Folk riddles, emblems, charms, and chants are a few of the traditional forms examined by Andrew Welsh to discover the means by which poetic language achieves its powerful effects. His book shows how the roots of lyric are embodied in primitive verse forms, how they are raised to higher powers in poe
Roots of lyric: primitive poetry and modern poetics
โ Scribed by Andrew Welsh
- Publisher
- Princeton University Press
- Year
- 1978
- Tongue
- English
- Leaves
- 296
- Category
- Library
No coin nor oath required. For personal study only.
โฆ Synopsis
The book description for the previously published "Roots of Lyric: Primitive Poetry and Modern Poetics" is not yet available.
โฆ Table of Contents
Frontmatter
PREFACE (page vii)
LIST OF ABBREVIATIONS (page xi)
I. Coordinates (page 3)
II. Riddle (page 25)
III. Emblem (page 47)
IV. Image (page 67)
V. Ideogram (page 100)
VI. Charm (page 133)
VII. Chant (page 162)
VIII. Rhythm (page 190)
IX. First and Last Names (page 243)
NOTES (page 253)
ACKNOWLEDGMENTS (page 267)
INDEX (page 269)
๐ SIMILAR VOLUMES
<p>Folk riddles, emblems, charms, and chants are a few of the traditional forms examined by Andrew Welsh to discover the means by which poetic language achieves its powerful effects. His book shows how the roots of lyric are embodied in primitive verse forms, how they are raised to higher powers in
<div></div><P>For more than half a century, Chinese-Western comparative literature has been recognized as a formal academic discipline, but critics and scholars in the field have done little to develop a viable, common basis for comparison between these disparate literatures. In this pioneering book
<p><span>Set to generate discussions in the field for years to come, </span><span>The Poetics of Poetry Film</span><span> is an encyclopedic work on the ever-evolving art of the poetry film. Poetry films are a genre of short film usually involving three main elements: the poem as verbal message, the
Published 1987. First paperback printing 2019. As the visual representation of an essentially oral text, Sylvia Huot points out, the medieval illuminated manuscript has a theatrical, performative quality. She perceives the tension between implied oral performance and real visual artifact as a fun
<p>Sylvia Huot points out the theatrical, performative quality of thirteenth- and fourteenth-century French illuminated manuscripts.</p>