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Journal articles on the topic 'Poetism'

Author: Grafiati

Published: 4 June 2021

Last updated: 25 April 2022

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1

Forbes, Meghan. "Devětsil and Dada: A Poetics of Play in the Interwar Czech Avant-Garde." ARTMargins 9, no. 3 (October 2020): 7–28. http://dx.doi.org/10.1162/artm_a_00270.

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In 1920, the Czech avant-group Devětsil, led by Karel Teige, put forth a leftist program that embraced a multimedial and transnational approach to art and poetry. This vision was articulated through the group's homegrown -ism, “Poetism,” which incorporated principles of Constructivism and Dada. While Poetism's affinities with the former is well-documented, this article introduces more fully Devětsil's engagement with Dada, in print and through performance and dance. It also positions such manifestations not merely as a reflection of Dada tendencies occurring elsewhere, but also as a useful category for thinking in new ways about some of Devětsil's own artistic production and theoretical formulations as related to Poetism. Through a consideration of theoretical texts and artistic production, platformed in Czech avant-garde print, this article both adds to our understanding of the ways in which Poetism was conceived and enacted, and makes explicit Devětsil's intersections with a more global Dada construct.

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2

ZUSI, PETER A. "The Style of the Present: Karel Teige on Constructivism and Poetism." Representations 88, no. 1 (2004): 102–24. http://dx.doi.org/10.1525/rep.2004.88.1.102.

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ABSTRACT In this essay, the Czech avant-gardist Karel Teige's dual program of Constructivism/Poetism is interrogated in the context of his own claim that architectural historicism was degraded by the rupture into a duality of structure and ornament. This inability to escape the terms of his own critique is shown to be the result of Teige's articulation of avant-garde culture as the embodiment of the historical identity or style of the present.

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3

Kačerauskas, Tomas. "Origeno ir Platono poetiniai siekiai." Problemos 57 (September 29, 2014): 44–57. http://dx.doi.org/10.15388/problemos.2000.57.6820.

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Remiantis Platono ir Origeno tekstais straipsnyje nagrinėjamas poezijos ir filosofijos santykis. Pateikiami filosofinės poetikos, kaip interpretacinio dalyko, apmatai, aptariamas jos objektas, interpretavimo būdai, ji palyginama su estetikos teorija. Origeno poetikoje taikoma tiponimija, metonimija ir alegorezė. Poetinis Origeno metodas suponuoja tiesos sampratą, kuri yra nepasiekiama. Poetika – ne tik Origeno egzegezės metodas, bet ir jo kosmologijos prielaida: pasaulis kaip Raštas sudaro vieningą poetinę darną, kuri yra dieviška, nes jos dalis sieja dieviškasis Žodis. Platono poetika reiškiasi šėlu, kuris sutampa su įkvėpimu. Šėlas – beprotiškas ir įkvepiantis – poetikos, bet ne estetikos principas. Dialektika (samprotavimo būdas) Platonui yra sutelkimas ir suskirstymas. Dialogą sutelkia poetinė figūra – šėlas, o suskirstymas suponuoja pliuralistinį (poetinį) metodą. Filosofinė poetika apima mokslą, dialektiką ir poeziją. Filosofinė poetika yra poetiškas samprotavimas ir interpretacinė disciplina, kurios temos neapsiriboja poezija ar menu, todėl tai yra žaismo ir dialektikos dermės meistrystė.

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4

Levinger, Esther. "A Life in Nature: Karel Teige's Journey from Poetism to Surrealism." Zeitschrift für Kunstgeschichte 67, no. 3 (January 1, 2004): 401. http://dx.doi.org/10.2307/20474258.

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5

Čurda, Martin. "‘From the Monkey Mountains’: The Body, the Grotesque and Carnival in the Music of Pavel Haas." Journal of the Royal Musical Association 141, no. 1 (2016): 61–112. http://dx.doi.org/10.1080/02690403.2016.1151235.

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ABSTRACTIt has been claimed that Pavel Haas's string quartet ‘From the Monkey Mountains’ (1925) demonstrates the composer's alignment with the ‘Western’ musical avant-garde of the 1920s. However, Haas's avant-garde affiliations remain largely unexplained, as does the influence of Leoš Janáček, with whom Haas studied. Combining the methods of music analysis, semiotics and discourse analysis, I explain how Haas reconciled Janáčekian compositional technique with the ideas underpinning the contemporary Czechoslovak avant-garde movement known as Poetism. Focusing particularly on notions of the body, the grotesque and carnival, I propose an interpretative framework for and a reading of Haas's quartet ‘From the Monkey Mountains’. In doing so, I also illuminate the aesthetic and cultural context of Haas's music from the 1920s, which has received little attention in previous scholarship.

