Inbetween writing: philosophy and catachresis

Research output: Contribution to journalArticle

Abstract

When I was doing a degree in literature some years ago and researching women's writing, I came across Rachel Blau DuPlessis's article 'For the Etruscans' (DuPlessis 1987), and with it a whole new way of thinking about text. It was published, innocently enough, in a conventional (pace, editor Rick Rylance) book of LitCrit, but from its opening paragraphs was clearly doing something else, and going somewhere else, away from the norm. I looked for the conventions of academic English and found instead: Sentence fragments. Loose ideas. FORMATTING designed to ________ claim attention. Exclamation marks! All this in an article on women's writings that obviously belonged to the 'criticism' genre, that was itself highly literary in a postmodern sense, and at the same time was intruded upon (contaminated?) by disjunctures, shards of autobiography, blind alleys, and worst of all, personal comments. Now this was not, of course, the first time I'd come across critical writing that didn't fit obviously into its genre, or that incorporated something so personal, something so poetic, within an academic framework. But I'd not previously found anything that so promiscuously juxtaposed such unsympathetic genres, and that nonetheless maintained a clear narrative and argumentative thread. I'd not previously found something that offered me the prospect of writing theory or criticism in another way, a way that reflected my voice rather than fitting an academic template.
Original languageEnglish
Pages (from-to)1-6
Number of pages6
JournalLimen
Volume3
Issue number1-2
Publication statusPublished - 2002

Fingerprint

Philosophy
Catachresis
Criticism
Women's Writing
Autobiography
Sentence Fragments
Exclamation
Paragraph
Etruscans
Conventional
Template
Poetics

Cite this

Webb, Jennifer. / Inbetween writing: philosophy and catachresis. In: Limen. 2002 ; Vol. 3, No. 1-2. pp. 1-6.
@article{221631b5efc64b6a86ae28773f5534da,
title = "Inbetween writing: philosophy and catachresis",
abstract = "When I was doing a degree in literature some years ago and researching women's writing, I came across Rachel Blau DuPlessis's article 'For the Etruscans' (DuPlessis 1987), and with it a whole new way of thinking about text. It was published, innocently enough, in a conventional (pace, editor Rick Rylance) book of LitCrit, but from its opening paragraphs was clearly doing something else, and going somewhere else, away from the norm. I looked for the conventions of academic English and found instead: Sentence fragments. Loose ideas. FORMATTING designed to ________ claim attention. Exclamation marks! All this in an article on women's writings that obviously belonged to the 'criticism' genre, that was itself highly literary in a postmodern sense, and at the same time was intruded upon (contaminated?) by disjunctures, shards of autobiography, blind alleys, and worst of all, personal comments. Now this was not, of course, the first time I'd come across critical writing that didn't fit obviously into its genre, or that incorporated something so personal, something so poetic, within an academic framework. But I'd not previously found anything that so promiscuously juxtaposed such unsympathetic genres, and that nonetheless maintained a clear narrative and argumentative thread. I'd not previously found something that offered me the prospect of writing theory or criticism in another way, a way that reflected my voice rather than fitting an academic template.",
author = "Jennifer Webb",
year = "2002",
language = "English",
volume = "3",
pages = "1--6",
journal = "Limen",
issn = "2193-147X",
number = "1-2",

}

Webb, J 2002, 'Inbetween writing: philosophy and catachresis', Limen, vol. 3, no. 1-2, pp. 1-6.

Inbetween writing: philosophy and catachresis. / Webb, Jennifer.

In: Limen, Vol. 3, No. 1-2, 2002, p. 1-6.

Research output: Contribution to journalArticle

TY - JOUR

T1 - Inbetween writing: philosophy and catachresis

AU - Webb, Jennifer

PY - 2002

Y1 - 2002

N2 - When I was doing a degree in literature some years ago and researching women's writing, I came across Rachel Blau DuPlessis's article 'For the Etruscans' (DuPlessis 1987), and with it a whole new way of thinking about text. It was published, innocently enough, in a conventional (pace, editor Rick Rylance) book of LitCrit, but from its opening paragraphs was clearly doing something else, and going somewhere else, away from the norm. I looked for the conventions of academic English and found instead: Sentence fragments. Loose ideas. FORMATTING designed to ________ claim attention. Exclamation marks! All this in an article on women's writings that obviously belonged to the 'criticism' genre, that was itself highly literary in a postmodern sense, and at the same time was intruded upon (contaminated?) by disjunctures, shards of autobiography, blind alleys, and worst of all, personal comments. Now this was not, of course, the first time I'd come across critical writing that didn't fit obviously into its genre, or that incorporated something so personal, something so poetic, within an academic framework. But I'd not previously found anything that so promiscuously juxtaposed such unsympathetic genres, and that nonetheless maintained a clear narrative and argumentative thread. I'd not previously found something that offered me the prospect of writing theory or criticism in another way, a way that reflected my voice rather than fitting an academic template.

AB - When I was doing a degree in literature some years ago and researching women's writing, I came across Rachel Blau DuPlessis's article 'For the Etruscans' (DuPlessis 1987), and with it a whole new way of thinking about text. It was published, innocently enough, in a conventional (pace, editor Rick Rylance) book of LitCrit, but from its opening paragraphs was clearly doing something else, and going somewhere else, away from the norm. I looked for the conventions of academic English and found instead: Sentence fragments. Loose ideas. FORMATTING designed to ________ claim attention. Exclamation marks! All this in an article on women's writings that obviously belonged to the 'criticism' genre, that was itself highly literary in a postmodern sense, and at the same time was intruded upon (contaminated?) by disjunctures, shards of autobiography, blind alleys, and worst of all, personal comments. Now this was not, of course, the first time I'd come across critical writing that didn't fit obviously into its genre, or that incorporated something so personal, something so poetic, within an academic framework. But I'd not previously found anything that so promiscuously juxtaposed such unsympathetic genres, and that nonetheless maintained a clear narrative and argumentative thread. I'd not previously found something that offered me the prospect of writing theory or criticism in another way, a way that reflected my voice rather than fitting an academic template.

M3 - Article

VL - 3

SP - 1

EP - 6

JO - Limen

JF - Limen

SN - 2193-147X

IS - 1-2

ER -