Relevant bibliographies by topics / Space and time – Poetry

Academic literature on the topic 'Space and time – Poetry'

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Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Space and time – Poetry"

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Motornyy, О. "TIME AND SPACE IN IVAN WERNISCH’S POETRY." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 36 (2020): 198–209. http://dx.doi.org/10.17721/2075-437x.2020.36.16.

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The article examines the poetic world of the modern Czech prose writer, poet, translator from several European languages, a participant in the Prague Spring, whose works have not been printed for a long time and were banned, author of poetry collections “Kam letí nebe” (1961), “Zimohrádek” (1965), “Loutky” (1970), “Doupě latinářů” (1992), “Blbecká poezie” (2002), “Penthesilea” (2019), Ivan Wernisch. The writer has a great creative legacy that dates back to the sixties of the last century. During this long time, he managed to publish about thirty poetry books. Surrealism, interweaving of temporal and spatial indicators, interweaving of poetic and prosaic forms, rich poetic world are typical features of I. Wernisch’s poetry. The article explores the spatio-temporal relations of the Ivan Wernisch’s poetic world, the features of the image of the lyrical hero. Some poetry by Ivan Wernisch was used over time as lyrics of songs by Czech rock bands. The Ivan Wernisch’s son Michal Wernisch (also known as Ewald Murrer) followed his father’s footsteps and today is also known as a poet.
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Arunlal, K., and C. Sunitha Srinivas. "All in the space of a poem: Spatial logics in poetry." Journal of European Studies 47, no. 3 (August 7, 2017): 249–58. http://dx.doi.org/10.1177/0047244117713159.

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One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person’s memory, and by extension, in a community’s living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space is looked at has changed in all art forms due to certain contingencies of modern history. This paper is a mapping of these alterations in the spatial turn of poetry, and a further application of ideas of space in understanding contemporary poetry.
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Kudryakova, Tatiana V. "Childhood time and literary space in the Gennadiy Aygi’s poetry." Neophilology, no. 23 (2020): 566–72. http://dx.doi.org/10.20310/2587-6953-2020-6-23-566-572.

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Certain features of spatial images representation in the Gennadiy Aygi’s poetry which are often related to the time and images of childhood are highlighted. The natural topoi of the forest, field, etc., including the place of an individual plant, the child’s body as a place and the mortal places are analyzed. It is concluded that childhood images are able to set a positive interpretation vector of the natural space or create a semantic contrast in the context of anthropogenic mortal spaces. The plant topoi endowed with the traits of childishness and the child’s body topoi are considered from the position of the general cultural “divine child” archetype. At the same time, according to our opinion, plant images can be correlated with national and mythological images of the poet’s native culture, and hyperbolization of the child’s body, which is presented as a limitless, comprehensive space, is an individually poetic realization of the grotesque body’s image.
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Zwolska-Płusa, Katarzyna. "Sacrum’s time and space themes in Ludmiła Marjańska’s poetry." Irydion. Literatura - Teatr - Kultura 1 (2015): 55–66. http://dx.doi.org/10.16926/i.2015.01.04.

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Stout, John C. "The Year in Poetry 2017: Mapping Time and Space." French Review 92, no. 1 (2018): 29–43. http://dx.doi.org/10.1353/tfr.2018.0103.

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Lewisohn, Leonard. "Metaphysical Time in Rūmī’s Mathnawī: Sufi Terminology of Metaphysical Time." Mawlana Rumi Review 9, no. 1-2 (January 3, 2020): 19–51. http://dx.doi.org/10.1163/25898566-00901004.

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AbstractThis article explores the idea of Metaphysical Time in the poetry of Jalāl al-Dīn Rūmī against more general understandings of time and temporality in Sufi thought and Persian poetry. Various attitudes toward serial time and the subjective experience of past, present, and future are reflected in the poetry of not only Rūmī, but also ʽUmar Khayyām and Ḥāfiẓ. The philosophical approaches toward human temporality discussed here include sentient carpe diem, spiritual carpe diem, and pursuit of the Metaphysical Moment, or Time’s Currency (naqd-i waqt). To understand this, we must examine Rūmī’s understanding of the notion of the Sufi as ‘the son of time’ (Ibn al-waqt), along with the concomitant or related ideas in Rūmī’s poetry of ‘the Father of Time’ (abū ‘l-waqt) and ‘the Brethren of Time’ (ikhwān al-waqt), and the Prophet’s Hadith, ‘I have a time with God….’. The article elaborates on some remarkable homologies between the concepts of time and the ‘Industrious Man’ in the poetry of Mawlānā Rūmī and William Blake, and how the attraction of divine love pulls the lover out of Time into the realm of Eternity, and how love subverts rational categories of time and space, which become illusory and vanish in the mystical experience of unity. Aldous Huxley’s distinction between the Philosophers of Time and the Philosophers of Eternity is also explored in relation to Rūmī’s thinking.
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Avotiņa, Laura. "MYTHICAL TIME AND SPACE IN THE POETRY OF ULDIS BĒRZIŅŠ." Via Latgalica, no. 1 (December 31, 2008): 118. http://dx.doi.org/10.17770/latg2008.1.1602.

