Tobias Reinhardt, Michael Lapidge, and J. N. Adams (eds)
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197263327
- eISBN:
- 9780191734168
- Item type:
- book
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263327.001.0001
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval
Twenty chapters from two often-dissociated areas of Latin studies, classical and medieval Latin, examine continuities and developments in the language of Latin prose from its emergence to the twelfth ...
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Twenty chapters from two often-dissociated areas of Latin studies, classical and medieval Latin, examine continuities and developments in the language of Latin prose from its emergence to the twelfth century. Language is not understood in a narrowly philological or linguistic sense, but as encompassing the literary exploitation of linguistic effects and the influence of formal rhetoric on prose. Key themes explored throughout this book are the use of poetic diction in prose, archaism, sentence structure, and bilingualism. Chapters cover a comprehensive range of material including studies of individual works, groups of authors such as the Republican historians, prose genres such as the ancient novel or medieval biography, and linguistic topics such as the use of connectives in archaic Latin or prose rhythm in medieval Latin.Less
Twenty chapters from two often-dissociated areas of Latin studies, classical and medieval Latin, examine continuities and developments in the language of Latin prose from its emergence to the twelfth century. Language is not understood in a narrowly philological or linguistic sense, but as encompassing the literary exploitation of linguistic effects and the influence of formal rhetoric on prose. Key themes explored throughout this book are the use of poetic diction in prose, archaism, sentence structure, and bilingualism. Chapters cover a comprehensive range of material including studies of individual works, groups of authors such as the Republican historians, prose genres such as the ancient novel or medieval biography, and linguistic topics such as the use of connectives in archaic Latin or prose rhythm in medieval Latin.
Katherine Bergeron
- Published in print:
- 2009
- Published Online:
- February 2010
- ISBN:
- 9780195337051
- eISBN:
- 9780199864201
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195337051.003.0004
- Subject:
- Music, History, Western
The singers and actors of the Belle Epoque are the focus of this chapter, which investigates the French art of diction in theatrical and musical performances circa 1900. The survey of performance ...
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The singers and actors of the Belle Epoque are the focus of this chapter, which investigates the French art of diction in theatrical and musical performances circa 1900. The survey of performance practice includes not only sound recordings but also written records — treatises, memoirs, self-help manuals, and musical scores — that reveal how performers thought about the act of speaking French. Evidence from celebrities such as Sarah Berhardt and Marcel Proust, as well as lesser-known personalities such as Léon Brémont and Reynaldo Hahn, provide unique insight into pronunciation habits that defined both the French character and the character of French. The chapter ends with a close reading of the end of Debussy's opera Pelléas et Mélisande.Less
The singers and actors of the Belle Epoque are the focus of this chapter, which investigates the French art of diction in theatrical and musical performances circa 1900. The survey of performance practice includes not only sound recordings but also written records — treatises, memoirs, self-help manuals, and musical scores — that reveal how performers thought about the act of speaking French. Evidence from celebrities such as Sarah Berhardt and Marcel Proust, as well as lesser-known personalities such as Léon Brémont and Reynaldo Hahn, provide unique insight into pronunciation habits that defined both the French character and the character of French. The chapter ends with a close reading of the end of Debussy's opera Pelléas et Mélisande.
Michael Lapidge
- Published in print:
- 2005
- Published Online:
- January 2012
- ISBN:
- 9780197263327
- eISBN:
- 9780191734168
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263327.003.0016
- Subject:
- Classical Studies, Prose and Writers: Classical, Early, and Medieval
This chapter is primarily concerned with Anglo-Latin prose: that is to say, Latin prose composed in Anglo-Saxon England between roughly 650 and 1050. It poses the question of the extent to which ...
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This chapter is primarily concerned with Anglo-Latin prose: that is to say, Latin prose composed in Anglo-Saxon England between roughly 650 and 1050. It poses the question of the extent to which Anglo-Latin authors were aware of different stylistic registers, and how well they understood what diction was appropriate to either prose or verse. Using the example of Bede as a starting point, the chapter provides a list of those features of poetic diction that are found, in varying degrees, in the authors of Anglo-Latin prose. The seven criteria presented provide a crude measuring-stick against which to assess the poeticism of the principal authors of Anglo-Latin prose. The study of poeticism in Anglo-Latin prose, and in medieval Latin literature in general, is a subject that awaits exploration.Less
This chapter is primarily concerned with Anglo-Latin prose: that is to say, Latin prose composed in Anglo-Saxon England between roughly 650 and 1050. It poses the question of the extent to which Anglo-Latin authors were aware of different stylistic registers, and how well they understood what diction was appropriate to either prose or verse. Using the example of Bede as a starting point, the chapter provides a list of those features of poetic diction that are found, in varying degrees, in the authors of Anglo-Latin prose. The seven criteria presented provide a crude measuring-stick against which to assess the poeticism of the principal authors of Anglo-Latin prose. The study of poeticism in Anglo-Latin prose, and in medieval Latin literature in general, is a subject that awaits exploration.
