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Journal articles on the topic 'Eco poetic'
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Hampson, Gary P. "Facilitating eco-logical futures through postformal poetic ecosophy." Futures 42, no. 10 (December 2010): 1064–72. http://dx.doi.org/10.1016/j.futures.2010.08.005.
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Kong, Ya Wei, Chang An Liu, Ji Long Zhao, Bin Zhao, and Xiao Dong Li. "How Green Technic and Poetic Issues in Eco-Architectural Practice." Advanced Materials Research 250-253 (May 2011): 3292–98. http://dx.doi.org/10.4028/www.scientific.net/amr.250-253.3292.
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The reconstruction in the area of Wenchuan Earthquake strives to be eco-friendly and recalls the question of how green. Built environment, which is reconstructed according to the green of eco-architecture, must contribute more positively to the planet and the pleasure of place as well as answering the sustainable demands of comfort. To address both technic and poetic issues in eco-architectural practice, in the design proposal for a Rural Sunshine Primary School located at Barkam County of Sichuan Province, low technologically, sensory experience of sustainable strategies is widely introduced to reinforce the meaning of green building and encourages the children in disaster area to make friends with nature and future. Three interactive issues, eco site plan, sustainability strategy and green environment, are introduced as the core concepts in the design, while the children in disaster area comfortably and sensorily experience daylighting, ventilation and thermal performance of green building.
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Tzanelli, Rodanthi. "Eco-Aesthetics and Climate Change." Transfers 11, no. 2 (June 1, 2021): 116–20. http://dx.doi.org/10.3167/trans.2021.110209.
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Environmental sustainability and ecological aesthetics experience a turbulent affair when academic language is replaced by an artistic register: can we articulate contemporary crises stemming from uncontrolled mobilities, such as hyper-consumption, hyper-automobilities, and technological pollution, better by replacing sociological analysis with affective poetic language? The following poem (unpublished but belonging to the theme of Altermodernities: A Traveller’s Notes, book 1: Anthropocene Entanglements) explores what this transition offers to a “public sociology” of modernity that relays theory to multiple publics in alternative visual and textual styles.
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Chang, Chia-ju. "Documenting life in the era of climate change: Huang Hsin-yao’s Nimbus and Taivalu." Asian Cinema 30, no. 2 (October 1, 2019): 235–54. http://dx.doi.org/10.1386/ac_00006_1.
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What can the poetic or experimental mode of documentary contribute to the discourses of the New Taiwan Documentaries, particularly the ones that address everyday eco-disasters in the Pacific Rim during the climate change era? In this article, I use Huang Hsin-yao’s Daishui yun (Nimbus) (2009) and Shenmei zhi dao (Taivalu: Taiwan vs. Tuvalu) (2010) as case studies of what I call ‘cli-fi ethnographic documentary’. These documentaries demonstrate that the employment of the poetic documentary mode, as a filmic strategy, provides a different outlet to address the tension, for example, between planetary suffering, eco-aesthetics, human psychological adaptability and environmental justice. Here the Taiwanese directors dare to imagine a broader, deep-time, more-than-human multispecies world, affect and aesthetics, while not eschewing the question of justice, accountability and causality.
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Moraes, Janaína. "Residual collaborations: Inviting Repaired coexistence through ecological imagination within Resilient choreographic Relationships." Journal of Dance & Somatic Practices 13, no. 1 (December 1, 2021): 83–94. http://dx.doi.org/10.1386/jdsp_00038_1.
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This article contains two case studies that aRe shaped as ‘suitcase stories’ Referring to collaboration. These stories addRess the Relationships between human and moRe-than-human beings as they journey through cReative processes guided by the perspective of ecological relationalities. The stories pResented heRe aRe echoes of entangled narratives, in an attempt to voice the perspective of an artist who found Resilience through togetherness and co-labouring. Both cases are responses to damaged worlds, and they sought Reflection through the embodiment of somatic experiences on eco-conscious experimentations in dance practice. The notion of invitation poetics is pResented as a political and poetic framework of ‘becoming’ through practices of coexistence.
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Ryan, John Charles. "Planting the Eco-Humanities? Climate Change, Poetic Narratives, and Botanical Lives." Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no. 3 (August 18, 2016): 61–70. http://dx.doi.org/10.21659/rupkatha.v8n3.08.
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Mahmoud, Mohamed Abdel Wahab. "Climate Change & Ecocide in Helen Moore’s “Ecozoa”: An Eco-Poetic Study." CDELT Occasional Papers in the Development of English Education 80, no. 1 (October 1, 2022): 215–42. http://dx.doi.org/10.21608/opde.2022.282213.
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Terblanche, J. E., and R. F. Terblanche. "Ezra Pound’s orientalist poetry, natural rootedness, and Lepidoptera." Literator 23, no. 3 (August 6, 2002): 97–116. http://dx.doi.org/10.4102/lit.v23i3.345.
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In this article, we focus on the outward purpose (Umberto Eco) and natural rootedness of Ezra Pound’s translation of Li Tai Po’s “The River Merchant’s Wife: a Letter.” Natural rootedness – a sign actively conditioned by and into a dynamic ecosystem – is a central aspect of Taoist poetics and modernist orientalism (Gary Snyder). We follow the outward purpose of the sign, in further exploration of a zone of between-ness: between the opposites of culture and nature (William Howarth). In particular, we focus on the butterfly image in this poem. An interdisciplinary, ecosemiotic reading is made of this image within its poetic and natural context. We argue that this image is related to actual (ecological and evolutionary) butterfly colouration and behaviour in the (Chinese) ecosystem. Although no historical evidence of either Pound’s or Li Po’s interest in butterflies exists as far as could be determined, the middle ground between English and Chinese that Pound occupies (Eric Hayot) in this translation, could partially explain the interlevel correspondence between this image and actual butterfly behaviour. The article demonstrates that the image ties in well with an autumnal orpimentation or “enyellowment” of butterflies, as well as their sexual behaviour. It concludes that the significance of the sign is enhanced by its outward purpose towards and interpenetration with and within active nature, culminating in this central natural image in this important and creative poetic translation by Pound.
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De Ros, Xon. "El legado oculto de Antonio Machado a la generación de poetas del medio siglo." Prosemas 4 (February 19, 2020): 203. http://dx.doi.org/10.17811/prep.4.2019.203-222.
