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| jonathan culler theory of the lyric: Structure & Surprise Michael Theune, 2007 Structure & Surprise: Engaging Poetic Turns offers a road map for analyzing poetry through examination of poems' structure, rather than their forms or genres. Michael Theune's breakthrough concept encourages students, teachers, and writers to use structure as a tool to see the fundamental affinities between strikingly different kinds of poetry and radically different literary eras. The book includes examination of the mid-course turn and the elegy, as well as the ironic, concessional, emblem, and retrospective-prospective structures, among others. In addition, 14 contemporary poets provide an example of and commentary on their own work. |
| jonathan culler theory of the lyric: The Lyric Theory Reader Virginia Walker Jackson, Yopie Prins, 2014-02 Reading lyric poetry over the past century. The Lyric Theory Reader collects major essays on the modern idea of lyric, made available here for the first time in one place. Representing a wide range of perspectives in Anglo-American literary criticism from the twentieth and twenty-first centuries, the collection as a whole documents the diversity and energy of ongoing critical conversations about lyric poetry. Virginia Jackson and Yopie Prins frame these conversations with a general introduction, bibliographies for further reading, and introductions to each of the anthology’s ten sections: genre theory, historical models of lyric, New Criticism, structuralist and post-structuralist reading, Frankfurt School approaches, phenomenologies of lyric reading, avant-garde anti-lyricism, lyric and sexual difference, and comparative lyric. Designed for students, teachers, scholars, poets, and readers with a general interest in poetics, this book presents an intellectual history of the theory of lyric reading that has circulated both within and beyond the classroom, wherever poetry is taught, read, discussed, and debated today. |
| jonathan culler theory of the lyric: Dickinson's Misery Virginia Jackson, 2013-12-03 How do we know that Emily Dickinson wrote poems? How do we recognize a poem when we see one? In Dickinson's Misery, Virginia Jackson poses fundamental questions about reading habits we have come to take for granted. Because Dickinson's writing remained largely unpublished when she died in 1886, decisions about what it was that Dickinson wrote have been left to the editors, publishers, and critics who have brought Dickinson's work into public view. The familiar letters, notes on advertising fliers, verses on split-open envelopes, and collections of verses on personal stationery tied together with string have become the Dickinson poems celebrated since her death as exemplary lyrics. Jackson makes the larger argument that the century and a half spanning the circulation of Dickinson's work tells the story of a shift in the publication, consumption, and interpretation of lyric poetry. This shift took the form of what this book calls the lyricization of poetry, a set of print and pedagogical practices that collapsed the variety of poetic genres into lyric as a synonym for poetry. Featuring many new illustrations from Dickinson's manuscripts, this book makes a major contribution to the study of Dickinson and of nineteenth-century American poetry. It maps out the future for new work in historical poetics and lyric theory. |
| jonathan culler theory of the lyric: Lyric Poetry Mutlu Blasing, 2009-01-10 Lyric poetry has long been regarded as the intensely private, emotional expression of individuals, powerful precisely because it draws readers into personal worlds. But who, exactly, is the I in a lyric poem, and how is it created? In Lyric Poetry, Mutlu Blasing argues that the individual in a lyric is only a virtual entity and that lyric poetry takes its power from the public, emotional power of language itself. In the first major new theory of the lyric to be put forward in decades, Blasing proposes that lyric poetry is a public discourse deeply rooted in the mother tongue. She looks to poetic, linguistic, and psychoanalytic theory to help unravel the intricate historical processes that generate speaking subjects, and concludes that lyric forms convey both personal and communal emotional histories in language. Focusing on the work of such diverse twentieth-century American poets as T. S. Eliot, Ezra Pound, Wallace Stevens, and Anne Sexton, Blasing demonstrates the ways that the lyric I speaks, from first to last, as a creation of poetic language. |
