Culler. Professor of English Cornell Liniversih). Routledge London,. & Kegan. Paul. Melbourne. and Henley. 7 Apostrophe ~. which can be given point and. Semiotics texts – Jonathan Culler, The Pursuit of Signs: Semiotics, Culler also deconstructs the apostrophe—no, not the punctuation mark, but a poetic. On “apostrophe”. And some really good thinking about the use of apostrophe at the key turn(s) in this poem from Jonathan Culler’s “Apostrophe” (Diacritics

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Yes, I think that is well stated. Who reads these poems? I might stress, though, as I say in Theory of the Lyricthat I do not have firm views on how regularly or successfully 20th- and 21st-century poets should be said to have escaped the lyric tradition.

Students of lyric are often eager to attempt to show that the contemporary lyric is politically radical and disruptive — usually because of its parody of dominant discourses or because of its linguistic deformations of ordinary ways of making sense — but it is hard to apstrophe that the presence of such strategies in poems has the desired effects.

Abrams matrix meaning metaphor metaphor and metonymy metonymy mirror mirror stage mode narrative narratology narrator nature norms notion object Oedipus origin particular perspective philosophy poem poet poetic poetry possible presupposes presuppositions problem produce psychoanalysis question readers reading referential relation relationship rhetorical Riffaterre Riffaterre’s romantic semiosis semiotics sentence sequence significance signification Aposfrophe Fish stanza story structure symbolic synecdoche temporal thought transformation treat tropes tropological understanding University Press various W.

This problematic issue, of course, brings joonathan back to epideixisthe statement of truths about this world and the affirmation of particular values.

Jonathan Culler | Structure & Surprise

I speak of triangulated address — address to an audience via address to a third party — as a fundamental underlying structure of the lyric, which is made manifest at moments when entities that are not the intended audience are apostrophically addressed. Common terms and phrases Abrams activity analysis apostrophe argues assertion assumption attempt becomes Bloom catachresis claim codes complex concept conventions course cultural deconstruction Derrida describe descriptive system discipline discourse discussion distinction effect example experience explicit explicitly fact fantasy fiction figures Freud function genre Harold Bloom historical hypogram identify imagination important interpretive operations intertextuality Jacques Derrida Jonathan Culler Lamp language linguistics literal literary criticism literary studies literary theory literature logic lyric M.

Second, given that there is a history of the Western lyric, I have been inclined to stress continuities, in part because the historicist-contextualist criticism that is currently dominant in the United States is eager to declare discontinuities.


By submitting this form, you are granting: In the internal temporalities of the poem, it seems to enact what the text is meant to be: For me there are two important points. To find out more, including how to control cookies, see here: And then, finally, as you suggest, Christianity seems to bring major changes to the lyric, especially with the introduction of the distinction between sacred and profane love, which is so central to lyric practice for many centuries, and with the importance of hymns and hymn meters to secular poetic practice.


A second major change is the relation not just of lyric, but of poetry in general, to the communities that spawned it. Yes, direct address to the audience of listeners or readers is relatively rare in lyric, but this does not make it a solipsistic or monological mode.

Lyric memorability is sustained by rhythm, a repetition of sound, and by the triangulated address that you explore in the fifth chapter. O chestnut tree, great-rooted blossomer, Are you the leaf, the blossom, or the bole? Your tax-deductible donation made to LARB by Hutchinson – – Classical Quarterly 60 1: Though some novels do allude to a present moment when the story is being told, this is generally incidental to the story itself and to the linear temporality of events that it presupposes.

Such poetry can promote a feeling of solidarity with what is presented as a timeless experience: Dancing through semiotics, reader-response criticism, the value of the apostrophe and much more, Jonathan Culler opens up for every reader the closed world of literary criticism.

Henry – – The Classical Review 20 Dancing through semiotics, reader-response Fain – – Classical Quarterly 56 Beyond any particular fictional elements some fictional speaker and situationiterability would thus be inscribed in the artifact itself at a thematic level as well, as it is the case with verse, sound patterning, and intertextual references at other levels.

Apostrophes displace this irreversible structure by removing the opposition between presence and absence from empirical time and locating it in discursive time. The Use and Origin of Apostrophe in Homer. Most other cases are less clear cut, less easy to associate with a particular identifiable community or social movement.

The tension between the narrative and the apostrophic can be seen as the generative force behind a whole series of lyrics. One might identify, for example, as instances of the triumph of the apostrophic, poems which, in a very common move, substitute a fictional, non-temporal opposition for a temporal one, substitute a temporality of discourse for a referential temporality.


There are, ionathan course, arguments among specialists about when lyrics began to be written down and when this became more than a convenience for performers of lyric. There is less than a week left to support our matching jonatha fund drive! Thank you for signing up! In Theory of the LyricI am opposing two models, each of which has been abusively taken as the model for lyrics in general: The transcendental presences evoked here, the images which are objects of strong feelings that generate them, make the transient projects of human life seem paltry indeed.

The clearest example of this structure is of course the elegy which replaces an irreversible temporal disjunction, the move from life to death, with a dialectical alternation between attitudes of mourning and consolation, evocations of absence culle presence….

But, as I show, these poems that are quoted, learned by heart, and passed around, are jknathan treated as making claims about the world that the poems themselves can easily be shown to contradict, or at least undermine. Added to PP index Total downloads 6of 2, Recent downloads 6 months 5of 2, How can I increase my downloads? Even poems that do address the reader, such as the poems by Walt Whitman that I discuss, often project an addressee too distinctive or too particularly situated for the actual audience that encounters the poem to identify with them, so that there is already a doubling of addressees.

Reiterated contrasts between age and youth form a structure from which the poem suddenly turns in the penultimate stanza with an apostrophe: The leading critic and theorist — and Class of Professor of English and Comparative Literature at Cornell University — will also be one of the keynote speakers at the first biennial conference of the recently founded International Network for the Study of Lyric, to be held at Boston University on June 7—11, I was just wondering if recollection — a form of repetition embedded as a theme in the poem — could also have structural functions.

But certainly for many centuries lyric is a written form that represents apostroph as an oral form, and it is only in the 20th century that the written character of lyric is explicitly affirmed and its dependence on voicing is frequently denied.