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The fundamental difference between rhetoric and poetry, according to Yeats, is that rhetoric is the expression of ones quarrels with others while poetry is the expression of ones quarrel with oneself. Through exquisite attention to outer and inner forms, Vendler explores the most inventive reaches of the poets mind.
This book examines for the first time together poems by three protagonists of the 1890s: Oscar Wilde, Arthur Symons, and Ernest Dowson.
This volume explores the many facets and ongoing transformations of our visual identities in the twentieth and twenty-first centuries. Its chapters engage with the constitution of personal, national and cultural identities at the intersection of the verbal and the visual across a range of media. They are attentive to how the medialities and (im)materialities of modern image culture inflect our conceptions of identity, examining the cultural and political force of literature, films, online video messages, rap songs, selfies, digital algorithms, social media, computer-generated images, photojournalism and branding, among others. They also reflect on the image theories that emerged in the same time span—from early theorists such as Charles S. Peirce to twentieth-century models like those proposed by Roland Barthes and Jacques Derrida as well as more recent theories by Jacques Rancière, W. J. T. Mitchell and others. The contributors of Imaging Identity come from a wide range of disciplines including literary studies, media studies, art history, tourism studies and semiotics. The book will appeal to an interdisciplinary readership interested in contemporary visual culture and image theory.
For the past four decades Frank Kermode, critic and writer, has steadily established himself as one of the most brilliant minds of his generation. Questioning the public's harsh perception of 'the artist', Kermode at the same time gently pokes fun at artists' own, often inflated, self-image. He identifies what has become one of the defining characteristics of the Romantic tradition - the artist in isolation and the emerging power of the imagination. Back in print after an absence of over a decade, The Romantic Image is quintessential Kermode. Enlightenment has seldom been so enjoyable!
Masterful Images The Art of Kiyoshi Saito presents the story of this idiosyncratic artists ascent to international success, whose rustic work possessed an immediacy far from the refinement of a Hiroshige or Hokusai. Travel and recognition brought new subjects, as the artist lingered in France, Tahiti, Mexico, and India to capture scenes that appealed to his sensibility. Encompassing the full range of Saitos oeuvre, the 90 prints reproduced here are complemented by an interpretive essay from Barry Till, curator of the museums Asian art collection.
Poetry has often been considered an irrational genre, more expressive than logical, more meditative than given to coherent argument. And yet, in each of the four very different poets she considers here, Helen Vendler reveals a style of thinking in operation; although they may prefer different means, she argues, all poets of any value are thinkers. The four poets taken up in this volume—Alexander Pope, Walt Whitman, Emily Dickinson, and William Butler Yeats—come from three centuries and three nations, and their styles of thinking are characteristically idiosyncratic. Vendler shows us Pope performing as a satiric miniaturizer, remaking in verse the form of the essay, Whitman writing as a poet of repetitive insistence for whom thinking must be followed by rethinking, Dickinson experimenting with plot to characterize life’s unfolding, and Yeats thinking in images, using montage in lieu of argument. With customary lucidity and spirit, Vendler traces through these poets’ lines to find evidence of thought in lyric, the silent stylistic measures representing changes of mind, the condensed power of poetic thinking. Her work argues against the reduction of poetry to its (frequently well-worn) themes and demonstrates, instead, that there is always in admirable poetry a strenuous process of thinking, evident in an evolving style—however ancient the theme—that is powerful and original.
This title is part of UC Press's Voices Revived program, which commemorates University of California Press’s mission to seek out and cultivate the brightest minds and give them voice, reach, and impact. Drawing on a backlist dating to 1893, Voices Revived makes high-quality, peer-reviewed scholarship accessible once again using print-on-demand technology. This title was originally published in 1964.
Contents: H.S.H. Princess Caroline; Opening Address; C. George Sandulescu, Preface; A. Norman Jeffares, Address on Yeats the European; Alasdair D.F. Macrae, When Years Summoned Golden Codgers To His Side; Helen Vendler, Yeats As A European Poet: The Poetics of Cacophony; Patrick Rafroidi, Yeats's France Revisited; Denis Donoghue, Yeats and European Criticism; Jacqueline Genet, Villiers De l'Isle Adam and W.B. Yeats; Warwick Gould, A Crowded Theatre: Yeats and Balzac; Birgit Bramsb0/00ck, Yeats and The 'Bounty of Sweden'; Peter R. Kuch, A Few Twigs From The Wild Bird's Nest; C.K. Stead, Yeats The European; Michael Sidnell, The Presence of The Poet: Or What Sat Down At The Breakfast Table; Ronald Schuchard, Yeats, Titian and The New French Painting; John Kelly, Caelum Non Animum Mutant; William M. Murphy, Lily Yeats, W.B. Yeats, and France; Ann Saddlemyer, Georgie Hyde Lees: More Than A Poet's Wife; Michael Alexander, Savants and Artists: Pound and Yeats; Bernard Hickey, Lady Gregory: Coole and Ca'Cappello Layard; Andrew Parkin, W.B. Yeats and Other Europeans; Masaru Sekine, Four Plays For Dancers: Japanese Aesthetics and A European Mind; George Watson, Yeats, Ibsen and The 'New Woman'; Toni Cerutti, Yeatsian Studies In Italy Today; Heinz Kosok, Yeats In Germany; A. Norman Jeffares; Contributors; Index^R
"The Musical Discourse of Servitude examines the music of Johann Joseph Fux (c.1660-1741) in relation to that of Johann Sebastian Bach and George Frideric Handel. Its principal argument is that Fux's long indenture as a composer of church music in Vienna gains in meaning (and cultural significance) when situated along an axis that runs between the liturgical servitude of writing music for the imperial court service and the autonomy of musical imagination which transpires in the late works of Bach and Handel. To this end, The Musical Discourse of Servitude constructs a typology of the late baroque musical imagination which draws Fux, Bach and Handel into the orbit of North Italian compositional practice"--