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Author: Yoon Sun Lee
Publisher: University of Pennsylvania Press
ISBN: 1512823414
Category : Literary Criticism
Languages : en
Pages : 273
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Book Description
Is plot a line, an arc, or a shape? None of these. Rather than thinking of plot as a sequence of events or actions put into place solely through human agency against the backdrop of setting, this book questions why we should distinguish between plot and setting—and indeed, whether we can make such a distinction. After all, plot, Yoon Sun Lee contends, cannot be disentangled from the material setting in which it takes place. In The Natural Laws of Plot, Lee connects the history of the novel and the history of science to show how plot in the realist novel is given shape by the characteristics of the physical world—and how in turn, plot serves as the avenue through which the realist novel participates in the same lines of inquiry about the world as pursued by the natural and physical sciences. Lee argues that the novel emerges and evolves in tandem with the development of scientific practices and concepts in eighteenth- and nineteenth-century Europe to investigate the idea of a unified and objective world. Drawing on readings from Defoe, Austen, Scott, and many others, Lee demonstrates how bodies, human and non-human, behave according to laws that are built into worlds by plot, and how they are subject to causes and consequences that can occur independently of individual action, social forces, or metaphysical destiny. This interest in representing and exploring how things happen sets the novel apart from other literary genres, and makes the history of science integral to the understanding of the history and theory of the novel, and of narrative. Plot, Lee shows us, is immersive and powerful, because it satisfies our wish to know how things happen in a coherent, objective, and possibly real world.
Author: Yoon Sun Lee
Publisher: University of Pennsylvania Press
ISBN: 1512823414
Category : Literary Criticism
Languages : en
Pages : 273
Get Book Here
Book Description
Is plot a line, an arc, or a shape? None of these. Rather than thinking of plot as a sequence of events or actions put into place solely through human agency against the backdrop of setting, this book questions why we should distinguish between plot and setting—and indeed, whether we can make such a distinction. After all, plot, Yoon Sun Lee contends, cannot be disentangled from the material setting in which it takes place. In The Natural Laws of Plot, Lee connects the history of the novel and the history of science to show how plot in the realist novel is given shape by the characteristics of the physical world—and how in turn, plot serves as the avenue through which the realist novel participates in the same lines of inquiry about the world as pursued by the natural and physical sciences. Lee argues that the novel emerges and evolves in tandem with the development of scientific practices and concepts in eighteenth- and nineteenth-century Europe to investigate the idea of a unified and objective world. Drawing on readings from Defoe, Austen, Scott, and many others, Lee demonstrates how bodies, human and non-human, behave according to laws that are built into worlds by plot, and how they are subject to causes and consequences that can occur independently of individual action, social forces, or metaphysical destiny. This interest in representing and exploring how things happen sets the novel apart from other literary genres, and makes the history of science integral to the understanding of the history and theory of the novel, and of narrative. Plot, Lee shows us, is immersive and powerful, because it satisfies our wish to know how things happen in a coherent, objective, and possibly real world.
Author: YOON SUN. LEE
Publisher: Alembics: Penn Studies in Lite
ISBN: 9781512823400
Category : Literary Criticism
Languages : en
Pages : 272
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Book Description
Author: Henry Albert Phillips
Publisher: BEYOND BOOKS HUB
ISBN:
Category : Fiction
Languages : en
Pages : 126
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Book Description
As one of the pioneers in the most wonderful art-science of the age — the motion picture industry — the writer feels doubly qualified perhaps to throw some light upon a subject equally interesting to author and producer. A few years ago to the uninitiated “moving pictures” spelt little more than pantomime, buffoonery or sensational catch-penny device. To-day, there are few who maintain this view, and they are the unenlightened; for to the vast majority of those familiar with the art and interested in its progress, the word has become symbolic of things important and far-reaching. Literature is literally the basic foundation upon which the already gigantic edifice of picturedom has risen. Ten or twelve years ago picture manuscripts were unknown — office boys, clerks, camera operators, any one with an “idea” furnished the material from which motion pictures were produced. Plot was unknown, technique did not exist, and literary and constructive quality was conspicuous by its absence. The art, however, developed rapidly. It was found possible to do more than portray outdoor scenes of moving trains and other objects, or