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One article describes the writings of Uldis Bērziņš, one of the most prominent Latvian poets and translators (and also a dissident) who made his debut in the 1960s. It focuses on the aspect of time and space. The 20th century is a time of re-evaluation of values and of a search for new ways of self-expression. Entrenched mythical notions experience transformation and renaissance. Hystorical myths as a source of instigation for Latvian literature (also in folklore) reach their climax in the 1920-40s and 1960-80s, i.e. in a period when problems of ethnic identity were emphasized more than ever. Uldis Bērziņš in his poetry successfully blends trends of modernism (and some of postmodernism) with mythical reality. He thereby refreshes the message of Latvian life, as well as reinforces particular trends common for whole humankind, which the author accomplishes with the help of cultural signs densely introduced into the texts. The objective of the paper is therefore to identify and emphasize dominant details of mythical time and space in the following anthologies by the Uldis Bērziņš: „Piemineklis kazai” („A Goat’s Monument”, 1980), „Poētisms baltkrievs” („The Poetism Belarussian”, 1984), „Nenotikuši atentāti” („Assassinations which never took place”, 1990), „Laiks” („Time”, together with Juris Kronbergs, 1994) and „Nozagti velosipēdi” („Stolen bicycles”, 1999). For the more detailed description of the peculiarities of the author’s works and for understanding the connection between the linguistic elements and the ethnical specifics of thinking, it was decided to use methods which are new to Latvian literary theory and are not so commonly referred to. Namely, a philological method was used for the in-depth text analysis (Николина 2007), and a linguo-culturological one for researching the connection of language and culture (Хороленко 2006). Speaking about U. Bērziņš’ notion of mythical time and space, it is referred to as an „eternal now” situation, which also includes details of historical and psychological time and space. However, mythical time and space is dominant: texts of the poems contain a very dense layer of mythologems (Odin, Odysseus, Thor), images (trees, mountains, wheels) and mythical concepts. This layer very often merges with the layers of folklore and religion which are introduced into the texts by means of stylization and reminiscences or allusions. The paper is organized according to the three dominant features of myths in the texts of Uldis Bērziņš – dichotomy, cyclicity, and syncretism. These are revealed with the help of particularly rich micro details and cultural signs and the transformation of folklore motives. Dichotomy as a disclosure of two aspects of one whole is carried out in the artistic space within the oppositions here and there, on the top and on the bottom, center and periphery, or insider and alien. These are characterized by symbolic notions of a mountain or a bridge, images of Riga and the Daugava, as well as the introduction of a mediator (a goat, bird or a ghost), which reach over the borders of time and space. Thereby the poet emphasizes fundamental ontological aspects which are concentrated in the semantic meanings of the notions of time, eternity and lifetime. In turn, by means of linguistic elements (not only semes, but also syntactical structure and pragmatic elements) Uldis Bērziņš pays attention to the multifunctionality and uniqueness of a language, and is trying to reach the level of a parent language. Within these dichotomies, the images, motives and signs also actualize a historic time and space. Thereby, a background for the disclosure of subtextual layers is organized, and simultaneously a point of view for several artistic chronotopes is expressed, which is interpreted as a symbiotic process in the poetry of Uldis Bērziņš. The search of oneself in the context of eternity is expressed with the help of the cyclicity principle. This is at the same time a tool for the illustration of different time spaces, which creates a synthesized model of an artistic world with a polyphony of linguistic elements. The cyclicity indicators in the poetry of Uldis Bērziņš are the images of a wheel, mill, and ball, as well as the interaction of the change of cycles of nature and human life. Special attention is paid to the points of intersection of time, thereby marking the Latvian year and the course of human life. In addition, the acknowledgment that the cycle is never-ending and repetitive, makes us look for interconnections with the philosophy of existentialism and a possible fulfillment of the meaning of life. Syncretism, on the contrary, as a combination of several different traditions, allows Uldis Bērziņš to emphasize features of cultural, linguistic and ethnic identity. In the united whole, i.e. in the interpretations of a sign, motive, image or myth, there is an accumulation of a few notions that create a peculiar effect of surrealism in a poetic text. For Bērziņš, syncretism is discovered in an image of a city, a sound, personal names (Peteris, Juris), religious characters (Jesus Christ, Krishna), and myths of the creation of the world. To find features of syncretism in a text, a reader does not only have to have some knowledge of mythology, religion, or culturology, but also needs associative thinking, since the poet often plays with phonemes and facts by linking them in rhythmically symbolic combinations. To sum up Uldis Bērziņš’ notions of mythical time and space, it can be concluded that the poet successfully uses the means of language, its meanings, its peculiar functions and associative nets in order to create a synthesized model of the mythical, historical, and psychological time space. This requires additional attention from a reader, because each poem is a subtextually dense discloser of a cultural heritage and an indicator of the search of oneself.
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Mykhailova, Olena. "FLORISTIC SYMBOLICS OF LINA KOSTENKO POETRY." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 29 (2021): 21–23. http://dx.doi.org/10.17721/1728-2659.2021.29.5.

