This chapter describes the process of building a collection, using the example of other-initiated repairs resolved by repetition. The phenomenon under investigation is shown in the following example: 1. A: you in the bathroom?2. B: huh?3. A: you in the bathroom? The focus of the chapter is more on the way in which the collection evolved and less on the analytic process. Lessons learned from building a collection as well as the strengths of this particular collection are discussed. The chapter also discusses the importance of linking linguistic phenomena, e.g. repetition, to social practices, e.g. other-initiated repair. It argues that tightly constrained collections can allow a clear demonstration of connections between linguistic forms and interactional practices. The chapter stresses how building a collection and conducting an analysis of it can be messy. The methodical process of setting a question, collecting just the right data to answer it, and discovering the answer, is the story we usually tell in our publications. This chapter instead tries to illuminate and illustrate just how rocky the path to completion can be.

Clare’s declaration that he ‘found the poems in the fields, and only wrote them down’ is, to some extent, pretence; however quickly he might compose, he corrects and revises from very early on, before he gets any guidance from others. The more he writes, the more he confronts the inevitable problem of repetition: his solutions can be seen in the concentrated echoes and references back and forth between poems. The manuscripts in all their teeming detail demonstrate his determination to get things right. Once publication arrives he has to contend with the conflicting demands of editors, publishers, and supporters; there are vexed questions of taste and politics. As he moves towards The Shepherd’s Calendar, however keen his desire for independence, increasingly the process becomes collaborative. When his life is turned upside down with the move to Northborough in 1832, his deeply personal poems of loss are worked on with extraordinary intensity.

Chapter 2 analyzes how both patent companies used the duopoly to intensify consumer demand through the complementary strategies of engineered scarcity and manufactured prestige. In addition to limiting the number of theatres operating in London, the patentees designated two-thirds of the auditorium for those wealthy enough to spend discretionary income on vastly increased ticket prices. In their pursuit of prestige, the companies also imported various French repertory practices, such as later curtain times and long runs, that did not map well onto the traditional six-day-a-week English performance calendar. Additionally, the early Restoration practice of mounting a pre-1660 repertory, owing to the lack of new playwrights, became an ingrained habit. The resulting repetition within the dramatic repertory failed to realize the box office magic sought by management: premieres of new plays were few and revivals of old plays many, to the consternation of spectators and playwrights alike. To flourish, the Restoration companies needed to offer a varied dramatic repertory that was both affordable and accessible to a large swath of Londoners.

This chapter treats liturgical experience. It finds that there are few textual sources for the study of this experience and that instead practices, postures, gestures, and other elements of lived ritual experience must be considered. Liturgical experience is characterized by structures of repetition and predictability that enable participants to integrate their own experiences and to feel that they belong to something that has preceded them, thus providing a sense of stability and meaningful identity. Liturgy features cycles of confession and celebration that in their back-and-forth movements allow people to process their emotions and to participate in bodily practices that express their convictions and deepest concerns. Liturgical participants are thus shaped in their identity within communities of belonging that provide meaning to their daily experience, both regular and extraordinary.

Many dyslexic learners struggle with the retention and retrieval of their learning due to working memory difficulties, yet because exams are such a widespread assessment method for university courses, dyslexic learners not only need to be structured in their approach to revision, but they also need to use revision methods that make the learning memorable and easy to retrieve. Additionally, due to the nature of the exam being a time constrained condition which is not suitable for a dyslexic student, dyslexic learners also need to be supplied with strategies for tackling exam papers to enable time to be used efficiently. This chapter, therefore, firstly, advises on ways of using to-do-lists and setting a purpose for revision to enable the student to keep motivated and to cover topics they may be examined on equally. Secondly, effective revision methods are delivered, such as creating questions, practising past papers, repetition through a process of re-reading information, covering over information to see what can be remembered, followed by leaving for longer periods of time to place learning from short-term to long term memory processes, making summaries of information and carrying them around. Thirdly, guidance on exam technique is provided.

Chapter 4 mobilizes second-order cybernetics theories that were first adopted in 1960s social sciences as a comparative framework for reading Gertrude Stein’s quasi-ethnographic writing about American culture. Love pairs Stein’s work with writing by second-order cybernetic anthropologists Margaret Mead, Gregory Bateson, and – most extensively – Mary Catherine Bateson. Love illustrates how Stein and M. C. Bateson both employ (a) the term “composition” as a framework for understanding the everyday habits of behavior that constitute American cultural identity, and (b) a combination of seemingly repetitive representational strategies and juxtapositional contexts as platforms for cultivating self-reflexive cultural awareness. They see this perspective as increasingly necessary within the twentieth century’s technologically complex networks that require us to respond in creative and flexible ways to our ever-changing circumstances. The chapter positions Stein’s work in dialogue with emergent social scientific strategies for cultural observation and analysis, and therefore as an important precursor to the anthropology-based theories at the forefront of cybernetics’ second-order turn.

