How to say nothing with a large vocabulary.
Monday, 29 March 2010
I like songs.
FUCK YOU.
Sunday, 28 March 2010
It's genuinely unbelievable.
Oh yeah, more technological woes. I brought my DVD player back with me when I came home from university specifically so I could watch The West Wing when I was in bed (it's tremendously fascinating, yet brillariously soporific at the same time). Unfortunately, because I apparently have a fabulously low IQ I forgot to bring the remote. The episode I am up to is third on the disk, so if I want to watch it I'm going to have to start playing the disk like 95 minutes before I want to watch anything. Then I'll probably forget and miss the start and have to repeat the whole process.
Seriously. I'm really fucking sorry God.
Saturday, 27 March 2010
Technology takes its revenge.
Anyway. So that was another cost. Oh and my levels of social retard-y-ness have reached an unprecented height. Genuinely, it's beautiful to behold how atrocious I am sometimes. I would watch a sitcom about me. It'd make Curb Your Enthusiasm look like the fucking Gruffalo. Oh well. That's a whole other story. One which I will tell when I have my laptop back and fully functioning. Henceforth bear these two things in mind: if I disappear for a week or so it is because I have lost my laptop, or have had it returned to me sans the work - so I will be up to my elbows in it. If, however, I disappear forever more then you can safely assume that I have in fact died.
Yeah. Good Easter vacation so far. My friend picked up a hitch-hiker, though, so at least I'm not that moronic.
Peace.
Thursday, 25 March 2010
How can you call this place a home?
Wednesday, 24 March 2010
Technology: hypocrisy epitomised.
Tuesday, 23 March 2010
Elven garb.
Follow up.
Dracula! He's in Parliament. Oh. Sorry. It's Mandelson.
- British;
- Has the internet (... axiom);
- Likes anything classified 'entertaining';
- Fun-loving.
- Cowering shakily in the corner;
- Angrily breaking plates;
- Quaking in your proverbial boots;
- Paddling up a stream made of human faeces, in a boat made of your own tongue - which is still attached to your body; being roughly buttfucked by a suit of armour dressed as Henry VIII;
- Gently fisting a baby.
|
Anthropologically challenged.
Sunday, 21 March 2010
A silhouette.
With the allure of something new?
So we split apart at last,
Went back to places that I knew...
Before you.
Thursday, 18 March 2010
Oralol.
'"I had come to the end of my Time... My Shaddowe stretched over the World.": Making Time for Gothic Space.'
The idea behind my dissertation is that I aim to exemplify why the much maligned, and ignored, concept of space as actually more important than that of time. Clasically, and particularly in the Gothic, it is the time - be it physical or implied - which is fore fronted in the criticisms. Psychoanalysts, literary reviews, criticisms, etc., each place the onus of importance on the linear, or even delineated, movement of time. Much as a determinist will argue that unseen causal laws undermine, create, and propagate each and every action; here I will argue that unseen, unconsciously recognised elements of space create the conduit through which time can pass. By analysing texts from drastically different periods - but ones with undisputed literary importance - I aim to show that whilst the progression of time remains stoic, the arena in which the action takes place - and thus the arena in which time passes - changes. This dissertation hopes to follow on from the 'Gothic' unit studied in Semester 1 of Year 2.
I will approach my aims through several different ways. First, it seems logical to argue that space can effect action and time - as without this my assumptions would be axiomatically flawed. I will analyse this suggestion by looking at the studies of 'psychogeography' - a rationale born from the late 'situationist' movement of the 1970's. I will go on to argue the case for free-will compatibility with psychogeography in literary novels. I will then conclude whether or not the basis of cause and effect has changed over the development of the Gothic genre.
