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Would You Like a Reading?

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#51 status - m&m

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Posted 17 July 2018 - 05:11 PM


What does it mean to read?
When you think about it it's a big question. It denotes an action. An action to do what? Maybe in it's own way reading is an act that can change the world in some small way. Reading forces us into attentiveness; to keep a sense of the mind working at full attention and to mobilize our thoughts, emotions, and imaginations into a sensible order.
It's been said that reading is a passport into the imagination. It allows us to reach a parallel reality where the soul can travel freely and invent new things along the way. I take umbrage with the term passport. Why a passport? Isn't a passport a sort of permission slip to travel? Since when does anyone need a passport to read or use an imagination to bring forth new ideas into the world at large.
Language on the page can stand for an allegory on the making of the universe around us. A composed creation that opens the door for others to enter if they so choose. Making the universe a bigger place just by sharing this 'language' amongst ourselves. Learning to write and read the descriptions within the indescribable using exciting words, signs, and images is what keeps a good reader coming back for more. Like tending a giant collective garden one part at a time. Each writer doing their part to bring the reader into a larger universe.
Reading gives people the intimate contact needed to convey the text to the mind. It's an art form that gives authors and readers a place to commune and learn from each other. It can let in light to relieve a troubled soul. 
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#52 status - Additions

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Posted 05 August 2018 - 02:52 PM


Time for a few notes and questions about characters. Without them the reading process would be for naught.
What makes them interesting, why are they fascinating, and what makes them stick in our minds and hearts?
What embodiments do they possess which make them smart, full of feeling, what motivates them, their memories and desires, their fantasies and their foibles.
In short, what makes them tick. Both their good and bad attributes are important to these decisions.
E.M. Forster gave us some dintinctions to look for in his book 'Aspects of the Novel' to help define the process of character development.
These are the forms for lead and secondary characters:
Ever notice that niceness almost always prevails at the end of a book? 
Do characters have to be perfect? 
What sort of characters stand out? 
Does an aspect of a flat character bring out the roundness of of the lead character? 
Is the character interesting enough for you to be interested in what happens to him in the story? 
What would you like to see happen to a particular character? Why?
Do the internal struggles and conflicts resolve themselves? 
Does the crisis a character faces reckon itself with the past? 
How do the good attributes change to bad and visa-versa? 
Why are some characters round and others flat? 
Does the character surprise you? 
Does he convince?
Look for any juxtaposition to monitor your impressions over the course of a characters development. 
Is the image of the self what you want verses what you want to want? Example being: The Ginger vs. Marianne dilemna
These are just a few things to look for in your reading of characters. When you start asking these questions it'll open the door to a greater understanding of where your own character development can go through the course of your own life story. Understanding how characters develop as a reader may help tell the tale. Characters and how they interact are what drives any story or narrative. Without them there would be no life worth living...



Supporting characters are important too. Yes, yes...there are names for these too. Drama can be exciting from many different points of view. A deuteragonist comes after the protagonist in any good story. Number two in the scheme of things. So to speak.


Then there is the Tritagonist. The third!



Of course, what's a good never ending story without a Contagonist. A guardians 'conscience' is always subject to temptation.






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#53 status - Author Author

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Posted 21 September 2018 - 01:29 PM


