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 1–5 iš 61
xviii psl.
... image and word . I note some of the Americans ' specific indebtednesses within the discussions of individual writers but leave the larger comparative literature approach for other commentators . I try to represent the writers ...
... image and word . I note some of the Americans ' specific indebtednesses within the discussions of individual writers but leave the larger comparative literature approach for other commentators . I try to represent the writers ...
xxiv psl.
... images , and approaches of the knowledge destroyers have become deeply infused in our culture and have become part of what we are ; paradoxically , their anti - orthodoxy has become a new orthodoxy , their anti - style a new style . In ...
... images , and approaches of the knowledge destroyers have become deeply infused in our culture and have become part of what we are ; paradoxically , their anti - orthodoxy has become a new orthodoxy , their anti - style a new style . In ...
13 psl.
... image of our own orderly and benign mind at work . And its risks are greater than the petty sins of tautology and self - admi- ration . High - minded social intolerance and religious bigotry are rooted here . Take one of Emerson's ...
... image of our own orderly and benign mind at work . And its risks are greater than the petty sins of tautology and self - admi- ration . High - minded social intolerance and religious bigotry are rooted here . Take one of Emerson's ...
14 psl.
... images are not rare in nineteenth - century American nature poems , but frequently their observation of nature is tautology and their reassurance meaning- less , other than to say to us " this is how I can feel about using these natural ...
... images are not rare in nineteenth - century American nature poems , but frequently their observation of nature is tautology and their reassurance meaning- less , other than to say to us " this is how I can feel about using these natural ...
20 psl.
... images and details in his poems , the multitude of lists , descriptions , and vignettes , are all signs of his revision of knowl- edge along anti - abstractionist lines . Verisimilitude often becomes a prime objective of his technique ...
... images and details in his poems , the multitude of lists , descriptions , and vignettes , are all signs of his revision of knowl- edge along anti - abstractionist lines . Verisimilitude often becomes a prime objective of his technique ...
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Pagrindiniai terminai ir frazės
absolute abstraction aesthetic Aiken American approach artists Bergson Camera Eye century characters concepts consciousness conventional Crane critical cubist cultural Dada dadaists destruction of knowledge Dickinson elements Emerson Emily Dickinson emotion epistemological Essays example experience Ezra Pound feeling fiction Frost Gertrude Stein Hemingway Hemingway's human ideas images imagination individual insight intellectual intuition kind knowing language linguistic literary literary realism literature logic look Manhattan Transfer meaning Melville metaphor mind Moby-Dick modernist naive naive realism narrative narrator nature needs be needs nineteenth-century novel object painting Passos Passos's perceived perception perspective philosophical Philosophical Realism physical poem poet poetic poetry Pound prose radical rational realism reality reflexiveness represent representation seems self-projection sense social Stephen Crane Stevens Stevens's symbols T. S. Eliot techniques things thought tion truth twentieth-century University Press verbal vision Wallace Stevens Whitman William Carlos Williams Williams Williams's words 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 |