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Artykuły w czasopismach na temat "Cut-up poetry"
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Hare, Kathleen (Kaye) A. "“Institutionalized States of Information Abstinence”". Art/Research International: A Transdisciplinary Journal 6, nr 2 (4.09.2021): 415–41. http://dx.doi.org/10.18432/ari29540.
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In this study, I provide applied examples of using cut-up poetic inquiry as an arts-based research method for analyzing erasure poetry. The erasure poetry was composed by five poet-participants and me during a sensory ethnography that explored embodied experiences of a sexual educator training program. I first overview erasure poetics in the context of sexuality education. I explain how erasure poetry as method can interrupt authoritative proclamations of truth, while also providing a technique to grapple with complex, corporeal data – central topics in sex education research. I then theorize cut-up poetic inquiry as an additional form of erasure, asking and illustrating how the processes of cut-up can distill information to enable emergent analytic insights in the context of my research. Throughout, I meditate on how erasure poetry as an arts- based research method can contribute to discussions of language, discourse, and embodiment in sex education research.
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Turner, Ashley R., Roque Anthony F. Velasco, Kathleen Oman i Karen H. Sousa. "Aesthetic Knowing: Cut-Ups and Haiku Poems". Nursing Science Quarterly 36, nr 2 (30.03.2023): 181–85. http://dx.doi.org/10.1177/08943184221150263.
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Enhancing course design and pedagogy to encourage engagement and creativity is fundamental in doctoral education. Using poetry is an innovative way to enrich nursing education through aesthetic knowing. The authors in this paper aim to describe an educational exercise utilizing the Cut-Up Method to create haiku poems. PhD nursing students used the Cut-Up Method to produce haiku poems describing the meaning of nursing science. Themes from the haiku poems include relationship building, caring and caring relationships, and the evolution of nursing. Learning activities promote aesthetic knowing to facilitate engagement, creativity, and collaboration. The Cut-Up Method and haikus are creative ways of developing aesthetic knowing.
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Miloykovitch, Vladimir Vladda. "The Art of Vanishing". Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 5, nr 1 (27.12.2017): 90. http://dx.doi.org/10.14195/2182-8830_5-1_18.
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The audio poetry mix titled "Umetnost Gubljenja" (The Art of Losing / Vanishing) uses cut-up technique in order to mix and adjust the text of the poem "Umetnost Gubljenja" to the audio poetry form. An unknown program was used for mixing in this totally homemade art work, authored by Vladimir Milojković (sometimes published under the name Vladimir Vladda Miloykovitch). The mix is 6 minutes and 35 seconds long, mono sound, mp3 format. Conceptually, it is, in a certain way, socially engaged poetry, questioning the role of art in the modern world. Effects influencing the listeners were achieved through repetition of crucial words and tone changing.
It is recommendable to listen the mix via headset for better experience.
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Petievich, Carla, i Max Stille. "Emotions in performance: Poetry and preaching". Indian Economic & Social History Review 54, nr 1 (styczeń 2017): 67–102. http://dx.doi.org/10.1177/0019464616683481.
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Emotions are largely interpersonal and inextricably intertwined with communication; public performances evoke collective emotions. This article brings together considerations of poetic assemblies known as ‘mushāʿira’ in Pakistan with reflections on sermon congregations known as ‘waʿz mahfil’ in Bangladesh. The public performance spaces and protocols, decisive for building up collective emotions, exhibit many parallels between both genres. The cultural history of the mushāʿira shows how an elite cultural tradition has been popularised in service to the modern nation state. A close reading of the changing forms of reader address shows how the modern nazm genre has been deployed for exhorting the collective, much-expanded Urdu public sphere. Emphasising the sensory aspects of performance, the analysis of contemporary waʿz mahfils focuses on the employment of particular chanting techniques. These relate to both the transcultural Islamic soundsphere and Bengali narrative traditions, and are decisive for the synchronisation of listeners’ experience and a dramaticisation of the preachers’ narratives. Music-rhetorical analysis furthermore shows how the chanting can evoke heightened emotional experiences of utopian Islamic ideology. While the scrutinised performance traditions vary in their respective emphasis on poetry and narrative, they exhibit increasingly common patterns of collective reception. It seems that emotions evoked in public performances cut across ‘religious’, ‘political’, and ‘poetic’ realms—and thereby build on and build up interlinkages between religious, aesthetic and political collectives.
