Abstract Taking the definition of lyric poem as ›Einzelrede in Versen‹ for its basis, this article pursues two objectives: firstly, to advocate the concept of lyric poetry as an intertextual system of relationships against the background of world literature (a concept that can also constitute the theoretical foundation for the universal history of lyric poetry) and, secondly, to encourage a profound discussion with philosophy to locate lyric poetry within the ›life of the mind‹ as well as to grasp it in theoretical terms.
{"title":"Some Prospects for the Theory of Lyric Poetry","authors":"Dieter Lamping","doi":"10.1515/jlt-2017-0009","DOIUrl":"https://doi.org/10.1515/jlt-2017-0009","url":null,"abstract":"Abstract Taking the definition of lyric poem as ›Einzelrede in Versen‹ for its basis, this article pursues two objectives: firstly, to advocate the concept of lyric poetry as an intertextual system of relationships against the background of world literature (a concept that can also constitute the theoretical foundation for the universal history of lyric poetry) and, secondly, to encourage a profound discussion with philosophy to locate lyric poetry within the ›life of the mind‹ as well as to grasp it in theoretical terms.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0009","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42743636","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}
Abstract The paper discusses articulations of personality and communication structures in the lyric: who is speaking in a poem? What is the status of the person who speaks, or the one who is spoken about? Is it the author himself who is speaking, or is it someone else – an autonomous being, completely different and detached from the subject developed in the text? Who is addressed in and by a poem? It is made clear that conventional concepts of Stimmung (mood), Erlebnis (experience), and lyrisches Ich (the ›lyric I‹) should be set aside and the nature of lyric communication should be redetermined. For this purpose, a precise examination of the specific use of personal pronouns in poems is necessary, especially of the pronouns ›I‹, ›you‹ and ›we‹. The indistinct ›lyric I‹ should be substituted by the term ›articulated I‹. The poetic text as a whole is being structured by a superordinate entity, the Textsubjekt (›textual subject‹). Every speaking entity in a poem has a counterpart being addressed by it. Analyzing communication structures in poetry thus means first of all looking for an addressee who is constituted by the text. Only in a second step should we figure out if the address refers to the intended reader.
{"title":"The I and the Others. Articulations of Personality and Communication Structures in the Lyric","authors":"Dieter Burdorf","doi":"10.1515/jlt-2017-0003","DOIUrl":"https://doi.org/10.1515/jlt-2017-0003","url":null,"abstract":"Abstract The paper discusses articulations of personality and communication structures in the lyric: who is speaking in a poem? What is the status of the person who speaks, or the one who is spoken about? Is it the author himself who is speaking, or is it someone else – an autonomous being, completely different and detached from the subject developed in the text? Who is addressed in and by a poem? It is made clear that conventional concepts of Stimmung (mood), Erlebnis (experience), and lyrisches Ich (the ›lyric I‹) should be set aside and the nature of lyric communication should be redetermined. For this purpose, a precise examination of the specific use of personal pronouns in poems is necessary, especially of the pronouns ›I‹, ›you‹ and ›we‹. The indistinct ›lyric I‹ should be substituted by the term ›articulated I‹. The poetic text as a whole is being structured by a superordinate entity, the Textsubjekt (›textual subject‹). Every speaking entity in a poem has a counterpart being addressed by it. Analyzing communication structures in poetry thus means first of all looking for an addressee who is constituted by the text. Only in a second step should we figure out if the address refers to the intended reader.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0003","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42475739","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}
Abstract Recent theory of lyric shows no interest in the subject, because it is no longer considered a basic generic parameter of lyric poetry. Nevertheless, the subject has resurfaced in contemporary practice in a wide range of new and complex forms specific to the lyric mode. This article suggests a multilevel model for both the formal and historical analysis of the subject in contemporary lyric poetry.
