Poetic forms containing rampant money

This chapter begins with the South Sea Bubble and the Financial Revolution by bringing to light an anonymous Jacobite Pindaric ode written in response to the consequences of this emblematic boom and bust. Other poems or passages on the Bubble by Anne Finch, Gay, Swift and Pope are drawn upon in an exploration of how poetic form may attempt to manage and counteract the rise of stocks and shares, notes of exchange and paper currency. The repeatedly evoked contrast between metallic coin, especially gold, and these fiduciary symbols of value is identified in such poems as Pope’s ‘Of the Use of Riches’ and then followed into the Romantic period in poems by Keats, Shelley and Byron. This distinction is found to influence Shelley’s ‘Defence of Poetry’ through the association between precious metals and poetic value in the essay by Thomas Love Peacock to which it responds.

The Ambivalence in the Metaphor Life is Wine from the song “No I in Threesome” by Interpol

The song with lyrics can be seen as a poetic text due to the evidence of figures of speech, images, and symbolism, as well as, phonetic resources that reflect the musicality of poetic language. In this sense, the post-punk revival band Interpol wrote No I in Threesome, the account of a persona trying to convince his significant other to have a threesome. This song includes the metaphor life is wine, which makes explicit the poetic value of the song. But not only that, the metaphor also shows how a statement, in this case a statement part of a literary text, can have different meanings.

Avsonivs: vt doceam docendvs ipse

Summary:Centones are works that might be interpreted as bis in idem, in a positive manner, being si- multaneously a revitalisation of prior works and an independent piece, which grants a perception per se. In addition to their poetic value, a major relevance draws from the text itself, as descendant of a previous source, perfectly known not only to the author of the cento, but to the public as well, capable to appreci- ate the virtuosity. Cento nuptialis composed by Ausonius is to be considered both as Vergilian inheritance manoeuvred with poetic skill and as binomial of theory and practice, preserved in the letter addressed to Paulus.We examine two formal aspects: the iunctura points and the entire verses taken from Vergil. The iunctura of the hemistichs seems to be occasionally generated by the presence of a certain word. Regard- ing the entire Vergilian verses, the letter addressed to Paulus states that two consecutive entire verses ineptum est: the assertion might be understood either as aiming at two consecutive verses in the source text, or as two entire verses, belonging to different parts of the source text. If the second interpretation is correct, Cento nuptialis begins inelegantly (ineptum).

Per una semiotica della rima

The article, following a suggestion of Barthes, attempts to outline a semiotics of the technique of rhyming considered as a sub-code of poetic language, in order to better understand the important contribution provided by rhyme, on many levels, to the strategies of signification of the literary text. This semiotic approach is inscribed in a general theory of rhyme under development by the author, which aims at explaining the raison d’être and fortune of this poetic device in relation to its decisive contribution to the rhetorical and figurative elaboration of the poetic text. In a semiotic perspective, three fundamental levels of structuring rhyme as a sign can be distinguished: its signifier (the partial phonic identity which, in the current view, is considered to be rhyme’s exhaustive definition), its meaning (the semantic interference between rhyming words only) and its sense (the relation between rhyme’s meaning and context). A short reference is also made to further aspects of the the sub-code of rhyme, such as its syntax (strophic patterns) and the role of pools of rhymes. This leads to a reappraisal of some significant questions raised by the technique of rhyme, e. g. whether or not it always makes a semantic contribution, or what the interplay between its limitations to freedom of expression and its contribution to the expressiveness and poetic value of the text is. The theoretical tools are finally put to the test in a short analysis of the rhyme-words in the form of the sestine.

ESBOÇO CRÍTICO DA PRODUÇÃO ARTÍSTICA COMO REALIDADE SOCIAL: CONVERGÊNCIAS E DIVERGÊNCIAS ENTRE PIERRE BOURDIEU E GILLES LIPOVETSKY E JEAN SERROY

Este artigo é um convite crítico e reflexivo sobre a produção artística como realidade social a partir das obras de Pierre Bourdieu em A Economia das Trocas Simbólicas (2005) e Gilles Lipovetsky e Jean Serroy em A Estetização do Mundo (2015). A metodologia apresentada é de revisão de literatura pautada numa análise hermenêutica problematizadora das obras citadas, destacamos em Bourdieu: a) o campo das instâncias de consagração e difusão da arte e b) o mercado de bens simbólicos como sistema de produção, consumo e mercantilização da arte. E em Lipovetsky e Serroy: a compreensão da arte sobre a lógica de uma economia mercantil que é um processo de artealização capitalista da economia e de estetização da vida cotidiana, resultando num capitalismo transestético. Concluímos que as transformações acerca da estrutura do campo de produção artística como realidade social estão inteiramente ligadas aos interesses do mercado, sempre adotando novas estratégias de consumo sobre quem/como deve consumir e produzir; e de definições sobre o que é arte perante as dinâmicas capitalísticas da sociedade moderna. Todo o valor estético e poético da arte é dilacerado e transfigurado em produto que deve tão somente seduzir e vender gostos, desejos, emoções, sensações e sonhos. CRITICAL OUTLINE OF ARTISTIC PRODUCTION AS A SOCIAL REALITY: CONVERGENCES AND DIVERGENCES BETWEEN PIERRE BOURDIEU AND GILLES LIPOVETSKY AND JEAN SERROY ABSTRACT This article is a critical and reflexive invitation on artistic production as a social reality from the works of Pierre Bourdieu in The Economics of Symbolic Exchanges (2005) and Gilles Lipovetsky and Jean Serroy in The Estetization of the World (2015). The methodology presented is a review of literature based on a problematic hermeneutical analysis of the works cited, we highlight in Bourdieu: a) the field of the consecration and diffusion of art and b) the symbolic goods market as a system of production, consumption and commodification of art. And in Lipovetsky and Serroy: the understanding of art on the logic of a mercantile economy, which is a process of capitalist artalization of economy and aestheticization of everyday life, resulting in a transaesthetic capitalism. We conclude that the transformations about the structure of the field of artistic production as a social reality are entirely linked to the interests of the market, always adopting new consumption strategies on who / how to consume and produce; and of definitions about what is art before the capitalistic dynamics of modern society. All the aesthetic and poetic value of art is torn and transfigured into a product that must only seduce and sell tastes, desires, emotions, sensations and dreams.

The Hamlet First Quarto (1603) & the Play of Typography

I argue that the First Quarto of Hamlet (1603)expresses a more intense sensitivity to polysemous typography than has been critically articulated. The orthography, typography, and layout functioned as rich sources of meaning-making for early modern readers, poets, and publishers. Performances happened on the playtext page that were often unavailable in a live theatrical setting. This article makes a crucial critical intervention in recuperating the poetic value of Q1, a text that has historically generated interest mostly within analytical bibliography, performance studies, and character studies. Readers were sensitive to how visual wordplay activated important themes to which my critical analysis attends.

The two english versions of Mioritza

This paper proposes a short comparative analysis of two English translations of the Romanian poem Mioritza, the first from 1856, made by Henry Stanley, and the second, by the American Poet W.D. Snodgrass, from 1972. It is argued that the latter has more poetic value, for it utilizes rhyme patterns and a meter closer to the Romanian ballad.