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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