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Journal articles on the topic 'Poetics of silence'

Author: Grafiati

Published: 28 September 2022

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1

Boase-Beier, Jean. "Translating Celan’s poetics of silence." Target. International Journal of Translation Studies 23, no. 2 (December 21, 2011): 165–77. http://dx.doi.org/10.1075/target.23.2.02boa.

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Holocaust poetry is like all poetry in that it does not just convey events, but also triggers emotions, and has the potential to change cognitive models and challenge unconsidered views. And yet it relates to real events that must not be falsified. Silences are at the heart of Holocaust poetry. Here I examine a poem by Paul Celan and how it, and its silences, can be translated. Using the notion of conceptual blending I explain how the poem works, and how its translation can also work as a Holocaust poem.

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2

Lo, Yimon. "‘A Tale of Silent Suffering’: Wordsworth’s Poetics of Silence and its Function of Reintegration." English: Journal of the English Association 69, no. 264 (2020): 25–41. http://dx.doi.org/10.1093/english/efz051.

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Abstract Silence is an important aspect of Wordsworth’s treatment of sound and the auditory imagination. With different emphases, a number of critics have attended to the significance of silence in Wordsworth’s poetry. Various other scholars have addressed the notion of community in Wordsworth’s silence. Their readings encourage a reappraisal of Wordsworth’s poetics of silence as a mode of mournful reconciliation with forgotten communities. Alert to the ambiguities and contingencies in Wordsworth’s consolatory vision, my argument reinforces the social and communal function of silence rather than evaluating its achievement of compensation or reassurance in respect of loss and suffering. My reading engages with the emergent critical interest in Wordsworth’s use of negativity to offer a renewed perspective on how Wordsworth poeticizes the negative quality that silence lends to sound and mobilizes the idea of unattainable silence. Through debunking the conventional dualistic perception of sound and silence, my essay redefines the concept of auditory presence and absence to evaluate Wordsworth’s poetics of silence in terms of its effectiveness as a medium for social, spiritual, and imaginative reintegration.

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3

Rangarajan, Sudarsan. "The Poetics of Silence in Maria Chapdelaine." Neophilologus 96, no. 1 (April 23, 2011): 33–46. http://dx.doi.org/10.1007/s11061-011-9262-4.

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4

Caldwell, Caleb. "Silence and Geoffrey Hill’s Poetics of Witness." Religion and the Arts 17, no. 5 (2013): 545–67. http://dx.doi.org/10.1163/15685292-12341300.

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AbstractFocusing on Geoffrey Hill’s early poetry concerning atrocity and the Holocaust, this essay argues that Hill presents his poems as shared events between the poles of the impossibility and the actuality of witness, instead of as poetic speech that fully signifies witness. Through close readings of “Funeral Music” and “September Song,” this article shows that Hill’s heavy use of negative rhetorical devices, his famous ambiguities, and his thematic explorations of silence do not debunk the possibility of witness but rather awaken awareness to the complications inherent in any response to atrocity.

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5

De Visscher, Eric. "“There's no such a thing as silence…” John Cage's poetics of silence." Interface 18, no. 4 (January 1989): 257–68. http://dx.doi.org/10.1080/09298218908570550.

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6

Pitts, Angela. "Orpheus, the Poetics of Silence, and the Humanities." International Journal of Literary Humanities 10, no. 2 (2013): 105–16. http://dx.doi.org/10.18848/2327-7912/cgp/v10i02/43868.

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7

Heller, Michael. "A Note on William Bronk's Poetics of Silence." Chicago Review 44, no. 3/4 (1998): 136. http://dx.doi.org/10.2307/25304318.

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8

Fagan, Paul. "Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’." Short Fiction in Theory & Practice 11, no. 1-2 (June 1, 2021): 91–109. http://dx.doi.org/10.1386/fict_00038_1.

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This article explores paradoxical silence as a strategy of contemporary feminist short story writing in Joanna Walsh’s ‘Worlds from the Word’s End’ (2017). To draw out the story’s engagements with writing women’s agency beyond the binaries of embodiment and disembodiment, passivity and activity, inner and outer life, it reads Walsh’s text at the nexus of three interrelated traditions. First, it situates the story within a genealogy of women’s ‘non-writing’, which develops new aesthetic strategies through the short story form for both writing and reading the silences of women. Secondly, it explores the significance of women’s speech loss in Ovid’s The Metamorphoses to the transformative drive of Walsh’s poetics of silence, with a specific focus on the figure of Echo. Thirdly, it places Walsh’s epistolary short story into conversation with philosophical debates about the distinct silences of plenitude and vacuum, transcendence and immanence, the human and the nonhuman, by reading it comparatively with Hugo von Hofmannsthal’s ‘Ein Brief’. In conclusion, it is argued that ‘Worlds from the Word’s End’ ironizes the Ovidian topos of the silent figure who nevertheless speaks her desires in order to trouble the binaries that regulate strategies of voluntary silence in the feminist short story.

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9

Edmondson, Laura. "Antihomosexual Acts on Trial: The Poetics of Justice in Uganda." TDR/The Drama Review 63, no. 2 (June 2019): 6–33. http://dx.doi.org/10.1162/dram_a_00833.

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Reading across artistic, political, and legal expressions of LGBT activism in and from Uganda reveals an aesthetics of silence. These moments of silence serve as a strategy of deferral that enables Ugandans on both sides of the Anti-Homosexuality Bill controversy to refuse humanitarian savior narratives, affirm the legitimacy of the postcolonial state, and point the way toward an East African grammar of justice.

