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1
Campos, Roland Azeredo. "Poesia visual e imagens da matéria." Aletria: Revista de Estudos de Literatura 15, no. 1 (June 30, 2007): 22–32. http://dx.doi.org/10.17851/2317-2096.15.1.22-32.
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Resumo: O propósito deste artigo é discutir alguns poemas visuais pós- concretos no contexto da teoria da imaginação poética proposta por Gaston Bachelard, baseada nos arquétipos dos quatro elementos (ar, água, terra e fogo). Os poemas aqui considerados estão diretamente relacionados ao tema dos elementos.Palavras-chave: poesia visual brasileira; poesia concreta; Bachelard; imaginação poética.Abstract: The purpose of this article is to discuss some postconcrete visual poems in the context of Gaston Bachelard’s theory of poetical imagination, which is based on the archetypes of the four elements (air, water, earth and fire). The poems considered here are directly related to the theme of the elements.Keywords: Brazilian visual poetry; concrete poetry; Bachelard; poetical imagination.
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Akbar Joseph A. Syed and Yazid Meftah Ali Wahas. "Challenges and Solutions in Teaching English through Poetry to EFL Students at Hajjah University: A Case Study of William Wordsworth’s Lucy and John Donne’s Death Poems." rEFLections 27, no. 2 (November 23, 2020): 189–98. http://dx.doi.org/10.61508/refl.v27i2.248043.
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Poetry is an effective and reliable material in teaching English language. It offers astounding opportunities for reading, writing, speaking and listening practices for English learners. Teaching English through poetry has many advantages such as it being of authentic material, being a medium to express emotions and feelings, being a wonderful carrier of culture, and being able to help improve students’ linguistic knowledge and skills. Poetry is often regarded as the most sophisticated genre of literature, comprising a variety of contents that are narrative, lyrical and dramatic in nature. Some of the difficulties teachers face while teaching English through poetry are the students’ proficiency level, the teachers’ method of teaching and the chosen poetry texts. Thus, this paper proposes to explore the advantages of teaching English language through poetry and its challenges at Hajjah University in Yemen, from which suggestions for choosing poetries to teach English will be given with special reference to “Death, be not Proud” and “Lucy”, as well as other suggested teaching methods for students of the Bachelor of Education (English) program at Hajjah University in Yemen.
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PRADO, Rafael Auler de Almeida, Marcus Tulio CALDAS, Karl Heinz EFKEN, and Carmem Lúcia Brito Tavares BARRETO. "Linguagem poética e clínica fenomenológica existencial: aproximações a partir de Gaston Bachelard." PHENOMENOLOGICAL STUDIES - Revista da Abordagem Gestáltica 18, no. 2 (2012): 216–23. http://dx.doi.org/10.18065/rag.2012v18n2.11.
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Malý, Radek. "The Figure of Ophelia in Expressionist Poetry: German and Czech Comparison." Porównania 27, no. 2 (December 15, 2020): 197–217. http://dx.doi.org/10.14746/por.2020.2.10.
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The study deals with the rendition of the figure of Ophelia in Czech modern poetry in comparison with the poetry of European Expressionism. The image of Ophelia’s aesthetic death from Shakespeare’s drama Hamlet has influenced and inspired a whole range of artworks. It strongly reverberated in German Expressionist poetry, especially that by Georg Heym, Gottfried Benn and Georg Trakl. The Czech poets who approached this topic in the spirit of Expressionism include Jan Skácel, Vladimír Holan and Jiří Orten. The study further addresses these works in the light of the Ophelia complex as defined by Bachelard.
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De Campos, Fernanda Cristina. "Dos sinais às imagens poéticas: leitura de poesia e crítica do imaginário." Letras de Hoje 51, no. 4 (December 31, 2016): 573. http://dx.doi.org/10.15448/1984-7726.2016.4.23018.
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Este trabalho privilegia uma concepção de arte poética que capta os elementos naturais como sinais de extratos mais profundos. Ao revestir as imagens de uma carga simbólica, o poeta promove, segundo G. Bachelard, uma experiência nova com a linguagem e faz renascer um novo psiquismo, além de sobrepor mundos diversos e cruzar experiências passadas e futuras. A provocação ao desenvolvimento desse tema vem dos poemas “Poetas e insetos”, “Falcões” e “As formas prisioneiras”, de Dora Ferreira da Silva (1918-2006). Nessa poeta, a conversão de sinais em símbolos operada pelo texto poético encontra ressonância nas teorias de Jung e Durand, que compreendem o símbolo – resultado da cultura e das pressões subjetivas – como responsável pelo dinamismo do objeto artístico, cujo sentido é incessante. O encaminhamento desse estudo se faz por meio de análises dos poemas, conceitos sobre imagem e símbolo e de um percurso sobre a história do imaginário no ocidente.********************************************************************From the signals to the poetic images: poetry reading and criticism of the imaginaryAbstract: This work focuses on a conception of poetic art which captures the natural elements as deeper signals of extract. By covering the images with a symbolic load, the poet promotes, according to Bachelard, a new experience with language and revives a new psychism, besides overlapping diverse worlds and crossing past and future experiences. The provocation to the development of this theme comes from the poems “Poetas e insetos”, “Falcões” and “As formas prisioneiras”, by Dora Ferreira da Silva (1918-2006). In this poet, the conversion from signals into symbols operated by the poetic text finds resonance in the theories of Jung and Durand, who comprehend the symbol – the result from culture and subjective pressures – as responsible for the dynamism of the artistic object, whose meaning is incessant. The development of this study is made through the analyses of the poems, concepts of images and symbol and an overview of the history of the imaginary in the West. Keywords: Image; symbol; Dora Ferreira da Silva; Bachelard; Jung
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Indira Utojo, Hertin, and Oom Rohmah Syamsudin. "The Meaning of Survival in the Poetry of Jacob Isaac, and its Semantics Learning Implementation." INFERENCE: Journal of English Language Teaching 5, no. 2 (December 14, 2022): 170. http://dx.doi.org/10.30998/inference.v5i2.10736.
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<p>The social, political, and economy atmosphere of a country often evokes the desire of literary activists to express their imagination, feelings, ideology in the form of social, political and cultural criticism through art, including poetry. Likewise, Jacob Isaac, a Bachelor and Master of Arts, as well as Doctor of English Literature, who was born in Kerala, South India, expresses imagination, feelings, ideology by creating the English poetry. In this research, the research writer chose three poetry written by Jacob Isaac as data sources entitled Indifference, Neural Mapping, Aging Liberty. The objective of this research is to describe the meaning of (1) survival in the above poetry; and (2) its implementation in English semantics learning. The research writer uses a qualitative research method and triadic semiotic model of Charles Sanders Peirce, consists of (1) representamen consists of rhyme form and sound, syntactic, semantic, pragmatic relates to deixis, figurative and isotopy aspects); (2) interpretant consists of the biography of Jacob Isaac, history of India, social, political and cultural background aspects). The goal using interpretant is in order to get the research results more objective. This research was conducted from March to May 2021.</p>
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Faria, Maria Lucia Guimarães de. "Bachelard, The Space and Poetic isomorphism Imagetics." Revista Vértices 14, no. 1 (2012): 135–60. http://dx.doi.org/10.5935/1809-2667.20120017.
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Dincă, Irina. "Configurarea Paradigmei Terţului Inclus – Blaga, Bachelard, Lupaşcu1." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 14–25. http://dx.doi.org/10.2478/clb-2019-0002.
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AbstractThis paper aims to present the connection and continuity between the implicit principles that configure the transgressive visions of Lucian Blaga, Gaston Bachelard and Ștefan Lupașcu, which inaugurate a paradigmatic change in consensus with the revolutionary ideas circulating in science, philosophy, poetry and art across the 20th century. The subtle paradigmatic axis which crosses implicitly or explicitly the work of Lucian Blaga proves to be the transgressive attempt of integration and overcoming of the antinomies under the sign of the included middle which underlies the transfiguring core of the dogmatic paradox. Thus, the nucleus of Blaga’s epistemological vision, the dogmatic paradox – a synthesis of the antinomies solved not in concrete level, but in transcendent one, creating a paradoxical logics – proves to be close to Gaston Bachelard’s transgressive theoretical constructions – the surrationalism and the philosophy of no –, as well as to Ştefan Lupaşcu’s integrative perspective of the dynamic logics of the contradictory. The subtly related nexus of theoretical ideas developed by Blaga, Bachelard and Lupașcu appear to be essential milestones in the avant-garde of the paradigmatic chain of the included middle, opening it towards the present European episteme.
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Thiboutot, Christian. "SOME NOTES ON POETRY AND LANGUAGE IN THE WORKS OF GASTON BACHELARD." Journal of Phenomenological Psychology 32, no. 2 (September 1, 2001): 155–69. http://dx.doi.org/10.1163/156916201760043216.
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Thiboutot, C., A. Martinez, and David Jager. "Gaston Bachelard and Phenomenology: Outline of a Theory of the Imagination." Journal of Phenomenological Psychology 30, no. 1 (1999): 1–17. http://dx.doi.org/10.1163/156916299x00011.
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AbstractGaston Bachelard's thought remains a continual source of inspiration for a phenomenological psychology that takes human habitation as a fundamental given and as an abiding mystery of the human condition. the following essay explores the ideas Bachelard developed in the course of his study of poetry. It examines in particular his vision of imagination as a unique passage way by means of which we reach an inhabitable, intersubjective and fully human world. Within that perspective, our lives are constantly renewed by the appearance of a revealing image or a telling metaphor. Each time that we are awakened by this appeal we commemorate the birth and rebirth of a human world.
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SAULIG, NICOLETTA. "Vertical Time: Sound and Vision." Kragujevac Journal of Mathematics 47, no. 7 (2023): 1065–74. http://dx.doi.org/10.46793/kgjmat2307.1065s.
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The concept of poetic time, experienced through poetry, music and plastic arts, has firstly been individuated by Gaston Bachelard in the 1930s. The spectator’s sensation of time rupture and ecstasy has been defined as time rearrangement into a vertical structure, linking to eternity. Although this particular perception of time has been described as triggered by spectator’s experience of sublime art forms, this paper finds earlier evidence of the phenomenon in Giacomo Leopardi’s poem L’Infinito (1819), as result of nature contemplation. Analysis of the sound that induces the vision of vertical time in Leopardi’s poetry is performed by signal processing techniques. Relations between time, frequency and lag representations of the signal are established, finding correspondence of the signal power spectral density and time verticality in the lag domain.
