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1
Wallace, Catherine Miles. Dance lessons: Moving to the rhythm of a crazy God. Harrisburg, PA: Morehouse Pub., 1999.
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2
Rhythmus der Bilder: Narrative Strategien in Text- und Bildzeugnissen des 11. bis 13. Jahrhunderts. Köln: Böhlau Verlag, 2008.
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3
Mathur, Nita. Cultural rhythms in emotions, narratives and dance. New Delhi: Munshiram Manoharlal Publishers, 2002.
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4
Story, signs, and sacred rhythms: A narrative approach to youth ministry. El Cajon, CA: Youth Specialties, 2010.
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Paranhos, Maria da Conceição. O mundo ficcionalizado: Dois ensaios. Belo Horizonte: [Universidade Federal de Minas Gerais, Imprensa Universitária], 1989.
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6
The rules of time: Time and rhythm in the twentieth-century novel. Madison [N.J.]: Fairleigh Dickinson University Press, 1999.
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7
Garment, Leonard. Crazy rhythm: My journey from Brooklyn, jazz, and Wall Street to Nixon's White House, Watergate, and beyond--. New York: Times Books, 1997.
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Garment, Leonard. Crazy rhythm: My journey from Brooklyn, jazz, and Wall Street to Nixon's White House, Watergate, and beyond. New York: Times Books, 1997.
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Garment, Leonard. Crazy rhythm: My journey from Brooklyn, jazz, and Wall Street to Nixon's White House, Watergate, and beyond--. Cambridge, MA: Da Capo Press, 2001.
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10
al-Dīn, Thāʼir Zayn. Khalf ʻarabat al-shiʻr: Dirāsāt fī al-shiʻr al-ʻArabī al-muʻāṣir. Dimashq: Ittiḥād al-Kuttāb al-ʻArab, 2006.
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11
Russell, Tony. Rural Rhythm. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190091187.001.0001.
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Music historian Tony Russell explores a collection of records of early country music from the 1920s and ’30s, unlocking and revealing their hidden stories. The seventy-eight essays on selected 78rpm discs explain what they tell us about the musicians who sang and played the songs and tunes, the listeners who absorbed them, and the development of the genre—old-time music—in which they found a home. To illuminate their world, the author details how they were recorded, the intentions and interventions of the companies that made the recordings, and their fates once they were issued. There are songs, and stories of songs, about home and family, love and courtship, marriage and separation, childhood and schooldays, old age and death, crime and punishment, farms and floods, chain gangs and chain stores, wagons and automobiles, dogs and mules, drink, disasters, jokes, journeys, money, memories, and much more. Drawing on new research, contemporary newspapers, and previously unpublished interviews, Rural Rhythm charts the tempos and styles of rural and small-town music-making, and the gearshift that accelerated country music from the barndance pace of the 1920s to the hyperdrive of late-’30s proto-bluegrass and Western Swing: from “The Little Old Log Cabin in the Lane” to “New San Antonio Rose.” At the same time, it notates the larger rural rhythm of life in these years in the South, Southwest, and Midwest, with its recreations, its rituals, and its oddities, to produce a narrative that blends the musical and social history of the era.
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Silence and Slow Time: Studies in Musical Narrative. The Scarecrow Press, Inc., 2004.
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13
Hutchinson, G. O. Plutarch's Rhythmic Prose. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.001.0001.
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Greek literature is divided, like many literatures, into poetry and prose; but in the earlier Roman Empire, 31 BC to AD 300, much Greek (and Latin) prose was written in one organized rhythmic system. Whether most, or hardly any, Greek prose adopted this patterning has been entirely unclear; this book for the first time adequately establishes an answer. It then seeks to get deeper into the nature of prose-rhythm through one of the greatest Imperial works, Plutarch’s Lives. All its phrases, almost 100,000, have been scanned rhythmically. Prose-rhythm is revealed as a means of expression, which draws attention to words and word-groups. (Online readings are offered too.) Some passages in the Lives pack rhythms together more closely than others; the book looks especially at rhythmically dense passages. These do not occur randomly; they attract attention to themselves, and are marked out as climactic in the narrative, or as in other ways of highlighted significance. Comparison emerges as crucial to the Lives on many levels. Much of the book closely discusses particular dense moments, in commentary form, to show how much rhythm contributes to understanding, and is to be integrated with other sorts of criticism. These remarkable passages make apparent the greatness of Plutarch as a prose-writer: a side not greatly considered amid the huge resurgence of work on him. The book also analyses closely rhythmic and unrhythmic passages from three Greek novelists. Rhythm illuminates both a supreme Greek writer, Plutarch, and three prolific centuries of Greek literary history.