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6

Białoskórska, Mirosława. "MORZE W MARZENIACH SENNYCH BOHATERA LIRYCZNEGO W WIERSZU LEOPOLDA STAFFA "WYSPA" - ROZWAŻANIA JEZYKOZNAWCY." Slavia Occidentalis, no. 75/1 (December 15, 2019): 7–20. http://dx.doi.org/10.14746/so.2018.75.1.

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The article presents linguistic phenomena from the initial stage of the poet’s work when the modernist writing model prevailed. Leopold Staff wrote a reflexive and descriptive triptych in which, by resorting to a juxtaposition to the Young Poland movement poetry, he created paradise landscapes of a deserted island surrounded by sea water, drowned in light and colour. In order to recreate the protagonist’s dreams he resorted to poetic imagery at various levels of text organization. The linguistic phenomena in the realm of syntactic forms refer to the functions of exclamations, hypotaxis and parataxis, the role of arrangements of conjugation rows, the rhythm of verses combined in a hendecasyllable with ABBA rhymes. The following figures of speech were used: antithesis, rhetoric questions, inversions, apostrophes etc. As for semantic transformations, an important role was played by sensual and mental metaphors, semantic poetism, personification and comparisons. The lexical phenomena were related to applying the style-related function of vocabulary that is chronologically diverse (artistic neologisms, neo-semantisms, old-fashioned words); geographically diverse (dialects) and word-formation diverse (derivatives of adpositional phrases in order to condense the text to hendecasyllable verses).

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7

Franić Tomić, Viktoria. ""Banket u Blitvi" Miroslava Krleže ili fauna U flori." Croatica et Slavica Iadertina, no. 4 (January 18, 2017): 437. http://dx.doi.org/10.15291/csi.619.

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U svojoj raspravi autorica rasvjetljava složenu strukturu političkoga romana Banket u Blitvi Miroslava Krleže s posebnim osvrtom na piščevu poetiku. U analizi autorica polazi od dnevničkih zapisa ratnih i poratnih godina Davni dani u kojima je prema njoj na najtočniji način zacrtana Krležina poetika, te iskazani njegovi temeljni odnosi prema filozofiji,povijestii politici.Autoricadajei zasebnuanalizumarionetskoga teatra koji autor unosi u svoj roman, zatim Krležina intertekstualnog odnosa prema tradiciji, te portretira njegove likove, pri čemu dokazuje da su piščeve psihološke karakterizacije zadržale i u toj fazi ekspresionistički potencijal iz njegova prvog stvaralačkog razdoblja. Osobito je u radu akcentiran Krležin odnos prema karnevalizaciji, prema konceptu theatrum mundi što sve u radu uspostavlja novi pristup prema Krležinoj poetici i posebno njegovu odnosu prema hrvatskoj i europskoj renesansnoj tradiciji.

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8

FLORES, Conceição. "“NETA(S) DE D. DINIS”: FIAMA HASSE PAIS BRANDÃO, MARIA TERESA HORTA, MYRIAM COELI E NATÁLIA CORREIA." Revista Graphos 19, no. 3 (December 28, 2017): 185. http://dx.doi.org/10.22478/ufpb.1516-1536.2017v19n3.37754.

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Natália Correia (1923-1993) afirma que a sua linhagem poética se vincula a D. Dinis, rei trovador, e que as cantigas de amigo são a sagrada matriz do seu lirismo. Partindo, pois, dessas afirmações da poetisa açoriana e vinculando a essa genealogia as poetisas portuguesas Fiama Hasse Pais Brandão, Maria Teresa Horta e a norte-rio-grandense Myriam Coeli, este trabalho analisa releituras das cantigas trovadorescas feitas por essas quatro poetisas. Seguem-se as lições de Ria Lemaire (1990) e da poetisa Myriam Coeli (1982) sobre a questão da apropriação da voz feminina nas cantigas de amigo.

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9

Thorsen, Bengerd Juul. "Baumgarten’s Meditationes as a Commentary on Horace’s Ars Poetica." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 9–25. http://dx.doi.org/10.5840/philosophica2014224415.