| jonathan culler theory of the lyric: Critical Rhythm Ben Glaser, Jonathan Culler, 2019-01-08 This book shows how rhythm constitutes an untapped resource for understanding poetry. Intervening in recent debates over formalism, historicism, and poetics, the authors show how rhythm is at once a defamiliarizing aesthetic force and an unstable concept. Distinct from the related terms to which it’s often assimilated—scansion, prosody, meter—rhythm makes legible a range of ways poetry affects us that cannot be parsed through the traditional resources of poetic theory. Rhythm has rich but also problematic roots in still-lingering nineteenth-century notions of primitive, oral, communal, and sometimes racialized poetics. But there are reasons to understand and even embrace its seductions, including its resistance to lyrical voice and even identity. Through exploration of rhythm’s genealogies and present critical debates, the essays consistently warn against taking rhythm to be a given form offering ready-made resources for interpretation. Pressing beyond poetry handbooks’ isolated descriptions of technique or inductive declarations of what rhythm “is,” the essays ask what it means to think rhythm. Rhythm, the contributors show, happens relative to the body, on the one hand, and to language, on the other—two categories that are distinct from the literary, the mode through which poetics has tended to be analyzed. Beyond articulating what rhythm does to poetry, the contributors undertake a genealogical and theoretical analysis of how rhythm as a human experience has come to be articulated through poetry and poetics. The resulting work helps us better understand poetry both on its own terms and in its continuities with other experiences and other arts. Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones, Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins, Haun Saussy |
| jonathan culler theory of the lyric: The Lyric in the Age of the Brain Nikki Skillman, 2016-06-06 Science has transformed understandings of the mind, supplying physiological explanations for what once seemed transcendental. Nikki Skillman shows how lyric poets—caught between a reductive scientific view and naïve literary metaphors—struggled to articulate a vision of consciousness that was both scientifically informed and poetically truthful. |
| jonathan culler theory of the lyric: On Voice in Poetry David Nowell Smith, 2015-03-22 What do we mean by 'voice' in poetry? In this work, David Nowell Smith teases out the diverse meanings of 'voice', from a poem's soundworld to the rhetorical gestures through which poems speak to us, in order to embark on a philosophical exploration of the concept of voice itself. |
| jonathan culler theory of the lyric: Structuralist Poetics Jonathan D. Culler, 2002 A classic survey of structuralist literary criticism combined with a survey about how English and American criticism might benefit from its lessons. |
| jonathan culler theory of the lyric: Facing Loss and Death Peter Hühn, 2016-08-22 Lyric poetry as a temporal art-form makes pervasive use of narrative elements in organizing the progressive course of the poetic text. This observation justifies the application of the advanced methodology of narratology to the systematic analysis of lyric poems. After a concise presentation of this transgeneric approach to poetry, the study sets out to demonstrate its practical fruitfulness in detailed analyses of a large number of English (and some American) poems from the early modern period to the present. The narratological approach proves particularly suited to focus on the hitherto widely neglected dimension of sequentiality, the dynamic progression of the poetic utterance and its eventful turns, which largely constitute the raison d'être of the poem. To facilitate comparisons, the examples chosen share one special thematic complex, the traumatic experience of severe loss: the death of a beloved person, the imminence of one’s own death, the death of a revered fellow-poet and the loss of a fundamental stabilizing order. The function of the poems can be described as facing the traumatic experience in the poetic medium and employing various coping strategies. The poems thus possess a therapeutic impetus. |
| jonathan culler theory of the lyric: The Rift in The Lute Maximilian de Gaynesford, 2017-04-13 What is it for poetry to be serious and to be taken seriously? What is it to be open to poetry, exposed to its force, attuned to what it says and alive to what it does? These are important questions that call equally on poetry and philosophy. But poetry and philosophy, notoriously, have an ancient quarrel. Maximilian de Gaynesford sets out to understand and convert their mutual antipathy into something mutually enhancing, so that we can begin to answer these and other questions. The key to attuning poetry and philosophy lies in the fact that poetic utterances are best appreciated as doing things. For it is as doing things that the speech act approach in analytic philosophy of language tries to understand all utterances. Taking such an approach, this book offers ways to enhance our appreciation of poetry and to develop our understanding of philosophy. It explores work by a range of poets from Chaucer to Geoffrey Hill and J. H. Prynne, and culminates in an extended study of Shakespeare's Sonnets. What work does poetry set itself, and how does this determine the way it is to be judged? What do poets commit themselves to, and what they may be held responsible for? What role does a poet have, or their audience, or their context, in determining the meaning of a poem, what work it is able to achieve? These are the questions that an attuned approach is able to ask and answer. |
