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Books on the topic 'Artistic work and poetic style'
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1
Od psalmów słowiańskich do rzymskich medytacji: O stylu artystycznym Karola Wojtyly = From Slavic psalms to Roman meditations : on Karol Wojtyła's artistic style. Warszawa: Wydawnictwo Uniwersytetu Kardynała Stefana Wyszyńskiego, 2013.
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2
John, Piper. Seeing beauty and saying beautifully: The power of poetic effort in the work of George Herbert, George Whitefield, and C. S. Lewis. Wheaton, Illinois: Crossway, 2014.
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Thucydides and Pindar: Historical narrative and the world of Epinikian poetry. Oxford: Oxford University Press, 2004.
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4
Masters of repetition: Poetry, culture, and work in Thomson, Wordsworth, Shelley, and Emerson. New York: St. Martin's Press, 1998.
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5
William, Blake. Milton a poem: And the final illuminated works: The ghost of Abel, On Homers poetry (and) On Virgil, Laoco"on. London: William Blake Trust, 1993.
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Thomas, Greg. Border Blurs. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781789620269.001.0001.
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This book presents the first in-depth account of the relationship between English and Scottish poets and the international concrete poetry movement of the 1950s-70s. Concrete poetry was a literary and artistic style which reactivated early-twentieth-century modernist impulses towards the merging of artistic media while simultaneously speaking to a gamut of contemporary contexts, from post-1945 social reconstruction to cybernetics, mass media, and the sixties counter-culture. The terms of its development in England and Scotland also suggest new ways of mapping ongoing complexities in the relationship between those two national cultures, and of tracing broader sociological and cultural trends in Britain during the 1960s-70s. Focusing especially on the work of Ian Hamilton Finlay, Edwin Morgan, Dom Sylvester Houédard, and Bob Cobbing, Border Blurs is based on new and extensive archival and primary research. It fills a gap in contemporary understandings of a significant literary and artistic genre which has been largely overlooked by literary critics. It also sheds new light on the development of British and Scottish literature during the late twentieth century, on the emergence of intermedia art, and on the development of modernism beyond its early-twentieth-century, urban Western networks.
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Shcherbakova, Marina I., ed. Literary process in Russia of the 18 th — 19 th centuries. Secular and spiritual literature. А.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2020. http://dx.doi.org/10.22455/lit.pr.2020-2.
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Investigations of the creative heritage of Russian writers and poets of the 18 th -19 th centuries, as well as of the most prominent representatives of the Russian clergy and Russian culture, are presented in the scientific work; key issues of the writers’ work method and style, of their works’ genre features, creative self-determination, are raised; new and unique explanations of both widely known and less read classics’ works, which reveal deep meanings and ideas that have not yet been identified in literary criticism, are given. The literary process of the era is illustrated by the special continuity of thoughts and ideas characteristic of Russian literature for which, deep vision and understanding of life, religious consciousness (it is from the said position the study of the works’ artistic worlds is necessary). Materials of archives, rare book publications and periodicals equipped with scientific commentary are introduced into scientific circulation. The originality of the published investigations and materials gives the collective work topicality and special colour on the whole.
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Zolf, Rachel. No One's Witness. Duke University Press, 2021. http://dx.doi.org/10.1215/9781478021551.
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In No One's Witness Rachel Zolf activates the last three lines of a poem by Jewish Nazi holocaust survivor Paul Celan—“No one / bears witness for the / witness”—to theorize the poetics and im/possibility of witnessing. Drawing on black studies, continental philosophy, queer theory, experimental poetics, and work by several writers and artists, Zolf asks what it means to witness from the excessive, incalculable position of No One. In a fragmentary and recursive style that enacts the monstrous speech it pursues, No One's Witness demonstrates the necessity of confronting the Nazi holocaust in relation to transatlantic slavery and its afterlives. Thinking along with black feminist theory's notions of entangled swarm, field, plenum, chorus, No One's Witness interrogates the limits and thresholds of witnessing, its dangerous perhaps. No One operates outside the bounds of the sovereign individual, hauntologically informed by the fleshly no-thingness that has been historically ascribed to blackness and that blackness enacts within, apposite to, and beyond the No One. No One bears witness to becomings beyond comprehension, making and unmaking monstrous forms of entangled future anterior life.
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John, Piper. Seeing Beauty and Saying Beautifully: The Power of Poetic Effort in the Work of George Herbert, George Whitefield, and C. S. Lewis. Crossway, 2014.
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13
Thucydides and Pindar: Historical Narrative and the World of Epinikian Poetry. Oxford University Press, USA, 2006.
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14
Ohriner, Mitchell. Flow. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190670412.001.0001.
