Critical Expressivism- Theory and Practice in the Composition Classroom, 2014a
Critical Expressivism- Theory and Practice in the Composition Classroom, 2014a
Critical Expressivism- Theory and Practice in the Composition Classroom, 2014a
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“Personal Writ<strong>in</strong>g” <strong>and</strong> “<strong>Expressivism</strong>” as Problematic Terms<br />
among <strong>the</strong> conventions used <strong>in</strong> textual criticism, biographical criticism, psychoanalytic<br />
criticism, reader response criticism, phenomenological, <strong>and</strong> postmodern<br />
criticism. (Here’s an amus<strong>in</strong>g but nontrivial difference: most literature teachers will<br />
consider a student hopelessly naive about academic discourse if he or she refers to<br />
Hem<strong>in</strong>gway as “Ernest.” Yet if it’s a paper <strong>in</strong> biographical criticism, <strong>the</strong> usage can be<br />
perfectly appropriate.)<br />
2. Bartholomae is <strong>in</strong>terested <strong>in</strong> <strong>the</strong> dilemma of student authority over writ<strong>in</strong>g: <strong>the</strong><br />
“central problem of academic writ<strong>in</strong>g, where students must assume <strong>the</strong> right of<br />
speak<strong>in</strong>g to someone who knows more about baseball or ‘To His Coy Mistress’ than<br />
<strong>the</strong> student does” (1985, p. 140). He can’t seem to imag<strong>in</strong>e that a student could<br />
know more about baseball than he—or if not baseball, <strong>the</strong>n perhaps her fa<strong>the</strong>r’s<br />
experience <strong>in</strong> Vietnam or her bro<strong>the</strong>r’s way of negotiat<strong>in</strong>g Asperger’s. He can’t seem<br />
to accept <strong>the</strong> possibility of <strong>in</strong>vit<strong>in</strong>g students to enter a rhetorical space where <strong>the</strong>y<br />
have more authority than he.<br />
3. But Tom Newkirk has hope for <strong>the</strong> word: “The term ‘expressionist’ may eventually<br />
serve us well. Maybe it has <strong>the</strong> same fate as “impressionism”—which was co<strong>in</strong>ed<br />
as a satiric term by <strong>the</strong> journalist Louis Leroy <strong>in</strong> reference to a pa<strong>in</strong>t<strong>in</strong>g by Monet”<br />
(personal communication, 2012).<br />
REFERENCES<br />
Bartholomae, D. (1985). Invent<strong>in</strong>g <strong>the</strong> university. In M. Rose (Ed.). When a<br />
writer can’t write (pp. 134-165). New York: Guilford Press.<br />
Bartholomae, D. (1980). The study of error. College <strong>Composition</strong> <strong>and</strong> Communication,<br />
31, 253-269.<br />
Berl<strong>in</strong>, J. (1982). Contemporary composition: The major pedagogical <strong>the</strong>ories.<br />
College English, 44, 765-777.<br />
Berl<strong>in</strong>, J. (1988). Rhetoric <strong>and</strong> ideology <strong>in</strong> <strong>the</strong> writ<strong>in</strong>g class. College English,<br />
50(5), 477-494.<br />
Booth, W. (1974). Modern dogma <strong>and</strong> <strong>the</strong> rhetoric of assent. Chicago: University<br />
of Chicago Press.<br />
Bruner, J. S. (1986). Actual m<strong>in</strong>ds, possible worlds. Cambridge, MA: Harvard<br />
University Press.<br />
Buley-Meissner, M. L. (1990). Rhetorics of <strong>the</strong> self. Journal of Education, 172,<br />
47-64.<br />
Elbow, P. (1994a). Introduction. In L<strong>and</strong>mark essays on voice <strong>and</strong> writ<strong>in</strong>g (pp.<br />
xi-xlvii). Mahwah, NJ: Hermagoras Press/Erlbaum.<br />
Elbow, P. (1994b). Introduction: Voice <strong>and</strong> writ<strong>in</strong>g. Voice <strong>and</strong> writ<strong>in</strong>g (pp. xi-xlvii).<br />
Mahway, NJ: Hermagoras Press.<br />
Elbow, P. (1990). Foreword: About personal expressive academic writ<strong>in</strong>g. Pre/<br />
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