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Babnis, Tomasz. "The River Araxes in the Roman Poetry". Classica Cracoviensia 22 (29.10.2020): 7–46. http://dx.doi.org/10.12797/cc.20.2019.22.01.
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The River Araxes In the Roman Poetry
The Araxes flowing through the Armenian Highlands was one of the rivers mentioned quite often in Roman poetry from the Augustan Age up to the 5th century. In line with the traditional tendency of classical literature, the Araxes was usually shown as a pars pro toto of a country, in this case Armenia, which was one of the aims of the Roman eastern policy and the object of rivalry between the Empire and Parthia/Persia. The great majority of references to the Araxes was connected with the theme of Roman expansion in the East (especially with the campaign of Tiberius in 20 BC and later with the Roman-Parthian war 58–63 AD), which can be observed best in the recurrent motif of a bridge across this river, a clear-cut symbol of Roman domination over Armenia and – more generally – over all of the East.
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Izenson, Andy. "“… that which wishes to articulate itself in you”". Religion and the Arts 27, nr 1-2 (11.04.2023): 230–53. http://dx.doi.org/10.1163/15685292-02701003.
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Abstract Jewish anarchist mysticism weaves elusively through the worlds of art, politics, and religion, informing all three with the concept of do’ikayt, or “hereness.” This essay will bring together threads of the Jewish roots of the Dada and Surrealist movements as they burst into queerness with the work of Claude Cahun, William S. Burroughs, and Genesis Breyer P-Orridge, and examine in particular the cut-up method as employed by those artists across media before examining an application of the same method to a pantheist Jewish transness through the mystical practice of gender confirmation surgery to arrive at a theory of bodily hereness. Using the writer’s own experimentation with gender and cut-up poetry to seek a nonlinear harmony with the Spinozan immanent Hashem-as-living-universe, this writing explores the rejection of not only the gender binary, but also the binary inherent in representational art to replace both with the somatic experience of fragments of the universe ricocheting off each other and being transformed by the interaction.
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Kazlauskaitė, Rūta. "The mental image of lightning in Lithuanian poetry". Lietuvių kalba, nr 12 (15.12.2018): 1–27. http://dx.doi.org/10.15388/lk.2018.22516.
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The aim of the present article is to compose and to evaluate the image of lightning that has been formed in Lithuanian poetry. The fragments of 148 poets’ 509 poems have been analysed. In the poetical worldview lightning is active. It is natural energy. It naturally manifests itself during the warm season and time of day (at evening, at night). Lightning usually acts as a living being (a human being, a reptile, less often as a bird or an ungulate), a plant or as a part of the body of a living being or a plant, an instrument of a living being. Less often lightning manifests itself as fire, water, earth. Lightning is compared and identified with the realities that are characterized by the following features: ‘glowing / bright / heated’, ‘sudden, short’, ‘formed in the heights, above’, ‘moving / moved’, ‘zigzag / twisting’, ‘increasing / branching out’, ‘powerful’, ‘piercing / sharp / hurting’. The oppositional features ‘dull / extinguishing’, ‘slow, lingering’, ‘formed near the ground, below’, ‘calmed down / settled down’, ‘moving straight’, ‘vanishing, disintegrating’, ‘weak’, ‘streamlined’ show the approaching of lightning to a human being, its identification with a human being. Lightning in fact is defined by three features. The first one – the ability to strike: hit, cut, kick, scald, splash, etc. Lightning changes the current situation: injures or destroys, eliminates the object it points to (for example, cuts and cuts off, splits and splits up, stabs and pierces, burns and burns out). Thus the earth is cleaned up, renewed, refreshed. Lightings as instruments are ruled by the highest god of the Lithuanians, the ruler of nature Perkūnas, such mythical creatures as witch and devil, natural phenomena, the sky, the night, a human being (usually a young woman). The second feature – a specific manifestation or showing up of lightning. The electric current moving from above in zigzag or spiral (the metaphorical verbs bends, curls, twists, etc. are used) pulsates and increases (i.e. shines, flashes and grows, branches out, pours out). The third feature – the glowing and brightness of lightning. A special tone of light is shown by light, green, silver, fiery and similar epithets. In the broad sense lightning is perceived as strength, life and illumination (the moment of change).
