Academic literature on the topic 'Contributions in poetics'
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Journal articles on the topic "Contributions in poetics"
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Rowett, Catherine. "Analytic Philosophy, the Ancient Philosopher Poets and the Poetics of Analytic Philosophy." Rhizomata 8, no. 2 (December 1, 2020): 158–82. http://dx.doi.org/10.1515/rhiz-2020-0008.
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Abstract The paper starts with reflections on Plato’s critique of the poets and the preference many express for Aristotle’s view of poetry. The second part of the paper takes a case study of analytic treatments of ancient philosophy, including the ancient philosopher poets, to examine the poetics of analytic philosophy, diagnosing a preference in Analytic philosophy for a clean non-poetic style of presentation, and then develops this in considering how well historians of philosophy in the Analytic tradition can accommodate the contributions of philosophers who wrote in verse. The final part of the paper reviews the current enthusiasm for decoding Empedocles’ vague and poetic descriptions of the cosmic cycle into a precise scientific periodicity on the basis of the recently discovered Byzantine scholia on Aristotle. I argue that this enthusiasm speaks to a desire for definite and clear numerical values in place of poetic motifs of give and take, and that this mathematical and scientific poetic is comparable to the preferred poetic of analytic philosophy.
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Heath, Malcolm. "Cognition in Aristotle's Poetics." Mnemosyne 62, no. 1 (2009): 51–75. http://dx.doi.org/10.1163/156852508x252876.
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AbstractThis paper examines Aristotle's understanding of the contributions of perceptual and rational cognition to the composition and reception of poetry. An initial outline of Aristotle's cognitive psychology shows that Aristotelian perception is sufficiently powerful to sustain very rich, complex patterns of behaviour in human as well as non-human animals, and examines the interaction between perception (cognition of the particular and the 'that') and the distinctive capacity for reason (which makes possible cognition of the universal and the 'why') in human behaviour. The rest of the paper applies this framework to a number of problems in the Poetics: (i) If Aristotelian tekhnê is defined as a productive disposition involving reason, how can poetic tekhnê be manifested in the work of poets who work by non-rational habit or talent? (ii) Why does Aristotle believe that the pleasure taken in imitation qua imitation involves rational inference? (iii) What does Aristotle mean when he contrasts history (concerned with the particular) and poetry (concerned with the universal)? (iv) How is Aristotle's insistence on universality and rationality in the construction of poetic plots to be reconciled with his willingness to tolerate irrationalities and implausibilities?
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Isabel Castelao-Gómez. "The Art of Life, the Dance of Poetry: Gender, Experiment and Experience in Mina Loy and Diane di Prima." Miscelánea: A Journal of English and American Studies 56 (December 20, 2017): 33–56. http://dx.doi.org/10.26754/ojs_misc/mj.20176786.
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Mina Loy and Diane di Prima’s experimental poetic contributions to their early “situational avant-gardes” (the 1910s Modernists and late 1950s Beats in New York) vindicated the relation of gender and experiment within their countercultural movements, redefining these groups’ poetic and ideological tenets. Firstly, I will connect and contextualize these two poets as part of American feminist avant-garde tradition. Then, I will study their early poetry’s specificities and their common particularity: a gendered approach to the interconnectivity between experiment and experience. The article develops the idea that Loy and di Prima’s “motional” poetics of alternate forces of expression and linguistic experimentation is a dynamic materialization of the ambivalence involved in their bodily and spatial experiences of inclusion and exclusion as bohemian women poets in their urban environment and their artistic communities. The last section theorizes the way these embodied positionalities, and the continuum formed by environment, space, body and language, interrelate with Loy and di Prima’s feminist motional avant-garde poetics based on material feminist philosophies and postmodern and experimental literary critics’ views.
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Атаниязова, Муборак. "OLIM SHARAFIDDINOV AND ISSSUES OF NAVAI STUDYING." ALISHER NAVOIY INTERNATIONAL JOURNAL 1, no. 1 (January 30, 2021): 137–45. http://dx.doi.org/10.26739/2181-1490-2021-1-14.
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This article is devoted to the study of the history of Navoi studies. It analyzes the scientific views of Olim Sharafiddinov on Navoi studies, the views of the literary scholar on the classics, in particular, the poetics of Alisher Navoi. It also discusses the scholar’s views on Eastern poetics on the example of the poet’s works. At the same time, the contributions of Eastern and Western scholars to the science of Navoi are revealed. Issues related to theoretical and historical poetics are also covered
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Abdusalamovna, Xalova Maftuna. "Emergence of Womens Literature in Theoretical Poetics." International Journal for Research in Applied Science and Engineering Technology 10, no. 3 (March 31, 2022): 1628–29. http://dx.doi.org/10.22214/ijraset.2022.41034.
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Abstract: The article examines "Women's Literature" and its emergence, the theoretical basis. The study of "Women's Literature" in the world literature, as well as the process of its emergence, study and formation in Uzbek literature is described. The contributions of female artists to literature are illuminated by the analysis of their works. Keywords and phrases: concept, lyrical experience, delictics of the heart, artistic skill, analysis and interpretation, poetic world, female heart, mother image, sensitivity of feelings.
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Knight, Mark. "Father Brown, Charity, and Christian Contributions to Critique." Christianity & Literature 71, no. 4 (December 2022): 502–12. http://dx.doi.org/10.1353/chy.2022.0051.
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Abstract: This essay approaches the topic of Christian poetics via a postcritical reading of the figure of Father Brown. I look to Chesterton's literary creation as an opportunity for thinking about Christian charity and its importance for the way in which literary critics practice critique. Along the way, the essay explores the meaning of the postcritical, plays with the conventions of the detective genre, and focuses on some of the recent contributions to the so-called method wars by scholars such as Bruce Robbins and Rita Felski.
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Awkward-Rich, Cameron. "Looking for Pauli, Pauli Murray's Trans Poetics." QED: A Journal in GLBTQ Worldmaking 10, no. 1 (February 1, 2023): 169–89. http://dx.doi.org/10.14321/qed.10.1.0169.
