#Frank Kermode

[zielenna]

Frank Kermode on Alain Robbe-Grillet in The Sense of an Ending: Studies in the Theory of Fiction

[gourmetpunk]

"We have to distinguish between myths and fictions. Fictions can degenerate into myths whenever they are not consciously held to be fictive. In this sense anti-Semitism is a degenerate fiction, a myth; and [King] Lear is a fiction. Myth operates within the diagrams of ritual, which presupposes total and adequate explanations of things as they are and were; it is a sequence of radically unchangeable gestures. Fictions are for finding things out, and they change as the needs of sense-making change. Myths are the agents of stability, fictions the agents of change. Myths call for absolute, fictions for conditional assent. Myths make sense in terms of a lost order of time, illud tempus as Eliade calls it; fictions, if successful, make sense of the here and now, hoc tempus."

-Frank Kermode, The Sense of an Ending

Getting past the initial irony of Kermode using "degenerate" here to critique myths while also noting anti-semitism as such a kind of myth, this is a great summary of how I feel about the current way a lot of people are talking about fiction; it pisses me off to no end that we (broadly culturally speaking - I'm talking about your layperson's media comprehension here, not what takes place in universities) seem to have retreated into a kind of neo-Campbellist/neo-Jungian treatment of fiction as myth by default when Kermode is basically saying the modern impulse should be to try and distinguish fiction from myth as much as possible, something that I feel like I couldn't articulate well before but strongly agree with. Basically, the "mythical" treatment is the literary equivalent of "reject modernity, embrace tradition" (which I hope everyone reading this realizes is a reactionary conservative meme, right? Because I feel like I see people sharing things with that slogan unironically at an alarmingly increasing rate these days).

[arielkroon]

Some thoughts on the phenomenon of what I have taken to calling "Savior Syndrome" - a thought groove instilled in us by religion and culture and expanded into activist/movement spaces. Think through this with me?

[bob-the-movie-man-film-reviews]

Big George Foreman (12): A "Lean, Mean, Grilling Machine"... but mostly boxing.

#onemannsmovies review of "Big George Foreman" (2023). #ForemanMovie. Solid but staid telling of a remarkable life story. 3.5/5.

A One Mann’s Movies review of “Big George Foreman” (2023). (The full title is “Big George Foreman: The Miraculous Story Of The Once And Future Heavyweight Champion Of The World”, but who on earth can be bothered with that!) “Big George Foreman” is a biopic on the remarkable true story of the boxing champ George Foreman. And it really is an incredible tale. Being of a certain age, I was…

[anotherplacemag]

Dear Kairos | Simon Bray

Created over two weeks on the streets of Athens, ‘Dear Kairos’ is a letter to the Ancient Greek considerations of time. The viewer is invited to consider the Kronos, the linear, mechanistic and determined passing of clock and calendar time, and the Kairos, serendipitous, opportunistic and boundless time. Through the use of repeated scenes and careful sequencing, ‘Dear Kairos’ creates a dialogue between the regular passing of time and moments loaded with significance that can be pushed through and embraced in order to distinguish, as Frank Kermode writes, “between mere chronicity and times which are concordant and full”.

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book - 'Dear Kairos' has recently been released as a photobook by the excellent Skinnerboox. You can see a few images of the book below - highly recommended folks!

All images & text © Simon Bray

[ultraheydudemestuff]

Harcourt Manor

2178 Harcourt Drive

Cleveland Heights, OH

Harcourt Manor, located at 2178 Harcourt Drive in Cleveland Heights, OH, part of the Ambler Heights Historic District, is a 10,050-square-foot, four-story Elizabethan Tudor Revival style mansion designed by architect Frank Meade for $37,000. Kermode F. Gill built the home between 1910 and 1915. Gill’s company, John Gill and Sons, also built the Allen Theatre (1921) and the Terminal Tower (1927). The stone house featured massive chimneys, a crenelated central tower with a slate roof, and a half-timbered prominent gable. The façade featured an unusual small auxiliary wing with a garage. Coffered ceilings and sumptuous woodwork were included in each of the imposing large-scale interiors. The mansion had a ballroom, gymnasium, large foyer, marbled tiled morning room, seven fireplaces, and eight bedrooms.

     The Gills resided in the mansion until 1954 when Dorthea died. It was then sold to the Herget family. Three generations of Hergets lived in the home. They kept its original style and fixtures, but added a secret room, hidden behind a bookcase, to the fourth floor.   In 2011, the Hergets listed the home on Howard Hanna; News 5 Cleveland (2013), and the Cleveland Plain Dealer (2016) covered its sale. It sat vacant until 2016 when John and Anya Rudd purchased it for $565,000 from James P. Herget. The Rudds spent the next four years undertaking a comprehensive restoration of the property and grounds.

