scholarly journals John Clare and the Language of Listening

Romanticism ◽  
2020 ◽  
Vol 26 (2) ◽  
pp. 153-167
Author(s):  
Mina Gorji
Keyword(s):  
Natural World ◽  
Politics Of Representation ◽  
Ethical Relation ◽  
Visual Mode ◽  
Self And Other ◽  
John Clare ◽  
Verb Forms ◽  
Literary Allusion ◽  
The Aesthetic ◽  
And Control

This essay examines the representation of listening in a number of Clare's 1832 poems, paying attention to the language used, including prepositions, ideophones, verb forms, dialect and literary allusion. It considers how listening locates and is located in his poems and argues that in ‘The Fernowls Nest’ literary allusion is an especially appropriate language for describing the poem's strangely displaced sounds. It proposes that Clare's listening is alert and responsive to different aural perspectives, that it is compound and reflexive, and especially attuned to moments of aural ambiguity, when the boundary between self and other, subject and object becomes blurred. Such moments offer a mode of ethical relation to the natural world that resists the politics of representation John Barrell has associated with the eye in loco-descriptive poetry. 1 If the particularity and multiplicity of Clare's poems offer an alternative to the visual mode of control and possession associated with the prospect view, the distinctive forms of listening we find in his poems, and, in particular, his attunement to aural ambiguity, represent another kind of resistance to the aesthetic expression of human ownership and control over the natural world. Listening in Clare is thus a form of environmentalist poetics.

The Life of Rural Scenery

Romanticism ◽  
2020 ◽  
Vol 26 (2) ◽  
pp. 191-201
Author(s):  
Paul Chirico
Keyword(s):  
Natural World ◽  
Abstract Concept ◽  
John Clare ◽  
Material Basis ◽  
The Moment

John Clare observed and described the natural world with an unsurpassed accuracy and intimacy. But his landscapes also bore the memories of life and labour. Like Wordsworth, he sought to create textual objects in transmissible forms, to deliver their reported worlds – expansive, dynamic, somehow inhabitable – to distant readers, drawing them into sympathetic intercommunion with a complex living scene. His intimate descriptive poetry reveals the tangible qualities of light and sound, and the material basis of the apparently abstract concept of time. Memory and imagination are understood to inhabit bodily spaces, provoking ‘real transport’: an observer lost in – and to – the moment. From his place and time, Clare felt solidarity with isolated birds, alienation from labour, estrangement from human communities. Publications such as annuals often showcased formulaic reflections on nature and on memory; Clare exploited textual duplicability, his meditative descriptive poetry spanning the history and futurity of an observed scene.

Nature and the Sublime

2021 ◽  
Author(s):  
Mark Sandy
Keyword(s):  
William Wordsworth ◽  
Percy Bysshe Shelley ◽  
John Keats ◽  
Natural World ◽  
Gothic Fiction ◽  
John Clare ◽  
Nature And Culture ◽  
The Sublime ◽  
The Many ◽  
The Mind

An account of Edmund Burke’s central ideas about the Sublime and the Beautiful shows how the emphasis Burke gave to terror helped to shape the Gothic fiction of Ann Radcliffe and Mary Shelley. Focusing on examples from the poetry of William Wordsworth, Lord Byron, Charlotte Smith, Percy Bysshe Shelley, John Keats, and John Clare, the remainder of this essay explores the ways in which Romantic poets both thought about and attempted to represent those elements of the sublime that were instigated by their encounters with the natural world. What emerges as defining about these interactions between the mind and world is how imaginative impulses towards a sense of the sublime often led to a renewed sense of the material world and the very contingencies of existence they sought to transcend. Even Wordsworth’s more reverential response to the natural world as sacrosanct recognises the ‘awe’ of the sublime can be as much consoling as it is disturbing. These disturbing aspects of natural process and the sublime are self-consciously explored in the poetry of Shelley, who subjects notions of transcendence and idealism to sceptical scrutiny. With varying degrees of emphases, the poetry of Byron, Smith, and Clare elide distinctions between nature and culture to acknowledge a sublime more explicitly shaped by temporal and material processes. Finally, a key episode in Keats’s Ode to a Nightingale is read as exemplifying the many difficulties and complexities of the Romantic imagination’s encounter with, and its attempts, to represent transcendence and the sublime.

scholarly journals Discovering the two faces of religious charismatic action – traditional and modern: a model

1999 ◽  
Vol 17 (1) ◽  
pp. 273-304
Author(s):  
Jane Williams-Hogan
Keyword(s):  
Structural Characteristics ◽  
Modern Society ◽  
Natural World ◽  
One Dimensional ◽  
New Religions ◽  
The World ◽  
The Gift ◽  
Rational Calculation ◽  
Traditional Societies ◽  
And Control

