Derek Attridge
Auteur de The Cambridge Companion to James Joyce
A propos de l'auteur
Derek Attridge provides a rich new vocabulary for literature, rethinking such terms as "invention," "singularity," "otherness," "alterity," "performance" and "form." He returns literature to the realm of ethics, and argues for the ethical importance of literature, demonstrating how a new afficher plus understanding of the literary might be put to work in a "responsible," creative mode of reading. The Singularity of Literature is not only a major contribution to the theory of literature, but also a celebration of the extraordinary pleasure of the literary, for reader, writer, student or critic. This Routledge Classics edition includes a new preface by the author. afficher moins
Œuvres de Derek Attridge
Peculiar Language: Literature As Difference from the Renaissance to James Joyce (1988) 33 exemplaires
James Joyce's Ulysses: A Casebook (Casebooks in Criticism) (2004) — Directeur de publication — 33 exemplaires
"The Wake's Confounded Language" 1 exemplaire
Cambridge Companion to James Joyce 2ed 1 exemplaire
Oeuvres associées
Phonetics and Phonology: Rhythm and Meter (Phonetics & Phonology) (1989) — Contributeur — 1 exemplaire
Étiqueté
Partage des connaissances
- Date de naissance
- 1945-05-06
- Sexe
- male
- Nationalité
- England
UK - Lieu de naissance
- South Africa
- Lieux de résidence
- York, Yorkshire, England, UK
- Études
- Natal University, South Africa (BA)
University of Cambridge (MA)
University of Cambridge (PhD) - Professions
- literary critic
professor - Organisations
- University of York
University of Strathclyde
University of Southampton - Prix et distinctions
- Fellow, British Academy (2007)
Membres
Critiques
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Auteurs associés
Statistiques
- Œuvres
- 25
- Aussi par
- 2
- Membres
- 523
- Popularité
- #47,534
- Évaluation
- 3.9
- Critiques
- 3
- ISBN
- 85
- Langues
- 2
Attridge's approach is that traditional ways of scanning and describing poems (iambic pentameter etc.) are only useful up to a point, so that it is about halfway through the book before he starts raising this terminology. His point is that we do not actually experience iambs and trochees and spondees when we read poetry, that these are artificial groupings of rhythmic patterns. In stead, Attridge teaches that we have to understand the history of what works in the poetic rhythm of the English language rather than trying to impose a faux-classicism on it. This approach is particularly rich when it comes to explaining all the metrical variations that might be used in syllable-stress metre (e.g. iambic pentameter) that allow greater freedom of expression without undermining the overall rhythm. Other books might just say that the odd iamb can be swapped for a trochee here and there to keep things interesting.
The book covers Anglo-Saxon alliterative verse (and some more recent attempts at it) and other less-strict stress metres; there is even a brief foray into rap. The chapter on free verse is perhaps understandably, yet also woefully, short. Basically, the book presents two rough rhythmical styles of free verse: using bits of traditional metre as building blocks, or not. It would have been good to have more of a survey of how different free-verse poets write the rhythm of their lines. This is the only blind spot, and Poetic Rhythm does, in fact, equip one with a more detailed approach to analysing free verse.
This book is a must for any poet, reader or critic of poetry.… (plus d'informations)