Rescuing Interpretation with Mark Danielewski: The Genre of Scholarship in<i>House of Leaves</i>

Belletto, Steven

doi:10.1215/00166928-42-3-4-99

Cited by 4 publications

(4 citation statements)

References 9 publications

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“…Analyses of House of Leaves usually focus on its postmodernist aspects (Hayles 2002;Graulund 2006;Belletto 2009;Hemmingson 2011), its commentary on a post-print, digitalized media environment (Hayles 2002;Pressman 2006), or its treatment of scholarship, authority, and authenticity (Hayles 2002;Graulund 2006;Belletto 2009;Hemmingson 2011). Pressman, for instance, views House of Leaves as "the central node in a network of multimedia, multiauthored forms that collectively comprise its narrative" (2006: 107).…”

Section: Lost In the (Textual) Labyrinth: The Multimodal Transmedia N...mentioning

confidence: 99%

The Supernatural Media Virus

Schmitz¹

2021

Gegenwartsliteratur

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Since the 1990s, the virus and the network metaphors have become increasingly popular, finding application in a broad range of everyday discourses, academic disciplines, and fiction genres. In this book, Rahel Sixta Schmitz defines and discusses a trope recurring in Gothic fiction: the supernatural media virus. This trope comprises the confluence of the virus, the network, and a deep, underlying media anxiety. This study shows how Gothic narratives such as House of Leaves or The Ring feature the supernatural media virus to negotiate as well as actively shape imaginations of the network society and the dangers of a globalized, technologized world.

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Section: Lost In the (Textual) Labyrinth: The Multimodal Transmedia N...mentioning

confidence: 99%

The Supernatural Media Virus

Schmitz¹

2021

Gegenwartsliteratur

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“…Michael Hemmingson, for instance, makes his Danielewski-inspired self-reflexive ficticism patent in one of his 20-plus endnotes: "The reader will take notice that, emulating House of Leaves, I am using footnotes within footnotes, which is often frowned upon in the academic community -that is, for the critic to take on the style of the work under scrutiny" (2011, p. 285). (Also see House of Leaves "ficticism" scholarship by Aghoro, 2012;Askin, 2012;Belletto, 2009;Bemong, 2003;Cox, 2006;Chanen, 2007;Dawson, 2012;Greve, 2012;Hagood, 2012;Hansen, 2004;Hayles, 2002;Huber, 2012;Jones, 2004;Letzler, 2012;Shastri, 2006;Slocombe, 2005;Söder, 2012;Taylor, 2013;and Toth, 2013. Admittedly, many, but not all, of these are collected in Polhman's edited volume Revolutionary Leaves [2012].…”

Section: Dr Celia Lam Editor-in-chief 25 July 2018mentioning

confidence: 99%

Untitled

2018

ijmcf

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His dissertation is practice-led, consisting of a screenplay and an exegesis. In his screenplay, The Station of Fossil Man, he explores the impact of cultural imperative on an individual in post-Soviet Armenia, while in his exegesis, he self-reflexively investigates the presence of narrator and makes a case of authentic realism as his writing style in his screenplay. His research focuses on narrative (fiction and screenplay) theory, realism as a writing convention, spatial narrative in film, and Danish cinema. Ivana Cvetkovic is a doctoral candidate in the Department of Communication and Journalism at the University of New Mexico, USA, with research and teaching interests situated at the intersection of journalism, technology and culture. She primarily focuses on news discourses and the ways new technology affects journalistic norms and routines. Her work has been published in several internationally recognized journals, including Journal of Communication Inquiry and Newspaper Research Journal. Her research interests have been impacted by her long-time career in journalism and rapid changes in the news industry.

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“…Readings of House of Leaves have engaged with its images of maternity, its parodies of scholarship and engagement with concerns of being (Cox 2006;Belletto 2009;Slocombe 2005) but have tended, with significant reservations, to highlight issues of hyperlinks, formatting, online release and immersion in multimedia networks: the 'dangers of hypertext' and its attempts, in the face of postmodern superficiality, to make a 'recovery of' and 'return to' reality and truth claims (Brick 2004;Toth 2013: 182; see also Hagler 2004;Pressman 2006;Spooner 2006: 41-47). Leading the way, Hayles connects the novel's inclusion of multiple types of mediation to attempts to 'save' the subject, lost to postmodern and post-human simulations, through a recuperation of literary forms and techniques.…”

Section: Readingmentioning

confidence: 99%

Horrorspace: Reading House of Leaves

Botting¹

2015

Horror Studies

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Absence is crucial to the evocation of horror, marking out limits to sense, knowledge and representation. Linked to space, horror's architectural, anthropological, philosophical and literary dimensions open up to darkness, emptiness, revulsion or dread, to raise questions of rationality, the sacred, home, corporeality and human subjectivity. Horror's movements broach an otherness that is both unpresentable and intimate, imaginary and real.

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Rescuing Interpretation with Mark Danielewski: The Genre of Scholarship inHouse of Leaves

Cited by 4 publications

References 9 publications

The Supernatural Media Virus

The Supernatural Media Virus

Untitled

Horrorspace: Reading House of Leaves

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