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Insofar as lyric has been conceptualized as the subjective genre of poetry—invested in inner processes and states of feeling and thought in distinction to epic's investment in external action—critical interest has revolved around the lyric I and especially questions of apostrophe and address. The implications of this investment range from Marxist critiques of lyric and bourgeois individuality to theoretical debates about the relation between the historical and lyric subject. What would it mean, however, to consider the presence of a lyric it ? In this essay I consider how it can disclose a diverse set of lyric conventions—conventions that begin at the intersection of grammar and rhetoric but come to bear on larger philosophical and literary questions. Rather than defining it , poets often withhold its meaning, mining the hyperflexibility of the pronoun, its ability to be referential or dummy, context-dependent or not. Poets do this to make affective claims on their reader. At the same time, it can track a process in which lyric speakers attempt to get outside themselves to grasp their own subjectivity. [ABSTRACT FROM AUTHOR]

This article offers a renewed consideration of the figure of apostrophe in seventeenth-century literature by focusing on a genre in which it is especially prominent: lyric poetry on the Creation. Drawing on Jonathan Culler's account of apostrophe's "effects of presence," it shows that Renaissance poets apostrophize the created world not merely to praise it as something outside and before them, but also to channel the power that created that world into the rhetorical present of the poem. In readings of Italian, French, and English poems, the article argues that poetry's own linguistic vitality, conferred by the "event" of apostrophe, becomes in these texts a proxy for the event of Creation itself, in which God's word breathes life into matter—Creation understood, however, not as harmony or fixed order but as a power of free play. At the same time, the article is attentive to the ways in which the powers of apostrophe shift in different cultural contexts. In English poetry in particular, the overt exuberance of apostrophe's "effects of presence" as seen in continental poetry turns inward, reflecting the creative power of a mind cut off from external Creation rather than recapitulating it. But the article shows that despite these differences, apostrophe's function as a fundamental medium of rhetorical power—and as a means of negotiating the divide between human and divine forms of Creation—is a constant across lyric written in several languages at a time when national literary traditions are often thought to be diverging. [ABSTRACT FROM AUTHOR]

In this essay, I read Shelley's 'Ode to the West Wind' as dramatizing the paradox of the apostrophe as a poetic device. Shelley presents a case where the speaker fails to understand the limitations of apostrophes before eventually realizing the revolutionary possibilities the serious (and embarrassing) employment of this device opens up. I read the poem alongside Althusser's formulation of 'interpellation' and his 'theatre' of the encounter with the Police. Thus, reading Shelley's 'Oh hear!' in the poem, alongside Althusser's 'Hey, you there!', I argue, helps us better understand Shelley's dramatization of the failure of the speaker's attempts at interpellating the West Wind. This failure, however, quickly turns to admiration for the revolutionary non-subject that the Wind is in the poem. I show that Shelley's desire to be the West Wind is not because it functions as a revolutionary subject but in fact because it doesn't. [ABSTRACT FROM AUTHOR]

When can a hyphen be described as 'intrusive'? As with many other 'rules' of grammar and of punctuation, use of the hyphen is limited to a specific syntactical context. Hence, to use a hyphen where it should not be used makes it intrusive. Just like the apostrophe, it cannot be used arbitrarily. There is, for instance, a tattooist parlour in the English town of Oldham whose shopfront advertises Inkcredible Tatoo's (sic) and, with it, both the owner's or owners' ability to play on words in writing and their inability to sign a plural form correctly – the rule being that apostrophes are not used to mark the plural of either common or proper nouns in written English. [ABSTRACT FROM AUTHOR]

