Poetry, Signs, and MagicUniversity of Delaware Press, 2005 - 327 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. |
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Strona 27
... begin to address it by think- ing about the role of the magical sign in the lives of our impover- ished earliest ancestors . If one's resources are severely limited , then one has to fall back on the symbolic social constructs that are ...
... begin to address it by think- ing about the role of the magical sign in the lives of our impover- ished earliest ancestors . If one's resources are severely limited , then one has to fall back on the symbolic social constructs that are ...
Strona 43
... common than invocations . But the rarer speech - act , combining specific verbal form with assumed power , may be the more rewarding key to the force of poetry.3 We can begin with one of the briefest of the 43 2: Poetry as Invocation.
... common than invocations . But the rarer speech - act , combining specific verbal form with assumed power , may be the more rewarding key to the force of poetry.3 We can begin with one of the briefest of the 43 2: Poetry as Invocation.
Strona 44
Thomas M. Greene. We can begin with one of the briefest of the Homeric hymns , " To Hestia , " a text from archaic Greece that was doubtless used for pur- poses of religious cult : " Hestia , you who tend the holy house of the lord ...
Thomas M. Greene. We can begin with one of the briefest of the Homeric hymns , " To Hestia , " a text from archaic Greece that was doubtless used for pur- poses of religious cult : " Hestia , you who tend the holy house of the lord ...
Strona 50
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Spis treści
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 |
320 | |
Magic and CounterMagic in Comus | 189 |
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