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Hutchinson, G. O. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0026.
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Form, on the most detailed level, turns out to be inextricably connected with expression, meaning, and larger structure. Perhaps modern scholars underestimate form, as is apparent from the greater importance of metre in ancient conceptions of poetic genre. Rhythm plays an important part in building up the worlds of the rhythmic narrative writing that has been considered. At climactic moments of Chariton, rhythm intensifies the supremacy of love in the erotic scheme of values; in the moments of Plutarch, it helps the presentation of a broader scheme of values, where politics is not simply set aside, but where the individual can transcend powerlessness and death. Philosophy, comparison, the evolution and unpredictability of people are presented the more forcefully through passages heightened by rhythm; rhythm as elsewhere marks meaning and expresses thought. The greatness of Plutarch’s writing emerges much more strongly when we start to read him rhythmically.
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Williams, Tami. Negotiating Art and Industry in the Postwar Context. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0003.
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This chapter studies several of Dulac's early narrative Impressionist films, and her ideal of cinema as a spatiotemporally complex universe of symbols—one in which meaning is created through an intertextual network of figurative associations, such as pictorial and rhythmic gesture. Dulac's integral approach, based on life, movement, and rhythm, exemplified in a surviving extract of what is considered the first Impressionist film, La Fête espagnole (1920), is used in a particularly innovative and feminist manner in one of her earliest extant films, La Belle Dame sans merci (1921). Dulac's use of dance as a discursive metaphor disrupts a heteronormative, monogamous, and linear narrative structure, creating a queer subtext in her later films, both commercial and avant-garde.
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Hutchinson, G. O. The Deaths of King and Kindred (Agis 16.6–17.5, 17.9–18.3; 19.5–21.1). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0017.
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A catastrophe in Hellenistic Sparta is portrayed in rhythmic passages that contrast with each other. The comparisons involved in and between both are intricate, within a particularly complex comparative structure, where two Spartan kings, Agis and Cleomenes, are compared with two Roman nobiles, Ti. and C. Gracchus. The king Cleombrotus is compared with Agis and with his own wife; Agis’ death is made part of a structure in which the most important figure is his mother. The accounts gain more force from rhetoric, multiple characterization, and perversion of legality and the constitution. Rhythm creates a powerful narrative; if the source is Phylarchus, the source is unrhythmic. The passages have been underestimated through scorn for Pylarchus and under-appreciation of Plutarch’s rhythmic writing.
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Hutchinson, G. O. A Blasé Mother (Plutarch, Cleomenes 43 (22).4–5). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0019.
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The preceding passage of Chariton is set against another passage from Plutarch’s Agis and Cleomenes (cf. ch. 17). Cleomenes’ mother treats herself and her relationship with her son very differently from Chaereas’ mother. Her sense of humour and her Spartan nobility, and the delicate portrayal of interaction with the son, lead to a passage which is much wider in range and outlook than the passage from Chariton. This one shows a considerable degree of rhythmic density, although it does not quite meet the criteria set in ch. 3. The long sentences and the altering narrative display a very different exploitation of prose-rhythm from Chariton’s.
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Hutchinson, G. O. The King of Persia is Put in His Place (Chariton 8.5.5–7). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0022.
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At another big moment in Chariton, the queen of Persia arrives by sea and is restored to her astonished husband. The passage conveys with refinement the mixed feelings of the king, who loves both his wife and Callirhoe, the heroine of the novel. It also conveys with refinement the meeting of the husband and wife, and the wife’s handling of the king’s mixed feelings, and her own. Rhythm helps the subtlety here, as well as the strong depiction of emotion. Apparently simple physical narrative is charged with point, as rhythm invites the reader to linger over phrases.
