Ebb and Flow: Ebb and Flow. Breath-writing from Ancient Rhetoric to Jack Kerouac and Allen Ginsberg
Publikation: Bidrag til bog/antologi/rapport › Bidrag til bog/antologi › Forskning
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Ebb and Flow : Ebb and Flow. Breath-writing from Ancient Rhetoric to Jack Kerouac and Allen Ginsberg. / Heine, Stefanie.
Reading Breath in Literature. red. / Arthur Rose; Stefanie Heine; Naya Tsentourou; Corinne Saunders; Peter Garratt. Palgrave Macmillan, 2019. s. 91-112.Publikation: Bidrag til bog/antologi/rapport › Bidrag til bog/antologi › Forskning
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TY - CHAP
T1 - Ebb and Flow
T2 - Ebb and Flow. Breath-writing from Ancient Rhetoric to Jack Kerouac and Allen Ginsberg
AU - Heine, Stefanie
PY - 2019
Y1 - 2019
N2 - Following the path of Charles Olson, Jack Kerouac and Allen Ginsberg negotiate breath as a compositional principle for a new particularly American literature. Such a poetics of breathing turns out to be a revival of classical thought. For ancient rhetoricians, especially Aristotle, Cicero and Quintilian, the breath-pause is constitutive for structuring speech. Already in the ancient approaches, a dilemma emerges: breathing is supposed to cut speech into well-measured units while physical respiration tends to be irregular. Even though the Beat poets seem to elude this problem in their attempt to adapt composition to the writer’s individual rhythms, breath, as they theorise it, is a point where bodily processes and cultural techniques intersect. The natural, organic body as Kerouac and Ginsberg celebrate it invokes a cultural memory, and thus, the idea of a purely embodied writing is upset.
AB - Following the path of Charles Olson, Jack Kerouac and Allen Ginsberg negotiate breath as a compositional principle for a new particularly American literature. Such a poetics of breathing turns out to be a revival of classical thought. For ancient rhetoricians, especially Aristotle, Cicero and Quintilian, the breath-pause is constitutive for structuring speech. Already in the ancient approaches, a dilemma emerges: breathing is supposed to cut speech into well-measured units while physical respiration tends to be irregular. Even though the Beat poets seem to elude this problem in their attempt to adapt composition to the writer’s individual rhythms, breath, as they theorise it, is a point where bodily processes and cultural techniques intersect. The natural, organic body as Kerouac and Ginsberg celebrate it invokes a cultural memory, and thus, the idea of a purely embodied writing is upset.
U2 - https://doi.org/10.1007/978-3-319-99948-7_5
DO - https://doi.org/10.1007/978-3-319-99948-7_5
M3 - Book chapter
SP - 91
EP - 112
BT - Reading Breath in Literature
A2 - Rose, Arthur
A2 - Heine, Stefanie
A2 - Tsentourou, Naya
A2 - Saunders, Corinne
A2 - Garratt, Peter
PB - Palgrave Macmillan
ER -
ID: 286247920