Posts Tagged Author Theory
In an advanced technical writing class as an undergraduate, I remember the professor saying, “This should sound wrong to you all.” She meant simply that we should be able to identify grammatical and mechanical errors by sound (or more accurately, sight) by the time we landed in that class.
It occurs to me now, after so many years and blog posts and white papers and fiction pieces, that I’ve never actually had a formal course focused on grammar. A technical writing course that showed how to put those words into reports and documentation, and creative writing workshops that focused on how those words were used, yes, but never a formal study in grammar.
At this time of night, it’s probably best to lay off the coffee and go watch tv, but it’s interesting to contemplate whether writing is something that can and/or must be taught/learned (that question alone a longstanding debate that requires at least the length of a seminar paper).
Perhaps we absorb writing style and proper grammar more from what we read than what we practice in the typical classroom context that’s often hard to translate to any real-world rhetorical situation. And I mean what we read as in what we’ve always read, long before entering college, the profession, or the writer’s basement studio.
I remember reading books like Watership Down, The Call of the Wild, and The Catcher in the Rye as a kid, not because they were assigned, but because the stories were good. Soon after writers like Stephen King and Dean Koontz took the place of those fluffy animals and rye fields (which could explain a lot about my fiction writing, it seems).
Reading books served as writing instruction. We absorb the language we’re exposed to, it seems, which is what establishes the foundation for our awareness, understanding, and command of grammar.
Our university courses and professional writing excursions serve, then, as an opportunity to exercise those skills can be developed naturally through a love of works like, in my case, Misery and The Door to December. From there my time as an undergrad studying English resulted in a love of literary works most of my friends have never heard of, and my graduate writing workshops taught that, as creative writers, we have to know the rules of grammar in order to break them.
Long before my consumption of anything book-length, I practiced the strange habit as a child of reading each line of copy on packaged products. Any products. Shampoo bottles, cereal boxes, motor oil, bags of dogfood, soup cans, laundry soap.
I’m really not sure what the point of this post is, other than to say that writing is no longer the dominion of the English or communications major. The business world is now an extension of our private worlds. Brands and consumers alike “publish” their writing online everyday through social media, blog posts, and reviews.
Ultimately, the source of mechanics and style that we draw upon in our writing, whether consciously or otherwise, is everything that we’ve read up to the point where we sit down at the keyboard, be it Ars Poetica, the labels on personal hygiene products, or the stuff of nightmares.
You keep using that word. I do not think it means what you think it means” ~ Inigo Montoya, The Princess Bride
It’s been a while since the last post, so I thought sharing a bit of my current research project/obsession would be a good way to convey writing productivity simply through creation of another page on this blog. Sometimes, that’s all it takes.
The nerd in me would like to highlight that this creates a rhetorical situation of authoring content with two potential outcomes–1) sharing what I think is an interesting element of professional writing, or 2) crafting an illusion of blogging productivity by re-purposing content originally (and 15-minutes-ago-recently) written to help sketch out a research interest.
Either way, here it goes.
Business and technical writing requires that the author and the reader are closely aligned in linguistic interpretation and intended/conveyed meaning.
Understanding Derridean linguistic and poststructuralist theories allows the professional writer to use language and narrative structure to strategically position a product or company in the marketplace. It also reinforces the need for consistency in internally adopted and externally promoted language to reduce interpretive misses.
The following is a summary of Derrida’s essay “Structure, Sign, and Play in the Discourse of the Human Sciences”* to help explain the notion of destabilized language and meaning.
Because it relies on the reader and changes due to the arbitrary nature of signs, Derrida presents meaning as decentralized and unstable; this status of discourse, and specifically language, produces a continuous (inter)play of signification.
The instability of meaning based on signs and symbols alone forces consideration of narrative structure as a method of making meaning out of this linguistic interplay. Derrida goes on to show how structure, too, can be deconstructed and destabilized based on author or audience presence, metaphysics, proximity, repetition, and disruption.
Derrida discusses Lévi-Strauss’ position that only nature can be universal, and dependence on social structure is indicative of cultural influence. He concludes that the interpretive process is a posthuman act of creating truth, performed in absence of a collective origin of meaning or affirmation of signs and their signification.
* Derrida, J. “Structure, Sign, and Play in the Discourse of the Human Sciences.” Writing and Difference. Chicago: The University of Chicago Press, 1978. 278-294.
** Image Source: Unencyclopedia.
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