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Hutchinson, G. O. Some Tears in Achilles Tatius (Achilles 6.7.3–7). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0024.
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Another novelist provides in some respects a point in between Chariton and Heliodorus. His elaborate expatiation on tears and the lover put rhythm at the service of an intricate treatment of the mind and body, and a shrewd depiction of amorous self-control and manipulation. The first-person narrative adds a further stratum of sophistication to this handling of the speaker’s rival and enemy. Achilles Tatius demonstrates further, in contrast with Chariton, the range of possibilities for the exploitation of rhythm seen already in the difference of Chariton and Plutarch. Comparison with Heliodorus brings out Achilles’ elegance.
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Hutchinson, G. O. Cornelia Blames Herself (Pompey 74.5–75.2). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0016.
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After another major battle, that of Pharsalus, the response of husband and wife is compared: the defeated Pompey and his wife Cornelia. The wife’s speech is more emotional and more densely rhythmic; the husband is in a sense philosophical, but in fact fails to grasp political and philosophical reality, as he blithely ignores entropy. Rhythm helps to point up his error. The characters are compared; they also have ideas of their own biography. It is likely that Plutarch is reshaping and developing a moment in Livy; his development of Livy can be compared with Lucan’s. Homer is also probably an important intertext for both Plutarch and Lucan, in his presentation of marriage and of people’s narrative conception of their own lives.
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Hutchinson, G. O. More Tears in Achilles Tatius (7.4.3–6). Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0025.
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A further passage shows the imagination and craft of Achilles Tatius taken to a still greater degree, as he depicts the hero Cleitophon at the terrible crisis of believing his beloved to be dead. The narrative is suspended as the writer develops, at remarkable length, a psychological and physiological observation on delayed effects. Where Heliodorus had heaped up imagery with abundance, Achilles develops with skilled organization a single line of thought and imagery, developing it and enriching it as he goes. Rhythm plays a vital part in this remarkable union of tight order and inventive imagination. The expansion and the deployment of science have a Plutarchan element; but the fantasy and the tautness create something quite different out of rhythm.
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Murgatroyd, Paul, and Paul Murgatroyd. Beauty (289–345). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0008.
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This chapter provides the Latin text and a literal translation into English of the section on prayers for beauty and a detailed critical appreciation of those lines, paying particular attention to poetic aspects such as sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. In this section Juvenal asks some very relevant questions (e.g. is beauty so desirable; is it worth going to great lengths to secure it; does it necessarily make you happy?). His main thrust is that this prayer is harmful, because beauty entails various serious dangers (such as rape, castration, moral corruption and death), but this basic premise is patently flawed. Messalina is cited as an example in a vivid narrative.
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Williams, Tami. Dulac’s Aesthetic Matures. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038471.003.0004.
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This chapter illustrates Dulac's gradual shift from scenic naturalism and pictorial symbolism to the use of film-specific technical effects, and a choreography and montage-based notion of “rhythm within and between the images” in her feminist classic La Souriante Madame Beudet (1923), her subversive short L'Invitation au voyage (1927), and in a new restoration of her first surrealist film La Coquille et le clergyman (1927). The chapter also analyzes Dulac's lesser known La Folie des vaillants (1925), which among her narrative films comes closest to fulfilling her ideals of a “visual symphony” and a “pure cinema” free from the conventions of literature and theater.
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Jones, Susan. Choreographic Re-embodiment between Text and Dance. Edited by Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.26.
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This chapter explores the aesthetics of the experimental modernist fiction of Joseph Conrad and Samuel Beckett to open up debates about reenactment of dance in the twentieth century. Using the theories of Gabriele Brandstetter and Paul Ricoeur to explore correspondences in dance and literary skepticism about narrative, the discussion shows how both writers interpolate their stories with fleeting passages of gesture or movement phrases that syncopate and undermine the teleological flow of narrative. This discussion suggests a choreographic re-embodiment between dance and text that focuses on communication beyond words. The similarity of Conrad and Beckett lies in their uses of gesture, but while Conrad’s movement phrases re-embody early twentieth-century expressivism, Beckett’s look back to early twentieth-century innovations in abstraction which examine the mechanical function of the body, rhythm in time and space. Beckett does not reference a mental (or emotional) state, whereas Conrad’s gestures are affective, identifying an emotional interiority.
