 Those usually cited as classic expression theorists include Tolstoy (1898), Dewey (1934), and Collingwood (1938). (A classic critique is Tormey 1971: 97–127.) These theorists have been defended in recent discussions, however, from accusations that they hold the simple view outlined above. See, for example, Ridley 2003 and Robinson 2005: 229–57. Jenefer Robinson has attempted to revive the expression theory, though she defends it as an interesting and valuable use of music’s expressiveness, rather than an account of expressiveness itself (2005: 229–347; 2011).