Douglas M. MacDowell
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780199287192
- eISBN:
- 9780191713552
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199287192.003.0015
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval
This chapter briefly lists some prominent features of Demosthenes' prose style and gives examples. To produce clarity he uses ordinary language, avoiding poetic and abstract expressions, and giving ...
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This chapter briefly lists some prominent features of Demosthenes' prose style and gives examples. To produce clarity he uses ordinary language, avoiding poetic and abstract expressions, and giving his sentences a clear structure. Emphasis is obtained by alternating emphatic and unemphatic words, by repetition, and by oaths. Variety is produced by questions and by such figures as hypophora, asyndeton, apostrophe, paraleipsis, and metaphor.Less
This chapter briefly lists some prominent features of Demosthenes' prose style and gives examples. To produce clarity he uses ordinary language, avoiding poetic and abstract expressions, and giving his sentences a clear structure. Emphasis is obtained by alternating emphatic and unemphatic words, by repetition, and by oaths. Variety is produced by questions and by such figures as hypophora, asyndeton, apostrophe, paraleipsis, and metaphor.
Steve Hart
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9789888390755
- eISBN:
- 9789888390465
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888390755.003.0009
- Subject:
- Linguistics, English Language
This chapter looks at how to express possession correctly in a sentence and the instances where possession does not occur. The chapter presents the different structures related to possession, ...
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This chapter looks at how to express possession correctly in a sentence and the instances where possession does not occur. The chapter presents the different structures related to possession, including the ‘of’ phrase and generic compound. It also clarifies the placement of the plural term in certain phrases.Less
This chapter looks at how to express possession correctly in a sentence and the instances where possession does not occur. The chapter presents the different structures related to possession, including the ‘of’ phrase and generic compound. It also clarifies the placement of the plural term in certain phrases.
Michael Macovski
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195069655
- eISBN:
- 9780199855186
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195069655.003.0001
- Subject:
- Literature, 19th-century Literature and Romanticism
The book opens with a definition of literary discourse and its transcendental quality that bridges fictional characters, authors, interpretations, and readers across time and cultures. This chapter ...
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The book opens with a definition of literary discourse and its transcendental quality that bridges fictional characters, authors, interpretations, and readers across time and cultures. This chapter attempts to develop a social model of literary dialogue in the Romantic epoch, partly based on Mikhail Bakhtin's theory of dialogue. In contrast with traditional Romantic discourse, which is essentially solipsistic, external interactions of the self are emphasized and dialogue expanded to provide a wider, more holistic view. This is supported by the frequent use of poetic tools, such as the rhetoric of apostrophe in Romantic literature, to provide multiple perspectives. The role of the literary auditor as one of the crucial external voices that enable the rhetoric of interaction is also discussed. This complex interrelationship between the Romantic “self” and external voices is manifested in Romantic literature, samples of which are studied in the succeeding chapters.Less
The book opens with a definition of literary discourse and its transcendental quality that bridges fictional characters, authors, interpretations, and readers across time and cultures. This chapter attempts to develop a social model of literary dialogue in the Romantic epoch, partly based on Mikhail Bakhtin's theory of dialogue. In contrast with traditional Romantic discourse, which is essentially solipsistic, external interactions of the self are emphasized and dialogue expanded to provide a wider, more holistic view. This is supported by the frequent use of poetic tools, such as the rhetoric of apostrophe in Romantic literature, to provide multiple perspectives. The role of the literary auditor as one of the crucial external voices that enable the rhetoric of interaction is also discussed. This complex interrelationship between the Romantic “self” and external voices is manifested in Romantic literature, samples of which are studied in the succeeding chapters.
Michael Macovski
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195069655
- eISBN:
- 9780199855186
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195069655.003.0004
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter discusses linguistic dialogue in Mary Shelley's Frankenstein, in which language or discourse is offered as a means of recovery and empowerment for the story's players. Narrative ...
