Journal articles: 'Poetics of space'

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Ude, I. "Poetics of Space." Nka Journal of Contemporary African Art 1994, no. 1 (September 1, 1994): 29–33. http://dx.doi.org/10.1215/10757163-1-1-29.

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Sha, Xin Wei. "Poetics of performative space." AI & SOCIETY 21, no. 4 (April 27, 2007): 607–24. http://dx.doi.org/10.1007/s00146-007-0097-2.

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Davis, Megan. "Exiled Poetics." Art/Research International: A Transdisciplinary Journal 7, no. 2 (December 4, 2022): 351–68. http://dx.doi.org/10.18432/ari29676.

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Taking up the writings of Louise Glück and Mahmoud Darwish, this essay (re)searches the place and potential of a transnational, Edenic imagination as a vision of belonging amidst the alienation of modern life. Where a transnational poetics rejects ossified borders and boundaries, seeking porosity and imaginative possibilities that work across, around, through, and in-between, an Edenic imagination embraces a consciousness that simultaneously holds holy memory alongside longing for transcendence; so too do these ways of reading and seeing refract in the art-making I attempt as I seek the invisible web of connective, human tissue present in the poetic renderings of Eden by Glück and Darwish. As forces of modernity, colonization, and globalization maim and sever, a transnational, Edenic imagination gives language and location to our thirst for sacred inhabitance. As a method of inquiry, such a reading invites both researcher and reader to dwell in the liminal space of poetics. Guided by the poetic explorations of Eden and exile by Glück and Darwish, I work to consider how poetry itself becomes a hybrid site of belonging. The hope is that, through a deep (re)reading of the verses in which Glück and Darwish employ Eden as a metaphor, poetic inquiry might provide a way for us to more fully traverse categories of life, death, time, longing, space, and culture, exploring the complex matrices of our human experience and pursuit of home.

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Rhee, Beau La. "Emily Dickinson’s Poetics of Space." Studies in English Language & Literature 36, no. 3 (August 2010): 133–49. http://dx.doi.org/10.21559/aellk.2010.36.3.008.

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Manovich, Lev. "The poetics of augmented space." Visual Communication 5, no. 2 (June 2006): 219–40. http://dx.doi.org/10.1177/1470357206065527.

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Schafer, William J. "The Poetics of Appalachian Space." Appalachian Heritage 20, no. 1 (1992): 63–65. http://dx.doi.org/10.1353/aph.1992.0004.

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Binte Abdullah Sani, Hanisah. "Corporeal Poetics of Sacred Space." Space and Culture 18, no. 3 (June 29, 2015): 298–310. http://dx.doi.org/10.1177/1206331215579750.

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Koul, Radhika. "Navigating the Space Between Hermeneutics and Aesthetics: Dhvani and Comparative Poetics." Comparative Literature Studies 59, no. 2 (May 1, 2022): 292–315. http://dx.doi.org/10.5325/complitstudies.59.2.0292.

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ABSTRACT In Production of Presence: What Meaning Can’t Convey (2003), Hans Ulrich Gumbrecht suggests that through their unremitting emphasis on hermeneutics, modern critics have ignored the ineffable, bodily aspect of aesthetic experience that he calls “presence.” In the realm of poetics, such a theory implies a dissociation between the hermeneutic activity of a poem and a reader’s emotional response to it. Two aestheticians from medieval Kashmir, Ānandavardhana, c. ninth century CE, and his tenth-century commentator Abhinavagupta, propose a cause of poetic beauty and aesthetic effect that is still grounded in meaning: dhvani. They delineate how, in certain poetic conditions, dhvani leads to rasa, roughly “aesthetic enjoyment,” an experience at once mental and visceral. Whereas the poetic forms the Indian aestheticians discuss go beyond the lyric per se, this paper brings some of the most critical aspects of their poetics in conversation with current critical overtures as well as resonant poetry we might be more familiar with today in order to inspire further work on comparative literary aesthetics and “world criticism.”

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Waite, Clea T. "Somatic poetics." Technoetic Arts 18, no. 2-3 (October 1, 2020): 267–77. http://dx.doi.org/10.1386/tear_00044_1.