David Manning
- Published in print:
- 2007
- Published Online:
- October 2011
- ISBN:
- 9780195182392
- eISBN:
- 9780199851485
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195182392.003.0043
- Subject:
- Music, History, Western
The traditional ballad or folk song, in England at all events, is always strophical. Not only is ballad music looked upon by traditional singers merely as a convenient and beautiful way of reciting a ...
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The traditional ballad or folk song, in England at all events, is always strophical. Not only is ballad music looked upon by traditional singers merely as a convenient and beautiful way of reciting a ballad, but the ballad poetry itself is looked on as nothing other than a convenient and beautiful way of telling a story. The art of the traditional folk song is unconscious. Now there can be no doubt as to the traditional method of singing a ballad. Clearness of diction, perfection of melodic outline, and beauty of phrasing: these are the prominent characteristics of the best traditional singers' art. The essential characteristics of the ballad singer's style is summed up in the word “impersonal”; the singer must be absorbed in the song. This is certainly true of what is now known as “community” singing.Less
The traditional ballad or folk song, in England at all events, is always strophical. Not only is ballad music looked upon by traditional singers merely as a convenient and beautiful way of reciting a ballad, but the ballad poetry itself is looked on as nothing other than a convenient and beautiful way of telling a story. The art of the traditional folk song is unconscious. Now there can be no doubt as to the traditional method of singing a ballad. Clearness of diction, perfection of melodic outline, and beauty of phrasing: these are the prominent characteristics of the best traditional singers' art. The essential characteristics of the ballad singer's style is summed up in the word “impersonal”; the singer must be absorbed in the song. This is certainly true of what is now known as “community” singing.
Alex Tissandier
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474417747
- eISBN:
- 9781474449748
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474417747.001.0001
- Subject:
- Philosophy, General
Leibniz is a constant, but often overlooked, presence in Deleuze’s philosophy. This book explains three key moments in Deleuze’s philosophical development through the lens of his engagement with ...
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Leibniz is a constant, but often overlooked, presence in Deleuze’s philosophy. This book explains three key moments in Deleuze’s philosophical development through the lens of his engagement with Leibniz. In doing so it hopes to offer a focused framework for understanding some of the most difficult aspects of Deleuze’s philosophy. Part One examines Deleuze’s account of the “anti-Cartesian reaction” of Spinoza and Leibniz which culminates in their two competing theories of expression. It argues that in some key respects Deleuze favours Leibniz’s interpretation of this key concept over Spinoza’s. Part Two looks at Deleuze’s critique of representation and his attempt to create a theory of difference that will underlie, rather than rely upon, conceptual opposition. It examines the crucial role played by the Leibnizian concepts of incompossibility and divergence in Deleuze’s theory of ‘vice-diction’, created in order to offer a sub-representational, or pre-individual, substitute for Hegelian contradiction. Part Three looks in detail at one of Deleuze’s last major works, The Fold. It argues for Leibniz’s central place in this text, and shows how Deleuze uses concepts from across Leibniz’s philosophy and mathematics as a framework to articulate a systematic account of his own mature philosophy.Less
Leibniz is a constant, but often overlooked, presence in Deleuze’s philosophy. This book explains three key moments in Deleuze’s philosophical development through the lens of his engagement with Leibniz. In doing so it hopes to offer a focused framework for understanding some of the most difficult aspects of Deleuze’s philosophy. Part One examines Deleuze’s account of the “anti-Cartesian reaction” of Spinoza and Leibniz which culminates in their two competing theories of expression. It argues that in some key respects Deleuze favours Leibniz’s interpretation of this key concept over Spinoza’s. Part Two looks at Deleuze’s critique of representation and his attempt to create a theory of difference that will underlie, rather than rely upon, conceptual opposition. It examines the crucial role played by the Leibnizian concepts of incompossibility and divergence in Deleuze’s theory of ‘vice-diction’, created in order to offer a sub-representational, or pre-individual, substitute for Hegelian contradiction. Part Three looks in detail at one of Deleuze’s last major works, The Fold. It argues for Leibniz’s central place in this text, and shows how Deleuze uses concepts from across Leibniz’s philosophy and mathematics as a framework to articulate a systematic account of his own mature philosophy.
