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Stewart Zdrojowy

Dr. Dominic Ashby

ENG 800 TR

May 7th 2019

Radical Expressionism

Expressivism as a pedagogical practice has made lasting impacts on the composition

community. As a practice, expressivism has aimed at helping students learn to write using a

“true” voice rather than fake academic language, which often comes off as pretentious. As many

have adhered to the ideologies behind the pedagogical stance, many critics have completely

disregarded or outright rejected the theory. In Chris Burnham and Rebecca Powell’s chapter,

“Expressive Pedagogy,” they state that “expressivist pedagogy encourages, even insists upon, a

sense of writer presence even in research-based writing” (113). Yet, citing seemingly inherent

qualities of expressivism as problematic, critics of the theory point out the individualistic

emphasis of writing under expressivist teachings and how problematic that thought process can

be. However, while some aspects of moderate expressivism might fall under these broad

generalizations, radical expressivism combats such problematic conclusions. While many faces

of expressivism, such as Peter Elbow, Ken Macrorie, and Donald Murray, push expressivism in a

moderate form which intentionally or unintentionally favors the individual, radical expressivists

place emphasis on a group experience based on Susan Sontag’s theories of genre analysis

involving something she calls, “The Happening” (Sontag, 25). Sontag’s perspective holds that

while some aspects of film/photography are staged and prepared, not all things are. Therefore,

both the staged/prepared as well as the unexpected/unique occurrences are necessary for “the

Happening” to take place. (Sontag, 25). Authors such as Charles Deemer believe that
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expressivist composition works best when utilized through Sontag’s idea of the Happening. The

following list of sources are illustrated for the expressed intent of providing a collection of

radical expressivist writings and applicative pedagogical theories.

Burnham, Chris and Rebecca Powell. “Expressivist Pedagogy” A Guide to Composition

Pedagogies, by Gary Tate et al., 2nd ed., Oxford University Press, 2014, pp. 111–127.

Burnham and Powell’s article on expressivist pedagogy offer a history of the theory and

its contributors. Though they focus almost completely on moderate expressivists, their insight

into the flaws, strengths, and inter-workings of the theory and its practical application provides

insight into how it has changed over the years, as well as how it has been repurposed within the

classrooms. Though not without its problems, Burnham and Powell present a form of moderate

expressivism that has evolved into better practices. Solutions to old problems are still present,

however, and illustrate the need for radical expressivism and its shift away from the individual

and towards the unique group experiences.

Deemer, Charles. “English Composition as a Happening.” College English, vol. 29, no. 2, 1967,

pp. 121–126. JSTOR, www.jstor.org/stable/374049.

Charles Deemer’s application of Susan Sontag’s film theory to composition classrooms

provides a brief look at the issues plaguing first year composition courses in the university. As

Charles Deemer’s writing heralds in a new radical form of thought surrounding expressivism and

its application into the composition classroom and the university as an institution, he lays out

exactly how the university has failed the composition education of the students and teachers

alike. This source is particularly useful because it not only gives students more agency and offers
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teachers a method to bring the class closer to equal footing (lessening the authoritative extremes

of the traditional teacher), it also begins the discourse surrounding radical expressivism. Though,

who coined the term radical expressivism is a mystery.

Lutz, William D. “Making Freshman English a Happening.” College Composition and

Communication, vol. 22, no. 1, 1971, pp. 35–38. JSTOR, www.jstor.org/stable/356526.

Inspired by Charles Deemer’s work, William D. Lutz explores some practical exercises

within the classroom for students (and teachers) to attempt while offering a brief overview of the

yet unnamed radical version of expressivism. Several important factors give Lutz insight into

how the application of this theory can be seen in the classroom, and the effects that accompany

this application. Lutz’s article walks teachers step by step through various processes of engaging

with the idea of the Happening. His practical approach offers contrast to other sources that either

only list bullet points, or hint at what should be done in the classroom.

McLuhan, Marshall, et al. “Multi-Media: The Laws of the Media.” The English Journal, vol. 67,

no. 8, 1978, pp. 92–94. JSTOR, www.jstor.org/stable/815039.

Marshall McLuhan’s article discusses the ways in which media and classrooms interact

and change one another. Though he never claimed the title himself, many recent radical

expressivists claim McLuhan to be of their ilk. Though much like Sontag, Mcluhan focuses

primarily on media and film. However, his work crosses the boundaries into the composition

field and offers interesting views on how it intersects with new media and the group experiences

of students learning more about themselves. This work is important because McLuhan illustrates
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how his writing works to promote stronger ties to expressivist views and shows why many call

him a radical expressivist in his own right.

Sirc, Geoffrey. “English Composition as a Happening II.” English Composition As A Happening,

By Geoffrey Sirc, University Press of Colorado, Logan, Utah, 2002, pp. 263–294.

JSTOR, www.jstor.org/stable/j.ctt46nx7x.10.

Geoffrey Sirc’s book, English Composition As A Happening, presents some of the most

recent radical expressivist ideologies and applicable theories in the pedagogy. His chapter,

“English Composition as a Happening II,” is especially important for the that it directly

addresses expressivist critics, their arguments, and the discourse surrounding expressivism as a

whole, as well as how Happenings achieve greater purpose within composition. Sirc gives

necessary background and points out the key figures both for, and against, expressivism. Such

accurate representation of the various perspectives makes this source invaluable as a historical

take on the expressivist agenda.

Sirc, Geoffrey. “Writing Classroom As A & P Parking Lot.” English Composition As A

Happening, By Geoffrey Sirc, University Press of Colorado, Logan, Utah, 2002, pp. 185–

234. JSTOR, www.jstor.org/stable/j.ctt46nx7x.8.

Geoffrey Sirc’s chapter covers a lot of ground adding context to some of the theoretical

practices involved in radical expressivism. He also provides examples of successful instances

where radical expressivism is utilized and played out. His pedagogical applications formulate a

picturesque view on how such expressivism can work and illustrates how older theories can be

applied to modern classrooms. In doing this, he also points out some of the modern discourse
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surrounding radical expressivism and how it relates to composition, technology, and the

university as a whole.

Sontag, Susan. “Film and Theatre.” The Tulane Drama Review, vol. 11, no. 1, 1966, pp. 24–37.

JSTOR, www.jstor.org/stable/1125262.

Susan Sontag’s writing formulates the original conception of the Happening as both an

event of individual expression and creativity, as well as a unique event experienced by individual

groups. While Sontag’s works primarily focus on film theories, radical expressivists cite Sontag

as the originator of “the Happening” as a theory. Her work inspired radical expressivism in all of

its forms, and offered compositionists an alternative to the moderate expressivism that many

composition faculty find problematic.

Wilson, Matthew. “Research, Expressivism, and Silence.” JAC, vol. 15, no. 2, 1995, pp. 241–

260. JSTOR, www.jstor.org/stable/20866026.

Matthew Wilson’s article on expressivism and scientific method offers a unique glance

into how expressivism might evolve. Citing the scientific method as too extreme, and

expressivism as problematic, Wilson offers an alternative idea to how they might be combined to

create a better form of analytical expression. However, Wilson’s article also ignores how radical

expressivism offers solutions to these problems. Wilson’s work highlights expressivism’s flaws,

engages with interesting ideas, but falls short of recognizing all variations of expressivism by

ignoring the radical side.