The Adventures of Loren Ipsum
by Mark Bloch
(An altered excerpt from Three Ugly Islands, Book Three)

Wolfe goes on to tell of the quality of Owsley's LSD, renowned world-wide, and of its influence on The Beatles: If only I knew what to find, Acknowledging the presence of this idea (or variations of it) in the works of previous writers, Barthes cites in his essay the poet Stéphane Mallarmé, who said that "it is language which speaks." He also recognizes Marcel Proust as being "concerned with the task of inexorably blurring…the relation between the writer and his characters"; the Surrealist movement for their employment the practice of "automatic writing" to express "what the head itself is unaware of"; and the field of linguistics as a discipline for "showing that the whole of enunciation is an empty process." Barthes' articulation of the death of the author is a radical and drastic recognition of this severing of authority and authorship. Instead of discovering a "single 'theological' meaning (the 'message' of the Author-God)," readers of text discover that writing, in reality, constitutes "a multi-dimensional space," which cannot be "deciphered," only "disentangled." "Refusing to assign a 'secret,' ultimate meaning" to text "liberates what may be called an anti-theological activity, an activity that is truly revolutionary since to refuse meaning is, in the end, to refuse God and his hypostases—reason, science, law." Whatever Borges's existential anxieties may be, they have little in common with Sartre's robustly prosaic view of literature, with the earnestness of Camus' moralism, or with the weighty profundity of German existential thought. Rather, they are the consistent expansion of a purely poetic consciousness to its furthest limits (22).[3] I see you haven't added this stuff that tnf (David Gans, for anyone who is unclear on Truth N Fun...) did with Bob and Phil, where he reveals getting busted for "smiling on a cloudy day". Blair Jackson, in Grateful Dead: the Music Never Stopped has this to say about The Other One: Fredric Jameson called postmodernism the "cultural logic of late capitalism". "Late capitalism" implies that society has moved past the industrial age and into the information age. Likewise, Jean Baudrillard claimed postmodernity was defined by a shift into hyperreality in which simulations have replaced the real. In postmodernity people are inundated with information, technology has become a central focus in many lives, and our understanding of the real is mediated by simulations of the real. Many works of fiction have dealt with this aspect of postmodernity with characteristic irony and pastiche. For example, Don DeLillo's White Noise presents characters who are bombarded with a "white noise" of television, product brand names, and clichés. The cyberpunk fiction of William Gibson, Neal Stephenson, and many others use science fiction techniques to address this postmodern, hyperreal information bombardment.[14][15][16] Upanishads The basis of Hindu religion and philosophy that form the final portion of the Veda . The 112 Upanishads describe the relationship of the Brahman , or universal soul, to the atman , or individual soul; they also provide information about Vedic sacrifice and yoga. The original texts of the Upanishads come from various sources and were written beginning c. 900 B.C. By the mid-1930s, his writings began to deal with existential questions, and with what Ana María Barrenechea has called "irreality." Borges was not alone in this task. Many other Latin American writers such as Juan Rulfo, Juan José Arreola, and Alejo Carpentier investigated these themes in their writings, influenced by the Phenomenology of Husserl and Heidegger or the Existentialism of Jean-Paul Sartre. Even though existentialism saw its apogee during the years of Borges's greatest artistic production, it can be argued that his choice of topics largely ignored existentialism's central tenets. To that point, Paul de Man has written: Pastiche Some common metafictive devices in novels include: If only I could (be less fine) Every leaf was turnin', to watch him die, you know he had to die. When I woke up this morning with the sky in sight me dio a la vez los libros y la noche.Let neither tear nor reproach besmirch He had to die, you know he had to die. At last, the act is ready. They audition for an important American, who insists they perform the climax, the "Leap of Death" (a blind jump by Nina through a screen to Narval on the trapeze), without a safety net, just as they would before a live audience. They do the trick, but then Narval makes a decision. They walk away, leaving the circus behind them. Back aboard the ship, Narval is joined by a loving Nina. Being "on the bus" means, well, let's hear Kesey explain it (via Tom Wolfe): But over time, quodlibet acquired a more specialized meaning. In medieval times, there would be certain days when professors of theology would open up the class, and answers questions on any theological topic. In fact, people not even enrolled in the school could come in off the street and pose a question. The professor would be required to answer any and all questions. The quodlibet was, thus, the opportunity for posing important, sometimes difficult questions to the masters of theology. Some theologians shunned quodlibets, while others loved them. St. Thomas Aquinas was among this latter group. (Transcriptsof some quodlibets by Aquinas, Ockham and others are available for sale at a nominalcost.) A novel about a writer creating a story (e.g. Misery, Secret Window, Secret Garden, At Swim-Two-Birds, Atonement, The Counterfeiters, The World According to Garp, Barton Fink, Adaptation., Alone on a Wide Wide Sea and A Portrait of the Artist as a Young Man). A novel or other work of fiction within the novel (e.g. The Laughing Man, The Dark Tower, The Crying of Lot 49, Sophie's World, A Clockwork Orange, Pale Fire, The Princess Bride, The Island of the Day Before, Steppenwolf, The Amazing Adventures of Kavalier and Clay). The Jealous Lover All of these themes and techniques are often used together. For example, metafiction and pastiche are often used for irony. These are not used by all postmodernists, nor is this an exclusive list of features. Escapin' through the lily fields ["The Faster We Go The Rounder We Get: aka part 2] I guess - what, what does a water balloon amount to, is that assault with a, uh... Characters who do things because those actions are what they would expect from characters in a story. (e.g. Scream, Who Framed Roger Rabbit, The Last Unicorn, "The Long Goodbye"). Sartre states that the writer must write for a public which has the freedom of changing everything. Shift to postmodernism Everywhere and all of the time-- Barthes spent the early 60s exploring the fields of semiology and structuralism, chairing various faculty positions around France, and continuing to produce more full-length studies. Many of his works challenged traditional academic views of literary criticism and of specific, renowned figures of literature. His unorthodox thinking led to a conflict with another French thinker, Raymond Picard, who attacked the French New Criticism (a label with which he inaccurately identified Barthes) for being obscure and disrespectful to the culture’s literary roots. Barthes' rebuttal in Criticism and Truth (1966) accused the old, bourgeois criticism of being unconcerned with the finer points of language and capable of selective ignorance towards challenging concepts of theories like Marxism. She is the governess and French tutor to Thomas Clayton Campbell Jr., a bored eleven-year-old American boy (Ricky Nelson) left in her charge at a hotel by his absent parents. One day, another boy dares him to visit Mrs. Hazel Pennicott (Ethel Barrymore), who lives next door and is reputed to be a witch. When he wishes he were a man, she tells him to wrap a red ribbon around his finger and recite her name at 8 pm, but she warns him that the spell will only last until midnight. The incantation works, and he is transformed into a young man (Farley Granger). The following year he received the National Prize for Literature from the University of Cuyo, the first of many honorary doctorates. From 1956 to 1970, Borges also held a position as a professor of literature at the University of Buenos Aires, while frequently holding temporary appointments at other universities. In 1955, and after the initiative of Ocampo, the new anti-Peronist military government appointed him head of the National Library.[5] By that time, he had become completely blind, like one of his best known predecessors, Paul Groussac (for whom Borges wrote an obituary). Neither coincidence nor the irony escaped Borges and he commented on them in his work: New Testament The second portion of the Christian Bible, which contains 27 books that form the basis of Christian belief. These books include the sayings of Jesus, the story of his life and work, the death and resurrection of Jesus now celebrated as Easter, the teachings and writings of the apostles, and instruction for converting nonbelievers and for performing baptisms, blessings, and other rituals. The New Testament is believed to have been written c. A.D. 100, some 70 to 90 years after the death of Jesus. [inaudible]...came up inside of me, blew the dust clouds all away Phish has covered the song live at least once. Metafiction Jorge Luis Borges died of liver cancer in 1986 in Geneva and is buried in the Cimetière des Rois (Plainpalais). A few months before his death, via an attorney in Paraguay, he married Kodama. After years of legal wrangling about the legality of the marriage, Kodama, as sole inheritor of a significant annual income, has control over his works. Her administration of his estate has bothered some scholars; she has been denounced by the French publisher Gallimard, by Le Nouvel Observateur, and by intellectuals such as Beatriz Sarlo, as an obstacle to the serious reading of Borges' works.[13] Borges's narrator describes how his universe consists of an endless expanse of interlocking hexagonal rooms, each of which contains the bare necessities for human survival—and four walls of bookshelves. Though the order and content of the books is random and apparently completely meaningless, the inhabitants believe that the books contain every possible ordering of just a few basic characters (letters, spaces and punctuation marks). Though the majority of the books in this universe are pure gibberish, the library also must contain, somewhere, every coherent book ever written, or that might ever be written, and every possible permutation or slightly erroneous version of every one of those books. The narrator notes that the library must contain all useful information, including predictions of the future, biographies of any person, and translations of every book in all languages. Conversely, for many of the texts some language could be devised that would make it readable with any of a vast number of different contents. (Of course text consisting of all the same letter 'aaaaa' would not have any content by any scheme of interpretation). Also during these years Macedonio Fernández became a major influence on Borges, who inherited the friendship from his father. The two would hold court in cafés, country retreats, or Macedonio's tiny apartment in the Balvanera district. Often written as "Skippin' through the lily fields." Narrative footnotes, which continue the story while commenting on it (e.g. Pale Fire, House of Leaves, Infinite Jest by David Foster Wallace, Jonathan Strange & Mr Norrell by Susanna Clarke, From Hell by Alan Moore, Cable & Deadpool by Fabian Nicieza, An Abundance of Katherines by John Green, An Early History of Ambergris by Jeff VanderMeer, many books by Robert Rankin and the Discworld novels by Terry Pratchett). The Bus Their minds remained unbended, "`There are going to be times,' says Kesey, `when we can't wait for somebody. Now you're either on the bus or off the bus. If you're on the bus, and you get left behind, then you'll find it again. If you're off the bus in the first place--then it won't make a damn.' And nobody had to have it spelled out for them. Everything was becoming allegorical, understood by the group mind, and especially this: `You're either on the bus...or off the bus." (Wolfe: The Electric Kool-Aid Acid Test, p. 74) The word is a combination of the Latin "quod" (meaning "what") andlibet ("it pleases"). For use of quodlibet in its most literal sense, see, for example, the Latin translation of the Book of Leviticus. Common themes and techniques A novel in which the book itself seeks interaction with the reader (e.g., Willie Masters' Lonely Wife by William H. Gass or House of Leaves by Mark Z. Danielewski). University of California, Santa Cruz. Drawing on Freudian psychoanalysis – particularly in its Lacanian conception – and Saussurean linguistics, post-structuralist skepticism about the notion of the singular identity of the self has also been important for feminist and queer theorists, who find in Barthes' work an anti-patriarchal, anti-traditional strain sympathetic to their own critical work. They read the "Death of the Author" as a work that obliterates stable identity above and beyond the obliteration of stable critical interpretation. Quodlibet In his new form, he goes to find Mademoiselle, and is surprised to find that he no longer despises Mademoiselle, nor the romantic poetry that she kept reciting to him. They embark on a whirlwind romance, but he warns her that he has only a few hours before he has to go away. He does however promise that he will see her off at the train station the next day. He flees as the clock strikes midnight. Ideas presented in "The Death of the Author" were fully anticipated by the philosophy of the school of New Criticism, a group of 20th century literary critics who sought to read literary texts removed from historical or biographical contexts. New