W. G. E. Watson
- Published in print:
- 2000
- Published Online:
- April 2004
- ISBN:
- 9780198263913
- eISBN:
- 9780191601187
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/0198263910.003.0010
- Subject:
- Religion, Biblical Studies
This is the last of five chapters on the text of the Old Testament, and discusses Hebrew poetry in the context of the Hebrew (Old Testament) Bible. The introductory section looks at recent work on ...
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This is the last of five chapters on the text of the Old Testament, and discusses Hebrew poetry in the context of the Hebrew (Old Testament) Bible. The introductory section looks at recent work on the discovery of the verse traditions of the ancient Near East, and discusses the difficulty of reading Hebrew poetry, the Hebrew poet's resources (tradition versus innovation) and the poet's voice and the lyrical first person singular (the lyrical ‘I’). The second section discusses the issue of differentiating between prose and poetry, the third discusses metre and rhythm, and the fourth discusses parallelism. Further sections discuss building blocks (line, half‐line, and couplet), the segmentation of poems, repetition, the exploitation of sound, figurative language, and poetic diction. The last section of the chapter looks at the matter of holding the reader's attention.Less
This is the last of five chapters on the text of the Old Testament, and discusses Hebrew poetry in the context of the Hebrew (Old Testament) Bible. The introductory section looks at recent work on the discovery of the verse traditions of the ancient Near East, and discusses the difficulty of reading Hebrew poetry, the Hebrew poet's resources (tradition versus innovation) and the poet's voice and the lyrical first person singular (the lyrical ‘I’). The second section discusses the issue of differentiating between prose and poetry, the third discusses metre and rhythm, and the fourth discusses parallelism. Further sections discuss building blocks (line, half‐line, and couplet), the segmentation of poems, repetition, the exploitation of sound, figurative language, and poetic diction. The last section of the chapter looks at the matter of holding the reader's attention.
Freya Johnston
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199251827
- eISBN:
- 9780191719080
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199251827.003.0002
- Subject:
- Literature, 18th-century Literature
This chapter examines some of the difficulties Boswell encountered in commemorating Johnson's littleness as well as his greatness. It sees in his Life a combination of classically allusive, heroic ...
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This chapter examines some of the difficulties Boswell encountered in commemorating Johnson's littleness as well as his greatness. It sees in his Life a combination of classically allusive, heroic diction with low, trifling subjects: a combination that might be cast as a prose version of Pope's Rape of the Lock. The chapter also considers the ambiguously inclusive and exclusive aspects of Pope's attitude to his dunces; the ways in which literary taxonomies may alert us to what they have left out, as well as to what they have accommodated; how Johnson's Vanity of Human Wishes as a catalogue poem sets particularity against generalization; and the uses of recognizing our own littleness.Less
This chapter examines some of the difficulties Boswell encountered in commemorating Johnson's littleness as well as his greatness. It sees in his Life a combination of classically allusive, heroic diction with low, trifling subjects: a combination that might be cast as a prose version of Pope's Rape of the Lock. The chapter also considers the ambiguously inclusive and exclusive aspects of Pope's attitude to his dunces; the ways in which literary taxonomies may alert us to what they have left out, as well as to what they have accommodated; how Johnson's Vanity of Human Wishes as a catalogue poem sets particularity against generalization; and the uses of recognizing our own littleness.
Jonathan Bate
- Published in print:
- 1989
- Published Online:
- October 2011
- ISBN:
- 9780198129943
- eISBN:
- 9780191671883
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129943.003.0009
- Subject:
- Literature, Shakespeare Studies, 19th-century Literature and Romanticism
Charles Brown asserts that Keats's genius was initiated by The Faerie Queene wherein this earliest attempt which was included in his collection published in 1817 was seen as an ‘Imitation of ...
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Charles Brown asserts that Keats's genius was initiated by The Faerie Queene wherein this earliest attempt which was included in his collection published in 1817 was seen as an ‘Imitation of Spenser’. Richard Woodhouse believed that even in Keats's first poem, the Shakespearean influence was already made visible. However, some of the indications such as the use of the word ‘teen’ was viewed by many simply as an example of Elizabethan diction and was not brought about by Shakespearean influence. As such, Keats was found to be under not the traditions of Shakespeare but rather to that of Spenser or Spenser who is mediated by Leigh Hunt. This chapter explores how the young Keats expresses his debt and influence not only from Shakespeare but from other prominent authors.Less
Charles Brown asserts that Keats's genius was initiated by The Faerie Queene wherein this earliest attempt which was included in his collection published in 1817 was seen as an ‘Imitation of Spenser’. Richard Woodhouse believed that even in Keats's first poem, the Shakespearean influence was already made visible. However, some of the indications such as the use of the word ‘teen’ was viewed by many simply as an example of Elizabethan diction and was not brought about by Shakespearean influence. As such, Keats was found to be under not the traditions of Shakespeare but rather to that of Spenser or Spenser who is mediated by Leigh Hunt. This chapter explores how the young Keats expresses his debt and influence not only from Shakespeare but from other prominent authors.
