Bibliografias temáticas / Erasure poetry

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Literatura científica selecionada sobre o tema "Erasure poetry"

Autor: Grafiati
Publicado: 18 de setembro de 2024

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Artigos de revistas sobre o assunto "Erasure poetry"

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Schaefer, Heike. "Un/published: Presence and Absence in Contemporary Erasure Poetry". American Literary History 36, n.º 2 (1 de maio de 2024): 463–88. http://dx.doi.org/10.1093/alh/ajae039.

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Abstract Erasure is a popular form of appropriative poetry that refashions found material by partially effacing it. Made of salvaged fragments and deletion marks, erasure poetry puts processes of obliteration on display and provides a structural analogy for both the social erasure of marginalized groups and the critical rewriting of hegemonic discourses. This essay understands erasure as a constraint-based appropriative practice and differentiates it from other forms of conceptual and documentary poetry. It argues that erasures use the oscillation between presence (of the retained words, the redaction marks and elisions, and the newly created poem) and absence (of some of the words and material and medial features of the prior text) to destabilize the boundaries between the published and unpublished, between what is heard and what is silenced, between the sayable and what exceeds representation. Reading poems by Tracy Smith, Janet Holmes, and Jen Bervin that erase the Declaration of Independence and the poetry of Emily Dickinson respectively, the essay shows how erasures intervene in public conversations about social justice by repurposing and revising their intertexts, allowing new speakers, knowledges, and narratives to emerge. Erasures prompt a layered reading that directs the readers back to the source and its sociocultural contexts while drawing them deeper into the imaginative and discursive world of the erasure poem.“Erasure poetry allows us to read in recognition of what is absent or missing and to imagine new voices and perspectives emerging from the cleared and transformed spaces of the page.”
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Hare, Kathleen (Kaye) A. "“Institutionalized States of Information Abstinence”". Art/Research International: A Transdisciplinary Journal 6, n.º 2 (4 de setembro de 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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De Sanctis, Olivia. "Poetic Space of Intimacy and Movement". Pivot: A Journal of Interdisciplinary Studies and Thought 10, n.º 1 (20 de dezembro de 2023): 60–75. http://dx.doi.org/10.25071/2369-7326.40360.

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This paper explores the transformation of poetic blank space in the work of three contemporary poets: Carolyn Thompson, Sonja Johanson, and Lisa Huffaker. Specifically, Thompson's Actions Speak Louder Than Words, and The Eaten Heart, Johnson's Untitled Erasure poem series, and Huffaker's 6 Images are compared and contrasted for their unique approaches to using the space of the page to add to the reading experience. The works discussed by each poet are erasure works that transform the page's white spaces surrounding the poem, using various additive or reductive methods to reimagine this space. If the white spaces surrounding a poem are often read as silences or voids, then using multi-modal techniques, these three poets transform these spaces in ways that signal intimacy and movement instead. This creation of intimacy and movement is explored through the intertextual jesters, an essential aspect of erasure poetry, along with the intersections between poetry and sculpture, bodily interactions with and implications within the texts, and poetry and avant-garde notions of cartography.
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Allen, Ashleigh A., e Rob Simon. "Unsettling a Canonical Text through Erasure Poetry". English Journal 110, n.º 5 (1 de maio de 2021): 45–52. http://dx.doi.org/10.58680/ej202131226.

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Gregory, Kiel M. "Remediation and Epistemological Revelation in the Archimedes Palimpsest and Twenty-First-Century Erasure Poetry". CEA Critic 86, n.º 1 (março de 2024): 46–58. http://dx.doi.org/10.1353/cea.2024.a922349.

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Abstract: Contemporary erasure poetry and the poetics of remediated forms are often taken as serving as political battlegrounds and sites of epistemic transference. At the same time, what is missing from the literature is a discussion of medieval manuscripts and the history of palimpsests. This paper explores two topics: (1) how the Archimedes palimpsest allows us to understand blackout poems as sites of knowledge production as well as conversations between polemic positions and (2) how poetic remediation can inform our valuation of the erasures situated in the Archimedes palimpsest. Through analysis of Travis Macdonald’s The O Mission Repo, Rachel Stempel’s “Natal Girl (& Other Repeat Offenses),” Molly R. Sullivan’s “Levonorgestrel,” and the Archimedes palimpsest, this paper explores how both medieval manuscripts and modern forms of poetry serve us as classroom realia, illustrating that their value extends beyond disciplinary boundaries to reveal new ways of conceiving artistic and pedagogical praxes.
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Simpson, James. "Unwritten Virtues, Selves, and Texts: Early Modern Self-Erasure". Journal of Medieval and Early Modern Studies 52, n.º 3 (1 de setembro de 2022): 415–43. http://dx.doi.org/10.1215/10829636-9966065.