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Wilcox, David. "The Clothing of a Regency Poet, Lord Byron (1788–1824)". Costume 55, nr 2 (wrzesień 2021): 212–39. http://dx.doi.org/10.3366/cost.2021.0200.
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Byron was a best-selling poet and a celebrity with a notorious reputation. This article seeks to examine how his public image and private person were related, the part clothing played in the projection of his public image, and the degree of control he exerted over his body and his self-image. The article examines a number of sources relating to Lord Byron — his journals and letters, his poetry and public output, biographies, bills and accounts, paintings and illustrations, and the surviving clothing associated with the poet. From these a clothing narrative of the poet's early life, up until the time of his departure for Europe in 1816, can be constructed and examined in relation to the fashions of his era and the idiosyncrasies of the poet. Some of the surviving clothes are examined for their cut and construction and discussed in relation to others of the period. A companion article, dealing with his life abroad until the time of his death in 1824, will follow at a later date.
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Torres Núñez del Prado, Paola. "AIELSON: A neural spoken-word poetry generator with a distinct South American voice". Journal of Interdisciplinary Voice Studies 7, nr 1 (1.08.2022): 11–33. http://dx.doi.org/10.1386/jivs_00052_1.
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Human‐computer interaction will soon be framed as a dialogue in-between two agents, rather than the imposition of the needs and desires of the human entity over the inert machine. As the latter become seemingly more intelligent, we will witness how they reshape art, knowledge and society in general even more in the not-so-distant future. In this framework, decolonization of their algorithms becomes imperative so as not to reproduce the ethnic and cultural biases that prevail in contemporary human society. By using a pre-trained transformer-based language model (GPT-2) (Radford et al. 2019a), retrained with poetry in Spanish, fine-tuned on examples of South American poetry recited by two different text-to-speech synthesis systems ‐ the Tacotron 2 (Radford et al. 2019b) + Waveglow (Prenger et al. 2018) ‐ coupled posteriorly using the ESPnet-TTS toolkit (Hayashi et al. 2020), trained on an Argentinean voice dataset fine-tuned on voice snippets of Peruvian poet Jorge Eduardo Eielson, I came up with a selection of spoken-word poems in a distinctly Latin American voice that ended up presented as the El Tiempo del Hombre (‘The Time of Man’) album, printed on a set of four 7-inch lathe-cut stereo vinyl discs. This process turns into a self-reflecting gesture when the dataset used for training is based on South American Artistic Traditions of both the present and the past.
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Roy, Sydnor. "HOMERIC CONCERNS: A METAPOETIC READING OF LUCRETIUS, DE RERUM NATURA 2.1–19". Classical Quarterly 63, nr 2 (8.11.2013): 780–84. http://dx.doi.org/10.1017/s0009838813000256.
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Suave, mari magno turbantibus aequora ventise terra magnum alterius spectare laborem;non quia vexari quemquamst iucunda voluptas,sed quibus ipse malis careas quia cernere suave est.suave etiam belli certamina magna tueri 5per campos instructa tua sine parte pericli.sed nil dulcius est, bene quam munita tenereedita doctrina sapientum templa serena,despicere unde queas alios passimque videreerrare atque viam palantis quaerere vitae, 10certare ingenio, contendere nobilitate,noctes atque dies niti praestante laboread summas emergere opes rerumque potiri.o miseras hominum mentes, o pectora caeca!qualibus in tenebris vitae quantisque periclis 15degitur hoc aevi quodcumquest! nonne viderenil aliud sibi naturam latrare, nisi utquicorpore seiunctus dolor absit, mensque fruaturiucundo sensu cura semota metuque?(Lucr. 2.1–19)It is pleasant, when the winds stir up the waters on the great sea,to watch the great struggle of another from land;not because it is a great pleasure that anyone be troubled,but because it is pleasant to observe the troubles you yourself lack.It is also pleasant to watch the great contests of war 5spread out over the plains without taking any part in the danger.But nothing is more pleasing than to hold lofty yet calm templesthat are well defended by the teachings of wise men,from which you can look down and see others everywherego astray and wander while seeking the path of their life, 10competing in wits and contending over their nobility;throughout nights and days they strive with outstanding labourto come out at the peak of riches and have power over everything.O wretched minds of men, O blind hearts!In what shadows of life and in how many dangers 15is this bit of life, whatever it may be, being spent by you! Do you not seethat nature barks for nothing other than this – thatgrief be separated from the body and far away, and that the mind enjoypleasant feelings cut off from anxiety and fear? Epicurus' advice to his young friend Pythocles to ‘flee all education, raising up the top sail’ (παιδείαν δὲ πᾶσαν, μακάριε, ϕεῦγε τἀκάτιον ἀράμενος, Diog.Laert. 