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In his first work, the poetics Meditationes philosophicae de nonnullis ad poema pertinentibus. Baumgarten frequently cites Horace’s Ars Poetica. Horace was highly esteemed by Baumgarten and his contemporaries, especially in the fields of poetics and art theory. Baumgarten uses Ars Poetica throughout Meditationes. but it is especially in the paragraphs introducing some of the key concepts of his philosophy that there is a significant amount of excerpts from Horace’s poetics. In this article, I examine if and how contemporary scholarly interpretations may have influenced these uses of Horace’s text and maybe even Baumgarten’s theory. Following a brief account of relevant commentaries as well as Horace’s position in contemporary art theory, I explore the implied interpretations of Ars Poetica in Baumgarten’s excerpts, focusing on his three key terms, phantasia. heterocosmica and methodum lucidam. Compared to the conception of Horace as expressed in the commentaries, this study suggests a complex interaction between those and Baumgarten’s art theory.

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10

Ljungcrantz, Desirée. "En skev figuration." lambda nordica 26, no. 4-1 (March 1, 2022): 99–124. http://dx.doi.org/10.34041/ln.v26.765.

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Artikeln utforskar och beskriver poetiskt akademisk skrivande. Utforskandet sker med hjälp av feministiska figurationer – särskilt den av skrubbsåret kopplat till hiv – som flätar samman empiri, teorier, normkritiska analyser och levda erfarenheter. Trots att det finns överlappningar mellan det poetiska akademiska skrivandet och akademiskt kreativt skrivande innebär det poetiska akademiska skrivandet att ta kreativiteten ett ytterligare steg. Poetiskt akademiskt skrivande bygger på rytm, associationer och metaforer som möjliggör flödesskrivande och skapar ett extra lager i den akademiska texten – både för skribenten och läsaren. Poetiskt akademiskt skrivande kan öppna ett utrymme för läsarens affekter, känslor och kroppsliga förnimmelser i relation till texten. Poetiskt akademiska texter kan också möjliggöra ett möte mellan texten och läsarens situerade kunskap, erfarenheter, kropp och känslor. Artikeln utforskar även skev som begrepp och möjligheten att göra de feministiska figurationerna skeva för att på så vis inkludera erfarenheter, händelser och fenomen som ännu inte är kända för akademiska feminister.

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11

Tolmacheva, Marina, and A. B. Kudelin. "Srednevekovaia arabskaia poetika (Medieval Arab Poetics)." Journal of the American Oriental Society 107, no. 2 (April 1987): 378. http://dx.doi.org/10.2307/602882.

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12

Nassen, Ulrich, and Raimer S. Zons. "Randgange der Poetik (Margins of Poetics)." Poetics Today 8, no. 2 (1987): 465. http://dx.doi.org/10.2307/1773067.

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13

FURTANA, Filiz. "Poetika Kavramı ve Şinasi’nin Poetik Tavrı Üzerine." İnsan ve Toplum Bilimleri Araştırmaları Dergisi 4, no. 1 (April 8, 2015): 134. http://dx.doi.org/10.15869/itobiad.89143.

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14

Kačerauskas, Tomas. "AR ĮVEIKIAMAS FILOSOFINIS PESIMIZMAS?" Problemos 67 (January 1, 2005): 24–32. http://dx.doi.org/10.15388/problemos.2005..4094.

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Straipsnyje nagrinėjamas filosofinis pesimizmas, kuris siejamas su Schopenhauerio vardu. Pasak filosofo, individas kaip baigtinė būtybė jaučiasi niekingas erdvės ir laiko begalybėje. Teigiama, kad šio požiūrio ištakos slypi Platono idėjų teorijoje. Autoriaus nuomone, pats Schopenhaueris nurodo pesimizmo įveikos kelią – poetinę savineigą. Straipsnyje šios mintys plėtojamos remiantis fenomenologija ir egzistenciniu mąstymu. Fenomenologijoje savojo „aš“ suskliaudimas siejamas su nukreiptumu į atvirą gyvenamą pasaulį. Egzistencijos filosofijoje būties myriop atpažinimas kartu atveria gyvenimo horizontą, nuolat kūrybiškai plečiamą.Prasminiai žodžiai: pesimizmas, individas, fenomenologija, egzistencijos filosofija, poetika. IS IT POSSIBLE TO DEFEAT PHILOSOPHICAL PESSIMISM?Tomas Kačerauskas Summary The article discusses the philosophical pessimism. According to Schopenhauer, the individual as a final creature feels himself as nothing in the infinity of space and time. The author supposes that the source of this approach is Plato’s theory of ideas. Schopenhauer points out a way how to get over the pessimism. This one is the poetical way. This idea is developed in the article with the help of phenome nology and existentialism. In phenomenology the intentionality directed to the open life world is very important. In existentialism being to the death opens as well the living horizon. This way presupposes of thinking a dynamic life world that is created of the human.Keywords: pessimism, individual, phenomenology, existentialism, poetics.

