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For an essay giving background on the contest, click here. The Bad Writing Contest celebrates the most stylistically lamentable passages found in scholarly books and articles published in the last few years. Ordinary journalism, fiction, departmental memos, etc.
Deliberate parody cannot be allowed in a field where unintended self-parody is so widespread. Two of the most popular and influential literary scholars in the U. Bhabha, a leading voice in the fashionable academic field of postcolonial studies, produced the second-prize winner.
That these scholars must know what they are doing is indicated by the fact that the winning entries were all published by distinguished presses and academic journals.
The move from a structuralist account award for bad academic writing which capital is understood to structure social relations in relatively homologous ways to a view of hegemony in which power relations are subject to repetition, convergence, and rearticulation brought the question of temporality into the thinking of structure, and marked a shift from a form of Althusserian theory that takes structural totalities as theoretical objects to one in which the insights into the contingent possibility of structure inaugurate a renewed conception of hegemony as bound up with the contingent sites and strategies of the rearticulation of power.
Bhabhaa professor of English at the University of Chicago. It appears in The Location of Culture Routledge, This prize-winning entry was nominated by John D. The author is Timothy W. It was located by M. Devaney, an editor at the University of Nebraska Press.
The author is D. Leahy, writing in Foundation: Matter the Body Itself. Total presence breaks on the univocal predication of the exterior absolute the absolute existent of that of which it is not possible to univocally predicate an outside, while the equivocal predication of the outside of the absolute exterior is possible of that of which the reality so predicated is not the reality, viz.
This is the real exteriority of the absolute outside: The precision of the shining of the light breaking the dark is the other-identity of the light. The Bad Writing Contest attempts to locate the ugliest, most stylistically awful passage found in a scholarly book or article published in the last few years.
Ordinary journalism, fiction, etc. In a field where unintended self-parody is so widespread, deliberate send-ups are hardly necessary. Obscurity, after all, can be a notable achievement.
The fame and influence of writers such as Hegel, Heidegger, or Derrida rests in part on their mysterious impenetrability. This is a mistake the authors of our prize-winning passages seem determined to avoid. The first prize goes to the distinguished scholar Fredric Jameson, a man who on the evidence of his many admired books finds it difficult to write intelligibly and impossible to write well.
The visual is essentially pornographic, which is to say that it has its end in rapt, mindless fascination; thinking about its attributes becomes an adjunct to that, if it is unwilling to betray its object; while the most austere films necessarily draw their energy from the attempt to repress their own excess rather than from the more thankless effort to discipline the viewer.
The reader may be baffled, but then any author who thinks visual experience is essentially pornographic suffers confusions no lessons in English composition are going to fix.
If reading Fredric Jameson is like swimming through cold porridge, there are writers who strive for incoherence of a more bombastic kind. Here is our next winner, which was found for us by Professor Cynthia Freeland of the University of Houston.
The writer is Professor Rob Wilson: This colorful gem appears in a collection called The Administration of Aesthetics: Wilson is an English professor, of course.
That incomprehensibility need not be long-winded is proven by our third-place winner, sent in by Richard Collier, who teaches at Mt. Royal College in Canada.
The lure of imaginary totality is momentarily frozen before the dialectic of desire hastens on within symbolic chains. Still, prolixity is often a feature of bad writing, as demonstrated by our next winner, a passage submitted by Mindy Michels, a graduate anthropology student at the American University in Washington, D.
Marcus University of California Press, Tim van Gelder of the University of Melbourne sent us the following sentence: Neither has any faculty member. When interpreted from within the ideal space of the myth-symbol school, Americanist masterworks legitimized hegemonic understanding of American history expressively totalized in the metanarrative that had been reconstructed out of or more accurately read into these masterworks.
Susan Katz Karp, a graduate student at Queens College in New York City, found this choice nugget showing that forward-thinking art historians are doing their desperate best to import postmodern style into their discipline. Chave, writing in Art Bulletin December To this end, I must underline the phallicism endemic to the dialectics of penetration routinely deployed in descriptions of pictorial space and the operations of spectatorship.Keep all posts about writing.
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What are the characteristics of good writing and why is it important for writers to be able to distinguish between good and bad writing? In entering the Amazon Breakout Book Award Contest, I classified the novel as “bromantic comedy” (plenty of action for guys with a hint of romance for women).
Objectively, there’s good writing. Since the Bulwer Lytton Fiction Contest has challenged man, woman, and (precocious) child to write an atrocious opening sentence to a hypothetical bad novel.
Fondrie, a professor at the University of Wisconsin, beat an impressive display of terrible writing to win the Bulwer-Lytton fiction contest, named in honour of Sir Edward Bulwer-Lytton's novel Paul Clifford and its much-quoted opening, "It was a .
The Bad Writing Contest celebrates the most stylistically lamentable passages found in scholarly books and articles published in the last few years. Ordinary journalism, fiction, departmental memos, etc. are not eligible, nor are parodies: entries must be non-ironic, from serious, published academic journals or books.
Welcome to the Bulwer Lytton Fiction Contest!