10.6 = Epicurus fr. 163 Us.) contains an allusion to Circe's advice to Odysseus in Odyssey 12.37–58. For much of the Greek (and Roman) world, education was based on the Homeric epics, and thus Epicurus' statement represents a complicated position towards Homer in particular and poetry in general. Epicurean philosophy rejects poetry because it is misleading about the gods and the nature of the soul, but Epicurus and his followers, most notably Philodemus and Lucretius, engage in poetic allusion and even the composition of poetry. Much work has been done on allusions to poetry in all three writers, but I hope here to bring out a heretofore unnoticed poetic allusion at the start of De rerum natura Book 2, in which Lucretius makes a programmatic statement about not only his philosophy, but also his poetry and its place in the poetic tradition.
Rozprawy doktorskie na temat "Cut-up poetry"
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Ryding, Karin. "Poetry is for everyone : A comparative analysis of the cut-up technique, Magnetic poetry and the casual word game Words of Oz". Thesis, Uppsala universitet, Institutionen för speldesign, 2014. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-228190.
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Language is a system that fundamentally influences us as human beings. There are numerous schools of thought critiquing our use of language and celebrating attempts to break free of the control it has over our lives. In that perspective a transformative play with language can be seen as critical play, and a game design approach supporting this kind of play can be defined as critical. The cut-up technique is an aleatory literary technique invented by the Dadaists in the 1920s. It was the fundamental lack of belief in society and language that gave birth to the cut-up method. Mary Flanagan includes it in her book “Critical Play: Radical Game Design” as part of the critical game-design paradigm. The singer-songwriter Dave Kapell invented Magnetic Poetry in the early 90s inspired by the cut-up technique and how artists such as William Burroughs and David Bowie used in their work. I am a co-founder of Ozma Games – a game studio based in Malmö, Sweden. In Ozma we are working on a social word game called Words of Oz. Magnetic Poetry inspired us in the design of Words of Oz, as we wanted to make a casual game that could evoke players’ creativity. The Dadaists clearly wanted to challenge the way we use language. In this essay I will compare the Dadaist cut-up method with its later adaptations Magnetic Poetry and Words of Oz. My question is whether the critical design approach is sustained in Magnetic Poetry and Words of Oz or if the change in technology and framing has limited the subversive potential from which they originated.
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Dumoulin, Gilles. "Du collage au cut-up (1912-1959) Procédures de collage et formes de transmédiation dans la poésie d'avant-garde". Phd thesis, Université de Grenoble, 2012. http://tel.archives-ouvertes.fr/tel-00943454.
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Le collage et le cut-up sont deux " procédés " apparus, comme pratique et comme concept, dans le courant du XXe siècle : dans la première décennie pour ce qui est du collage et, pour le cutup, à la fin des années cinquante. Le terme de collage est issu des arts plastiques, et des pratiques qui ont succédé aux expérimentations des " papiers collés " de Georges Braque et Pablo Picasso à partir de 1912, tandis que celui de cut-up est emprunté à l'écrivain américain Brion Gysin expérimentant cette technique, avec William Burroughs, en 1959. Une cinquantaine d'années sépare les deux " procédés ", qui ne recouvrent pas exactement les mêmes pratiques, comme le notait Brion Gysin : " L'écriture a cinquante ans de retard sur la peinture ", en entendant par là appliquer à la lettre - et à la littérature - la pratique même des " papiers collés " des expérimentations cubistes. Cinquante ans de retard ? Rien n'est moins sûr en réalité, si l'on examine l'histoire de la pratique dans la littérature, notamment à travers les expérimentations des premiers courants d'avant-garde, puisque se mettent en place, dès 1912-1913, des procédures de transmédiation qui font progressivement glisser l'esthétique du collage des arts plastiques à la poésie. C'est sur l'histoire de ces cinquante années " de retard " que voudrait revenir cette étude, pour examiner les différentes formes que prend cette transmédiation de l'esthétique du collage dans les courants d'avant-garde, jusqu'à l'invention du cut-up.
