By David L. Hoover, Sharon Lattig
Stylistics: Prospect & Retrospect seems to be backward towards vintage and foundational methods and texts that helped to set up the sector of stylistics. It additionally seems ahead through analyzing fresh concepts that appear more likely to adjust the ways that type is studied within the years yet to come. The essays offered right here, written through an array of specialists from 9 international locations on 4 continents, hire a variety of methods to works that diversity from romantic poetry to modern fiction and from conventional folktales and nursery rhymes to modern movie. the range of authors, methods, and works discovered the following testifies to the energy of the sector of stylistics, and those essays should still attract all these attracted to the character of fashion and within the background and way forward for stylistics.
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Stylistics: Prospect & Retrospect appears backward towards vintage and foundational ways and texts that helped to set up the sphere of stylistics. It additionally appears ahead by way of interpreting contemporary thoughts that appear more likely to regulate the ways that kind is studied within the years yet to come. The essays offered the following, written by means of an array of specialists from 9 nations on 4 continents, hire a variety of ways to works that variety from romantic poetry to modern fiction and from conventional folktales and nursery rhymes to modern movie.
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Extra info for Stylistics: Prospect & Retrospect. (PALA Papers)
From his friend Eugène Lefébure, then an Egyptologist on the rise, Mallarmé receives reading recommendations (Michon 1978: 29). In particular, the poet reads Bopp and Max Müller in translation and follows discussions about figurative and phonetic languages intently (Mallarmé 1954: 318). He also keeps in touch with Émile Chasles, author of the 1865 ‘Note on applied philology’ commissioned by the Ministère de l’Instruction Publique (Mallarmé 1954: 329). And, according to Jacques Michon, it is most likely around this time that he becomes fascinated enough by the hieroglyphic quality of language to request that Truchy, the publisher of Les mots anglais, use the Elzevir type to underline the cryptic nature of some of the letters of the alphabet (Michon 1978: 30).
We have not been successful in this respect here. At least one alternative presents itself: the first eight lines of the poem are all negative assertions, while l. 9 is a positive one. Could it be that the switch from a negative to a positive semantics made the line so much more beautiful? Obviously, on the basis of the present results there is no way to know. But the possibility cannot be ruled out. This brings Foregrounding: Past, Present, Future 19 us back to the third principle: the experiment will have to be replicated with reverse semantics!
Contrary to classical philologists who, according to Pound, bury texts more deeply in the past, he vows to bring them back to life. Pound the student of foreign literatures is already defending the theses of Pound the poet. Even then he is envisioning the ideal scholar as a gatherer of texts, a metaphor he will recycle and develop in ‘I Gather the Limbs of Osiris’ (Baechler et al. 1991: 107-145). ‘M. Antonius Flaminius and John Keats, a Kinship in Genius’, Pound’s manifesto for the teaching of foreign languages, appeared toward the end of Pound’s shortened tenure at Wabash College (Baechler et al.