American Literature and the Destruction of Knowledge: Innovative Writing in the Age of EpistemologyDuke University Press, 1991 - 391 psl. In this challenging work, Ronald E. Martin analyzes the impulse of major nineteenth- and twentieth-century American writers to undermine not only their inherited paradigms of literary and linguistic thought but to question how paradigms themselves are constructed. Through analyses of these writers, as well as contemporaneous scientists, mathematicians, philosophers, and visual artists, American Literature and the Destruction of Knowledge creates a panoramic view of American literature over the past 150 years and shows it to be a crucial part of the great philosophical changes of the period. The works of Melville, Emerson, Whitman, and Dickinson, followed by Crane, Frost, Pound, Stein, Hemingway, Dos Passos, Aiken, Stevens, and Williams, are examined as part of a cultural current that casts doubt on the possibility of knowledge itself. The destruction of concepts, of literary and linguistic forms, was for these writers a precondition for liberating the imagination to gain more access to the self and the real world. As part of the exploration of this cultural context, literary and philosophical realisms are examined together, allowing a comparison of their somewhat different objectives, as well as their common epistemological predicament. |
Knygos viduje
Rezultatai 15 iš 75
vii psl.
... 8 Stephen Crane and Robert Frost : Nonreflexive Perception and Dehumanized Universe 121 IV The Revolution in Visual Arts 145 9 The Artistic Process and the Wider Event 157 V The American Writer in the Age of Epistemology 175.
... 8 Stephen Crane and Robert Frost : Nonreflexive Perception and Dehumanized Universe 121 IV The Revolution in Visual Arts 145 9 The Artistic Process and the Wider Event 157 V The American Writer in the Age of Epistemology 175.
xvi psl.
... artists and identified with their works , and many of those artists were dedicated , in a variety of ingenious ways , to the destruction of conven- tions . Greatly concerned with the problems and paradoxes of perception and ...
... artists and identified with their works , and many of those artists were dedicated , in a variety of ingenious ways , to the destruction of conven- tions . Greatly concerned with the problems and paradoxes of perception and ...
20 psl.
... , almost emotional , palpably artistic , heroic , of a tree ; so innocent and harmless , yet so savage . It is , yet says nothing . . . One lesson from affiliating a tree - perhaps the greatest 20 The Destruction of Knowledge.
... , almost emotional , palpably artistic , heroic , of a tree ; so innocent and harmless , yet so savage . It is , yet says nothing . . . One lesson from affiliating a tree - perhaps the greatest 20 The Destruction of Knowledge.
21 psl.
... artistic , heroic ) in an attempt to articulate its greater significance , and then in effect can- celing all describability by acknowledging the tree principally as being , as inherency , as what is . - " Inherency can't be directly ...
... artistic , heroic ) in an attempt to articulate its greater significance , and then in effect can- celing all describability by acknowledging the tree principally as being , as inherency , as what is . - " Inherency can't be directly ...
25 psl.
... artist alone can give - reality would seem incomplete , and science , democracy , and life itself , finally in vain.5 It is the epistemological equivalent of a love affair , this reciprocity of imagination and reality , and it seems ...
... artist alone can give - reality would seem incomplete , and science , democracy , and life itself , finally in vain.5 It is the epistemological equivalent of a love affair , this reciprocity of imagination and reality , and it seems ...
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Pagrindiniai terminai ir frazės
abstraction actual American approach artists attempt become beginning century characters concepts connection conventional course critical cultural destroy destruction developed direct early effect elements epistemological especially example existence experience expression eyes fact feeling felt fiction force give human ideas images imagination individual insight interest interpretation involved kind knowing knowledge language later less Letters lines linguistic literary literature living logic look matter meaning mind narrative nature needs never novel object painting particular Passos perception perspective philosophical physical poem poet poetry possibility Pound present Press pure radical realism reality reference reflexiveness relation relativity represent representation seems sense shows significance simple social sort specific stand Stein Stevens suggests symbols techniques theory things thought tion truth understanding universe Whitman whole writers
Populiarios ištraukos
7 psl. - Standing on the bare ground my head bathed by the blithe air and uplifted into infinite space all mean egotism vanishes. I become a transparent eyeball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or parcel of God.
73 psl. - In general, we mean by any concept nothing more than a set of operations; the concept is synonymous with the corresponding set of operations.
210 psl. - thing' whether subjective or objective. 2. To use absolutely no word that does not contribute to the presentation. 3. As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.
8 psl. - We are always coming up with the emphatic facts of history in our private experience and verifying them here. All history becomes subjective; in other words there is properly no history, only biography.
20 psl. - From the stump of the arm, the amputated hand, I undo the clotted lint, remove the slough, wash off the matter and blood...
91 psl. - We ought to say a feeling of and, a feeling of if, a feeling of but, and a feeling of by, quite as readily as we say a feeling of blue or a feeling of cold.
8 psl. - As the traveller who has lost his way, throws his reins on his horse's neck, and trusts to the instinct of the animal to find his road, so must we do with the divine animal who carries us through this world.
6 psl. - It is a secret which every intellectual man quickly learns, that beyond the energy of his possessed and conscious intellect he Is capable of a new energy (as of an intellect doubled on itself), by abandonment to the nature of things; that beside his privacy of power as an individual man there is a great public power, on which he can draw by unlocking, at all risks, his human doors, and suffering the ethereal tides to roll and circulate through him...
12 psl. - As the eyes of Lyncaeus were said to see through the earth, so the poet turns the world to glass, and shows us all things in their right series and procession.
257 psl. - THE MAN WITH THE BLUE GUITAR T.HE man bent over his guitar, A shearsman of sorts. The day was green. They said, "You have a blue guitar, You do not play things as they are.
Šią knygą minintys šaltiniai
Melville's Muse Literary Creation & the Forms of Philosophical Fiction John Paul Wenke Trumpų ištraukų rodinys - 1995 |
Melville's Muse Literary Creation & the Forms of Philosophical Fiction John Paul Wenke Trumpų ištraukų rodinys - 1995 |