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Abstract Pauli Murray was a twentieth-century Black writer, priest, and legal thinker who has been, for the last two decades or so, the subject of a recovery project. As a result, Murray is now regarded as a crucial player in the history of civil rights litigation; in US feminist organizing and theology; and in Black feminist critique in relation to all of the above. Further, the recovery of Murray's contributions has coincided with the narration of Murray as someone who was (or might have been, in another time) trans. Following the lead of Isaac Julien's Looking for Langston (1989), and focusing on Murray's life and work as a poet, this meditative essay considers Pauli Murray as an enduring figure in and for a Black trans literary past.
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Castelao-Gómez, Isabel. "Beat women poets and writers: countercultural urban geographies and feminist avant-garde poetics." Journal of English Studies 14 (December 16, 2016): 47. http://dx.doi.org/10.18172/jes.2816.
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The work of Beat women poets and their contribution to the Beat canon was neglected for decades until the late nineties. This study presents a critical appreciation of early Beat women poets and writers’ impact on contemporary US literature drawing from theoretical tools provided by feminist literary and poetry criticism and gender studies on geography. The aim is to situate this female literary community, in specific the one of late 1950s and 1960s in New York, within the Beat generation and to analyze the characteristics of their cultural and literary phenomena, highlighting two of their most important contributions from the point of view of gender, cultural and literary studies: their negotiation of urban geographies and city space as bohemian women and writers, and their revision of Beat aesthetics through a feminist avant-garde poetics.
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Gupta, Vivek. "Arabic in Hindustan: Comparative Poetics in the Eighteenth Century and Azad Bilgrami’s The Coral Rosary." Journal of South Asian Intellectual History 4, no. 2 (December 9, 2022): 181–222. http://dx.doi.org/10.1163/25425552-12340034.
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Abstract This article examines the contributions of Ghulām ʿAlī “Āzād” Bilgrāmī (1704–1786) to our understanding of comparative poetics and Arabic in eighteenth-century Hindustan. It attends to Azad’s oeuvre through the lenses of translation, multilingualism, and literary science. Philological analysis reveals how Azad establishes analogues across these three literary languages that attest to the adaptive capacity of poetics. His sections on Hindi poetry in his Arabic work Subḥat al-marjān fī āthār Hindūstān (The Coral Rosary of Hindustan’s Traditions, 1763–64), and its later adaptation into Persian Ghizlān al-Hind (The Gazelles of India, 1764–65) anchor this study. The essay also establishes a Hindi inspiration for Azad’s Arabic poem Mir‘āt al-Jamāl (The Mirror of Beauty, 1773). By probing the intertextualities within and beyond Azad’s corpus, this study demonstrates how Arabic literary production in Hindustan benefits from a comparative method that accounts for a multilingual milieu. It thus considers the contributions of precolonial Hindi and Persian literatures to a reading of Arabic in Hindustan.
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Gould, Thomas. "Rhetoric and Rhythm — Derrida, Nancy and the Poetics of Drawing." Paragraph 44, no. 2 (July 2021): 157–75. http://dx.doi.org/10.3366/para.2021.0363.
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Opening with a consideration of the distribution of the two graphic acts — drawing and writing — this article offers a comparative study of Jacques Derrida's and Jean-Luc Nancy's respective exhibitions and catalogue essays on the subject of drawing. Through a comparative examination of what I take to be their central theoretical contributions to the study of drawing — Derrida its ‘rhetoric’, Nancy its ‘rhythm’ — this article moves on to suggest how these concepts inform a theory of poetic lineation.
Dissertations / Theses on the topic "Contributions in poetics"
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Pellis, Vivien C., and mikewood@deakin edu au. "Inspiration and Mimesis in Plato's criticism of poetry." Deakin University. School of Social Inquiry, 2001. http://tux.lib.deakin.edu.au./adt-VDU/public/adt-VDU20050902.124541.
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Plato criticizes poetry in several of his dialogues, beginning with Apology, his first work, and ending with Laws, his last. In these dialogues, his criticism of poetry can be divided into two streams: poetry is criticized for either being divinely inspired, or because it is mimetic or imitative of reality. However, of the dialogues which criticize poetry in these ways, it is not until Laws that Plato mentions both inspiration and mimesis together, and then it is only in a few sentences. Furthermore, nowhere in the dialogues does Plato discuss their relationship. This situation has a parallel in the secondary literature. While much work has been done on inspiration or mimesis in Platos criticism of poetry, very little work exists which discusses the connection between them. This study examines Platos treatment - in the six relevant dialogues - of these two poetic elements, inspiration and mimesis, and shows that a relationship exists between them. Both can be seen to relate to two important Socratic-Platonic concerns: the care of the soul and the welfare of the state. These concerns represent a synthesis of Socratic moral philosophy with Platonic political beliefs. In the inspiration dialogues, Ion, Apology, Meno, Phaedrus and Laws, poetic inspiration can affect the Socratic exhortation which considers the care of the individual soul. Further, as we are told in Apology, Crito and Gorgias, it is the good man, the virtuous man - the one who cares for his soul - who also cares for the welfare of the state. Therefore, in its effect on the individual soul, poetic inspiration can also indirectly affect the state. In the mimesis dialogues, Republic and Laws, this same exhortation, on the care of the soul, is posed, but it is has now been rendered into a more Platonic form - as either the principle of specialization - the one man, one job creed of Republic, which advances the harmony between the three elements of the soul, or as the concord between reason and emotion in Laws. While in Republic, mimesis can damage the tripartite soul's delicate balance, in Laws, mimesis in poetry is used to promote the concord. Further, in both these dialogues, poetic mimesis can affect the welfare of the state. In Republic, Socrates notes that states arc but a product of the individuals of which they are composed Therefore, by affecting the harmony of the individual soul, mimesis can then undermine the harmony of the state, and an imperfect political system, such as a timarchy, an oligarchy, a democracy, or a tyranny, can result. However, in Laws, when it is harnessed by the philosophical lawgivers, mimesis can assist in the concord between the rulers and the ruled, thus serving the welfare of the state. Inspiration and mimesis can thus be seen to be related in their effect on the education of both the individual, in the care of the soul, and the state, in its welfare. Plato's criticism of poetry, therefore, which is centred on these two features, addresses common Platonic concerns: in education, politics, ethics, epistemology and psychology.
