Download Poetry as Discourse by Antony Easthope PDF

By Antony Easthope

First released in 2002. Routledge is an imprint of Taylor & Francis, an informa corporation.

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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.

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