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":"11 1","pages":"118 - 124"},"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}
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":"11 1","pages":"107 - 97"},"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":"12 1","pages":"108 - 117"},"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}
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":"19 1","pages":""},"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}
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":"11 1","pages":"1 - 11"},"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}
Abstract The lyric poem does not construct a world in the way fiction invents universes. By eluding the circumstances, and promoting an intense plasticity in its modes of enunciation, the lyric poem rather seeks a congruence between what is said and an emotional state, the communication of an impetus crystallizing in the form of the poem. This impetus can be described as a gesture, or as a set of lyrical gestures. Poems try to capture an energy that comes from the outside world as well as from the inner space. A force is conveyed through a form – since modern poetry has given up rules of versification – that is never completely fit. This lyrical energy is shared by the reader through the re-enunciation of the poem. The lyrical »I« has a certain porosity, a manner of subjective transparence that allows the reader’s subjectivity to lodge there and during the time of recitation. It is thus the dynamics between force and form in modern poetry that this article tries to understand.
{"title":"A World of Gestures","authors":"D. Rabaté","doi":"10.1515/jlt-2017-0010","DOIUrl":"https://doi.org/10.1515/jlt-2017-0010","url":null,"abstract":"Abstract The lyric poem does not construct a world in the way fiction invents universes. By eluding the circumstances, and promoting an intense plasticity in its modes of enunciation, the lyric poem rather seeks a congruence between what is said and an emotional state, the communication of an impetus crystallizing in the form of the poem. This impetus can be described as a gesture, or as a set of lyrical gestures. Poems try to capture an energy that comes from the outside world as well as from the inner space. A force is conveyed through a form – since modern poetry has given up rules of versification – that is never completely fit. This lyrical energy is shared by the reader through the re-enunciation of the poem. The lyrical »I« has a certain porosity, a manner of subjective transparence that allows the reader’s subjectivity to lodge there and during the time of recitation. It is thus the dynamics between force and form in modern poetry that this article tries to understand.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":"11 1","pages":"89 - 96"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953700","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 notion that a lyric poem generates a world seems derived from the analysis of narrative fiction and risks setting the study of lyric poetry on the wrong track. Although lyrics often contain fictional elements – minimally sketched characters and incident – it is best to start from the presumption that they are at bottom not fiction. One can then analyze the tension between what one might call fiction and song, or fictional elements and ritualistic elements, as in Roland Greene’s analysis of lyric sequences. The positing of a fictional world created by a lyric poem and including a fictional speaker or persona risks trivializing lyric poems by relativizing their claims to the situation of a particular individual instead of granting them the authority of poetic form. Even lyrics that do create a fictional speaker often make claims about the world – our world and not a special fictional world – that are authorized by the poet. A superior default model for thinking about lyric, then is the classical concept of lyric as epideictic discourse, closer to oratory than to mimesis. The lyric characteristically strives to be itself an event rather than a representation of an event.
{"title":"Lyric Words, not Worlds","authors":"J. Culler","doi":"10.1515/jlt-2017-0004","DOIUrl":"https://doi.org/10.1515/jlt-2017-0004","url":null,"abstract":"Abstract The notion that a lyric poem generates a world seems derived from the analysis of narrative fiction and risks setting the study of lyric poetry on the wrong track. Although lyrics often contain fictional elements – minimally sketched characters and incident – it is best to start from the presumption that they are at bottom not fiction. One can then analyze the tension between what one might call fiction and song, or fictional elements and ritualistic elements, as in Roland Greene’s analysis of lyric sequences. The positing of a fictional world created by a lyric poem and including a fictional speaker or persona risks trivializing lyric poems by relativizing their claims to the situation of a particular individual instead of granting them the authority of poetic form. Even lyrics that do create a fictional speaker often make claims about the world – our world and not a special fictional world – that are authorized by the poet. A superior default model for thinking about lyric, then is the classical concept of lyric as epideictic discourse, closer to oratory than to mimesis. The lyric characteristically strives to be itself an event rather than a representation of an event.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":"11 1","pages":"32 - 39"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0004","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953357","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 Proceeding from a distinction between ›poetry‹ and ›lyric‹, the present article outlines a prototype theory of the lyric as transhistorical mode. As such the lyric prototype cannot be defined by means of empirical tests, but is a theoretical construct that presupposes the knowledge of highly diverse discursive systems and traditions and the recourse to interpretative-hermeneutic methods for its validity. The model of the prototypical lyric the article proposes is based on four interdependent components: (1) a speech situation characterised by an I-here-now deixis; (2) a represented situation which comes into being in and through the simultaneous speech act based on an identical deixis; (3) a fiction of performativity whose performative character results from the simultaneity and coincidence of speech situation and represented situation, and whose fictionality is based on the fact that the relation of simultaneity is text-internal, thus ›staged‹, and does not conform to the communicative situation between producer and recipient; and finally (4) a lack of, or an asymmetry in, the relationship between speaker and addressee, in as far as the speaker has the ›licence‹ to either perform a locutionary act directly and without any explicit motivation or addressee, or to explicitly address recipients. Unlike in normal face-to-face communication, however, these recipients cannot turn into speakers themselves. At best, they can function as quoted speakers, who are introduced by the ›speaker proper‹, and whose utterances assume the form of mere reported speech.