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Murgatroyd, Paul. Introduction (1–55). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0003.
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This chapter provides the Latin text and a literal English translation of the introduction to Juvenal’s tenth satire and a detailed critical appreciation of those lines (1-55), paying particular attention to poetic aspects such as style, sound, rhythm, diction, imagery, vividness and narrative technique, and also assessing the humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. This chapter considers how effectively these lines perform their introductory function, on top of announcing the poem’s main theme (prayer) and main thesis (humans pray for the superfluous, the meaningless and the pernicious), and how well organized they are.
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Murgatroyd, Paul. Power (56–113). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0004.
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This chapter provides the Latin text and a literal English translation of the section on prayers for power in Juvenal’s tenth satire and a detailed critical appreciation of those lines (56-113), paying particular attention to poetic aspects such s sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. This chapter shows how this section highlights the destructiveness of prayers for power and presents a long, densely packed and wide-ranging attack on power from its highest to its lowest form, with a particularly pointed and vivid depiction of the downfall of Sejanus.
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Murgatroyd, Paul. (Satires 11 and 12). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0010.
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This chapter provides the Latin text and a literal translation into English of representative segments of Juvenal’s eleventh and twelfth satires, paying particular attention to poetic aspects such as sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of satirical thrusts. This chapter examines the two other poems in Juvenal’s fourth book (satires 11 and 12) and considers how they continue in the vein of Satire 10 with regard to tone (calmer, mocking), the pillorying of human stupidity with humour and wit, the inclusion of much absurdity and grotesquerie, and the gloomy picture of Rome presented with cynicism, exaggeration and an admixture of pathos. Thus Satire 10 is viewed in context.
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Narrative Rhythmen der Erzählstimme: Poetologische Modulierungen bei W.G. Sebald. Königshausen & Neumann, 2012.
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Murgatroyd, Paul. Military Glory (133–87). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0006.
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This chapter provides the Latin text and a literal translation into English of the section on prayers for military glory in Juvenal’s tenth satire and a detailed critical appreciation of those lines (133-187), paying particular attention to poetic aspects such as sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. In this section of the poem Juvenal presents a much more comprehensive assault on the object of prayer, using three examples (Hannibal, Alexander and Xerxes). This is a vigorous and entertaining treatment, with much ridicule of the three commanders. The poet portrays the desire for glory as destructive (to others), excessive (in the case of Hannibal and Alexander) and pointless.
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Murgatroyd, Paul. Longevity (188–288). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0007.
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This chapter provides the Latin text and a literal translation into English of the section on prayers for longevity in Juvenal’s tenth satire and a detailed critical appreciation of those lines (188-288), paying particular attention to poetic aspects such as sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. This much longer section contains many more exempla (mythological as well as Roman) and much more pathos (especially in connection with Nestor and Priam). But the biggest difference is that in this section Juvenal’s basic point is indisputably sound: if you live for a long time, you are elderly for a long time, and advanced old age does involve the drawbacks mentioned by Juvenal.
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Murgatroyd, Paul. Conclusion (346–66). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0009.
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This chapter provides the Latin test and a literal translation into English of the conclusion to Juvenal’s tenth satire and a detailed critical appreciation of those lines (346-366), paying particular attention to poetic aspects such as sound, rhythm, style, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. This lively conclusion contains a series of surprises and takes the whole issue of prayer a lot further. The poet now progresses to what we CAN pray for (listing various things), but he also undermines prayer by saying that we should leave it to the gods themselves to give us what is best for us, by claiming that we can secure blessings ourselves without recourse to deities, and even calling into question the whole idea of divinity in the final lines.
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Murgatroyd, Paul. Eloquence (114–32). Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940698.003.0005.
