Article ID | Journal | Published Year | Pages | File Type |
---|---|---|---|---|
347682 | Computers and Composition | 2016 | 14 Pages |
Since it entered the critical lexicon in composition and rhetoric, remix has become an increasingly popular topic for scholarly work and pedagogical focus. Despite its pervasiveness, remix remains a cumbersome and overwhelming conceptual category. As such, this article has two interconnected purposes: To develop a pliable and useable framework for understanding the rhetorical significance of remix, and to begin to chart some of the major types of remix writers compose today. I open by arguing that the rhetorical concept of imitation (imitatio) can serve as a malleable frame both to understand the rhetorical importance of remix and to help map the many ways in which remix writers accomplish their rhetorical goals. After developing this frame, I offer a four-part typology of remix: assemblage, reappropriation, redistribution, and genre play. Finally, I close by providing strategies for teaching and directions for future research.