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Mehta, R. (Rajesh). "Metaphor in Ricoeur's hermeneutics of poetic language." Thesis, McGill University, 1991. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=61170.
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Ricoeur advances a theory of metaphor as discourse. The notion of metaphor as event and as meaning is complicated by the form of written discourse and the distanciation which inscription engenders. By specifying the autonomy of the text in relation to the author's intention, the original audience, and the original context, Ricoeur argues that metaphor refers to its own world. Suggesting that the metaphorical arises from a "seeing-as" which contains a non-verbal element, he contends metaphors indicate a extra-linguistic mode of existence. The possibility of conceptualization lies for Ricoeur, at the core of the dynamism of the metaphorical. It is proposed in this thesis that Ricoeur's defence of the autonomy of speculative discourse is inadequate.
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Chinca, Mark Gianni. "History, fiction, verisimilitude : a contribution to the study of the poetics of Tristan by Gottfried von Strassburg." Thesis, University of Cambridge, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.256761.
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Surber-Meyer, Nida Louise. "Gift and exchange in the Anglo-Saxon poetic corpus : a contribution towards the representation of wealth /." Genève ; [Paris] : Slatkine, 1994. http://catalogue.bnf.fr/ark:/12148/cb356907199.
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Rumsey, Lacy Martin. "Rhythm & intonation in free verse form : an assessment of the contributions of phonetics, focus-to-accent theory and literary history to the understanding of nonmetrical poetry, with readings in the work of William Carlos Williams, Allen Ginsberg and Jack Kerouac." Thesis, King's College London (University of London), 2000. https://kclpure.kcl.ac.uk/portal/en/theses/rhythm-and-intonation-in-free-verse-form--an-assessment-of-the-contributions-of-phonetics-focustoaccent-theory-and-literary-history-to-the-understanding-of-nonmetrical-poetry-with-readings-in-the-work-of-william-carlos-williams-allen-ginsberg-and-ja(0a9e2904-206d-46ab-86da-8249cec90fc2).html.
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Rialland, Nicolas. "La correspondance sur la tragédie entre Lessing, Mendelssohn et Nicolai. Contribution à une genèse de l’esthétique allemande." Thesis, Paris 4, 2013. http://www.theses.fr/2013PA040193.
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Ce travail prend pour objet la correspondance sur la tragédie échangée par Lessing, Mendelssohn et Nicolai entre 1755 et 1757 selon une double approche. Un volume propose une traduction intégrale des lettres, accompagnées de textes qui en permettent une meilleure contextualisation. Un autre volume en établit une première interprétation, afin de la situer dans la genèse de l’esthétique philosophique en Allemagne. Il s’appuie donc sur une thèse liminaire : l’esthétique n’est pas d’abord une doctrine, mais le résultat, dans le milieu philosophique, du grand mouvement de constitution du système des arts qui traverse l’Europe au XVIIIe siècle. Il montre comment, en se rapportant chaque fois de manière différente à l’héritage baumgartenien et à la théorie de l’art française, chaque auteur se détache de la poétique classique de Gottsched qui constitue la référence intellectuelle en Allemagne à cette période. Abandonnant toute stratégie de légitimation du genre, Nicolai développe une approche critique, qui fait valoir l’autonomie du champ littéraire dans la détermination des règles d’écriture de la tragédie et en réfute toute fonction morale. Lessing, en revanche, développe une approche poétique et critique renouvelée, qui veut défendre à la fois l’autonomie du champ littéraire et l’utilité morale de la tragédie. Elle implique de redéfinir la pitié de manière inédite, puis finalement la nature de la moralité. Mendelssohn, enfin, défend contre Lessing une perspective esthétique : l’autonomie du champ et son absence d’ambition morale. Il en établit alors la légitimité grâce à la notion de plaisir esthétique, plus élevé en dignité que le plaisir sensible car intellectuelThe topic of the thesis is the 1755-1757 correspondence between Lessing, Mendelssohn and Nicolai about tragedy. One volume does not only contains a full translation of the letters but also some other texts in order to better sketch its historical context. Another volume contains an interpretation of the corpus that aims to highlight its place in the historical genesis of philosophical aesthetics in Germany. This work relies on a preliminary basis : aesthetics is not a doctrine, but rather the result, in the philosophical field, of the constitution of the system of arts that goes through the entire Europe in the XVIIIth century. It shows how each of them leaves the classic poetics of Gottsched – the reference in Germany at that time – and how each of them does it by referring in a different way to the legacy of Baumgarten and the French art theory. Hence, Nicolai gives up any strategy of recognition regarding the tragedy and takes a critical perspective. He underlines the autonomy of the literary field concerning the rules of tragedy. He denies any moral function. Lessing takes a poetical and critical perspective in a new sense. He stresses the autonomy of the literary field as much as the moral function of tragedy. This implies to redefine pity in a way never seen before, if not the essence of morality itself. As for Mendelssohn, he fights Lessing and adopts an aesthetical perspective. The aesthetical field is autonomous and has no moral ambition. What makes it legitimate is then the aesthetical pleasure for it has more dignity than the simple sensitive pleasure as it is more intellectual
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Ouingnon, Hyacinthe. "Une écriture de l'urgence : poétique et pragmatique de Camus journaliste." Thesis, Limoges, 2015. http://www.theses.fr/2015LIMO0078.