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This chapter provides the Latin text and a literal translation into English of the section on prayers for eloquence in Juvenal’s tenth satire and a detailed critical appreciation of those lines (114-132), paying particular attention to poetic aspects such as sound, style, rhythm, diction, imagery, vividness and narrative technique, and also assessing humour, wit, irony and the force and validity of the satirical thrusts. Questions of text are considered as well, where they are of substantial importance. In this section of the poem the attack shifts to a corner-stone of the Roman education system (oratory), and the tone becomes more sad. The critical position adopted here is a lot more questionable and weak than hitherto, as Juvenal employs two examples (Cicero and Demosthenes) to support the idea that eloquence leads to death, without allowing that they achieved anything significant through their speeches.
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Lopez, Jeremy. From Bad to Verse. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0007.
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Is it possible to hear blank pentameter verse during a theatrical performance? Can an audience perceive the difference between verse and prose, or hear when the playwright alters the iambic rhythm? Is blank verse a constitutive element of the performance event, something whose handling by the actors should be used to measure a production’s success? Is the poetry the actors speak more important than the visual and narrative experience they work to create? This chapter examines some answers that have been provided to these questions by modern criticism and performance. Part 19.1 discusses scholarly conceptions of blank verse as an historical phenomenon. Part 19.2 discusses the place Shakespeare’s poetry has held in post-Renaissance engagements with Shakespeare’s plays in performance. Part 19.3 focuses on Othello in order to draw some conclusions about the historical and ideological stakes of speaking, experiencing, and criticizing dramatic poetry in live performance.
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Hutchinson, G. O. Rhythmic Prose in Imperial Greek Literature. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0001.
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The chapter looks at the division between poetry and prose in ancient and other literatures, and shows the importance of rhythmic patterning in ancient prose. The development of rhythmic prose in Greek and Latin is sketched, the system explained and illustrated (from Latin). It is firmly established, for the first time, which of the main Greek non-Christian authors 31 BC–AD 300 write rhythmically. The method takes a substantial sample of random sentence-endings (usually 400) from each of a large number of Imperial authors; it compares that sample with one sample of the same size (400) drawn randomly from a range of authors earlier than the invention of this rhythmic system. A particular sort of X2-test is applied. Many Imperial authors, it emerges, write rhythmically; many do not. The genres most likely to offer rhythmic writing are, unexpectedly, narrative: historiography and the novel.
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Yust, Jason. Syncopation. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0009.
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Syncopation is notoriously hard to define, and is sometimes understood as a rhythmic property, sometimes as a rhythmic transformation. This chapter disambiguates many forms of syncopation—contrapuntal syncopation, tonal syncopation, structural syncopation, and metrical and rhythmic dissonance. These are united by a common source in some type of displacement. Extended analysis of Mozart’s “Prague” Symphony, first movement, and a related C.P.E. Bach symphony, illustrates the use of rhythmic dissonance and interactions between syncopation and counterpoint. Further examples demonstrate the possibility of syncopation at hypermetrical levels, concluding with two extended analyses of hypermetric syncopation in Beethoven’s “Eroica” Symphony Scherzo and op. 95 String Quartet where rhythmic irregularities play crucial roles in the formal narrative.
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Kulezic-Wilson, Danijela. Sound Design is the New Score. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190855314.001.0001.
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Sound Design Is the New Score explores film soundtrack practice that blurs the boundary between scoring and sound design, subverting long-established hierarchical relationships between dialogue, music, and sound effects. The new methods associated with this practice rely on the language and techniques of contemporary popular and art music rather than traditional Hollywood scoring and mixing practices, producing soundtracks in which it is difficult to tell the difference between score and ambient sound, where pieces of pre-existing musique concrète or electroacoustic music are merged with diegetic sound, sound effects are absorbed into the score or treated as music, and diegetic sound is treated as musique concrète. The book argues that the underlying principle that binds together all the different manifestations of this practice is a musical approach to soundtrack conceived as an integrated whole. The aesthetic concerns of this practice, demonstrated in a resistance to the familiar tropes of classical narrative and scoring, are illuminated through the concept of the aesthetics of reticence, which encourages an intellectual, affective, and sensuous engagement with film. The sensuous aspect of this practice is theorized using the concept of the erotics of art, arguing that the sensuousness of film form—its sonic and visual textures, composition, rhythm, movement, and flow—is much more complex and sophisticated than simply being an emphasis on excessive sensory stimulation facilitated by the use of digital technology or the aesthetics inspired by it.