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The tradition that became liberalism, which claims to have promoted meritocracy and individual agency, was, in both evangelical origin and in a one-hundred-fifty-year tradition thereafter, unremittingly hostile to the claims of human merit and agency upon God. This hostility is considered from three discursive angles: legislation, poetry, and pastoralia. Between at least 1571 and 1660 the English state legislated against confidence in the salutary value of humanly produced virtue. Early modern elegiac poetry evinces the attempted dissolution of evangelical selfhood and the inevitable twin of that desired dissolution: the unraveling of discursive confidence that must accompany, and perhaps produces, the desire for self-dissolution. Elegiac writing unwrites itself. The article then looks behind the literature to the pastoral incitation to crush both selfhood and the self's habitual, agential understandings of language.
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Amaral, André Luiz Do. "Poetry as erasure in Carlfriedrich Claus and Ana Hatherly". Pandaemonium Germanicum 21, n.º 33 (23 de novembro de 2017): 36. http://dx.doi.org/10.11606/1982-8837213336.

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As obras visuais de Carlfriedrich Claus e de Ana Hatherly se localizam fora daquilo que se convencionou chamar de poesia. Uma poesia sem palavras resta como impossibilidade para os defensores da prática logocêntrica da escrita. Os autores aqui estudados suscitam, portanto, uma leitura desviante da atividade poética contemporânea. Eles defendem a hipótese de que a poesia contemporânea tende à iconicidade e mesmo da completa ilegibilidade como modo de apreensão estética de um mundo caótico. Porque não se constituem e nem podem ser lidos a partir das mesmas regras da lírica tradicional, os textos deliberadamente obliterados desses poetas resultam na transformação inequívoca dos métodos de criação e leitura, não obstante a resistência de certos ramos da crítica.
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Middleton, Peter. "Parrots and Paragrams: AI Language Models and Erasure Poetry". Modern Philology 121, n.º 3 (1 de fevereiro de 2024): 352–74. http://dx.doi.org/10.1086/728291.

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Volkovynskyi, Oleksandr, e Serhiy Hnatenko. "Use of “Erase” Technique in Young American Poetry of the Early 21st Century: Architectonic and Structural Transformation of the Sonnet Canon". Pitannâ lìteraturoznavstva, n.º 107 (30 de junho de 2023): 30–42. http://dx.doi.org/10.31861/pytlit2023.107.030.

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“Erasure” technique has gained particular popularity in young American poetry of the early 21st century. Its use entails partial deletion or discoloration of the earlier text by a famous writer. Only fragments of the precedent text remain, used to subsequently shape a different architectonic and semantic structure. Shakespeare’s sonnets are an attractive object for “erasure”. They are the primary source for “innovations” by the poet and artist Jen Bervin in her book “Nets” (2003), the title of which is “erased” from the very word “sonnets” – “nets”. From partially discolored but readable Shakespeare’s text Bervin handpicks the words, extremely important to generate her new meaning. Architectonically, these words remain in the same places as in Shakespeare’s sonnets. Thus, the canonical sonnet form serves only as a background for laconic modernized expression. By means of “erasure” Bervin bares the Shakespeare’s sonnets’ deep semantic “grid”, actualizing various intertextual nuances. The poetic invariant opens up for new interpretations. Moreover, “erasure” technique has a purely technical component, hence the canonical form of the sonnet is subjected to certain filtering. The author of the new text produces numerous contemporary meanings. Therefore, “erasure” technique becomes an effective means of actualizing precedent texts. Modern reader oftentimes has already lost interest in them, but thanks to the postmodern experiment, expressive and sometimes brilliant new creations appear in the form of text fragments. Gamification, inherent to “erasure”, renews communicative processes, involving the classical author, their text, the experimental author, and their new work, as well as the recipient, also able to find new options for constructing utterances.
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Bornfleth, Alexa. "Das Kunstwerk sous rature. Erasure Poetry als appropriierende Meta-Kunst in der Tradition der Avantgarden". Germanica 74 (2024): 137–52. http://dx.doi.org/10.4000/11w1j.