     New landscaping was designed by David Thorne of DTR Associates, using photos of the original gardens. The gardens took three years for Exscape Designs to install and build. Architect Richard Gates designed and constructed a pool house and spa, and the manor’s new exterior areas also include a koi pond, pergola, and fountains; the manor's original sculptures, iron gates, potter’s shed, and stone summer house were retained and restored. The restoration work was covered in numerous news and design publications and the Rudds received the AIA Craftsmanship Award from the Cleveland Restoration Society in 2019.  Although privately owned, Harcourt Manor is made available to the community at large for use in fundraisers and other social functions.

[wonderkat11]

My ideas for Just Dance 2 Animal AU

It’s Raining Men/Lari = Turtle.

TikTok/Kayla = Shiba Inu.

A-Punk/Thomas & Mia = Dog & Cat.

I Got You (I Feel Good)/Benjamin = Kermode Bear.

When I Grow Up/Lady = Flamingo.

Toxic/Ivy = Siamese.

Idealistic/Neona = Bat.

Girlfriend/Amy & Matilda = Fox & Rabbit.

S.O.S./Anzia = Coyote.

Dagomba = Asiatic Golden Cat.

Move Your Feet/Charlie = Iguana.

Proud Mary/Mary = Ostrich.

Hot Stuff/Nelly & Benny = Apes.

Big Girl (You Are Beautiful)/Laura = Hippopotamus.

I Want You Back/Thor = Quagga.

Iko Iko/Arizona = Crocodile.

Katti Kalandal/Veena & Manjul = Elephants.

Holiday/Goldie = Hyena.

Call Me/Samara = Labrador.

Sway (Quién Será)/Arista & Quinn = Swans.

Satisfaction/Isaac = Leopard.

Hey Ya!/Moses = Monkey.

Mugsy Baloney/Nia & Callum = Gazelle & Dolphin.

Baby Girl/Matthew (Matt) = Owl.

Jungle Boogie/Harry = Cheetah.

Crazy in Love/Anjia = Poodle.

Soul Bossa Nove/Aleena & Sam = Parrot & Red Wolf.

D.A.N.C.E./Lime = Toucan.

Sympathy for the Devil/Auli'i = Devon Rex.

Rasputin/Boris = Bull.

Jump in the Line/Caroline & Alexa = Giraffe & Arctic Fox.

Wake Me Up Before You Go-Go/Eric = Gazelle.

Walk Like an Egyptian/Rula = Camel.

The Power/Khalid = Otter.

Jump/Momoe & Graham = Gray Foxes.

Monster Mash/Frank = Elk.

Take Me Out/Pyra = Octopus.

That's Not My Name/Jane = Rabbit.

The Shoop Shoop Song/Marie & Svetlanta = Gazelle & Coyote.

Cosmic Girl/Mariana = Panda.

Body Movin'/Juliana = Venom Snake.

Viva Las Vegas/Sebastian = Crab.

Alright/Amanda & Dan = Siamese & Monk Parakeet.

Rockafeller Skank/Kevin (Or you can call him DJ DNC3) = Skunk.

Should I Stay or Should I Go?/Rob = Red Wolf.

Funkytown/Oob = Darwin Frog.

Jai Ho! (You are my Destiny)/Kammi = Indian Leopard.

Firework/Icy = Fox.

Pon de Replay/Yui = Hyena.

Barbie Girl/Diva & Rex = Swam & Wolf.

Pump Up the Volume/Mikey = Hedgehog.

Maniac/Isabella = Flamingo.

Born to be Wild/Wolf = Wolf.

Professor Pumplestickle/Zeka & Pumplehead = Coyote & Frog.

Crying Blood/Miranda = Dalmation.

Down by the Riverside/Jennifer = Dove.

Fuetbol Crazy/Alice = Savannah.

Kung fu Fighting/Master Mantis & Dawn = Goat & Tiger.

Mambo No. 5 (A Little Bit of Monika)/Steve & Elsa = Bear & .

Nine in the Afternoon/Mona & Jake = Cat & Dog.

It’s not Unusual/William = Pug.

Chicken Payback/Louis = Jersey Giant Chicken.

Crazy Christmas/Santa = Reindeer.

Skin to Skin/Perry = Parrot.

You Can’t Hurry Love/Gigi & Lily = Dolphins.

Why oh Why?/Michelle and Howard = Bear & Red Robin Bird.

American Boy/Taio & Julia = Owl & Jaybird.

Come on, Eileen/Soraya & Lucky = Fawn & Mouse.

Song 2/Zack, Bianca, & Josh = Deer, Penguin, & Arctic Wolf.

Spice Up Your Life/Jazzy & Pink = Peacock & Squirrel.

Here Comes the Hotstepper/Shaun = Rabbid.

