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However, it should go some way to conveying the extent to which his understanding of the film’s complexity and richness is founded upon the matrix of significant relationships found within and across moments from Hitchcock’s masterpiece. On the one hand, he wanted to popularize the foot-based system as natural for those with an English ear, and on the other hand wanted all Englishmen to possess an ear precisely like his own, despite his bitter awareness that they did not", Meredith Martin,, "The Rise and Fall of Meter", Princeton UP, 2012, p.99 "no fact of the world is better known than that metre, or rhythmical construction, is that form of language which is the first beloved of memory in its dawn, and the latest which attends it in its journey in decline", George Raymond, " Chronicles of England: A Metrical History", 1842, p.viii "[b]lank verse has been the metre of genius, that it is only used successfully by indubitable poets", Symonds, "The Blank Verse of Milton", 1880 "[For Coleridge] All genuine creation ... derives from the generative tension of opponent forces, which are synthesized, without exclusion, in a new whole.
Pages: 192
Publisher: University of Illinois Press; y First printing edition (October 1, 1982)
ISBN: 0252008839
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A huge name associated with this is Mikhail Bakhtin - that's kind of the guy. It comes in direct opposition to the Romantic idea and Romantic schools of thought, which places value on the genius of the artist and the creator. Formalists basically seek to totally deny this value. They want to throw all of their attention on to the text itself The Many Lives of Galileo: Brecht, Theatre and Translation's Political Unconscious (Stage and Screen Studies)
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He distinguishes between the Torah as a "document" (phenomenon) and as words "written in black and white fire" (noumenon). [51] Thereupon, he asks why the word of God came down to man in such a way that it seems to support some of the critic's findings. He answers that this was necessary to show all the different religious perspectives of the Torah , cited: Three Women Poets: Renaissance and Baroque
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