Academic literature on the topic 'Poetic attention'

This article continues my earlier exploration of an aesthetic, poetic, and cognitive phenomenon that I am calling “the poetics of plenitude.” Here, I trace this poetics in Peter Gizzi’s more recent volumes, with special attention given to his 2015 collection Archeophonics. In my discussion, I show how the term “plenitude,” which I distinguish against a number of other uses of this concept, evolves in Gizzi’s poems toward an emergence of a subjectivity. Such emergence is triggered within the space of a poem working as a device that modulates a specifically understood excess of externality. The externality engaged by Gizzi’s poetry is a kind of pragmatist composite that links the sense of the material presence of the world with the larger body of the earlier poetic descriptions of this presence. Since such amalgamation of matter with its existent poetic description entails contact with the poetic predecessors of the newly emerging poet, Gizzi’s variety of the poetics of plenitude also shows a new understanding of what Harold Bloom conceptualized when he argued that poetry is a response to the “anxiety of influence.”

Abstract This essay highlights the numerous evidences of Chinese influences on Williams’s poetry, and particularly on the composition of Spring and All. What was it in Chinese poetry that could help Williams accomplish his poetic modernization which Pound was urging him to perform? In which ways and to which extent did Williams use Chinese poetic forms and concepts to compose his modernist masterpiece? As a continuation of the research of Wai-Lim Yip and Zhaoming Qian, two of the very few scholars who have focused their attention on this topic, this essay asks how much of what is seen by Western critics as poetic innovations by Williams can actually be seen as appropriations or derivations from Chinese language and poetics. It highlights that many of the poetic devices used in Spring and All, Williams’s breakthrough volume as a modernist, are actually either borrowed from traditional Chinese poetics, or result from the fusion of the English language with ideogramic linguistic concepts.

The article presents a detailed analysis of the multifaceted poetic work of the famous poetess F. Ungarsynova. This is the indissoluble unity of the lyrical hero and author, and the poet's finest poetic speech, and the variety of the genre of her works, and the complex world of the image of the lyrical hero. The article attempts to describe the aesthetic worldview and work of F. Ungarsynova in a comparative manner. Particular attention is paid to the artistic world and the linguistic means of F. Ungarsynova, who have her own poetic style. Also considered is the enormous influence of the poet's work on modern Kazakh poetry. The article draws attention to the fact that the poetess managed to combine such principles as open citizenship and piercing lyricism, purity and nobility of human relations and the tragedy of unrequited love, lines about sacred friendship and wise thoughts about the poet’s craft. Her poems are an impressive picture of modern reality.

The poetry of Mary Oliver is used here as an example of how, for many people who have not encountered religious language or been part of a faith community, poems can have what might be termed a ‘religious resonance’. The poet’s art of attention is identified as a primary tool for replacing the traditional role that religion has played in human communities and consciousness – exploring the sense of life as a gift from a transcendent source, infusing intuitions of meaning into experience and confronting us with ethical demands.

Joining the discussion of revolution and resistance in world politics, this article puts forward the idea of poetic revolt as a necessary companion to these terms, one which centres attention on the ongoing reverberations of transatlantic slavery – what have been called its ‘afterlives’ (Saidiya Hartman, Édouard Glissant). Engaging with contributions to poetics, black studies and black feminist thought, it first develops a theoretical orientation of the ongoingness of slavery as a ‘grammar of captivity’ (Hortense Spillers) that ‘wake work’, a term proposed by Christina Sharpe, aims to disrupt. The article calls for methodological attention to the fugitive and wayward arts and acts of living, that is, what Sylvia Wynter and Fred Moten call the ‘sociopoetic’ practices of enslaved and legally-emancipated populations to illuminate the simultaneity and entanglement of structuring violence and poetic revolt. Second, drawing on Spillers’ scholarship on homiletics – the study of and participation in sermons – in particular United States contexts, it identifies and discusses three aspects of poetic revolt: ‘fabulation’, world-making otherwise and resignification, through which such communities developed a critical and insurgent posture aimed at rupturing this grammar of captivity and at forging critical, futurally-oriented sociabilities. Third, in conclusion, it discusses the links of poetic revolt, in its specificity in Atlantic slavery, to wider systemic critique. Pluralising our thinking on revolution and resistance, poetic revolt, it argues, is best seen as a critical meditation on futurity.

This article argues for a neural basis behind Edgar Allen Poe’s ‘Poetic Principle’ and Charles Olson’s ‘Projective Verse’ to create a more robust cross-disciplinary aesthetic model. Brian Boyd and Ellen Dissanayake show that ‘attention’ and ‘making new’ in poetry is a stable but evolving technique. This shows up in constant variation in ‘classic’ and ‘modern’ poetry and it forms a pattern for interpretation. This article will look at Poe’s and Olson’s essays in relation to this technique, steering their conclusions toward a partially naturalized conception of poetics in conjunction with more standard literary models in order to broaden aesthetic understanding.

The subject of our research in this paper are aspects of religious spirituality in contemporary Serbian poetry. First, we give an overview of poetic, ideological and cultural characteristics of poetic production in the last three decades, with certain value categorizations. We then direct our attention to the individual poetics of poets born in the seventies and eighties, whose poetry has a proven presence of Christian inspiration. Our goal is to establish a literary-historical and culturally distinct poetic flow and situate it within the History of Modern and Contemporary Serbian literature, predominantly secular. The focus of our analysis is not exclusively quotes, narratives or motifs from the Bible and patristic literature. We examine how Christian (Serbian-Byzantine and Western-Christian) spirituality participates in the formation of an individual poetic view of the world, as well as poetic spirituality that manifests itself through poetic images, expressions and figures. We are interested in the work of the religious consciousness of our poets in shaping their artistic, moral and value attitudes towards the phenomena of our epoch, but also towards the culture to which they belong. Therefore, we analyse the cultural models that these poets embrace in their poetry, as well as the humanistic messages that they place within their immanent poetics. We come to the conclusion that male and female poets, with their poetic and spiritual commitment, have taken the risk of deciding to give up poetry as a form of social engagement, aware in advance of the burden of the alternative and the minority.

"Poetic Attention" reveals how John Ashbery's ties with past literary traditions elucidate his own personal aesthetic. Starting with a review of Ashbery's critical reception, the thesis shows how Ashbery's poetry and its reception are polarized in two major post-Romantic approaches to poetry: the Romantic, and the "objectivist" tradition of modernism. Beginning with a look at how Ashbery's early poetry reflects both paradigms, I focus on moments where both are simultaneously active. I demonstrate how impressionism, as a sensibility with certain methodological, epistemological, and technical concerns and devices having to do with the conjunction of consciousness and the world in perception, best describes the interaction between Ashbery's Romantic and modernist strains. Impressionism helps us understand how Ashbery negotiates the Romantic desire for resolutions to spiritual crises and the modernist focus on objects in and of themselves by treating a searching attentiveness to those objects as a value in itself.

