Gotowa bibliografia na temat „Echopoetics”

Abstract As a prominent representative figure of American Language poetry, Charles Bernstein has incorporated many themes concerning “nothingness” into his poetry. Contrary to the traditional Western philosophy that defines the concept of “nothingness” as meaninglessness and agnosticism, “nothingness” in Bernstein's poetics is endowed with profound poetic and aesthetic implications. Bernstein studied the works of Zen-Taoist philosophy in his early years. Understanding the Zen-Taoist connotations of “nothingness” is an important new dimension in interpreting Bernstein's echopoetics. Bernstein integrates the anti-traditional ideas in Zen-Taoist philosophy and aesthetics with the experiment of American avant-garde poetry. “The transformation between Xu (emptiness) and Shi (Being),” the beauty of “speechlessness,” and the expression of “defamiliarization” show the “epiphany” of language and the “nature” of language. The Chinese traditional Zen-Taoist philosophy is an important part of Bernstein's echopoetics.

Abstract Composed as a series of improvisations, this is a modular essay that examines, ponders, and responds to the radical poetics of Charles Bernstein's work from multiple perspectives, including dysraphism, aphorism, wit, and echopoetics. It also situates Bernstein in the long tradition of innovative American poetics extending from Ezra Pound and Gertrude Stein to Charles Olson and Susan Howe.

Given the robust plurivocality that has characterized literature in Brazil since its colonial inception, and the eminently (and explicitly) receptive stance that many of its modern authors have adopted, I have structured my argument to follow two intersecting paths. Firstly, Clarice Lispector’s notion of “writing by ear” serves as a foundation for a renewed history of Brazilian literature, framed as a history of active listening. Secondly, the hope is to offer a Luso-Afro- Amerindian-Brazilian contribution to Latin American criticism, turning the semantic range of terms related to edges, margins, and borders into a more explicit semiotics of corporeality and performativity revolving around the ears and sound, echoes and silence, more generally.

Abstract A roundup of Charles Bernstein's interviews outside the US: (1) “Interview with Romina Freschi” (Argentina, 2005), previously published only in Spanish; (2) “Frequently Unasked Questions,” with Versatorium (Austria, 2011), previously published only in German in Der Standard; (3) “Interview with Philip Davenport” (England, 2012), focusing on the marginalization of radical formal poetry in the US versus the UK; (4) “Interview with Maurizio Medo” (Peru, 2014), previously published only in Spanish, focusing on the importance of Cage and Mac Low and the problems with the designations “experimental,” “representative,” and “failed”; (5) “Interview with Alcir Pécora and Régis Bonvicino” (Brazil, 2014), on the “infranatural” and echopoetics; (6) “Indigo: Interview with Paata Shamugia” (Georgia, 2016); (7) “Project Transcreation Interview with Runa Bandyopadhyay” (India, 2019); (8) “Interview by Habib Tengour in Pour ainsi dire,” a collection of Bernstein poems translated by Tengour (Algeria, 2019), previously published only in French; (9) “Interview with Mariano Peyrou” (Spain, 2020), previously published only in Spanish in El Mundo.

This article is a narrative and conceptual exploration of the journey towards practicing Indigenous allyship in an academic context. I begin by tracing a trajectory of coming to work with Indigenous peoples as a non-Indigenous, multiple migrant, and queer person of color situated as a therapist and educator in a Canadian academic institution’s Faculty of Medicine and Health Sciences. Anti-racist and de/postcolonial theories and concepts abound to label my experiences of tokenization, yet they invariably fall short of the nuanced and complex ways that both reconciliation and oppression unfold in the everyday. Beyond critical theories that speak with certainty of structural violence, I trace my trajectory of coming to understand my work with Indigenous peoples within and for healthcare curricula and community development. I describe an intertextual practice of echopoetics that is trying to make sense of a world where both historical trauma and daily aggressions continually reproduce inequities, in order to reveal spaces of possible hope and healing. Yet, what seems to be happening in this echopoetics is a process of unbelonging from the multiple cultural and institutional narratives in my surround—at times including those that intend to liberate. Focusing on the negation—“ non”—as a non-Indigenous/non-White person, I provide a reflection on how this practice cultivates an unbelonging that becomes both a political stance at the point of invisibility, as well as a lonely yet definite healing.

Writing by Ear, despite its subtitle, is not merely a book about the presence of aurality in Clarice Lispector’s fiction. Marília Librandi’s book closely listens to Lispector’s fiction to find the resonances and reverberations of a mode of writing that informs a large part of Brazilian literature of the modern period. There is a “listening in writing,” the author argues, and she offers three interrelated concepts—“writing by ear,” “aural novel,” and “echopoetics”—to help the reader follow her auditory journey through Lispector’s life and writing.

Parce que les lieux officiels dédiés aux mémoires de l’esclavage se sont multipliés de part et d’autre de l’Atlantique depuis deux décennies, les caractères (in)dicibles et (in)visibles de ces mémoires intimes et collectives sont devenus un enjeu pour les artistes qui cherchent à les écrire, les filmer et les performer. Aujourd’hui, un cinéma et une littérature « palimpsestes » (Genette) remettent en mouvement les archives et les textes fondateurs (Césaire, Glissant, Louverture, Walcott, etc.) de ces mémoires vives et vivantes, dans un processus de décomposition et de recomposition ouvert aux devenirs. Du fait de la violence de la déportation transatlantique, de l’arrachement à l’Afrique, puis de l’exploitation conjointe des corps et des terres, la relation – et en particulier la relation aux (mi)lieux, à la terre et à l’espace – relève à la fois d’une difficulté et d’une nécessité pour les démarches artistiques qui mettent en œuvres ces mémoires, dans un contexte postcolonial profondément lié aux questions écologiques. À partir d’une étude échopoétique, cette recherche propose de porter attention aux expériences des veillées contemporaines, de la nuit et des « profonds » (Glissant) marins, souterrains et aériens, auxquelles nous invitent les œuvres de Fabienne Kanor et du collectif The Living and The Dead Ensemble. Depuis les lieux d’opacité, depuis le déparler, l’obscurité et la cinésie (Gilroy), ces démarches artistiques permettent d’inscrire les singularités des mémoires de l’esclavage au sein d’un espace de résonance et de partage, dans une relation vivante au passé qui ouvre de nouvelles trajectoires à travers l’espace atlantique, voire au-delà
With several official spaces dedicated to the memory of slavery opening on both sides of the Atlantic over the past two decades, the (in)expressible and (in)visible character of the personal and collective memories of this particular past have become an issue for artists looking to write, film and perform them. Today, “palimpsest” cinema and literature (Genette) is putting the archives and foundational texts (Césaire, Glissant, Louverture, Walcott, etc.) of these living memories back in motion, in a process of decomposition and recomposition open to the future.Because of the violence of transatlantic deportation, the uprooting from Africa and the joint exploitation of bodies and lands, relationships – and in particular the relationships to environment, location and space– form part of both the difficulty and necessity for artistic approaches that work on these memories within a postcolonial context deeply tied to ecological issues. Starting from an echopoetic study, this research aims to bring attention to experiences of contemporary wakes, the night and Glissant’s “deep” (under the sea, under the ground and up in the sky) that the pieces of Fabienne Kanor and the collective The Living and the Dead Ensemble invite us into. From places of opacity, déparler, darkness and kinesics (Paul Gilroy), these artistic approaches make it possible for the singularities of the memories of slavery to become part of a space of resonance and sharing, within a vivid relationship to the past that opens up new paths across and even beyond Atlantic space