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This article considers scientific data and methods taken as a vocabulary for a visual language of poetics, shaping an artistic practice exploring the liminal poetics of space, time, science and mythology, equally considered. These artworks focus on the moving image as an immersive, architectonic construct, one that makes it possible to blur the boundary between space and time. They are cinematic environments that create a space of spatial and temporal ambiguity, open to the performative role of the viewer in composing the unfolding narrative. The artworks presented here began in the crossover between art and science, technology and anthropology, exploring topics and incorporating methods from each area. Transdisciplinary processes play a critical role in this artistic research. These works reflect cinema approached as a multimodal field of possibilities in which montage motivates movement and focus through this field, creating a participatory composition of sight, sound, movement and memory that immerses viewers by actuating somatic perception. Shape, scale, immersion, interactivity, simultaneity, embodiment, implementation and the manipulation of time create concrete metaphors that echo the multivalent content of the works: a collaboration with 300 tropical spiders to create a Kino, then letting the audience walk freely among them (or the spiders freely among the audience); an immersive environment enacting the space-time of glacial ice to experience the time of a different form of matter as somatosensory experience; a journey through the human history of the Moon, transcending time, political ideologies, realities and cultures as an encompassing field of simultaneous views and sounds; performing a 2000-year-old act of Thessalian magic on the skyline of Hong Kong. Combining the technological tools available to cinema and science, contrasting magnifications and speeds of observation reveal a material poetics beyond appearance. The artworks presented here elaborate the details of cardinal subjects, diving deep into fundamental domains to unravel the cultural implications embedded within the aesthetics of their data artefacts.

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Edgar, Andrew. "Football and the Poetics of Space." Sport, Ethics and Philosophy 9, no. 2 (April 3, 2015): 153–65. http://dx.doi.org/10.1080/17511321.2015.1030439.

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Osorio Whewell, Esther. "For the Sake of the Arguments: Reading the Headnotes to The Faerie Queene." Review of English Studies 71, no. 300 (August 16, 2019): 460–85. http://dx.doi.org/10.1093/res/hgz078.

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Abstract This essay proposes taking a serious poetic and literary-historical interest in the ballad-stanza ‘Arguments’ which precede and summarize every Canto in Spenser’s Faerie Queene. Short, simple, and economical, the four-line Arguments seem at first a very different poetical space from the Spenserian stanza—but on closer reading, they demand an investment in the dimensions of printed language and the spaces and syntax of its storytelling which fits persuasively with the wider poetics of The Faerie Queene and with its narrative structures. The first section establishes the Arguments in a context of analogous early modern paratexts—in the Geneva Bible, Thomas Speght’s 1598 collected Chaucer, printed plays, and the Sternhold-Hopkins psalter. The second reads them closely as a ‘didactic technology’ which might, as well as helping us to read The Faerie Queene, help teach us how to.

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Corsini, Daniela. "A public space project on grammar, poetics and management." Journal of Public Space 2, no. 2 (October 11, 2017): 99. http://dx.doi.org/10.5204/jps.v2i2.96.

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<p>This article is a result of my PhD research activities. The main goal of the research was to understand the key factors of success and failure in public space design and management.<br />Accordingly, the first part of the article investigates what a public space is and what makes it successful. The term "success" is ambiguous since it refers to multiple different views on public space. A less uncertain area is that of the design quality of public spaces: many authors have treated this subject more or less explicitly, including aspects such as accessibility, the perception of space and its use. The second part of the article presents the methodology used for the study of public spaces, explaining why Zaragoza has been chosen as a case study and describes the stages of research. The third part of the article presents the case of the public spaces of the city of Zaragoza, Spain. This case study is used in order to find correspondences and discrepancies with the conclusions previously made in the literature and eventually to identify other qualities of public space design. The analysis aims to identify which factors are essentially insignificant for the success of the project (such as the available budget or the design process), and which elements, by contrast, strongly affect the attendance and the appreciation of public spaces by the population. In particular, three elements were singled out that have the potential to become the drivers of the project: "grammar" (distributive features of spaces and buildings, microclimate, etc.), poetics (identity, recognisability of the space, etc.) and management (functions performed within the area and at its borders). The fourth part of the article examines these three elements (grammar, poetics, management) and the way they may be present within different projects. In some cases, the project succeeds in creating an optimal balance between all three elements, in other cases one element prevails over the other two; sometimes there is only one element, but it is so powerful that it compensates for the others (e.g. the entertainment activities on-site can animate even an ordinary space exposed to the elements).<br />In conclusion, some reflections are offered regarding grammar, poetry and management, and their interrelationship.</p>

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Claramonte Arrufat, Jordi. "Tipologías y métodos de la intervención poética. Un breve acercamiento desde la estética." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 48. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218548.

