Towards a Rhetoric of Collage: Reading and Repetition Across Mode and Media 313
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Stephen F. Austin State University English 463, Elements of Craft
Stephen F. Austin State University English 463, Elements of Craft Professor: Andrew Brininstool Section Number: 090 Office: LAN-256 Classroom: Ferguson 177 Office Hours: Tue: 11-12:30; Wed: 9-2 Meeting: TR 12:30-1:45 Email: [email protected] Phone: 936 468- 5659 “Randomness I love. And I still love just a holler right in the middle of an ongoing narrative. Pain or joy, ecstasy.” - Barry Hannah Overview The purpose of Elements of Craft is to help fiction writers improve their writing by training them to actively engage with texts--to read as a writer, rather than as a reader. In this course, we will be reading and discussing six larger texts (mostly novels) and two packets of shorter texts (mostly short stories), and while we will be discussing all of the elements that make up a piece of narrative art--setting, dialogue, characterization--the main thrust of this particular Elements course is concerned with the examination of perhaps the two most important literary styles of the twentieth and twenty-first century. In one corner, we have Minimalism. Antonin Chekhov (1860-1904) is often considered the father of what we now consider minimalist prose style. Rather than use this space to launch into a theoretical thesis on what Minimalism is and is not (don't worry: we'll be doing plenty of that later), here are a few brief quotes from writers who wrote or have written in this vein: Joan Didion: "I had...a technical intention...to write a novel so elliptical and fast that it would be over before you noticed it, a novel so fast that it would scarcely exist on the page at all....white space. -
Elizabeth Bishop. Selected Poems T.S. Eliot. the Waste Land, Four
20TH-/21ST-CENTURY AMERICAN LITERATURE GRADUATE COMPREHENSIVE EXAMINATION READING LIST SELECTED BY THE GRADUATE FACULTY THE CANDIDATE IS RESPONSIBLE FOR ALL WRITERS AND WORKS FROM LIST A, AT LEAST THREE WRITERS FROM LIST B, AND AT LEAST THREE WRITERS FROM LIST C. LIST A POETRY: Elizabeth Bishop. Selected Poems T.S. Eliot. The Waste Land, Four Quartets Robert Frost. North of Boston, Mountain Interval. Langston Hughes. One of the Following Collections: The Weary Blues, Fine Clothes to the Jew, Shakespeare in Harlem. (Poems in these collections may be pieced together from works in Hughes’ Collected Poems.) Sylvia Plath. Selected Poems Wallace Stevens. “Sunday Morning” and Other Selected Poems PROSE: Ralph Ellison. Invisible Man William Faulkner. As I Lay Dying; Light in August or The Sound and the Fury; “Barn Burning”; “Dry September”; “The Bear” (version in Go Down, Moses) F. Scott Fitzgerald. The Great Gatsby Ernest Hemingway. A Farewell to Arms, In Our Time Zora Neale Hurston. Their Eyes Were Watching God Maxine Hong Kingston. The Woman Warrior Toni Morrison. Beloved and One of the Following: Sula or The Bluest Eye 20th-/21st-Century American Literature 1 Rev. 1 August 2014 Flannery O’Connor. A Good Man Is Hard to Find and Other Stories or Everything That Rises Must Converge. John Steinbeck. The Grapes of Wrath or Of Mice and Men Eudora Welty. A Curtain of Green DRAMA: Susan Glaspell. Trifles Arthur Miller. Death of a Salesman Eugene O’Neill. One of the Following: Long Day’s Journey into Night, The Ice Man Cometh, or Moon for the Misbegotten Tennessee Williams. -
Thomas Pynchon: a Brief Chronology
University of Nebraska - Lincoln DigitalCommons@University of Nebraska - Lincoln Faculty Publications, UNL Libraries Libraries at University of Nebraska-Lincoln 6-23-2005 Thomas Pynchon: A Brief Chronology Paul Royster University of Nebraska-Lincoln, [email protected] Follow this and additional works at: https://digitalcommons.unl.edu/libraryscience Part of the Library and Information Science Commons Royster, Paul, "Thomas Pynchon: A Brief Chronology" (2005). Faculty Publications, UNL Libraries. 