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To take up the idea of critical expressivism is to insist upon complexity, contradiction, revision, and expansion, rather than reduction, dismissal, and simplification. Being critically expressivist too then involves a stance toward how we shape disciplinary histories. Current-traditional, expressivist, social constructionist—these are meant to signal broad and sure shifts in the foundations of writing pedagogy and disciplinarity. While these camps might render a telos or progress narrative, they at the same time inevitably diminish practice and concepts. There is imprecision in monolithic terms—expressivism, social constructionism, the personal, the social, romanticism—because, as Peter Elbow writes in this volume, these broad terms conceal their multiplicity. Equally unproductive, the terms are often wielded as weapons, as instruments of reduction and dismissal. As this essay works to point out, pedagogies and rhetorics are deemed untenable because they are labeled romantic or expressivist, or romantic-expressivist. This essay works to complicate these alliances.

Rereading Romanticism, Rereading Expressivism: Revising "Voice" through Wordsworth's Prefaces