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Fuckhead

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ISBN: 9780615883410 Year: Pages: 76 DOI: 10.21983/P3.0048.1.00 Language: English
Publisher: punctum books
Subject: History
Added to DOAB on : 2019-06-12 09:24:43
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What is a fuckhead? David Rawson’s Fuckhead is a surreal exploration of the literature, film, nature and expectations of disability, and of fuckheads in literature and film. Part lyric essay, part fictional memoir, Rawson’s work tells the story of an unnamed narrator whose familial relationships are defined by his VATER syndrome. Abused by his mother and stripped of a voice by his brother’s need to be Tom Cruise via Rain Man, he sets out into a universe of literary tropes. I have always been of the mind that the novelist is allowed access to all experiences, as long as he ultimately has something to say. Plutarch and Samuel Johnson are typing somewhere in the desert of the next world, composing the ultimate collection of biographical criticism, explaining how David Lynch’s entire filmography owes a debt to his club feet. But I and the friends who bought my novel agree the author is dead. The work is particularly interested in the relationship between Steinbeck’s Of Mice and Men and what the narrator argues is Denis Johnson’s reimagining of that work in the short story “Emergency” (in Johnson’s Jesus’ Son). But in accumulating characters with disabilities as widely diverse as Darth Vader, Benjy of Faulkner’s The Sound and the Fury, and the TV sitcom Community’s Abed Nadir, Rawson movingly, and with wry humor, articulates the assumptions and clichés faced by persons with disabilities, all the while creating a new family with his unlikely gathering of “fuckheads.”

A Sanctuary of Sounds

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ISBN: 9780615814872 Year: Pages: 98 DOI: 10.21983/P3.0029.1.00 Language: English
Publisher: punctum books
Subject: Languages and Literatures
Added to DOAB on : 2019-06-12 09:24:44
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A Sanctuary of Sounds is an aural rewriting of William Faulkner’s novel Sanctuary (1931). A polyphonic object. A garden — assemblage of blooms, of affects, of sounds, of meaning. An invitation to rethink appropriation ethically, aesthetically, and epistemologically. The appropriation of a body of work, of a physical body, of an idea, of data. The history of knowledge and its production is enabled by the process of appropriation, by the differentiation of noise. What does it mean to sample data, not of finished artworks, but of noise itself, the environment? Being victimized by the crushing quality of noise is all too human. Art must become an acoustic ecology. Noticing the landscape of objects, the relationships, the environment itself, in order to compose the music of tomorrow. Let the song of vibrant matter sing itself. A Sanctuary of Sounds is a noise–totality. Noise — nothing but noise. Noise as the first object of metaphysics. Noise as the synchronic/diachronic mediator of production–processes and their reorganization in society. Utopia and dystopia at once. A Sanctuary of Sounds is a dialectical poem, it is noise against noise — raping a rape.

L’idiotie dans l’œuvre de Faulkner

Author:
ISBN: 9782878548921 Language: French
Publisher: Presses Sorbonne Nouvelle
Subject: Languages and Literatures
Added to DOAB on : 2019-12-06 13:15:41
License: OpenEdition Licence for Books

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Cet ouvrage trouve sa source dans le monologue de l'idiot Benjy Compson sur lequel s'ouvre The Sound and the Fury de William Faulkner(1929). Narré par un idiot muet et condamné à l'hébétude, ce monologue constitue un discours impossible. Construit sur le primat de la sensation et sur la prééminence des choses sur les idées, ce discours élabore cependant une véritable esthétique de l'idiotie. Le choix de placer un idiot au centre de la perception et à la source première de la narration de The Sound and the Fury peut de fait être considéré comme le geste précurseur et emblématique de l'écriture faulknérienne. À travers l'analyse détaillée de textes empruntés à l'ensemble du corpus faulknérien, ce livre vise à montrer que le monologue de l'idiot Benjy Compson constitue un vaste champ d'expérimentation où tout objet est remodelé par le travail des sens : ainsi, le filtre de la perception de l'idiot donne-t-il naissance à un monde singulier et inédit. Les figures corporelles, temporelles, sensorielles et narratives de l'idiotie se réfractent tout au long de l'oeuvre de Faulkner dans le sillagede ce texte inaugural. C'est donc à travers les formes d'une idiotie initiale et initiatique que l'écriture de Faulkner accède à sa spécificité. À l'origine de l'œuvre, l'idiotie organise d'un seul mouvement l'espace du monde et celui du langage faulknériens.

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