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10

Caranfa. "Literature, Art, and Sacred Silence in Whitehead's Poetics of Philosophy." Journal of Speculative Philosophy 29, no. 4 (2015): 474. http://dx.doi.org/10.5325/jspecphil.29.4.0474.

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11

Nishimura-Jensen, Julie. "The poetics of Aethalides: silence and poikilia in Apollonius' Argonautica." Classical Quarterly 48, no. 02 (December 1998): 456–69. http://dx.doi.org/10.1093/cq/48.2.456.

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12

Henderson, Liza. "THE POETICS OF Silence: A PREFACE TO ELIZABETH Egloff's PHAEDRA." Theater 20, no. 2 (1989): 54–57. http://dx.doi.org/10.1215/01610775-20-2-54.

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13

Krinitsyn, Alexandr B. "The Polyphony of the Silent: The Specifics of Dostoevsky’s Philosophical Discourse." RUDN Journal of Studies in Literature and Journalism 26, no. 3 (December 15, 2021): 375–91. http://dx.doi.org/10.22363/2312-9220-2021-26-3-375-391.

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The article describes the phenomenon of silence in Dostoevskys later prose. Philosophical, plot-forming and psychological aspects of silence are looked at. A confessional type of monologue is defined as a discursive genre, with specific roles of the speaker and his silent listeners, whose predominance in Dostoevskys prose lets the author of the article adjust the notion of polyphony and dialogue within the context of Dostoevskys poetics. The conventionality of the other in the confessional type of monologue is proved by the absence of the completing functions in listeners. In most cases Dostoevskys later works retain some rudimental forms of frantic dialogue while the role of specific monologue discourse, caused and conditioned by silence, is increasing. By semantics and function types of silence in Dostoevsky fall into three groups: 1) the underground silence as expression of human disunity in the epoch of universal solitude; 2) role silence of listeners in the discursive genre of confessional monologue; 3) sacred silence of Christ indicating transition to a new higher level of communication

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14

Alonso-Breto, Isabel. "“A Poetics of Disruption”: Farida Karodia’s A Shattering of Silence and the Exiled Writer’s Dihiliz Position." Prague Journal of English Studies 4, no. 1 (July 1, 2015): 77–90. http://dx.doi.org/10.1515/pjes-2015-0005.

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Abstract Bearing in mind Edwidge Danticat’s ideas about writing being a dangerous affair, this paper reflects on authorial matters regarding Farida Karodia’s A Shattering of Silence (1993). Like other novels set in times of conflict, A Shattering of Silence can be seen to deploy what the researcher chooses to call a “poetics of disruption”. This is a poetics heavily at the service of politics, intended to disrupt and destabilise the blunt binaries lying at the heart of any armed conflict. In this sense, the main character in the story, Faith, embodies a poetics of disruption in so much as she problematises the binary dimension of the political situation in the Mozambique of the period, being a white woman who sympathises with the anti-colonial struggle. This article claims that, reproducing the dynamics of the poetics of disruption in a process which can be said to replicate that of her character, Farida Karodia herself makes the most of her strategic location in a liminal terrain across nations. Her position as an exilic author can be defined as dihiliz, that is, as a threshold vantage point which enables her to be both inside and outside the situation she reflects about. Karodia’s liminality is here more pointed than is usually the case with the exilic writer, since she chooses to write about Mozambique, in many senses close to her country of origin yet not her birth-place.

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15

Veselinović-Hofman, Mirjana. "Musicology against silence: Memories, meaning, value: Three branches of musicology amid two types of one silence." New Sound, no. 56-2 (2020): 80–91. http://dx.doi.org/10.5937/newso2056080v.

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The text is a reflection on the status of musicology under the conditions of isolation imposed by the ongoing pandemic, from the perspective of my personal memories concerning the impact that the historical, analytical, and interpretative branches of musicology had on the formation of my musicological poetics as a student of musicology. Understood as a kind of social silence informing one's internal domain as an author, and in terms of the imposition of physical distancing, which is severely jeopardizing not only individual scholarly production, but entire professions as well, this isolation is forcing the study of music (as well as many other professions) to make significant changes to some of its key activities. This concerns the necessity of making a transition to distance working.

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16

Vaudrin-Charette, Julie. "Reading Silenced Narratives: A Curricular Journey into Innu Poetry and Reconciliation." in education 21, no. 2 (December 2, 2015): 150–70. http://dx.doi.org/10.37119/ojs2015.v21i2.223.

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Using a life writing research methodology in this article, I seek to understand the complexities implicated in reading silenced narratives as a way towards reconciling internations relationships. To do so, I weave in the poetical territories of Josephine Bacon, Innu poet from Pessiamit, Quebec. I analyse how a poetic text has created spaces for reinterpreting silence[s], that journey into and beyond my whispered narratives as an emerging, settler scholar and curriculum theorist. As I tune into several layers of silences, I examine the pedagogical implications lying within public and intimate territories of silenced narratives and the narrative(s) of silence(s) in our various practices as educators.Keywords: Postcolonialism; Indigenous education; educator's role; pedagogyFigure 1. A visual abstract is offered here as an alternative way to enter the space of silenced narratives of symbolic literacies (see Battiste, 1986).

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17

Franke, William. "Poetics of Silence in the Post-Holocaust Poetry of Paul Celan." Journal of Literature and Trauma Studies 2, no. 1-2 (2014): 137–58. http://dx.doi.org/10.1353/jlt.2014.0009.