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15

Moslemani, Fadil. "“Come un pesce entro due acque”. Alcune annotazioni sull’intima duplicità del fanciullo penniano." Forum Italicum: A Journal of Italian Studies 52, no. 1 (February 1, 2018): 181–92. http://dx.doi.org/10.1177/0014585817746642.

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La poesia di Sandro Penna costituisce un caso letterario sui generis nel Novecento poetico italiano. Fedele a un monotematismo incentrato sulla figura del personaggio-mito del fanciullino, il poeta perugino, a partire dalla sua prima raccolta ( Poesie, 1939), perviene efficacemente a “riesumare”, rielaborandola attraverso la propria soggettività di uomo-poeta, l’immagine multiforme del fanciullo di pascoliana memoria. Prendendo in esame la vasta produzione lirica di Penna, il saggio che qui proponiamo intende porre in evidenza alcuni dei punti salienti della poetica penniana del fanciullo in rapporto all’“archetipo” elaborato da Giovanni Pascoli e, più in generale, rispetto alla tradizione critica e poetica del Novecento. Dai contorni talvolta arcani, la figura del fanciullo, in Penna, si contraddistingue sovente per la sua duplicità, in quanto opera sia da vero e proprio oggetto dei desideri del poeta, sia da intima “presenza interiore” (di pascoliana memoria) volta a conferire allo scrittore un’aura di apparente ingenuità e bambinesca innocenza. Nella convinzione che la duplice natura del fanciullino costituisce uno dei maggiori elementi di interesse riscontrabili nella lirica considerata, il presente contributo, attraverso un tentativo di analisi di tale doppiezza, si prefigge pertanto di scrutare la “poetica del fanciullo” allo scopo di meglio contestualizzarla all’interno dell’intero corpus poetico penniano.

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16

Feddern, Stefan, and Andreas Kablitz. "Mimesis." Poetica 51, no. 1-2 (September 22, 2020): 1–84. http://dx.doi.org/10.30965/25890530-05101001.

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Abstract This article starts off from the observation of the deeply polysemic character of the term mimesis in current literary studies. On the one hand, it is used to denote a poetics of imitation which was mainly derived from the Poetics of Aristotle and was to become the predominant conception of poetry in early modern times until the advent of Romanticism. On the other hand, besides this historical meaning, mimesis has, at the same time, a systematic significance. It refers to any poetics that defines poetry as a specific representation of reality. In this sense, the poetics of realism is quite unanimously considered to be a paradigmatic example of mimetic literature. Our attempt to bring together both sides of the notion of mimesis, to connect its systematic and its historical meaning, is based on a theoretical approach developed in the first part of our study by a criticism of Wittgenstein’s notion of “family resemblance” (Familienähnlichkeit). In the second part, this theoretical model is used for an analysis of the conception of mimesis in Plato’s Republic, Aristotle’s Poetics, and Horace’s Ars poetica.

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17

Sultangalyeva, Zh. "MODERN KAZAKH POETRY AND LYRICS F.UNGARSYNOVA." BULLETIN Series of Philological Sciences 74, no. 4 (December 9, 2020): 330–35. http://dx.doi.org/10.51889/2020-4.1728-7804.67.

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

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18

Schulte, Rainer, and Joachim Sartorius. "Minima Poetica: Für eine Poetik des zeitgenössischen Gedichts." World Literature Today 74, no. 1 (2000): 252. http://dx.doi.org/10.2307/40155558.

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19

Chang, Tsung Chi. "Unsettling Irish poetic tradition: Eavan Boland’s feminist poetics." Neohelicon 43, no. 2 (July 25, 2016): 591–601. http://dx.doi.org/10.1007/s11059-016-0345-x.

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20

Ogle. "Poetic “being-with”: A Case for Relational Poetics." Interdisciplinary Literary Studies 23, no. 1 (2021): 69. http://dx.doi.org/10.5325/intelitestud.23.1.0069.

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21

Shvets, Alla. "FRANKO’S POETIC CYCLE “MOURNING SONGS”: ASPECTS OF POETICS." Слово і Час, no. 5 (October 11, 2021): 3–21. http://dx.doi.org/10.33608/0236-1477.2021.05.3-21.