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Resumen: Los estudios dedicados a investigar la ascendencia de Antonio Machado en la generación poética del 50 han resaltado la crítica social y la reflexión metafísica como rasgos comunes en ambos. Este artículo se propone explorar el componente erótico, un aspecto poco estudiado en la poesía de Machado a pesar de la relevancia que tiene en la obra de sus apócrifos, examinando uno de los poemas tempranos de «Galerías» a la luz de su lectura por parte de Jaime Gil de Biedma. El análisis de las estrategias que generan el potencial erótico del poema machadiano, a través de enfoques proporcionados por teorías y poéticas del erotismo elaboradas por autores como George Bataille, Roland Barthes, Octavio Paz y Anne Carson, entre otros, revela una estructura de ecos y resonancias poéticas que evocan una figura mediadora del deseo. La reacción de Gil de Biedma sugiere una sensibilidad receptiva a esta veta del legado de Machado. Palabras clave: Erotismo; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poetas del 50; tradición poética; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; triángulo erótico; mediador del deseo; eco poético.Abstract: Researchers working on the influence of Antonio Machado on the Spanish mid-1950s generation of poets have highlighted social critique and metaphysical reflexivity as common features in both. Prompted by Jaime Gil de Biedma’s reading of one of Machado’s earlier poems from the series ‘Galerías’, this essay explores the erotic component in the poem, an element under-researched in Machado’s poetry despite its relevance to the writings of his apocryphals. Drawing on theories of eroticism proposed, among others, by Georges Bataille, Octavio Paz, Roland Barthes and Anne Carson, an analysis of the textual strategies that generate the erotic potential in Machado’s poem reveals a network of echoes and poetic resonances which conjure up the figure of a mediator of desire. Gil de Biedma’s reading suggests a sensibility receptive to this strand of Machado’s legacy. Key words: Eroticism; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poets of 1950; poetic tradition; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; erotic triangle; mediator of desire; poetic echo.
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Węgrzyniak, Anna. "Ćwiczenie ekologicznej wyobraźni. O poezji Julii Fiedorczuk." Poznańskie Studia Polonistyczne. Seria Literacka, no. 33 (October 26, 2018): 219–35. http://dx.doi.org/10.14746/pspsl.2018.33.13.
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The key to reading Julia Fiedorczuk’s poems – interpreted within the paradigm of eco-poetry – are the words used in the titles of her poetry volumes: “bio”, “planet” and “oxygen”, which foretell bio-centrism. The poetic imagery unites organic tissues with the artist’s “texture”. A love relationship of a human with a non-human reveals ecological sensitivity, yet it is a painful “love” because it is accompanied by the disagreement about the fragility of existence and the progressing degradation of the planet.
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Santos, Maria Aparecida Cardoso, and Alice Rodrigues Crivano da Silva. "Sobre a tradução poética e o Poetry Slam: crepa! – uma análise e muitos diálogos." Revista Italiano UERJ 12, no. 1 (September 5, 2021): 14. http://dx.doi.org/10.12957/italianouerj.2021.62088.
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RESUMO: O presente trabalho visa a ratificar o papel do tradutor como mediador entre culturas ao discutir as estratégias utilizadas na tradução e na retradução de um poema escrito em língua italiana. O corpus de análise, o poema crepa! criado pelo escritor e poeta sardo Sergio Garau, traduzido para língua portuguesa e apresentado na edição da FLUP de 2016, é um expoente da poetry slam, atribuindo a importância da oralidade, da métrica e das rimas do original durante o ato tradutório. Nesta modalidade, cuja performance artística é essencial para agregar significado ao poema, a meta objetivada seria produzir uma tradução satisfatoriamente fiel tanto no que diz respeito à forma quanto ao conteúdo. À luz de teóricos como Paulo Henriques Brito, Umberto Eco, dentre outros, evidenciamos dificuldades e soluções durante o desafio da tradução poética intercultural. Neste, também comentamos sobre outras questões igualmente pertinentes como a possibilidade de contato com o autor para solucionar eventuais dúvidas; a importância do trabalho em equipe na busca de outras perspectivas para a transposição do poema à língua de chegada; a validade de uma tradução e a necessidade de uma nova versão da mesma em prol da aprimoração constante do trabalho realizado pelo tradutor.Palavras-chave: Tradução poética. Tradução intercultural. Italianística. ABSTRACT: Questo lavoro si propone di confermare il ruolo del traduttore come mediatore tra culture discutendo le strategie utilizzate nella traduzione e nella ritraduzione di una poesia scritta in italiano. Il corpus di analisi, il poema crepa! creato dallo scrittore e poeta sardo Sergio Garau, tradotto in portoghese e presentato nell'edizione della FLUP 2016, è un esponente del poetry slam, attribuendo l'importanza dell'oralità, della metrica e delle rime dell'originale durante l'atto di traduzione. In questa modalità, la cui esecuzione artistica è essenziale per aggiungere significato al poema, l'obiettivo mirato sarebbe quello di produrre una traduzione soddisfacentemente fedele sia in termini di forma che di contenuto. Alla luce di teorici come Paulo Henriques Brito, Umberto Eco, tra gli altri, mettiamo in evidenza difficoltà e soluzioni durante la sfida della traduzione poetica interculturale. In questo commentiamo anche altre questioni altrettanto pertinenti come la possibilità di contattare l'autore per risolvere eventuali dubbi; l'importanza del lavoro di squadra alla ricerca di altre prospettive per trasporre la poesia nella lingua di destinazione; la validità di una traduzione e la necessità di una nuova versione per migliorare costantemente il lavoro svolto dal traduttore.Parole chiave: Traduzione poetica. Traduzione interculturale. Italianistica.ABSTRACT: This work aims to confirm the role of the translator as a mediator between cultures by discussing the strategies used in the translation and re-translation of a poem written in Italian. The corpus of analysis, the poem crepa! created by sardinian writer and poet Sergio Garau, translated into portuguese and presented in the 2016 edition of FLUP, it’s an exponent of poetry slam, attributing the importance of orality, meter and rhymes of the original during the translation act. In this modality, whose artistic performance is essential to add meaning to the poem, the aimed goal would be to produce a satisfactorily faithful translation both in terms of form and content. In the light of theorists such as Paulo Henriques Brito, Umberto Eco, among others, we highlight difficulties and solutions during the challenge of intercultural poetic translation. In this work, we also comment on other equally pertinent issues such as the possibility of contacting the author to resolve any doubts; the importance of teamwork in search of other perspectives for transposing the poem to the target language; the validity of a translation and the need of a new version in order to constantly improve the work performed by the translator.Key words: Poetic Translation. Intercultural Translation. Italian Studies.
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سکر, محمود. "Modern Visual Poetry and Ecology: Towards Establishing “Eco-Visual Poetry” As A New Poetic Genre." مجلة المعهد العالي للدراسات النوعية 2, no. 1 (January 1, 2022): 283–302. http://dx.doi.org/10.21608/hiss.2022.190289.
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Wylie, Dan. "“The garden of love's decay”: the suburban garden as eco-poetic space in South Africa." Scrutiny2 19, no. 2 (July 3, 2014): 6–17. http://dx.doi.org/10.1080/18125441.2014.948039.
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Morad, M. "Poetic architectural intentions: A brief assessment of the role of eco-phenomenology in urban design." Local Economy: The Journal of the Local Economy Policy Unit 26, no. 4 (June 2011): 232–35. http://dx.doi.org/10.1177/0269094211407424.
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Margrave, Christie. "Malagasy ecopoetics." Journal of Romance studies 22, no. 1 (March 1, 2022): 73–104. http://dx.doi.org/10.3828/jrs.2022.4.