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„meine Grille / / macht […] das Haus / / auß“: So lautet ein Versfragment, das im Erasure-Poetry-Band sonne from ort von Uljana Wolf und Christian Hawkey in Sonett IV übrig bleibt. Die sogenannte Erasure Poetry streicht einen bestehenden Prätext aus, appropriiert ihn und setzt somit den herkömmlichen Begriff vom ‚Kunstwerk‘ sous rature. Mit dieser Meta-Kunst steht sie in der Tradition der historischen Avantgarden, in deren Collagen, Readymades und Performances ihre Vorläufer zu finden sind. In Sonett IV aus sonne from ort lassen sich bereits die Merkmale erkennen, welche damals wie heute avantgardistische Meta-Kunst ausmachen: Die ausgefallene Idee, „meine Grille“, „macht das Haus auß“ – sie ist wesenhaft, aber sie macht den Prätext auch kaputt, das Gedicht ist also als emanzipatorisches Anti-Werk konzipiert. Die Grille als Tier repräsentiert die unterlegene Stimme, welche das Werk appropriiert. Anhand von Anti-Werkhaftigkeit und Appropriation und am Beispiel von Sonett IV aus sonne from ort soll im Beitrag gezeigt werden, welche Merkmale der Gegenwartsliteratur avantgardistisch sind, welche Verdienste die historischen Avantgarden für die Gegenwartslyrik geleistet haben und inwiefern Meta-Kunst zugleich innovative und reflexive Formen produziert.
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Teses / dissertações sobre o assunto "Erasure poetry"

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Ramstetter, Anthony F. Jr. "Small Gods & Orbital Bodies: A Thesis". Miami University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=miami1371567335.

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Stokes, Jessica Suzanne. "It's still life". Thesis, 2015. https://hdl.handle.net/2144/14008.

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Please note: creative writing theses are permanently embargoed in OpenBU. No public access is forecasted for these. To request private access, please click on the locked Download file link and fill out the appropriate web form.
This is the Master's thesis of Jessica Suzanne Stokes. This collection of poems addresses disability, eugenics, and life.
2031-01-01
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Livros sobre o assunto "Erasure poetry"

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Revell, Donald. Erasures. Hanover, USA: Wesleyan University Press, 1992.

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Erasmus, Desiderius. Erasme de Rotterdam: Vieillir. Bruxelles: La Lettre volée à la Maison d'Érasme, 2001.

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Castillo, Genaro. Erase la luna hermosa como la playa. San Juan Ostuncalco, Quetzaltenango, Guatemala: Poe Talleres, 2019.

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4

Case, Susana H. Erasure, Syria. BookBaby, 2018.

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5

O'Hare, Isobel. Erase the Patriarchy: An Anthology of Erasure Poetry. University of Hell Press, 2020.

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Smigiel, Sarah Kate. Erasure Poetry for the Queer Community. Blurb, 2023.

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7

the Internet is for real. C&R Press, 2019.

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Things Seemed to Be Breaking. Deerbrook Editions, 2021.

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9

Parts: A Visual Poetry Erasure of Thomas Wolfe's the Party at Jack's. Polish & Pitch, LLC, 2024.

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10

Revell, Donald. Erasures. Wesleyan University Press, 2012.

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Capítulos de livros sobre o assunto "Erasure poetry"

1

"Erasure Poetry". In Wiederaufgelegt, 299–314. transcript-Verlag, 2012. http://dx.doi.org/10.14361/transcript.9783839419915.299.

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Hildebrand-Schat, Viola. "Erasure Poetry". In Wiederaufgelegt, 299–314. transcript Verlag, 2012. http://dx.doi.org/10.1515/transcript.9783839419915.299.

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McHale, Brian. "Poetry under Erasure". In Theory into Poetry, 277–301. BRILL, 2005. http://dx.doi.org/10.1163/9789401202510_015.

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Teo, Tze-Yin. "Translingual Erasure". In If Babel Had a Form, 126–50. Fordham University Press, 2022. http://dx.doi.org/10.5422/fordham/9781531500184.003.0005.

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This chapter studies an exilic epic titled Concentric Circles by the contemporary Chinese-language poet Yang Lian. A lifelong dissident barred from mainland China after mourning the 1989 Tiananmen protests, Yang has recently returned to the mainland after a long exile in New Zealand and Europe. Often identified as a member of the “misty school” of poets (menglong pai), Yang is known for his demandingly abstract style. Critics have looked to English translations of Yang’s work as exemplary of the wider challenges of literary translation. For these reasons, he is often cited as a proponent of a world poetry that inherits and transforms Ezra Pound’s tradition, blurring the borders between national languages through the power of world poetry. Building on these critical arguments and Lydia Liu’s concept of translingual practice, this final chapter recasts the transpacific abstractions of the first chapter as an intricate thought of translingual erasure, which Yang develops via a sound- and visually-driven reading of Ezra Pound’s Cantos and their Chinese translation by Yunte Huang. In the wake of Tiananmen, Yang’s translingual erasure conjures a politics of survival that question what it means to write and mourn in the Chinese language.
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John, Joya. "Adivasi Poetry". In The Oxford Handbook of Modern Indian Literatures, C18S1—C18P140. Oxford University Press, 2023. http://dx.doi.org/10.1093/oxfordhb/9780197647912.013.18.