| jonathan culler theory of the lyric: Lyric Tactics Ingrid Nelson, 2017-01-13 In Lyric Tactics, Ingrid Nelson argues that the lyric poetry of later medieval England is a distinct genre defined not by its poetic features—rhyme, meter, and stanza forms—but by its modes of writing and performance, which are ad hoc, improvisatory, and situational. |
| jonathan culler theory of the lyric: Poets Thinking Helen Vendler, 2009-06-30 Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers. The four poets taken up in this volume--Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats--come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking, Dickinson experimenting with plot to characterize life's unfolding, and Yeats thinking in images, using montage in lieu of argument. With customary lucidity and spirit, Vendler traces through these poets' lines to find evidence of thought in lyric, the silent stylistic measures representing changes of mind, the condensed power of poetic thinking. Her work argues against the reduction of poetry to its (frequently well-worn) themes and demonstrates, instead, that there is always in admirable poetry a strenuous process of thinking, evident in an evolving style--however ancient the theme--that is powerful and original. |
| jonathan culler theory of the lyric: On Modern Poetry Guido Mazzoni, 2022-04-19 Guido Mazzoni tells the story of poetry’s revolution in the modern age. The chief transformation was the rise of the lyric as it is now conceived: a genre in which a first-person speaker talks about itself. Mazzoni argues that modern poetry embodies the age of the individual and has wrought profound changes in the expectations of readers. |
| jonathan culler theory of the lyric: Circling the Canon, Volume II Marjorie Perloff, 2019-11-15 One of our most important contemporary critics, Marjorie Perloff has been a widely published and influential reviewer, especially of poetry and poetics, for over fifty years. Circling the Canon, Volume I covers roughly the first half of Perloff's career, beginning with her first ever review, on Anthony Hecht's The Hard Hours. The reviews in this volume, culled from a wide range of scholarly journals, literary reviews, and national magazines, trace the evolution of poetry in the mid- to late twentieth century as well as the evolution of Perloff as a critic. Many of the authors whose works are reviewed in this volume are major figures, such as W. B. Yeats, Ezra Pound, Sylvia Plath, and Frank O'Hara. Others, including Mona Van Duyn and Richard Hugo, were widely praised in their day but are now all but forgotten. Still others--David Antin, Edward Dorn, or the Language poets--exemplify an avant-garde that was to come into its own. -- |
| jonathan culler theory of the lyric: Poetry and the Fate of the Senses Susan Stewart, 2002-01-20 What is the role of the senses in the creation and reception of poetry? How does poetry carry on the long tradition of making experience and suffering understood by others? With Poetry and the Fate of the Senses, Susan Stewart traces the path of the aesthetic in search of an explanation for the role of poetry in culture. Herself an acclaimed poet, Stewart not only brings the intelligence of a critic to the question of poetry, but the insight of a practitioner as well. Her new study includes close discussions of poems by Stevens, Hopkins, Keats, Hardy, Bishop, and Traherne, of the sense of vertigo in Baroque and Romantic works, and of the rich tradition of nocturnes in visual, musical, and verbal art. Ultimately, she argues that poetry can counter the denigration of the senses in contemporary life and can expand our imagination of the range of human expression. Poetry and the Fate of the Senses won the 2004 Truman Capote Award for Literary Criticism in Memory of Newton Arvin, administered for the Truman Capote Estate by the University of Iowa Writers' Workshop. It also won the Phi Beta Kappa Society's 2002 Christian Gauss Award for Literary Criticism. |
| jonathan culler theory of the lyric: What Is a World? Pheng Cheah, 2015-12-17 In What Is a World? Pheng Cheah, a leading theorist of cosmopolitanism, offers the first critical consideration of world literature’s cosmopolitan vocation. Addressing the failure of recent theories of world literature to inquire about the meaning of world, Cheah articulates a normative theory of literature’s world-making power by creatively synthesizing four philosophical accounts of the world as a temporal process: idealism, Marxist materialism, phenomenology, and deconstruction. Literature opens worlds, he provocatively suggests, because it is a force of receptivity. Cheah compellingly argues for postcolonial literature’s exemplarity as world literature through readings of narrative fiction by Michelle Cliff, Amitav Ghosh, Nuruddin Farah, Ninotchka Rosca, and Timothy Mo that show how these texts open up new possibilities for remaking the world by negotiating with the inhuman force that gives time and deploying alternative temporalities to resist capitalist globalization. |