In this paper, the author examines the issue of charisma and prophecy in secularized societies. In traditional society the charismatic personality or the prophet brought a universalizing and rationalizing message which simultaneously expanded and penetrated the sphere of external order in the world, giving people the ability to manipulate and control the natural world. The disenchanted world is the end product of this process, when no more mysterious forces come into play, and when one can in principle master all things through rational calculation. The gift of rationality almost randomly bestowed in the ancient world becomes, for Weber, the rightful inheritance of the modern individual. Clarity brought by charisma in a dark and foreboding world loses its brilliance and its ability to beckon when the world is filled with light. In investigating charisma in only traditional societies, Weber saw charisma as one dimensional, solely as the force of rationality. So envisioned, charisma dissipates in the very act of realizing itself through the transformation of the world. Given Weber's analysis, therefore, one would not expect to find genuinely new religions emerging within our transformed and rational modern society. In the examination of the founding something that is best identified by the sociological term charisma, though obviously in modern guise, is clearly evident. This points to the possibility that charisma is not static but has the dynamic capacity to be responsive to the structural characteristics of the society in which it operates.

scholarly journals A BOOK REVIEW: FEMINISM ANDNERSUS FEMINITY OF MODERN WOMEN

2018 ◽  
Vol 7 (2) ◽  
pp. 189
Author(s):  
B. Retang Wohangara
Keyword(s):  
Cultural Identity ◽  
Young Women ◽  
Pop Culture ◽  
Politics Of Representation ◽  
Girl Power ◽  
Young Girls ◽  
And Control

One important theme attached to pop culture is the politics of representation and sub-cultural identity. The pop singer Madonna and then the Spice Girls are frequently regarded as the representation of modern women offering a different face of feminism ideology. Successfully entering the market competition, Madonna, through her cry of 'material girl', characterizes herself as an independent woman in the still dominating patriarchal world while challenging the burden of morality placed on the shoulders of women. She asks young women to rebel against male-centred traditions and unashamedly exposes her sensuality as a source of power and even domination, or in short celebrating 'being women'. The flag of Girl Power is also waved by the 1990'sBritish female singers, the Spice Girls, who call young girls to "be strong, be brave, be loud and control your own destiny. Believe that your self can do anything you want to do and be confident. We have to be independent, but it does not mean that you don't need a boy" (Swastika 2004: 66).

The White Lady Travels: Narrating Fez and Spacing Colonial Authority in Edith Wharton's In Morocco

Hawwa ◽  
2009 ◽  
Vol 7 (1) ◽  
pp. 39-56 ◽  
Author(s):  
Lhoussain Simour
Keyword(s):  
Power Relations ◽  
Colonial Discourse ◽  
Travel Narrative ◽  
Self And Other ◽  
Colonial Authority ◽  
And Control

AbstractForegrounding Orientalism as a system of thought that has produced constructed images and disfigured discourses about Europe's Other, this paper is primarily concerned with the practice of delineating landscape and manipulating the space of Fez in Edith Wharton's In Morocco. It starts with a rereading of Edward Said's model of analysis and then moves to an investigation into how this travel narrative displays, vulgarizes, and reproduces one of the strategies characteristic of colonial discourse: the mapping of the colonial space, specifically through the inscription of self and Other power relations, fueled up by a will to knowledge and control over new territories. It also attempts to read Wharton's narrative against Sara Mills' argument, which claims that it is gender rather than genre that is at the genesis of colonial heterogeneity.

‘Playing the Chinese card’: Globalization and the aesthetic strategies of Chinese contemporary artists

2015 ◽  
Vol 20 (6) ◽  
pp. 567-584 ◽  
Author(s):  
Lin Zhang ◽  
Taj Frazier
Keyword(s):  
Contemporary Art ◽  
Chinese Identity ◽  
Chinese Contemporary Art ◽  
Western Art ◽  
Chinese State ◽  
The Aesthetic ◽  
And Control ◽  
Art Industry ◽  
Contemporary Chinese ◽  
Contemporary Artists

This article examines the art and travels of two contemporary Chinese artists – Ai Weiwei and Cai Guo-Qiang – to explore how each of them successfully navigates the rapidly shifting terrains and interests of the Chinese state and the global high art industry while simultaneously articulating a distinct politics and practice of creative ambivalence. We argue that these two artists’ creative productions and strategies: (1) refute various western critics’ critique of Chinese artists as inauthentic imitators of western art who produce exotic representations of China and Chinese identity for western consumption; (2) call into question the Chinese government’s numerous efforts to simultaneously promote and control Chinese contemporary art for nationalist/statist purposes. Furthermore, we unpack how both artists deploy various resources to produce complex works that interrogate and demonstrate the clashes of power, culture and identity in global spaces of encounter.