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Franko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here. Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom. As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko. Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures. The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.

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22

Veselovskii, A. N. (Aleksandr Nikolaevich), and Ian M. Helfant. "Istoricheskaia Poetica (A Historical Poetics) Chapter 1, Section 8." New Literary History 32, no. 2 (2001): 409–28. http://dx.doi.org/10.1353/nlh.2001.0023.

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23

Bolonyai, Gábor, and Matjaž Babič. "Aristotel o stavčnih tipih in oblikah govora." Keria: Studia Latina et Graeca 7, no. 2 (December 6, 2005): 23. http://dx.doi.org/10.4312/keria.7.2.23-33.

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Kot se vidi iz 4. poglavja Hermenevtike, spada analiza neizjavljalnih stavkov, kot so želje, zapovedi itd., v retoriko in poetiko. Toda obdelani niso niti v Retoriki niti v Poetiki, kjer je v 20. poglavju njihova obravnava izrecno izločena iz pesniške umetnosti in premeščena v veščino uprizarjanja ali predvajanja. Ta članek daje za opisano diskrepanco razlago, ki temelji na Aristotelovi zavrnitvi Protagorove kritike Homerja.

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24

Tsmykal, Olga E. "Literary searches of the poets of the Far East emigration: versification poetics of Larissa Andersen." RUDN Journal of Studies in Literature and Journalism 25, no. 3 (December 15, 2020): 447–57. http://dx.doi.org/10.22363/2312-9220-2020-25-3-447-457.

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The article analyses the versification features of the poetess of Russian Harbin Larissa Andersen in the general context of the literary process of the Far Eastern branch of Russian emigration. The novelty of this study is determined by the fact that the versification poetics of Larissa Andersens works for the first time becomes the subject of independent and systematic study. The object of the study is the lyrics of L. Andersen of the Far Eastern period (1920-1940s). The purpose of the article is a holistic study of the poetics of L. Andersen versification of 1920-1940-ies on the material of her Harbin works, the collection of poems Through the Earths Meadows (1942) and the collective collection The Island (1946). The author of the article concludes that the technical, formal side of the verse is not a dominant for Larissa Andersen, which reflects the general immediacy of the poetess lyrics. However, if the concept of the work requires it, Andersen resorts to unusual means of versioning (including meter, rhyme and rhythm searches). Larissa Andersen doesnt ignore experiments, which result in poems resembling childrens poetry, folk poetry, Chinese classical poetry, futurist lyrics, etc.

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25

Da Silva, Marcelo Medeiros. "Palavra e desejo de mulher notas sobre lírica e erotismo em Graça Nascimento." Tabuleiro de Letras 13, no. 2 (December 26, 2019): 58. http://dx.doi.org/10.35499/tl.v13i2.7034.

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O artigo tece reflexões sobre a relação mulher, escrita, erotismo e sexualidade na poesia brasileira a partir da análise da obra de Graça Nascimento, poetisa pernambucana que, nascida na cidade de Canhotinho, vive na penumbra da cena literária nacional, apesar de seu intenso ativismo cultural. O objetivo é pensar como se constrói o discurso erótico na lírica dessa poetisa e evidenciar como tal discurso confere à obra dela uma dicção que, embora com traços próprios, mantém-se em diálogo com o discurso erótico erigido por outras poetisas já consagradas na lírica brasileira que ousaram falar de desejo, sexo, sexualidade a partir de uma perspectiva centrada no feminino. Na consecução de tal objetivo, as reflexões, ao longo do trabalho, respaldam-se nos estudos de Bataille (1987), Hegel (2004), Paz (1994), Soares (1991). Espera-se contribuir para os estudos acerca da produção literária de autoria feminina, em especial para aqueles que procuram refletir sobre como a palavra literária tem servido de esteio para que mulheres possam falar de corpo, desejo e sexualidade, apesar dos interditos sociais.

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26

Magrelli, Valerio. "Segni e disegni." EDUCAZIONE SENTIMENTALE, no. 35 (September 2021): 79–82. http://dx.doi.org/10.3280/eds2021-035006.

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La poesia del Novecento, da Palazzeschi al Gruppo 63, si è proposta di sperimen-tare forme di rottura dei canoni classici della scrittura poetica, tra pubblicità e ricorso all'esperienza quotidiana ("Usa le cose che vedi"). Gli sviluppi e le pratiche offerte dalla tecnologia contemporanea, dagli emoticon ai captcha, aprono nuove, ancora inesplorate, possibilità di avvalersi di modalità transdisciplinari di "annessione territoriale" al campo poetico.

