Poetry, Signs, and MagicUniversity of Delaware Press, 2005 - 327 pàgines Poetry, Signs, and Magic brings together in a single volume fourteen new and previously published essays by the eminent Renaissance scholar and literary critic Thomas M. Greene. This collection looks back toward two earlier volumes by Greene, his first essay collection The Vulnerable Text: Essays on Renaissance Literature, and Poesie et Magie, whose theme is here explored again at greater length and depth, from linguistic and literary critical perspectives. Greene argues that certain poetic gestures draw their peculiar strengths by serving as vestiges of poetry's ancestral acts - magic, prayer, and invocation. Poetry, in other words, feigns an earlier power, but in this diminishment there occurs a verbal subtlety, and figural poignancy, commonly associated with art's aesthetic pleasures. Greene employs his well-known skills as a close reader to texts by a range of writers including a variety of contemporary theorists. in diverse contexts the distinction between disjunctive and conjunctive linguistics, dual theories of sound and meaning of crucial importance to Plato and Aristotle, to Catholic and Protestant debates on the sacraments, to the more recent skeptical methodologies of Derrida and de Man. Thomas M. Greene was a Professor of English and Comparative Literature at Yale University. |
Des de l'interior del llibre
Resultats 1 - 5 de 41.
Pàgina 23
... symbols . But de Man's critique of the symbol rests in fact on a questionable assumption . The symbol might rather be perceived to produce , not " an illusory identification " of self and nonself , but rather a subtler and more ...
... symbols . But de Man's critique of the symbol rests in fact on a questionable assumption . The symbol might rather be perceived to produce , not " an illusory identification " of self and nonself , but rather a subtler and more ...
Pàgina 26
... symbol.1- Yves Bonnefoy writes , reversing Wordsworth's metaphor : " A word seems to be the soul of what it names , its ever - intact soul . " 13 What appears to be archetypal , or at any rate perennial , is not so much an error as the ...
... symbol.1- Yves Bonnefoy writes , reversing Wordsworth's metaphor : " A word seems to be the soul of what it names , its ever - intact soul . " 13 What appears to be archetypal , or at any rate perennial , is not so much an error as the ...
Pàgina 32
... symbols of the sacraments were " external things " that could not bring comfort to the human heart . Another reformer , Heinrich Bullinger , wrote that the recitation of Christ's words over the eucharistic host in a foreign tongue was ...
... symbols of the sacraments were " external things " that could not bring comfort to the human heart . Another reformer , Heinrich Bullinger , wrote that the recitation of Christ's words over the eucharistic host in a foreign tongue was ...
Pàgina 33
... symbol is virtually allowed to fall away in favor of a direct apprehension of its object . This line of argument is suddenly reversed however in The Pagan Servitude by a momentous turn back toward a conjunctive semiotic . Speaking now ...
... symbol is virtually allowed to fall away in favor of a direct apprehension of its object . This line of argument is suddenly reversed however in The Pagan Servitude by a momentous turn back toward a conjunctive semiotic . Speaking now ...
Pàgina 35
... symbol . " 16 But the matter had already received somewhat more ambivalent treatment in what is really the locus classicus of the debate : Plato's Cratylus . In that dia- logue on names and nouns , a certain Hermogenes defends the con ...
... symbol . " 16 But the matter had already received somewhat more ambivalent treatment in what is really the locus classicus of the debate : Plato's Cratylus . In that dia- logue on names and nouns , a certain Hermogenes defends the con ...
