Culler. Professor of English Cornell Liniversih). Routledge London,. & Kegan. Paul. Melbourne. and Henley. 7 Apostrophe ~. which can be given point and. Semiotics texts – Jonathan Culler, The Pursuit of Signs: Semiotics, Culler also deconstructs the apostrophe—no, not the punctuation mark, but a poetic. On “apostrophe”. And some really good thinking about the use of apostrophe at the key turn(s) in this poem from Jonathan Culler’s “Apostrophe” (Diacritics
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No categories specified categorize this paper. To conclude our conversation, I would like to refer to the last chapter of Theory of the Lyricwhere you discuss the role of the lyric in society. Think of the case of refrains as the most obvious.
apostropne It is likely that they contribute to the formation of some sort of community that shares an interest in such poetry — a minority community, certainly — as Beat Poetry enhanced the self-awareness of groups we came to call Beatniks in the s and s. The picture of the mind revives again: Novels with many flashbacks or anticipations of future events still presuppose a time scheme that is being reorganized.
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Abrams matrix meaning metaphor metaphor and metonymy metonymy mirror mirror stage mode narrative narratology narrator nature norms notion object Oedipus origin particular perspective philosophy poem poet poetic poetry possible presupposes presuppositions problem produce psychoanalysis question readers reading referential relation relationship rhetorical Riffaterre Riffaterre’s romantic semiosis semiotics sentence sequence significance signification Stanley Fish stanza story structure symbolic synecdoche temporal thought transformation treat tropes tropological understanding University Press various W.
The question of whether we can indeed choose between these alternatives and precisely what such a choice would entail is extremely difficult, but the poem has, through its apostrophic turn, made this the jonsthan issue.
It is hard to speak in general terms about the power or efficacy of lyric.
Jonathan Culler, Apostrophe – PhilPapers
The title of this interview references to his book The Literary in Theory Stanford University Pressin which he charts the places of literature and the literary in contemporary theory.
Auden, and Robert Culller, for instance. There are several different aspects to your question. Apostrophe, Animation, and Abortion. Culler Limited preview – This problematic issue, of course, brings us back to epideixisthe statement of truths about this world and the affirmation of particular values.
Hutchinson – – Classical Quarterly 60 1: This poetry was resistant both in its deviation from the norms of poetic discourse — both in form and diction apostro;he obscene — and in its themes of revolt and resistance. We have long said that a major theme of poetry is the act of the poetic imagination, and triangulated address gives such claims a structural basis. Could lyric discourse actually gain apstrophe from this rhetorical self-definition as a minor, apostropne, and fallible genre?
In Pursuit of Signs. Story and Discourse in the Analysis cu,ler Narrative. A major difference is the importance of a present of discourse for the lyric: I was just wondering if recollection — a form of repetition embedded as a theme in the poem — could also have structural functions. Literary Theory in the Graduate Program. Recollection is both a major theme of lyric and a fundamental structure, but what is particularly important in the lyric is not the representation of a past event but its evocation in the lyric present, and this involves a fundamental iterability, which, as you say, jonatan already manifested in various aspects of lyric form, such as sound patterning and rhythm.
On the other hand, I do think that it would be wrong to assume that the claims of lyric poems must always be treated as relative to the experience of an individual.
Such poetry can promote a feeling of solidarity with what is presented as a timeless experience: Gordon Fain – – Classical Quarterly 56 1: I was exploring the various ways in which literary works could be said to be performative and noted that, if we say literary utterances are performative, in that they bring into being the characters and worlds to which they purport to refer, then this way of being performative would, in my view, apply to fiction and not to lyric, which I consider not to be fiction most lyrics make claims about our world, not about some fictional worldthough lyric poems may certainly contain fictional elements.
Second, given that there is a history of the Western lyric, I have been inclined to stress continuities, in part because the historicist-contextualist criticism that is currently dominant in the United States is eager to declare discontinuities.
Now, to come to the question about lyric temporality and narrative temporality. In my view, such demonstrations would require evidence about readers: These include poems by Joachim du Bellay, W.
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