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• W222689362 abstract "M. B. Parkes writes, is part of a text's pragmatics. Originating with a need to assist unskilled readers, communicates an interpretation of a written text, but is itself the object of interpretation, in conjunction with historical shifts. As semantically fuzzy, marks of offer a particularly rich repository for artistic exploitation. The poetry of E. E. Cummings seizes upon this opportunity with unparalleled rigor. This paper maps the usage of one mark of punctuation, parentheses, appearing in the vast majority of Cummings's hundreds of poems. Treating parentheses as a poetic device, the paper divides their usage into seven categories, providing representative examples from throughout Cummings's writing. Taken together, these categories aim to show that is able to perform crucial poetic tasks, and should therefore be read with at least as much attention and consideration as other poetic elements. ********** M. B. Parkes, in a groundbreaking book on the history of in the West, gives these two short examples to demonstrate that is an object of interpretation: 1) Stop! Stop!! Stop!!! 2) Stop!!', she whispered In each of these cases, Parkes explains, we interpret the exclamation mark differently, and through this we can see that punctuation becomes a feature of the 'pragmatics' of the written medium (1-2). Indeed, marks are a curious thing. Intricately connected with the written medium, originating, as Parkes shows, with aids for the inexperienced reader in Antiquity (10-11), they have gone through a long history of changes, shifts, and adaptation to new circumstances and needs. Punctuation researchers have identified two prototypical functions. The first, traced by Naomi Baron back to Aristophanes around 200 BC, is assisting the reader to re-create an original oral rendition of the text, as in marking for the reader varying lengths of pause for when the text is to be read aloud. This role affirms an affinity between marks of and spoken or performed language. The second, more uniquely associated with the written text, is that of clarification of meaning and organization of units, particularly through marking syntactical relationships (20-25). (1) But the most curious thing about marks is not their liminal status between the rhetorical and organizational functions or their physical location in-between (or above, or below, or around) the letters, but their semantic in-between-ness. In short, marks are semantically fuzzy. They are part of the linguistic code, and in that sense are shared and subject to (dynamic) conventionalization. Numerous handbooks on punctuation, as well as editors who try to normalize writers' use of punctuation, all attest to the fact that is institutionalized. However, marks of are void of specific semantic content and are significantly more vague than many other signifiers. As fuzzy, marks are amenable to appropriation, to exploitation, and to projection. Gertrude Stein, in her essay Poetry and Grammar, takes this notion to extreme heights when she speaks of different marks of as possessing different personalities. In a lengthy and humorous discussion of the nature of colons and semicolons, for example, Stein offers the following account: began unfortunately to feel them as a comma and commas are very servile they have no life of their own they are dependent upon use and convenience and they are put there just for practical purposes (131). Later Stein contemplates the fact that the colon and semicolon might have in them something of the character of the only to conclude I think however lively they are or disguised they are they are definitely more comma than period and so really I cannot regret not having used them. They are more powerful more imposing more pretentious than a comma but they are a comma all the same. …" @default.
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• W222689362 date "2009-06-22" @default.
• W222689362 modified "2023-09-27" @default.
• W222689362 title "E. E. Cummings's Parentheses: Punctuation as Poetic Device" @default.
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