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GCWC WAG Creative Writing
GASTON COLLEGE Creative Writing Writing Center I. GENERAL PURPOSE/AUDIENCE Creative writing may take many forms, such as fiction, creative non-fiction, poetry, playwriting, and screenwriting. Creative writers can turn almost any situation into possible writing material. Creative writers have a lot of freedom to work with and can experiment with form in their work, but they should also be aware of common tropes and forms within their chosen style. For instance, short story writers should be aware of what represents common structures within that genre in published fiction and steer away from using the structures of TV shows or movies. Audiences may include any reader of the genre that the author chooses to use; therefore, authors should address potential audiences for their writing outside the classroom. What’s more, students should address a national audience of interested readers—not just familiar readers who will know about a particular location or situation (for example, college life). II. TYPES OF WRITING • Fiction (novels and short stories) • Creative non-fiction • Poetry • Plays • Screenplays Assignments will vary from instructor to instructor and class to class, but students in all Creative Writing classes are assigned writing exercises and will also provide peer critiques of their classmates’ work. In a university setting, instructors expect prose to be in the realistic, literary vein unless otherwise specified. III. TYPES OF EVIDENCE • Subjective: personal accounts and storytelling; invention • Objective: historical data, historical and cultural accuracy: Work set in any period of the past (or present) should reflect the facts, events, details, and culture of its time and place. -
The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic«
DOI 10.1515/jlt-2013-0006 JLT 2013; 7(1–2): 135–153 Ted Nannicelli The Ontology and Literary Status of the Screenplay:The Case of »Scriptfic« Abstract: Are screenplays – or at least some screenplays – works of literature? Until relatively recently, very few theorists had addressed this question. Thanks to recent work by scholars such as Ian W. Macdonald, Steven Maras, and Steven Price, theorizing the nature of the screenplay is back on the agenda after years of neglect (albeit with a few important exceptions) by film studies and literary studies (Macdonald 2004; Maras 2009; Price 2010). What has emerged from this work, however, is a general acceptance that the screenplay is ontologically peculiar and, as a result, a divergence of opinion about whether or not it is the kind of thing that can be literature. Specifically, recent discussion about the nature of the screenplay has tended to emphasize its putative lack of ontological autonomy from the film, its supposed inherent incompleteness, or both (Carroll 2008, 68–69; Maras 2009, 48; Price 2010, 38–42). Moreover, these sorts of claims about the screenplay’s ontology – its essential nature – are often hitched to broader arguments. According to one such argument, a screenplay’s supposed ontological tie to the production of a film is said to vitiate the possibility of it being a work of literature in its own right (Carroll 2008, 68–69; Maras 2009, 48). According to another, the screenplay’s tenuous literary status is putatively explained by the idea that it is perpetually unfinished, akin to a Barthesian »writerly text« (Price 2010, 41). -
Poetry-Film & the Film Poem
Poetry-Film & The Film Poem: Some Clarifications Ever since experimental filmmakers and critics starting theorising the concepts behind avant-garde visual explorations, the idea of poetry was seen as a fruitful model for the creative process of the more lyrical side of experimental film practices. The working mode of the narrative-liberated filmmaker seemed somehow analogous to this of the modernist poet. In some cases (like this of Stan Brakhage) even the very lifestyle of the filmmaker resembled that of the romantic poet, as did the modes of production in creating and distributing the work. This appears as somewhat of a contradiction when we read some of the statements / manifestos of film artists, within which they often stress the importance of film as an independent art, suggesting that film could only be a respectable art form if it struggles to work within the specificities of its own language. [The notion of medium-specificity is a commonplace for modernism]. In the opening sequence of ‘The Man With The Movie Camera’, Dziga Vertov writes his manifesto: “The film presents an experiment in the cinematic communication of visible events without the aid of intertitles (a film without intertitles), without the aid of a scenario (a film without a scenario), without the aid of theatre (a film without actors, without sets etc). This experimental work aims at creating a truly international absolute language of cinema based on its total seperation from the language of theatre and literature”1 In this statement Vertov asks audience and filmmakers alike to see filmmaking as an independent art form with its own language, a language that does not need to borrow from other arts to be meaningful. -
The Title of This Paper Is ༾
IAFOR Journal of Arts & Humanities Volume 4 – Issue 2 – Autumn 2017 The Title of This Paper Is ༛◌༾༶◌༙༑༒ On Asemic Writing and the Absence of Meaning Law Alsobrook Virginia Commonwealth University in Qatar Doha, Qatar Abstract Asemic writing is a wordless form of textual communication, with semantically open content left to the reader’s interpretation. By contrast, graphic designers are taught to conceive of text as image in order to compound meaning through graphic representation and typographic nuance. Graphic designers consider the linguistic container beyond its semantic substance, in effect, and attempt to expand the sematic load of language with visual modulation. Analogously, in Empire of Signs, Roland Barthes contemplates Japanese culture as a series of signs that exist in relative ataraxia with their signifying instance, where the alliance of sign and signification mingle as meditative components in a relative yin-yang balance as exemplified by the society within which they exit as philosophical constants. For Barthes, this notion confronts a Western temperament wherein a Platonic ideal seems to foment a continual search for the existence of pre-eminent signs that function as pinnacles of signification. However, when signs are devoid of intentional meaning, what can we glean from the mechanics of sign operations that attempt to establish and create, especially with regards to visual narrative and the heterotopic and temporal devices used by writers, artists and designers, a sense of “otherness?” This paper examines the heterotopic relationship of asemic writing as a mediated agent of narrative in our post-literate society. Key words: asemic, narrative, otherness, hypermediacy, heterotopia 5 IAFOR Journal of Arts & Humanities Volume 4 – Issue 2 – Autumn 2017 Introduction As a child, I loved the Sunday comics; a supplemental section of the weekend newspaper devoted to games, trivia, and of course, cartoons. -
Why Does the Screenwriter Cross the Road…By Joe Gilford 1
WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 1 WHY DOES THE SCREENWRITER CROSS THE ROAD? …and other screenwriting secrets. by Joe Gilford TABLE OF CONTENTS INTRODUCTION (included on this web page) 1. FILM IS NOT A VISUAL MEDIUM 2. SCREENPLAYS ARE NOT WRITTEN—THEY’RE BUILT 3. SO THERE’S THIS PERSON… 4. SUSTAINABLE SCREENWRITING 5. WHAT’S THE WORST THAT CAN HAPPEN?—THAT’S WHAT HAPPENS! 6. IF YOU DON’T BELIEVE THIS STORY—WHO WILL?? 7. TOOLBAG: THE TRICKS, GAGS & GADGETS OF THE TRADE 8. OK, GO WRITE YOUR SCRIPT 9. NOW WHAT? INTRODUCTION Let’s admit it: writing a good screenplay isn’t easy. Any seasoned professional, including me, can tell you that. You really want it to go well. You really want to do a good job. You want those involved — including yourself — to be very pleased. You really want it to be satisfying for all parties, in this case that means your characters and your audience. WHY DOES THE SCREENWRITER CROSS THE ROAD…BY JOE GILFORD 2 I believe great care is always taken in writing the best screenplays. The story needs to be psychically and spiritually nutritious. This isn’t a one-night stand. This is something that needs to be meaningful, maybe even last a lifetime, which is difficult even under the best circumstances. Believe it or not, in the end, it needs to make sense in some way. Even if you don’t see yourself as some kind of “artist,” you can’t avoid it. You’re going to be writing this script using your whole psyche. -
AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques. -
The Technological Imaginary of Imperial Japan, 1931-1945
THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology. -
Introduction Screenwriting Off the Page