This project explores climate pedagogies with particular interest in Western Australia’s current water crisis. Human and more-than-human relations are explored with young children and educators from an early learning centre in Perth, Western Australia, with a view to reimagining education in the context of rapid environmental change. The project is grounded in feminist new materialist knowledge and is framed by an attentive focus to amplify the non-binary nature of both human and more-than-human counterparts. The research focuses on challenging colonial ways of knowing water, by decentring the child, unsettling norms, and reinstating reciprocity between human and more-than-human others (Nxumalo & Villanueva, 2019). Poetic inquiry as curious practice is explored, and how it highlights the present absences of the mutual becomings of water and child by conducting experimental, creative, and inventive arts-informed explorations with a lens of keeping water in sight and in mind. Videography and photography as tools of pedagogical documentation are a primary data-creation method and are both experimental and creative outputs. The following questions guide the research: 1. How does poetic inquiry as curious practice help me to address children’s relations with water beyond the child/water binary? 2. How does poetic inquiry as curious practice help me to understand poetic characteristics of water such as movement, sound, duration, speed, timing, etc.? 3. How does pedagogical documentation inform poetic data creation and analysis? The project lends itself to radical ways of thinking. It engages with poetic inquiry as curious practice, paying attention to present absences, and examining the poetics of pedagogical documentation to create meaningful data as poetry (Faulkner, 2009; Leavy,2009). Poetic outputs include responses that take the form of video-poems, creative texts, and images with decisions about research direction being made in the moment and in response to grounded experiences. This study contributes to a shift and expansion of pedagogical practices and educators’ understanding of the gaps in current sustainability and environmental education.

La présente étude s’intéresse non seulement à l’idée d’un cinéma qui pense et participe à la pensée poétique, c’est-à-dire à l’idée de « la coulée du film qui s’apparenterait à celle de la pensée » pour parler comme Norman McLaren ; elle défend également l’idée d’un cinéma poétique et d’une poétique du cinéma axés sur une esthétique nouvelle de médiation et de création qui explore l’univers poétique. En plus de s’engager dans la définition d’un cinéma de poésie et d’une poétique du cinéma, cette étude entend contribuer à la compréhension de certains mécanismes esthétiques et artistiques qui affectent poétiquement l’attention des percept’acteurs (attention poétique) lorsqu’ils sont face aux effets et aux procédés filmiques qui ne jouent plus sur des effets immersifs et déterminants comme on peut le voir dans les cinémas populaires, de divertissement, de narration, et dans les films documentaires, mais sur des indéterminations perceptives, sur « la promenade esthétique » pour parler comme Jean-Marie Schaeffer et sur la « poétique du désœuvrement ».Les films-essais Méditerranée de Jean-Daniel Pollet, Sans soleil de Chris Marker et Asientos de François L. Woukoache, font naviguer les percept’acteurs – néologisme que nous employons à la place de spectateur, puisqu’il ne s’agit plus de spectacle dans ces films – dans une sphère atemporelle et les amènent à l’extérieur du temps, afin de briser la relation qu’ils entretiennent avec les films classiques et de proposer un regard nouveau de l’œuvre. Pour ces cinéastes de la poésie et de la mémoire, il s’agit de façon ambivalente de déraciner et d’ensevelir le mot, de bousculer les conventions et de rompre avec l’accoutumance à travers une vision poétique et « politique » au sens large (politico-historique) du monde, une esthétique nouvelle, un bricolage et braconnage artistique, engendrant une sorte de réinvention du langage.Mots-clés : Films-essais, modernité cinématographique, cinéma de poésie, attention esthétique, attention poétique, percept’acteurs, création artistique
The present study does not only examine the idea of a cinema that thinks and participates in the poetic thought, as stated by Norman McLaren as: ‟the flowing movement of the film that echoes that of the thought”, but it also argues for the idea of a poetic cinema and a poetics of cinema focused on a new aesthetic of mediation and creation that explores the poetic universe. In addition to engaging in the definition of a cinema of poetry and a poetics of cinema, this study intends to offer a deeper insight into the understanding of certain aesthetic and artistic mechanisms that poetically affect the attention of percept’acteurs (poetic attention) when they are faced with filmic effects/texts and processes that no longer rely on immersion and determining factors such as observed in popular cinemas, entertainment, storytelling, and documentary films. The attention of the percept’acteurs is rather drawn to the visual/perceptual indeterminacy, of the ‟aesthetic walk”, to sound like Jean-Marie Schaeffer and on the ‟poetics of idleness”.The essay-films Méditerranée by Jean-Daniel Pollet, Sans soleil by Chris Marker and Asientos by François L. Woukoache, make the percept’acteurs – a neologism that we use instead of spectator, since these films no longer deal with spectacle – to navigate in a timeless sphere and export them beyond the time, in order to break the relationship they maintain with classic films and to encourage a new look towards the artwork. For these filmmakers of poetry and memory, it’s about an ambivalent way to uproot and bury the word in order to defy conventions and break habits through a poetic and ‟political” vision in the broaden sense (Political-historical) of the world, a new aesthetic, a diy and artistic poaching, leading to a kind of reinvention of the language.Keywords: Essay films, Modern cinematography, a poetic cinema, aesthetic attention, poetic attention, percept’acteurs, artistic creation

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Poetic productions and their plane of interdicted meanings are constantly available for a sensitive quality of attention, which denies the exaggerations of a need of capturing and of discursive voraciousness. The possibility of denial from the excesses of the word, for the preservation of other quality/sense of tradition, emerges like a paradox that can be studied starting from certain processes of production. Therefore, the matter lies on knowing if the means of circulation of affections and their uses and the way how we apply ourselves to them and to the Other through them work for establishing bonds. This paper emerges from percussion among specific cases of poetic production, mainly associated to the observed picture, with the intention of keeping track of the processes development, which shows us a certain quality/sense of required presence and attention to others. A state of attention emerges, involving right away those who take part in the production. That state of attention does not exclude the time experience, which might be implicated differently with each production. In that effort the possibility to think up the required state of attention is born for the possibility of accomplishing certain works. Therefore, a study about a rhythmic attention is established, like a study of the movement of processes, experienced among the relation of alterity that faces some poetic productions. Its implications to us are what is always to be discovered
As produções poéticas e seus planos de sentidos interditos estão constantemente disponíveis para uma qualidade de atenção sensível, que nega os exageros de uma necessidade de captura e de uma voracidade discursiva. A possibilidade de negação dos excessos da palavra, para se fazer preservar uma outra qualidade/sentido de tradição, emerge como um paradoxo que pode ser estudado a partir de certos processos de produção. A questão, portanto, é saber se os meios de circulação de afetos e seus usos, o modo como nos implicamos com eles e com o Outro através deles, funcionam para estabelecer vínculos. Assim o trabalho emerge de uma percussão entre casos específicos de produção poética, principalmente associadas ao desenho de observação. Visando acompanhar os desenvolvimentos desses processos que nos mostram uma certa qualidade/sentido de presença requerida e de atenção ao outro. Um estado atencional emerge, envolvendo no ato os que participam da produção. Tal estado atencional não exclui a experiência temporal, que pode estar implicada diferencialmente com cada produção. Nesse esforço nasce a possibilidade de pensar os estados atencionais exigidos para a possibilidade de consumação de certas obras. Assim, um estudo acerca de uma atenção-rítmica se estabelece, como um estudo do movimento de processos atencionais e afetivos, vividos em meio à relação de alteridade voltada à algumas produções poéticas. Suas implicações para nós é o que está sempre a ser descoberto

