This book shows how rhythm constitutes an untapped resource for
understanding poetry. Intervening in recent debates over formalism,
historicism, and poetics, the authors show how rhythm is at once a
defamiliarizing aesthetic force and an unstable concept. Distinct
from the related terms to which it's often assimilated-scansion,
prosody, meter-rhythm makes legible a range of ways poetry affects
us that cannot be parsed through the traditional resources of
poetic theory. Rhythm has rich but also problematic roots in
still-lingering nineteenth-century notions of primitive, oral,
communal, and sometimes racialized poetics. But there are reasons
to understand and even embrace its seductions, including its
resistance to lyrical voice and even identity. Through exploration
of rhythm's genealogies and present critical debates, the essays
consistently warn against taking rhythm to be a given form offering
ready-made resources for interpretation. Pressing beyond poetry
handbooks' isolated descriptions of technique or inductive
declarations of what rhythm "is," the essays ask what it means to
think rhythm. Rhythm, the contributors show, happens relative to
the body, on the one hand, and to language, on the other-two
categories that are distinct from the literary, the mode through
which poetics has tended to be analyzed. Beyond articulating what
rhythm does to poetry, the contributors undertake a genealogical
and theoretical analysis of how rhythm as a human experience has
come to be articulated through poetry and poetics. The resulting
work helps us better understand poetry both on its own terms and in
its continuities with other experiences and other arts.
Contributors: Derek Attridge, Tom Cable, Jonathan Culler, Natalie
Gerber, Ben Glaser, Virginia Jackson, Simon Jarvis, Ewan Jones,
Erin Kappeler, Meredith Martin, David Nowell Smith, Yopie Prins,
Haun Saussy
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