Critical RhythmPub Date : 2019-01-08DOI: 10.5422/fordham/9780823282043.003.0005
V. Jackson
{"title":"The Cadence of Consent: Francis Barton Gummere, Lyric Rhythm, and White Poetics","authors":"V. Jackson","doi":"10.5422/fordham/9780823282043.003.0005","DOIUrl":"https://doi.org/10.5422/fordham/9780823282043.003.0005","url":null,"abstract":"In American poetics, lyric and rhythm share a history—and since this is America, it is a racialized history. This essay considers Francis Barton Gummere’s contributions to that history. Although most Anglo-American literary critics have never heard of Gummere, many of the assumptions of that criticism were first articulated by him between 1891 and 1911. By returning to Gummere’s now historically obscure logic, we might begin to trace the overdetermined origins of current critical versions of lyric rhythm as natural culture and to imagine an alternative history of American poetics, a history of the poetics of rhythm not modeled on naturalized (and thus racialized) concepts of culture, on English prosody, or on common sense; an alternative that acknowledges the contradictions of any notion of a shared Anglo-American rhythm or shared Anglo-American poetry, a history in which the idea of rhythm remains central, but central as symptom rather than central as solution.","PeriodicalId":278197,"journal":{"name":"Critical Rhythm","volume":"115 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122264163","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Critical RhythmPub Date : 2019-01-08DOI: 10.2307/j.ctv8jp01t.15
E. Jones
{"title":"Rhythm and Affect in “Christabel”","authors":"E. Jones","doi":"10.2307/j.ctv8jp01t.15","DOIUrl":"https://doi.org/10.2307/j.ctv8jp01t.15","url":null,"abstract":"This essay reads Samuel Taylor Coleridge’s “Christabel” in the light of its notorious preface, arguing that Coleridge was right to link the poem’s structure to “passion,” but not in the manner that he specified. In place of “syllabic irregularity,” that is to say, I focus upon a rhythmical accent that is both open and directed: the advertised four-beat line is not an obligatory or invariant feature; even when it does arise, it produces a significantly wide variety of affects. In place of a hypostasized lyric “voice,” therefore, Coleridge’s poem forces us to consider the process of vocalization, whereby narrative speaker and distinct characters arise as the echoes of rhythmical patterns that predate them. Coleridge’s poem, I conclude, was “new” not through its putative invention of a prosodic structure, but through its peculiarly self-reflexive use of extant materials. Such a fact forces us to treat the category of rhythm itself in a more historicized manner than much current scholarship presently allows. I conclude by demonstrating how Coleridge’s metrical practice sheds light on a particular philosophical issue that he struggled to engage with in more conventional prepositional language: the eighteenth-century treatment of affect..","PeriodicalId":278197,"journal":{"name":"Critical Rhythm","volume":"39 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124891592","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Critical RhythmPub Date : 2019-01-08DOI: 10.5422/fordham/9780823282043.003.0006
Haun Saussy
{"title":"Contagious Rhythm: Verse as a Technique of the Body","authors":"Haun Saussy","doi":"10.5422/fordham/9780823282043.003.0006","DOIUrl":"https://doi.org/10.5422/fordham/9780823282043.003.0006","url":null,"abstract":"Nineteenth-century origin stories about culture and poetry assume a pattern of development and diversification from a single starting point—be that a primitive language or a single ethnic community. But according to twentieth-century models, the development of culture depends on the clash of different patterns of activity that disrupt the forward movement of simple rhythms. Marcel Mauss’s account of the techniques of the body and Ezra Pound’s practices of translation supply two examples of the breaking of rhythm and the creation of new cultural patterns, sometimes in response to the destruction of European ideals in the Great War.","PeriodicalId":278197,"journal":{"name":"Critical Rhythm","volume":"173 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-01-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122067704","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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