In this essay, I return to Wordsworth's apostrophe to Burke in book 7 of the 1850 Prelude, arguing that this passage is best understood as a revisionary meditation on rhetoric. The address to Burke thus does not require that we leave behind the poetic to broach the question of the political, but instead forces us to examine rhetoric as the overdetermined crossing point of the political and the poetic. This conceptual frame becomes clear when one reads the passage immediately preceding, a skeptical account of a scene of political rhetoric; in this light, the plea for forgiveness from Burke is also legible as Wordsworth's own forgiving of rhetoric. The essay thus proceeds in two parts: the first section takes up the 1805 "critique" of political rhetoric (with reference to Empson's classic essay on "'Sense' in The Prelude"), arguing that Wordsworth in fact aims to save rhetoric from politics and thus institute a critical cut between poetry and politics; the second section addresses the 1850 "rehabilitation" of political rhetoric, arguing that Wordsworth's pointed usage of apostrophe and epideixis functions by contrast to demonstrate the irreducible intertwining of the poetic and the political. [ABSTRACT FROM AUTHOR]

The book Secession/Insecession, published in 2014, consists of two texts that face each other in the style of conventional bilingual editions of poetry: a translation by Canadian poet Erín Moure of Secesión - originally written in Galician by Spanish poet Chus Pato - and Moure's intranslation, her response to her own rendition of the original text. Secession/Insecession therefore diverges from the standard bilingual edition that it resembles; rather than a translation that faces an original text, it is a translation that faces a response, both written in the same language. In line with Paul Celan's notion of Atemwende or breathturn, the book deploys various forms of interruption and difference: ruptured testimonies, fragmented quotations, broken dialogues, unanswered apostrophes, divided names, and intranslations. This article explores the sense of the political that can be traced in Secession/Insecession in view of the poetics of difference that shapes Moure's (in)translation of Pato's Secesión. [ABSTRACT FROM AUTHOR]

The article offers information on the metaphorical effects of apostrophe in Percy Bysshe Shelley's poem "Ode to the West Wind." Topics discussed include unification of poetic subject and object in the poem; lyric assertions about world interpreted with lyric poetry; and apostrophe's liquidation of the barrier between addressor and addressee.

This article aims at uncovering and interpreting the selected theatrical tropes in Jacques Derrida's "Envois" in relation to an interpretative path paved by Samuel Weber in Theatricality as Medium. Following Weber's intuitions, "Envois" is read as a process of staging the postulates posed by Derrida in his previous works, including "Freud and the Scene of Writing" or "Envoi." The logic of staging, as it is argued, relies first and foremost on the trope of apostrophe, understood both as an act of addressing somebody and a punctuation mark. Derrida's spectral correspondence-in which addressees, addressers, destinations, and postcards themselves engage in an ongoing play of hide and seek-employs the performative aspect of apostrophe in order to keep the deconstructive wheel in motion, in search of the genuine intimacy with the other. By means of numerous encrypted and deciphered events, actual and fictional encounters, allusions to the fort/da scene and the mirror stage, or the revisions of Matthew Paris's illustration of Socrates and Plato, Derrida invites readers to immerse themselves in the ghostly exchange and its inherent temporal and spatial twists; the stake of this task is to follow the link joining apo-strophe with apo-calypse, with regard to the catastrophe that resides between them. [ABSTRACT FROM AUTHOR]

This article addresses the Pearl-poet's use of apostrophe in his elegiac dream vision. Drawing on classical and medieval discussions of this rhetorical device, as well as contemporary poetic criticism, it argues that the trajectory of apostrophe in the poem traces the development of the Mourner-Dreamer as he gains insight from the Pearl-maiden's lesson and moves toward consolation. The Mourner's calls to his lost pearl in the proem demonstrate the unproductive cycle of his sorrow. His apostrophes to the Maiden in the early part of his dream similarly threaten to undo the solace he gains in the earthly paradise. By contrast, the Maiden's three short apostrophes serve an exemplary function and show the Dreamer how to deploy apostrophe without getting caught up in the diversionary aspects of the device. In the closing frame of the poem, the now-awakened Dreamer uses apostrophe in a controlled manner that permits him to turn away from the isolation of grief. [ABSTRACT FROM AUTHOR]

