Library Catalog
Amazon cover image
Image from Amazon.com

Black Riders : The Visible Language of Modernism / Jerome J. McGann.

By: Material type: TextTextPublisher: Princeton, NJ : Princeton University Press, [2020]Copyright date: ©1993Description: 1 online resource (216 p.) : 35 halftonesContent type:
Media type:
Carrier type:
ISBN:
  • 9780691221465
Subject(s): DDC classification:
  • 821/.91091 20
Other classification:
  • online - DeGruyter
Online resources:
Contents:
Frontmatter -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- INTRODUCTION: Modernism and the Renaissance of Printing, with Particular Reference to the Writing of Yeats, Stein, and Dickinson -- PART ONE: A Revolution of the Word -- 1 "Thing to Mind": The Materialist Aesthetic of William Morris -- 2 Composition as Explanation (of Modern and Postmodern Poetries) -- PART TWO: Dichtung und Wahrheit -- 3 The Truth of Poetry. An Argument -- 4 The Poetry of Truth. A Dialogue (on Dialogue) -- Afterword -- Notes -- Index
Summary: "English literature," Yeats once noted, "has all but completely shaped itself in the printing press." Finding this true particularly of modernist writing, Jerome McGann demonstrates the extraordinary degree to which modernist styles are related to graphic and typographic design, to printed letters--"black riders" on a blank page--that create language for the eye. He sketches the relation of modernist writing to key developments in book design, beginning with the nineteenth-century renaissance of printing, and demonstrates the continued interest of postmodern writers in the "visible language" of modernism. McGann then offers a philosophical investigation into the relation of knowledge and truth to this kind of imaginative writing. Exploring the work of writers like William Morris, Emily Dickinson, W. B. Yeats, Ezra Pound, and Gertrude Stein, as well as Laura Riding and Bob Brown, he shows how each exploits the visibilities of language, often by aligning their work with older traditions of so-called Adamic language. McGann argues that in modernist writing, philosophical nominalism emerges as a key aesthetic point of departure. Such writing thus develops a pragmatic and performative "answer to Plato" in the matter of poetry's relation to truth and philosophy.
Holdings
Item type Current library Call number URL Status Notes Barcode
eBook eBook Biblioteca "Angelicum" Pont. Univ. S.Tommaso d'Aquino Nuvola online online - DeGruyter (Browse shelf(Opens below)) Online access Not for loan (Accesso limitato) Accesso per gli utenti autorizzati / Access for authorized users (dgr)9780691221465

Frontmatter -- Contents -- List of Illustrations -- Preface -- Acknowledgments -- INTRODUCTION: Modernism and the Renaissance of Printing, with Particular Reference to the Writing of Yeats, Stein, and Dickinson -- PART ONE: A Revolution of the Word -- 1 "Thing to Mind": The Materialist Aesthetic of William Morris -- 2 Composition as Explanation (of Modern and Postmodern Poetries) -- PART TWO: Dichtung und Wahrheit -- 3 The Truth of Poetry. An Argument -- 4 The Poetry of Truth. A Dialogue (on Dialogue) -- Afterword -- Notes -- Index

restricted access online access with authorization star

http://purl.org/coar/access_right/c_16ec

"English literature," Yeats once noted, "has all but completely shaped itself in the printing press." Finding this true particularly of modernist writing, Jerome McGann demonstrates the extraordinary degree to which modernist styles are related to graphic and typographic design, to printed letters--"black riders" on a blank page--that create language for the eye. He sketches the relation of modernist writing to key developments in book design, beginning with the nineteenth-century renaissance of printing, and demonstrates the continued interest of postmodern writers in the "visible language" of modernism. McGann then offers a philosophical investigation into the relation of knowledge and truth to this kind of imaginative writing. Exploring the work of writers like William Morris, Emily Dickinson, W. B. Yeats, Ezra Pound, and Gertrude Stein, as well as Laura Riding and Bob Brown, he shows how each exploits the visibilities of language, often by aligning their work with older traditions of so-called Adamic language. McGann argues that in modernist writing, philosophical nominalism emerges as a key aesthetic point of departure. Such writing thus develops a pragmatic and performative "answer to Plato" in the matter of poetry's relation to truth and philosophy.

Mode of access: Internet via World Wide Web.

In English.

Description based on online resource; title from PDF title page (publisher's Web site, viewed 30. Aug 2021)