Bakhtin and the Social Moorings of Poetry
Bucknell University Press, 2003 - 170 páginas
First and last, what moors poetry to society is speech: the speech that gets into writing. So why do most political readings of literature neglect this fundamental orientation? Mikhail Bakhtin never forgets the central role of utterance: his philosophy of literary dialogism is based on the idea of fighting out social issues on the ground of the spoken word. Accordingly, conflict-in-language is the theme of this book's introduction as if it is of the whole volume. In this book, Donald Wesling offers an organized reading of Bakhtin's thought, to achieve an account of why Bakhtin scamped poetry; and an account of how a poetics of utterance is a major achievemnt, if we employ in the dialogic reading of poetry many of the powerful terms Bakhtin developed for the novel. After an Introductory chapter that is polemical and pedagogical, this book contains chapters on the social poetics of dialect writing, on the clash of inner and outer speech, on the problem of rhythm, and on broader conflicts of types of discourse in English Romanticism and in the American 1990s. Examples come from England and Scotland, Russia, and the USA. Traveling with and beyond Bakhtin, this book extends to Anglo-Ame
Bakhtin and the Social Poetics of Dialect
Easier to Die than to Remember Inner Speech in Basil Bunting
Rhythmic Cognition in the Reader Bakhtin Tsvetaeva and the Social Moorings of Rhythm
Clash of Discourses in English Romanticism and the American 1990s
One More Thing I Know about Bakhtin
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acts addressee argue Bakhtin Basil Bunting Bunting Bunting's Caryl century chapter claim clash consciousness course Criticism culture define develop dialect dialogic discourse early editing Emerson English essay examples experience final formal genres give Holquist human idea Imagination inner speech intonation kind language linguistic Linton Kwesi Johnson literary literature living lyric male meaning method Michael Mikhail Bakhtin monologic names nature never notes novel outer speech Oxford period person philosophical phrasing poem poetics poetry poets politics possible produced question quoted reader reading reference relation rhyme rhythm rhythmic Romantic Romanticism Russian says seems sense sentences social social moorings sound speaker speaking speaking subject structure struggle style theory things thought tion tone trans translation Tsvetaeva turn units University Press utterance voice whole Wordsworth writing
Página 136 - TOUSSAINT, the most unhappy Man of Men ! Whether the whistling Rustic tend his plough Within thy hearing, or thy head be now Pillowed in some deep dungeon's earless den ;-- O miserable Chieftain ! where and when Wilt thou find patience...
Página 136 - L'OUVERTURE. TOUSSAINT, the most unhappy Man of Men ! Whether the whistling Rustic tend his plough Within thy hearing, or thy head be now Pillowed in some deep dungeon's earless den ; — O miserable Chieftain ! where and when Wilt thou find patience ? Yet die not ; do thou Wear rather in thy bonds a cheerful brow : Though fallen Thyself, never to rise again, Live, and take comfort. Thou hast left behind Powers that will work for thee ; air, earth, and skies ; There's not a breathing of the common...
Página 56 - If the subject making the novel specifically a novel is defined as a speaking person and his discourse, striving for social significance and a wider general application as one distinctive language in a heteroglot world — then the central problem for a stylistics of the novel may be formulated as the problem of artistically representing language, the problem of representing the image of a language.
Página 62 - ... widny thingk it wuz troo. jist wanna yoo scruff tokn. thirza right way ti spell ana right way ti tok it. this is me tokn yir right way a spellin.
Página 135 - Who knew, to sooth the slave's distress Was gentle Anna's dearest joy. And thence, an earnest suit to press, To Anna flew the Negro boy. 'Missa,' poor Zambo cried, 'sweet land Dey tell me dat you go to see, Vere, soon as on de shore he stand, De helpless Negro slave be free. ' Ah ! dearest missa, you so kind, Do take me to dat blessed shore, Dat I mine own dear land may find, And dose who love me see once more. ' Oh ! ven no slave, a boat I buy. For me a letel boat vould do, And over wave again I...
Página 63 - It Dread inna Inglan (for George Lindo') dem frame-up George Lindo up in Bradford Toun but di Bradford Blacks dem a rally roun mi seh dem frame-up George Lindo up in Bradford Toun but di Bradford Blacks dem a rally roun . . . Maggi Tatcha on di go wid a racist show but a she haffi go kaw, rite now, African Asian West Indian an...
Página 82 - The word in language is half someone else's. It becomes 'one's own' only when the speaker populates it with his own intention, his own accent, when he appropriates the word, adapting it to his own semantic and expressive intention.
Página 77 - My love is young but wise. Oak, applewood, her fire is banked with ashes till day. The fells reek of her hearth's scent, her girdle is greased with lard; hunger is stayed on her settle, lust in her bed. Light as spider floss her hair on my cheek which a puff scatters, light as a moth her fingers on my thigh. We have eaten and loved and the sun is up, we have only to sing before parting : Goodbye, dear love. Her scones are greased with fat of fried bacon, her blanket comforts my belly like the south.
Página 85 - Debauched the neighbor's little girl to save two shillings . . . muttering inaudibly beneath the quagmire, irresolute, barren, dependant, this page ripped from Love's ledger and Poetry's : and besides I want you to know for certain there are people under the water. They are sighing. The surface bubbles and boils with their sighs. Look where you will you see it.