Alan Gillis
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199277094
- eISBN:
- 9780191707483
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199277094.001.0001
- Subject:
- Literature, Poetry
The 1930s have never really been considered an epoch within Irish literature, even though this period forms one of the most dominant and fascinating contexts in modern British literature. This book ...
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The 1930s have never really been considered an epoch within Irish literature, even though this period forms one of the most dominant and fascinating contexts in modern British literature. This book shows that during this time Irish poets confronted political pressures and aesthetic dilemmas which frequently overlapped with those associated with ‘The Auden Generation’. In doing so, it offers a provocative rereading of Irish literary history, but also offers powerful arguments about the way poetry in general is interpreted and understood. In this way, the book redefines our understanding of a frequently neglected period and challenges received notions of both Irish literature and poetic modernism. Moreover, the book offers detailed and vital readings of the major Irish poets of the decade, including original and exciting analyses of Samuel Beckett, Patrick Kavanagh, and Louis MacNeice; with a major re-evaluation of W. B. Yeats.Less
The 1930s have never really been considered an epoch within Irish literature, even though this period forms one of the most dominant and fascinating contexts in modern British literature. This book shows that during this time Irish poets confronted political pressures and aesthetic dilemmas which frequently overlapped with those associated with ‘The Auden Generation’. In doing so, it offers a provocative rereading of Irish literary history, but also offers powerful arguments about the way poetry in general is interpreted and understood. In this way, the book redefines our understanding of a frequently neglected period and challenges received notions of both Irish literature and poetic modernism. Moreover, the book offers detailed and vital readings of the major Irish poets of the decade, including original and exciting analyses of Samuel Beckett, Patrick Kavanagh, and Louis MacNeice; with a major re-evaluation of W. B. Yeats.
Alan Gillis
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199277094
- eISBN:
- 9780191707483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199277094.003.0006
- Subject:
- Literature, Poetry
This chapter begins by arguing that the fact Yeats is hardly associated with the 1930s constitutes a serious blip in literary history, and sets out to rectify this hiatus. It discusses the complexity ...
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This chapter begins by arguing that the fact Yeats is hardly associated with the 1930s constitutes a serious blip in literary history, and sets out to rectify this hiatus. It discusses the complexity of his late verse and symbolism, his arguments with other modernists, his revisionism of Ireland’s recent past, and focuses on his radical idea of ‘tradition’. The chapter offers in-depth interpretations of ‘Vacillation’, ‘Coole Park and Ballylee, 1931’, aspects of A Vision, ‘The Statues’, ‘Byzantium’, his controversial late ballads, including the ‘Blueshirt’ poems, and ‘Lapis Lazuli’. Reading the aesthetic structure of his philosophy of history in the light of his poetry’s style and form, and vice versa, the chapter locates what it terms ‘inclusive disjunction’ at the heart of his poetic. It delineates the precise form of Yeats’s right-wing nihilism, but also his capacity for envisioning the possibility of transformations towards social harmony. It reads such remorseless dialecticism in the light of ideas from Walter Benjamin and Theodor Adorno, arguing that although his conservative politics were worlds apart from theirs, his poetry’s engagement with contradiction and ruptured idealism creates an authentic and multidimensional aesthetic radicalism that has not yet been accounted for.Less
This chapter begins by arguing that the fact Yeats is hardly associated with the 1930s constitutes a serious blip in literary history, and sets out to rectify this hiatus. It discusses the complexity of his late verse and symbolism, his arguments with other modernists, his revisionism of Ireland’s recent past, and focuses on his radical idea of ‘tradition’. The chapter offers in-depth interpretations of ‘Vacillation’, ‘Coole Park and Ballylee, 1931’, aspects of A Vision, ‘The Statues’, ‘Byzantium’, his controversial late ballads, including the ‘Blueshirt’ poems, and ‘Lapis Lazuli’. Reading the aesthetic structure of his philosophy of history in the light of his poetry’s style and form, and vice versa, the chapter locates what it terms ‘inclusive disjunction’ at the heart of his poetic. It delineates the precise form of Yeats’s right-wing nihilism, but also his capacity for envisioning the possibility of transformations towards social harmony. It reads such remorseless dialecticism in the light of ideas from Walter Benjamin and Theodor Adorno, arguing that although his conservative politics were worlds apart from theirs, his poetry’s engagement with contradiction and ruptured idealism creates an authentic and multidimensional aesthetic radicalism that has not yet been accounted for.
