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[ā¦]and approximations that Strickland compares to a journey across the earthās sphere. ā[O]n earthā¦ //there are no/ straight/ linesā (True North 15): but at the South, the nadir, āthe breast of the whitening world,ā every direction is potentially a longitude, a great circle path north. There is imagined fecundity in potentia ā until one takes the first step: after that, as potential collapses into a single actualization, the explorer must compare her position with the place where she started, exchanging self-reliance for a dependence on measurement ā in this case, using the simplest, most sustainable technology available, a stick and [ā¦]
[ā¦]Charles LempriĆØreās Classical Dictionary (1788), and the Oxford English Dictionary, in order to examine to what extent the word Dictionary in the novelās title is a misnomer, and what the implications are of the ploys through which the narrative both follows and flouts dictionariesā conventions. Mindful of the interest of this issue of electronic book review in the status of Eastern European postmodern fiction, I also compare the metafictional sensibilities of Dictionary of the Khazars with those of narratives which have made it possible, for critics such as Linda Hutcheon or Brian McHale, to speak of a postmodern poetics. Finally, [ā¦]
[ā¦]beloved by God. I am a fool because I utter that which others dare not. I am a wanderer in order to commend myself unto Godās arms. I am a wanderer for I do not even seem to have myself. I am a beggar and I beg so that others wouldnāt reach bottom. I am a beggar so that I could beg and beg for others, so that I could say thanks and praise others. I am a monk because I am beatified not only by my life but also by my birth and my death. ten years of walking [ā¦]
[ā¦]to keep the gaze inside the house, and the structure of the house itself continually turns the visitor to face the room he has just left. The gaze is folded inward in an intimate yet controlling movement, private yet specular. Le Corbusier sees the house as constructing pictures, or scenes, as about movement through space as the unfolding of a movie or a narrative. (In fact, he, one of his houses, and his car appeared in a film, LāArchitecture dāaujourdāhui, 1929.) For Le Corbusier, houses built spectacles. Houses became mechanisms for seeing, as evidenced by design sketches that begin with [ā¦]
[ā¦]You have to read this. Iām writing your rear-view between Salzburg and Vienna dividing my time [[does that ring a bell?]], both cities in Austria ā no kangaroos where none intended ā seventy-four years after the publication of the English translation of Chayim Blochās book on the Golem [[ The Golem: Legends of the Ghetto of Prague ]] in Vienna, Austria, the same year that Adolf Hitlerās Mein Kampf was published, Hitler being an Austrian, 10,000 copies of his book sold within eight months, sixty-one years after the so-called Anschluss, the āannexationā of Austria by Hitlerās German Altreich, 99.7 per [ā¦]
[ā¦]his notes to the poem, Matthias relates his inspiration and some of his methods: āā¦[H]aving determined to write about rivers and trails which I often crossed but as yet knew little about, I found myself stimulated by exactly those things which from time to time I had thought might stimulate `another poetā as I saw writing about things I knew and loved in East Anglia ā LaSalleās voyage through the great lakes and journey along the local paths and waterways, Algonquian (mostly Potawatami) history and mythology, the geological and geographical transformations which occurred during the last glacial recession, and the [ā¦]
[ā¦]lean novels [of writer Bill Gray, who has achieved canonical status during his lifetime] in their latest trade editions, a matched pair banded in austere umbers and rustsā (20). This description of a publisher giving its author the canonical treatment is uncannily reminiscent of the recent editions of DeLilloās own novels, including Mao II itself. It shows remarkable foresight and intuition on DeLilloās part, though hopefully not in the sense that DeLillo has anticipated his own career in that of Bill Gray (driven into privacy by fame, Gray endlessly tinkers with his Great Book, which remains unfinished at the time [ā¦]
[ā¦]more cautious social sciences. (423) Curiously, she remarks that when she asked her colleagues how to come to terms with the real L.A., she was referred to cinematic cities ā Ridley Scottās Blade Runner and Fritz Langās Metropolis. In the end, her conclusions are mixed: āLaLa Landā (her characterization of the city) is perhaps the best-equipped global city to deal with the āirrational boundary conditionsā caused by shifts in local-global relations. Los Angelesās fragmentation, geographically and socially, may in fact be its strength in adapting to a global economy with shifting boundaries: āthe fragmented city jurisdictionsā¦seem the strongest position to [ā¦]
[ā¦]synonymous with essentialism has produced a discursive landscape which makes it nearly impossible to forge productive alliances between environmentalism and feminism without raising the doubly baneful double-entendre of a āfemale nature.ā If, as Judith Butler argues, the fixed, āimmobilized,ā āparalyzedā referent of the category āwomanā hampers feminist agency, and the āconstant riftingā over the term āwomanā is itself the āungrounded ground of feminist theoryā (āContingent Foundationsā 16), invoking nature or the natural risks further congealing the signification of āwoman,ā thus foreclosing possibilities for feminist agency. Yet, it would be difficult to imagine an environmental feminist politics that did not, in [ā¦]
[ā¦]ālast line of defense,ā has been āto make narrative fiction more ādigitalā and thus able to compete with digital media in the battle for an increasingly dissipating audienceā (Vitas). Few observers of the scene ever thought it likely that such resistance would be effective over the long term, as the writers themselves went on in their careers āgalloping in a dozen directions at onceā (Sterling, cited by Frelik). A more cogent argument, advanced by critics versed in cognitive psychology and media discourse theory, holds that literature is more successful when it emphasizes its medial otherness ā its stability in print, [ā¦]