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18

Garre García, Mar. "The Poetics of Silence in the Translation of Samuel Beckett’s “Comment dire” / “What Is The Word” into Spanish." Babel – AFIAL : Aspectos de Filoloxía Inglesa e Alemá, no. 29 (December 23, 2020): 27–50. http://dx.doi.org/10.35869/afial.v0i29.3276.

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“L’écriture m’a conduit au silence,” admitted Samuel Beckett to Charles Juliet in Rencontres avec Samuel Beckett (21). ‘Comment dire,’ his last written poem, was first published in 1989 and summarises a lifetime exercise of self-expression beyond the limits of language and time. Indeed, it was originally written in French only a year before Beckett died, devoid of a great deal of his communicative abilities. Thus, this poem represents a sort of literary testament (Carriedo 50) resonant of both his literary career and personal life. In fact, its misleading austerity reveals a challenging area of work for the translator to draw on the original text to create his/her own poetic interpretation. In Spanish- speaking countries, Beckett’s poetry has not been given as much prominence as his other works. However, there is evidence of three translations of ‘Comment dire,’ which thereafter demonstrates a surprising interest in Beckett’s late poetic production: Laura Cerrato’s ‘Cómo decir’ (1990), Loreto Casado’s version within Quiebros y Poemas (1998), and Jenaro Talens’ own interpretation in Obra poética completa (2000). The main objective of this paper is to comment on the essential convergences and disparities found in these translations and therefore to identify mutual sources of interest in Beckett’s original poem. I will also observe the predominant strategies they have chosen in translating ‘Comment dire’ on the basis of two fundamental parameters: creative freedom and respect for Beckettian standards founded on the poetics of silence.

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19

Lyhina, Аnna. "Vasyl Haiduchok – the Poet of a Single Cycle." NaUKMA Research Papers. Literary Studies 3 (September 2, 2022): 49–52. http://dx.doi.org/10.18523/2618-0537.2022.3.49-52.

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The article analyzes the only known poetic cycle by Vasyl Haiduchok, published in the Skrynia maga-zine. The text is focused on the problem of silence, which is fundamental for Ukrainian underground poetry, in spite of being understood in different axiological and semantic planes. The article discovers how the concept of silence interacts with the Christian symbols, concepts of time and death, and traditional Ukrainian images. Being connected with the internal emigration as a constructive strategy of the author who resists the invasion of the aggressive Soviet language, the concept of unvoiced is also substantial for surrealistic and hermeticism poetics. Moreover, Vasyl Haiduchok and other Ukrainian poets of the late 60s and 70s were forced to silence in an act of cultural and ideological abuse of the totalitarian system. After the arrests of the Lviv intellectuals and the confiscation of the entire print run of the Skrynia in 1972, Vasyl Haiduchok never went back to creative writing and died in poverty. The aim of the article is to return his voice to the Ukrainian literature discourse. To discover the philosophical particularities of the cycle we compare it with the texts of other poets of the Skrynia magazine. We draw a parallel between the artistic destiny of Haiduchok and Chubai. Censorship and political persecution pushed both of the writers not only into the underground but also into complete silence. While the poetry by Chubai is scientifically analyzed in modern journals, the cycle by Haiduchok is almost unknown even among philologists.

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20

Glatigny, Sandra. "Le « silence bruyant » de Corbière." Quêtes littéraires, no. 7 (December 30, 2017): 61–72. http://dx.doi.org/10.31743/ql.158.

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In "Les Amours jaunes", Corbière carries out a paradoxical promotion of silence. In fact, the writing features cacophonous poetics. However, the promotion of noise makes it possible to denounce the dysfunction of language. The deceptive experience of communication reveals a wish to implement another mode of emotional transmission. The poet distorts and mocks the romantic tradition to denounce the tricks of a language which is musical and full of imagery. On a quest to find authenticity, he deploys competing and conflicting semiotic layouts which break the textual unity. Renewing the lyrical pact, that fragmentation opens a vacant space that the reader can take over. A reception which is strengthened by the empathic relation between the subject and its recipient is replaced by a formulation based on the evocative power found outside the text. That is definitely a speech ‘addressed’ to the reader but the emotions go through the perception of silence. The formulation of these emotions is suspended, thus letting us read implicitly the mark of its absence. Often considered “unlyrical”, Corbière finds, in the fragile balance between hubbub and silence, an interval filled with the transmission of personal affects.

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21

Espinoza, Lauren. "The Poetics of Silence: (Re)memory through Poetry of the Mexican Diaspora." Diálogo 17, no. 2 (2014): 81–85. http://dx.doi.org/10.1353/dlg.2014.0091.

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22

Šlapkauskaitė, Rūta. "“Like being trapped in a drum”: The Poetics of Resonance in Frances Itani’s Deafening." Anglica. An International Journal of English Studies, no. 27/3 (September 17, 2018): 201–32. http://dx.doi.org/10.7311/0860-5734.27.3.10.

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This paper considers how Frances Itani’s Deafening imaginatively rethinks our understanding of the Great War in the age of postmemory. Seeing as the novel is set in Canada and Europe during the First World War and takes as its protagonist a deaf woman, the poetic attention given to the senses as a horizon of phenomenological experience magnifies the moral bonds that the characters establish in defi ance of both deafness and death. Guided by the theoretical reasoning of Marianne Hirsch, Elaine Scarry, and Alison Landsberg as well as contemporary phenomenological thinking, most significantly that of Edward S. Casey, Steven Connor, Michel Serres, and Jean-Luc Nancy, this paper examines how the novel’s attentiveness to the materiality of the body in regard to the ethical collisions of sound and silence as well as life and death contributes to a poetics of resonance that generates prosthetic memories, turning the anonymous record of war into a private experience of moral endurance inscribed on the ear of historical legacy.

