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Libri sul tema "Literary gesture"

Autore: Grafiati
Pubblicato: 15 febbraio 2025

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1

G, Davis Rocío, e Lee Sue-Im 1969-, a cura di. Literary gestures: The aesthetic in Asian American writing / Rocío G. Davis and Sue-Im Lee, editors. Philadelphia, PA: Temple University Press, 2005.

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2

1919-, Gerstinger Heinz, a cura di. Wien von gestern: Ein literarischer Streifzug durch die Kaiserstadt. Wien: J&V Edition Wien, 1991.

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3

Kellogg, Judith. Medieval artistry and exchange: Economic institutions, society, and literary form in Old French narrative. New York: P. Lang, 1989.

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4

Guidot, Bernard. Recherches sur la chanson de geste au XIIIe siècle, d'après certaines oeuvres du cycle de Guillaume d'Orange. Aix-en-Provence: Publications Université de Provence, 1986.

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5

editor, Parra Membrives Eva, a cura di. Bestseller - gestern und heute / Bestseller - Yesterday and Today: Ein Blick vom Rand zum Zentrum der Literaturwissenschaft / A Look from the Margin to the Center of Literary Studies ; Albrecht Classen and Eva Parra-Membrives (Hrsg./eds.). Tübingen: Narr Francke Attempto, 2016.

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6

Emmanuèle, Baumgartner, Leduc-Adine Jean-Pierre, Université de Paris III. Centre d'études du Moyen Age et de la Renaissance. e Centre d'études sur Zola et la naturalisme., a cura di. Moyen Age et XIXè siècle: Le mirage des origines : actes du colloque, Paris III-Sorbonne nouvelle, Paris X-Nanterre, 5 et 6 mai 1988. Nanterre: Centre de recherches du Département de français de Paris X Nanterre, 1990.

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7

Sterne's whimsical theatres of language: Orality, gesture, literacy. Aldershot, England: Ashgate, 2003.

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8

The style of gestures: Embodiment and cognition in literary narrative. Baltimore: Johns Hopkins University Press, 2012.

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9

Bolens, Guillemette. Kinesic Humor. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190930066.001.0001.

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Literature is one of the richest sources of information concerning the ways in which human beings are able to play with cognition. According to the theory of embodied cognition, human cognition is grounded in sensorimotricity, i.e., the ability to feel, perceive, and move. The pervading cognitive process called perceptual simulation, which is activated when we cognitively process a gesture in a real-life situation, is also recruited when we read about actions, movements, and gestures in texts. Kinesic Humor examines literary works written by major authors—including Chrétien de Troyes, Cervantes, Milton, Saint-Simon, Rousseau, Sterne, and Stendhal—in which perceptual simulations of complex sensorimotor events and kinesic interactions trigger humorous effects. Such works create anticipations regarding movements and sensations, which are unexpectedly thwarted, thus producing cognitive shifts typical of humor. By bringing together literary studies, cognitive studies, gesture studies, and humor studies, this book offers original perspectives on such important artworks as Paradise Lost, Don Quixote, and Le Rouge et le Noir. In it, the importance of rhythm and tonicity in the perception of movements and gestures is a focus of attention. The interactional significance of gestures often lies in their dynamics, and this fact also applies to the cognitive retrieval of narrated gestures during the act of reading. The method of kinesic analysis practiced in this book takes into account such cognitive features in correlation with the historical and cultural contexts in which the literary works were written.
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10

Ruprecht, Lucia. Gestural Imaginaries. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780190659370.001.0001.

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Gestural Imaginaries: Dance and Cultural Theory in the Early Twentieth Century offers a new interpretation of European modernist dance by addressing it as guiding medium in a vibrant field of gestural culture that ranges across art and philosophy. Taking further Cornelius Castoriadis’s concept of the social imaginary, it explores this imaginary’s embodied forms. Close readings of dances, photographs, and literary texts are juxtaposed with discussions of gestural theory by thinkers including Walter Benjamin, Sigmund Freud, and Aby Warburg. Choreographic gesture is defined as a force of intermittency that creates a new theoretical status of dance. The book shows how this also bears on contemporary theory. It shifts emphasis from Giorgio Agamben’s preoccupation with gestural mediality to Jacques Rancière’s multiplicity of proliferating, singular gestures, arguing for their ethical and political relevance. Mobilizing dance history and movement analysis, it highlights the critical impact of works by choreographers such as Vaslav Nijinsky, Jo Mihaly, and Alexander and Clotilde Sakharoff. It also offers choreographic readings of Franz Kafka and Alfred Döblin. Gestural Imaginaries proposes that modernist dance conducts a gestural revolution that enacts but also exceeds the insights of past and present cultural theory. It makes a case for archive-based, cross-medial, and critically informed dance studies, transnational German studies, and the theoretical potential of performance itself.
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11

