Hayot does more than explain the techniques of academic writing. He aims to adjust the writers perspective, encouraging scholars to think of themselves as makers and doers of important work. Scholarly writing can be frustrating and exhausting, yet also satisfying and crucial, and Hayot weaves these experiences, including his own trials and tribulations, into an ethos for scholars to draw on as they write. Combining psychological support with practical suggestions for composing introductions and conclusions, developing a schedule for writing, using notes and citations, and structuring…mehr
Hayot does more than explain the techniques of academic writing. He aims to adjust the writers perspective, encouraging scholars to think of themselves as makers and doers of important work. Scholarly writing can be frustrating and exhausting, yet also satisfying and crucial, and Hayot weaves these experiences, including his own trials and tribulations, into an ethos for scholars to draw on as they write. Combining psychological support with practical suggestions for composing introductions and conclusions, developing a schedule for writing, using notes and citations, and structuring paragraphs and essays, this guide to the elements of academic style does its part to rejuvenate scholarship and writing in the humanities.
Eric Hayot is professor of comparative literature and Asian studies at the Pennsylvania State University. He is the author of On Literary Worlds, The Hypothetical Mandarin: Sympathy, Modernity, and Chinese Pain (co-recipient of the 2010 Modernist Studies Association Book Prize), and Chinese Dreams: Pound, Brecht, Tel quel. He has worked for the Columbus Dispatch and the Associated Press. More recently, his writing has appeared in the Los Angeles Review of Books and Public Books. He also is a cofounder of the blog Printculture.
Inhaltsangabe
1. Why Read This Book? Part I. Writing as Practice 2. Unlearning What You (Probably) Know 3. Eight Strategies for Getting Writing Done 4. Institutional Contexts 5. Dissertations and Books 6. A Materialist Theory of Writing 7. How Do Readers Work? Part II. Strategy 8. The Uneven U 9. Structure and Subordination 10. Structural Rhythm 11. Introductions 12. Don't Say It All Early 13. Paragraphing 14. Three Types of Transitions 15. Showing Your Iceberg 16. Metalanguage 17. Ending Well 18. Titles and Subtitles Part III. Tactics 19. Citational Practice 20. Conference Talks 21. Examples 22. Figural Language 23. Footnotes and Endnotes 24. Jargon 25. Parentheticals 26. Pronouns 27. Repetition 28. Rhetorical Questions and Clauses 29. Sentence Rhythm 30. Ventilation 31. Weight Part IV. Becoming 32. Work as Process 33. Becoming a Writer 34. From the Workshop to the World (as Workshop [as World]) 35. Acknowledgments Appendix: A Writer's Workbook Works Cited Bibliography
1. Why Read This Book? Part I. Writing as Practice 2. Unlearning What You (Probably) Know 3. Eight Strategies for Getting Writing Done 4. Institutional Contexts 5. Dissertations and Books 6. A Materialist Theory of Writing 7. How Do Readers Work? Part II. Strategy 8. The Uneven U 9. Structure and Subordination 10. Structural Rhythm 11. Introductions 12. Don't Say It All Early 13. Paragraphing 14. Three Types of Transitions 15. Showing Your Iceberg 16. Metalanguage 17. Ending Well 18. Titles and Subtitles Part III. Tactics 19. Citational Practice 20. Conference Talks 21. Examples 22. Figural Language 23. Footnotes and Endnotes 24. Jargon 25. Parentheticals 26. Pronouns 27. Repetition 28. Rhetorical Questions and Clauses 29. Sentence Rhythm 30. Ventilation 31. Weight Part IV. Becoming 32. Work as Process 33. Becoming a Writer 34. From the Workshop to the World (as Workshop [as World]) 35. Acknowledgments Appendix: A Writer's Workbook Works Cited Bibliography
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