Abstract
In fine arts, a diptych usually consists of two paintings that are hinged or bound together to form a single piece that opens like a book. In my interpretation of the form, I have written this paper as a textual diptych. It consists of two halves—each of which provides a slightly different perspective and response to the question: How might scholars work to unsettle conventional practices of academic representation in order to allow for different knowledges and understandings to emerge? Further, I wonder in what ways I might expand how and what I write to include as-yet-unsanctioned thoughts, insights, sources, forms, and habits in order to unsettle conventional academic scholarship. This piece of work is my current contribution to the conversation on what it means to write academically, to represent one’s scholarship.
Highlights
Main Page In fine arts, a diptych usually consists of two paintings that are hinged or bound together to form a single piece that opens like a book
Using this form as my inspiration, I have written this paper as a textual diptych
Each half consists of a slightly different perspective and response to the question: How might scholars work to unsettle conventional practices of academic representation in order to allow for different knowledges and understandings to emerge? I invite you, dear reader, to join me in my wondering so that you, too, may interrogate your own beliefs and practices
Summary
A diptych usually consists of two paintings that are hinged or bound together to form a single piece that opens like a book. Each half consists of a slightly different perspective and response to the question: How might scholars work to unsettle conventional practices of academic representation in order to allow for different knowledges and understandings to emerge?
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