2. https://digitalcommons.unl.edu/libraryscience/2 This Article is brought to you for free and open access by the Libraries at University of Nebraska-Lincoln at DigitalCommons@University of Nebraska - Lincoln. It has been accepted for inclusion in Faculty Publications, UNL Libraries by an authorized administrator of DigitalCommons@University of Nebraska - Lincoln. Thomas Pynchon A Brief Chronology 1937 Born Thomas Ruggles Pynchon Jr., May 8, in Glen Cove (Long Is- land), New York. c.1941 Family moves to nearby Oyster Bay, NY. Father, Thomas R. Pyn- chon Sr., is an industrial surveyor, town supervisor, and local Re- publican Party official. Household will include mother, Cathe- rine Frances (Bennett), younger sister Judith (b. 1942), and brother John. Attends local public schools and is frequent contributor and columnist for high school newspaper. 1953 Graduates from Oyster Bay High School (salutatorian). Attends Cornell University on scholarship; studies physics and engineering. Meets fellow student Richard Fariña. 1955 Leaves Cornell to enlist in U.S. Navy, and is stationed for a time in Norfolk, Virginia. Is thought to have served in the Sixth Fleet in the Mediterranean. 1957 Returns to Cornell, majors in English. Attends classes of Vladimir Nabokov and M. -
At the Tolstoy Museum’
UNIVERSITY OF JYVÄSKYLÄ REPRESENTATIONS OF LEO TOLSTOY IN DONALD BARTHELME’S ‘AT THE TOLSTOY MUSEUM’ A proseminar paper by Kai Kajander DEPARTMENT OF LANGUAGES 2009 HUMANISTINEN TIEDEKUNTA KIELTEN LAITOS Kai Kajander REPRESENTATIONS OF LEO TOLSTOY IN DONALD BARTHELME’S ‘AT THE TOLSTOY MUSEUM’ Kandidaatintutkielma Englannin kieli Marraskuu 2009 25 sivua + 1 liite Käsillä oleva tutkielma on tulos mielenkiinnosta postmodernistiseksi kutsuttua kirjallisuu- den suuntausta kohtaan. Viimeisen viidenkymmenen vuoden ajan esillä ollutta kokeellista kirjallisuutta on yleisessä diskurssissa määritelty ennen kaikkea sotaisin metaforin. Post- modernistinen fiktio toisin sanoen tuhoaa, purkaa, rikkoo ja haastaa. Tämän kaltaiset ku- vaukset tyypittävät postmodernin kirjallisuuden ennen kaikkea reaktiiviseksi toiminnaksi. Kuitenkin postmoderni fiktio on ilmiönä moniselitteisempi ja laaja-alaisempi kuin yksin- kertaistavat luonnehdinnat antavat ymmärtää. Kandidaatintutkielmassani lähestyin ko. il- miötä tutkimalla yksittäistä, postmoderniksi luonnehdittavaa tekstiä. Amerikkalaiskirjailija Donald Barthelme on yksi postmodernistisen kirjallisuuden pionee- reista. Tämä tutkielma on analyysi hänen vuonna 1970 julkaisemastaan novellista ’At the Tolstoy Museum’. Tekstissä Barthelme parodioi venäläisen klassikkokirjailija Leo Tolstoin kirjallista ja kulttuurista perintöä. Tarkastelemalla Tolstoin representaatioita Barthelmen tekstissä tutkielma kartoitti Barthelmen suhdetta aikaisemman kirjallisuuden perintee- seen. Taustana tutkielmalle toimi joukko aikaisempia -
Dear Friends of the Kelly Writers House, Summertime at KWH Is Typically Dreamy
Dear Friends of the Kelly Writers House, Summertime at KWH is typically dreamy. We renovation of Writers House in 1997, has On pages 12–13 you’ll read about the mull over the coming year and lovingly plan guided the KWH House Committee in an sixteenth year of the Kelly Writers House programs to fill our calendar. Interns settle into organic planning process to develop the Fellows Program, with a focus on the work research and writing projects that sprawl across Kelly Family Annex. Through Harris, we of the Fellows Seminar, a unique course that the summer months. We clean up mailing lists, connected with architects Michael Schade and enables young writers and writer-critics to tidy the Kane-Wallace Kitchen, and restock all Olivia Tarricone, who designed the Annex have sustained contact with authors of great supplies with an eye toward fall. The pace is to integrate seamlessly into the old Tudor- accomplishment. On pages 14–15, you’ll learn leisurely, the projects long and slow. style cottage (no small feat!). A crackerjack about our unparalleled RealArts@Penn project, Summer 2014 is radically different. On May tech team including Zach Carduner (C’13), which connects undergraduates to the business 20, 2014, just after Penn’s graduation (when we Chris Martin, and Steve McLaughlin (C’08) of art and culture beyond the university. Pages celebrated a record number of students at our helped envision the Wexler Studio as a 16–17 detail our outreach efforts, the work we Senior Capstone event), we broke ground on student-friendly digital recording playground, do to find talented young writers and bring the Kelly Family Annex, a two-story addition chock-full of equipment ready for innovative them to Penn. -
