“The task of critical reflection is not merely to understand the various facts in their historical development (…) but also to see through the notion of fact itself, in its development and therefore in its relativity.”
― Max Horkheimer, Eclipse of Reason
Theory provides a critical language, argumentative framework, and stylistic approach to writing. Working in the field of critical theory—a genre of writing developed by thinkers like Frederic Jameson, Jacques Derrida, Judith Butler, and the academics of the Frankfurt School—blends critical analysis with artistic inquiry. Critical theory combines the creative and critical by capturing abstract ideas in linguistic concepts, while also depending on intertextual reference to convey is meaning—making a unique academic form for writers. Moreover, the dialectical foundation of theory enables clearly delineated rhetorical structures that depicts the associations between seemingly separate ideas. Thus, theory’s creatively critical genre asks for a writing style that questions exactly what style is—illustrating its unique position between the margins of academic objective analysis and creative expression.
Critical theory offers a specialized language that blends objective criticism with creative intertextuality. Language is obviously an essential characteristic of writing: the unique language of theory not only conceptualizes abstract ideas that help writers articulate difficult thoughts, but the concepts of critical theory also depend on an intertextual history—intertextuality being an artistic device closely related to parody or satire that means to use a word, name, or image in an artistic creation that refers back to a previously created artistic form, generating a new meaning in the reference (like when Anthony Hopkins quotes Shakespeare in HBO’s Westworld)—of cultural criticism that pluralizes the meaning of its concepts, making theory resemble an art form like poetry that requires close attention a multitude of literary devices. Indeed, a term like “logocentrism,” a word coined by Jacques Derrida to illustrate the hierarchy of speech over writing, exemplifies a concept that contains a radically abstract idea that allows academic writers to articulate specificity in their argument. However, feminist and queer scholars developed a special interest in the term (also coined by Derrida) “phallogocentrism,” which indicates the patriarchal occupation of spoken language. By adapting “logocentrism” to a feminist and queer focused analysis, scholars have pluralized the meaning of the term by multiplying its reference points: the definition of the term “phallogocentrism” not only refers to the research of the feminist and queer thinkers who developed it, but also to Derrida’s philosophical work. The adaption of the terms illustrates the intertextual dependence of critical theory concepts, making the genre of theory a unique field of academic criticism and artistic creation. Thus, theory’s combination of objective analysis with poetic intertextuality to interrogate language and convey ideas that simple denotation cannot express illustrates a unique writing style that makes theory critical and creative. The style of theory writing transforms academic research into a version of artistic commentary that expresses profound ideas in a creative form.
The dialectical foundation of critical theory enables abstract associations to be formulated in an understandable written organization. Dialectical argumentation has been performed for thousands of years—Aristotle was one of the first philosophers to advocate dialectical techniques in rhetorical analyses. It was Frederick Hegel and Karl Marx who developed the dialectical model to a critique of culture, then carried on by Jameson, the Frankfurt School, and Derrida as a core characteristic of their philosophies. The most basic dialectical model is the thesis, antithesis, synthesis structure, which takes one phenomenon (like the content of a story) and compares it with another seemingly different phenomenon (like the form or medium of a story) to show that the meaning of an artwork depends on a relationship between its content and form. In argumentative writing, dialectics works by comparing one claim to its opposite in order to (synthesize) illustrate the similarity between the two ideas. If someone wants to claim that wealthier individuals should pay higher taxes, a dialectical argument will point out the benefits of the claim, but also the (antithetical) claims supporting the opposing side who believes taxes should be lower. The dialectical synthesis, therefore, combines the two ideas to illustrate how the original claim supplements the arguments of the opposing side—not simply how one side is better, but how both sides combine to create a new understanding of the problem. Thus, structuring essays dialectically creates a roadmap for nuanced analysis, as well as a consciousness for how the meaning of a written work is conditioned by its presentation in a particular form. The dialectical model illustrates the creative and the critical aspects of the theory genre because it asks writers to be aware of the metaphysical aspects that inform interpretations of their work, while also acting as a structure for argumentative analysis.
Theory lives on the margins of objective analysis and creative inquiry, making it a unique style of academic writing. Critical theory twists the supposed difference between academic criticism and creative production because it is a writing style that blurs categories. Theory blends the poetic with the positional, which creates a distinctive style of academic writing that questions the separation of objective analysis and subjective understanding. Critical theory is creative because it steeps in the ambiguity of language and relies on pluralized, intertextual association to convey the meanings of its ideas. It remains critical, however, because the subject of its inquiry is cultural conditions and phenomena. Thus, theory writing embodies a unique writing practice—conveying truths in a decentered form.