Mo Mo Mo P Scholarship (this Dis is on Film)
Matthew Cissell
macissell at yahoo.es
Sun Jul 21 15:30:59 CDT 2013
Doesn't that imply that there is a correct way to read it? Don Quixote uses special terms related to the technology of windmills, if you don't know this will you be unable to "know" the book? What happens when centuries and technological changes separate readers from the context of the writing? Are we the clerics of the bon mot that will illuminate the uniniciated? Couldn't one have a fruitful reading experience without these oh so important connections?
Jes sayin'.
ciao
mc
----- Original Message -----
From: alice wellintown <alicewellintown at gmail.com>
To: pynchon -l <pynchon-l at waste.org>
Cc:
Sent: Friday, July 19, 2013 7:47 PM
Subject: Mo Mo Mo P Scholarship (this Dis is on Film)
If you don’t know movies you will never know Gravity’s Rainbow and you
will find no soft landing nor parachuted phallus banana into The Zone
(The Oz) of the novel’s “paracinematic” (388), oneiric narrative. His
referential obsession with cinema—sometimes direct, sometimes obtuse,
sometimes anachronistic, sometimes fictitious—speaks not only to the
dilemmatic theme of interpreting and reconciling appearance versus
reality, fact versus fiction, in the context of war, but to the
difficulty in literarily categorizing his novel’s style and its place
in twentieth century literature. Therefore, as a means of actively
alternating from literary history and its exhausted categorical
rubrics of modernism and postmodernism when working with Gravity’s
Rainbow, I suggest that the novel is better mapped onto a film
historical timeline as a means of best understanding its literary
design.31
https://mospace.umsystem.edu/xmlui/bitstream/handle/10355/33115/research.pdf?sequence=2
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