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

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Davis one class session and asked if she could write about the problematic, interpersonal dynamics of the after-school class. I recorded some of our conversation in my fieldnotes for the day: Eva wanted to write about the racial divide that had occurred this term between the middle school students and the non-African-American Wayne Students. We had talked the previous week about the topic. I communicated to her that she had an excellent topic; she just needed to go ahead and make the analysis she alluded to in her first draft. She was hesitant to set up the dichotomy between her and the other non-African-American university students. It was as if doing so, even in her paper, would be politically incorrect … Why did she feel silenced in her desire to express this racially-related dynamic? Had she previously been silenced? Was she oppressed (Freire)? Had she not had the experience of presenting her own voice in text? Because Eva had difficulty putting her positionality in the beginning of her paper, the text was choppy and disconnected. It seemed as if she felt compelled to maintain a distance from the issue, from the text. I talked to Eva about the discussions we had earlier in the term about positionality and the ethics of ethnography versus what could be considered the more traditional, anthropological telling of the other. “You have to put yourself on the page. If you talk about your positionality, your age, your race, how they affected what you saw and how you reacted to the setting, then I think it will be easier for you to move into what you really want to talk about,” I stated. “You mean I can go there?” she grinned, tilted her head. “Yes, you can.” I smiled in reply. “Alright!” Eva smiled ecstatically, “You told me I could, so I’m going there.” Eva’s response to my statement that she could write about what she felt was problematic affirms Barbara Kamler’s claim that “to be authorized by the academy to write about one’s life is a powerful and often startling experience for university students” (2001, p. 157). Her initial hesitancy about addressing a sensitive topic reflects that, given her age, Eva more than likely attended school at a time when academic writing comprised a constructed worldview that spoke 274
Multicultural Critical Pedagogy in the Community-Based Classroom “through an academic persona who is objective, trying to prevent any emotions or prejudices from influencing the ideas in the writing” (Bizzell, 2002, p. 2). Nevertheless, Eva did revise her essay to take a more personal and ethnographic stance. Following is an extended excerpt from her text: I have been privileged to mentor in the [after-school program] with several bright enthusiastic African-American middle school students … I intend to investigate information on the mentor/students relationships that I observed at [the middle school] …. There are four African-American female mentors. Our ages range from 20-47. We all seem to be straight-forward, generous, and thoughtful. These three characteristics impacted our roles as mentors and we seem to have a good rapport with the students. The students like us. There are several male/female White mentors. While listening to their conversations, it seemed evident that they all live outside of the city of Detroit. They reside in the Tri-county area, namely the suburbs. There is one mentor who is always making some negative comment about Detroit and the people that they see on their way to UPS. He is a White male mentor who always seems to have the right answer and is occasionally humorous. He would talk quietly and could draw other White mentors into his conversations. However, when a Black mentor intervened, he would draw up and be quiet. I threw a flag up in my mind and I thought, “He needs to be watched.” I spend a lot of time tutoring urban Black students. I am very much attuned to the interaction between the young middle school students and the mentors …. The middle school students … need to be monitored by their mentors; otherwise I’ve noticed that the whole time spent in the session [the middle school students] will be playing games and listening to, or watching, videos on the computers …. As I observed throughout the room, some [middle] students, especially some male students, were isolating themselves from their mentors, mostly by being preoccupied on the computers. I overheard this conversation with two male middle school students as they were waiting for their mentors … “I know he does not like me. I don’t know why we have to do this. I could probably show him more about the computer than he 275
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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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Selfhood and the Personal Essay A c
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Selfhood and the Personal Essay It
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Selfhood and the Personal Essay wou
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Selfhood and the Personal Essay sub
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Selfhood and the Personal Essay But
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Selfhood and the Personal Essay to
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Selfhood and the Personal Essay Orw
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Mack devices that taxonomies are cu
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Mack I respect Robillard’s distin
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Mack sense of it. Perhaps the very
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Mack groups. This unit took longer
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Mack As part of the final portfolio
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Mack they are embedded in that most
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Mack Payne, R. (1996). A framework
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Owens as risky and problematic. We
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Owens things); to give utterance to
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Owens What’s my own personal, pri
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Owens idyllic childhood my mother,
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PAST-WRITING: NEGOTIATING THE COMPL
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econstructions based on subsequent
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Past-Writing that produces, rather
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Past-Writing to understand her expe
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Past-Writing inquiry into her own p
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Past-Writing has the potential to b
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REFERENCES Past-Writing Adler-Kassn
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ESSAI—A METAPHOR: WRITING TO SHOW
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Essai—A Metaphor Deweyian philoso
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Essai—A Metaphor non-foundational
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Essai—A Metaphor proposed by Newk
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Essai—A Metaphor pleasurable, the
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Essai—A Metaphor Light, G. (2002)
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COMMUNICATION AS SOCIAL ACTION: CRI
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Communication as Social Action be a
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Communication as Social Action then
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Communication as Social Action inte
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Communication as Social Action Dani
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Communication as Social Action to g
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Communication as Social Action towa
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Communication as Social Action REFE
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Collins and balances of the social.
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Collins * An expressivist classroom
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Collins Mary Rose O’Reilly asks h
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Collins Elbow, P. (2002). Exploring
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Wagar NONVIOLENCE, THE PERSONAL, AN
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Wagar family violence, a friend’s
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Wagar sympathetically encounter the
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Wagar to genre conventions, and so
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Wagar on texts with which students
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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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Page 259 and 260: PLACE-BASED GENRE WRITING AS CRITIC
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Page 299 and 300: REVISITING RADICAL REVISION Jeff So
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Page 303 and 304: A NEW PATH: RECONCILING POST-PROCES
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Page 307 and 308: Revisiting Radical Revision I also
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Page 311 and 312: Revisiting Radical Revision NOTES 1
Page 313 and 314: Revisiting Radical Revision Nowacek
Page 315 and 316: CONTRIBUTORS Jean Bessette is an As
Page 317: Contributors Humility, in addition
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Critical Expressivism- Theory and Practice in the Composition Classroom, 2014a

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