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SOURCES:

Robert Hurd, “Taking ‘Seinfeld’ Seriously: Modernism in Popular Culture” New Literary History, Vol. 37, No. 4, Attending to Media (Autumn, 2006), pp. 761-776

Greg M. Smith, “Plotting a Show about Nothing: Patterns of Narration in ‘Seinfeld’” (From: Creative Screenwriting: Volume II) 1995

James Wood, “The Man Behind Bovary” (A review of ‘Flaubert: A Biography by Frederick Brown’) (via The New York Times) 2006

Gustave Flaubert (selected, edited and translated by Francis Steegmuller), “The Letters of Gustave Flaubert 1830-1857”

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29 COMMENTS

  1. This really reminds me of the creative nothing, an attempt at explaining identity as unique- you are not nothing in the sense of an absense, but nothing in the sense that no term, no idea, no perspective can capture you in totality- for you have no totality, no absolute truth. You are ever changing- dynamic- unique. There's a relationship between this style of writing and this form of identity.

  2. I mean, i'm with you on this, but you talk about genre-bending sit coms and you don't mention MASH? They were the first to do so many experimental episodes, like found footage, one-ep-is-a-year, dreams to explore the character's deep psyche, lower decks, various creative bottle eps, "the couch" as the set center, and the family is friends in the early 70s

  3. Great video! I'm an actor and rely a lot on my instincts…Some of which are definitely influenced by this style of comedy. But although I understand how to play it, I struggle to articulate it for others. You have a lifelong subscriber in me!

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