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Humanities 2015, 4(4), 506-522; doi:10.3390/h4040506

The Poet Sings: “Resonance” in Paul Valéry’s Poietics

School of Culture and Creative Arts, University of Glasgow, G12 8QH, UK
Academic Editor: Albrecht Classen
Received: 23 July 2015 / Revised: 18 September 2015 / Accepted: 21 September 2015 / Published: 29 September 2015
(This article belongs to the Special Issue “Reading the beat”—Musical Aesthetics and Literature)
View Full-Text   |   Download PDF [250 KB, uploaded 29 September 2015]

Abstract

This paper analyses Paul Valéry’s theories relating to his stated goal of poetic production: the attainment of “resonance” and a “singing-state”. My intention is to defend Valéry’s theory as a valid and consistent model of the creative process in poetry. To that end, I will draw support from T. W. Adorno’s claim that Valéry’s manner of reflective journalising in his Notebooks can furnish us with what he calls “aesthetic insight”. The consistency of Valéry’s theory will be supported by comparisons with the inferentialist understanding of semantics. Valéry proves to be a reliable exemplar of what might be called a “practice-led” aesthetics. View Full-Text
Keywords: Paul Valéry; Adorno; poetry; practice-led aesthetics; inferentialism; resonance Paul Valéry; Adorno; poetry; practice-led aesthetics; inferentialism; resonance
This is an open access article distributed under the Creative Commons Attribution License which permits unrestricted use, distribution, and reproduction in any medium, provided the original work is properly cited. (CC BY 4.0).

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Dixon, M.P. The Poet Sings: “Resonance” in Paul Valéry’s Poietics. Humanities 2015, 4, 506-522.

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