/lit/ - Literature

[Anonymous No.20438407]

Is Der Ring des Nibelungen the Neon Genesis Evangelion of literature?

[Anonymous No.20438490]

>Is Der Ring des Nibelungen the Neon Genesis Evangelion of literature?
No, that would be Call of the Crocodile

[Anonymous No.20438501]

>>20438407
Isn’t that, like, a song somethin

[Anonymous No.20438515]

>>20438407
>NGE
>long stretches of time dedicated to characters having autistic breakdowns
>self-indulgent moping around
>oozing over-sentimentality
>empty symbolism that self-admittedly means nothing
>about the author's obsessions

That'd be just ALL of literary fiction.

[Anonymous No.20438558]

>>20438515
filtered

[Anonymous No.20438581]

No that title belongs to the works of F. Gardner.

[Anonymous No.20438583]

>>20438490
>>20438581
So, that’s why Gardner was asked so much about Eva in that interview. Interesting.

[Anonymous No.20438638]

>>20438407
The contents of a Wagner play is so far removed from the postmodern themes of Evangelion that it just proves tranimetards are all midwits.

[Anonymous No.20438642]

>>20438638
*that this thread proves

[Anonymous No.20438650]

>>20438490
What’s the f stand for??

[Anonymous No.20438803]

>>20438515
I thought it went along the lines of
>author is asked to write a genre he hates (shonen)
>makes the main character a pathetic bitch out of spite
>fills it with convoluted bullshit to make it seem deeper then it is

[Anonymous No.20439131]

Where was the incest in NGE? In the Manga? I never read the Manga.

[Anonymous No.20439212]

>>20439131
rei

[Anonymous No.20439216]

whos the literary equivalent of Wagner? Yeats?

[Anonymous No.20439380]

>>20439216
I always felt like Goethe would be it.

[Anonymous No.20439411]

>>20439380
what about for beethoven then?

[Anonymous No.20439671]

>>20439411
Victor Hugo

[Anonymous No.20439957]

>>20438803
Shounen (young boy) it's a Manga magazine demographic category, not an Anime genre.

[Anonymous No.20440055]

Gravity's Rainbow

[Anonymous No.20440074]

>>20439411
Shakespeare.

>If we sum up the complex of Shakespeare’s characters, as they interreact with uncommon intensity into their total effect on our innermost feeling; and if we place beside this complex that of Beethoven’s motivic world with its irrepressible forcefulness and certainty, then we must be aware that these worlds are congruent in such a way that each is contained within the other even if they appear to inhabit different spheres.
>In order to understand this more easily, let us take the example of the Overture to Coriolanus, where Beethoven and Shakespeare are engaged with the same material. If we recall the impression that the figure of Coriolanus made on us in Shakespeare’s drama and, notwithstanding the complications of the plot, concentrate only on that which impressed us on account of its relationship to the main character, then we will see, emerging from all the confusion, the one defiant figure of Coriolanus in conflict with his innermost voice – speaking more loudly and urgently to his pride from his own mother. We will capture as the sole dramatic development the overpowering of his pride by that voice, the breaking of the defiance of a nature powerful beyond measure. Beethoven chooses for his drama only these two principal motifs which make us more clearly aware of the innermost nature of both those characters than by any expounding of concepts. If we now devoutly follow the movement developing from the unique opposition of these motifs and appertaining only to their musical character, and if we let the purely musical detail containing the gradations, interactions, withdrawals and intensifications of these motifs, have its effect on us, then we follow a drama containing in its own special expression everything which in the work of the playwright as performed commanded our interest as complex action and friction between the lesser characters. What there struck us as directly performed action, experienced almost at first hand, we here register as the central core of this action; for this action was there determined by characters working like natural forces just as here by the motifs of the musician working through these characters but identical in their innermost nature. Only in that sphere those and in this sphere these laws of expansion and movement apply.

[Anonymous No.20440123]

>>20440074
Beethoven could never get past statements of intent

[Anonymous No.20441349]

>>20440123
What does this even mean?