Cette thèse prend pour point de départ la notion de dispositif poétique, forgée par le poète et théoricien de la poésie Christophe Hanna, dans le but d'interroger les façons dont elle peut nous aider à repenser le discours critique sur la littérature dans une perspective pragmatiste. Pour ce faire, la théorisation du dispositif est étudiée dans un cadre comparatiste de façon à définir certaines reconfigurations plus globales de la réflexion sur l'action pratique de la poésie. Ce cadrage critique élargi permet de rendre manifeste la nécessité d'une approche écosystémique, au sein de laquelle la poésie n'est pas seulement pensée comme pratique d'écriture, mais voit ses médialités repositionnées au sein des environnements et formes de vie collectives qui lui donnent sens et sur lesquels elle peut agir. L'étude d'un corpus de publications récentes dans trois aires géographiques (États-Unis, France, Norvège) entre lesquelles se sont noués des liens théoriques sur ces questions, expérimente à cet égard un ensemble de gestes et de cadrages critiques, qui débouchent sur une théorisation de l'agentivité de la littérature en termes d'attention, la resituant au cœur des enjeux politiques les plus contemporains
This thesis takes as its starting point the notion of “poetic apparatus,” as developed by the poet and theoretician of poetry Christophe Hanna, in order to investigate how it can help us rethink the critical discourse about literature in a pragmatist perspective. In that respect, the original theorization is read inside a comparatist framework that allows defining some global reconfigurations of the thinking on the practical action of poetry. This extended critical frame shows the need for an ecosystem approach, in which poetry is not only thought of as a writing practice, but gets its medialities relocated within the collective environments and forms of life in which it makes sense and on which it can act. The study of a corpus of recent publications in three geographical areas (United States, France, Norway) between which theoretical links exist on these questions performs in that respect a set of critical gestures and framings, leading to a theorization of the agency of literature in terms of attention, locating it at the heart of the most contemporary political issues

This thesis examines how a poetics may emerge from both the possibilities and the limits peculiar to the metaphor of the mirror and the concept of reflection. Working from a particular history of Western ideas that moves from Plato through to postmodernism, the examination focuses on W.H. Auden, whose treatment and utilization of reflection within The Sea and the Mirror, a long and variegated poem and commentary upon Shakespeare's late play The Tempest, act as a template for an expanded notion of poetics. It is argued that this poetics affirms the creative process by a breaking down of the borders between reflection and what is being reflected, thereby necessitating a reinscribing of those borders self-reflexively and ironically, and in tum necessitating a reevaluation of the respective tasks and boundaries of philosopher, artist and theologian. As suggested by Auden and The Sea and the Mirror, this poetics draws upon texts from a variety of historical periods and a variety of theoretical disciplines. The texts investigated in this thesis include: the "text" of a certain history of ideas defmed as the philosophy of reflection; Shakespeare's The Tempest; Robert Browning's Caliban Upon Setebos; Auden's later poem Friday's Child as well as many of his critical writings; and the theoretical notions and theologies of such contemporary thinkers as Jean-Luc Marion and Jacques Derrida as they themselves interact with the texts of the Bible, Kierkegaard, Nietzsche, Heidegger, and many other thinkers who have been critical of the West's metaphysical and onto-theological traditions. The bringing together of such texts is meant to show that, upon a continual reinvention of previous texts, the distinctions between an original and a copy, a poem and a commentary, or imaginative and theoretical discourse, begin to blur, and that the resulting negations and recreations, as variously represented by the figure of the "0", mark out a new inclusive arena for philosophy, art and theology. It is argued that this circular arena or stage does not, however, preclude the possibility of a "Wholly Other", but that, in line with the traditlolJ;,~~~5lIive theology, any theology seeking an non-idolatrous notion of GOd'"fWil1:.IJtq;lnd upon a doctrine of creation l~ ~ .... -'. . as suggested by Auden, where reverential silence is reached through the ironiesand inversions of conscious artifice as a "rite". In this sense, it is thus suggested that any philosophy or art probing the paradoxes and fissures of its own mirrorlike creations necessarily opens up new theological possibilities

