Pub Date : 2018-12-31DOI: 10.7591/9781501722974-003
{"title":"Chapter I. Spinning The Web Representative Field Theories and Their Implications","authors":"","doi":"10.7591/9781501722974-003","DOIUrl":"https://doi.org/10.7591/9781501722974-003","url":null,"abstract":"","PeriodicalId":383691,"journal":{"name":"The Cosmic Web","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123963500","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501722974-006
N. K. Hayles
{"title":"Chapter 4. Ambivalence Symmetry, Asymmetry, and the Physics of Time Reversal in Nabokov's Ada","authors":"N. K. Hayles","doi":"10.7591/9781501722974-006","DOIUrl":"https://doi.org/10.7591/9781501722974-006","url":null,"abstract":"","PeriodicalId":383691,"journal":{"name":"The Cosmic Web","volume":"46 4","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"113962187","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501722974-005
N. K. Hayles
{"title":"3. Evasion: The Field of the Unconscious in D. H. Lawrence","authors":"N. K. Hayles","doi":"10.7591/9781501722974-005","DOIUrl":"https://doi.org/10.7591/9781501722974-005","url":null,"abstract":"","PeriodicalId":383691,"journal":{"name":"The Cosmic Web","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114945565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501722974-007
NABOKOV AND BORGES are ofren compared, but their responses to the field concept arc very different: whereas Nabokov is drawn to it because its asymmetries promise to rescue art from being merely a game, Borges is attracted to it because its discontinuities reveal that everything, including itself, is no more than a game . The two stances are associated with very different literary strategies . As we saw in Chap ter 5, the impetus of Ada is to stop time; to create patterns whose parameters, once set, can encompass all future permutations; to make absolute and immortal the identity of the narrator, idiosyncrasies intact, by weaving his patterns of thought into the fabric of the created world. Borges, by contrast, attempts to increase rather than use up the available permutations. Instead of hundreds of pages he writes five or six, characteristically including at least one open-ended catalogue capa ble of indefinite expansion. For Borges stasis is impossible because art is not an object to be framed, but a continuing process whose permuta tions arc inexhaustible . In "Pierre Menard, Author of Don Quixote," for example, a changed context results in a completely different text. The Don Quixote of Pierre Menard, we arc told, is a richer, subtler, and
{"title":"5. Subversion Infinite Series and Transfinite Numbers in Borges's Fictions","authors":"","doi":"10.7591/9781501722974-007","DOIUrl":"https://doi.org/10.7591/9781501722974-007","url":null,"abstract":"NABOKOV AND BORGES are ofren compared, but their responses to the field concept arc very different: whereas Nabokov is drawn to it because its asymmetries promise to rescue art from being merely a game, Borges is attracted to it because its discontinuities reveal that everything, including itself, is no more than a game . The two stances are associated with very different literary strategies . As we saw in Chap ter 5, the impetus of Ada is to stop time; to create patterns whose parameters, once set, can encompass all future permutations; to make absolute and immortal the identity of the narrator, idiosyncrasies intact, by weaving his patterns of thought into the fabric of the created world. Borges, by contrast, attempts to increase rather than use up the available permutations. Instead of hundreds of pages he writes five or six, characteristically including at least one open-ended catalogue capa ble of indefinite expansion. For Borges stasis is impossible because art is not an object to be framed, but a continuing process whose permuta tions arc inexhaustible . In \"Pierre Menard, Author of Don Quixote,\" for example, a changed context results in a completely different text. The Don Quixote of Pierre Menard, we arc told, is a richer, subtler, and","PeriodicalId":383691,"journal":{"name":"The Cosmic Web","volume":"713 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133050201","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501722974-004
N. K. Hayles