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Malagasy literary production has long displayed a discourse with Madagascar’s unique environment, often linking this with an exploration of island identity. This article examines and compares poetic writing in Madagascar across 350 years. It studies the anti-colonial prose poems of eighteenth-century white creole poet Évariste Parny alongside early twentieth-century poems of Jean-Joseph Rabearivelo, who brings French Symbolism into contact with traditional Malagasy verse, and lyrical poetry by the musicians in the modern folk-pop band Mahaleo, who bring a mixture of traditions to a unique Malagasy style of music. Parny, Rabearivelo, and Mahaleo all build on and break with generic convention of poetic form, and all do so to draw attention to the island’s specific experience of ecological colonial violence and to their interpretation of eco-regional identity. Their writings help us make sense of the ecological changes in Madagascar during and after colonisation, and of the human response to these changes.
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Kuchumova, Galina V. "MODERN POETIC DISCOURSE: THE LINGUISTIC NATURE OF HERMETICISM." Вестник Пермского университета. Российская и зарубежная филология 13, no. 1 (2021): 99–108. http://dx.doi.org/10.17072/2073-6681-2021-1-99-108.
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The paper provides review of the monograph by Ekaterina Evgrashkina The Semiotic Nature of Semantic Uncertainty in Modern Poetic Discourse (based on German and Russian poetry), published in the Russian language as part of the series NEUERE LYRIK. Interkulturelle und interdisziplinäre Studien. Herausgegeben von Henrieke Stahl, Dmitrij Bak, Hermann Korte, Hiroko Masumoto und Stephanie Sandler. BAND 5. Berlin: Peter Lang, Internationaler Verlag der Wissenschaften, 2019. 173 s. ISBN 978- 3-631-78193-7. The monograph deals with the main trends of German and Russian poetry of the last decades. The focus is on the phenomenon of hermetic poetry. Modern authors consciously choose writing strategies such as literary improvisation, language play, and various intermedial inclusions. The first chapter ‘The problem of poetic meaning’ provides a theoretical framework for the field of research. It introduces the definitions of discourse, the concepts ‘language games’ (developed by L. Wittgenstein), ‘text / discourse’, ‘text / work’, dialogical dimensions of poetic text. The second chapter ‘Semiotics of modern poetry’ covers the concept ‘mobile semiosis’ (J. Baudrillard) and some others. In hermetic poetic discourse, generation of meaning is based on mobile semiosis, in which the relationship of stability between the signifier and the signified is called into question. In The Role of the Reader, Umberto Eco describes two models of the reader, different strategies for interpreting text. Susan Sontag denies the possibility of final interpretation of a text, she suggests eroticism of art instead of hermeneutics. The third chapter ‘Linguistic installations’ considers various manifestations of poetic Hermeticism in modern poetry, the experience of concrete and visual poetry in German: Timm Ulrichs (1940), Klaus Peter Dencker (1941), Barbara Köhler (1959), Werner Herbst (1943–2008), Anatol Knotek (1977), Herta Müller (1953). The final chapter ‘The self-reflexive discourse’ deals with the trend of modern poetry towards free verse and construction of new complex poetic forms. The process of occasional word formation is shown in the lyrical texts by German poets Thomas Kling (1957–2005), Lutz Seiler (1963), Konstantin Ames (1979), Lioba Happel (1957), Thomas Böhme (1955), and by Russian authors Polina Andrukovich (1969), Alexander Ulanov (1963), Dmitry Vorobyov (1979). In poetic discourse, the constitution of the poetic subject correlates with the introduction of new elements of culture into the poetic text. Such innovations do not lead to a mechanical increment of the elementary meaning, but to a structural transformation of the whole picture. The reviewed monograph is significant in that it provides theoretical understanding of individual poetic practices and the analysis of specific empirical material – the latest German and Russian poetry.
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Djian, Aurélien. "L’inépuisabilité de l’œuvre littéraire: Réflexion autour de L’œuvre ouverte de Umberto Eco." Phainomenon 32, no. 1 (May 17, 2021): 119–63. http://dx.doi.org/10.2478/phainomenon-2021-0016.
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Abstract This paper focuses on the main claim of Umberto Eco’s Open Work, according to which any work of art is an inherently ambiguous message, i.e. is inexhaustible, or in principle likely to be the object of an infinite number of interpretations. It does so, first, by restricting itself to the specific topic of the literary work of art, and, secondly, by making a detour, that Eco himself suggests, though he does not really explore it, via Sartre’s ontological phenomenology. This detour will eventually lead the reader from Being and Nothingness to What is Literature?; from Sartre’s “theory of the phenomenon” to his description of the poetic and prosaic attitude; and from a theory of literature qua ambiguity-inexhaustibility to that of openness qua esthetic phenomenon. Finally, it is the capacity of Sartre’s phenomenology to ultimately clarify, or provide a foundation to, Eco’s own theory, as well as the latter’s originality with regard to the former, that will be studied and accounted for.
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Nwagbara, Uzoechi. "Earth in the Balance The Commodification of the Environment in and." Matatu 40, no. 1 (December 1, 2012): 61–79. http://dx.doi.org/10.1163/18757421-040001005.
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Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is “man meaning to man.” For Ojaide, a creative writer is not “an airplant” that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection (1986) and Tanure Ojaide's (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls “semantics of terrestiality”: i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: and interrogate the despicable state of Nigeria's environment as a consequence of global capitalism.
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Allen-Paisant, Jason. "Animist Time and the White Anthropocene." New Formations 104, no. 104 (December 1, 2021): 30–49. http://dx.doi.org/10.3898/newf:104-105.02.2021.
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This article considers the Western civilisational ethos of the human person as an ethos of mastery with respect to the natural world. The age of climate disaster has begun to turn this ethos into an object for thought, as is evidenced by an increasing number of eco-poetic and eco-philosophical writings and reflections that seek to re-think or un-think prevailing Western construals of the human. My own entry point into the conversation is through Afro-diasporic knowledge systems that evidence construals of the human being not rooted in the Western paradigm of the individual. I ask how such knowledge systems help us to achieve a necessary thought revolution with respect to the current dangers of our technological civilisation (particularly climate disaster and capitalist extractivism). I emphasise the fact that animist thinking systems have for centuries, due to the violences of modernity, existed in a parallel space and time to what I call 'capitalist time' and propose that the failures and crises of Western industrial/technological civilisation warrant renewed examinations of their benefits in human living practices.
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Allen-Paisant, Jason. "Animist Time and the White Anthropocene." New Formations 104, no. 104 (December 1, 2021): 30–49. http://dx.doi.org/10.3898/newf:103-104.02.2021.
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This article considers the Western civilisational ethos of the human person as an ethos of mastery with respect to the natural world. The age of climate disaster has begun to turn this ethos into an object for thought, as is evidenced by an increasing number of eco-poetic and eco-philosophical writings and reflections that seek to re-think or un-think prevailing Western construals of the human. My own entry point into the conversation is through Afro-diasporic knowledge systems that evidence construals of the human being not rooted in the Western paradigm of the individual. I ask how such knowledge systems help us to achieve a necessary thought revolution with respect to the current dangers of our technological civilisation (particularly climate disaster and capitalist extractivism). I emphasise the fact that animist thinking systems have for centuries, due to the violences of modernity, existed in a parallel space and time to what I call 'capitalist time' and propose that the failures and crises of Western industrial/technological civilisation warrant renewed examinations of their benefits in human living practices.