{"title":"Towards a Historical Typology of the Subject in Lyric Poetry","authors":"H. Stahl","doi":"10.1515/jlt-2017-0014","DOIUrl":"https://doi.org/10.1515/jlt-2017-0014","url":null,"abstract":"Abstract Recent theory of lyric shows no interest in the subject, because it is no longer considered a basic generic parameter of lyric poetry. Nevertheless, the subject has resurfaced in contemporary practice in a wide range of new and complex forms specific to the lyric mode. This article suggests a multilevel model for both the formal and historical analysis of the subject in contemporary lyric poetry.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0014","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47714569","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}
Abstract This statement does not challenge Jonathan Culler’s argument that lyric is not dramatic monologue but primarily »an event in the lyric present, a time of enunciation« (Culler 2014, 68; cf. Culler 2015). But it poses an alternative view of lyricism, at least for Modernist poetry. The essay asks, in other words, not what lyric is, but what poets seeking to participate in a genre are doing and why. In »The Love Song of J. Alfred Prufrock«, for example, T.S. Eliot deliberately creates a clash between expectations born of dramatic monologue and those sustained by the staging of a lyric ego whose modes of presence cannot be contained within ironic distance. Similarly, when Yeats and Auden write lullabies, they are not content with individual instances of lullaby but want to capture the essence of lullaby as one aspect of levels of feeling inseparable from ideas of genre, not just uses of the genre. Lyricism also emphasizes, more than do studies of lyric as a genre, that poetry has a distinctive relationship to musicality. The essay develops two extended examples – in the form of a contrast between two poems in the first Imagist anthology Des Imagistes, namely H.D.’s (Hilda Doolittle’s) »Sitalkas« and Ezra Pound’s »Doria« – as an example of what Pound called »patterned music«, which Pound opposed to the »emotional music cultivated by the spirit of Impressionism«. Finally it turns to the contemporary poet Lisa Robertson’s »Sunday« as an instance of cultivating the power of indexicals as an alternative to any kind of overt »speaking situation« with its inevitably damaged versions of subjectivity.
{"title":"The Lyrical Impulse","authors":"C. Altieri","doi":"10.1515/jlt-2017-0002","DOIUrl":"https://doi.org/10.1515/jlt-2017-0002","url":null,"abstract":"Abstract This statement does not challenge Jonathan Culler’s argument that lyric is not dramatic monologue but primarily »an event in the lyric present, a time of enunciation« (Culler 2014, 68; cf. Culler 2015). But it poses an alternative view of lyricism, at least for Modernist poetry. The essay asks, in other words, not what lyric is, but what poets seeking to participate in a genre are doing and why. In »The Love Song of J. Alfred Prufrock«, for example, T.S. Eliot deliberately creates a clash between expectations born of dramatic monologue and those sustained by the staging of a lyric ego whose modes of presence cannot be contained within ironic distance. Similarly, when Yeats and Auden write lullabies, they are not content with individual instances of lullaby but want to capture the essence of lullaby as one aspect of levels of feeling inseparable from ideas of genre, not just uses of the genre. Lyricism also emphasizes, more than do studies of lyric as a genre, that poetry has a distinctive relationship to musicality. The essay develops two extended examples – in the form of a contrast between two poems in the first Imagist anthology Des Imagistes, namely H.D.’s (Hilda Doolittle’s) »Sitalkas« and Ezra Pound’s »Doria« – as an example of what Pound called »patterned music«, which Pound opposed to the »emotional music cultivated by the spirit of Impressionism«. Finally it turns to the contemporary poet Lisa Robertson’s »Sunday« as an instance of cultivating the power of indexicals as an alternative to any kind of overt »speaking situation« with its inevitably damaged versions of subjectivity.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0002","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46194186","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}
Abstract The article gives a metatheoretical definition of ›lyric‹. The definition pinpoints that lyric is either scriptural and visual or vocal and something that you can hear; it can be fictional or non-fictional, and it belongs to the social system, which modern ›westerners‹ call ›literature‹, but it can also be part of cultural practices, which are outside of any social system of ›literature‹. One can differentiate analytically with regard to the graphic type as well as to the vocal type of ›lyric‹ between the ›material How‹ and the ›semantical What‹. The ›How‹-side and the ›What‹-side provide each and together special signals for the hearer or for the seer or reader, which attract and bind his or her attention and which inform the hearer or the seer and the reader basically that language itself (which is understood as a cognitive system or tool) is something with which you can develop or create meaning; in doing this the signals of lyric constitute aesthetic evidence (the reader, seer or hearer will be ›convinced‹ or ›made sure‹ or emotionally satisfied in a way by the aesthetic qualities of the lyric: non-propositional, as if looking through the ›veils of poetry‹. In the next step the article discusses some types of lyrical ›worlds‹ and lyrical ›world-making‹ with regard to this definition. Finally, the article presents a couple of theses.