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On n'en prend pas souvent la mesure, Albert Camus c'est à la fois une œuvre et une conduite. Dans la construction de l'identité de l'écrivain-polygraphe, la scène du périodique a été une expérience matricielle. Loin de se réduire au double paradigme de l'absurde et de la révolte, on voit ainsi poindre la figure d'un intellectuel écrivant, ancré dans la bataille des idées de son époque, et dont le jeu spéculaire postule un « agir par le dire.» Notre étude, charpentée en trois phases, tente d'abord de cerner les modèles auctoriaux qui nourrissent son engagement civique ainsi que ses chevaux de bataille au cœur du XX ème siècle en crise. Elle tente ensuite d'éclairer les modulations, les stratégies énonciatives par lesquelles se structure la poétique d'une écriture de combat intimement liée aux urgences du contexte, et en constant ajustement avec les contraintes génériques ; se profile ainsi en filigrane la manière dont l'écrivain-journaliste gère la tension constitutive à tout discours journalistique engagé : informer avec objectivité/impossibilité de dire sans prendre parti. Enfin, l'analyse s'attache à examiner par quelle scénographie auctoriale le journaliste-rhéteur, dont la parole, en prise sur un auditoire à la fois situé et virtuel, postule une efficacité rhétorique, trouve sa voie dans la polyphonie discursive du cotexte. En redécouvrant un auteur canonique par-delà le cadre contraint du « champ littéraire et intellectuel » des « années noires », on mesure non seulement ce que l'écrivain doit au journaliste, mais surtout en quoi son expérience du périodique concentre toute l’œuvre sous la plume, et éclaire du même coup la posture hétérodoxe et singulière d'un des derniers héritiers du « temps des prophètes »Ones does not take often measurement of it, Albert Camus is at the same time a work and a control. In the construction of the identity of the writer-polygraph, the scene of the periodical was a matric experiment. Far from being reduced to the double paradigm absurdity and revolt, one sees stinging the figure of a writing intellectual, anchored in the battle of the ideas of his time, and whose specular game applies one “to act by saying it.” Our study, constructed in three phases, initially tries to determine the auctorial models which nourish its civic commitment like its hobby horses in the middle of the XX ème century in crisis. Secondly tries to clarify the modulations, the enunciative strategies by which structure the poetic one of a writing of combat closely related to the urgencies of the context, and in constant adjustment with the generic constraints; is profiled who makes in filigree of it, the way in which the writer-journalist manages the constitutive tension with any committed journalistic speech: to inform with objectivity/impossibility of saying without coming out. Lastly, the analysis attempts to examine by which scenography auctorial the journalist-rhetor, whose word, in catch on an audience at the same time located and virtual, applies a rhetoric effectiveness, finds its way in the discursive polyphony of the cotexte. By rediscovering a canonical author beyond the constrained framework of the “literary and intellectual field” of the “black years”, one measures not only what the writer owes to the journalist, but especially in what its experiment of the periodical concentrates all work under the feather, and clarifies at the same time the heterodox and singular posture of one of the last heirs to the “time of the prophets”
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Stella, Clara. "Publishing Renaissance women poets : the contribution of Domenichi's "Rime diverse d'alcune nobilissime et virtuosissime donne" (1559)." Thesis, University of Leeds, 2017. http://etheses.whiterose.ac.uk/19583/.
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The aim of this thesis is to propose a thorough study of the Rime di donne, the first anthology dedicated entirely to female poets, edited by Domenichi and printed by Busdraghi in Lucca in 1559. The thesis investigates [1] Domenichi’s and Busdraghi’s role in shaping this collection, [2] their involvement in the querelle des femmes and [3] the content of the anthology. By analysing its texts and its structure, my thesis challenges the received critical view of the Rime as simply a cabinet of poetic curiosities (Wunderkammer). The thesis consists of six chapters, followed by an Appendix, which contains the transcription of the 330 poems anthologised. Chapter 1 explores the profile of the editor and the printer, their working relationship as well as the political and religious setting of the anti-Medicean Republic of Lucca. Chapters 2 and 3 focus on Domenichi’s participation in the querelle and set the Rime within the wider frame of the diffusion of verse anthologies between 1545 and 1559. Chapter 4 analyses the literary profile of Gambara, Colonna, and Stampa and provides a biographical and stylistic profile of each anthologised author. Finally, the thesis proposes a metrical, thematic and structural analysis of the anthology in its entirety. With the Rime di donne, Domenichi presented to the public a definitive demonstration of the excellence of female nature, providing a ‘counter melody’ made up of 330 poems against the Rime di diversi nobilissimi autori series of poetic anthologies. The content, however, continues to partly reflect Domenichi’s interests in politics and religious topics. In fact, the prominence and space given by the editor to the Sienese poet Virginia de’ Salvi leaves room to challenge the assumptions about Domenichi’s position toward his protector Cosimo I. Furthermore, the group of poems Domenichi chose to be representative of Vittoria Colonna’s profile, which focuses in particular on the Maddalena, the Virgin, and the Cross, can be read in the light of Domenichi’s heterodox interests. Finally, the Rime represents a precious corpus of poetry that can be further investigated with respect to the construction of the female poetic persona. This corpus also highlights the significance of the poetic and stylistic legacy of Gambara and Colonna for the second generation of women writers, as well as for those noblewomen who embraced the Petrarchist’s experience in the many ways the Rime di donne testifies.
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Revol, Claire. "La rythmanalyse chez Henri Lefebvre (1901-1991) : contribution à une poétique urbaine." Thesis, Lyon 3, 2015. http://www.theses.fr/2015LYO30038/document.