The chapter surveys repetitions and reduplications in Italian, from the segmental to the discourse level. Italian has reduplicative structures in ideophones, onomatopoeic formations, child language, and baby talk; segment repetition is used as an expressive device in commercials and product names; reduplication is used as a lexeme formation device in Verb-Verb compounds such as fuggifuggi ‘stampede, lit. run away run away’, and as a means of intensification of adjectives and adverbs; some sequences of two nouns have lexicalized with adjectival or adverbial meaning; contrastive focus reduplication is also attested in Italian. Discourse markers are often reduplicated; several cases of repetition of imperatives in discourse have constructionalized, giving rise to converbs with concessive or hypothetical meanings or used as antecedents of consecutive clauses; noun reiteration in discourse can be used to indicate frequency of occurrence of entities and events. It is argued that no clear dividing line can be drawn between pragmatic or syntactic repetition and grammatical or morphological reduplication, since grammaticalization of discourse repetition in diachrony often occurs.

In this chapter I first draw from the results of the study of the Byzantine icon to establish the definition of an “iconic mediation” in general. In a second move, I then dissolve the adequation model of mediation, or “seashell model” as inherently iconoclastic. I also outline key assumptions held by the “sonic resonance” model of mediation in Gadamer and the “window” mediation of Marion, concluding neither of them are adequate to account for the mediation of the icon. I thus develop a new schema of mediation, based on the model of a love letter, to guide our understanding of the paradoxical character of iconic mediation which preserves the visceral tension between “everything matters” and “nothing matters.” The love letter, like the icon, can be understood rigorously, but only from a higher point of view, from the horizon of love.

This chapter will focus on patterns repetition in speech fragments from Cato the Elder to C. Gracchus, as well as the speeches quoted in the Rhetorica ad Herennium, with a view to understanding their composition and intended effects. Repetition provides a systematic framework for many of the traditional rhetorical figures, such as anaphora, alliteration, homoeoteleuton, antithesis and polyptoton (see D. Fehling, Die Wiederholungsfiguren und ihr Gebrauch bei den Griechen vor Gorgias, Berlin 1969; cf. J. Wills, Repetition in Latin Poetry, Oxford 1996). Using repetition as a lens allows analysis not only of longer extracts but also of very short fragments. These patterns will be used to test the thesis that Roman oratory continued to respond to the ancient Latin form of the carmen even while being influenced by Greek rhetorical ideas (cf. on this point E. Sciarrino, Cato the Censor and the Beginnings of Latin Prose, Columbus 2011). The transmission of the fragments under consideration is itself heavily influenced by the rhetorical and grammatical tradition, and my discussion will accordingly take account of the screening effects which this transmission has on the evidence.

This chapter explores the indexical potential of time in three ways: chronological perspective, the use of temporal adverbs and adjectives to situate an episode within a larger span of literary history; marked iteration, the self-reflexive replay or foreshadowing of other events; and epigonal self-consciousness, the direct or indirect appeal to poetic predecessors. All three tropes are active in archaic epic and lyric, but with differing accents. In epic, references to time and iteration mark intratextual and intertextual cross-references and doublets, while epic heroes’ epigonal relationships with their πρότεροι figure the tensions of the poet’s relationship with his predecessors. In lyric poetry, temporal references similarly index tradition; δηὖτε marks both generic and intertextual repetition; and direct appeals to πρότεροι follow and challenge both whole genres and specific texts. Indexical temporality was deeply embedded in archaic Greek poetics from the very start.

Chapter 1 focuses on the concept of ’the lyric’, considering various definitions of the term from literary criticism (the lyric mode in poetry), philosophy (via Hegel and Adorno), and musicology. It argues that the lyric mode’s professed ’unitary nature’ is offset by a distinctly sectional and disjunctive musical setting (via Marx’s Liedsatz), and illustrates this critical tension through an analysis of Schubert’s ’Ihr Bild’. Second, it examines Felix Salzer’s account of lyricism in Schubert’s sonatas, isolating the questions raised by this regarding the potentiality of lyrical themes and their will to repetition in contrast to the sonata’s imperative to develop. Third, it presents Schubert’s lyric parataxis (Mak, Adorno) as a viable alternative to the ’dramatic-dialectic’ model of sonata form exemplified in Beethoven’s music and explores the implications of this for the temporal unfolding of the music and the sense of directionality it articulates. In Part II, the chapter lays out three central propositions for a definition of lyric form and explains the book’s analytical methodology, placing it into the context of recent developments in the field of the new Formenlehre.

In September 2007, Rissi Palmer’s debut single “Country Girl” entered Billboard’s Hot Country Song (HCS) chart, making her the first Black female artist to chart in twenty years and one of just seven Black women in the history of the industry. With short life cycles on the chart, their songs left faint data trails making their time in the industry. As a result, their careers received limited attention from the press, their music was not widely distributed, their contributions went unrecognized by the industry, and, as a result, they remain unknown to country music fans. In an industry tightly centered around documenting, preserving, and promoting its heritage, these women have been largely expunged from the genre’s historical narrative. Drawing on intersectional theory and feminist scholarship on institutional discrimination (Collins 1990; Ahmed 2014, 2019), this chapter analyzes sixty years of chart and award history data, to offer a framework for considering how industry data shapes cultural heritage, dictating whose stories get preserved.

The Epilogue includes a new interpretation of a late antique poem by Pentadius. The Epilogue also summarises the findings of the book.