Music For Shelley's Poetry
Author | : Burton R. Pollin |
Publisher | : Da Capo Press |
Total Pages | : 232 |
Release | : 1974-10-21 |
Genre | : Literary Criticism |
ISBN | : |
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Author | : Burton R. Pollin |
Publisher | : Da Capo Press |
Total Pages | : 232 |
Release | : 1974-10-21 |
Genre | : Literary Criticism |
ISBN | : |
Author | : Percy Bysshe Shelley |
Publisher | : |
Total Pages | : 32 |
Release | : 1842 |
Genre | : Manchester (England) |
ISBN | : |
Author | : Percy Bysshe Shelley |
Publisher | : Courier Corporation |
Total Pages | : 130 |
Release | : 2012-03-27 |
Genre | : Poetry |
ISBN | : 0486114147 |
Treasury of 37 well-known and representative poems by great Romantic poet includes "Ode to the West Wind," "To a Skylark," "Adonais," "Ozymandias," "Hymn to Intellectual Beauty," many more. Lists of titles and first lines.
Author | : Paul A. Vatalaro |
Publisher | : Routledge |
Total Pages | : 218 |
Release | : 2016-01-13 |
Genre | : Literary Criticism |
ISBN | : 1317239288 |
First published in 2009. This book argues that the images of and allusions to music in Shelley’s writing demonstrate his attempt to infuse the traditionally masculine word with the traditionally feminine voice and music. This further extends to his even more fundamental desire to integrate the "object voice" with his own subjectivity. For Shelley, what plagues this integration is the prospect of losing both the poet’s authority and the subjectivity upon which it relies. This book asserts that the resultant deadlock and instability paradoxically becomes Shelley’s ultimate goal — creating a steady state of suspension that finally preserves both his authority and his humanity.
Author | : Dr Jessica K Quillin |
Publisher | : Ashgate Publishing, Ltd. |
Total Pages | : 307 |
Release | : 2012-09-01 |
Genre | : Literary Criticism |
ISBN | : 1409461823 |
Addressing a gap in Shelley studies, Jessica K. Quillin explores the poet's lifelong interest in music. Quillin connects the trope of music with Shelley's larger formal aesthetic, political, and philosophical concerns, showing that music offers a new critical lens through which to view such familiar Shelleyan concerns as the status of the poetic, figural language, and the philosophical problem posed by idealism versus skepticism. Quillin's book uncovers the implications of Shelley's use of music by means of four musico-poetic concerns: the inherently interdisciplinary nature of musical imagery and figurative language; the rhythmic and sonoric dimensions of poetry; the extension of poetry into the performative realms of the theatre and drawing room through close links between most poetic genres and music; and the transformation of poetry into music through the setting and adaptation of poetic lyrics to music. Ultimately, Quillin argues, Shelley exhibits a fundamental recognition of an interdependence between music and poetry which is expressed in the form and content of his highly sonorous works. Equating music with love allows him to create a radical model in which poetry is the highest form of imaginative expression, one that can affect the mind and the senses at once and potentially bring about the perfectibility of mankind through a unique mode of visionary experience.
Author | : Percy Bysshe Shelley |
Publisher | : |
Total Pages | : 438 |
Release | : 1824 |
Genre | : English poetry |
ISBN | : |
Author | : Professor Paul A Vatalaro |
Publisher | : Ashgate Publishing, Ltd. |
Total Pages | : 222 |
Release | : 2013-04-28 |
Genre | : Literary Criticism |
ISBN | : 1409475298 |
Shelley's Music: Fantasy, Authority and the Object Voice regards music images and allusions to music in Shelley's writing as evidence that Shelley sought to infuse the masculine word with the music of feminine expression. Set within his configuration of hetero-erotic relationships, this agenda reveals Shelley's desire to remain eternally present in his poetry. In the end, Shelley fails to achieve this goal, because he failed to overcome an even stronger desire to preserve male authority. Shelley's Music demonstrates that the main body of Shelley's writing consists of a fantasy aimed at unifying the word, traditionally associated with masculine power and authority, with voice and music, traditionally associated with the power and mystery of feminine expression. This particular fantasy extends an even more fundamental desire to integrate the "object voice" with one's own subjectivity. Structured along the lines of sexual difference and providing the coordinates for Shelley's construction of heterosexual and hetero-erotic correspondence, this phantasmic movement reveals Shelley's desire to make his voice eternally present in the written word. As Zizek reminds us, however, all fantasy inevitably exposes the very horror it means to conceal. For Shelley, what plagues the desire to merge word, voice and music is the prospect of losing both the poet's authority and the subjectivity upon which it relies. Recycling throughout his writing, Shelley's fantasy, then, generates deadlock and instability each time it finds renewed expression. Shelley's Music argues that this division paradoxically becomes Shelley's ultimate goal, because it maintains desire by creating a steady state of suspension that finally preserves for Shelley his authority and his humanity.
Author | : Joan Shelley Rubin |
Publisher | : Harvard University Press |
Total Pages | : 487 |
Release | : 2007 |
Genre | : History |
ISBN | : 0674035127 |
Listen to a short interview with Joan Shelley RubinHost: Chris Gondek | Producer: Heron & Crane In the years between 1880 and 1950, Americans recited poetry at family gatherings, school assemblies, church services, camp outings, and civic affairs. As they did so, they invested poems--and the figure of the poet--with the beliefs, values, and emotions that they experienced in those settings. Reciting a poem together with others joined the individual to the community in a special and memorable way. In a strikingly original and rich portrait of the uses of verse in America, Joan Shelley Rubin shows how the sites and practices of reciting poetry influenced readers' lives and helped them to find meaning in a poet's words. Emphasizing the cultural circumstances that influenced the production and reception of poets and poetry in this country, Rubin recovers the experiences of ordinary people reading poems in public places. We see the recent immigrant seeking acceptance, the schoolchild eager to be integrated into the class, the mourner sharing grief at a funeral, the grandparent trying to bridge the generation gap--all instances of readers remaking texts to meet social and personal needs. Preserving the moral, romantic, and sentimental legacies of the nineteenth century, the act of reading poems offered cultural continuity, spiritual comfort, and pleasure. Songs of Ourselves is a unique history of literary texts as lived experience. By blurring the boundaries between "high" and "popular" poetry as well as between modern and traditional, it creates a fuller, more democratic way of studying our poetic language and ourselves.