By Antony Easthope
First released in 2002. Routledge is an imprint of Taylor & Francis, an informa corporation.
Read or Download Poetry as Discourse PDF
Similar criticism & theory books
The belief of abolishing dying used to be probably the most influential myth-making options expressed in Russian literature from 1900 to 1930, particularly within the works of writers who attributed a "life-modeling" functionality to paintings. To them, paintings was once to create a existence so aesthetically prepared and excellent that immortality will be an inevitable final result.
The purpose of this booklet is twofold: to use the elemental insights of psychoanalytic idea to D. H. Lawrence and his works and to reach at a deeper appreciation of artistic procedures mostly. even though Lawrence himself used to be severe of psychoanalysis as a self-discipline, he however created a memorable physique of fiction that probed the fight of individuals attempting to in attaining wholeness within the face of constricting mental and environmental stumbling blocks.
Any reader of Dostoevsky is instantly struck via the significance of faith in the global of his fiction. That stated, it's very tricky to find a coherent set of spiritual ideals inside Dostoevsky’s works, and to argue that the author embraced those ideals. This publication offers a trenchant reassessment of his faith via displaying how Dostoevsky used his writings because the motor vehicle for an severe probing of the character of Christianity, of the person which means of trust and doubt, and of the issues of moral habit that come up from those questions.
- The Content of the Form: Narrative Discourse and Historical Representation
- The poetry of Louise Glück : a thematic introduction
- The Quality of Literature: Linguistic studies in literary evaluation
- Re-reading Saussure: The Dynamics of Signs in Social Life
Additional info for Poetry as Discourse
In the first place it iç--a--version of 'technological determinism' in assuming that (discourse is essentially-tleter-N mined by its mf(/ï«m of expression - as Bold puts it, 'the unique7 \ style of the ballads derives from its oral nature' (my italics). T o ^ ^ . make this claim the P a r r y - L o r d theory relies on a complete \^^^^^ opposition between the categories of'the oral' and 'the written'. T h e opposition cannot be maintained in the face of Derrida's» demonstration that the graphematic is a feature of both writing j and speech, including, so he says, 'the most "event-ridden" ^ utterance thereis'(1977, p.
These co-existent systems are given different names: meter У5 performance, (traditional) meter ZJ^'rhythm' (potential or core), meter vs its actuahzation, abstract frame vs actual instance, schema or 'normative fact' vs particular, etc. Similarly the relationship between them is named variously: tension, interplay, counterpoint. But despite the variation in terminology, the principle is the same, and the solidarity of view inspires confidence in the validity of the distinction. ( 1967, pp. 69-70) The term counterpoint is preferred here because of the currency given it first by Hopkins and later by Yvor Winters.
So a particular practice of Л the national tongue can dress-itself in the clothes of antiquity I and a bourgeois national aspiration may represent itself in the' form of universal civilization (see Kristeva 1974, p. 210). The j pentameter is favoured by the English court at the Renaissance - in 1589 Puttenham praises Wyatt and Surrey on the grounds that they greatly poUished our rude & homely maner of vulgar Poésie, from that it had bene before, and for that cause may iustly be sayd the first reformers of our Enghsh metre and stile.