James Berlin “Contemporary Composition: the Major Pedagogical Theories.‪”‬ Mere Rhetoric

Some time ago, I was asked by listener Sarah Rumsey to do a podcast on composition theory. That’s a doozy of a topic, so I read a lot, I poked around, even pulled together a couple drafts, but couldn’t find the balance of breadth and depth to do this subject justice. So I gave up.
 
Ah, clever listener, you know I didn’t really give up, because this is Mere Rhetoric, the podcast for beginners and insiders about the ideas, people and movements who have shaped rhetorical history and I am Mary Hedengren and instead of trying to capture the entire depth of rhetorical theory thought I could just rip off someone who did.
 
Granted, the “did” in this case happened way back in 1982, when rhetoric and composition was still a young discipline, but the “someone” is James A Berlin, namesake of the Conference on College Composition and Communication Jim Berlin pub crawl. In addition to, I guess, being a man who could hold his liquor, Berlin was a composition historian and in 1982, he took stock of the current field of composition in an article titled “Contemporary Composition: the Major Pedagogical Theories.”
 
Now before I dive into this major theoretical typology, let me say that the article has been accused of being a little simplistic and a little...strawman-ish. Berlin himself acknowledges his bias in the article, stating, “My reasons for presenting this analysis are not altogether disinterested. I am convinced that the pedagogical approach of the New Rhetoricians is the most intelligent and most practical alternative available, serving in every way the best interests of our students” (766). Well, in that case, why even worry about other theories? And why should Sarah be taught all of these competing pedagogical theories in her composition classes? Why not just settle down with one intelligent and practical one without holding up competing theories? Won’t that just confuse would-be instructors and, worse, muddle students who must adapt from one instructor’s theory to another as they progress through their classes: freshman comp with a classicist and advanced writing with an expressionist?
 
Well, for starters, you might not agree with Berlin’s conclusions about which is best. And, even is so, Berlin fears that most people don’t think consciously about their overall theory of writing and learning at all “ many teachers,” he says, “(and I suspect most) look upon their vocations as the imparting of a largely mechanical skill, important only because it serves students in getting them through school and in advancing them in their professions. This essay will argue that writing teachers are perforce given a responsibility that far exceeds this merely instrumental task” (766).
 
Okay then, what are the theories Berlin posits for how “writer, reality, audience and language--are envisioned”(765)?
 
First are the Neo-Aristotelians or Classicists. You might suspect, they echo the philosophies of Aristotle, but Berlin claims that actually they are “opposed to his system in every sense” (767). Okay, then, what does Aristotle posit and what do these wannabes do? Aristotle, if you remember from that famous fresco by Rafael, is the one pointing down to the earth. Berlin describes Aristotle’s view that reality can be “known and communicated with language serving as the unproblematic medium os discourse. There is an uncomplicated correspondence between the sign and the thing” (767). Aristotle’s rhetorical writings are among the most complete we have from the ancient world and emphasize reasoning, but also acknowledge that sometimes it takes a little appeal to emotion, too, to get the job done.
 
Then Berlin says, in essence, okay, but what those so-called Neo-Aristotelians actually do is Current-traditional or Positivist. [For those keeping track at home, this means that there are two terms (Neo-Aristotleian or Classicist) to describe the general theory and then two (Current