На примере стихотворения Александра Блока «Клеопатра» (1907) статья исследует блоковскую концепцию «тезиса» и «антитезиса» в контексте истории русского символизма. Как известно, «тезис» отражается в блоковских стихах об одухотворенной Прекрасной Даме, а «антитезис» в стихах о проститутке Незна- комке. Представляется, что «Клеопатра» охватывает оба этих периода. Заглавная героиня блоковской «Клеопатры»--то есть, симулякр в паноптикуме начала XX века--тревожит лирического субъекта, претендующего на звание Поэта и, кроме того, по-видимому олицетворяющего эстетическую позицию самого Блока. Используя апострофу, лирический субъект обращается к Клеопатре как к тради- ционной музе страсти и красоты, и порицает ее восковой симулякрум--на показ для всех, как любая «проститутка»--за то, что она стала музой периода «ант- итезиса». Он пытается «уговорить» восковую царицу вернуться в мир держа- винской гармонии и одической торжественности, в мир, который в поэзии еще господствовал во время «тезиса»--однако, его попытка восстановить прошлое вызывает протест в "Клеопатре", которая отказывается от помощи своего само- званного спасителя. Она не возражает против своего нового облика «музы толпы». Таким образом, стихотворение как бы отрицает позднейшие мысли Вальтера Беньямина, который определил разницу между воспроизводимыми симулякрами и ауратическими подлинниками тем, что фантасмагорические фетиши способны создавать поэтический диалог, и участвовать в нем. Поэтому, в конце концов, Блок вызывает прозопопеей смерть своего устарелого двойника периода «тезиса», который видит истинную поэзию только в ультра-рома- нтических категориях, что дает возможность интерпретировать «Клеопатру» как мета-автобиографию, то есть как произведение, выражающее переход русского символизма от «тезиса» к «тезису». [ABSTRACT FROM AUTHOR]

This paper explores the medial and rhetorical implications of the trope of apostrophe in Friedrich Holderlin's Hyperion. In examining two figural speeches in the novel that are rife with the [...]

Turn away no more: Why wilt thou turn away? (1) I. Introduction Lyric, when it works, works on its audience in a peculiar way. Its effects are not exactly 'rhetorical.' [...]

In the Prioress's Prologue and Tale, apostrophes appear as shared sayings, or short, formulaic phrases often repeated in written and oral contexts. The Prioress's use of apostrophes to praise and blame resonates with widespread rhetorical understandings of this type of shared saying in late medieval England, as well as common uses of it. This shared rhetorical understanding saw apostrophes as a way to stir kindred feelings for or against an absent other in speakers and their listeners; in the Prioress's Prologue and Tale, loving prayers to divine figures take the form of apostrophes and so do hostile addresses to Jews. In this way, the pairing of devotion and anti-Semitism in the Prioress's speech appears as part of a wider rhetorical pattern in late medieval England and locates her and the chorister in her tale as part of a rhetorical community that shared these understandings. In depicting the spread of shared sayings beyond the walls of religious houses and universities and into articulation by less literate people, such as lay choristers, the tale imagines the potentially violent effects both of such speeches themselves and of the rhetorical communities that took shape around them. [ABSTRACT FROM AUTHOR]

Romantic models dominate our conception of lyric poetry. This essay questions the pertinence of these models to the Renaissance lyric by reading that poetry in the light of Jonathan Culler's classic account of the romantic lyric in his Pursuit of Signs (1981). Culler famously argues that the definitive trope of lyric is apostrophe, in which first-person speakers address pointedly fictive personifications, such as a sick rose or the west wind, in order to emphasize subjective voicing over objective perception. As Culler helps us see, apostrophes are surprisingly important in Renaissance as well as romantic lyric. But the apostrophes of Renaissance lyric characteristically portray first-person speakers as writing in real time and space to "empirical listeners." What makes Renaissance lyric distinctive is its persistently social mode of address. Through readings of apostrophic poetry by Waller, Donne, King, Sidney, Spenser, and Shakespeare, the essay calls for criticism of the lyric that pays closer attention to the differences among historically diverse lyric cultures. [ABSTRACT FROM AUTHOR]

