"Music More Abstract Than Metaphor": Locating a Poetics of Tone in Henry James and James Merrill
Music More Abstract Than Metaphor explores a number of issues surrounding speakers, audiences, the ear and the music of a writer's speech. It also deals with the relation of a writer's voice to his written, and thus graphically delimited, performances. Specifically it seeks to locate tone, traditionally understood as mere style or manner of expression, inside a much broader category of linguistic and textual hermeneutics. Starting with a history of tone and a genealogy of its original relation to harmonic theory, Music More Abstract Than Metaphor locates tone as the fundament of any viable poetics. Later, taking its cue from post-Romantic music, the whole-tone scale and nineteenth-century theories of acoustics, this dissertation attempts to apply a more evolved definition of its subject to the centrality of dictation in the late manner of Henry James and, finally, the experimental works of American poet James Merrill.In his essay, aThe Art of Fiction, a Henry James instructs the aspiring novelist to be aone on whom nothing is lost, a and thirty ... most noteworthy examples are, in Jamesa#39;s opinion, Lambert Strether in The Ambassadors and Prince Amerigo in Theanbsp;...
| Title | : | "Music More Abstract Than Metaphor": Locating a Poetics of Tone in Henry James and James Merrill |
| Author | : | Christopher Voigt |
| Publisher | : | ProQuest - 2006 |
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