Musical Macrostructures in The Gold Bug Variations and Orfeo by Richard Powers; or, Toward a Media-Conscious Audionarratology
TL;DR: In this article, the authors connect audionarratological concerns with the (trans- or inter-medial) extensions of narratology offered by scholars such as Marie-Laure Ryan and Werner Wolf.
Abstract: Audionarratology is enmeshed in the current trend toward media-consciousness in narratological debates. This article connect audionarratological concerns with the (trans- or inter)medial extensions of narratology offered by scholars such as Marie-Laure Ryan and Werner Wolf. It focuses on Richard Powers’s earliest musical novel, The Gold Bug Variations (1991), and his to-date latest novel Orfeo (2014), zooming in on their musical macrostructures, the musical forms and techniques that inform the narrative arrangement of the texts. Having positioned the narrative analysis of macrostructural musical elements within the research scope of a media-conscious audionarratology and having explored The Gold Bug Variations and Orfeo for such musical macrostructures, I reflect on the functions of imitating music in this way.
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01 Jan 2016
TL;DR: The harvard dictionary of music is universally compatible with any devices to read and is available in the authors' book collection an online access to it is set as public so you can get it instantly.
Abstract: Thank you very much for downloading harvard dictionary of music. Maybe you have knowledge that, people have search numerous times for their chosen readings like this harvard dictionary of music, but end up in infectious downloads. Rather than enjoying a good book with a cup of coffee in the afternoon, instead they cope with some harmful virus inside their laptop. harvard dictionary of music is available in our book collection an online access to it is set as public so you can get it instantly. Our book servers hosts in multiple countries, allowing you to get the most less latency time to download any of our books like this one. Merely said, the harvard dictionary of music is universally compatible with any devices to read.
69 citations
01 Jan 1990
TL;DR: Monteverdi may not have been the creator of modern music, as Leo Schrade has styled him, but he did play the leading role in the creation of opera as mentioned in this paper.
Abstract: Claudio Monteverdi may not have been ‘the creator of modern music’, as Leo Schrade has styled him, but he did play the leading role in the creation of opera. Lacking illustrious predecessors and pre-existent generic prescriptions, he moved confidently as an innovator: the first great opera composer. But he was also a madrigalist, the last great contributor to a genre that was clearly on the wane by 1600. Here he was a follower. Numerous composers had defined and developed the madrigal before him: Rore, Marenzio, Wert, Luzzaschi, Pallavicino. His contribution lay not in creating the genre but in stretching it to its limits.
4 citations
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01 Jan 2012
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31 May 19801,885 citations
01 Jan 2004
TL;DR: In this paper, the authors argue that there is a significant difference in attitude between immersion in a game and immersive in a novel, and argue that we are becoming a culture more concerned with interactivity.
Abstract: From the Publisher:
Is there a significant difference in attitude between immersion in a game and immersion in a movie or novel? What are the new possibilities for representation offered by the emerging technology of virtual reality? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality, the questions raised by new, interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Formerly a culture of immersive idealsgetting lost in a good book, for examplewe are becoming, Ryan claims, a culture more concerned with interactivity. Approaching the idea of virtual reality as a metaphor for total art, Narrative as Virtual Reality applies the concepts of immersion and interactivity to develop a phenomenology of reading.
Ryan's analysis encompasses both traditional literary narratives and the new textual genres made possible by the electronic revolution of the past few years, such as hypertext, electronic poetry, interactive movies and drama, digital installation art, and computer role-playing games. Interspersed among the book's chapters are several "interludes" that focus exclusively on either key literary texts that foreshadow what we now call "virtual reality," including those of Baudelaire, Huysmans, Ignatius de Loyola, Calvino, and science-fiction author Neal Stephenson, or recent efforts to produce interactive art forms, like the hypertext "novel" Twelve Blue, by Michael Joyce, and I'm Your Man, an interactive movie. As Ryan considers the fate of traditional narrative patterns in digital culture, she revisits one of the central issues in modern literary theorythe opposition between a presumably passive reading that is taken over by the world a text represents and an active, deconstructive reading that imaginatively participates in the text's creation.
About the Author:
Marie-Laure Ryan is an independent scholar and former software consultant. She is the author of Possible Worlds, Artificial Intelligence, and Narrative Theory and the editor of Cyberspace Textuality: Computer Technology and Literary Theory.
660 citations
Book•
29 Dec 2000
TL;DR: In this paper, the authors argue that there is a significant difference in attitude between immersion in a game and immersive in a novel, arguing that we are becoming a culture more concerned with interactivity.
Abstract: From the Publisher:
Is there a significant difference in attitude between immersion in a game and immersion in a movie or novel? What are the new possibilities for representation offered by the emerging technology of virtual reality? As Marie-Laure Ryan demonstrates in Narrative as Virtual Reality, the questions raised by new, interactive technologies have their precursors and echoes in pre-electronic literary and artistic traditions. Formerly a culture of immersive idealsgetting lost in a good book, for examplewe are becoming, Ryan claims, a culture more concerned with interactivity. Approaching the idea of virtual reality as a metaphor for total art, Narrative as Virtual Reality applies the concepts of immersion and interactivity to develop a phenomenology of reading.
Ryan's analysis encompasses both traditional literary narratives and the new textual genres made possible by the electronic revolution of the past few years, such as hypertext, electronic poetry, interactive movies and drama, digital installation art, and computer role-playing games. Interspersed among the book's chapters are several "interludes" that focus exclusively on either key literary texts that foreshadow what we now call "virtual reality," including those of Baudelaire, Huysmans, Ignatius de Loyola, Calvino, and science-fiction author Neal Stephenson, or recent efforts to produce interactive art forms, like the hypertext "novel" Twelve Blue, by Michael Joyce, and I'm Your Man, an interactive movie. As Ryan considers the fate of traditional narrative patterns in digital culture, she revisits one of the central issues in modern literary theorythe opposition between a presumably passive reading that is taken over by the world a text represents and an active, deconstructive reading that imaginatively participates in the text's creation.
About the Author:
Marie-Laure Ryan is an independent scholar and former software consultant. She is the author of Possible Worlds, Artificial Intelligence, and Narrative Theory and the editor of Cyberspace Textuality: Computer Technology and Literary Theory.
464 citations
01 Jan 2007
TL;DR: In this article, the authors present a starter-kit for the study of narrative fiction, focusing on three categories: story, plot, and narration, and gender, emotion, and consciousness.
Abstract: Part I. Preliminaries: 1. Introduction David Herman 2. Toward a definition of narrative Marie-Laure Ryan Part II. Studying Narrative Fiction: A Starter-kit: 3. Story, plot, and narration H. Porter Abbott 4. Time and space Teresa Bridgeman 5. Character Uri Margolin 6. Dialogue Bronwen Thomas 7. Focalization Manfred Jahn 8. Genre Heta Pyrhonen Part III. Other Narrative Media (A Selection): 9. Conversational storytelling Neal R. Norrick 10. Drama and narrative Brian Richardson 11. Film and television narrative Jason Mittell 12. Narrative and digital media Nick Montfort Part IV. Further Contexts for Narrative Study: 13. Gender Ruth Page 14. Rhetoric/ethics James Phelan 15. Ideology Luc Herman and Bart Vervaeck 16. Language Michael Toolan 17. Cognition, emotion, and consciousness David Herman 18. Identity/alterity Monika Fludernik Further reading Glossary Index.
368 citations