{"title":"Theory of the Lyric: a Prototypical Approach","authors":"Klaus W. Hempfer","doi":"10.1515/jlt-2017-0006","DOIUrl":"https://doi.org/10.1515/jlt-2017-0006","url":null,"abstract":"Abstract Proceeding from a distinction between ›poetry‹ and ›lyric‹, the present article outlines a prototype theory of the lyric as transhistorical mode. As such the lyric prototype cannot be defined by means of empirical tests, but is a theoretical construct that presupposes the knowledge of highly diverse discursive systems and traditions and the recourse to interpretative-hermeneutic methods for its validity. The model of the prototypical lyric the article proposes is based on four interdependent components: (1) a speech situation characterised by an I-here-now deixis; (2) a represented situation which comes into being in and through the simultaneous speech act based on an identical deixis; (3) a fiction of performativity whose performative character results from the simultaneity and coincidence of speech situation and represented situation, and whose fictionality is based on the fact that the relation of simultaneity is text-internal, thus ›staged‹, and does not conform to the communicative situation between producer and recipient; and finally (4) a lack of, or an asymmetry in, the relationship between speaker and addressee, in as far as the speaker has the ›licence‹ to either perform a locutionary act directly and without any explicit motivation or addressee, or to explicitly address recipients. Unlike in normal face-to-face communication, however, these recipients cannot turn into speakers themselves. At best, they can function as quoted speakers, who are introduced by the ›speaker proper‹, and whose utterances assume the form of mere reported speech.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":"11 1","pages":"51 - 62"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953365","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 following statement suggests reconsidering recent debates on a theory of lyric in terms of form and content. Four aspects and issues of the ongoing debate are discussed. In a first step, it is necessary to establish the relation between authorial poetics and lyric theory, since it is often characterised by fuzzy boundaries. Secondly, in order to specify the problem of form in lyric theory, it is suggested to have a closer look at the performative in lyric practice. Another important aspect of form is the semantics of lyrical genres. Lyrical genres mark an area in which form and content are intertwined and in which aspects of the form itself become semantic. Finally, the author argues that we should discuss – if possible assisted by a didactics sensitive to literary texts – whether and how theoretical proposals could be transformed into a practice of teaching poetry.
{"title":"Form and Content, Again. Four Remarks on Lyric Theory","authors":"Fabian Lampart","doi":"10.1515/jlt-2017-0008","DOIUrl":"https://doi.org/10.1515/jlt-2017-0008","url":null,"abstract":"Abstract The following statement suggests reconsidering recent debates on a theory of lyric in terms of form and content. Four aspects and issues of the ongoing debate are discussed. In a first step, it is necessary to establish the relation between authorial poetics and lyric theory, since it is often characterised by fuzzy boundaries. Secondly, in order to specify the problem of form in lyric theory, it is suggested to have a closer look at the performative in lyric practice. Another important aspect of form is the semantics of lyrical genres. Lyrical genres mark an area in which form and content are intertwined and in which aspects of the form itself become semantic. Finally, the author argues that we should discuss – if possible assisted by a didactics sensitive to literary texts – whether and how theoretical proposals could be transformed into a practice of teaching poetry.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":"11 1","pages":"74 - 82"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0008","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953419","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 surveys and comments on some of the issues that arise about the lyric in philosophical, principally analytical, aesthetics. In brief these are: definition, expression, paraphrase, form-content unity, experience, and truth and profundity. The paper shows in each case why these issues are important from the perspective of analytical philosophy but also why lyric poetry is not always an easy subject matter to accommodate to standard analytical presuppositions. It might be thought that theories of meaning within philosophy of language (be it semantics, speech act theory or truth-conditions) should be applicable to a full range of linguistic usage. But lyric poetry confounds that expectation and yields a context where familiar models of meaning and communication can seem inadequate. Yet analytical philosophers should not simply dismiss poetry as somehow exceptional or aberrant but would gain from looking afresh at basic assumptions to see how their views about language might be broadened and modified.
{"title":"Philosophy and the Lyric","authors":"P. Lamarque","doi":"10.1515/jlt-2017-0007","DOIUrl":"https://doi.org/10.1515/jlt-2017-0007","url":null,"abstract":"Abstract The paper surveys and comments on some of the issues that arise about the lyric in philosophical, principally analytical, aesthetics. In brief these are: definition, expression, paraphrase, form-content unity, experience, and truth and profundity. The paper shows in each case why these issues are important from the perspective of analytical philosophy but also why lyric poetry is not always an easy subject matter to accommodate to standard analytical presuppositions. It might be thought that theories of meaning within philosophy of language (be it semantics, speech act theory or truth-conditions) should be applicable to a full range of linguistic usage. But lyric poetry confounds that expectation and yields a context where familiar models of meaning and communication can seem inadequate. Yet analytical philosophers should not simply dismiss poetry as somehow exceptional or aberrant but would gain from looking afresh at basic assumptions to see how their views about language might be broadened and modified.","PeriodicalId":42872,"journal":{"name":"Journal of Literary Theory","volume":"94 1","pages":"63 - 73"},"PeriodicalIF":0.2,"publicationDate":"2017-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1515/jlt-2017-0007","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66953374","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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