Kirstie Blair
- Published in print:
- 2012
- Published Online:
- September 2012
- ISBN:
- 9780199644506
- eISBN:
- 9780191741593
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199644506.003.0005
- Subject:
- Literature, 19th-century and Victorian Literature, Poetry
Chapter 4 focuses on Robert and Elizabeth Barrett Browning, with a particular concentration on two major works of the 1850s, Christmas-Eve and Aurora Leigh. It argues that the dissenting, ...
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Chapter 4 focuses on Robert and Elizabeth Barrett Browning, with a particular concentration on two major works of the 1850s, Christmas-Eve and Aurora Leigh. It argues that the dissenting, Congregationalist background of these poets (and their consequent opposition to the Anglican revival of forms) is more evident in their poetry than critics have observed. After locating both poets within dissenting culture, using their letters and early poems, the chapter discusses Christmas-Eve in depth and argue that its varying structures and playful form and content are a deliberate dissenting take on religious poetics. Similarly, EBB’s poetics, particularly after she became interested in Swedenborg in the 1850s, reveal a rejection of what she perceived as the cold formality of the High Church in favour of an understanding of form as organic and natural though infused with the spiritual.Less
Chapter 4 focuses on Robert and Elizabeth Barrett Browning, with a particular concentration on two major works of the 1850s, Christmas-Eve and Aurora Leigh. It argues that the dissenting, Congregationalist background of these poets (and their consequent opposition to the Anglican revival of forms) is more evident in their poetry than critics have observed. After locating both poets within dissenting culture, using their letters and early poems, the chapter discusses Christmas-Eve in depth and argue that its varying structures and playful form and content are a deliberate dissenting take on religious poetics. Similarly, EBB’s poetics, particularly after she became interested in Swedenborg in the 1850s, reveal a rejection of what she perceived as the cold formality of the High Church in favour of an understanding of form as organic and natural though infused with the spiritual.
Meredith Martin
- Published in print:
- 2012
- Published Online:
- October 2017
- ISBN:
- 9780691152738
- eISBN:
- 9781400842193
- Item type:
- chapter
- Publisher:
- Princeton University Press
- DOI:
- 10.23943/princeton/9780691152738.003.0003
- Subject:
- Literature, Criticism/Theory
This chapter resituates Gerard Manley Hopkins, whose name has become synonymous with metrical experiment, within the prosodic, philological, and theological debates of his time. His commitment to ...
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This chapter resituates Gerard Manley Hopkins, whose name has become synonymous with metrical experiment, within the prosodic, philological, and theological debates of his time. His commitment to defining accent and stress in English was a critical turning point in his thinking about his identity as a Catholic and as an Englishman. It argues that his attempt to create a new English meter was a particularly Victorian engagement with poetic form, national identity, and the English language. Broader movements in comparative philology (particularly those associated with scholars such as Max Müller and Richard Chevenix Trench) influenced Hopkins's attempts to reconcile the history of English and the materiality of meter with his Catholic beliefs. Hopkins is used to prove that even the most obscure and alienated-seeming poet must be read as part of the broader debate about what meter can do for the quickly changing nation. Hopkins's successes and failures, anticipate later attempts to examine the constituent parts of meter and the English language.Less
This chapter resituates Gerard Manley Hopkins, whose name has become synonymous with metrical experiment, within the prosodic, philological, and theological debates of his time. His commitment to defining accent and stress in English was a critical turning point in his thinking about his identity as a Catholic and as an Englishman. It argues that his attempt to create a new English meter was a particularly Victorian engagement with poetic form, national identity, and the English language. Broader movements in comparative philology (particularly those associated with scholars such as Max Müller and Richard Chevenix Trench) influenced Hopkins's attempts to reconcile the history of English and the materiality of meter with his Catholic beliefs. Hopkins is used to prove that even the most obscure and alienated-seeming poet must be read as part of the broader debate about what meter can do for the quickly changing nation. Hopkins's successes and failures, anticipate later attempts to examine the constituent parts of meter and the English language.