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Martínez Moreno, Arturo. "Imagen y palabra poética como ensoñación antropocósmica: reflexiones en torno a la imaginación estética en Gaston Bachelard." Fedro, revista de estética y teoría de las artes, no. 21 (2021): 140–67. http://dx.doi.org/10.12795/fedro/2021.i21.10.
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El ser del hombre y el ser del mundo se relacionan desde unas fuerzas imaginativas que determinan nuestra realidad. En esa relación, mediada por la palabra poética y las imágenes, nuevos núcleos de sentido irrumpen cohesionando en forma de matriz las múltiples fuerzas que el mundo expresa e interrelaciona. El cómo esas fuerzas y esas imágenes crean un tejido ontológico y su sentido oculto puede ser explicado a través de la interpretación que Bachelard ofrece en lo referente al imaginario y sus estructuras cosmológicas. En ese equilibrio la imagen y la palabra aparecen como límite capaz de captar el devenir de la vida, de la ensoñación hecha cosmos. La recepción de esa verdad en forma de imagen en la conciencia se dará, según Bachelard, en el tiempo del instante, y para ello recurrirá a una fenomenología heterodoxa capaz de captar la esencia de lo allí dado.
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Nikhilesh, Nikhilesh. "Critical Assessment of Poetry of Philip Larkin." International Journal of English Literature and Social Sciences 7, no. 6 (2022): 200–205. http://dx.doi.org/10.22161/ijels.76.28.
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In the year 1922, Philip Larkin was born in Coventry, which is located in England. In addition to finishing with First Class Honors in English, he received his Bachelor of Arts degree from St. John's College, Oxford, where he also became friends with the author and poet Kingsley Amis. After completing his undergraduate degree, Larkin went on to pursue professional courses in order to become a librarian. He began his career in Shropshire and Leicester, continued it at Queen's College in Belfast, and ended it as the librarian at the University of Hull. He worked in libraries the whole of his life. Not only did Larkin produce volumes of poetry, but he also wrote and published two novels, Jill (1946) and A Girl in Winter (1947), as well as jazz music criticism, essays, and review articles. The latter were compiled into two books: All What Jazz: A Record Diary 1961-1968 (1970; 1985) and Required Writing: Miscellaneous Pieces 1955-1982. Both were published in 1970 and 1985 respectively (1984). Before his death in 1985, he was considered by many to be "England's other Poet Laureate." He was one of the most well-known poets to emerge from England in the decades after World War II. In point of fact, when the post of laureate became available in 1984, numerous poets and critics advocated for Larkin's election to the position; nevertheless, Larkin chose to stay out of the spotlight.
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Martignetti, Frank, and Joshua M. Brewster. "Finding our way: The experiences of a rapper and his advisor in a bachelor of music programme." Journal of Popular Music Education 4, no. 1 (March 1, 2020): 61–79. http://dx.doi.org/10.1386/jpme_00014_1.
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Aspiring popular musicians, particularly rappers, often feel unwelcome in tertiary music study. While hip hop has entered the academy through other fields, it is still mostly absent from music departments. In 2014, a rapper began studies in a small, open Bachelor of Music programme that had no coursework or specialists in this area. His course of study ultimately looked somewhat similar to other students’ but also included a blend of coursework in music technology, poetry, literature, communications and business. This action research study examines the student’s experience and perspectives as he prepared to graduate in May 2018, as well as the researcher’s experience and perspectives as his advisor and teacher. It is hoped that this study will enable institutions to better serve future such students.
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Kochhar-Lindgren, Gray, and Colette Gaudin. "On Poetic Imagination and Reverie: Selections from Gaston Bachelard." South Atlantic Review 54, no. 1 (January 1989): 95. http://dx.doi.org/10.2307/3200070.
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Skillen, Norman. "Experiencing the poetry inherent in language as a tool in teacher education." Scenario: A Journal for Performative Teaching, Learning, Research XVI, no. 1 (August 15, 2022): 133–48. http://dx.doi.org/10.33178/scenario.16.1.10.
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The opening module of the 2nd year of the 4-year Bachelor’s degree in Waldorf Education at Freie Hochschule Stuttgart is described. The year is devoted exclusively to the additional subject chosen by the students and the article focusses on the group who have chosen L2 English. The intention in the module is to give the students an introduction to the history of the English language and its literature while at the same time beginning the development of their performative skills. This entails, on the one hand, setting the history of language in as wide a context as possible, in the process drawing upon the work of Wilhelm von Humboldt and Owen Barfield among others, and on the other, preparing a programme of poetry for performance. Within this broad context the process of preparation is described, and the mutual influences of the one upon the other highlighted.
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Gabriel, Lisa-Marie. "Zukunftspessimismus in der Frühen Neuzeit? Überlegungen zu frühneuzeitlichen Zukunftsvorstellungen am Beispiel des Vanitas-Motives zur Zeit des Barock." historia.scribere, no. 9 (June 9, 2017): 71. http://dx.doi.org/10.15203/historia.scribere.9.566.
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Future pessimism in the Early Modern era? Reflections on Early Modern future imaginations exemplified by the baroque Vanitas motif. The following bachelor thesis is about the future imaginations of the Early Modern time. The paper follows the question, if there was a factual ‚future pessimism‘ in the baroque era, trying to exemplify this by the booming Vanitas motif. Therefore, the thesis will examine the history and meaning of the motif compared to the trends of the tumultous 17th century. As will be shown, the Vanitas motif was also an art form as well as a manifestation of a transience-consciousness that manifested itself not least in the form of Vanitas still life and baroque poetry.
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Torrelles Font, Carme. "Comprensión lectora de textos poéticos: Bartomeu Rosselló Pòrcel." Investigaciones Sobre Lectura, no. 6 (July 28, 2016): 25–35. http://dx.doi.org/10.37132/isl.v0i6.151.
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The digital image creativity, with its rhapsody and music, favors the pleasure reader of text sin verse and the reading comprehension of Tempestat de flama de Bartomeu Rosselló Pòrcel, catalan (2014) poetchosenforPAU-2015. The scanned images of the elements of poetic nature, centered in its context, breaks the barriers of formal text. While the young works the reading aloud internalized, this learns to be a good bard, shows an interest in his reading and he per forms best the deep analysis of content each poem. The video editing helps them to understand the poetic content and to understand better the view of world, of the author's life and of his work. ICTs bring us a didactic poetry very rewarding and creative for the ESO and the bachelor's degree.
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Torrelles Font, Carme. "Comprensión lectora de textos poéticos: Bartomeu Rosselló Pòrcel." Investigaciones Sobre Lectura, no. 6 (July 28, 2016): 25–35. http://dx.doi.org/10.24310/revistaisl.vi6.10973.
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The digital image creativity, with its rhapsody and music, favors the pleasure reader of text sin verse and the reading comprehension of Tempestat de flama de Bartomeu Rosselló Pòrcel, catalan (2014) poetchosenforPAU-2015. The scanned images of the elements of poetic nature, centered in its context, breaks the barriers of formal text. While the young works the reading aloud internalized, this learns to be a good bard, shows an interest in his reading and he per forms best the deep analysis of content each poem. The video editing helps them to understand the poetic content and to understand better the view of world, of the author's life and of his work. ICTs bring us a didactic poetry very rewarding and creative for the ESO and the bachelor's degree.
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Queiroz, Lídia. "Iconografia atomística e o papel da imagem segundo gaston bachelard." Kriterion: Revista de Filosofia 58, no. 138 (December 2017): 637–52. http://dx.doi.org/10.1590/0100-512x2017n13710lq.
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Resumo Este artigo pretende avaliar o papel da imagem na história do atomismo e sua relação com a ideia da visualização do invisível da matéria, com enfoque nas perspectivas epistemológicas de Gaston Bachelard. As origens do atomismo estão ligadas à visão, mas é somente no final do século XVI que a iconografia atomística surge. No artigo, a autora procura evidenciar a tentação humana para o “reino das imagens”: (1) começando por explanar a importância da “metafísica da poeira” (segundo Bachelard, a poeira conferiu uma imagética fundadora à tese atomística); (2) fazendo notar que o termo “átomo” designou entidades diversas e ressaltando a importância conferida à geometria nas concepções atomísticas, tão presente ao longo da história do atomismo filosófico; (3) tecendo considerações sobre uma das primeiras imagens do átomo - Area Democriti, de Giordano Bruno; (4) colocando em destaque a problemática da imagem no atomismo contemporâneo e do seu radical abstracionismo; (5) explorando o paradoxo da utilidade das imagens a partir de várias obras bachelardianas; (6) mostrando que Bachelard não parece tomar a noção de imagem em sentido lato e que distinguir imagens de não-imagens é supor que ela tenha uma essência e classificação estável; e, por fim, (7) apontando para o fato de cada vez mais a filosofia da ciência tentar apurar qual a função que a iconografia pode ter na criação científica e na transmissão de conhecimento.
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Volmer, Lovani, Daniel Conte, and Suzana Da Silva Souza. "POESIA FEMININA: CONSIDERAÇÕES SOBRE O SLAM NA CULTURA CONTEMPORÂNEA." Caderno de Letras, no. 36 (May 12, 2020): 109–25. http://dx.doi.org/10.15210/cdl.v0i36.16945.
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O presente trabalho visa tecer uma relação entre poesia e protagonismo feminino a partir da discussão de um recente movimento sociocultural denominado Slam. Para tanto, são apresentados, à luz das teorias de autores como Bachelard, Candido, Cassirer e Zumthor, os elementos fundamentais que compõem o referido movimento e que o articulam à contemporaneidade, enfocando seu papel na valorização do processo de autoria das mulheres poetas e no desvelamento de vozes historicamente estabilizadas à margem da sociedade.Palavras-chave: Poesia; cultura; Slam; poetas.
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Morawska, Kamila. "Gaston Bachelard’s theory of four poetic temperaments: On the affinity of the poet." Vestnik of Saint Petersburg University. Philosophy and Conflict Studies 38, no. 2 (2022): 165–76. http://dx.doi.org/10.21638/spbu17.2022.202.