| jonathan culler theory of the lyric: The Cambridge Companion to Narrative Theory Matthew Garrett, 2018-11-01 Narrative theory is essential to everything from history to lyric poetry, from novels to the latest Hollywood blockbuster. Narrative theory explores how stories work and how we make them work. This Companion is both an introduction and a contribution to the field. It presents narrative theory as an approach to understanding all kinds of cultural production: from literary texts to historiography, from film and videogames to philosophical discourse. It takes the long historical view, outlines essential concepts, and reflects on the way narrative forms connect with and rework social forms. The volume analyzes central premises, identifies narrative theory's feminist foundations, and elaborates its significance to queer theory and issues of race. The specially commissioned essays are exciting to read, uniting accessibility and rigor, traditional concerns with a renovated sense of the field as a whole, and analytical clarity with stylistic dash. Topical and substantial, The Cambridge Companion to Narrative Theory is an engaging resource on a key contemporary concept. |
| jonathan culler theory of the lyric: The Breaking of Style Helen Vendler, 1995 Vendler's masterful study of changes in style yields a new view of the interplay of moral, emotional, and intellectual forces in a poet's work. Throughout, Vendler reminds us that what distinguishes successful poetry is a mastery of language at all levels--including the rhythmic, the grammatical, and the graphic. |
| jonathan culler theory of the lyric: Introspection and Contemporary Poetry Alan Bacher Williamson, 1984 In this bold defense of so-called confessional poetry, Alan Williamson shows us that much of the best writing of the past twenty-five years is about the sense of being or having a self, a knowable personal identity. The difficulties posed by this subject help explain the fertility of contemporary poetic experiment--from the jaggedness of the later work of Robert Lowell to the montage--like methods of John Ashbery, from the visual surrealism of James Wright and W. S. Merwin to the radical plainness of Frank Bidart. Williamson examines these and other poets from a psychological perspective, giving an especially striking reading of Sylvia Plath. |
| jonathan culler theory of the lyric: Why Lyrics Last Brian Boyd, 2012-04-05 Why Lyrics Last turns an evolutionary lens on lyric verse, placing the writing of verse within the human disposition to play with pattern. Boyd takes as an extended example the many patterns to be found within Shakespeare’s Sonnets. There, the Bard avoids all narrative and demonstrates the power that verse can have when liberated of story. |
| jonathan culler theory of the lyric: The Past that Poets Make Harold E. Toliver, 1981 This analysis of the literary art of recapturing the past as the artist perceives it examines such questions as how a fictional narrative differs from other ways of seeing a past time; to what extent literature is nontemporal and to what extent it is tied to the institutions and traditions of its era; and how given works conjure up a sense of time. |
| jonathan culler theory of the lyric: Minotaur John Farris, 2015-03-26 Near-naked, flagrantly male, the Minotaur loomed out of the dark places of Greek mythology. Roaring, bull-headed, the creature advanced. The razor-sharp Cretan axe swung murderously, slicing through the air, through flesh, through bone. One by one its enemies died. Out of the past too came the plague – long-dormant seeds awakening to destroy. The victims would be legion, their deaths horrible. Yet behind the killing lay a plan, a purpose. A malign twentieth-century intelligence was calling up this hideous visitation. |
| jonathan culler theory of the lyric: Our Secret Discipline Helen Vendler, 2007-11-29 The fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of ones quarrels with others while poetry is the expression of ones quarrel with oneself. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poets mind. |
| jonathan culler theory of the lyric: Lyric Address in Dutch Literature, 1250-1800 Jürgen Pieters, Cornelis van der Haven, 2018-02-03 Lyric Address in Dutch Literature, 1250-1800 provides accessible and comprehensive readings of ten Dutch lyrical poems, discussing each poem's historical context, revealing its political or ideological framing, religious elements, or the self-representational interests of the poet. The book focuses on how the use of the speaker's I creates distance or proximity to the social context of the time. Close, detailed analysis of rhetorical techniques, such as the use of the apostrophe, illuminates the ways in which poetry reveals tensions in society. |
