Poetry and repetition : Walt Whitman, Wallace Stevens, John by Krystyna Mazur

By Krystyna Mazur

Kinds of repetition --
"Thinking with AND": Whitman's repetitions and the idea of the a number of --
"The movement of suggestion and its stressed iteration": Wallace Stevens and the turns of repetition --
"The strange stereotype": repetition within the poetry of John Ashbery. different types of Repetition --
"Thinking with AND": Whitman's Repetitions and the concept of the a number of --
"The movement of notion and its stressed Iteration": Wallace Stevens and the Turns of Repetition --
"The strange Stereotype": Repetition within the Poetry of John Ashbery.

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Extra resources for Poetry and repetition : Walt Whitman, Wallace Stevens, John Ashbery

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In Gide’s pictorial examples, the image of the mirror serves to bring out that which is concealed from the painting’s central perspective—the backs of the painted figures, what the figures perceive, or the painter himself—often in a distorted form (such as in reflections produced by convex mirrors). Thus the pictorial mirrors “only partially reflect” (Dällenbach, 11) the space of the painting (or what’s beyond it) and often are a source of distortion. Dällenbach argues that these mirrors fail to achieve the effect of mise-en-abyme in Gide’s original sense of the term as they fail to reflect what is the explicit subject of the painting and, in fact, bring in elements which are not part of the painted scene.

13 According to Deleuze, repetition reveals difference so that difference can no longer be contained by a single conceptual whole. In his critique of traditional philosophy, Deleuze points to the failure of traditional metaphysics to think difference and repetition in themselves, rather than as a function of identity. For the traditional philosopher difference always leads back to identity, argues Deleuze, while repetition is no more than a type of redundancy, since it is perceived as identical with what is being repeated.

Forms of repetition 27 In Dällenbach’s analysis, the concept of mise-en-abyme has come to signify at least three different phenomena: “simple reflection, represented by the shield within the shield”; “infinite reflection” such as can be represented by infinite parallel mirrors; and “paradoxical reflection” such as that of an endless spiral (a Möbius strip, a selfperpetuating model). ” As Dällenbach observes, however, some of Gide’s later works themselves exceed the scope of this narrow definition.

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