{"title":"Lyric and Its ›Worlds‹","authors":"Rüdiger Zymner","doi":"10.1515/jlt-2017-0016","DOIUrl":"https://doi.org/10.1515/jlt-2017-0016","url":null,"abstract":"Abstract The article gives a metatheoretical definition of ›lyric‹. The definition pinpoints that lyric is either scriptural and visual or vocal and something that you can hear; it can be fictional or non-fictional, and it belongs to the social system, which modern ›westerners‹ call ›literature‹, but it can also be part of cultural practices, which are outside of any social system of ›literature‹. One can differentiate analytically with regard to the graphic type as well as to the vocal type of ›lyric‹ between the ›material How‹ and the ›semantical What‹. The ›How‹-side and the ›What‹-side provide each and together special signals for the hearer or for the seer or reader, which attract and bind his or her attention and which inform the hearer or the seer and the reader basically that language itself (which is understood as a cognitive system or tool) is something with which you can develop or create meaning; in doing this the signals of lyric constitute aesthetic evidence (the reader, seer or hearer will be ›convinced‹ or ›made sure‹ or emotionally satisfied in a way by the aesthetic qualities of the lyric: non-propositional, as if looking through the ›veils of poetry‹. In the next step the article discusses some types of lyrical ›worlds‹ and lyrical ›world-making‹ with regard to this definition. Finally, the article presents a couple of theses.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-03-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0016","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47571710","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}
Abstract A tenacious tradition considers the lyric as the manifestation of a subjectivity, whether personal or universal. But folk traditions as well as the twentieth-century avant-gardes offer the counter-example of poetry that arises from the collocation of verbal fragments, of artificial languages, of subjects in name only, and dare to present these as a new-style lyric. Less startling versions of this displacement of the lyric subject occur in such artifacts as the overheard poem. For such poems, the fact of publication replaces the mythic occasion of utterance as the poem’s moment of truth. This foregrounding of the moment of production is a feature linking the so-called primitive, oral, or folk poetry of many cultures to the purportedly post-humanist poetry of the different avant-gardes, and it links them, not through an irony, metaphor or coincidence, but through a model of the function of the artwork that indeed puts the act of signifying temporally and axiologically before the signified meanings
{"title":"Lyric Lost and Found","authors":"Haun Saussy","doi":"10.1515/jlt-2017-0013","DOIUrl":"https://doi.org/10.1515/jlt-2017-0013","url":null,"abstract":"Abstract A tenacious tradition considers the lyric as the manifestation of a subjectivity, whether personal or universal. But folk traditions as well as the twentieth-century avant-gardes offer the counter-example of poetry that arises from the collocation of verbal fragments, of artificial languages, of subjects in name only, and dare to present these as a new-style lyric. Less startling versions of this displacement of the lyric subject occur in such artifacts as the overheard poem. For such poems, the fact of publication replaces the mythic occasion of utterance as the poem’s moment of truth. This foregrounding of the moment of production is a feature linking the so-called primitive, oral, or folk poetry of many cultures to the purportedly post-humanist poetry of the different avant-gardes, and it links them, not through an irony, metaphor or coincidence, but through a model of the function of the artwork that indeed puts the act of signifying temporally and axiologically before the signified meanings","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0013","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66954012","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}