| jonathan culler theory of the lyric: A Companion to the Global Renaissance Jyotsna G. Singh, 2021-07-09 A COMPANION TO THE GLOBAL RENAISSANCE An innovative collection of original essays providing an expansive picture of globalization across the early modern world, now in its second edition A Companion to the Global Renaissance: Literature and Culture in the Era of Expansion, 1500–1700, Second Edition provides readers with a deeper and more nuanced understanding of both macro and micro perspectives on the commercial and cross-cultural interactions of the sixteenth and seventeenth centuries. Covering a uniquely broad range of literary and cultural materials, historical contexts, and geographical regions, the Companion’s varied chapters offer interdisciplinary perspectives on the implications of early modern concepts of commerce, material and artistic culture, sexual and cross-racial encounters, conquest and enslavement, social, artistic, and religious cross-pollinations, geographical “discoveries,” and more. Building upon the success of its predecessor, this second edition of A Companion to the Global Renaissance radically extends its scope by moving beyond England and English culture. Newly-commissioned essays investigate intercultural and intra-cultural exchanges, transactions, and encounters involving England, European powers, Eastern kingdoms, Africa, Islamic empires, and the Americas, within cross-disciplinary frameworks. Offering a complex and multifaceted view of early modern globalization, this new edition: Demonstrates the continuing global “turn” in Early Modern Studies through original essays exploring interconnected exchanges, transactions, and encounters Provides significantly expanded coverage of global interactions involving England, European powers such as Portugal, Spain, and The Netherlands, Eastern empires such as Japan, and the Ottoman, Safavid, and Mughal empires Includes a Preface and Afterword, as well as a revised and expanded Introduction summarizing the evolving field of Global Early Modern Studies and describing the motifs and methodologies informing the essays within the volume Explores an array of new subjects, including an exceptional woman traveler in Eurasia, the Jesuit presence in Mughal India and sixteenth-century Japan, the influence of Mughal art on an Amsterdam painter-cum-poet, the cultural impact of Eastern trade on plays and entertainments in early modern London, Safavid cultural disseminations, English and Portuguese slaving practices, the global contexts of English pattern poetry, and global lyric transmissions across cultures A wide-ranging account of the global expansions and interactions of the period, A Companion to the Global Renaissance: Literature and Culture in the Era of Expansion, 1500–1700, Second Edition remains essential reading for early modern scholars and students ranging from undergraduate and graduate students to more advanced scholars and specialists in the field. |
| jonathan culler theory of the lyric: Soul Says Helen Vendler, 1995 This work comprises essays on American, British and Irish poetry, showing contemporary life and culture captured in lyric form. It explains the power of poetry as the voice of the soul, rather than the socially marked self, speaking directly through the stylization of verse. |
| jonathan culler theory of the lyric: Poetry and Pragmatism Richard Poirier, 1992 Richard Poirier, one of America's most eminent critics, reveals in this book the creative but mostly hidden alliance between American pragmatism and American poetry. He brilliantly traces pragmatism as a philosophical and literary practice grounded in a linguistic skepticism that runs from Emerson and William James to the work of Robert Frost, Gertrude Stein, and Wallace Stevens, and on to the cultural debates of today. More powerfully than ever before, Poirier shows that pragmatism had its start in Emerson, the great example to all his successors of how it is possible to redeem even as you set out to change the literature of the past. Poirier demonstrates that Emerson--and later William James--were essentially philosophers of language, and that it is language that embodies our cultural past, an inheritance to be struggled with, and transformed, before being handed on to future generations. He maintains that in Emersonian pragmatist writing, any loss--personal or cultural--gives way to a quest for what he calls superfluousness, a kind of rhetorical excess by which powerfully creative individuals try to elude deprivation and stasis. In a wide-ranging meditation on what James called the vague, Poirier extols the authentic voice of individualism, which, he argues, is tentative and casual rather than aggressive and dogmatic. The concluding chapters describe the possibilities for criticism created by this radically different understanding of reading and writing, which are nothing less than a reinvention of literary tradition itself. Poirier's discovery of this tradition illuminates the work of many of the most important figures in American philosophy and poetry. His reanimation of pragmatism also calls for a redirection of contemporary criticism, so that readers inside as well as outside the academy can begin to respond to poetic language as the source of meaning, not to meaning as the source of language. |
