Feminism in the Composition Classroom

According to Joy Ritchie, feminism first was involved in composition studies starting in 1970, but the relationship since has been fraught with tension. In fact, although feminism is quite active in current compositionist discussions, it had become contained or marginalized in composition studies over the years. To remedy this, Ritchie calls for inclusion in composition studies of conversations about women and equality and critique of hegemonic narratives, even the narratives shaping composition studies. One problem in connecting feminism to composition studies is that often composition theories will identify their own personal experiences with feminism without situating those concerns in larger social contexts which also shape the composition classroom.

Another threat to feminism in composition studies is that many view feminist pedagogy to be "essentialist" in claiming a fixed female position, which is seen as reductive and dangerous by postmodern composition theories. Feminism loses credibility in composition theory because binary positions created by modernist male perspectives threaten to support this essentialist theory. Many composition theorists can recognize the importance of feminism politically and in their own lives, but resist the theoretical implications for writing studies.

Ritchie recognizes this dilemma when she argues that essentialism is challenged by the feminist writing classroom where cultural constructions are challenged and immediate implications of feminist theories for the lives of women students are explored. To do this, feminism must employ postmodern discursive techniques in order to break out of traditional methods of making meaning, such as Diane Davis suggests. These techniques resist essentialism while embracing the ultimate goals of feminism.

One way to break out of the binaries of male and female is to be conscious of sexist language practices within composition studies and how that language sends mixed messaged to students. To do this, compositionists must become critically aware of the metaphors they use. Miriam Brody shows how maleness has become the "standard" gender model in writing metaphors throughout composition's history.

Even though women and men might display certain "gendered" patterns, Elizabeth Flynn argues that these patterns are not consistent or universal. A feminist composition studies breaks out of essentialism when it recognizes that there is no such thing as "male" or "female" writing, even if these writers are influenced by gendered socializations and expectations. Feminist composition theorists, when they ask "what does it mean to compose as a woman" can recognize that the field's models of composing are often better suited to men and reinforce certain patriarchal values.