Tese de doutoramento, Estudos de Literatura e de Cultura (Teoria da Literatura), Universidade de Lisboa, Faculdade de Letras, 2014
My title is missing a question mark. The reason for this will become clearer when we read some of the poems included. For now I would like to say that the term raises the issue of the relation between aesthetic and ethics in the field of `poetry‘. At first sight, `poetic attention‘ suggests either i) a way of reading poems, or ii) a way of reading the world and beings, `poetically‘. Sense i) relates to aesthetics in that we ascribe a certain value to texts, ii) to ethics in that a sense of value or presence comes to cover things and people, or even the world in general. What value means in each case must be ascertained. Two roles are involved in each instance: in i) the reader is a critic, the writer a pharmacist; in ii) the reader is a believer, the writer an oracle. So `poetic‘ in i) mostly refers to texts, and ii) to the world; and yet the picture of inspiration (ii) means reader i) often takes poems to mediate us and the world, to capture `glimpses of the true world‘ - as icons. Poems are thus taken to speak worldish through the oracle, a special use of language that reveals world through an `attentive‘ way of reading. This thesis is mostly about inspiration as the leading myth of attention. The grammar of this myth needs investigation. Like poems, all myths are part sense part nonsense; and so, as when reading poems, getting to the sense part of the myth has a lot to do with how we read. The biggest difference between the two cases above is that of the poet as pharmacist (or in a similar sense, illusionist), which refers to the craft of poets and their skill at manipulating language. The image of the pharmacist is meant to express knowledge in creating effects. The chemist‘s formula is a precise mix of concrete ingredients (mostly words, but also other publically-understood conventions such as punctuation and spacing), which articulate in such a way that if a single chemical is withdrawn, the desired effect will not occur. From a material point of view, poems are things crafted in language. The general effect particular to words is largely called `meaning‘. What meaning means in the reading of poems has to be ascertained. Yet as with drugs, the constituency, mood and context of the particular person will determine the reaction: there is no purely mechanical reaction that can be mathematically repeated. Reactions may also be good or bad: effects are often unpredictable (the snake of the Rod of Asclepius), and have to be determined case-by-case. Pharmacists and physicians should accompany their subjects. But in poems there are only words and their effects, no guiding hands. The main questions guiding this dissertation will be: What kind of attention is poetic attention? This implies asking what constitutes each term of the expression: attention and poetry. Given that poetry is not a thing like poems are, how is poetic attention related to the understanding of discourse – and what are the traits of this understanding and of this discourse? Is it itself a discourse - and if so, then is poetic attention more of a listening or a speaking? There is a traditional picture at play here: inspiration – can this be read as a philosophically plausible model, given certain constraints? Which? And given the recurring talk of aesthetic and ethical implications in poetry, in what sense can these terms be understood in comparison to each other? I shall mostly focus on ideas about poetry - attention, language, mind, thinking - within philosophical thought. However, I will also analyze a short selection of poems, where I will be especially interested in poems that talk about language and the nature of poetry itself (as a summons to poetic attention proper). Yet it is the reading-of poems I am ultimately interested in: and within this discussion the word `poetry‘, as a pull into theories, is often symptomatic of a befuddlement.The progression of my dissertation will be that of centripetally spiraling toward the ancient conception of `logos‘, revolving backwards in time through the key themes that structure the different kinds of attention organizing the four chapters, namely: prayer and poetry (therapy, and attention to ideas and presence), contemplation and meditation (methods and attention to self), nous and logos (forms of perception and attention to beings), listening and speaking (attention to words and logos itself). Although the dissertation travels back in time, respectively moving from Christianity, Stoicism and Aristotle to Socrates and Parmenides, my intention is most certainly not that of providing an historical account of attention. Such a project would be well beyond my reach and my present scope. My effort was mostly that of trying to find similarities and differences in the key ideas and beliefs associated with the topics of attention and poetry, and how these relate (most notoriously in the myth of inspiration, whose parallel in religion is contemplation). That there is more than one use for `attention‘, however, is made visible by looking at key aspects in its changes throughout time. Also, since a dissertation is not freestyle writing, but instead presupposes writing on the shoulders of others for some common ground; I shall, for these reasons keep returning to certain structural points, by initially dropping hints that will be citationally developed as we proceed, slowly forming a part of a larger thematic body, as we spiral toward the temporal origin denoted in `logos‘. This movement is pertinent to attention, for as poems and procheiron indicate, certain texts and activities require time, repetition and going back to - if one is to read and do `well‘, and also if one is to `learn by heart‘. The key, I believe, to making `attention‘ signify in regards to inspiration (i.e. as contemplative attention, my initial problem in Ch.1) is to show how it is, against popular belief, a form of thinking. Since I am interested in inspiration as a mode of poetic attention, I shall be talking a lot about prayer and mysticism. I feel I should briefly say something about this, for I do not take myself as being religious in any ordinary sense, even though as a child I was educated as a Christian. And neither am I of the metaphysical persuasion, even though I do vividly recall veering between metaphysical phases of idealism and realism as I was respectively inspired by certain authors, philosophers and poets. Styles of writing make for systematized ways of thinking, and these are `believed‘, as they affect us with their words. The world is then seen in a certain way. Yet before any such systems of thought, there is mysticism, a comprehension that mystery and wonder lie, very inexplicably, at the core of our existence. Mysticism prompts, motivates thinking of a particular kind, about the whole. I therefore want to consider religion in the sense William James defines it: `the feelings, acts and experiences of individual men in their solitude, so far as they apprehend themselves to stand in relation to whatever they may consider the divine.‘ (VRE 31) So it is a sort of attitude towards things that I intend to consider. It is in this more indefinite region that religion matters to poetic thinking, just as prayers may share a common attitude with poems. For to think the `divine‘ also comports first of all an attitude, before it might be given a form, conceived as a sort of thing or god: `There must be something solemn, serious, and tender about any attitude which we denominate religious he divine shall mean for us only such a primal reality as the individual feels impelled to respond to solemnly and gravely, and neither by a curse nor a jest.‘ (VRE 38) This seriousness is felt as an attitude, but comes out of thinking, out of thinking life as a whole – which means an awareness of its limits. Perfectionism is what grows within this seriousness. But ideas about life can only be beliefs; and thus can only be spoken in the mode of poetry that is allegory, myth. Death is such a belief: for it is plainly something no one can know. (To experience it is to no longer be able to tell of it.) Some poems and prayers remind us of death – and thus remind us we are alive. Some poems and prayers remind us of life and the marvel of existence by evoking the thought of the being of beings, through imagery, or thematically. And all good poetry reminds us of life by taking us back to the opposite limit of death: the origin that is language. Good poetry is about experiencing language. Making it come alive is what ´poetic attention‘ means. The linguistic turn in philosophy, namely of Wittgenstein, has brought the attention of philosophers back from ideas and theories to how we talk about things. Poems are a very interesting subject-matter in this respect, for they are precisely the language use that most cares - to the finest detail, actually - about how we say things. I am interested in poetry - the ideas we have regarding the strangely wonderful uses we submit language to, and enjoy it as – because poems (the things that generate these ideas) seem to take us back to an intimate relation with the world. Prayers do the same thing, but only for the believer: words in prayers are, generally speaking, formally drier, and only fully implicate the reader once the general picture, the form of life, they belong to has been acknowledged beforehand. Yet their goal is similar, and as such of direct interest to an understanding of the idea of poetry. It is not a question of inventing and delivering through words, but of discovering what is there. In this sense, I am a realist. So in my discussion of poetry I will not be talking about fiction, but disclosure. A discussion of language is necessary because it is the watershed where mind is born.
Falta um ponto de interrogação no meu título. A razão para tal esclarecer-se-á aquando a leitura de alguns dos poemas incluídos nesta dissertação. De momento gostaria de dizer que o termo levanta a questão da relação entre estética e ética no campo da `poesia‘. Numa primeira aproximação, `atenção poética‘ sugere quer i) uma maneira de ler poemas, ou ii) uma maneira de ler o mundo e os seres ‘poeticamente‘. O sentido i) relaciona-se com a estética na medida em que atribuímos um determinado valor a textos, ii) com a ética na medida em que um sentido de valor ou de presença vem preencher coisas e pessoas, ou até o mundo em geral. Teremos de apurar o que é que este sentido de valor significa em cada caso. Cada instância implica dois papéis: em i) o leitor é um crítico, o escritor um farmacêutico; em ii) o leitor é um crente, o escritor um oráculo. Portanto, a qualificação de `poético‘ em i) refere-se sobretudo a textos, e em ii) ao mundo; ainda que o quadro de inspiração (ii) signifique que o leitor i) amiúde entende que poemas são coisas que nos mediam o mundo, que capturam ´vislumbres do mundo real‘ – sendo ícones. Nesta visão, poemas são portanto vistos como coisas que falam mundês através de oráculos, um uso especial de linguagem que revela mundo através de uma maneira ‗atenta‘ de ler. Esta tese prende-se sobretudo com a inspiração como o principal mito vinculado à ideia de atenção. A gramática deste mito requer investigação. Como poemas, todos os mitos são parte sentido parte absurdo; e assim, tal como quando lemos poemas, chegar à parte do sentido tem muito a ver com a forma como lemos. A principal diferença entre os dois casos acima mencionados é a do poeta enquanto farmacêutico (ou num sentido semelhante, ilusionista), referindo-se ao ofício dos poetas e à sua habilidade em manipular a linguagem. A imagem do poeta enquanto farmacêutico pretende expressar conhecimento na criação de efeitos. A fórmula do químico é uma mistura exacta de ingredientes concretos (sobretudo palavras, mas também outras convenções publicamente aceites, tais como a pontuação e o espaçamento), articulada de tal maneira que se um elemento químico for retirado, o efeito desejado cai por terra. Do ponto de vista material, poemas são coisas trabalhadas artesanalmente na linguagem. O tipo de efeito que as palavras têm sobre nós é amplamente designado como ‘significado‘. O que conta como significado na leitura de poemas é algo que tem de ser apurado. Contudo, tal como com drogas, a constituição, disposição e contexto de uma pessoa particular determinará a sua reacção: não há uma reacção, puramente mecânica, que possa ser matematicamente repetida. As reacções também podem ser boas ou más, pois os efeitos são frequentemente imprevisíveis (a serpente no bastão de Asclépio), e têm que ser determinados caso a caso. Os farmacêuticos e os físicos deveriam acompanhar os seus pacientes. Mas em poemas só há palavras e os seus efeitos, não há mãos que nos orientem. As principais perguntas por detrás desta dissertação são: que tipo de atenção é atenção poética? Isto implica perguntar o que constitui cada termo da expressão: atenção e poesia. Dado que a poesia não é uma coisa, como o são poemas, então como é que a atenção poética se relaciona com a compreensão do discurso – e o cariz desta compreensão e deste discurso? É ela mesma um discurso – e nesse sentido é a atenção poética mais um escutar do que um falar? Em jogo está um quadro, uma imagem bastante tradicional: a inspiração. Pode o mito da inspiração funcionar como um modelo filosoficamente plausível, dadas certas restrições? Quais? E dado o tema recorrente das implicações estéticas e éticas da poesia, em que sentido é que estes dois termos podem funcionar juntos? Para tal teremos de os comparar no contexto da poesia. Esta dissertação focará sobretudo ideias sobre poesia – atenção, linguagem, mente, o pensar – dentro do pensamento filosófico. Contudo, analisarei também uma breve selecção de poemas, dedicando essa leitura a poemas que falem sobre linguagem e sobre a natureza da poesia em si (como um chamamento à atenção poética propriamente dita). Contudo, estou fundamentalmente interessado naquilo que é a leitura de poemas; e no contexto da minha discussão, a palavra ´poesia‘, enquanto chamamento para o pensamento teórico é, na maior parte dos casos, um sintoma de confusão. A minha dissertação mover-se-á centripetamente em espiral em direcção à antiga concepção de `logos‘, voltando atrás no tempo através dos temas chave que estruturam os diferentes tipos de atenção que, por sua vez, organizam os quatro capítulos, nomeadamente: oração e poesia (terapia, e atenção a ideias e presença), contemplação e meditação (métodos e atenção ao eu), nous e logos (formas de percepção e atenção a seres), escutar e falar (atenção a palavras e a logos em si). Ainda que a progressão dos capítulos vá, respectivamente, desde o Cristianismo, Estoicismo, e Aristóteles, até Sócrates e Parmênides, a minha intenção não é de todo a de fornecer um relato histórico da atenção. Tal projecto estaria fora do meu alcance e do meu âmbito actual. Esforcei-me, sobretudo, por tentar encontrar semelhanças e diferenças entre as ideias chave e crenças associadas aos tópicos de atenção e poesia, e em como estas se relacionam (sobretudo no mito da inspiração, cujo paralelo religioso é a contemplação). O facto de que existe, no entanto, mais do que um só uso de `atenção‘ torna-se evidente ao observar como certos aspectos chave foram mudando ao longo do tempo. Para além disso, uma dissertação não é uma escrita livre, mas pressupõe escrever sobre os ombros de outros, como forma de atingir um terreno comum; por todas estas razões, irei continuamente retornar a certos pontos estruturais, começando por deixar algumas pistas que serão desenvolvidas com citações à medida que prosseguimos, progressivamente formando um corpus temático alargado, enquanto nos movemos em espiral em direcção à origem temporal denotada por `logos‘. Este movimento é pertinente para a atenção, pois como poemas e procheiron indicam, certos textos e actividades requerem tempo, repetição e um voltar a – se é que devemos ler e fazê-lo bem, se é que devemos `aprender de cor(acção)‘. A chave, creio, para que `atenção‘ signifique a respeito de inspiração (ou seja, enquanto atenção contemplativa, o meu problema inicial do Cap.1) é mostrar como se trata, contra a crença popular, de uma forma de pensar. Uma vez que estou interessado em inspiração como um modo de atenção poética, terei muito a dizer acerca do que é orar e misticismo. Sinto que deveria acrescentar algo sobre este assunto, pois não me considero religioso em nenhum sentido comum, ainda que tenha tido uma educação cristã quando era mais novo. Também não tenho uma inclinação metafísica, ainda que me recorde vividamente de balouçar entre fases metafísicas de idealismo e realismo, respectivamente inspirado por determinados autores, filósofos e poetas. Estilos de escrita são formas de pensar, e nestas `acreditamos‘, na medida em que nos afectam com as suas palavras. O mundo é assim visto de uma certa maneira. Mas mesmo antes de qualquer sistema de pensamento vem o misticismo, a compreensão de que o mistério e a maravilha jazem, latentes e inexplicavelmente, no centro da nossa existência. O misticismo incita, motiva um certo tipo de pensamento: sobre o todo. Irei portanto considerar a religião no sentido de William James: `os sentimentos, actos e experiências dos homens individuais na sua solidão, na medida em que se apreendem em relação àquilo que possam considerar divino.‘ (VRE 31) O que, para os efeitos desta dissertação, me interessa na religião é uma certa atitude em relação às coisas. É nesta região mais indefinida que a religião é congénere do pensamento poético, tal como orações podem partilhar uma atitude comum com poemas. Pois pensar o `divino‘ também comporta acima de tudo uma atitude - antes de lhe ser dada uma forma, de ser concebida como uma espécie de coisa ou deus: `Deve haver algo solene, sério e afectuoso em qualquer atitude que denominemos como religiosa... O divino significará para nós tão só uma tal realidade primitiva à que o indivíduo se sinta impelido a responder solene e seriamente, jamais reagindo de forma insultuosa ou com chalaças.‘ (VRE 38) Esta seriedade é tomada como uma atitude, mas advém do pensamento, do pensar a vida como um todo – o que significa uma consciência dos seus limites. O sentimento de perfeccionismo é aquilo que cresce dentro desta seriedade. Mas ter ideias sobre a vida é ter crenças; e portanto só podem ser ditas no modo próprio à poesia, que é a alegoria, o mito. A morte corresponde a tal tipo de crença: pois é claramente algo que ninguém pode saber. (Experienciá-la é já não ser capaz de a contar.) Certos poemas e orações recordam-nos da morte – e, assim, de que estamos vivos. Certos poemas e orações recordam-nos da vida e da maravilha da existência evocando o ser dos seres através de imagens, ou tematicamente. E toda a boa poesia nos recorda da vida ao levar-nos de volta ao limite oposto da morte: à origem que é a linguagem. A boa poesia é uma experiência com a linguagem. Torná-la viva é o que significa `atenção poética‘. A viragem linguística na história da filosofia (nomeadamente com Wittgenstein) recuperou a atenção dos filósofos - trazendo-a de volta do mundo das ideias e teorias – para a forma como falamos sobre as coisas. Poemas são um caso muito interessante a este respeito, pois é o uso de linguagem onde mais importa – ao mais ínfimo detalhe - o como dizemos. Estou interessado em poesia – as ideias que temos em relação aos usos estranhamente maravilhosos a que submetemos a linguagem, e a disfrutamos como tal – porque poemas (as coisas que geram tais ideias) parecem conduzir-nos de volta a uma relação íntima com o mundo. Orações fazem o mesmo, mas apenas para o crente: neste caso as palavras são, em geral, formalmente mais secas, e apenas implicam aquele para quem o quadro geral, a forma de vida, a que estas palavras pertencem seja aceite de antemão. Ainda assim a sua meta é semelhante, e como tal de interesse directo para uma compreensão da ideia de poesia. Não se trata de inventar e outorgar através de palavras, mas de descobrir o que está lá. Neste sentido, sou um realista. Na minha discussão sobre poesia não estarei, portanto, a falar de ficção, mas de revelação. Uma discussão acerca da linguagem é necessária pois é na divisão das águas que a mente nasce.