ROBERT M. PIRSIG'S VERSION of the field concept derives in part, as his title suggests, from the Zen concept of a fluid, dynamic reality that precedes and eludes verbal formulation. Yet it is also in formed by the Western tradition that secs the Word as the ultimate reality. The concern with language that was one of the keynotes of the last chapter is central to Pirsig's attempt to find a rhetoric capable of meeting these conflicting premises . The emphasis on rhetoric is apparent in the "Author's Note" that introduces the narrative. In it, Pirsig claims that "what follows is based on actual occurrences," but adds that "much has been changed for rhetorical purposes." 1 In this ambitious autobiography that is also a novel, 2 three distinct rhetorical strategies are evident: those of the au-
罗伯特·m·波西格(ROBERT M. PIRSIG)的场域概念部分源于禅宗的概念，即一种流动的、动态的现实，它先于口头表述，又逃避口头表述。然而，它也是由西方传统所形成的，这种传统把“道”视为终极实在。对语言的关注是最后一章的主题之一，这是普西格试图找到一种能够满足这些冲突前提的修辞学的核心。在介绍叙述的“作者笔记”中，对修辞的强调是显而易见的。在书中，波西格声称“接下来的内容都是基于实际发生的事件”，但又补充说“为了修辞目的，很多内容都被修改了”。在这本雄心勃勃的自传(同时也是一部小说)中，有三种明显的修辞策略:非-
{"title":"Chapter 2. Drawn to the Web The Quality of Rhetoric in Pirsig's Zen and the Art of Motorcycle Maintenance","authors":"N. K. Hayles","doi":"10.7591/9781501722974-004","DOIUrl":"https://doi.org/10.7591/9781501722974-004","url":null,"abstract":"ROBERT M. PIRSIG'S VERSION of the field concept derives in part, as his title suggests, from the Zen concept of a fluid, dynamic reality that precedes and eludes verbal formulation. Yet it is also in formed by the Western tradition that secs the Word as the ultimate reality. The concern with language that was one of the keynotes of the last chapter is central to Pirsig's attempt to find a rhetoric capable of meeting these conflicting premises . The emphasis on rhetoric is apparent in the \"Author's Note\" that introduces the narrative. In it, Pirsig claims that \"what follows is based on actual occurrences,\" but adds that \"much has been changed for rhetorical purposes.\" 1 In this ambitious autobiography that is also a novel, 2 three distinct rhetorical strategies are evident: those of the au-","PeriodicalId":383691,"journal":{"name":"The Cosmic Web","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"117308428","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2018-12-31DOI: 10.7591/9781501722974-008
N. K. Hayles
MoRE THAN ANY OTHER writer in this study, Pynchon grasps the full implications of the field concept, including both its promise of a reality that is a harmonious, dynamic whole and the problem it poses of how to represent that reality in the fragmented medium of language. Pynchon's response to this dilemma is to create a text that at once invites and resists our attempts to organize it into a unified field of meaning. Gravity's Rainbow is notoriously difficult to read because its complex and recurring allusions constantly tempt the reader to search for, and recognize, the extensive patterns of interlocking images to which the text owes its remarkable coherence and density, 1 while at the same time frustrating this attempt by a variety of techniques that tend to obliterate or contradict the emerging patterns. Any coherent account of this narrative will have to come to grips with this deconstructing
{"title":"Chapter 6. Caught In The Web Cosmology and the Point of (No) Return in Pynchon's Gravity's Rainbow","authors":"N. K. Hayles","doi":"10.7591/9781501722974-008","DOIUrl":"https://doi.org/10.7591/9781501722974-008","url":null,"abstract":"MoRE THAN ANY OTHER writer in this study, Pynchon grasps the full implications of the field concept, including both its promise of a reality that is a harmonious, dynamic whole and the problem it poses of how to represent that reality in the fragmented medium of language. Pynchon's response to this dilemma is to create a text that at once invites and resists our attempts to organize it into a unified field of meaning. Gravity's Rainbow is notoriously difficult to read because its complex and recurring allusions constantly tempt the reader to search for, and recognize, the extensive patterns of interlocking images to which the text owes its remarkable coherence and density, 1 while at the same time frustrating this attempt by a variety of techniques that tend to obliterate or contradict the emerging patterns. Any coherent account of this narrative will have to come to grips with this deconstructing","PeriodicalId":383691,"journal":{"name":"The Cosmic Web","volume":"90 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2018-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121093478","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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