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The article considers floristic vocabulary of Lina Kostenko poetry in the linguocultulorogical aspect; mythological semantics and symbolic of floristic names were determined in the poetry collection "Three hundred verses"; the link between symbolic meaning of flowers with totemic beliefs, between chthonic semantics of vegetation, solar myths were studied, peculiar traits of poetic arrangement were analyzed. Conclusions were drawn on the original poetic model of the mythic space that unites the worlds of heavens and the earth, rich in floristic images, enrooted in ancient totemic beliefs. The harmonic synergy of a man and the nature envisages the author's interpretation of universal floristic symbols in the limits of paradigm "flowers" – "myth" – "poet", wherein the flowers acquire symbolic meaning of the eternity of life born in the cosmogony depths of mythological archaic. In the poetry of Lina Kostenko an amazing unification of the internal world of a man with the realities of the world of nature takes place, the natural elements turn into cosmogony forces that create the renewed mythical space, wherein the flowers are the symbols of time, live signs of times of year, and the color symbolizes life milestones of the poetess herself. Archaic mythological symbolic as an integral part of poetic text obtains a new meaning due to which an ancient past unites with modern times, floristic names are transformed into universal poetic symbols, disclose figurative world of poetry. The origins of floristic symbolic are enrooted into vegetation totemism, when the people respected different types of flowers and animals as prime ancestors, bestowed them with magic traits, chthonic semantics, considered them amulets and used separate types of plants as medicines or bloodless sacrifices in the gods' cults. A particular type of solar-floristic metaphor can be considered as a revelation of totemism, built on the grounds of metonymy, the majority of "floristic" lexemes, used by Lina Kostenko, stand as names for typical Ukrainian decorative plants, but the author's poetic arrangement makes every floristic composition of the poetess unparalleled.
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Masing-Delic, Irene, Sonia Ketchian, Anna Akhmatova, Elisabeth von Erdmann-Pandzic, and Anna A. Achmatova. "The Poetry of Anna Akhmatova: A Conquest of Time and Space." Russian Review 48, no. 2 (April 1989): 220. http://dx.doi.org/10.2307/130354.

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Hricková, Mária, and Simona Klimková. "The verbalization of grief in David Grossman’s Falling Out of Time." Ars Aeterna 11, no. 2 (December 1, 2019): 41–54. http://dx.doi.org/10.2478/aa-2019-0009.

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Abstract David Grossman’s experimental text Falling Out of Time (2011) examines the theme of the death of a child and parents’ attempts to understand and cope with the loss. In order to represent and articulate the sense of unbearable pain and grief, Grossman employs several strategies and techniques related to both content and form which allow for a perspective that is both artistically engaging and sensitive. One of the obvious formal features of the text is his use of poetry, which seemingly represents the most natural means to express the raw emotions and pain of his characters. The paper seeks to examine Grossman’s techniques that help him verbalize the grieving experience of his characters while focusing on his use of poetic language. It seems that the capacity of poetry to rely on meaningful silences and a multilayered interpretive potential enables one to create a healing space which facilitates the process of reconciliation.
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Dissertations / Theses on the topic "Space and time – Poetry"

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Wan, Yu-pui, and 溫羽貝. "Time and space in Zheng Chouyu's Poetry." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B3963405X.

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Wright, Derand Errol. "The Kitchen of Tomorrow and Other Space-Time Anomalies." OpenSIUC, 2012. https://opensiuc.lib.siu.edu/theses/807.

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Miner, Lauren A. "Surrender to the Spinning: poems." VCU Scholars Compass, 2015. http://scholarscompass.vcu.edu/etd/3813.

