive in the sense that they could serve as answers to such questions as: What classes of entities are needed for a complete description and explanation of all the goings-on in the universe? Or: What classes of entities are needed to give an account of what makes true all truths? They have been designed to be exhaustive in the sense that all types of entities should be included, including also the types of relations by which entities are tied together. (Smith and Welty 1, emphasis in original) A philosophy's ontology is the set of entities it is committed to assert actually exist, or the types of entities that according to that philosophy populate reality. (Delanda, “Deleuzean Ontology” 1) Three domains of genealogy are possible. First, a historical ontology of ourselves in relation to truth through which we constitute ourselves as subjects of knowledge; second, a historical ontology of ourselves in relation to a field of power through which we constitute ourselves as subjects acting on others; third, a historical ontology in relation to ethics through which we constitute ourselves as moral agents. (Foucault, Ethics 262) Onta, the really existing things; ontology, the study of the fundamental logic of reality apart from experiences. These determinations are both too restrictive and too total....For example, the logos in ontology already suggests a fundamental logic, principle or design of being. But it can and has been urged that the most fundamental thing about being is that it contains no such overriding logic or design. Ontopolitical interpretation may come closer, then. Onto because every political interpretation invokes a set of fundaments about necessities and possibilities of human being, about, for instance the forms into which humans may be composed and the possible relations humans can establish with nature. (Connolly, Ethos of Pluralization 1) The minimal real unit is not the word, the idea, the concept or the signifier, but the assemblage. (Deleuze and Parnet, Dialogues 51) To teach writing is to argue for a version of reality and the best way of knowing and communicating it—to deal…in the metarhetorical realm of epistemology and linguistics. And all composition teachers are ineluctably operating in this realm, whether or not they consciously choose to do so. (Berlin, “Contemporary” 766) In twelve years of teaching college composition, I have never taught the same course twice. This rather unpeculiar approach to teaching composition is the result of what is becoming a long apprenticeship in college writing and in life. My endeavor, if I were to locate a cause for 2 it, more than likely, comes from my inability to recognize or identify with the many competing “versions of reality” currently existing in composition studies.
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