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Originating in dance parties in the South Bronx in the late 1970s, hip hop and rap music have become a dominant style of popular music in the United States and a force for activism all over the world. So, too, has scholarship on this music grown, yet much of this scholarship, employing methods drawn from sociology and literature, leaves unaddressed the expressive musical choices made by hip-hop artists. This book addresses flow, the rhythm of the rapping voice. Flow presents theoretical and analytical challenges not encountered elsewhere. It is rhythmic as other music is rhythmic. But it is also rhythmic as speech and poetry are rhythmic. Key concepts related to rhythm, such as meter, periodicity, patterning, and accent, are treated independently in scholarship of music, poetry, and speech. This book reconciles those approaches, theorizing flow by integrating the methods of computational music analysis and humanistic close reading. Through the analysis of large collections of verses, it addresses questions in the theories of rhythm, meter, and groove in the unique ecology of rap music. Specifically, the work of Eminem clarifies how flow relates to text, the work of Black Thought clarifies how flow relates to other instrumental streams, and the work of Talib Kweli clarifies how flow relates to rap’s persistent meter. Although the focus throughout is rap music, the methods introduced are appropriate for other genres mix voices and more rigid metric frameworks and further extends the valuable work on hip hop from other perspectives in recent years.
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Curtis, Cathy. Alive Still. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190908812.001.0001.
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In 1942, at age twenty, after a vision-impaired and rebellious childhood in Richmond, Virginia, Nell Blaine decamped for New York. Operations had corrected her eyesight, and she was newly aware of modern art, so different from the literal style of her youthful drawings. In Manhattan, she met rising young artists and poets. Her life was hectic, with raucous parties in her loft, lovers of both sexes, and freelance design jobs, including a stint at the Village Voice. Initially drawn to the rigorous formalism of Piet Mondrian, she received critical praise for her jazzy abstractions. During the 1950s, she began to paint interiors and landscapes. By 1959, when the Whitney Museum purchased one of her paintings, her career was firmly established. That year, she contracted a severe form of polio on a trip to Greece; suddenly, she was a paraplegic. Undaunted, she taught herself to paint in oil with her left hand, reserving her right hand for watercolors. In her postpolio work, she achieved a freer style, expressive of the joy she found in flowers and landscapes. Living half the year in Gloucester, Massachusetts, and the other half in New York, she took special delight in painting the views from her windows and from her country garden. Critics found her new style irresistible, and she had a loyal circle of collectors; still, she struggled to earn enough money to pay the aides who made her life possible. At her side for her final twenty-nine years was her lover, painter Carolyn Harris.
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Csabi, Szilvia, ed. Expressive Minds and Artistic Creations. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190457747.001.0001.
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Expressive Minds and Artistic Creations: Studies in Cognitive Poetics presents multidisciplinary and interdisciplinary research papers describing new developments in the field of cognitive poetics. The chapters examine the complex connections between cognition and poetics with special attention given to how people both create and interpret novel artistic works in a variety of expressive media, including literature, music, art, and multimodal artifacts. The authors have diverse disciplinary backgrounds, but all of them embrace theories and research findings from multiple perspectives, such as linguistics, psychology, literary studies, music, art, neuroscience, and media studies. Several authors explicitly discuss empirical and theoretical challenges in doing interdisciplinary work, which many believe is essential to future progress in cognitive poetics. Scholars address many specific research questions in their chapters, such as, most notably, the role of embodiment and simulation in human imagination, the importance of conceptual metaphors and conceptual blending processes in the creation and interpretation of literature, and the function of multiperspectivity in poetic and multimodal texts. Several new ideas are also advanced in the volume regarding the cognitive mechanisms responsible for artistic creations and understandings. The volume overall offers an expanded view of cognitive poetics research that situates the study of expressive minds within a broader range of personal, social, cultural, and historical contexts. Among other leading researchers, contributors include world-famous scholars of psychology, linguistics, and literature—Raymond W. Gibbs, Jr., Zoltásn Kövecses, and Reuven Tsur—whose defining papers also survey the roles and significance of conceptual mechanisms in literature.
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Isaacs, Bruce. The Art of Pure Cinema. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190889951.001.0001.
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Alfred Hitchcock’s notion of a “pure cinema” has continued to fascinate and perplex film audiences, critics, and theorists alike. The concept first emerged loosely in the 1920s, as European avant-garde artists and intellectuals grappled with the essence of the moving image as an aesthetic form. But what, precisely, was pure cinema as an artistic philosophy and style? How did it evolve within Hitchcock’s body of work, and how was a pure cinema artistic style then developed by the filmmakers who came after Hitchcock, such as Dario Argento and Brian De Palma? The Art of Pure Cinema connects film history and philosophies of image and sound to better understand the legacy of this aesthetic tradition.