Introduction Screenwriting off the Page The product of the dream factory is not one of the same nature as are the material objects turned out on most assembly lines. For them, uniformity is essential; for the motion picture, originality is important. The conflict between the two qualities is a major problem in Hollywood. hortense powdermaker1 A screenplay writer, screenwriter for short, or scriptwriter or scenarist is a writer who practices the craft of screenwriting, writing screenplays on which mass media such as films, television programs, comics or video games are based. Wikipedia In the documentary Dreams on Spec (2007), filmmaker Daniel J. Snyder tests studio executive Jack Warner’s famous line: “Writers are just sch- mucks with Underwoods.” Snyder seeks to explain, for example, why a writer would take the time to craft an original “spec” script without a mon- etary advance and with only the dimmest of possibilities that it will be bought by a studio or producer. Extending anthropologist Hortense Powdermaker’s 1950s framing of Hollywood in the era of Jack Warner and other classic Hollywood moguls as a “dream factory,” Dreams on Spec pro- files the creative and economic nightmares experienced by contemporary screenwriters hoping to clock in on Hollywood’s assembly line of creative uniformity. There is something to learn about the craft and profession of screenwrit- ing from all the characters in this documentary. One of the interviewees, Dennis Palumbo (My Favorite Year, 1982), addresses the downside of the struggling screenwriter’s life with a healthy dose of pragmatism: “A writ- er’s life and a writer’s struggle can be really hard on relationships, very hard for your mate to understand. -
Transcendent Topologies
Transcendent Topologies: Structuralism and Visual Writing tom hibbard LUNA BISONTE PRODS 2018 TRANSCENDENT TOPOLOGIES: STRUCTURALISM AND VISUAL WRITING © Tom Hibbard 2018 One and the same has lost us, one and the same has forgotten us ~ Paul Celan Cover and title page art © Jim Leftwich & John M. Bennett Book design by C. Mehrl Bennett & Tom Hibbard ISBN 978-1-938521-45-4 www.johnmbennett.net https://www.lulu.com/lunabisonteprods LUNA BISONTE PRODS 137 Leland Ave. Columbus, OH 43214 USA This collection of prose writings is respectfully dedicated to my cousin, Bill Dawes. TABLE OF CONTENTS Logos, Discourse, Daring, and the Geneology of the Visible (on Jim Leftwich, De Villo Sloan) ….……1 Writing on the Wall: Koppany, Hungary, and The Economy of Form………………………………………………9 Luc Fierens, Iconography and Flexibility, Is Mankind Burning…………………………………………..….…….…15 Reed Altemus, Planck and The Unblemished Logos of Transformation…………………………………...……19 Nico Vassilakis, Language as the Structure of Being…..…………………………………………………….……………21 David-Baptiste Chirot L’Amour Marxist, Presence in The Ontological Epoch…………………………………..25 Rain on Foreground-Background Street (on Guy Beining)………………………….………………………………….33 Difference, Diversity and The Infinite Trace.………………………………………………………………………………….37 Karl Kempton and “The Enigma of the Other”..………………………………………………………….………………….43 Visual Writing: Consciousness and Existence.…………………………………………………….………………………….51 Repetition and Variation: John M. Bennett, Quantum Difference & The Topographies of Meaning..57 The Land of Freedom: Michael -
Reading and Writing As Transformative Action in Maria Irene Fornes’ and Adrienne Kennedy’S Plays
READING AND WRITING AS TRANSFORMATIVE ACTION IN MARIA IRENE FORNES’ AND ADRIENNE KENNEDY’S PLAYS by Insoo Lee B.A. in English Literature, Seoul National University, 1995 B.F.A.in Playwriting, Korea National University of Arts, 2001 M.A. in Theatre Art, Miami University, Ohio, 2004 Submitted to the Graduate Faculty of Dietrich School of Arts and Science in partial fulfillment of the requirements for the degree of Doctor of Philosophy. University of Pittsburgh 2012 UNIVERSITY OF PITTSBURGH DIETRICH SCHOOL OF ARTS AND SCIENCE This dissertation was presented by Insoo Lee It was defended on April 16, 2012 and approved by Kathleen E. George, PhD, Professor Attilio Favorini, PhD, Professor Bruce McConachie, PhD, Professor Susan Z. Andrade, PhD, Associate Professor Dissertation Advisor: Kathleen E. George, PhD, Professor ii Copyright © by Insoo Lee 2012 iii READING AND WRITING AS TRANSFORMATIVE ACTION IN MARIA IRENE FORNES’ AND ADRIENNE KENNEDY’S PLAYS Insoo Lee, PhD University of Pittsburgh, 2012 This dissertation examines Maria Irene Fornes’ and Adrienne Kennedy’s plays, focusing on the female characters’ act of reading and writing on stage. Usually, reading