Critical Expressivism- Theory and Practice in the Composition Classroom, 2014a

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Bessette Yagelski, R. (2010). Reading our world: Conversations in context. Independence, KY: Wadsworth Cengage Learning. Zelizer, B. (1995). Reading the past against the grain: The shape of memory studies. Critical Studies in Mass Communication,12, 214-39. 92
ESSAI—A METAPHOR: WRITING TO SHOW THINKING Lea Povozhaev Kent State University An “essai” writer responds to the world with a sense of dynamic responsibility. Her task has roots in the European enlightenment and can be understood as a means to critical, personal, and socially relevant writing. My notion of essai (the word means “an attempt” in French) comes from the sixteenth century French essayist Michel De Montaigne who wrote essays to better understand who he was. He wrote in response to ancient philosophers, and he, like them, reflected upon the meaning of one’s own life, found in a felt-sense of personal experiences within socially situated realities. His thinking was critical and deep, and it went so far as to inform him on how to live and die. Montaigne valued honest inquiry above word play and verbosity and considered himself a gentleman more than a scholar. For Montaigne, writing was for self-knowledge and understanding of human nature. Consequently, his writing was to actualize improvement in himself and society. In an “essai,” one demonstrates self-awareness in the context of socio-cultural situations within which one lives. For example, this article arises naturally from my work as a writer and teacher with the ever-present inquiry: Why write and why teach students to write? From my experiences writing and teaching writing, I find composition is a tool towards understanding social issues in personal ways. I argue that students of composition should be invited to write essais in which they compose first-person life narratives of embodied experiences in the world. To illustrate my point, allow this small essaistic indulgence. I write true stories of my experiences in a multicultural family, raising three children, and exploring issues of faith. I teach composition at a large state university where I am completing studies for a doctorate in English. As I study writing philosophies and practice pedagogy, the question of why I write merges with questions on the importance of writing for students of various backgrounds studying a range of subjects with different jobs in mind. I consider students’ real lives, busy with work and families, as I also teach writing at a community college. Some of my students are adults who have returned to earn their long-awaited college degrees. Particularly adult students alert me to the need (and their ability) to see meaning-making as central to composition. Purpose tends to motivate students DOI: https://doi.org/10.37514/PER-B.2014.0575.2.06 93
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CRITICAL EXPRESSIVISM THEORY AND PR
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PERSPECTIVES ON WRITING Series Edit
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The WAC Clearinghouse, Fort Collins
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Acknowledgments Many thanks to Matt
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Contents The (Un)Knowable Self and
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PREFACE: YES, I KNOW THAT EXPRESSIV
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Preface James J. Sosnoski labels th
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RE-IMAGINING EXPRESSIVISM: AN INTRO
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Re-Imagining Expressivism connected
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Re-Imagining Expressivism the pract
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“PERSONAL WRITING” AND “EXPRE
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“Personal Writing” and “Expre
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SELFHOOD AND THE PERSONAL ESSAY: A
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Selfhood and the Personal Essay the
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Selfhood and the Personal Essay the
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Selfhood and the Personal Essay to
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Page 53 and 54: Selfhood and the Personal Essay It
Page 55 and 56: Selfhood and the Personal Essay wou
Page 57 and 58: Selfhood and the Personal Essay sub
Page 59 and 60: Selfhood and the Personal Essay But
Page 61 and 62: Selfhood and the Personal Essay to
Page 63: Selfhood and the Personal Essay Orw
Page 66 and 67: Mack devices that taxonomies are cu
Page 68 and 69: Mack I respect Robillard’s distin
Page 70 and 71: Mack sense of it. Perhaps the very
Page 72 and 73: Mack groups. This unit took longer
Page 74 and 75: Mack As part of the final portfolio
Page 76 and 77: Mack they are embedded in that most
Page 78 and 79: Mack Payne, R. (1996). A framework
Page 80 and 81: Owens as risky and problematic. We
Page 82 and 83: Owens things); to give utterance to
Page 84 and 85: Owens What’s my own personal, pri
Page 86 and 87: Owens idyllic childhood my mother,
Page 89 and 90: PAST-WRITING: NEGOTIATING THE COMPL
Page 91 and 92: econstructions based on subsequent
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Page 95 and 96: Past-Writing to understand her expe
Page 97 and 98: Past-Writing inquiry into her own p
Page 99 and 100: Past-Writing has the potential to b
Page 101: REFERENCES Past-Writing Adler-Kassn
Page 105 and 106: Essai—A Metaphor Deweyian philoso
Page 107 and 108: Essai—A Metaphor non-foundational
Page 109 and 110: Essai—A Metaphor proposed by Newk
Page 111 and 112: Essai—A Metaphor pleasurable, the
Page 113: Essai—A Metaphor Light, G. (2002)
Page 117 and 118: COMMUNICATION AS SOCIAL ACTION: CRI
Page 119 and 120: Communication as Social Action be a
Page 121 and 122: Communication as Social Action then
Page 123 and 124: Communication as Social Action inte
Page 125 and 126: Communication as Social Action Dani
Page 127 and 128: Communication as Social Action to g
Page 129 and 130: Communication as Social Action towa
Page 131: Communication as Social Action REFE
Page 134 and 135: Collins and balances of the social.