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This collection of poems explores themes of time and space, energy, entropy and decay, and the frames we use to resist the inevitable trend toward disorder that defines a human experience of the observable universe.
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Gorton, Lisa. "Donne's cosmos : some aspects of his images of space and time." Thesis, University of Oxford, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310354.

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Wan, Yu-pui. "Time and space in Zheng Chouyu's poetry Zheng Chouyu shi de shi jian yu kong jian /." Click to view the E-thesis via HKUTO, 2008. http://sunzi.lib.hku.hk/hkuto/record/B3963405X.

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Rezende, Jussara Neves. "A simbolização nas imagens poéticas de Cecília Meireles e Sophia de Mello Breyner Andresen: tempo e espaço." Universidade de São Paulo, 2006. http://www.teses.usp.br/teses/disponiveis/8/8156/tde-22082007-141356/.

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Numa mesma época marcada por reflexões filosóficas sobre o tempo e suas relações com o espaço, Cecília Meireles e Sophia de Mello Breyner Andresen entregaram ao mundo os seus primeiros escritos poéticos, nos quais revelam que essas mesmas reflexões não se distanciam da poesia. Ao contrário, num espaçotempo caracterizado pela transitoriedade das coisas, a poesia se apresenta como forma de equilíbrio em meio à passagem, evitando a total dispersão do ser. Assim sendo, nossa análise procura focalizar as formas que espaço e tempo assumem na poesia de ambas as escritoras, investigando a possibilidade desses \"cronotopos\" servirem à revelação da experiência humana no tempo e no espaço.
In a same age marked by philosophical reflections about the time and their relations with the space, Cecília Meireles and Sofia de Mello Breyner Andresen handed over to the world their first poetic pieces of writing, in which they reveal that those same reflections is not far from poetry. The other way round, in a space-time characterized by the transiency of things, the poetry shows itself as a way of balance in the middle of the passage, avoiding the total being\'s dispersion. This being the case, our analysis tries to focus the forms that space and time take on the poetry of both writers, investigating the possibility of those \"chronotopos\" be useful to the revelation of the human experience in the time and the space.
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Cintra, Sonia Maria de Araujo. "Relações espaciotemporais na obra poética de Cesário Verde: fragmentação e busca de totalidade." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-23112009-145427/.

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A partir da análise das relações espaciotemporais no poema O Sentimento dum Ocidental queremos demonstrar que a obra poética de Cesário Verde se constitui num incessante processo de fragmentação e busca de totalidade. Sua coesão mostra, de modo sintético, uma visão de mundo e constitui um sumário da problemática cesariana, não apenas dos poemas dessa fase ou ciclo específico, mas do conjunto de sua poesia. Essas duas funções, a coesão e a problemática, revelam a prevalência da unidade poética de Cesário, a despeito de sua aparente diversidade temática e originalidade de estilo o qual apresenta traços impressionistas. Consideradas as diferenças de contexto, o processo acima mencionado reflete a crise que vivemos nos dias atuais. Embora a crise contemporânea se apresente de modo diferente, podemos perceber algumas de suas raízes já expressas nos versos de Cesário, o que admite uma aproximação entre Literatura e Geografia.
From the analysis of the space-time relations en the poem O Sentimento dum Ocidental we want to demonstrate that the poetic work of Cesário Verde is constructed by an incessant process of fragmentation and search for totality. Its cohesion shows, in a synthetic way, a world view and it constitutes a summary of the cesarian problematic, considering not only the poems of this phase or specific cycle, but the whole of his poetry. These two functions, cohesion and problematic, reveal the prevalence of the poetic unity of Cesário, despite its apparent thematic diversity and originality of style which presents some impressionist traces. Taking into consideration the differences of context, the process above mentioned reflects the crisis we live nowadays. Even though the contemporary crisis shows itself in a different manner, we can perceive some of its roots already expressed in Cesários verses, what admits an approaching between Literature and Geography
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Bertges, Lívia Ribeiro. "Jogo e poesia visual : a dinâmica dos naipes na obra OLHLO2 de Knorr." Universidade Federal de Mato Grosso, 2015. http://ri.ufmt.br/handle/1/213.

