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It is common for people to be sensitive to aesthetic qualities in one another’s speech. We allow the loveliness or unloveliness of a person’s voice to make impressions on us. What is more, it is also common to allow those aesthetic impressions to affect how we are inclined to feel about the speaker. We form attitudes of liking, trusting, disliking or distrusting partly in virtue of the aesthetic qualities of a person’s speech.In this paper I ask whether such attitudes could ever be legitimate. This is a microcosm of the broader issue of whether people’s aesthetic qualities in general can justify the interpersonal valuing attitudes that they so often cause. I draw from recent discussions of body aesthetics to articulate a pair of challenges. One challenge says that aesthetic judgements of speech are reliant on unjustifiable prejudices. The other holds that a person’s aesthetic qualities are irrelevant to whether they should be liked.Against these challenges I argue that some speech can bear aesthetic qualities which are not reliant on prejudice and which are relevant to whether the speaker should be liked. I develop this argument through an analysis of the concept of lyricism.

In Christopher Howell's twelfth collection of poems, his gifts for elegy, humor, and lyricism are on full display. The Grief of a Happy Life explores the interplay between memory and imagination, celebrating the ways that happiness and grief inform one another and give our lives fullness and vitality.Arranged in four sections, Howell's poems feature not only these concerns, but a large and various cast of characters as well. Aeneas, Saint Theresa, Ovid, Kierkegaard, a German submarine, and so much more are woven together with Howell's trademark precision and accessibility into exquisite tableaux, each providing a view of both what we must live with and what we must not live without.

Kazuo Ishiguro’s adherence to high modernist principles of composition is well documented: critics such as Patricia Waugh, Barry Lewis, Mark Currie, Yugin Teo, and Jason Tougaw have identified (high) modernist thematic and stylistic traits in his fiction. This article discusses Ishiguro’s first two novels, A Pale View of Hills (1982) and An Artist of the Floating World (1986), arguing that his concern with traumatic memories and time is deeply rooted in the high modernist tradition. In both novels, the issues of collective and individual trauma and memory lead to cognitive displacement, the merging of memory with fantasy, and the bending of time. By employing the methodology and terminology of trauma studies, I aim to unpick not only Ishiguro’s treatment of themes such as guilt, confusion, and unhomeliness, but also a narrative strategy that draws openly on the displacements, lyricism and unreliability that are shown to result from traumatic experiences and the conscious mind’s inability to confront them.

This article explores the lyrical aspects of Larysa Kosach’s (Lesya Ukrainka, 1871–1913) dramas, which delve into themes such as the establishment and development of Christianity, ancient mythology, basic plots, national history, and folklore. Known for her openness to various languages and cultures, Lesya Ukrainka significantly enriched the genre system of Ukrainian literature. She established genres such as the dramatic poem, feerie drama, and drama etude, which are all integral to lyrical drama. The lyricism in Ukrainka’s dramas is primarily seen in the construction of conflict, which unfolds not through actions, as in classical theatre, but rather through the consciousness and experiences of the characters, their discussions, and reflections. This lyricism is also evident in the structure of her works, including the character’s language, rhythm, tone, pace of speech, and melody. Her dramas predominantly feature monologues, meditative digressions, subtle hints in the character’s thoughts, sketchy descriptions, and telegraphic syntax. Along with the content of her works, the lyricism is further enriched by detailed descriptions of nature and the incorporation of folklore.

The complexity of Lucian Blaga’s poetry is a matter of common knowledge. Part of this complexity is related to the elements of prosody that Blaga skilfully employs, to say nothing of the philosophical vein which infuses his writings, and which derives, understandably, from his philosophical work. Mention should also be made of the lyrical character of Blaga’s dramatic works, which adds significantly to the effort of translating his writings into English, or any other language for that matter. In what follows, we intend to offer a bird’s eye view of the volumes that have been translated into English and to analyse a selection of poems comparatively, in order to signal challenges and discrepancies, born in the process of transferring literary material from Romanian to English, and to point out what has been lost, and, if that be the case, what has been gained in the translation process.

