Ah, well, Lawrence, so did I (most Sundays): & went to the AGA & saw much fine art...
A different way, eh?
Doug
On 2012-04-30, at 2:02 AM, Lawrence Upton wrote:
> Just to acknowledge this
>
> I took a day out from the internet yesterday
>
> --- thinking ---
>
> L
>
> On Sun, April 29, 2012 08:10, Chris Jones wrote:
>> On 28/04/12 16:49, Lawrence Upton wrote:
>>
>>> I wasn't asked to, but I couldn't follow them, too many conflicting
>>> ideas about civil war;
>>
>>
>> The other concern that comes to me is, again Roland Barthes. Thanks
>> again for the comments, most welcome.
>>
>> Is the conflicting lines on civil war readerly or writerly? The
>> difference is is important, to me at least.
>>
>> A writerly writing is a type of writing in which the reader is free to
>> write again that which is written. A readerly writing is a didactic
>> authority imposed on the reader by the writer. (Hence, Barthes idea of the
>> death of the author...)
>>
>> What authority does a writer have? An ethical question, perhaps, as much
>> a political question.
>>
>> I suspect and might even fear that Barthes death of the author is poorly
>> understood.
>>
>> The line on civil war .... confusing, perhaps? Is the writer attempting
>> a claim of authority which is imposed on the reader? If so, it is readerly
>> and as such It allows no freedom for the reader to make a writerly
>> reading, or to re-write in a free fashion what the writer has already
>> written. (This is a question I make of my own writing. It seems somewhat
>> unfair to impose this on other writers in the way I may impose it on my
>> writing.)
>>
>> Free indirect discourse, as Barthes understands, seems to me a way to
>> write in a writerly way. That is in a way in which the reader writes what
>> is written, without making a claim by the writer to the authority of being
>> an author.
>>
>
>
> -----
> Lawrence Upton
> Visiting Fellow, Music Dept,
> Goldsmiths, University of London
> New Cross, London SE14 6NW
> ----
>
Douglas Barbour
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The postliterate sensibility is offended by anything that isn’t television, views with suspicion the compound sentence, the subordinate clause, words of more than three syllables. The home and studio audiences become accustomed to hearing voices swept clean of improvised literary devices, downsized into data points, degraded into industrial-waste product.
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