Pub Date : 2017-01-01DOI: 10.4135/9781412958806.n203
Janet L. Miller
{"title":"Feminist Theories","authors":"Janet L. Miller","doi":"10.4135/9781412958806.n203","DOIUrl":"https://doi.org/10.4135/9781412958806.n203","url":null,"abstract":"","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77064994","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}
Abstract This essay ventures a dozen postulates: 1) lyric can’t be defined by one or even many formal features that are exclusive to it; 2) lyric can be described as a range of nonexclusive formal strategies encoded in texts and the communities that produce and receive them; 3) thus, if we understand »genre« in a way that fuses poetics with hermeneutics, lyric is a genre; 4) lyric and affiliated subgenres and modes live historically but survive transhistorically, albeit often dramatically refashioned; 5) lyric is neither merely personal nor entirely impersonal, making it readily appropriable; 6) lyric differs from more empirical and mimetic genres by virtue of the density of its verbal and formal mediation of the world; 7) lyric is intergeneric, best understood in its dialogue with its others; 8) lyric is transnational; 9) lyric needs to be studied at both the micro and macro levels – both its language-specific intricacies and textures, and its participation in broader patterns of genre, history, and cultural migration; 10) the strategies of a transnational poetics can be extended across languages; 11) a transnational poetics should be attentive to cross-cultural hybridization, creolization, and vernacularization in lyric; 12) lyric isn’t dead, and it isn’t only an elite form.
{"title":"Lyric Poetry: Intergeneric, Transnational, Translingual?","authors":"J. Ramazani","doi":"10.1515/jlt-2017-0011","DOIUrl":"https://doi.org/10.1515/jlt-2017-0011","url":null,"abstract":"Abstract This essay ventures a dozen postulates: 1) lyric can’t be defined by one or even many formal features that are exclusive to it; 2) lyric can be described as a range of nonexclusive formal strategies encoded in texts and the communities that produce and receive them; 3) thus, if we understand »genre« in a way that fuses poetics with hermeneutics, lyric is a genre; 4) lyric and affiliated subgenres and modes live historically but survive transhistorically, albeit often dramatically refashioned; 5) lyric is neither merely personal nor entirely impersonal, making it readily appropriable; 6) lyric differs from more empirical and mimetic genres by virtue of the density of its verbal and formal mediation of the world; 7) lyric is intergeneric, best understood in its dialogue with its others; 8) lyric is transnational; 9) lyric needs to be studied at both the micro and macro levels – both its language-specific intricacies and textures, and its participation in broader patterns of genre, history, and cultural migration; 10) the strategies of a transnational poetics can be extended across languages; 11) a transnational poetics should be attentive to cross-cultural hybridization, creolization, and vernacularization in lyric; 12) lyric isn’t dead, and it isn’t only an elite form.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0011","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953970","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}
Abstract Numerous studies on lyric poetry have considered formalist questions, speakers or historical contexts. The act and the action of reading, however, were less often explored. Thus, the following questions arise: Is there a lyric reading? What are the reader’s motivations? Does the same logic apply to narrative, satirical and didactic poems? How can it be described? This article outlines the many problems which the heterogeneity of poetry is likely to generate. It further intends to examine how the notion of »empathy« could help to actualize this specific way of reading. Based on recent research on intentionality and empathy, this paper makes apparent some of the general principles for a holistic theory of lyric, which enables to link poetics, psychology and anthropology.