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CAPES
A poesia visual coloca a visão como âmago do processo criativo, deslocando-se no tempo como um método voltado à forma estética da palavra. Afastada da simples ideia de lidar somente com a imagem, a poesia visual abarca características plásticas envolvendo o verbal e não verbal. A poesia ligada à visualidade irrompe o século XX e percorre o século XXI, em que a presença dos computadores impulsiona a experimentar novas modalidades. Nesse contexto, esta dissertação visa analisar, sob diferentes perspectivas semiológicas, a obra literária OLHLO2: Poesia Visual (2007), do poeta contemporâneo Luiz Augusto Knop de Mendonça – KNORR, a qual chama a atenção pelas rupturas estruturais do livro/jogo. Este se constitui de uma caixa pequena, em que a abertura lateral mostra cinquenta e quatro lâminas, cada qual com um poema independente. No verso das lâminas, legendas aparecem com o título, ano de produção e dizer explicativo. Apesar de uma demarcação temporal de execução, o marco principal do livro/jogo é uma desordem sequencial das lâminas poéticas. Pretende-se neste trabalho mostrar como a sintaxe tempo e espaço norteiam as escolhas pictóricas dos poemas selecionados, enquanto naipes do jogo de Knorr (2007). Assim, busca-se compreender como na obra o tempo está ligado ao aspecto não linear da língua caro ao jogo poético inerente à literatura. Do mesmo modo, objetiva-se entender como a noção de espaço, a partir da espacialidade da linguagem e do não verbal, implementa uma maneira de enxergar variados sentidos da experiência de estar no mundo e significar(-se). Bem como entender o curinga, como aquele que perpassa as noções de tempo e espaço. Vê-se o curinga como um conjunto de cartas que privilegia o uso das ambiguidades e a concomitâncias de sentidos interpretativos. Para realização de tais análises, serão escolhidas quarenta e oito poemas que, ao tematizarem sobre tempo, espaço e curinga revelam suas significações como jogo poético-visual.
Visual poetry puts vision at the core of the creative process, running through time as a method concerning the aesthetical shape of the word.Far from the oversimplifying idea of dealing only with image, visual poetry embraces features of the visual arts which connect the verbal and the non verbal. Poetry characterized by visual aspects bursts into the 20th century and goes through the 21st century, in which the presence of computers motivates experiences with new modalities. In this context, the present work aims at analyzing, under distinct semiological perspectives, the literary work "OLHLO2: Poesia Visual" (2007), by the contemporary poet Luiz Augusto Knop de Mendonça - KNORR, which captures attention due to the structural break within the book/game. OLHLO2 consists in a small box, where the side opening shows 54 cards, each of which contains a poem that is independent from the others. At the back of the cards, subtitles appear along with the title, year of production and a brief explanation. Despite of a temporal demarcation of execution, the main landmark of the book/game is the sequential disorder of the poetical cards, each card containing one single poem. This work intends to show how the syntax of time and space guide the pictorial choices of the selected poems as suits of the game by Knorr (2007). In this sense, the goal is to understand how, in OLHO2, time is connected to the nonlinear aspect of the language, so important to the poetical play inherent to literature. Similarly, the purpose is also to understand how the notion of space, through the spatiality of the verbal and of the non verbal, implements a way of seeing multiple meanings of the experience of being in the world and to betake oneself. Understanding the wild cards as those which run through the notions of time and space is also a goal. The wild cards are seen as the ensemble of cards that evidence the ambiguities and the concomitance of different interpretative meanings. The analysis is made through the choice of forty-eight poems that, by bringing about the themes of time, space and of wild cards, reveal their multiple meanings as a visualpoetic game.
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Carneiro, Euripedes Leoncio. "DRUMMOND: O POETA QUE ESPIA EXPIANDO." Pontifícia Universidade Católica de Goiás, 2014. http://localhost:8080/tede/handle/tede/3198.