Criticism dominated American literary criticism during the forties, fifties and sixties. New Criticism differs significantly from Barthes' theory of critical reading because it attempts to arrive at more authoritative interpretations of texts. Nevertheless, the crucial New Critical precept of the "Intentional Fallacy" declares that a poem does not belong to its author; rather, "it is detached from the author at birth and goes about the world beyond his power to intend about it or control it. The poem belongs to the public." William Wimsatt and Monroe C. Beardsley wrote this in 1946, decades before Barthes' essay. ("The Intentional Fallacy." Sewanee Review, vol. 54 (1946): 468-488. Revised and republished in The Verbal Icon: Studies in the Meaning of Poetry, U of Kentucky P, 1954: 3-18.) From the perspective of authorship, Barthes' "Death of the Author" concept breaks little new ground in denying the possibility of any stable, collectively agreed-upon readings. Instead, Barthes himself has pointed out that the difference between his theory and New Criticism comes in the practices of "deciphering" and "disentangling." The music score is by Miklós Rózsa. The soundtrack featured the 18th Variation from Sergei Rachmaninoff's Rhapsody on a Theme of Paganini, performed by the pianist Jakob Gimpel for "The Jealous Lover". "The Library of Babel" (Spanish: La biblioteca de Babel) is a short story by Argentine author and librarian Jorge Luis Borges (1899-1986), conceiving of a universe in the form of a vast library containing all possible 410-page books of a certain format. A novel which features itself as its own prop or McGuffin (e.g. The Adventures of the Imagination of Periphery Stowe, The Dark Tower, The Hitchhiker's Guide to the Galaxy, The Jamais Vu Papers) The other day they waited, the sky was dark and faded, "The bus came by and I got on, that's when it all began" By placing the development of hypertext in the context of the literary tradition of non-linear approaches to narrative. This context provides a means of re-evaluating the concept of the book in the age of electronic text. Specific points of investigation include Cortázar's Hopscotch, Nabokov's Pale Fire, Pavic's Dictionary of the Khazars, and Sterne's Tristram Shandy. ...Phil and Jerry give the title "Mindbender". (Each accuses the other of writing it.) "Readerly" and "writerly" are terms Barthes employs both to delineate one type of literature from another and to implicitly interrogate ways of reading, like positive or negative habits the modern reader brings into one's experience with the text itself. These terms are most explicitly fleshed out in "S/Z", while the essay "From Work to Text", from "Image--Music--Text" (1977) provides an analogous parallel look at the active and passive, postmodern and modern, ways of interacting with a text. Thomas Pynchon includes in his novels elements from detective fiction, science fiction, and war fiction; songs; pop culture references; well-known, obscure, and fictional history mixed together; real contemporary and historical figures (Mickey Rourke and Wernher Von Braun for example); a wide variety of well-known, obscure and fictional cultures and concepts. In Robert Coover's 1977 novel The Public Burning, Coover mixes historically inaccurate accounts of Richard Nixon interacting with historical figures and fictional characters such as Uncle Sam and Betty Crocker. Pastiche can also refer to compositional technique, for example the cut-up technique employed by Burroughs. Another example is B. S. Johnson's 1969 novel The Unfortunates; it was released in a box with no binding so that readers could assemble it how ever they chose.[2][12][13] When I woke up this morning, my head was by my side I think of the postmodern attitude as that of a man who loves a very cultivated woman and knows that he cannot say to her "I love you madly", because he knows that she knows (and that she knows he knows) that these words have already been written by Barbara Cartland. Still there is a solution. He can say "As Barbara Cartland would put it, I love you madly". At this point, having avoided false innocence, having said clearly it is no longer possible to talk innocently, he will nevertheless say what he wanted to say to the woman: that he loves her in an age of lost innocence.[28] Rachmaninoff's music is often used in cinema, especially themes from his second and third piano concertos, and the eighteenth variation of the Rhapsody on a Theme of Paganini. Nadie rebaje a lágrima o reproche Left a bus stop in its place Magical Realism is a technique popular among Latin American writers (and can also be considered its own genre) in which supernatural elements are treated as mundane (a famous example being the practical-minded and ultimately dismissive treatment of an apparently angelic figure in Gabriel Garcia Marquez's "A Very Old Man with Enormous Wings"). Though the technique has its roots in traditional storytelling, it was a center piece of the Latin American "boom", a movement coterminous with postmodernism. Some of the major figures of the "Boom" and practitioners of Magical Realism (Gabriel Garcia Marquez, Julio Cortázar etc.) are often listed as postmodernists. This labeling, however, is not without its problems. In Spanish-speaking Latin America, modernismo and posmodernismo refer to early twentieth-century literary movements that have no direct relationship to modernism and postmodernism in English. Finding it anachronistic, Octavio Paz has argued that postmodernism is an imported grand récit that is incompatible with the cultural production of Latin America. Postmodernists such as Salman Rushdie, Italo Calvino, and Gunter Grass commonly use Magical Realism in their work.[2] Perhaps demonstrated most famously and effectively in Joseph Heller's Catch-22 and the work of Thomas Pynchon, the sense of paranoia, the belief that there's an ordering system behind the chaos of the world. For the postmodernist, no ordering system exists, so a search for order is fruitless and absurd. The Crying of Lot 49 by Thomas Pychon has many possible interpretations. If one reads the book with a particular bias, then he or she is going to be frustrated.[17] This often coincides with the theme of technoculture and hyperreality. For example, in Breakfast of Champions by Kurt Vonnegut, the character Dwayne Hoover becomes violent when he's convinced that everyone else in the world is a robot and he is the only human.[2] Narval learns Nina's own dark secret. She and her husband had been imprisoned by the Nazis in a concentration camp during World War II. She was released. Sensing that he was planning an escape, she had written him a letter begging him to wait, that the Allies would liberate him soon enough. However, she entrusted the letter to a man who betrayed them. Her husband was executed. Research Associate, Music Department When Juan Perón became President in 1946, Borges was dismissed, and "promoted" to the position of poultry inspector for the Buenos Aires municipal market (he immediately resigned; he always referred to the title of the post he never filled as "Poultry and Rabbit Inspector"). His offenses against the Peronistas up to that time had apparently consisted of little more than adding his signature to pro-democratic petitions, but shortly after his resignation he addressed the Argentine Society of Letters saying, in his characteristic style, "Dictatorships foster oppression, dictatorships foster servitude, dictatorships foster cruelty; more abominable is the fact that they foster idiocy." After 1975, the year his mother died, Borges began to travel all over the world, up to the time of his death. He was often accompanied in these travels by his personal assistant María Kodama, an Argentine woman of Japanese and German ancestry. This irony, along with black humor and the general concept of "play" (related to Derrida's concept or the ideas advocated by Roland Barthes in The Pleasure of the Text) are among the most recognizable aspects of postmodernism. Though the idea of employing these in literature did not start with the postmodernists (the modernists were often playful and ironic), they became central features in many postmodern works. In fact, several novelists later to be labeled postmodern were first collectively labeled black humorists: John Barth, Joseph Heller, William Gaddis, Kurt Vonnegut, Bruce Jay Friedman, etc. It's common for postmodernists to treat serious subjects in a playful and humorous way: for example, the way Heller, Vonnegut, and Pynchon address the events of World War II. Magic realism Heat came round and busted me... Escapin' The second chapter of this book, entitled 'Why Write?' has been reprinted as a free standing essay[citation needed]. To: fsc@enter.net Fabulation Notable influences The Kensico Cemetery is the final resting place of the actress Billie Burke, who played Glinda, the "Good Witch of the North", in the classic film The Wizard of Oz. Also interred within Kensico Cemetery and Gate of Heaven Cemetery are the big band leader Tommy Dorsey; the New Yorker cartoonist Peter Arno; the former CBS News president Fred Friendly; the legendary New York Yankees star Lou Gehrig; the film star and comedian Danny Kaye; the virtuoso pianist, composer, and conductor, Sergei Rachmaninoff; the author Ayn Rand; NBC founder David Sarnoff; and the first Chief Scout Executive of the Boy Scouts of America, James E. West. It is also where the remains lie of Herbert Howard Booth, the son of the Salvation Army founder William Booth, who was the founder of the Salvation Army Musical Department. Giovanni Turini, a sculptor from Italy, who was born in 1841 and died in 1899, made the statue of Giuseppe Garibaldi, a man he served in the fighting surrounding the unification of Italy, in Washington Square, and also the bust of Giuseppe Mazzini in Central Park; Actress Anne Bancroft (Brooks) (Born: September 17, 1931 – Died: June 6, 2005). It is also the resting place of Harriet Quimby, America's first certified female pilot. Famous Pakistani delegate to the United Nations, Professor Syed Ahmed Shah Bukhari also known by his pen name Patras Bokhari is also buried there.[2][3] Novelist David Foster Wallace in his 1990 essay "E Unibus Pluram" makes the connection between the rise of postmodernism and the rise of television with its tendency toward self-reference and the ironic juxtaposition of what's seen and what's said. This, he claims, explains the preponderance of pop culture references in postmodern literature: He keeps his word, but as the young boy. Mademoiselle quits her job to remain in Rome. While waiting for her lover to show up, she bumps into Mrs. Pennicott and spills the contents of the old woman's purse. Mademoiselle gathers up the various items, but after Mrs. Pennicott thanks her and leaves, she picks up an overlooked red ribbon. p.s. when I first read your post, I thought I'd check David Dodd's awesome annotated lyrics page (http://www.uccs.edu/~ddodd/gdhome.html#songs). While it didn't have any answers I could quickly & easily forward to you, it did have your post quoted on it. Because of this, I'm cc'ing this to David. He was, from the first issue, a regular contributor to Sur, founded in 1931 by Victoria Ocampo, then Argentina's most important literary journal[citation needed]. Ocampo herself introduced Borges to Adolfo Bioy Casares, another well-known figure of Argentine literature, who was to become a frequent collaborator and dear friend. Together they wrote a number of works, some using pseudonyms (H. Bustos Domecq), including a parody detective series and fantasy stories. "`The Other One' has a more clearly circumscribed emotional color than `Dark Star' (`Breathlessness,' says Weir, who wrote it). It's a joyful song of terror and a scary song of fun, and in performance the band takes it through many dark passages with brightly lit tonalities close at hand. You can see the cinematic version of `The Other One' in you mind's eye without having to know the words."(pp. 74-75) Without a job, his vision beginning to fade due to hereditary retinal detachment,[4] and unable to fully support himself as a writer, Borges began a new career as a public lecturer. Despite a certain degree of political persecution, he was reasonably successful, and became an increasingly public figure, obtaining appointments as President of the Argentine Society of Writers, and as Professor of English and American Literature at the Argentine Association of English Culture. His short story "Emma Zunz" was turned into a film (under the name of Días de odio (English title: Days of Hate http://www.imdb.com/title/tt0046947/), directed in 1954, by the Argentine director Leopoldo Torre Nilsson). Around this time, Borges also began writing screenplays. granted me both the gift of books and the night. Of God who, with magnificent irony, Literary minimalism can be characterized as a focus on a surface description where readers are expected to take an active role in the creation of a story. The characters in minimalist stories and novels tend to be unexceptional. Generally, the short stories are "slice of life" stories. Minimalism, the opposite of maximalism, is a representation of only the most basic and necessary pieces, specific by economy with words. Minimalist authors hesitate to use adjectives and adverbs and they never use meaningless details.Such authors force readers to take an active role in the creative process; instead of providing every minute detail, the author provides a general context and then allows the reader’s imagination to shape the story. Literary minimalism is represented by Samuel Beckett, E. Hemingway, Ezra Pound etc. [20] To combine, or "paste" together, multiple elements. In Postmodernist literature this can be an homage to or a parody of past styles. It can be seen as a representation of the chaotic, pluralistic, or information-drenched aspects of postmodern society. It can be a combination of multiple genres to create a unique narrative or to comment on situations in postmodernity: for example, William S. Burroughs uses science fiction, detective fiction, westerns; Margaret Atwood uses science fiction and fairy tales; Umberto Eco uses detective fiction, fairy tales, and science fiction, and so on. I came across an empty space As with `Dark Star' the `song' portion of `The Other One' is straightforward, though characteristically clever, and the sketch of a lyric and the `head' of the song are merely jumping-off points. Kensico Cemetery, located in Valhalla, Westchester County, New York, was founded in 1889, when many New York City cemeteries were becoming full, and rural cemeteries were being created near the railroads which served the city. Initially 250 acres (1.0 km2), it was expanded to 600 acres (2.4 km²) in 1905, but reduced to 461 acres (1.9 km²) in 1912, when a portion was sold to the neighboring Gate of Heaven Cemetery. Many baseball players are buried in this cemetery. At stake in such a conception is a radical reworking of the notion of the subject in communicative experience. Bataille writes: All the children learnin', from books that they were burnin', A letter from Jack Legate to John Scott, dated 3/18/88 states that this line Thanks to Dave Kopel for the following annotation! Subject: 2.2.68 - Crystal Ballroom "The Jealous Lover" stars Moira Shearer and James Mason; "Mademoiselle" features Leslie Caron, Farley Granger, Ethel Barrymore, and Ricky Nelson; Pier Angeli and Kirk Douglas headline "Equilibrium". ? ? ? ? ? ? ? ? ? and vanished overnight Valhalla is an unincorporated hamlet and census-designated place (CDP) that is located within the town of Mount Pleasant, New York, in Westchester County. Its population was 3,162 at the 2010 U.S. Census.