Would you like a reading?
Reading is always full of questions.
There are many things to consider in the art of reading. Authors, narrators, and characters just to name a few. This post will focus on Authors and why readers discern their own favorites. It'll ask many questions for the critical reader to consider. First, we'll start with these:
How to we get to know an author?
What do we really need to know about the real life of the author to enjoy the work? 
What is the relationship between what we think we know about an author reading their books to the real life person?
What bias' form in your mind?
How does the figure of the author begin to make his presence known in the story?
How does he materialize on the page?
What kind of person writes particular kinds of stories?
Is the aim to instruct? Entertain? Both?
What does an author leave unsaid?
Will the author be a good influence or a bad one?
Does it help your reading experience or is it a hindrance?
Authors are like characters in their books. They are not all seeing masterminds creating stories to fool a reader. The authors character will show over the course of the book. A good author asks questions, explores their possibilities, and is willing to lose control. He materializes on the page in the language, form, and structure inside the work itself. The 'implied' author is implicit in the story. He becomes a person we like. 
Consider a few more questions:
Do we have too much expectations from an author?
How does this influence our approach in getting to know an author? 
What are the striking qualities throughout the piece that distinguish the authors presence? 
Does the voice of the story teller stand out?
Is he judgemental, humorous, gentle, hard, etc.? 
Do any of the characters portray these different qualities?
Are all the characters treated fairly?
Which ones are treated badly?
There is more to reading than just extracting information from and about an author. Think about the man who suffers and the man who creates. A mind that frames, develops, and polishes a story provides a rendering or translation of the man who suffers.  
A good author does not necessarily begin a story with a theme or message. A message or moral does not need to come first. It is better to inform rather than confuse readers with undefined symbols and metaphors. Some authors start with ideas that transform information into questions without answers. Making it a process of discovery. Characters often rise up in the process and finish the story. 
An author constantly learns and uses all the fancy tricks available in the toolbox of communication. The hard part is learning how to use the tools. Reading helps us to do this. Practice makes perfect.
After all, it's the reader who is the final critic of the work. Learning the many tools for an artful reading is crucial to a successful experience.



The Author is the big guy. Is he the most important part of any written text? Does ethos play a part in this? An author makes things grow, spins silky stories, and moves our thoughts and ideas forward. They provide us with the Nodes in a crossing network of communication: Language, text, author, audience.  Transmuting language is never an easy task. Sometimes the language shapes itself taking the vision of the author and turning it into fossilized speech for others to read. Like a snapshot in time....

The author controls the writing and transmutes the text to the audience.

Too bad bias gets in the way. Much of it is done on purpose using ancient tried and true techniques in language to excite people. Too many trigger points leading people away from what an argument holds. Most of the time people are focusing on trivial aspects within speculation. Hitting the messengers over and over again and not focusing on real facts. Real facts that are uncomfortable are attacked constantly with derision to divide and conquer. Lots of stories are deliberately designed to insight more bias and division. These kinds of stories have no substance, no learning potential, and no reason to be except to confuse important issues of any kind.

It's important to separate any story from the author. The author represents a persona. The author does not equal the person. Social phenomena aside the author is a social function.

Literary theory defines the author as the collage maker:

'A million puzzles with a million pieces each; all gathered together in a pile without any pictures on the box'

Stitching together ideas and thoughts to form a coherent picture for the reader to follow.

Stitches in time saves nine. Hither and yon the colloquations. :chuckle: Larger pieces are like formulas in naming and writing.

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#54 status - Guest

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Posted 21 September 2018 - 01:42 PM

Good artists borrow, great artists steal.

A Layman's Guide to the Famous Concept of the Hermeneutic Circle

In the fields of philosophy and criticism, "hermeneutic circle" is a term that's often thrown around without much regard to what it is supposed to mean. A technical term with a rich history, "hermeneutic circle" refers to the constant movement between part and whole in any interpretation. This article traces the history of the term to help lend greater clarity to this confusing concept.


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#55 Feathers


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Posted 21 September 2018 - 01:55 PM

Good artists borrow, great artists steal.

A Layman's Guide to the Famous Concept of the Hermeneutic Circle

In the fields of philosophy and criticism, "hermeneutic circle" is a term that's often thrown around without much regard to what it is supposed to mean. A technical term with a rich history, "hermeneutic circle" refers to the constant movement between part and whole in any interpretation. This article traces the history of the term to help lend greater clarity to this confusing concept.



Kind of like baseball where stealing is actually legal and encouraged.

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#56 status - Critique du Soleil

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Posted 22 September 2018 - 04:28 PM


