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1
Schaefer, Heike. "Un/published: Presence and Absence in Contemporary Erasure Poetry." American Literary History 36, no. 2 (May 1, 2024): 463–88. http://dx.doi.org/10.1093/alh/ajae039.
Повний текст джерелаАнотація:
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the words and material and medial features of the prior text) to destabilize the boundaries between the published and unpublished, between what is heard and what is silenced, between the sayable and what exceeds representation.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.”
2
Hare, Kathleen (Kaye) A. "“Institutionalized States of Information Abstinence”." Art/Research International: A Transdisciplinary Journal 6, no. 2 (September 4, 2021): 415–41. http://dx.doi.org/10.18432/ari29540.
Повний текст джерелаАнотація:
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.
3
De Sanctis, Olivia. "Poetic Space of Intimacy and Movement." Pivot: A Journal of Interdisciplinary Studies and Thought 10, no. 1 (December 20, 2023): 60–75. http://dx.doi.org/10.25071/2369-7326.40360.
Повний текст джерелаАнотація:
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.
4
Allen, Ashleigh A., and Rob Simon. "Unsettling a Canonical Text through Erasure Poetry." English Journal 110, no. 5 (May 1, 2021): 45–52. http://dx.doi.org/10.58680/ej202131226.
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5
Gregory, Kiel M. "Remediation and Epistemological Revelation in the Archimedes Palimpsest and Twenty-First-Century Erasure Poetry." CEA Critic 86, no. 1 (March 2024): 46–58. http://dx.doi.org/10.1353/cea.2024.a922349.
Повний текст джерелаАнотація:
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.
6
Simpson, James. "Unwritten Virtues, Selves, and Texts: Early Modern Self-Erasure." Journal of Medieval and Early Modern Studies 52, no. 3 (September 1, 2022): 415–43. http://dx.doi.org/10.1215/10829636-9966065.
Повний текст джерелаАнотація:
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.
7
Amaral, André Luiz Do. "Poetry as erasure in Carlfriedrich Claus and Ana Hatherly." Pandaemonium Germanicum 21, no. 33 (November 23, 2017): 36. http://dx.doi.org/10.11606/1982-8837213336.
Повний текст джерелаАнотація:
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.
8
Middleton, Peter. "Parrots and Paragrams: AI Language Models and Erasure Poetry." Modern Philology 121, no. 3 (February 1, 2024): 352–74. http://dx.doi.org/10.1086/728291.
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9
Volkovynskyi, Oleksandr, and 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, no. 107 (June 30, 2023): 30–42. http://dx.doi.org/10.31861/pytlit2023.107.030.
Повний текст джерелаАнотація:
“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.
10
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.
Повний текст джерелаАнотація:
„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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Eve, Martin Paul. "Reading Redaction: Symptomatic Metadata, Erasure Poetry, and Mark Blacklock’s I’m Jack." Critique: Studies in Contemporary Fiction 60, no. 3 (February 6, 2019): 330–41. http://dx.doi.org/10.1080/00111619.2019.1568960.
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12
Le Cor, Gwen. "From erasure poetry to e-mash-ups, “reel on/ another! power!”." Convergence: The International Journal of Research into New Media Technologies 24, no. 3 (November 23, 2016): 305–20. http://dx.doi.org/10.1177/1354856516675254.
Повний текст джерелаАнотація:
This article builds on an analysis of Sea and Spar Between by Nick Montfort and Stephanie Strickland and Tree of Codes by Jonathan Safran Foer to examine print and digital forms of writing through resonance, replication, and repetition. It explores the plastic and textual space of the page and screen and focuses more specifically on the composition of fragments and the way they can be apprehended by readers. Conversely, digital borrowing is not a mechanical process of self-identical recurrence, and like its print counterpart, it is a gesture of differenciation and a play of singularities (Deleuze). In investigating the entanglement of a work with a source text, this article also explores how creative gestures initiate a “floating” space as theorized by Jean-François Lyotard, that is, a space at once rigid and flexible where the reader is both bound and floating.
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Drkić, Muni. "In the Aftermath of Popularisation and de-Islamisation." Context: Journal of Interdisciplinary Studies 9, no. 2 (December 27, 2022): 59–88. http://dx.doi.org/10.55425/23036966.2022.9.2.59.