[1] The name of the community was inspired by a fan of the opera composer Richard Wagner, and the celebrated status of this hamlet comes primarily from its location as the burial places of the remains of numerous well-known people. This name is appropriate, as Valhalla is a heavenly abode in Norse mythology. That's when it all began Uh-oh! It trembles and explodes Charlie Kaufman is a screenwriter who often uses this narrative technique. In the film Adaptation., his character Charlie Kaufman (Nicolas Cage) tortuously attempts to write a screenplay adapted from the book The Orchid Thief, only to come to understand that such an adaptation is impossible. Many plot devices used throughout the film are uttered by Kaufman as he develops a screenplay, and the screenplay, which eventually results in Adaptation itself. A similar device is used in Kaufman's film Synecdoche, New York. In the film, stage director Caden Cotard (Philip Seymour Hoffman) endeavors to create a vast theatrical project about the world around him, with actors playing himself and everyone in his life. Thus the film Synecdoche, New York, a portrayal of the narrative of Caden's life, tells the story of a portrayal of the narrative of Caden's life. And when the day had ended, with rainbow colors blended, Their minds remained unbended ["Quodlibet for tenderfeet": Instrumental] [Over "The Other One:"] DG: Now, I remember a version from a little bit earlier, maybe the late in '67, you had a different set of lyrics; the first verse is about, you know, "the heat come 'round and busted me"... Linda Hutcheon coined the term "historiographic metafiction" to refer to works that fictionalize actual historical events or figures; notable examples include The General in His Labyrinth by Gabriel Garcia Marquez (about Simón Bolívar), Flaubert's Parrot by Julian Barnes (about Gustave Flaubert), and Ragtime by E. L. Doctorow (which features such historical figures as Harry Houdini, Henry Ford, Archduke Franz Ferdinand of Austria, Booker T. Washington, Sigmund Freud, Carl Jung). John Fowles deals similarly with the Victorian Period in The French Lieutenant's Woman. In regards to critical theory, this technique can be related to The Death of the Author by Roland Barthes.[2] Faction That goes under the water laws. "Funny, to me it's always been symbolic of a "dying" ritual, (the need of the ego to die in order for the true spirit to be born within). In other words, the "death" was a metamorphosis & therefore was something to be desired...interesting how we can have such different takes on these things. But I guess this is a subject for another topic..."--David Gans A story addressing the specific conventions of story, such as title, character conventions, paragraphing or plots. (e.g. Lost in the Funhouse and On with the Story by John Barth, Drawers & Booths by Ara 13, The Last Unicorn by Peter S. Beagle or Into the Woods.) Choreography for "The Jealous Lover" was by Frederick Ashton. Mademoiselle I could not think or spell my name or _?_ the words away Musical details: Since the New Criticism's main theorists, Wimsatt, Cleanth Brooks and Robert Penn Warren, were all teaching in Yale English simultaneously with the younger Harold Bloom, Jacques Derrida and Paul de Man – and sat on committees concerning their tenure and promotion – there seems to have been a generational rebellion in hiding their influence. Bloom wrote of this obliquely in his "Anxiety of Influence." The older men carried a heavy freight of pre-War Eliotic Christian and Southern culture; but this article is not the place to search for motive, merely notice the hidden connection. On an ocean liner, a passenger recognizes famed ballet creator Charles Coudray (James Mason), and asks him politely why one of his works has never been performed since its debut. When Coudray remains silent, the fan leaves him alone with his thoughts, leading to a flashback. Poioumena I don't know how good a copy you've got, but my copy from the Grateful Dead Hour isn't too comprehensible. When I woke up this morning my head was not attached Solemnly they stated, "He has to die, you know he has to die." "Never has such black music packed such joie de vivre! The visual images are of lovely things turning dangerous (`Spanish lady come to me, she lays on me this rose/It rainbow spiral round and round and trembles and explodes') and of everyday scenes turning fabulously opportune: `The bus come by and I got on/That's when it all began...' He had to die, oh, you know he had to die. DeLillo is widely considered by modern critics to be one of the central figures of literary postmodernism. He has said the primary influences on his work and development are "abstract expressionism, foreign films, and jazz."[4] Many of DeLillo's books (notably White Noise) satirize academia and explore postmodern themes of rampant consumerism, novelty intellectualism, underground conspiracies, the disintegration and re-integration of the family, and the promise of rebirth through violence. In several of his novels, DeLillo explores the idea of the increasing visibility and effectiveness of terrorists as societal actors and, consequently, the displacement of what he views to be artists', and particularly novelists', traditional role in facilitating social discourse (Players, Mao II, Falling Man). Another perpetual theme in DeLillo's books is the saturation of mass media and its role in forming simulacra which serve to remove an event from its context and alter or drain its inherent meaning (see the highway shooter in Underworld, the televised disasters longed for in White Noise, the planes in Falling Man, the evolving story of the interviewee in Valparaiso). The psychology of crowds and the capitulation of individuals to group identity is a theme DeLillo examines in several of his novels especially in the prologue to Underworld, Mao II, and Falling Man. In a 1993 interview with Maria Nadotti, DeLillo explained In an interview published in Golden Road, Spring, 1991, p. 30, Garcia was asked about his portion of the lyric: And all the other sound on him, And if it was tap water, that also... Copyright notice I asked my friends about it, try to find out where its at Borges' father died in 1938, a tragedy for Borges: father and son were very devoted to each other. During Christmas Eve 1938, Borges suffered a severe head wound: during treatment, he nearly died of septicemia. While recovering from the accident, he began tinkering with a new style of writing, for which he would become famous. The first story penned after his accident was Pierre Menard, Author of The Quixote in May 1939. In this story, he examined the relationship between father and son and the nature of authorship. The book is divided into three topics of discussion: Gotta love that Grateful Dead hour! International renown Comin', comin', comin' around, comin' around, comin' around in a circle Writerly Text: A text that aspires to the proper goal of literature and criticism: "... to make the reader no longer a consumer but a producer of the text" (4). Writerly texts and ways of reading constitute, in short, an active rather than passive way of interacting with a culture and its texts. A culture and its texts, Barthes writes, should never be accepted in their given forms and traditions. As opposed to the "readerly texts" as "product," the "writerly text is ourselves writing, before the infinite play of the world is traversed, intersected, stopped, plasticized by some singular system (Ideology, Genus, Criticism) which reduces the plurality of entrances, the opening of networks, the infinity of languages" (5). Thus reading becomes for Barthes "not a parasitical act, the reactive complement of a writing," but rather a "form of work" (10). F. Scott Clugston wrote: Temporal distortion Never-ever land When I was breaking out of jail I learned that right away Irony, playfulness, black humor Tao-te-ching (The Way and Its Power) The basic text of the Chinese philosophy and religion known as Taoism. It is made up of 81 short chapters or poems that describe a way of life marked by quiet effortlessness and freedom from desire. This is thought to be achieved by following the creative, spontaneous life force of the universe, called the Tao. The book is attributed to Lao-tzu, but it was probably a compilation by a number of writers over a long period of time. There was cowboy Neal Chords used: First part: E, A(no 3rd), A, G, Em, D, C(no 3rd), B(no 3rd), Am, G#, F#7, B7; Second part: E, D, C, A, G, B Postmodernist writers often point to early novels and story collections as inspiration for their experiments with narrative and structure: Don Quixote, 1001 Arabian Nights, The Decameron, and Candide, among many others. In the English language, Laurence Sterne's 1759 novel The Life and Opinions of Tristram Shandy, Gentleman, with its heavy emphasis on parody and narrative experimentation, is often cited as an early influence on postmodernism. There were many 19th century examples of attacks on Enlightenment concepts, parody, and playfulness in literature including Lord Byron's satire, especially Don Juan; Thomas Carlyle's Sartor Resartus; Alfred Jarry's ribald Ubu parodies and his invention of 'Pataphysics; Lewis Carrol's playful experiments with signification; the work of Isidore Ducasse, Arthur Rimbaud, Oscar Wilde, etc. Playwrights who worked in the late 19th and early 20th century whose thought and work would serve as an influence on the aesthetic of postmodernism include Swedish dramatist August Strindberg, the Italian author Luigi Pirandello, and the German playwright and theorist Bertolt Brecht. In the 1910s, artists associated with Dadaism celebrated chance, parody, playfulness, and attacked the central role of the artist. Tristan Tzara claimed in "How to Make a Dadaist Poem" that to create a Dadaist poem one had only to put random words in a hat and pull them out one by one. Another way Dadaism influenced postmodern literature was in the development of collage, specifically collages using elements from advertisement or illustrations from popular novels (the collages of Max Ernst, for example). Artists associated with Surrealism, which developed from Dadaism, continued experimentations with chance and parody while celebrating the flow of the subconscious. André Breton, the founder of Surrealism, suggested that automatism and the description of dreams should play a greater role in the creation of literature. He used automatism to create his novel Nadja and used photographs to replace description as a parody of the overly-descriptive novelists he often criticized. Surrealist René Magritte's experiments with signification are used as examples by Jacques Derrida and Michel Foucault. Foucault also uses examples from Jorge Luis Borges, an important direct influence on many postmodernist fiction writers. He is occasionally listed as a Postmodernist though he started writing in the 1920s. The influence of his experiments with metafiction and magical realism was not fully realized in the Anglo-American world until the postmodern period.[2] In the 2010 film Iron Man 2, Sam Rockwell's character, a weapons manufacturer, refers to his most sophisticated missile as his "Rachmaninoff's Third." Borges and Eduardo Mallea were criticized for being "doctors of technique"; their writing presumably "lacked substance due to their lack of interaction with the reality [...] that they inhabited", an existential critique of their refusal to embrace existence and reality in their artwork.