Alan Gillis
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199277094
- eISBN:
- 9780191707483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199277094.003.0002
- Subject:
- Literature, Poetry
This chapter discusses the English bias in current conceptions of the literature of the 1930s. It recasts the historical context of the 1930s in terms of global events and proceeds to locate Irish ...
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This chapter discusses the English bias in current conceptions of the literature of the 1930s. It recasts the historical context of the 1930s in terms of global events and proceeds to locate Irish literary history within this broader context. A revisionary overview of Irish history during the decade is offered, followed by a critique of prevailing literary approaches, which are seen to simplify Irish poetry of the time by creating a sharp split between Irish modernist poets and overtly ‘Celtic’ poets. This simplified dichotomy censors the kind of complications found in Louis MacNeice and W. B. Yeats, among others, and an argument for their central importance is made. The chapter then proposes a new method of literary historiography based on aesthetic form, seeking to fuse the tenets of New Criticism and Marxist aesthetics, and adapting ideas from Fredric Jameson’s The Political Unconscious and Hayden White’s Metahistory to explore how poetry represents history.Less
This chapter discusses the English bias in current conceptions of the literature of the 1930s. It recasts the historical context of the 1930s in terms of global events and proceeds to locate Irish literary history within this broader context. A revisionary overview of Irish history during the decade is offered, followed by a critique of prevailing literary approaches, which are seen to simplify Irish poetry of the time by creating a sharp split between Irish modernist poets and overtly ‘Celtic’ poets. This simplified dichotomy censors the kind of complications found in Louis MacNeice and W. B. Yeats, among others, and an argument for their central importance is made. The chapter then proposes a new method of literary historiography based on aesthetic form, seeking to fuse the tenets of New Criticism and Marxist aesthetics, and adapting ideas from Fredric Jameson’s The Political Unconscious and Hayden White’s Metahistory to explore how poetry represents history.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- book
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.001.0001
- Subject:
- History, European Medieval History
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a ...
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In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.Less
In Strange Footing, early dance reveals the medieval experience of poetic form. For premodern audiences, poetic form did not exist exclusively in a poem’s structural attributes. Rather, the form of a poem emerged as an experience, one generated when an audience habituated to watching and participating in dance encountered poetic text. In bringing dance-based perceptual practices to bear upon the apprehension of poetry, medieval audiences experienced a poem’s form as virtual, a strange footing askew of ordinary space and time. To understand how premodern dance-based experiences shaped premodern poetic encounters, Strange Footing formulates a new method for the study of the past. It juxtaposes medieval spectacles with instances of contemporary dance to reenact the immersive spectacle of the premodern performance. Danse macabre, for instance, finds elucidation in Lucinda Childs’s multimedia choreography; premodern round dance, meanwhile, yields new experiential aspects when read alongside the work of Mark Morris. When contemporary audiences and performers engage the work of Childs and Morris, they apprehend force and energy supplementing dancing bodies: the strange and sometimes disorienting virtuality of dance. Strange Footing uses these encounters to identify where medieval representations of dance convey the premodern spectator’s awareness of such virtuality. The medieval audience's apprehension of virtual force dictated their experiences of various poetic traditions, including carols, lyrics, and “dance of death” stanzas. In configuring a new method to interpret the past, Strange Footing redefines poetic form, demonstrating how the obliquities of virtual dance led medieval audiences through experiences of poetic form.
Alan Gillis
- Published in print:
- 2005
- Published Online:
- September 2007
- ISBN:
- 9780199277094
- eISBN:
- 9780191707483
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199277094.003.0003
- Subject:
- Literature, Poetry
This chapter discusses Seamus Heaney’s idea of Louis MacNeice as a vital means of holding Ulster, Ireland, and England within the purview of a single imagination. It argues that such an idea, to be ...
