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This book takes a closer look at the diversity of fiction writing
from Diderot to Markson and by so doing call into question the
notion of a singular "theory of fiction," especially in relation to
the novel. Unlike Forster's approach to "Aspects of the Novel,"
which implied there is only one kind of novel to which there may be
an aspect, this book deconstructs how one approach to studying
something as protean as the novel cannot be accomplished. To that
end, the text uses Diderot's This Is Not A Story (1772) and David
Markson's This Is Not A Novel (2016) as a frame and imbedded within
are essays on De Maistre's Voyage Around My Room (1829), Machado de
Assis's Posthumous Memoirs Of Braz Cubas (1881), Andre Breton's
Nadja (1928) and Elizabeth Smart's By Grand Central Station I Sat
Down And Wept (1945).
This creative yet scholarly book discusses prose's important
relationship to close literary analysis, showing how such an
approach can be beneficial for readers, scholars, and writers
alike. Bringing together a literary history that consists of
writers such as Lermontov, Chekhov, Camus, and Calvino, Mark
Axelrod masterfully interweaves discussions of structure, context,
genre, plot, and other key elements often applied to poetry but
seldom applied to various forms of prose in order to offer bold and
surprisingly fresh claims about the writer's purpose. By peeling
back these layers of technique and style, this book opens up
discussions to better understand and appreciate great dramatists,
writers, and poets throughout time by returning back to the core
elements that originally comprised their writing crafts.
Unlike most screenwriting guides that generally analyze several
aspects of screenwriting, Constructing Dialogue is devoted to a
more analytical treatment of certain individual scenes and how
those scenes were constructed to be the most highly dramatic vis a
vis their dialogue. In the art of screenwriting, one cannot
separate how the scene is constructed from how the dialogue is
written. They are completely interwoven. Each chapter deals with
how a particular screenwriter approached dialogue relative to that
particular scene's construction. From Citizen Kane to The Fisher
King the storylines have changed, but the techniques used to
construct scene and dialogue have fundamentally remained the same.
The author maintains that there are four optimum requirements that
each scene needs in order to be successful: maintaining scenic
integrity; advancing the storyline, developing character, and
eliciting conflict and engaging emotionally. Comparing the original
script and viewing the final movie, the student is able to see what
exactly was being accomplished to make both the scene and the
dialogue work effectively.
This book examines one work dealing with madness from each of five
prominent authors. Including discussion of Fowles, Hamsun, Hesse,
Kafka, and Poe, it delineates the specific type of madness the
author associates with each text, and explores the reason for that
- such as a historical moment, physical pressure (such as
starvation), or the author's or his narrator's perspective. The
project approaches the texts it explores from the perspective of a
writer of fiction as well as from the perspective of a critic, and
discusses them as unique manifestations of literary madness. It is
of particular significance for those interested in the interplay of
fiction, literary criticism, and psychology.
Big Thoughts Are Free is a biography of the Serbian-born
entrepreneur cum politician Milan Panic. It traces his childhood in
the former Yugoslavia and the horrors he witnessed and endured
during the Second World War, as well as how he persevered through
those horrors and turned tenacity and business savvy not only to
become the CEO of one of biggest pharmaceutical companies in the
world, but to become Prime Minister of the Federal Republic of
Yugoslavia from 1992 to 1993. This biography traces the life of a
true Renaissance man who was an Olympic cyclist, an aviator, a
polyglot, an opera lover, and a philanthropist. This book covers
some of the euphoric highs in his life as well as some of his worst
personal tragedies, all of which have led him to believe that "big
thoughts are free".
This book examines one work dealing with madness from each of five
prominent authors. Including discussion of Fowles, Hamsun, Hesse,
Kafka, and Poe, it delineates the specific type of madness the
author associates with each text, and explores the reason for that
- such as a historical moment, physical pressure (such as
starvation), or the author's or his narrator's perspective. The
project approaches the texts it explores from the perspective of a
writer of fiction as well as from the perspective of a critic, and
discusses them as unique manifestations of literary madness. It is
of particular significance for those interested in the interplay of
fiction, literary criticism, and psychology.
