scholarly journals Under Suspicion: Christine Brooke-Rose, Intelligence Work, and the Theory Wars

2021 ◽  
Vol 16 (4) ◽  
pp. 509-528
Author(s):  
Adam Guy
Keyword(s):  
Academic Writing ◽  
Life Writing ◽  
Personal History ◽  
Late Work ◽  
Critical Moment ◽  
Wartime Experience

This article looks at Christine Brooke-Rose's late work of life-writing, Remake (1996) and its depiction of Brooke-Rose's wartime experience working in the Allied code-breaking centre at Bletchley Park. I situate Remake's recall of Bletchley Park within a textual matrix that includes Brooke-Rose's own academic writing of the 1980s–90s, as well as texts that emerged out of the so-called ‘Theory Wars’ of the same period – especially relating to the revelation of Paul de Man's collaborationist journalism. In this range of writing, I trace a set of common concerns regarding personal history, suspicion, secrecy, disclosure, and mastery that herald a turn towards other forms of knowing. In doing so, I locate Remake at a crucial juncture in the emergence of our present post-critical moment.

The place of academic writing in whole life writing: A case study of three university students1

1993 ◽  
Vol 7 (1) ◽  
pp. 1-20 ◽  
Author(s):  
Nichola Benson ◽  
Sarah Gurney ◽  
Judith Harrison ◽  
Rachel Rimmershaw
Keyword(s):  
Academic Writing ◽  
Life Writing

Writing Radically as Women With Virginia Woolf: Why?

2022 ◽  
pp. 107780042110668
Author(s):  
Elizabeth Mackinlay ◽  
Karen Madden ◽  
Renee Mickelburgh ◽  
Mel Green
Keyword(s):  
Virginia Woolf ◽  
Academic Writing ◽  
Life Writing ◽  
Academic Work ◽  
Social Worlds ◽  
The Rich ◽  
And Performance ◽  
The Moment ◽  
Short Essay ◽  
Power And Authority

In a short essay titled “Why,” Virginia Woolf daringly questioned the ways in which knowledge is produced, performed, and proclaimed as particular kinds of truths in institutions of power and authority, including academic writing. She subversively suggested, “The little twisted sign that comes at the end of the question has a way of making the rich writhe” and advised that such questions choose their “asking place with care”. In this article, we suggest that the “post” scholarship moment is the moment to ask new questions about the ways Woolfian inspired life-writing as a performance of self and social worlds might be engaged to trouble and open up what the “product” and performance of academic work, words, and worlds might come to be.

How to write a lot: A practical guide to productive academic writing (2007): Book review

2011 ◽  
Author(s):  
Hannah Fish ◽  
Danielle Palmer ◽  
Anisa Goforth ◽  
John S. Carlson ◽  
Tami Mannes ◽  
...  
Keyword(s):  
Academic Writing ◽  
Practical Guide

CORPUS LINGUISTICS, LANGUAGE CORPORA AND LANGUAGE TEACHING

2020 ◽  
Vol 14 (2) ◽  
pp. 75
Author(s):  
Eska Perdana Prasetya ◽  
Anita Dewi Ekawati ◽  
Deni Sapta Nugraha ◽  
Ahmad Marzuq ◽  
Tiara Saputri Darlis
Keyword(s):  
Academic Writing ◽  
Corpus Linguistics ◽  
Language Use ◽  
Language Teaching ◽  
Applied Linguistics

<span lang="EN-GB">This research is about Corpus Linguistics, Language Corpora, And Language Teaching. As we know about this science is relatively new and is associated with technology. There are several areas discussed in this study such as several important parts of the corpus, the information generated in the corpus, four main characteristics of the corpus, Types of Corpora, Corpora in Language Teaching, several types that could be related to corpus research, Applications of corpus linguistics to language teaching may be direct or indirect. The field of applied linguistics analyses large collections of written and spoken texts, which have been carefully designed to represent specific domains of language use, such as informal speech or academic writing.</span>