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Este artículo propone una división tripartita de las prácticas poéticas en el espacio público: poéticas de denuncia, colaborativas y relacionales. Señalaremos a su vez algunas de las fortalezas y algunas de las flaquezas específicas de las que se pretenden prácticas efectivas en un nivel poético o en un nivel político. Con el fin de pensar mejor esta doble efectividad, el artículo se cierra con la introducción de elementos conceptuales y teóricos que pueden resultar útiles. Palabras clave: Estética modal, repertorios, disposiciones, paisajes. This article argues that poetic practices that take place in public space fall into three categories: poetics of denunciation, collaborative poetics, and relational poetics. We will highlight some of the strengths and weaknesses of those which aim to be effective practices on a poetic or political level. With a view to rethinking this double effectiveness, we will close this article with a series of conceptual and theoretical elements that could be of use. Keywords: Modal Aesthetics, repertoires, dispositions, landscapes

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Little, James. "Beckett's ‘Mongrel Mime’: Politics and Poetics." Journal of Beckett Studies 27, no. 2 (September 2018): 193–210. http://dx.doi.org/10.3366/jobs.2018.0236.

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This article analyses Beckett's unpublished and unperformed prison play ‘Mongrel Mime’, written for ex-San Quentin inmate Rick Cluchey in 1982–83. Drawing on Shane Weller's concept of Beckett's ‘anethics’, Dirk Van Hulle's model of authorial pentimenti and Anne Ubersfeld's semiotics of theatre space, it argues that close analyses of Beckett's manuscripts can give us a clearer picture of the politics of his work. While dominant models of Beckett's poetics focus on his ‘vaguening’ and ‘undoing’ of spatial detail, this article contends that Beckett's creative engagement with spaces of coercive confinement demonstrates a variety of working methods. The key role of carceral space in ‘Mongrel Mime’, an important though underexamined example of Beckett's use of confinement, presents a politics which is far from vague.

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Pogorelaya, E. A. "The 2000s: Applied eschatology." Voprosy literatury, no. 6 (March 22, 2022): 44–62. http://dx.doi.org/10.31425/0042-8795-2021-6-44-62.

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The article is devoted to an eschatological journey, a poetic tackling of the mystery of life and death. In her analysis of the new publications by A. Pereverzin, S. Saprykina and L. Yugay, the author discusses the diverse types of the 2020s’ ‘eschatological poetics’: the traditional Christian variant, the mythological one, which entails a journey to the underworld, and the one based in research; the latter typifies, for example, the poetics in the works by Yugay, who has a background in folklore studies. Exploring the poetics of the aforementioned poets in the context of the lyrical poetic tradition of the 20th and 21st cc., the critic discovers that modern poems on death are largely therapeutic, bringing closer the space of comforting memory — but without classical tragedy or the poignancy of the experience. That world and this world are brought together by soothing memory; it is the category of memory that determines the new poetic mysticism — with a mild flavour of a life’s tragedy offset by a promise of a continued relationship with the departed within a private or familial mythology rather than a traditional clan myth.

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Lojanica, Marija. "TOWARDS A NEW POETICS OF URBAN SPACE." Nasledje, Kragujevac XVIII, no. 50 (2021): 293–306. http://dx.doi.org/10.46793/naskg2150.293l.

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The paper focuses on the ontological and narrative aspects of contemporary urban experience as simultaneously realized within two domains: actual and virtual. Examining the issue on the multidisciplinary horizon of spatial studies, we have attempted to establish a tentative analysis platform relying on Ricoeur’s concept of identity, be it human or urban, as produced within the continual process of self-narration. Such an approach has enabled the bridging of various scientific disciplines (urbanism, digital esthetics, ontology, cultural studies, and literary theory) and theoretical viewpoints (structuralism, poststructuralism, phenomenology, etc). Accordingly, the paper has treated the ontological status of cyberspace as an architectural and urbanistic issue, all the while concentrating on the following: inhabitability potential of cyber environments, identity and community formation in virtual worlds, and the possibility of reviving the poietic aspect of technological production. The exploration of the multifaceted narrative identity of contemporary city thus became a vantage point from which to interpret not only the past, present and future of our urban environments but also human narrato-ontological premises.

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Saukko, Paula. "Poetics of voice and maps of space." European Journal of Cultural Studies 1, no. 2 (May 1998): 259–75. http://dx.doi.org/10.1177/136754949800100206.

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Long, Joanna C. "Diasporic dwelling: the poetics of domestic space." Gender, Place & Culture 20, no. 3 (May 2013): 329–45. http://dx.doi.org/10.1080/0966369x.2012.674932.

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Ayiter, Elif. "Spatial poetics, place, non-place and storyworlds: Intimate spaces for metaverse avatars." Technoetic Arts 17, no. 1 (June 1, 2019): 155–69. http://dx.doi.org/10.1386/tear_00013_1.