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If Bachelard as a philosopher of science reveals in his epistemological works the negative significance of the image as a factor inhibiting scientific progress, as well as the source of epistemological obstacles, then as a poetry philosopher he aims to determine its positive value in the poetic-oniric domain. By discovering the value of the fertility of images and the existence of material images dictated by presocratic elements of nature — fire, water, air and earth — he proves the importance and autonomy of the image in the field of aesthetics and artistic creativity. Together with the application of the method appropriate for these studies, bringing the subject closer to the subject in close subjective experience, as opposed to its “cold” form, the image becomes known as the essential activity of the psyche. Imagination, “as the first and vital function” (Bachelard) of the psyche, delves into its first being, which is an image. Imagination — so deeply inscribed in the creative, affective, but also the unconscious constitution of the subject — from the point of view of its content appears as material imagination. We know that the image gains a material meaning in contact with cosmological substances — it derives its content from the symbolism of the four elements: fire, earth, water and air — which Bachelard calls “imagination hormones” — thanks to them “man grows mentally”. This article presents the first definition of a Bachelardian image: an image as a composite and combination of archetypal forms of the unconscious that belong to man/poet with material materiality of the perceived external world independent of him.
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Weber, Julia. "Imagination, poetisches Bild und Subjekt. Eine Replik zur Debatte um Bachelards Poetik des Raumes." sub\urban. zeitschrift für kritische stadtforschung 3, no. 2 (August 14, 2015): 125–40. http://dx.doi.org/10.36900/suburban.v3i2.197.
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Bestimmung der wesentlichen Argumentationszusammenhänge von Bachelards Poetik des Raumes im Kontext der zeitgenössischen Diskussionen der 50er Jahre und Diskussion möglicher Anknüpfungspunkte für aktuelle Fragestellungen.
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Silva, Luzia Batista de Oliveira, Ivone Oliveira Tavernard, and Junior Tavernard. "CREATIVE IMAGINATION, TRAGIC-POETIC ART AND EDUCATION OF SENSIBILITIES." Revista Inter-Legere 1, no. 22 (August 9, 2018): 18–42. http://dx.doi.org/10.21680/1982-1662.2018v1n22id15292.
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This article aims to discuss about how creative imagination, tragic art and the education of sensibilities provides images of dreams of flying, ascension and freedom, contributing to the understanding of a poetic education of the child and the adult. The aesthetics of the poems and the literary lessons attest that art educates the sensibilities. We recognize this in Bachelard when he approaches the education-poetics in childhood and in the tragic-poetic art of Nietzsche, according to The Birth of Tragedy and Thus Spoke Zarathustra. In these works, the images are full of dreams of freedom represented in the ascents to the mountain summit, in the pure air breath and in the contemplation of aerial landscapes, which enables the individual -from a privileged position - to become a lover of life, who refuses its heavy side, its dark elements, the melancholy atmosphere, the disseminated Greek serenity. The heights, the silence against the crowd and the noise, as well as "states of soul" - in Bachelard's vision and analysis of the work "Thus spoke Zarathustra" - are at the same time exalted and reveals the dreams of freedom, of ascension and moral elevation.
Keywords: Culture. Poetic Education. Aesthetics. Bachelard. Nietzsche.
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Ogundeji, Adedotun. "The Exordium of Adébáyọ̀ Fálétí’s Poetry." Yoruba Studies Review 3, no. 2 (December 21, 2021): 1–10. http://dx.doi.org/10.32473/ysr.v3i2.129985.
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The background of Adébáyọ̀ Fálétí (1921 – 2017) was steeped in the Ọyọ̀ ́ Yorùbá culture. He had a princely connection to the throne of Ọyọ̀ ́ having been born by Dúrówadé Àyìnkẹ, a granddaughter of Prince Adé ́ ṣọ̀kàn, Bàbá Ìdódẹ, Aláàfin Àtìbà’s son, to Àkànbí Fálétí. Àkànbí Fálétí was a royal oral artist in the palace of Aláàfin Ṣiyanbọ́lá Oníkẹẹ̀ pé Ládìgbòlù (1911 – ́ 1944). He later practiced outside the palace, leading his own band, going about Ìlọrin and its environs and parts of Northern Yorùbáland. The late Pa David Adéníji of Ìwó, we reliably learnt, was one of his followers. Adébáyọ̀ Fálétí spent his early life in Ọyọ̀ ́ villages such as Àgbóóyè, Ọbanàǹkò and Kúrańgà (Ọlátúnji 1982a). Adébáyọ Fálétí learnt many Yorùbá tales and garnered other ̀ native wisdom from his father and other relations. Such relations include Jímọ̀ Ọládẹ̀jọ, who was adept in proverbs, and his childless aunt, an oríkì (charcterizational) poetry exponent. The western education he acquired and the Christianity he embraced were also part and parcel of his background. His primary school education was at Ọyọ̀ ́ (1939 – 1945), his secondary school education at Ìbàdàn Boys High school, Ìbàdàn, (1951 – 1955) and his University education at the University of Ìbàdàn (1965 – 1968). He took a bachelor’s degree in English with a subsidiary in French. There is no doubt that Adébáyọ̀ Fálétí would have been influenced by Yorùbá literary artists of his time, all of whom he studied in school. Among such Yorùbá literary precursors were A. K. Ajíṣafẹ, D. A. Ọbasá and D. ́ O. Fágúnwà. Adébáyọ Fálétí collected and transcribed oral poetic forms such ̀ as proverbs and oríkì following Obasá’s example before venturing into writing 110 Adedotun Ogundeji his own compositions. Though he had been writing before 1955, he did not come into the limelight until 1955, when his 719 lines long poem, “Ẹ̀dá Kò Láròpin” won the Festival of Arts award. This time may conveniently be considered the beginning of his poetic career. The poem also marked the direction which Adébáyọ̀ Fálétí’s important contributions to Yorùbá poetry was leaning. He adapted many traditional stories for his poetic compositions. There are 35 poems in the two collections of Adébáyọ̀ Fálétí’s Yorùbá poems (Ọlátúnjí 1984 b & 1984c), 13 in the first and 22 in the second. Adébáyọ̀ Fálétí’s poems, can conveniently be classified into two: the narrative and non-narrative. The narratives tell interesting stories, some of which are adapted from the Ifá corpus and other stories collected from his father, co-hunters and other sources. The non-narrative ones are made up of poetic discourses on various social and philosophical topics. There are eleven narrative poems in the two collections. The first contains ten, the second only one. It could therefore be safely concluded that the first is dedicated to narrative poems because only four of the thirteen poems in it are non-narrative. Since there is also only one narrative poem in the second, one could also assert that it is dedicated to non-narrative poems. Four of the eleven narrative poems, (‘Ẹ̀là Lọrọ̀ ’, ‘̀ Ṣàṣọrẹ’, ‘Alágbára Ilé àti Alágbára Oko’, and ‘Agbódóro ́ - gun’) are adapted from the Ifá corpus and there are strong evidences that ìjálá (Ogun poetry/hunter’s) is the original source of the story retold in ‘Adébímpé Ojẹ̀dòkun’. The poet was reported to have collected it from his father who informed him it was a true-life story (Ọlátúnjí 1982a). In our examination of the exordiums of Adébáyọ̀ Fálétí’s poems, we shall dwell more on his narrative poems than on his non-narrative poems and limit ourselves to the aforementioned two collections (Olatunji 1982b & 1982c).
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Chernokova, Yevheniya S. "THE ESSENCE OF AN IMAGE IN ENGLISH-AMERICAN IMAGISM: SINGULAR VERSUS UNIVERSAL." Alfred Nobel University Journal of Philology 1, no. 25 (May 30, 2023): 8–19. http://dx.doi.org/10.32342/2523-4463-2023-1-25-1.
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The paper is aimed at filling the gap in learning the formative image peculiarities of the English and American Imagistic poetry by analyzing the correspondence of the internal and the external and their correlation. This is where the answer lies, why T.S. Eliot called Imagism “an opening salvo” of English/ American Modernist poetry. It also explains the reason for a long-term effect of this short-term “school” in the English poetry of the twentieth century. Imagism hasn’t left any extended or profound theory as far as the criteria for producing “hard, dry images” (T.E.Hulme) are concerned. Since then the problem has been under-studied and calls for more in-depth analysis. The modern theoretical background of the paper includes the ideas of S. Averintsev and M. Gasparov, Paul Ricoeur and Gaston Bachelard; the criticism of the Imagism founders (T.E. Hulme and E. Pound) as well as its present-day English and American researchers. The major theoretical points highlight the important features of image transformation in Imagism: the dual (semantic and psychological) nature of an image (P. Ricoeur); loss of its axiological constituent thus forfeiting its wholeness (M. Girshman); its non-permanent essence (G. Bachelard). All these “new” sides underlie too general and vague definition of an image as “an intellectual and emotional complex in an instant of time” given by Ezra Pound, his definitive denial of using images as “ornaments” and the emphasis on the image affiliation with speech, not language. The fight doesn’t have to be limited only to opposing Romanticism (as in Hulme’s “Romanticism and Classicism”). Equally significant and far more sophisticated is the distinction between Symbolic and Imagistic essence of an image (Pound’s “Retrospect” and “Gaudier Brzeska”). For Pound, the main criterion is the receptive potential of an image, its semantic openness which offsets its meaning as finally fixed in some symbol. The paper examines the possibility to apply Roland Barthes’s idea (“L`imagination du signe”, 1962) of the crucial influence of the interior (symbolic) relationship and two exterior (paradigmatic and syntagmatic) relationships on the formation of both single image and the total imagery of a certain type of art conscience – consequently, of Symbolism, Romanticism and Imagism. In the early period of Imagism development (the poetry of F. Flint, E. Storer, to a lesser extent, of T.E. Hulme) the images still preserve the inner affinity with the signified objects (concepts) as seen in Romantic and Symbolic image “patterns”. And throughout Imagism development, this inner affinity is being weakened until a distant outer resemblance is left. It is clearly seen in Hulme’s “Autumn”, Pound’s “In a Station of the Metro”, H.D.’s “Oread”, “Hermes of the Ways” et al. The close reading of the W.C. Williams’s poem “The Red Wheelbarrow” is carried out in front of the “Tall Nettles” by Edward Thomas (1878–1917), his contemporary, who is now considered to be one of the “non-Modernist modern” poets. It is stated that the central image of the red wheelbarrow in its every detail constitutes a modern pastoral while Thomas’s nettles stand for psychological matrix of personal melancholy and despair. Syntagmatic relations also involve the further interaction of signs in the form of “superposition”, forming montage as one of the important Мodernist techniques not only in poetry, but also in Мodernist prose. And it becomes evident that it is not a mechanically borrowed cinema technique, as it is commonly viewed, but a deeper, “syntagmatic” similarity. The result of the research, based on the analysis undertaken, seems to prove its initial point: the poems of T.E. Hulme, Ezra Pound, W. Carlos Williams, Hilda Doolittle (H.D.) taken as models, manifest that the image in Imagism is every time constructed as a new actual syntagma of the common imagination of a poet and a reader to become the unique image for every single poem without its further “universal” use in any virtual paradigm.
