新西兰Literature Review代写:文、诗、和历史的方法

2017-03-15 00:26

在“文、诗、和历史的方法”的问题，Jerome K. McGann对他所看到的后现代话语的文本高度的评论。这就意味着“文本”作为一个抽象的对象已经把诗从它的环境中作为一个网络相互联系和，高于一切，历史上强大的文件。诗歌常常以许多不同的形式印刷。布莱克的诗耶路撒冷的例子，他认为，通过忽略的方式，这些文本被公布最初忽视在文本的主要部分。谈到出版的文本，他认为，“不同的文本，在文献上，体现出不同的诗（在审美意义上的）尽管都是语言相同。新西兰Literature Review代写:文、诗、和历史的方法”[ 1 ]因为表现、目的语读者和作者的声誉可能会改变过去的时候，课程的制作，对一个给定的工作诗不同版本的设计和内容是一个关于作品的语言特性的讨论同样重要，这仍然是相同的。艾尔弗雷德（主）丁尼生的工作纪念发表在特别是零碎的时尚。Kingsley Hart的评论在介绍1975开本版

新西兰Literature Review代写:文、诗、和历史的方法

In “The Text, the Poem, and the Problem of Historical Method”, Jerome K. McGann comments on what he sees as the elevation of the text in postmodern discourse. By this, he means that the “text” as an abstract object has taken the poem out of its context as a network of interrelating and, above all else, historically potent documents. Often, poetry was printed in many different forms. Using the example of Blake’s poem Jerusalem, he argues that by overlooking the ways in which these texts were published originally overlooks at major part of the texts. Speaking about published texts, he argues that “different texts, in the bibliographical sense, embody different poems (in the aesthetic sense) despite the fact that both are linguistically identical.”[1] Because the presentation, the intended readership and the reputation of the author may have altered over the course of time, the production, design and content of different versions of a given work of poetry are of equal importance to a discussion about the linguistic identity of the piece, which remains identical. Alfred (Lord) Tennyson’s work In Memoriam was published in a notably fragmentary fashion. Kingsley Hart comments in the introduction to the 1975 folio edition that:

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