- Tapa dura: 401 páginas
- Editor: Harvard University Press (2 de junio de 2015)
- Idioma: Inglés
- ISBN-10: 0674744268
- ISBN-13: 978-0674744264
- Valoración media de los clientes: Sé el primero en opinar sobre este producto
- Clasificación en los más vendidos de Amazon: nº210.020 en Libros en idiomas extranjeros (Ver el Top 100 en Libros en idiomas extranjeros)
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Theory of the Lyric (Inglés) Tapa dura – 2 jun 2015
Descripción del producto
After decades of relative neglect, the last few years have seen a resurgence of interest in the theory of the lyric, and Culler's wide-ranging study is undoubtedly a milestone in this complicated process.--Francesco Giusti"Los Angeles Review of Books" (05/27/2017) How interesting, how convincing, and how disturbing to received ideas are the features to which Culler draws our attention? How useful or how provocative--for poetry, for thought, and for Theory--are his speculations on the forms and conditions of poetic meaning to which these observations lead? Theory of the Lyric brings Culler's own earlier, more scattered interventions together with an eclectic selection from others' work in service to what he identifies as a dominant need of the critical and pedagogical present: turning readers' attention to lyric poems as verbal events, not fictions of impersonated speech. His fine, nuanced readings of particular poems and kinds of poems are crucial to his arguments. His observations on the workings of aspects of lyric across multiple different structures are the real strength of the book. It is a work of practical criticism that opens speculative vistas for poetics but always returns to poems.--Elizabeth Helsinger"Critical Inquiry" (04/01/2016) Culler is a veteran of the theory wars of the 1970s and 1980s, when he wrote what remain the clearest sympathetic explications of structuralism and post-structuralism. He has an exceptional ability to see the conceptual shape beneath a critical discourse, even if that shape is clouded by jokes or whiffs of bullshit, and to explain it in plain terms. Theory of the Lyric displays those skills. It begins with compressed but beautifully clear histories of both lyric and thinking about lyric; and, like other indispensable studies of this area such as Barbara Herrnstein Smith's Poetic Closure, it quotes in full a range of particularly well-chosen lyric poems, from Sappho and Goethe to A.A. Milne and A.R. Ammons, in order to establish its claims...Culler's view of lyric has a flexibility that enables it to stand up pretty well to lyrics that might fly at it from left-field...What the book offers is something more like a study of the generative grammar of lyric poetry and of its practice than an all-encompassing model of what lyric has to be or could become.--Colin Burrow"London Review of Books" (09/07/2017) Jonathan Culler's book is literally long-awaited--it is the culminating work of one of the most important poeticians of the late twentieth and early twenty-first centuries.--Simon Jarvis, author of Wordsworth's Philosophic Song Theory of the Lyric, by Culler, is an excellent source for understanding the academics and history of the lyric poem... It will be most appreciated by scholars seeking to understand the structure of this genre of poetry.--K. Gale"Choice" (11/01/2015) A capacious and important piece of work. We need someone with the courage to take the broad view, across epochs and Western languages, and Culler is that person. Theory of the Lyric is a crucial intervention in restoring the vibrancy and significance of lyric.--Jahan Ramazani, author of Poetry and Its Others: News, Prayer, Song, and the Dialogue of Genres
Reseña del editor
What sort of thing is a lyric poem? An intense expression of subjective experience? The fictive speech of a specifiable persona? Examining ancient and modern poems from Sappho to Ashbery, Jonathan Culler reveals the limitations of these two models--the Romantic and the modern--and challenges the assumption that poems exist to be interpreted.Ver Descripción del producto
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“But by her [Barbara Herrnstein Smith’s] theory, the time of actual composition by the poet should not have anything to do with the speech act represented in the poem: the poet is supposed to construct, at his or her leisure, a fictional representation of a speech act by a persona: that speech act might then be simultaneous with actions being performed by this character, but that would not be “simultaneous composition”. Smith’s formulation seems to admit that this poem is presenting a special poetic speech act, not a fictional imitation of a non-poetic speech act. That is, she has not identified a real-world speech act which Keats is supposedly imitating. What we are responding to is not a real-world speech act that is represented in fiction but to a poetic speech act”.