The article discusses the different poetic forms appearing in M. NourbeSe Philip's book "Zong!," a poetic work inspired by the 1783 maritime insurance litigation of Gregson v. Gilbert regarding damages for the value of slaves thrown overboard. According to the author, "Zong!" relies on traditional poetic and philosophical concepts such as lyric modes and conventions and definitions of personhood. Other topics discussed in the article are slaves as property, Philip's use of apostrophic naming, and poetic voice.

The author discusses the works of several poets including Spencer Reece and Ben Lerner and their concept of apostrophe and personification in the literature. He focuses on their ways of addressing and bringing imaginary things in the poetry and making readers believe in them through their texts. He offers information on the poetic forms used by the poet, Spencer Reece in his book "The Clerk's Tale."

The article discusses the use of classical rhetorical and literary devices in 19th-century poetry and song. Particular focus is given to apostrophe, elocution, and pronunciation in composer Franz Schubert's setting of the poetic cycle "Winterreise" by the lyric poet Wilhelm Müller. The author emphasizes the rhetorical power of these devices as used by both Müller and Schubert. It is suggested that Schubert had read about apostrophe in a rhetoric treatise titled "Institution ad eloquentiam" and that his knowledge of the device was also demonstrated in his writing. Other topics include vocative and descriptive modes and musical gesture.

The article discusses the use of apostrophe, a figure of speech, in Ancient Greek oratory. Specific focus is given to the use of this figure of speech as a means to further one's political career. Apostrophe allowed Greek political actors to connect with their audience in a way that traditional speechwriting could not. Famous orators discussed include Aeschines, Demosthenes, and Quintilian. A list of ancient Greek texts containing oratorical apostrophe is provided. The use of such speeches in Greek law courts is analyzed.

A literary criticism of the book "Poems on Several Occasions" (1703) by Sarah Fyge (Field) Egerton is presented. Egerton's concept of personal agency in women's lives, use of masculine and feminine voices in her love poetry, and negative representation of seclusion in her retirement poetry are discussed. The predominantly autobiographical poems mentioned include "The Liberty," "To the Queen," and "The Vision." Apostrophe rhetoric in "To Alexis, on his absence" is noted.

The article discusses the important feature of address in ancient poetry and prose, and its uses, especially in apostrophe. It explores on the relation of apostrophe with other forms of space. It mentions that linguistics is associated with the basic presuppositions of discourse, and the complexities of real conversation.

The article focuses on audacious rhetorical devices, such as metaphors, ellipses and apostrophes, in the poems "Todesfuge/Deathfugue," by Paul Celan and "O die Schornsteine/O the Chimneys," by Nelly Sachs. According to the author, the poems are postwar works that investigates the problem of representing an event as the Holocaust with a language that was perverted by the Nazis. It notes that the former starts with the near metaphor black milk, which shows the paradox that is developed through the poem.

The pragmatics underlying Paul Grice’s analysis of utterance-meaning provide a powerful framework for investigating the commitments arguers undertake. Unfortunately, the complexity of Grice’s analysis has frustrated appropriate reliance on this important facet of his work. By explicating Cicero’s use of apostrophe in his famous “First Catilinarian” this essay attempts to show that a full complex of reflexive gricean speaker intentions in essentially to seriously saying and meaning something. [ABSTRACT FROM AUTHOR]

An essay is presented on a New World interpretation of "Tizita." It mentions that the word tizita refers to memory, one of the models in Ethiopian music, and ballad in Amharic definition. It states that tizita is an apostrophe of the singer's memory to an absent lover and the love loss. It adds that azmariwoch, who started their trainings in the church's school of music, were the first to introduce tizita.