Priscilla Bawcutt
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198129639
- eISBN:
- 9780191671807
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198129639.003.0009
- Subject:
- Literature, Early and Medieval Literature, 16th-century and Renaissance Literature
This chapter discusses the language of Dunbar, which has spurred countless criticisms and admirations among scholars of poetry and poets alike. In sixteenth-century Scotland, poets had a variety of ...
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This chapter discusses the language of Dunbar, which has spurred countless criticisms and admirations among scholars of poetry and poets alike. In sixteenth-century Scotland, poets had a variety of language styles and options. Dunbar took full advantage of these options; he employed legal or liturgical, formal or vulgar, Latinate or Scots, poetic or everyday and archaic or newly coined terms and words into his poetry. Of the poets in his time, he is unrivalled not for his vast vocabulary but for his sensitivity to connotations of words and phrases. His poems abound in ironies, puns and several word-plays. He also observes the sense of linguistic decorum, and is aware of the contemporary views on diction and the distinction between the highland and lowland style of the language. Dunbar's language also shows flexibility and his poems observe a complex and unusual metrical form. In addition to his verbal flamboyancy, the chapter also discusses Dunbar's brilliance in figurative language. He uses imagery to enhance and denigrade; sometimes it is symbolic and unnatural, while at other times it is sensuous and provides exact observations of people and objects. He mastered figurative language and draws inspiration from varied sources: from the mundane to the Scriptures.Less
This chapter discusses the language of Dunbar, which has spurred countless criticisms and admirations among scholars of poetry and poets alike. In sixteenth-century Scotland, poets had a variety of language styles and options. Dunbar took full advantage of these options; he employed legal or liturgical, formal or vulgar, Latinate or Scots, poetic or everyday and archaic or newly coined terms and words into his poetry. Of the poets in his time, he is unrivalled not for his vast vocabulary but for his sensitivity to connotations of words and phrases. His poems abound in ironies, puns and several word-plays. He also observes the sense of linguistic decorum, and is aware of the contemporary views on diction and the distinction between the highland and lowland style of the language. Dunbar's language also shows flexibility and his poems observe a complex and unusual metrical form. In addition to his verbal flamboyancy, the chapter also discusses Dunbar's brilliance in figurative language. He uses imagery to enhance and denigrade; sometimes it is symbolic and unnatural, while at other times it is sensuous and provides exact observations of people and objects. He mastered figurative language and draws inspiration from varied sources: from the mundane to the Scriptures.
JOHN BAYLEY
- Published in print:
- 1992
- Published Online:
- October 2011
- ISBN:
- 9780198117636
- eISBN:
- 9780191671036
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198117636.003.0011
- Subject:
- Literature, Poetry, 19th-century and Victorian Literature
This chapter discusses two of Housman's works, ‘Hell Gate’ and ‘Parnassus’. The analysis and discussion of these poems show that ‘Hell Gate’ is very much ‘composed’, and that the texture of the ...
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This chapter discusses two of Housman's works, ‘Hell Gate’ and ‘Parnassus’. The analysis and discussion of these poems show that ‘Hell Gate’ is very much ‘composed’, and that the texture of the diction seems intimately connected with the happy outcome of the poem.Less
This chapter discusses two of Housman's works, ‘Hell Gate’ and ‘Parnassus’. The analysis and discussion of these poems show that ‘Hell Gate’ is very much ‘composed’, and that the texture of the diction seems intimately connected with the happy outcome of the poem.
LLOYD WHITESELL
- Published in print:
- 2008
- Published Online:
- January 2010
- ISBN:
- 9780195307993
- eISBN:
- 9780199864003
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195307993.003.0003
- Subject:
- Music, Popular
This chapter explores the colorful array of lyric voices and personalities Mitchell brings to life in writing and performance. Special attention is paid to details of poetic technique. The first ...
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This chapter explores the colorful array of lyric voices and personalities Mitchell brings to life in writing and performance. Special attention is paid to details of poetic technique. The first section systematically maps out categorical distinctions of poetic mode, representation, syntax, diction, and vocal performance, then illustrates their use through the analysis of an entire poem. The second section highlights five character types of special importance in her work.Less
This chapter explores the colorful array of lyric voices and personalities Mitchell brings to life in writing and performance. Special attention is paid to details of poetic technique. The first section systematically maps out categorical distinctions of poetic mode, representation, syntax, diction, and vocal performance, then illustrates their use through the analysis of an entire poem. The second section highlights five character types of special importance in her work.
