...Anthony LaBranche Copyright © 1970 by Duke University Press 1970 IMITATION: GETTING IN TOUCH By ANTHONYLABRANCHE What is imitation, or better yet, how does the poet get in touch? For how the poet reaches toward a model and extends...

..., the boundaries of the reader’s province. He should not attempt to get inside the mind of the creative writer, for a novel should originate in some inner impulse, experience, or attitude peculiar to the novelist. The publisher’s reader should respect that privacy, and the novelist should insist upon...

..., and Andreas Killen, among others? What might such a thought experiment tell us about postmodernism, and about periodization in general? Even more decisively than in 1973, culture in 1966 is characterized by a series of “breakdowns”—of developments that get ahead of themselves, that stall out and recoil...

... traditions, which get their leverage from a distinction between illusion and reality, struggle with such in-between spaces. However, this is the space in which literary studies lives, and acknowledging that may help us decide why literature is a compelling and disturbing maker of religious sense. Another...

... of Samuel Beckett and Harold Pinter. By KRISTINMORRISON. Chicago and London: University of Chicago Press, 1983. viii + 228 pp. $20.00. Kristin Morrison devotes an initial, eight-page chapter to terminological and theoretical issues. The title of the chapter is a quotation: “Get into my...

... Beowulf-a surface terror, perhaps, but little at the core. For along with the rationalist poetics comes a kind of critical optimism that gets transferred to the poem itself. Still, books with this breadth of learning and good common sense come along all too rarely. ‘Their appearance should...

..., such an apparent overemphasis on personality and under- emphasis on the closely watched thoughts that are the only significant record actually important for science itself. If the book was about scien- tific luck and debts to predecessors, if it was about getting the record straight (as in the scientist’s...

.... By KRISTINMORRISON. Chicago and London: University of Chicago Press, 1983. viii + 228 pp. $20.00. Kristin Morrison devotes an initial, eight-page chapter to terminological and theoretical issues. The title of the chapter is a quotation: “Get into my story in order to get out.” Although nowhere...

... but a substitute for an unobtainable presence. 10 Ultimately we question Whitman’s fundamental promise: “Stop this day and night with me and you shall possess the origin of all poems” (33). Since we cannot get inside his viscera, since in his unceasing outpouring we can see no origin, but only a series...

.... No doubt the last two English words should be interchanged in “He cannot get it over” (p. 178), which is translated “Er kanii es nicht verwinclen,” for only in this way can one “get it over.” The proofreading leaves something to be desired : “Your wits have gone a bird nestling” (p. 46...

...” (SPCM, p. 50): What is writing? Well, in my case, it’s getting down on paper Not thoughts, exactly, but ideas, maybe: Ideas about thoughts. Thoughts is too grand a word. Ideas is better, though not precisely what I mean...

... is welcome is itself, I believe, symptomatic: one consequence of the elusiveness of meaning that Heidegger and Derrida both assert and display in their texts is that readers lit- erally cannot get enough of them, and Behler’s binocular view through the common subject of Nietzsche provides...

... impositions. At first we were told, “Always his- toricize! ”- then even the totalizing adverb became suspect, and we started historicizing momently, in our libraries, documents, archives. The discoveries came with the thrill of contact with the natives, get- ting us out of our heads and out of our...

... to not do it any more. That is just the way with some people. They get down on a thing when they don’t know nothing about it. Here she was a bothering about Moses, which was no kin to her, and no use to anybody, being gone, you see, yet finding a power of fault with me for doing...

... a house, but what man can fit in a police whis- tle? A man can sexually enter a woman, but can a woman psychologi- cally enter a man? How do the happy wife’s eyes leave her head and get inside her husband’s body? Christ can walk on water, but can a man swim on grass? The only way...

... certainly obscured the meaning of the passage, but one fact is clear: the Purnassus author remembered the vomit- ing scene from Poetaster, in which Jonson scores a real blow against his opponents. Another strength of Miles’s book is that one gets a better sense ofJonson’s over-all career than...

... literary traditions and through explication cle lexte. His treatment of the early satires (pp. 25-67) is sound and helpful. In chapter 3, “The Pains of Sex,” lie sharply delineates poetic methocls and attitudes; and with the help of psychoanalytic techniques lie gets very close to one...

... and Christianity were so central to Nightingale’s thought that the words theology , spiritual journey , biblical annotations , mysticism , and sermons adorn the titles or subtitles of some of the volumes. Yet the editors did not always give this material enough careful attention to get it right. In volume 1...

... therein is to review the action of the poem, something quite different from what I am propos- ing to do here. What then does Paradise Lost, line 16, mean? In the first place, the line has a very obvious but, in my opinion, inadequate meaning which I shall get out of the way at once. Taking...

..., Rape of the Lock, Gutliver‘s Travels, and Tom Jones) deal largely with the obvious, sometimes reading like those combinations of plot summary and capsule commentary found in student outlines of English literature. One gets the impression that the author was somewhat uncertain...