"textual production" is a correct and usable phrase in written English.
It refers to the act of creating written material, such as essays, articles, or reports. You can use "textual production" when discussing the process of writing and editing, or when discussing the quality and effectiveness of a written piece. For example: - The workshop focused on improving students' skills in textual production, from brainstorming ideas to revising and editing their final drafts. - The company's success in textual production was evident in their well-written and informative annual report. - The professor emphasized the importance of quality textual production in academic writing, encouraging students to critically evaluate their own work.
shows how tensions between the material and ephemeral make the textual production of African American literature become the textual production of black affect.
This enables him to examine issues of textual stability and instability in the arenas of textual production and reproduction.
The detailed functional analysis of their textual production revealed how they attempt to construct a disciplinary gaze.
There is no mention of a millennial kingdom in the Mishna (c. 200 ce), the first major textual production of this "normative" tradition.
Through a focus on textual production, diasporic tensions, and the ongoing, repetitive production of the contemporary, What is African American Literature?
As a scholar, a coder, and an aspiring activist, Dennis is interested in the the impact of technology on the way we think, read, and write: issues of authority, textual production, reception, influence, access, and discovery.
Nicole's dissertation, "Poetry in the Praetorium: Robespierre's Rhetoric in the 18th-Century Courtroom," illuminates how the rhetorical devices of sentiment developed in novels and theater in 18th-century France infiltrated courtroom textual productions in ways that significantly shifted what it meant to be be an eloquent lawyer.
It goes beyond the conventional textual analysis, production economic-politics and audiences' studies.
The piece first situates commonplace books as textual identity production and then posits Match.com as a remediation of the gendered commonplace book practice wherein modern daters negotiate tensions between master narratives concerning gender performances and the desire to transcend limiting normative heterosexual gender roles.
That final moment, as well as Smith's accomplished performance, makes up for some of the production's textual infelicities.
The Introduction also explores the relationship between theatrical production and textual revision.