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This chapter discusses linguistic dialogue in Mary Shelley's Frankenstein, in which language or discourse is offered as a means of recovery and empowerment for the story's players. Narrative apostrophe is employed to invoke the “silent auditor,” to bridge the interpretive gap between signifier and the signified. Many studies argue that this method serves to disperse the narrator's efforts to develop a coherent identity and undermines his attempts to veer away from solipsism by internalizing that which should remain part of the external milieu. The opposing voices often utilized in narrative apostrophe reveal the rhetorical construction of the self from multiple views. In the case of Frankenstein, the efforts of the monster to try and articulate its existence to the world illustrates the view that linguistic interaction is vital to one's “being.” The latter sections discuss and analyze the modes in which linguistic interchanges between the major characters are carried out.Less
This chapter discusses linguistic dialogue in Mary Shelley's Frankenstein, in which language or discourse is offered as a means of recovery and empowerment for the story's players. Narrative apostrophe is employed to invoke the “silent auditor,” to bridge the interpretive gap between signifier and the signified. Many studies argue that this method serves to disperse the narrator's efforts to develop a coherent identity and undermines his attempts to veer away from solipsism by internalizing that which should remain part of the external milieu. The opposing voices often utilized in narrative apostrophe reveal the rhetorical construction of the self from multiple views. In the case of Frankenstein, the efforts of the monster to try and articulate its existence to the world illustrates the view that linguistic interaction is vital to one's “being.” The latter sections discuss and analyze the modes in which linguistic interchanges between the major characters are carried out.
Michael Macovski
- Published in print:
- 1994
- Published Online:
- October 2011
- ISBN:
- 9780195069655
- eISBN:
- 9780199855186
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195069655.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter discusses the decline in the popularity of dialogue as the main method of exposition in the nineteenth century. This is illustrated in Conrad's literary pieces and in the difficulty of ...
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This chapter discusses the decline in the popularity of dialogue as the main method of exposition in the nineteenth century. This is illustrated in Conrad's literary pieces and in the difficulty of interpreting his work. Traditional critics focus on the main character—Marlow's—narrative idiosyncrasies in Conrad's “Heart of Darkness.” The author posits that this may indicate Conrad's desire to establish an alternative type of dialogue in which the speaker or silent listener cannot trust or verify the statements of the narrator. This unique form of rhetoric and its implications are further analyzed and interpreted as the main character progresses through the novella's plot. The author cites how the novella becomes a sequence of apostrophes wherein each narration constitutes an attempt at dialogue, despite the lack of conventional conversational techniques and modes of corroboration. The remaining section discusses how these apparent “limitations” are transcended in Conrad's unique rhetoric.Less
This chapter discusses the decline in the popularity of dialogue as the main method of exposition in the nineteenth century. This is illustrated in Conrad's literary pieces and in the difficulty of interpreting his work. Traditional critics focus on the main character—Marlow's—narrative idiosyncrasies in Conrad's “Heart of Darkness.” The author posits that this may indicate Conrad's desire to establish an alternative type of dialogue in which the speaker or silent listener cannot trust or verify the statements of the narrator. This unique form of rhetoric and its implications are further analyzed and interpreted as the main character progresses through the novella's plot. The author cites how the novella becomes a sequence of apostrophes wherein each narration constitutes an attempt at dialogue, despite the lack of conventional conversational techniques and modes of corroboration. The remaining section discusses how these apparent “limitations” are transcended in Conrad's unique rhetoric.
Gavin Alexander
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199285471
- eISBN:
- 9780191713941
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199285471.003.0009
- Subject:
- Literature, 17th-century and Restoration Literature, 16th-century and Renaissance Literature
Sidney's niece Mary Wroth published a long prose romance, the Urania, in 1621, along with a lyric sequence, Pamphilia to Amphilanthus; a second part of the Urania exists in manuscript. Both works ...
