Lyric Discourse Research Articles

Nietzsche and Proust: A Comparative Study by Duncan Large (review)

268 Reviews Stella that explores the anxieties attendant upon expressions of imperial power. In his final revelatory chapter, the chronologically oriented thrust of the argument focuses upon the writer known as Inca Garcilaso de la Vega (i539-1616), the mestizo child of both Inca and Spanish parents, whose work represents perhaps 'the last moment in which the lyric discourse that shaped empire could still be manipulated to work critically against its own erstwhile purposes' (p. 24). Unrequited Conquests offers a remarkable array of radical new avenues of enquiry into the relationship between the Old and New Worlds, placing early modern poetics at the heart of the continually disputed power structures binding the conqueror to the conquered. While there exists throughout the tantalizing glimpse of the Old Worlds of the east behind transactions with the west?an area ripe forenquiry?the insistent focus of the text ensures that it will remain a significant contribution to the field for some time to come. Royal Holloway, University of London Matthew Dimmock Nietzsche and Proust: A Comparative Study. By Duncan Large. (Oxford Modern Languages and Literature Monographs) Oxford: Clarendon Press. 2001. xi + 298 pp. ?45- ISBN 0-19-924227-5 (hbk). As time passes, the relationship between writers becomes ever more murky and multiform . Duncan Large's introduction to this ambitious work traces some ofthe intricate shadow-boxing that Proust and Nietzsche have been put through, before he himself steps into the ring to referee the real contest, as much between promotional critics as between the contenders themselves. Large's firsttask is to address a Proustian cri? ticism which either suppresses Nietzsche altogether or treats him as the go-between of a 'truer' source (Schopenhauer), a merely convenient provider of an appropriable vocabulary or set of assumptions. Large's admirably combative approach leads him to tax Derrida with methodological slippages and Kristeva with a derivativeness against which he needs to defend Deleuze's implicitly Nietzschean reading of Proust. Chap? ter 2 looks at Proust's Nietzsche, and particularly at his use of Nietzsche as a paradigm of the philosopher too dedicated to the truths of the intellect and the illusory rewards of friendship. But Proust's Nietzsche is a fictional flag of convenience, created out of an imperfect knowledge, culled in large part from Daniel Halevy's early biography. Had he been more patient, less satisfied with prejudice, Proust might have found in Nietzsche the kindred spirit that Large so deftly reveals to us. Chapters 3 and 4 delve into the perspectivisticattitudes shared by the pair: Proust's perspectivism has not the same afBrmative and exhilarating drive that Nietzsche's has, connected as it so often is with experiences of deception, and seeming as it does to entail the abandonment of notions of a unified, founding self. But Large takes us through the complex corporal and epistemological issues associated with the enterprise of self-discovery to the sunny uplands of self-creation: I would suggest that the self-creative potential of Nietzsche's 'yea-saying' Ubermensch yields a paradigm in terms ofwhich one can under stand both whyProust's narratorfeels a sense of necessity in his involuntary memories, a sense of self rescued from the world of human contingency, and why the self-revelations of involuntary memory should lead him on to a work of art?a 'metaphoricaP art of self-creation. (p. 202) This part of Large's engrossing and highly persuasive investigation leads him, with satisfying inevitability, to the future perfect as the couple's defining temporality. And so the final chapter digs deep into the strategies adopted to outwit a problematic pre? sent: Nietzsche 'exploits the virtual perspective ofthe future perfect as an opportunity MLRy 98.1, 2003 269 both to critique the nihilism of contemporary culture and to celebrate the redemptive potential of the Ubermensch' (p. 216), while Proust explores the future perfect in greater psychological close-up, as it acts with corrosive insinuationson the experience of the present moment; but it is this temporality, too, which, paradoxically, holds out the promise of redemption when east in a new light at the close of A la recherche. Overall, the case is convincingly made that, in finding new paths of thought...

Spanking Florbela: Adília Lopes and a Genealogy of Feminist Parody in Portuguese Poetry