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This paper explores significant institutional and individual efforts in the struggle for the “authentic Rumi” among Muslims in the West, Turkey and Iran. Widely known in the Muslim world and among Orientalists for centuries, Rumi’s poetry became a global phenomenon in the 21st century. Free renditions by Coleman Barks have significantly contributed to Rumi’s new popularity. However, often accompanied by the erasure or minimisation of its Islamic content, the popular versions have met wide criticism in various Muslim contexts. Despite traditionally different approaches to Rumi’s poetry, the discourse about its “authentic interpretation” has become dominant in academia in Turkey and Iran, and among Muslim scholars in the West. Today, Muslim authors strongly emphasise the Islamic character of Rumi’s opus and call for the contextualization and reinterpretation of his poetry through the re-invention of traditional modes of its reading and understanding.
14
Banerjee, Bidisha, and Mindy Blaise. "An unapologetic feminist response." Research in Education 101, no. 1 (August 2018): 17–24. http://dx.doi.org/10.1177/0034523718792163.
Повний текст джерелаАнотація:
In the spirit of reformulating notions of critique, this response builds on the creative research experimentation that the authors enacted to consider air differently. The authors continue to be lured by generosity, curiosity, surprise, and wonder and suggest two feminist responses that relate to and generate knowledge in alternative ways. Two experimentations (collective experimental story writing and erasure poetry) are offered to readers with the aim of activating new thinkings, doings, and relations with air.
15
Cooney. "“Nothing is Left Out”: Kenneth Goldsmith's Sports and Erasure Poetry." Journal of Modern Literature 37, no. 4 (2014): 16. http://dx.doi.org/10.2979/jmodelite.37.4.16.
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Mayar, M. "Intergeneric Fields of Erasure: Reading Philip Metres’s Sand Opera as Document-Poetry." Amerikastudien/American Studies 68, no. 2 (2023): 233–43. http://dx.doi.org/10.33675/amst/2023/2/15.
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17
Sharpe, Tony. "Unbearable Lightness: Some Modern Instances in Auden, Stevens and Eliot." Romanticism 22, no. 3 (October 2016): 312–21. http://dx.doi.org/10.3366/rom.2016.0292.
Повний текст джерелаАнотація:
In this essay I examine the implicit paradox that, although in conventional consideration ‘light’ is good and ‘darkness’, by antithesis, bad, the antithesis itself implies interconnection and, especially in poetry, the evocation of light can equally imply the possibility of darkness. Further, I suggest that poets have found intermediate or qualified illumination to be a more productive resource than light unmoderated by shadow, whose erasure of uncertainty is potentially disabling. My principal examples are drawn from modern poetry, in W. H. Auden, Wallace Stevens and T. S. Eliot, preceded by a consideration of some nineteenth-century precursors; by means of these I show how their verse takes animation from the transient and transitional aspects of light, rather than from its plenitude. The implications of this, in a culture shaped by traditional Christian associations between ‘God’ and ‘light’, are suggestive throughout the essay, but become especially resonant in the case of Eliot's overtly Christian poetry.
18
Müller, Ralph, and Adela Sophia Sabban. "Mediality, Materiality, and Multimodality in Erasure Poetry: The Example of Hawkey & Wolf." Études de lettres, no. 319 (December 15, 2022): 55–73. http://dx.doi.org/10.4000/edl.4000.
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19
Li, Dian. "Between History and Phantasmagoria: Critical Nostalgic Lyricism in Alai's Poetry and Short Fiction." positions 32, no. 3 (August 1, 2024): 601–21. http://dx.doi.org/10.1215/10679847-11164513.
Повний текст джерелаАнотація:
Abstract In his poetry and fiction, Alai creates a historiography of Eastern Tibet replete with the grandeur and magnificence of the past occasionally interposed with some oppressive cultural practices. It is a historiography motivated and energized by nostalgic lyricism, which helps locate and construct a symbolic Tibetan ethnicity. This article proposes that Alai's nostalgic lyricism critically reflects on the inversion of loss and the compensation of lack, thus articulating alternatives against the discontent of the present. In so doing, Alai formulates a minority position against the forces of deterministic historicism and discourse of linear modernity that have constantly placed the minority subject in modern China under threat of erasure.
20
Bond, William. "Love the Live Oak." Nineteenth-Century Literature 76, no. 4 (March 1, 2022): 427–54. http://dx.doi.org/10.1525/ncl.2022.76.4.427.