This dissertation is focused on a particular event at the heart of educational inquiry: the composition of attention — its catalogue of shapes and movements, and the manner in which it gathers and disperses. There are two major foci for my project: The first part, The Composition of Attention, is a historical survey that seeks to identify the circumstances comprising the Copernican revolution, what is arguably the most significant instance of inquiry in human history. This extraordinary set of events put in question not only the structure of the universe, but also the structure of inquiry. There were a host of methodological considerations at stake, not simply a set of new astronomical facts. Given the fact that this movement from a geocentric orientation to a heliocentric one has been subject caricature, distortion, and omission, my study seeks to trace how these unfortunate themes have, not only permeated the inception of compulsory education, but how many have come to remain permanent features, however implicit. The second focus, The Attention of Composition, explores the constituent elements of attention in their capacity to organize the scene of inquiry, be it a semester long research project, a writing assignment bound by the scope of one class period, or even more pedestrian moments of perception: i.e., the thought-feelings that occur while descending the stairs to exit the apartment. In each of these scenes the components of attention are activated, and as such can alert one to the particular habits of attention operative in other educational events. Although there has been a substantial increase in, shall we say, our attention to attention, given the difficulties of student achievement across a variety of contexts, there exists little consideration of it in the moments of its emergence, and under the auspices of language. This project designates five elements in the structure of inquiry—subject, language, object, aim, and method—that are studied according to four respective disciplines. Each discipline, or type of attention, addresses a pair of elements: Pedagogy – method and aim; Economy – aim and object; Poetics – object and language; Psychoanalysis – language and subject. The doubling of these elements for each style of attention is reflective of the Keplerian revelation of the function of planetary orbits.