and writing on stage are considered to be passive and static, but in the two playwrights’ works, they are used as an effective plot device that moves the drama forward and as willful efforts by the female characters to develop their sense of identities. Furthermore, in contrast to the usual perception of reading and writing as intellectual processes, Fornes and Kennedy depict these acts as intensely physical and sensual. Julia Kristeva’s and Hélène Cixous’ poststructuralist psychoanalytic theories of language and female sexuality, and Gloria Anzaldúa’s theory of writing the body are the major theoretical framework within which I explore the two playwrights’ works. -
Women and Ecopoetics: an Introduction in Context
Harriet Tarlo Women and ecopoetics: an introduction in context This introduction contextualises and introduces the material within the special feature on women and ecopoetics as well as exploring the contributors’ and, on occasion, my own thoughts on the subject. I shall identify some common creative practices and ideological threads whilst respecting the sheer diversity of practitioners and practice presented here. After all, this issue features essays, statements, images, open form poetry, performance pieces, prose poetry, site specific work and found poetry from writers with experience as poets, critics, artists, educators, librarians and media workers. I have organised this work into sections as follows: Poems (selections of work from seven women poets); Recycles (selections of work making use of found text from eight women poets); Essays (seven essays on women poets from an eco-poetical perspective) and Working Notes/Ecopoetical statements. In addition to the working notes from featured poets which take the form traditional in How2, this section contains a number of short statements from writers made in response to the women and ecopoetics theme. Those that stand well alone also appear as “postcards” which has had the added advantage of their acting as a provocative “trail” for the special feature, as well as being a part of it of course. Generic segregation and classification of contents is, in some ways, contrary to the spirit of How2 and perhaps to ecopoetics too, yet it is I think helpful to reading work online to have some method of navigating our way around it. However, I should like to draw attention to the particularly hybrid nature of many of the contributions here. -
Woman As a Category / New Woman Hybridity
WiN: The EAAS Women’s Network Journal Issue 1 (2018) The Affective Aesthetics of Transnational Feminism Silvia Schultermandl, Katharina Gerund, and Anja Mrak ABSTRACT: This review essay offers a consideration of affect and aesthetics in transnational feminism writing. We first discuss the general marginalization of aesthetics in selected canonical texts of transnational feminist theory, seen mostly as the exclusion of texts that do not adhere to the established tenets of academic writing, as well as the lack of interest in the closer examination of the features of transnational feminist aesthetic and its political dimensions. In proposing a more comprehensive alternative, we draw on the current “re-turn towards aesthetics” and especially on Rita Felski’s work in this context. This approach works against a “hermeneutics of suspicion” in literary analyses and re-directs scholarly attention from the hidden messages and political contexts of a literary work to its aesthetic qualities and distinctly literary properties. While proponents of these movements are not necessarily interested in the political potential of their theories, scholars in transnational feminism like Samantha Pinto have shown the congruency of aesthetic and political interests in the study of literary texts. Extending Felski’s and Pinto’s respective projects into an approach to literary aesthetics more oriented toward transnational feminism on the one hand and less exclusively interested in formalist experimentation on the other, we propose the concept of affective aesthetics. It productively complicates recent theories of literary aesthetics and makes them applicable to a diverse range of texts. We exemplarily consider the affective dimensions of aesthetic strategies in works by Christina Sharpe, Sara Ahmed, bell hooks, and Chimamanda Ngozi Adichie, who promote the idea of feminism as an everyday practice through aesthetically rendered texts that foster a personal and intimate link between the writer, text, and the reader.