simple pantomimes with exaggerated gesture à la Française. Methods were discovered and evolved whereby powerfully dramatic scenes could be reproduced, subtilty of expression in either serious or humorous vein could be communicated to numberless people — their emotions played upon, laughter or tears evoked at will — in other words, the Silent Drama was born. Classic and standard literature was then reproduced in photodrama. Shakespeare, Dickens, Thackeray, Scott and Hugo became known to millions of people whose previous acquaintance with their famous works was either very slight or non-existent. It was at this stage, when literature was combined with other arts allied in picture production, that the real impetus was given and the triumphant onward march of the world’s greatest educator and entertainer commenced. To-day, millions are invested in great industrial plants for the creation and manufacture of the wordless drama; thousands of people rely upon it as their sole maintenance and profession. Millions upon millions of men, women and children all over the world look upon this form of entertainment as their principal recreation and, incidentally, are being unconsciously educated to understand and appreciate the higher forms of art. Bernard Shaw says: “The great artist is he who goes a step beyond the demand and, by supplying works of a higher beauty and a higher interest than have yet been perceived, succeeds after a brief struggle in adding this extension of sense to the heritage of the race.” There is no doubt that the works of higher beauty and interest accomplished by the real artists in the motion picture profession have been widely productive of the “extension of sense” above quoted. All this brings us to the practical purpose of this discussion — the dissemination among those who write of the intelligence that a new and fruitful field is open for the works of their pens. The short-story writer who gets from one hundred to five hundred dollars for magazine stories can get a similar amount from the picture manufacturers; the authors of international fame, who make thousands in royalties, can make thousands more from picture royalties — and in every case without interfering with their magazine or book rights. In fact, the greatest advertising a novel could receive would be a preliminary exhibition all over the world in pictures. Many of the best modern authors have already gone into this field and many more will. For the day has arrived when, in addition to producing well-known plays and successful books, there is a need for big original features, especially written for pictorial presentation. The motion picture has narrowed the field of the playwright, but there is another and broader pasture awaiting both the play and fiction writer when he has mastered the technique of the “life portrayal.” It is the writer’s belief that a gripping, compelling story, hitherto unknown and unpublished, properly picturized and bearing the name of one of the best known writers of modern fiction, would be a greater success artistically and financially than a revived popular play or “best seller.” The words “properly picturized” emphasized above are significant. The motion picture manufacturer stands to the author in the position of publisher — he needs you — you need him. There are good and bad publishers. You, whose name is an asset, would not deal with a publisher of questionable methods; ergo, when seeking out a market for your work, deal with none but the highest class and best and old-established motion picture concerns. Picturedom is looked upon by many as the New Eldorado. Many misguided fools are rushing in where experienced angels fear to tread. Many theatrical concerns are now “going into the moving picture business,” and they blithely announce their intention to uplift the motion picture and show the public some real stage productions done in pictures. The few that have come to light so far have been very sad affairs, as is but natural. The average theatrical man makes about the same brand of pictures as the average picture producer made five years ago. To quote again the invaluable Shaw, “Vital art work comes always from a cross between art and life.” The art of the picture is to convey an impression of absolute realism in a manner artistic. The theatrical stage manager has been proven to be utterly useless in picture production until he has unlearned all traditions of the stage and acquired an entirely new technique. It is unfortunate that many stock-jobbing, security-selling schemes are being offered to investigators and the public under the magic “movie” name. Many royalties are being promised that will never be paid and of many of these cardboard houses great will be the fall thereof. “A word to the wise is sometimes money in pocket.” All summed up in a paragraph, the answer is, without a story motion pictures would be what they were styled at their inception — a novelty or a fad. So literature is indissolubly linked with the future and success of the greatest of the allied arts. The “life portrayal” or “thought visualized” is perhaps better than all “literature realized.” J. STUART BLACKTON. The coarse passion of the Crowd constitutes “What the public wants” in the way of productions; the refined emotion of the artist must discipline, guide and gratify it by his appealing creations...FROM THE BOOKS.
