take 1 part 1
development of think tank.
analysis of narrative space.
solaris redux might be too specific for our needs. let's meet and edit. use the theory of the paper as our primary analysis of the first project. hemingway will be project #1.
the first step is to understand who we are and what we are trying to do. we require manifesto.
let's make this the primary focus. once we have this, things will be more fluid.
6 comments:
In many cases space is ‘thematized’: It becomes an object of presentation in itself, for its own sake. Space thus becomes an ‘acting place’ rather than a place of action. It influences the fabula, and the fabula becomes subordinate to the presentation of space. That ‘this is happening here’ is just as important as ‘the way it is here,’ which allows these events to happen (136).
this is the ground we stand on.
Potential Manifesto: To read through Hemmingway's earlier works (short stories w/ vignettes) that point to subterrain traumas (ind. short stories), prefaced by graphic terrain (vignette). From the graphic presentation, we must seek to unearth the real (your work) through the subterrain feel of the novel itself.
Additional components:
Narrative space can lead to an extension of trauma. NS is the spade that we seek to dig into the unconscious (or deliberately guarded conscious) and the tool that not only the graphic will stem from, but it will be the texture and bedrock for development of art.
Q: If the world of Sun Also Rises stems from Jake's war experiences that he faced while he was jettised from the States into the great war, is the real narrative space of this the distinctively American experience of the war: could you art depict transatlantic exposes on distinctlively European soil?
Chapters 1, 4, and 5 are set on the Western Front and 7, 8, and 10 relate to the Italian-Austrian front. The intesting element is that this consists of well over 1/3 of this collection of stories (Cohen 129). Now, how will we extract this from the "Sun also Rises?"
Chapter one' s vignette has an antiheroian sense to it. This instantly crashes our idealism of the war, partriotism, and any potential beauty to battle (131).
Resumpt?:
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