In Form, Digressions on the Act of FictionSouthern Illinois University Press, 1985 - 247 psl. Formmust never be taken for granted, but must be created as the work itself is shaped: "The writer works not from a priori ideas about what will happen and what form it will take, but in and through the text." Sukenick, one of our most original contemporary novelists, describes these essays as "the comments of a fiction writer about writing, not those of a critic on what has been written. They are more or less reports on experience--those of one engaged in the ongoing struggle with the angel of form, rather than of one studying its consequences from a cool distance: 'in form, ' not 'on form.'" The difficulty of creative works no longer accessible to traditional reading habits has threatened us with an age of criticism in which interpretation has become more imposing than invention. One of the tasks of modern fiction, therefore, is "to displace, energize, and re-embody its criticism--literally to reunite at with our experience of the text." |
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... recording , and editing are all almost simultaneous , so the making of the film gets very close to the process of thinking about it by the director , an ex- tension of his thought process . Thus in terms of creative pro- cess ...
... recording of information , the more concrete the reproduction , the more sensuous , finally . Increased abstraction ... recording of the artist's performance , writing of the writer's performance in composition , so now , as Coppola is ...
... recording is a case in point . Tape recording is interesting because it breaks free more easily of the rules and categories of written language into a more flexible language , which , however , remains mere talk until you get it on the ...
Turinys
Twelve Digressions Toward a Study of Composition | 3 |
Thirteen Digressions | 16 |
Ten Digressions | 34 |
Autorių teisės | |
Nerodoma skirsnių: 8