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    The main IP address: 185.23.176.203,Your server United Kingdom,Nottingham ISP:SCH Allocation  TLD:net CountryCode:GB

    The description :literature, music, art, culture...

    This report updates in 03-Dec-2018

Created Date:2009-02-19
Changed Date:2017-03-11
Expires Date:2019-02-19

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Latitude: 52.953601837158
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Country: United Kingdom (GB)
City: Nottingham
Region: England
ISP: SCH Allocation

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home about the culture club this month the culture club is discussing… subscribe the culture club literature, music, art, culture reality by ttucker23 on january 29, 2012 the next theme for culture club is… ‘reality’. this was my choice, following on from our theme of ‘madness’ from last time. here are the works we’ll be discussing: jorge luis borges: labyrinths vladimir nabokov: pale fire henry green: loving richard strauss: symphonia domestica plus the following poems by dylan thomas : ears in the turrets hear poem on his birthday a winter’s tale into her lying down head love in the asylum ceremony after a fire raid in country sleep fern hill from love’s first fever to her plague the force that through the green fuse drives the flower especially when the october wind light breaks where no sun shines and death shall have no dominion after the funeral a refusal to mourn the death, by fire, of a child in london poem in october do not go gentle into that good night in my craft or sullen art finally the prose work by dylan thomas, a prospect of the sea. the theme is a loose one – i guess it’s to look at how each of these works explores the nature of reality, and asks the question ‘how do we experience reality?’ i hope it makes sense. i’m currently reading the henry green, which is wonderful – i think i see why he’s been referred to as a ‘writer’s writer’ . if i get time i’ll write some thoughts (although time seems to be in increasingly short supply at the moment). { 1 comment } catching up by ttucker23 on january 29, 2012 well, due to work commitments mainly, i haven’t been able to keep up with the culture club blog for, what, eight months (oh dear), so it’s more than due an update. our last assignment was on the theme of ‘madness’ and included the following works: don quixote by miguel de cervantes (novel) king lear by william shakespeare (play) woyzeck by georg buchner (play) wozzeck by alban berg (opera) this was quite a challenge – don quixote alone is 1,000 pages, and king lear is considered one of shakespeare’s most challenging plays. as always it was highly rewarding. i found don quixote a total revelation. i hope to go into more detail at some stage, but for now suffice to say that it changed my view of the novel (milan kundura’s the art of the novel defines don quixote as the originator of all novels) and even (risking exagerration) life itself . new year’s resolution – to try to keep up with the culture club blog. more soon. { 0 comments } culture club: theme for may – july 2011 by ttucker23 on may 26, 2011 aquarelle gastebuch, by wassily kandinsky, 1925 this month we’ve chosen works that were all published or released in a specific year: 1925. and what a year. in fact the variety of works is quite a surprise. here’s what we’ll be looking at. the great gatsby (novel) – f. scott fitzgerald the trial (novel) – franz kafka mrs dalloway (novel) – virginia woolf the couterfeiters (novel) – andré gide battleship potemkin (movie) – sergei eisenstein symphony no. 6 (music) – carl nielsen { 0 comments } thoughts on tristram shandy by ttucker23 on march 30, 2011 the damnation of obadiah, from tristram shandy, hand-coloured etching by james bretherton, 1773 i have been reading and studying laurence sterne’s the life and opinions of tristram shandy, gentleman for the past couple of months. it’s been a laborious task, and i’m afraid not a happy one. i’ve read around it and i understand the reasons why tristram shandy is considered a classic, but my problems with the book are based entirely on the experience of reading it. even the book’s admirers admit that it is ‘frustrating’ for the reader. i’d go further and say that it is literally ‘pointless’. it commits the worst crime that literature is capable of, in that it fails to provide adequate motivation for the reader to turn the page. admirers will say that sterne intended it to be frustrating, as if this makes the frustration acceptable. they will then tell you that sterne’s achievement with tristram shandy represents a revolutionary new approach to fiction and narrative, parodying and satirising the realistic prose style that had come to typify the genre up to that point in history. but as thomas keymer points out in his essay ‘sterne and the “new species of writing”‘, collected in laurence sterne’s tristram shandy: a casebook (amazon affiliate link), this adopts a view of the history of the novel that post-dates sterne’s time of writing. the contemporary situation was not so straight forward, as keymer explains: sterne writes at a time when the conventions of fictional representation, such as they were, remained fluid, ill-defined, and keenly contested. witness the richardson-fielding dispute of the 1740s, which was as much about competing narrative strategies as it was about religion and ethics, or ideologies of gender and class. the genre of prose fiction was itself still ‘novel’ (hence the name), and to see tristram shandy as a satire or comment on the ‘novel’ as genre is a total misunderstanding of its place in literary history. in fact the ‘new species of writing’ referred to is borrowed from an essay written in 1751 about fielding, not sterne. keymer goes on to question whether sterne is satirising the modern novel at all in tristram shandy: why, in this most allusive of works does sterne never refer explicitly to richardson or fielding and why has no modern editor of tristram shandy caught sterne reworking any specific passage from their fiction? another critic, j.t. parnell, points out that ‘he (sterne) may never have read the ‘novelists’, let alone contemplated a devastating critique of the shortcomings of the emerging genre.’ and jonathan lamb chimes in on the debate too: such stabilising of sterne’s text depends on an improbable estimate of the dominance of the novel’s realism, as if it were well enough established by the 1750s for its parody readily to be undertaken and appreciated. all this undermines the commonly held view today that sterne is some kind of protomodernist whose work was centuries ahead of its time. it seems clear that this was a time of great experimentation in prose writing, and that sterne was only one of the experimenters. as it turns out he was the least successful, because the eventual direction that the novel followed was that of richardson, fielding and the realists. sterne himself was harking back, rather than looking forward, his style being a later reinvention of the so-called learned wit of rabelais, cervantes and montaigne. it is equally misleading to say that sterne preempted the modern age of literature, influencing woolf, joyce and beckett. while these writers pointed to sterne as an influence, this was without regard to his true position in the history of literature, but rather to further their own agenda, as keymer explains: woolf was mainly concerned with an ulterior motive in the present: that of coopting sterne for her ongoing campaign against the bricks-and-mortar realism typified by galsworthy and bennett. tristram shandy was an experiment, no doubt, and a radical one. it is essentially an attempt at creating a new kind of prose genre outside of, or parallel to, the emerging genre of the novel. but it is an experiment that ultimately fails. at least it does for me. i’m sure that sterne fans will be keen to contend this point of view, so please feel free to add your thoughts in the comments below. { 2 comments } a sentimental journey, the opera by ttucker23 on march 2, 2011 thanks to a comment left on this blog by the laurence sterne trust i discovered that the composer craig vear has written and produced a digital opera based on a sentimental journey by laurence sterne. you can actually hear the 45-minute long piece streamed on the internet in a recording of the public showing at the studio theatre, york theatre royal, 9th feb 2011 . it’s well worth a listen, especially as one of the musicians is the cellist audrey riley (who, incidentally, i worked

