Volume
24 Number 1-2 Spring-Fall 1996
Darsie Bowden |
Stolen Voices: Plagiarism and Authentic Voice |
Michael Hassett |
Ong, Technology, and the Transformation of Consciousness |
Mahala Yates Stripling |
"The Tending Act": An Interview With Richard Selzer |
Neal Lerner |
The Institutionalization of Required English |
Julie Drew |
Guessing Games: Envisioning Audience |
Wendy Bishop |
Talking to Winston Weathers on E-Mail-
An Interview |
Liz Rohan |
Just Do It or Just Talk About It? |
Irvin Peckham |
Their Sticks, Our Chalk |
Julie Jung |
Burke on Plato, Plato through Burke |
Paul Wadden |
Beyond Expressionism and Discipline-Specific
Writing |
Kristi Yager |
Romantic Resonances: Elbow's Writing Without Teachers |
Abstracts
for Composition Studies 24.1-2
Bishop, Wendy and Winston Weathers. "Talking
to Winston Weathers on E-Mail--An Interview." Composition
Studies/FEN (24.1-2): 72-87.
An interview with Winston Weathers that explores his ideas on alternate
grammars of writing, paricularly what he terms Grammar B as presented
in
his book An Alternate Style: Options in Composition. They discuss
how his work has been viewed as both radical and subversive but also how it offers
practical opportunities for connecting the fields of composition and creative
writing by offering writers a variety of useful stylistic understandings and
options.
Wadden, Paul. "Beyond Expressionism
and
Discipline-Specific Writing." Composition Studies/FEN (24.1-2):
125-43.
This article re-reads two major strands of composition theory by
construing an expressionist/social constructionist binary to argue
that both the unproblematized conception of student voice in expressionism
and the erasure of voice implied by social constructionism are inherently
disabling. Instead, a more desirable aim for composition courses
is the achievement of the speaking "I"- authorial voice grounded
in critical consciousness. To accomplish this aim, composing that
counterposes discourses is recommended, such as explicitly situated
micro-ethnographies; analyses of pop-culture gender construction;
revision of private experience toward public discourse; and compositions
drafted toward multiple audiences.