Unamuno's work is full of apostrophes to the reader, and in his novels we find fictional readers as well. Using a number of well-known novels as illustration, this article considers how Unamuno places the reader centre stage and how this rhetorical device functions in forcing the reader to face choices. Instead of simply making statements, Unamuno's texts ask questions in accordance with his theory that 'la novela la hace el lector'. In some ways Unamuno's narratives adumbrate the reader-response theories of the later twentieth century, not just by placing the burden of responsibility for meaning on the reader, but also in the way in which Unamuno attempts to create a reading community. [ABSTRACT FROM AUTHOR]

The article discusses the use of apostrophe and epitaph writing in Paul Celan's poetry. The role of apostrophe as a quasi-ironic cry is deemed an important concept for Celan, whose psychic and poetic development was based on his relationship to his mother. In Werner Hamacher's "The Second of Inversion," which divides the early and late works of Celan through his use of the figure of inversion. An element persistent in his works was his belief that the poem is a form of greeting and address to the other, comparing the poem to a handshake.

As a first person New Novel, Michel Butor's L'Emploi du temps foregrounds narrative indeterminacy in different ways. When the narrator-protagonist of the novel, Jacques Revel, confesses his misdeeds and offers excuses for them, he is guilty of bad faith in the Sartrian sense. In an effort to deflect the blame for his wrongdoings, Revel engages in a process of fictionalization that involves the use of rhetoric. This essay provides a de Manian reading of the novel by examining the inconsistencies and the rhetorical devices at work in the narrator's discourse. The article analyzes five tropes that inform the narrator's project: anacoluthon, paralipsis, apostrophe, anthropomorphism, and prosopopoeia. It demonstrates that the narrator's detective work as well as his romance with the Bailey sisters are a fiction. Using anacoluthon and paralipsis, the narrator manipulates the chronology of events and forges an unstable relationship between fabula (story) and sjužet (plot). When he attains self-awareness, Revel uses anthropomorphism to turn the city of Bleston into a monster. Further, apostrophe and prosopopoeia allow him to inculpate the city for his failures. Revel escapes from the city, but in the process betrays himself. The essay concludes that, in (post)modern novels, the act of narration entails the narrator's betrayal. [ABSTRACT FROM AUTHOR]

This article considers the difficulties faced by Quintilian in classifying and understanding apostrophe. He treats it as both a figure of thought, with examples from oratory, and a figure of speech, with examples from Virgilin which the narrator addresses characters of the poem. By inserting the otherwise unobtrusive narrator into the narrative, the effect of the Virgilian examples is to collapse the distinction between narration and narrative. Since Quintilian does not have this means of linguistic analysis at his disposal, he defines apostrophe as a figure of speech by bringing it into relation with other figures that also produce an effect of rupture at the level of narration, and he uses other oppositions that offer an imperfect treatment of the problem. [ABSTRACT FROM AUTHOR]

The article discusses the theological point of view to counter the ridicule of apostrophe and its embarrassing metaphysical implications on the figure. The problems identified by the article have important implications for the Romantic criticism in its critique of existing theoretical accounts. There is a disagreement with recent suspicious writing on apostrophe which lays bare the figure's metaphysical pretensions. According to scholar Jonathan Culler, the use of apostrophe in poetry is embarrassing. Firstly, because it is unrealistic or non-representational. Secondly, it appears to make present and personify that which is absent or inanimate.

The article explores how the persona of the narrator in the poem "Aeneid," is used to express the poet's concerns about his political and poetic limitations by using the rhetorical space of apostrophe that is where the fictional narrator talks directly to his characters. The poem ascribes to politics the power of fashioning human history into a linear narrative, with Jupiter as the guarantor of its ultimate goodness and it is through the narrator's statements and silences, in apostrophe that Virgil tries to put this teleological approach in perspective. In the Homeric poems, the narrator does not tell us a great deal about himself, he tries to intrude in the narration as little as possible. It is crucial to keep in mind that when events are presented in a text, as Mieke Bal warns, they are always given from within a certain perspective. This phenomenon is called by Bal focalization. In fiction as well as in non-fiction, a narrator might be expressing his own vision or that of another. He can speak with his own voice while inhabiting the point of view of Jupiter or Turnus.

