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 11
... objects themselves talk . Tom also looked for the magical roots of human ceremonies , rituals that , like culture itself , have at their root the warding off of death and histori- cal flux . ( This , too , was a lifetime preoccupation ...
... objects themselves talk . Tom also looked for the magical roots of human ceremonies , rituals that , like culture itself , have at their root the warding off of death and histori- cal flux . ( This , too , was a lifetime preoccupation ...
Strona 21
... objects . The use of ritual in drama is the subject of chapter 8 , " Ceremonial Closure in Shake- speare's Plays , " which suggests that the abandonment of such clo- sure represents a punctuation mark in the separation of drama from its ...
... objects . The use of ritual in drama is the subject of chapter 8 , " Ceremonial Closure in Shake- speare's Plays , " which suggests that the abandonment of such clo- sure represents a punctuation mark in the separation of drama from its ...
Strona 30
... object and a dynamized force that would indeed be directly linked to its referent . A disjunctive theory is thus apotropaic : it is needed because the opposing theory would conceive of the word as sharing the object's essence , if not ...
... object and a dynamized force that would indeed be directly linked to its referent . A disjunctive theory is thus apotropaic : it is needed because the opposing theory would conceive of the word as sharing the object's essence , if not ...
Strona 31
... objects are identified with other things in a magical culture . The linguistic assumption is also a semiotic as- sumption . The contrast drawn by the anthropologist Horton corre- sponds , not surprisingly , to the contrast drawn by the ...
... objects are identified with other things in a magical culture . The linguistic assumption is also a semiotic as- sumption . The contrast drawn by the anthropologist Horton corre- sponds , not surprisingly , to the contrast drawn by the ...
Strona 33
... object . This line of argument is suddenly reversed however in The Pagan Servitude by a momentous turn back toward a conjunctive semiotic . Speaking now of another sacrament , Luther writes : " Baptism never does lose its efficacy — not ...
... object . This line of argument is suddenly reversed however in The Pagan Servitude by a momentous turn back toward a conjunctive semiotic . Speaking now of another sacrament , Luther writes : " Baptism never does lose its efficacy — not ...
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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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