I always tell my lyric friends, putting up with so much of this pas de deux masquerading as communication, to keep, as I do, by the” pearl and silver resting on my night table”, a copy of any one of Enid Blyton’s English “Famous Five” books. It’s nice to know in the dark what real reading feels like. This insufferable academic leaves proof here that we are NOT being enlightened about lyric poetry, what it is and why it works its magic upon us. Culler does this by a form of authoritarian largesse he calls upon to assist “semantic recuperation” (8). Such loquacity is anathema to the torn rubber gossamer delights of poetry. One of the benefits of madness is that we feel so sane at our best. It is contemptible that such professors are allowed the eminence of having properly bound books such as this that unravel their tenured insanities. Apart from the deliverance afforded by Blyton’s “Five Go To Billycock Hill” there is no respite.
This book opens with a declaration that the author kick-started his university career back in 1975 with an article on “Apostrophe”, that part of rhetoric described, in his own words (vii), as that “strange habit of address”. Where most university fellows are circling the wagons against Barthes et al, Culler is suggesting that instead of “the New Critical assumption that poems exist to be interpreted” (viii) his book might “encourage more fruitful and pleasurable engagement with poetry” (6). It is clear that Culler never risked leaving the sheepfold for the slipstream of the non-tenure-track faculty.
There is no academic agreement on what “lyric” means. Here the point is made so many times that it begs the question: Why write such a book as this?
The word “lyric”, beyond the walls of Culler’s university, means “words to songs”. The yearning for “bloom and bees” and words like these spared the early Internet search engines, right from the start, from being viewed mainly as source for pornography in all of its loveless disguises. The many competing sites devoted to the words of popular songs, attest to this day that one of the deepest desires of humanity is not for the humanities but to make sense of words, to feel them beat like the hearts of captive sparrows. Culler quotes the fabled female Sappho (12) “Beautiful sparrows brought you over the dark earth”, “then picks himself up and carries on as if nothing had happened” (Churchill). Behind the fragile ivory spires behind which real scientists toil at the terrain of tenure, where are the new poets, after Whitman, Emily Dickinson and Eliot? John Berryman? A. R. Amman?
With locutions more portentous even than my own, Culler writes “With the figure of Dorothy as surrogate for the reader” (327), and follows by suggesting that Wordsworth’s “Tintern” poem depends “on the transferential construction of a sympathetic community of readers”. Are we to take this to mean “being read at all”? A man that can confuse Marjorie Levinson’s words “recalcitrant facticity” (330) with “staring facts in the face” need not be taken at his word.
How with this rage can beauty hold a plea whose action is no stronger than a flower?
Perhaps if the desolate soul Nikolas Cruz came by our tents, before “the Naphtali on the terraced fields”, we might match his exhaustion to the face of the warlord Sisera in “The Song of Deborah”; probably the oldest “lyric” in the world. Like Culler, we’d take the part of the sensuous woman of old celebrated in the song. She tempted Sisera with “warm curds”; yet as soon as he lay down she drove a tent spike through his temples while he slept. At his arraignment today there arose a “second Daniel” for Shylock. Defence attorney Melisa McNeill put her arm around Nikolas. In the whole past literature of the world no better example exists of coruscating contempt for an enemy. I speak for poetry and humanities beyond those that extol the deadly speech-acts of such people of Culler. That Bible song finishes: “So may all your enemies perish, Lord!” I wouldn’t want to bore Culler or Cruz with a tent peg; but on a showing like this insufferable garbage, we do need a new voice crying in the wilderness.
You who ride on white donkeys,
Sitting on your saddle blankets,
And you who walk along the road,
Consider the voice of the singers at the watering places. Judges 5.10