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Gordon, Robert, ed. The Oxford Handbook of Sondheim Studies. Oxford University Press, 2014. http://dx.doi.org/10.1093/oxfordhb/9780195391374.001.0001.
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This book examines the scope and ambition of Stephen Sondheim’s musicals by drawing on the perspectives of musicological and dramaturgical scholars, literary and film critics, and musical theater practitioners. Consisting of twenty-seven essays, it analyzes Sondheim’s radical re-invention of the artistic form of the Broadway musical in response to various traditions of artistic innovation and popular entertainment and how his work with several collaborators has radically transformed the history of American musical theatre. It explores problematic questions of authorship peculiar to the cultural milieu of Broadway musical theater by focusing on intertextuality in works ranging from Anthony Shaffer’s Sleuth (1970) to the film Hangover Square (1945) and Johann Sebastian Bach’s St Matthew Passion. It also probes the dramaturgical technique of songs that enable comic performers to act out the logic of character and plot in a meta-theatrical style and discusses the notion of the musical as a performance event, patterns of interpretation in the repeated performance of Sondheim’s musicals in the United Kingdom, the pleasures and challenges of performing these musicals in international opera houses, Sondheim’s work for cinema and television and his “cinematic” approach to musical theater, and his subtle and often ironic exploitation of genre conventions such as pastiche and parody. Finally, the book considers questions of cultural, political, and personal identity raised by Sondheim’s musicals in relation to contemporary American society.
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Lutjeharms, Rembert. On the Vṛndāvana of Bliss. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198827108.003.0007.
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The final two chapters turn to the Ānanda‐vṛndāvana, Kavikarṇapūra’s longest and most sophisticated poem in praise of Kṛṣṇa’s play in Vṛndāvana. Each chapter studies a small section of this voluminous work but, by examining such brief passages in depth, it is hoped the reader will get a good sense of the complexity of his poetic and narrative style, and be encouraged to explore more of Kavikarṇapūra’s poetry. Chapter 6 examines the style of Kavikarṇapūra’s prose, revisiting Kavikarṇapūra’s eclectic philosophy of language (Chapter 4) and drawing out its theological implications, which are argued to be essential to grasping the suggested sense of Kavikarṇapūra fusion of figures of speech that mark the prose of the Ānanda‐vṛndāvana. The chapter offers a close reading of the opening sentence of the Ānanda‐vṛndāvana, exploring how Kavikarṇapūra’s ‘splendour of speech’ conveys not just theological ideas, but is also meant to affect the reader and contribute to the realization of rasa.
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Nicholls, Stewart. West End Royalty. Edited by Robert Gordon and Olaf Jubin. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199988747.013.7.
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Ivor Novello represents the stylistic bridge between Edwardian operetta and post-Second World War British musical comedy. This essay charts the development of British operetta, which was dominated by Novello, in the context of changing public attitudes, artistic influences, and world events. Consideration will be given to how Novello and his contemporaries were obliged to adapt their style to compete with the changes in British musical theatre in the late 1940s, what kind of legacy their works have left, why the pieces are seldom performed today, and why much of British musical theatre of this period has been forgotten. Whilst some of the contemporary neglect of English operetta may be attributed to the loss of some of the original material (such as libretti, sheet music, and orchestrations) and the lack of adequate recordings, the question will be considered whether the work of Novello and his fellow writers is actually worth reviving.
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Fearn, David. Language and Vision in the Epinician Poets. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198746379.003.0005.
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This chapter explores the ways in which the other two contemporary epinician poets, Simonides and Bacchylides, use aesthetics and material culture as a way of drawing attention to their own individual and distinctive poetic voices and poetic agendas. Their affinities with and differences from Pindar are explored on the strength of the available evidence. Simonides’ Danae fragment receives detailed coverage, interpreted in visual-cultural terms in relation to Simonides’ ongoing fame as the original commentator on the relation between art and text. Discussion then turns to Bacchylides, and the predominance of a visual narrative style in his work. The argument covers not only epinician material but also an interesting but understudied fragmentary dithyramb. The focus then returns to Pindar with a short treatment of the themes of vision and visual and material culture in Nemean 10.
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Farrukhi, Asif. People All Around You. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190656546.003.0002.
