Enter the enchanting mania of "The Magical Metaphor Madness," a captivating collection of poetry where metaphors meld with alliteration. Within these verses, language becomes a canvas, each stroke of sound adding hues of emotion and imagery. Immerse yourself in this symphony of words, where lines intertwine like dancers, weaving a sensory tapestry that lingers. The Magical Metaphor Madness is an exploration of the intricate art of alliteration, a journey that invites you to experience the magic of linguistic harmony and the power of metaphorical expression.
This is one of the wisest books I've read in years... —New York Times Book Review No writer I know of comes close to even trying to articulate the weird magic of poetry as Ruefle does. She acknowledges and celebrates in the odd mystery and mysticism of the act—the fact that poetry must both guard and reveal, hint at and pull back... Also, and maybe most crucially, Ruefle’s work is never once stuffy or overdone: she writes this stuff with a level of seriousness-as-play that’s vital and welcome, that doesn’t make writing poetry sound anything but wild, strange, life-enlargening fun. -The Kenyon Review Profound, unpredictable, charming, and outright funny...These informal talks have far more staying power and verve than most of their kind. Readers may come away dazzled, as well as amused... —Publishers Weekly This is a book not just for poets but for anyone interested in the human heart, the inner-life, the breath exhaling a completion of an idea that will make you feel changed in some way. This is a desert island book. —Matthew Dickman The accomplished poet is humorous and self-deprecating in this collection of illuminating essays on poetry, aesthetics and literature... —San Francisco Examiner Over the course of fifteen years, Mary Ruefle delivered a lecture every six months to a group of poetry graduate students. Collected here for the first time, these lectures include "Poetry and the Moon," "Someone Reading a Book Is a Sign of Order in the World," and "Lectures I Will Never Give." Intellectually virtuosic, instructive, and experiential, Madness, Rack, and Honey resists definition, demanding instead an utter—and utterly pleasurable—immersion. Finalist for the 2012 National Book Critics Circle Award. Mary Ruefle has published more than a dozen books of poetry, prose, and erasures. She lives in Vermont.
Regency England was a pivotal time of political uncertainty, with a changing monarchy, the Napoleonic Wars, and a population explosion in London. In Susanna Clarke's fantasy novel Jonathan Strange and Mr. Norrell, the era is also witness to the unexpected return of magic. Locating the consequences of this eruption of magical unreason within the context of England's imperial history, this study examines Merlin and his legacy, the roles of magicians throughout history, the mythology of disenchantment, the racism at work in the character of Stephen Black, the meaning behind the fantasy of magic's return, and the Englishness of English magic itself. Looking at the larger historical context of magic and its links to colonialism, the book offers both a fuller understanding of the ethical visions underlying Clarke's groundbreaking novel of madness intertwined with magic, while challenging readers to rethink connections among national identity, rationality, and power.
This book considers the representation of madness in contemporary British theatre, examining the rich relationship between performance and mental health, and questioning how theatre can potentially challenge dominant understandings of mental health. Carefully, it suggests what it means to represent madness in theatre, and the avenues through which such representations can become radical, whereby theatre can act as a site of resistance. Engaging with the heterogeneity of madness, each chapter covers different attributes and logics, including: the constitution and institutional structures of the contemporary asylum; the cultural idioms behind hallucination; the means by which suicide is apprehended and approached; how testimony of the mad person is interpreted and encountered. As a study that interrogates a wide range of British theatre across the past 30 years, and includes a theoretical interrogation of the politics of madness, this is a crucial work for any student or researcher, across disciplines, considering the politics of madness and its relationship to performance.
Even readers with no particular interest in Japan - if such odd souls exist - may expect unexpected pleasure from this book if English metaphysical poetry, grooks, hyperlogical nonsense verse, outrageous epigrams, the (im)possibilities and process of translation between exotic tongues, the reason of puns and rhyme, outlandish metaphor, extreme hyperbole and whatnot tickle their fancy. Read together with The Woman Without a Hole, also by Robin D. Gill, the hitherto overlooked ulterior side of art poetry in Japan may now be thoroughly explored by monolinguals, though bilinguals and students of Japanese will be happy to know all the original Japanese is included.--amazon.com.
Saltzman reveals figuration to be both inevitable and inevitably unreliable, and he illustrates how these writers treat this condition not as an impasse but as a point of departure - indeed, as an artistic mandate and creative opportunity.".
If thinking can be fast or slow, metaphorical thinking can be fast and slow too. But metaphorical thinking does not occur as often and in the ways that many metaphor scholars today think. Slow metaphorical thinking does mean, however, that we can exert more control over metaphor than has previously been acknowledged. We can even offer resistance to metaphor. Deliberate Metaphor Theory (DMT) claims that there is an essential processing difference between non-deliberate and deliberate metaphor use which can explain all this. This book is the first full account of the DMT model for metaphor comprehension. It presents explicit conceptualization and formal operationalization, and is based on a well-known cognitive-psychological model for all utterance comprehension in discourse. The original three-dimensional model of DMT is here refined into a four-dimensional model, which reveals new research questions and discoveries about the use of metaphor. The book brings together numerous cognitive-scientific insights into metaphor. It has a high degree of interdisciplinary accessibility to all students of metaphor, whether master students, PhDs, post docs, or established academics.
This exciting collection of essays explores the complex area of madness and performance. The book spans from the 18th century to the present and unearths the overlooked history of theatre and performance in, and about, psychiatric asylums and hospitals. The book will appeal to historians, social scientists, theatre scholars, and artists alike.