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Sidney's niece Mary Wroth published a long prose romance, the Urania, in 1621, along with a lyric sequence, Pamphilia to Amphilanthus; a second part of the Urania exists in manuscript. Both works draw deeply on the writings of Wroth's family, with her aunt and father as models as well as her more celebrated uncle. They also thematise questions of family, genealogy, generation, resemblance, memory, recognition, and imitation, to create dense, highly personal texts that narrate and fantasise about Wroth's life at the same time as they offer a revisionary rereading of Sidney's own writings and literary values. Sidneian dialogue in Wroth's hands becomes a one-sided monologue of apostrophe in her sonnets, and in the rhetoric of her sonneteering lover, Pamphilia, who figures Wroth herself and is also the central character within the Urania. Both parts of the Urania develop and radically reconceive the Arcadia's rhetoric and plot logic of incompletion and aposiopesis; both parts end, like the Arcadia, in mid-sentence.Less
Sidney's niece Mary Wroth published a long prose romance, the Urania, in 1621, along with a lyric sequence, Pamphilia to Amphilanthus; a second part of the Urania exists in manuscript. Both works draw deeply on the writings of Wroth's family, with her aunt and father as models as well as her more celebrated uncle. They also thematise questions of family, genealogy, generation, resemblance, memory, recognition, and imitation, to create dense, highly personal texts that narrate and fantasise about Wroth's life at the same time as they offer a revisionary rereading of Sidney's own writings and literary values. Sidneian dialogue in Wroth's hands becomes a one-sided monologue of apostrophe in her sonnets, and in the rhetoric of her sonneteering lover, Pamphilia, who figures Wroth herself and is also the central character within the Urania. Both parts of the Urania develop and radically reconceive the Arcadia's rhetoric and plot logic of incompletion and aposiopesis; both parts end, like the Arcadia, in mid-sentence.
Andrew D. Miller
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381908
- eISBN:
- 9781781382356
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381908.003.0002
- Subject:
- Literature, Poetry
The chapter addresses the primary aspects of the ekphrasis of photographs. Using Mikhail Bahktin’s theory of the chronotope of the novel, the chapter defines what it terms “the chronotope of the ...
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The chapter addresses the primary aspects of the ekphrasis of photographs. Using Mikhail Bahktin’s theory of the chronotope of the novel, the chapter defines what it terms “the chronotope of the photograph”, describing this as a narrative space that occurs between a photographic image and a poetic speaker. The primary example is taken from Walter Benjamin’s essay “A Brief History of Photography”.Less
The chapter addresses the primary aspects of the ekphrasis of photographs. Using Mikhail Bahktin’s theory of the chronotope of the novel, the chapter defines what it terms “the chronotope of the photograph”, describing this as a narrative space that occurs between a photographic image and a poetic speaker. The primary example is taken from Walter Benjamin’s essay “A Brief History of Photography”.
Andrew D. Miller
- Published in print:
- 2015
- Published Online:
- May 2016
- ISBN:
- 9781781381908
- eISBN:
- 9781781382356
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781781381908.003.0007
- Subject:
- Literature, Poetry
Using Michel Foucault’s essay on calligrams, the chapter examines poems that are reproduced with the photographs that they describe and how this constellation alters the sort of ekphrasis one ...
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Using Michel Foucault’s essay on calligrams, the chapter examines poems that are reproduced with the photographs that they describe and how this constellation alters the sort of ekphrasis one encounters by creating a textimage bond.The poets discussed are Richard Howard and John Logan.Less
Using Michel Foucault’s essay on calligrams, the chapter examines poems that are reproduced with the photographs that they describe and how this constellation alters the sort of ekphrasis one encounters by creating a textimage bond.The poets discussed are Richard Howard and John Logan.
Jeanne Fahnestock
- Published in print:
- 2011
- Published Online:
- January 2012
- ISBN:
- 9780199764129
- eISBN:
- 9780199918928
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199764129.003.0014
- Subject:
- Linguistics, Applied Linguistics and Pedagogy
Language evolved for communication, so it has “built in” features that respond to the givens of human discourse. Part III, beginning with this chapter, covers the language choices that acknowledge ...