[10] Comin', comin', comin' around, comin' around, in a circle, A film in which a character reads a fictional story (e.g. The Princess Bride, Disney Channel's Life is Ruff, Bedtime Stories). "There's another piece with a ... simple appearance which provides a launching pad for far-reaching group exploration. It's listed in the songbooks as "Cryptical Envelopment" for publishing reasons, but band and fans know it as "The Other One." It's that brief passage of frantic, fearful 12/8 on side one of Anthem of the Sun and side two of the "Skullfuck" album (Grateful Dead, the 1971 double live LP) with the perfect paranoia imagery and the perfect scary cartoon soundtrack flavor. An early music consort at Wright State University in Dayton has taken the name, as has a Barthes' work shares much in common with the ideas of the "Yale school" of deconstructionist critics, which numbered among its proponents Paul de Man and Geoffrey Hartman in the 1970s. Barthes, like the deconstructionists, insists upon the disjointed nature of texts, their fissures of meaning and their incongruities, interruptions, and breaks. Our project evaluates hypertext and its potential for use by literary artists in three ways: this declaration of the mastery Borges's change in style from criollismo to a more cosmopolitan style brought him much criticism from journals such as Contorno, a left of center, Sartre-influenced publication founded by the Viñas brothers (Ismael & David), Noé Jitrik, Adolfo Prieto, and other intellectuals. Contorno "met with wide approval among the youth [...] for taking the older writers of the country to task on account of [their] presumed inauthenticity and their legacy of formal experimentation at the expense of responsibility and seriousness in the face of society's problems" (Katra:1988:56).[9] ["Cryptical Envelopment"] The prefix "post," however, does not necessarily imply a new era. Rather, it could also indicate a reaction against modernism in the wake of the Second World War (with its disrespect for human rights, just confirmed in the Geneva Convention, through the atomic bombings of Hiroshima and Nagasaki, the Holocaust, the bombing of Dresden, the fire-bombing of Tokyo, and Japanese American internment). It could also imply a reaction to significant post-war events: the beginning of the Cold War, the civil rights movement in the United States, postcolonialism (Postcolonial literature), and the rise of the personal computer (Cyberpunk fiction and Hypertext fiction).[3][4][5] Interesting story with "The Other One." Uh, it was one of the first tunes I ever wrote. Actually, we came up with the "map," basically, for the song in a rehearsal somewhere, just kickin' stuff around. And then I took it and started shaping it up, and things like that. We for the song in a rehearsal somewhere, just kickin' stuff around. And then I took it and started shaping it up, and things like that. We went on a tour, in the Pacific Northwest, and I was, you know, I was not done with it, I was wondering what the song was about, and then one night it sort of came to me. Basically, it's a little, a little fantastic, uh, episode about my meeting Neal Cassady. I wrote the two verses - that's all there is to it, really, is two verses - and, uh, then, uh, we played the gig that night and came home the next day and when we came home we learned the news that Neal had died that night... I would ask the walls about it, but they vanished overnight It can be used in multiple ways within one work. For example, novelist Tim O'Brien, a Vietnam War veteran, writes in his short story collection The Things They Carried about a character named "Tim O'Brien" and his war experiences in Vietnam. Tim O'Brien, as the narrator, comments on the fictionality of some of the war stories, commenting on the "truth" behind the story, though all of it is characterized as fiction. In the story chapter How to Tell a True War Story, O'Brien comments on the difficulty of capturing the truth while telling a war story. In Stephen King's The Dark Tower series, King himself appears as a pivotal character set with the task of writing The Dark Tower books so that the main characters can continue their quest. Other Stephen King books, and characters from them, are mentioned in the narrative. In an afterword to the series finale, (The Dark Tower VII: The Dark Tower), King details why he chose to include himself in his novel. Scott ... and then there was a second verse that was about "the heat in the jail weren't very smart," or somethin' like that... Despite — indeed, because of — this glut of information, all books are totally useless to the reader, leaving the librarians in a state of suicidal despair. However, Borges speculates on the existence of the "Crimson Hexagon", containing a book that contains the log of all the other books; the librarian who reads it is akin to God. Still later, building on both earlier meanings of "quodlibet", the word began to be applied to certain types of musical compositions. The Oxford Companion Goldberg Variations. It is suggested that the word comes from the practice of allowing performers to "work into the web of the music any tune they liked." (See also the explanation of quodlibet inthe Grove's Dictionary, as part of the The word came to be used for certain kinds of jazz improvisations, as well. Covers: Ballerina Paula Woodward (Moira Shearer) auditions for Coudray. Coudray is impressed, but then Paula collapses and has to be carried off stage. A doctor informs her aunt Lydia (Agnes Moorehead) that she has a heart condition that will force her to give up dancing. His first collection of short stories, El jardín de senderos que se bifurcan (The Garden of Forking Paths) appeared in 1941, composed mostly of works previously published in Sur. Though generally well received[citation needed], El jardín de senderos que se bifurcan failed to garner for him the literary prizes many in his circle expected. Ocampo dedicated a large portion of the July 1941 issue of Sur to a "Reparation for Borges"; numerous leading writers and critics from Argentina and throughout the Spanish-speaking world contributed writings to the "reparation" project. Equilibrium With a moist weapon. The basic roots of existentialism are left to one side by Sartre in this book, as he devises an understanding of the effect they and literature have on those who are subjected to them. I'm not saying any of these transcriptions are authoritative. There's lots of intense jamming on all of these, and you have to wonder how anal Weir was about getting to the mike for the beginnings of stanzas (my guess: not at all). There's only a couple places where I'm confused, and those are marked. Entry for "On the Bus" from Skeleton Key. The heat came 'round & busted me for smiling on a cloudy day Metafictive devices in other media include Al Capp's Fearless Fosdick in Li'l Abner, the Tales of the Black Freighter in Watchmen, or the Itchy and Scratchy Show within The Simpsons, and the computer game Myst in which the player represents a person who has found a book named Myst and been transported inside it. Barthes, Roland. S/Z: An Essay. Trans. Richard Miller. New York: Hill and Wang, 1974. Sartre condemns the bourgeoisie as being devoid of culture. It left a smoking crater of my mind, Along with Beckett and Borges, a commonly cited transitional figure is Vladimir Nabokov; like Beckett and Borges, Nabokov started publishing before the beginning of postmodernity (1926 in Russian, 1941 in English). Though his most famous novel, Lolita (1955), could be considered a modernist or a postmodernist novel, his later work (specifically Pale Fire in 1962 and Ada or Ardor: A Family Chronicle in 1969) are more clearly postmodern.[7] "Seriously, I think that's an extension of my own personal symbology for "The Man of Constant Sorrow"--the old folk song--which I always thought of as being a sort of Christ parable." "Language," William S. Burroughs reminded us, "is a virus from outer space." Performance artist Laurie Anderson adds, "That's why I'd rather hear your name than see your face." This metaphor captures beautifully both the power and the danger presented by the task of communicating the "flux of wholeness," as Heather Raikes describes the rheomode. Raikes' use of the rheomode suggests that technology might be seen not just as a channel for communication and performance, but more radically as the environment in which subjects serve as conduits for experience. Many modernist critics, notably B.R. Myers in his polemic A Reader's Manifesto, attack the maximalist novel as being disorganized, sterile and filled with language play for its own sake, empty of emotional commitment—and therefore empty of value as a novel. Yet there are counter-examples, such as Pynchon's Mason & Dixon, or James Chapman's Stet, where postmodern narrative coexists with emotional commitment.[18][19] Here are some ideas on the song's meaning contributed via the WELL's Deadlit conference: He was the guy that was breakin' the law, too, the cop was. Technoculture and hyperreality Henry Kaiser on Those Who Know History are Doomed to Repeat It Many of the well-known postmodern novels deal with World War II, one of the most famous of which being Joseph Heller's Catch-22. Heller claimed his novel and many of the other American novels of the time had more to do with the state of the country after the war: Thanks! Comin', comin', comin' around, comin' around, in a circle. The bus came by and I got on To: ddodd@well.com That they didn't need me telling them about smiling first and running _?_ Veda The sacred scripture of Hinduism. Four Vedas make up the Samhita , a collection of prayers and hymns that are considered to be revelations of eternal truth written by seer-poets inspired by the gods. The Rig-Veda , the Sama-Veda , and the Yajur-Veda are books of hymns; the Atharva-Veda compiles magic spells. These writings maintain that the Brahman , or Absolute Self, underlies all reality and can be known by invoking gods through the use of hymns or mantes. The Vedic texts were compiled between c. 1000 B.C. and c. 500 B.C., making them the oldest known group of religious writings. Koran (Arabic, al-Qur'an) The primary holy book of Islam. It is made up of 114 suras, or chapters, which contain impassioned appeals for belief in God, encouragement to lead a moral life, portrayals of damnation and beatitude, stories of Islamic prophets, and rules governing the social and religious life of Muslims. Believers maintain that the Koran contains the verbatim word of God, revealed to the prophet Muhammad through the Angel Gabriel. Some of the suras were written during Muhammad's lifetime, but an authoritative text was not produced until c. A.D. 650. When I woke up this morning my head was not in sight.... I got him good. Uh, there was this, there was, I was, uh, I was on the third floor of, uh, our place in the Haight-Ashbury. Um, and there was this cop who was illegally searching a car belonging to a friend of ours, um, down on the street - the cops used to harass us, uh, every chance they got. They didn't care for the hippies back then. And uh, and so I had a water balloon, and what was I gonna do with this water balloon, come on. And, uh... 2nd verse: Minimalism They taught me how to read & write,they taught me the precious arts Michel Foucault also addresses the subject of the author in critical interpretation in a response to Barthes' death of the author theory. In his 1969 essay "What is an Author?", he develops the notion of "author function" to explain the author as a classifying principle within a particular discursive formation in the West. Foucault does not explicitly mention Barthes in his essay but its analysis is a clear challenge to Barthes' depiction of a historical progression that will liberate the reader from domination by the author. My book (Mao II), in a way, is asking who is speaking to these people. Is it the writer who traditionally thought he could influence the imagination of his contemporaries or is it the totalitarian leader, the military man, the terrorist, those who are twisted by power and who seem capable of imposing their vision on the world, reducing the earth to a place of danger and anger. Things have changed a lot in recent years. One doesn't step onto an airplane in the same spirit as one did ten years ago: it's all different and this change has insinuated itself into our consciousness with the same force with which it insinuated itself into the visions of Beckett or Kafka.