Ted Underwood
- Published in print:
- 2019
- Published Online:
- September 2019
- ISBN:
- 9780226612669
- eISBN:
- 9780226612973
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226612973.001.0001
- Subject:
- Literature, Criticism/Theory
As literary historians have learned to compare thousands of volumes at a time, they have stumbled onto century-spanning trends that are not yet fully understood. This book explores some of those ...
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As literary historians have learned to compare thousands of volumes at a time, they have stumbled onto century-spanning trends that are not yet fully understood. This book explores some of those trends in English-language literature. It shows, for instance, that patterns of literary judgment are very durable: a model trained on reviewing patterns in the nineteenth century can also predict the choices of twentieth-century reviewers. Chapter 2 traces the consolidation of detective fiction and science fiction; Chapter 4 measures the gradual blurring of boundaries between grammatically masculine and feminine characters. Throughout the argument, emphasis falls on the gradual emergence of a specialized literary language that continues to shape our assumptions about the purpose of poetry and fiction even today. The book also explains the new modes of quantitative analysis that are making these patterns visible. Instead of framing a debate about “digital humanities,” or a conflict between “close” and “distant" reading, the book presents statistical models as interpretive strategies akin to humanistic interpretation. The argument relies especially on the premise that machine learning can be trained on different subsets of evidence, in order to help scholars reason about the differences between historical perspectives.Less
As literary historians have learned to compare thousands of volumes at a time, they have stumbled onto century-spanning trends that are not yet fully understood. This book explores some of those trends in English-language literature. It shows, for instance, that patterns of literary judgment are very durable: a model trained on reviewing patterns in the nineteenth century can also predict the choices of twentieth-century reviewers. Chapter 2 traces the consolidation of detective fiction and science fiction; Chapter 4 measures the gradual blurring of boundaries between grammatically masculine and feminine characters. Throughout the argument, emphasis falls on the gradual emergence of a specialized literary language that continues to shape our assumptions about the purpose of poetry and fiction even today. The book also explains the new modes of quantitative analysis that are making these patterns visible. Instead of framing a debate about “digital humanities,” or a conflict between “close” and “distant" reading, the book presents statistical models as interpretive strategies akin to humanistic interpretation. The argument relies especially on the premise that machine learning can be trained on different subsets of evidence, in order to help scholars reason about the differences between historical perspectives.
Robin Sowerby
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199286126
- eISBN:
- 9780191713873
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199286126.003.0002
- Subject:
- Literature, 18th-century Literature
The centrality of Virgil as classical standard and example is demonstrated by systematic analysis of the De Arte Poetica of the Renaissance neo-Latinist Marcus Hieronymus Vida who mediates the Roman ...
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The centrality of Virgil as classical standard and example is demonstrated by systematic analysis of the De Arte Poetica of the Renaissance neo-Latinist Marcus Hieronymus Vida who mediates the Roman Augustan aesthetic in his three book verse treatise, attractively embodying in his method and style the precepts drawn from Virgil's example that he advocates. For Vida, the various rules of art are illustrated and illuminated by the example of Virgil superior in this respect to Homer to whom he is compared; his poetry is the ideal context for the proper understanding of such classical principles as the requirement for decorum, clarity, and artistic unity, while also expressing the variety of Nature. Virgil is exemplary too in his use of the figures of rhetoric, in his poetic diction and in his representation of imitative harmony, that is, the use the sound of words to express sense and meaning.Less
The centrality of Virgil as classical standard and example is demonstrated by systematic analysis of the De Arte Poetica of the Renaissance neo-Latinist Marcus Hieronymus Vida who mediates the Roman Augustan aesthetic in his three book verse treatise, attractively embodying in his method and style the precepts drawn from Virgil's example that he advocates. For Vida, the various rules of art are illustrated and illuminated by the example of Virgil superior in this respect to Homer to whom he is compared; his poetry is the ideal context for the proper understanding of such classical principles as the requirement for decorum, clarity, and artistic unity, while also expressing the variety of Nature. Virgil is exemplary too in his use of the figures of rhetoric, in his poetic diction and in his representation of imitative harmony, that is, the use the sound of words to express sense and meaning.
ROGER P. H. GREEN
- Published in print:
- 2006
- Published Online:
- January 2010
- ISBN:
- 9780199284573
- eISBN:
- 9780191713804
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199284573.003.0002
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval, Literary Studies: Classical, Early, and Medieval
Sedulius is a rather shadowy figure, though he himself describes a circle of Christian devotees, probably in Italy, to which he belongs. Almost exactly one hundred years later than Juvencus – this ...