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23

Kohn, Lothar, and Arlene Akiko Teraoka. "The Silence of Entropy or Universal Discourse: The Postmodernist Poetics of Heiner Muller." MLN 104, no. 3 (April 1989): 749. http://dx.doi.org/10.2307/2905061.

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24

Lennox, Sara, and Arlene Akiko Teraoka. "The Silence of Entropy or Universal Discourse: The Postmodernist Poetics of Heiner Muller." German Quarterly 60, no. 1 (1987): 149. http://dx.doi.org/10.2307/407193.

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25

Fournier, Jean-Marie. "Empty spaces and the poetics of silence in the poetry of John Keats." Études anglaises 63, no. 1 (2010): 88. http://dx.doi.org/10.3917/etan.631.0088.

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26

Jussaume, Timothy. "Sounding/Silence: Martin Heidegger at the Limits of Poetics. By David Nowell Smith." American Catholic Philosophical Quarterly 88, no. 3 (2014): 606–10. http://dx.doi.org/10.5840/acpq201488325.

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27

Segarra, Marta. "Hélène Cixous’s Creaturely Poethics." Word and Text - A Journal of Literary Studies and Linguistics 11 (2021) (December 2021): 55–67. http://dx.doi.org/10.51865/jlsl.2021.04.

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Drawing on Jacques Derrida’s and Sarah Kofman’s conception of writing, Anat Pick’s notion of the ‘creaturely’ and Kári Driscoll’s ‘zoopoetics’, this article discusses the relationship between textuality and animality in Hélène Cixous’s work. Cixous’s writing has been described as inscribing the body in the text, which may be considered an ethical engagement; her embodied poetics can thus be called a creaturely poethics. The analysis focuses mostly on Cixous’s latest texts: Les Sans Arche d’Adel Abdessemed (2018), Animal amour (2021) – which deal openly with animals – and her recent fictions on the Shoah, 1938, nuits (2019) and Ruines bien rangées (2020). In them, animality not only traverses human and non-human animals, but also beings considered inanimate, such as Osnabrück’s synagogue. Particularly, Ruines bien rangées gives a voice – and, above all, a ‘cry’ – to all beings reduced to silence, and therefore to death, by the Nazis.

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28

Silva, Luzia Batista de Oliveira, Ivone Oliveira Tavernard, and Junior Tavernard. "CREATIVE IMAGINATION, TRAGIC-POETIC ART AND EDUCATION OF SENSIBILITIES." Revista Inter-Legere 1, no. 22 (August 9, 2018): 18–42. http://dx.doi.org/10.21680/1982-1662.2018v1n22id15292.

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This article aims to discuss about how creative imagination, tragic art and the education of sensibilities provides images of dreams of flying, ascension and freedom, contributing to the understanding of a poetic education of the child and the adult. The aesthetics of the poems and the literary lessons attest that art educates the sensibilities. We recognize this in Bachelard when he approaches the education-poetics in childhood and in the tragic-poetic art of Nietzsche, according to The Birth of Tragedy and Thus Spoke Zarathustra. In these works, the images are full of dreams of freedom represented in the ascents to the mountain summit, in the pure air breath and in the contemplation of aerial landscapes, which enables the individual -from a privileged position - to become a lover of life, who refuses its heavy side, its dark elements, the melancholy atmosphere, the disseminated Greek serenity. The heights, the silence against the crowd and the noise, as well as "states of soul" - in Bachelard's vision and analysis of the work "Thus spoke Zarathustra" - are at the same time exalted and reveals the dreams of freedom, of ascension and moral elevation. Keywords: Culture. Poetic Education. Aesthetics. Bachelard. Nietzsche.

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29

Caranfa, Angelo. "The Luminous Darkness of Silence in the Poetics of Simone Weil and Georges Rouault." Philosophy and Theology 23, no. 1 (2011): 53–72. http://dx.doi.org/10.5840/philtheol20112313.

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30

Kalck, Xavier. "Silence even against the language: George Oppen's poetics of infant joy and infant sorrow." Études anglaises 62, no. 1 (2009): 86. http://dx.doi.org/10.3917/etan.621.0086.

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31

Grimm, Erk F. "Nelly Sachs: The Poetics of Silence and the Limits of Representation by Elaine Martin." Monatshefte 105, no. 2 (2013): 351–52. http://dx.doi.org/10.1353/mon.2013.0037.

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32

Banaszak-Jankowska, Lidia. "All That Is Unwritten in the Poetry of Tadeusz Różewicz." Tekstualia 1, no. 64 (June 30, 2021): 31–42. http://dx.doi.org/10.5604/01.3001.0015.0223.

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The article presents Tadeusz Różewicz’s ideas for texts which he didn’t fi nally write but he mentioned them in his authorial comments and interviews. This leads to the discussion of the category of the ‘unwritten’ in reference to the author’s biography as well as to the features of his poetics (fragments, deletions), especially the functions of silence. The gesture of putting down the pen, which appears in some of Różewicz’s poems, is a point of departure for refl ections about his resignation from creative acts, which emerges as a crucial aspect of his poetry.

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33

Istanbulli, Linda. "Re-membering Syria’s Traumatic Past: Gender, Poetics, and Loss in Manhal al-Sarrāj’s As a River Should." Journal of Arabic Literature 52, no. 1-2 (April 16, 2021): 202–27. http://dx.doi.org/10.1163/1570064x-12341424.

