Rhythm, Meter, and the Poetics of Abstraction

2019 ◽  
pp. 349-361
Author(s):  
Jason David Hall
Keyword(s):  
Prose Literature

Chapter 21 addresses the neglect of sound and rhythm within literature, arguing that poetry is not more rhythmic than prose. It argues that like works of music and poetry, works of prose have rhythm, to which the pauses, inflections, stresses, and pronunciation of its language all contribute. As such, like poetry, prose literature should be considered musical. While poetry is distinct from prose, in that the former is lineated and the latter is not, this distinction does not result in poetry being more rhythmic. The author reflects on the interpretative demands of attending to rhythm in literature, arguing that rhythm in prose literature is generally worth attending to, for rhythm plays various important roles in prose.

The Poetry of Justice: Hesiod and the Origins of Greek Law

Ramus ◽  
1992 ◽  
Vol 21 (1) ◽  
pp. 61-78 ◽  
Author(s):  
Michael Gagarin
Keyword(s):  
Law And Literature ◽  
First Century ◽  
Legal Scholarship ◽  
Prose Style ◽  
Legal Writing ◽  
Prose Literature ◽  
The Many ◽  
Specific Concern

A growing area of contemporary legal scholarship is the field loosely described by the expression ‘law and literature’. One of the many points of intersection between law and literature is the study of legal writing, including the opinions of judges and jurists, as a form of literature. Scholars began to study the works of the Attic orators as literature as early as the first century BC, but their specific concern was with these texts as examples of Attic prose and their literary interest primarily concerned matters of rhetoric and prose style. Similarly, modern scholars who have continued this study of the orators have generally examined legal orations not as a separate genre but as another example of prose literature in the same category with history or epideictic oratory. But forensic oratory can also be studied as a form of literature sui generis, whose worth is determined by the special requirements of this genre. As background for such a study I propose to examine the earliest examples of legal oratory, as seen in the works of Homer and Hesiod.

scholarly journals Hegel and Lukács on the Novel

2010 ◽  
Vol 31 (02) ◽  
pp. 23-34 ◽  
Author(s):  
Allen Speight
Keyword(s):  
Significant Influence ◽  
The Novel ◽  
Georg Lukacs ◽  
Philosophy Of Literature ◽  
The World ◽  
Theory Of The Novel ◽  
Prose Literature ◽  
Georg Lukács

That Hegel was a significant influence on the young Georg Lukács'Theory of the Novelis a point few would dispute. Lukács himself insisted that the first part of TN represented his own transition from Kantian to Hegelian theory, and most critics have subsequently affirmed the importance of Hegel to Lukács' pre- (or, depending on one's view, proto-) Marxist argument inTN. Yet the two are in some ways strange to take together in the context of novelistic theory. Despite the profusion of novelistic literature in his own time and his own significant appropriation of it for the limning of essential moments of the development of the world-historical spirit, Hegel's officialAestheticshardly presents what one could claim to be an especially worked-outtheoryof the novel. TheAestheticstakes up literature in general primarily under the rubric of providing a theory of the genres ofpoetry— epic, lyric and dramatic — and what relatively few words Hegel actually devotes to the novel and prose literature in the lectures are tucked in corners: at the end of the discussion of the development of the epic, in the discussion of the historical form of the romantic, and in scattered comments elsewhere. As forTN, despite the strong connections some have drawn between Hegel and Lukács — Peter Demetz said that Lukács was ‘in a certain sense … the last Hegelian in the grand style’ (Demetz 1967: 215) — others have questioned whether Lukács' work should be regarded primarily as making a contribution to the philosophy of literature in the tradition from which Hegel writes.

Representing Icelandic Saga Narrative for Victorian Readers

2020 ◽  
pp. 615-631
Author(s):  
Heather O’Donoghue
Keyword(s):  
Nineteenth Century ◽  
Ghost Story ◽  
Narrative Structures ◽  
Short Piece ◽  
English Translations ◽  
The Subject ◽  
Narrative Method ◽  
Prose Literature

The nineteenth century was the period during which, at last, the great naturalistic prose literature of medieval Iceland—the saga—was beginning to appear in English translations. The subject of this chapter is the representation or recycling of this saga material in new prose fictions, and the difficulties it presented, whether or not there was an attempt to imitate the style and narrative structures of the original. I will explore Longfellow’s adaptation of Snorri Sturluson’s Óláfs saga Tryggvasonar as part of ‘Tales of a Wayside Inn’; Robert Louis Stevenson’s The Master of Ballantrae as an experiment in saga narrative method, and his representation of part of Eyrbyggja saga as a short ghost story, ‘The Waif Woman’; H. Rider Haggard’s bravura imitation of a saga, Eric Brighteyes; and W. G. Collingwood’s three ‘Lakeland sagas’: Thorstein of the Mere, The Bondwoman, and the short piece ‘The Story of Thurstan of the Thwaite’.

The Concept of an African Prose Literature

Diogenes ◽  
1962 ◽  
Vol 10 (37) ◽  
pp. 28-49
Author(s):  
Wilfred H. Whiteley
Keyword(s):  
Prose Literature

On Native Grounds: An Interpretation of Modern American Prose Literature

1943 ◽  
Vol 16 (2) ◽  
pp. 326
Author(s):  
F. O. Matthiessen ◽  
Alfred Kazin
Keyword(s):  
Prose Literature

Chinese Prose Literature, Vol. II

1940 ◽  
Vol 60 (4) ◽  
pp. 586
Author(s):  
J. K. Shryock ◽  
E. D. Edwards
Keyword(s):  
Prose Literature

scholarly journals Study of the echoes of the Arabic story in Nigerian Arabic literature: Ilorin as a case study

Nady Al-Adab ◽  
2019 ◽  
Vol 16 (1) ◽  
pp. 1
Author(s):  
Abdur-Rasheed Mahmoud-Mukadam
Keyword(s):  
Arabic Language ◽  
Arabic Literature ◽  
Artistic Creativity ◽  
Western Literature ◽  
Prose Literature ◽  
The Many ◽  
The City ◽  
Modern Era ◽  
Clear Atmosphere

The story is an art of prose literature. Arab writers and others have done valuable works of fiction, showing the extent of their artistic ability; however, this art has witnessed in the modern era developed and developed to add to it another form known - in Western literature - poetry story; which has no era - before - in literature Old Arab, and the poems appeared stories woven on the Western vein. After looking at the story in Arabic literature, this article looks at some of the echoes of the Arab story in Arabic literature, with an emphasis on what the thinkers of the city of Eulen produced as a living model reflecting the many stories that were presented at the Arab literature table in Nigeria. For a commendable effort by the writers of Nigeria to expand the Arabic language and create a clear atmosphere for artistic creativity and conscience.

scholarly journals Intermediality of modern art-documentary prose: “literature and music”

2019 ◽  
Vol 4 ◽  
pp. 113-119
Author(s):  
Lala Hasanova ◽  
Keyword(s):  
Modern Art ◽  
Psychological State ◽  
Prose Literature

This article is devoted to the problems of intermediality in artistic and documentary works. This problem was studied on the basis of the analysis of the works of Anar “Without you”, “Like Kerem” (a novel-reflection on the work of Nazim Hikmet), Ali Amirli “What did I leave in Agdam?”. It is noted that the authors turn to music in different cases, sometimes to recreate the atmosphere of the era, but mainly to recreate the complex psychological state of the characters.

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