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Cette thèse propose d'explorer les textes que Henri Lefebvre (1901-1991) a consacré à un projet de connaissance des rythmes, une « rythmanalyse », terme qu'il emprunte à Gaston Bachelard, pour contribuer à ce que nous appelons une poétique urbaine. Henri Lefebvre a laissé une œuvre fondatrice dans les études urbaines contemporaines en théorisant l'avènement de la société urbaine moderne et en produisant une théorie critique de l'urbanisme et des espaces et des temps sociaux qui en résultent. Nous montrons que la théorie critique est solidaire d'une poétique issue du romantisme révolutionnaire de l'auteur, qu'il développe au contact de pratiques artistiques, notamment celles de l'Internationale Situationniste. À l'encontre de ce qu'il analyse comme le processus d'abstraction de l'espace et du temps urbain, la rythmanalyse fait partie de la quête d'un espace-temps approprié à même de métamorphoser la société urbaine et de restituer le corps total, afin que l'urbain devienne l’œuvre de l'homme. Lefebvre ne propose pas seulement une méthodologie qualitative d'observation des rythmes, mais une expérimentation rythmanalytique, dont nous pouvons imaginer la pratique sous la forme de l'utopie expérimentale. La rythmanalyse fournit ainsi les idées directrices d'une poétique appliquée, à même de créer des formes, des textures et des styles pour l'habiter urbain. Cette poétique urbaine, à la fois création et connaissance, procède par des pratiques expérimentales et restitue le jeu rythmique qui enrichit l'expérience esthétique de l'espace et du temps urbainThis thesis proposes to explore the texts that Henri Lefebvre (1901-1991) devoted to his project of understanding rhythms, his « rhythmanalysis », a term borrowed from Gaston Bachelard, to contribute to what we call an urban poetics. Henri Lefebvre has produced fundamental work in contemporary urban studies in both his theorization of the advent of modern urban society, and his elaboration of a critical theory of urban planning with its resultant social spaces and temporalities. We show that this critical theory unfolds in line with his construction of a poetics, which is inspired by the revolutionary romanticism that the author developed through his contact with artistic practices, especially those of the Situationnist International. Against his analysis of abstraction as an inherent process of urban space and time, his rhythmanalysis contributes to the creation of an appropriate space-time, with its ability to transform urban society and reconfigure the Total body so that what is urban can be instead considered a work of art. Lefebvre provides not only a qualitative methodology for the observation of rhythms, but also the outline of a rhythmanalytic experimentation, which can be associated with the practices of an experimental utopia. Rhythmanalysis offers guidelines for an applied poetics; it goes as far as creating forms, textures and styles for urban living. This urban poetics, simultaneously a creative act and one steeped in knowledge, proceeds through experimentation and restores the rhythmic game that enriches our aesthetic experience of urban space and time
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Devaux, Emmanuelle. "Étude de la métaphore séminale dans les commentaires bibliques de Paul Claudel." Thesis, Paris 4, 2015. http://www.theses.fr/2015PA040090.
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L’image du germe, du développement organique, est très importante dans l’œuvre poétique et dramatique de Claudel. Dans ses écrits en prose qui constituent la seconde partie de son œuvre, et sont principalement consacrés à l’étude de la Bible et de ses mystères, cette métaphore devient centrale. Elle est le vecteur privilégié de l’interrogation du poète sur la vocation de l’homme, le sens de sa vie, les réalités spirituelles qui le déterminent souterrainement. La semence devient plus largement le symbole d’un monde dynamique, divinement orienté vers un achèvement parfait tout en restant acteur de son développement et ainsi véritablement créateur. À travers le travail sur cette métaphore, le poète atteint ainsi un équilibre entre la valorisation de la vitalité qu’il admire et célèbre, et la recherche d’une forme parfaite, liée à la reconnaissance d’un Dieu créateur. La mise au point de ce nouvel « art poétique » passe par un travail poétique sur les images et les motifs rencontrés dans la Bible, autour notamment de l’annonce de l’Incarnation. Pour les interpréter, Claudel puise dans la Tradition chrétienne, reçue à travers la liturgie, mais aussi par la lecture des Pères de l’Église ou de théologiens comme saint Augustin et saint Thomas. Mais il exploite également les découvertes scientifiques les plus récentes, et dialogue avec des philosophies plus modernes. L’insistance sur le mouvement et la prise en compte de la spontanéité du vivant et des obscurités de l’homme qu’exprime la métaphore séminale permettent ainsi de rapprocher Claudel, malgré son apparent isolement, de ses contemporainsThe symbol of the germ, and the model of the organic development, play a very important role in Paul Claudel’s poetical and dramatical works. When the poet devoted himself to the study and the poetic commentary of the Bible in the last part of his life, this metaphor becomes central. Claudel uses it particularly in questions such as the meaning of human life and its links with spiritual realities. More broadly speaking, the image expresses the energy and the power of development contained in a world that aims at its complete achievement. Through this image, Claudel celebrates the vigor he admires in nature, and, at the same time, the perfection of a divine realisation. The reading of the Bible leads him to renew his approach of these themes. We also have to consider the influence on him of other sources, especially the Fathers of the Church, great theologists as Thomas Aquinas or Saint Augustine and other spiritual books which he frequently refers to. Nevertheless, we should not forget that he exploits as well the more recent scientific discoveries and discusses contemporary issues. The image of the germ allows Claudel to stress the dynamism of the world, the spontaneity of living things and to illustrate the mystery of man; thus, it is at the heart of his poetical world
Books on the topic "Contributions in poetics"
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Franzén, Carin. Att översätta känslan: En studie i Julia Kristevas psykoanalytiska poetik. Stockholm: Symposion, 1995.
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Against ethics: Contributions to a poetics of obligation with constant reference to deconstruction. Bloomington, Ind: Indiana University Press, 1993.
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ʻAbd al-Ḥamīd al-Sayyid ʻAbd al-Ḥamīd. al- Ṭarīq al-muʻabbad ilá ʻilmay al-Khalīl ibn Aḥmad: Al-ʻarūḍ wa-al-qāfīyah. al-Qāhirah: Maktabat al-Kullīyāt al-Azharīyah, 1986.
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1930-, Maguire Robert A., and Timberlake Alan, eds. American contributions to the Twelfth International Congress of Slavists: Cracow, August-September 1998 : literature, linguistics, poetics. Bloomington, IN, USA: Slavica, 1998.
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1930-, Maguire Robert A., and Timberlake Alan, eds. American contributions to the Eleventh International Congress of Slavists: Bratislava, August-September 1993 : literature, linguistics, poetics. Columbus, Ohio: Slavica Publishers, 1993.
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1943-, Burian Peter, ed. Plato and Aristotle on poetry. Chapel Hill: University of North Carolina Press, 1986.
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Shastri, Mool Chand. Buddhistic contribution to Sanskrit poetics. Delhi, India: Parimal Publications, 1986.
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Karan, Anita. Pratihārendurāja's contribution to Sanskrit poetics. Delhi, India: Eastern Book Linkers, 1988.
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Sanskrit poetics, with contribution of Orissa. Delhi, India: Bharatiya Vidya Prakashan, 1988.