| jonathan culler theory of the lyric: Poetry and Bondage Andrea Brady, 2021-10-21 Offering a new theory of poetic constraint, this book analyses contributions of bound people to the history of the lyric. |
| jonathan culler theory of the lyric: How to Tell a Joke Marcus Tullius Cicero, 2021-03-30 Everyone knows that Marcus Tullius Cicero was one of the great statesmen, lawyers, and effective orators in the history of Rome. But did you also know he was regarded as one of the funniest people in Roman society as well? Five hundred years after his death, in the twilight of antiquity, the writer Macrobius ranks him alongside the comic playwright Plautus as the one of the two greatest wits ever. In this book, classicist Michael Fontaine, proposes to translate selections from Cicero's great rhetorical treatise, On the Ideal Orator (De Oratore). That larger work covered the whole of rhetoric and effective public speaking and debate. However, contained within it, is a long section focused on the effective use of humor in public speaking. In it, Cicero is concerned not just with various kinds of individual jokes, but with jokes that are advantageous in social situations. He advises readers on how to make the most effective use of wit to win friends, audiences, and achieve their overall ambitions. Cicero wants to teach his readers how to tell a joke without looking like a buffoon, and how to prevent or avoid jokes from backfiring. Hence, he does give scores of examples of jokes-some of which are timeless and translate easily, others that involve puns in Latin that challenged the translator's creativity. But overall, this work brings to the fore a little known, but important part of Cicero's classic work.-- |
| jonathan culler theory of the lyric: The Ink Dark Moon , 1988 |
| jonathan culler theory of the lyric: The Pursuit of Signs Jonathan Culler, 2005-11-29 To gain a deeper understanding of the literary movement that has dominated recent Anglo-American literary criticism, The Pursuit of Signs is a must. In a world increasingly mediated, it offers insights into our ways of consuming texts that are both brilliant and bold. Dancing through semiotics, reader-response criticism, the value of the apostrophe and much more, Jonathan Culler opens up for every reader the closed world of literary criticism. Its impact on first publication, in 1981, was immense; now, as Mieke Bal notes, 'the book has the same urgency and acuity that it had then', though today it has even wider implications: 'with the interdisciplinary turn taking hold, literary theory itself, through this book, becomes a much more widespread tool for cultural analysis'. |
| jonathan culler theory of the lyric: Coming of Age as a Poet Helen Vendler, 2003 With characteristic precision, authority, and grace, Vendler helps readers to appreciate the conception and practice of poetry as she explores four poets and their first perfect works. 4 halftones. |
| jonathan culler theory of the lyric: Hearing Things Angela Leighton, 2018-05-07 Drawing on the writings of critics and philosophers and on the comments of poets and novelists who have pointed to the role of the ear in writing and reading, Angela Leighton offers a reconsideration of literature as an exercise in hearing things, and renews a call for criticism that is creatively attentive to sound’s work in every literary text. |
| jonathan culler theory of the lyric: After the New Criticism Frank Lentricchia, 1980 This work is the first history and evaluation of contemporary American critical theory within its European philosophical contexts. In the first part, Frank Lentricchia analyzes the impact on our critical thought of Frye, Stevens, Kermode, Sartre, Poulet, Heidegger, Sussure, Barthes, Lévi-Strauss, Derrida, and Foucault, among other, less central figures. In a second part, Lentricchia turns to four exemplary theorists on the American scene—Murray Krieger, E. D. Hirsch, Jr., Paul de Man, and Harold Bloom—and an analysis of their careers within the lineage established in part one. Lentricchia's critical intention is in evidence in his sustained attack on the more or less hidden formalist premises inherited from the New Critical fathers. Even in the name of historical consciousness, he contends, contemporary theorists have often cut literature off from social and temporal processes. By so doing he believes that they have deprived literature of its relevant values and turned the teaching of both literature and theory into a rarefied activity. All along the way, with the help of such diverse thinkers as Saussure, Barthes, Foucault, Derrida, and Bloom, Lentricchia indicates a strategy by which future critical theorists may resist the mandarin attitudes of their fathers. |