[5] Old Testament The Christian name for the Hebrew Bible. It is the sacred scripture of Judaism and the first portion of the Christian Bible. According to Jewish teachings, it is made up of three parts: the Law (also known as the Torah or Pentateuch), comprising the first five books (Genesis, Exodus, Leviticus, Numbers, and Deuteronomy), which describes the origins of the world, the covenant between the Lord and Israel, the exodus and entry into the promised land, and the various rules governing social and religious behavior; the Prophets , including the former prophets (Joshua, Judges, Samuel 1-2, Kings 1-2) and the latter prophets (Isaiah, Jeremiah, Ezekiel, and the 12 minor prophets), which describes the history of the Israelites, the stories of heroes, kings, judges, and wars, and the choosing of David as leader of the Israelites; and the Writings (including Psalms, Job, Song of Solomon, and Ruth, among others), which describes the reactions of the people to the laws and covenants, as well as prayers and praises of the covenant. Some books of the Old Testament regarded as sacred by the Jews are not accepted as such by Christians; among Christians there are differences between Roman Catholics and Protestants about the inclusion of some books, the order of the books, and the original sources used in translating them. Scholars generally agree that the Old Testament was compiled from c. 1000 B.C. to c. 100 B.C. Five Classics Five works traditionally attributed to Confucius that form the basic texts of Confucianism. They are the Spring and Autumn Annals, a history of Confucius's native district; the I Ching (or Book of Changes ), a system of divining the future; the Book of Rites , which outlines ceremonies and describes the ideal government; the Book of History ; and the Book of Songs , a collection of poetry. Together they promulgate a system of ethics for managing society based on sympathy for others, etiquette, and ritual. Although the dates of these books are uncertain, they were probably written before the third century B.C. "`The thing about `The Other One' that's so thrilling is that it has all these climaxes at an incredible rate when it's already going at a very strong pace,' says Hart. For smilin on a cloudy day At the wheel Later personal life Readerly Text: A text that makes no requirement of the reader to "write" or "produce" his or her own meanings. The reader may passively locate "ready-made" meaning. Barthes writes that these sorts of text are "controlled by the principle of non-contradiction" (156), that is, they do not disturb the "common sense," or "Doxa," of the surrounding culture. The "readerly texts," moreover, "are products [that] make up the enormous mass of our literature" (5). Within this category, there is a spectrum of "replete literature," which comprises "any classic (readerly) texts" that work "like a cupboard where meanings are shelved, stacked, [and] safeguarded" (S/Z p.200). Thus, Kurt Weill's opus number 9, composed in 1923, is titled Quodlibet. I could not even spell my name, ? ? ? ? ? ? Subjectivity is an illusion, one that allows us to operate comfortably in this plane of existence, but which nonetheless masks true reality, in which there is no division between subject and object: "There is no longer subject-object, but a 'yawning gap' between the one and the other and, in the gap, the subject, the object are dissolved; there is passage, communication, but not from one to the other: the one and the other have lost their separate existence" ("The Torment," 89). One of the most sophisticated treatments of the concept of the novel in a novel occurs in Muriel Spark's debut, The Comforters. Spark imbues Caroline, her central character, with voices in her head which constitutes the narration Spark has just set down on the page. In the story Caroline is writing a critical work on the form of the novel when she begins to hear a tapping typewriter (accompanied by voices) through the wall of her house. The voices dictate a novel to her, in which she believes herself to be a character. The reader is thereby continually drawn to the narrative structure, which in turn is the story, i.e. a story about storytelling which itself disrupts the conventions of storytelling. At no point does Spark as author enter the narrative however, remaining omniscient throughout and adhering to the conventions of third-person narration. Sharon Gardens is a 76-acre (31 ha) section of Kensico Cemetery, which was created in 1953 for Jewish burials. Other buses in rock music lyrics include the Who's "Magic Bus" and the Beatles' "Magical Mystery Tour." In his essay, Barthes criticizes the reader's tendency to consider aspects of the author's identity—his political views, historical context, religion, ethnicity, psychology, or other biographical or personal attributes—to distill meaning from his work. In this critical schematic, the experiences and biases of the author serve as its definitive "explanation." For Barthes, this is a tidy, convenient method of reading and is sloppy and flawed: "To give a text an Author" and assign a single, corresponding interpretation to it "is to impose a limit on that text." Readers must separate a literary work from its creator in order to liberate it from interpretive tyranny (a notion similar to Erich Auerbach's discussion of narrative tyranny in Biblical parables), for each piece of writing contains multiple layers and meanings. In a famous quotation, Barthes draws an analogy between text and textiles, declaring that a "text is a tissue [or fabric] of quotations," drawn from "innumerable centers of culture," rather than from one, individual experience. The essential meaning of a work depends on the impressions of the reader, rather than the "passions" or "tastes" of the writer; "a text's unity lies not in its origins," or its creator, "but in its destination," or its audience. after this they do the usual "heat come 'round and busted me for smilin' on a cloudy day". Can anybody fill in the question marks and was it ever done this way again? BTW, this is a very nice 45 minutes of deadness: Borges's Cosmopolitanism allowed him to free himself from the trap of local color. The varying genealogies of characters, settings, and themes in his stories such as "La muerte y la brújula" were Argentine without forcing them to be Argentine by pandering to his readers. In his essay "El escritor argentino y la tradición" Borges notes that the very absence of camels in the Koran was proof enough that it was an Arabian work, inferring that only someone trying to write an "Arab" work would purposefully include a camel. He uses this example to illustrate how his dialoguing with universal existential concerns was just as Argentine as writing about gauchos and tangos (both of which he also did). Spanish lady come to me, she lays on me this rose. A film or television show in which a character begins humming, whistling, or listening to (on a radio, etc), the show or film's theme song (e.g. the final scene of "Homer's Triple Bypass", from The Simpsons; when Sam Carter hums the theme from Stargate SG-1 during the episode "Chimera"; the second Collector from Demon Knight; when Mr. Incredible whistles theme music from The Incredibles; when all the characters in the film Magnolia begin to sing the background music - "Wise Up" by Aimee Mann; in Almost Famous, when one character begins to sing the background music - "Tiny Dancer" by Elton John - and all of the other characters around him immediately pick it up and sing along as well; the moments when Sam Lowry of Brazil hums/listens to/sings the film's self-titled theme song; when Daryl Van Horne whistles theme music from The Witches of Eastwick; in Harry Potter and the Philosopher's Stone when Rubeus Hagrid is briefly heard playing the main theme on a recorder); when Quinton 'Rampage' Jackson (as B.A. Baracus) hums the A-Team theme in the trailer for the A-Team movie (2010). As with all stylistic eras, no definite dates exist for the rise and fall of postmodernism's popularity. 1941, the year in which Irish novelist James Joyce and English novelist Virginia Woolf both died, is sometimes used as a rough boundary for postmodernism's start. When she does (having nowhere else to go), he tells her that he was once a great trapeze artist. However being the best was not enough for him; he kept trying more and more dangerous tricks, and two years ago, his partner was killed as a result. After that, nobody would work with him. As Nina has demonstrated that she has no fear of dying, he asks her to be his new partner. When she agrees, he starts training her, despite his friends' warning that his obsession will kill her too. Greetings, (word in 3rd line sounds like "fly" but I'm not certain what it is. 2nd verse is the familiar "escaping through the lily fields" one) John Barth, the postmodernist novelist who talks often about the label "postmodern", wrote an influential essay in 1968 called "Literature of Exhaustion" and in 1979 wrote "Literature of Replenishment" in order to clarify the earlier essay. "Literature of Exhaustion" was about the need for a new era in literature after modernism had exhausted itself. In "Literature of Replenishment" Barth says, The Story of Three LovesThe Story of Three Loves, also known as Equilibrium, is a 1953 romantic anthology film made by MGM. It consists of three stories, "The Jealous Lover", "Mademoiselle", and "Equilibrium". The film was produced by Sidney Franklin. "Mademoiselle" was directed by Vincente Minnelli, while Gottfried Reinhardt directed the other two segments. The screenplays were written by John Collier ("The Jealous Lover", "Equilibrium"), Jan Lustig ("Equilibrium", "Mademoiselle"), and George Froeschel ("Equilibrium", "Mademoiselle"). I like to blow away. "The song, which the Dead frequently dedicated to Owsley and which some have suggested deals with the persecution of the acid chemist, opens with a series of serious, but pleasantly melodic verses sung by Garcia over Pigpen's liturgical organ line and Garcia's florid acoustic guitar... The tune continues to tell the tale of this ill-fated individual until the melody fades and Kreutzmann's and Hart's drums set up the relentless chugging rhythm of the next section, sung by Weir, which eulogizes Prankster Neal Cassady (who died in Mexico in early 1968 under slightly mysterious, possibly drug- related circumstances), and attempts to verbalize, to a degree, psychedelic euphoria. Abruptly, that song closes and the music returns to the original theme sung by Garcia." (pp. 84-85) Bhagavad Gita A Sanskrit poem that is part of the Indian epic known as the Mahabharata . It describes, in a dialogue between Lord Krishna and Prince Arjuna, the Hindu path to spiritual wisdom and the unity with God that can be achieved through karma (action), bhakti (devotion), and jnana (knowledge). The Bhagavad-Gita was probably written sometime between 200 B.C. and A.D. 200. Directly referencing another work that internally references the first work. (e.g. "Weird Al" Yankovic appearing on The Simpsons, when he himself sings songs that reference The Simpsons). And this answer: According to Patricia Waugh "all fiction is . . . implicitly metafictional," since all works of literature are concerned with language and literature itself.[2] Some elements of metafiction are similar to devices used in metafilm techniques. Both modern and postmodern literature represent a break from 19th century realism, in which a story was told from an objective or omniscient point of view. In character development, both modern and postmodern literature explore subjectivism, turning from external reality to examine inner states of consciousness, in many cases drawing on modernist examples in the stream of consciousness styles of Virginia Woolf and James Joyce, or explorative poems like The Waste Land by T. S. Eliot. In addition, both modern and postmodern literature explore fragmentariness in narrative- and character-construction. The Waste Land is often cited as a means of distinguishing modern and postmodern literature. The poem is fragmentary and employs pastiche like much postmodern literature, but the speaker in The Waste Land says, "these fragments I have shored against my ruins". Modernist literature sees fragmentation and extreme subjectivity as an existential crisis, or Freudian internal conflict, a problem that must be solved, and the artist is often cited as the one to solve it. Postmodernists, however, often demonstrate that this chaos is insurmountable; the artist is impotent, and the only recourse against "ruin" is to play within the chaos. Playfulness is present in many modernist works (Joyce's Finnegans Wake or Virginia Woolf's Orlando, for example) and they may seem very similar to postmodern works, but with postmodernism playfulness becomes central and the actual achievement of order and meaning becomes unlikely.[2] "It was in this head world that the...Beatles first took LSD. Now, just to get ahead of the story a bit--after Owsley hooked up with Kesey and the Pranksters, he began a musical group called the Grateful Dead. Through the Dead's experience with the Pranksters was born the sound known as "acid rock." And it was that sound that the Beatles picked up on, after they started taking acid, to do a famous series of acid-rock record albums, Revolver, Rubber Soul, and Sergeant Pepper's Lonely Hearts' Club Band. Early in 1967 the Beatles got a fabulous idea. They got hold of a huge school bus and piled into it with thirty-nine friends and drove and wove across the British countryside, zonked out of their gourds. They were going to...make a movie." (Wolfe, p. 189) In 1937, friends of Borges found him working at the Miguel Cané branch of the Buenos Aires Municipal Library as a first assistant. His fellow employees forbade Borges from cataloguing more than 100 books per day, a task which would take him about one hour. The rest of his time he spent in the basement of the library, writing articles and short stories. It trembled and exploded That's It For the Other One de Dios, que con magnífica ironía Words and music by Jerry Garcia, Bob Weir, and Bill Kreutzmann ("That's It For the Other One," composed and written by Jerry Garcia, Bob Weir, and Bill Kreutzmann. Reproduced by arrangement with Ice Nine Publishing Company, Inc. (ASCAP)) esta declaración de la maestría Of a bus to never-ever land Barthes notes that the traditional critical approach to literature raises a thorny problem: how can we detect precisely what the writer intended? His answer is that we cannot. He introduces this notion in the epigraph to the essay, taken from Honoré de Balzac's story Sarrasine (a text that receives a more rigorous close-reading treatment in his influential post-structuralist book S/Z), in which a male protagonist mistakes a castrato for a woman and falls in love with her. When, in the passage, the character dotes over her perceived womanliness, Barthes challenges his own readers to determine who is speaking—and about what. "Is it Balzac the author professing 'literary' ideas on femininity? Is it universal wisdom? Romantic psychology? … We can never know." Writing, "the destruction of every voice," defies adherence to a single interpretation or perspective. No longer the focus of creative influence, the author is merely a "scriptor" (a word Barthes uses expressly to disrupt the traditional continuity of power between the terms "author" and "authority.") The scriptor exists to produce but not to explain the work and "is born simultaneously with the text, is in no way equipped with a being preceding or exceeding the writing, [and] is not the subject with the book as predicate." Every work is "eternally written here and now," with each re-reading, because the "origin" of meaning lies exclusively in "language itself" and its impressions on the reader. The camera moves to Pierre Narval (Kirk Douglas), leaning over the rail and gazing at the ocean. "That's it for the other one always made me think of