Universal deep structure of modern poetry:
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Newcastle upon Tyne
Cambridge Scholars Publishers
2020
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | ix, 241 Seiten Illustrationen |
| ISBN: | 152754625X 9781527546257 |
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| adam_text | Contents Chapter One..................................................................................................1 Introduction Chapter Two (Theory)............................................................................... 17 What is the signifying mechanism of modem poetry? Introduction: Modern poetry and traditional prosody 1. Riffaterrian theory.......................................................................... 19 Matricial structure Matrix and hypogram Binarism Intertext Interpretant Recursive interpretation Riffaterre ’s universals of literariness 2. Context, and perceptual change..................................................... 28 Lotman and “modélisation ” Fredric Jameson: an architectural illustration The HKSB and perceptual change Eco: “openness ” andperceptual change in the reader 3. Two components of the signification process: textual and extra-textual.................................................................39 4. The modernist poetic text controls its own decoding..................... 41 5. An additional example-text, demonstrating key terminology and mechanisms............................................................................. 42 6. Overview of the 21 main example-texts...........................................55 Chapter Three............................................................................................ 56 Romanticism as precursor of Modernism 1. Yew-Trees, William Wordsworth (1803)....................................... 58 From mimesis to symbol One matrix or two?
viii Contents Chapter Four.............................................................................................. 62 Pioneers of modernist poetry 2. Ecrit sur la vitre d’une fenêtre flamande, Victor Hugo (1840)...... 62 Alternatives to the “matrices ”proposed by de Man Intertext and interpretant Sociolectic Context 3. Spleen no. 1, Charles Baudelaire (1857)..........................................67 4. Crossing Brooklyn Ferry, Walt Whitman (1856-1881)................. 70 5. The Windhover, Gerard Manley Hopkins (1877)........................... 75 Centrefold: illustrations in colour follow page 84 Chapter Five.............................................................................................. 85 High modernism 6. The Waste Land, T. S. Eliot (1922)............................................... 85 7. Musée des Beaux Arts, W. H. Auden, (1938)............................... 117 8. The Thought-Fox, Ted Hughes (1957)......................................... 125 9. Blackberrying, Sylvia Plath (1960/1971)...................................... 130 10. Shima/The Island,Yoshioka Minoru (1958)................................ 138 11. The Wheelchair Butterfly, James Tate (1969)............................ 151 Chapter Six...............................................................................................158 Modernism in the “postmodern era” 12. Shelter From The Storm, Bob Dylan (1974).............................. 158 13. The Haw Lantern, Seamus Heaney (1987)................................ 163 14. A Night Fragrance, W. S. Merwin (
1999)................................. 167 Chapter Seven...........................................................................................172 Modernism redux (recent poetry from The New Yorker) 15. Four Hinterland Abstractions, Ray Young Bear (2015)............ 172 16. The Poem ofSelf, Stanley Moss (2015)..................................... 179 17. The Exorcism, Anton Yakovlev (2015)..................................... 189 18. As Someone Who Likes Travel, John Ashbery (2016)................ 194 19. Among the Prophets, Essy Stone (2016)......................................199 20. The Break-in, Hafrzah Geter (2017)........................................... 203 21. Lisburn Road, Michael Hofmann (2017).....................................207
The Universal Deep Structure of Modem Poetry IX Chapter Eight................................................................................................213 Conclusions Preface Conditions for modern/modemist poetry Postmodernism Typology ofrelations existing between matricial propositions The transformation of matricial propositions into individual images Typology ofrelations existing between interpretant and (SC) Modernism, textual control over decoding, andperceptual change Universals ofmodern poetry Bibliography.................................................................................................230 Index..............................................................................................................236
With something of a poetry renaissance currently under way worldwide, there is now, more than ever, a need for a solidly-based methodology for interpreting poems: something more empirical than traditional ‘lit-criť approaches, and something more linguistically-informed than the version of ‘postmodernism’ rampant in certain Anglophone universities. The latter approach, which tends to allow the individual reader to do what he/she likes with a poetic text, is inadequate to interpret modernist poetry, whose Englishlanguage precursors may be found in the late Romantics; its pioneers were already writing (in France) as early as 1840. What is so different about the modernists? Most importantly, their works are monumental, in that they are strongly resistant to deconstruction. Contributing to this resistance is the fact that they are built around two deep-level propositions, each of which generates a set of indirectly-signifying images, sharing the same internal structure, but having a different vocabulary. Thus, they do not signify according to linear narrative, but according to these propositions—and the relation between them—which may be reconstructed by a careful comparison of images on the textual surface. Every text—as subject-sign—refers to an intertextual object-sign, which is usually another poem, but may also be a film or other form of art. Mediating between these two signs is their reader-constructed interpretant, which completes the semiotic triad. As this book shows, the novelty of this sign is thrown into relief by the contrast it makes with a lexical counterpart from
the reader s experience, which differs from the interpretant in structure. The book’s inclusion of French and Japanese, as well as English poems, shows that deep-level signifying mechanisms may well be universal, with considerable research and pedagogical implications. Following in the footsteps of Michael Riffaterre, and modifying his theory that poems arc generated by transforming an elementary sentence or matrix into a series of images, John Hopkins boldly proposes a method for interpreting modern poetry. Specifying the need for two matrices for each poem instead of only one, this unusual and challenging book helps to account for the thematic tensions characteristic of poems of at least the last century.’’ Jonathan Culler Cornell University John A.F. Hopkins was a career diplomat in Tokyo (1968-1973), and holds MA degrees in French Literature and Linguistics, and a PhD in Linguistics and Semiotics. He is the author of Presentation et critique de la théorie sémiotique littéraire de Michael Riffaterre (1994). as well as numerous articles—in English, French and Japanese—on the semiotics of poetry . He has lectured in Japanese language and literature in New Zealand (1978֊ 1980), and been Visiting Professor in Semiotics of Literature at several universities in France. He was Associate Professor and subsequently Professor in the Literature Department of Tamagawa University, Japan.