Going through my glossary of fallacies I noticed that Irony needed a bit of attention. I think a bit about it here is appropriate:
Does the title of this thread indicate a bit of irony?
Were you intrigued because it portended an occultish feel about it?
Or were you interested simply because your bullshit detector was running and you'd thought you'd have some fun.
Warning alert: 
What is being hinted at in between the lines? 
Is it slippery and wet with ambiguouus narrative? 
Do you detect any vanities, pretentiousness, or self righteous presumptions?
Does your own reading reflect any inner ironies still undetected?  
Irony helps us to find the reality as a reader. It's a free and indirect discourse using a a third person character to take over the narration. It makes it hard to know what the narrator really thinks. Detecting irony takes time and re-readings to find the discrepancies in language to catch on to any hidden truths. Irony looks beyond conventional wisdom and is used to sharpen a readers vision. 
Verbal irony is simple enough - it's when words don't match their meaning. They provide verbal wittisms to interest the readers attention. Sarcasm is one such device. Here are some others...
Stable and unstable irony helps to distinguish verbal ironies. Stable ironies are simply just the reverse of a statement. Usually used in a facetious manner. An un-stable irony never reaches a correct meaning and will remain that way. Making way for further confusion. It's used on purpose by some story writers. 
Dramatic Irony is found between the characters and the audience. A good example being the Greek tragedy Oedipus. The audience knows what's going to happen but the character doesn't.
Not all ironies come into focus at the same time. Sometimes they are ambiguous and multiple interpretations are required. Irony reminds us how difficult it is to make sense of the world and with the discrepencies between appearance and reality. 
If someone was looking down at you from above and narrating your story how ironic would it be in the telling? Remember, a narrator is not a god. How well do you understand your own life irony?
Here's a bit of cosmic irony: Never mind what we do or don't know up there in the Universe. What about the things we do or don't know about down here on the ground?





An authors mental model of the reader...

Language is part of it. Readers in English, in French, in German, etc.  

Images can break through the barrier of the spoken word; silent films are an excellent example. So are memes with a bit of text for emphasis. All of it works both ways. An audience reads an author; an good author does his best to read his audience.

Characteristics of an audience

Understanding the language, slang, dialect, and even regional communications are important. Rooting specific groups with their own jargon to the story limits the audience size. Plus it leaves it open to bias insertion. The use of juxtaposition is key to keep an audience interested; rivalries create tension.

The text gives you clues to understanding...

Authors fictionalize their audience. They look for abstract ideas to picture the audience. It's not like writing a letter or an email to someone. Some writers even write long stories just for one or two people. Like J.R.R. Tolkien: He wrote the Lord of the Rings for his children. Was he trying to teach his children something? Trying to change his 'audience'? Perhaps, even himself too. A good text constructs the ideal reader and gives both the author and audience a sort of reception and acceptance. A horizon of expectations is built up. How far can the reader and the author predict into the text? How far can you push it to make it a legitimate

What does the author intend?
What does the audience assume?
Can common sense be relabeled or even strengthened?

Grammatically reconfigure material on the fly. Sometimes a sentence, paragraph or story can be about one thing but can also be something entirely different. Speaking to more than one kind of audience; each with their own set of understanding the symbols. This has the effect of subtly changing the mood or direction by matching the grammar to include other groups into a wider audience. Poets do this well. Getting the audience to think one thing and then finding out it's another is a good example. Holding ideas in common is the idea here.

Finding the universal narratology.

The Reader or audience are not passive recipients. All audiences actively participate in making inferences of their own. Both author and audience project ahead and try to predict an outcome.

Pattern perception is important. Sometimes they can be pathetic fallacies. Sometimes not. Think Star Trek red shirts from the original series.





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Posted 22 September 2018 - 04:48 PM

4D Chess?








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#58 status - Freeze Frame

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Posted 23 September 2018 - 12:18 PM

Framing the narrative: A web of speakers and hearers.

Finding the balancing point between tension and resolution. Keeping track of the causes and their effects. How are the cosmic patterns portrayed? Framing the narrative with an outer story to hold a inner story or stories takes a bit of diligent planning. One past example would be Dante's The Divine Comedy and a contemporary example would be the TV show Castle Rock based on a fictional town used in many Stephen King novels. Another way to do the frame narrative is to tell the same story from different points of view.

1st person - I - the narrator can only tell about what he knows or is thinking about.
2nd person - you are here, you are there - not many can tell the story this way.
3rd person - He, she, it - Very limited omniscience about one particular character or a gods eye view of the overall picture.

Bring in the irony :chuckle: that's when the reader knows something the characters do not. Creating more pathos in the reader. Willingly Suspending beliefs in the sublime safety of an artificial interaction because a good author makes it happen in the readers mind.




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#59 status - Tulip Conspiracy

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Posted 23 September 2018 - 12:29 PM










:rofl: :rofl: :rofl: :rofl: :rofl: :rofl:



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#60 status - Deplorable Me

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Posted 23 September 2018 - 12:50 PM


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