This creative yet scholarly book discusses prose's important
relationship to close literary analysis, showing how such an
approach can be beneficial for readers, scholars, and writers
alike. Bringing together a literary history that consists of
writers such as Lermontov, Chekhov, Camus, and Calvino, Mark
Axelrod masterfully interweaves discussions of structure, context,
genre, plot, and other key elements often applied to poetry but
seldom applied to various forms of prose in order to offer bold and
surprisingly fresh claims about the writer's purpose. By peeling
back these layers of technique and style, this book opens up
discussions to better understand and appreciate great dramatists,
writers, and poets throughout time by returning back to the core
elements that originally comprised their writing crafts.
This book takes a closer look at the diversity of fiction writing
from Diderot to Markson and by so doing call into question the
notion of a singular "theory of fiction," especially in relation to
the novel. Unlike Forster's approach to "Aspects of the Novel,"
which implied there is only one kind of novel to which there may be
an aspect, this book deconstructs how one approach to studying
something as protean as the novel cannot be accomplished. To that
end, the text uses Diderot's This Is Not A Story (1772) and David
Markson's This Is Not A Novel (2016) as a frame and imbedded within
are essays on De Maistre's Voyage Around My Room (1829), Machado de
Assis's Posthumous Memoirs Of Braz Cubas (1881), Andre Breton's
Nadja (1928) and Elizabeth Smart's By Grand Central Station I Sat
Down And Wept (1945).
A Gogolian nightmare from the point of view of a small-town English
professor.The Mad Diary of Malcolm Malarkey is a kind of
post-modern May-December black comedy about the 60ish,
cancer-stricken Oxford educated, Irish English literature
professor, Malcolm Malarkey who falls in love with the beautiful,
30ish Italian returning graduate student, Liliana Liliano, who, by
then, has tragically lost her husband in an auto accident. Malarkey
has no respect for things that are politically correct and often
runs into problems with the administration if not the local police,
while Liliana. after years of trying to crack the glass ceiling,
quits the corporate world and returns to university to pursue her
passion: literature. After a relatively quick relationship they
fall in love. Though they have much in common and they truly love
each other, the potential stumbling block for them is her
desperation to get pregnant, especially since she has already had a
miscarriage not long before her husband died. Malarkey has already
raised a family, and is still ceaselessly harassed by his Brazilian
ex and her bevy of blood-sucking barristers, and the thought of
starting a family again and potentially leaving Liliana a widow for
a second time with a young child, is a major dilemma for him. Try
as he might to salvage the relationship, Malarkey eventually loses
Liliana because of his multiple impotencies. Though Malarkey loves
Liliana deeply, madly, she eventually breaks it off. True love may
last forever, but eggs do not. Months after her separation, Liliana
meets and marries a Florentine who, in rapid succession,
impregnates her with the children she most desires. Though Malarkey
realizes the break was the best for her, it wasn't for him and he
tries in earnest to move on with his feckless existence, but not
before telling her he'll love her forever.
Unlike most screenwriting guides that generally analyze several
aspects of screenwriting, Constructing Dialogue is devoted to a
more analytical treatment of certain individual scenes and how
those scenes were constructed to be the most highly dramatic vis a
vis their dialogue. In the art of screenwriting, one cannot
separate how the scene is constructed from how the dialogue is
written. They are completely interwoven. Each chapter deals with
how a particular screenwriter approached dialogue relative to that
particular scene's construction. From Citizen Kane to The Fisher
King the storylines have changed, but the techniques used to
construct scene and dialogue have fundamentally remained the same.
The author maintains that there are four optimum requirements that
each scene needs in order to be successful: maintaining scenic
integrity; advancing the storyline, developing character, and
eliciting conflict and engaging emotionally. Comparing the original
script and viewing the final movie, the student is able to see what
exactly was being accomplished to make both the scene and the
dialogue work effectively.
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