Spanking Florbela: AdíliaLopesanda Genealogy ofFeminist Parody inPortuguese Poetry ANNA KLOBUCKA ThepoetAdíliaLopeshasbecomean increasingly prominent presence on thePortuguese literary scenesince1985whenherfirst volumeofpoetry, Urnjogo bastanteperigoso,was published.In 1999 her fourteenth collectionof verse,FlorbelaEspanca espanca, appeared. It is hardly surprising thattheprovocative wordplay ofthevolume'stitle shouldlend itself to paraphrase incritical commentary, as demonstrated bytheessay readbyOsvaldoManuelSilvestre atthebooklaunchofLopes'scollection, which wassubsequently published intheonlinejournalCiberkiosk.1 Inhis 'AdíliaLopesespancaFlorbelaEspanca',Silvestre placedthemetaphor of flagellation in a variety of figurative arrangements at thecentreof the poet'screative practice by,as histitleindicates, transferring thepunitive and/orsexuallyperverseagencyfromFlorbela'shands into Adilia's. Without ascribing excessivesignificance to whatsomemaydismissas a mererhetorical flourish, we shouldnotethatone oftheimplications of Silvestre's critical maneuver istodenyorquestion Florbela'sownputative proclivity to spanking, as postulated byAdíliaLopes's title.His gesture mimics thus,mutatis mutandis, a verdict on Florbela'spoetry expressed nearlya century earlierbyRaul Proença,a well-established writer and brother of one of Florbela'sfather's friends, who in 1916 offered an encouraging assessment ofthepoemsby'MrEspanca'sdaughter': Quantoà filha doSr.Espanca naosepodedizer queespanque a poesia.Pelocontrario: tembastante talento e promete. Ascomposiçoes quemeenviou naosao só verso, sao também poesianasuamaior parte. Creioquedaráalguma coisasecontinuar e sese for purificando dosvicios inerentes aosprincipiantes.2 In theremaining fifteen yearsof herlifeand work,Florbelaeffectively continued towrite, torefine herpoeticdiscourse, andtosteer clearofany such textualbehaviouras mightencourageaccusationsof 'spanking poetry':on the contrary, she cultivated it withutmostrespectand a reverent dedication towhatsheregarded as itstranscendent mission, while never attempting todeviate from theformally conservative mouldofneoRomantic sonnet. Eveninthetriumphant hourofCharneca emFlor,freed fromthe complexof derivative inferiority with regardto her male 1Osvaldo Manuel Silvestre,'Adília Lopes espanca Florbela Espanca', Ciberkiosk,8 (2000), http://www.uc.pt/ciberkioslc/arquivo/ciberkiosk8/livros/adilia.html 2 FlorbelaEspanca, Obras Completasde Floréela Espanca, Cartas 1906-1922,6 vols (Lisbon: Dom Quixote,1986),v, 164. ADÍLIA LOPES AND A FEMINIST PARODY I9I predecessors andcontemporaries, whichoften vexedherimagination and lyric discourse inwaysbothpainful andfruitful, Florbelaalwaysviewed theexerciseof poetry froma perspective thatwas at once humbleand spiritually elevated. Infact, herworshipful approachonlyintensified inher lastvolumeofverse,as itbecameslantedtowardsthepoet'sapotheotic self-inclusion in thesacredsphere, withsuchsonnetsas 'Mais alto' and 'Crucificada'.3 In an oppositionalcounterpoint to thetwo declarations citedabove, which,in spiteof theirdistinct contexts, perspectives, and degreesof explicitness, both qualifyFlorbela as someonewho, contrary to the implication ofhersurname and,moreimportantly, notwithstanding the acknowledged transgressive thrust ofmany ofherpoemsofunprecedented female affirmation, does notspankpoetry or itsreaders(whichis to say, does not traumatize, violatetendersensibilities, engagein offensive or painful behaviour), Adilia'sversehas oftenbeendescribed in terms that emphasize theshockvalueofherdiscursive performances, encompassing boththepoet'spage-bound published verseand herpublicappearances. The shockeffect maybe 'mild'- witness Hugo Williams'stestimony in theTimesLiterary Supplement, following an international gathering of poetsat theUniversidade de Coimbrain 19954- or in all probability acute,as in thecase oftheopeningpoemofFlorbelaEspancaespanca, withitsnotorious first linesparaphrasing Florbela'sembrace ofamorous abandon ('Quero amar | amarperdidamente'): 'Eu quero foderfoder| adiadamente'.5In thisarticleI intendto take thisinitialcontrasting juxtaposition ofthetwowriters, bracket chronologically, as itwere,the trajectory ofPortuguese women'spoetry in thetwentieth century, along withAdilia's parodiestudyof Florbela'slyricaldiscoursein her 1999 3 On thesubjectofFlorbela'snegotiationof intertextual influence and of herown statusas a woman authoraspiringto affirm herself withregardto themale-identified canon ofPortuguese poetry,see in particularClaudia Pazos Alonso, Imagensdo Eu na Poesia de Florbela Espanca (Lisbon:IN-CM, 1997);EmmaBrech, *"Amo-temais,quando estouso": Fantasyand Femininity in thePoetryof AntonioNobre and FlorbelaEspanca', PortugueseStudies,15 (1999), 130-39; Maria Lucia Dal Farra,'A Interlocuçaode Florbelacom a Poeticade AméricoDuräo', Coloquio/ Letras,132-33 (1994), 99-110; and Anna Klobuclca,'On ne naîtpas poétesse:a aprendizagem literariade FlorbelaEspanca', Luso-BrazilianReview,29 (1992), 51-61. On thesignificance of Florbela's lyricexpression in the context of twentieth-century Portuguesepoetry see the provocativeessaybyJoaquimManuel Magalhäes, 'Demasiado poucas palavrassobreFlorbela', in Rima pobre. Poesia portuguesade agora (Lisbon: Presença, 1999), pp. 18-30. Florbela's equivocalstatusvis-à-vis theliterary and criticalcanon ofPortuguese modernity is corroborated byherabsencefrom therecently publishedUr-anthology oftwentieth-century poetry inPortugal, O Séculode Ouro, ed. byPedroSerraand Osvaldo Manuel Silvestre (Lisbon:Cotovia,2002). As Williamswrote,commenting on thestagingofAdilia's reading:'Is sheserious?Arewe to takeherblack,housewifely skirt, neatshorthairand embroidered blouseat facevalue?Shereads herpoems in a prim,schoolgirlish way,butthereis something goingon herewhichleaves her straight-faced crowdsmilingin mildshockand me re-evaluating myreadingwardrobe.This is whatI call Performance Poetry'(myemphasis).'Freelance',TimesLiterary Supplement, 30June 1995. AdiliaLopes, Obra (Lisbon:Mariposa Azual,2000),p. 401. 192 ANNA KLOBUCKA collection, as a pointofdeparture fora re-examination of genealogical (dis) continuity...