Of Interconnected Realities): Cyber Drawing and Mash-Up Electronic Goodness Paula Roush and Maria Lusitano
A field (of interconnected realities): cyber drawing and mash-up electronic goodness paula roush and maria lusitano Essay for ISEA 2011 Istanbul Conference proceedings, Presented at the ISEA the 17th International Symposium on Electronic Art, Sabanci University, Istanbul, September 2011, Participation with the support of CMCR | Centre for Media & culture Research (London South Bank University) Keywords: artist's book, networked performance, collage,collage-novel, drawing, cyberformance, Max Ernst, Une Semaine de Bonté (A Week of Goodness), reenactment of the work of art Abstract: In this paper we discuss the reenactment of the artist’s book A week of goodness (1934) for a pubic art commission – Living room 10 in Auckland city centre– titled A field (of interconnected realities)(2010). We analyse the surrealist collage novel that explored the unconscious in a series of traumatic tableaux and its translation from the physical to the virtual codex. This performative reading of the book is presented at two voices to reflect the dual collaborative process that occurred both in research and in the practice of split screen video stream collage. [paula roush] 1. The traditional western codex In 1934 Max Ernst published the artist’s book Une semaine de bonté ou Les sept elements capitaux (A week of goodness or The seven deadly elements), the third in a series of collage novels, where he developed a new working methodology. This was characterised by the sampling of 19th century mass-produced iconographic sources, mostly found in used book stores and including scientific publications and popular romances, and old commercial catalogues of goods and fashions. -
The University of Oklahoma Graduate College
THE UNIVERSITY OF OKLAHOMA GRADUATE COLLEGE THE SHORT WORKS OF DONALD BARTHELME A DISSERTATION SUBMITTED TO THE GRADUATE FACULTY in partial fulfillment of the requirements for the degree of DOCTOR OF PHILOSOPHY BY BARBARA LOUISE ROE Norman, Oklahoma 1982 THE SHORT WORKS OF DONALD BARTHELME APPROVED BY - ^ P L x/x/f — W Qa ^ — DISSERTATION COMMITTEE ACKNOWLEDGEMENTS My gratitude extends to my friends, colleagues, and family members for supporting my efforts in writing this study. Those who considerately read this work during its tentative progress and helped to shape my ideas to their present form deserve a special thanks. I am particularly indebted to Professor Robert Murray Davis for encouraging my interest in Barthelme's literature, for patiently guiding me through the starts and stops of this project, and, above all, for his scrupulous editing of each chapter. I am also grateful to Farrar, Straus and Giroux for per mission to reproduce parts of Barthelme's collections. For my husband and children, the completion of this work is at once a source of joy, relief, and perhaps wonder. With unflagging devotion, they have cheered and sustained me, even though the task, I am sure, seemed endless. My deepest grati tude, therefore, is to T., T., and T .— a dynamite family. TABLE OF CONTENTS Page LIST OF ILLUSTRATIONS................. v Chapter I. INTRODUCTION ................... I II. THE PARODIES: FICTIONAL FORMS IN TRANSITION..................... 12 III. THE INVENTIVE FICTIONS: STRUCTURAL ALTERNATIVES FOR NARRATIVE AR T .................. 57 IV. THE INTERMEDIA COMPOSITIONS: EXTENDING THE PERIMETERS OF PLAY ............................. 112 V. AFTERWORD.........................190 BIBLIOGRAPHY ......................... 195 IV LIST OF ILLUSTRATIONS Page ILLUSTRATION 1 From Geoffrey Whitney: A Choice of Emblems ............... -
DONALD BARTHELME and WRITING AS POLITICAL ACT By
BEYOND FRAGMENTATION: DONALD BARTHELME AND WRITING AS POLITICAL ACT by DANIEL CHASKES B.A., Binghamton University, SUNY, 2001 M.A., University College London, 2005 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR A DEGREE OF DOCTOR OF PHILOSOPHY in The Faculty of Graduate Studies (English) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) May, 2012 © Daniel Chaskes, 2012 ABSTRACT “Beyond Fragmentation: Donald Barthelme and Writing as Political Act” extracts Barthelme from recursive debates over postmodernism and considers him, instead, within the intellectual contexts he himself recognized: the avant-garde, the phenomenological, and the transnational. It is these