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Aldrighetti, Jacopo. "Reverie, Wild Animals, and Gasoline: The Interrelatedness of the Human and Natural Worlds in Elizabeth Bishop." Interdisciplinary Literary Studies 25, no. 3 (August 2023): 315–37. http://dx.doi.org/10.5325/intelitestud.25.3.0315.
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ABSTRACT Analyzed through the lens of John Berger’s concept of daydream and Bachelard’s reverie, Elizabeth Bishop’s work can offer a poignant argument against a view of nature and civilization as fundamentally separate. However, the analysis of their relationship dynamics has hitherto been limited to a focus on human–nature conflict. This article argues that Bishop’s poetry and prose reveal elements of coexistence and communion between these two spheres. The epiphanies of environmental communion in Bishop’s poems can be explained by employing the daydream or reverie as the interpretative key that brings together human-made and natural environments. The daydream or reverie is deeply rooted into childhood and is intended by Bachelard as a momentary return to a state of being that is not self-aware, which is typical of childhood and is caused by the vision of a wild animal. It is through this perspective that this article considers an unexpected source of the interrelatedness between the human and natural words in Bishop’s work: gasoline.
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Gonzales Marinho, Angela, and Gilmar De Azevedo. "Prática leitora-formativa com crianças e poesia na educação infantil." Revista Eletrônica Científica da UERGS 7, no. 3 (December 29, 2021): 233–39. http://dx.doi.org/10.21674/2448-0479.73.233-239.
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Resumo
Este artigo reflete sobre a prática leitora-formativa com crianças e poesia na Educação Infantil no desenvolvimento de possibilidades desafiadoras na escola em praticar na infância o vínculo da leitura de poemas com sua potência enquanto possível realização da experiência poética. Objetiva refletir sobre práticas leitoras-formativas com poesias com as crianças em momentos lúdicos de interação, de desenvolvimento da oralidade, de amplificação de seu vocabulário, com os quais podem expressar seus desejos, sentimentos em consonância com o brincar com as palavras. Justifica-se a reflexão destas práticas no processo de ensino para aprendizagem com a poesia para as crianças no desenvolvimento da imaginação, expressão e sensibilidade, que suscitam nelas novas percepções cognitivas. Como metodologia, a prática foi de abordagem qualitativa na interpretação dos dados e bibliográfica na construção do Referencial Teórico foi realizada com crianças de 5 e 6 anos em Escola de Educação Infantil, com uma turma do jardim B, com os quais foram trabalhados poemas infantis de Caio Ritter. Como Referencial Teórico foram parceiros Abramovich (1989), Bachelard (1990), Georges Jean (1989), Lajolo (2006), Reyes (2010). Estas reflexões colaboram com os/as educadores/as para que desenvolvam, através da poesia na Literatura Infantil, o prazer nas leituras e audições de poemas e contação de histórias para que, no exercício da docência, se apropriem do conhecimento tanto literário quanto linguístico, a fim de fazer uso da palavra poética em espaços complexos de linguagem e de questionamentos acerca de suas próprias constituições como seres humanos.
Palavras-chave: Prática-leitora-formativa; poesia; criança.
Abstract
This paper reflects on the reading-formative practice with children and poetry in Early Childhood Education in the development of challenging possibilities at school to practice in childhood the link of reading poems with its power as a possible realization of poetic experience. It aims to reflect on reading-formative practices with poetry with children in playful moments of interaction, oral development, expansion of their vocabulary, with which they can express their wishes, feelings in line with playing with words. It is justified to reflect on these practices in the teaching-learning process with poetry for children to develop their imagination, expression, and sensitivity, which raise new cognitive perceptions in them. As a methodology, the practice was of qualitative approach in the interpretation of data and bibliographic in the construction of the theoretical framework. The search was carried out with children of 5 and 6 years old in an Early Childhood Education School, with a group of Garden B, where children’s poems by Caio Ritter were studied. Abramovich (1989), Bachelard (1990), Georges Jean (1989), Lajolo (2006), Reyes (2010) were partners as theoretical framework. These reflections collaborate with educators to develop, through poetry in Children's Literature, the pleasure of reading and listening to poems and storytelling so that, in the exercise of teaching, they appropriate both literary and linguistic knowledge. In order to make use of the poetic word in complex spaces of language and questions about their own constitutions as human beings.
Keywords: Reading-formative practice; poetry; kids.
Resumen
Este articulo reflexiona sobre la práctica lectora-formativa con niños/as y poesía en la Educación Infantil en el desarrollo de las posibilidades desafiadoras en la escuela para practicar en la niñez el vínculo con la lectura de poemas y con la experiencia poética. Objetiva reflexionar sobre las prácticas lectoras-formativas con poesías con niños y niñas en momentos lúdicos de integración, para el desarrollo de la oralidad, de la ampliación de su vocabulario, con los cuales pueden expresar sus deseos, sentimientos en consonancia con el juego con las palabras. Se justifica reflexionar sobre estas prácticas en el proceso de la enseñanza para el aprendizaje con la poesía para los niños y niñas en el desarrollo de la imaginación, expresión y sensibilidad, que dan lugar a nuevas percepciones cognitivas. La metodología fue el abordaje cualitativo en la interpretación de los datos y la revisión bibliográfica en la construcción del referencial teórico. La actividad se realizó con niños y niñas de 5 y 6 años de una escuela de Educación Infantil, con un grupo del jardín B, con los cuales fueron trabajados poemas infantiles de Caio Ritter. Con el referencial teórico colaboraron Abramovich (1989), Bachelard (1990), Georges Jean (1989), Lajolo (2006) y Reyes (2010). Estas reflexiones colaboraron con los/las profesores/as para que desarrollen, a través de la poesía en la literatura infantil, el placer en las lecturas, audiciones de poemas y “contar cuentos” de historias para que, en el ejercicio de la docencia, se apropien del conocimiento tanto literario como lingüístico, a fin de hacer uso de la palabra poética en espacios complejos de lenguaje y de cuestionamientos sobre sus propias constituciones como seres humanos.
Palabras-claves: Práctica-habilidad lectora; niños/niñas; poesía.
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Sales, Rodrigo Viana, and Ana Laudelina Ferreira Gomes. "THE BACHELARDIAN ONEIRIC CHILDHOOD." Revista Inter-Legere 1, no. 22 (August 9, 2018): 154–79. http://dx.doi.org/10.21680/1982-1662.2018v1n22id15299.
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This text deals with the notion formulated by Gaston Bachelard of oneiric childhood, which refers to a permanent childhood that is renewed through active imagination and poetic reverie, promoting an articulation between memory and imagination in our awaken dreams. Aiming to give visibility and more reflection on the bachelardian oneiric childhood, we have investigated the approaches of this phenomenon within works of post-graduate students supervised by Ana Laudelina F. Gomes in the Research Group in which we participate - Mythos-Logos:religion, myth and spirituality. After doing a bibliographical research on thesis, dissertations and papers written by some of the members that are part of the group which works with such a notion, like Badiali (2016), Batista (2015, 2016, 2017, 2018), Eustáquio (2015, 2016), Melo (2012) and Gomes (2013b), it was noticed how this theme was recurring in a lot of different works. I perceived that reading these studies has triggered my own oneiric childhood, as it is in a ritual of anthropophagic readings. My infant being was fed by the narratives and images of those childhoods, which further expanded my poetic reveries, experience and reflection on the theme. Therefore, I have decided to present within this article some of the repercussions these readings provoked in me, stems from the collective orientation given by the supervisor Professor and sometimes by an invited person, when all the postgraduate students involved in the research read and make comments on the studies of one another.
Keywords: Childhood; Gaston Bachelard; Oneiric Poetry; Anthropophagic Readings;
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Barraza, María Ignacia. "EL AGUA Y EL ETERNO FEMENINO: ESTUDIO DE CIRCE Y EL POETA MANUEL CIGES APARICIO SEGÚN LAS TEORÍAS DE GASTON BACHELARD." Revista Internacional de Culturas y Literaturas, no. 14 (2013): 7–16. http://dx.doi.org/10.12795/ricl.2013.i14.01.
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La novela Circe y el poeta, escrita por el español Manuel Ciges Aparicio y publicada en 1926, es, como sugiere el título, una reinterpretación del mito de la hechicera griega. Efectivamente, Sara –el personaje femenino con mayor relieve en el relato–, es una moderna seductora a la manera de la Circe (1927) del pintor alemán George Grosz. Este ensayo pretende demostrar –apoyándose en las teorías de Gaston Bachelard acerca de la imaginación material del agua– cómo Ciges Aparicio utiliza dicho elemento como símbolo de lo femenino, del dolor y de la muerte.
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Goes, Vinícius Anselmo. "Geografia, poesia e algumas palavras sobre saber, ser e habitar / Geography, poetry and a few words about knowing, being and dwelling." Geograficidade 5 (October 3, 2015): 170. http://dx.doi.org/10.22409/geograficidade2015.50.a12935.
