David Foster Wallace citáty
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David Foster Wallace byl americký spisovatel, autor románů, povídek a esejů, profesor angličtiny a tvůrčího psaní. Wallace se proslavil zejména románem z roku 1996 Infinite Jest . David Ulin, literární redaktor Los Angeles Times, napsal o Wallaceovi, že byl „jedním z nejvlivnějších a průkopnických spisovatelů za posledních 20 let“. Wallaceův poslední a nedokončený román The Pale King vyšel v roce 2011 a následující rok se zařadil mezi finalisty Pulitzerovy ceny za beletrii. V září roku 2012 vyšla Wallaceova biografie. V posledních deseti letech bylo také publikováno k jeho dílu množství kritické literatury. Wikipedia  

✵ 21. únor 1962 – 12. září 2008   •   Další jména دايفيد والاس
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David Foster Wallace nejznámější citáty

David Foster Wallace: Citáty anglicky

“There is actually no such thing as atheism. There is no such thing as not worshiping. Everybody worships. The only choice we get is what to worship.”

Zdroj: This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life

“So yo then man what's your story?”

David Foster Wallace kniha Infinite Jest

Zdroj: Infinite Jest

“She was terrified of everything, and terrified to show it.”

David Foster Wallace kniha Brief Interviews with Hideous Men

Zdroj: Brief Interviews with Hideous Men

“It is extremely difficult to stay alert & attentive instead of getting hypnotized by the constant monolog inside your head.”

Zdroj: This Is Water: Some Thoughts, Delivered on a Significant Occasion, about Living a Compassionate Life

“If Realism called it like it saw it, Metafiction simply called it as it saw itself seeing itself see it.”

E Unibus Pluram: Television and U.S. Fiction
Essays
Zdroj: A Supposedly Fun Thing I'll Never Do Again: Essays and Arguments
Kontext: The emergence of something called Metafiction in the American '60s was hailed by academic critics as a radical aesthetic, a whole new literary form, literature unshackled from the cultural cinctures of mimetic narrative and free to plunge into reflexivity and self-conscious meditations on aboutness. Radical it may have been, but thinking that postmodern Metafiction evolved unconscious of prior changes in readerly taste is about as innocent as thinking that all those college students we saw on television protesting the Vietnam war were protesting only because they hated the Vietnam war (They may have hated the war, but they also wanted to be seen protesting on television. TV was where they'd seen the war, after all. Why wouldn't they go about hating it on the very medium that made their hate possible?) Metafictionists may have had aesthetic theories out the bazoo, but they were also sentient citizens of a community that was exchanging an old idea of itself as a nation of do-ers and be-ers for a new vision of the U. S. A. as an atomized mass of self-conscious watchers and appearers. For Metafiction, in its ascendant and most important phases, was really nothing more than a single-order expansion of its own theoritcal nemesis, Realism: if Realism called it like it saw it, Metafiction simply called it as it saw itself seeing it. This high-cultural postmodern genre, in other words, was deeply informed by the emergence of television and the metastasis of self-conscious watching.