Dialogue and Literature: Apostrophe, Auditors, and the Collapse of Romantic DiscourseOxford University Press, 1994-05-12 - 256 psl. Extending and reframing the works of Bakhtin, Gadamer, Ong, and Foucault--with particular emphasis on Bakhtin's late essays --Macovski constructs a theoretical model of literary dialogue and applies it to a range of Romantic texts. In reconsidering specific works within the context of cultural heuristics, rhetorical theory, and literary history, Macovski redefines Romantic discourse as both extratextual and agonistic. He thereby re-evaluates such Romantic topics as the history of the autotelic self, the proliferation of lyric orality, and the nineteenth-century critique of rhetoric. He examines poetry by Wordsworth and Coleridge, as well as such nineteenth-century prose works as Frankenstein, Wuthering Heights, and Heart of Darkness. |
Knygos viduje
Rezultatai 1–5 iš 76
xi psl.
... Poet- ics . Translated by Caryl Emerson . Minneapolis : Uni- versity of Minnesota Press , 1984 . Prose " Response " Wordsworth , William . The Prose Works of William Wordsworth . Edited by W. J. B. Owen and Jane Worthington Smyser . 2 ...
... Poet- ics . Translated by Caryl Emerson . Minneapolis : Uni- versity of Minnesota Press , 1984 . Prose " Response " Wordsworth , William . The Prose Works of William Wordsworth . Edited by W. J. B. Owen and Jane Worthington Smyser . 2 ...
4 psl.
... poets of the period , and extending to those nineteenth - century prose works most often treated as " Romantic " : Frankenstein , Wuthering Heights , and Heart of Darkness . As is often noted , such works share a common concern with ...
... poets of the period , and extending to those nineteenth - century prose works most often treated as " Romantic " : Frankenstein , Wuthering Heights , and Heart of Darkness . As is often noted , such works share a common concern with ...
5 psl.
... ( Poet- ics 74 , 212 ) . If it is misguided to ignore the voices that externally surround the self , it is equally mistaken to assume that the ego itself is internally univocal and autogenic . As Bakhtin's formulation stresses , however ...
... ( Poet- ics 74 , 212 ) . If it is misguided to ignore the voices that externally surround the self , it is equally mistaken to assume that the ego itself is internally univocal and autogenic . As Bakhtin's formulation stresses , however ...
6 psl.
... poetic speaker to stand outside himself : by " looking inside himself , he looks into the eyes of another or with the eyes of another " ( 287 ) . At the same time , this ability to endow a discrete other further applies to temporalized ...
... poetic speaker to stand outside himself : by " looking inside himself , he looks into the eyes of another or with the eyes of another " ( 287 ) . At the same time , this ability to endow a discrete other further applies to temporalized ...
8 psl.
... poetic functions , apostrophe enables the lyric poet to represent unknown or even hostile forces as vocal manifestations of a polyphonic world . That such studies would focus on Romantic genres is not surpris- ing when we consider that ...
... poetic functions , apostrophe enables the lyric poet to represent unknown or even hostile forces as vocal manifestations of a polyphonic world . That such studies would focus on Romantic genres is not surpris- ing when we consider that ...
Turinys
The Novel All Told Audition Orality and the Collapse of Dialogue | 103 |
Notes | 179 |
Works Cited | 211 |
Index | 221 |
Kiti leidimai - Peržiūrėti viską
Pagrindiniai terminai ir frazės
abalienate accordingly actually agonism agonistic apostrophe attempt audience auditor Bakhtin become Brontë Catherine Catherine's characterize characters Coleridge Coleridge's colloquy communication concept confession Conrad's consciousness context conversation corroboration critical cultural defines desire dialectic dialogic form dialogue discourse discussion Edited Emily Brontë emphasis added enables evil exchange external Frankenstein Heart of Darkness Heathcliff Hence hermeneutic hidden human imagination instance interaction interchange interlocutor internal interpretive Kurtz language linguistic listener literary Lockwood logue lyric Mariner Mariner's Marlow Mary Shelley's monster moreover narrative narrator nature Nelly nineteenth-century noted notion novel ongoing ontological oral poem poet poetic poetry potential present question reader refers relation represent response rhetorical Rime Romantic Romantic poetry Romanticism Samuel Taylor Coleridge sense Shelley silence social speak speaker Speech Genres spoken stresses suggests symbols synecdoche thou Tintern Abbey tion understanding University Press utterance Victor vocal vocative voice Walton words Wordsworth writes Wuthering Heights
Populiarios ištraukos
53 psl. - Nor less I deem that there are Powers Which of themselves our minds impress; That we can feed this mind of ours In a wise passiveness.
72 psl. - Around, around, flew each sweet sound, Then darted to the Sun; Slowly the sounds came back again, Now mixed, now one by one. Sometimes a-dropping from the sky I heard the sky-lark sing; Sometimes all little birds that are, How they seemed to fill the sea and air With their sweet jargoning!
56 psl. - My dear, dear Friend ; and in thy voice I catch The language of my former heart, and read My former pleasures in the shooting lights Of thy wild eyes.
103 psl. - And he felt in his heart their strangeness, Their stillness answering his cry, While his horse moved, cropping the dark turf, 'Neath the starred and leafy sky; For he suddenly smote on the door, even Louder, and lifted his head: — "Tell them I came, and no one answered, That I kept my word,
84 psl. - Like one that on a lonesome road Doth walk in fear and dread, And having once turned round, walks on, And turns no more his head ; Because he knows a frightful fiend Doth close behind him tread.
92 psl. - O shrieve me, shrieve me, holy man!' The Hermit crossed his brow. 'Say quick,' quoth he, 'I bid thee say — What manner of man art thou?
73 psl. - I bid thee say — What manner of man art thou?" Forthwith this frame of mine was wrenched With a woful agony Which forced me to begin my tale; And then it left me free. Since then, at an uncertain hour, That agony returns: And till my ghastly tale is told, This heart within me burns.
51 psl. - To Beings else forlorn and blind! Up! up! and drink the spirit breathed From dead men to their kind. "You look round on your Mother Earth, As if she for no purpose bore you; 10 As if you were her first-born birth, And none had lived before you!
134 psl. - Never seek to tell thy love, Love that never told can be ; For the gentle wind does move Silently, invisibly. I told my love, I told my love, I told her all my heart ; Trembling, cold, in ghastly fears, Ah ! she doth depart. Soon as she was gone from me, A traveller came by, Silently, invisibly : He took her with a sigh.
161 psl. - There was nothing either above or below him, and I knew it. He had kicked himself loose of the earth. Confound the man! he had kicked the very earth to pieces.