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The contribution of Paṇḍitarāja Jagannātha to Sanskrit poetics. Delhi, India: New Bharatiya Book Corp., 2008.
Find full textBook chapters on the topic "Contributions in poetics"
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Schwarz, Daniel R. "Towards a Humanistic Poetics: Challenges and Contributions." In The Case For a Humanistic Poetics, 142–97. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-11070-4_5.
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Subramaniam, Niveditha. "Chapter 9. Fabric with feeling." In Children’s Literature, Culture, and Cognition, 137–50. Amsterdam: John Benjamins Publishing Company, 2023. http://dx.doi.org/10.1075/clcc.16.09sub.
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This chapter analyses the triadic relationship between materiality, memory, and affect in the Indian picturebook Mukand and Riaz (2007) by Nina Sabnani. Set against the backdrop of the Partition of India and Pakistan, the book is based on the “fragmented memories” of Sabnani’s father, a child refugee at the time (Sabnani 2007). This chapter examines how the book connects microhistory to macrohistory. Specifically, the chapter looks into the ability of artefacts to embody individual emotions and collective experiences and explores how this ability is translated through the material poetics of the picturebook. The chapter suggests that this work’s layered approach to materiality provokes a fine-grained understanding of human-object relations, contributing to new materialist children’s literature studies.
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Hutchings, William. "9. Homer, The Iliad." In ‘Wit’s Wild Dancing Light’, 99–112. Cambridge, UK: Open Book Publishers, 2023. http://dx.doi.org/10.11647/obp.0372.10.
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Chapter 9 proposes that Pope’s translation of Homer’s Iliad can be fruitfully read as perhaps the most significant of all contributions to a cultural history of maintaining the tradition of epic. The key principle driving this endeavour is that the authentic voice of ancient epic should be preserved and made comprehensible for a readership living in the ethos of, and accustomed to the poetic modes of, a different world. Two passages, one from book eight and one from book twelve of the Iliad , are examined alongside versions by Sir John Denham (seventeenth century), William Cowper (later eighteenth century) and Alice Oswald (twenty-first century) to show how the inner voice of the original is maintained within living language.
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Asmis, Elizabeth. "Epicurean Poetics." In Philodemus And Poetry, 15–34. Oxford University PressNew York, NY, 1995. http://dx.doi.org/10.1093/oso/9780195088151.003.0002.
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Abstract If one were to ask people to rank the contributions made by the Epicureans to philosophy, I would not be surprised if poetic theory were near the bottom of most people’s lists, or altogether missing, whereas poetry itself might well be at the top. The ancient quarrel between philosophy and poetry seems to have played itself out in an extreme paradox in Epicureanism. Epicurus has the reputation of being the most hostile to poetry of any Greek philosopher. But some of his later followers were clearly devoted to poetry, and one of them, Lucretius, achieved a remarkable reconciliation between philosophy and poetry.
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Miller, Sarah Gray. "Introduction to the Individual Contributions." In Oral Poetics in Middle English Poetry, 29–37. Routledge, 2019. http://dx.doi.org/10.4324/9780429196836-2.
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Van Lint, Theo Maarten. "The Poetics of Jurij Ivask." In Dutch Contributions to the Tenth International Congress of Slavists, Sofia, September 14-22, 1988, 199–219. BRILL, 1988. http://dx.doi.org/10.1163/9789004647831_011.
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Mcgann, Jerome. "Mary Robinson and the Myth of Sappho." In The Poetics of Sensibility, 94–116. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198183709.003.0011.
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Abstract Describing the scope of her study of the Fictions of Sappho I546-I937,joan Dejean points outthat the reception history of the Greek poet ‘is almost exclusively a French preserve’ until the eighteenth century, at which point ‘the English and the Germans really began to play a role’. These facts explain why Dejean focuses on French traditions. But she then adds: Once other traditions become active, I refer to all the major contributions to the composite portrait of Sappho that originate outside of France.
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Van Buskirk, Emily. "The Poetics of Desk-Drawer Notebooks." In Lydia Ginzburg's Prose. Princeton University Press, 2016. http://dx.doi.org/10.23943/princeton/9780691166797.003.0003.
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This chapter discusses the heterogeneity and flexibility of Ginzburg's notebooks, examining what happens when a “note” (zapis') migrates from one composition to another and acquires new neighbors. It explores her “theory of the note” in her early scholarship on Pyotr Vyazemsky (1925–26, 1929) and in her article “On Writers' Notebooks”—her first scholarly reflections on in-between prose, later to become the area of her most significant contributions to literary scholarship. Ginzburg's early scholarship, and the inception of her notebook project in 1925, coincided with a perceived crisis in the novel and a rising interest in documentary literature. A focus on the late 1920s will allow us to trace how Ginzburg's notebooks were shaped by this crisis and sought to emerge from it.
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Duffell, Martin J. "Metrics." In A Century of British Medieval Studies. British Academy, 2007. http://dx.doi.org/10.5871/bacad/9780197263952.003.0030.
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This chapter examines the history and developments in British study of medieval metrics during the twentieth century. It explains that the contribution of British scholars to medieval metrics has been minor partly because British culture prefers empirical observation to abstract systems. In the second half of the century several British scholars made substantial contributions to historical metrics. They include Geoffrey Leech in his linguistic guide to poetics, W. Sidney Allen in his reconstruction of Classical Latin phonology and Nigel Fabb in his study of form and literary theory.
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Felsenstein, Lee. "Community Memory: The First Public-Access Social Media System." In Social Media Archeology and Poetics. The MIT Press, 2016. http://dx.doi.org/10.7551/mitpress/9780262034654.003.0004.
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Community Memory was the first public-access social media system, opening without advance notice on August 8, 1973 in Berkeley, California. Designed and programmed by members of a nonprofit company established to bring the power of computers to the counterculture, it ran on a mainframe computer and was well received by those who tried it. This chapter discusses the history of the project, contributions of some of its members, and ways in which it succeeded and ultimately failed to sustain itself. Pre-dating the personal computer, it was designed to provide terminals that nucleated neighborhood information-exchange points. Community Memory spun out from its parent organization, Resource One, Inc. to form its own nonprofit -- The Community Memory Project -- in 1977. The design underwent three generations, culminating in a network of text-based browsers running on basic IBM PCs accessing a Unix server. It was never connected to the Internet, and closed in 1992.