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Abstract This article will ask questions that connect the conceptions of Marc Augé's 'place/non-place' and Gaston Bachelard's 'poetic space' to the avatar of real-time, perpetual, online, three-dimensional virtual builder's worlds, also known as the metaverse. Are metaverses 'places' or 'non-places'? Do we actually live in the metaverse or do we just traverse these worlds very much in the sense that Marc Augé defines them as transitional loci that are assigned only to circumscribed and specific positions? The question following from this is whether there are nevertheless three-dimensionally embodied virtual spaces that go beyond being transitional 'non-places' to locations in which an imaginative relationship to architecture in the sense in which Bachelard describes them in his seminal work The Poetics of Space (1958) or that correspond to Marc Augé's definition of 'place' exist.

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Bahoora, Haytham. "BAUDELAIRE IN BAGHDAD: MODERNISM, THE BODY, AND HUSAYN MARDAN'S POETICS OF THE SELF." International Journal of Middle East Studies 45, no. 2 (April 25, 2013): 313–29. http://dx.doi.org/10.1017/s0020743813000019.

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AbstractDuring a revolutionary period of cultural production and anticolonial political commitment in 1950s Baghdad, the modernist poet Husayn Mardan was put on trial for his “obscene” collection entitled Qasaʾid ʿAriya (Naked Poems). Heavily influenced by Baudelaire, Mardan's poetics provide a revolutionary paradigm focused on the gratification of the corporeal. This paper considers how Mardan's poetry, largely marginalized from the canonized modernist Arabic poetic tradition, registers resistance to an increasingly rationalized and bureaucratic social order through a transgressive poetics that displace the political onto the body. Lampooning social uprightness and middle-class sterility, Mardan's poems encourage sexual licentiousness, embrace the space of the brothel, and celebrate filth and germs. Through a consideration of Mardan's appropriation of Baudelaire, this essay theorizes the translation and transformation of Baudelaire's paradigmatic literary representations of modernity into the context of a modernizing Baghdad and therefore historicizes the appearance of modernist aesthetics in a non-European space.

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Bremer, Józef. "Wittgenstein's Tractatus as Poetic Philosophy and Philosophical Poetics." Poetics Today 42, no. 4 (December 1, 2021): 519–40. http://dx.doi.org/10.1215/03335372-9356837.

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Abstract This article argues that it is helpful to discuss the logico-philosophical contents of Wittgenstein's Tractatus Logico-Philosophicus in terms that confront the poetic and literary qualities of its form and style. To begin with, it analyzes Wittgenstein's short remarks about expression as manifested in the “tone” of Georg Trakl's poetry and the “ineffability” of Ludwig Uhland's poem “Count Eberhard's Hawthorn.” Then it proceeds to consider his exchange of letters with Gottlob Frege about the form and style of the Tractatus. The final part of the article considers such Tractarian metaphors as “showing and saying,” “logical space,” “reflecting the world as in a mirror,” “ineffability,” and “climbing and throwing away a ladder.” The proposed examination concentrates mainly on the distinction—but also the connection—between what, through language as used in both philosophy and poetry, can be said and what can be shown, this being one of the central themes of the Tractatus itself. It is then claimed that the roots of Wittgenstein's later understanding of both “ordinary language” and the connection between philosophy, poetry, and the ethical form of one's life are already present in his first period of creativity.

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Salado, Benjamín Romero. "Carmen Martín Gaite: Poetics, Visual Elements and Space." Journal of Gender and Sexuality Studies / Revista de Estudios de Género y Sexualidades 47, no. 1 (May 1, 2021): 202–4. http://dx.doi.org/10.14321/jgendsexustud.47.1.0202.

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MEROLLA, DANIELA. "Poetics of Transition — Africa and Dutch Literary Space." Matatu 36, no. 1 (2009): 35–55. http://dx.doi.org/10.1163/9789042028166_004.

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D. B. Ruderman. "The Breathing Space of Ballad: Tennyson’s Stillborn Poetics." Victorian Poetry 47, no. 1 (2009): 151–71. http://dx.doi.org/10.1353/vp.0.0053.

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Schreiber, Elliott, and John B. Lyon. "Introduction: The Poetics of Space in the Goethezeit." Goethe Yearbook 24, no. 1 (2017): 3–19. http://dx.doi.org/10.1353/gyr.2017.0000.

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Dröse, Astrid. "Poetik des Realen." Scientia Poetica 22, no. 1 (December 1, 2018): 229–44. http://dx.doi.org/10.1515/scipo-2018-010.

