The hallmark of Academic writing, in the mind of a college student, is the crazy and unintelligible prose that is used in most academic sources. The article below describes how most people feel about academic sources and explains the reasoning behind the language. I think that this is an important read for any student.
Dancing with Professors: The Trouble with Academic Prose
Patricia Nelson Limerick
Professor of History, University of Colorado
Speaker: Let me try to say it more clearly.
But in scholarly writing in the late 20th century, other rules apply. This is the implicit exchange:
Reader: I cannot understand what you are saying.
Academic Writer: Too bad. The problem is that you are an unsophisticated and untrained reader.
If you were smarter, you would understand me.
While we waste our time fighting over ideological conformity in the scholarly world, horrible writing remains a far more important problem. For all their differences, most right-wing scholars and most left-wing scholars share a common allegiance to a cult of obscurity. Left, right and center all hide behind the idea that unintelligible prose indicates a sophisticated mind. The politically correct and the politically incorrect come together in the violence they commit against the English language.
Contemplate this breathless, indefatigable sentence from the geographer, Allan Pred:
"If what is at stake is an understanding of geographical and historical variations in the sexual division of productive and reproductive labor, of contemporary local and regional variations in female wage labor and women's work outside the formal economy, of on-the-ground variations in the everyday content of women's lives, inside and outside of their families, then it must be recognized that, at some nontrivial level, none of the corporal practices associated with these variations can be severed from spatially and temporally specific linguistic practices, from language that not only enable the conveyance of instructions, commands, role depictions and operating rules, but that also regulate and control, that normalize and spell out the limits of the permissible through the conveyance of disapproval, ridicule and reproach."
The redemption of the university, especially in terms of the public's appraisal of the value of research and publication, requires all the writers who have something they want to publish to ask themselves the question: Does this have to be a closed communication, shutting out all but specialists willing to fight their way through the thickest of jargon? Or can this be an open communication, engaging specialists with new information and new thinking, but also offering an invitation to nonspecialists to learn from this study, to grasp its importance, and by extension, to find concrete reasons to see value in the work of the university?
Ego is, of course, the key obstacle here. As badly as most of them write, professors are nonetheless proud and sensitive writers, resistant in criticism. But even the most desperate cases can be redeemed and persuaded to think of writing as a challenging craft, not as existential trauma. A few years ago, I began to look at carpenters and other artisans as the emotional model for writers. A carpenter, let us say, makes a door for a cabinet. If the door does not hang straight, the carpenter does not say, "I will not change that door; it is an expression of my individuality; who cares if it will not close?" Instead, the carpenter removes the door and works on it until it fits. That attitude, applied to writing, could be our salvation. If we thought more like carpenters, academic writers could find a route out of the trap of ego and vanity. Escaped from that trap, we could simply work on successive drafts until what we have to say is clear. YPGK7UZAS4WE