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27

Mušović, Azra. "The bee symbolism in Sylvia Plath's poetics: Between rational and inspiration." Zbornik radova Filozofskog fakulteta u Pristini 51, no. 2 (2021): 19–36. http://dx.doi.org/10.5937/zrffp51-32367.

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Contemporary American poetess of confessional orientation, Sylvia Plath, was often in her career torn between the rational role-models and creative inspiration. This tension is most evident in Plath's metaphors, in which her desire for control and understanding is confronted to the limitations of language to signify the unspoken. The paper aims at presenting symbolic (psychological, religious) semantics of bees in the author's literary oeuvre. The bees are an appropriate, uncrystallized medium; like language, they resist comparison through their transformative power. The bee becomes a personal emblem of the poetess; it represents the culmination and reconciliation of the classical and rational influences in her poetics. The cyclical nature of the bee poems follows the pattern of symbolic death and rebirth-signifying a regeneration-the spring of a new life. Although the spring will inevitably lead one more time to winter and death, the bee as a medium has a liberating quality for the poetess, signifying vitality and authenticity that remain the ultimate values of her art.

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Rabinowitz, Nancy Sorkin, and Simon Goldhill. "The Poet's Voice: Essays on Poetics and Greek Literature." Classical World 86, no. 2 (1992): 180. http://dx.doi.org/10.2307/4351310.

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Griffith, R. Drew, and Simon Goldhill. "The Poet's Voice: Essays on Poetics and Greek Literature." Phoenix 47, no. 3 (1993): 278. http://dx.doi.org/10.2307/1088432.

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Desmond, Marilynn, and Simon Goldhill. "The Poet's Voice: Essays on Poetics and Greek Literature." Comparative Literature 46, no. 4 (1994): 398. http://dx.doi.org/10.2307/1771382.

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Wiebe, Katja, and Nikola von Merveldt. "Poetika slikanice (Picture Book Poetics) by Dragica Haramija, Janja Batič." Bookbird: A Journal of International Children's Literature 53, no. 3 (2015): 90–91. http://dx.doi.org/10.1353/bkb.2015.0057.

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Garcia Galan, Teresa, and Mark Aldrich. "Una danza (Casi una poetica) / A Dance (Almost a Poetics)." Sirena: poesia, arte y critica 2005, no. 1 (2005): 132–33. http://dx.doi.org/10.1353/sir.2005.0006.

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Soranzo, Matteo. "Giovanni Gioviano Pontano (1429–1503) on Astrology and Poetic Authority." Aries 11, no. 1 (2011): 23–52. http://dx.doi.org/10.1163/156798911x546161.

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AbstractL'articolo esamina per quale ragione Giovanni Gioviano Pontano (1429–1503) ha spiegato in termini di causalità astrologica l'origine della sua autorità poetica, con lo scopo di illustrare un elemento di continuità tra Medioevo e Umanesimo. I testi presi in esame sono il poema Urania (scritto nel 1475–1494; stampato nel 1505), il dialogo Actius (scritto nel 1495–1499; stampato nel 1507), il commento al Centiloquio pseudotolemaico (scritto nel 1477; stampato nel 1512) e il trattato De Rebus Coelestibus (scritto nel 1475–1495; stampato nel 1512). Si sostiene che l'approccio astrologico all'autorità poetica di Pontano deriva dalla sua interpretazione del primo aforisma del Centiloquio, e che questa scelta era dettata dal tentativo di mettere in questione la teoria del furor poetico di Marsilio Ficino, le cui opere stavano diventando sempre più diffuse nel contesto della Napoli Aragonese alla fine del Quattrocento.

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장철환. "The Phase of Poetic Rhythm in Kim Ki-rim's Poetics." Korean Poetics Studies ll, no. 28 (August 2010): 327–60. http://dx.doi.org/10.15705/kopoet..28.201008.012.

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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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Tilley, Heather. "Frances Browne, the "Blind Poetess": Toward a Poetics of Blind Writing." Journal of Literary & Cultural Disability Studies 3, no. 2 (July 2009): 147–61. http://dx.doi.org/10.1353/jlc.0.0017.

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Yeh, Michelle. "Names Deeply Chiseled." Prism 16, no. 1 (March 1, 2019): 157–73. http://dx.doi.org/10.1215/25783491-7480365.