Page 136 and 137: Collins * An expressivist classroom
Page 138 and 139: Collins Mary Rose O’Reilly asks h
Page 140 and 141: Collins Elbow, P. (2002). Exploring
Page 142 and 143: Wagar NONVIOLENCE, THE PERSONAL, AN
Page 144 and 145: Wagar family violence, a friend’s
Page 146 and 147: Wagar sympathetically encounter the
Page 148 and 149: Wagar to genre conventions, and so
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Wagar stood as intertwined. There i
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Wagar fered here. I’m pointing ou
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Wagar Burke, K. (1969). A rhetoric
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THE (UN)KNOWABLE SELF AND OTHERS: C
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The (Un)Knowable Self and Others cr
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The (Un)Knowable Self and Others se
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The (Un)Knowable Self and Others ad
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The (Un)Knowable Self and Others De
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The (Un)Knowable Self and Others pe
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SECTION 3: HISTORIES
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Wilson The troubling origins of sta
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Wilson 166 Psychology therefore mea
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Wilson them the free water would co
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Wilson Psychology as the behavioris
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Wilson is incapable of recognizing
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Wilson to sell—prestige to sell
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Wilson A mental process is a proces
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Wilson Elbow didn’t just introspe
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Wilson nap, daydream, and try not
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Wilson is social; that different te
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Wilson In Emig’s view, the super-
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Wilson Dewey, J. (1891). Psychology
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Wilson Watson, J. (I) (1928). The p
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Warnick incomplete picture of class
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Warnick runs counter to Berlin’s
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Warnick a set of writing activities
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Warnick seeing something (or yourse
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Warnick in feeling like that for a
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Warnick Russell, D. R. (2006). Hist
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Rule romantic-expressivist language
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Rule undermine certain schools of c
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Rule and thinking processes in thei
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Rule physical experience with these
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Rule through physiological sensatio
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Rule writer’s “word-hoards” i
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Rule meaning are connected to incho
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Rule Berlin, J. A. (1987). Rhetoric
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EMERSON’S PRAGMATIC CALL FOR CRIT
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Emerson’s Pragmatic Call for Crit
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PLACE-BASED GENRE WRITING AS CRITIC
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Place-Based Genre Writing as Critic
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MULTICULTURAL CRITICAL PEDAGOGY IN
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Multicultural Critical Pedagogy in
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THE ECONOMY OF EXPRESSIVISM AND ITS
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The Economy of Expressivism and Its
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REVISITING RADICAL REVISION Jeff So
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Revisiting Radical Revision this ot
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A NEW PATH: RECONCILING POST-PROCES
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Revisiting Radical Revision work to
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Revisiting Radical Revision I also
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Revisiting Radical Revision facing
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Revisiting Radical Revision NOTES 1
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Revisiting Radical Revision Nowacek
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CONTRIBUTORS Jean Bessette is an As
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Contributors Humility, in addition
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