Article Abstract: This article offers a holistic study of a lyrical cookbook named Pure Offerings in the Mountains ( Shanjia qinggong 山家清供) from the Southern Song period, authored by Lin Hong 林洪 (fl. 1224–1263), a Rivers and Lakes poet ( jianghu shiren 江湖詩人). It cuts across the disciplines of literary history, aesthetics, and material culture to provide a unique perspective on gastronomy in literature. Adopting the concept of \"gastropoetics,\" the article contextualizes Pure Offerings and Lin Hong's approach to writing about food. It not only explores the aesthetics and poetics in gastronomic writings but also examines its autobiographical nature and the lyrical expressions used therein. This in-depth analysis of both gastropoetics and the lyricism found in Pure Offerings reveals how Lin employed distinctive combinations of recipes and poetry to express his views on politics, society, ethics, and literature.

Ever since Bessie Smith's powerful voice conspired with the \"race records\" industry to make her a star in the 1920s, African American writers have memorialized the sounds and theorized the politics of black women's singing. InBlack Resonance, Emily J. Lordi analyzes writings by Richard Wright, Ralph Ellison, James Baldwin, Gayl Jones, and Nikki Giovanni that engage such iconic singers as Bessie Smith, Billie Holiday, Mahalia Jackson, and Aretha Franklin. Focusing on two generations of artists from the 1920s to the 1970s,Black Resonancereveals a musical-literary tradition in which singers and writers, faced with similar challenges and harboring similar aims, developed comparable expressive techniques. Drawing together such seemingly disparate works as Bessie Smith's blues and Richard Wright's neglected film ofNative Son, Mahalia Jackson's gospel music and Ralph Ellison'sInvisible Man, each chapter pairs one writer with one singer to crystallize the artistic practice they share: lyricism, sincerity, understatement, haunting, and the creation of a signature voice. In the process, Lordi demonstrates that popular female singers are not passive muses with raw, natural, or ineffable talent. Rather, they are experimental artists who innovate black expressive possibilities right alongside their literary peers. The first study of black music and literature to centralize the music of black women,Black Resonanceoffers new ways of reading and hearing some of the twentieth century's most beloved and challenging voices.

Although purely instrumental music is commonplace, much of the world’s most popular music is sung with lyrics. However, it is evident that listeners don’t always attend to lyrics and that those who do aren’t always successful in deciphering them. An empirical study is reported whose goal is to measure the intelligibility of lyrics in commercial recordings of music from a variety of genres. Thirty participants were exposed to 120 brief musical excerpts from twelve song genres: Avante-garde, Blues, Classical, Country, Folk, Jazz, Musical Theater, Pop/Rock, Rhythm and Blues, Rap, Reggae, and Religious. Participants were instructed to transcribe the lyrics after hearing each excerpt once. The transcribed lyrics were then compared to the actual lyrics and intelligibility scores calculated. The different genres were found to exhibit significantly different levels of lyric intelligibility, from as low as 48% for Classical music, to as high as 96% for Jazz, with an overall average of 72%. Intelligibility scores were positively correlated with listener judgments of the general importance of lyrics. In a second experiment, participants were allowed to hear excerpts five times. Improvements to intelligibility were modest but significant after the second and third hearings, but not on further hearings.

L’objectif de cet article est de revenir sur la singulière configuration qu’offre l’usage fichtéen du langage eu égard à la nécessité d’une exposition dans et par la langue naturelle de la genèse transcendantale des conditions de possibilité du savoir. Dans un premier temps, l’on procède à quelques rappels contextuels permettant de se familiariser avec les « codes » utilisés par Fichte dans ses exigences relatives au langage. Dans un second temps, l’on illustre son positionnement par le commentaire de quelques extraits de texte significatifs. Dans un troisième temps, l’on formule une proposition interprétative du mode de présentation écrit du transcendantalisme fichtéen. On montre que l’écriture transcendantale vise à traduire dans le langage l’exigence d’une intensification de l’expérience présente de l’intuition intellectuelle. This paper aims at considering the Fichtean use of language in view of the necessity of an exposition – in and by natural language – of the transcendental genesis of the conditions of the possibility of knowledge. In the first section, I shall explain, by way of some contextual reminders, the “codes” used by Fichte in his statements about language requirements. In the second section, I shall illustrate his position on language by commenting on some passages from significant texts. In the third section, I shall propose an interpretative assessment of the written mode of presentation in Fichtean transcendentalism. I shall argue that the aim of transcendental writing is to translate into language the required intensification of the present experience of intellectual intuition.