By Sidney I. Dobrin, J. A. Rice, Michael Vastola

Beyond Postprocess offers a energetic, provocative dialogue of postprocess conception in its modern profile. Fueled by way of anything like a primary refusal to determine writing as self-evident, reducible, and simply explicable, the participants reconsider postprocess, suggesting that there's no simply outlined second or strategy that may be known as postprocess. in its place, each one contribution to this assortment presents a different and critical instance of what paintings past postprocess may be.

when you consider that postprocess thought in writing stories first challenged conventional conceptions of writing and the topic who writes, advancements there have persevered to push theorists of writing in a few promising theoretical instructions. areas for writing have arisen that extensively adjust ideological notions of house, rational considering, highbrow estate and politics, and epistemologies; and new media, electronic, and visible rhetorics have more and more complex the scene, as well.

individuals to Beyond Postprocess re-examine writing and writing stories via posthumanism, ecology, new media, materiality, multimodal and electronic writing, institutional critique, and postpedagogy. during the vigorous and provocative personality of those essays, past Postprocess goals to supply a serious website for not anything under the vast reevaluation of what it capacity to review writing this day. Its polyvocal issues and conclusions make investments the amount with a different power to explain now not what that box of analysis will be, yet what it has the potential to create. The crucial function of Beyond Postprocess is to unharness this inventive power.

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Postprocess theorists do acknowledge that we have a set of linguistic expectations—solidified through experience and being taught how to behave as writers and readers—that help us construct meaning. Teachers, of course, spend their time with students helping them develop the tools to understand and meet these expectations through practice with various writing styles, assessments of the requirements of certain social and work situations, and so forth. But “postprocess” theory also speaks to the character of the relation between writer and reader that must exist for communication to succeed in developing a relationship between them.

In Toward a Phenomenological Rhetoric, I characterize this activity as “profession,” or a “way of engaging with experience that expands rather than restricts the possibilities for expressing its meaning” (1998, 99). This activity of profession involves three deliberate perspectives: First, intense reflection, a perceptual exercise through which one attends to the world with open acceptance; second, reasoned receptivity, a cognitive assessment through which one reconciles lived experience in the objective world with rhetorical interpretation of it; and third, conceptual regeneration, a process through which one’s expressions simultaneously transform the world as seen and the “I” within it.

A prototypical example of this deep-seeded conservatism can be found in Helen Foster’s Networked Process: Dissolving Boundaries of Process and Post-Process (2007), a book that represents a conciliatory attempt to normalize postprocess within the very composition studies rubric against which it reacts. Unfortunately, this means that Foster’s book presents a disciplinarily conservative project that works to preserve the authorized narrative of the field. Foster’s project sets out to find common ground for process and postprocess composition theories, wanting to locate a point of “stasis” in order to allow both to operate harmoniously within the disciplinary boundaries of composition studies.

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