... concludes that Pope’s treatment of ideas suggests both ‘‘man’s need for the grids of system’’ and ‘‘the instability and insufficiency of all systems’’ (35). The essay on Walt Whitman highlights in turn a peculiar pattern, namely: the ‘‘reprise’’ (a term borrowed from music), as ‘‘repetition...

...Eyal Segal Bernhart Walter Wolf Werner , eds., Self-Reference in Literature and Music . Amsterdam : Rodopi , 2010 . x + 192 pp. © 2013 by Porter Institute for Poetics and Semiotics 2013 New Books at a Glance Peter Hu¨ hn, Eventfulness in British Fiction. Berlin: de...

... and eighteenth centuries (primarily Descartes and Rousseau). Against this background the article examines certain artistic enactments of sympathy and tries to identify the values and beliefs that underlay them. Here music played a central role. The phenomenology of the auditory and of contemporary musical...

.... Although the musical medium is reputedly abstract, composers, just like poets, can respond in many different ways to a visual representation. They may transpose aspects of both structure and content; they may supplement, interpret, respond with associations, problematize, or play with some...

...Uwe Steinmetz Jazz, today a broadly defined, global form of improvised music, remains a music between heaven and earth, with its roots in both nightclubs and churches. Jazz can be dance music, as well as music that triggers emotions, memories, and subjective images. It can also lead to experiences...

... of musical theater from these geographically remote traditions to argue that use of historically problematic romances to explore the relationship of ethics, emotion, and reason resulted in novel depictions of attachment emotions as neither purely selfless “gut reactions” nor calculating facades. Scenes...

..., in the Soviet Union itself, the term samizdat was used in a broader sense, to mean diverse phenomena of unofficial cultural production—not necessarily of literary origin or dissident politics. In this broader sense, the term may be used to describe music samizdat (also known as magnitizdat ), cinematic samizdat...

... recordings of avtorskaia pesnia , the musical genre most closely associated with the first generation of magnitizdat dubbers in the 1960s. After drawing parallels between the rhizomic, uncensored distribution of reel-to-reel tapes and samizdat's dissemination of uncensored texts, I move on to consider...

.... Finally, a Japanese composer produced a musical composition in response to the poem and the artist’s book. It could be argued that poetry written in response to calligraphic marks is at the very limits of both mimesis and ekphrasis. However, I argue that it is precisely at such limits that intermediality...

... by models of syntax and musical phrasing. Second, it argues that these misclassifications — far from being esoteric matters of taxonomy — lie at the heart of African American aesthetics and identity politics in the 1920s and 1930s. Whereas literary blues verse has long been oversimplified with conventional...

... presentism—media ecology combines a sense of historical alterity with an awareness of the continuing transformations of Shakespeare in changing media settings: from manuscripts and printed texts to theatrical performances, music, opera, cinema, and new media. As an example, the article focuses on the masque...

.... Siglind Bruhn is a musicologist, concert pianist, and interdisciplinary scholar. A full- time researcher at the Institute for the Humanities at the University of Michigan, she has authored eleven books, most recently, Images and Ideas in Modern French Piano Music Musikalische Symbolik in Olivier...

..., emotional, and aesthetic aspects of literary narrative and other arts originated in an adaptive social context in our evolutionary past. Prelinguistic and Preliterate Substrates of Poetic Narrative Ellen Dissanayake University of Washington, Seattle, Music Abstract Despite its long oral...

...). Bronfen, Elizabeth 1992 Over Her Dead Body (Manchester: Manchester University Press). Browning, Robert 1895 The Complete Poems (Boston: Houghton Mifflin). Covach, John 1997 “Progressive Rock, `Close to the Edge,' and the Boundaries of Style,” in Understanding Rock: Essays in Musical...

...-Reference in Literature and Music. Ams- terdam: Rodopi, 2010. x 1 192 pp. This volume belongs to a series of recent publications by Rodopi on “meta- referentiality,” or self-reflexivity, from a transmedial perspective, along with Metareference across Media (2009) and The Metareferential Turn...

... DOI 10.1215/03335372-2017366 Walter Bernhart and Werner Wolf, eds., Self-Reference in Literature and Music. Ams- terdam: Rodopi, 2010. x 1 192 pp. This volume belongs to a series of recent publications by Rodopi on “meta- referentiality,” or self-reflexivity, from a transmedial perspective, along...

..., Porter Institute for Poetics and Semiotics DOI 10.1215/03335372-2017366 Walter Bernhart and Werner Wolf, eds., Self-Reference in Literature and Music. Ams- terdam: Rodopi, 2010. x 1 192 pp. This volume belongs to a series of recent publications by Rodopi...

..., Porter Institute for Poetics and Semiotics DOI 10.1215/03335372-2017366 Walter Bernhart and Werner Wolf, eds., Self-Reference in Literature and Music. Ams- terdam: Rodopi, 2010. x 1 192 pp. This volume belongs to a series of recent publications by Rodopi...

..., Porter Institute for Poetics and Semiotics DOI 10.1215/03335372-2017366 Walter Bernhart and Werner Wolf, eds., Self-Reference in Literature and Music. Ams- terdam: Rodopi, 2010. x 1 192 pp. This volume belongs to a series of recent publications by Rodopi...

..., Porter Institute for Poetics and Semiotics DOI 10.1215/03335372-2017366 Walter Bernhart and Werner Wolf, eds., Self-Reference in Literature and Music. Ams- terdam: Rodopi, 2010. x 1 192 pp. This volume belongs to a series of recent publications by Rodopi...