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[…]projector to see the stars. “You know something [is] wrong when you have to go inside [a] building to see star[s] at night. It is all ass backward…forest inside, jungle inside, sea inside, sky inside.” Shakar’s subtle criticisms begin here and widen to encompass unfiltered media, unbridled consumerism, cultural impersonalization, and the way we inhabit our buildings – surreptitiously listening to each other’s lives through our apartments’ thin walls, too frightened, later, on the street, to exchange greetings with people we have already come to know. In these nuanced and highly-crafted stories, our everyday longings are distilled to a point […]
[…]a survey, will soon prove to be a very useful instrument, both for scholars interested in OULIPO, and for every reader intrigued by literary creation and experiment. One can only regret that an analogous work still does not exist in France, the country where OULIPO was born and where it encountered its first […]
[…]that can be mildly described as outlandish. It is full of banal situations rapidly transformed into comic nightmares. No one would call him a realist. Yet at a literary conference several years ago, when he was asked why he wrote, he answered, “To tell the truth.” His answer startled me; not that Robert Coover isn’t an honest man, but this was not what his work first brought to mind. I quickly saw that he had been right to place himself in the age-old tradition of poetic truth-telling. In that case, we may then ask, why does he invent tales so […]
[…]a survey, will soon prove to be a very useful instrument, both for scholars interested in OULIPO, and for every reader intrigued by literary creation and experiment. One can only regret that an analogous work still does not exist in France, the country where OULIPO was born and where it encountered its first […]
[…]structure mimics the Color Wheel (a tool used to illustrate how three “primary” colors can be combined to create new colors). Layers of partial images and bits of sounds complicate the possibility of simplifying one’s complex emotional life. Primary Sounds ‘s interactivity encourages the user to mix three audio tracks and three colors. Small buttons on either side of the Color Wheel trigger separate Flash movies which contain their own audio and visual tracks. The user can overlap these tracks, mixing them like paint. A live color mix “plays” in the lower left pie of the wheel. For a dial-up […]
[…]much more predictable and when people could more easily rely on certain time-tested principles to guide their daily affairs. Those holding such a view do not feel threatened by government action in cyberspace, but rather by lawbreakers and anarchists who might use this new communications medium to further their own nefarious ends. On some level, particularly for certain problem areas, the Internet itself is seen as the enemy here. Regulation is viewed as a panacea, and the government is perceived as not doing enough. (353-4) As a consequence of these competing viewpoints, Biegel acknowledges the moral ambiguity of areas of […]
[…]difficult to discuss music, as Spice says, “in terms of texts and narratives without reducing [it] to crude and schematic verbal paraphrases,” Carpenter takes his risks on behalf of the general audience for whom his book is written. How many readers would be able, even with expert guidance, to read a passage – to hear a passage – from a Britten score? Besides, many books on Britten of great musicological sophistication already exist, and the expert or musician will want to seek them out. I don’t myself feel that Carpenter damages the music by reading it, through the lens of […]
[…]we thought we knew and makes us want to reread them. It also raises more questions than it can comfortably answer in its relatively short span — questions about the relation of “epic” to “novel” in the past two centuries and about the ideological determination of specific literary forms and genres. Moretti’s thesis is seemingly simple. Such “monuments” as the “drama” Faust and the “novel” Ulysses are more properly classified as belonging to a category Moretti calls “modern epic”: “`epic’, because of the many structural similarities binding it to a distant past…but `modern epic’ because there are certainly quite a […]
[…]such a broad and varied term, is allowing in just this way: It is essentially ambiguous. For example, by “ecologies” does one mean environmental science, human dynamics, what? Is there, say, a literary aspect to ecology, one which would actually exceed and betray all invocations of the term? First consider the popular connotations of the word. Ecology: “The branch of biology dealing with the relationship between organisms and their environment.” This suggests the biological and the bodily sure enough, but such a definition then leads us to the old academic’s problem of “environment,” Nature or nurture? “Kill the body and […]
[…]and this most intense of liminal skirmishes is explored in detail. Arnold Schwarzeneggar, as actor and bodybuilder, has often been the site for this crisis to act itself out on film. Jonathan Goldberg’s complex and perceptive article tracing his career uses a theoretical toolbox including the writings of Leo Bersani, Judith Butler, and Zoe Sofia, amongst others. And, as the excessive phallus exceeds even itself, he makes a particularly choice use of Pat Califia’s work to read the improbable family group of Terminator 2. Whilst it may not be quite this same sly wit making it appear that the book […]