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Abstract This article explores the ›poetics of the real‹ in three contemporary texts that describe the siege of Magdeburg by Tilly’s troops in 1631: The most important chronicle of the century, Merian’s Theatrum Europaeum, Bogislaw von Chemnitz’ Koniglich Schwedischer in Teutschland gefuhrter Krieg, and finally Georg Greflinger’s carmen heroicum Der Deutschen Dreysig-Jahriger Krieg - the first poetic representation of the entire war from the perspective of a contemporary. Real experience, historical facts, and literary convention are intertwined, thus creating a space of conceptual tension. The article aims to demonstrate that Greflinger’s strategies of rhetorical emplotments are part of his historiographic poetics that make the catastrophes understandable to the recipient. In this way, the literary framing supports the representation of truth. A comparison with the two historiographical texts illustrates this claim.

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Isabel Castelao-Gómez. "The Art of Life, the Dance of Poetry: Gender, Experiment and Experience in Mina Loy and Diane di Prima." Miscelánea: A Journal of English and American Studies 56 (December 20, 2017): 33–56. http://dx.doi.org/10.26754/ojs_misc/mj.20176786.

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Mina Loy and Diane di Prima’s experimental poetic contributions to their early “situational avant-gardes” (the 1910s Modernists and late 1950s Beats in New York) vindicated the relation of gender and experiment within their countercultural movements, redefining these groups’ poetic and ideological tenets. Firstly, I will connect and contextualize these two poets as part of American feminist avant-garde tradition. Then, I will study their early poetry’s specificities and their common particularity: a gendered approach to the interconnectivity between experiment and experience. The article develops the idea that Loy and di Prima’s “motional” poetics of alternate forces of expression and linguistic experimentation is a dynamic materialization of the ambivalence involved in their bodily and spatial experiences of inclusion and exclusion as bohemian women poets in their urban environment and their artistic communities. The last section theorizes the way these embodied positionalities, and the continuum formed by environment, space, body and language, interrelate with Loy and di Prima’s feminist motional avant-garde poetics based on material feminist philosophies and postmodern and experimental literary critics’ views.

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Kerimova, R. A. "The ethnic-cultural space of modern Karachay-Balkar poetry." Voprosy literatury, no. 4 (August 22, 2019): 247–59. http://dx.doi.org/10.31425/0042-8795-2019-4-247-259.

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The article is devoted to the problems of ethnic-cultural perceptions in contemporary Karachay-Balkar poetry. It defines criteria for shaping an ethnic and civic self-identity. The paper discusses how cultural globalization affects the ideology of the Karachay-Balkar people. In a detailed analysis of works by N. Bayramkulov and A. Bakkuev, two poets of a younger generation, the author argues that fundamental values and stereotypes take priority in the poetic mentality of younger artists. Closely examining the themes of the poets’ works – philosophy, religion, history, society and politics – the author specially describes the way each poet deals with the nation’s artistic memory. Another focus is on the analysis of poetics. It is suggested that the young poets’ creative method is found at convergence of realism and mythopoeia. Their poetry centers around the mythical images of stone, water, mountains, and ‘taulu’ (‘a man of the mountains’).

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Reeser, Todd W., and Stephen Guy-Bray. "Homoerotic Space: The Poetics of Loss in Renaissance Literature." Sixteenth Century Journal 34, no. 4 (December 1, 2003): 1255. http://dx.doi.org/10.2307/20061743.

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Botner, V. S., H. A. Senkevych, and L. Yu Lichman. "ARTISTIC TIME AND SPACE POETICS IN G. LUPINOS’ LYRICS." Тrаnscarpathian Philological Studies, no. 16 (2021): 270–74. http://dx.doi.org/10.32782/tps2663-4880/2021.16.49.

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Abasheva, Marina P., and Vladimir V. Abashev. "Poetics of space in the works of Alexey Ivanov." Sibirskiy filologicheskiy zhurnal, no. 2 (June 1, 2010): 81–90. http://dx.doi.org/10.17223/18137083/31/11.

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Rokem, Na’ama. "HEINRICH HEINE, THEODOR HERZL AND THE POETICS OF SPACE." Journal of Modern Jewish Studies 8, no. 1 (March 2009): 65–82. http://dx.doi.org/10.1080/14725880802656264.

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Bond, Rose. "Poetics and public space: an investigation into animated installation." Animation Practice, Process & Production 1, no. 1 (March 1, 2011): 65–76. http://dx.doi.org/10.1386/ap3.1.1.65_1.

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Pint, Kris. "Bachelard's House Revisited: Toward a New Poetics of Space." Interiors 4, no. 2 (July 2013): 109–23. http://dx.doi.org/10.2752/204191213x13693260150263.

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de Groot, Jerome, and Stephen Guy-Bray. "Homoerotic Space: The Poetics of Loss in Renaissance Literature." Modern Language Review 99, no. 2 (April 2004): 464. http://dx.doi.org/10.2307/3738769.