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Carlos Drummond de Andrade s poetic work prompts the theme of spyexpiating (espia-expiando, in the Portuguese original), a demonstration of poetic truth in and of itself, through a dialectic-aesthetic prism, with deductive method and reflections, amassing the metaphysical, philosophical and poetical processes wherein the very author is both theme and object, and his work is a true Drummondian anthropology. The main goal of this paper is an attempt at demonstrating that the poet s lyrical self is in an expiatory state, in suffering for having spied, contemplated the outside world, living in a state of unrest in time and space, which allows for the relief of this state of disenchantment, the return poetic memorialism to the beginning, Itabira, which has been remembered, since the first poem in 1930 published in the book Alguma Poesia (Some Poetry, in literal translation) , as a lovely place, metaphorically preserved, thus behaving as the prodigal son of Brazilian poetry. The contact with Drummondian poetry surprises and captivates those who seek it, not only for the aesthetic pleasure, but also for the acute reflection which takes readers and makes them participants in this existential drama, to free them through poetry so they can bask in transcendence, in metaphors. The object is the word embodied in the poem, the saving Word. This research is based on the reflections of thinkers and literary critics such as Michel Foucault, Octavio Paz, Gaston Bachelard, Gilberto Mendonça Teles, Affonso Romano de Sant Anna, among others. The focus on the struggle of the imprisoned soul, impotent before the reality that threatens it, but which reveals itself in the poem, making the latter a freeing, solidary weapon, enabling withdrawal into the sources of emotion, which is larger than the stage of suffering; into the magic, the charm of art and language, as the all-saving, purifying water that flows from the lyrical self. All of this is ultimately combined into the charisma of the poet.
O texto poético de Carlos Drummond de Andrade é revelador do tema espiaexpiando, demonstração da verdade poética por si mesma, num prisma dialéticoesteticista, com um método e reflexões dedutivas ao consubstanciar os procedimentos metafísicos, filosóficos, poéticos, nos quais o próprio autor é tema e objeto, e a sua obra, uma verdadeira antropologia drummoniana. O objetivo principal, neste trabalho é a tentativa de demonstrar que o eu lírico do poeta encontra-se em estado de expiação, sofrimento, por ter espiado, olhado o mundo exterior, vivendo um estado de desassossego, no tempo e no espaço, o que possibilitará como alívio desse estado de desencanto, o retorno - memorialismo poético ao ponto de partida, Itabira que desde o primeiro poema, publicado em 1930, no livro Alguma Poesia é retomada na lembrança como fonte de amabilidade preservada metaforicamente, comportando assim, como o filho pródigo da poesia brasileira. O contato com o texto poético drummondiano surpreende e prende quem o busca, não somente pelo prazer estético, mas pela aguda reflexão que toma o leitor e o faz partícipe desse drama existencial a se libertar na poesia, se alimentar da transcendência, das metáforas. O objeto é a palavra corporificada no poema, como verbo salvador. Toma-se como suporte para esta pesquisa, as reflexões de pensadores e críticos literários como Michel Foucault, Octavio Paz, Gaston Bachelard, Gilberto Mendonça Teles, Affonso Romano de Sant Anna, entre outros. Enfocar o embate da alma prisioneira, impotente diante da realidade que a ameaça, mas que se revela no poema, transformando-o em arma libertária, solidária, possibilitando o recolher-se para as fontes da emoção, que é maior que o estágio de sofrimento, para a magia, encantamento da arte e da linguagem que salva como água purificadora vinda do eu lírico, da transcendência metafórica para outra realidade povoada pelo reino das palavras que passa a ser o carisma do poeta.
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Dias, Márcio Roberto Soares. "Os espaços móveis da memória na poesia de Carlos Drummond de Andrade." Programa de Pós-Graduação em Letras e Linguística da UFBA, 2009. http://www.repositorio.ufba.br/ri/handle/ri/10735.

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Esta tese orienta-se por uma leitura da lírica drummondiana, através da qual sobressai a análise da relação afetivo cognitiva que o poeta estabelece com elementos (pessoas, espaços, instituições...) perdidos na nebulosa do tempo, evidenciando-se, sobretudo, a mediação da dimensão temporal como recurso dinamizador da relação poesia/espaço. No atrito com o tempo corrosivo, o poeta dedica-se a registrar as conquistas e as perdas da maturidade, enriquecendo sua obra com a expressão das tensões vividas pelo homem que, lúcido, caminha para a dissipação. Por um lado, essa inscrição da existência na série cronológica faz nascer a noção de que a temporalidade é, em si, cega e irreversível, visto a seqüência dos tempos não garantir um traçado evolucionista do inferior para o superior. Por outro lado, a maturidade sobrevinda faculta-lhe um gesto de resistência: o seu deslocamento em direção aos antepassados para compreender a conformação de sua consciência permite-lhe restabelecer laços afetivos, e, nesse processo, recriar lingüisticamente o seu passado. Uma parcela considerável de sua poesia memorialística traz um tom profundamente marcado pela dúvida, pela inquietude, pelo sentimento de culpa. Esse período de autoanálise mais dura faz sua poesia resvalar na mitificação da família e da Minas Gerais de sua infância, o que acaba por lançar sobre si próprio certa suspeição, marcada principalmente pelo motivo do desajuste familiar. A partir de Lição de coisas, já aos 60 anos de idade, e principalmente com Boitempo, observa-se na poesia de Drummond uma disposição biográfica sem a pungência ou a acrimônia que se percebem em outros versos nos quais o poeta trata de si mesmo ao longo de sua obra.
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Books on the topic "Space and time – Poetry"

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Budget travel through space and time. Saint Paul, Minn: Graywolf Press, 2005.

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Optimum use of space: Time spent in Alaska. Anchorage, Alaska: Publication Consultants, 1998.

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Jiménez, Juan Ramón. Time ; & Space: A poetic autobiography. New York: Paragon House Publishers, 1988.

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M, Jolas, ed. The poetics of space. Boston: Beacon Press, 1994.