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Abstract What does “Adivasi literature” signify in a literary field marked by the erasure of Adivasi languages and the dominance of languages like Hindi? As Adivasi writers take to writing in the vernacular, why is poetry a prominent genre in which they express themselves? How is a distinct claim to orality produced within writing and the print medium? This chapter seeks to answer these questions by situating Adivasi poets in a multilingual literary field in which they employ an “ethnopoetic modality.” This modality includes lexical borrowings, modes of lyric address, various linguistic strategies such as indexicality, and a politics of nature whereby different poetic languages are combined to produce a distinct poetics of indigeneity.
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Ehlers, Sarah. "The Left Needs Rhythm". In Left of Poetry, 181–218. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0005.

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This chapter considers the role of the archive in left literary studies through a recovery of Jewish-American communist poet Martha Millet. Specifically, it uses Millet’s work to trace a history and theory of poetic rhythm that rethinks the relationship between modernist poetic forms and left politics. The chapter’s first section uses Millet’s involvement with the children’s magazine The New Pioneer to unpack the historical relationship between traditional forms and political community formation. The generic histories enacted by communist children’s poems provide a foundation for considering how rhythm was evoked in Popular Front and antifascist poetic discourses. The second section argues that during the Popular Front diverse traditional genres were collapsed into an ideal rhythmic poem, where rhythm described both form and function. The third section focuses on Millet’s contributions to Seven Poets in Search of an Answer (1944) to demonstrate how rhythm was redefined in antifascist discourses. Throughout, the chapter suggests how Millet’s poetry might be read in relation to poets such as Carl Sandburg, Lorine Niedecker, and Kenneth Fearing. A coda returns to Millet’s Cold War criticism in order to ask what is at stake in her critical erasure and her critical recovery.
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Handelman, Matthew. "The Philosophy of Mathematics: Privation and Representation in Gershom Scholem’s Negative Aesthetics". In The Mathematical Imagination, 65–103. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283835.003.0003.

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Chapter 2 investigates the moment in 1917 when the philosophy of mathematics revealed to Gershom Scholem the symbolic potential of privation. Mathematics—in particular, the translation of logic into the symbols and operations of mathematics known as mathematical logic—produced novel results by discarding the conventional representational and meaning-making functions of language. Drawing on these mathematical insights, Scholem’s theorization of the poetic genre of lament and his translations of the biblical book of Lamentations employed erasure on the level of literary form to symbolize experiences, such as the Jewish diaspora, that exceed the limits of linguistic and historical representation. For Scholem, both poetry and history can mobilize deprivation as a means of retaining in language a symbol of experiences and ideas that remain unsayable in language and inexpressible in history—accounting for the erasure of exile and finding historical continuity in moments of silence, rupture, and catastrophe.
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Nixon, Angelique V. "On Being a Black Sexual Intellectual". In Black Sexual Economies, 237–49. University of Illinois Press, 2019. http://dx.doi.org/10.5622/illinois/9780252042645.003.0015.

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This chapter provides a critical reading of Cheryl Clarke's second volume of poetry, Living as a Lesbian. Situating this text within the larger context of black women's poetry, Green argues that its erotic aesthetic works to critique the historic erasure of the black lesbian body in the discourse of African American life as it simultaneously pushes toward and away from theories of sexuality that limit and thus reduce black women’s linguistic economies to metaphors of sexual desire.
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Tynes, Brendane. "“Sometimes There Just Ain’t No Magic in This”". In Researching Gender-Based Violence, 27–42. NYU Press, 2022. http://dx.doi.org/10.18574/nyu/9781479812189.003.0003.