interests which were summoned by Barthelme in order to develop an aesthetic method characterized by collage, pastiche, and irony, and which together yielded a spirited response to political phenomena of the late twentieth century. I argue that Barthelme was an author who believed language had been corrupted by official discourse and who believed, more importantly, that it could be recovered through acts of combination and re-use. Criticism influenced by the cultural theory of Fredric Jameson has frequently labeled Barthelme’s work a mimesis of an age in which meaning had become devalued by rampant production and consumption. I revise this assumption by arguing that Barthelme’s work reacts to what was in fact a stubbornly efficient use of discourse for purposes of propaganda, bureaucracy, and public relations. Drawing on the biographical material available, and integrating that material with original archival work, I uncover the specific sources of Barthelme’s political discontent: Watergate, the war in Vietnam, a growing militarization in the United States, and the ideological rigidity of the 1960s counterculture. -
Max Ernst: "The Hundred Headless Woman" and the Eternal Return
Suid-Afrikaanse Tydskrif vir Kunsgeskiedenis 4(2&3): 46-57 MAX ERNST: "THE HUNDRED HEADLESS WOMAN" AND THE ETERNAL RETURN H.J. JANSE VAN RENSBURG Department of Fine Arts and History of Art University of Pretoria In sy kuns van die 1920's reageer Max Ernst voortdurend op die denke van die filosoof Friedrich Nietzsche. Hierdle studie benader die collage-roman. The Hundred Headless Woman, vanaf die vertrekpunt van Nietzsche se konsep van die 'ewige wederkeer', gesuggereer deur beelde in die roman. Die studie plaas die konsep van die 'ewige wederkeer' kortliks binne 'n ikonografiese konteks, en ondersoek sentrale beelde in Ernst se reaksie op die konsep. Ernst se dissonante ooreenlegging van betekenislae en sy weerlegging van rasionaliteit, word oorweeg in terme van die disorientering van tyd, lineere denke en die beginsel van identiteit wat geimpliseer word deur die perspektivisme van Nietzsche se konsep van die 'ewige wederkeer'. Die studie argumenteer dat Ernst se gebruik van Nietzsche se idees en konsepte besonder gesofistikeerd is, en suggereer dat hy sommige van die belange in die herinterpretasie van Nietzsche in die onlangse Franse filosofie vooruitloop. Max Ernst often responded to the thought of the philosopher Friedrich Nietzsche in his art in the 1920's. This study approaches the collage-novel, The Hundred Headless Woman, from the perspective of Nietzsche's concept of the 'eternal return', suggested by imagery in the novel. The study offers a brief iconographical context for the concept of 'eternal return', and examines key images in Ernst's response to this concept. The discordant superimposing of layers of meaning and the refutation of rationality in the novel are considered in terms of the disorientation of time, seriality and the principle of identity implied by the perspectivism of Nietzsche's concept of the 'eternal return'. -
Donald Barthelme and the Adams Petroleum Center
FROM THE ARCHIVES Donald Barthelme and the Adams Petroleum Center By Stephen James ne of Houston’s most impor- viding a sheltered environment for Otant literary figures was the the students. At the main entrance a late writer and novelist Donald flamboyant scalloped canopy greeted Barthelme (1931–1989). But for many visitors.3 years Barthelme labored in the Barthelme’s successful school shadow of his better-known father, buildings benefitted from a post-war Donald Barthelme, Sr. (1907–1996), faith that modern methods could a nationally prominent architect.1 A improve the way students learned.4 native of Galveston, the senior Bar- Educators promoted new curricula thelme trained at the University of while architects offered their own Pennsylvania and first gained atten- solutions to perceived problems. tion in 1936 as the lead designer for An intellectual with an active mind, the Hall of State, the principal build- Barthelme parlayed his reputation ing of the Texas Centennial Exposi- as an expert on the design of school tion in Dallas.2 In 1948 he won an buildings into a new role as an edu- award from the American Institute cational reformer. In speeches and of Architects for Houston’s St. Rose articles he argued for a more holistic of Lima Catholic Church, applauded learning environment in which stu- Donald Barthelme, 1954. for its simple Scandinavian modern All photos courtesy of Donald Barthelme, Sr., dents solved problems that combined forms. Architectural Papers, University of Houston Libraries, multiple academic disciplines. As the Yet Barthelme made his repu- Special Collections Department by permission of father of five children, his interest in tation with the West Columbia Estate of Donald Barthelme, Sr. -
