Carnal Rhetoric: Milton’s Iconoclasm and the Poetics of DesireDuke University Press, 1995. 2. 28. - 246페이지 In recent years, New Historicists have situated the iconoclasm of Milton’s poetry and prose within the context of political, cultural, and philosophical discourses that foreshadow early modernism. In Carnal Rhetoric, Lana Cable carries these investigations further by exploring the iconoclastic impulse in Milton’s works through detailed analyses of his use of metaphor. Building on a provocative iconoclastic theory of metaphor, she breaks new ground in the area of affective stylistics, not only as it pertains to the writings of Milton but also to all expressive language. Cable traces the development of Milton’s iconoclastic poetics from its roots in the antiprelatical tracts, through the divorce tracts and Areopagitica, to its fullest dramatic representation in Eikonoklastes and Samson Agonistes. Arguing that, like every creative act, metaphor is by nature a radical and self-transgressing agent of change, she explores the site where metaphoric language and imaginative desire merge. Examining the demands Milton places on metaphor, particularly his emphasis on language as a vehicle for mortal redemption, Cable demonstrates the ways in which metaphor acts for him as that creative and radical agent of change. In the process, she reveals Milton’s engagement, at the deepest levels of linguistic creativity, with the early modern commitment to an imaginative and historic remaking of the world. An insightful and synthetic book, Carnal Rhetoric will appeal to scholars of English literature, Milton, and the Renaissance, as well as to those with an interest in the theory of affective stylistics as it pertains to reader-response criticism, semantics, epistemology, and the philosophy and psychology of language. |
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23개의 결과 중 1 - 5개
4 페이지
... artistic power , his " creative iconoclasm . " I trace this interplay from some of its earliest appearances in the antiprelatical tracts , and follow its evolution through the divorce tracts into something not unlike a deliberately ...
... artistic power , his " creative iconoclasm . " I trace this interplay from some of its earliest appearances in the antiprelatical tracts , and follow its evolution through the divorce tracts into something not unlike a deliberately ...
11 페이지
... artistic experience . My own iconoclastic theory of creativity , indeed , makes and depends upon that very assumption . Also , though neither theory of meaning nor metaphor theory as such is the subject of this book , my analytical ...
... artistic experience . My own iconoclastic theory of creativity , indeed , makes and depends upon that very assumption . Also , though neither theory of meaning nor metaphor theory as such is the subject of this book , my analytical ...
12 페이지
... artistic predisposition that is usually ascribed to Milton without examining the complex nature of the thing ascribed . Let me begin with a critical hypothesis that for analytical pur- poses I will treat as axiomatic . I suggest that in ...
... artistic predisposition that is usually ascribed to Milton without examining the complex nature of the thing ascribed . Let me begin with a critical hypothesis that for analytical pur- poses I will treat as axiomatic . I suggest that in ...
13 페이지
... ( artistic affect ) implicates not just the artwork but also the sensibility of the one who experiences it — the viewing , listening , tasting , scenting , tactilic , affec- tive perceiver . The affective dimension of literary art cannot ...
... ( artistic affect ) implicates not just the artwork but also the sensibility of the one who experiences it — the viewing , listening , tasting , scenting , tactilic , affec- tive perceiver . The affective dimension of literary art cannot ...
14 페이지
... artistic need , requires that it draw on at least as broad a range of sensory experience and perceptive engage- ment as does any other art , even drawing heterogeneously on other complete art forms ( as in our Miltonic paradigm's ...
... artistic need , requires that it draw on at least as broad a range of sensory experience and perceptive engage- ment as does any other art , even drawing heterogeneously on other complete art forms ( as in our Miltonic paradigm's ...
목차
1 | |
9 | |
The Rhetorical Agon of Miltons Antiprelatical Tracts | 52 |
The Coupling Rhetoric of the Divorce Tracts | 90 |
Areopagiticas Truth | 117 |
Imagination and the Attack on Eikon Basilike | 144 |
6 Samsons Transformative Desire | 171 |
Notes | 197 |
Index | 225 |
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activity aesthetic affective language antiprelatical tracts Areopagitica argu artistic Basilike's becomes bishops carnal rhetoric Chapter claims cognitive concept conceptual peace conviction coupling creative iconoclasm critical Discipline of Divorce discourse divine divorce tracts Doctrine and Discipline dualistic Eikon Basilike Eikonoklastes empyreal English Reformation epoché faith feelings flesh fleshly hath heroic historical human icon icono iconoclastic iconoclastic act iconoclastic theory iconological idea idol idolatry imagery imaginative impetus impulse individual interpretive John Milton king king's linguistic literary experience Loewenstein marriage martyrdom martyrs meaning ment Mill's Milton's Prose Milton's rhetorical monistic moral Nazarite ontological Paradise Paradise Lost Paradise Regained passage Paul Ricoeur peace and rest perfect freedom Philistine poetic poetry polemical political prayer prelates progressivism radical reader reading realm reason reference reified religious response Ricoeur's Samson Agonistes semantic sensory sexual spiritual Stambovsky Stanley Fish temporal things thou tion tive transformative desire truth University Press vision visual words