The idea of “wilderness,” of nature itself, is being interrogated in history, philosophy, and English departments throughout the academy; books on our place in the natural world have prominent spaces on shelves in bookstores; newspapers feature editorials on climate change and nature preservation. More attention than ever is being paid to environmental philosophers and nature writers as the ongoing climate crisis slowly but steadily worsens. All the while, however, some important thinkers on these subjects of nature and wilderness are utterly forgotten. My thesis focuses on the work of one of these neglected thinkers, the poet and essayist John Haines (1924-2011). Haines’s name is not mentioned often, if ever, in discussions of prominent American nature writers, and I aim to demonstrate why that is an unfortunate exclusion. Guided by his decades as a subsistence hunter and fur-trapper in the Alaskan bush, John Haines offers a perspective on the world outside of us that deserves consideration. I compare and contrast his ideas with those of other nature writers and poets, as well as environmental philosophers and theorists, and argue that he offers a unique and transformative vision of our relationship to the natural world and the non-human animals that live all around us.

This dissertation examines the reconfiguration of the limits of representation in reference to the intermediary function of angels. The Modernist engagement with the figure of the angel entailed, primarily, a reconsideration of the problem of representation as well as an attempt to trace the contours of a poetics that plays itself outside the mimetic understanding of representation. My contention is that this transformation of literary referentiality was not simply a disengagement of art from reality but, rather, from the truthfalsity, reality-fiction, subject-object dichotomies. The angel, defined as the figure of passage par excellence, but also as the agency that induces the transformation of the visible in the invisible and vice versa, appears both as a model/archetype and as a guide towards the illumination of this intermediary aesthetic. Working with the joined perspectives from angelology, contemporary phenomenology, and poetics, this dissertation is an extended overview of the notion of intermediary spaces, as well as an attempt to probe the relevance of this concept for the field of literary studies. In the first case, this dissertation offers a theoretical background to the concept of intermediality, seen in its theological, phenomenological, aesthetic and ethical significances. In the second case, it presents the reader with a heuristic apparatus for approaching this problematic in the field of literary interpretation and provides examples of ways in which such an analysis can become relevant. The primary texts discussed here are all examples of attempts to redefine the notion of representation away from the truth-falsity or subject-object oppositions, as well as to create an aesthetic space with its own particularities, at the limit between visibility and invisibility, excessive presence and absence. Nicholas of Cusa’s “Preface” to The Vision of God proposes an ethics of reading defined by admiratio (the consubstantiation of immediacy and distance) under the aegis of the all-seeing icon of God. Louis Marin’s reading of the episode of the Resurrection reveals that history and narrative arise from the conjunction of the excessive absence of the empty tomb of Jesus and the excessive presence announcing the resurrection of Christ. Sohravardî’s “Recital of the Crimson Angel” is a presentation of the space-between of revelation, between cognitio matutina and cognitio vespertina. Walter Benjamin’s “Agesilaus Santander” restores the connections between the exoteric and the esoteric under the patient gaze of “Angelus Novus”. Paul Valéry’s Eupalinos, ou l’Architecte explores the aesthetic of “real appearance” in the space-between the image and the perceiving eye. Poe and Malamud’s short stories reveal the affinities between poetic language and angelophany. Elie Wiesel’s Les portes de la forêt expands the apophatic itinerary from the self to the radically other in a hermeneutical gesture which has the angel as its initial and final guide. Finally, Rafael Alberti’s Sobre los ángeles shows that the aphaeretic function of poetic language is very similar to the apophatic treatment of the world as representation; in this last sense too, the angels are indispensible guides.

Poetry as a "philosophical frontier" is the concept focused in this book on the poetry of Paul Celan. It is not precipitate to consider that the peculiarity of Celan's poetry and its reception lies in the persistent and ongoing interest displayed by philosophical criticism. Adopting an inclusive formula that goes beyond the mere notion of a "philosophical space", Massimo Baldi and Fabrizio Desideri aim to bring together readings and interpretative theories that are significantly diverse, albeit marked by the common intention of focusing the radical singularity of Celan's writing. All the essays presented here effectively reveal an attention to that engagement inherent in the letter of the poetic dictate, in the pungency of its inscription, which we must respect and listen to if we wish to understand Celan.

