Godina izdanja: Ostalo
ISBN: Ostalo
Jezik: Engleski
Autor: Strani

Oldos Haksli, Kontrapunkt, englesko izdanje iz 1975. godine, Penguin books. Mek povez, 440 strana, dobro očuvana, par neznatnih mana korice, originalni opis:

Point Counter Point is a novel by Aldous Huxley, first published in 1928. It is Huxley`s longest novel, and was notably more complex and serious than his earlier fiction.

In 1998, the Modern Library ranked Point Counter Point 44th on its list of the 100 best English-language novels of the 20th century.

The novel entered the public domain in the United States in 2024

The novel`s title is a reference to the flow of arguments in a debate,[3] and a series of these exchanges tell the story.[5] Instead of a single central plot, there are a number of interlinked story lines and recurring themes (as in musical `counterpoint`).[6] As a roman à clef,[7] many of the characters are based on real people, most of whom Huxley knew personally, such as D. H. Lawrence, Katherine Mansfield, Nancy Cunard, and John Middleton Murry, and Huxley is depicted as the novel`s novelist, Philip Quarles.[8] Huxley described the structure of Point Counter Point within the novel itself, in a stream of consciousness musing of Quarles:

The musicalization of fiction. Not in the symbolist way, by subordinating sense to sound. . . . But on a large scale, in the construction. Meditate on Beethoven. The changes of moods, the abrupt transitions . . . More interesting still, the modulations, not merely from one key to another, but from mood to mood. A theme is stated, then developed, pushed out of shape, imperceptibly deformed, until, though still recognizably the same, it has become quite different. . . . Get this into a novel. How? The abrupt transitions are easy enough. All you need is a sufficiency of characters and parallel, contrapuntal plots. . . . You alternate the theme. More interesting, the modulations and variations are also more difficult. A novelist modulates by reduplicating situations and characters. He shows several people falling in love, or dying, or praying in different ways -- dissimilars solving the same problem. Or, vice versa, similar people confronted with dissimilar problems. In this way you can modulate through all the aspects of your theme, you can write variations in any number of different moods. Another way: The novelist can assume the god-like creative privilege and simply elect to consider the events in the story in their various aspects -- emotional, scientific, religious, metaphysical, etc. He will modulate from one to the other -- as, from the aesthetic to the physico-chemical aspect of things, from the religious to the physiological or financial. . . . Put a novelist in the novel. He justifies aesthetic generalizations, which may be interesting -- at least to me. He also justifies experiment. Specimens of his work may illustrate other possible or impossible ways of telling a story.`