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This chapter discusses Seamus Heaney’s idea of Louis MacNeice as a vital means of holding Ulster, Ireland, and England within the purview of a single imagination. It argues that such an idea, to be accurate, must register MacNeice’s extreme antagonism towards Ulster and Ireland. This antagonism is contextualized within the intense culture of propaganda and rising ideological terror throughout the 1930s. Such a context spurs MacNeice’s interest in the relationship between empiricism and abstraction, which is key to his aesthetics. The chapter traces the multifaceted idea of time in his verse and explores his poetry’s simultaneous striving towards representing newness and registering social reality. Focusing on the figuration and musicality of his poems, the centrality of these to his growing political commitment is discussed, moving into a major interpretation of his masterpiece Autumn Journal. His critical treatment of Ireland is then contextualized within his broader concern for the political agency of poetry in general.Less
This chapter discusses Seamus Heaney’s idea of Louis MacNeice as a vital means of holding Ulster, Ireland, and England within the purview of a single imagination. It argues that such an idea, to be accurate, must register MacNeice’s extreme antagonism towards Ulster and Ireland. This antagonism is contextualized within the intense culture of propaganda and rising ideological terror throughout the 1930s. Such a context spurs MacNeice’s interest in the relationship between empiricism and abstraction, which is key to his aesthetics. The chapter traces the multifaceted idea of time in his verse and explores his poetry’s simultaneous striving towards representing newness and registering social reality. Focusing on the figuration and musicality of his poems, the centrality of these to his growing political commitment is discussed, moving into a major interpretation of his masterpiece Autumn Journal. His critical treatment of Ireland is then contextualized within his broader concern for the political agency of poetry in general.
Geri L. Smith
- Published in print:
- 2009
- Published Online:
- September 2011
- ISBN:
- 9780813033365
- eISBN:
- 9780813038889
- Item type:
- chapter
- Publisher:
- University Press of Florida
- DOI:
- 10.5744/florida/9780813033365.003.0006
- Subject:
- Literature, Early and Medieval Literature
This study has shown generic transformation and the emerging concepts of author as concurrent, intimately intertwined, and mutually influencing phenomena. Genre itself is an important subtext in all ...
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This study has shown generic transformation and the emerging concepts of author as concurrent, intimately intertwined, and mutually influencing phenomena. Genre itself is an important subtext in all of the works addressed here, and provocative intergeneric play marks the creative manipulation of the pastourelles as an established poetic form. One can observe through its transformations the kinds of factors that play into the evolution and dynamic potential of literary categories. What that powerfully reveals, and what has remained true throughout the ages, is that genre responds to cultural conditions, and is a product of the infinitely complex and personal relationship between the artist, the text, and his or her social, historical, and literary moment.Less
This study has shown generic transformation and the emerging concepts of author as concurrent, intimately intertwined, and mutually influencing phenomena. Genre itself is an important subtext in all of the works addressed here, and provocative intergeneric play marks the creative manipulation of the pastourelles as an established poetic form. One can observe through its transformations the kinds of factors that play into the evolution and dynamic potential of literary categories. What that powerfully reveals, and what has remained true throughout the ages, is that genre responds to cultural conditions, and is a product of the infinitely complex and personal relationship between the artist, the text, and his or her social, historical, and literary moment.
John Brenkman
- Published in print:
- 2020
- Published Online:
- September 2020
- ISBN:
- 9780226673127
- eISBN:
- 9780226673431
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226673431.003.0003
- Subject:
- Literature, Criticism/Theory
Lyric poetry plumbs the link between mood and trope, that is, feeling and language, affect and expression. Paul de Man exemplifies the linguistic turn in literary studies, especially in his readings ...