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Cutting, James E. Movies on Our Minds. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197567777.001.0001.
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Why do we enjoy popular movies? This book explores perceptual, cognitive, and emotional reasons for our engagement. It considers effects of camera lenses and the layout of images. It outlines the types of transitions between shots, and it traces their historical functions and changes. It classifies different kinds of shots and the changes in them across a century. It explains the arcs of scenes and how they fit into the larger structure of sequences, and then it explores scene- and sequence-like units that have become increasingly prevalent in recent years. It then breaks movies into larger, roughly half-hour parts and provides psychological evidence for them. Finally, it explores the rhythms of whole movies, first observing the flow of physical changes—shot durations, luminance, motion, and clutter—as it has developed over time, and then how cinematic polyrhythms have come to match aspects of those in the human body. Overall, this book focuses on how the narration, the manner in which the story is told, has come to reinforce the structure of the narrative, the story proper. It uses several hundred popular movies released over a century and embeds its exploration in discussions of evolution, culture, and technological change. The changes in movies have contributed to viewers’ engagement by sustaining attention, promoting understanding of the narrative, heightening emotional commitment, and fostering their felt presence in the story. Examples of cinematic effects in particular movies are given at every turn.
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Zachar, Peter, and Kenneth S. Kendler. A DSM insiders’ history of premenstrual dysphoric disorder. Oxford University Press, 2015. http://dx.doi.org/10.1093/med/9780198725978.003.0041.
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Chapter 41 discusses a kind of in vivo case study of the interactions between science and extra-scientific processes involved in the construction of nosological categories of psychiatry. The very first medical report on a cluster of symptoms, regularly affecting some women over their menstrual cycle, the so-called syndrome of premenstrual tension, appeared in 1931. The name changed with time to premenstrual syndrome, subsequently renamed as late luteal phase dysphoric disorder (LLPDD) and is currently known as premenstrual dysphoric disorder (PMDD). It was listed as a psychiatric disorder in the DSM-III, but was later moved to the section on the condition deserving further study (aka the “appendix”). In the DSM-5, PMDD returned to the main section of the manual devoted to depressive disorders as a diagnosis approved for routine clinical use. The PDD is an ideal-type condition to stimulate a controversy about its justification as a psychiatric disorder. By its nature it affects only females (here, feminist issues may arise); it is clearly linked to physiological rhythm (is it not a somatic issue?); does it exist as a distinct behavioral abnormality or is it just a variant of female experience?: does it need to be treated pharmacologically? (the issues of medicalization and “big pharma”). It provides a detailed narrative on the vicissitudes of this psychiatric nosological category, which is not only based on a careful study by interested outsiders but is crucially enriched by the insights of one of the participants of the very process of DSM construction.
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Hutchinson, G. O. Density in Plutarch. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821717.003.0003.
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The next move is to show that when rhythmic phrases are more densely packed together than usual, the passage calls for heightened attention. This illustrated from the climax of Plutarch’s Adversus Colotem. Then, to avert the possibility of chance, the book looks at passages in the Lives where at least twenty rhythmic closes come closely together, with few interruptions from unrhythmic closes or longer phrases. When they are looked at as a group, they are clearly not random. They come much more frequently in the second of pairs of Lives: a point with big implications for the conception of the work. They often come at key moments in the narrative (death, disaster, responses to these, triumphant summations of achievement); they also show significant connections with philosophy, substantial speeches, and comparison—the last an aspect of the Lives which they highlight far beyond the official pairings.
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Raine, Michael. A New Form of Silent Cinema. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190254971.003.0007.
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Ozu Yasujiro wanted to make a “new form” of silent cinema before it disappeared, something sophisticated in a fragile medium that was forced to do obvious things. His goal was to create, for the first and only time in Japanese cinema, films in which audible dialogue was displaced in favor of the intertitle as a form of “visual repartee.” After Western cinema switched to the talkie and while Japan was in the process of converting, Ozu took advantage of the transition from benshi-dialogue to actor-dialogue cinema to invent something like Hollywood silent film: a visual mode of narration with musical accompaniment and speech carried as intertitles. Ozu used the “sound version” to shut the benshi up, allowing emotion in An Inn in Tokyo to “float” as the unspoken disappointment behind banal dialogue, heard synaesthetically in the rhythm of alternating titles and images in a lyrical mise en scène.