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Fares, Josebel Akel, and Roberta Isabelle Bonfim Pantoja. "ESTÉTICA DA RECEPÇÃO: uma experiência poética." Cadernos de Pesquisa 26, no. 1 (March 29, 2019): 125. http://dx.doi.org/10.18764/2178-2229.v26n1p125-147.
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O presente artigo levanta questões acerca a escolarização da poesia, refletindo ações que esvaziam o texto literário de seus sentidos e comprometem sua fruição estética. A partir da recepção de alunos da 4º totalidade da EJA e do 6º ano do Ensino Fundamental, de uma escola da rede estadual de Belém do Pará, apresentamos como a poesia a partir das teorias que fundamentam a Estética da Recepção pode contribuir para uma Educação Sensível. Utilizamos como escopo teórico os escritos de Jorge Larrosa (2017) sobre experiência, Umberto Eco (2001) e Hans Robert Jauss (1979) sobre Estética da Recepção, Magda Soares (1999) sobre escolarização da leitura, Octavio Paz (2012) sobre poesia e Paul Zumthor (2014) sobre performance e leitura.AESTHETICS OF RECEPTION: a poetic experienceAbstract: This article raises questions about the schooling of poetry, reflecting actions that empty the literary text from its senses and compromise its aesthetics enjoyment. From the reception of the 4th totality of EJA and 6th grade of Elementary School students from a state school in Belém do Pará, we present how poetry, based on theories that underlie Reception Aesthetics, can contribute to a Sensitive Education. We use as theoretical scope the writings of Jorge Larrosa (2017) about experience, Umberto Eco (2001) and Hans Robert Juass (1979) about Aesthetics of Reception, Magda Soares about schooling of reading, Octavio Paz (2012) about poetry and Paul Zumthor (2014) about performance and reading.Keywords: Poetry. Reception Aesthetics. Sensitive Education.ESTÉTICA DE LA RECEPCIÓN: una experiencia poéticaResumen: El presente artículo plantea cuestiones acerca de la escolarización de la poesía, reflejando acciones que vacían el texto literario de sus sentidos y comprometen su fruición estética. A partir de la recepción de alumnos de la 4ª totalidad de la EJA y del 6º año de la Enseñanza Fundamental de una escuela de la red estatal de Belém do Pará, presentamos cómo la poesía a partir de las teorías que fundamentan la Estética de la Recepción puede contribuir a una Educación sensible. Utilizamos como ámbito teórico los escritos de Jorge Larrosa (2017) sobre experiencia, Umberto Eco (2001) y Hans Robert Juass (1979) sobre Estética de la Recepción , Magda Soares (1999) sobre escolarización de la lectura, Octavio Paz (2012) sobre poesía y Paul Zumthor (2014) sobre performance y lectura.Palabras clave: Poesía. Estética de la recepción. Educación sensible.
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Huestis, Amy-Claire. "Nest-works." Technoetic Arts 19, no. 3 (November 1, 2021): 227–41. http://dx.doi.org/10.1386/tear_00065_1.
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Two years ago, a nest box outside my window held a pair of Violet-Green Swallow. I counted six swallows fledge from the box and take their first flights in the July rain. Leaving the roof of the nest box, they flew in little loops out over the water, trying out their wings. I watched them from the dock, their bodies suspended in the air between the raindrops. This experience was the inspiration for what I call ‘nest-works’ ‐ for poetic wilding of all-too-human spaces. Nest-works began with an experimental panel for the 2021 College Art Association Conference, called ‘Co-Making this World’. The experimental session was modelled after the nest of a bird, a Black-Capped Chickadee. As this cavity-nester builds a home of disparate materials, the panel of artist-researchers built a session of disparate theories and practices, as we considered relationships with world-systems that are in the process of making (such as the nest of the chickadee). For Technoetic Arts, we weave a new nest-work of research material, as we consider new models for knowledge and creative production. This nest-work is an entanglement of short essays made by artists working with a common pattern, framing eco-poetics on collaborative and participatory processes with the non-human/more-than-human.
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Kruszelnicki, Michał. "A Heideggerian Reading of Knut Hamsun’s “Growth of the Soil”." Hybris 17, no. 2 (June 30, 2012): 1–19. http://dx.doi.org/10.18778/1689-4286.17.01.
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The article proposes a reading of Knut Hamsun’s Nobel Prize winning novel Growth of the Soil that will simultaneously follow the interpretive inspirations provided for it by the philosophical thought of Martin Heidegger. The “eco-critical” reading of Hamsun with Heidegger is encouraged by some intriguing similarities to be found between Heidegger’s and Hamsun’s perspectives of seeing the world and the relations human beings enter with it. It is argued that both Heidegger and Hamsun hoped for an existence that would be sensitive to the significance of the everydayness (both to the things created by man, and those brought forth by nature), but also open to receiving the world as a mysterious and extraordinary gift which exceeds human comprehension. I believe Hamsun’s famous novel provides the reader with a fine model of a “poetic dwelling” – the paramount idea late Heidegger was trying to illuminate.
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Das, Arunava. "Rereading of Samuel Taylor Coleridge's Rime of the Ancient Mariner as an allegorical poem, a ballad with Ecocritical touch." International Journal of English Literature and Social Sciences 7, no. 5 (2022): 065–69. http://dx.doi.org/10.22161/ijels.75.11.
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In recent times many critics view Samuel Taylor Coleridge epoch-making work ‘The Rime of the Ancient Mariner’ from many different perspectives. This paper mainly tends to unify all major perspectives of critics in one single reading. 'The Rime of the Ancient Mariner' as a supernatural poem, a lyrical ballad, a Christian allegory of sin, sufferings and exploitation leading to spiritual elimination along with ecocritical conscious with which ‘The Rime of the Ancient Mariner’ recently associated by the Eco critics and environmentalist. Within the structural framework of seven parts, the poem is formally designed as a romantic lyrical ballad in which the basic ingredients of medieval gothic ballad tradition are satisfactory found how an adventurous journey change into a journey of sin and how the mariner harm the natural world and how he realises his sin and bent before God for forgiveness. The main motto of this paper is to discuss the above mention aspects of the poem which can give a new light to the poem as well as to bring forth the poetic genius of Coleridge.
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Mukherjee, Dr Arun Kumar. "The Sky Is Rigged with Booby Traps: Tracing Eco-Anxiety in Some Select Poems of Assam and Tripura in India’s North-East." World Journal of Education and Humanities 4, no. 3 (June 24, 2022): p1. http://dx.doi.org/10.22158/wjeh.v4n3p1.