Despite his ‘Third World’ and Marxist sympathies, Pier Paolo Pasolini showed, throughout his life, strong poetic and political attention for national narratives and the building of Italianness. However, Pasolini’s ‘desperate love’ for Italy and Italianness – which I consider one of the basic elements of his poetic universe – can be fully grasped only if we read it in the light of his fluid, transnational, and pan-meridional approach.

One of the key poets of Slovak post-November poetry was shaped in the Komúna dissent group headed by philosopher and artist M. Strýko during the communist regime. Operating in dissent supported the radicality of his poetic gesture and lifestyle, the image of an active, evolving individual freed from the senselessness of civilization, and also the idea that it is possible to integrate evil into a higher good. These ideas also form branches to the sanjuanist motifs and intellectual solutions that are close to Groch. The article seeks these penetrating places with special attention on the symbol of the journey and pilgrimage, and at the same time points to Groch’s creative updates of one of the most famous spiritual teachings of the West.

In OCS studies Constantine of Preslav was for a long time known as a translator/compilator of prose texts above all and as the author of the Alphabet Prayer, but today his hymnology attracts more attention. This is due to several acrostics containing his name, rediscovered and published by scholars only recently. A full-fledged appreciation of his work demands bringing together the analyses of his prose and his hymnology. In addition it is necessary to add his acrostics as texts in their own right. This is attempted in the article on the basis of G. Popov’s research, special attention being paid to the two acrostics that actually form poetic texts, written in the tradition of Byzantine dodecasyllable poetry.

All nations and societies need someone to defend them, protect them, and repel aggression and injustice, so that these sacrifices become the torch of freedom, the beacon of pride, and the throne of pride. And this testimony adds to him a human, patriotic and sanctity value, thus elevating his position among his people and his people. He who sees himself as part of his society, his issues are his cause, and his pain is his pain. With the catastrophe of Palestine in 1948, and the setback of June 1967, the Palestinian resistance appeared carrying weapons, believing in the principle of liberation by force, and alongside this resistance, Palestinian resistance poetry appeared, which supported the armed resistance with the literary poetic word, and gave a great space, and great attention to the cause of the Palestinian martyr who sacrificed the cause of the Palestinian martyr. The research aims to clarify the poetic image of the martyr in the Palestinian resistance poetry, and the motive for this is the status of the martyr in Arab thought on the one hand, and the status of the Palestinian cause, and its specificity among the Palestinians, Arabs, and Muslims on the one hand, and the international community on the other. The importance of the research lies in its goal and motive. The researcher will follow the descriptive and analytical approaches, and will clarify the concept of the martyr, and the testimony, and will address the image of the martyr with description and analysis of some poets of the Palestinian resistance, such as Mahmoud Darwish, Samih Al-Qasim, and others

The poetry of metarealism is considered the poetry of the complexity of perception, interpretation, understanding, not only for students, but also for the researchers and literary critics themselves. The rich use of metametaphors, or the metabol, and their sequential accumulation makes it difficult to decode individual images and the meaning of the whole poem. Poetic texts of this kind, in addition, require their readers to have a general outlook on knowledge of history, culture, literature, technology, etc. Deciphering the meaning often resembles solving crosswords. To motivate university students studying Russian as a foreign language to read and understand the poetry of metarealism, one needs to arouse interest among them. Therefore, the purpose of this paper is to show the diverse use of information technology in the classroom on Russian literature, and more specifically in seminars on modern Russian literature to draw attention to metarealist poetry.

В статье анализируются особенности употребления флоронимов в стихах Б.Л. Пастернака. Функции цветообозначений осмысляются в контексте философии поэта, рассматривавшего природу, историю и судьбу отдельной личности как звенья единой циклической динамики мироздания. Обращается внимание на потенциал лексикографического комментария поэтической картины мира автора. The article analyzes the features of the use of floronims in the poems of B.L. Pasternak. The functions of color designations are interpreted in the context of the poet's philosophy, who considered the nature, history and fate of an individ0ual as links in a single cyclical dynamics of the universe. Attention is drawn to the potential of the lexicographic commentary of the author's poetic picture of the world.

The epic and lyrical works of Babur, who wrote and created excellent works in Cigatai after Alishir Navai,, have reached our time. Although Babur is more famous in the history of literature for his work "Baburnama", his lyrics have always been in the center of attention with their artistic features. Babur proved that he was not only a powerful ruler, but also a poet with delicate feelings and fragile feelings, by depicting human feelings and thoughts more powerfully and beautifully than they were, adding thousands of colors to them with the magic of words and creating beautiful works from each other. The innate talent of the poet plays an important role in the expression of this beauty andelegance, because at this time human feelings and experiences are compared with inanimate natural objects and abstract concepts. In these comparisons, the innate talent of the writer to express any idea in a figurative way is clearly evident. These works,which are expressions of the poetic power of the word and the mysterious world of colors, attract more attention due to the artistic expression style, have stood and are still standing above time.

The Slovak Romantic Messianism is perceived by us as a phenomenon growing from a specific current epochal situation relating to a relatively rich tradition, which existed in the Slovak cultural context already in previous historical periods. By considering the characteristic features of production, its existence was often relativised. Nevertheless, it represents an important testimony of a concrete epoch. Its artistic implementation (perhaps today more than in the past) is being well appreciated, thanks to its interesting form and to its expressive and narrative strength or value. By focusing our attention on its expressive and thematic means, it is possible to prove that the authors tried to mediate a mystical experience to the readers. As mystagogues, they introduced and initiated the readers to the mysteries of God’s plans aiming at transformation of this world. In this sense, through their literary production, they invoked and prayed God to give them a chance to live a direct mystic experience in the reality. By pursuing this purpose, they filled their poetry with curious archaisms and neologisms (the so-called self-creation of language). They gave way to a speculative etymologism and poetical forms. Generally, they were syncretically stylying poetical shapes. And they often exploited experiments or complex strophic structures.

Influenced by being situated between China and India, two historical giants, the people of the three nations of Viet, Lao and Khome exhibit strong histories of imported cultures. The religions of these regions, which closely connect to people’s lives, offer strong symbolisms of lifeworlds and enculturations. People in Indochina assign great significance to living and to interpersonal relationships, more so than toward deities and spiritual agents, as well as to the creation of the cosmos. Here, folk stories frequently include the ‘first man,’ the messages from which serve to educate society. This study aims to present that Indochinese poetic stories exhibit imported theories, the moral messages within which have reached levels of mastery in the literary genre, that is, the poetic story. These moral lessons emerge in texts such as Luc Van Tien (Vietnam), Thao Hung Thao Chuong (Lao) and Tum Tieu (Cambodia). Based on historical facts, these texts expose people’s attention to humanity’s opinions of Confucianism (China) and Buddhism (India). The stories also present differences and similarities, the descriptions of which can offer pathways to explaining social dynamics in modernity. As such, locating markers within figurative talk in this literary genre may inform theories in larger narratives and philosophical texts.