Though my critical studies are far from linear - or systematic - owing to the chronological deficits, my primary comparative study will be simplified and done chronologically. The first text being early, the second late, and the third slightly later. It will be a comparative study, facilitated conveniently by the Gothic tendency of employing identifiable tropes and traditions. As archetypal devices are used, a straight comparison is feasible and logical. Although it sounds simplistic, the danger is that whilst the hypothetical looks cohesive, the reality may not be so. Further on from this is the nature of the research: the subject matter can sometimes be inordinately complex to someone not well-read in the field, and thus making the project accessible - whilst still comprehensive - will be the greatest danger I will face. There needs to be a balance between elucidating the key concepts for the uninitiated, and still helping to further literary criticism.
--Feedback from presentation--
Owing to the nature of my study it is self-evident that I should discuss novels of great literary importance within the genre, and ones from different time periods. With that in mind, the first primary text I am going to look at is 'The Castle of Otranto', by Horace Walpole. This text is often considered the 'first' Gothic novel, and is thus demonstrable as the benchmark for the literary characteristics and nuances pursuant in the authorship of the genre at large. It is geographically significant because of the usage of landscape - and what now are considered 'classical' settings: the castle, the forest, the dungeons, the wide expanses of rural, untamed wilderness. This text has been deconstructed repeatedly, but it is of vital importance when considering questions of space and time across the genre. The Castle of Otranto should provide fertile ground for contextualising the issues at hand - and it follows that my first analytical chapter will focus on the salient issues raised in the reading of this novel. It is important, however, to avoid cliché and needless rhetoric, because of the endless supply of literary criticisms which surround this novel. Having this knowledge, however, enables me to use it as a justification, rather than a demonstration - and that thus means that as a comparative piece it is invaluable.
To contrast the sparse rurality of Otranto, I will look at Peter Ackroyd's Hawksmoor. The reasoning behind this being twofold: it is a novel where time is delineated; set in an overlapping narrative between the 18th Century, and modern-times, and because Ackroyd himself can be argued to be a proponent of geographical and classical determinism. The title of my dissertation is a quote from Hawksmoor, and it exemplifies the themes that the work is going to focus on. In the novel, for instance, the protagonists' lives become intertwined, and Ackroyd argues that time is cyclical, and thus all action is pre-fated. Although the novel is thus one about fatalism, it explores themes of urban space, and the importance of transient geography as a signifier and creator of behaviour. It is also useful because if time is cyclical, then elements of this novel logically must be taken from Walpole's Castle of Otranto. This kind of intertextuality is another theme which will be necessary to explore during the course of my discussion. Hawksmoor centres on the internalised recognition of societal, and physical, boundaries: the eponymous Hawksmoor attempts to solve a series of murders galvanized, and theoretically perpetrated three-hundred years previously. In an allegory for my own research, he investigates by allowing time to outpace him, and simply focusing on how he interacts with the space - as the fatalistic 'Time' draws him inexorably to the answer he cannot avoid. Though it seems pernicious to use a novel which focuses so heavily on the importance of time, it is fact only doing so in a superficial way. Hawksmoor acknowledges the universal presence of natural, intractable laws of causation, and this enables him to systematically ignore them. He instead concentrates on physicality - and this focus will help my research progress.
In much the same way as Hawksmoor's actions are set out for him, so is my third primary text. Ian Sinclair's Lud Heat, is considered by all - including being openly acknowledged by Ackroyd in his novel's dedication - to be the premise, and basis for Hawksmoor. It is a disjointed poem which focuses on the construction of satanic churches: a theme mirrored strongly in Ackroyd's novel. The problem is, however, that the conceit is so fragmented that is becomes incredibly hard to access. The poem switches perspective, and concentrates on the physical. Whilst it may not be as helpful as the other two primary texts, it is imperative that I analyse it, and do not undervalue its importance. Because of the complexity, however, I am going to twin this work with another of Sinclair's novels: White Starling something dying.
The supervisor I am hoping to work with on my dissertation is Christopher Pittard, who is a published proponent of psychogeography and a lecturer of the 'Gothic' unit in year two. It was his recommendations which enabled me to find the texts I needed.