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| adam_txt |
Contents Chapter One.1 Introduction Chapter Two (Theory). 17 What is the signifying mechanism of modem poetry? Introduction: Modern poetry and traditional prosody 1. Riffaterrian theory. 19 Matricial structure Matrix and hypogram Binarism Intertext Interpretant Recursive interpretation Riffaterre ’s universals of literariness 2. Context, and perceptual change. 28 Lotman and “modélisation ” Fredric Jameson: an architectural illustration The HKSB and perceptual change Eco: “openness ” andperceptual change in the reader 3. Two components of the signification process: textual and extra-textual.39 4. The modernist poetic text controls its own decoding. 41 5. An additional example-text, demonstrating key terminology and mechanisms. 42 6. Overview of the 21 main example-texts.55 Chapter Three. 56 Romanticism as precursor of Modernism 1. Yew-Trees, William Wordsworth (1803). 58 From mimesis to symbol One matrix or two?
viii Contents Chapter Four. 62 Pioneers of modernist poetry 2. Ecrit sur la vitre d’une fenêtre flamande, Victor Hugo (1840). 62 Alternatives to the “matrices ”proposed by de Man Intertext and interpretant Sociolectic Context 3. Spleen no. 1, Charles Baudelaire (1857).67 4. Crossing Brooklyn Ferry, Walt Whitman (1856-1881). 70 5. The Windhover, Gerard Manley Hopkins (1877). 75 Centrefold: illustrations in colour follow page 84 Chapter Five. 85 High modernism 6. The Waste Land, T. S. Eliot (1922). 85 7. Musée des Beaux Arts, W. H. Auden, (1938). 117 8. The Thought-Fox, Ted Hughes (1957). 125 9. Blackberrying, Sylvia Plath (1960/1971). 130 10. Shima/The Island,Yoshioka Minoru (1958). 138 11. The Wheelchair Butterfly, James Tate (1969). 151 Chapter Six.158 Modernism in the “postmodern era” 12. Shelter From The Storm, Bob Dylan (1974). 158 13. The Haw Lantern, Seamus Heaney (1987). 163 14. A Night Fragrance, W. S. Merwin (
1999). 167 Chapter Seven.172 Modernism redux (recent poetry from The New Yorker) 15. Four Hinterland Abstractions, Ray Young Bear (2015). 172 16. The Poem ofSelf, Stanley Moss (2015). 179 17. The Exorcism, Anton Yakovlev (2015). 189 18. As Someone Who Likes Travel, John Ashbery (2016). 194 19. Among the Prophets, Essy Stone (2016).199 20. The Break-in, Hafrzah Geter (2017). 203 21. Lisburn Road, Michael Hofmann (2017).207
The Universal Deep Structure of Modem Poetry IX Chapter Eight.213 Conclusions Preface Conditions for modern/modemist poetry Postmodernism Typology ofrelations existing between matricial propositions The transformation of matricial propositions into individual images Typology ofrelations existing between interpretant and (SC) Modernism, textual control over decoding, andperceptual change Universals ofmodern poetry Bibliography.230 Index.236
With something of a poetry renaissance currently under way worldwide, there is now, more than ever, a need for a solidly-based methodology for interpreting poems: something more empirical than traditional ‘lit-criť approaches, and something more linguistically-informed than the version of ‘postmodernism’ rampant in certain Anglophone universities. The latter approach, which tends to allow the individual reader to do what he/she likes with a poetic text, is inadequate to interpret modernist poetry, whose Englishlanguage precursors may be found in the late Romantics; its pioneers were already writing (in France) as early as 1840. What is so different about the modernists? Most importantly, their works are monumental, in that they are strongly resistant to deconstruction. Contributing to this resistance is the fact that they are built around two deep-level propositions, each of which generates a set of indirectly-signifying images, sharing the same internal structure, but having a different vocabulary. Thus, they do not signify according to linear narrative, but according to these propositions—and the relation between them—which may be reconstructed by a careful comparison of images on the textual surface. Every text—as subject-sign—refers to an intertextual object-sign, which is usually another poem, but may also be a film or other form of art. Mediating between these two signs is their reader-constructed interpretant, which completes the semiotic triad. As this book shows, the novelty of this sign is thrown into relief by the contrast it makes with a lexical counterpart from
the reader's experience, which differs from the interpretant in structure. The book’s inclusion of French and Japanese, as well as English poems, shows that deep-level signifying mechanisms may well be universal, with considerable research and pedagogical implications. "Following in the footsteps of Michael Riffaterre, and modifying his theory that poems arc generated by transforming an elementary sentence or matrix into a series of images, John Hopkins boldly proposes a method for interpreting modern poetry. Specifying the need for two matrices for each poem instead of only one, this unusual and challenging book helps to account for the thematic tensions characteristic of poems of at least the last century.’’ Jonathan Culler Cornell University John A.F. Hopkins was a career diplomat in Tokyo (1968-1973), and holds MA degrees in French Literature and Linguistics, and a PhD in Linguistics and Semiotics. He is the author of Presentation et critique de la théorie sémiotique littéraire de Michael Riffaterre (1994). as well as numerous articles—in English, French and Japanese—on the semiotics of poetry'. He has lectured in Japanese language and literature in New Zealand (1978֊ 1980), and been Visiting Professor in Semiotics of Literature at several universities in France. He was Associate Professor and subsequently Professor in the Literature Department of Tamagawa University, Japan. |
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