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Language evolved for communication, so it has “built in” features that respond to the givens of human discourse. Part III, beginning with this chapter, covers the language choices that acknowledge the immediacy of discourse, beginning with the partners in communication: the speaker or writer and the hearer or reader. The real roles of source and recipient are also constructed by the language of a text, whether or not they are made explicit. Extreme cases of fashioning the mutual roles of speakers and recipients are modeled in the salutations recommended in medieval letter-writing manuals. Typically, the role construction in a text can be made explicit when the personal pronouns creating rhetorical agents and audiences are used: I, you, we. Each of these choices has special uses and there are corresponding genres of fictional address. When there are no explicit references to the speaker and audience, the text may seem impersonal or objective, but speaker/audience roles are still assigned. The goal of discourse can be to change the relationship, or what Goffman called the footing, between the speaker and the addressee, and the constructed footing can in turn serve what Burke called the persuasive identification between the arguer and the audience. In rhetorical manuals, striking methods of speaker/audience construction were noted. The apostrophe involves specifically calling on or hailing an addressee. Arguers can also partition their audiences, dividing them into subgroups and making the whole group aware of its differences. They can also speak frankly to one subgroup in the presence of another, or even try to purge the audience and purify the remainder. Finally, arguers can ask questions in a variety of ways that turn audiences into cooperative responders.Less
Language evolved for communication, so it has “built in” features that respond to the givens of human discourse. Part III, beginning with this chapter, covers the language choices that acknowledge the immediacy of discourse, beginning with the partners in communication: the speaker or writer and the hearer or reader. The real roles of source and recipient are also constructed by the language of a text, whether or not they are made explicit. Extreme cases of fashioning the mutual roles of speakers and recipients are modeled in the salutations recommended in medieval letter-writing manuals. Typically, the role construction in a text can be made explicit when the personal pronouns creating rhetorical agents and audiences are used: I, you, we. Each of these choices has special uses and there are corresponding genres of fictional address. When there are no explicit references to the speaker and audience, the text may seem impersonal or objective, but speaker/audience roles are still assigned. The goal of discourse can be to change the relationship, or what Goffman called the footing, between the speaker and the addressee, and the constructed footing can in turn serve what Burke called the persuasive identification between the arguer and the audience. In rhetorical manuals, striking methods of speaker/audience construction were noted. The apostrophe involves specifically calling on or hailing an addressee. Arguers can also partition their audiences, dividing them into subgroups and making the whole group aware of its differences. They can also speak frankly to one subgroup in the presence of another, or even try to purge the audience and purify the remainder. Finally, arguers can ask questions in a variety of ways that turn audiences into cooperative responders.
Prudentius
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801442223
- eISBN:
- 9780801463051
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801442223.003.0005
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
This chapter presents Marcion's poem, which introduced God as the one responsible for evil. Aurelius Prudentius Clemens wrote a counteroffensive on this insidious concept in a segment of the ...
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This chapter presents Marcion's poem, which introduced God as the one responsible for evil. Aurelius Prudentius Clemens wrote a counteroffensive on this insidious concept in a segment of the Hamartigenia by using dialectica to associate Marcion with the dialectic reasoning typical of ancient philosophy. In this dialectical process, truth is approached through a series of arguments and counterarguments. Prudentius uses the rhetorical devices of prosopopoeia (giving Marcion a voice) and apostrophe (responding in propria persona to Marcion's speech) to present Marcion's argument as part of a dialectic process. He argues that rational argument has led Marcion to a false conclusion—phrenesis manifesta or obvious madness—by saying that the true identity of Marcion's Creator God cannot be derived through the logic of dialectic, and must rather be derived through faith.Less
This chapter presents Marcion's poem, which introduced God as the one responsible for evil. Aurelius Prudentius Clemens wrote a counteroffensive on this insidious concept in a segment of the Hamartigenia by using dialectica to associate Marcion with the dialectic reasoning typical of ancient philosophy. In this dialectical process, truth is approached through a series of arguments and counterarguments. Prudentius uses the rhetorical devices of prosopopoeia (giving Marcion a voice) and apostrophe (responding in propria persona to Marcion's speech) to present Marcion's argument as part of a dialectic process. He argues that rational argument has led Marcion to a false conclusion—phrenesis manifesta or obvious madness—by saying that the true identity of Marcion's Creator God cannot be derived through the logic of dialectic, and must rather be derived through faith.
Margaret Ronda
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781503603141
- eISBN:
- 9781503604896
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9781503603141.003.0006
- Subject:
- Literature, American, 20th Century Literature
“A Rescue That Comes Too Late”: Figure and Disfiguration in Contemporary Ecopoetics
Chapter abstract: This chapter turns to the contemporary mode of ecopoetics as an exploration of the problems of ...
