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 100
vii psl.
... Imagination 1 1 The Emersonian Myth of Knowledge in the New World 5 2 Walt Whitman and the World Beyond Rationalism 16 3 Herman Melville and the Failure of Higher Truth 31 4 Emily Dickinson and the Destruction of the Language of ...
... Imagination 1 1 The Emersonian Myth of Knowledge in the New World 5 2 Walt Whitman and the World Beyond Rationalism 16 3 Herman Melville and the Failure of Higher Truth 31 4 Emily Dickinson and the Destruction of the Language of ...
x psl.
... Imaginations , copyright 1970 by Florence H. Wil- liams ; The Embodiment of Knowledge , copyright 1974 by Florence H. Williams ; Selected Essays , copyright 1951 by New Directions . Gertrude Stein's Four in America ( 1947 ) , and ...
... Imaginations , copyright 1970 by Florence H. Wil- liams ; The Embodiment of Knowledge , copyright 1974 by Florence H. Williams ; Selected Essays , copyright 1951 by New Directions . Gertrude Stein's Four in America ( 1947 ) , and ...
xiii psl.
... imaginative writers . The influence of nineteenth - century science added force and direction to the impulse , and the results are most noticeable in turn - of - the - century realism , itself a re- volt against conventional " truths ...
... imaginative writers . The influence of nineteenth - century science added force and direction to the impulse , and the results are most noticeable in turn - of - the - century realism , itself a re- volt against conventional " truths ...
xv psl.
... imagination . Relativistic physics - or at least the intellectual discussion it stimulated - opened the floodgates of possibility for thinking about knowing : if scientific certainty could be destroyed , and by what seemed to be an ...
... imagination . Relativistic physics - or at least the intellectual discussion it stimulated - opened the floodgates of possibility for thinking about knowing : if scientific certainty could be destroyed , and by what seemed to be an ...
1 psl.
... imagination as absolute arbiter and interpreter ; and in so doing they discovered much about the limits of the self and the self's knowing . They took the risk that the products of their imaginations might be eccentric , solipsistic ...
... imagination as absolute arbiter and interpreter ; and in so doing they discovered much about the limits of the self and the self's knowing . They took the risk that the products of their imaginations might be eccentric , solipsistic ...
Kiti leidimai - Peržiūrėti viską
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 |