FRINK Linked Data Fragments server

Matches in SemOpenAlex for { <https://semopenalex.org/work/W2788430060> ?p ?o ?g. }

• W2788430060 endingPage "120" @default.
• W2788430060 startingPage "97" @default.
• W2788430060 abstract "Jonathan Safran Foer's Tree of Codes:Memorial, Fetish, Bookishness Jessica Pressman (bio) On the brink of the end of paper, I was attracted to the idea of a book that can't forget it has a body.1 This is how jonathan safran foer describes his motivation for Tree of Codes (2010), a work of experimental literature that revels in what I call bookishness. I use the term bookishness to describe an aesthetic practice and cultural phenomenon that figures the book as artifact rather than as just a medium for information transmission and, in so doing, presents the book as a fetish for our digital age. Bookishness proliferates in twenty-first-century culture, presenting numerous and varied sites through which to calibrate and consider medial change as well as to critique digital culture, especially end-time narratives about the death of the book. Tree of Codes is one such site: an example of literary bookishness that is both a memorial and a fetish. Tree of Codes is full of holes, literally. Rectangular gaps of various sizes puncture its pages, leaving behind a latticework of paper upon which words or strings of words form little islands around the gaping holes. The reader circumnavigates these holes in order to tease out meaning from the fragmented narrative they comprise. To produce this visual, physical text, Foer employed a [End Page 97] digitally enhanced process of die-cutting to carve into a book by Polish-Jewish author Bruno Schulz: The Street of Crocodiles (1934).2 Schulz was murdered by the Nazis, and his writing was largely lost to history.3 The sense of loss—the loss of people, books, and cultural memory—permeates Tree of Codes figuratively and formally, most notably in the gaping holes in its carved-out pages. Schulz's The Street of Crocodiles is a poetic and surreal collection of short stories about a family in a small European town experiencing changes due to increased urbanization and modernization.4 The feeling of a changing world encroaching on an intimate, local place permeates Schulz's writing and carries over to Foer's adaptation, rendering Tree of Codes an allegory for a contemporary moment of cultural and medial transformation.5 MEMORIAL The holes on the pages of Tree of Codes signify loss and prompt remembrance. The pages containing these holes are memorials. I use the term memorial as opposed to monument because, as Melissa Sodeman explains, memorial stands for a mode of commemoration that admits the inevitability of forgetting and that seeks to preserve not what has been lost, but rather its remembered image.6 The relationship between Tree of Codes and The Street of Crocodiles is not one of veracity and archiving but of representing and remixing its remembered image or after-effect. What is remembered here is multiple: Schulz's texts, the People of the Book lost in the Shoah, the artifactuality of the codex in a culture of digitization, and concerns about the fate of the book in the digital age. Schulz's stories are devoted to the artifactual; the text renders objects and places as deeply material, indeed, as agents (in a Latourian sense) that impact and affect human characters.7 This focus on the material in Schulz's source text provides a foundation for Foer's own making of literature as bookish memorial.8 In the early years of the twenty-first century, in the face of tremendous changes to our relationships and attachments (as Rita Felski might say)9 to books, Tree of Codes repurposes an important older text in ways that focus attention not only on the particular content of that text (the data that has been lost or saved) but also on the media supporting this engagement. Kiene Brillenburg Wurth describes Tree of Codes as the trace, the history of a reading.10 Understood this way, Foer's writing-as-cutting produces a memorial to Foer's reading of Schulz's text. I extend this point to show how Tree of Codes uses the format of the codex to serve as a monument, memorial, and fetish object for the book medium in an age when it is supposedly under [End Page 98] threat due..." @default.
• W2788430060 created "2018-03-06" @default.
• W2788430060 creator A5034787563 @default.
• W2788430060 date "2018-01-01" @default.
• W2788430060 modified "2023-10-17" @default.
• W2788430060 title "Jonathan Safran Foer's Tree of Codes: Memorial, Fetish, Bookishness" @default.
• W2788430060 cites W1458610067 @default.
• W2788430060 cites W1489335578 @default.