La main et la matière: Jalons d'une haptologie de l'oeuvre d'art. Paris: Hermann, 2018.

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12

Jones, Susan. Choreographic Re-embodiment between Text and Dance. A cura di Mark Franko. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199314201.013.26.

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This chapter explores the aesthetics of the experimental modernist fiction of Joseph Conrad and Samuel Beckett to open up debates about reenactment of dance in the twentieth century. Using the theories of Gabriele Brandstetter and Paul Ricoeur to explore correspondences in dance and literary skepticism about narrative, the discussion shows how both writers interpolate their stories with fleeting passages of gesture or movement phrases that syncopate and undermine the teleological flow of narrative. This discussion suggests a choreographic re-embodiment between dance and text that focuses on communication beyond words. The similarity of Conrad and Beckett lies in their uses of gesture, but while Conrad’s movement phrases re-embody early twentieth-century expressivism, Beckett’s look back to early twentieth-century innovations in abstraction which examine the mechanical function of the body, rhythm in time and space. Beckett does not reference a mental (or emotional) state, whereas Conrad’s gestures are affective, identifying an emotional interiority.
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13

Taylor, Helena. Ovid in Fiction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198796770.003.0004.

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This chapter examines the use of the Ovidian exile persona in the exile writing of the poet Théophile de Viau (1590–1626) and memoirist Bussy-Rabutin (1618–93). It explores how Ovid’s exile work, and particularly Tristia 2 (addressed to Augustus), establishes a paradigm for communication with the perpetrator of one’s disgrace, in what emerges as a complex gesture of plea and aggressive flattery. Both French writers were exiled for—among other things—their writing, and also, like Ovid, used writing to try to restore their reputation or reverse the sentence. In different ways, the gestures of comparison (initiated in Bussy’s case by his friend, Dominique Bouhours) are consolatory and self-aggrandizing; they also pose literary and political questions about censorship, the complex relationship between homme and œuvre and the relative power—in both the present and the future—of a monarch’s actions and writer’s words.
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14

Staging Process: The Aesthetic Politics of Collective Performance. Northwestern University Press, 2020.

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15

Tadié, Alexis. Sterne's Whimsical Theatres of Language: Orality, Gesture, Literacy. Taylor & Francis Group, 2017.

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16

Tadié, Alexis. Sterne's Whimsical Theatres of Language: Orality, Gesture, Literacy. Taylor & Francis Group, 2017.

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17

Tadié, Alexis. Sterne's Whimsical Theatres of Language: Orality, Gesture, Literacy. Taylor & Francis Group, 2017.

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18

Tadié, Alexis. Sterne's Whimsical Theatres of Language: Orality, Gesture, Literacy. Taylor & Francis Group, 2017.

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19

Literary Gestures: The Aesthetic in Asian American Writing. Temple University Press, 2005.

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20

(Editor), Rocio G. Davis, e Sue-Im Lee (Editor), a cura di. Literary Gestures: The Aesthetic in Asian American Writing. Temple University Press, 2005.

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21

Literary Gestures: The Aesthetic in Asian American Writing. Temple University Press, 2009.

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22

Davis, Rocio G., e Sue-Im Lee. Literary Gestures: The Aesthetic in Asian American Writing. Temple University Press, 2009.

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23

Sweetser, Eve, e Barbara Dancygier. Viewpoint in Language: A Multimodal Perspective. Cambridge University Press, 2012.

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24

Sweetser, Eve, e Barbara Dancygier. Viewpoint in Language: A Multimodal Perspective. Cambridge University Press, 2012.

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25

Sweetser, Eve, e Barbara Dancygier. Viewpoint in Language: A Multimodal Perspective. Cambridge University Press, 2012.

