التفاصيل البيبلوغرافية
| العنوان: |
Rhythm: Form and Dispossession Modernism's Metronome: Meter and Twentieth-Century Poetics. |
| المؤلفون: |
Jones, Ewan James |
| المصدر: |
Poetics Today; Sep2023, Vol. 44 Issue 3, p487-494, 8p |
| مصطلحات موضوعية: |
RHYTHM, METRONOME, RHYME, LITERARY criticism, PHENOMENOLOGICAL biology |
| مستخلص: |
Here as elsewhere, there is some slight ambiguity as to whether the modernist conception of meter as a metronome represents mere myth or a genuine fact that - whatever Pound and Eliot may have thought - could be turned to positive effect. Reading from Levinas's cue, Barletta insists that a poem exists " I before i experience and thus, in a strict (if seemingly paradoxical) sense, also before I temporality i :... at the very moment that I begin to experience a song, poem, or sculpture, I have always already been enrhythmed by it" (145). Barletta offers us an account of rhythm that is formative and primordial, yet which steers clear of the dangerous nativism that has characterized innatist approaches from Nietzsche's I Gay Science i all the way through to Aviram Attirai's I Telling Rhythm: Body and Meaning in Poetry i (1994). The remit of I Modernism's Metronome i proves narrow in comparison to Barletta's crosshistorical and multilingual investigation: yet its delimited focus on the "vestigial" power of conventional accentual-syllabic meter in modernist Anglophone verse enables a range of subtle discriminations and critical revisions. [Extracted from the article] |
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| قاعدة البيانات: |
Complementary Index |