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Abstract In a system where the state maintains a monopoly over historical interpretation, aesthetic investigations of denied traumatic memory become a space where the past is confronted, articulated, and deemed usable both for understanding the present and imagining the future. This article focuses on Kamā yanbaghī li-nahr (As a river should) by Manhal al-Sarrāj, one of the first Syrian novels to openly break the silence on the “1982 Hama massacre.” Engaging the politics and poetics of trauma remembrance, al-Sarrāj places the traumatic history of the city of Hama within a longer tradition of loss and nostalgia, most notably the poetic genre of rithāʾ (elegy) and the subgenre of rithāʾ al-mudun (city elegy). In doing so, Kamā yanbaghī li-nahr functions as a literary counter-site to official histories of the events of 1982, where threatened memory can be preserved. By investigating the intricate relationship between armed conflict and gender, the novel mourns Hama’s loss while condemning the violence that engendered it. The novel also makes new historical interpretations possible by reproducing the intricate relationship between mourning, violence, and gender, dislocating the binary lines around which official narratives of armed conflicts are typically constructed.

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34

Barzilai, Maya. "“One Should Finally Learn How to Read This Breath”: Paul Celan and the Buber-Rosenzweig Bible." Comparative Literature 71, no. 4 (December 1, 2019): 436–54. http://dx.doi.org/10.1215/00104124-7709613.

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Abstract This article examines Paul Celan’s use of the terms cola and breath-unit in his notes for the 1960 “Meridian” address. In the 1920s, Martin Buber and Franz Rosenzweig developed their “colometric translation” of the Bible, using the breath-unit to capture, in German, the spoken qualities of the Hebrew Bible by allowing the human breath to dictate line divisions. Celan repurposed the breath-unit for his post-Shoah poetics: it registered, for him, a further disruption of the Hebrew-German translational link, following the demise of the Jewish community of readers. Celan’s breath-unit became a measure of silence, marking the pauses between poetic lines as sites of interrupted breathing, which entail a painful encounter with deformation and murder. Furthermore, if Buber and Rosenzweig used their breath-inspired cola to bypass the traditional line divisions of biblical verse, Celan’s radicalized breath-unit can be understood as a response to the musicality attributed to his earlier poetry; he drew on the singularity of the breath to forge ever shorter lines and vertical, severed poems that culminate in the lost or buried word.

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35

Yampolschi, Roseane, Clayton Mamedes, and Paulo Nenflidio. "Poéticas em arte sonora: entrevista com Paulo Nenflidio." Revista Vórtex 9, no. 2 (December 10, 2021): 1–27. http://dx.doi.org/10.33871/23179937.2021.9.2.6.

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Paulo Nenflidio, in his biographic note, presents himself as an artist who works at the intersection between art, science and technology. A multiple and inventive artist, his works comprise sculptures, installations, objects, instruments and drawings in which sound, electronics, movement, construction, invention, randomness, physics, control, automatons, and workaround come together as elements of artistic expression. Paulo Nenflidio holds a degree in Fine Arts from the School of Communication and Arts of the University of São Paulo and is an electronics technician graduated from the Lauro Gomes Technical School in São Bernardo do Campo. Born in São Bernardo do Campo, the artist maintains his studio in this city. In this interview, we seek to deepen our study about the poetics of Paulo Nenflidio's works. How his creative trajectory developed, conceptual inspirations that guided the development of his creative processes and his artistic research, as well as the role of sound and silence as forms of poetic expression are issues addressed in this conversation. This interview was conducted by email, between the 20th and 24th of July 2021.

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36

Lyubimskaya, Olga M. "A Word and a Thing in the System of J. D. Salinger’s Poetics of Silence." Вестник Пермского университета. Российская и зарубежная филология 10, no. 1 (2018): 117–24. http://dx.doi.org/10.17072/2037-6681-2018-1-117-124.

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37

REZNYK, Yana. "POETICS OF ORIENTIUS’ “COMMONITORIUM”." Folia Philologica, no. 1 (2021): 62–69. http://dx.doi.org/10.17721/folia.philologica/2021/1/7.

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Poetry is a kind of discourse distinct from ordinary, everyday speech; it is an institution, a kind of speech that a society has marked as special, with special rules applying to its production and reception. Didactic poetry is a kind of poetry that it aims to instruct (Toohey, 2013: 2). In didactic poetry the reader is invited to consider not just the message and the brilliant language of its exposition, but what lies behind the message, the human values and the vision which the poem embodies. The article analyzes the work of Orientius “Commonitorium” and his role as an innovative writer of Latin didactic poetry as well as his position in the landscape of late antique literature of the 5th century AD. The aim of the article is to show to what extent the defining characteristics of the genre can be found in Orientius’ poem “Commonitorium” and to trace the permutations of these features throughout the text. A full range of issues, which scholarship on Orientius has hitherto neglected, will be studied: the “poetics” of the work, that is the poetic selfawareness expressed in the poem, as well as techniques of composition, rhetorical argumentation, strategies of persuasion and narration, intertextual allusions, relationship with contemporary works and other aspects. Scientific novelty. Whereas Latin poetry flourished under the reign of Augustus (27 BC – 14 AD) and the first century AD, only few poetic works survived which were produced in the later second and third century AD. After a long period of silence, Latin poetry had its comeback in late antiquity when in the 4th century AD various writers started composing poetic genres again. Instead of Rome, other locations became important breeding grounds for the production of literature, especially Gaul, where writers such as Ausonius, Paulinus of Nola, Sulpicius Severus, Sidonius Apollinaris and others were active. Whereas the genres composed by late antique writers were more or less the same as in Classical literature, most of their works differ in content and meaning (Gasparov, 1982: 2; Johnson, 2000: 335–337). Late antique writers were deeply familiar with their Classical literary predecessors, but due to the influence of Christian religion, the character of Latin literature produced in late antiquity also differs significantly from the works which were written by pagan writers in the preceding centuries. This article discusses the work of a poet who has been rarely studied so far. Orientius, whom the majority of scholars now identify with the homonymous bishop of Augusta Ausciorum (modern Auch, France) in Southern Gaul, is an important representative of didactic poetry and his work constitutes an important example in the history of the genre. His didactic poem with the title “Commonitorium”, in elegiacs was probably written around 430 AD. In conclusion, the “Commonitorium” presents itself as a serious poem concerned with issues of paramount importance to humanity. The question of what exactly the “Commonitorium” endeavours to teach is indeed of major importance for understanding the work. It claims to be truly universal work, encompassing everything that exists. Within two books, Orientius reveals to his readers/students the way to reach salvation, both gives us specific, concrete information and tells us how we should live our lives, how we should relate to our fellow human beings and to God.