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A partir da Geografia, Poesia e outras lentes da realidade e do imaginário, objetivamos discutir o ser humano em sua necessidade e capacidade de habitar. Mais especificamente objetivamos: analisar a organização do conhecimento; perceber como a poesia pode expressar o urbano; e quem sabe, exercitar nosso “lado” poético. Para tal, fundamentamo-nos entre outros em Bachelard (1978), Dardel (2015), Lefebvre (1999; 2008), Moraes (1991) e Santos (2010). Quanto aos poetas e suas obras dialogamos com Bandeira (2001), Emicida (2011), Martins (2003), Reis (2014) e White (2003). Diante da fragmentação da ciência moderna e da vida cotidiana e com as imagens poéticas captadas, consideramos a necessidade de expandir a casa ao urbano para que habitando-o, o sujeito possa efetiva e afetivamente, Saber, Ser e Habitar. O que parece possível apenas, se fizermos do habitar constante obra e criação poética.
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Samae, Abdulghaffar, and Rusdee Taher. "TAWZIF AL-WASA'IL AL-TAKLIMIYAH AL-HADITHAH LI-TAKLIM AL-BALAGHAH AL-'ARABIYAH: AL-'ARUD AT-TAQDIMIYAH (POWERPOINT) NAMUDHAJAN." El-Tsaqafah : Jurnal Jurusan PBA 22, no. 2 (January 5, 2024): 153–72. http://dx.doi.org/10.20414/tsaqafah.v22i2.9226.
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This paper aims to provide practical suggestions for teaching Arabic rhetoric to non-Arabic speaking university students. These suggestions are presented in PowerPoint slides and their use is explained in a way that is consistent with the content of the material. These suggestions were tested on two groups of students enrolled in Bachelor's programs in Sharia, Islamic Studies, and Foundations of Religion at Sultan Azlan Shah University in Malaysia. The problem with teaching non-Arabic speakers a new science in Arabic language is that their level in the language is uneven and most of them are below the required level to study a subject that requires a strong foundation in the language, especially when dealing with poetry and eloquent sayings that are the subject of rhetoric. This poses a challenge for both the teacher and the student. The study relied on a descriptive approach to create and present slides, and to explain the principles and considerations that should be taken into account. The study arrived at a number of results, the most important of which is the necessity of using these modern methods, which are no longer a luxury or a standard for evaluating the teacher alone, as the study recorded an improvement in students' understanding of rhetoric lessons after using these methods compared to not using them.
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Qanood Jabir, Dr Hassan. "Repetition as a Stylistic Feature in Mansour Al-Helou's Poetry: A Literary Aesthetic Perspective." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 647–56. http://dx.doi.org/10.37648/ijrssh.v13i02.053.
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At the outset, we must point out that we have the lead and leadership in writing about a poet that the scientific community did not write about, and here we are, God willing, writing the first of these academic scientific researches on the poet . Mansour Mahmoud Al-Hilu was born in the Al-Najaf Governorate in a locality called Al-Amara, and he was Alawi of Iraqi parentage in the year 1930, and his immediate rank was among his three brothers. Time and his grandparents, father, uncles and uncles participated in the Twentieth Revolution. Hence, he grew up loving the country and science together. He was enrolled in primary and secondary schools. He was fond of science and studies, and he was ranked first in all his academic stages. Then he completed his studies in Baghdad at the Teachers' High School, which is called today the College of Education. He obtained a bachelor's degree, and took teaching as a profession. He moved in the governorates and schools of Iraq. He married his cousin, who bore him four daughters, and he had one son, who was named Munjid. He held many positions, including the head of the Teachers Syndicate in Basra Governorate for several years. He moved to the Ministry of Culture and Guidance to become a general manager in one of its structures. Then he was transferred to Kirkuk Governorate to receive his new duties as Director General. Finally, he became a director in the Ministry of Culture and Information again in Baghdad. In 1972, he was subjected to various practices of abuse and harassment in order to be a member of the Baath Party, as the party was at the height of its glory, and in order to preserve his dignity and commitment to his values and principles that did not leave him in all areas of his life, he submitted his resignation and was approved in the same year . He lived after that, moving between various works, but he never left poetry, as it was his life companion. He traveled to all countries of the world, including Switzerland, and was dazzled by the beauty of nature in Geneva. He wrote his poem “The Tourist Poem” that town that charmed him with its atmosphere, but he did not continue to mention his country, so he balanced between them. And he showed his homeland when he said: “You are sweet, Geneva, but my homeland is a thousand times more beautiful than you
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Zwart, Hub. "Iconoclasm and Imagination: Gaston Bachelard’s Philosophy of Technoscience." Human Studies 43, no. 1 (November 13, 2019): 61–87. http://dx.doi.org/10.1007/s10746-019-09529-z.
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Abstract Gaston Bachelard (1884–1962) occupies a unique position in the history of European thinking. As a philosopher of science, he developed a profound interest in genres of the imagination, notably poetry and novels. While emphatically acknowledging the strength, precision and reliability of scientific knowledge compared to every-day experience, he saw literary phantasies as important supplementary sources of insight. Although he significantly influenced authors such as Lacan, Althusser, Foucault and others, while some of his key concepts (“epistemological rupture,” “epistemological obstacle,” “technoscience”) are still widely used, his oeuvre tends to be overlooked. And yet, as I will argue, Bachelard’s extended series of books opens up an intriguing perspective on contemporary science. First, I will point to a remarkable duality that runs through Bachelard’s oeuvre. His philosophy of science consists of two sub-oeuvres: a psychoanalysis of technoscience, complemented by a poetics of elementary imagination. I will point out how these two branches deal with complementary themes: technoscientific artefacts and literary fictions, two realms of human experience separated by an epistemological rupture. Whereas Bachelard’s work initially entails a panegyric in praise of scientific practice, he becomes increasingly intrigued by the imaginary and its basic images (“archetypes”), such as the Mother Earth archetype.
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Schramm, Lawrence P., Diana C. Schramm, and F. Wilson Jackson. "Homer Wheelon, M.D., physiologist, artist, and poet: origins of the tailpieces in journals of the American Physiological Society." American Journal of Physiology-Regulatory, Integrative and Comparative Physiology 291, no. 6 (December 2006): R1567—R1578. http://dx.doi.org/10.1152/ajpregu.00390.2006.
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Since 1953, illustrations have been inserted as “tailpieces” at the ends of articles in The American Journal of Physiology and The Journal of Applied Physiology. The drawings were made by Homer Wheelon, a member of the American Physiological Society from 1919 until his death in 1960. Forty-five years after his death, Wheelon is unknown, but he contributed 32 publications to the medical literature and trained J. Earl Thomas, an important 20th century gastrointestinal physiologist. Wheelon was born into poverty in 1883 to itinerant Methodist preachers, circumstances that guided his education and career choices. Throughout his life, Wheelon exhibited a fondness and talent for art and photography and an unusual breadth of intellectual interests and knowledge. Wheelon received a bachelor’s degree from the University of Washington, then studied at the University of Oregon, Northwestern University, and St. Louis University. Earning his M.D. from St. Louis University and assuming a faculty position there, Wheelon and his graduate student, Thomas, conducted widely recognized gastrointestinal research. Returning to Seattle in 1921, Wheelon became a highly respected physician and hospital administrator, but he also found time to indulge his interest in visual art and poetry. In 1933, inspired by observing a rabbit being used in a pregnancy test, Wheelon began to write and illustrate an epic, 322-page poem, Rabbit No. 202, illustrations from which became the journals’ tailpieces. The present study traces Wheelon’s personal life and scientific career in an attempt to understand this complex man and the origins of his unusual poem and its drawings.
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Brandão, Izabel. "Água Viva: a busca libertária do tempo presente." Revista Leitura, no. 31 (March 26, 2019): 129–44. http://dx.doi.org/10.28998/2317-9945.200331.129-144.
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O ensaio busca pontuar como a escritora Clarice Lispector trataa questão do tempo em Água Viva e, entrelaçada a ela, está o problema dacriação do texto. Através da teoria dos temperamentos oníricos, defendidapela fenomenologia da imaginação do filósofo francês Gaston Bachelard,que hoje pode ser vista como uma teoria afim com a ecocrítica literária,procuro mostrar algumas respostas à busca clariceana. Essa teorizaçãodescobre nos elementos básicos da natureza uma resposta ao devaneio decada escritor/a (Brandão: 1991; 1999). O devaneio de Clarice estávinculado mais diretamente, no caso de Água Viva, à terra, elemento baseda criação, mas não exclui sua incursão pelo ar, o que aproxima aescritora brasileira de poetas como o inglês Shelley e o alemão Nietzsche,adeptos desse elemento. A fuga da narrativa tradicional leva Clarice aorompimento com uma estrutura conservadora que não lhe serve mais. DOI: 10.28998/0103-6858.2003v1n31p129-144
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Dörfler, Thomas. "Der Raum ist der Freund des Seins. Bachelards Poetik des Raumes als Anstoß zu einer neuen Betrachtung des sozialen Raumes." sub\urban. zeitschrift für kritische stadtforschung 3, no. 2 (August 14, 2015): 95–108. http://dx.doi.org/10.36900/suburban.v3i2.193.
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Der folgende Text versucht, eine neue Perspektive auf die in der Sozialwissenschaft anhaltende Raumdebatte um den „spatial turn“ zu entwickeln. Hauptanliegen ist es, die darin waltende unproduktive Dichotomisierung von Raumessenzialismus versus Raumkonstruktivismus hinter sich zu lassen, um das dialektische Verhältnis von Materie und sozialer Raumkonstitution (nicht: Konstruktion) in den Vordergrund zu rücken. Es wird argumentiert, dass nur eine diese Wechselwirkung beachtende Theoriebildung das Problem sozialwissenschaftlicher Konzeption von Räumlichkeit in seiner Tragweite in den Griff bekommen kann. Grundlage und Ausgangspunkt ist eine Kritik an einer vereinfachenden Spielart des Konstruktivismus, wie er in den Sozial- und Kulturwissenschaften populär ist, und der das Nachdenken über Raum tendenziell verunmöglicht.
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Walton, Saige. "Sleeping away the Factory, Healing with Time: Gaston Bachelard, the Poetic Imagination and Testről és lélekről/ On Body and Soul (2017)." Paragraph 43, no. 3 (November 2020): 348–63. http://dx.doi.org/10.3366/para.2020.0345.