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This chapter by Asif Farrukhi pays tribute to the Karachi-based poet Azra Abbas. Farrukhi presents a poignant selection of eleven of Abbas’ poems. These poems address experiences of fear, loneliness, grief, death and shock, in ways that political and random acts of violence insinuate themselves into domestic, commonplace experiences of “ordinary” everyday life in Karachi. Farrukhi shows how, in moving away from the traditional ghazal form of Urdu poetry, Abbas carved out a distinctive, unconventional style of gritty resistance. His relationship to Abbas’ work, and to the poems themselves, raise broader questions around how to articulate suffering in words, what languages are appropriate to capture pain, and how poetic forms may capture a fiery expression of outrage and resistance to violence.
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Rodrigues, Ailton Volpato. Da crise de fé ao silêncio reverente: (des-re-)construções da imagem de Deus em Jó. Brazil Publishing, 2021. http://dx.doi.org/10.31012/978-65-5861-197-4.
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The aim of this research is, following the arduous path taken by Job in his comprehension of the mysterious action of God, to contemplate the process of "de-rebuilding" of the images of God present in the poetic body of the biblical text. The term "de-rebuilding" has the objective of summarizing Job’s long journey in his difficult relationship towards God in the dark light of faith. The Book of Job is appreciated as a masterpiece of universal literature, both by its stylistic and poetic quality, as well as by its subject matter and its approach, in an admirable anthropological / psychological path, and, above all, religious / theological. The timeless presence of his drama finds, paradoxically, a resounding echo in the artistic-literary production of the last centuries. From the theologica-lliterary journey, through the “Job-monument”, this work aims at situating the adventure of the gratuitousness of the faith in the arduous spiritual process that dwells on moments of eclipse, but also of meaningful insights capable of, inserted in the wonderful and mysterious act of God, reverently contemplate his unexpected and prodigious action, making life meaningful. It is in the gratuitousness of devotion and hope of seeing God inwardly, letting Him be who He is, and by the willingness to be led to beauty, after all, that the process of deconstruction of His image becomes an itinerary of faith, a concrete mystique and meaning of life.
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Maxwell, Catherine. Scents and Sensibility. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198701750.001.0001.
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A major reconceptualization of the imagination that reinstates its hidden links with the historically neglected sense of smell, this book is the first to examine the role played by scent and perfume in Victorian literary culture. Perfume-associated notions of imaginative influence and identity are central to this study, which explores the unfamiliar scented world of Victorian literature, concentrating on texts associated with aestheticism and decadence, but also noting important anticipations in Romantic poetry and prose, and earlier Victorian poetry and fiction. Throughout, literary analysis is informed by extensive reference to the historical and cultural context of Victorian perfume. A key theme is the emergence of the olfactif, the cultivated individual with a refined sense of smell, influentially represented by the poet and critic Algernon Charles Swinburne, who is emulated by a host of canonical and less well-known aesthetic and decadent successors such as Walter Pater, Edmund Gosse, John Addington Symonds, Lafcadio Hearn, Michael Field, Oscar Wilde, Arthur Symons, Mark André Raffalovich, Theodore Wratislaw, and A. Mary F. Robinson. This book explores how scent and perfume pervade the work of these authors in many different ways, signifying such diverse things such as style, atmosphere, influence, sexuality, sensibility, spirituality, refinement, individuality, the expression of love and poetic creativity, and the aura of personality, dandyism, modernity, and memory. A coda explores the contrasting twentieth-century responses of Virginia Woolf and Compton Mackenzie to the scent of Victorian literature.
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Bartoloni, Paolo. Dante Alighieri. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474423632.003.0012.
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The Italian poet Dante Alighieri (1265–1321) is invoked several times in the work of Giorgio Agamben, often in passing to stress a point, as when discussing the political relevance of désoeuvrement (KG 246); to develop a thought, as in the articulation of the medieval idea of imagination as the medium between body and soul (S, especially 127–9); or to explain an idea, as in the case of the artistic process understood as the meeting of contradictory forces such as inspiration and critical control (FR, especially 48–50). So while Agamben does not engage with Dante systematically, he refers to him constantly, treating the Florentine poet as an auctoritas whose presence adds critical rigour and credibility. Identifying and relating the instances of these encounters is useful since they highlight central aspects of Agamben’s thought and its development over the years, from the first writings, such as Stanzas, to more recent texts, such as Il fuoco e il racconto and The Use of Bodies. The significance of Agamben’s reliance on Dante can be divided into two categories: the aesthetic and the political. The following discussion will address each of these categories separately, but will also emphasise the philosophical continuity that links the discussion of the aesthetic with that of the political. While in the first instance Dante is offered as an example of poetic innovation, especially in relation to the use of language and imagination, in the second he is invoked as a forerunner of new forms of life. Mediality and potentiality are the two pivots connecting the aesthetic and the political.