東華大學圖書館 |

語系: 繁體中文

說明(常見問題)

回圖書館首頁

手機版館藏查詢

登入

回首頁

切換: 標籤 | MARC模式 | ISBD

Eternity and the productions of time...

Minear, Erin Kathleen.

FindBook

Google Book

Amazon

博客來

Eternity and the productions of time: Musical description in Shakespeare, Dante, and Milton.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Eternity and the productions of time: Musical description in Shakespeare, Dante, and Milton./
作者:	Minear, Erin Kathleen.
面頁冊數:	358 p.
附註:	Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0563.
Contained By:	Dissertation Abstracts International68-02A.
標題:	Literature, Comparative. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3251299

Eternity and the productions of time: Musical description in Shakespeare, Dante, and Milton.
Minear, Erin Kathleen.

Eternity and the productions of time: Musical description in Shakespeare, Dante, and Milton. - 358 p.

Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0563.

Thesis (Ph.D.)--Harvard University, 2006.

This dissertation focuses on a phenomenon that I call "musical description": poetic descriptions of music that self-consciously emulate the music they describe. I examine these descriptions in the work of three poets who in spite of their ideological and formal differences were all obsessed with the possibility of approaching a condition of music through description. My project explores what is at issue when poetry attempts to emulate the simultaneously orderly and chaotic effects that it attributes to music.Subjects--Topical Terms:

530051
Literature, Comparative.

Eternity and the productions of time: Musical description in Shakespeare, Dante, and Milton.
LDR:03243nmm 2200325 4500 001 1828827
005 20071023113953.5
008 130610s2006 eng d
035 $a (UMI)AAI3251299
035 $a AAI3251299
040 $a UMI $c UMI
100 1 $a Minear, Erin Kathleen. $3 1917707
245 1 0 $a Eternity and the productions of time: Musical description in Shakespeare, Dante, and Milton.
300 $a 358 p.
500 $a Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0563.
500 $a Advisers: Stephen Greenblatt; Barbara Lewalski; Gordon Teskey.
502 $a Thesis (Ph.D.)--Harvard University, 2006.
520 $a This dissertation focuses on a phenomenon that I call "musical description": poetic descriptions of music that self-consciously emulate the music they describe. I examine these descriptions in the work of three poets who in spite of their ideological and formal differences were all obsessed with the possibility of approaching a condition of music through description. My project explores what is at issue when poetry attempts to emulate the simultaneously orderly and chaotic effects that it attributes to music.
520 $a Despite the time span of three and a half centuries that separates Dante's Commedia from Milton's Paradise Lost, Dante, Shakespeare, and Milton all wrote during an era when music was seen, paradoxically, both as the ordering principle of the world and as a chaotic force undermining meaning. To imitate music under these circumstances involves both great risks and great rewards: the possibility of acquiring the almost divine authority of heavenly song accompanies the possibility of losing control over the meaning of one's work. Dante manages to resolve this tension by daringly treating even the most problematic aspects of music as desirable under the proper conditions; but despite his attraction to Dante's treatment of music, Milton cannot come to a similar resolution---partly because of the legacy of the Reformation, but mostly because of the unsettling example of Shakespeare. While many scholars have dealt with Shakespeare's treatment of the subject of music, or with his incorporation of songs into his plays, none has recognized his extensive use of musical description, his persistent attempts to blur distinctions between music and the poetry surrounding it. Shakespeare's plays use descriptions of music to draw attention to their own "musicality"---their tonal instability and their haunting promises to provide transcendent truths that never quite emerge. Throughout his career, Milton associates the Shakespearean both with an almost nonreferential kind of language that in its sheer beauty acts as instrumental music does, and also with complex descriptions of music, as if in these descriptions Milton saw the verbal reaching towards the nonverbal.
590 $a School code: 0084.
650 4 $a Literature, Comparative. $3 530051
650 4 $a Literature, Romance. $3 1019014
650 4 $a Theater. $3 522973
650 4 $a Literature, English. $3 1017709
690 $a 0295
690 $a 0313
690 $a 0465
690 $a 0593
710 2 0 $a Harvard University. $3 528741
773 0 $t Dissertation Abstracts International $g 68-02A.
790 1 0 $a Greenblatt, Stephen, $e advisor
790 1 0 $a Lewalski, Barbara, $e advisor
790 1 0 $a Teskey, Gordon, $e advisor
790 $a 0084
791 $a Ph.D.
792 $a 2006
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3251299