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26

Sweetser, Eve, e Barbara Dancygier. Viewpoint in Language: A Multimodal Perspective. Cambridge University Press, 2015.

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27

Sweetser, Eve, e Barbara Dancygier. Viewpoint in Language: A Multimodal Perspective. Cambridge University Press, 2012.

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28

Solomon, William. The Work of Art in the Age of Mechanical Transportation. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040245.003.0002.

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This chapter examines poet W. C. Williams' and director Mack Sennett's respective investments in the 1920s in destructive enterprises, comically excessive violence amounting in both to a repudiation of the values that inform economic rationalism. In the former's The Great American Novel (1923) critical reflexivity and collage experimentation constitute acts of resistance to narrative signification. In the latter, the symbolic dismantling of the Model T—as exhibited in his films Lizzies of the Field (1924) and Super-Hooper-Dyne Lizzies (1925)— serves as a gesture of defiance aimed at Fordism. Both the motion pictures and the literary text indicated their ethical opposition to the priorities informing economic rationalism by integrating the Model T into decidedly destructive undertakings.
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29

Willinger, David. Theatrical Gestures: From the Belgian Avant-Garde (New York Literary Forum). New York Literary Forum, 1987.

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30

Feinsod, Harris. A Xenoglossary for the Americas. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190682002.003.0003.

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This chapter advances a “tropological history” of inter-Americanism by showing how foreign words (xenoglossia) became a key poetic device for Wallace Stevens, José Lezama Lima, and Jorge Luis Borges after World War II, at the low ebb of political inter-Americanism. It shows how Stevens’s monumental “Notes Toward a Supreme Fiction” used this device in order to reimagine the poetic identity of the Americas—a gesture resonant with the US Congress’s contemporaneous debates about globalization. While Stevens’s “lingua franca et jocundissima” (his self-designated attempt to fashion a playful, sonorous global language) was rebuked in the United States by nationalistic postwar critics, the chapter demonstrates how it belongs to a rich vein of postwar poetry by Borges and Lezama, who respond to national and insular literary formations with similar turns toward international language norms and the style of “post-symbolism.”
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31

Jellenik, Glenn. On the Origins of Adaptation, as Such. A cura di Thomas Leitch. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199331000.013.2.

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Adaptation scholars frequently gesture toward a vague history of adaptation, pointing out that the repurposing of stories stretches back to the beginnings of storytelling. This essay offers a more specific history, arguing that adaptation rose as a simple abstraction in the late eighteenth century. It identifies George Colman’s Iron Chest, which adapts William Godwin’s Caleb Williams, as the first adaptation, as such. Colman’s play achieves this distinction not through adaptive innovation, but rather through the critical reaction to the play—specifically an essay by John Litchfield that functions as the first piece of fidelity criticism. Thus, the cultural concept of adaptation is a critical construction that rose with the fidelity urge. Unpacking this alternate history of both adaptation and the Romantic period reveals adaptation as a vital cultural reaction that catalyzed and shaped Romanticism’s critical shifting and redefining of notions of originality, which literary scholars subsequently used to marginalize adaptation.
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32

Spiers, Emily. Postmodern Literature in North America. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820871.003.0003.

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Chapter 2 establishes the departure point for a genealogy of pop-feminist writing across North America, Britain, and Germany, which informs the author’s reading of the literary texts in the subsequent chapters. She examines key texts by American authors Kathy Acker and Mary Gaitskill, showing how their influence has filtered down to the works of a group of North American and European women writers who were born post-1970. Acker and Gaitskill engage with the feminist and critical theories of their time in order to intervene in broader political debates in North America concerning social, racial, and gender inequalities. They explore the political impact of representing transgressive sexualities, madness, and neurosis and emphasizing unstable, multifaceted identity in their work. The chapter subsequently traces the transgressive gesture from the 1990s North American riot-grrrl movement through to the 2000s and a dramatically transformed cultural context.
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33

Gestures and Looks in Medieval Narrative. Cambridge University Press, 2009.

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34

Spiers, Emily. Conclusion Pop-Feminism and the Future. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198820871.003.0007.