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Indian literatures in general including those written in English, entail (in a vivid or veiled manner) a rich legacy inherited from the epics, other classical texts and the Puranas which promote overall, an equilibrium in the eco-space, the flora and fauna, while at the same time strongly recommending a protective role of the human and his being in perfect peace with the habitat. The literature of India’s North-east, poetry in particular, further posits an interesting case study of both adulation and apprehension. Here one experiences an abiding respect for the exotic beauty of nature - the mystic hills and magic rivers with the sprawling verdure around- which, with a potency though to lure poetic hearts into the realm of thoughts offering some emancipatory streaks of revelations, cannot however dispel the confounding mess of impressions of the muddled present which is lacerated by political unrest, insurgency and its countermeasures, the culture of dominance and finally a seamless urbanization which is keen to trammel up the traditional ways of life and thought that have enjoyed a sanctity of practice over generations. The poems discussed in the paper articulate a disquieting awareness of some grim possibility lurking under the Edenic greenery around.
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Concilio, Carmen. "Landscape/mindscape/langscape: The ephemerality of the digital and of the real in Marlene Creates’s video-poems for ice and snow." Neohelicon 48, no. 1 (June 2021): 113–25. http://dx.doi.org/10.1007/s11059-021-00584-z.
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AbstractThe present essay aims at illustrating Marlene Creates’s web project Brickle, nish, and knobbly (2015), as a key example of Eco-Digital Humanities. First of all, it is a digital work of art made of ice images. Besides, it is also a digital archive meant to salvage a linguistic treasury of local idioms that both name and describe all types of snow and ice formations in Newfoundland, Canada. Therefore, the present analysis proves the special quality and inevitable ephemeral status of this project, for it constitutes a multimodal and multimedia web-archive, subject to possible erasure, or obsolescence in the face of new computer programmes and platforms developments. The archive is also an open instrument for everybody’s use: a digital audio-visual (poetic) dictionary, that ultimately functions as a challenge to climate change effects, that might dissolve both the ice formations and the language that accompanies them. Since the real world is no less ephemeral than the world of the web, this contribution also proves how Marlene Creates’s artwork envisions and embraces an ecological salvaging of our present and future landscape, mindscape, and langscape.
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Mehta, Brinda J. "Contesting Militarized Violence in “Northeast India”." Meridians 20, no. 1 (April 1, 2021): 53–83. http://dx.doi.org/10.1215/15366936-8913107.
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Abstract The northeastern states of India have been positioned as India’s postcolonial other in mainstream politics with the aim to create xenophobic binaries between insider and outsider groups. Comprising the eight “sister” states of Arunachal Pradesh, Assam, Manipur, Meghalaya, Mizoram, Nagaland, Sikkim, and Tripura, this region represents India’s amorphous shadowlands in arbitrary political markings between the mainland and the off-centered northeastern periphery. These satellite states have been subjected to the neocolonial governance of the Indian government and its implementation of political terror through abusive laws, militarized violence, protracted wars against civilians and insurgents alike, and gender abuse. Women poets from the region, such as Monalisa Changkija, Temsüla Ao, Mamang Dai, and others, have played a leading role in exposing and denouncing this violence. This essay examines the importance of women’s poetry as a gendered documentation of conflict, a peace narrative, a poet’s reading of history, and a site of memory. Can poetry express the particularized “sorrow of women” (Mamang Dai) without sentimentality and concession? How do these poetic contestations of conflict represent complex interrogations of identity, eco-devastation, and militarization to invalidate an elitist “poetry for poetry’s sake” ethic?
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T Mukhuba, Theophilus. "An Analysis of Jack Mapanje’s Poetry with Particular Reference to his use of Obscuring Devices." International Journal of Applied Linguistics and English Literature 6, no. 7 (October 10, 2017): 30. http://dx.doi.org/10.7575/aiac.ijalel.v.6n.7p.30.
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Jack Mapanje’s poetry is a true reflection of his society through the use of obscuring devices. These obscuring devices are necessary to ensure that the literary work reaches its intended audience in a totalitarian society. Overall, Jack Mapanje’s poetry exploits creatures from the world of nature—mammals, birds, amphibians, reptiles and insects—for close association with life experiences in various contexts and situations and with people he viewed with contempt and disgust and those he regarded with tenderness and compassion. He utilises them to conceptualize and construct a wide range of ideas that respond to questions of justice, identity and belonging. It all thus becomes part of ecocriticism which is defined by various authors as ‘the study of the relationship between literature and the physical environment’. This eco-critical reading, the use of animal imagery in his poetry makes it stand apart and ahead of other resistance poetry and makes new statements about the relationships between animals, poetry and political resistance in African literature. Mapanje’s poetry is a direct response and a stance of resistance to social injustice, especially the debasement of culture, abuse of power, despotism, oppression and exploitation of the masses by the hegemonic regime of Dr. Hastings in Malawi that leads to his incarceration and final forced flight from his motherland. This paper attempts to showcase the nature of poetic expressions produced in a repressive society.
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Thomsen, Torsten Bøgh. "Lykke i ulykkens tid." K&K - Kultur og Klasse 44, no. 121 (June 21, 2016): 221–42. http://dx.doi.org/10.7146/kok.v44i121.23747.
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Taking its point of departure in two contemporary Danish poets, Victor Boy Lindholm and Theis Ørntoft, the article discusses affective poetic responses to the climate crisis. The concepts of ‘eco-mourning’ and ‘climate-melancholia’ are examined in order to deliberate the possibility for human happiness in late modernism. Poems by the writers are analysed with Sara Ahmed’s theories on happiness and perspectives from posthumanist theory (Cary Wolfe) and Timothy Morton’s notion of dark ecology. It is argued that the teleology, autonomy and futurism that, according to Ahmed, is inherent to the promise of happiness, is rendered impossible by the climate crisis and accordingly problematized stylistically in some works of climate poetry. This leads to a discussion of the poetry of Lindholm and Ørntoft in relation to Freud’s theory on mourning and melancholia, which ends by concluding that Lindholm’s poetry can be seen as representative of a mourning that reproduces dynamics of desire in a dialectical oscillation between optimism and pessimism. In contrast, Ørntoft’s poetry marks a melancholy dispensation of the structures that this desire works within. The conclusion is that in an age of climate crisis, mourning can be seen as a problematic speculation in future and continuation of the structures of happiness and desire that produced the crisis to begin with, whereas melancholia is a mental mode that brackets out such dialectical thinking and promises of future happiness.
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Juchniewicz, Andrzej. "All the Faces of Grochowiak." Czytanie Literatury. Łódzkie Studia Literaturoznawcze, no. 9 (December 30, 2020): 325–46. http://dx.doi.org/10.18778/2299-7458.09.17.