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The author speaks to intersectional truth-telling about race, gender, and violence grounded in care ethics, embodiment, and Black feminist methodology in this chapter. She focuses on the erasure and negation of state and sexual violence against Black women through tropes about their innate ability to endure violence. Exploring the ethnographic resources of poetry as a medium to express the totality of their experiences, the author and her interlocutors convey the complexities of sexual violence against Black women in an imperial, cis-heteropatriarchal state.
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Allen-Paisant, Jason. "(Un)thinking Philosophy". In Engagements with Aimé Césaire, 19–48. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/oso/9780192867223.003.0002.

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Abstract Energized by the introduction’s notes and aphorisms that set up the book’s philosophical parameters, this chapter is concerned with the place of poetry in and as philosophy, locating the inspirations for this line of thought in the work of Césaire, which, as the chapter explains, is engaged, not just in thinking knowledge, but more broadly, Western philosophy’s apparatus of what it means to be a thinking being: Césaire’s work is engaged in a praxis of thinking thinking. His concern with an African metaphysics of ‘poetry’—involving the relationship between poetry and spirit—and the question of what it contributes to philosophy, and more particularly to epistemology, takes on pressing importance in the light of colonialism, whose domination is predicated on the hegemonic disruption and erasure of indigenous knowledges. Through his re-evaluation of Western epistemology, Césaire shows that what is at stake in African/diasporic, and indeed planetary, futures, is a radical reframing of the category of philosophy and the possibility of an alternative relation to objects. The issue of coloniality’s imbrication in a Western ontology of objects takes on amplified importance in the light of current capitalist crises, including ecological collapse.
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Trabalhos de conferências sobre o assunto "Erasure poetry"

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Ryu, Jee Yeon. "Pedagogical Moments: Lingering With Aoki, Dewey, and Erasure Poetry". In 2023 AERA Annual Meeting. Washington DC: AERA, 2023. http://dx.doi.org/10.3102/2007382.

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Ryu, Jee Yeon. "Pedagogical Moments: Lingering With Aoki, Dewey, and Erasure Poetry". In AERA 2023. USA: AERA, 2023. http://dx.doi.org/10.3102/ip.23.2007382.

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Dos Reis, Jorge. "Computer mimetics in visible performance: the late work of the Portuguese experimental poet Ernesto Melo e Castro". In AHFE 2023 Hawaii Edition. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1004219.

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Ernesto Melo e Castro, Covilhã 1932–202, is a textile engineer and Portuguese artist, trained in Bradford. He dedicated is life to textile design and to the technical direction of textile engineering companies. At the same time, he developed research in the field of Brazilian concrete poetry and Portuguese experimental poetry; being a fundamental and very innovative author that used the computer in the last phase of its journey as an artist.His work is based on an ideographic structure where the visual composition, which uses exclusively typography, is based on the principle of the ideogram, where the general graphics of the piece provide the idea for the visual piece. Melo e Castro makes use of lyrics, lines, arrows and various symbols that depart from the conventional music agenda, approaching the notation practices of the authors of American experimental music.His later works, particularly ‘Interactive Sound Poetry’ makes use of a typeface not printed but drawn. Melo e Castro elaborates a capital letter register that mimics the homogeneity of typography. The gestural character of the lyrics shows a phonetic intensity that can be inferred from the writing itself, fixed in the score, where the rapidity of the gesture and the erasure are dominant characteristics. This score is based on a computer interactive creation around phonetics and sound, making use of a computer, keyboard and synthesizer with words amplified and where the user performs poetic sequences randomly as he presses the keys. The observer is faced with a set of words: 'freedom', 'love', 'action', 'chance' and 'peace', within a circle, functioning as reading pivots, providing combinations of graphically noted words.The user makes associations and sequences, learns as a musician learns a piece of computer music, producing conceptual chains of words and the associations will not necessarily be logical or grammatical, and can be casual and therefore produce new and unexpected meanings in the sound and conceptual plane. This piece, being neither singing nor speaking, fits within a mediation between singing and speaking, a technique systematized by Arnold Schoenberg, which constitutes one of the most important criteria in the sound character of the work, starting from a study of the basic phonetics of Portuguese.To confirm this research we are now carrying out an observation around the work ‘Negative Music’ that is not developed as in the works of John Cage in an appreciation of musical silence, although this fact seems at first sight evident. It is a piece for the eyes and not for the ears. The computer game of silence represents first of all a response to the paternal authority of Melo e Castro and a metaphor against the Salazar dictatorship in Portugal. With this in mind, it is first of all a semiotic poem of conceptual visuality; In a second analysis this poem becomes a performative interpretation. In addition to its functional aspect, Melo e Castro’s notation presents a strong graphic and typographic bent, with a notorious concern to produce an object of visual characteristics where there is a balance between its constituents.
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