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Gaston Bachelard distinguishes the radical novelty and newness of the imagination from pre-existing sensory impressions (memory, perception). In this article, I explore Bachelard's connections between time, the imagined image and poetic form, and I consider their implications for the cinema. Concentrating my analysis on Ildikó Enyedi's Testről és lélekről/ On Body and Soul (2017) — a film that alternates between doubled worlds, depictions of human and animal life — I draw out the temporality and the diversity of Bachelard's imagined images. Bringing Bachelard's instant, vertical time and the crystalline to bear on Enyedi's film, I argue that, under the pretext of sleep, rest and dreaming, On Body and Soul engages the temporality and attentiveness of the Bachelardian imagination, together with its poetic effects.
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Pouliquen, Jean-Luc, and Gaspar Paz. "Experiência Poética, Contemporaneidades e Resgate da Poesia em Língua d'Oc." Revista Farol 12, no. 15 (June 29, 2016): 108–14. http://dx.doi.org/10.47456/rf.v1i15.13447.
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Entrevista conceidida a Gaspar Paz.“Viver antes de escrever. Mergulhar profundamente na poesia, com o desejo de deixar estilhaços sobre a página” (Pouliquen, p. 122). Eis a verve poética revelada pelo poeta francês Jean-Luc Pouliquen, que desde cedo se pôs a viajar no movimento das palavras, imagens, ações, sonoridades e sentidos. É nessa construção vivida que o escritor encontra a mistura dos materiais e culturas que tecem seus poemas. Marcado pela estética surrealista e pela geração Beat, Pouliquen se deixa invadir pelas linguagens artísticas contemporâneas e escreve “em travelling, com zoom, no contra-plano” (Idem, p.76) apreendendo também as memórias indeléveis da tradição dos poetas de língua d’Oc, da escola de Rochefort e da filosofia de Gaston Bachelard, cujas obras ele resgata em excelentes edições. Com formação em ciências políticas, atuante na crítica literária, nosso autor transita também pelo terreno musical. É com essa bagagem e astúcia crítica que ele expõe suas opiniões sobre poesia, filosofia, música, cultura, educação, variedades e política, numa entrevista envolvente.
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Crichyno, Jorge. "Fenomenologia do lugar poético no imaginário arbóreo do Parque do Flamengo / Phenomenology of the poetic place in the tree imaginary Flamengo Park." Geograficidade 7, no. 1 (September 29, 2017): 34. http://dx.doi.org/10.22409/geograficidade2017.71.a12970.
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O tema tratado neste artigo refere-se ao lugar poético do imaginário arbóreo e suas repercussões e ressonâncias na paisagem, buscando elucidar a componente arbórea enquanto potência imaginal. Na perspectiva de compreendermos essa diversidade de sentidos, o trabalho investiga a presença das árvores no Parque do Flamengo - Rio de Janeiro, desvendando os significados simbólicos e os elos que se estabelecem com os sujeitos, configurando assim uma fenomenologia poética do lugar arborescente. O caminho pelo qual se desenvolve este estudo é através da análise de fontes poéticas (poemas) que abrangem as obras de três poetas nacionais: Cecília Meireles, Carlos Drummond de Andrade e Manoel de Barros, promovendo um material reflexivo para a identificação das estruturas imaginantes e dos dinamismos indutores da imagem-árvore. O principal aporte teórico-conceitual é dado pelos fundamentos de Gaston Bachelard e de Martin Heidegger, a partir dos quais se pretende explorar a árvore enquanto imagem poética e do lugar no habitar, considerando-os como base constitutiva do imaginário arbóreo urbano existente no Parque do Flamengo.
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Richter, Sandra Regina Simonis. "Educação, arte e infância: tensões filosóficas em torno do fenômeno poético (Education, art and childhood: philosophical tensions on the poetic phenomenon)." Crítica Educativa 2, no. 2 (February 13, 2017): 90. http://dx.doi.org/10.22476/revcted.v2i2.99.
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Para abordar o desafio educacional posto pela entrada de bebês e crianças pequenas na Educação Básica, proponho discutir a potência lúdica das ambivalências entre real e ficcional que envolvem o fenômeno poético de começar-se em linguagem a partir de estudos fenomenológicos pautados pela relação entre educação, arte e infância. As fenomenologias de Bachelard e Merleau-Ponty permitem esboçar resistência à clássica cisão ocidental entre corpo e mundo na disputa pela autoridade da imagem ou do conceito diante do real ao apontar a dimensão poética da arte como vigor do agir lúdico e lúcido que emerge da inseparabilidade entre ação do corpo sensível e experiência de linguagem na produção de sentidos que nos situam no mundo. Da tensão entre filosofia e poesia emerge a diferença que não permite uma esquecer a potência linguageira da outra no enigma de fazer sentido. Os bebês e as crianças pequenas mostram ao pensamento pedagógico que, talvez, a intencionalidade educativa de tornar o mundo mais humano possa coexistir com a intencionalidade de sonhar e pensar um humano mais mundano.
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Aronson, Oleg. "The Poetic and the Political in Valery Podoroga’s Analytical Anthropology." Chelovek 32, no. 5 (2021): 50. http://dx.doi.org/10.31857/s023620070017438-8.
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The article is devoted to an analysis of the creative work of the Russian philosopher Valery Podoroga. It focuses on the special discipline he created, namely, “analytical anthropology”, and the book “Anthropograms”, in which Valery Podoroga sets out the basic principles and analytical tools of his philosophical work. Examining the books of the philosopher that preceded the creation of analytical anthropology and those that were written later, it is possible to single out two important lines of his research. First, the philosophy of literature and second, research in the field of the political. Podoroga’s understanding of literature is broader than that of a cultural practice or a social institution. For him, it is the space of the corporal experience of contact with the world, in which the affective aspect of thinking is realized. This line of analysis points to the “poetic” dimension of the experience of thinking, since the emphasis here is on what Jakobson called the “poetic function of language”, its orientation toward itself. It is precisely the literary aspect that becomes important when analyzing the texts of philosophers (Kierkegaard, Nietzsche, Heidegger); however, what is even more important is that in the very experience of fiction Podoroga is trying to find new means for philosophy. His “poetic line” is closely connected with the poetics of space (Bachelard) and the phenomenology of the body (Merleau-Ponty, Henry). It is the combination of poetics and phenomenology that allows Podoroga to overcome both the orientation of poetics exclusively toward language and the categorical apparatus of philosophy. The main result of Valery Podoroga’s work is the creation of an “anthropogram”, a special kind of scheme in which the action of the Work (a literary work, but not only) is immanent to the dynamics of the world. Is it possible to create such anthropograms outside the field of literature? Podoroga does not specify. The article attempts to show how Podoroga’s ways of working with literary texts correlate with his works dealing with the technologies of power and violence, transforming separate political and ethical terms into anthropograms, that is, forms of thought immanent to life itself.
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Rizo-Patron, Eileen. "Bachelard's Subversive Hermeneutics: A Reading of "Lightning "in Shelley's Prometheus Unbound." Religion and the Arts 10, no. 3 (2006): 355–73. http://dx.doi.org/10.1163/156852906779433375.
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AbstractThe purpose of this piece is to probe the nature of Bachelard's subversive hermeneutics by focusing on his predilection for those often unsettling poetic intuitions which emerge with the force of a summons in the experience of reading. My wager is that the hermeneutics of literary texts proposed by Gaston Bachelard in The Poetics of Space (1957) has its antecedents in his polemical theory of "discontinuous time" and the accompanying "pedagogy of discontinuity" set forth in his early work L'Intuition de l'instant: essai sur la Siloé de Gaston Roupnel (1932). The task of this hermeneutics, epitomized by Bachelard's own reading of Siloé, is to detect the ruptures, burning questions, or surprising insights that spark and (re)orient the movement of our life projects, with a view to unfolding the ethical implications of the "call of an instant" upon our sense of intimate duration and history. In the second half of this essay I proceed to set this hermeneutics into motion through a reading of Shelley's Prometheus Unbound that focuses on "lightning" as an image of Bachelardian "instants" in this drama—critical moments charged with contradictions that ultimately seem to steer the poet's course in directions, or towards ethical possibilities, other than his controlling artistic will could have charted out in advance.
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Gerber Hornink, Gabriel, Bayardo Bapstista Torres, Eduardo Galembeck, Vera Maria Treis Trindade, and André Amaral Gonçalves Bianco. "Editorial 2018 - Especial." Revista de Ensino de Bioquímica 16 (November 21, 2018): 4–5. http://dx.doi.org/10.16923/reb.v16i0.839.