Author: Justus von Liebig
Publisher:
ISBN:
Category : Agricultural chemistry
Languages : en
Pages : 456
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Book Description
Author: Justus Freiherr von Liebig
Publisher:
ISBN:
Category : Agricultural chemistry
Languages : en
Pages : 456
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Book Description
Author: Grégoire Courtois
Publisher: Coach House Books
ISBN: 1770565957
Category : Fiction
Languages : en
Pages : 123
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Book Description
Winnie-the-Pooh meets The Blair Witch Project in this very grown-up tale of a camping trip gone horribly awry. Twelve six-year-olds and their three adult chaperones head into the woods on a camping trip. None of them make it out alive. The Laws of the Skies tells the harrowing story of those days in the woods, of illness and accidents, and a murderous child. Part fairy tale, part horror film, this macabre fable takes us through the minds of all the members of this doomed party, murderers and murdered alike. “Excellent...crystalline." —New York Times, Summer Reads
Author: Richard A. McCabe
Publisher: Cambridge University Press
ISBN: 9780521088749
Category : Drama
Languages : en
Pages : 380
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Book Description
This is a full-length study of incest in English Renaissance and Restoration drama. Richard McCabe's comprehensive survey offers a literary history of this theme, informed by an investigation of the intellectual background, with particular emphasis on changing concepts of natural law, and consequent reassessments of classical tradition. It examines a wide range of theological, philosophical, legal and literary sources, in the context of modern psychological and sociological theories of family development. Extensive comparisons with classical models and contemporary European dramatists, from Tasso to Corneille and Racine, explore the volatile association between dramatic form and emotional content, structural experiment and sexual ambivalence. The centrality of the family to all human relationships, and the mutual reflection of familial politics and the patriarchal state make incest a powerful metaphor for the ambivalence of all concepts of 'natural' authority, and for various forms of social and political revolt.
Author: Francis Oakley
Publisher: Bloomsbury Publishing USA
ISBN: 1441133313
Category : Philosophy
Languages : en
Pages : 144
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Book Description
Choice Outstanding Academic Title 2006 The existence and grounding of human or natural rights is a heavily contested issue today, not only in the West but in the debates raging between "fundamentalists" and "liberals" or "modernists in the Islamic world. So, too, are the revised versions of natural law espoused by thinkers such as John Finnis and Robert George. This book focuses on three bodies of theory that developed between the thirteenth and seventeenth centuries: (1) the foundational belief in the existence of a moral/juridical natural law, embodying universal norms of right and wrong and accessible to natural human reason; (2) the understanding of (scientific) uniformities of nature as divinely imposed laws, which rose to prominence in the seventeenth century; and (3), finally, the notion that individuals are bearers of inalienable natural or human rights. While seen today as distinct bodies of theory often locked in mutual conflict, they grew up inextricably intertwines. The book argues that they cannot be properly understood if taken each in isolation from the others.
Author: Peter N. Kugler
Publisher: Routledge
ISBN: 1317301080
Category : Psychology
Languages : en
Pages : 597
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Book Description
Originally published in 1987, the introduction states: "the authors have successfully accomplished their program – to explain, based on physical representations, the observed relations among various parameters of wrist-pendulum oscillations. Thereby a set of new ideas and concepts, including those developed recently by the scientific school to which the authors belong, are introduced to biology. These concepts are closely related to the experimental data. This accomplishment makes the book especially attractive and demonstrates once more the productivity of applying physics to biology." "Clear language, simple figures, and physical examples illuminate rather complicated problems. These attractive features should make the book intelligible to a variety of investigators in the field of motor control, not only to the specialists with physical and mathematical education." From the foreword: " Kugler and Turvey have written strategic physical biology, and shown that, after all, dynamics (including both kinetics and kinematics) may support a unitary physical view of some of the profound operations of our brains... This is a grand start on what I hope is a larger program of demystifying behaviour."
Author: Robin A. Parry
Publisher: Wipf and Stock Publishers
ISBN: 1597522295
Category : Religion
Languages : en
Pages : 387
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Book Description
Christian use of the Old Testament has tended to focus on law and wisdom literature and to marginalize narrative materials. This book restores story to its rightful place in Old Testament ethics and aims to set out parameters within which Christian ethical reappropriations of Old Testament narratives can take place. The argument begins by examining recent philosophical studies of the role of story in the ethical life. Special attention is paid to the work of Paul Ricoer, Martha Nussbaum and Robert C. Roberts. Then the theological foundations are laid by demonstrating the importance of narrative for Old Testament ethics and of the biblical metanarrative for Christian interpretation. Genesis 34 is examined as a detailed case study to exemplify the fruits of the method for Christian readers. The study considers reception history, feminist interpretation, discourse analysis and canonical context to shed new light on the terrible story of the rape of Dinah.