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Naccache, Marion. "Bernard Heidsieck & Cie : une fabrique du poétique". Phd thesis, Ecole normale supérieure de lyon - ENS LYON, 2011. http://tel.archives-ouvertes.fr/tel-00680287.
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De même que le ready-made, il y a maintenant presque un siècle, avait transformé la question " qu'est-ce que l'art " en son contraire (" comment faire pour que quelque chose ne soit pas de l'art ?", ne soit pas transformé en objet d'art puisqu'une simple parole d'artiste, fiat ars, suffisait ainsi à transfigurer tout élément du réel), de même, il devient difficile aujourd'hui de repérer ce qui ne pourrait être, jamais ou par essence, un objet poétique. Devant l'œuvre poétique et plastique de Bernard Heidsieck, il convient de mettre en place une série de critères permettant de distinguer la poéticité d'un " art total ". Nelson Goodman apporte des éléments de réponse en soulignant l'importance d'un paramètre rarement pris en compte : le contexte. La question essentialiste " qu'est-ce que l'art "/ " qu'est-ce qu'un poème " pouvant être remplacée par une autre plus pragmatique " quand y a-t-il art/poème ? " De ce point de vue pragmatiste, la notion de " contexte " permet ainsi de faire jouer à la fois l'espace (le lieu où s'exécute l'œuvre d'art) et le temps (les circonstances dans lesquelles l'œuvre s'exécute). Ainsi, un même objet ou une même action pourrait, à la fois, être ou ne pas être de l'art, c'est finalement une question de contexte et d'intention initiale. Dans le cas de nos recherches, la question du contexte est primordiale puisque l'inscription d'objets poétiques non exclusivement textuels en poésie et non en arts plastiques, repose en partie, sur leur appartenance aux champs de diffusion (éditoriaux et institutionnels) de la poésie. Cependant, des productions poétiques telles que celles de Heidsieck dont certaines facettes n'appartiennent pas au poétique n'en deviennent pas pour autant " poèmes " du fait de leur présence dans un festival de poésie. Notre projet de recherche a pour horizon une redéfinition du champ " poésie " et de ses outils d'analyse, une tentative de mise en place d'une poétique permettant de prendre en charge de façon féconde les " objets poétiques complexes " _c'est-à-dire hétérogènes du fait de leur appartenance à différents types de régimes esthétiques_ de Bernard Heidsieck.
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Troin-Guis, Marie Anysia. "Pratiques et poésies expérimentales de1960 à 1980 : enjeux esthétiques, éthiques et politiques : Julien Blaine, William S. Burroughs, Eugenio Miccini". Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0457.
