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G Del Escher Bach

Author: Douglas R. Hofstadter
Publisher: Penguin Group(CA)
ISBN: 9780140289206
Size: 62.28 MB
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'What is a self and how can a self come out of inanimate matter?' This is the riddle that drove Douglas Hofstadter to write this extraordinary book. In order to impart his original and personal view on the core mystery of human existence - our intangible sensation of 'I'-ness - Hofstadter defines the playful yet seemingly paradoxical notion of 'strange loop', and explicates this idea using analogies from many disciplines.

G Del Escher Bach

Author: Douglas R. Hofstadter
Publisher: Basic Books (AZ)
ISBN: 9780465026852
Size: 13.70 MB
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A young scientist and mathematician explores the mystery and complexity of human thought processes from an interdisciplinary point of view

Music In The Words Musical Form And Counterpoint In The Twentieth Century Novel

Author: Alan Shockley
Publisher: Routledge
ISBN: 1351557297
Size: 31.46 MB
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There is a strong tradition of literary analyses of the musical artwork. Simply put, all musicology - any writing about music - is an attempt at making analogies between what happens within the world of sound and language itself. This study considers this analogy from the opposite perspective: authors attempting to structure words using musical forms and techniques. It's a viewpoint much more rarely explored, and none of the extant studies of novelists' musical techniques have been done by musicians. Can a novel follow the form of a symphony and still succeed as a novel? Can musical counterpoint be mimicked by words on a page? Alan Shockley begins looking for answers by examining music's appeal for novelists, and then explores two brief works, a prose fugue by Douglas Hofstadter, and a short story by Anthony Burgess modeled after a Mozart symphony. Analyses of three large, emblematic attempts at musical writing follow. The much debated 'Sirens' episode of James Joyce's Ulysses, which the author famously likened to a fugue, Burgess' largely ignored Napoleon Symphony: A Novel in Four Movements, patterned on Beethoven's Eroica, and Joyce's Finnegans Wake, which Shockley examines as an attempt at composing a fully musicalized language. After these three larger analyses, Shockley discusses two quite recent brief novels, William Gaddis' novella Agapgape and David Markson's This is not a novel, proposing that each of these confounding texts coheres elegantly when viewed as a musically-structured work. From the perspective of a composer, Shockley offers the reader fresh tools for approaching these dense and often daunting texts.

I Am A Strange Loop

Author: Douglas R. Hofstadter
Publisher: Hachette UK
ISBN: 0465008372
Size: 37.90 MB
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One of our greatest philosophers and scientists of the mind asks, where does the self come from--and how our selves can exist in the minds of others. Can thought arise out of matter? Can self, soul, consciousness, "I" arise out of mere matter? If it cannot, then how can you or I be here? I Am a Strange Loop argues that the key to understanding selves and consciousness is the "strange loop"-a special kind of abstract feedback loop inhabiting our brains. The most central and complex symbol in your brain is the one called "I." The "I" is the nexus in our brain, one of many symbols seeming to have free will and to have gained the paradoxical ability to push particles around, rather than the reverse. How can a mysterious abstraction be real-or is our "I" merely a convenient fiction? Does an "I" exert genuine power over the particles in our brain, or is it helplessly pushed around by the laws of physics? These are the mysteries tackled in I Am a Strange Loop, Douglas Hofstadter's first book-length journey into philosophy since Gödel, Escher, Bach. Compulsively readable and endlessly thought-provoking, this is a moving and profound inquiry into the nature of mind.

Postmodernist Fiction

Author: Brian McHale
Publisher: Routledge
ISBN: 1134949170
Size: 44.43 MB
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Like it or not, the term `postmodernism' seems to have lodged itself in our critical and theoretical discourses. We have a postmodern architecture, a postmodern dance, perhaps even a postmodern philosophy and a postmodern condition. But do we have a postmodernist fiction? In this trenchant and lively study Brian McHale undertakes to construct a version of postmodernist fiction which encompasses forms as wide-ranging as North American metafiction, Latin American magic realism, the French New New Novel, concrete prose and science fiction. Considering a variety of theoretical approaches including those of Ingarden, Eco, Dolezel, Pavel, and Hrushovski, McHale shows that the common denominator is postmodernist fiction's ability to thrust its own ontological status into the foreground and to raise questions about the world (or worlds) in which we live. Far from being, as unsympathetic critics have sometimes complained, about nothing but itself -- or even about nothing at all -- postmodernist fiction in McHale's construction of it proves to be about (among other things) those hardy literary perennials, Love and Death. itself in our critical and theoretical discourses. We have a,--- postmodern architecture, a postmodern dance, perhaps even a postmodern philosophy and a postmodern condition. But do we have a postmodernist fiction? Brian McHale undertakes to construct a version capacious enough to include North American metafiction, Latin American magic realism, the French New New Novel, concrete prose and science fiction, to name but a few of its forms. The common denominator is postmodernist fiction's ability to thrust its own ontological status into the foreground and to raise questions about the world (or worlds) in which we live. Exploiting various theoretical approaches to literary ontology - those of Ingarden, Eco, Dolezel, Pavel, Hrushovski and others - and ranging widely over contemporary world literature, McHale assembles a comprehensive repertoire of postmodernist fiction's strategies of world-making and -unmaking. Far from being, as unsympathetic critics have sometimes complained, about nothing but itself or even about nothing at all, postmodernist fiction in McHale's construction of it proves to be about (among other things) those hardy literary perennials, Love and Death. "This is one of the most lively and lucid studies of contemporary fiction around. Whether or not you agree with his provocative definition of the postmodern, McHale's argument is always engaging, bold, and forceful." _ Linda Hutcheon

Virtual Music

Author: David Cope
Publisher: MIT Press (MA)
ISBN: 9780262032834
Size: 58.99 MB
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Based on a colloquium held at Stanford University, Nov. 8-9, 1997.

A Theory Of Parody

Author: Linda Hutcheon
Publisher: University of Illinois Press
ISBN: 9780252069383
Size: 27.12 MB
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In this major study of a flexible and multifaceted mode of expression, Linda Hutcheon looks at works of modern literature, visual art, music, film, theater, and architecture to arrive at a comprehensive assessment of what parody is and what it does.Hutcheon identifies parody as one of the major forms of modern self-reflexivity, one that marks the intersection of invention and critique and offers an important mode of coming to terms with the texts and discourses of the past. Looking at works as diverse as Tom Stoppard's Rosenkrantz and Guildenstern Are Dead, Brian de Palma's Dressed to Kill, Woody Allen's Zelig, Karlheinz Stockhausen's Hymnen, James Joyce's Ulysses, and Magritte's This Is Not a Pipe, Hutcheon discusses the remarkable range of intent in modern parody while distinguishing it from pastiche, burlesque, travesty, and satire. She shows how parody, through ironic playing with multiple conventions, combines creative expression with critical commentary. Its productive-creative approach to tradition results in a modern recoding that establishes difference at the heart of similarity.In a new introduction, Hutcheon discusses why parody continues to fascinate her and why it is commonly viewed as suspect--for being either too ideologically shifty or too much of a threat to the ownership of intellectual and creative property.