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Du Plooy, Heilna. "Die inkerende waarneming." Tydskrif vir Letterkunde 46, no. 2 (November 9, 2017): 131–49. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i2.3441.

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In this article the relation between Breyten Breytenbach’s paintings and poems is discussed focusing on images relating to vision, seeing, looking and eyes. Based on the interpretation of selected paintings, of which some are used on the covers of the volumes of poetry and a number of poems, the conclusion is reached that the same poetics and ars combinatoria underlie painting and writing in Breytenbach’s oeuvre. Seeing, writing and living are opposed to blindness, non-vision, silence and death. In die windvanger (“the wind catcher”) similar motifs are used but the emphasis is changed as the ability to see is more markedly associated with insight and an attempt to understand.

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Schmelzer, Felix. "Towards a Poetics of Stutter: Semantic and Syntactic Deconstruction in Saint John of the Cross and Stéphane Mallarmé." Rilce: Revista de Filología Hispánica 37, no. 1 (December 21, 2020): 347–62. http://dx.doi.org/10.15581/008.37.1.347-62.

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The present paper analyzes semantic and syntactic deconstruction in Saint John of the Cross and Stéphane Mallarmé, which is closely connected to the motif of stutter in both their works. It will be shown that, in each case, this motif describes language’s outlying district, an intermediate space between speech and silence, and an ongoing and simultaneous process of dissolution and manifestation that involves the poetic word on the one hand, and the transcendent signified (God in the case of Saint John, mainly the “Spirit” for Mallarmé) on the other.

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Arnold, Herbert A. "Arlene A. Teraoka: The Silence of Entropy or Universal Discourse: The Postmodernist Poetics of Heiner Müller." GDR Bulletin 14, no. 1 (October 17, 1988): 41–43. http://dx.doi.org/10.4148/gdrb.v14i1.848.

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Mosavat, Mohamad, and Tahereh Rezaei. "Poetics of Love in Henry James’s “The Beast in the Jungle”." Journal of Language and Literature 22, no. 1 (March 23, 2022): 255–67. http://dx.doi.org/10.24071/joll.v22i1.4088.

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May and Marcher in Henry James’s “The Beast in the Jungle” pursues an odd relationship interpreted by James’s critics as fraudulent, self-victimizing, or queer. While May is reduced to a witness to Marcher’s psychosomatic complexities, an evidence reliable to justify Marcher’s troubled heterosexuality, Marcher is deprived of any romantic yearnings for her. This article, departing from simplistic psychosexual interpretations having ended up demoting May to an inferior position and Marcher to a homosexual character, suggests the main problem of their relationship is the contrast between their love styles. In this relationship, the communication is prevented not so much by May’s subordinate silence/assent as by Marcher’s narcissism. John Allan Lee’s typology of love helps individually explicate each character’s psychological traits and romantic advances under Lee’s comparing terms of eros/ludus and storge/mania. The result of this case-by-case analysis is to prove their relationship is nothing but the obsession Dorothy Tennov redefines in her limerence theory based on such terms as idealization, crystallization, and intrusive thinking. After proving May and Marcher as limerent lovers, each pursuing a love style fundamentally at odds with the love style of the other, this article finally, based on Sigmund Freud’s notion of cathexis, concludes it is Marcher’s narcissism or self-cathexis that bars the doors of proper communication and mutual recognition.

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Görtschacher, Wolfgang. "‘I start again with every story, listening’: Sound, silence and voice in two short stories by David Constantine." Short Fiction in Theory & Practice 11, no. 1-2 (June 1, 2021): 73–89. http://dx.doi.org/10.1386/fict_00037_1.

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This article examines sound and the sonic aspects of voice and silence in two short stories by David Constantine – ‘Tea at the Midland’ and ‘Under the Dam’ – to show that they are not only relevant for an analysis of his poetry but also for his short stories. Employing Jonathan Sterne’s definition of sonic culture as a theoretical starting point, the phonotextual (Garrett Stewart) multiplicity of patterns in each text is seen as an alternative to the protagonists-focalizers’ ‘silenced’ situation and is associated with their desired joys in life. In ‘Tea at the Midland’ the withheld soundscape (R. Murray Schafer) of the bay can only be watched but not heard. In the opening of ‘Under the Dam’ the auscultator (Melba Cuddy-Keane) Seth is completely oblivious of his sonic surroundings and effaces sound on the story level, but the narrator reintroduces sound on the level of discourse. Sylvia Mieszkowski’s distinction between the sound of the text and the sound in the text constitutes one of the fundamental concepts of the analysis. The findings and conclusions are interpreted in the context of Constantine’s own poetics as regards the writing of short stories. The sounds of the two short stories reinforce, through metrical, rhythmic, syntactic and sound patterns, the scenes’ withheld sonic qualities that are only perceived visually and sensed emotionally by the protagonists. These soundscapes represent alternative worlds desired by the protagonists in ‘Under the Dam’ and by the woman in ‘Tea at the Midland’.

