Focusing on Geoffrey Hill's early poetry concerning atrocity and the Holocaust, this essay argues that Hill presents his poems as shared events between the poles of the impossibility and the actuality of witness, instead of as poetic speech that fully signifies witness. Through close readings of "Funeral Music" and "September Song," this article shows that Hill's heavy use of negative rhetorical devices, his famous ambiguities, and his thematic explorations of silence do not debunk the possibility of witness but rather awaken awareness to the complications inherent in any response to atrocity. Focusing on Geoffrey Hill's early poetry concerning atrocity and the Holocaust, this essay argues that Hill presents his poems as shared events between the poles of the impossibility and the actuality of witness, instead of as poetic speech that fully signifies witness. Through close readings of "Funeral Music" and "September Song," this article shows that Hill's heavy use of negative rhetorical devices, his famous ambiguities, and his thematic explorations of silence do not debunk the possibility of witness but rather awaken awareness to the complications inherent in any response to atrocity.
مجموعه
تاريخ نشر
2013
توصيف ظاهري
545-567
عنوان
Religion and the Arts
شماره جلد
17/5
شماره استاندارد بين المللي پياييندها
1568-5292
اصطلاحهای موضوعی کنترل نشده
اصطلاح موضوعی
aporia
اصطلاح موضوعی
contemporary poetry
اصطلاح موضوعی
Geoffrey Hill
اصطلاح موضوعی
Shoah
اصطلاح موضوعی
silence
اصطلاح موضوعی
witness
نام شخص به منزله سر شناسه - (مسئولیت معنوی درجه اول )