Lyrical language and nursing discourse: can science be the tool of love?

Lyricism is a quality of discourse expressing intensely personal feeling or emotion. It is historically associated with romanticism, which involves the imagination and emotions, the use of autobiographical material, the exaltation of a common humanity, and an appreciation of nature. The language of a science conveys the meaning, significance, and utility of concepts among scholars, practitioners, and the general public. It is incumbent upon nurses to attempt to represent in our disciplinary language the realities lived by people, that is, to apprehend, describe, and explain the full breadth and diversity of human phenomena, guided by the discipline-wide focus on the wholeness of the human being. The language of objectivistic science cannot do this. Even in contemporary qualitative research there are limitations in achieving such a representation. This column therefore calls for greater attention to lyrical discourse in nursing science and outlines the potential benefits in nursing theory development, research, and practice. Encouragement of lyrical discourse in nursing science is consistent with the contemporary movement toward a dialogical rationality. It is posited that, if the ethos of nursing is rooted in love of humanity, lyrical discourse may be one way for nursing to pursue its mission to serve humankind.

Lyric Discourse and Female Vocality: On the Unsilencing of Silence

The practice of lyric allows both Silence and Nicolete of chantefable fame to transcend the limits of gender, by validating both their male and female personae at once. Whether purely literary convention or reality, this empowerment is characteristic of medieval lyric discourse.

La mélancolie du biographe: Le Roman du Castelain de Couci et le deuil de la voix

Thirteenth-century French courtly narratives are often described as "generic hybrids" because of their extensive play with generic norms. Courtly romance's engagement with generic, discursive and thematic paradigms elaborated in the Old French lyric, in particular, is discernible in the numerous romans featuring "lyric insertions" (romances where pre-existing or new lyric songs are inserted in the narrative frame). The Roman du Castelain de Couci, examined here, provides an especially interesting and, it is argued, metadiscursive example, since its narrator presents itself as a biographer avant la lettre, recounting the (romanced) story of an authentic twelfth-century trouvere, the Châtelain de Coucy. The songs are inserted at important points of the trouvere's tragic love affair, thus revealing the circumstances of their creation. This article first considers the narrator's self-presentation in the prologue, as well as the shifting meanings of lyric signifiers in the narrative context, in order to illuminate the complex intertextual relationship of this roman to the trouvere's song. Various episodes of the story are then analyzed, all pointing to an elegiac encoding of the loss of lyric solipsistic discourse. Framing these observations in a psychoanalytic conceptualization of mourning, the article concludes by positing melancholia as the symbolic process at the basis of romance's renewed generic and discursive "identity".

