Shelley's Music by Paul A. Vatalaro

By Paul A. Vatalaro

"Shelley's Music" regards song pictures and allusions to tune in Shelley's writing as proof that Shelley sought to infuse the masculine notice with the tune of female expression. Set inside his configuration of hetero-erotic relationships, this time table unearths Shelley's wish to stay without end found in his poetry.

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Literary Awards
Samuel Johnson Prize for Non-Fiction Nominee for Longlist (2010)

Extra resources for Shelley's Music

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Within the phantasmic frame Shelley constructs, Power represents the elusive secret treasure that makes the poet desirable to his others, that is, to his auditors. When Power returns in the forms of truth and inspiration to the poet’s consciousness, it thwarts his attempts to integrate it permanently into his subjectivity. When Power departs, it leaves the now metaphorically castrated poet with a fading record of itself, reducing him once again to a state of lacking: he lacks the ability to be a Zizek, Plague 175.

The shofar stands totemically in for Him in the same way that the bull served one time as an object of worship and sacrifice. If the shofar represents the voice of God, it also represents, however, the object voice, a sound signifying God’s absence, His death and His “decenteredness” as the original subject, or self-acting agent, of the universe. Underwriting God’s law inscribed on the tablets Moses delivered from Mount Sinai and thereby establishing the presence of His will, for example, the sound of the shofar paradoxically announces itself as split off from the language of the law.

Voice, in fact, has long been regarded in Western tradition as the initial and the superior signature of selfpresence, because the ability to hear oneself speak precedes the ability to recognize oneself in the mirror. Performing the function of “acoustic mirror,” voice appears to maintain each of us, “auto-affectively,”10 in his or her own interiority, guaranteeing  Lacan 62. Lacan 103.  Lacan 104, 200.  Lacan 35–7, 43–4.  Lacan 142. 10 Dolar 12–13. 11 Natural and intuitive though these experiences seem, they emerge, in Lacan’s view, as the unavoidable and necessary operations of fantasy.

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