On the Shore of Nothingness: Space, Rhythm, and Semantic Structure in Religious Poetry and Its Mystic-Secular CounterpartThis book studies how poetic structure transforms verbal imitations of religious experience into concepts. The book investigates how such a conceptual language can convey such non-conceptual experiences as meditation, ecstasy or mystic insights. Briefly, it explores how the poet, by using words, can express the 'ineffable'. It submits to close reading English, French, German, Spanish, Italian, Armenian and Hebrew texts, from the Bible, through medieval, renaissance, metaphysical, and baroque poetry, to romantic and symbolistic poetry. |
From inside the book
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Page 6
... present conception of mystic and meditative poetry were secular poems—romantic or symbolistic. Much discussion of mystic poetry translates the poems into their own terms, that is, using and elucidating the terms of a conceptual system ...
... present conception of mystic and meditative poetry were secular poems—romantic or symbolistic. Much discussion of mystic poetry translates the poems into their own terms, that is, using and elucidating the terms of a conceptual system ...
Page 7
... present study was conducted at a relatively advanced stage of my professional career. This had both an advantage and disadvantage. On the one hand, over the years I have developed a conceptual system that may yield significant insights ...
... present study was conducted at a relatively advanced stage of my professional career. This had both an advantage and disadvantage. On the one hand, over the years I have developed a conceptual system that may yield significant insights ...
Page 8
... present study is that devotional, meditative, or mystic poetry is first of all poetry, shaped and constrained by the possibilities and constraints inherent in the various poetic styles. This chapter adopts from John Crowe Ransom (1951) ...
... present study is that devotional, meditative, or mystic poetry is first of all poetry, shaped and constrained by the possibilities and constraints inherent in the various poetic styles. This chapter adopts from John Crowe Ransom (1951) ...
Page 8
... present study distinguishes between two prototypes of such styles, based on drastic and on smooth interference, respectively. The present chapter examines poems based on a very special kind of drastic disruption, of which George Herbert ...
... present study distinguishes between two prototypes of such styles, based on drastic and on smooth interference, respectively. The present chapter examines poems based on a very special kind of drastic disruption, of which George Herbert ...
Page 9
... present, In whom the Lord of Hosts did pitch his tent! ARMY. } gram. {. Ana- and auditory ingenuities, as, e.g., echo plays, or his “pruned rhymes”, in which it is uncertain whether the mannerism is visual or auditory; and, eventually ...
... present, In whom the Lord of Hosts did pitch his tent! ARMY. } gram. {. Ana- and auditory ingenuities, as, e.g., echo plays, or his “pruned rhymes”, in which it is uncertain whether the mannerism is visual or auditory; and, eventually ...
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On the Shore of Nothingness: Space, Rhythm, and Semantic Structure in ... Reuven Tsur Limited preview - 2003 |
Common terms and phrases
abstract Andreas Gryphius aspects Auschwitz Baroque boundaries chapter characteristic cognitive Cognitive Poetics composition of place conception conceptual metaphor consciousness context contrast convergent device diffuse discussed Donne Donne’s ecstatic effect Ehrenzweig elements emotional evoke excerpt fire focus function gestalt-free Hebrew Herbert’s human Ibn Gabirol imagery instance intense kind language light man’s Martz meaning meditation mental metaphor metaphysical poetry metonymy Milton mystic experience mystic poetry nature Neo-Platonic nothingness noun numinous objects one’s orientation Paradise Lost paradox passage pattern perceived perception periphrasis phrase physical Platonic poem poet poetic position potentials predicate present prosodic quatrain quoted reader reality reference reinforced religious poetry rhyme rhythm romantic romantic poetry Rudolf Otto semantic sense sestet sonnet soul spatial speech sounds stanza structure sublime suggests syllables syntactic thing-free tion transcendence trochaic Tsur Tyger typically undifferentiated verb verbal verse visual shapes witty words Wordsworth’s world picture