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Lyric poetry plumbs the link between mood and trope, that is, feeling and language, affect and expression. Paul de Man exemplifies the linguistic turn in literary studies, especially in his readings of Rousseau and Baudelaire. The binary logical impasse of interpretation to which his insights inevitably lead (“aporia”) is countered in this chapter by the triadic mood–understanding–discourse. In poetic discourse, it is argued, trope provokes interpretation and interpretation discloses mood. The affective labyrinth of Baudelaire’s poetry and its duality of spleen and ideal occasion an attempt to give methodological consistency to the Heideggerian triad. Two problematics come to the fore, the question of subjectivity in the poetic triad mood–I–trope and the question of pathos and poetic form, the relation of the poet’s suffering and creativity. Another angle on mood and trope, as well as pathos and form, is found in the poetry of Li-Young Lee, for whom exile, family, and the past century’s “diary of fires” create layers of memory and dream, imagination and witness. Via Lee and Baudelaire, the question of the lyric comes into focus anew, reviving the dialectical approaches of Hegel and Nietzsche to the “self” in poetic creation.Less
Lyric poetry plumbs the link between mood and trope, that is, feeling and language, affect and expression. Paul de Man exemplifies the linguistic turn in literary studies, especially in his readings of Rousseau and Baudelaire. The binary logical impasse of interpretation to which his insights inevitably lead (“aporia”) is countered in this chapter by the triadic mood–understanding–discourse. In poetic discourse, it is argued, trope provokes interpretation and interpretation discloses mood. The affective labyrinth of Baudelaire’s poetry and its duality of spleen and ideal occasion an attempt to give methodological consistency to the Heideggerian triad. Two problematics come to the fore, the question of subjectivity in the poetic triad mood–I–trope and the question of pathos and poetic form, the relation of the poet’s suffering and creativity. Another angle on mood and trope, as well as pathos and form, is found in the poetry of Li-Young Lee, for whom exile, family, and the past century’s “diary of fires” create layers of memory and dream, imagination and witness. Via Lee and Baudelaire, the question of the lyric comes into focus anew, reviving the dialectical approaches of Hegel and Nietzsche to the “self” in poetic creation.
Kathleen McCarthy
- Published in print:
- 2019
- Published Online:
- May 2020
- ISBN:
- 9781501739552
- eISBN:
- 9781501739569
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501739552.003.0003
- Subject:
- Literature, Early and Medieval Literature
This chapter examines the performative model of positioning the agency of the poet in relation to the speech and events depicted in the storyworld. This model hews more closely to the norms ...
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This chapter examines the performative model of positioning the agency of the poet in relation to the speech and events depicted in the storyworld. This model hews more closely to the norms established by traditional performed poetry. In this case, the speaker knows that his words have the special status of poetry, and his speech may be formulated with an eye to audiences other than the named interlocutor. In contrast to the speaker of conversational poems, who is focused on trying to exert his will through speech, the speaker in this performative model embodies the mastery of poetic form and the assurance granted to an authorized performer. Poems built on this model are more likely to exhibit formal features that thematize the special status of address or that require suspension of thought or that highlight the poem's overall structure. One can easily see how the agency of such a speaker echoes the agency of the poet crafting the text. The chapter then considers Catullus's invective poems and Horace's hymns and dedicatory poems.Less
This chapter examines the performative model of positioning the agency of the poet in relation to the speech and events depicted in the storyworld. This model hews more closely to the norms established by traditional performed poetry. In this case, the speaker knows that his words have the special status of poetry, and his speech may be formulated with an eye to audiences other than the named interlocutor. In contrast to the speaker of conversational poems, who is focused on trying to exert his will through speech, the speaker in this performative model embodies the mastery of poetic form and the assurance granted to an authorized performer. Poems built on this model are more likely to exhibit formal features that thematize the special status of address or that require suspension of thought or that highlight the poem's overall structure. One can easily see how the agency of such a speaker echoes the agency of the poet crafting the text. The chapter then considers Catullus's invective poems and Horace's hymns and dedicatory poems.
Nicholas Stoia
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780190881979
- eISBN:
- 9780190882006
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190881979.003.0004
- Subject:
- Music, Theory, Analysis, Composition
Chapter 3 examines the poetic forms and rhythmic types of the “Sweet Thing” scheme in early blues, country, and gospel music. Approaching the scheme through its rhythmic profile and poetic form ...
