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.Langdon Hammer locates tone as aan interpretative construction of some putative interiority on the basis of gestures and signsa (Hammer 76). Hammer echoes F. R. Leavisa#39; remark in his essay aSociology and Literaturea (1962) that a inwardness is partially expressed ... of a text, are essential means towards understanding a variety of texts and how language performs in them.3 Tone is a slippery term.
|Title||:||"Music More Abstract Than Metaphor": Locating a Poetics of Tone in Henry James and James Merrill|
|Publisher||:||ProQuest - 2006|