the greats who were burned for believing "controversial" beliefs that have since become accepted fact. It also reminded me of Wilhelm Reich, whose books were being burned in the fifties. It seems to speak of making a public spectacle of the execution of a visionary. (As for Cryptical Envelopment, Bobby's contribution, it seems more a psychedelic interlude.)" -- Ryan M. Hastings And, uh, at that point, he decided to hell with due process of law, this kid's goin' to jail. He didn't have a thing on me, they, they . It never got to court, but on the other hand, I did get thrown in jail and beat up a little bit. Maturity A novel about a reader reading a novel (e.g. The Neverending Story, If On A Winter's Night A Traveler, The Historian, The Princess Bride) The story then shifts to a second passenger, referred to only as Mademoiselle (Leslie Caron). A chance remark by a passerby about a governess triggers her flashback. A term used to describe the anti-novel. It appears to have been introduced by Robert Scholes in The Fabulators. Fabulation involves allegory, verbal acrobatics and surrealistic effects. This style can be represented by Salman Rushdie´s Haroun and the Sea of Stories. [22] a man is only a particle inserted in unstable and entangled wholes. These wholes are composed in personal life in the form of multiple possibilities, starting with a knowledge that is crossed like a threshold - and the existence of the particle can in no way be isolated from this composition.... This extreme instability of connections alone permits one to introduce, as a puerile but convenient illusion, a representation of isolated existence turning in on itself. ("The Labyrinth," 174). ["We Leave the Castle"] (don't know that last word, sounds like "hey" or "hay") The summer sun looked down on him, It's interesting to note that Jane's Addiction, in their version of "Ripple" on Deadicated, use the rhythmic figure of "The Other One" for the basis of the instrumental tracks. An interesting juxtaposition... Fiction which is based on and combined with fact. Notable examples are Truman Capote´s In Cold Blood, Norman´s Mailer´s Armies of the Night and Alex Haley´s Roots. It can apply to historical novels which combine a great deal of period fact with fictional treatment or to novels which incorporate actual living personalities (e.g. the President of the USA, the British Prime Minister etc.) in a narrative about recent events which pertain to historical fact. [21] The antiwar and anti government feelings in the book belong to the period following World War II: the Korean War, the cold war of the Fifties. A general disintegration of belief took place then, and it affected Catch-22 in that the form of the novel became almost disintegrated. Catch-22 was a collage; if not in structure, then in the ideology of the novel itself ... Without being aware of it, I was part of a near-movement in fiction. While I was writing Catch-22, J. P. Donleavy was writing The Ginger Man, Jack Kerouac was writing On the Road, Ken Kesey was writing One Flew Over the Cuckoo's Nest, Thomas Pynchon was writing V., and Kurt Vonnegut was writing Cat's Cradle. I don't think any one of us even knew any of the others. Certainly I didn't know them. Whatever forces were at work shaping a trend in art were affecting not just me, but all of us. The feelings of helplessness and persecution in Catch-22 are very strong in Pynchon and in Cat's Cradle.[27] That's, that's - I agree. It was in post-atomic America that pop influences on literature became something more than technical. About the time television first gasped and sucked air, mass popular U.S. culture seemed to become High-Art-viable as a collection of symbols and myth. The episcopate of this pop-reference movement were the post-Nabokovian Black Humorists, the Metafictionists and assorted franc-and latinophiles only later comprised by "postmodern." The erudite, sardonic fictions of the Black Humorists introduced a generation of new fiction writers who saw themselves as sort of avant-avant-garde, not only cosmopolitan and polyglot but also technologically literate, products of more than just one region, heritage, and theory, and citizens of a culture that said its most important stuff about itself via mass media. In this regard one thinks particularly of the Gaddis of The Recognitions and JR, the Barth of The End of the Road and The Sot-Weed Factor, and the Pynchon of The Crying of Lot 49 ... Here's Robert Coover's 1966 A Public Burning, in which Eisenhower buggers Nixon on-air, and his 1968 A Political Fable, in which the Cat in the Hat runs for president.[29] By evaluating the hardware platforms and software environments available to writers. Criteria include ease of use, availability, methods of distribution and publication, and the tools available to the writer and reader. Our emphasis is placed on the assumptions each environment makes of the writing and reading processes, the metaphors reinforced by the environment, and the freedom allowed the writer to explore new forms. We have focused on IBM-compatible and Apple hardware Hans-Peter Wagner offers this approach to defining postmodern literature: Thomas Pynchon in particular provides prime examples of playfulness, often including silly wordplay, within a serious context. The Crying of Lot 49, for example, contains characters named Mike Fallopian and Stanley Koteks and a radio station called KCUF, while the novel as a whole has a serious subject and a complex structure.[10][2][11] In Paris, Narval saves a suicidal Nina Burkhardt (Pier Angeli) after she jumps from a bridge over the Seine River. He goes to visit her in the hospital, and finds her still very depressed. He gives her his address and asks her to come see him. The theme of metafiction may be central to the work, as in The Life and Opinions of Tristram Shandy, Gentleman (1759) or as in Herman Melville's The Confidence Man, Chapter XIV, in which the narrator talks about the literary devices used in the other chapters. But as a literary device, metafiction has become a frequent feature of postmodernist literature. Examples such as If on a winter's night a traveler by Italo Calvino, "a novel about a person reading a novel" is an exercise in metafiction. Contemporary author Paul Auster has made metafiction the central focus of his writing and is probably the best known active novelist specialising in the genre. Often metafiction figures for only a moment in a story, as when "Roger" makes a brief appearance in Roger Zelazny's The Chronicles of Amber. See, I wasn't gonna bring that up... The Electronic Labyrinth is a study of the implications of hypertext for creative writers looking to move beyond traditional notions of linearity. By the late 1960s Barthes had established a reputation. He traveled to America and Japan, delivering a presentation at Johns Hopkins University, and producing his best known work, the 1967 essay “The Death of the Author”, which, in light of the growing influence of Jacques Derrida's deconstructionist theory, would prove to be a transitional piece investigating the logical ends of structuralist thought. Barthes continued to contribute with Philippe Sollers to the avant-garde literary magazine Tel Quel, which was very much concerned with the kinds of theory being developed in his work. In 1970 Barthes produced what many consider to be his most prodigious work, the dense critical reading of Balzac’s Sarrasine entitled S/Z. Throughout the 70s Barthes continued to develop his literary criticism, pursuing new ideals of textuality and novelistic neutrality through his works. The soundtrack of the 1945 film Brief Encounter prominently features the second piano concerto, as interpreted by Eileen Joyce. In the 1955 comedy The Seven Year Itch, the protagonist (played by Tom Ewell) fantasizes about seducing Marilyn Monroe's character by playing the second piano concerto.[73] The 1953 film The Story of Three Loves, directed by Vincente Minnelli, features the Rhapsody on a Theme of Paganini; the same piece is featured extensively in the 1980 drama Somewhere In Time and the 1993 comedy Groundhog Day. In the 1996 film Shine, based on a true story, the pianist David Helfgott is obsessed with Rachmaninoff. Helfgott, played by Geoffrey Rush, enters a piano competition, choosing to play the third piano concerto despite the warnings of a teacher that the piece may be too demanding; Helfgott completes the piece only to suffer a nervous breakdown. In the 2006 movie The Devil Wears Prada, the twin daughters of Meryl Streep's character play Rachmaninoff at a recital that she is forced to miss due to inclement weather. The protagonist of the 2011 film Limitless is shown playing an excerpt from the Prelude in C-sharp minor. In addition, Rachmaninoff's melodies have often been referenced by composers of American popular music. The song "I Think of You" from Frank Sinatra's album "Where Are You?" (1957) is based on the second theme in E-flat major from the first movement of Rachmaninoff's Piano Concerto No. 2. Eric Carmen's first two solo singles, "All by Myself" and "Never Gonna Fall in Love Again", were based on melodies from Rachmaninoff's Piano Concerto No. 2 and Symphony No. 2, respectively. The influence of Rachmaninoff's work (specifically his second and third piano concerti) can be heard in the songs "Space Dementia", "Blackout" and "Butterflies and Hurricanes" by Muse. Matthew Bellamy of Muse has cited Rachmaninoff as a source of inspiration,[74] along with two other composer-pianists, Liszt and Chopin. Other references to Rachmaninoff in popular culture include the following: In 2010, a newly discovered 290-kilometer-wide impact basin on Mercury was named Rachmaninoff by NASA.[75] Maximalism Some further argue that the beginning of postmodern literature could be marked by significant publications or literary events. For example, some mark the beginning of postmodernism with the first performance of Waiting for Godot in 1953, the first publication of Howl in 1956 or of Naked Lunch in 1959. For others the beginning is marked by moments in critical theory: Jacques Derrida's "Structure, Sign, and Play" lecture in 1966 or as late as Ihab Hassan's usage in The Dismemberment of Orpheus in 1971. It rainbow spirals round and round, A novel where the narrator intentionally exposes him or herself as the author of the story (e.g. The Brief Wondrous Life of Oscar Wao, Mister B. Gone, The Unbearable Lightness of Being, BFG, The Museum of Innocence). was listenin' to this recent acquisition today and noticed some strange lyrics in TO1. The first verse goes somethin' like this: In this genre, the central strand of the action purports to be the work’s own composition, although it is really “about” something else — as Rushdie’s Midnight’s Children is about the composition of India after independence. Often the writing is a metaphor for constructing a world. The poioumenon has a long prehistory (hardly a tradition), going back through Beckett´s trilogy and Carlyle´s Sartor Resartus to Sterne’s Tristram Shandy, but it is preminently a postmodernist genre. After Nabokov’s dazzling Pale Fire,indeed, it became a dominant form: perhaps a quarter of the more ambitious novels of the seventies featured work in progress. Even the most considerable writers have felt obliged to attempt the genre, like Lessing in The Golden Notebook, Fowles in Mantissa, and Golding in Paper Men. Influenced more or less directly by literary theory, the poioumenon is calculated to offer opportunities to explore the boundaries of fiction and reality—the limits of narrative truth.[24] Sartre claims authors and poets are outside of language and are trapped. Postmodern literature, like postmodernism as a whole, is difficult to define and there is little agreement on the exact characteristics, scope, and importance of postmodern literature. However, unifying features often coincide with Jean-François Lyotard's concept of the "meta-narrative" and "little narrative," Jacques Derrida's concept of "play," and Jean Baudrillard's "simulacra." For example, instead of the modernist quest for meaning in a chaotic world, the postmodern author eschews, often playfully, the possibility of meaning, and the postmodern novel is often a parody of this quest. This distrust of totalizing mechanisms extends even to the author; thus postmodern writers often celebrate chance over craft and employ metafiction to undermine the author's "univocal" control (the control of only one voice). The distinction between high and low culture is also attacked with the employment of pastiche, the combination of multiple cultural elements including subjects and genres not previously deemed fit for literature. A list of postmodern authors often varies; the following are some names of authors often so classified, most of them belonging to the generation born in the interwar period: William Burroughs (1914-1997), Alexander Trocchi (1925-1984), Kurt Vonnegut (1922-2007), John Barth (b. 1930), Donald Barthelme (1931-1989), E. L. Doctorow (b. 1931), Robert Coover (1932), Jerzy Kosinski (1933-1991) Don DeLillo (b. 1936), Thomas Pynchon (b. 1937), Ishmael Reed (1938), Kathy Acker (1947-1997), Paul Auster (b. 1947)[1], Orhan Pamuk (b. 1952). Intertextuality It's bending my mind Owsley "The author" and "the scriptor" are terms Barthes uses to describe different ways of thinking about the creators of texts. "The author" is our traditional concept of the lone genius creating a work of literature or other piece of writing by the powers of his or her original imagination. For Barthes, such a figure is no longer viable. The insights offered by an array of modern thought, including the insights of Surrealism, have rendered the term obsolete. In place of the author, the modern world presents us with a figure Barthes calls the "scriptor," whose only power is to combine pre-existing texts in new ways. Barthes believes that all writing draws on previous texts, norms, and