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Aspects of the Novel (English Edition) von [Forster, E. M.]
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Aspects of the Novel (English Edition) Kindle Edition

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There are all kinds of books out there purporting to explain that odd phenomenon the novel. Sometimes it's hard to know whom they're are for, exactly. Enthusiastic readers? Fellow academics? Would-be writers? Aspects of the Novel, E.M. Forster's 1927 treatise on the "fictitious prose work over 50,000 words" is, it turns out, for anyone with the faintest interest in how fiction is made. Open at random, and find your attention utterly sandbagged.

Forster's book is not really a book at all; rather, it's a collection of lectures delivered at Cambridge University on subjects as parboiled as "People," "The Plot," and "The Story." It has an unpretentious verbal immediacy thanks to its spoken origin and is written in the key of Aplogetic Mumble: "Those who dislike Dickens have an excellent case. He ought to be bad." Such gentle provocations litter these pages. How can you not read on? Forster's critical writing is so ridiculously plainspoken, so happily commonsensical, that we often forget to be intimidated by the rhetorical landscapes he so ably leads us through. As he himself points out in the introductory note, "Since the novel is itself often colloquial it may possibly withhold some of its secrets from the graver and grander streams of criticism, and may reveal them to backwaters and shallows."

And Forster does paddle into some unlikely eddies here. For instance, he seems none too gung ho about love in the novel: "And lastly, love. I am using this celebrated word in its widest and dullest sense. Let me be very dry and brief about sex in the first place." He really means in the first place. Like the narrator of a '50s hygiene film, Forster continues, dry and brief as anything, "Some years after a human being is born, certain changes occur in it..." One feels here the same-sexer having the last laugh, heartily.

Forster's brand of humanism has fallen from fashion in literary studies, yet it endures in fiction itself. Readers still love this author, even if they come to him by way of the multiplex. The durability of his work is, of course, the greatest raison d'être this book could have. It should have been titled How to Write Novels People Will Still Read in a Hundred Years. --Claire Dederer

Amazon.com

There are all kinds of books out there purporting to explain that odd phenomenon the novel. Sometimes it's hard to know whom they're are for, exactly. Enthusiastic readers? Fellow academics? Would-be writers? Aspects of the Novel, E.M. Forster's 1927 treatise on the "fictitious prose work over 50,000 words" is, it turns out, for anyone with the faintest interest in how fiction is made. Open at random, and find your attention utterly sandbagged.

Forster's book is not really a book at all; rather, it's a collection of lectures delivered at Cambridge University on subjects as parboiled as "People," "The Plot," and "The Story." It has an unpretentious verbal immediacy thanks to its spoken origin and is written in the key of Aplogetic Mumble: "Those who dislike Dickens have an excellent case. He ought to be bad." Such gentle provocations litter these pages. How can you not read on? Forster's critical writing is so ridiculously plainspoken, so happily commonsensical, that we often forget to be intimidated by the rhetorical landscapes he so ably leads us through. As he himself points out in the introductory note, "Since the novel is itself often colloquial it may possibly withhold some of its secrets from the graver and grander streams of criticism, and may reveal them to backwaters and shallows."

And Forster does paddle into some unlikely eddies here. For instance, he seems none too gung ho about love in the novel: "And lastly, love. I am using this celebrated word in its widest and dullest sense. Let me be very dry and brief about sex in the first place." He really means in the first place. Like the narrator of a '50s hygiene film, Forster continues, dry and brief as anything, "Some years after a human being is born, certain changes occur in it..." One feels here the same-sexer having the last laugh, heartily.

Forster's brand of humanism has fallen from fashion in literary studies, yet it endures in fiction itself. Readers still love this author, even if they come to him by way of the multiplex. The durability of his work is, of course, the greatest raison d'être this book could have. It should have been titled How to Write Novels People Will Still Read in a Hundred Years. --Claire Dederer


Produktinformation

  • Format: Kindle Edition
  • Dateigröße: 423 KB
  • Seitenzahl der Print-Ausgabe: 194 Seiten
  • Verlag: RosettaBooks (28. Juni 2010)
  • Verkauf durch: Amazon Media EU S.à r.l.
  • Sprache: Englisch
  • ASIN: B003XREL84
  • Text-to-Speech (Vorlesemodus): Aktiviert
  • X-Ray:
  • Word Wise: Aktiviert
  • Verbesserter Schriftsatz: Aktiviert
  • Durchschnittliche Kundenbewertung: 4.4 von 5 Sternen 5 Kundenrezensionen
  • Amazon Bestseller-Rang: #320.294 Bezahlt in Kindle-Shop (Siehe Top 100 Bezahlt in Kindle-Shop)

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Format: Taschenbuch Verifizierter Kauf
Forster was, of course, a wonderful novelist, so who am I to criticise what he has to say about novels? Nonetheless – as readable and entertaining as these transcripts from a lecture series are – this book seems somewhat imprecise and wordy by today's standards. While there is much insight in these pages (the force of causality in fiction, for instance), Forster grapples with abstractions without really managing to lock them down. Perhaps practitioners are not always the best people to analyse their own craft.
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Format: Taschenbuch
Aspects of the Novel by E.M. Forster, addresses both readers and aspiring writers--and gives example after example of literary masterpieces and offers techniques for writing more attentively, for noticing and thrilling in the language on the page. It comes from the wisdom of a seasoned teachers of literature, longtime journalists and host of other collected articles, and the author of fourteen works of fiction. E.M. Forster has a guarded enthusiasm for MFA programs; the book, in part, is a criticism of where some of the MFA program culture has gone astray, as if some writing workshops have become unmoored from the literary masterpieces that inspired them. If I had to really characterize the book I'd say it's about the pleasure of learning to write.
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ASPECTS OF THE NOVEL follows the text of a series of lectures E. M. Forster gave at Cambridge in 1927. He departed boldly from convention by trying to get his listeners to picture the great novelists of history writing at the same time in the same room--this to protect us from the pseudo-scholarly impulse to classify by period without a careful exploration of themes. Who is a psuedo-scholar? Anyone who "loves mentioning [the] genius [of a novelist], because the sound of the word exempts him from trying to discover its meaning." No longer guilty, I hope!
Forster helps facilitate that all-important struggle with the writer that will give us the most enjoyment and edification from literature. He does so by examining seven "aspects": The Story, People, The Plot, Fantasy, Prophecy, Pattern and Rhythm. Examples drawn from the likes of Sterne, Melville, Joyce, D. H. Lawrence and Henry James help illustrate his logically and lucid points. As a practitioner and a critic of the novel, Forster is both engaged with his topic and engaging in his exposition. Highly recommended for both the serious novel reader and the literature student needing a breather from the oppressiveness of Theory.
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Von Ein Kunde am 20. November 1999
Format: Taschenbuch
The guy could write, right? If you want to know Forster, or if you want to know the novel, you have to read this. Read Ian Watt's The Rise of the Novel, too. 'Nuff said.
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As with all writer's writings about their own works, Aspects of the Novel is critical in at least an historical and structural reading of Forster's works (it helps in terms of hermoneutics as well). Also contained are shreds of Forster's own philosophy, an argument for an Hegelian study of the novels, and clues to the meaning and importance of his short fiction.
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