To clarify the role of desire in discursive practice, this article examines rhetorical theories of genre and Lacanian theories of the unconscious. The latter, meanwhile, might be refined to address how desires are materialized in concrete situations.
These refinements can be achieved when the two approaches are synthesized in a theory that figures genres as resources by which actors coordinate and materialize desires.
Recently, upon concluding a multi-year research project, I thought about the data that got away: The project focused on high school-based career portfolio programs, which required students to assemble portfolios of artifacts from courses, extracurricular activities, and everyday life see Collin.
In personal essays, students explained how their portfolios chart their career trajectories. At the end of the year, students used their portfolios in mock professional interviews to explain to adults their plans for finding good work.
As schools often defined the latter in terms of middle class careers, many working class and small farming students refused or struggled to take up the desires endorsed in portfolio programs.
They grumbled about their disinterest in or discomfort with assuming middle class desires for middle class lives.
These jokes were met with raucous, explosive laughter from other students. RGS defines genres as flexible resources communicants use to build and act in different contexts. More specifically, RGS posits that genres maintain desires to perform socially recognizable acts in recurrent situations.
Thus, RGS defines desire mainly as social motive. While this definition is not wrong, it does not address—and is not built to address—the psychic processes whereby actors invest in or resist desires maintained by genres.
Therefore, when using RGS to study career portfolio programs, I could only note that many farm kids seemed uncomfortable adopting or even performing the middle class desires maintained by the portfolio genre.
I had few ways of explaining why so many farm kids resisted middle class desires by making shit-shoveling jokes. In this article, I develop a theory that brings into view some of the psychic processes of genre work.
A more psychoanalytically attuned theory of genre can help teachers and researchers of composition deepen their understandings of how and why different writers take up, adapt, or resist different forms of writing.
By the latter, I mean the content, structures, and processes of the psyche of which people are not ordinarily aware. Heretofore, RGS has not made much use of psychoanalytic theories of desire and the unconscious.
At the same time, RGS can augment Lacanian theories by specifying the rhetorical tools actors use to engage socio-symbolic orders and materialize desires. By synthesizing RGS and Lacanian theories of the unconscious, researchers may study the typified ways by which actors invest in or resist specific genres and the desires they channel.
For instance, at the schools I studied, the genre of the career portfolio is based in the recurrent situation of the professional interview.
Students use the portfolio genre to coordinate their actions with adult interviewers to build the interview situation. The latter, conversely, sets a scene in which people use career portfolios in particular ways.
In other words, when students take up the genre of the career portfolio, they are called but not forced to present themselves in a certain manner. It is not the career portfolio on its own but the full situation of the professional interview that calls writers to figure themselves in a particular way e.
The career portfolio functions as a resource both for discovering and realizing the qualities of the professional interview. Thus, situations give rise to genres, and genres help people construct situations.
That is, the desire to act arises not from the lone individual but from the social field, which includes individuals. Burke defines the latter as scene, act, agents, agency, and purpose Grammar of Motives. Thus, when they recognize a particular situation, actors face a desire to see themselves as certain kinds of persons agent who are capable of certain actions agency and who seek to carry out specific actions act for specific reasons purpose against a particular thematic background scene.
Consider the genre of the career portfolio and the situation of the professional interview. The portfolio maintains the desire for a young person to figure themself as an accomplished student pursuing their dreams and moving from success to success through school and into a rewarding career.
The genre of the career portfolio makes available this desire as well as the rhetorical means of realizing this desire. Specifically, the genre offers writers topics personal achievementstones assertiveness tempered with humilityartifact types certificates of achievementconstructions first-person statementsand so forth.
While creators of career portfolios may employ other kinds of topics, tones, artifacts, and constructions to build the situation in alternate ways and to realize alternate desires, interviewers may not accept such adaptations of the genre.Sep 05, · Resume formatting Tutorial created by the Workforce Development Council Snohomish County in partnership with WorkSource Snohomish County and Everett Communit.
On the other hand, writing pedagogy that incorporates anthropological, ethnographical, and service-learning approaches within a rhizomal paradigm promotes assignments and activities that offer students the opportunity to "map" out their own way of researching and writing within the freshmen composition classroom (Deleuze & Guattari, ).
Academic writing in particular often poses a conflict of identity for students in higher education, because the self which is inscribed in academic discourse feels alien to them.)The main claim of this book is that writing is an act of identity in which people align themselves with socio-culturally shaped subject positions, and thereby play.
Conducting historical interviews in a transparent age Posted on July 8, April 22, Author Heather_Yaxley 5 An important link between academia and practice is research.
The Chorizo Syndrome [anarchist – robotic controversy] incarnations of Thoreau (1) and Proudhon (2), one facing his political isolation to re-discover a monist (3) relationship, the other promoting the success of a bottom up urban social contract (4) in which they have both participated in the past, sharing their protest, illusions and utopian ideals on the barricade.
How to Write a Powerful Resume Summary Statement. You'd think that writing a resume summary statement is pretty straight forward, and for the most part it is. But you have to plan carefully. It's the most important aspect of your resume but uses the least amount of space.
Your summary statement must be concise, yet powerful.