| jonathan culler theory of the lyric: Shifting Ground Bonnie Costello, 2003-03-30 Ammons, and John Ashbery map the fluctuating terrain of postmodern poetry with compelling clarity.--BOOK JACKET. |
| jonathan culler theory of the lyric: On Poetry Glyn Maxwell, 2016-11-21 On Poetry will be prized by writers and readers who wish to understand why and how poetic technique matters. Long regarded as one of Britain’s major poets, Glyn Maxwell shows that the greatest verse arises from a harmony of mind and body, and that poetic forms originate in human necessities: breath, heartbeat, footstep, posture. |
| jonathan culler theory of the lyric: Sundog Scott Walker, 2017-07-20 The first ever selection of lyrics by the iconic Scott Walker, hand picked by the artist. Scott Walker is undoubtedly one of the most brilliant, serious, and intelligent avant-garde artists today. As one of the greatest lyricists of the 20th century and front man of globally loved pop trio, The Walker Brothers, Walker commands huge devotion. A major event, Sundog is the first ever selection of Walker's lyrics curated by the artist himself, published for the first time with a stunning introduction by Eimear McBride. |
| jonathan culler theory of the lyric: Forms of Poetic Attention Lucy Alford, 2020 A poem is often read as a set of formal, technical, and conventional devices that generate meaning or affect. However, Lucy Alford suggests that poetic language might be better understood as an instrument for tuning and refining the attention. Identifying a crucial link between poetic form and the forming of attention, Alford offers a new terminology for how poetic attention works and how attention becomes a subject and object of poetry. Forms of Poetic Attention combines close readings of a wide variety of poems with research in the philosophy, aesthetics, and psychology of attention. Drawing on the work of a wide variety of poets such as T. S. Eliot, Wallace Stevens, Frank O'Hara, Anne Carson, Theresa Hak Kyung Cha, Harryette Mullen, Al-Khansā', Rainer Maria Rilke, Arthur Rimbaud, and Claudia Rankine, Alford defines and locates the particular forms of attention poems both require and produce. She theorizes the process of attention-making--its objects, its coordinates, its variables--while introducing a broad set of interpretive tools into the field of literary studies. Forms of Poetic Attention makes the original claim that attention is poetry's primary medium, and that the forms of attention demanded by a poem can train, hone, and refine our capacities for perception and judgment, on and off the page. |
| jonathan culler theory of the lyric: Possibilities of Lyric Manuele Gragnolati, Francesca Southerden, 2021-01-05 The book explores possibilities of lyric by reading Petrarch's vernacular poetry in dialogue with that of other poets, including Guido Cavalcanti, Dante, and Shakespeare. |
| jonathan culler theory of the lyric: Imagination and Logos Panagiotis Roilos, 2010 Cultural Politics, Socioaesthetics, Beginnings publishes books on sociocultural history, anthropology, literature, and critical theory, focusing on European---mainly Greek---traditions across historical, geographic, or disciplinary boundaries --Book Jacket. |
Jonathan (name) - Wikipedia
Jonathan (Hebrew: יְהוֹנָתָן/יוֹנָתָן , Standard: Yehōnatan/Yōnatan, Tiberian: Yŏhōnāṯān/Yōnāṯān [1]) is a common name given to males which means "YHWH has given" in Hebrew.
Meaning, origin and history of the name Jonathan
Dec 29, 2014 · From the Hebrew name יְהוֹנָתָן (Yehonaṯan), contracted to יוֹנָתָן (Yonaṯan), meaning " Yahweh has given", derived from the roots יְהוֹ (yeho) referring to the Hebrew God and נָתַן …
Jonathan: Name Meaning, Origin, Popularity - Parents
May 29, 2025 · Jonathan is a Hebrew name meaning “God has given.” It is a shortened version of the name Jehonathan or yehōnātān (Yahweh has given). Yahweh is the god of the Israelites, …
Bonnaroo co-founder Jonathan Mayers dead at 51 - New York Post
6 days ago · Jonathan Mayers, an innovative music festival creator known for co-founding Bonnaroo and Superfly Entertainment, died at the age of 51. “Our hearts are extremely heavy …
Jonathan Mayers, co-founder of Outside Lands and Bonnaroo, …
6 days ago · Jonathan Mayers, the live-music executive who co-founded the groundbreaking festivals Outside Lands and Bonnaroo and the promoter Superfly Entertainment, has died. He …
Jonathan Joss, 'King of the Hill' voice actor, killed in San Antonio ...