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Chatzipetrou, Sofia. "The configuration of happiness and unhappiness as part of the auditory landscape: the work of Albert Camus." Cahiers ERTA, no. 25 (2021): 57–79. http://dx.doi.org/10.4467/23538953ce.20.023.13547.

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This essay aims to analyze the poetics of the soundscape in Albert Camus’ work, based in the notions of happiness and unhappiness. Our purpose will be to define the characteristics of the symbolism of auditory perception, which are elaborated on the double configuration between happiness and unhappiness. The fact that the symbolic universe of Camus outlines a total sensory experience does no longer need to be demonstrated. Starting from his first lyrical writings to the Notebooks, his writing appeals arouses all the senses. Through a comparative study of examples relating to happiness and unhappiness and while underlining the predominant place of silence in Camus’ aesthetics, we will come off to the conclusion that Camus’s work constitutes a real kind of field recording.

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Singh, Amrita. "Photographic silence: Remediating the graphic to visualize migrant experience in Shaun Tan’s The Arrival." Studies in Comics 11, no. 2 (November 1, 2020): 321–39. http://dx.doi.org/10.1386/stic_00033_1.

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In the absence of a verbal language, The Arrival’s mode of representation is derived from various visual storytelling practices in addition to the comic. This article proposes that Tan remediates the mode of comics storytelling by presenting the narrative as a photo album and drawing the panels as photographs, and in turn the photograph is also remediated in the text as a drawn object. Using transmedial techniques such as focalization, gaze, framing and page layout, in addition to deliberations on style and form, Tan constructs comics storytelling with a photographic vision. This photographic vision is used to represent the experience of migration in the narrative as well as connect past and contemporary histories of migration world over. The photograph emerged as an important medium through which memory came to be visualized in the twentieth century, and is an important historical artefact capable of telling the story of its times. Tan also expects the reader to employ an intermedial and intertextual critical literacy to engage with the narrative. The visual poetics of the text direct the reader’s affective and empathetic engagement with the situation being presented and with the character whose experience they encode. The article focuses on three kinds of photographic representation in the narrative: the iterations of the protagonist’s family photograph, the narrative itself shaped as a photo album and the immigrant’s identification photograph.

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Arce García, Daniel. "Where the Blizzard is Born: límites y recursos para representar la realidad polar en dos documentales de la era silente." Nuevas Poligrafías. Revista de Teoría Literaria y Literatura Comparada, no. 2 (August 29, 2020): 72–103. http://dx.doi.org/10.22201/ffyl.nuevaspoligrafias.2020.2.1379.

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Este estudio analiza la forma en que dos largometrajes documentales de la era silente —Nanook of the North (Flaherty, 1922) y The Great White Silence (Ponting, 1924)— mantienen una sensación de autenticidad en el discurso a pesar de que ciertas partes de su composición pudieran considerarse falsas o fabricadas de acuerdo con los criterios positivistas que han plagado a la fotografía y el cine desde sus albores. Debido tanto a las limitaciones del cine temprano como a las dificultades particulares de filmar en el Ártico y la Antártida, los realizadores debieron utilizar una amplia gama de recursos discursivos y materiales (como los intertítulos, la construcción de sets y las escenas ensayadas) para representar lo que percibieron como verdadero acerca de las regiones polares, recursos que serán analizados con referencia a las cuatro funciones discursivas descritas por Michael Renov en “Towards a Poetics of Documentary”, con especial énfasis en la primera, la de registro/preservación. Dado que el género del documental fílmico nació como concepto en 1926, considerar el despliegue de dichos recursos para la construcción de la verdad en estos dos filmes más tempranos puede servir para repensar desde la práctica la relación de todo documental con la ficción, la representación y la realidad ontológica de los objetos filmados, trascendiendo los valores positivistas y dirigiéndonos hacia un entendimiento más flexible de las técnicas cinematográficas que posibilitan el registro fílmico de algo que se considera verdadero, pero no puede ser representado sin artificio artístico.

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Redfield, James Adam. "Behind Auerbach's “Background”: Five Ways to Read What Biblical Narratives Don't Say." AJS Review 39, no. 1 (April 2015): 121–50. http://dx.doi.org/10.1017/s0364009414000671.

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The Hebrew Bible's narrative style has impressed interpreters of many periods and perspectives with its powerful tension between fragmentary speech and meaningful silence, summed up in Erich Auerbach's famous thesis that the Akedah is “fraught with background.” But is it possible to give a coherent account of what the Bible does not say? This article offers a comparative critical analysis of attempts to do just that, starting with Auerbach's Mimesis (1946) and continuing through the contemporary work of James Kugel, Robert Alter, Meir Sternberg, Avivah Zornberg, and others. It claims that, rather than the text itself, the Bible's “background” serves as a metaphor by which the biblical critic navigates a complex relationship with her own normative construct of the reader's mind. This comparison concludes with practical considerations about its potential for research and teaching in biblical poetics, understood as rigorous intersubjective communication, rather than as either method or ideology.

