Depending on how highly one values the psychoanalytical project, this arrangement of associations within a paratactical
scholarly space will either serve to edify or make one feel trapped in a sort of post-structuralist nightmare, doomed to jump from one signifier to the next in a vertiginous spiral of referential allusions.
On one level, these positions manifest themselves in the work of the terza generazione (3) in certain grammatical-stylistic features, such as a preference for nouns freed from definite and indefinite articles, a syntax privileging paratactical
relations, a non-standard use of prepositions, and a preference for elliptical expression.
While both are forms of exploration, the poet explores his feelings in the paratactical
addition of words and phrases, creating the scale of his work as he writes, and uses word as words.
In short, categorisations regarding same-sexuality are paradoxical, suspensive, paratactical
, non-identical (Deranty, 2003: 146), which is why in the title of this paper I decided to put ('homosexual') under erasure, suspended, bracketed and in inverted commas.
Documenting the quiddity of objects and landscapes, they produced a paratactical
, accumulative language.
Pound proffers something else, a paratactical
listing of facts in which nothing necessarily means anything to the reader unless he or she sees (and only thereafter "knows") the same connections the writer has already seen.
(37) This could only be achieved through a paratactical
division of the political space, reducing it to two separate, antagonistic series of equivalential chains.
In his 1980 essay Hasan also presented "Five Paratactical
Propositions about the Culture of Postmodernism":
Somewhat less successful is Rae's strictly teleological argument that the poet-novelists learned their particular brand of disjointed narrative from the disjunctive and paratactical
nature of poetry; it's not that the argument that Rae makes is wrong but that it seems overly simplistic.
(21.) This additive, associational structure is similar to that of present-tense narratives, as described by Uri Margolin: "Since events in concurrent narration are reported as they occur, as a sequence of NOW moments, or as the immediate experiences of the reporting voice, the sequence as a whole may often have an additive, paratactical
quality, with events being juxtaposed or strung together one after another" ("Of What Is Past" 152).
In the process, she highlights a series of devices that produce the above features and which are often used by these writers, as well as hark back to prior literary movements; among these are: the subversion of realist conventions of causality, time, place and characterization; the multiplication of points of view and the metamorphoses of protagonists or narrators; the creation of paradox and aporia; the slippage of the signifier and the play of differance; the deployment of mise-en-abyme, intertextuality, parody and pastiche; the creation of surrealist imagery; and the paratactical
structuring of the narratives.
He notes that, in stark contrast to the historical narrative, the annals form offers "only a list of events ordered in chronological sequence." Though it does have a sense of time, this form has "none of the characteristics that we normally attribute to a story: no central subject, no well-marked beginning, middle, and end, no peripeteia [reversal of fortunes], and no identifiable narrative voice." Using the Annals of Saint Gall (dating from the eighth to tenth centuries of the common era) as his example, White relates that events "seem merely to have occurred"--the entries seem "paratactical
and endless" and lack "rank" and "established causation" (6-7).