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Abstract This article provides the first comprehensive study of the use of ancient Greek and Roman allusions and motifs in the poetry of Yang Mu. By focusing on representative works from Yang's oeuvre, the study sheds light on how the poet's appropriations of Greco-Roman materials are a powerful and creative expression of his poetics as a whole. Going beyond the traditional model of influence study, the article proposes a theoretical framework of cross-cultural intertextuality, creative rewriting, and cultural translation.

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Madden, Caolan. "Not a Natural Cri de Coeur: Charlotte Mew's Quotable, Extractable Poetics." Victorian Literature and Culture 48, no. 2 (2020): 361–90. http://dx.doi.org/10.1017/s1060150319000330.

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Critics writing on the poetry of Charlotte Mew have long considered the cri de coeur—often described as an involuntary exclamation of the speaker's, or the poet's, secret suffering—a defining element of Mew's poetics; this focus has contributed to an ongoing critical tendency to read Mew's work as pathologically divided between authentic feeling and artificial performance. Due to Mew's liminal position in literary history—writing from the 1890s through the 1910s—her work is often also read in terms of a struggle between Victorian propriety and modernist innovation. Attending to Mew's own use of the phrase “cri de coeur,” however, shows that she used it not primarily to indicate the expression of deep feeling but as a quotable, extractable catchphrase or tag that might circulate independently from its source text in quite different literary and cultural contexts. Reading Mew's poems “The Farmer's Bride” and “The Fête,” as well as her unpublished short story “Thic Theer Kayser,” with this definition of the cri de coeur in mind reveals a poetics rooted in the lively print and performance cultures of Mew's own lifetime—a flexible, entertaining poetics that challenges conventional understandings of the boundaries of literary periods.

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Berdnikova, Olga A. "On the Poetics of Titles in I. A. Bunin’s Poetic Heritage." Izvestia of the Ural federal university. Series 2. Humanities and Arts 22, no. 4 (202) (2020): 238–55. http://dx.doi.org/10.15826/izv2.2020.22.4.074.

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This article considers I. A. Bunin’s poetic oeuvre from the point of view of title poetics in order to identify the main patterns and author’s strategies in working with the title complex. The methodology is based on the correlation of the title with the text, subtext, and metatext of the poem, taking into account textual refinements. In Bunin’s principle of working with the title complex, there is a noticeable striving for accuracy and at the same time for a metaphorical semantic comprehensiveness that includes existential, natural, and cultural constants. Thus, the main features of Bunin’s poetics of titles are changes in the titles of one text, removal of titles and dedications, repetition of titles in two or more poems, combination of the theme and genre in a number of titles, and the addressing factor. In recurring titles, the researcher finds key images of Bunin’s poetry that include him in the Russian poetic tradition. However, a tendency to modernism is also noticeable in Bunin’s poetry in the titles of poems that contain Bunin’s philosophical and poetical reflection. The titles of such poems refer to the theme of death and often contain the words “grave” / “tomb”, but the text of the poem enters into an antinomic relationship with the title, i.e. a person belonging to the “world of art”, culture, and tradition (myth and religious tradition) has already ascended over the world and is doomed to immortality. The removal of titles as a strong position in texts on political topics shifts the reader’s attention from the temporary to the eternal and metahistorical, which is found in the text itself and clarifies the author’s position.

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Ben-Porat, Ziva. "Poetics of the Homeric Simile and the Theory of (Poetic) Simile." Poetics Today 13, no. 4 (1992): 737. http://dx.doi.org/10.2307/1773297.

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Grachova, I. E., and A. V. Mosiichuk. "Structural vs. cognitive poetics: Approaches to the study of poetic syntax." Science and Education a New Dimension VI(167), no. 50 (June 29, 2018): 23–26. http://dx.doi.org/10.31174/send-ph2018-167vi50-05.

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Willett, Steven J. "Poetic rhythm: Structure and performance — An empirical study in cognitive poetics." Journal of Pragmatics 33, no. 2 (February 2001): 333–38. http://dx.doi.org/10.1016/s0378-2166(00)00023-0.

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Peeters, Heidi. "Visual Poetry, Poetic Visions and the Visionary Poetics of Pierre Alferi." SubStance 39, no. 3 (2010): 52–65. http://dx.doi.org/10.1353/sub.2010.0007.

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Hoeckley, Cheri L. Larsen. "Book Review: Poetic Theology: God and the Poetics of Everyday Life." Christianity & Literature 62, no. 4 (September 2013): 630–34. http://dx.doi.org/10.1177/014833311306200419.