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The hereby reviewed book by Jacek Łukasiewicz entitled Poeta Grochowiak has been an impressive and monumental undertaking, yet it fulfils only some of the promises made by its author. According to the reviewer, the fact of its release offers grounds for a discussion of the status of theory and the validity of abandoning it in favour of a reading devoid of methodological regime which elevates the importance of pleasure. The main problem which emerges after reading Łukasiewicz’s opus magnum is the issue of selecting the recipient of the monograph (a regular person or a specialist), which in turn conditions the mode of study of the poet’s output. Łukasiewicz’s monograph amplifies the conviction that Grochowiak’s poetic works should be read using new methodologies, which could indicate the poet’s innovation in terms of increasing the value of objects and animals as the most important components of his universe. According to the reviewer, what requires justification the most is the need to comment on nearly all poems from the poet’s released collections, which is supposed to be facilitated by the researcher’s identification of several categories around which his narration centred. The book was divided into two parts. The first part is predominantly chronological, while the second part follows a contextual organisation, which considering the book’s size causes problems in the form of repeated discussions of several poems. The reviewer noted the fact that some were subjected to careful reading several times while other, especially those not released, did not receive a sufficient amount of attention. Additionally, Łukasiewicz did not attempt to define the gravity of the topic of the most recent world war in Grochowiak’s output or to reconstruct the poet’s polemic with Julian Przyboś during the mature stage of the former’s creative life. An in-depth analysis is also demanded for poems discussing the suffering of animals and inter-species community, which Łukasiewicz deemed noteworthy yet his comments to those do not help readers find indications of eco-critical awareness in Grochowiak’s works. The new monograph devoted to the output of the author of Kanon sheds new light on many problems and biographical contexts as the critic knew the poet, yet some issues require further study. Poeta Grochowiak as the crowning of Łukasiewicz’s efforts into the study of the poet’s output is impressive, yet there is no doubt that a panoramic view does not guarantee noticing every detail, and it is in details that Grochowiak’s poetic sensitivity is lodged.
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Duff, Heather. "POET(H)IC INQUIRY AND THE FICTIVE IMAGINATION." Art/Research International: A Transdisciplinary Journal 6, no. 1 (April 22, 2021): 187–217. http://dx.doi.org/10.18432/ari29559.
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Women’s voices have historically been silenced in a vast array of contexts. Ethical incongruities exist between theoretical perspectives regarding right action for protection of women’s dignity and the tangible dilemma presented by systemic silencing. A fictive imagination found in the arts – and literature in particular – often plays a role in bridging that ethical gap between theory and practice. Using my arts-based approach of poet(h)ic inquiry (Duff, 2016a), I portray the symbolic power of women’s voices, fictionality, and textual polyvocality in a research-based play. Poet(h)ic inquiry is a method for ethical reflection incorporating spiritual and poetic-aesthetic values: a pedagogical space of inquiry within a non-fixed site of teaching, life-long learning, creativity, and knowing, located at the confluence of the creative writing process (in the context of fiction as research), ethics, and spirit. In “Story about Story. Toronto 2001,” I inquire poet(h)ically, in a speculative fictional tale about a woman’s journey with her baby, using research journal data and “freefall writing” notes as springboard for a “fictive leap” (Mitchell, 1977). Through the fictive writing process, knowledge is generated with respect to themes of isolation and connection towards re-finding the lost self’s language. Voices heard and unheard, pinpoint an ethic of meaning towards transcending silence, suffering, and colonial injustices. My story evokes ironies and eco-ethical queries within wildlife research, as well as questions evoked by the sensory overload of urban commerce, and an unspoken class system. I include reflections on fictionality, literature, and redemption.
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MÜLAZIMOĞLU, Melis. "LITERATURE AS CULTURAL ECOLOGY: A CULTURAL ECOLOGICAL STUDY ON EMERSON AND WHITMAN." Volume 6, Issue 2 6, no. 2 (May 27, 2021): 95–104. http://dx.doi.org/10.26809/joa.6.2.01.
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This article is intended to find out how a cultural ecological reading is possible for the selected poems of Emerson and Whitman who are considered as the leading figures of the nineteenth century American Renaissance, the artistic spirit which has flourished between the 1830s-1860s in the wake of the Romantic movement. Transcendentalism in America, as a projection of English Romanticism and Christian Unitarianism interprets the organic interaction in-between man, nature and god. Giving the earliest examples of Transcendentalist nature-writing, Emerson and Whitman are open for a cultural-ecological reading because cultural ecology as a new direction in ecocriticism, brings together ecology and aesthetics, nature and man, environment and literature, language and culture in other words human and non-human universes. As an inter-disciplinary theory developing in a dynamic way, cultural ecology, according to Zapf, “can be described as the interrelation of three major discursive functions such as the ‘culture-critical metadiscourse,’ ‘an imaginative counter-discourse,’ and a ‘reintegrative interdiscourse’” (Zapf 2016: 96). In the first model, the artistic work is analyzed to reveal the workings of an oppressive ideological structure and dogmatic values of the society whereas the second one points out the representations of otherness and marginalization within a text and finally last one tries to exemplify the co-evolution of both models in searching for the “transformative role of literature” within “eco-semiotic” discourse. In that sense, this article intends to find out how the poetic examples of Emerson and Whitman fit into the triadic model of cultural ecology. The argument proceeds through the illustration of Zapf’s triadic model in Emerson’s “Hamatreya,” and Whitman’s “The Splendid, Silent Sun.”
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Shvets, Anna V. "“Not a Single Epithet, Metaphor, or a Desire to Be Reflected In a Symbolic Mirror”: A Whitmanesque Echo in Igor’ Terent’yev’s Poetry." Literature of the Americas, no. 12 (2022): 37–50. http://dx.doi.org/10.22455/2541-7894-2022-12-37-50.
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The paper explores a Whitmanesque influence on Igor Terentiev, a Tbilisi-based minor Futurist poet, Alexei Kruchenykh’s disciple. While residing in Georgia with Zdanevich and Kruchenykh (that’s from 1917 up until the 1920s), Terentiev would write books of poetry exhibiting an unusual typographic design as a means of enhancing the poetic effect. In one of these books (“17 Non-Sense Tools”), Whitman’s name is invoked, and the paper investigates the connection between the poets further. The paper focuses on Whitman’s and Terentiev’s approaches to the issue of poetic signification. Whitman not only works with the nature of the signifier modifying it but also tries to render it inseparable from its signified, equating names and objects with each other. Such a semiotic approach could be interpreted through the lens of the opposition “presence effects” / “meaning effects” coined by H.U. Gumbrecht. Presence effects are interpreted as “[m]aterialities of communication... are all those phenomena and conditions that contribute to the production of meaning, without being meaning themselves” (informational content. — A. Sh.) [Gumbrecht 2004: 8]. Whitman tries to integrate both “meaning effects” and “presence effects” into the body of a poetic sign. Terentiev identifies that poetic orientation of “objectifying” signifiers and tries to devise an original poetic program on its basis. Terentiev engages Whitman’s poetic semiotic so that it informs his poetics to the extent that he designs creative writing techniques aimed at a direct communication of meaning, without relying on semiotic substitutes.
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Conte Neto, Carlos. "O Uivo ecoa em Portugal." Faces de Clio 6, no. 12 (December 15, 2020): 75–101. http://dx.doi.org/10.34019/2359-4489.2020.v6.32115.
