Simon Jarvis day in my exam prep is absolutely wonderful and amazing, and gives me fresh confidence that something good will come of my commitments (which he shares) to experience, time, phenomenology, tradition, cognition, beauty, sound, form, and so on.
From "Prosody as Cognition" (Critical Quarterly 1998):
Critical prosody is a materialism of the beautiful. Could we really say what a stress is, we might have come to the end of our nihilism, because we might be able to understand a single affective duration not as the endless repetition of an instantaneous passage from being into nothing, but as a real experience, the foundation of any possible ontology. (13)
From "Prosody as Tradition" (Dalhousie Review 1999):
The question as to whether a silent reading may possess rhythm has the whole history of western metaphysics in the background. (163)
From "An Undeleter for Criticism" (Diacritics 2002):
But "careful introspection" is not science. It is, of course, phenomenology. A phenomenology is presupposed in all writings about rhythm and meter, whether it is, as quite often, kept quiet about, or whether (as here and elsewhere in Attridge's study) its indispensability, under the term "careful introspection," is admitted. (13)
From "Musical Thinking: Hegel and the Phenomenology of Prosody" (Paragraph 2005):
Does 'musical thinking' exist? Is there a thinking, that is to say, which is not thinking about music, or thinking which accompanies music, but a thinking which takes place in music; a thinking which is made up of music itself? (57)
These selections by no means exhaust the gems in these articles, nor are they meant to stand in for the arguments of each, which are wonderfully complex combinations, full of stubborn resolve, and yet tenaciously always leaping ahead, coming back, considering, replying, and more. He's a pleasure to read, a mind on the move both in tradition and on the page.