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“A Rescue That Comes Too Late”: Figure and Disfiguration in Contemporary Ecopoetics
Chapter abstract: This chapter turns to the contemporary mode of ecopoetics as an exploration of the problems of poiesis in a time of accelerating ecological destruction. Ecopoetics as a distinctive mode emerges in the post-Kyoto Protocol era, when the problem of how to respond to planetary environmental degradation has become increasingly urgent. The ecopoetics texts of the chapter present an extended redescription of human capacities and aesthetic making in light of anthropogenic crisis. Discussing works by Brenda Hillman, Hoa Nguyen, Brenda Coultas, and Allison Cobb, the chapter highlights how their use of prosopopoeia and apostrophe dramatizes uncanny and defamiliarized dimensions of relationality. These portrayals raise questions regarding the culpability for environmental destruction and the limits of anthropogenic ingenuity to fix, remake, or salvage.
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“A Rescue That Comes Too Late”: Figure and Disfiguration in Contemporary Ecopoetics
Chapter abstract: This chapter turns to the contemporary mode of ecopoetics as an exploration of the problems of poiesis in a time of accelerating ecological destruction. Ecopoetics as a distinctive mode emerges in the post-Kyoto Protocol era, when the problem of how to respond to planetary environmental degradation has become increasingly urgent. The ecopoetics texts of the chapter present an extended redescription of human capacities and aesthetic making in light of anthropogenic crisis. Discussing works by Brenda Hillman, Hoa Nguyen, Brenda Coultas, and Allison Cobb, the chapter highlights how their use of prosopopoeia and apostrophe dramatizes uncanny and defamiliarized dimensions of relationality. These portrayals raise questions regarding the culpability for environmental destruction and the limits of anthropogenic ingenuity to fix, remake, or salvage.
Alison Morgan
- Published in print:
- 2018
- Published Online:
- January 2019
- ISBN:
- 9781784993122
- eISBN:
- 9781526138668
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9781784993122.003.0002
- Subject:
- Literature, Criticism/Theory
This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs ...
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This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs written in the immediate aftermath of the massacre, thereby highlighting the intertextual dialogue between the poems which is illustrated not only by an ideological unity but also by the commonality of motifs, forms, styles and even tunes. Shelley’s Masque of Anarchy provides a well-known example of this trope and is used in the introduction to this section as an illustration of how radical poems and songs in the Romantic period utilised revolutionary discourse dating back to the sixteenth century. The section comprises ten poems which are exhortatory ballads or apostrophes. At times of national crisis, poets have called on their readers to ‘arise’ and awaken’, often drawing on those past events to prove that, if England could get rid of two kings, it could certainly get rid of a third.Less
This section begins by briefly examining the historical provenance of the poetic trope of awakening and its significance within radical culture prior to Peterloo, as well as those poems and songs written in the immediate aftermath of the massacre, thereby highlighting the intertextual dialogue between the poems which is illustrated not only by an ideological unity but also by the commonality of motifs, forms, styles and even tunes. Shelley’s Masque of Anarchy provides a well-known example of this trope and is used in the introduction to this section as an illustration of how radical poems and songs in the Romantic period utilised revolutionary discourse dating back to the sixteenth century. The section comprises ten poems which are exhortatory ballads or apostrophes. At times of national crisis, poets have called on their readers to ‘arise’ and awaken’, often drawing on those past events to prove that, if England could get rid of two kings, it could certainly get rid of a third.
Sara Guyer
- Published in print:
- 2015
- Published Online:
- January 2016
- ISBN:
- 9780823265572
- eISBN:
- 9780823266920
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823265572.003.0002
- Subject:
- Literature, 19th-century Literature and Romanticism
This chapter examines Paul de Man's formative account of the lyric, its simultaneous interest in animation and allergy to matters of life, before turning to Barbara Johnson's feminist revision of de ...
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This chapter examines Paul de Man's formative account of the lyric, its simultaneous interest in animation and allergy to matters of life, before turning to Barbara Johnson's feminist revision of de Man in order to develop a theory of biopoetics. Biopoetics reveals that literature does not simply represent politics or reflect ideologies, but rather is an ambivalent formation that reveals a notion of life and power that, like Foucault's account of violent biopower, is a form of “making live.” This analysis occurs through a close reading of John Clare's poem “To Mary.”Less
This chapter examines Paul de Man's formative account of the lyric, its simultaneous interest in animation and allergy to matters of life, before turning to Barbara Johnson's feminist revision of de Man in order to develop a theory of biopoetics. Biopoetics reveals that literature does not simply represent politics or reflect ideologies, but rather is an ambivalent formation that reveals a notion of life and power that, like Foucault's account of violent biopower, is a form of “making live.” This analysis occurs through a close reading of John Clare's poem “To Mary.”