Повний текст джерелаАнотація:
William Bond, “Love the Live Oak: Sidney Lanier’s Ecopoetics and the Critique of Mediation” (pp. 427–454) Sidney Lanier’s poetry has long been read as an exercise in the poetics of pure sound (and as either an escape from or an affront to a poetics of subjective lyric expression). As this essay shows, in an early phase of Lanier’s poetic career, his poetics of pure sound is tied to a late-Romantic form of nature poetry, which anticipates the new materialist ecotheory of the twenty-first century: specifically, in the 1872 essay “Nature-Metaphors,” Lanier lays out a model of nature poetry founded on the belief that poetic form can embody an ontological continuity between human and nonhuman being. This essay argues that Lanier’s ontological model of ecopoetics negates the need for mediation in the experience of nature. This is, at bottom, a fantasy of immediacy that demands the erasure of human-nonhuman difference. In the final section of the essay, Lanier’s last poem “Sunrise” is examined; there, we can see Lanier outlining an alternative ecopoetics that, rather than trying to circumvent poetic mediation, relocates it within experiences of rhythm.
21
Cery, John. "“Mocking my own ripeness”;: Authenticity, heritage, and self‐erasure in the poetry of Marilyn Chin." Lit: Literature Interpretation Theory 12, no. 1 (January 2001): 25–45. http://dx.doi.org/10.1080/10436920108580280.
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Stephens, Ronie K. "Illness and the Corporeal Experience as a Source of Collective Healing in 21st-Century American Poetry." Word and Text - A Journal of Literary Studies and Linguistics 12 (2022) (December 30, 2022): 110–23. http://dx.doi.org/10.51865/jlsl.2022.08.
Повний текст джерелаАнотація:
Though 21st-century poetics is informed by protests and increasingly nuanced conversations about intersectional experiences, representations of chronic and acute illness are fairly rare. Even in the post-confessional era, with poets embracing vulnerability, ableism continues to dominate the genre. However, several poets have embraced their respective illnesses, centring their experiences not as wholly traumatic but as gracefully human. I argue that poets like Danez Smith, Andrea Gibson, Rachel McKibbens and others help insert acute and chronic illness into conversations about American poetics. American literature has long been complacent regarding the erasure of people living with illness, as well as its tendency to sensationalise trauma rather than centre the human experience in stories of illness. 21st-century poets are challenging this paradigm, effectively transforming their respective illnesses into a catalyst for activism and grounding their experiences in representations of the corporeal as flawed, vulnerable and yet miraculous.
23
Duchscher, Towani Mahalia. "Seeking Race: Finding Racism." Journal of the Canadian Association for Curriculum Studies 16, no. 1 (August 31, 2018): 127–42. http://dx.doi.org/10.25071/1916-4467.40360.
Повний текст джерелаАнотація:
This article explores the somatic lessons that I have learned about race and racism from participating in schooling. Using arts-based research inquiry methods of storytelling, dance and poetry, I allowed my somatic knowledge of race to surface. In analyzing this emergent knowledge, I examined how the null curriculum in schools has influenced my own understandings of both race and racism. Here, I question how maintaining the status quo in school is perpetuating fractured self identities in students, as well as a social fractal of repeated racism in society. This article explores the interconnections between race and racism and the impact of erasure on student identity. By delving into and sharing my own personal experiences of race in school, this article aims to provoke educators to consider the impact of the choices made around diversity in schools.
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Smirnova, Natal’ya N. "Image in Mikhail Gershenzon’s Theory of Reading." Vestnik of Kostroma State University 26, no. 4 (January 28, 2021): 148–54. http://dx.doi.org/10.34216/1998-0817-2020-26-4-148-154.
Повний текст джерелаАнотація:
The work is devoted to the theory of reading by Mikhail Gershenzon in a double reflection – on the one hand, ideas about myth-creatin specific to the period at the turn of the 19th–20th centuries, on the other hand, critical statements on interpretation strategy, suggested by the scholar. The article discusses the principles of constructing Mikhail Gershenzon’s theoretical ideas in the double focusing view. Considering slow reading not as a method, but as the art of revealing the poet’s vision, Mikhail Gershenzon drew the myth-making potential of poetry (in a broad sense) in the process of interpretation to the interpreted work itself. The art of reading is akin to the art of poetry (artistic creativity), designed to find in the word its living source – myth – to revive the “mystery of the word”. Thus, the poetic image becomes at the same time a way of thinking, merging with it, influencing the very form of thought. Mikhail Gershenzon developed, on the one hand, the theory of the poetic word of Alexander Potebnja, on the other hand, relies on Henri-Louis Bergson’s concept of médiatrice image. Poetic image becomes the dominant feature of Mikhail Gershenzon's reading theory. The criticism of the principles of slow reading reflected the transition to a formalists view on of evolution of artistic creativity as erasure of metaphor and obsolescence of technique.
