Composition StudiesComposition StudiesUniversity of Cincinnati

Composition Studies

Spring-Fall 1996, 24, 1-2

Articles

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.