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The volume’s primary question is whether the notions of subjectivity and agency proposed by the fiction, non-fiction, and life narratives differ, and how those differences impact upon the degree of political critique. Spiers concludes that multiple pop-feminist forms fixate on the private and the corporeal, endlessly emphasizing individual choice; both everything and nothing can be understood as feminist. Such texts also showcase the sanitized transgressive gesture as an intrinsic element of neoliberal rhetoric, even post-financial crisis. The author demonstrates how examples of literary pop writing by women explore a possible coherent sense of identity beyond the surfaces of the pop-cultural archive. She concludes that subjective incoherence in the novels co-exists in productive tension with a desire for coherence and unity that in no way resembles the model of pre-discursive sovereign subjectivity uncovered in the pop-feminist non-fiction and life narrative, as it fundamentally relates to an ethics of intersubjective relations.
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35

Dubrow, H. Deixis in the Early Modern English Lyric: Unsettling Spatial Anchors Like Here, This, Come. Palgrave Macmillan Limited, 2015.

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36

Zimmerman, Sarah. The Romantic Literary Lecture in Britain. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833147.001.0001.

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Public lectures on poetry caught the popular imagination in Britain in the first two decades of the nineteenth century with the performances of John Thelwall, Samuel Taylor Coleridge, Thomas Campbell, and William Hazlitt. Lecturers aimed to shape auditors’ reading habits, burnish their critical profiles, and establish a literary canon, but auditors also wielded considerable influence, since their sustained approbation was necessary to a series’ success. A number of oral traditions fed the literary lecture’s development, but it emerged most vitally out of and against the radical speaking culture of the 1790s in which Thelwall and Coleridge had participated, and developed in anxious proximity to an expanding literary marketplace. These pressures informed lecturers’ critical arguments as they debated who should receive a literary education, what works they should read, and for what ends. As historical speaking performances, public lectures demand a methodological approach of their own, because lecturers communicated their arguments with words, physical gestures, facial expressions, and via self-presentation. An interdisciplinary scholarly consensus now recommends approaching these events by gathering as many surviving texts as possible from both parties and situating these performances in their specific times and places. Although women were disallowed from being public literary lecturers, female auditors performed significant cultural roles as patrons, and as hosts and guests at private gatherings that sometimes followed public lectures. Auditors including John Keats, Mary Russell Mitford, Lady Charlotte Bury, and Catherine Maria Fanshawe responded to lectures in conversation, poems, letters, and journal entries that should be considered creative works in their own right.
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37

Approximate Gestures: Infinite Spaces in the Fiction of Percival Everett. Louisiana State University Press, 2020.

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38

Bolens, Guillemette. Relevance Theory and Kinesic Analysis in Don Quixote and Madame Bovary. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794776.003.0004.

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Relevance in acts of communication is a focus in both Cervantes’s Don Quixote and Flaubert’s Madame Bovary, and it operates on two levels. One level corresponds to interactions between characters in the plot, the other to readers’ reception of the overarching utterance constituting the literary work. The chapter addresses both levels while linking relevance theory to kinesic analysis, in order to account for some of the cognitive processes activated in literary reception when we understand complex kinesic information (movements, postures, gaits, gestural interactions). While relevance theory helps account for communicational inference procedures within the plot as well as in the work’s literary reception, kinesic analysis addresses the specific type of inference elicited in readers by linguistic utterances referring to gestural and sensorimotor elements in narrative.
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39

Windell, Maria A. Transamerican Sentimentalism and Nineteenth-Century US Literary History. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198862338.001.0001.

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Transamerican Sentimentalism and Nineteenth-Century US Literary History argues that African American, Native American, Latinx, and Anglo-American women writers use genre to negotiate hemispheric encounters amidst the gendered, racialized, and cultural violence of the nineteenth-century Americas. Although US literary sentimentalism is often framed in national and transatlantic terms, this book argues that the mode was deeply transamerican. Given the popularity of the nineteenth-century sentimental novel, the appearance of its central motifs—tearful embraces, fainting heroines, angelic children—in transamerican US texts is unsurprising. What is remarkable is how texts not generally considered sentimental deploy seemingly insignificant affective episodes to navigate gendered and racialized experiences of conflict throughout the Caribbean and the US–Mexico borderlands. Throughout Transamerican Sentimentalism, marginal characters, momentary gestures, offhand remarks, and narrative commentaries serve to disrupt plots, potentially connecting characters across cultural, racial, national, and linguistic borders. Transamerican sentimentalism cannot unseat the violence of the nineteenth-century Americas, but it does dislocate familiar figures such as the coquette and the mulatta to produce other potential outcomes—including new paradigms for understanding the coquette, a locally successful informal diplomacy, and motivations for violent slave revolt. Transamerican sentimentalism is a fleeting, mercurial, and marginal mode. Frequently overwhelmed by the violence pervading the hemisphere, it could be categorized as a failed venture. Yet it is also persistent; as it recurs throughout the nineteenth century, it opens into alternative African American, Native American, and Latinx avenues for navigating and comprehending US–Americas relations.
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40

