Façam este teste engraçado, e descubram que tipo de escritor de Ficção Científica seriam.
A mim, calhou-me o Arthur C. Clarke.
Set 06
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Set 06
Façam este teste engraçado, e descubram que tipo de escritor de Ficção Científica seriam.
A mim, calhou-me o Arthur C. Clarke.
4 comentários
Passar directamente para o formulário dos comentários,
The Strangely Competitive World of Sci-Fi Writing Workshops:
http://www.wired.com/2015/01/geeks-guide-sci-fi-workshop/
Jeanne Cavelos, founder of Odyssey, agrees that a workshop is a challenging environment that’s not for everyone.
She carefully screens applicants for basic composition skills and a healthy perspective on writing, going so far as to contact references and compare notes with other workshops in order to weed out hotheads and shrinking violets.
She also thinks applicants should have a solid sense of who they are as writers, so they’re not unduly influenced by other students and instructors.
But a workshop isn’t all fun and games.
Receiving critiques can be painful, especially for writers who are insecure.
People may lash out, attempting to tear down their toughest critics or perceived rivals, and the experience of writing on a deadline is too much for many students, some of whom burn out and never write again, though this too can provide a valuable lesson.
Jeanne Cavelos on writers who need workshops:
“I think Shakespeare could really use a workshop. He tends to go on and on at times. So I can’t really say I’ve encountered the writer that I didn’t think I could help in some way. I mean, Stephen King is wonderful, but he has viewpoint problems, and he’s still got them, and he’s had them for years, and I really wish somebody would help him out with that, because he’s so good at everything else, and that would just take it the next step further.”
And I’m not saying to torment yourself and never submit anything—you make it as good as you can in the moment, when you’re excited about that piece, and send it out.
But I think every writer who’s serious about the craft should always be wanting to improve, and trying to improve.
Também obtive o mesmo resultado: Arthur C. Clarke…
Como compositor de acordo com as perguntas a que respondi obtive este nome:
http://en.wikipedia.org/wiki/Philip_Glass / http://pt.wikipedia.org/wiki/Philip_Glass
O que até faz algum sentido, pois gosto bastante desta música e do filme:
http://pt.wikipedia.org/wiki/Koyaanisqatsi
Para quem gosta de opera “mais clássica”, um exemplo seria este:
http://en.wikipedia.org/wiki/Galileo_Galilei_(opera)
https://www.youtube.com/watch?v=CG_uxoljRL4
Sugestão:
Doubly Gifted: The Author As Visual Artist
http://www.amazon.com/Doubly-Gifted-Author-Visual-Artist/dp/0810918420
Algumas críticas:
From Publishers Weekly
Along with such well-known examples as William Blake and Edward Lear, many famous writers have painted, drawn or sculpted, and even if the quality of their graphic work is eclipsed by their literary output, it nonetheless offers clues to their psyches.
Poe’s portrait of the woman he planned to marry the year he died aches with hypersensitivity. Anne Sexton’s oil of a couple arguing is like a primal scream. Michener’s painting Biography, a checkerboard of squares filled with personal symbols referring to events in his life, reflects his proclivity for cramming massive amounts of data into a narrative framework.
Many of the 68 “doubly gifted” authors represented here turned out very good artwork. Notable examples are Gunter Grass’s acid etchings, Breton’s surrealist hallucinations and Hart Crane’s somber painting of trees at nightfall. Pictures by Ibsen, Winston Churchill, George Sand, Wilde and Strindberg make for a rare, intriguing glimpse of the creative process. QPB alternate.
Copyright 1986 Reed Business Information, Inc.
From Library Journal
The interconnection between art and literature is explored in this intriguing work, which gathers together examples of the artwork of great literary figures. While the art of figures like William Blake and Edward Lear is well known, some examples will come as a surprise. The graphics of Faulkner and Poe are impressive, but other examples show no particular gift.
Updike’s enlightening foreword analyzes the special affinity between artists and writers, for whom, he says, “the tools are allied, the impulses are one.” Sixty-nine authors are represented with 214 illustrations, quotations from the writings of each, and brief biographies.
Long on visuals and short on text, the book leaves the reader wanting to know more about the artistic impulses of each author. It is, nevertheless, a fascinating collection.
Concordo em particular com este comentário:
This book is a treasure, very unique and full of fascinating artwork by noted authors.
You would never think that half of these authors produced such interesting artwork, but then I guess that goes to show how much we box people into these tidy little descriptions of what we believe or have myopically experienced they are capable of.
Fiquei com o Asimov (um dos meus favoritos).
Boa postagem