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Explorations: Sacred places and inner spaces poems. McKinleyville, Calif: Fithian Press, 2010.

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Joyce, Elisabeth W. "The small space of a pause": Susan Howe's poetry and the spaces between. Lewisburg [Pa.]: Bucknell University Press, 2010.

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"The small space of a pause": Susan Howe's poetry and the spaces between. Lewisburg [Pa.]: Bucknell University Press, 2010.

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The poetry of Anna Akhmatova: A conquest of time and space. München: O. Sagner, 1986.

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Ketchian, Sonia I. The Poetry of Anna Akhmatova: A Conquest of Time and Space. Bern: Peter Lang International Academic Publishers, 1986.

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My soul sings: Poetry in spare time. Baltimore, MD: Gateway Press, 1999.

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Book chapters on the topic "Space and time – Poetry"

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Yeh, Michelle. "Inventing China: The American Tradition of Translating Chinese Poetry." In Reading the Past Across Space and Time, 285–95. New York: Palgrave Macmillan US, 2016. http://dx.doi.org/10.1057/978-1-137-55885-5_15.

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Yeh, Mo-Li, Ming-shean Wang, and Pey-Chwen Lin. "Applying the Time and Space Forms of Poetry to Creative Design." In Cross-Cultural Design, 798–807. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-07308-8_76.

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Gray, Rosemary. "Ontopoiesis in Ben Okri’s Poetic Oeuvre and A Time for New Dreams (2011)." In Phenomenology of Space and Time, 49–57. Cham: Springer International Publishing, 2013. http://dx.doi.org/10.1007/978-3-319-02015-0_5.

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Sepsi, Enikő. "Emptiness, space, and time in Valère Novarina's theater." In Poetic Images, Presence, and the Theater of Kenotic Rituals, 133–42. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003163930-13.

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Flach, Sabine. "Moving is in Every Direction." In Bewegungsszenarien der Moderne, 165–76. Heidelberg, Germany: Universitätsverlag WINTER, 2021. http://dx.doi.org/10.33675/2021-82537264-10.

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Traditionally, art history divided the arts into four genres: painting and sculpture, poetry and music. Hence the art-historical canon was dominated by a strict division into the arts of space and those of time. Movement (both of an internal and externalized kind) did not find a place within this classificatory corset. In 1766, Gotthold Ephraim Lessing framed the classical art-theoretical approach through his famous text ‚Laocoon: An Essay on the Limits of Painting and Poetry‘, in which he splits the arts into those unfolding in time and those unfolding in space. Lessing’s ‚Laocoon‘ is the founding text defining poetry and music as time-based, sculpture and painting as space-orientated. By 1900, this strict system of classification and hierarchization began to dissolve, giving way to cross-border experiments in the arts of the twentieth century up to the present day. This overturning of classical genre divisions between the static and the dynamic arts, between sculpture, installation, and performance enables us to examine artworks as variations of movement in terms of ‚constellations between scene and scenario‘. Furthermore, the development of movement as an artform implies the activation of the audience in participatory arts practice.
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Gasperini, Maurizio. "Space, Time, and Space–Time." In Gravity, Strings and Particles, 49–60. Cham: Springer International Publishing, 2014. http://dx.doi.org/10.1007/978-3-319-00599-7_4.

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Faye, Jan. "Space, Time, and Space-Time." In Experience and Beyond, 245–77. Cham: Springer International Publishing, 2016. http://dx.doi.org/10.1007/978-3-319-31077-0_8.

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Čapek, Milič. "Time-Space Rather Than Space-Time." In The New Aspects of Time, 324–43. Dordrecht: Springer Netherlands, 1991. http://dx.doi.org/10.1007/978-94-009-2123-8_17.

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Allday, Jonathan. "Space-time." In Space-time, 85–109. Boca Raton, FL : CRC Press, Taylor & Francis Group, [2019] |: CRC Press, 2019. http://dx.doi.org/10.1201/9781315165141-5.

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Soffel, Michael, and Ralf Langhans. "Space–Time." In Space-Time Reference Systems, 49–60. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-30226-8_3.

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Conference papers on the topic "Space and time – Poetry"

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Li, Yeping. "An Analysis of Translation Strategies for Space-Time Compressed Images in Tang Poetry." In Proceedings of the 6th International Conference on Education, Language, Art and Inter-cultural Communication (ICELAIC 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/assehr.k.191217.266.

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Ulfah, Triana, Andayani Andayani, and Sumarwati Sumarwati. "Innovation of Learning to Write Poetry through Time-Lapse Video Media." In Proceedings of the 1st Seminar and Workshop on Research Design, for Education, Social Science, Arts, and Humanities, SEWORD FRESSH 2019, April 27 2019, Surakarta, Central Java, Indonesia. EAI, 2019. http://dx.doi.org/10.4108/eai.27-4-2019.2286929.