Marcus Nordlund
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9781474418973
- eISBN:
- 9781474418997
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474418973.003.0004
- Subject:
- Literature, Shakespeare Studies
The chapter begins with a systematic overview of selected figures of speech and related techniques that imbue the Shakespearean inside with some of its dialogical qualities: apostrophe (addressing ...
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The chapter begins with a systematic overview of selected figures of speech and related techniques that imbue the Shakespearean inside with some of its dialogical qualities: apostrophe (addressing absent or abstract entities), letters and reported words, prosopopoeia (personating an external speaker), erotema (the rhetorical question), illeism (speaking of oneself in the third person), and tuism (addressing oneself in the second person). Chapter 3 ends with a reading of Hamlet, demonstrating how the new research methodology can both produce fresh insights into one of the most closely studied works in world literature and place some aspects of received opinion about the play on a firmer footing.Less
The chapter begins with a systematic overview of selected figures of speech and related techniques that imbue the Shakespearean inside with some of its dialogical qualities: apostrophe (addressing absent or abstract entities), letters and reported words, prosopopoeia (personating an external speaker), erotema (the rhetorical question), illeism (speaking of oneself in the third person), and tuism (addressing oneself in the second person). Chapter 3 ends with a reading of Hamlet, demonstrating how the new research methodology can both produce fresh insights into one of the most closely studied works in world literature and place some aspects of received opinion about the play on a firmer footing.
Susan S. Lanser
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780226187563
- eISBN:
- 9780226187877
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226187877.003.0004
- Subject:
- History, European Early Modern History
The sapphic imaginary bears particular implications for the construction of women as subjects in an emergent public sphere. Chapter 4 argues that erotic writings by women, especially in the form of ...
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The sapphic imaginary bears particular implications for the construction of women as subjects in an emergent public sphere. Chapter 4 argues that erotic writings by women, especially in the form of what I call sapphic apostrophe, were able to advance class-specific protofeminist arguments in ways that reveal the seventeenth-century female subject to be something of a sapphic subject as well. These articulations of female friendship, which became prominent in tandem with the entrance of elite women into print, are too pervasive and too purposefully public to be explained wholly by the private desires of their authors. Chapter 4 thus considers why women's interests might have been served by their constitution as subjects erotically bound to one another in representation. Class relations figure centrally in the cultural work both of the texts themselves and of this chapter, as I look at a practice that peaks in the late seventeenth and early eighteenth century and ebbs by the 1760s in the wake of reconfigurations of femininity that can be associated with such influential thinkers as Jean-Jacques Rousseau.Less
The sapphic imaginary bears particular implications for the construction of women as subjects in an emergent public sphere. Chapter 4 argues that erotic writings by women, especially in the form of what I call sapphic apostrophe, were able to advance class-specific protofeminist arguments in ways that reveal the seventeenth-century female subject to be something of a sapphic subject as well. These articulations of female friendship, which became prominent in tandem with the entrance of elite women into print, are too pervasive and too purposefully public to be explained wholly by the private desires of their authors. Chapter 4 thus considers why women's interests might have been served by their constitution as subjects erotically bound to one another in representation. Class relations figure centrally in the cultural work both of the texts themselves and of this chapter, as I look at a practice that peaks in the late seventeenth and early eighteenth century and ebbs by the 1760s in the wake of reconfigurations of femininity that can be associated with such influential thinkers as Jean-Jacques Rousseau.
Mary Jacobus
- Published in print:
- 1989
- Published Online:
- October 2011
- ISBN:
- 9780198129691
- eISBN:
- 9780191671845
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129691.003.0006
- Subject:
- Literature, 19th-century Literature and Romanticism, Criticism/Theory
This chapter discusses the privilege figure of Romantic poetry, namely, apostrophe, as a stalking-horse for Wordsworth's conception of lyric voice in The Prelude. Attention is focused on The Prelude, ...