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Kotaba, Katarzyna. "Czy wojna jest dla dzieci? O obrazach wojny w literaturze dla najmłodszych." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 15 (December 13, 2017): 184–92. http://dx.doi.org/10.24917/3934.

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Is war suitable for children? Images of war in children’s literature I drew on poetics of space by Gaston Bachelard to describe the reality of war from a child’s perspective. War stories for children were depicted in following books: Zaklęcie na “w” (The w-word spell) by Michał Rusinek, Asiunia by Joanna Papuzińska, Czy wojna jest dla dziewczyn? (Is war suitable for girls?) by Paweł Beręsewicz and Wszystkie moje mamy (All my moms) by Renata Piątkowska. Happy places, where children can cower and find shelter are typical features of Bachelard’s poetics of space. During the war cellars served as bomb shelters and they were also the places where adults and children looked for a hideaway and safety. Another determiner of poetics of space is a small - big opposition which is carried out e.g. by setting a small child against an adult, a strong German. This opposition is connected with good - bad or white - black dialecticc. The phenomenology of roundness is the next determiner of poetics of space and it is exhibited in children songs and games. Even during the war children desired to have ordinary and happy childhood without fear. Warm embrace of parents and storytelling are also very important. The phenomenology of the hidden is a final determiner of poetics of space and it is expressed e.g. as additional packets which people sewed to their clothes to smuggle food and medicine or as special boxes, which served to transporting children from ghetto. Illustrations are very important, because they supplement the text. During the war children must face up to a new reality. Instead of parents’ love, there are harsh rules of war.Key words: war; children; bombing; ghetto; German;

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BARYKIN, Alexey V. "PHENOMENOLOGICAL POETICS OF A LYRIC WORK: METHODOLOGICAL ASPECT." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 3 (2021): 73–86. http://dx.doi.org/10.21684/2411-197x-2021-7-3-73-86.

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The goal of this article is to present the methodological foundations of the phenomenological poetics of a literary work. The subject of the research is the principles of the phenomenological approach to poetological foundations, the object is the structural-semantic, textual-semiotic features of the lyric work. The author summarizes the experience of different concepts of the phenomenological approach to revealing the essence of the receptive strategy of both artistic consciousness and research practice. The main attention is paid to the structure of artistic consciousness, the peculiarities of its intentional nature, reveals the specificity of various types of reduction, allowing to penetrate into the essence of artistic experience, its aesthetic reception. The article puts forward the concept of a phenomenological interpretation of the structure of a poetic text at the syntagmatic and paradigmatic levels, a metaphysical understanding of the traditionally semiotic concepts of syntagmatics and paradigmatics, which formally set the landmarks of text boundaries in their horizontal and vertical deployment. Based on the ontological and phenomenological aspects of the consideration of artistic space, the text appears as a phenomenon that goes beyond the limits of its own sign definition, becoming an essential-valuable “determinant” and regulator of artistic and research intentions, implying different ways and levels of subjective expression in poetic discourse. In addition to the basic, phenomenological approach, the research methodology consists of the principles of “ontological poetics”, “receptive aesthetics”.

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LIFSHEY, ADAM. "The Borderlands Poetics of Bruce Springsteen." Journal of the Society for American Music 3, no. 2 (May 2009): 221–41. http://dx.doi.org/10.1017/s1752196309090142.

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How does the music of Bruce Springsteen interrogate prevailing constructs of the U.S.-Mexico border region? In his folk masterpiece The Ghost of Tom Joad (1995) and other works that feature Spanish-speaking protagonists, Springsteen implicitly reconceptualizes the Americas as an unbordered and fluid space. His performances enact Mexico and the United States as transamerican ideations rather than discrete nations. Although the booming academic field of border studies reframes static images of both Latin America and the United States in favor of malleable transnational paradigms, it still tends to privilege cultural production emanating from the borders themselves. This propensity does not leave much space for an engagement with canonical figures of U.S. culture such as Springsteen, a singer/songwriter who theorizes the borderlands in ways that at first may seem at odds with his career-long, conscious associations with red, white, and blue semiotics. This article examines the Hispanic presences in Springsteen's oeuvre from his debut 1973 albums onward and contrasts them with the relatively fixed representations of the borderlands in the lifework of Bob Dylan.

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Jiong, Liu. "Catholic Predilections in the Poetics of Gerard Manley Hopkins and Seamus Heaney." Religion and the Arts 14, no. 3 (2010): 267–96. http://dx.doi.org/10.1163/156852910x494439.