Fearn, David. Materialities of Political Commitment? Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198805823.003.0004.

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Eschewing historicist certainties, this chapter reassesses the political salience of Alcaeus’ lyric poetry by investigating his literary contribution to sympotic culture. Placing Alcaeus’ politically engaged voices within recent theoretical perspectives on deixis, ecphrasis, and the distinctiveness of lyric as a literary mode, the chapter argues that Alcaeus makes a systematic issue of the question of the accessibility of the contexts gestured towards, and in so doing opens up as an alluring prospect the idea of political engagement through literature. The literary and cultural significance of proverbial statements in Alcaeus is also discussed. Alcaeus’ lyric claims are felt across time and space via their special foregrounding of both material culture and political engagement, through performance and reception.
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41

Sinclair, Keith V. Tristan de Nanteuil: Thematic Infrastructure and Literary Creation. de Gruyter GmbH, Walter, 2017.

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42

Richardson, Michael. Gestures of Testimony: Torture, Trauma, and Affect in Literature. Bloomsbury Publishing Plc, 2016.

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43

Milbank, Alison. God & the Gothic. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824466.001.0001.

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God and the Gothic undertakes a complete reimagining of the Gothic literary canon to examine its engagement with theological ideas, tracing its origins to the apocalyptic critique of the Reformation female martyrs, and to the Dissolution of the Monasteries, now seen as usurpation of power by the authorities. A double gesture of repudiation and regret is evident in the consequent search for political, aesthetic, and religious mediation, which characterizes the aftermath of the Glorious Revolution and Whig Providential discourse. Part I interprets eighteenth-century Gothic novels in terms of this Whig debate about the true heir, culminating in Ann Radcliffe’s melancholic theology which uses distance and loss to enable a new mediation. Part II traces the origins of the doppelgänger in Calvinist anthropology and establishes that its employment by a range of Scottish writers offers a productive mode of subjectivity, necessary in a culture equally concerned with historical continuity. In Part III, Irish Gothic is shown to be seeking ways to mediate between Catholic and Protestant identities through models of sacrifice and ecumenism, while in Part IV, nineteenth-century Gothic is read as increasingly theological, responding to materialism by a project of re-enchantment. Ghost-story writers assert the metaphysical priority of the supernatural to establish the material world. Arthur Machen and other Order of the Golden Dawn members explore the double and other Gothic tropes as modes of mystical ascent, while raising the physical to the spiritual through magical control, and the M. R. James circle restores the sacramental and psychical efficacy of objects.
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44

Corran, Emily. Equivocation and Casuistry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198828884.003.0002.

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The doctrine of equivocation and mental reservation has been caricatured as an invention of early modern academia, but it was a familiar concept in the Middle Ages. This chapter explores the range of ways in which thought about equivocation appeared in medieval culture. A number of literary genres discussed equivocation, including hagiography, chanson de geste, and romance. The way in which they treated the subject varied according to genre and the requirements of the narrative, but many of these texts highlighted the moral ambiguity of equivocation, especially the chanson de geste Ami et Amile and the romances Tristan and Cligès. Clerical writing on equivocation, the main subject of this study, shared important aspects of the literary treatment of the subject, but in comparison focused more explicitly on pastoral questions of sin and absolution.
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45

Keller, Hans-Erich. Romance Epic: Essays on a Medieval Literary Genre (Studies in Medieval Culture). Medieval Institute Publications, 1987.

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46

Freitas, Thais Campos de Oliveira, e Carlos Alberto Moreira dos Santos. Clube de Ciências na Escola: Um guia para professores, gestores e pesquisadores. Brazil Publishing, 2020. http://dx.doi.org/10.31012/978-65-5861-224-7.