Conference papers on the topic "Contributions in poetics"
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Bierganns, Morten. "The Creative Process in 18th Century Poetics: A Prologue to Psychological Conceptualisations of the 20th Century." In 14th European Conference on Creativity in Innovation. AIJR Publisher, 2023. http://dx.doi.org/10.21467/proceedings.154.1.
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Since Rhodes’ 4P model, the creative process has been of great interest to the psychology of creativity. Although most psychologists were not aware of it, their conceptions of the creative process on a structural level reiterated those of 18th century poetics. To demonstrate this, the paper methodologically draws on the analytical tools of historical semantics. It proposes to broaden our approach to the creative process by studying poetic views of the past and encourages practitioners to consult these aesthetic texts as inspiration for the development of creativity techniques. Above all, the paper sees itself as a contribution to understanding the history of a concept that is inscribed in our contemporary culture.
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Rotaru, Ioan-Gheorghe. "Sabbatarian Literature from the 17th Century and the Contribution of Simon Pechi." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.38.
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Both Sabbatarianism and its poetic creation from this period were under the influence of Simon Péchi. Most of the poetic creations of the Sabbatarians came from the pen of Péchi, who also outlined the future direction regarding this kind of creation. The concern of the Sabbatarians was for the translation of Jewish religious hymns, as well as for their processing. And the literature which emerged, and which until now is an almost unknown poetic literature, which is not even very wide and which has come to us with many shortcomings, in one respect is unmatched and especially full of teachings as regarding that radical change, through which Sabbatarianism has passed from the moment Simon Péchi has reached to lead it.
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Duarte, Fernanda, Rosangella Leote, Rodrigo Dorta Marques, and Rodrigo Rezende. "The research context of GIIP - International and Interinstitutional Research Group in Art, Science and Technology." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.134.
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The GIIP “Interinstitutional and International Research Group on Art, Science and Technology” was certified at CNPq by UNESP in 2010. It is directed by Rosangella Leote and Fernanda Duarte. We have developed investigation that are allocated in six research lines which are coordinated by Brazilian and foreign researchers. We aim to focus on works of art with emerging media where can be observed transductions, at any level, between the three areas that entitle the group, taking into account the contributions of these different fields, in an interdisciplinary way, but prospecting transdisciplinary emergence. This group is linked to the research line “Artistic processes and procedures” of the Post Graduate Program in Arts, (level 5/CAPES), at the Institute of Arts at UNESP (SP/Brazil); the activities take place within the Laboratory of Art, Science and Technology.The dynamic of the work brings together and leads to masters, doctoral and post-doctoral degrees. The participation of undergraduate and graduate students takes place, both by invitation among peers and voluntary adherence, as well as through the role of research guidance for CIs (PIBIC CNPq/UNESP/FAPESP), masters, doctorates (CAPES, FAPESP or without scholarship) and supervision (with or without scholarship, Brazilians or foreigners) of post-docs and co-tutorships, in addition to technical and monitoring activities (scholarship BAAE I and II - UNESP). GIIP brings together 49 people, including permanent researchers, students, technicians or collaborators. The network comprises researchers in National territory (Public IES), and in international territory (through exchange agreements). The group is continually open to the involvement of new researchers, collaborators or listeners, in its weekly meetings, with part of the team presential and another via the internet. Due to the pandemics, all activities are being carried out online. In addition to artistic activities, our intellectual production involves publications, conferences, seminars, lectures, exhibitions, international exchanges agreements, development of assistive interfaces with intellectual property, transference of technology and patent registration (in process at UNESP).One of the important results obtained has been the development of the “Zonas de Compensação/Compensation Zones” extension project, also international. It is a project that opens our results in research that crosses the edge of the University and reaches the non-academic society.There are other extension activities that are developed by GIIP, which we consider to be very well received. GIIP's original lines of research have been changing over time, a symptom of the evolution of investigation. Today they are Creation in Art and Science; Assistive interfaces for the arts: from diffusion to inclusion; Neuroscience for Art - Art for Neuroscience; Visual and special effects in audiovisual and shows; Poetics of space and time; and Art/Education Methodologies for people with disabilities. As the group's research processes involve the collaboration of several Brazilian and foreign universities, interdisciplinary, collaborative and individual projects are developed. They are investigative and/or extensive. The group's synergy impacts the production of its individuals, transforming and expanding their research objects and career paths.
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Vasileva, Irina. "ABOUT THE BOUNDARY MARKERS OF THE TRANSITION PERIODS: LYRICAL DIGRESSIONS IN THE FICTION BY ANTON CHEKHOV." In 50th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063183.03.
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Anton Chekhov is generally acknowledged as a writer who symbolizes a transition period, marks the end of the Classical Russian literature of the 19th century and establishes the basics of the poetics of the 20th century. Scholars are traditionally focused on Chekhov’s innovations but not on the connections with the previous tradition. This contribution makes an attempt to reassess the aspect of Chekhov’s poetics which could be called historical “form’s thinking” (in Alexander Mikhailov’s terminology). I mean the features of tradition which result from historical dynamics of culture and are beyond individual principles of artistic consciousness. In the culture prior to the New Age, topos was a form which included both principles and ways of thinking. In this research I analyze lyrical digressions in the Russian fiction of the 19th century which correlate with topoi on the basis of their constitution. The strategy of lyrical digressions rests on the movement between two poles of the being: historical and eternal, individual and universal, etc. Before Chekhov, this movement was strictly hierarchical. In Chekhov’s lyrical digressions one can easily notice a shift of semantic coordinates when the concrete and the situational becomes valuable. However, the poles themselves (individual and universal) and the movement between them remain invariable. It is possible to claim that Chekhov’s poetics although discovers the boundaries of semantic dynamics of the lyrical digressions (as a constant form) is not aware of any other principle of thinking. This fact distinguishes Chekhov from his younger contemporaries and makes him the writer of the classical 19th century. Refs 20.