25
Sales, Paulo Alberto da Silva. "Colecionar, desconstruir, rasurar, reescrever: a descrição arquivista em "O Kit de Sobrevivência do Descobridor Português no Mundo Anticolonial"." Elyra, no. 18 (2021): 101–18. http://dx.doi.org/10.21747/2182-8954/ely18a6.
Повний текст джерелаАнотація:
From the archivist logic of erasure made by rewriting ruled in deconstruction as construc-tion, it intended to read some writing scenes of the book O Kit de Sobrevivência do Descobridor Portu-guês no Mundo Anticolonial (2020), by Patrícia Lino, in which is verified a poetic made by irony, hybridism and parody that opposes to the conception of total History. It appears from the injunctive descriptions “what is it/are they” and “how to use/to play” a reflection about the notion of archive as a speech con-struction made by remnants as well as it is possible to verify in these same constructions the way to relate with objects, images and words built in power relations through different enunciative practices. It is concluded that those intersemiotic objects – images and joke poems – tension elements from the Portuguese past by the delegitimation of crystallized meanings through the new ways of archiving and to think about the poetry-archive relation as post-autonomous constructions.
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Cran, Rona. "“Somewhere listening for my name”: Black Queer Kinship and the Poetry of the HIV/AIDS Pandemic." American Literary History 36, no. 1 (February 1, 2024): 161–86. http://dx.doi.org/10.1093/alh/ajad226.
Повний текст джерелаАнотація:
Abstract This essay is about poetry, publication, and intergenerational caretaking in the context of a mass death event—the HIV/AIDS pandemic. It reads the work of contemporary Black, queer American poets Danez Smith, Jericho Brown, and Pamela Sneed for their intertextual and interpersonal engagement with queer and of-color literary texts and voices (in particular, those of Essex Hemphill, Melvin Dixon, and Donald Woods) under threat of erasure by HIV/AIDS and its effects and aftermaths. In doing so, it argues that Smith, Brown, and Sneed enact in their writing a political, spiritual, and historical project of recuperation and republication, taking the term “republishing” to encompass varying forms of print, performance, allusion, thematic evocation, formal echoes, and citation. In examining the complex, varied, and cross-temporal processes of poetic and scholarly caretaking and kinship—and of publication, “depublication,” and republication—this essay shows that the imprinting of HIV/AIDS into countercanonical poetry offers a crucial, ongoing, and collective counterweight to prevailing assumptions and stereotypes about the virus and the disease it causes, as well as creating and sustaining alternative sites of memory, mourning, and meaning making.The implications of the kind of republishing that Smith, Brown, and Sneed gesture toward—this way of remembering and reminding others of lost texts and writers—are manifold, if complex and unavoidably constrained, and include new readerships; the preservation of stories, legacies, and knowledge; and the mitigation of Black queer literary losses as a result of HIV/AIDS.
27
Washburn, Kathleen. "New Indians and Indigenous Archives." PMLA/Publications of the Modern Language Association of America 127, no. 2 (March 2012): 380–84. http://dx.doi.org/10.1632/pmla.2012.127.2.380.
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Native americans have long been the missing subjects of american literature, either excised from narratives of nation through colonial erasure or limited to the discourse of the “vanishing Indian.” Such marginalization is no longer the case, or at least not to the same extent, particularly for literary studies of national, transnational, and hemispheric constructions of race and citizenship. As critics from Vine Deloria to Linda Tuhiwai Smith and Craig Womack have demonstrated, a wide range of indigenous practices and forms of knowledge must be reclaimed within academic forms of inquiry, representation, and circulation. One strategy for Native American literary studies has been to expand notions of text to include winter counts, wampum, and other forms of material culture. Even with a narrower definition of text, however, the current archive of American Indian literature encompasses such diverse works as early songs and oratory, nineteenth-century poems in Ojibwe and English by Jane Johnston Schoolcraft, a range of boarding school narratives, contemporary graphic novels, and the amplified (digital) poetry of Brandy Nalani McDougall and Craig Santos Perez.
