On Theory-Fiction and Other Genres

writing.ucsb.edu

ACADEMIC WRITING AND BEYOND IN …, 2010

Follows, through academic writing, poetic text, and a sometimes manifesto format, what it means not only to be an avant-garde writer, but to be a feminist avant-garde writer and comes to the conclusion, through Cixous and others, that to be a woman artist is to inherently be avant-garde. This is an unpublished paper that will also be presented in April 2017 at the Craft, Culture, Critique Conference in Iowa City/

Journal of Second Language Writing, 2006

Aawp 2010 the Strange Bedfellows or Perfect Partners Papers the Refereed Proceedings of the 15th Conference of the Australasian Association of Writing Programs 2010, 2010

This paper will contend that as literary studies elevates creative writing to the highest level, by studying and analysing creative texts; creative writing is similarly enhanced when it is underpinned by theory. This flies in the face of the view that theory has no relevance to the needs of contemporary writers. This paper will examine the way in which theoretical insights and their applications are essential to the creative writing process and propose that without theory, creative writing classes might be at risk of constantly going over the same ground, with no way of being elevated to the next level. Without the study of literary theory in creative writing, writers are in danger of producing imitations of acclaimed literature. Similarly, without studying creativity in literary studies, writers are at risk of imitating the language of French theorists in translation and failing to harness imaginative ways to create new ideas and theories. This paper encourages new ways of thinking about the union of literary studies and creative writing by focusing on theories and poetry of the sublime. This can assist creative and analytical writers with the anxiety of the blank page and the problem of the ineffable, through an examination of the role of imagination and reason in this process. Creative writing and theory should be studied simultaneously; they invigorate one another and this paper focuses on this important reciprocal relationship.

Discourse and Writing/Rédactologie

(2) to extend established academic writing scholarship by introducing critical realism as a conceptual framework for justifying plural, democratized, multimodal, diverse and inclusive forms of academic writing; and (3) to develop a philosophy of change that lays a foundation for diversifying writing pedagogies. (p.1) In this way, she hopes to decolonise, democratize, and make socially just the university and its practices: to truly welcome diverse students and challenge the neoliberal orthodoxy that dominates our times. The book is divided into five (large) chapters, opening with a "Letter to My Reader" and closing with a "Signing Off" and "Afterword". We provide a brief chapter by chapter synopsis to give readers an idea of the arguments put forward, before addressing the strengths and limitations of the book in our review. Chapter by Chapter Synopsis Letter to My Reader Molinari's critical take on academic writing is reinforced by her "Letter to my Reader." Here, she addresses the reader directly, acknowledging that a year of a pandemic, working from home, and teaching in loungewear or at the kitchen table may have impacted writing, and, yet and still: "this is a serious book, it is an academic book and what makes it academic is the knowledge it deals with, the references it draws on, the research that has gone into it and my identity, my right to be a writer who is present in her text" (p.1). And, in this very open and welcoming voice, Molinari draws on the history of academia, socio-semiotic research, integrational linguistics, and studies in multimodal and visual thinking, to argue that writings themselves be reconceptualised more broadly. That dialogues, chronicles, manifestos, blogs, and comics be recognised as multimodal academic artifacts able to harness a wide range of epistemic affordances.

TEXT: Journal of Writing and Writing Courses, Special Issue (37): 1-5. ISSN 2380-7679, 2016

Anthropological Theory, 2005

Those of us in the 'social sciences' who take theory 'seriously' have been taught to treat ideas as ideas. The history of theory is thus the history of ideas as they have evolved from or in contradistinction to other ideas. Some disciplines even have 'classical' theory, a wellspring of concepts and frames of mind that have served to produce more contemporary ones. Theory may be seen as a special form of discourse in the sense that most authors appear to attach a certain degree of belief in the factual content of theory or theoretical explanation. At least, I do not know anyone who takes his theory seriously who would at the same time admit that it is a deliberate fiction or imagined narrative. On the contrary, I wish to argue that theories in the first instance are precisely that: imagined relations that are grounded in mindsets and experiences, which are socially and historically constituted. Moreover, I argue that these mindsets and experiences are unconsciously constituted in the context of changing institutions that have directly conditioned the subjectivity of theorists as agents. Academics in particular like to think that their writing is 'free' from strictures that define its form or content. I think this is an illusion that has ramifications, most of all for 'theory'.

Linguists : Journal Of Linguistics and Language Teaching, 2016

Literary theory is the systematic study of the nature of literature and of the method for analysing literary works. Literary Theory is an examination of a piece of literature which can be addressed to examine a single aspect of the work in its entirety By literary theory we assume not to the meaning of work of literature but to the theories that reveal what literary works can mean. Moreover creative writing focuses on writing from emotions and thoughts which tends to be expressive, imaginative, and literary. Any writing refers to individual expression as a social practice falls to this category. It is believed that creative writing cannot be formed as an acquaintance outside literary theory instead of one that is fashioned within. This paper looks at how creative writing and literary theory should be combined for producing fine-new literary works.

Canberra Anthropology, 1993

Examen critique de la critique de l'ethnographie proposée par la « writing culture school ». A partir d'un bref rappel de ses théories et une généalogie de ses membres(J. Clifford, P. Rabinow, C. Geertz, etc) l'A. en souligne les faiblesses. Ce mouvement succéda au ...