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Cette thèse se propose de dégager les enjeux esthétiques, éthiques et politiques des poésies et pratiques expérimentales de 1960 à 1980, à partir de l’étude des œuvres de J. Blaine, W. S. Burroughs et E. Miccini. Ce travail développe une réflexion sur les expérimentations poétiques qui ont lieu durant une période de fortes mutations sociétales, économiques et médiatiques. Après la mise en place d’une généalogie des pratiques expérimentales que sont le collage et le montage, il s’agit d’inscrire ces poésies expérimentales, généralement occultées des histoires littéraires, dans un modèle néo-avant-gardiste, qui implique une réévaluation de pratiques héritées du début du XXe siècle et un fonctionnement en réseau, faisant dialoguer l’individuel et le collectif. Dès lors, la thèse démontre que le renouvellement du poétique qui s’opère à l’ère d’une société de l’image est tributaire de l’évolution technique : il s’agit de créer avec et contre le livre. Le nouveau rapport entre création poétique et livresque et problématiques de la reproductibilité, favorisée principalement par l’offset, engendre une mise en perspective de l’œuvre avec la notion d’empreinte. L’empreinte constitue ainsi un nouveau paradigme entérinant le statut ontologique instable d’une œuvre qui travaille la matérialité de son support et qui altère une traditionnelle dimension uniquement verbale. La résistance aux formes traditionnelles implique ainsi un engagement, dans la forme et dans le fond : différentes stratégies sont alors développées par les auteurs, permettant d’établir des politiques esthétiques dont l’objectif est de proposer au lecteur/spectateur une expérience esthétique formatrice et éthiqueThis thesis aims to identify the aesthetic, ethical and political issues of experimental poetry from 1960 to 1980. It deals with the works of J. Blaine, W. S. Burroughs and E. Miccini. This work offers a reflection upon the poetic experiments taking place during a period of strong societal, economic and media switch. After the establishment of a genealogy of the experimental practices of collage and montage, it is now about placing this experimental poetry in a neo-avant-garde model, which involves a re-evaluation of practices inherited from the beginning of the twentieth century and a functioning in a network, making the individual and the collective dialogue. Henceforth, the thesis shows that the renewal of the poetics that takes place in the era of a society of the image relies on on technical evolution : it is about creating with and against the book. The new relationship between poetic. The new relationship between poetic and book-based creation and issues of reproducibility, mainly by offset, creates a perspective of the work with the notions of imprint and ruin. Thus, the imprint constitutes a new paradigm which endorses the unstable ontological status of a work which works on the materiality of its support and which alters a traditional, only verbal dimension. Resistance to traditional forms implies a commitment, in form and substance : different strategies are then developed by the authors, which allow to establish aesthetic policies of which the aim is to make the reader / spectator access a formative and ethical aesthetic experience
Książki na temat "Cut-up poetry"
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Lastovica, Paul. Inventory Clerk: Fragments and Cut-Up Poems. Lemures Books, 2022.
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Lastovica, Paul. Inventory Clerk: Fragments and Cut up Poems. Lemures Books, 2022.
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Hashtagpoetry#: The hidden poetry of Twitter, cut-up, painted and posted to Instagram. Portishead: Burning Eye Books, 2016.
Znajdź pełny tekst źródłaCzęści książek na temat "Cut-up poetry"
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"Cut-up". W The Craft of Poetry, 160. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1hztrbd.120.
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Løgstrup, K. E. "Poetry and Ethics". W The Ethical Demand, tłumaczy Bjørn Rabjerg i Robert Stern, 164–75. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198855989.003.0012.
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This chapter considers the underexplored topic of the relation between ethics and poetry. It is argued that what draws us to poetry is not to experience the beautiful, but rather the way in which poetry has the capacity to cut through the triviality of much of our daily lives, and thus to pay proper attention to our surroundings. This kind of attention is equally necessary if we are to engage with others in an ethically responsive manner, which is where the connection between poetry and ethics can be seen. The poet could not achieve this effect if their poetry were merely a matter of subjective expression, so that while they must tell us about the world as they see it, it must also open us up to what is around us. In this way, poetry can give us the kind of experience that philosophy can only help us understand.
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Lefteratou, Anna. "Unweaving Crossweave Poems". W The Homeric Centos, 1–6. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197666555.003.0001.
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Abstract This introduction discusses the function of cut-up techniques, modern and ancient, and cento. It places the analysis within the State of the Art and discusses the methodologies used. It calls for the re-contextualizing of the first edition of Homeric Centos within the framework of Late Antiquity and re-evaluating it with an eye for the biblical poetry of that period. It introduces the reader to authors that had compiled Homeric and Virgilian centos, long poems that repurposed lines from Homer and Virgil’s poetry by weaving the lines together with at least two interlinked strands: the weft and the wrap. It also analyzes how the centos applied the art of pastiche as the playful imitation of another author’s work but also how Christian poetry reused this technique towards a serious end. Christian centos engage with authoritative religious and secular narratives whose appropriations prompts specific audience responses.
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Lecky, Katarzyna. "Spenser’s Miniature Map of Faerie". W Pocket Maps and Public Poetry in the English Renaissance, 37–72. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198834694.003.0001.