Continguts
29 | |
43 | |
Rabelais and the Language of Malediction | 62 |
Labyrinth Dances in the French and English Renaissance | 76 |
The Poetics of Discovery A Reading of Donnes Elegy 19 | 132 |
Shakespeares Richard II The Name in Bolingbrokes Window | 147 |
Pressures of Context in Antony and Cleopatra | 158 |
Ceremonial Closure in Shakespeares Plays | 177 |
The Balance of Power in Marvells Horatian Ode | 206 |
Coleridge and the Energy of Asking | 222 |
Poetry and the Scattered World | 245 |
Poetry and Permeability | 260 |
Notes | 277 |
Bibliography | 308 |
Index | 320 |
Magic and CounterMagic in Comus | 189 |
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Frases i termes més freqüents
Aeneid Antony Antony and Cleopatra Antony's appears Balet Comique ballet Ballet des Polonais Beaujoyeulx becomes body called century choreographic circle Cleopatra Coleridge Comus conjunctive context correspondence Cratylus culture dancers death disjunctive divine Dorat's dramatic early modern Edited Elegy Essays evokes geranos gesture heaven human hymn imitate invocation John Donne Jonson kind labyrinth labyrinth dances language lines linguistic magic masque Masque of Beauty maze Meander meaning ment metaphor Milton nature Orphic Paris passage perceived performance Petrarch play Plutarch poem poet poetic poetry present projective quoted Rabelais reader recursus reference Renaissance rhetoric Richard Richard II ritual Ronsard Samuel Taylor Coleridge scene seems semiotic Shakespeare signified song sonnet Sonnet 16 soul sound speaker speech spirit suggests symbol textual theory Theseus thing thou tion trans translation Troia trope turn uncanny University Press verbal vols Wallace Stevens word writes York
Passatges populars
Pàgina 181 - the play. .. . Now I want Spirits to enforce, art to enchant, And my ending is despair, Unless I be reliev'd by prayer, Which pierces so, that it assaults Mercy itself, and frees all faults. As you from crimes would pardon'd be Let your indulgence set me free. (Epilogue, 13-20)
Pàgina 151 - God says to Cain: What hast thou done? The voice of thy brother's blood crieth unto me from the ground. And now art thou cursed from the earth, which hath opened her mouth to receive thy brother's blood from thy hand. When thou tillest the ground, it shall not henceforth yield unto thee her strength.
Pàgina 151 - unto me from the ground. And now art thou cursed from the earth, which hath opened her mouth to receive thy brother's blood from thy hand. When thou tillest the ground, it shall not henceforth yield unto thee her strength. (Genesis
Pàgina 57 - Who chariotest to their dark wintry bed The winged seeds, where they lie cold and low, Each like a corpse within its grave, until Thine azure sister of the Spring shall blow Her clarion o'er the dreaming earth, and fill 10 (Driving sweet buds like flocks to feed in air) With living hues and odors plain and hill: Wild Spirit, which
Pàgina 236 - so shall thou see and hear The lovely shapes and sounds intelligible Of that eternal language, which thy God Utters, who from eternity doth teach Himself in all, and all things in himself. Great universal Teacher! he shall mould Thy spirit, and by giving make it ask.
Pàgina 242 - May all the stars hang bright above her dwelling, Silent as though they watched the sleeping Earth! With light heart may she rise, Gay fancy, cheerful eyes, Joy lift her spirit, joy attune her voice; To her may all things live, from pole to pole, Their life the eddying of her living soul!
Pàgina 200 - song: I was all ear, And took in strains that might create a soul Under the ribs of death. (559-61) And Comus of the same song: Can any mortal mixture of earth's mould Breathe such divine enchanting ravishment? (243-44) This last phrase,
Pàgina 169 - Not by a hired knife, but that self hand Which writ his honour in the acts it did Hath, with the courage which the heart did lend it, Splitted the heart. This is his sword, I robb'd his wound of it: behold it stain'd With his most noble blood.
Pàgina 210 - is ostensibly intended to reassure only deepens one's disquiet. So when the Falcon high Falls heavy from the Sky, She, having kill'd, no more does search, But on the next green Bow to pearch; Where, when he first does lure, The Falckner has her sure. (91-96)
Pàgina 207 - brings his own deliberately dry and dispassionate art. The "Horatian Ode" is framed with shadows. It begins with an emergence from them: The forward Youth that would appear Must now forsake his Muses dear, Nor in the Shadows sing His Numbers languishing.