American Literature and the Destruction of Knowledge: Innovative Writing in the Age of EpistemologyDuke University Press, 1991 - 391 من الصفحات In this challenging work, Ronald E. Martin analyzes the impulse of major nineteenth- and twentieth-century American writers to undermine not only their inherited paradigms of literary and linguistic thought but to question how paradigms themselves are constructed. Through analyses of these writers, as well as contemporaneous scientists, mathematicians, philosophers, and visual artists, American Literature and the Destruction of Knowledge creates a panoramic view of American literature over the past 150 years and shows it to be a crucial part of the great philosophical changes of the period. The works of Melville, Emerson, Whitman, and Dickinson, followed by Crane, Frost, Pound, Stein, Hemingway, Dos Passos, Aiken, Stevens, and Williams, are examined as part of a cultural current that casts doubt on the possibility of knowledge itself. The destruction of concepts, of literary and linguistic forms, was for these writers a precondition for liberating the imagination to gain more access to the self and the real world. As part of the exploration of this cultural context, literary and philosophical realisms are examined together, allowing a comparison of their somewhat different objectives, as well as their common epistemological predicament. |
من داخل الكتاب
النتائج 1-5 من 100
الصفحة xii
... experience . As Conrad Aiken says of one of his early protagonists , " It occurs to him that the possibility of knowledge is itself limited : that knowledge is perhaps so conditioned by the condition of the knower that it can have ...
... experience . As Conrad Aiken says of one of his early protagonists , " It occurs to him that the possibility of knowledge is itself limited : that knowledge is perhaps so conditioned by the condition of the knower that it can have ...
الصفحة xiv
... Experience was their watchword . Experience -personal or interpersonal , practical or mystical - was the standard by which every conception , every creation was to be judged . Part II of my study surveys some of the specific scientific ...
... Experience was their watchword . Experience -personal or interpersonal , practical or mystical - was the standard by which every conception , every creation was to be judged . Part II of my study surveys some of the specific scientific ...
الصفحة xvi
... experience , and cultural conditions no longer favored such notions . In studying the epistemologically oriented work of Stephen Crane and Robert Frost , I explore two literary approaches on the cusp - approaches that presuppose ...
... experience , and cultural conditions no longer favored such notions . In studying the epistemologically oriented work of Stephen Crane and Robert Frost , I explore two literary approaches on the cusp - approaches that presuppose ...
الصفحة xvii
... experienced the war as the end of a culture based on futile and hypocritical principles , and what they came to know ... experience - affected their works profoundly . It certainly changed their conceptions of knowledge and knowing . As ...
... experienced the war as the end of a culture based on futile and hypocritical principles , and what they came to know ... experience - affected their works profoundly . It certainly changed their conceptions of knowledge and knowing . As ...
الصفحة xix
... experience . They tried to strike a course between conventionality and solipsism , and their attempts were bound to involve some radical revisions in com- mon understandings of the world and the place of a sentient individual in it ...
... experience . They tried to strike a course between conventionality and solipsism , and their attempts were bound to involve some radical revisions in com- mon understandings of the world and the place of a sentient individual in it ...
طبعات أخرى - عرض جميع المقتطفات
عبارات ومصطلحات مألوفة
absolute abstraction aesthetic Aiken American approach artists Bergson Camera Eye century characters concepts consciousness conventional Crane critical cubist cultural Dada dadaists destruction of knowledge Dickinson elements Emerson Emily Dickinson emotion epistemological Essays example experience Ezra Pound feeling fiction Frost Gertrude Stein Hemingway Hemingway's human ideas images imagination individual insight intellectual intuition kind knowing language linguistic literary literary realism literature logic look Manhattan Transfer meaning Melville metaphor mind Moby-Dick modernist naive naive realism narrative narrator nature needs be needs nineteenth-century novel object painting Passos Passos's perceived perception perspective philosophical Philosophical Realism physical poem poet poetic poetry Pound prose radical rational realism reality reflexiveness represent representation seems self-projection sense social Stephen Crane Stevens Stevens's symbols T. S. Eliot techniques things thought tion truth twentieth-century University Press verbal vision Wallace Stevens Whitman William Carlos Williams Williams Williams's words writers
مقاطع مشهورة
الصفحة 7 - Standing on the bare ground — my head bathed by the blithe air and uplifted into infinite space — all mean egotism vanishes. I become a transparent eyeball; I am nothing; I see all; the currents of the Universal Being circulate through me; I am part or parcel of God.
الصفحة 73 - In general, we mean by any concept nothing more than a set of operations; the concept is synonymous with the corresponding set of operations.
الصفحة 210 - thing' whether subjective or objective. 2. To use absolutely no word that does not contribute to the presentation. 3. As regarding rhythm: to compose in the sequence of the musical phrase, not in sequence of a metronome.
الصفحة 8 - We are always coming up with the emphatic facts of history in our private experience and verifying them here. All history becomes subjective; in other words there is properly no history, only biography.
الصفحة 20 - From the stump of the arm, the amputated hand, I undo the clotted lint, remove the slough, wash off the matter and blood...
الصفحة 91 - We ought to say a feeling of and, a feeling of if, a feeling of but, and a feeling of by, quite as readily as we say a feeling of blue or a feeling of cold.
الصفحة 8 - As the traveller who has lost his way, throws his reins on his horse's neck, and trusts to the instinct of the animal to find his road, so must we do with the divine animal who carries us through this world.
الصفحة 6 - It is a secret which every intellectual man quickly learns, that beyond the energy of his possessed and conscious intellect he Is capable of a new energy (as of an intellect doubled on itself), by abandonment to the nature of things; that beside his privacy of power as an individual man there is a great public power, on which he can draw by unlocking, at all risks, his human doors, and suffering the ethereal tides to roll and circulate through him...
الصفحة 12 - As the eyes of Lyncaeus were said to see through the earth, so the poet turns the world to glass, and shows us all things in their right series and procession.
الصفحة 257 - THE MAN WITH THE BLUE GUITAR T.HE man bent over his guitar, A shearsman of sorts. The day was green. They said, "You have a blue guitar, You do not play things as they are.