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Chapter 3 examines the poetic forms and rhythmic types of the “Sweet Thing” scheme in early blues, country, and gospel music. Approaching the scheme through its rhythmic profile and poetic form yields an accurate description of its consistent musical characteristics while simultaneously allowing enough flexibility to accommodate its substantial variation, especially with respect to its diverse harmonic progressions and melodic designs. Through a comparison of the rhythmic types identified in this chapter with the rhythmic characteristics of the earlier English, Scottish, Irish, and American sources, it becomes more apparent which ancient songs are the main sources for which modern variants of the scheme: “Captain Kidd” and “The Frog’s Courtship” each left their distinctive rhythmic fingerprint on the multitude of songs they each spawned, and this mark is still evident in many twentieth-century realizations of the “Sweet Thing” scheme.Less
Chapter 3 examines the poetic forms and rhythmic types of the “Sweet Thing” scheme in early blues, country, and gospel music. Approaching the scheme through its rhythmic profile and poetic form yields an accurate description of its consistent musical characteristics while simultaneously allowing enough flexibility to accommodate its substantial variation, especially with respect to its diverse harmonic progressions and melodic designs. Through a comparison of the rhythmic types identified in this chapter with the rhythmic characteristics of the earlier English, Scottish, Irish, and American sources, it becomes more apparent which ancient songs are the main sources for which modern variants of the scheme: “Captain Kidd” and “The Frog’s Courtship” each left their distinctive rhythmic fingerprint on the multitude of songs they each spawned, and this mark is still evident in many twentieth-century realizations of the “Sweet Thing” scheme.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0001
- Subject:
- History, European Medieval History
This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of ...
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This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of worldly measures of time and space, existing between the real and the unreal. To make this case, Strange Footing reenacts prevalent traditions of performing and representing dance, such as carole and danse macabre.Less
This book argues that in bringing dance-based perceptual practices to their encounter with poetry, medieval audiences experience a poem’s form as strange footing, virtual forces that hover askew of worldly measures of time and space, existing between the real and the unreal. To make this case, Strange Footing reenacts prevalent traditions of performing and representing dance, such as carole and danse macabre.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0005
- Subject:
- History, European Medieval History
This chapter argues that the experience of danse macabre poetry’s form is a temporal and spatial disorientation. The danse macabre spectacle conditions the reader/viewer to bring these perceptual ...
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This chapter argues that the experience of danse macabre poetry’s form is a temporal and spatial disorientation. The danse macabre spectacle conditions the reader/viewer to bring these perceptual practices to the encounter with the poetic tradition. The audience’s habituation to dance’s virtual supplement allows them to perceive asymmetry, orthogononality, and untimeliness, even within the poet’s insistently regular huitain stanza.Less
This chapter argues that the experience of danse macabre poetry’s form is a temporal and spatial disorientation. The danse macabre spectacle conditions the reader/viewer to bring these perceptual practices to the encounter with the poetic tradition. The audience’s habituation to dance’s virtual supplement allows them to perceive asymmetry, orthogononality, and untimeliness, even within the poet’s insistently regular huitain stanza.
Helma Dik
- Published in print:
- 2007
- Published Online:
- September 2007
- ISBN:
- 9780199279296
- eISBN:
- 9780191706905
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199279296.003.0008
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This concluding chapter begins with a brief review of the preceding chapters. It then discusses how to read word order slowly. It is argued that order is bound up with the essence of communication ...
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This concluding chapter begins with a brief review of the preceding chapters. It then discusses how to read word order slowly. It is argued that order is bound up with the essence of communication between individuals and thereby, with the essence of what makes drama work. Word order is one dimension of what a Greek clause communicates, and it is worth paying attention to.Less
This concluding chapter begins with a brief review of the preceding chapters. It then discusses how to read word order slowly. It is argued that order is bound up with the essence of communication between individuals and thereby, with the essence of what makes drama work. Word order is one dimension of what a Greek clause communicates, and it is worth paying attention to.
Seeta Chaganti
- Published in print:
- 2018
- Published Online:
- May 2019
- ISBN:
- 9780226547992
- eISBN:
- 9780226548180
- Item type:
- chapter
- Publisher:
- University of Chicago Press
- DOI:
- 10.7208/chicago/9780226548180.003.0007
- Subject:
- History, European Medieval History
The round dance’s virtual circles configure the medieval reader’s experience of English carol form. In this ductile experience of poetic form, the reader is aware of forces, irregular and uncanny, ...