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Heinemann, Edward A. "Silence in the Interstices: Epic Cliché and the Editorial Poetics of the Chanson de geste (Couronnement de Louis 736–739)." L'Esprit Créateur 27, no. 1 (1987): 24–33. http://dx.doi.org/10.1353/esp.1987.0050.

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Pettitt, Joanne. "On Blends and Abstractions: Children's Literature and the Mechanisms of Holocaust Representation." International Research in Children's Literature 7, no. 2 (December 2014): 152–64. http://dx.doi.org/10.3366/ircl.2014.0129.

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Critics have long since noted that children's literature of the Holocaust is caught between two binary oppositions: it must offer an emphatic didactic message whilst simultaneously providing an appropriate ‘safe’ distance between the implied reader and the atrocities committed. The result is that texts of this kind frequently consign the most brutal aspects of the story to the periphery of the narrative as a lack and the true horror of the Holocaust is reified in more conceptual forms. In other words, that which is said may be explained by that which is not said. Taking cognitive poetics as my methodological approach, I attempt to illustrate the ways in which the said/not-said binary can be usefully manipulated as a means of facilitating the requirements for both didacticism and appropriate suitability simultaneously. Through an examination of the uses of conceptual integration and metonymy, I demonstrate the power of – and issues surrounding – silence as a means of representation in itself.

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TORSEN, INGVILD. "Nowell Smith, David. Sounding/Silence. Martin Heidegger at the Limits of Poetics. Fordham University Press, 2013, xiv + 237 pp., $55.00 cloth." Journal of Aesthetics and Art Criticism 72, no. 4 (September 2014): 459–61. http://dx.doi.org/10.1111/jaac.12122.

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Andújar Almansa, José. "Valente y la palabra sumergida." Prosemas 4 (February 19, 2020): 53. http://dx.doi.org/10.17811/prep.4.2019.53-84.

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Resumen: A lo largo de este artículo, dividido en dos partes, se hace una valoración global de la poesía de Valente, atendiendo al especial vínculo que dentro de su obra mantuvieron la palabra-creativa y la palabra-pensamiento. En el primer apartado, «Hasta dónde llega una palabra», se muestran las reflexiones del autor acerca de «el lugar del canto», ese espacio que ya desde sus libros iniciales sintió la necesidad de levantar sobre la morada arruinada del lenguaje, en un «tiempo de miseria» y retóricas usurpadoras del verdadero decir poético. De manera paralela, se produce en Valente la conquista de una tradición literaria propia, fruto del acercamiento a las principales corrientes de la literatura, las artes plásticas, la música, la filosofía y la reflexión estética contemporánea. Los nombres de Juan Ramón, Cernuda, Celan, Jabès, María Zambrano, Webern o Tàpies representan algunos de los principales hitos dentro de ese itinerario, que tiene su reflejo más temprano en las páginas de Las palabras de la tribu y su Diario anónimo. La segunda parte, «La palabra sumergida», transita a lo largo de todos sus libros, prescindiendo de la cronología o las llamadas «etapas» de Valente, tan proclives a crear una ortodoxia en torno al autor. Con la expresión «palabra sumergida» se hace mención a distintos registros de su poética: la necesidad de mantenerse al margen de la superficie que llamamos actualidad, su acercamiento a los procedimientos creativos de la mística, su visión de lo inefable como un sustrato que forma parte de los depósitos del lenguaje o sus relaciones entre la atonalidad, el fragmentarismo y una estética del silencio. El propósito es demostrar que la palabra sumergida de Valente es una palabra afirmadora, que nunca enmudece ni cae en un nihilismo estéril. Poeta de la radical inmanencia y de la memoria material del mundo, es posible discernir a lo largo de su obra una «metafísica del arte», en los términos en que la concibieron Nietzsche o Heidegger. Palabras clave: José Ángel Valente; poesía española contemporánea, Juan Ramón Jiménez; Luis Cernuda; Valente traductor; Paul Celan; poéticas del fragmento; estética del silencio. Abstract: Through out this essay, divided into two parts, a global assessment of Valente’s poetry is made, taking into account the special link that the creative-word and the thought-word maintained in his work. In the first section, «How far does a word go», the author's reflections on «El lugar del canto» are shown, that space which he felt the need to build, on the ruined home of language from his very first books, in a «Time of Misery» and usurping rhetoric of true poetic saying. In parallel, there is the conquest of a literary tradition in Valente, the result of the approach to the main trends of literature, plastic arts, music, philosophy and contemporary aesthetic reflection. The names of Juan Ramón, Cernuda, Celan, Jabès, María Zambrano, Webern or Tàpies represent some of the main milestones within that itinerary, which has its earliest reflection in the pages of Las palabras de la tribu and Diario anónimo. The second part, «The word submerged», travels through out all his books, regardless of the chronology or the so-called «stages» of Valente, so likely to create an orthodoxy around the author. With the expression «Submerged Word» different records of his poetics are referred to: the need to stay away from the surface that we call current existence, his approach to the creative processes of mysticism, his vision of the ineffable as a substratum that is part of the deposits of language, or the relationships between atonality and fragmentation with an aesthetic of silence. The purpose is to demonstrate that Valente’s submerged word is an asserting word, which never keeps silent or leads to vain nihilism. Poet of the radical immanence and the material memory of the world, it is posible to discern through out his work a kind of «metaphysics of art», in the terms conceived by Nietzsche or Heidegger. Key words: José Ángel Valente; Spanish Contemporary poetry; Juan Ramón Jiménez; Luis Cernuda; traduction by Valente; Paul Celan; the fragmentary poetics; aesthetic of silence.

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