Paragraph Citation Quotes

Isn't one of the first lessons of good elocution that there's nothing one can say in any rambling, sprawling rant that can't, through some effort, be said shorter and better with a little careful editing? Or that, in writing, there's nothing you can describe in any page-filling paragraph that can't be captured better in just a sentence or two? Perhaps even nothing in any sentence which cannot better be refined in a single, spot-on word? Does it not follow, then, that there's likely nothing one can say in any word - in saying anything at all - that, ultimately, isn't better left unsaid? (attrib: F.L. Vanderson)

Boswell, like Lecky (to get back to the point of this footnote), and Gibbon before him, loved footnotes. They knew that the outer surface of truth is not smooth, welling and gathering from paragraph to shapely paragraph, but is encrusted with a rough protective bark of citations, quotations marks, italics, and foreign languages, a whole variorum crust of "ibid.'s" and "compare's" and "see's" that are the shield for the pure flow of argument as it lives for a moment in one mind. They knew the anticipatory pleasure of sensing with peripheral vision, as they turned the page, gray silt of further example and qualification waiting in tiny type at the bottom. (They were aware, more generally, of the usefulness of tiny type in enhancing the glee of reading works of obscure scholarship: typographical density forces you to crouch like Robert Hooke or Henry Gray over the busyness and intricacy of recorded truth.) They liked deciding as they read whether they would bother to consult a certain footnote or not, and whether they would read it in context, or read it before the text it hung from, as an hors d'oeuvre. The muscles of the eye, they knew, want vertical itineraries; the rectus externus and internus grow dazed waggling back and forth in the Zs taught in grade school: the footnote functions as a switch, offering the model-railroader's satisfaction of catching the march of thought with a superscripted "1" and routing it, sometimes at length, through abandoned stations and submerged, leaching tunnels. Digression—a movement away from the gradus, or upward escalation, of the argument—is sometimes the only way to be thorough, and footnotes are the only form of graphic digression sanctioned by centuries of typesetters. And yet the MLA Style Sheet I owned in college warned against lengthy, "essay-like" footnotes. Were they nuts? Where is scholarship going?

They knew that the outer surface of truth is not smooth, welling and gathering from paragraph to shapely paragraph, but is encrusted with a rough protective bark of citations, quotation marks, italics and foreign languages, a whole variorum crust of ‘ibid.’s’ and ‘compare’s’ and ‘see’s’ that are the shield for the pure flow of argument as it lives for a moment in one mind…

alt.sex.stories The newsgroup quickly became one of the most popular text-based newsgroups (i.e. not intended for posting binary files) on Usenet. Amateur writers of all sorts began posting fictional “erotic stories” and finding a worldwide audience for their work. However, because of the very nature of unmoderated newsgroups, alt.sex.stories soon found itself a repository for a great number of poorly-written, sometimes barely coherent “stroke” stories consisting of a few sentences or paragraphs. The average quality of the stories posted to the newsgroup seemed somewhat lower and more crude than the stories seen in pornographic magazines and books, and this state of affairs continues to the current day.[citation needed] Yes, the “stroke” stories certainly undermined the credibility of the newsgroup that had produced stories such as “Balling Lil’ Sis,” “Showtime - Part 6 Featuring Jennifer Love Hewitt and a Vanna White Lookalike,” and “Alex and Brian,” which features the immortal sentence “‘Shhhhhhh, if you do as i say you wont get this!’ he said as he pulled out a 12 inch dildo with the name ‘MegaMan’ on it.

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In the apparent periphery of a footnote, Gender Trouble cites from the second paragraph of this passage Freud's assertion, "the ego is first and foremost a bodily ego" (GT 163, n. 43). But then, in a substitution crucially significant to her conceptualization of the body as the psychic projection of a surface, Butler replaces the referent "it" in the subsequent part of the cited sentence, which in Freud clearly refers back to the ego as bodily ego ("The ego is first and foremost a bodily ego; it . . . ) , with the word (square bracketed, demoted-in my citation of Butler's note-to parenthetical) "body." Butler's recitation of the passage reads: "Freud continues the above sentence: '(the body) is not merely a surface entity, but is itself the projection of a surface' " (GT 163 n. 43; my emphasis). Butler's reading of Freud's assertion thus figures the body as interchangeable with the ego. That is, the body appears not only as a surface entity but as itself the psychic projection of a surface. Yet that it is precisely Freud's concern at this point in his essay to articulate the bodily origins of the ego, the conception of the ego as product of the body not the body as product of the ego, is underscored by the explanatory footnote added by his editor James Strachey that appeared first in the 1927 English translation of this text immediately following the above passage-a note authorized by Freud. The note reads: "I.e. the ego is ultimately derived from bodily sensations, chiefly from those springing from the surface of the body. It may thus be regarded as a mental projection of the surface of the body."30 Butler's reading therefore inverts the note's representation of the body as productive of the psyche ("the ego is derived from bodily sensations") and, through that square-bracketed substitution, conversely images the body as a psychic effect. The body itself becomes commensurable with the psychic projection of the body. Whereas Freud's original assertion maintains a distinction between the body's real surface and the body image as a mental projection of this surface (a distinction between corporeal referent and psychic signified), Butler's recitation collapses bodily surface into the psychic projection of the body, conflates corporeal materiality with imaginary projection. In so doing, it lets slip any notion of the body as a discernible referential category.