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The round dance’s virtual circles configure the medieval reader’s experience of English carol form. In this ductile experience of poetic form, the reader is aware of forces, irregular and uncanny, supplemental to the evident regularity of the lyric’s stanzaic pattern. The chapter makes this case using the carols “A child is boren” and “Maiden in the mor lay.”Less
The round dance’s virtual circles configure the medieval reader’s experience of English carol form. In this ductile experience of poetic form, the reader is aware of forces, irregular and uncanny, supplemental to the evident regularity of the lyric’s stanzaic pattern. The chapter makes this case using the carols “A child is boren” and “Maiden in the mor lay.”
- Published in print:
- 2012
- Published Online:
- June 2013
- ISBN:
- 9780804776462
- eISBN:
- 9780804782609
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804776462.003.0001
- Subject:
- Anthropology, Middle Eastern Cultural Anthropology
Arab poets in general, and Palestinian poets in particular, have radically transformed the sound structures of their poems in order to modernize poetic forms by turning to free verse and prose poems. ...
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Arab poets in general, and Palestinian poets in particular, have radically transformed the sound structures of their poems in order to modernize poetic forms by turning to free verse and prose poems. Through these forms, poets, not “the sea,” stand sovereign over rhythms. Over the past seven decades, Arabic poems have become ever more silent, marked by ever more irregular rhythms. This book, an ethnography of “literary” transformation, investigates how forms of ethics, politics, epistemologies, and imaginaries have led to this prevailing silence in contemporary Arabic poetry. Drawing on interviews with forty-seven poets, including six women, the book shows how poets' emerging “silence” reflects contradictions and ambiguities of secular formations in modernity as movements in the sounds of rhythms, as well as beyond them. It argues that poetic forms and forms of life are inseparable and makes a number of assumptions about poetry, poets, and poetic form. It looks at the current Palestinian poetry, which is dominated by three forms: a traditional ode in use for more than 1,500 years and two modern arrivals, free verse and prose poetry.Less
Arab poets in general, and Palestinian poets in particular, have radically transformed the sound structures of their poems in order to modernize poetic forms by turning to free verse and prose poems. Through these forms, poets, not “the sea,” stand sovereign over rhythms. Over the past seven decades, Arabic poems have become ever more silent, marked by ever more irregular rhythms. This book, an ethnography of “literary” transformation, investigates how forms of ethics, politics, epistemologies, and imaginaries have led to this prevailing silence in contemporary Arabic poetry. Drawing on interviews with forty-seven poets, including six women, the book shows how poets' emerging “silence” reflects contradictions and ambiguities of secular formations in modernity as movements in the sounds of rhythms, as well as beyond them. It argues that poetic forms and forms of life are inseparable and makes a number of assumptions about poetry, poets, and poetic form. It looks at the current Palestinian poetry, which is dominated by three forms: a traditional ode in use for more than 1,500 years and two modern arrivals, free verse and prose poetry.
Clive Scott
- Published in print:
- 1998
- Published Online:
- October 2011
- ISBN:
- 9780198159445
- eISBN:
- 9780191673634
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159445.003.0004
- Subject:
- Literature, Poetry, European Literature
This chapter discusses the different deviations of the French sonnet in regards to the octave, which easily sets French sonnets apart from other poetic forms, such as the Shakespearean sonnet and the ...
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This chapter discusses the different deviations of the French sonnet in regards to the octave, which easily sets French sonnets apart from other poetic forms, such as the Shakespearean sonnet and the continental sonnet.Less
This chapter discusses the different deviations of the French sonnet in regards to the octave, which easily sets French sonnets apart from other poetic forms, such as the Shakespearean sonnet and the continental sonnet.
Jason Lawrence
- Published in print:
- 2011
- Published Online:
- July 2012
- ISBN:
- 9780719069147
- eISBN:
- 9781781702543
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719069147.003.0003
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter explores how English poet Samuel Daniel consistently attempted to naturalise Italian poetic forms into English verse. It analyzes his works, from his earliest poetry in the Delia sonnets ...
