BTS bias book recs | Hyung line
When Nietzsche Wept by Irvin D. Yalom
The God of Small Things by Arundhati Roy
A Portrait of the Artist as a Young Man by James Joyce
The Brothers Karamazov by Fyodor Dostoevsky
The Illiac Crest by Cristina Rivera Garza
Tender Is the Flesh by Agustina Bazterrica
The Vegetarian by Han Kang
Before the Coffee Gets Cold by Toshikazu Kawaguchi
If Cats Disappeared from the World by Genki Kawamura (was I tempted to write this down under Yoongi’s name? absolutely)
The Seven Husbands of Evelyn Hugo by Taylor Jenkins Reid
The Housekeeper and the Professor by Yoko Ogawa
Crying in H Mart by Michelle Zauner
Strange Weather in Tokyo by Hiromi Kawakami
Fish Town by John Gerard Fagan
Fish in Exile by Vi Khi Nao
Man's Search for Meaning by Viktor E. Frankl
No Longer Human by Osamu Dazai
On Earth We’re Briefly Gorgeous / Night Sky with Exit Wounds by Ocean Vuong
Death with Interruptions by José Saramago
Tokyo Ueno Station by Yu Miri
The Memory Police by Yōko Ogawa
The Nakano Thrift Shop by Hiromi Kawakami
Things Remembered and Things Forgotten by Kyoko Nakajima
The Humans by Matt Haig
The House in the Cerulean Sea by T.J. Klune
Aristotle and Dante Discover the Secrets of the Universe (#1) / Aristotle and Dante Dive into the Waters of the World (#2) by Benjamin Alire Sáenz
The Five People You Meet in Heaven by Mitch Albom
Convenience Store Woman by Sayaka Murata
Today we received the news that Maria Antònia Oliver has died. She was one of the most renowned writers of the late 20th century Catalan literature, and was rewarded with the Honour Prize of Catalan Letters in 2016.
Born in 1946 in Mallorca (Balearic Islands), as a young adult she joined out-of-school classes to learn how to write in Catalan, her native language which had been banned from schools during Franco's fascist dictatorship of Spain (1939-1975), where only Spanish could be spoken and taught. She wrote all her books in Catalan and was a defender of the language and cultural rights of Catalan people, as well as Catalan independence, feminism and leftism.
Her novels often reflected the changes in modern Mallorcan society and her background in Mallorcan rondalles (traditional tales). Her main characters were often women whose stories touched on social criticism.
She published her first book in 1970 and she became one of the leading authors of the 70s literary generation, achieving great success with her detective novels as well as short stories and essays.
Even though she lived the difficult years of the fascist dictatorship and the transition era, she always took a brave stand for what she believed in and fought against fascism. She was a prominent member of PSAN (Partit Socialista d'Alliberament Nacional = Socialist Party of National Liberation, a communist and independentist party), the Congrés de Cultura Catalana (the movement to fight for normalizing the Catalan language and for the linguistic and cultural rights of Catalan people) and the feminist movement.
Sempre et recordarem 🖤
The library is so quiet over the holidays; I love it!
For the winter studying challenge:
1st January - Happy New Year! What did you learn in the past year?
Expect the unexpected (though often in a good way)!
If you'd told me a year or so ago that this is where I'd be today - with a first class degree and going for a masters at a top uni - I'd probably have laughed at you, and yet here we are.
2nd January - Have you made any New Years’ Resolutions?
I'm not a massive fan of 'resolutions' per se, just because they make me feel bad when I inevitably break them. I do, however, have goals for the year! I want to finish my MA on a high. I want to be able to keep a journal going for longer than a week. I want to finish the jumper I started a year and a half ago. And I want to get more writing done. Hopefully I can achieve at least some of them, but one thing I have learnt from the masses of therapy that I've had in the past few years is that if you don't get there it's just a chance to try again when you're a bit more prepared for it!
Story structures I know exist, but I can’t find name or papers from own voices for.
I apologize for the wrong conjectures ahead of time. I’m taking loose stabs based on what I’ve seen. I can’t find papers or names for them, but I’ve consumed enough to feel there is a difference.
The thing is that there are very, very few studies on story structure to begin with in academia. So, I’m hoping my stabs in the dark and being absolutely wrong might be met with helpful and voluntary correction?
BTW, per anthropology rules, I don’t name face-to face sources to protect them, but I do remember their names.
Zimbabwe, contemporary era (Shona-based)
Films from different Zimbabwe voices tend to do 5 acts (roughly) and the center tends to be morality. Each act is usually set up, with a proverb, either Biblical or more ancient, and then the meaning of that is worked out within the course of the act, until you see what the meaning of the proverb is. There might be an overarching proverb being explained through the story as well.
The ending usually brings the proverbs together, and brings a larger morality.