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O número especial da REB é uma iniciativa da revista e da SBBq para valorizar e divulgar os trabalhos na área de ensino, apresentados nas reuniões anuais da Sociedade. Este número especial apresenta os sete resumos inscritos na área de Educação (F), da 47ª Reunião da Anual da Sociedade Brasileira de Bioquímica e Biologia Molecular, realizada no Centro de Eventos de Joinville, SC, no período de 26 a 29 de junho de 2018. As sessões de cartazes ocorreram nos dias 27 de maio (resumos F com números ímpares) e 28 de maio (resumos F com números pares). Nestas oportunidades, os autores e visitantes discutiram temas como:F-01: Avaliações bioquímicas e fisiológicas em corredores de rua como estratégia educacional para minimizar a incidência de lesões e promover a saúde num nível inicial.F-02: Jogo de tabuleiro como recurso educacional para a compreensão dos processos bioquímicos envolvidos na Síndrome Metabólica, Diabetes Mellitus, dislipidemia e obesidade.F-03: Método colaborativo de ensino de Bioquímica, usando a literatura na forma de poesia, como ferramenta lúdica e eficiente de aprendizado.F-04: Percepção de um grupo de alunos do ensino médio a respeito dos temas de Biologia Celular.F-05: Auxílio de um monitor num programa de reforço extraclasse de bioquímica para alunos com dificuldade de aprendizado.F-06: Contribuição do uso do PBD (Programa de dados sobre proteínas) para o ensino de doenças metabólicas num curso de nutrição.F-07: Proposta de um método poligonal, no qual se representam grupamentos químicos com formas geométricas, para o ensino mais dinâmico do metabolismo.Os trabalhos foram avaliados por um grupo sócios da SBBq que elegeram como melhor cartaz o F-3 - Biochemistry in poetry: A teaching experience using collaborative learning methodology to learning Biochemistry at the Medical School - Silvia Regina Tozato Prado, Pontifical Catholic University of Paraná, Medicine School (Paraná, Brasil).No evento, também, ocorreu o simpósio “Bachelor of Biochemistry in Brazil” organizado por Bayardo Baptista Torres (IQ-USP), com os seguintes participantes: • Valeria Monteze Guimaraes - Universidade Federal de Viçosa (MG, Brasil): Current panorama and challenges of the biochemical professional. • Rafael Cesar Russo Chagas Universidade Federal de São João del-Rei (MG, Brasil): Current overview and challenges of the biochemistry course at UFSJ. • Jurandir Fernando Comar - Departamento de Bioquímica, Universidade de Maringá (PR, Brasil): The bachelor degree in biochemistry at the university of maringá: challenges and prospects. • John Donelson - Professor Emeritus of Biochemistry, University of Iowa (Iowa City, Iowa, USA) and Visiting Professor at, Universidade Federal do Rio Grande do Norte (Natal, RN, Brazil): 40 years of teaching biochemistry in the United States.Devido à gentil disponibilização de um espaço na área dos expositores, por parte da SBBq, a Revista de Ensino de Bioquímica realizou divulgações detalhadas dos seus diferentes modelos submissões, utilizando banners específicos. Simultaneamente, foi aberto o Edital para o 2º Prêmio Nacional de Ensino de Bioquímica e Biologia Molecular Bayardo Baptista Torres cujo objetivo é incentivar pesquisadores e professores a sistematizarem e compartilharem suas experiências envolvendo o ensino-aprendizagem do conteúdo abordado pelas áreas de Bioquímica e Biologia Molecular, seja no ensino básico ou superior.Como já está se tornando uma tradição, o estande serviu de ponto de encontro para troca de experiências de ensino-aprendizagem em Bioquímica e Biologia Molecular.AtenciosamenteGabriel G. HorninkUnifal-MGEditor-chefeBayardo B. TorresUSPEditor-sêniorVera Maria T. TrindadeUFRGSCo-editoraEduardo GalembeckUnicampCo-editorAndré Amaral BrancoUnifespCo-editor
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NODAL, Antonio Martínez, and Adriana de Borges GOMES. "memória-afetiva em La novela de mi padre." Pontos de Interrogação – Revista de Crítica Cultural 11, no. 2 (December 28, 2021): 21–42. http://dx.doi.org/10.30620/pdi.v11n2.p21.
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Este artigo apresenta a análise da obra La novela de mi padre (2017), de Eliseo Alberto (1951-2011), jornalista, romancista e um dos principais narradores latino-americanos contemporâneos. Pretendemos mostrar como esse romance é constituído por alguns memoriais do entorno filial, que abarcam a irmã de Alberto, a escritora infanto-juvenil Josefina de Diego (1951), e seus tios, os poetas Cintio Vitier (1921-2009) e Fina Garcia Marruz (1923). Buscaremos sublinhar os paralelismos entre a vida e obra do autor, enfatizando a relação com seu pai, Eliseo Diego (1920-1994), um dos maiores mestres da poesia cubana, expoente literário e pessoal tão significativo que mediatizou o exercício narrativovivencial de Alberto. Tendo por base o texto multifacetado de análise, tentaremos demarcar o papel essencial da lembrança sentimental em Alberto, elucidando o vínculo entre sua escrita e seu núcleo literário filial. O poder imagético do texto de estudo esboça variados intercâmbios textuais que fazem parte tanto de um contexto afetivo-familiar reconhecível do qual decorrem múltiplas possibilidades expressivas. As considerações sobre a memória e o olhar autobiográfico desenvolvidas na atual investigação serão fundamentadas, principalmente, no pensamento de Bachelard (1993) Halbawchs (1990, 2004), Weimer (2008) e Arfuch (2013, 2014, 2016). Observamos que as construções e desconstruções afetivas de Eliseo Alberto definem suas bases ideológicas e revelam, ao mesmo tempo, um dos conjuntos familiares literários mais significativos de Cuba até hoje. [Recebido em: 29 jul. 2021 – Aceito em: 30 out. 2021]
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Mazzotti, José Antonio. "Vallejo migrante y la diáspora poética latinoamericana." Archivo Vallejo 1, no. 1 (November 29, 2018): 20. http://dx.doi.org/10.34092/av.v1i1.15.
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Para nadie es un secreto que el itinerario geográfico de César Vallejo fue no solo variado, sino accidentado. De su natal Santiago de Chuco había que viajar cuatro horas a lomo de caballo hasta la ciudad costeña de Trujillo (donde concluyó su bachillerato en Letras) y luego a Lima (generalmente en barco). Una vez en la capital peruana, hacia 1915, Vallejo intentó ser aceptado en los círculos literarios con relativo éxito, sobre todo después de la publicación de Los heraldos negros en 1918- 1919. Sin embargo, una vez aparecido Trilce en 1922, muchas puertas se le cerraron, y hasta se vio implicado antes de ello en un conflicto policial que le valió casi cuatro meses de cárcel. Como consecuencia, el poeta partió para París en 1923, golpeado y amargado del Perú, para nunca más volver. Esta ponencia examina cómo la continua condición migrante del poeta resume y explica parcialmente el conflicto de millones de latinoamericanos durante su tiempo y a lo largo del siglo XX. Más específicamente, me interesa notar la internalización de esa experiencia y las formas en que se manifiesta en su poesía inicial, la de la llamada etapa peruana, así como algunas de las huellas que ha dejado en la producción poética más reciente.
ABSTRACTIt is no secret that the geographical route of Cesar Vallejo was not only diverse but bumpy. From his native Santiago de Chuco, he traveled four hours on horseback to the coastal city of Trujillo (where he completed his Bachelor of Arts degree) and then continued to Lima by ship. Once arriving to the Peruvian capital around 1915, Vallejo tried to be accepted in literary circles with relative success, especially after the publication of Los heraldos negros (‘The Black Heralds’) in 1918- 1919. However, after Trilce was published in 1922, many doors were closed to him, and even he was involved in a police conflict which gave him almost four months in prison. As a result, he traveled to Paris in 1923. He felt he was fed up and beaten by Peru and that he was never coming back. This paper examines how the continuous migrant condition of the poet summarizes and explains partly the conflict of millions of Latin Americans during his time and throughout the 20th century. More specifically, it is important to note the internal process of these experiences and the ways how it is manifested in his initial poetry: the so-called Peruvian stage, as well as some of the marks left in the more recent poetic production.
Keywords: Vallejo, migrant subject, Los heraldos negros (‘The Black Heralds’), Trilce, Latin American poetic diaspora.
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Leite, Thaís Seabra. "Imaginação poética e técnica neobarroca no romance A serviço del-Rei, de Autran Dourado / Poetic Imagination and Neo-Barroque Procedures in the Novel A serviço del-Rei, Written by Autran Dourado." O Eixo e a Roda: Revista de Literatura Brasileira 30, no. 2 (June 30, 2021): 76. http://dx.doi.org/10.17851/2358-9787.30.2.76-99.
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Resumo: O presente estudo consiste em uma leitura crítica de A serviço del-Rei, de Autran D/ourado, contemplando o caráter metaficcional da mediação narrativa e a formulação de um alter ego do autor. Além desses pontos, recebe destaque o diálogo que o volume estabelece com outras obras do escritor mineiro e da literatura ocidental a partir da composição de metáforas. A fim de cumprir a finalidade a que se propõe, a pesquisa tem como fundamento teórico os estudos sobre metáfora e imaginação poética de Philip Wheelwright (1968) e Gaston Bachelard (1990, 2001, 2002), e as reflexões sobre a ficção do século XX que Haroldo de Campos (1972) e Severo Sarduy (1972) denominam neobarroca.Palavras-chave: Autran Dourado; ficção brasileira; metáfora; imaginação; neobarroco.Abstract: The ongoing work aims at presenting a critical reading of A serviço del-Rei, written by Autran Dourado. Throughout the analysis, we focus on the metafictional characteristics of the narrative status as well as on some formulation of the author’s alter ego and on the dialogue established by the volume with other works also written by Dourado. Regarding the metaphorical construction, another relevant connection is with Western literature. In order to follow the purpose of this research on the topic, we rely on Philip Wheelwright’s studies and Gaston Bachelard’s thoughts about metaphor and poetic imagination. In addition, we consider Haroldo de Campos and Severo Sarduy’s reflections on Neo-Baroque tendencies of the twentieth century.Keywords: Autran Dourado; Brazilian fiction; metaphor; imagination; neo-barroque.
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Dr. Ratnesh Baranwal. "Existentialism in Anita Nair’s Ladies Coupe." Creative Launcher 6, no. 3 (August 30, 2021): 44–48. http://dx.doi.org/10.53032/tcl.2021.6.3.09.
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This paper is an attempt to explore the fragrance of existentialism in Anita Nair’s Ladies Coupe. She was born on 26th Jan., 1966. She has penned down three very famous novels; The Better Man (1999), Ladies Coupe (2001) and Mistress (2005). She happens to be a multi-talented literary figure, holding her authority not only in the field of fiction but also that of poetry. She is better known as a competent modern woman-novelist in the realm of Indian English literature of the modern age. Currently she lives in Bangalore. Ladies Coupe is basically a novel of the “feminine sensibility” but it remains unsuited to the category of the female-writing that represented women as “battered, bartered and abandoned” on the shoals of low self-worth. It rides triumphantly against the tide giving us a glimpse of the innate strength that a woman has to rebuild up her life. This is why Nair has called her novel a story revealing about “ordinary women with indomitable spirit”. Unlike her first novel – ‘The Better Man’, having a male protagonist, Nair’s ‘Ladies Coupe’, rotates around the 45 year old bachelor Akhila or Akhilendeswari, being a pen pusher in the Income Tax Department. She has gone fed up with the lone provider in her family. One day, she happens to get a ticket booked for Kanyakumari to explore certain answers for herself, mainly to the question if a woman is able to make her survival alone, being away from her family. There are five other women accompanying her for the overnight journey. They are Janaki, married with Margaret, a forty year old young Chemistry-teacher, Prabha Devi, very close to Akhila’s age, the fifteen year old Sheela and Mariakonthu, a woman who is obviously different from the rest of them. All these women connect their life-stories to Akhila, helping the latter to gain her full potential woman and struggle with the response to the questions she has been searching out so long. Thus this paper analyses the search-operation of Akhila as she arrives by degrees as to how she should live her life freely and maintain her own identity in this patriarchal society. Anita Nair has paid emphasis on the fact that it is not the response to the question which has been alluding Akhila so long, but the search for exploring it which is more pleasant to the protagonist. The central character Akhila’s responsibility has been considerably exposed. She has found the potential to come out more afresh from the prison-house of her old-self as symbolized by the stiffness of the cotton saris she always used to put on while working. She can at least switch back to her previous life where perhaps nothing could have changed on the surface but on a mental plane a sure process of development has occurred.
