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A wondrously written book of literary criticism and philosophy that maps the relationship between poetry and natural history, connecting verse from poets such as Shakespeare and Rainer Maria Rilke to the work of scientists and theorists like Francis Bacon and Michael Polanyi. Taking its bearings from the Greek myth of Orpheus, whose singing had the power to move the rocks and trees and to quiet the animals, Elizabeth Sewell’s The Orphic Voice transforms our understanding of the relationship between mind and nature. Myth, Sewell argues, is not mere fable but an ancient and vital form of reflection that unites poetry, philosophy, and natural science: Shakespeare with Francis Bacon and Giambattista Vico; Wordsworth and Rilke with Michael Polanyi. All these members of the Orphic company share a common perception that “discovery, in science and poetry, is a mythological situation in which the mind unites with a figure of its own devising as a means toward understanding the world.” Sewell’s visionary book, first published in 1960, presents brilliantly illuminating readings of A Midsummer Night’s Dream and Rilke’s Sonnets to Orpheus, among other masterpieces, while deepening our understanding not only of poetry and the history of ideas but of the biological reach of the mind.
This interdisciplinary study explores the relationship between play and mimesis in the constitution and dissolution of the individual and social self. The volume is divided into three sections, the first of which focuses on the mimetic-ludic foundations of mind, memory, and desire; the second on the social and psychological self as agent of playful performance and product of cultural codes; and the third on the interplay of psyche, image, and power in literary and artistic representations of the self. The subjects of the individual studies vary widely, from the interrelation of power and play in Orlando Furioso to the ludic foundations of cognition to the concept of the self in Foucault and Deleuze.
Traces the practice of induction - manipulating textual evidence by selective quotation - and its uses by Romantic-period writers.
At a time when the place and significance of myth in society has come under renewed scrutiny, Myth, Literature, and the Unconscious contributes to shaping the new interdisciplinary field of myth studies. The editors find in psychoanalysis a natural and necessary ally for investigations in myth and myth-informed literature and the arts. At the same time the collection re-values myths and myth-based cultural products as vital aids to the discipline and practice of psychoanalysis. The volume spans a vast geo-cultural range (including ancient Egypt, India, Japan, nineteenth-century France, and twentieth-century Germany) and investigates cultural products from the Mahabharata to J. W. Goethe's opus and eighteenth-century Japanese fiction, and from William Blake's visionary poetry to contemporary blockbuster television series. It encompasses mythic topics and figures such as Oedipus, Orpheus, the Scapegoat, and the Hero, while mobilising Freudian, Jungian, object relations, and Lacanian psychoanalytic approaches.
How various mythologies challenge, enable, and inspire women artists and activists across the globe to communicate personal and historical experiences of violence is the central concern of this collection. Beginning with the observation that twentieth- and twenty-first century female writers and artists often use myth to represent their social and artistic struggles, the distinguished international scholars and writers consider mythic fabulations as spaces for contested meanings and resistant readings. The identified resistance of the mythic material to repression-working, as it were, in opposition to another celebrated drive/role of myth, that of containment-makes the use of myth particularly stimulating for twentieth-century and contemporary female artists; and it is an interest in the aesthetic and political consequences of such resistances that animates this book. Exemplifying the diverse types of engagement with myth and femininity, literary criticism, discussions of film and art, artwork, as well as original creative writing, could all be found within the boundaries of this innovative volume. Femininity, myth, and violence are here explored in contexts such as female mythopoiesis in the early twentieth century; the politics of representation in contemporary writing; revision of old myths; and creation of new myths in multicultural female experiences. Keeping the focus on the actual works of art, the editors and contributors offer scholars and teachers an inclusive way to approach literature and the arts that avoids the limits imposed by genre or national and regional boundaries.
This collection examines intertextual intersections in the works of Henry Vaughan and John Milton and considers their aesthetic, philosophical, or political implications. The theoretical pluralism of the volume reveals the variety and complexity of textual relations in the words of these early modern authors. Some of the essays focus on the author's conscious creation of intertext, others explore the reader's negotiation of books within books, while still others examine the linguistic effect of textual intersections. The essays not only consider material borrowing, but also explore the absorption of concepts or formal structures from antecedent texts. The volume not only adds to the debate on Milton's iteration, duplication, and renovation of precursor texts, but represents the first collection of original essays on the poetry and prose of Henry Vaughan, essays authored by experts in the field. Donald Dickson is Professor of English at Texas A&M University. Holly Faith Nelson is Assistant Professor of English at Trinity Western University.
A critical look at transcendence and a radical delight with language
By investigating the relationship between acoustical technologies and twentieth-century experimental poetics, this collection, with an accompanying compact disc, aims to 'turn up the volume' on printed works and rethink the way we read, hear, and talk about literary texts composed after telephones, phonographs, radios, loudspeakers, microphones, and tape recorders became facts of everyday life. The collection's twelve essays focus on earplay in texts by James Joyce, Ezra Pound, H.D., Samuel Beckett, William Burroughs, Amiri Baraka, Bob Kaufman, Robert Duncan, and Kamau Brathwaite and in performances by John Cage, Caribbean DJ-poets, and Cecil Taylor. From the early twentieth-century soundscapes of Futurist and Dadaist 'sonosphers' to Henri Chopin's electroacoustical audio-poames, the authors argue, these states of sound make bold but wavering statements--statements held only partially in check by meaning. The contributors are Loretta Collins, James A. Connor, Michael Davidson, N. Katherine Hayles, Nathaniel Mackey, Steve McCaffery, Alec McHoul, Toby Miller, Adalaide Morris, Fred Moten, Marjorie Perloff, Jed Rasula, and Garrett Stewart.
The personal papers of one of feminism’s most passionate leaders, with a new preface by the author As an activist for social justice, Robin Morgan has acquired a reputation for strong convictions and a life-affirming way of expressing them through writing. Nowhere is this more evident than in Going Too Far, which takes us behind the scenes in Morgan’s life and in the women’s movement until 1977. We watch the development of an organizer who is a complex thinker while Morgan evolves as a mother, leader, writer, and activist. Morgan’s keen eye is trained on all aspects of modern feminism, and this is reflected in the juxtaposition of the journal entries and letters of her personal life with the essays and polemics that shape her public persona. Her opinions on marriage, love, religion, pornography, and art are as utterly fresh and timely today as they were decades ago. Her growing wisdom and depth of perception are apparent in the book’s progression, and her last chapters, focused on what she terms the “metaphysics of feminism,” will change a reader’s world view for the better—and forever.
The Still Performance examines the poetry of five postmodern American poets: Elizabeth Bishop, John Ashberry, Adrienne Rich, W.S. Merwin, and Charles Wright. McCorkle devotes a chapter to each one of these five poets and provides an extensive overview of their poetics. The author concludes that postmodern poetry, and these poets in particular, are engaged in various but overlapping reappraisals of modernism. More importantly, he asserts the necessity of critical inquiry bound to the persistent act of self-examination.