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This chapter discusses the privilege figure of Romantic poetry, namely, apostrophe, as a stalking-horse for Wordsworth's conception of lyric voice in The Prelude. Attention is focused on The Prelude, a lyrical dialogue between past and present, between the discourse of memory and the discourse of poetic aspiration. The lyric voice of The Prelude is a fiction of the poet talking to himself; the entire poem becomes a self-constituting apostrophe, a ‘glad preamble’ designed to constitute the poet and to permit Wordsworth himself to join the ranks of Homer, Milton, and other great poetries.Less
This chapter discusses the privilege figure of Romantic poetry, namely, apostrophe, as a stalking-horse for Wordsworth's conception of lyric voice in The Prelude. Attention is focused on The Prelude, a lyrical dialogue between past and present, between the discourse of memory and the discourse of poetic aspiration. The lyric voice of The Prelude is a fiction of the poet talking to himself; the entire poem becomes a self-constituting apostrophe, a ‘glad preamble’ designed to constitute the poet and to permit Wordsworth himself to join the ranks of Homer, Milton, and other great poetries.
Oliver Morgan
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780198836353
- eISBN:
- 9780191873614
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198836353.003.0002
- Subject:
- Literature, Shakespeare Studies
The first half of this chapter uses the simplified model of turn sequencing outlined in Chapter 1 to develop a more precise vocabulary with which to talk about dialogical form. It proposes three new ...
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The first half of this chapter uses the simplified model of turn sequencing outlined in Chapter 1 to develop a more precise vocabulary with which to talk about dialogical form. It proposes three new terms to describe how sequences of turns are built: intervention, blanking, and apostrophe. The second half of the chapter tests this approach on a series examples culled from the work of other critics: Mick Short on Buckingham’s attempt to claim his reward from the newly crowned Richard (Richard III, 4.2); Lynne Magnusson on Desdemona’s insistence that she follow her husband to Cyprus (Othello, 1.3); and Stephen Orgel on the reassignment of the ‘Abhorred slave’ speech from Miranda to Prospero (Tempest, 1.2). In each case, the turn-taking approach yields fresh insights, enabling us to make distinctions at a greater level of detail than had previously been possible.Less
The first half of this chapter uses the simplified model of turn sequencing outlined in Chapter 1 to develop a more precise vocabulary with which to talk about dialogical form. It proposes three new terms to describe how sequences of turns are built: intervention, blanking, and apostrophe. The second half of the chapter tests this approach on a series examples culled from the work of other critics: Mick Short on Buckingham’s attempt to claim his reward from the newly crowned Richard (Richard III, 4.2); Lynne Magnusson on Desdemona’s insistence that she follow her husband to Cyprus (Othello, 1.3); and Stephen Orgel on the reassignment of the ‘Abhorred slave’ speech from Miranda to Prospero (Tempest, 1.2). In each case, the turn-taking approach yields fresh insights, enabling us to make distinctions at a greater level of detail than had previously been possible.
Oliver Morgan
- Published in print:
- 2019
- Published Online:
- October 2019
- ISBN:
- 9780198836353
- eISBN:
- 9780191873614
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780198836353.003.0003
- Subject:
- Literature, Shakespeare Studies
This chapter offers an extended close reading of a single passage from Richard II—the ugly altercation between Bolingbroke and Mowbray in 1.1—and, in particular, of the moment at which Bolingbroke ...
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This chapter offers an extended close reading of a single passage from Richard II—the ugly altercation between Bolingbroke and Mowbray in 1.1—and, in particular, of the moment at which Bolingbroke turns away from (or ‘apostrophizes’) the king in order to castigate his rival directly. It seeks to establish the social meaning of this action by placing it in the context of early modern expectations about royal etiquette and trial proceedings. The central claim is that Bolingbroke’s apostrophe is his first act of rebellion. By apostrophizing Richard he assumes the right to decide who speaks when—usurping the king’s interactional role in the same way that he will later usurp his throne.Less
This chapter offers an extended close reading of a single passage from Richard II—the ugly altercation between Bolingbroke and Mowbray in 1.1—and, in particular, of the moment at which Bolingbroke turns away from (or ‘apostrophizes’) the king in order to castigate his rival directly. It seeks to establish the social meaning of this action by placing it in the context of early modern expectations about royal etiquette and trial proceedings. The central claim is that Bolingbroke’s apostrophe is his first act of rebellion. By apostrophizing Richard he assumes the right to decide who speaks when—usurping the king’s interactional role in the same way that he will later usurp his throne.