Jun 2, 2025 · Jonathan Joss, the voice actor best known as John Redcorn from "King of the Hill," was killed in a San Antonio shooting on Sunday, police said. A suspect, 56-year-old Sigfredo …
Jonathan - Baby Name Meaning, Origin, and Popularity
5 days ago · Jonathan is a boy's name of Hebrew origin meaning "gift of Jehovah". Jonathan is the 83 ranked male name by popularity.
Jonathan Name Meaning: Pronunciation, Nicknames & History
Feb 17, 2025 · Gender: Jonathan is a popular boy name. Origin: The name Jonathan is of Hebrew origin, and it means “God has given.” The Greek form of the name, Ioannēs, has the same …
Jonathan: Name Meaning, Origin, History, and Popularity
May 7, 2024 · Jonathan was the name of the eldest son of King Saul. His commitment, bravery, and loyalty toward his friend David have made him one of the most cherished and admired …
The amazing name Jonathan: meaning and etymology
The most famous Jonathan: the eldest son of Saul and beloved friend of David. He is introduced as Jonathan ( יונתן ) in 1 Samuel 13:2, and first gets called Jehonathan ( יהונתן ) in 14:6. Both …
Jonathan (name) - Wikipedia
Jonathan (Hebrew: יְהוֹנָתָן/יוֹנָתָן , Standard: Yehōnatan/Yōnatan, Tiberian: Yŏhōnāṯān/Yōnāṯān [1]) is a common name given to males which means "YHWH has given" in Hebrew.
Meaning, origin and history of the name Jonathan
Dec 29, 2014 · From the Hebrew name יְהוֹנָתָן (Yehonaṯan), contracted to יוֹנָתָן (Yonaṯan), meaning " Yahweh has given", derived from the roots יְהוֹ (yeho) referring to the Hebrew God and נָתַן …
Jonathan: Name Meaning, Origin, Popularity - Parents
May 29, 2025 · Jonathan is a Hebrew name meaning “God has given.” It is a shortened version of the name Jehonathan or yehōnātān (Yahweh has given). Yahweh is the god of the Israelites, …
Bonnaroo co-founder Jonathan Mayers dead at 51 - New York Post
6 days ago · Jonathan Mayers, an innovative music festival creator known for co-founding Bonnaroo and Superfly Entertainment, died at the age of 51. “Our hearts are extremely heavy as …
Jonathan Mayers, co-founder of Outside Lands and Bonnaroo, …
6 days ago · Jonathan Mayers, the live-music executive who co-founded the groundbreaking festivals Outside Lands and Bonnaroo and the promoter Superfly Entertainment, has died. He …
Jonathan Joss, 'King of the Hill' voice actor, killed in San Antonio ...
Jun 2, 2025 · Jonathan Joss, the voice actor best known as John Redcorn from "King of the Hill," was killed in a San Antonio shooting on Sunday, police said. A suspect, 56-year-old Sigfredo …
Jonathan - Baby Name Meaning, Origin, and Popularity
5 days ago · Jonathan is a boy's name of Hebrew origin meaning "gift of Jehovah". Jonathan is the 83 ranked male name by popularity.
Jonathan Name Meaning: Pronunciation, Nicknames & History
Feb 17, 2025 · Gender: Jonathan is a popular boy name. Origin: The name Jonathan is of Hebrew origin, and it means “God has given.” The Greek form of the name, Ioannēs, has the same …
Jonathan: Name Meaning, Origin, History, and Popularity
May 7, 2024 · Jonathan was the name of the eldest son of King Saul. His commitment, bravery, and loyalty toward his friend David have made him one of the most cherished and admired Biblical …
The amazing name Jonathan: meaning and etymology
The most famous Jonathan: the eldest son of Saul and beloved friend of David. He is introduced as Jonathan ( יונתן ) in 1 Samuel 13:2, and first gets called Jehonathan ( יהונתן ) in 14:6. Both names …