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AbstractSeamus Heaney has reiterated the importance of Gerard Manley Hopkins in shaping his own poetic voice. This essay studies the way Hopkins’s and Heaney’s poetics are related to their Catholic formation. While their sacramental approaches to language and their ideas of grace and self-discipline result in similar linguistic and formal features in their poems, the two poets’ different understandings of the temporality of the world/Word also gives rise to the contrast between Hopkins’s poetic rendering of dynamic, variegated existence and Heaney’s vision of a realm of “verbless” purity. Based on an understanding of the world as everoccurring Incarnation, Hopkins’s poems often foreground a dialogic, transgressive element, trying to capture the vivifying principle of the Word, whereas Heaney’s anxiety to override the contingencies of time gradually lures him to a visionary space where time is momentarily suspended and actions frozen.

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Rogoff, Jana. "Poetics of Seriality: Socialist Architecture in Eastern European Animation." International Journal of Film and Media Arts 6, no. 2 (December 17, 2021): 95–106. http://dx.doi.org/10.24140/ijfma.v6.n2.06.

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This article reflects on the ways in which animation critically engages with the transformation of city spaces and hence with politics of space more generally. Works of Polish and Czechoslovak animators, namely Hieronim Neumann, Zbigniew Rybcziński, Jiří Barta, and Zdeněk Smetana, serve as examples of animated films that address the phenomenon of urban development in the former Eastern Bloc. Through these examples, I examine how the dominant model of architecture between 1950 and 1990—the prefabricated concrete housing project—figured in cinematic narratives of the pre-digital era. Animation engaged with the transformation of city spaces on multiple levels: in terms of aesthetics (designs, interiors, surfaces), production modes (seriality, compression, simultaneity), and sociopolitical issues. Understanding what we might today call “serial aesthetics” alongside the social concerns that these works of animation raised provides us with a valuable historical perspective on the medium as a platform for negotiating the boundaries and overlaps between public, personal, and political spaces.

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Raičević, Andrea, and Vladimir Stevanović. "Gaston Bachelard's poetics of space: Inverse dreambook for interpretation of thinking by means of building." Arhitektura i urbanizam, no. 51 (2020): 20–32. http://dx.doi.org/10.5937/a-u0-28495.

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This paper aims to examine the philosophical work of the French epistemologist and phenomenologist - Gaston Bachelard, by transferring its interpretation from the general into a specific field of architecture. The Poetics of Space (La Poétique de l'Espace), as a Bachelard's work that enjoys even today the most comprehensive reception among the architects and theorists of architecture, shall be taken as a starting point of our analysis. Intending not to limit itself to the considerations which encompass only texts that are strictly thematically or problematically dealing with architecture, this paper aims to position and contextualise Bashlar's philosophical thought within the phenomenological reflections that found their applications in the theory of architecture. In this sence, we shall provide an insight into the duality of relations between the Bachelard's concept of poetic image (l'image poétique) and a poetic object/motif, which, in our case, referes to the inherent elements of an architectural object intended for dwelling. Therefore, in addition to the material and geometric, we shall try to apprehend and explain the experiential manner of spatial perception, and single out the echoes of Bashlar's philosophical thought, which carry within themselves a potential to distort architectural thinking. The results of research shall indirectly demonstrate two possible ways of interpreting the Bachelard's work: 1) the analogous application and appropriation of interpretations of Bachelard's text as a reversed manualdreambook for provoking and inscribing the desired experience in the architectural space, and 2) the application of the mechanisms of phenomenological analysis itself, directed towards the interest in the process of creating a poetic image, as guidelines for the actualisation of an architectural object in its specific reality, through the work on its poeticity.

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Tamás, Ábel. "Erroneous Gazes: Lucretian Poetics in Catullus 64." Journal of Roman Studies 106 (June 6, 2016): 1–20. http://dx.doi.org/10.1017/s0075435816000320.

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ABSTRACTThis article argues for a ‘reciprocal intertextuality’ between Catullus 64 and Lucretius anticipating the poetic interplays of Augustan poets with theDe Rerum Natura. Catullus’ wedding guests (proto-readers), Ariadne (proto-Narcissus), and Aegeus (proto-Dido) are interpreted here aserrantesin the Lucretian sense: through their erroneous gazes presented in Poem 64, they all exemplify hownotto gaze at the structure of the universe. In the Lucretio-Catullan intertextual space — generated, as it seems, by the Catullan text — a reciprocal way of reading emerges: while, on the one hand, ‘Catullus’ uses ‘Lucretius’ to show that the aesthetic experience he offers is dependent upon an erroneous, unLucretian gaze/reading which deprives us of the external spectator position, ‘Lucretius’, on the other hand, uses ‘Catullan’ characters as deterrent examples in order to teach us hownotto submerge in ‘Catullus’ poetics of illusion’.