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A princípio, faz-se um relato da recepção de Uivo e de outros textos beats na sociedade norte-americana dos anos 50 e 60. A fúria conservadora não conseguiu diminuir a força desse movimento, que extrapolou o âmbito propriamente literário e invadiu os âmbitos sociais e políticos. Em seguida, apontam-se indícios de como essa literatura reverberou em Portugal durante a ditadura do Estado Novo, onde também provocou reações adversas, mas inspirou poetas. O objetivo deste artigo é evidenciar aproximações entre a poesia ginsberguiana e os textos de alguns poetas portugueses da segunda metade do século XX. Dentre esses pontos de contato, destacam-se tópicos caros à poesia beat, como o ataque político, o desregramento dos sentidos, a liberdade sexual, a marginalidade e o pacifismo.
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Lim, Jin-a. "Eco-poetics in Whitman’s Sea Poems." Modern Studies in English Language & Literature 62, no. 3 (August 31, 2018): 89–110. http://dx.doi.org/10.17754/mesk.62.3.89.
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Moysey, Antoniy, and Tetyana Nykyforuk. "Echo of T. Padura's work in the poetry of S. Vorobkevych." Current issues of social sciences and history of medicine 29, no. 1 (February 25, 2021): 95–97. http://dx.doi.org/10.24061/2411-6181.1.2021.251.
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This article aimed to substantiate and systematize scientific research on the influence of T. Padura's work on S. Vorobkevych's poetry. Scientific novelty. Scientific discoveries on the influence of T. Padura's work on S. Vorobkevych's poetry in the aspect of thematic direction, versification and phonics are substantiated. Research methods. Comparative and comparative historical methods are practiced to reveal the influence of T. Padura on the poetics of Bukovynian writer S. Vorobkevych. Conclusions. The study of S. Vorobkevych’s poetic works in the aspect of their comparison with national folklore and the poetry of his predecessors and contemporaries in native and foreign literature and taking into consideration the quantitative (expressed by one component of poetics, several, many) and chronological (constant, occasional: in the beginning, in the middle, at the end of the working life of the artist) hierarchy of influences revealed that he was influenced by both factors at various stages of creativity. The influence of other Ukrainian (I. Kotlyarevsky, M. Shashkevych, M. Ustijanovych, Y. Golovatsky, P. Kulish, A. Metlynsky, Y. Fedkovych, O. Konysky) and foreign (T. Padura, Y.V. Goethe, G. Heine, V. Alexandri, M. Eminescu, I. Geliade-Redulescu, J. Vekerescu) poets was less evident, though different.
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Petakovic, Slavko. "La base mitologica e poetica della canzone Descriptio Cucagnae di Djuro Feric." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 84 (2018): 35–46. http://dx.doi.org/10.2298/pkjif1884035p.
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La canzone Descriptio Cucagnae di ?uro Feric ? basata su una ricca tradizione mitologica e poetica. In particolare, ? evidente l?influenza dell?opera di Teofilo Foleng? e della poesia italiana. Si pu? presumere che ?il paese di Coccagna? di cui si parla nella canzone rappresenti simbolicamente Ragusa. Ecco dunque che nella canzone, dietro allo strato allegorico, viene presentata un? l?immagine satirica della societ? ragusea. Con questa immagine, l? opera di Feric coincide con la tradizione della poesia satirica della letteratura ragusea nel diciottesimo secolo.
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Hutchison, S. "The Eco-Poetics of Marianne Moore's "The Sycamore"." Interdisciplinary Studies in Literature and Environment 18, no. 4 (January 1, 2011): 763–78. http://dx.doi.org/10.1093/isle/isr106.
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OSMOND-SMITH, DAVID. "Voicing the Labyrinth: the Collaborations of Edoardo Sanguineti and Luciano Berio." Twentieth-Century Music 9, no. 1-2 (March 2012): 63–78. http://dx.doi.org/10.1017/s1478572212000205.
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AbstractIn this article David Osmond-Smith discusses the ‘creative cross-fertilization’ between Luciano Berio and the poet Edoardo Sanguineti. Berio first approached Sanguineti at the suggestion of Umberto Eco, and the article begins with a discussion of Berio and Eco's radiophonic project Onomatopea nel linguaggio poetico, which in turn stimulated one of the composer's most celebrated electroacoustic works, Thema/Omaggio a Joyce (1958). The author argues that the preoccupation revealed there with ‘working at the boundary where the word as bearer of meaning dissolves into the word as reservoir of sonic potentials’ remained central to the collaborations of Berio and Sanguineti, principally Passaggio (1961–2), Laborintus II (1965), and A-Ronne (1974–5). In particular, the former two works explore their ‘aesthetics of fragmentation and juxtaposition’ in the context of a music theatre that embraces Umberto Eco's poetics of the opera aperta (open work), Guy Debord's notion of ‘spectacularity’, and various dimensions of political and social critique. (CW)
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Savić, Milisav. "The Great War in the Book Ithaca and Comments by Miloš Crnjanski." Transcultural Studies 10, no. 2 (2014): 1–4. http://dx.doi.org/10.1163/23751606-01002005.
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Crnjanski’s Ithaca and Comment, published forty years after the collection of poems about World War One entitled Lyrics of Ithaca are considered as a fragmented autobiographical novel about the poet's participation in the Great War.Although he found himself at the front, Crnjanski rarely describes battles, even less cruelties of war. He is the narrator of the war's echo. Both the poetic and prosaic story is linked by an idea about the meaninglessness of war. Crnjanski's anti-war stance in Ithaca is also present in the novel Diary About Čarnojević - Crnjanski's ‘war novel’. Ithaca and Comments is the first Serbian postmodern book which banishes borders between genres.
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Scott, Clive. "Translating the Nineteenth Century: A Poetics of Eco-Translation." Dix-Neuf 19, no. 3 (July 3, 2015): 285–302. http://dx.doi.org/10.1179/1478731815z.00000000083.
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Bozieva, Naima Borisovna. "Poetry of Boris Kagermazov." Litera, no. 1 (January 2021): 64–73. http://dx.doi.org/10.25136/2409-8698.2021.1.34521.
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The subject of this article is the analysis of poetry of Boris Kagermazov. The object of this research is the genre, plot, composition, and thematic peculiarities the epic works of Boris Kagermazov. The goal of this article is to reveal the specific features of the poems, their compositional structure, novelties s in poetics, and role of this genre in the works of Boris Kagermazov. Detailed examination is conducted on peculiarities of the poems “Echo of the War”, “Grief and Anger”, “Harmonist”. Attention is given to the analysis of poetic theme and problematic of the poems, as well as to their composition and artistic skill of B. Kagermazov. The relevance of the selected topic is defined by the crucial role of B. Kagermazov in evolution of the genre of poem in the Kabardian-Circassian literature of the XX century, the depth of artistic conceptualization of the historical process, and embrace of the system of philosophical, spiritual- ethical, and aesthetic values of his ethnic group. The acquired results may serve as the theoretical foundation in the further examination of the works of B. Kagermazov and studying the Adyghe poetry, namely lyrical and lyrical-epic works; their practical application can be found in specialized courses, research works of the pedagogues, postgraduates and students. The conclusion is made on the novelties introduced by the poet in creation of original modifications of the poem, which is reflected in the diffusion of genres, simultaneous use of certain elements of lyrics, epic, and drama. The poet's artistic pursuits made significant contribution to enrichment of the national literature.
