This book argues that we should regard walking and talking in a single rhythmic vision. In doing so, it contributes to the theory of prosody, our understanding of respiration and looking, and, in sum, to the particular links, across the board, between the human characteristics of bipedal walking and meaningful talk. The author first introduces the philosophical, neurological, anthropological, and aesthetic aspects of the subject in historical perspective, then focuses on rhetoric and introduces a tension between the small and large issues of rhythm. He thereupon turns his attention to the...
This book argues that we should regard walking and talking in a single rhythmic vision. In doing so, it contributes to the theory of prosody, our unde...
This book argues that we should regard walking and talking in a single rhythmic vision. In doing so, it contributes to the theory of prosody, our understanding of respiration and looking, and, in sum, to the particular links, across the board, between the human characteristics of bipedal walking and meaningful talk. The author first introduces the philosophical, neurological, anthropological, and aesthetic aspects of the subject in historical perspective, then focuses on rhetoric and introduces a tension between the small and large issues of rhythm. He thereupon turns his attention to the...
This book argues that we should regard walking and talking in a single rhythmic vision. In doing so, it contributes to the theory of prosody, our unde...
What's new about the apocalypse? Revelation does not allow us to look back after the end and enumerate pivotal turning points. It happens in an immediate encounter with the transformatively new. John Milton's and Andrew Marvell's lyrics attempt to render the experience of such an apocalyptic change in the present. In this respect they take seriously the Reformation's insistence that eschatology is a historical phenomenon. Yet these poets are also reacting to the Regicide, and, as a result, their works explore very modern questions about the nature of events, what it means for a significant...
What's new about the apocalypse? Revelation does not allow us to look back after the end and enumerate pivotal turning points. It happens in an immedi...
What happens to poetic beauty when history turns the poet from one who contemplates natural beauty and the sublime to one who attempts to reconcile the practice of art with the hustle and noise of the city? An Atmospherics of the City traces Charles Baudelaire's evolution from a writer who practices a form of fetishizing aesthetics in which poetry works to beautify the ordinary to one who perceives background noise and disorder--the city's version of a transcendent atmosphere--as evidence of the malign work of a transcendent god of time, history, and ultimate destruction. Analyzing this...
What happens to poetic beauty when history turns the poet from one who contemplates natural beauty and the sublime to one who attempts to reconcile th...
Since the mid-1980s, attempts to think history and literature together have produced much exciting work in the humanities. Indeed, some form of historicism can be said to inform most of the current scholarship in literary studies, including work in poetics, yet much of this scholarship remains undertheorized.Envisioning a revitalized and more expansive historicism, this volume builds on the tradition of Historical Poetics, pioneered by Alexander Veselovsky (1838-1906) and developed in various fruitful directions by the Russian Formalists, Mikhail Bakhtin, and Olga Freidenberg. The volume...
Since the mid-1980s, attempts to think history and literature together have produced much exciting work in the humanities. Indeed, some form of histor...
Who speaks? The author as producer, the contingency of the text, intertextuality, the "device"--core ideas of modern literary theory--were all pioneered in the shadow of oral literature. Authorless, loosely dated, and variable, oral texts have always posed a challenge to critical interpretation. When it began to be thought that culturally significant texts--starting with Homer and the Bible--had emerged from an oral tradition, assumptions on how to read these texts were greatly perturbed. Through readings that range from ancient Greece, Rome, and China to the Cold War imaginary, The...
Who speaks? The author as producer, the contingency of the text, intertextuality, the "device"--core ideas of modern literary theory--were all pioneer...
Who speaks? The author as producer, the contingency of the text, intertextuality, the "device"-core ideas of modern literary theory-were all pioneered in the shadow of oral literature. Authorless, loosely dated, and variable, oral texts have always posed a challenge to critical interpretation. When it began to be thought that culturally significant texts-starting with Homer and the Bible-had emerged from an oral tradition, assumptions on how to read these texts were greatly perturbed. Through readings that range from ancient Greece, Rome, and China to the...
Who speaks? The author as producer, the contingency of the text, intertextuality, the "device"-core ideas of modern literary theory-w...
The Renaissance was the Ruin-naissance, the birth of the ruin as a distinct category of cultural discourse, one that inspired voluminous poetic production. For humanists, the ruin became the material sign that marked the rupture between themselves and classical antiquity. In the first full-length book to document this cultural phenomenon, Andrew Hui explains how the invention of the ruin propelled poets into creating works that were self-aware of their absorption of the past as well as their own survival in the future
The Renaissance was the Ruin-naissance, the birth of the ruin as a distinct category of cultural discourse, one that inspired voluminous poetic produc...
The Renaissance was the Ruin-naissance, the birth of the ruin as a distinct category of cultural discourse, one that inspired voluminous poetic production. For humanists, the ruin became the material sign that marked the rupture between themselves and classical antiquity. In the first full-length book to document this cultural phenomenon, Andrew Hui explains how the invention of the ruin propelled poets into creating works that were self-aware of their absorption of the past as well as their own survival in the future
The Renaissance was the Ruin-naissance, the birth of the ruin as a distinct category of cultural discourse, one that inspired voluminous poetic produc...
