Often considered America's greatest twentieth-century poet, Wallace Stevens is without a doubt the Anglo-modernist poet whose work has been most scrutinized from a philosophical perspective. Wallace Stevens and the Limits of Reading and Writing both synthesizes and extends the critical understanding of Stevens's poetry in this respect. Arguing that a concern with the establishment and transgression of limits goes to the heart of this poet's work, Bart Eeckhout traces both the limits of Stevens's poetry and the limits of writing as they are explored by that poetry. Stevens's work has been interpreted so variously and contradictorily that critics must first address the question of limits to the poetry's signifying potential before they can attempt to deepen our appreciation of it. In the first half of this book, the limits of appropriating and contextualizing Stevens's "The Snow Man," in particular, are investigated. Eeckhout does not undertake this reading with the negative purpose of disputing earlier interpretations but with the more positive intention of identifying the intrinsic qualities of the poetry that have been responsible for the remarkable amount of critical attention it has received.
Wallace Stevens’s musicality is so profound that scholars have only begun to grasp his ties to the art of music or the music of his own poetry. In this study, two long-time specialists present a polyphonic composition in which they pursue various interlocking perspectives. Their case studies demonstrate how music as a temporal art form may affect a poetic of ephemerality, sensuous experience, and affective intensification. Such a poetic, they argue, invites flexible interpretations that respond to poetry as an art of textual performance. How did Stevens enact the relation between music and memory? How can we hear his verse as a form of melody-making? What was specific to his ways of recording birdsong? Have we been missing the latent music of Richard Strauss, Gustav Mahler, and Claude Debussy in particular poems? What were the musical poetics he shared with Igor Stravinsky? And how is our experience of the late poetry transformed when we listen to a musical setting by Ned Rorem? The Poetic Music of Wallace Stevens will appeal to experts in the poet’s work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry.
This book offers a thorough legal and policy examination of the European Neighbourhood Policy (ENP) as latest 'grand' experiment in achieving coherent external relations for the Union. The book draws on legal and political scholarship to attain a definition of coherence in EU external relations. It argues that traditional definitions such as vertical or horizontal coherence are insufficient and sets out a new definition in order to more accurately capture the reality of EU external relations. The book goes on to look in depth at the ENP, arguing that the innovative nature of the ENP in regard to coherence lies beyond the narrowly defined legal sphere, but stems mostly from its hybrid composition of hard legal, soft legal and non-legal policy instruments.
Modern, liberal democracies in the West living under the rule of law and protection of human rights cannot articulate the very values from which they derive their legitimacy. These pre-political and pre-legal preconditions cannot be guaranteed, let alone be enforced by the state, but constitute nevertheless its moral and spiritual infrastructure. Until recently, a common background and horizon consisted in Christianity, but due to secularisation and globalisation, society has become increasingly multicultural and multireligious. The question can and should be raised how religion relates to these sources of normative order in society, how religion, politics and law relate to each other, and how social cohesion can be attained in society, given the growing varieties of religious experiences. In this book, a philosophical account of this question is carried out, on the one hand historically from Plato to the Enlightenment, on the other hand systematically and practically.
Wallace Stevens’s musicality is so profound that scholars have only begun to grasp his ties to the art of music or the music of his own poetry. In this study, two long-time specialists present a polyphonic composition in which they pursue various interlocking perspectives. Their case studies demonstrate how music as a temporal art form may affect a poetic of ephemerality, sensuous experience, and affective intensification. Such a poetic, they argue, invites flexible interpretations that respond to poetry as an art of textual performance. How did Stevens enact the relation between music and memory? How can we hear his verse as a form of melody-making? What was specific to his ways of recording birdsong? Have we been missing the latent music of Richard Strauss, Gustav Mahler, and Claude Debussy in particular poems? What were the musical poetics he shared with Igor Stravinsky? And how is our experience of the late poetry transformed when we listen to a musical setting by Ned Rorem? The Poetic Music of Wallace Stevens will appeal to experts in the poet’s work, students of Modernism in the arts, and a wider audience fascinated by the dynamics of exchange between music and poetry.
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