{"title":"Lyric Reading and Empathy","authors":"Antonio Rodriguez","doi":"10.1515/jlt-2017-0012","DOIUrl":"https://doi.org/10.1515/jlt-2017-0012","url":null,"abstract":"Abstract Numerous studies on lyric poetry have considered formalist questions, speakers or historical contexts. The act and the action of reading, however, were less often explored. Thus, the following questions arise: Is there a lyric reading? What are the reader’s motivations? Does the same logic apply to narrative, satirical and didactic poems? How can it be described? This article outlines the many problems which the heterogeneity of poetry is likely to generate. It further intends to examine how the notion of »empathy« could help to actualize this specific way of reading. Based on recent research on intentionality and empathy, this paper makes apparent some of the general principles for a holistic theory of lyric, which enables to link poetics, psychology and anthropology.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0012","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66954005","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}
Claudia Hillebrandt, Sonja Klimek, R. Müller, W. Waters, Rüdiger Zymner
The general theory of lyric is a developing field of study. Approaches to lyric are, however, reputedly stuck in »the impasse of an impressionistic and narrowly formalistic critical debate on the genre« (Müller-Zettelmann/Rubik 2005, 8). Such claims may be paired with a call for raising the theory of lyric to higher levels (cf. Culler 2015, 2sq.; Zymner 2009, 8sq.; Gibson 2015, 1sq.), including the proposal of formulating, in analogy to the well-established field of narratology, a formal ›lyricology‹ (»lyricologie« or »Lyrikologie«, as it is called in French and German respectively; cf. Zymner 2009, 7–9; Rodriguez 2009; von Ammon 2015). More particularly, it has been suggested that parts of lyric theory should be reconceptualized with the help of narrative theories (cf. Müller-Zettelmann 2000, MüllerZettelmann/Rubik 2005). However, the influx of concepts from different theories into the analysis of lyric entails some problems. It appears that the practices of analyzing lyric have become heavily influenced by generic models and approaches drawn from the theories of drama and narrative (for critique, cf. Culler 2015,108–112; Hempfer 2014,16–21). There are various issues here; for instance, one may ask whether the lyric concepts of voice or persona can be grasped in terms of fictional characters or narrators, or whether lyric typically develops structures that are similar to narrative discours and story. More importantly, narratological approaches tend to see lyric as a defective or residual form of the narrative mode (cf. Hempfer 2014, 19–21; Hillebrandt 2015). Various theoretical issues in the theory of lyric have been taken up with renewed vigor in the last years, including several proposals with respect to the
{"title":"Theories of Lyric","authors":"Claudia Hillebrandt, Sonja Klimek, R. Müller, W. Waters, Rüdiger Zymner","doi":"10.1515/jlt-2017-0001","DOIUrl":"https://doi.org/10.1515/jlt-2017-0001","url":null,"abstract":"The general theory of lyric is a developing field of study. Approaches to lyric are, however, reputedly stuck in »the impasse of an impressionistic and narrowly formalistic critical debate on the genre« (Müller-Zettelmann/Rubik 2005, 8). Such claims may be paired with a call for raising the theory of lyric to higher levels (cf. Culler 2015, 2sq.; Zymner 2009, 8sq.; Gibson 2015, 1sq.), including the proposal of formulating, in analogy to the well-established field of narratology, a formal ›lyricology‹ (»lyricologie« or »Lyrikologie«, as it is called in French and German respectively; cf. Zymner 2009, 7–9; Rodriguez 2009; von Ammon 2015). More particularly, it has been suggested that parts of lyric theory should be reconceptualized with the help of narrative theories (cf. Müller-Zettelmann 2000, MüllerZettelmann/Rubik 2005). However, the influx of concepts from different theories into the analysis of lyric entails some problems. It appears that the practices of analyzing lyric have become heavily influenced by generic models and approaches drawn from the theories of drama and narrative (for critique, cf. Culler 2015,108–112; Hempfer 2014,16–21). There are various issues here; for instance, one may ask whether the lyric concepts of voice or persona can be grasped in terms of fictional characters or narrators, or whether lyric typically develops structures that are similar to narrative discours and story. More importantly, narratological approaches tend to see lyric as a defective or residual form of the narrative mode (cf. Hempfer 2014, 19–21; Hillebrandt 2015). Various theoretical issues in the theory of lyric have been taken up with renewed vigor in the last years, including several proposals with respect to the","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0001","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953312","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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