Beyond the Word: Reconstructing Sense in the Joyce Era of Technology, Culture, and CommunicationBeyond the Word provides as implicit critique of postmodernism, redefining it as a further, radical stage of modernism. Theall argues that Joyce anticipated many of the insights of semiotics, post-structuralism, and postmodernism. Moreover, Joyce and other modern artists differed from their predecessors in exhibiting a greater sense of their place within a dynamic, multifaceted field of communication. Thus, long before the emergence of postmodernism, these radical modernists posed an implicit challenge to the traditional notion of art as a privileged sphere. Beyond the Word situates artistic expression within a broad ecology of communication alongside genres such as comics, games, ads, videos, and slogans of spontaneous protest. Within this context, Theall reconsiders the contributions of Marshall McLuhan, Harold Innis, Gregory Bateson, and Kenneth Burke to our contemporary understanding of communication, and looks at artists as disparate as Dusan Makavejev, Stanley Kubrick, Alexander Pope, Rabelais, William Gibson, Gene Roddenberry, and Wyndham Lewis. |
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Page 60
... laughter and the inter - animation of words and verbal units are essential aspects of this project , it is consistent that from his earliest days as an artist , Joyce held the comic form of poetry to be the most advanced.1o Joyce's ...
... laughter and the inter - animation of words and verbal units are essential aspects of this project , it is consistent that from his earliest days as an artist , Joyce held the comic form of poetry to be the most advanced.1o Joyce's ...
Page 119
... laughter of the comic vision . Laughter is the intellectualizing and distancing factor in contemporary poetic . Laughter involves an intimate relationship between wit ( or montage ) and the dramatic , and this reveals why it is embedded ...
... laughter of the comic vision . Laughter is the intellectualizing and distancing factor in contemporary poetic . Laughter involves an intimate relationship between wit ( or montage ) and the dramatic , and this reveals why it is embedded ...
Page 153
... Laughter is the climax in the tragedy of seeing , hearing , and smelling self - consciously . 3. Laughter is the bark of delight of a gregarious animal at the proximity of its kind . 6. Laughter is the emotion of tragic delight . 9.
... Laughter is the climax in the tragedy of seeing , hearing , and smelling self - consciously . 3. Laughter is the bark of delight of a gregarious animal at the proximity of its kind . 6. Laughter is the emotion of tragic delight . 9.
Contents
Synaesthesia | 21 |
Gesture the Body | 39 |
Modernity and Poetics | 56 |
Copyright | |
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activity advertising ambivalence artistic aspect assemblage associated Bateson become body Burke central century Citizen Kane comedy comic communica communion complex concept consciousness contemporary create critical critique cultural production cyberspace dance Deleuze dialogue discussion Dr Strangelove dramatic dream Dunciad ecology of sense Eisenstein elements emerging everyday world example exploration Felix Guattari Fellini film Finnegans Wake forms function gesture Gilles Deleuze human communication Ibid images imaginary importance interaction interplay involved James Joyce Joyce's Kenneth Burke language laughter machine Makavéjev Marshall McLuhan means medium memory modern modernist modes of communication montage movement munication nature oral paraliterature play poem poet poetic poetry polysemic popular potential Press provides relation relationship rhetoric role satiric semiotic sensory Sergei Eisenstein signs social society speaking strategies structure Sweet Movie synaesthesia tactility theory Thousand Plateaus tion Trans transformation transgression Ulysses unconscious understanding verbal vision visual words writing Wyndham Lewis