quote of the day; conference proposal update
renenet: And then it was The Flaming Lips and I was like "how the hell did we get here?"
here's luck: Well - how does one ever get to The Flaming Lips, really?
- on the occasion of renenet listening to her copy of mely's September Music mix, which I will forever think of as the left turn at the candyskins mix.
Proposal finished and sent. Verdicts:
out: Eagleton, Bakhtin.
in: Derrida, Jameson, Vico, and (courtesy of Truepenny) actually making my point, sort of. To wit:Because Rushdie's narrator is a version of Tristram written into a twentieth-century postcolonial context, a comparison of the two novels offers insight into differences between narrative strategies as well as into one postcolonial author's dialogue with the existing literary canon.
Midnight's Children is only one of many contemporary novels that rewrite earlier novels; Wide Sargasso Sea and Foe are particularly well-known examples. Like them, Midnight's Children calls attention to the ways in which canonical British autodiegetic novels of the eighteenth and nineteenth centuries exclude the stories of the Other in order to maintain the illusion of complete and self-contained histories.
Let's face it: any day in which I get to use the word "autodiegetic" cannot be entirely bad.
here's luck: Well - how does one ever get to The Flaming Lips, really?
- on the occasion of renenet listening to her copy of mely's September Music mix, which I will forever think of as the left turn at the candyskins mix.
Proposal finished and sent. Verdicts:
out: Eagleton, Bakhtin.
in: Derrida, Jameson, Vico, and (courtesy of Truepenny) actually making my point, sort of. To wit:Because Rushdie's narrator is a version of Tristram written into a twentieth-century postcolonial context, a comparison of the two novels offers insight into differences between narrative strategies as well as into one postcolonial author's dialogue with the existing literary canon.
Midnight's Children is only one of many contemporary novels that rewrite earlier novels; Wide Sargasso Sea and Foe are particularly well-known examples. Like them, Midnight's Children calls attention to the ways in which canonical British autodiegetic novels of the eighteenth and nineteenth centuries exclude the stories of the Other in order to maintain the illusion of complete and self-contained histories.
Let's face it: any day in which I get to use the word "autodiegetic" cannot be entirely bad.