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Sedulius is a rather shadowy figure, though he himself describes a circle of Christian devotees, probably in Italy, to which he belongs. Almost exactly one hundred years later than Juvencus – this chapter includes a brief survey of the significant developments in Christian poetry in that time – Sedulius differs notably from him, concentrating for the most part on the New Testament miracles, which he elaborates with powerful rhetoric. Each of his five books is examined in turn, with particular attention to the first, introductory book, in which his ingenious and obviously admiring uses of Vergil are prominent. Sedulius's strong theological position centres on his attacks on the controversial Nestorius, but it is also clear throughout the work, that he too engages thoughtfully with the diction and artistry of Vergil (though not, it is argued, with his hero Aeneas).Less
Sedulius is a rather shadowy figure, though he himself describes a circle of Christian devotees, probably in Italy, to which he belongs. Almost exactly one hundred years later than Juvencus – this chapter includes a brief survey of the significant developments in Christian poetry in that time – Sedulius differs notably from him, concentrating for the most part on the New Testament miracles, which he elaborates with powerful rhetoric. Each of his five books is examined in turn, with particular attention to the first, introductory book, in which his ingenious and obviously admiring uses of Vergil are prominent. Sedulius's strong theological position centres on his attacks on the controversial Nestorius, but it is also clear throughout the work, that he too engages thoughtfully with the diction and artistry of Vergil (though not, it is argued, with his hero Aeneas).
HELEN BARR
- Published in print:
- 2001
- Published Online:
- January 2010
- ISBN:
- 9780198112426
- eISBN:
- 9780191707865
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198112426.003.0009
- Subject:
- Literature, Early and Medieval Literature
This chapter discusses that Lydgate's short debate Between a Churl and a Bird used many of the formal features of literary language discussed in the previous chapters of the book. It describes the ...
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This chapter discusses that Lydgate's short debate Between a Churl and a Bird used many of the formal features of literary language discussed in the previous chapters of the book. It describes the poem as illustrating the social mobility and inherent positionality of literary discourses. It adds that the poem was also a translation wherein a French tale was translated in order to deliver a lesson in social quietism and to sanction a conservative ordering of society as natural and God-given. It explains that the social disparity between the actors in the poem was consistently spelled out. The syntactical construction and diction of the poem also contributed to its meaning.Less
This chapter discusses that Lydgate's short debate Between a Churl and a Bird used many of the formal features of literary language discussed in the previous chapters of the book. It describes the poem as illustrating the social mobility and inherent positionality of literary discourses. It adds that the poem was also a translation wherein a French tale was translated in order to deliver a lesson in social quietism and to sanction a conservative ordering of society as natural and God-given. It explains that the social disparity between the actors in the poem was consistently spelled out. The syntactical construction and diction of the poem also contributed to its meaning.
Paul Hetherington and Cassandra Atherton
- Published in print:
- 2020
- Published Online:
- May 2021
- ISBN:
- 9780691180656
- eISBN:
- 9780691212135
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691180656.003.0003
- Subject:
- Literature, Poetry
The chapter examines the rhythms of prose poetry, which are different from those found in metered verse, and vary, too, from the rhythms of free verse. The main differences relate to what has ...
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The chapter examines the rhythms of prose poetry, which are different from those found in metered verse, and vary, too, from the rhythms of free verse. The main differences relate to what has sometimes been understood as a deficiency in prose poetry — namely, that prose poets do not have meter or the poetic line when they try to achieve effects of cadence or musicality. But because of the English language's grammatical flexibility, these resources allow for an almost infinite rhythmic variety in prose poems. Such variety is a crucial part of the prose poetry tradition, notwithstanding the deliberately fractured rhythms or flat tonality of some works. William Wordsworth wrote lineated poetry, but in expressing a view that prose and poetry ought to be written in the same kind of language, and in repudiating what he understood to be “poetic diction,” Wordsworth opened the way for English-language poets to explicitly recognize the connections between poetry and prose. In other words, he helped to lay the ground not only for English-language free verse but for English-language prose poetry, too.Less
The chapter examines the rhythms of prose poetry, which are different from those found in metered verse, and vary, too, from the rhythms of free verse. The main differences relate to what has sometimes been understood as a deficiency in prose poetry — namely, that prose poets do not have meter or the poetic line when they try to achieve effects of cadence or musicality. But because of the English language's grammatical flexibility, these resources allow for an almost infinite rhythmic variety in prose poems. Such variety is a crucial part of the prose poetry tradition, notwithstanding the deliberately fractured rhythms or flat tonality of some works. William Wordsworth wrote lineated poetry, but in expressing a view that prose and poetry ought to be written in the same kind of language, and in repudiating what he understood to be “poetic diction,” Wordsworth opened the way for English-language poets to explicitly recognize the connections between poetry and prose. In other words, he helped to lay the ground not only for English-language free verse but for English-language prose poetry, too.