• W2788430060 cites W1523358000 @default.
• W2788430060 cites W1552819292 @default.
• W2788430060 cites W1584339382 @default.
• W2788430060 cites W1644932108 @default.
• W2788430060 cites W1654521368 @default.
• W2788430060 cites W1987562626 @default.
• W2788430060 cites W1993701089 @default.
• W2788430060 cites W2008002480 @default.
• W2788430060 cites W2056154242 @default.
• W2788430060 cites W2317283196 @default.
• W2788430060 cites W2323828001 @default.
• W2788430060 cites W2344967523 @default.
• W2788430060 cites W2796196069 @default.
• W2788430060 cites W409561902 @default.
• W2788430060 cites W55313599 @default.
• W2788430060 cites W599473271 @default.
• W2788430060 cites W599682443 @default.
• W2788430060 cites W615267904 @default.
• W2788430060 cites W631420277 @default.
• W2788430060 cites W633399620 @default.
• W2788430060 cites W642646496 @default.
• W2788430060 cites W651394539 @default.
• W2788430060 doi "https://doi.org/10.1353/asa.2018.0004" @default.
• W2788430060 hasPublicationYear "2018" @default.
• W2788430060 type Work @default.
• W2788430060 sameAs 2788430060 @default.
• W2788430060 citedByCount "2" @default.
• W2788430060 countsByYear W27884300602018 @default.
• W2788430060 countsByYear W27884300602021 @default.
• W2788430060 crossrefType "journal-article" @default.
• W2788430060 hasAuthorship W2788430060A5034787563 @default.
• W2788430060 hasBestOaLocation W27884300601 @default.
• W2788430060 hasConcept C10138342 @default.
• W2788430060 hasConcept C111472728 @default.
• W2788430060 hasConcept C124952713 @default.
• W2788430060 hasConcept C138885662 @default.
• W2788430060 hasConcept C142362112 @default.
• W2788430060 hasConcept C162324750 @default.
• W2788430060 hasConcept C182306322 @default.
• W2788430060 hasConcept C199033989 @default.
• W2788430060 hasConcept C2780876879 @default.
• W2788430060 hasConcept C52119013 @default.
• W2788430060 hasConcept C95457728 @default.
• W2788430060 hasConceptScore W2788430060C10138342 @default.
• W2788430060 hasConceptScore W2788430060C111472728 @default.
• W2788430060 hasConceptScore W2788430060C124952713 @default.
• W2788430060 hasConceptScore W2788430060C138885662 @default.
• W2788430060 hasConceptScore W2788430060C142362112 @default.
• W2788430060 hasConceptScore W2788430060C162324750 @default.
• W2788430060 hasConceptScore W2788430060C182306322 @default.
• W2788430060 hasConceptScore W2788430060C199033989 @default.
• W2788430060 hasConceptScore W2788430060C2780876879 @default.
• W2788430060 hasConceptScore W2788430060C52119013 @default.
• W2788430060 hasConceptScore W2788430060C95457728 @default.
• W2788430060 hasIssue "1" @default.
• W2788430060 hasLocation W27884300601 @default.
• W2788430060 hasOpenAccess W2788430060 @default.
• W2788430060 hasPrimaryLocation W27884300601 @default.
• W2788430060 hasRelatedWork W1998921060 @default.
• W2788430060 hasRelatedWork W2206642687 @default.
• W2788430060 hasRelatedWork W2381447257 @default.
• W2788430060 hasRelatedWork W2388843866 @default.
• W2788430060 hasRelatedWork W2392951461 @default.
• W2788430060 hasRelatedWork W2603760940 @default.
• W2788430060 hasRelatedWork W2748952813 @default.
• W2788430060 hasRelatedWork W2899084033 @default.
• W2788430060 hasRelatedWork W2933608806 @default.
• W2788430060 hasRelatedWork W4213366821 @default.
• W2788430060 hasVolume "3" @default.
• W2788430060 isParatext "false" @default.
• W2788430060 isRetracted "false" @default.
• W2788430060 magId "2788430060" @default.
• W2788430060 workType "article" @default.