The Cradle of Exotica

2020 ◽  
pp. 4-25
Author(s):  
Karen Polinger Foster
Keyword(s):  
Cultural Identity ◽  
Natural World ◽  
The Third ◽  
Political Status ◽  
Third Millennium ◽  
Commercial Enterprise ◽  
Key Aspects ◽  
And Control ◽  
Clay Tablet

This chapter discusses the role of exotica in the Mesopotamian mind. By 1875, The Epic of Gilgamesh had begun to emerge from the thousands of clay tablet fragments freshly unearthed in the remains of the great royal library of Assurbanipal at Nineveh. Gilgamesh’s drive to possess the exotic is rooted in long-standing Mesopotamian tradition. From the third millennium on, when he supposedly reigned, scholar-scribes organized and classified nearly all aspects of the natural world. Thematic lists of flora and fauna, heavenly bodies, precious and semiprecious materials, and topographical features provided the educated elite with a means of conceptualizing patterns and interrelationships. For Gilgamesh, as for many Mesopotamian rulers, the acquisition and display of exotica were key aspects of kingship. Once secured within the walled, urban cores of Mesopotamian cultural identity, exotica offered tangible signs of wide-ranging military might, commercial enterprise, and political status and control.

The Kantian Sublime and Greatness of Mind

2019 ◽  
pp. 197-214
Author(s):  
Emily Brady
Keyword(s):  
Virtue Ethics ◽  
Natural World ◽  
The Self ◽  
Moral Thought ◽  
Human Exceptionalism ◽  
The Sublime ◽  
The Aesthetic ◽  
Other Regarding

This chapter explores Kant’s discussion of the sublime in the Critique of the Power of Judgment (1790), in which the aesthetic subject becomes aware of a certain kind of greatness of mind. Kant’s scheme emphasizes respect for the moral capacities of the self as part of humanity, as well as admiration for greatness in the natural world. More broadly, his views show how ideas about greatness—if not magnanimity in the narrower sense—flow into philosophical approaches that lie beyond virtue ethics, moral thought, and human exceptionalism. The chapter argues that a comparative relation between self and sublime phenomena is central to understanding greatness of mind. Drawing out this comparative relation supports a deeper understanding of how both self-regarding and other-regarding attitudes feature within sublime experience, and just how this greatness might express itself within an aesthetic context.

Choreographies of the Living

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Visual Art ◽  
Contemporary Literature ◽  
Natural World ◽  
Felix Guattari ◽  
Avant Garde ◽  
Human Endeavor ◽  
Theatrical Performance ◽  
Aesthetic Practice ◽  
And Performance ◽  
The Aesthetic

Animals seem to be everywhere in contemporary literature, visual art, and performance. But though writers, artists, and performers are now engaging more and more with ideas about animals, and even with actual living animals, their aesthetic practice continues to be interpreted within a primarily human frame of reference—with art itself being understood as an exclusively human endeavor. The critical wager in this book is that the aesthetic impulse itself is profoundly trans-species. Rohman suggests that if we understand artistic and performative impulses themselves as part of our evolutionary inheritance—as that which we borrow, in some sense, from animals and the natural world—the ways we experience, theorize, and value literary, visual, and performance art fundamentally shift. Although other arguments suggest that certain modes of aesthetic expression are closely linked to animality, Rohman argues that the aesthetic is animal, showing how animality and actual animals are at the center of the aesthetic practices of crucial modernist, contemporary, and avant-garde artists. Exploring the implications of the shift from an anthropocentric to a bioaesthetic conception of art, this book turns toward animals as artistic progenitors in a range of case studies that spans print texts, visual art, dance, music, and theatrical performance. Drawing on the ideas of theorists such as Elizabeth Grosz, Jane Bennett, Gilles Deleuze and Félix Guattari, Jacques Derrida, Una Chaudhuri, Timothy Morton, and Cary Wolfe, Rohman articulates a deep coincidence of the human and animal elaboration of life forces in aesthetic practices.

scholarly journals From Neurons to Brain: Adaptive Self-Wiring of Neurons

1998 ◽  
Vol 01 (01) ◽  
pp. 67-78 ◽  
Author(s):  
Ronen Segev ◽  
Eshel Ben-Jacob
Keyword(s):  
Growth Cones ◽  
Natural World ◽  
Excitable Media ◽  
Chemical Signaling ◽  
Glia Cells ◽  
Navigation Strategy ◽  
Chemical Waves ◽  
Embryonic Morphogenesis ◽  
And Control

During embryonic morphogenesis, a collection of individual neurons turns into a functioning network with unique capabilities. Only recently has this most staggering example of emergent process in the natural world, began to be studied. Here we propose a navigational strategy for neurites growth cones, based on sophisticated chemical signaling. We further propose that the embryonic environment (the neurons and the glia cells) acts as an excitable media in which concentric and spherical chemical waves are formed. Together with the navigation strategy, the chemical waves provide a mechanism for communication, regulation, and control required for the adaptive self-wiring of neurons.

Sign in / Sign up

Export Citation Format

Share Document