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Zharkova, Valeriya. "Music by Claude Debussy and Maurice Ravel: a Modern View of the Problem of Style Identification." Scientific herald of Tchaikovsky National Music Academy of Ukraine, no. 130 (March 18, 2021): 24–51. http://dx.doi.org/10.31318/2522-4190.2021.130.231181.
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The relevance of the article is determined by the appeal to the debatable issues of stylistic differentiation of the works by Claude Debussy and Maurice Ravel as the French musical culture leading representatives of the late 19th and the first third of the 20th centuries. The research reflections about the connections betwen Debussy and Ravel on the principle “for / against” have not subsided for more than a hundred years. This testifies to the special urgency of this problem and the need to search for modern approaches to understanding the artistic identity of two brilliant contemporaries.Scientific novelty. For the first time, the multidirectionality of the composing strategies by Debussy and Ravel is indicated through the the concept of style in its interdisciplinary philosophicalcategorical status and the explanationof its functions of identification and communication in the general cultural understanding (O. Ustyugova). For the first time the difference between the cultural phenomena processes integration in the era of modernism into the new artistic wholes, with unique properties, which is appropriate to define as “Debussy’s style” and “Ravel’s style”, is revealed.The purpose of the article is to reveal the multidirectionality of the composing strategies of Debussy and Ravel through an appeal to the main stylistic functions of identification and communication in general cultural understanding (O. Ustyugova); to designate the non-coincidence of channels of integration of cultural phenomena in the era of modernism into new artistic wholes, which have unique properties such as “Debussy’s style” and “Ravel’s style”.The research methodology includes the use of historical, stylistic, comparative methods.Main results and conclusions. The existing musicological literature emphasizes the influence of romanticism, post-romanticism, impressionism, symbolism, neoclassicism, Art Nouveau, moderne style on the formation of the individual style of Debussy and Ravel. Each of these directions had a certain reflection in the work of composers. However, let us try to highlight in the conceptual space of the many-sided “isms” of the cultural context of the era of modernism the hidden sources of the deployment of the creative intentions of the both brilliant contemporaries. We will choose the fundamental work of E. Ustyugova “Style and Culture: Experience of Building a General Theory of Style” (2003) as a methodological basis for this. E. Ustyugova proposes to go beyond the understanding style as a “migratory structure” (term by J. Rebane) and a convenient “classification tool” (J. Burnham) in structural and typological studies of art and move on to a comprehensive study of the essence of this phenomenon. For this, according to the researcher, it is necessary to carry out two analytical procedures. The first is based on the awareness of the experience of the mismatch between the object and the subject. The second involves considering the style in the aspect of intersubjective communication.With this view on the problem of identifying the patterns of formation and development of cultural phenomena, it is not the nominative parameters and the “herbarization” of genrelinguistic units that come to the fore, but the comprehension of the multilevel subject-object relations that formed these phenomena; “live reproduction” of the matrix of the world perception as channels of communication between the “I” and everything that appears as “not-I”.The creative paths of Debussy and Ravel represent diferent creative strategies. The “pure meaning”, unspeakable by words and free from all earthly, to which Debussy aspired, creates parallels with the texts of symbolist poets and destroy the boundaries between “I” and “not-I”.
In the fundamental monographs of French researchers dedicated to the composer an idea has long been entrenched: the composer’s creative laboratory was poetry, and Debussy’s address to the poetic word throughout all his creative decades constantly expanding the semantic horizons of his “artistic realities”.Debussy’s spiritual intentions merged into a single sound-glow in the indivisible space of being. The word in all its dimensions (from literal to metaphysical) indicated the stages of the process of dissolving the personal “I” and going beyond (au-délà) the established forms of artistic expression. Therefore, various kinds of the names (or “afterwords”, as in the Preludes), epigraphs, numerous super-detailed directions remained an integral part of an integral sound structure. His musical language, destroying the connections in time between the past and the future (rejection of the system of functional gravities that should be “stretched” in musical memory), created a certain correspondence (“here and now”) with the phenomenon of being.Hence the following characteristics of the composer’s musical works: 1) the impeccable construction of the whole, which is “thought out to the smallest detail” (E. Denisov), subtle multilevel “correspondences” and symmetries; 2) total thematization of texture (K. Zenkin); 3) selfsufficient semantic expressiveness of the “pure sound forms” (K. Zenkin), which became the embodiment of “an agonizing thirst for undeniably pure” (S. Velikovsky).These properties of Debussy’s style open up the possibility to get into the spiritual dimensions filled with pure beauty, which so attracted the followers of Baudelaire. Using the typology of teh subject-object relations proposed by E. Ustyugova, Debussy’s style can be attributed throughout the paradigm of hidden subjectivity. Debussy was well aware of his “non-romantic” position.The artistic aspirations of Maurice Ravel more clearly resonate with the creative attitudes of Art Nouveau artists, who were looking for new forms of plastic expressiveness mainly in spatial forms of art. It seems that it is with this direction that a special feeling of the plasticity of the musical material and the entire musical composition as a unique phenomenon is associated, which determines the composer’s creative credo.The concept of “plasticity” indicates such a connection between coordinated phenomena, which appears through the reincarnation (transformation) of a certain material substance, when we keep in memory its output characteristics. Ballet works and the reliance on dance genres (and more broadly, various types of plasticity of gesture and movement) reveal the hidden basis of the composer’s thinking. This approach allows one to re-evaluate Ravel’s connections with the ancient heritage (it is symptomatic that the composer called his first “adult” work, devoted to the press, “Antique Minuet”) and to understand the meanings of constant antique reminiscences with which he filled his life.Like a real dandy who lets the vibrations of the world pass through himself, Ravel is sensitive to them and “cuts off” random, “ugly”, “unnecessary” ones. Hence — the special beauty of the artistic structures created by the composer. They are built not in a “filtered” ideal-beautiful dimension, but in the space of shimmering opposites (the corporeal — free from the corporeal, the familiar — the unknown). Ravel’s inherent tendency towards the graphic relief of the melodic line creates parallels with the “famous lines of Art Nouveau” (Fahr-Becker Gabriele) and is especially distinct, characterizes the composer’s later works.The non-everyday register of semantic reverberations of what is happening in the process of metamorphosis in the composer’s music (his plastic questioning about the existential nature of the source material) demanded a special listener’s responsiveness. Mistifications, hiding behind a mask, playing with the listener are Ravel’s usual communication strategies. Therefore, according to the typology of the subject-object relations proposed by E. Ustyugova, we can speak here of the paradigm of “open subjectivity”, which is characterized by the direct orientation of the subject towards himself. Hence — the principle of auto-citation characteristic of Ravel. The quintessence of its use are the composer’s later works — the opera Child and Magic, as well as the Piano Concerto in G major — the Dandy summa summarum of the composer’s previous career.The game of “correspondences” (Baudelaire) was manifested by composers in various ways and conditioned various channels of communication. Debussy makes the semantics of sound education a semantic unit, appeals to the listener with the expressiveness of the structure itself. Therefore he always emphasizes, appeals to the elite listener. Ravel, on the other hand, hides behind masks and theatrical illusions. He needs a listener who has a culture of distance (who owns wide meaning contextual fields). The contextual layers associated with musical texts express that “degree of distance” from the object of attention, which the composer himself chooses and whose parameters are constantly changing. Therefore, Ravel never turns twice in the genre, style or stylistic model he has already used.So, if the works by Debussy can be perceived “from scratch” because of their structural completeness and semantic tightness, then the works by Ravel require the listener to know the musical context and readiness to lay it out “fold by fold” (J. Deleuze) in new semantic projections.At the turn of the 19th and 20th centuries, French culture was looking for a means of creating a “state of resonance” (G. Bachelard) as an extraordinary impression, “awakening”, without which a person cannot take place. Debussy and Ravel moved in this direction. Therefore, only through the identification of all the “correspondences” of the era of a total change of creative guidelines and a departure from unambiguous stylistic “avatars” can one feel its essential discoveries. The study of the lines of intersection of the Debussy music and the Ravel music with various artistic phenomena of the past and the present illuminates certain reflections of the “style of the era”. However understanding the deep patterns of the creative manner of the two contemporaries requires differentiating the definitions of “Debussy’s style” and “Ravel’s style” and their further studying.
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Pham, Thi Hong-An. "The "Earth" element in Emily Dickinson's poetry." Science & Technology Development Journal - Social Science and Humanities, 2021. http://dx.doi.org/10.32508/stdjssh.v5i3.616.
Full textAbstract:
Gaston Bachelard (1884 – 1962) and Carl Gustav Jung (1875 – 1962) may have had similar ground for their theories about the images in human imagination, the ground that originated and was shaped very long ago in humankind’s history. However, Bachelard and Jung are principally dissimilar about their treatment of the notion of imagination. While the concept of “collective unconscious” shapes Jung’s explication, Bachelard confirms that it is essentially the elements of the universe, namely earth, water, fire, and air, that generate dreams and mental images. Those substances enable writers to create meaningful and timeless images, without which their symbols are but perishable and vain. He named it material imagination, or imaginative analysis of material. On studying Emily Dickinson’s life and poetry, I have come to acknowledge her talent in poetry as having grown on the substance of “earth.” This essay examines and analyzes her poetry under the theory of material imagination by Bachelard, thus arriving at the conclusion that the element “earth” is visibly present in her life and imagination, making her poetry heavily affected by that ancient element.