Rebecca Treiman and Brett Kessler
- Published in print:
- 2014
- Published Online:
- December 2014
- ISBN:
- 9780199907977
- eISBN:
- 9780190228422
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199907977.003.0012
- Subject:
- Psychology, Developmental Psychology, Cognitive Psychology
This chapter discusses punctuation, capitalization, and word separation—aspects of writing that don’t transcribe language directly. Children learn about certain formal patterns involving these ...
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This chapter discusses punctuation, capitalization, and word separation—aspects of writing that don’t transcribe language directly. Children learn about certain formal patterns involving these matters from an early age. For example, they learn that uppercase letters often appear at the beginning of a text and periods at the end. They learn that, in English, apostrophes often occur before <s>. Patterns that require a high degree of linguistic knowledge take longer to learn. For example, correct use of commas and periods requires an understanding of sentences. Children sometimes fail to separate words as prescribed by their writing system, in part because there are a number of unclear cases. For example, some orthographic traditions do not place a space between a function word and a content word to which it relates, whereas other traditions do. Children’s concept of a word is influenced by experience with a specific writing system.Less
This chapter discusses punctuation, capitalization, and word separation—aspects of writing that don’t transcribe language directly. Children learn about certain formal patterns involving these matters from an early age. For example, they learn that uppercase letters often appear at the beginning of a text and periods at the end. They learn that, in English, apostrophes often occur before <s>. Patterns that require a high degree of linguistic knowledge take longer to learn. For example, correct use of commas and periods requires an understanding of sentences. Children sometimes fail to separate words as prescribed by their writing system, in part because there are a number of unclear cases. For example, some orthographic traditions do not place a space between a function word and a content word to which it relates, whereas other traditions do. Children’s concept of a word is influenced by experience with a specific writing system.
Patricia A. Rosenmeyer
- Published in print:
- 2018
- Published Online:
- May 2018
- ISBN:
- 9780190626310
- eISBN:
- 9780190626334
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190626310.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
Chapter 3 explores the personal relationship visitors thought they had with Memnon. In response to Memnon’s morning cry, visitors used inscriptions to communicate with the articulate yet inanimate ...
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Chapter 3 explores the personal relationship visitors thought they had with Memnon. In response to Memnon’s morning cry, visitors used inscriptions to communicate with the articulate yet inanimate statue. Following two main impulses of animation, inscribers either addressed the god as a listener through the rhetorical figure of apostrophe or imagined him as a speaker, calling out to his mother or to them, through prosopopeia. The latter impulse overlaps with the concept of epiphany, where the god makes himself manifest by some sign—usually visual, but in this case aural. This chapter discusses apostrophe, prosopopeia, and epiphany as evidence for visitors’ yearning to commemorate their interactions with Memnon. Inserting themselves into the collective practice of sacred tourism, they nevertheless seek to make the verbal exchange meaningful on a personal level. The inscriptions bear witness to this tension between the communality and the uniqueness of each instance of communication with Memnon.Less
Chapter 3 explores the personal relationship visitors thought they had with Memnon. In response to Memnon’s morning cry, visitors used inscriptions to communicate with the articulate yet inanimate statue. Following two main impulses of animation, inscribers either addressed the god as a listener through the rhetorical figure of apostrophe or imagined him as a speaker, calling out to his mother or to them, through prosopopeia. The latter impulse overlaps with the concept of epiphany, where the god makes himself manifest by some sign—usually visual, but in this case aural. This chapter discusses apostrophe, prosopopeia, and epiphany as evidence for visitors’ yearning to commemorate their interactions with Memnon. Inserting themselves into the collective practice of sacred tourism, they nevertheless seek to make the verbal exchange meaningful on a personal level. The inscriptions bear witness to this tension between the communality and the uniqueness of each instance of communication with Memnon.
