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Stitched together over five years of journaling, Obiter Dicta is a commonplace book of freewheeling explorations representing the transcription of a dozen notebooks, since painstakingly reimagined for publication. Organized after Theodor Adorno's Minima Moralia, this unschooled exercise in aesthetic thought-gleefully dilettantish, oftentimes dangerously close to the epigrammatic-interrogates an array of subject matter (although inescapably circling back to the curiously resemblant histories of Western visual art and instrumental music) through the lens of drive-by speculation. Erick Verran's approach to philosophical inquiry follows the brute-force literary technique of Jacques Derrida to exhaustively favor the material grammar of a signifier over hand-me-down meaning, juxtaposing outer semblances with their buried systems and our etched-in-stone intuitions about color and illusion, shape and value, with lessons stolen from seemingly unrelatable disciplines. Interlarded with extracts of Ludwig Wittgenstein but also Wallace Stevens, Cormac McCarthy as well as Roland Barthes, this cache of incidental remarks eschews what's granular for the biggest picture available, leaving below the hyper-specialized fields of academia for a bird's-eye view of their crop circles. Obiter Dicta is an unapologetic experiment in intellectual dot-connecting that challenges much long-standing wisdom about everything from illuminated manuscripts to Minecraft and the evolution of European music with lyrical brevity; that is, before jumping to the next topic. Erick Verran is a writer and poet. Currently an MFA candidate in Creative Writing at the University of Florida, his poetry last appeared in the Massachusetts Review, Little Star, Gargoyle Magazine, the New England Review of Books, and City of Notions: An Anthology of Contemporary Boston Poems, while short dispatches on overlooked ekphrasis in Virginia Woolf's Mrs. Dalloway and a critical explication of the dialogues in Samuel Beckett's Waiting for Godot have been respectively published in the Virginia Woolf Miscellany and Contemporary Aesthetics.
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The sestina is a form in which words repeat regularly, intricately, appearing and reappearing in new contexts with new meanings. Sam Lohmann’s Unless As Stone Is emerged from a few years of living with Dante’s sestina, “Al poco giorno e al gran cerchio d’ombra.” He allowed the text to appear in its own new — if irregularly scheduled — contexts. New translations, new scenery, new meanings; new phrases entered the poem (from García Lorca, from Sappho, from strangers and from loved ones) and found their own patterns. What resulted is a serial poem in seven movements, incorporating several strategies of reincorporation. “Quandunque i colli fanno più nera ombra” — “All our oddity operates / on changing verity.”
English literature. --- poetry --- Dante --- sestina --- adaptation
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English literature --- American literature --- Criticism --- History and criticism --- Hungary. --- American literature. --- English literature. --- Critique
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English philology --- Philologie anglaise --- Periodicals. --- Périodiques --- English philology. --- Arts and Humanities --- Language & Linguistics --- linguistics --- English literature --- English culture --- Germanic philology --- English literature --- english literature --- english culture
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You are not alone! BlueBoard is an online community for people concerned about mental health problems including depression, bipolar disorder, anxiety, eating disorders, borderline personality and related disorders. There are forums for people working on their own recovery and for friends and family members. The aim of BlueBoard is to enable people to reach out and both offer and receive help. BlueBoard is free, anonymous and available at any time from around the world. The delivery of BlueBoard is supported by funding from the Australian Department of Health.
English Literature --- English --- Languages & Literatures --- Australian poetry --- Australian literature
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Victorian Alchemy explores nineteenth-century conceptions of ancient Egypt as this extant civilisation was being ?rediscovered? in the modern world. With its material remnants somewhat paradoxically symbolic of both antiquity and modernity (in the very currentness of Egyptological excavations), ancient Egypt was at once evocative of ancient magical power and of cutting-edge science, a tension that might be productively conceived of as ?alchemical?. Allusions to ancient Egypt simultaneously lent an air of legitimacy to depictions of the supernatural while projecting a sense of enchantment onto representations of cutting-edge science.0Examining literature and other cultural forms including art, photography and early film, Eleanor Dobson traces the myriad ways in which magic and science were perceived as entwined, and ancient Egypt evoked in parallel with various fields of study, from imaging technologies and astronomy, to investigations into the electromagnetic spectrum and the human mind itself. In so doing, counter to linear narratives of nineteenth-century progress, and demonstrating how ancient Egypt was more than a mere setting for Orientalist fantasies or nightmares, the book establishes how conceptions of modernity were inextricably bound up in the contemporary reception of the ancient world, and suggests how such ideas that took root and flourished in the Victorian era persist to this day.
English literature --- Literature and science --- History and criticism. --- History
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