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Magrane, Eric. "Various Instructions for the Practice of Poetic Field Research." Ecotone 14, no. 2 (2019): 7–8. http://dx.doi.org/10.1353/ect.2019.0044.
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Heit, Stephanie, and Petra Kuppers. "Hurricane Poetics and Crip Psychogeographies." Ecotone 14, no. 2 (2019): 93–108. http://dx.doi.org/10.1353/ect.2019.0033.
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Pruszinski, Jolyon G. R. "Interpreting Literary Ecologies and Extending Spheres of Concern: A Note on Bachelard’s The Poetics of Space for Eco-Theology." Religions 12, no. 10 (October 18, 2021): 891. http://dx.doi.org/10.3390/rel12100891.
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This critical note addresses two key features of eco-theology with regard to future prospect: that literary analysis is an important mode of eco-theological work and that an important function of eco-theology is to expand readers’ spheres of concern to include even the most remote of global environmental issues. Working from Tweed’s contention in Crossing and Dwelling that a central function of religion is the process of making homes, the note emphasizes the home as the primary sphere of concern and the need for eco-theological work to extend the concern naturally associated with the private home to the broadest possible sphere: the whole earth as conceived as human home. As pertaining to literary-analytical resources for this eco-theological endeavor, the note highlights the importance of Gaston Bachelard’s The Poetics of Space. Bachelard’s work offers a compelling exploration of the psychological connection between the most intimate spheres of concern (the private home) and the most extended ones (the broader world). Broader eco-theological engagement with his work will employ resources both for understanding relations between the relative scales of human ecology and for expanding spheres of concern, particularly in extending that concern often reserved for the most intimate ecological sphere to the most expansive.
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Myronova, Valentyna, and Mariia Lastovets Lastovets. "LINGUOPOETIC ANALYSIS OF THE LATIN PANEGYRIC "ITER LAUREATUM"." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 33 (2023): 93–95. http://dx.doi.org/10.17721/1728-2659.2023.33.15.
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This paper presents the linguopoetic analysis of the Latin panegyric "Iter Laureatum" by Hryhorii Vyshnovskyi, dedicated to Josaf Krokovskyi, the former rector of Kyiv-Mohyla Academy. The panegyric is analyzed within the historical and cultural context of that time. The purpose of this study is to give the idea of the structure, poetic means and individual author's performance of the genre in Latin language. The relationship between Ukrainian baroque poetry and antiquity is defined in precedent texts. Precedent texts actualize well-known cultural phenomena, thereby creating the effect of recognition. It is proved that the transfer of the narrative to the mythological plane creates the effect of historicity and legendary nature of the event or personality, which benefits panegyric pathos. The article focuses on lexical poetic means (analysis of poetic interpretation of mythological names) and stylistic means (the amplification, anaphor, use of metaphors and comparisons). The mythological names are classified according to the main thematic groups: geographic names, representing the ancient and medieval realities (Regna Mauri, Regna Lydiae, regna Arabum, Canopus, Thracia, Rhodopa, Troja), personal names of mythological characters (Apollo, Melpomene, Polyhymnia, Thalia, Siren, Echo, Hercules), words of musical art (chorda, carmen, lyra, chorus, nablium), martial arts (Mars, Scipio, trophaeum). The following metaphors were defined for description of patron's dignity: "majorum decus"; "pater Rossiadum"; "patronus pupillae sortis"; "victor cordis"; "princeps pectoris". We direct attention to the realization of author's narrative strategy of the will-expression, which is to exalt the patron's generosity and express the affection and loyalty towards him. It is discussed the poet's intention to cross the time barriers and transfer the mythological realities to the Ukrainian ground (Borysthenes, Siren Kioviensis).
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KIM HYO EUN. "The Eco-Poetics of Chaosmos Revealed on Yong-Woon Han's Poem." Literature and Environment 9, no. 1 (June 2010): 169–87. http://dx.doi.org/10.36063/asle.2010.9.1.008.
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Foerster, Jennifer Elise. "Bamewawagezhikaquay: Jane Johnston Schoolcraft’s Postpastoral Poetics." Ecotone 15, no. 1 (2019): 129–39. http://dx.doi.org/10.1353/ect.2019.0067.
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GELİR, Yakup. "Ece Ayhan's Poetics in the Context of the İkinci Yeni Poetry." Asia Minor Studies 10, no. 2 (July 6, 2022): 179–95. http://dx.doi.org/10.17067/asm.1122036.
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İlk örnekleri 1950 sonrasında görülen İkinci Yeni şiiri, Türk şiirinde önemli bir dönemi kodlar. İmgenin konumu, dili alışılmışın dışında kullanma, söylemin üstlendiği çoğul anlam, şiirin omurgasına yerleşmiş kültür, felsefe, tarih, coğrafya ve modern bireyin anlatımı İkinci Yeni şiirinin başlıca hususlarıdır. Bu özellikleriyle İkinci Yeni şiiri, Türk şiir serüveninde önemli bir yere sahiptir. Çünkü şiir sanatını içerik ve biçim bakımından farklı yorumlayarak yeni bir şiir anlayışına kapı aralamakla Türk şiir geleneğinde bir kırılma noktası oluşturur. Bu bağlamda İkinci Yeni, duyarlılıkla örülü, insanı ve çağı önceleyen, yer yer gelenekle ilişkili ve anlam sahalarını genişleten bir konum edinirken; şiir anlayışına yönelik eleştirilere karşı cevaplarda da dikkate değer bir sorumluluk üstlenir. Uzun süren bu savunularda; şiir sanatına verilen önem, bu şiir anlayışına duyulan güven, şiirin anlam olarak muhkem örülüşü, en önemlisi İkinci Yeni’nin poetik kodları ortaya çıkar. Bu belirlemelerle şiir mecrasında yer edinen İkinci Yeni şiirinin temsilcilerinden biri Ece Ayhan’dır. Ayhan’ın tema, dil ve imge bakımından inşa ettiği anlam evreni İkinci Yeni ile örtüşür. Bu şiir evrenin içerisinde tarih, dil, kültür, felsefe, müzik ve coğrafya ile örülü bir anlam dünyası bulunur. Şiirini bu kavramlara yaslayan Ayhan, poetik anlamda İkinci Yeni anlayışı ile paralel ilerler. Zaman zaman bu şiir anlayışının söylem ve anlam olanaklarını zorlasa da yine de İkinci Yeni’nin anlam dünyasına dâhil bir şiir söz konusudur. Bu çalışmada İkinci Yeni şiiri bağlamında Ece Ayhan’ın poetikası irdelenecektir.
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Milne, Joseph. "The Linguistic Imagination: Meister Eckhart's Poetic and Speculative Use of Scripture." Eckhart Review 17, no. 1 (March 27, 2008): 9–17. http://dx.doi.org/10.1179/eck.17.1.1w02846754n6m475.
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