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http://www.thecultureclub.net/tag/charles-dickens/
http://www.thecultureclub.net/2011/02/12/culture-club-theme-for-february-march-2011/
http://www.thecultureclub.net/tag/arthur-schopenhauer/
http://www.thecultureclub.net/tag/marlon-brando/
https://www.addtoany.com/add_to/twitter?linkurl=http%3a%2f%2fwww.thecultureclub.net%2f2010%2f09%2f13%2fculture-club-theme-for-august-%25e2%2580%2593-november-2010%2f&linkname=culture%20club%3a%20theme%20for%20august%20%e2%80%93%20november%202010
http://www.thecultureclub.net/tag/ghost-of-a-flea/
http://www.thecultureclub.net/tag/chesterton/
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http://www.thecultureclub.net/2011/05/26/culture-club-theme-for-may-july-2011/
http://www.thecultureclub.net/2011/03/02/a-sentimental-journey-the-opera/#comments
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http://www.thecultureclub.net/tag/samuel-johnson/
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Domain Name: THECULTURECLUB.NET
Registry Domain ID: 1543273043_DOMAIN_NET-VRSN
Registrar WHOIS Server: whois.enom.com
Registrar URL: www.enom.com
Updated Date: 2016-02-09T07:16:41.00Z
Creation Date: 2009-02-19T14:10:11.00Z
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