Digression

Productive Digression is a translation of the ancient term poetics: as a practice of theory. The products produced in the mode of poiesis are ‘digressive’ in that they operate off track; they resist the main stream of every day prose. They do so for various reasons and in various respects. Mostly, they are explained historically, relative to historical contexts and, that is, contrary to what they are meant to resist. Instead, this book investigates the modes of resistance, their epistemology of production, in short, the logic of digression. The method addresses the singular exemplarity of art and literature; it elucidates the impact of poiesis as an epistemological challenge and redefines the analysis of literature and art as branches of an Historical Epistemology. Proceeding from the state of affairs in 20th century criticism and aesthetics (Benjamin, Adorno, Blumenberg, Merleau-Ponty), the epistemology of representation (Whitehead, Canguilhem, Bachelard, Rheinberger) is revised in, and with respect to critical consequences (Derrida, Marin, de Man, Agamben). From literary criticism and critical legal studies to the scenario of the life sciences, the essays collected here redirect the logic of research towards the epistemological grounds of an aesthetics underneath the hermeneutics of every day life.

An unprecedented eyewitness account of the New York School, as seen between the lines of O'Hara's poetry Joe LeSueur lived with Frank O'Hara from 1955 until 1965, the years when O'Hara wrote his greatest poems, including "To the Film Industry in Crisis," "In Memory of My Feelings," "Having a Coke with You," and the famous Lunch Poems—so called because O'Hara wrote them during his lunch break at the Museum of Modern Art, where he worked as a curator. (The artists he championed include Jackson Pollock, Joseph Cornell, Grace Hartigan, Jane Freilicher, Joan Mitchell, and Robert Rauschenberg.) The flowering of O'Hara's talent, cut short by a fatal car accident in 1966, produced some of the most exuberant, truly celebratory lyrics of the twentieth century. And it produced America's greatest poet of city life since Whitman. Alternating between O'Hara's poems and LeSueur's memory of the circumstances that inspired them, Digressions on Some Poems by Frank O'Hara is a literary commentary like no other—an affectionate, no-holds-barred memoir of O'Hara and the New York that animated his work: friends, lovers, movies, paintings, streets, apartments, music, parties, and pickups. This volume, which includes many of O'Hara's best-loved poems, is the most intimate, true-to-life portrait we will ever have of this quintessential American figure and his now legendary times.

Hobart writes about the first 45 years of her life, including her childhood in New York, the start of her theatrical career in Chautauqua, her adventures as a Hollywood actress, the demise of three marriages, and her efforts to clear her name after being blacklisted in Hollywood. Of special interest is the sane perspective that Hobart, now 89, brings to her story and her attention to the connections that pull these seemingly disjointed events together into a coherent story of a life. Annotation copyright by Book News, Inc., Portland, OR

Although digressive discourse constitutes a key feature of Greco-Roman historiography, we possess no collective volume on the matter. The chapters of this book fill this gap by offering an overall view of the use of digressions in Greco-Roman historical prose from its beginning in the 5th century BCE up to the Imperial Era. Ancient historiographers traditionally took as digressions the cases in which they interrupted their focused chronological narration. Such cases include lengthy geographical descriptions, prolepses or analepses, and authorial comments. Ancient historiographers rarely deign to interrupt their narration's main storyline with excursuses which are flagrantly disconnected from it. Instead, they often "coat" their digressions with distinctive patterns of their own thinking, thus rendering them ideological and thematic milestones within an entire work. Furthermore, digressions may constitute pivotal points in the very structure of ancient historical narratives, while ancient historians also use excursuses to establish a dialogue with their readers and to activate them in various ways. All these aspects of digressions in Greco-Roman historiography are studied in detail in the chapters of this volume.

With studies of, amongst others, Miguel de Cervantes, Anton Chekhov, Charles Baudelaire and Henry James, this landmark collection of essays is a unique and wide-ranging exploration and celebration of the many forms of digression in major works by fifteen of the finest European writers from the early modern period to the present day.

This volume examines the workings of digression in the novels of five major Italian authors - Manzoni, Dossi, Pirandello, Gadda and Calvino - from the birth of the modern novel in the early 19th century to the era of postmodernist experimentation.

Revelation 7:1-17 occurs between the opening of the sixth and seventh seal and Rev 10:1-11:13 between the sixth and seventh trumpet blasts. Interpreters often explain these passages as "interludes," "parentheses," or "expansions," but not in terms of ancient communication. Peter S. Perry analyzes these interruptions in the seals and trumpets in light of digressions in ancient rhetorical theory and practice. Digressions are described by Hermagoras, Cicero, and Quintilian and widely used, including in Josephus' works, Jubilees, Sibylline Oracles I/II, Zechariah, and Exodus. As with other ancient digressions, Rev 7:1-17 and 10:1-11:13 are unessential to the logical flow but essential to the book's impact. These passages excite the emotions, shape character, and give insight into John's rhetorical strategy and goals.

Digressive Voices in Early Modern English Literature looks afresh at major nondramatic texts by Donne, Marvell, Browne, Milton, and Dryden, whose digressive speakers are haunted by personal and public uncertainty. To digress in seventeenth-century England carried a range of meaning associated with deviation or departure from a course, subject, or standard. This book demonstrates that early modern writers trained in verbal contest developed richly labyrinthine voices that captured the ambiguities of political occasion and aristocratic patronage while anatomizing enemies and mourning personal loss. Anne Cotterill turns current sensitivity toward the silenced voice to argue that rhetorical amplitude might suggest anxieties about speech and attack for men forced to be competitive yet circumspect as they made their voices heard.

Digressions and the Human Imagination makes a significant contribution to our anthropological knowledge about human creativity. The creative force of the human imagination is widely considered as a key ingredient in understanding how social and cultural transformations occur. And yet, what we know about the nature of creative processes is surprisingly limited. Taking their cue from literary studies, the contributors to this volume explore digression as human creativity’s main impulse. They offer a series of experimental explorations of digression in different arenas of social life – literature, conversations, myths, humour, art, and wayfinding. In their examination of the relationship between creativity and digressive processes, the contributions challenge and eventually collapse conventional distinctions between ‘artistic’ and ‘scientific’ imaginaries. This book articulates with clarity the freedom and joy of wandering off in new directions, but also the potentially transgressive and even revolutionary character that digression has when it is put to work through the creativity of the human imagination. It will be relevant for anthropologists and other scholars from across the humanities and social sciences with an interest in creativity.