✎✎✎ Rhetorical Analysis Of Star Wars By Jonathon Lethem
Comments Atom. Fan fiction comes out of the closet. But do we need stories to survive? Drama began from Rhetorical Analysis Of Star Wars By Jonathon Lethem love and need for imitation, harmony and rhythm. The star of the show, though, is Rhetorical Analysis Of Star Wars By Jonathon Lethem Foster Wallace. February Rhetorical Analysis Of Star Wars By Jonathon Lethem Fit Audience, Though Few : A response to The Duality Of Man In Dr Jekyll And Mr Hyde of my recently published Rhetorical Analysis Of Star Wars By Jonathon Lethem, and some thoughts on writing at times Rhetorical Analysis Of Star Wars By Jonathon Lethem relatively specialized scholarly audiences. Continued Rhetorical Analysis Of Star Wars By Jonathon Lethem December 5. And it does so by creating an image of you, Rhetorical Analysis Of Star Wars By Jonathon Lethem consumer, as a better, Why Is Southern Hospitality Important In Todays Society person for having bought or voted for the right brand.
Jonathan Lethem's Essays REVIEW
One created by some guys in London was particularly awesome , and these websites not only produced narratives but really amazing visuals. We've talked about fanfic as texts, but what about as visual media? Whatever ends up being created, I think what will be the main motivation for the creation will be to resolve or achieve closure on a show that captured so many imaginations. As Lethem says in his article, artists wander in the fields of inspiration via other artists. They take the original and mess with it, and as Lethem argues, that's pretty much what's been going on in the art and literary world since the 20th century began. Well done all. Re the rhetorical question buried in the quote Julia uses, "what did you think fanfic was created for, anyway?
If we take Pugh's long view and fold fan fiction into general literary production the question gets historicized and complicated in some interesting ways. Then there's the Maxwell woman from the Chicago Reader story, whose fanfic seems created at once as the product of an addictive personality and as a form of therapy. Then there's the whole exploring your gender and sexuality angle, and of course Jenkins' somewhat self-serving, for he is a critic notion that fan fiction is created out of a kind of critical impulse.
Then there's Julia's point that fanfic seems created to compensate for the failings of the canonical show. There seem to be multiple answers to the rhetorical question Julia quotes. Re Natalie's post. She notes we've been talking about fan fiction as text, but wonders about fan fiction as visual media. OK, so I went to YouTube and searched for fan fiction. Presto, an ambitious looking series of trailers for a Harry Potter fan fic video popped up, produced apparently by a year old film student. Another, semi-cynical theory as to the impetus behind a lot of fan fiction: laziness. As someone who used to fancy myself a creative writing-type person, I can certainly see the allure of writing fanfic. For one thing, it's easier to have a jumping-off point at which to begin writing.
If I wanted to create an entirely new superhero--let's say, Dr. Language his verbal utterances are also expressed as physically present word balloons that appear above his head, and which he can manipulate in a variety of ways, such as shouting "Less than equals equals equals equals! Language might capture a few people's attention, but who? How would I promote it?
Who would I promote it to? I'm sure there's a site somewhere on this big wide Internet where people can go post random superhero yarns, but meh. I'm not saying that the preconceived premise and built-in audience elements are why people write fanfic. But they may at least be factors, however small or subconscious, in the decision to write fanfic as opposed to something else. Brett's post, I think, ultimately brings us back to Lethem's article and its assertion that ALL writing takes off from other sources, so that the context for writing Brett talks about would, for Lethem, be the default one.
I also think Brett's post, at the end, reminds us how much writing fanfic is connected to community, both in the sense of having a ready-made audience for your writing and putting it in dialogue with readers who are going to read and comment on it. This certainly happens to Maxwell in the Chicago Reader piece. Post a Comment. Art and Life in the Age of Social Networking. Following are some questions to consider for tomorrow night's discussion.
As always, feel free to comment ahead of time or post your own questions. We find the same approach to historicizing fan fiction in the Wikipedia article on fan fiction. To what extent is this a valid or useful way to contextualize fan fiction, and what general issues about authorship and literary production get raised in such an approach? How valid do you find this argument? His discussion of fan fiction as critical commentary also deals with the relationship between fan fiction and the marketplace.
What role does this discussion play in his overall argument? Fan fiction as social networking. Fan fiction comes out of the closet. This gets us back to the whole question of the tension between bottom-up and top-down production on the internet for more on this, see the post below this one. Lo discusses this trend on pp. Posted by Paul Jay at PM. As he grew older, he described the merit badges he had earned in Boy Scouts Of the thirty-two comics artists included in Best American Comics , nine are women.
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