The Boxing Effect

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The Boxing Effect (An Anti-Essay) JEANNE GUNNER Chaj,man University Y may remember a Monty Python sketch in which a man (Michael Palin) enters an office and announces to a man behind a desk (John Cleese), "I want to have an argument." The Cleese character responds, "No, you don't." What ensues is a maddening series of contradictions, with the Palin character as­ serting that contradiction does not constitute real argument, the Cleese figure responding that it can, and the sketch continuing in the usual brilliant Monty Python way, the Palin character ulti­ mately paying five pounds for the privilege of being contradicted, insulted, and frustrated. Yet, despite his experience, he remains poignantly hopeful of engaging his tormentor in meaningful ex­ change, forking over another five pounds when his time is up. If you are in the field of composition, this absurdist routine can't help but be familiar to you, simply because as composi­ tionists, we are all caught up in the usually thankless argument about what constitutes college-level writing, a public wrangling characterized by a maddening series of contradictions that we strive to synthesize into a legitimate intellectual discourse, only to be refuted, dismissed, and mistreated. And, given working conditions in the field, it's fair to say that we, like the hapless Palin character, pay for the privilege of suffering such ill-consid­ ered abuse, having in some way been coerced into believing that it ultimately can make sense. But when decades of methodologi­ cally diverse research and historical study, of classroom experi­ ence across institutional types, of epistemological paradigm shifts of immense order cannot disrupt knee-jerk contradictions of our OU - 110 The Boxing Effect (An Anti-Essay) field's claim that writing is not a monolithic skill open to simplis­ tic psychometric measurement and
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