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Trishina, S. "The life of modern Russian poetry and literature – a look from the inside out." In Russian cultural space: language – mentality – understanding. XX International scientific and practical conference. LLC MAKS Press, 2020. http://dx.doi.org/10.29003/m1449.rcs_xx-2019/193-195.

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Ramachandran, Umakishore, Rishiyur S. Nikhil, Nissim Harel, James M. Rehg, and Kathleen Knobe. "Space-time memory." In the seventh ACM SIGPLAN symposium. New York, New York, USA: ACM Press, 1999. http://dx.doi.org/10.1145/301104.301121.

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Mosco, Umberto. "Space, time, similarity." In 8th Congress of Romanian Mathematicians. WORLD SCIENTIFIC, 2016. http://dx.doi.org/10.1142/9789813142862_0019.

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Chen, Gong, Wen-chong Xie, and Yong-liang Wang. "Space-Time Adaptive Monopulse based on Space-Time Uniform Constraint." In 2014 IEEE International Conference on Signal Processing, Communications and Computing (ICSPCC). IEEE, 2014. http://dx.doi.org/10.1109/icspcc.2014.6986185.

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Peuquet, D. J. "Making space for time: issues in space-time data representation." In Proceedings. Tenth International Workshop on Database and Expert Systems Applications. DEXA 99. IEEE, 1999. http://dx.doi.org/10.1109/dexa.1999.795200.

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Shlivinski, A., and Y. Hadad. "Space, Time and Space-Time Discontinuities in Transmission Lines: Review." In 2019 International Conference on Electromagnetics in Advanced Applications (ICEAA). IEEE, 2019. http://dx.doi.org/10.1109/iceaa.2019.8879152.

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Di Wu, Daiyin Zhu, and Zhaoda Zhu. "A Time-Varying Space-Time Autoregressive filtering algorithm for space-time adaptive processing." In 2011 IEEE CIE International Conference on Radar (Radar). IEEE, 2011. http://dx.doi.org/10.1109/cie-radar.2011.6159749.

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Sohaib, Rana Muhammad, and Aamir Habib. "Space Time/Space Frequency&Space Time Frequency Block Coding for GFDM MISO System." In 2019 2nd International Conference on Computing, Mathematics and Engineering Technologies (iCoMET). IEEE, 2019. http://dx.doi.org/10.1109/icomet.2019.8673409.

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Reports on the topic "Space and time – Poetry"

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Talbot, Pierre J. Photonics Space Time Processing. Fort Belvoir, VA: Defense Technical Information Center, April 1997. http://dx.doi.org/10.21236/ada325865.

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Rockwell, Donald. Space-Time Imaging Systems. Fort Belvoir, VA: Defense Technical Information Center, February 2009. http://dx.doi.org/10.21236/ada584973.

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Souder, Jeffrey K. Space, Time and Force: Relationships in Cyber Space. Fort Belvoir, VA: Defense Technical Information Center, February 2001. http://dx.doi.org/10.21236/ada389919.

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Anderson, Eric, Sergio Rebelo, and Arlene Wong. Markups Across Space and Time. Cambridge, MA: National Bureau of Economic Research, March 2018. http://dx.doi.org/10.3386/w24434.

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Sundgren, Bo. Communicating in time and space. Inter-university Consortium for Political and Social Research (ICPSR), 2011. http://dx.doi.org/10.3886/ddiothertopics03.

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Francis, Neville, Michael T. Owyang, and Daniel Soques. Business Cycles Across Space and Time. Federal Reserve Bank of St. Louis, 2019. http://dx.doi.org/10.20955/wp.2019.010.

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Alvaro, Peter, William R. Marczak, Neil Conway, Joseph M. Hellerstein, David Maier, and Russell C. Sears. Dedalus: Datalog in Time and Space. Fort Belvoir, VA: Defense Technical Information Center, December 2009. http://dx.doi.org/10.21236/ada538767.

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Chew, G. F. Space and time from quantum mechanics. Office of Scientific and Technical Information (OSTI), September 1992. http://dx.doi.org/10.2172/10163929.

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Chew, G. F. Space and time from quantum mechanics. Office of Scientific and Technical Information (OSTI), September 1992. http://dx.doi.org/10.2172/6077034.

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Carey, William M., and William B. Moseley. Space Time Processing, Environmental-Acoustic Effects. Fort Belvoir, VA: Defense Technical Information Center, August 1987. http://dx.doi.org/10.21236/ada190764.

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