In Fragments of Rationality: Postmodernity and the Subject of Composition, Faigley notes that if we follow the now standard taxonomy for distinguishing modernity from postmodernity--purpose/play, design/chance, hierarchy/anarchy, finished work/process-performance--then composition studies still rests on modernist goals [+]. We pay lip service to play, chance and anarchy with pedagogical tools such as "freewriting" and early drafts, but these disorganized materials are always in the service of "the purposeful design of the end product, a design that achieves closure" (14). Even in the opposition of product/process "composition studies tilts toward modernism because while composition studies has professed to value process, it is not process for its own sake but rather the process of teleological development toward a product" (14). In her essay "Around 1971: Current-Traditional Rhetoric and Process Models of Composing," Sharon Crowley notes that "composition teachers' adoption of process-oriented pedagogies cannot have challenged the epistemological assumptions that undergrid current-traditional rhetoric for two obvious reasons: that very rhetoric is still a dominant feature of contemporary composition, and process strategies fit quite comfortably within its framework" (64). [%] She cites The Bedford Guide for College Writers as an archetypal example that combines process-oriented exercises and various heuristic-inventional devices with current-traditional formalism (thesis statements, outlining, topic sentences, and coherence, along with "strategies for development" based on the standard topoi--classification, analysis, definition, comparison and contrast, cause and effect.) She argues that there was NO paradigm shift in composition studies because process-oriented practices share the same ideological assumptions. Deemer's, Lutz's, and Green's attempts to throw a wrench into the current-traditional order fail because liberal humanism is the politics behind both Enlightenment rationalism that informs current-traditional rhetoric and the romanticism that informs expressionism's antithesis reaction to these strict formalisms (74).