By Brian McHale, Joe Bray, Alison Gibbons
What's experimental literature? How has experimentation affected the process literary background, and the way is it shaping literary expression this day? Literary test has consistently been varied and demanding, yet by no means extra so than in our age of electronic media and social networking, while the very classification of the literary is coming lower than excessive strain. How will literature reconfigure itself sooner or later?
The Routledge better half to Experimental Literature maps this expansive and multifaceted box, with essays on:
• the historical past of literary scan from the start of the 20th century to the present
• the impression of latest media on literature, together with multimodal literature, electronic fiction and code poetry
• the improvement of experimental genres from photo narratives and located poetry via to gaming and interactive fiction
• experimental events from Futurism and Surrealism to Postmodernism, Avant-Pop and Flarf.
Shedding new gentle on usually seriously ignored terrain, the members introduce this brilliant zone, outline its present country, and provide interesting new views on its future.
This quantity is the fitting advent for these coming near near the research of experimental literature for the 1st time or seeking to additional their wisdom.
Read or Download The Routledge Companion to Experimental Literature PDF
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Additional info for The Routledge Companion to Experimental Literature
Through the course of her essay, she offers a catalog of the forms of impossibility in experimental literature: contradiction, in which opposing facts, sentences, or versions of narrative events are given; ontological impossibility, in which, through metalepsis, fictional entities transgress the boundary between fiction and reality; impossible space, in which spaces do not cohere to their given properties; impossible time, in which narrative time does not function according to its known rules; and impossible texts, in which literary works feature an invented paradoxical text.
Well, when is tomorrow? In light of the evidence of this Companion – its retrospective view of the historical avant-gardes and of postmodernism and its descendants, its survey of explorations in language, narrative, form, and media, and its account of the aesthetics of the present – it remains to ask: What might we expect from the new frontier of experimental literature? Futurological predictions inevitably fall short: the millennium bug did not take down the world’s computer systems on New Year’s Day 2000; we are not (yet) posthuman; the book is not (yet) dead.
Despite the Futurists’ claim to have invented force-lines, they have recently been shown to have their equivalents in physics (Pietropaolo 2009: 50–9). Italian Futurists interpreted force-lines in two ways. In “Futurist Painting: Technical Manifesto” (Apollonio 1973: 27–31), they present them as reflecting a “universal dynamism,” while elsewhere interpreting them as reflecting “the particular motion of an individual object” in such works as Giacomo Balla’s Abstract Speed, Russolo’s Dynamism of an Automobile and Umberto Boccioni’s Dynamism of a Cyclist.