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This chapter explores how English poet Samuel Daniel consistently attempted to naturalise Italian poetic forms into English verse. It analyzes his works, from his earliest poetry in the Delia sonnets to the pastoral play Hymens Triumph in order to understand how his imitative methods developed. It suggests that it is possible to trace the composition and construction of his sonnet sequence Delia to two separate phases and each phase reflects the predominant use of sources from a specific sonnet tradition (French and then Italian).Less
This chapter explores how English poet Samuel Daniel consistently attempted to naturalise Italian poetic forms into English verse. It analyzes his works, from his earliest poetry in the Delia sonnets to the pastoral play Hymens Triumph in order to understand how his imitative methods developed. It suggests that it is possible to trace the composition and construction of his sonnet sequence Delia to two separate phases and each phase reflects the predominant use of sources from a specific sonnet tradition (French and then Italian).
Elizabeth Scott-Baumann and Ben Burton (eds)
- Published in print:
- 2014
- Published Online:
- August 2014
- ISBN:
- 9780198702818
- eISBN:
- 9780191795282
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198702818.001.0001
- Subject:
- Literature, Poetry, 17th-century and Restoration Literature
The Work of Form: Poetics, Materiality and Culture in Early Modern England draws together leading international literary scholars to discuss the resurgent interest in literary form and aesthetics in ...
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The Work of Form: Poetics, Materiality and Culture in Early Modern England draws together leading international literary scholars to discuss the resurgent interest in literary form and aesthetics in early modern English Studies. With contributors from literary history, historicism, manuscript study, prosodic theory, the history of music, history of the book, as well as print, manuscript, and material culture, the collection establishes new lines of enquiry in this emergent field by expanding definitions of form to consider the material as well as theoretical implications of the term, including form's associations with physical shape and sensory response; processes of gathering and restricting; the body, discipline and training; ritual; musical performance; as well as the material status of the text. The essays in this collection address what we might mean by the work of form in early modern literary studies. Form is both an object and a process, and its deployment raises questions of agency relating to writers and readers, including the creative work undertaken by poets to form their poems; the work that forms make readers do, including the action of form upon the ear, mind and heart; as well as the interpretive work that readers always bring to the forms they read. In doing so, this collection addresses urgent questions about how we can understand and analyse literary form in a historically-rooted way, and demands rigorous discussion about the status of formal and aesthetic considerations in editing and literary criticism, as well as in the development of material formalisms.Less
The Work of Form: Poetics, Materiality and Culture in Early Modern England draws together leading international literary scholars to discuss the resurgent interest in literary form and aesthetics in early modern English Studies. With contributors from literary history, historicism, manuscript study, prosodic theory, the history of music, history of the book, as well as print, manuscript, and material culture, the collection establishes new lines of enquiry in this emergent field by expanding definitions of form to consider the material as well as theoretical implications of the term, including form's associations with physical shape and sensory response; processes of gathering and restricting; the body, discipline and training; ritual; musical performance; as well as the material status of the text. The essays in this collection address what we might mean by the work of form in early modern literary studies. Form is both an object and a process, and its deployment raises questions of agency relating to writers and readers, including the creative work undertaken by poets to form their poems; the work that forms make readers do, including the action of form upon the ear, mind and heart; as well as the interpretive work that readers always bring to the forms they read. In doing so, this collection addresses urgent questions about how we can understand and analyse literary form in a historically-rooted way, and demands rigorous discussion about the status of formal and aesthetic considerations in editing and literary criticism, as well as in the development of material formalisms.
Nicholas Stoia
- Published in print:
- 2021
- Published Online:
- March 2021
- ISBN:
- 9780190881979
- eISBN:
- 9780190882006
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190881979.003.0007
- Subject:
- Music, Theory, Analysis, Composition
Chapter 6 briefly considers some examples that depart from either the poetic or rhythmic parameters outlined in earlier chapters. The most common departures are songs that maintain the familiar ...
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Chapter 6 briefly considers some examples that depart from either the poetic or rhythmic parameters outlined in earlier chapters. The most common departures are songs that maintain the familiar poetic forms but abandon the typical rhythmic profile. The most common textual departures maintain the rhythmic profile without the most constant elements of the poetic form.Less
Chapter 6 briefly considers some examples that depart from either the poetic or rhythmic parameters outlined in earlier chapters. The most common departures are songs that maintain the familiar poetic forms but abandon the typical rhythmic profile. The most common textual departures maintain the rhythmic profile without the most constant elements of the poetic form.