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Chapter 1 reads Spenser’s 1590 Faerie Queene in light of the miniature cartographic aesthetic exemplified by William Bowes’s 1590 county playing cards. I show that in the poem, which earned Spenser a pension from Elizabeth I, Amoret’s cut-up body represents in microcosm the imperial dissection of England and Wales by Christopher Saxton’s 1579 royally-funded county atlas. The romance heroine’s small size and unadorned beauty, which closely parallel the raw aesthetic of cheap maps, reveal the miniature’s potential to resist monarchical illusions of grandeur. This aesthetic reappears in Spenser’s descriptions of the Thames in Prothalamion (1596), as well as of Irish rebels resisting English colonization in the 1596 Vewe of the Present State of Irelande. In both, Spenser’s engagement with the geographic imaginary of small-format cartography complicates scholarly assumptions about the poet’s nationalism.
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Field, Douglas, i Jay Jeff Jones. "Running with the Underdog". W Harold Norse, 183–98. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781638040163.003.0015.
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Between the 1950s and the 1970s, Harold Norse became a key figure in a generation of American expatriate writers whose work was mainly published through a transatlantic network of little magazines. Referred to as the Mimeo, or Mimeograph Revolution, its publications were essential outlets for writing that was risk-taking in style and content. It also supported innovations such as the cut-up process, which Norse contributed to while living at the Beat Hotel in Paris. Norse’s sojourns in Europe–Italy, France, Greece and North Africa–saw his poetry and prose featured in a number of fugitive, now legendary magazines such as Gnaoua, My Own Mag, Ole, Residu and Big Table. Having at first sought success as an acclaimed mainstream poet, Norse’s recognition and literary destiny was found among avant-garde outsiders and in gay liberation.
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Gardner, Colin. "On Truth and Lie in an Extra-Formal Sense: Silence as Resistant Punctum in Abbas Kiarostami’s The Chorus (1982), Homework (1989) and Close-Up (1990)". W Chaoid Cinema, 283–317. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474494021.003.0010.
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Working in the pre-and post-revolutionary periods for the Center for the Intellectual Development of Children and Young Adults (Kānun-e parvaresh-e fekti-e kudakān va nowjavānān), Kiarostami was heavily influenced by the Modernist poetry of Ezra Pound and Wallace Stevens but also Arabic and Iranian poets such as Sohrab Sepheri and Forugh Farrokzhad. Indeed, his whole objective is to create a cinematic equivalent of such sources, which means eschewing a solid structure or clear-cut conclusion. Kiarostami thus creates holes and fissures which the audience can climb through so that they can provisionally complete the film themselves. Using Barthes’s contrast between the photographic studium or what is conventional and ‘likeable’ about an image – and the punctum or ‘prick’ that jumps out of an image like a projectile and jabs us in the eye, this chapter explores Kiarostami’s use of silence on both levels in films such as Chorus (1982), Homework (1989) and Close-Up 1990).
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"Cut-up Consciousness and Talking Trash". W Poetic Inquiry, 59–74. Brill | Sense, 2009. http://dx.doi.org/10.1163/9789087909512_006.
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Heal, Benjamin J. "Beat Hotel". W Harold Norse, 143–56. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781638040163.003.0012.
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The plaque celebrating the writers who resided at the Beat Hotel, 9 Rue Git le Coeur in Paris, was unveiled in 2009 to mark the 50th anniversary of William Burroughs’ Naked Lunch, with Harold Norse’s name added almost as afterthought. At the event poet Eddie Woods indelibly linked the unveiling with Norse by reading from the little known 1983 cut-up novella Beat Hotel. Written between 1960-63, the work is disconnected from the other cut-up texts published at the time such as Minutes to Go (1960), as it was not published until a German edition came out in 1975, the English edition in 1983. It feels therefore like another afterthought, ever in the shadow of Burroughs and Brion Gysin’ 1960s cut-up revolution. This essay resituates Norse’s novella in both Beat and cut-up canons, by placing Norse as an exemplary nascent ‘paratextual’ poet and writer, with Beat Hotel distinct by being both accessible and poetic. By building on contemporary models of transnational and post-national literatures, alongside discussion of prose poetics and narrative time, the essay rehabilitates Norse as a trailblazer of post- and transnational literature, and as an exemplary cut-up poet.
