By Anthony Burgess
ABBA ABBA delves right into a literary secret with all the originality, mind's eye, and get pleasure from that readers have prized within the writer of A Clockwork Orange, 1985, and Nothing just like the Sun.
In this novel, Anthony Burgess conjectures the prospective assembly in Rome in 1820 or 1821 of 2 superb masters of the sonnet shape. One is John Keats, who's demise in a home at the Spanish Steps. the opposite is Giuseppe Gioacchino Belli-an super talented poet little recognized outdoors Rome, simply because he writes unsentimental, usually blasphemous poems within the tough dialect of town streets. within the first a part of the booklet, Burgess units out a sensational literary hypothesis: If Belli had recognized Keats, may the latter have inspired him? If Keats had recognized Belli, may well Keats have followed whatever of the Italian's earthy variety into his personal verse? the second one half bargains a canny collection of Belli's occasionally stunning poetry, translated into English with all the chunk and verbal aptitude of the originals through one "J. J. Wilson"-who, through a stroke of fine fortune, seems to have the singular presents of the novel's writer himself.
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Extra info for ABBA ABBA
For Aquinas, the ability to apprehend comes by means of “a sharing by likeness in the nature of him who is the primordial intelligence” (Aquinas, Summa 3:9), that is, God. Such ideas of likeness, resemblance, and similarity run throughout Aquinian thought as the means by which we perceive. As he writes in Question 12, Article 9 of the Summa: It seems that what is seen in God is seen through a likeness. For knowledge comes about through the assimilation of the knower to the known; the mind in its realization becomes the realized intelligibility of the thing to be known, and the sight in its realization becomes the realized visibility of the thing to be seen: this happens because the knowing power is formed by a likeness of the thing known, as the pupil of the eye is formed by the likeness of colour.
The major epiphanies of To the Lighthouse occur in Part II: night revelations of a material world that are seen without eyes and without a singular subjective consciousness. This eyeless vision shatters subjective reflection by rendering both the physical eye and the perceiving “I” superfluous and void. In response to this annihilation, Lily Briscoe creates a nonspecular form of epiphany in her brushstroke that collapses subject, object, and reflection into the painted line. In the aftermath, Woolf also presents literary allusion as a companion epiphany.
His Paris venture came to an end when his father telegrammed the news that his mother was dying. In April, 1903, Joyce returned, temporarily, to Ireland. Joyce, reading in Paris what he could have read in Dublin, appropriately produced a Paris notebook that recorded nothing of Paris. ” The idea of “apprehension” governed his reading of Aristotle and Aquinas and became the central feature of an aesthetic theory that he later placed into Stephen Hero (1904–1906), a 914-page manuscript that he tossed into a fire to scrap, keeping a 383-page fragment that chronicles the development of the theory and ends with the definition of epiphany.
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