Alex Tissandier
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474417747
- eISBN:
- 9781474449748
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474417747.003.0004
- Subject:
- Philosophy, General
This chapter introduces the motivations and method behind Deleuze’s philosophical project. It begins with a detailed reading of Deleuze’s review of Hyppolite’s Logic and Existence, in which Deleuze ...
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This chapter introduces the motivations and method behind Deleuze’s philosophical project. It begins with a detailed reading of Deleuze’s review of Hyppolite’s Logic and Existence, in which Deleuze first articulates his claim that the goal of philosophy is to create a logic of sense, rather than a metaphysics of essence. This review introduces Deleuze’s central criticism that the history of philosophy has for too long given a foundational role to certain features of our naïve representation of the world, instead of explaining the genesis of these features. Among these is an understanding of difference as opposition that finds its ultimate expression in Hegelian contradiction. Deleuze briefly invokes Leibniz as a figure who is perhaps capable of providing an alternative concept of difference. The chapter then turns to the opening chapters of Difference and Repetition, where Deleuze again outlines a critique of the history of philosophy’s treatment of difference and its subordination to the structure of representation. This time Deleuze traces a history through Plato, Aristotle, Leibniz and Hegel. In Leibniz he identifies for the first time a world of “restless” infinitely small differences which will become central to all his later readings.Less
This chapter introduces the motivations and method behind Deleuze’s philosophical project. It begins with a detailed reading of Deleuze’s review of Hyppolite’s Logic and Existence, in which Deleuze first articulates his claim that the goal of philosophy is to create a logic of sense, rather than a metaphysics of essence. This review introduces Deleuze’s central criticism that the history of philosophy has for too long given a foundational role to certain features of our naïve representation of the world, instead of explaining the genesis of these features. Among these is an understanding of difference as opposition that finds its ultimate expression in Hegelian contradiction. Deleuze briefly invokes Leibniz as a figure who is perhaps capable of providing an alternative concept of difference. The chapter then turns to the opening chapters of Difference and Repetition, where Deleuze again outlines a critique of the history of philosophy’s treatment of difference and its subordination to the structure of representation. This time Deleuze traces a history through Plato, Aristotle, Leibniz and Hegel. In Leibniz he identifies for the first time a world of “restless” infinitely small differences which will become central to all his later readings.
Alex Tissandier
- Published in print:
- 2018
- Published Online:
- May 2020
- ISBN:
- 9781474417747
- eISBN:
- 9781474449748
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474417747.003.0005
- Subject:
- Philosophy, General
This chapter uses concepts from Leibniz’s philosophy to provide an account of the metaphysical system Deleuze constructs in Difference and Repetition and Logic of Sense. This account has four key ...
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This chapter uses concepts from Leibniz’s philosophy to provide an account of the metaphysical system Deleuze constructs in Difference and Repetition and Logic of Sense. This account has four key components. 1) An ideal continuum populated by reciprocally determined differential relations, from which individuals are produced. Leibniz’s infinitesimal calculus is the technique most suited to describe this continuum. 2) The singularities or events which populate the continuum and which eventually form the “predicates” which are included within individuals. An inverted version of Leibniz’s theory of infinite analysis, which Deleuze dubs ‘vice-diction’, allows us to describe how these singularities are distributed. 3) The relations of compossibility between singularities which allow the articulation of a structure prior to any logical relations of opposition or contradiction. In Leibniz, a divergence between singularities marks a bifurcation into two distinct possible worlds. In Deleuze, by contrast, divergent series resonate and communicate with one another. 4) An “ideal game” which presides over the actualisation of this pre-individual continuum through the genesis of individuals. In Leibniz this game is subject to the rules of a divine calculus in which God selects a “best of all possible worlds” whose harmony is guaranteed. Deleuze, however, will reject this theological constraint.Less
This chapter uses concepts from Leibniz’s philosophy to provide an account of the metaphysical system Deleuze constructs in Difference and Repetition and Logic of Sense. This account has four key components. 1) An ideal continuum populated by reciprocally determined differential relations, from which individuals are produced. Leibniz’s infinitesimal calculus is the technique most suited to describe this continuum. 2) The singularities or events which populate the continuum and which eventually form the “predicates” which are included within individuals. An inverted version of Leibniz’s theory of infinite analysis, which Deleuze dubs ‘vice-diction’, allows us to describe how these singularities are distributed. 3) The relations of compossibility between singularities which allow the articulation of a structure prior to any logical relations of opposition or contradiction. In Leibniz, a divergence between singularities marks a bifurcation into two distinct possible worlds. In Deleuze, by contrast, divergent series resonate and communicate with one another. 4) An “ideal game” which presides over the actualisation of this pre-individual continuum through the genesis of individuals. In Leibniz this game is subject to the rules of a divine calculus in which God selects a “best of all possible worlds” whose harmony is guaranteed. Deleuze, however, will reject this theological constraint.