Tympan Alley: Posthumanist Performatives in Dancer in the Dark

Derrida Today ◽  
2013 ◽  
Vol 6 (2) ◽  
pp. 222-239
Author(s):  
Lynn Turner
Keyword(s):  
General Condition ◽  
Death Sentence ◽  
Late Work ◽  
The Law ◽  
Animal Question

While it is Derrida's late work on the ‘animal question’ that brought his insistence on limitrophy between species to wider attention, it is also named as the general condition of the limits in the much earlier text, ‘Tympan’. There, in dislocating the tympanum, the margins of philosophy are eaten. Equally, given the rhythmic address of the tympanum, we might say that the margins of philosophy are beaten. This paper considers the persistent play on rhythmic sounds in Lars von Trier's Dancer in the Dark as a ‘tympanising’ or derision of the limits, notably of the limits of the law in both juridical and symbolic senses, as they also work the edges of the film's two styles (broadly, realism and musical). In a provocative analysis of this film, Cary Wolfe suggests that we might understand Selma's vocal style (given singular expression by Bjork) as a refusal of the phallic imposition of language, and that her virtually suicidal submission to the death sentence allows for a notion of a ‘posthuman feminine’. ‘Tympan Alley’ redirects this tantalising term ‘posthuman feminine’ through a more consistently Derridean line of thought to sound out the implications of b/eating the limits through Selma's oblique ear.

Ken Russell's Wartime Imagery

2015 ◽  
Vol 12 (4) ◽  
pp. 539-555 ◽  
Author(s):  
Kevin M. Flanagan
Keyword(s):  
Second World War ◽  
World War ◽  
War Films ◽  
Personal Style ◽  
American Cinema ◽  
1960S And 1970S ◽  
The 1960S ◽  
Second World ◽  
Wartime Experience ◽  
National Experience

This article traces Ken Russell's explorations of war and wartime experience over the course of his career. In particular, it argues that Russell's scattered attempts at coming to terms with war, the rise of fascism and memorialisation are best understood in terms of a combination of Russell's own tastes and personal style, wider stylistic and thematic trends in Euro-American cinema during the 1960s and 1970s, and discourses of collective national experience. In addition to identifying Russell's recurrent techniques, this article focuses on how the residual impacts of the First and Second World Wars appear in his favoured genres: literary adaptations and composer biopics. Although the article looks for patterns and similarities in Russell's war output, it differentiates between his First and Second World War films by indicating how he engages with, and temporarily inhabits, the stylistic regime of the enemy within the latter group.

Cloud, Precinct of the Theological-Historical

2018 ◽  
Vol 20 (3) ◽  
pp. 277-291 ◽  
Author(s):  
Joan Copjec
Keyword(s):  
Twentieth Century ◽  
German Idealism ◽  
Islamic Philosophy ◽  
Switch Point ◽  
Late Work ◽  
The Subject ◽  
Imaginal World ◽  
Unity Of God

Regarded by many as the pre-eminent Islamicist of the twentieth century, Henry Corbin is also the subject of much criticism, aimed primarily at his supposed overemphasis on the mythological aspects of Islamic philosophy and his idiosyncratic privileging of the concept of the imaginal world. Taking seriously an unusual claim made by Steven Wasserstrom in Religion after Religion that the redeployment of Schelling's concept of tautegory by Corbin reveals all that is wrong with his work, this essay seeks to defend both the concept and Corbin's use of it. Developed by Schelling in his late work on mythology, the concept of tautegory turns out to be, for historical and theoretical reasons, a revelatory switch point. Not only does it make clear why the imaginal ‘locus’ is key to understanding the unity of God – the oneness of his apophatic and revealed dimensions – it also gives us profound insights into the links connecting Islamic philosophy, German Idealism, and psychoanalysis, which all take their bearings from the esoteric or mystical idea of an unconscious abyss.

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