Movin' on Up/Mindy = Snake.

[chthonic-cassandra]

books! the sense of an ending by frank kermode; william golding's translation of ovid's metamorphoses; trilogy by h.d.

Ooh interesting ones.

I do not own The Sense of an Ending or the Golding Metamorphoses (the only translations of it I have are the Mellville and Martin ones).

I have Trilogy within a larger collected volume of H.D., which resides in between a collection of selected Ezra Pound (I know this is mean but...) and To the Lighthouse.

[senoritamia]

Until well into the 1950s, movies would routinely finish with “The End” blazoned in large letters across the screen. They don’t end that way any longer - partly because so many film narratives are ‘open - ended’. The most interesting ideas in literature often start with what look like banal question, such as: “ Why do we want our narratives to have endings?” “ Why are ends/endings so important to us?” “Why do we crave ends?”

Why when the alarm clock by our bed goes “tick tick” , does the brain insist on hearing “tick tock”? The reason, suggests Frank Kermode , is our addiction to beginnings and endings: “Tick is a humble genesis, tock a feeble apocalypse”.

[becomingbuffypodcast]

S4. Ep8. Pangs

Promoted as the first episode in a Buffy and Angel 2-hour crossover event, Buffy scholar Rhonda Wilcox writes, “[Pangs] is unquestionably one of the most controversial episodes of Buffy…”

The A.V. Club called it "an outrageously entertaining episode", noting the many funny moments but also the complex moral debate over the Native American "evil". Persephone Magazine called it the start of a run of three excellent episodes, including Something Blue and Hush.

Rhonda Wilcox in her essay “Let it Simmer,” argues that tonally, “Pangs” is progressive in its social stance, and while there are problematic elements to the handling of the Chumash that hurt the narrative, the episode’s purpose is ultimately meant to convey a problem, not a solution.

She says, “Pangs” is a problem play, not a solution play. The problem of the U.S. past with Native Americans is certainly not sorted out in this 48-minute television show. And the lessened humanity in the depiction of the Chumash Hus does not help; nor does his demise; as Pateman reminds us, citing Frank Kermode by way of David Lavery: endings have heavy weight. But the narrative of “Pangs” is more troubling if we do not attend to these touches of tone—conveyed in dialogue, music, and visual patterns. And the very ending of the episode, and its tone, remind us of the weakness of our hero; thus the show as a whole may remind us why the problem is not solved. Throughout the episode Buffy is barely, if at all, conscious of the outsiders looking at her through the window. She is caught up in her very human desire for comfort and sustenance, both emotional and physical; she is holding on to a past that was never there. In the last shot she and we are very conscious of those looks that tell us how much we have not known. And if we have paid enough attention to the subtle tonal shifts of “Pangs,” it is possible we will come up with a recipe for action outside the episode—if we just let it simmer.’

...In any case, the complexity of the subject matter is reflected in the complexity of the episode’s tone. Every Buffy episode is complex in tone; that is part of its art…”

[xionisgr]

Συγγραφέας: Έλιοτ Τ. Σ. ISBN: 9789601684581 Εκδοτικός οίκος: Πατάκη Σελίδες: 176 Διαστάσεις: 14x20.5 Έτος έκδοσης: 2020

[manpetasgr]

Συγγραφέας: Έλιοτ Τ. Σ. ISBN: 9789601684581 Εκδοτικός οίκος: Πατάκη Σελίδες: 176 Διαστάσεις: 14x20.5 Έτος έκδοσης: 2020

[kwstasattgr]

Συγγραφέας: Έλιοτ Τ. Σ. ISBN: 9789601684581 Εκδοτικός οίκος: Πατάκη Σελίδες: 176 Διαστάσεις: 14x20.5 Έτος έκδοσης: 2020

[a078740849aposts]

Συγγραφέας: Έλιοτ Τ. Σ. ISBN: 9789601684581 Εκδοτικός οίκος: Πατάκη Σελίδες: 176 Διαστάσεις: 14x20.5 Έτος έκδοσης: 2020

[garadinervi]

John Milton, (1667), Paradiso perduto, Libro VIII, (excerpt), Edited by Roberto Sanesi, Essay by Frank Kermode, ('Adam Unparaside', from 'The Living Milton', 1960), «Oscar Grandi Classici», Arnoldo Mondadori Editore, Milano, 1996, p. 345

Quando contemplo questa eccezionale architettura, questo mondo composto di cielo e di terra, e ne valuto tutta l'ampiezza, questa terra un punto. non più che un grano, un atomo, se messa a paragone col firmamento e tutte le sue stelle numerose che sembrano ruotare per spazi incomprensibili (come dimostra la loro distanza, e il rapido ritorno giornaliero) solo allo scopo di effondere la luce su questa terra opaca, su questa macchia grande come un punto [...]