By D. Diane Davis
Rhetoric and composition conception has proven a renewed curiosity in sophistic countertraditions, as noticeable within the paintings of such "postphilosophers" as Jacques Derrida, Michel Foucault, and Hélène Cixous, and of such rhetoricians as Susan Jarratt and Steven Mailloux. As D. Diane Davis strains today’s theoretical curiosity to these countertraditions, she additionally units her attractions past them.
Davis takes a “third sophistics” strategy, person who makes a speciality of the play of language that without end disrupts the “either/or” binary building of dialectic. She concentrates at the nonsequential third—excess—that overflows language’s dichotomies. during this paintings, laughter operates as a trope for disruption or breaking apart, that is, from Davis’s standpoint, a joyfully harmful shattering of our confining conceptual frameworks.
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Additional info for Breaking Up [at] Totality: A Rhetoric of Laughter
I was accustomed to being told what approach to take. Paradoxically, I was already a teacher that students saw as an authority figure; I had developed a nontraditional teaching style and philosophy based on helping students in their own struggle to define and to develop their interests. Yet when it came to my own writing, I was unable to strike out my pattern of thought. " I started seeing: my dense sentences subtly hid their conceptual framework in a luxuriance of insightful detail. Forcing the main ideas out in the open made me feel exposed, afflicted me with mental paralysis.
I have subverted, delayed, camouflaged, disowned, betrayed, concealed, and hidden my own writing. And a woman in her forties (Selena), who worked all day and came to this writing class at night, wrote: "As a wife and a working mother, my day is filled with such things as washing clothes, ironing, cleaning, cooking, and trying to help my children with their homework or aid them in solving a problem that they may have encountered during the day. My husband also requires some of my time. A combination of all these things affects me and the writing that I never do.
7 They do not criticize at all, but rather "listen" to the writer in a believing rather than an attacking stance, encouraging her to keep reshaping what she has to say until a reader can clearly understand it. The revising process is open for discussion. This new emphasis on revision and positive attitude toward teaching writing has been influenced by Sommers' (1980) research on the ways strong writers and "inexperienced" writers write. Experienced writers usually begin, like inexperienced writers, by spewing out their messy, rich concoction of ideas, but they do so with more gusto, usually with less self-criticism and despair.
Breaking Up [at] Totality: A Rhetoric of Laughter by D. Diane Davis