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Trevor C. Meyer

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    U of South Carolina

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  1. Edgar, How was your visit to SC? Also, how was the conference? Was part of it being held in the new Rare Collections annex of the Library? If so, I may have been distracting when I was outside there, gushing over their Scottish lit exhibit. Trevor
  2. You as well! I think back to the Ion and the "magnetic" metaphor employed there to explain the work of poets. I think too that we suffer, with the advent of Romanticism and expressivism, from a conception of imitation as pure Gradgrindian rote, which is really a Victorian appropriation of rhetorical techniques. Dante, and especially Milton, with his whole blind-dictionary composition, as prophets would be super cool.
  3. Inspiration is itself a model of imitation, or a particularly complicated singular rhythym of imitation, in which the composer, or prophet in this case, imitates the model of responsiveness itself. I've done a little work in rhetorics of the shaman, but a prophetic writer, while operating in a different religio-cultural context, could be argued to operate in composition, oral or written, in a similar fashion. Don't quote, that's a chapter yet to be written. The reality of composed document in itself has no bearing on its being an imitation and/or creation, invention, or given, as both modes of textual production operate with simultaneity, whether linguistically, thematically, or consciously. I'm doing a lot of ground work in imitation in classical sense, specificially in the areas of rhetroical theory and pedagogy, of which they concieved of imitation as a crucial part. The concept of imitation also is the root in representation of moral models to follow. If folks wish to be Christ-like, it is a set of lives and actions in imitation of that particular figure. I completely agree that historicization is crucial in any theoretical invesitgation of text or textual production, but I think that as long as that is acknowledged, as well as the influences of predecessors, like Mediveal monastic scholar's influenced by neo-Platonic scholars through figures like Aquinas, and developments beginning that will be manifest more overtly later, the application of theory to texts written before theory was codified can be very productive.
  4. I'm finishing my MA at the University of Northern Colorado. Hello Eliz! I'm an English, Rhet/Comp guy here. You must be one of the people who posted results, and I'm glad I found some English major folks! Edgar, imitation is itself the root of all production of text or culture, as I argue in my upcoming thesis, *smug face.* What about you Eliz, what is your focus?
  5. PhD here, finishing up my MA this semester. I haven't gotten my package yet, but they indicated that they would help iwth expenses as well. Welcome to the conversation Ernesto! Poetics is a broad deal; especially since the Modernist, and Post-Modern, if not much earlier, dissolution of the Unities. Maybe the cathatric nature of endings that we have to maintain in popular film would be interesting to address.
  6. I was just talking about the Fathers of Hell this last week in the comp. class that I teach. I'm in Rhetoric in the English department, right now I'm working on rhetoric and play theory, classical rhet, and critical theory. Derrida, Foucault, Nietzsche, Aristotle, that kind of stuff. How's the process going for you, South Carolina and where else did you apply?
  7. Hey there, Now, I know there are three people here who also got into SC, in the same program as I have. Who are you? I'm Trevor, nice to meet you.
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