I sampled from about the 1990′s to present, loosely. I could feel the difference between Shona and non-Shona stories. For example, the story made by a white guy, who happened to grow up in Zimbabwe, felt a lot different from Shona-made stories.
The problem is finding own voices to verify it or tell me I’m completely off my rocker and my sampling is too small and look at these films.
This one irks me, because I can feel it in Telenovela, Spanish television and Filipino (Pinoy, specifically), but there is no description of it.
Roughly goes like this: 5 act set up. There are the usual beats, but there is a change in the bottom of the third act. The third act always has this lecture by an elder. before the climax and conclusion. Always.
This is loosely and oddly reflected in the majority of Christmas movies, where the bottom of the third act always has a lecture by an elder in love.
It’s there without fail. But then I can’t find a single paper on it. I did explain this to own voices before, and they did say, you’re right and laughed, and when I said it’s the same in Spain, and across all these spanish colonized countries (who treat this part a different way), they seemed surprised, but not surprised.
But not a single paper on this phenomena and so it’s hard to backtrace where it comes from and when. And if I can’t find when I can’t find the why. And the Why is always important. It helps not mythologize the structure as immutable.
(Note that each of these regions treat it differently. I was discussing the use of God lights in the late 2000′s with Pinoy, who were sighing and mocking it. But God lights weren’t being used in Telenovelas in the same time period.)
No papers. Really?
Anyway, longer run up, which I’ve sampled from older French films way back from the 1900′s to present. The introduction bit is always longer than in the current US market. Granted, the USians are super impatient with everything, but French Introduction in the 5-act is always longer, more careful, and lays more themes and tone out. This lines up also with French attitudes about time.
I can feel the influence of this on Haiti film, which, BTW, took me a long time to figure out there was a French influence and that’s part of the difference I felt.
Haiti (Contemporary film)
For me, my Haitian French isn’t the best, so I need subs absolutely for it. But the problem is that the majority of films about Haiti are not made by Haiti, so sourcing them and making sure they have subs is a problem. I would *love* to see the Zonbi film about a Zonbi becoming president, but there’s no subs and part of the film uses pidgin, creole, etc.
I liked the I Love You Anne and We Love You Anne series.
I could find own voices for this, but I need a larger sample and from the filmmakers too.
My conjecture is French 5 act synchronized with some of the beats from West Africa, which is something I feel to be true, most likely is true, but I can’t find a single paper on. And I’d like an own voices paper. The beats that feel similar to West Africa come from Kric Krac, which I read from Liliane Nerette Louis. (Also rec’d by own voices). This is met out by some of the archetypes are West African in nature, some of the beats are the same, though it’s not met out in the structure. And the center is shifted from conflict to morality. (The way conflict became a part of French 5-act is harder to find for me).
There are no influences from Taino tradition because they were wiped out from the Islands prior to Haiti being colonized. And the beats are different from the Spanish influences because there is no bottom of third act lecture from older person, even in the Romance movies.
I’m fairly confident in this from the variety of films. Also, I’d love to see Haiti reclaim Zonbis.
Eight-legged Essay connection to qichengzhuanhe
Academia kinda accepts it, but it’s not from own voices. I did bother asking own voices and some Chinese scholars, and they *feel* it’s the case, but can’t find a traceable means to prove it’s true. The timing and the line up makes it feel like it’s possible and the reasoning makes sense. The amount of things that match makes sense, but unfortunately there isn’t a single source to show it’s true.
I also don’t read Chinese very well, so back tracing this one is impossible for me.
Irks me: Passion Plays
Currently Iran claims it as part of their story structure, but the beats in my guts makes it feel similar to some of the older Indian texts, such as the Mahabharata, which is older than Shahnameh. They, in turn, do feel very similar to the Story of Gilgamesh, which predates both texts. But since all three are oral traditions originally, finding evidence that they are connected is impossible. The outline of what a passion play is, and how it works lines up with these texts. Also influenced the Torah, Bible, and Quran. (Also explains why people who take them literally misunderstand them). There is no way I’m going to find that connection.
Interestingly enough, the older Xiqu from China, feels like it has a tie-in point as well since *some* but not all the features seem similar, but it’s so, so old that there’s diminished records about its inception. So no way to prove it.
I’m totally surmising that the epics that we know and love have a similar tie-in point.
I need a blue box with a more powerful universal translator than Star Trek’s universal translator, where the aliens all oddly have usually British accents, unless they speak some form of American English to help me with the last one.
Chinese single storyteller?
Oh, and I’m trying to look for the name of the Chinese story telling tradition with the single storyteller in front of a crowd and if that has an official name, because there is a more formal version of that for Japan called Rakugo, but there is no attribution to the Chinese original, but the Chinese original always shows up in Chinese dramas with a fan in front of them in a similar manner to the Rakugo storytellers...