В статье рассматриваются особенности употребления приложения как синтаксического средства выражения авторских индивидуально-личностных интенций при обозначении фрагментов картины мира в поэтическом тексте Б.Л. Пастернака. Уделяется внимание вопросу о лингводидактическом потенциале приложения при обучении синтаксису русского языка в VIII классе школы. The article examines the features of using the application as a syntactic means of expressing the author's individual and personal intentions in connection with designating fragments of the worldview in the poetic text of B.L. Pasternak. Attention is paid to the question of the linguistic didactic potential of the application when teaching the syntax of the Russian language in the 8th grade of the school.

The "Travesías" are an emblematic practice of the PUCV School of Architecture and Design, recognised as a radical element in the training of designers and architects. They originated not from a pedagogical intentionality but from an artistic impulse inherent in the poetry-craft relationship (and, within the framework of a school, in the teacher-disciple relationship). Their systematisation as a permanent part of the curriculum is a later phenomenon due to their resounding success in disciplinary apprenticeship. The theoretical and poetic foundations of the travesías are multiple and varied, each essential to the school. These include contemplative observation as the primary action of the craft, the permanent question about America and being American, the collective sense in the epic of undertaking a shared adventure and the sense of the Work from its inaugural and gratuitous sense. These elements coexist and intersect and amplify each other, constituting the rich complexity that defines the experience of the voyages. The contemporary context poses severe challenges to these fundamental principles, both in the installation of new subjectivities and new ethos and in institutional and normative aspects. Greater psychological fragility among young people results in a much lesser willingness to engage in physical adventures in wild environments, with less focus and much more fragmented attention. At the institutional level, the judicialisation of education and the right to free education commodify time, threatening the viability of travesías as an enterprise that exceeds mere instruction, to name but a few aspects that threaten them. Moreover, in an age that advocates tackling more significant practical challenges such as energy sustainability, access to clean water, climate change or social inequality, to name but a few, a "poetic purpose" is indeed an oxymoron. Furthermore, it risks being misunderstood as irresponsible: in times of urgency, there is no room for poetry, apparently. The sense of design as a problem solver does not necessarily reveal the depth and richness of the possible. This presentation seeks, first, to critically examine the meaning of travesías in the light of contemporary challenges and, second, to open a dialogue with the academic and professional community to discuss whether these fundamental principles are still recognised as valuable. Also, explore new ways and means of reinventing travesías, especially when their core values are threatened by the cultural and systemic transformations of our time.

The article deals with the technology of visualizing fictional text (poetry) with the help of emoji symbols in the Emoji Maker platform that not only activates students’ thinking, but also develops creative attention, makes it possible to reproduce the meaning of poetry in a succinct way. The application of this technology has yielded the significance of introducing a computer being emoji in the study and mastering of literature is absolutely logical: an emoji, phenomenologically, logically and eidologically installed in the digital continuum, is separated from the natural language provided by (ethno)logy, and is implicitly embedded into (cosmo)logy. The technology application object is the text of the twentieth century Cuban poet José Ángel Buesa. The choice of poetry was dictated by the appeal to the most important function of emoji – the expression of feelings, emotions, and mood. It has been discovered that sensuality can reconstructed with the help of this type of meta-linguistic digital continuum. It is noted that during the emoji design in the Emoji Maker program, due to the technical limitations of the platform, it is possible to phenomenologize one’s own essential-empirical reconstruction of the lyrical image. Creating the image of the lyrical protagonist sign, it was sensible to apply knowledge in linguistics, philosophy of language, psychology, psycholinguistics, literary criticism. By constructing the sign, a special emphasis was placed on the facial emogram, which also plays an essential role in the transmission of a wide range of emotions, moods, feelings of the lyrical protagonist. Consequently, the Emoji Maker digital platform allowed to create a new model of digital presentation of fiction, especially considering the psychophysiological characteristics of the lyrical protagonist. Thus, the interpreting reader, using a specific digital toolkit – a visual iconic sign (smile) – reproduces the polylaterial metalinguistic multimodality of the sign meaning in fiction. The effectiveness of this approach is verified by the poly-functional emoji ousia, tested on texts of fiction.

The scientific research considers and analyzes the epistolary heritage of Olena Teliha. Excerpts from her correspondence are presented, which testify to the formation of a brilliant woman, a creative personality who played an extremely important role in the struggle for the formation of Ukrainian statehood. It is from the letters that we learn that for her letters are almost an ideal way of communication. The epistolary heritage of Olena Teliha allows us to reveal the vision of the main processes in her personal life against the background of the general historical discourse. In addition, the main communicative visions that determine her creative personality are highlighted: communicative vision of friendship, love, creation of literary talent, perseverance and strength, resistance to rejection. Attention is focused on the importance of studying and researching the epistolary heritage of creative personalities in the context of social communications. From the quoted letters, which are distinguished by their sincerity and accuracy of expression, it is possible to determine and formulate what positions and ideas the civic activist, poet and publicist adhered to. In addition, we can see the line of consistency in the formation of a creative personality who not only lives and writes, but acts – creates history, its moment, the value of which is felt and understood by future generations. It is found that the life path in its interconnection with historical circumstances and social environment influenced the formation of the creative personality of the genius poet and publicist. The peculiarities of the epistolary of Olena Teliha are determined by the circumstances, people and personalities that she had to face in life. The promising areas of research are the letters of Olena Teliha, which are in the archives of other countries and the allocation of journalistic and documentary aspects of her epistolary heritage. Keywords: epistolary heritage, letters, public figure, journalism, creative personality.

The article deals with the problem of the meaningfulness (essence) of the worldview journalism in the context of the argumentative resources of the work of influentive authors, for which the missionary role of the word is decisive. The search for meaning has been debated for centuries by orators, philosophers, psychologists, writers, sociologists, historians, journalists, and so on. In addition to other factors, a combination of the principles of worldview journalism and conceptual humanitarianism gives effective results. The author explores the acute problem of the effectiveness of a journalistic text through the prism of knowing the truth, meaning, since this is precisely where the source of wisdom is found; we are talking about spirituality, culture, historical memory. As influental authors proved with their arguments, the collection of facts is not enough, it is important to find the meaning of the existence of the individual, communities, and humanity. A number of examples show how the speakers of worldview journalism use all texts, not only from the archives: we are talking about poetry, art, in general, about literature, which revealed the most truth. Figuratively speaking, it is not only about the world of borders, it is important to consider horizons. Turning information into a commodity, focusing on “seasonal” interest based on the materialism of facts, or the inadequacy of many concepts and categories, the faking of media, relativity, obscurity of texts, anti-culture, in other words, the revolution of nihilism inevitably relativizes the very essence of journalism. If creative life is a manifestation of the freedom of the spirit, based on authentic truth, then we should strive to achieve the “extension of vision”, to master combinatorial (combinative) thinking. The ability to think in this way differs from ordinary logic in which the main universal thing remains in the center of attention, and the personality is not lost in individual details. Consequently, we can build a genealogy of ordered things and concepts, feel their inner relationship. Key words: meaning, worldview, journalism, argument, influence, moral principles, creativity.