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• W215995169 abstract "Expository writing has been among the more noticeable scapegoats in the socalled revolution. As a child of this revolution, I've been a willing participant in the ritual sacrifice. While still an untenured Director of Writing, for instance, I tried-unsuccessfully-to expunge all references to from our course descriptions-especially our advanced courses. After all, had been the chosen adjective-and virtual synonym-for freshman writing for well over two decades, cropping up in catalogue after catalogue, description after course description (Kitzhaber; Burhans). Lately, it's even shown up as the focus of some advanced writing courses (Shumaker, Dennis, and Green). But at the time, I wanted writing courses that were more than a series of useless, sterile exercises in description, comparison/contrast, classification, and so on; more than essays with tightly wound theses proven point by algorithmic point, in clear, concise, and, yes, correct prose. It seemed quaint, if not totally naive, then, to think writing had to be like this, to think words were some smooth, feckless glass that captured and copied the world. (For these views of expository writing, see Berlin and Inkster; Hairston; Connors, Rhetoric; Zeiger.) Like other revolutionaries, I thought this was what expository writing was all about. And nothing could better symbolize the dramatic contrast between my new-found revolutionary sympathies for an exploratory, open-ended, personal process of composing than exposition and all it represented. Getting rid of such a troublesome and outmoded adjective would help me and my department escape a past best buried and forgotten. Looking back at those sympathies, and my thwarted attempt to make a dirty word, I'm slightly embarrassed by my innocence and my simpleminded zeal. Then, as now, it's far easier to agree on what expository writing is not than on what it is. Older now, and perhaps a bit more cautious, if not wiser, I suspect there's more than one definition. I also suspect exposition has a more complicated theoretical pedigree than anyone imagines. Maybe it's not simply a hand-me-down practice, a familiar refrain from a song we keep singing which we don't even like. Maybe is a itself-not its anathema. Maybe it's even the Process of processes. Phillip Arrington is an associate professor at Eastern Michigan University where he teaches undergradu" @default.
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• W215995169 date "1992-03-01" @default.
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• W215995169 title "Reflections on the Expository Principle" @default.
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• W215995169 doi "https://doi.org/10.2307/378073" @default.
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