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Hornby, Louise. Still Modernism. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190661229.001.0001.
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Still Modernism offers a critique of the modernist imperative to embrace motion, speed, and mobility. In the context of the rise of kinetic technologies and the invention of motion pictures, the book claims that stillness is nonetheless an essential tactic of modernist innovation. More specifically, the book looks at the ways in which photographic stillness emerges as a counterpoint to motion and to film, asserting its own clear visibility against the blur of kinesis. Combining objects and methods from art history, film studies, and literary studies, Louise Hornby reveals how photographers, filmmakers, and writers, even at their most kinetic, did not surrender attention to points of stillness. Rather, the still image, understood through photography, establishes itself as a mode of resistance and provides a formal response to various modernist efforts to see better, to attend more closely, and to remove the fetters of subjectivity and experience. Hornby argues that still photography allows film to access its own diffuse images of motion; photography’s duplicative form provides a serial structure for modernist efforts to represent the face; its iterative structure articulates the jerky rhythms of experimental narrative as perambulation; and its processes of development allow the world to emerge independent of the human observer. Casting new light on the relationship between photography and film, Hornby situates the struggle between the still and the kinetic at the center of modernist culture.
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Padilla Peralta, Dan-el. Divine Institutions. Princeton University Press, 2020. http://dx.doi.org/10.23943/princeton/9780691168678.001.0001.
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Many narrative histories of Rome's transformation from an Italian city-state to a Mediterranean superpower focus on political and military conflicts as the primary agents of social change. This book places religion at the heart of this transformation, showing how religious ritual and observance held the Roman Republic together during the fourth and third centuries BCE, a period when the Roman state significantly expanded and diversified. Blending the latest advances in archaeology with innovative sociological and anthropological methods, the book takes readers from the capitulation of Rome's neighbor and adversary Veii in 398 BCE to the end of the Second Punic War in 202 BCE, demonstrating how the Roman state was redefined through the twin pillars of temple construction and pilgrimage. The book sheds light on how the proliferation of temples together with changes to Rome's calendar created new civic rhythms of festival celebration, and how pilgrimage to the city surged with the increase in the number and frequency of festivals attached to Rome's temple structures. The book overcomes many of the evidentiary hurdles that for so long have impeded research into this pivotal period in Rome's history. It reconstructs the scale and social costs of these religious practices and reveals how religious observance emerged as an indispensable strategy for bringing Romans of many different backgrounds to the center, both physically and symbolically.
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Masters, Ben. Novel Style. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198766148.001.0001.
Full textAbstract:
Re-examining elaborate English stylists from the post-war period to the present day (including Anthony Burgess, Angela Carter, Martin Amis, Zadie Smith, Nicola Barker, and David Mitchell) through a fresh style of ethical criticism that does not over-rely on notions of character and interiority (the terrain of the ‘humanist revival’), and that returns the author to centre-stage (contra the approach of the ‘new ethics’, with its indebtedness to poststructuralism), Novel Style defends the stylistic excesses of writers who were conscious of both writing out of excessive times and of the need for new kinds of artistic response to contemporary ethical pressures. Through its methodology, Novel Style calls for a return to close reading and aesthetic evaluation and recovers its subjects from theoretical quagmires by repositioning them as stylists and ethicists, arguing that the two positions are inextricable. For example, it considers how forms of stylistic excess—ranging from puns and wordplay to long sentences, proliferating imagery, repetitions, idiosyncratic rhythms, multiple levels of narration, and variable points of view—might enact ethically-charged dynamics like curiosity, particularity, complexity, and empathy. As well as being an impassioned defence of literary excess, flamboyance, and close reading, Novel Style asks fundamental questions about how novels think, see, and feel, and how they might change us.
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Hom, Andrew R. International Relations and the Problem of Time. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850014.001.0001.