conventions, and that these are the things to which we must turn to understand a text. As a way of asserting the relative unimportance of the writer's biography compared to these textual and generic conventions, Barthes says that the scriptor has no past, but is born with the text. He also argues that, in the absence of the idea of an "author-God" to control the meaning of a work, interpretive horizons are opened up considerably for the active reader. As Barthes puts it, "the death of the author is the birth of the reader." Spanish Lady Paranoia As his eyesight deteriorated, he relied increasingly on his mother's help. When he was not able to read and write anymore (he never learned the Braille system), his mother, to whom he had always been devoted, became his personal secretary. "The Beat Generation" is a name coined by Jack Kerouac for the disaffected youth of America during the materialistic 1950's; Kerouac developed ideas of automatism into what he called "spontaneous prose" to create a maximalistic, multi-novel epic called the Duluoz Legend in the mold of Marcel Proust's Remembrance of Things Past. "Beat Generation" is often used more broadly to refer to several groups of post-war American writers from the Black Mountain poets, the New York School, the San Francisco Renaissance, and so on. These writers have occasionally also been referred to as the "Postmoderns" (see especially references by Charles Olson and the Grove anthologies edited by Donald Allen). Though this is now a less common usage of "postmodern", references to these writers as "postmodernists" still appear and many writers associated with this group (John Ashbery, Richard Brautigan, Gilbert Sorrentino, and so on) appear often on lists of postmodern writers. One writer associated with the Beat Generation who appears most often on lists of postmodern writers is William S. Burroughs. Burroughs published Naked Lunch in Paris in 1959 and in America in 1961; this is considered by some the first truly postmodern novel because it is fragmentary, with no central narrative arc; it employs pastiche to fold in elements from popular genres such as detective fiction and science fiction; it's full of parody, paradox, and playfulness; and, according to some accounts, friends Kerouac and Allen Ginsberg edited the book guided by chance. He is also noted, along with Brion Gysin, for the creation of the "cut-up" technique, a technique (similar to Tzara's "Dadaist Poem") in which words and phrases are cut from a newspaper or other publication and rearranged to form a new message. This is the technique he used to create novels such as Nova Express and The Ticket That Exploded. "I couldn't tell you for sure which of the Merry Pranksters got the idea for the bus, but it had the Babbs touch. ... Then somebody--Babbs?--saw a classified ad for a 1939 International Harvester school bus. The bus belonged to a man in Menlo Park. ...Kesey bought it for $1,500--in the name of Intrepid Trips, Inc. Kesey gave the word and the Pranksters set upon it one afternoon. They started painting it and wiring it for sound and cutting a hole in the roof and fixing up the top of the bus so you could sit up there in the open air and play music, even a set of drums and electric guitars and electric bass and so forth, or just ride. Sandy went to work on the wiring and rigged up a system with which they could broadcast from inside the bus, with tapes or over microphones, and it would blast outside over powerful speakers on top of the bus. There were also microphones outside that would pick up sounds along the road and broadcast them inside the bus. There was also a sound system inside the bus so you could broadcast to one another over the roar of the engine and the road. You could also broadcast over a tape mechanism so that you said something, then heard your own voice a second later in variable lag and could rap off of that if you wanted to. Or you could put on earphones and rap simultaneously off sounds from outside, coming in one ear, and sounds from inside, your own sounds, coming in the other ear. There was going to be no goddamn sound on that whole trip, outside the bus, inside the bus, or inside your own freaking larynx, that you couldn't tune in on and rap off of. A novel in which the characters are aware that they are in a novel (Henry Potty series and various works by Robert Rankin) This is a common technique in modernist fiction: fragmentation and non-linear narratives are central features in both modern and postmodern literature. Temporal distortion in postmodern fiction is used in a variety of ways, often for the sake of irony. Historiographic metafiction (see above) is an example of this. Distortions in time are central features in many of Kurt Vonnegut's non-linear novels, the most famous of which is perhaps Billy Pilgrim in Slaughterhouse Five becoming "unstuck in time". In Flight to Canada, Ishmael Reed deals playfully with anachronisms, Abraham Lincoln using a telephone for example. Time may also overlap, repeat, or bifurcate into multiple possibilities. For example, in Robert Coover's "The Babysitter" from Pricksongs & Descants, the author presents multiple possible events occurring simultaneously -- in one section the babysitter is murdered while in another section nothing happens and so on -- yet no version of the story is favored as the correct version.[2] Historiographic metafiction Tristram Shandy: A Cock and Bull Story is a 2006 British comedy directed by Michael Winterbottom. It is a film-within-a-film based on a book-within-a-book, The Life and Opinions of Tristram Shandy, Gentleman. It features actors Steve Coogan and Rob Brydon playing themselves as egotistical actors during the making in a screen adaptation of Laurence Sterne's 18th century novel Tristram Shandy, which is a fictional account of the narrator's attempt at writing an autobiography. Gillian Anderson and Keeley Hawes also play themselves in addition to their Tristram Shandy roles. "That's It For The Other One" By David Dodd Rachmaninoff is widely considered one of the finest pianists of his day and, as a composer, one of the last great representatives of Romanticism in Russian classical music.[3] Early influences of Tchaikovsky, Rimsky-Korsakov, and other Russian composers gave way to a thoroughly personal idiom that included a pronounced lyricism, expressive breadth, structural ingenuity, and a tonal palette of rich, distinctive orchestral colors.[4] The piano is featured prominently in Rachmaninoff's compositional output. He made a point of using his own skills as a performer to explore fully the expressive possibilities of the instrument. Even in his earliest works he revealed a sure grasp of idiomatic piano writing and a striking gift for melody. "Little by little, Owsley's history seeped out. He was 30 years old, although he looked younger, and he had a huge sonorous name: Augustus Owsley Stanley III. His grandfather was a United States Senator from Kentucky. Owsley apparently had had a somewhat hungup time as a boy, going from prep school to prep school and then to a public high school, dropping out of that, but getting into the University of Virginia School of Engineering, apparently because of his flair for sciences, then dropping out of that. He finally wound up enrolling in the University of California, in Berkeley, where he hooked up with a hip, good-looking chemistry major named Melissa. They dropped out of the University and Owsley set up his first acid factory at 1647 Virginia Street, Berkeley." (Wolfe: The Electric Kool-Aid Acid Test, p. 188.) Characters who express awareness that they are in a work of fiction (e.g. Stranger Than Fiction, "The Great Good Thing", Puckoon, Spaceballs, the Marvel Comics character Deadpool, Illuminatus!, Uso Justo, 1/0. "Bob and George"), the play and movie Rosencrantz and Guildenstern Are Dead . The film shifts back to the ship. While Mademoiselle is knitting in a deck chair, the red ribbon blows away. When she goes to retrieve it, she encounters a handsome young man who informs her that he saw her before, from the train as it departed the station. Novelist and theorist Umberto Eco explains his idea of postmodernism as a kind of double-coding: A real pre-existing piece of fiction X, being used within a new piece of fiction Y, to lend an air of authenticity to fiction Y, e.g. A Nightmare on Elm Street is discussed extensively in Wes Craven's New Nightmare, while actors from the former star as "themselves"; likewise are The 1001 Nights put to use within If on a winter's night a traveler. At first, Paula declines his invitation to dance for him at his studio home, but eventually agrees. Paula lives up to Coudray's high expectations, but exhausts herself in the process. Coudray tenderly kisses her before she goes to change. She slips away and returns home to Lydia with the news of what she has done. But on her way upstairs, she dies, her last words a lament that she had promised Coudray that she would be with him always. A virus operates autonomously, without human intervention. It attaches itself to a host and feeds off of it, growing and spreading from host to host. Language infects us; its power derives not from its straightforward ability to communicate or persuade but rather from this infectious nature, this power of bits of language to graft itself onto other bits of language, spreading and reproducing, using human beings as hosts.The notion of the meme -- coined in 1976 by Richard Dawkins to illustrate the field of memetics -- crystallizes this view of the communication process. Georges Bataille similarly argued that communication was best understood from the perspective of contagion. In Bataille any human being is no more than a conduit for communicative process, a channel for ideas which pass through him/her."If, as it appears to me, a book is communication, then the author is only a link among many readings."* The author is simply a node on a network, through which ideas pass. Well the heat down in jail they weren't very smart Also known as "The Other One," on most recordings. First recorded on Anthem of the Sun. Also to be found, in various forms, on Criticism What is literature? (French title: Qu'est ce que la littérature?) is a 1947 book by Jean-Paul Sartre. (Alternative title: Literature and Existentialism) I have, nonetheless, noticed the odd lyrics and, thanks again to the Grateful Dead hour, have some idea of how this whole thing turns into TO1 we all know & love. Appreciate any inputs. MINDBENDER (performed in early 1966; on the 11/3/65 Emergency Crew demo): A story where the author is not a character, but interacts with the characters. (e.g. She-Hulk, Animal Man, Betty Boop, Daffy Duck in Duck Amuck, Breakfast of Champions, Excel Saga television shows). Subject: Annotated Lyrics Submission: "Smilin' on a Cloudy Day" There's a Spanish Lady in the old folk song "Dublin City". When Perón returned from exile and was re-elected president in 1973, Borges immediately resigned as director of the National Library. In 1967 Borges married the recently-widowed Elsa Astete Millán. It was commonly believed that his mother, who was 90, and anticipating her own death, wanted to find someone to care for her blind son. The marriage lasted less than three years. After a legal separation, Borges moved back in with his mother, with whom he lived until her death at age 99.[11] Thereafter, he lived alone in the small flat he had shared with her, cared for by Fanny, their housekeeper of many decades.[12] My ideal Postmodernist author neither merely repudiates nor merely imitates either his twentieth-century Modernist parents or his nineteenth-century premodernist grandparents. He has the first half of our century under his belt, but not on his back. Without lapsing into moral or artistic simplism, shoddy craftsmanship, Madison Avenue venality, or either false or real naiveté, he nevertheless aspires to a fiction more democratic in its appeal than such late-Modernist marvels as Beckett's Texts for Nothing... The ideal Postmodernist novel will somehow rise above the quarrel between realism and irrealism, formalism and 'contentism,' pure and committed literature, coterie fiction and junk fiction...[26] In 1967, Borges began a five-year period of collaboration with the American translator Norman Thomas di Giovanni, thanks to whom he became better known in the English-speaking world. He also continued to publish books, among them El libro de los seres imaginarios (The Book of Imaginary Beings, (1967, co-written with Margarita Guerrero), El informe de Brodie (Dr. Brodie's Report, 1970), and El libro de arena (The Book of Sand, 1975). He also lectured prolifically. Many of these lectures were anthologized in volumes such as Siete noches (Seven Nights) and Nueve ensayos dantescos (Nine Dantesque Essays). The Annotated Comparisons with modernist literature Post-war developments and transition figures (rest of 1st stanza is same as 11-11-67. looks like the content of the 10-22 version has been put in the rhyme scheme of the 11-11 version) The heat came 'round & busted me for smiling on a cloudy day. Talmud A compilation of Jewish oral law and rabbinical teachings that is separate from the scriptures of the Hebrew Bible, or Old Testament. It is made up of two parts: the Mishna , which is the oral law itself, and the Gemara , a commentary on the Mishna . The Talmud contains both a legal section (the Halakah ) and a portion devoted to legends and stories (the Aggada ). The authoritative Babylonian Talmud was compiled in the sixth century. Some time later, Paula attends a performance of Coudray's latest ballet. After everyone else has left, she goes on stage and starts dancing. However, she is not alone. Coudray has been watching. He is dissatisfied with certain aspects of his work; from what he has seen of Paula's impromptu performance, he believes she can help him fix the defects. "...more or less alludes back to: -John McGraw Also, on 2-3 the lyrics are the familiar ones, though the "it left a smoking crater of my mind I like to blow away" line is totally flubbed, but that could be because it wasn't stuck in Weir's mind yet, or it may not have even been written. "That's It For The Other One" But the heat came round and busted me The term Postmodern literature is used to describe certain tendencies in post-World War II literature. It is both a continuation of the experimentation championed by writers of the modernist period (relying heavily, for example, on fragmentation, paradox, questionable narrators, etc.) and a reaction against Enlightenment ideas implicit in Modernist literature. Postmodernism ... can be used at least in two ways – firstly, to give a label to the period after 1968 (which would then encompass all forms of fiction, both innovative and traditional), and secondly, to describe the highly experimental literature produced by writers beginning with Lawrence Durrell and John Fowles in the 1960s and reaching to the breathless works of Martin Amis and the "Chemical (Scottish) Generation" of the fin-de-siècle. In what follows, the term 'postmodernist' is used for experimental authors (especially Durell, Fowles, Carter, Brooke-Rose, Barnes, Ackroyd, and Martin Amis) while "post- modern" is applied to authors who have been less innovative.