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Millgate, Michael. "Pessimistic Meliorist". W Thomas Hardy, A Biography Revisited, 378–93. Oxford University PressOxford, 2000. http://dx.doi.org/10.1093/oso/9780199275656.003.0022.
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Abstract Reviewers of Wessex Poems, echoing the reception of Hardy ‘s later novels, repeatedly invoked the term ‘pessimism ‘, as if in so doing they were simultaneously defining a distinctive philosophical position and enforcing an adverse critical judgement. Hardy ‘s exasperation at being so crudely categorized was exceeded only by his overwhelming sense of the inconceivability of ‘optimism ‘ in a world of such radical imperfection. Picking up a reference to Browning in an article on ‘Form in Poetry ‘ for which Gosse had taken Wessex Poems as his text, Hardy exclaimed: ‘The longer I live the more does B. ‘s character seem the literary puzzle of the 19th century. How could smug Christian optimism worthy of a dissenting grocer find a place inside a man who was so vast a seer & feeler when on neutral ground? ‘ In a much later note, prepared for inclusion in Life and Work but not in fact used there, he drew a specific contrast between Browning ‘s outlook and his own: ‘Imagine you have to walk [a] chalk line drawn across an open down. Browning walked it, knowing no more. But a yard to the left of the same line the down is cut by a vertical cliff five hundred feet deep. I know it is there, but walk the line just the same. ‘¹
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Smith, Brian Cantwell. "Cummins-or Something Isomorphic to Him". W Philosophy of mental Representation, 170–90. Oxford University PressOxford, 2002. http://dx.doi.org/10.1093/oso/9780198250517.003.0011.
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Abstract Everyone’s right. Or anyway that’s what I tell my students. ‘Look,’ I say; ‘this paper you are reading was written by a dedicated, intelligent person, who has devoted their life to studying these issues. The author’s had an insight, uncovered some subtlety, which they’re trying to tell us about. Imagine that they’re showing us a path through the forest. Problem is, people write in words; and words are blunt instruments: intellectual bulldozers, Caterpillar D9s-big bruisers, that cut wide swaths. Rare persons-poets, mostly-can wield words with enough finesse to clear a delicate trail, without doing too much collateral damage. But most of us, when we write, even when we think we are navigating an exquisite line, are in fact unwittingly mowing down trees, ripping up the earth, sowing all kinds of destruction.
Streszczenia konferencji na temat "Cut-up poetry"
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Storozhuk, Alexander. "BAI JUYI AND ORIGINS OF THE NEW YUEFU". W 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.07.
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The first poetic cycle of 50 New Yuefu was written by Bo Juyi (白居易, 772–846) in 809 after the works of by his friend Li Shen (李紳, 772–846). Bo Juyi wrote it simultaneously with another great Tang poet Yuan Zhen (元稹, 779–831), and the new literary style has been known for centuries as Yuan-Bo (元白). Both of the poets shared the same attitude towards the role of letters in the society and aspired to implement their credo at the official posts they held. The origin of New Yuefu philosophy dates back at least to 806, when he together with Yuan Zhen created the illustrious political composition known as Celin (策林), where the bulk of their sociopolitical concepts were pronounced and stated. Most of these notions, inspired by Fugu movement, seem quite predictable and naive: the belief in an omni harmonizing role of ancient ritual, claim of necessity to promote worthy and knowledgeable, appeal to stop war and cut taxes. With all that this was a declaration of primary of benevolence over quasi orderliness, and this idea fully revealed later in New Yuefu poetry. Surely enough, New Yuefu have not been limited to the 50 poems, inspired by Li Shen. The new poetic experience gave birth to a whole literary trend, covering the most burning, up-to-date issues of contemporaneousness as well as the nearest past, picturing typical characters of different strata, pointing out social diseases and perils. The absolute trust in uppermost ritual role of a text has been embodied in such texts as, for example, Song of Eternal Grief (《長恨歌》), where the infamous story of Emperor Xuan-zong (玄宗, 685–762) and his favorite concubine Yang Gui-fei (楊貴妃, 719–756) found a new interpretation, that later would have become mainstream. Thus, the main conclusions are: 1) New Yuefu had a philosophic basement, carried out long before the first poem of the new style appeared; 2) its main goal was to revive the actual social role of poetry; 3) it had a great impact on the later Chinese poetry and social thought.