![]() ![]() En este articulo, me concentraré en particular en el elemento marítimo del barco para evidenciar cómo, en la prosa modernista en general pero en particular para los personajes joycianos, esto pierde su función de rito de paso. La obra de James Joyce se destaca porque estas transformaciones literarias coinciden, comenzando con las historias en Dubliners (1914) dedicadas a infancia y adolescencia, hasta llegar a la novela de formación A Portrait of the Artist as a Young Man (1916) y Ulysses (1922), en donde la dimensión marina/acuática simboliza y determina el desarrolla atrofiado de los protagonistas jóvenes. In this article, I particularly focus on the maritime element of the ship and put in evidence how, in modernist fiction but especially for the Joycean characters, it loses its traditional rite-of-passage function.Įntre el final del siglo 19 y el comienzo del siglo 20 occurrieron dos importantes cambios literarios : por un lado el tradicional Bildungsroman fue remplazado por su versión modernista, en la que se observan protagonistas adolescentes que no llegan a ser adultos por otro lado, el género de cuentos de aventuras de mar fue sustituido por narraciones mucho más introspectivas, lo que afecta el estilo modernista, sobre todo la representación distopica del mar y la dimensión acuática en general. In the work of James Joyce, the concurrence of these two literary transformations distinctly stands out from those short stories in Dubliners (1914) centred on childhood and adolescence, to the anti-developmental novel A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), the marine/aquatic dimension both symbolises and determines the condition of arrested development of the young protagonists. Sadly, no amount of forget-me-nows can help me fix my mistake.Two major literary changes coincide between the end of the 19th century and the beginning of the 20th century : on the one hand the traditional Bildungsroman is replaced by its modernist counterpart, which features adolescent protagonists whose development into mature adults in never achieved on the other hand, the traditional genre of sea adventure tales is replaced by more introspective narrations, anticipating many of the aspects that will become characterising features of Modernism – in particular, the overall dystopic representation of the sea and of the aquatic element in general. In the end, it's hard to justify watching it all in one sitting. I remember Tobias Fünke's famous phrase: "I'm afraid I just blue myself." I don't remember what happened in the episode that he said it in. Yes, they have plots, but the aspects that stick out in people's minds are the clever lines and funny gags. Every time Battlestar Galacticarevealed a new Cylon, I lost 50 minutes of sleep by hitting "Play next episode."Ĭomedies like Arrested Development and 30 Rock don't work that way. Would the narration still annoy me if I was watching one episode every week? Perhaps, but not nearly as much as it did around hour six.īinge-watching also works better with dramas, which depend on cliffhangers and plot twists to keep viewers engaged. Jace Lacob of The Daily Beast also got tired of Howard's voice, writing, "There is so much narration - used here as a crutch rather than the comedic tool it was during the show’s Fox run - that the entire 15-episode season feels like a 'Previously on Arrested Development' segment told over eight hours." After hearing him explain Cinco de Quatro or FakeBlock for the 10th time, I couldn't help but doze off for a little bit. Ron Howard - once again serving as the show's narrator - spends so much time explaining and re-explaining major plot points that the show could probably be remade into an audio book with minimal effort. The problem was that the narrative structure made binge-watching a chore. As I sat on my couch with a whole thing of candy beans, I began to fear I had made a huge mistake. ![]() He was envisioning his show as a cutting edge internet product, not just good comedy. Hurwitz no doubt felt the weight of the expectations - the generational love-fest that's been directed at Arrested is far beyond that of a merely adored cancelled sitcom - he wanted to give those fans something to really tweet about Sunday morning. Interchangeable episodes! Made-for-Netflix-binge-watching! It would be A New Way to Watch TV - something that the Arrested Development 1.0 had been breathlessly extolled as having already accomplished. The feat would have been innovative, to say the least. ![]()
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