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Please send any comments via: Frank at fleeding at Also note: I'm not really a literature type person, but rather an artist as such; grain of salt. When we seek to talk about a work (whether it's a drawing/painting/sculpture, or a musical composition, or a play/novel, etc...) we can address several aspects of the work itself: 1) The what-ness of the work. 2) How it speaks to us in our own time and environment. 3) How it interacts with similar works. In terms of technique, we might want to decide the style that it is done in. For example, is it in a realistic or naturalistic style, or is it in the manner of the theatre of the absurd and/or dada? Clearly things done some time in the past can actually speak more directly and cogently to us than something producec in our own time. Take for example, "Waiting for Godot" or "The Agamemnon", "Hamlet", and similar plays -- they all speak to the idea of present time and history - but also to the role of the individual caught up in the roll-out of history; or the lack of it. In many cases, we can draw parallels of the work with other works that express similar concepts. We might (for example) take the "fauvist" (wild beast paintings) of deReign's "London Bridge" and others and draw parallels to John Coltrane's jazz work "Peace on Earth". Both glare and gawk back at us - forcing us to confront what the work is about. Both use non-traditional techniques and "colours" - one visually so, the other aurally so. We can then take broader assides in comparing (eg) Toulouse Latrec's "At the Moulon Rouge" and Erik Satie's "Parade and ballet realiste" based on Jean Cocteau's work. And so forth. Of course, we can to far. To say that a work is representing something just because of the time it is written or created in and thus characteristic of everything in that time is just as misleading (in many cases) as to say that we understand the work's creator INTENTION. And hence the so-called intentionist falacy.



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