Horace Carmen 1.8: Achilles, the Campus Martius, and the Articulation of Gender Roles in Augustan Rome

Previous articleNext article No AccessHorace Carmen 1.8: Achilles, the Campus Martius, and the Articulation of Gender Roles in Augustan RomeEleanor Winsor LeachEleanor Winsor Leach Search for more articles by this author PDFPDF PLUS Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinkedInRedditEmail SectionsMoreDetailsFiguresReferencesCited by Classical Philology Volume 89, Number 4Oct., 1994 Article DOIhttps://doi.org/10.1086/367431 Views: 12Total views on this site Citations: 2Citations are reported from Crossref Copyright 1994 The University of ChicagoPDF download Crossref reports the following articles citing this article: Elizabeth H. Sutherland Writing (On) Bodies: Lyric Discourse and the Production of Gender in Horace Odes 1.13 Sutherland, Classical Philology 100, no.11 (Jul 2015): 52–82.https://doi.org/10.1086/431430 Matthew B. Roller Exemplarity in Roman Culture: The Cases of Horatius Cocles and Cloelia Roller, Classical Philology 99, no.11 (Jul 2015): 1–56.https://doi.org/10.1086/423674

Polyhymnia: The Rhetoric of Horatian Lyric Discourse. Gregson Davis

Polyhymnia: The Rhetoric of Horatian Lyric Discourse. Gregson Davis

Lyric, history, and allegory, or the end of headhunting ritual in upland Sulawesi

This article explores how a minority religious community in highland Sulawesi, Indonesia, brings meaning, history, and polity into being through the lyric discourse of headhunting ritual. The discussion shows how divergent interpretations of a single song work as tactical modes of understanding, as ways to “read with the polity.” In one case, a villager reads the lyrics in such a way as to link the ritual headhunt to the intercultural tensions of the past. In another case, however, a villager finds in the lyrics an allegory of local sexual politics. Both approaches connect ritual violence to the shaping of community. [headhunting, ritual song, textual analysis, tradition, social history, Sulawesi]

Polyhymnia: the rhetoric of Horatian lyric discourse

Polyhymnia: the rhetoric of Horatian lyric discourse

Polyhymnia: The Rhetoric of Horatian Lyric Discourse

Horace's Odes have a surface translucency that belies their rhetorical sophistication. Gregson Davis brings together recent trends in the study of Augustan poetry and critical theory and deftly applies them to individual poems. Exploring four rhetorical strategies--what he calls modes of assimilation, authentication, consolation, and praise and dispraise--Davis produces enlightening, new interpretations of this classic work. Polyhymnia, named after one of the Muses invoked in Horace's opening poem, revises the common image of Horace as a complacent, uncomplicated, and basically superficial singer. Focusing on the artistic persona--the lyric "self" that is constituted in the text--Davis explores how the lyric speaker constructs subtle "arguments" whose building-blocks are topoi, recurrent motifs, and generic conventions. By examining the substructure of lyric argument in groupings of poems sharing similar strategies, the author discloses the major principles that inform Horatian lyric composition.

Sir Philip Sidney's Psalms, the Sixteenth-Century Psalter, and the Nature of Lyric

To describe critically the sixteenth-century religious lyric, and to integrate it with the contemporary amatory poetry: these challenges are perhaps as perennial as any other major issue touching Renaissance English literature. Because of the generality or indifference with which the topic has been treated, many readers find that to step from sixteenth- to seventeenth-century devotional poetry in English is to enter a climate of poetic quality and critical rigor for which, it seems, there is little precedent: we often seem to lack a clearly articulated idea of what sixteenth-century devotional poets, many of whom are also the most influential profane poets of the age, were trying to accomplish through their divine lyrics, and of how their concerns might be seen as continuous with those of later writers. Building on the extant studies of historical and doctrinal elements in this body of work, how might we undertake to recuperate our understanding of its generic identity as lyric? In its many translations and adaptations over the sixteenth century, the Book of Psalms is central to the development of the age's religious lyric. It belongs with Petrarch's Rime sparse as a master text through which the writers of the age tested their capacities, in this case not only as worshippers and theologians but as poets and critics. I would like to suggest that if we thoroughly investigated the sixteenth-century uses of the Psalter, we would likely find that poets adapt it to a thoroughgoing critical and experimental impulse. Their Psalters stand for a range of positions as to the nature and potentialities of lyric discourse. It might be argued that

Herbert, Coleridge and the Vexed Work of Narration

What I wish to consider is the idea that narration is a kind of work-the kind lyric speakers do when they produce discourse. And, as the subject of my paper suggests, narrative work is an enterprise to which Herbert and Coleridge, writing some two hundred years apart, address themselves for similar reasons, though, as I shall want most to emphasize, often with different results. Let me pose the dilemma with a simplicity it will be the burden of my argument to complicate. In Herbert narration is what there is to do when there is nothing to do at all; but while it provides the deprived speaker with an arena in which selfgeneration, or the development of a project, can occur, it is always displaced by God's utterance which reappropriates the space of priority to which narration lays claim. In Coleridge, the speaker deprived of company or countryside is also a threatened man. There is nothing-no past, no present, no speech and often no self-when these are unavailable to him. But in the presence of discourse the world can be generated once again, and there is, in Coleridge, no powerful counter-discourse to lay claim to the work narration performs. Of course I do not mean to suggest that lyric discourse is an unproblematic activity for Coleridge, unvexed by