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Aronson, Oleg. "The Poetic and the Political in Valery Podoroga’s Analytical Anthropology." Chelovek 32, no. 5 (2021): 50. http://dx.doi.org/10.31857/s023620070017438-8.

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The article is devoted to an analysis of the creative work of the Russian philosopher Valery Podoroga. It focuses on the special discipline he created, namely, “analytical anthropology”, and the book “Anthropograms”, in which Valery Podoroga sets out the basic principles and analytical tools of his philosophical work. Examining the books of the philosopher that preceded the creation of analytical anthropology and those that were written later, it is possible to single out two important lines of his research. First, the philosophy of literature and second, research in the field of the political. Podoroga’s understanding of literature is broader than that of a cultural practice or a social institution. For him, it is the space of the corporal experience of contact with the world, in which the affective aspect of thinking is realized. This line of analysis points to the “poetic” dimension of the experience of thinking, since the emphasis here is on what Jakobson called the “poetic function of language”, its orientation toward itself. It is precisely the literary aspect that becomes important when analyzing the texts of philosophers (Kierkegaard, Nietzsche, Heidegger); however, what is even more important is that in the very experience of fiction Podoroga is trying to find new means for philosophy. His “poetic line” is closely connected with the poetics of space (Bachelard) and the phenomenology of the body (Merleau-Ponty, Henry). It is the combination of poetics and phenomenology that allows Podoroga to overcome both the orientation of poetics exclusively toward language and the categorical apparatus of philosophy. The main result of Valery Podoroga’s work is the creation of an “anthropogram”, a special kind of scheme in which the action of the Work (a literary work, but not only) is immanent to the dynamics of the world. Is it possible to create such anthropograms outside the field of literature? Podoroga does not specify. The article attempts to show how Podoroga’s ways of working with literary texts correlate with his works dealing with the technologies of power and violence, transforming separate political and ethical terms into anthropograms, that is, forms of thought immanent to life itself.

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Girin, Yu N. "The Poetics of “Twilightness” in the Space of an Era." Art & Culture Studies, no. 3 (October 2021): 82–95. http://dx.doi.org/10.51678/2226-0072-2021-3-82-95.

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In the article it is intended to consider the code of “Twilightness” in the context of the world culture of the first two decades of the 20th century. Expressionist anthology Twilight of mankind is published in 1919. This anthology serves as a tuning fork of all “Symphony of the latest poetry”, as it was specified in the subtitle. Not only in the German-speaking area, but also in Russia, the atmosphere of impending twilight was a sign of an entire era and coincided with the currents of the avant-garde movement on a universal scale. The interconnected constants of this perceptions, such as the motives of the victim, doom, death, despair, longing, fear, were quite specific to this age and meant more than mere minor emotion,— it’s an important cultural phenomenon waiting to be understood. In the artistic field of expressionism, the tanatological code that contains a whole spectrum of the main mythologem of the avant-garde, is the core, acting as a sort of counterway, a re-e versal of the utopian-transformative code.

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Mathieu-Castellani, Gisele, and Katherine Lydon. "The Poetics of Place: The Space of the Emblem (Sponde)." Yale French Studies, no. 80 (1991): 30. http://dx.doi.org/10.2307/2930260.

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Barron, P. "Rites of Way: The Politics and Poetics of Public Space." Interdisciplinary Studies in Literature and Environment 17, no. 4 (September 28, 2010): 826–27. http://dx.doi.org/10.1093/isle/isq086.

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Brant, Clare. "Scenting a Subject: Odour Poetics and the Politics of Space." Ethnos 73, no. 4 (December 2008): 544–63. http://dx.doi.org/10.1080/00141840802563964.

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Crutchfield, By Malika Zwanya. "Capturing a Black Aesthetic: Urbanity, Racialized Space, and Spatial Poetics." Equity & Excellence in Education 50, no. 4 (October 2, 2017): 446–47. http://dx.doi.org/10.1080/10665684.2017.1409092.

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Trotter, David. "Some brothels: Nineteenth-century philanthropy and the poetics of space." Critical Quarterly 44, no. 1 (April 2002): 25–32. http://dx.doi.org/10.1111/1467-8705.00398.

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Duyan, Efe. "The Poetics of Space in Nâzım Hikmet's Poem, Straw-Blond." Linguistics and Literature Studies 8, no. 1 (January 2020): 1–7. http://dx.doi.org/10.13189/lls.2020.080101.

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Journal articles on the topic 'Poetics of space'

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