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This book is based on a research that was carried out over two years in the Graduate Program of Educational Sciences Projects of the “Escola de Engenharia de Lorena” of the University of São Paulo; the product of the master thesis entitled “Implementation of a Science Club in the Public Network for Education of São José dos Campos: Stages, Actors and the Scientific literacy”. Nowadays, the role of Science is being devalued, poorly understood and even questioned by several political figures and societal members, many people fail to differentiate facts from fake news. In 2018, the PISA (Programme for International Student Assessment) demonstrated that, in Brazil, 55% of students are below level 2 in Science, a level established as necessary to young people to be able exercising their citizenship. In order to offer a contribution to improve the currently scenario, this book offers an implementation guide for those whom are interested in setting up a Science Club. Another fact to consider is that this guide aims to develop an investigative approach focus on Scientific literacy using inquisitive activities that lead to an easy way for the basic students (elementary to middle school) to transpose their acquaintance and scientific learning to their lifestyle as responsible and knowledgeable citizens. The following thesis shows strategies to elaborate, monitor, and evaluate the project of implementation, authorization templates, and forms such it can be adapted to the context of each school. We hope that this book is going to be an important resource for you as a school manager, teacher or researcher who wants to implement a Science Club in a school. Also, in a long term, the actions reported in this context can be a reference for the elaboration of a public policy to support Scientific Education in Basic School.
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47

Keller, Hans-Erich. Romance Epic: Essays in a Medieval Literary Genre (Studies in Medieval Culture). Medieval Institute Publications, 1988.

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48

Song, Weijie. A Displaced City and Postmemory. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190200671.003.0006.

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This chapter examines how Sinophone writers from PRC, Taiwan, and Hong Kong compose their Beijing narratives to articulate their anxiety and desire, frustrated and fluid subjectivities. Liang Shiqiu a Beijing native, Taipei dweller, literary guru, and sophisticated connoisseur of fine cuisine, writes about Beijing cuisine to evoke emotional affiliation, gastronomic nostalgia, and imagined reunion. Both originally from Taiwan, Lin Haiyin romanticizes her memory of the south side of Beijing from an innocent girl’s perspective, while Zhong Lihe sharply criticizes the inferior and filthy life of Beijing’s social underclass and paints a bleak urban picture in his disillusioning discovery of the old capital during the Chinese Civil War. Hong Kong émigré writer Jin Yong intertwines literary topography and martial-arts fantasy, inscribes post-loyalist attachments and detachments onto the city, and suggests a hybrid and flexible identity, formed in the chivalric gestures of intervening in core political urban settings and fleeing to the margins and frontiers. In the shadow of World Wars and Cold War, a dislocated and relocated Beijing appears in the border-crossing diasporic writing and Sinophone postmemory.
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49

Archer, Harriet. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198806172.003.0001.

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The introduction reflects on standard early modern prefatory statements of textual imperfection as a productive way into the narrative of the Mirror for Magistrates’ sixty-year evolution. Portrayed in successive editions as unfinished and open to expansion and revision, the Mirror compromises the stability of national history and text itself in the course of its metaliterary commentary on its own textual history. The introduction sketches the Mirror’s chequered reception in modern scholarship, from mid-twentieth-century scepticism to its recent critical revival, and gestures towards its pervasive presence in late Elizabethan literary culture as evidence of the centrality of its models of reading and writing history for Spenser, Shakespeare, and others. An outline of the subsequent chapters concludes this section.
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Bugan, Carmen. Poetry and the Language of Oppression. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780198868323.001.0001.

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Abstract (sommario):
Poetry and the Language of Oppression is an incursion into the creative process that engages with the experience of oppression and the reclamation of freedom in the context of the Cold War. What is freedom in language and how does the poet who has endured political oppression write himself or herself free? What is literary testimony and how does it reflect one’s artistic values? How do we govern ourselves with language? Oppression, repression, expression, as well as their tools (incarceration, surveillance, exile, gestures in language) have been with us in various forms throughout history; the present discussion represents a particular aspect of these conditions of our humanity as they play out in our time, providing another instance of the communion, and sometimes confrontation, with the language that makes us human.
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