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Nov, I. "Poetic Rhythm--Structure and Performance, An Empirical Study in Cognitive Poetics." Poetics Today 21, no. 2 (June 1, 2000): 473–74. http://dx.doi.org/10.1215/03335372-21-2-473.

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Mosiichuk, A. V., and I. Ye Grachova. "ANCIENT POETICS AS A PRECURSOR OF COGNITIVE STUDIES OF POETIC SYNTAX." Lviv Philological Journal 5 (2019): 96–100. http://dx.doi.org/10.32447/2663-340x-2019-5-17.

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Kulnieks, Andrejs, and Kelly Young. "Ekphrastic Poetics: Fostering a Curriculum of Ecological Awareness Through Poetic Inquiry." in education 20, no. 2 (November 14, 2014): 78–89. http://dx.doi.org/10.37119/ojs2014.v20i2.199.

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In this article we outline the role of ekphrastic poetics in an ecological practice of poetic inquiry. Ekphrastic poetics, as a rhetorical device, involves one medium of art relating to another medium by unfolding its form and essence. Ultimately, our work involves a poetic response to an aesthetic form and it is through our ongoing collaborations that we are able to outline the importance of the poetic benefits of dwelling in natural places. We offer specific examples of how we engage in interpretive response activities that help to foster ecological habits of mind in teacher education. Keywords: arts-informed; ekphrastic poetics; collaboration; poetic inquiry; ecology; curriculum

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Vujić, Ivana M. "MOTIV TAŠTINE U DELU BORISLAVA PEKIĆA "USPENJE I SUNOVRAT IKARIJA GUBELKIJANA"." ZBORNIK ZA JEZIKE I KNJIŽEVNOSTI FILOZOFSKOG FAKULTETA U NOVOM SADU 5, no. 5 (December 31, 2015): 137. http://dx.doi.org/10.19090/zjik.2015.5.137-147.

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Dominantan uticaj poetike mita, koja je obnovljena u XX veku mitskim romanom, polazište je za tumačenje mitskog metateksta u kratkom romanu Borislava Pekića Uspenje i sunovrat Ikarija Gubelkijana. Značajno je ugledanje B. Pekića na poetiku Tomasa Mana, u skladu sa tumačenjem romana u ključu mitskog romana XX veka. Uticaj antičkog i biblijskog mita u pripovedanju, naglašava se postupkom citatnosti, dok se radom teži isticanje nadogradnje polazišnog arhiteksta. Motiv taštine je ključan za tumačenje intencije romana jer je ravan u kojoj se prelamaju oba arhiteksta. Fokusiranjem na značenje motiva taštine u romanu, nastoji se da se obrazloži paradoks razotkriven u motivisanju taštine pripovdanjem.

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Pasanen, Outi. "Notes on the Augenblick in and Around Jacques Derrida's Reading of Paul Celan's "The Meridian"." Research in Phenomenology 36, no. 1 (2006): 215–37. http://dx.doi.org/10.1163/156916406779165863.

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AbstractJacques Derrida wrote twice, in 1984 in "Shibboleth" and in 2002 for his Paris seminar lectures, about "The Meridian," Paul Celan's Georg Büchner prize speech that forms the most elaborate exposition of the poet's poetics. In both readings Derrida, in one way or the other, deals with the question of time. In "Shibboleth," at stake is the notion of date; in the seminar lectures, the "other's time." Through the Greek, Christian, and Jewish experiences involved, the present article takes the notion of Augenblick as a fil conducteur.

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Probstein, Ian. "Charles Bernstein: Avant-Garde Is a Constant Renewal." boundary 2 48, no. 4 (November 1, 2021): 215–30. http://dx.doi.org/10.1215/01903659-9382271.

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Abstract The essay explores the work of Charles Bernstein in light of constant renewal. John Ashbery, as one of the brightest representatives of the New York School, and Charles Bernstein, as a representative of the language (L = A = N = G = U = A = G = E), have similar attitudes toward language. They have much in common in terms of poetics: in the rejection of loud phrases, prophetic statements, emotions, confessionalism, and certain self-centeredness. Poetry is a private matter for both. Both have poetics built on the “oddness that stays odd,” as Bernstein himself put it, paraphrasing Pound's “news that stays news.” Both are aimed at renovating the language, and the verses of both are built on fragmentation, collage, moving from one statement to another without preparation. However, in Ashbery, whose poems are surreal, these transitions are smoother, based on an apparent connection, what Bernstein calls “hypotaxis” or “associative parataxis.” In contrast, Bernstein's poetry is built on parataxis; it is “bumpy,” in the poet's own words.

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