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Allambergenova, Nodira. "KAMRON MIRZA IS A WORTHY SUCCESSOR OF BABUR'S POETRY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/zaqj2018.
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Komron Mirza, one of the notable figuresin Turkish literature in India, was the second son of Babur. He was not only a gifted poet but also a remarkable talent who carried forward the rich traditions established by his father. This article conducts a comparative analysis of the poetic works of Zahirad-Din Muhammad Babur and Komron Mirza, specifically focusing on their contributions in the Uzbek language, encompassing ghazals, rubai, and fards.
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Ribeiro, Clarissa. "Data-Phantoms: Impossible Nests (Memories Post Extinction)." In 28th International Symposium on Electronic Art. Paris: Ecole des arts decoratifs - PSL, 2024. http://dx.doi.org/10.69564/isea2023-79-full-ribeiro-data-phantoms.
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Recent studies show that in ‘anthropogenic landscapes’ birds have been forgetting how to sing and build nests since their parents die earlier and their communities are forced to be fragmented. Dialoguing with the Sub-theme “Symbiotic Imaginaries: Inventing Worlds,” the work “Data-Phantoms: Impossible Nests (Memories Post Extinction)” (2022) explores the phantasmagoric aspect of raw data coming from ‘nature traces’ of six (6) bird species declared extinct in nature along sequential morphogenetic transformations from numbers’ lists (birdsongs used as primary data), to geometrically complex and irregular data sculptures. The paper presents a discussion around the poetics that refers to an ongoing endeavor in exploring and discussing metaphysical aspects of data visualization embedded in the tools and processes chosen for parametric modeling and digital fabrication. The work intends contributing to reinforce our "symbiotic imaginaries," ‘inventing new worlds’ in which humans together with all living beings coexist and collaborate in their surviving efforts. The six data-sculptures—imperfect or ‘impossible nests’—are tentative explorations of the sublime in dystopian data-visualization aesthetics, manifesting in its irregular and messy geometry, the impossibility of birds, in broken ecologies, to perform their birdsong and successfully mate, to learn from their community how to build an ‘optimum’ nests and prosper.
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Davronova, Zarnigor. "CHARACTERISTICS OF THE ANTHROPONYMS MENTIONED IN "BABURNAMA"." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/uubs9677.
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It is known from history that Central Asia has given the world many thinkers, poets and generals. Zahiriddin Muhammad Babur Mirza, one of the most complex, most attractive and greatest figures of our history, a unique person, took a proud place in world history during his short life of only forty-seven years. What Zahiriddin Muhammad Babur saw and experienced from the day he ascended the throne to his death is "Vaqoye" (this work is also called "Vaqeoti Baburiy", "Tuzuki Baburiy", "Tawarikhi Baburiy", "Baburiyya" in other sources. Later it was called "Baburnoma" saying is written in ) which has become a picture. His elegant ghazals and rubai are the rarest masterpieces of Turkish poetry, and his treatise on "Mubayyin" ("Declared"), "Hatti Baburiy", "Harb ishi" and Aruz became a worthy contribution to the fields of Islamic jurisprudence, poetry and linguistic theory.
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Balaminutti, Lara D., and Rachel Zuanon. "Sensorial Design applied to teaching-learning in Artistic Drawing." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.133.
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The present research focuses on the Sensorial Design approach applied to the teaching-learning of artistic drawing. The Sensorial Design is subsidized by the SEE BEYOND method [LIMA JR. G.C.; ZUANON, R. 2017-2019], which is based on cognitive-behavioral neuroscience and neuroeducation studies to develop and apply didactic-pedagogical and didactic-andragogics resources aimed at teaching and learning of Design by students with and without visual impairment. In this approach, the practice of drawing is understood as an intrinsic element to the mental mechanisms of human beings and acting in their sensorimotor, cognitive and behavioral evolution. This is because through the lines, textures, colors and other compositional elements present in the drawing practice, it is possible to elaborate or express affections and materialize emotions, sensations and thoughts, which are experienced in the mind and experienced in the body as a whole. From this understanding, the approach between the fields of artistic drawing and cognitive-behavioral neuroscience is natural. In the context of higher education, specifically in Visual Arts, the cooperation between the fields of drawing, neuroscience and neuroeducation is shown to be capable of equipping educators with pedagogical practices that contribute to the formation of contemporary artists, especially with regard to the achievement of a poetic-artistic and authorial project expression. The activities carried out from the practical approach of Sensorial Design seek to question the protagonism of vision by sensitizing and enhancing the other senses. In this process, hearing, tasting, smelling, and touching also gain prominence in the formation of mental images, unlike other teaching-learning methods in which this protagonism focuses only on vision. The Sensorial Design approach is developed in the context of higher education in Visual Arts and applied in the Artistic Drawing I and II disciplines, which are part of the Visual Arts undergraduate course’s curriculum at the University of Campinas, since 2019. Through of student’s somatosensory and sensorimotor stimulations, the classes address several thematic axes fundamental to the field of artistic drawing practice, which are at the base of most artistic drawing teaching programs in Brazil for example: line, contour, filling, figure, ground, movement and rhythm. From this global stimulation of the senses, students are encouraged to expand their perceptive limits and their creative processes while expanding their sensory repertoires. Furthermore, the Sensorial Design approach corroborates the rupture of pre-established visual compositional patterns and, consequently, the reach of an authorial poetic-artistic expressiveness. It is important to highlight that in the period prior to the COVID-19 pandemic, all activities carried out with students took place in the face-to-face education context, and the drawing practice happened mostly through analogical instruments and mediums. With the pandemic already unleashed, such activities were adapted for distance education, in order to preserve their original characteristics, especially with regard to ensuring the application of somatosensory and sensorimotor stimulation in the students. The experience acquired along this methodological adaptation process (from face-to-face to distance education) has indicated relevant contributions to increment this approach in the post-pandemic context, e.g. to increase the number of digital media resources applied in the Sensorial Design practice, which point out to the formulation of a hybrid learning-teaching method (physical-digital).