Mass representations of the sublime use apostrophe as a mode of address that normalizes a moment of expected failure of discourse. Regardless of whether a viewer experiences "sublimity," mass representations of what is supposedly beyond discourse embody the expected limits of communication, aestheticizing conditions of impossibility for discourse, and thereby constituting a space wherein the humanist subject may become a recognizable self in a public sense. Constituting a relationship between the spectator as human and the sublime objects as greater than human, a mass reproduced sublime thus helps establish discursive spaces of humanism. Although the aesthetics of the sublime can be exceptionally varied, the essay applies these ideas to popular Ansel Adams photographs, which illustrate the problems of attempting to represent the unrepresentable and the invocation of a particular kind of subjectivity as a commonplace. [ABSTRACT FROM AUTHOR]

Focuses on the variety of rhetorical functions performed by apostrophe in Emily Dickinson's work. Provision of an imaginative presence to a dead or absent addressee through the use of apostrophe in Dickinson's poetry; Communication of a state of heightened emotion by the use of apostrophe; Creation of temporal immediacy by Dickinson's use of apostrophe.

This essay explores rhetoric tropologically through various strophes: antistrophe, catastrophe, and apostrophe. Our purpose is to delineate problems and possibilities that these tropes pose for rhetoric in an effort to create new rhetorics. We seek to display the antistrophic and catastrophic figurations of rhetoric and then use visual lenses of photography and cinema to disrupt the figurations. Following the disruption, we seek to heighten sensibilities to other figurations, in particular an apostrophic figuration. We cast apostrophe as a figure for change because it marks a deeply felt turn toward difference and otherness. Turned as such, rhetoric becomes erotic. [ABSTRACT FROM AUTHOR]

An essay is presented which examines the central role of apostrophe in understanding the common themes of loss and absence in American lyric poetry of the 1990s. Several poems are cited as examples of this, including "The Yoke" by Frank Bidart, "The Untrustworthy Speaker" by Louise Glück, and "This Room" by John Ashbery. Other topics covered include autonomy, themes of desire, and poetic structure.

Presents an essay about comedy and modernity. Identification of Ulysses canto as one of the most glossed and over-glosses of Dante's commedia; Possibility of the tragic grandeur of Ulysses gives way in the next canto to the small contemporary stature of Guido da Montefeltro; Result of the stylist comparison of the two soliloquies.

This article focuses on the grammatical error committed by James Joyce in his book "Finnegans Wake." The missing apostrophe of "Finnegans Wake" creates discomfort, if not outright embarrassment. It produces a sense of unease, a stepping outside comfortable boundaries of the known and predictable because it demands a putting aside of familiar reading strategies. The repression of apostrophe as rhetorical form is bound, almost inexpressibly, to the repression of apostrophe as grammatical marker in "Finnegans Wake." Apostrophe gives itself to this double suppression through its structure, which both binds and unbinds the subject. The missing apostrophe of "Finnegans Wake" signals an inherent failure within the structure of apostrophe to bind the subject Finnegan to a consistent, singular, and coterminous identity.

The article offers information on the interpretation of the Bible, highlighting James 5:7-11. It states that in a literary apostrophe to the text 5:1-6, James castigates the rich non-believers who defraud their workers and, in words reminiscent of 1:9-11, warns them of the fleeting value of their earthly treasures and of the eternal condemnation to come.

The author reflects on convention and standardization of written language and whether it is truly necessary. She notes that many poets and authors intentionally misuse punctuation, create typographic errors, and include unnecessary apostrophes. Referred to as experimental poetics, these concepts are discussed as philosophical choices made to add meaning to the works and should not be ignored or discouraged.