Full textAbstract:
What is time and how does it influence our knowledge of international politics? For decades International Relations (IR) paid little explicit attention to time. Recently this began to change as a range of scholars took an interest in the temporal dimensions of politics. Yet IR still has not fully addressed the issue of why time matters, nor has it reflected on its own use of time—how temporal assumptions and ideas affect the way we understand political phenomena. Moreover, IR remains beholden to two seemingly contradictory visions of time: the time of the clock and a long-standing tradition of treating time as a problem to be solved. International Relations and the Problem of Time develops a unique response to these interconnected puzzles. It reconstructs IR’s temporal imagination by developing an argument that all times—from the rhythms of the universe to individual temporal experience—spring from social and practical timing activities, or efforts to establish meaningful and useful relationships in complex and dynamic settings. In IR’s case, across a wide range of approaches scholars employ narrative timing techniques to make sense of political processes and events. This innovative account of time provides a more systematic and rigorous explanation for all manner of temporal phenomena in international politics. It also develops provocative insights about IR’s own history, its key methodological commitments, supposedly “timeless” statistical methods, historical institutions, and the critical vanguard of time studies. This book invites us to reimagine time in theory and practice, and in so doing to significantly rethink the way we approach the study of international politics.
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Taylor, Amy Murrell. Embattled Freedom. University of North Carolina Press, 2018. http://dx.doi.org/10.5149/northcarolina/9781469643625.001.0001.
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The Civil War was just days old when the first enslaved men, women, and children began fleeing their plantations to seek refuge inside the lines of the Union army as it moved deep into the heart of the Confederacy. In the years that followed, hundreds of thousands more followed in a mass exodus from slavery that would destroy the system once and for all. Drawing on an extraordinary survey of slave refugee camps throughout the country, Embattled Freedom reveals as never before the everyday experiences of these refugees from slavery as they made their way through the vast landscape of army-supervised camps that emerged during the war. The book vividly reconstructs the human world of wartime emancipation, taking readers inside military-issued tents and makeshift towns, through commissary warehouses and active combat, and into the realities of individuals and families struggling to survive physically as well as spiritually. Narrating their journeys in and out of the confines of the camps, Embattled Freedom shows in often gripping detail how the most basic necessities of life were elemental to a former slave's quest for freedom and full citizenship.The stories of individuals--storekeepers, a laundress, and a minister among them--anchor this ambitious and wide-ranging history and demonstrate with new clarity how contingent the slaves' pursuit of freedom was on the rhythms and culture of military life. The book brings new insight into the enormous risks taken by formerly enslaved people to find freedom in the midst of the nation’s most destructive war.
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Adleyba, Dzhulyetta. The stylistic and poetical-compositional system of a fairy tale. Volume 1 : Oral stylistic foundations of a fairy tale. Experimental study on the Abkhaz material. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1473.978-5-317-06459-4_v1.
Full textAbstract:
In the present edition “The stylistic and poetical-compositional system of a fairy tale” in 2 volumes, the author's works in the field of the study of the stylistic system of a fairy tale, carried out within the framework of an experimental direction in folklore studies, are combined. The study of the problem in this direction was undertaken by the author on the initiative of the outstanding scientist V.M. Gatsak, Doctor of Philology, Corresponding Member RAS, and was conducted over a number of years. The monograph “Oral stylistic foundations of a fairy tale. Experimental study on the abkhaz material”, which constituted 1 volume of this edition “The stylistic and poetical-compositional system of a fairy tale”, is devoted to topical problems of folklore studies, dictated by the urgent need for a comprehensive audio-visual study of folklore style. The work was carried out according to a special methodology, providing for the study of samples of oral poetry in their living existence in the light of the requirements of the experimental direction in folklore with the obligatory use of repeated recordings of fairy texts at different times, as well as film and photo documents. The aim and task of the research is to reveal the peculiarities of the style of fairy tale narration in their conditionality by the laws of preservation and transmission of traditions. The section “Appendices” contains samples of tabular analysis and intonation recording of typed repetitions, a package of film and photographic documents, a disc with a recording of the text being executed and rhythmic segments.