Material Language in Max Ernst Collage Novel Une Semaine De
Material Language in Max Ernst Collage Novel Une Semaine de Bonté A thesis submitted to the Graduate School of the University of Cincinnati in partial fulfilment of the requirements for the degree of Master of Arts in the School of Art of the College of Design, Architecture, Art, and Planning by Samuel Morren B.A. University of Cincinnati August 2014 Committee Chair: Kristopher J. Holland, Ph.D. 1 Abstract In this project, we want to reinterpret Max Ernst’s collage novel, Une Semaine de Bonté (A Week of Kindness, 1934). Traditionally, this work of art has been studied through a psychoanalytic or formal frame. However, Ernst's work is not just inspired by traumatic childhood experiences. His work is an observation/critique of a society in chaotic, hopelessness, and incertitude change. Ernst was a voracious artist, who sought knowledge in all aspects of life, he studied philosophy, art history, history, literature, psychology; abnormal psychology, and psychiatry, as well as theology. These forms of knowledge gave him a deep well from where to draw references, referents, and inspiration to camouflage his message between two unrelated elements in an image. In our world, meaning is mediated through language, visual culture, and culture, which create a referent, framing our world view. Furthermore, this framed world view, is also mediated by the observers’ experiences through their world. Thus, our interpretation is framed, influenced, and informed through Tony Fry’s concept of ‘human design’ and Jean Baudrillard’s concept of simulacrum. Thus, trying to go beyond the iconology, iconography, materials; and we ask: Why does Ernst create such images? Why call this a novel when there is a limited narrative? What are Ernst's concerns when creating these images? With this project, we demonstrate Ernst's novel is still significant because the novel still asks from us the same questions as when it was constructed. -
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Vol 1 (2011) | ISSN 2155-1162 (online) | DOI 10.5195/contemp.2011.27 http://contemporaneity.pitt.edu “The Man of these Infinite Possibilities” Max Ernst’s Cinematic Collages Abigail Susik Abstract On more than one occasion in his critical writings of the 1920’s, surrealist leader André Breton compared Max Ernst’s collages to cinema. In his first essay on the artist in 1921, Breton aligned Ernst’s collages with cinematic special effects such as slow and accelerated motion, and spoke of the illusionistic ‘transformation from within’ that characterized Ernst’s constructed scenes. For Breton, Ernst’s collages employing found commercial, scientific and journalistic images approximated the naturalistic movement of film, and thereby contributed to the radical obsolescence of traditional two-dimensional media such as painting and drawing, which remained frozen in stillness. Thus, Ernst’s images were provocative witnesses to the way in which modern technology fundamentally altered the perspectivally-ordered picture plane. But at the same time that Ernst’s collages rendered painting obsolete, they likewise depended upon fragments of outmoded popular culture themselves. For Breton, Ernst was a magician, “the man of these infinite possibilities,” comparable to cinematic prestidigators like turn-of-the-century filmmaker Georges Méliès. By drawing on the influence of recently outmoded popular culture such as early trick films, Ernst provides a crucial early example of the post-war fixation on counter-temporalities and anti-production. At once technologically advanced and culturally archeological, Ernst’s collages cannily defy strict categorization as “Modernist.” About the Author Abigail Susik is the 2009-2011 Postdoctoral Teaching Fellow in Art History at Millsaps College in Jackson, Mississippi.