April Shemak
- Published in print:
- 2010
- Published Online:
- September 2011
- ISBN:
- 9780823233557
- eISBN:
- 9780823241194
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823233557.003.0003
- Subject:
- Literature, 20th-century and Contemporary Literature
Instead of being seen as an entity whose role is to prohibit refugees' entrance to the United States, the Coast Guard has typically been viewed through the lens of salvation. One cartoon even ...
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Instead of being seen as an entity whose role is to prohibit refugees' entrance to the United States, the Coast Guard has typically been viewed through the lens of salvation. One cartoon even consecrated the Coast Guard as “New Orleans' Saints” through the drawing of a helicopter, rotating propellers giving off a halo-like glow, a cable extending below with a basket carrying an anonymous black body. In many ways this cartoon is part of a broader visual rhetoric of Coast Guard search-and-rescue, or “SAR” in Coast Guard parlance. The depiction of an anonymous black body hanging in the helicopter basket can be linked to the Coast Guard visual rhetoric whereby the interdiction of Haitian refugees on the high seas becomes recast as rescue.Less
Instead of being seen as an entity whose role is to prohibit refugees' entrance to the United States, the Coast Guard has typically been viewed through the lens of salvation. One cartoon even consecrated the Coast Guard as “New Orleans' Saints” through the drawing of a helicopter, rotating propellers giving off a halo-like glow, a cable extending below with a basket carrying an anonymous black body. In many ways this cartoon is part of a broader visual rhetoric of Coast Guard search-and-rescue, or “SAR” in Coast Guard parlance. The depiction of an anonymous black body hanging in the helicopter basket can be linked to the Coast Guard visual rhetoric whereby the interdiction of Haitian refugees on the high seas becomes recast as rescue.
Richard Miller
- Published in print:
- 1996
- Published Online:
- May 2015
- ISBN:
- 9780195098259
- eISBN:
- 9780190268374
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780195098259.003.0006
- Subject:
- Music, Performing Practice/Studies
This chapter discusses the importance of diction and vocal technique in singing. The production of vocal sound deals with the acoustic phenomena of vowel differentiation. Physiologically, laryngeal ...
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This chapter discusses the importance of diction and vocal technique in singing. The production of vocal sound deals with the acoustic phenomena of vowel differentiation. Physiologically, laryngeal configuration and vocal tract configuration require correspondence if a sung vowel is to be clearly delineated. Trying to “add diction” to preexistent vocal sound violates the processes of both the tone and vowel differentiation. If permitted, the vocal tract filter (the resonator tube that extends from the vocal folds to the lips) will reinforce the acoustic potential inherent in each vowel by assuming the natural shapes of the resonance cavities appropriate to that vowel. The mouth and pharynx will match laryngeal vowel formation. Good singing is the result of laryngeal action and the corresponding shapes of the resonator tube. One may adopt a “diction” approach as the basis of good vocal pedagogy only if it means that vowel definition and consonant occurrences are produced phonetically, thereby inducing matching laryngeal and vocal tract adjustments.Less
This chapter discusses the importance of diction and vocal technique in singing. The production of vocal sound deals with the acoustic phenomena of vowel differentiation. Physiologically, laryngeal configuration and vocal tract configuration require correspondence if a sung vowel is to be clearly delineated. Trying to “add diction” to preexistent vocal sound violates the processes of both the tone and vowel differentiation. If permitted, the vocal tract filter (the resonator tube that extends from the vocal folds to the lips) will reinforce the acoustic potential inherent in each vowel by assuming the natural shapes of the resonance cavities appropriate to that vowel. The mouth and pharynx will match laryngeal vowel formation. Good singing is the result of laryngeal action and the corresponding shapes of the resonator tube. One may adopt a “diction” approach as the basis of good vocal pedagogy only if it means that vowel definition and consonant occurrences are produced phonetically, thereby inducing matching laryngeal and vocal tract adjustments.