Search results for ""Author Marshall Brown""

A Stanford University Press classic.

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A Stanford University Press classic.

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The Tooth that Nibbles at the Soul brings together Marshall Brown’s new and previously published writings on literature and music. These essays engage questions that are central to the development of literature, music, and the arts in the period from Romanticism at the end of the eighteenth century to the avant-garde movements of the early twentieth, a period in which the modern evolution of the arts is coupled with a rise in the significance of music as artistic form. With a special focus on lyric poetry and canonical composers including Mozart, Bach, Beethoven, Brahms, and Schubert, Brown ties the growing prominence of music in this period to the modernist principle of abstraction. Music, as Brown provocatively notes, conveys meaning without explicitly saying anything. This principle of abstraction could be taken as the overriding formula for modernist art in general; and it explains why in this period music becomes the model to which all the other arts, in particular painting and literature, aspire. Brown’s title, taken from a poem by Emily Dickinson, reminds us that abstraction -- musical and artistic – is anything but toothless; indeed, it “nibbles at the soul” in subtle and enduring ways. Throughout his wide-ranging and erudite analysis, Brown’s goal is to pinpoint the nature of music’s bite and to illuminate the shared elements of literature and music. While there are many previous comparisons of music and poetry, few are systematic or based on a solid knowledge of both literary criticism and musicology. Brown’s essays can be enjoyed by a general, well-read public not trained in either music or eighteenth-century literature, as well as by an audience steeped in sophisticated (if not technical) musical analysis.

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Viewed as a crucible of modernity, the eighteenth century has become a special focus of Modern Language Quarterly, a journal that has led the revival of literary history as a subject for empirical study and theoretical reflection. The essays in this volume, which cover a broad cross-section of eighteenth-century literary history, represent the best studies of this period recently published in MLQ. While examining different parts of the century, as well as different aspects and countries, contributors explore the intersection of literary studies with history, philosophy, psychology, and the visual arts. They discuss a creative range of topics, including feminism, nationalism, domestic ideology, the classical novel–drama–lyric poetry triad, and both aesthetic and philosophical writings. This span of subjects and approaches extends the focus of Eighteenth-Century Literary History beyond its period to project a spirit of inquiry onto literary history in general. Contributors. Nancy Armstrong, Marshall Brown, Sanford Budick, Catherine Gallagher, Thomas M. Kavanagh, Jon Klancher, Jill Kowalik, Jonathan Brody Kramnick, Christie McDonald, Jerome McGann, Ruth Perry, Michael B. Prince, Leonard Tennenhouse

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Romantic gothic fiction is not exciting. Gothic novels are not ghost stories. Gothic novels are not women's writing. Opening with these three theses, The Gothic Text undertakes a fresh approach to a much-studied mode. Marshall Brown combines the teleological approach to literary history developed in his Preromanticism with a European perspective on the one truly international literary form of its era. New insights into literary history and the history of ideas provide a framework for innovative close readings—of Horace Walpole's The Castle of Otranto, Ann Radcliffe's The Italian, and Mary Shelley's Frankenstein, among others—that approach classics of the genre from unusual angles. The book also provides a thoroughly researched account of German romantic psychology as it developed out of Kant's idealist philosophy into a gothic sensibility. Accessibly written and argued in careful, lively detail, The Gothic Text gives many new impulses to the study of romanticism, nineteenth-century fiction, and the origins of psychoanalysis.

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Romantic gothic fiction is not exciting. Gothic novels are not ghost stories. Gothic novels are not women's writing. Opening with these three theses, The Gothic Text undertakes a fresh approach to a much-studied mode. Marshall Brown combines the teleological approach to literary history developed in his Preromanticism with a European perspective on the one truly international literary form of its era. New insights into literary history and the history of ideas provide a framework for innovative close readings—of Horace Walpole's The Castle of Otranto, Ann Radcliffe's The Italian, and Mary Shelley's Frankenstein, among others—that approach classics of the genre from unusual angles. The book also provides a thoroughly researched account of German romantic psychology as it developed out of Kant's idealist philosophy into a gothic sensibility. Accessibly written and argued in careful, lively detail, The Gothic Text gives many new impulses to the study of romanticism, nineteenth-century fiction, and the origins of psychoanalysis.

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Artist and architect, Marshall Brown reimagines the future by revisiting the legacy of modern architecture in this selection of four visionary architecture and urban designs that span over a decade of his practice. The four projects presented in this publication (UNITY Plan for the Brooklyn Vanderbilt Rail Yards; Smooth Growth Urbanism, Chicago; Detroit's Dequindre Civic Academy; Center of the World, Chicago) represent the diverse perspectives and conceptual frameworks that comprise Brown's expanded view of architecture. To introduce the book, curator Karen Kice discusses three formal categories: Recurrent Form reconfigures formal categories, Visionary Strategy challenges architectural mindsets, and Emergent Order considers complex phenomena. Four key architectural critics/scholars (Monica Ponce de Leon, Adreinne Brown, Joseph Becker, and Allison Glenn) discuss Brown's work in the broader context of urbanism. Throughout the book, Brown's artistic work in the form of collages illustrate each project.

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Reflecting varieties of theory and practice in both verse and prose from the Middle Ages to the twenty-first century, these essays by many of America's leading literary scholars call for a reinvigorated formalism that can enrich literary studies, open productive routes of commerce with cultural studies, and propel cultural theory out of its thematic ruts. This book reprints Modern Language Quarterly's highly acclaimed special issue Reading for Form, along with new essays by Marjorie Perloff, D. Vance Smith, and Susan Stewart, and a revised introduction by Susan Wolfson. With historical case studies and insightful explorations, Reading for Form offers invaluable material for literary critics in all specializations.

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A foundational book by one of the most distinguished German humanists of the last half century, Tempus joins cultural linguistics and literary interpretation at the hip. Developing two controversial theses—that sentences are not truly meaningful in isolation from their contexts and that verb tenses are primarily indicators not of time but of the attitude of the speaker or writer—Tempus surveys a dazzling array of ancient and modern texts from famous authors as well as casual speakers of German, French, Italian, Spanish, Portuguese, Latin, and English, with a final chapter extending the observations to Greek, Russian, and world languages. A classic in German and long available in many other languages, Tempus launched a new discipline, text linguistics, and established a unique career that was marked by precise observation, sensitive cultural outreach, and practical engagement with the situation of migrants. Weinrich’s robust and lucid close readings of famous and little-known authors from all the major languages of western Europe expand our literary horizons and challenge our linguistic understanding.

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A foundational book by one of the most distinguished German humanists of the last half century, Tempus joins cultural linguistics and literary interpretation at the hip. Developing two controversial theses—that sentences are not truly meaningful in isolation from their contexts and that verb tenses are primarily indicators not of time but of the attitude of the speaker or writer—Tempus surveys a dazzling array of ancient and modern texts from famous authors as well as casual speakers of German, French, Italian, Spanish, Portuguese, Latin, and English, with a final chapter extending the observations to Greek, Russian, and world languages. A classic in German and long available in many other languages, Tempus launched a new discipline, text linguistics, and established a unique career that was marked by precise observation, sensitive cultural outreach, and practical engagement with the situation of migrants. Weinrich’s robust and lucid close readings of famous and little-known authors from all the major languages of western Europe expand our literary horizons and challenge our linguistic understanding.

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