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Notes From The Geek Show: A Theory of Modes and Modalities
Frye goes on to lay out his classification of five classes — or phases might be a better term: mythic, where the hero is superior in kind to the everyman; romance, where the hero is superior in degree to the everyman and empowered over his environment; high mimetic, where the hero is superior in degree to the everyman but subject to his environment; low mimetic, where the hero is of equal status to the everyman; ironic, where the hero is inferior to the everyman. Essentially, his model offers us five types of hero we could label god, demigod, overman, everyman, nobody.
Notes From The Geek Show: Bukiet on Brooklyn Books
Hal Duncan discusses a review by Melvin Bukiet of the Brooklyn Books of Wonder - the current literary trend to use elements of the fantastic to avoid acknowledging suffering - and concludes that it's a silly objection.
Eyeteeth: A journal of incisive ideas
Paul Schmelzer is editor of the Minnesota Independent, former editor of the Walker Art Center blogs, creator of Signifier, signed, a former editor at Adbusters, and contributor to Cabinet, Raw Vision, The Progressive, Utne Reader and others.
Enigmas and Riddles in Literature - Cambridge University Press
How do enigmas and riddles work in literature? This benchmark study investigates the literary trope of the riddle, and its relation to the broader term ‘enigma’, including enigma as large masterplot. Cook argues for a revival of the old figure of speech known as ‘enigma’ from Aristotle to the seventeenth century by demonstrating its usefulness.
slacktivist: TF: Bruce's sermon, part 1
Other stories in other books persuade readers to go along through the willing suspension of disbelief. Tribulation Force insists on the willing suspension of the reader's humanity. It requires the reader not just to accept but to participate in the monstrous absence of empathy displayed by the characters and authors alike. The word empathy has recently become something of a partisan football, so it's worth reminding ourselves here of what the opposite of empathy is: sociopathy.
There's a monster at the end of this book. And if the authors succeed at what they've set out to do, that monster is you.
Richard Deming - Listening on All Sides: Toward an Emersonian Ethics of Reading - Reviewed by David K. O'Connor, University of Notre Dame - Philosophical Reviews - University of Notre Dame
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The "sociality" of language, writes Deming, "brings up close the issue of ethics" (14). In a way, it is no surprise that Ralph Waldo Emerson figures prominently in such a project. "I do then with my friends as I do with my books," Emerson said,<!--[if !supportFootnotes]-->[1]<!--[endif]--> and he meant it. For Emerson, reading and writing are the paradigm of all human life, and Deming does Emerson no violence in looking to him for an "ethics of reading," that is, to find guidance in our practices of attentive reading for how to treat people.
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Deming, then, does see the darker side of sociality, but he tends to treat competitiveness and rivalry as a pathology to be eliminated rather than as part of the very structure of the "dialectic of mutual recognition." Perhaps the desire to make recognition possible without requiring struggle is a noble one. Nevertheless, this desire seems to distort Deming's discussion of Herman Melville's struggles to free himself from Nathaniel Hawthorne's precedence
Authorship Collaborative - Home Page
This individualistic construction of authorship is a relatively recent invention, the result of a radical reconceptualization of the creative process that culminated less than two centuries ago in the heroic self-presentation of Romantic poets.
The Mumpsimus: "Mimetic Fiction"
Despite its history within the SF world, I'm not convinced that "mimetic fiction" is the best term for that thing for which there is, admittedly, no perfect term. Using mimesis to describe this thing, though, seems even less perfect to me than most of the other terms, because I'm more persuaded by Sukenick's use of it to mean fiction that tries to hide its illusions. In an essay on Gerald Graff, Sukenick makes this wonderfully efficient statement: "Mimetic fiction depends on the suspension of disbelief; nonmimetic fiction does not."
HG Poetics: On Form & Infinity in Poetry
why so? because in my book, infinity & the irrational are connected with the much-maligned "I" - that mysterious Subject - Shakespeare behind the arras - God - Keats' negrido - the Soul... & the great inimitable poets of all times are searching (elegantly, sublimely) beyond elegance...
Marjorie Perloff "Wittgenstein's Ladder"
Austere and uncompromising, the philosopher Ludwig Wittgenstein had no use for the avant-garde art works of his own time. He refused to formulate an aesthetic, declaring that one can no more define the "beautiful" than determine "what sort of coffee tastes good." And yet many of the writers of our time have understood, as academic theorists generally have not, that Wittgenstein is "their" philosopher. How do we resolve this paradox? Marjorie Perloff, our foremost critic of twentieth-century poetry, argues that Wittgenstein has provided writers with a radical new aesthetic, a key to recognizing the inescapable strangeness of ordinary language.
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