[30] Many entertainment figures of the early twentieth century, including the Russian born Sergei Rachmaninoff, were buried here. The cemetery has a special section for members of the Actors' Fund of America and the National Vaudeville Association, some of whom died in abject poverty. Interdependence of literaty texts based on the theory that a literary text is not an isolated phenomenon but is made up of a mosaic of quotations, and that any text is the „absorption and transformation of another“. One literary text depends on some other literary work.It is represented in Tom Stoppard´s play Rosencrantz and Guildestern are Dead.[23] Subject: 2.2.68 - Crystal Ballroom "Golden Road: Who or what inspired your section of "That's It For the Other One"--"The other day they waited," etc.? Dubbed maximalism by some critics, the sprawling canvas and fragmented narrative of such writers as Dave Eggers has generated controversy on the "purpose" of a novel as narrative and the standards by which it should be judged. The postmodern position is that the style of a novel must be appropriate to what it depicts and represents, and points back to such examples in previous ages as Gargantua by François Rabelais and the Odyssey of Homer, which Nancy Felson-Rubin hails as the exemplar of the polytropic audience and its engagement with a work. His mother could but frown on him, A post-structuralist text, "Death of the Author" influenced French continental philosophy, particularly that of Jacques Derrida.[citation needed] Though Postmodernist literature does not refer to everything written in the postmodern period, several post-war developments in literature (such as the Theatre of the Absurd, the Beat Generation, and Magical Realism) have significant similarities. These developments are occasionally collectively labeled "postmodern"; more commonly, some key figures (Samuel Beckett, William S. Burroughs, Jorge Luis Borges, Julio Cortázar and Gabriel Garcia Marquez) are cited as significant contributors to the postmodern aesthetic. And so I got him right square on the head, and uh... Content Influences and overview Literary work marked by the use of still, sharply defined, smoothly painted images of figures and objects depicted in a somewhat surrealistic manner. The themes and subjects are often imaginary, somewhat outlandish and fantastic and with a certain dream-like quality. The effects could be powerful. Some of the characteristic features of this kind of fiction are the mingling and juxtaposition of the realistic and the the fantastic of bizarre, skilful time shifts, convoluted and even labyrinthine narratives and plots, miscellaneous use of dreams, myths and fairy stories, expressionistic and even surrealistic description, arcane erudition, the element of surprise or abrupt shock, the horrific and the inexplicable.It has been applied, for instance, to the work of Luis Borges,the Argentinian who in 1935 published his Historia universal de la infamia, regarded by many as the first work of magic realism. The Colombian novelist Gabriel García Marquez is also regarded as a notable exponent of this kind of fiction – especially his novel One Hundred Years of Solitude.The Cuban Aleo Carpentier is another described as a "magic realist“. [25] Main article: Metafilm Characters in a film or a television series who mention and/or refer to the actors or actresses that portray themselves (e.g. Beatrice "Betty" Pengson from I Love Betty La Fea; Bea Alonzo, who played the role of the protagonist, also played herself as a Ecomoda model; coincidentally in the show, Betty wants to meet Bea Alonzo in person, an act of self-reference. Julia Roberts from "Oceans Twelve" who played the role of Tess disguises herself to look like Julia Roberts. The other characters ironically realize that she is in disguise.) Some interpretations: contributions from the WELL Deadlit conference. Metafiction is essentially writing about writing or "foregrounding the apparatus", making the artificiality of art or the fictionality of fiction apparent to the reader and generally disregards the necessity for "willful suspension of disbelief". It is often employed to undermine the authority of the author, for unexpected narrative shifts, to advance a story in a unique way, for emotional distance, or to comment on the act of storytelling. For example, Italo Calvino's 1979 novel If on a winter's night a traveler is about a reader attempting to read a novel of the same name. Kurt Vonnegut also commonly used this technique: the first chapter his 1969 novel Slaughterhouse Five is about the process of writing the novel and calls attention to his own presence throughout the novel. Though much of the novel has to do with Vonnegut's own experiences during the firebombing of Dresden, Vonnegut continually points out the artificiality of the central narrative arc which contains obviously fictional elements such as aliens and time travel. Similarly, Tim O'Brien's 1990 novel/story collection The Things They Carried, about one platoon's experiences during the Vietnam War, features a character named Tim O'Brien; though O'Brien was a Vietnam veteran, the book is a work of fiction and O'Brien calls into question the fictionality of the characters and incidents through out the book. One story in the book, "How to Tell a True War Story", questions the nature of telling stories. Factual retellings of war stories, the narrator says, would be unbelievable and heroic, moral war stories don't capture the truth. A more-or-less direct reference to "Never-Never Land", from Sir James Matthew Barrie's Peter Pan, or the Boy Who Wouldn't Grow Up. According to Alberto Manguel and Gianni Guadalupi's The Dictionary of Imaginary Places (HBJ, 1980), "...visitors can be taken to Never-Never Land by a never-aging boy, Peter Pan, who refuses to grow up and claims to have run away the day he was born." (p. 263) Chapter Six of Tom Wolfe's The Electric Kool-Aid Acid Test is entitled "The Bus." He says: An installment in The Annotated Grateful Dead Lyrics. "Death of the Author" (1967) is an essay by the French literary critic Roland Barthes that was first published in the American journal Aspen. The essay later appeared in an anthology of his essays, Image-Music-Text (1977), a book that also included "From Work To Text". It argues against incorporating the intentions and biographical context of an author in an interpretation of text. Writing and creator are unrelated. The work of Jarry, the Surrealists, Antonin Artaud, Luigi Pirandello and so on also influenced the work of playwrights from the Theatre of the Absurd. The term "Theatre of the Absurd" was coined by Martin Esslin to describe a tendency in theatre in the 1950s; he related it to Albert Camus's concept of the absurd. The plays of the Theatre of the Absurd parallel postmodern fiction in many ways. For example, The Bald Soprano by Eugène Ionesco is essentially a series of clichés taken from a language textbook. One of the most important figures to be categorized as both Absurdist and Postmodern is Samuel Beckett. The work of Samuel Beckett is often seen as marking the shift from modernism to postmodernism in literature. He had close ties with modernism because of his friendship with James Joyce; however, his work helped shape the development of literature away from modernism. Joyce, one of the exemplars of modernism, celebrated the possibility of language; Beckett had a revelation in 1945 that, in order to escape the shadow of Joyce, he must focus on the poverty of language and man as a failure. His later work, likewise, featured characters stuck in inescapable situations attempting impotently to communicate whose only recourse is to play, to make the best of what they have. As Hans-Peter Wagner says, "Mostly concerned with what he saw as impossibilities in fiction (identity of characters; reliable consciousness; the reliability of language itself; and the rubrication of literature in genres) Beckett's experiments with narrative form and with the disintegration of narration and character in fiction and drama won him the Nobel Prize for Literature in 1969. His works published after 1969 are mostly meta-literary attempts that must be read in light of his own theories and previous works and the attempt to deconstruct literary forms and genres.[...] Beckett's last text published during his lifetime, Stirrings Still (1988), breaks down the barriers between drama, fiction, and poetry, with texts of the collection being almost entirely composed of echoes and reiterations of his previous work [...] He was definitely one of the fathers of the postmodern movement in fiction which has continued undermining the ideas of logical coherence in narration, formal plot, regular time sequence, and psychologically explained characters."[6] "The painting job, meanwhile, with everybody pitching in in a frenzy of primary colors, yellow, oranges, blues, reds, was sloppy as hell, except for the parts Roy Seburn did, which were nice manic mandalas. Well, it was sloppy, but one thing you had to say for it; it was freaking lurid. The manifest, the destination sign in the front, read: "Furthur," with two u's." I Got On A story within which that story (or a story based on it) is a work of fiction (e.g. Stargate SG-1's "Wormhole X-Treme!" or Supernatural's Supernatural novels.) A story of Borges was first translated into English in the August 1948 issue of Ellery Queen's Mystery Magazine; the story was "The Garden of Forking Paths", the translator Anthony Boucher.[6] Though several other Borges translations appeared in literary magazines and anthologies during the 1950s,[7] his international fame dates from the early 1960s. In 1961, he received the first International Publishers' Prize Prix Formentor, which he shared with Samuel Beckett. While Beckett was well-known and respected in the English-speaking world, and Borges at this time remained unknown and untranslated, English-speaking readers became curious about the other recipient of the prize. The Italian government named Borges 'Commendatore'; and the University of Texas at Austin appointed him for one year to the Tinker chair. This led to his first lecture tour in the United States. The first translations of his work into English followed in 1962, with lecture tours in Europe, and in subsequent years the Andean region of South America. In 1980 he was awarded the Prix mondial Cino Del Duca; numerous other honors were to accumulate over the years, such as the French Legion of Honour in 1983, the Cervantes Prize, and even a Special Edgar Allan Poe Award from the Mystery Writers of America, "for distinguished contribution to the mystery genre".[8] In 1933 Borges gained an orial appointment at the literary supplement of the newspaper Crítica, where he first published the pieces later collected as the Historia universal de la infamia (A Universal History of Infamy). This involved two types of pieces. The first lay somewhere between non-fictional essays and short stories, using fictional techniques to tell essentially true stories. The second consisted of literary forgeries, which Borges initially passed off as translations of passages from famous but seldom-read works. In the following years, he served as a literary adviser for the publishing house Emecé Editores and wrote weekly columns for El Hogar, which appeared from 1936 to 1939. Film and television I still want to go back; you just happened to have that water balloon handy, it was kind of just like standard procedure. The Analects A collection of Confucius' teachings thought to have been recorded by his students. They are considered the only sayings that can safely be attributed to him. It all becomes clear. Solar Circus on Historical Retrospective. The Kensico Cemetery was founded in 1889 in Valhalla at a time when many of the cemeteries in New York City were filling up, and several rural cemeteries were founded near the railroads that served the metropolis. Initially 250 acres (100 ha) in size, the cemetery was expanded to 600 acres (2.4 km2) in 1905, but reduced to 460 acres (1.9 km2) in 1912, when a portion of its land was sold to the neighboring Gate of Heaven Cemetery. By investigating literary works created specifically for computerized hypertext. These include Joyce's Afternoon, A Story, McDaid's Uncle Buddy's Phantom Funhouse, and Wilmott's Everglade. Sorry, I only saved the text itself and not the conf, topic, or date. (Me, I saved it off on July 23 1996; don't know whether tnf posted it then or earlier and I only ran across it then): Here's a picture, from the Key-Z site, of the current incarnation of the bus.