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Davis, Allison Pitinii. "Going To and Fro and Walking Up and Down Meets “I Do This, I Do That”: Reconnecting Charles Reznikoff and Frank O’Hara." Studies in American Jewish Literature (1981-) 42, no. 1 (March 2023): 31–54. http://dx.doi.org/10.5325/studamerijewilite.42.1.0031.
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Abstract The poems of Objectivist Charles Reznikoff and the New York School’s Frank O’Hara insist that marginalized experiences—both their own and others’—belong in America’s public spaces and discourse. Reznikoff records New York’s streets as the Jewish child of immigrants in collections including Going To and Fro and Walking Up and Down (1941), while O’Hara records these streets from a queer experience in his famous “I do this, I do that” poems. There is limited scholarship connecting these poets, however, because the categorization of Objectivists as second-wave Imagists—and the resulting erasure of their Jewish heritage—has inhibited their inclusion in postmodern discourse. Repositioning Objectivists as postmodern forerunners reveals what’s concealed when poets are separated too insistently into different avant-garde “schools.” This article argues that the Judaism of Objectivist writers is a liminal lens through which to explore the New York School’s queerness and vice versa. This comparative examination of the walking poems of Reznikoff and O’Hara constructs new avenues for exploring the urban poetics of outsiders in experimental poetry by reading across and not just through minority experiences.
29
Watkin, William. "Tabularity: Poetic Structure in Shelley, Agamben, Badiou, and Husserl." CounterText 3, no. 2 (August 2017): 187–202. http://dx.doi.org/10.3366/count.2017.0088.
Повний текст джерелаАнотація:
The recent history of the intense relationship between philosophy and poetry has concentrated on the poiesis of poetic language. Poiesis is the truth-revealing nature of poetic materiality and linguistic singularity. The ‘truth’ it reveals is that truth itself, as expressed by philosophy, is under erasure in a manner that cannot be expressed philosophically, and so must instead be performed poetically. At the same time, however, what has been neglected is the manner by which material poiesis, for example lineation, is located within a wider poetic structure. If a poem disrupts what Badiou calls dianoia, at the local or linear level, it constructs meanings at the ‘global’ level in the form of its structure. So that while poems may be gifted with truth-revealing poiesis, they are also dominated by truth-developing structures. So far a philosophical interaction with these structures is lacking. This article will consider the philosophical nature of a poem's structure as a means of generating local and global poetic meanings through a development of what will be called poetry's tabularity. Using Shelley's ‘Ode to the West Wind’, it will consider the work of Agamben, Badiou, and Husserl in relation to how meaning is generated across the poetic, two-dimensional, or tabular field.
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Davis, Clark. "Very, Garrison, Thoreau." Nineteenth-Century Literature 74, no. 3 (December 1, 2019): 332–59. http://dx.doi.org/10.1525/ncl.2019.74.3.332.
Повний текст джерелаАнотація:
Clark Davis, “Very, Garrison, Thoreau: Variations on the Antebellum Passive” (pp. 332–359) This essay contends that the poetry of Jones Very, often considered predominately “mystical,” was deeply engaged in political debates of the era. Not only did Very often write poems with an avowedly public purpose, but his seemingly otherworldly, spiritual sonnets sometimes participated in antebellum political debates. The sonnet “The Hand and Foot” (1839), for instance, describes a mode of Christian passivity and quietism that echoes the contemporaneous call for passive “non-resistance” to slavery found in William Lloyd Garrison’s 1838 “Declaration of Sentiments,” the foundational statement of the New England Non-Resistance Society. Very’s poem also describes a mode of Christian behavior that is radically disruptive of social conformity, a kind of embodied “prayer” that may have influenced Henry David Thoreau’s more famous manifesto of passive resistance, “Resistance to Civil Government” (1849). Thoreau witnessed Very’s passive but disruptive behavior on more than one occasion in Concord, Massachusetts, well before his own unique dramatization of nonconformity in the mid 1840s. Comparing Very’s erasure of individual will to Thoreau’s more canny deployment of passivity can help us clarify antebellum modes of passive engagement as they evolved toward the eventual violence of John Brown’s raid and the American Civil War.
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Schmidt, Lisa. "Digitala strukturer i den fysiska dikten." Sensorium Journal 1 (March 31, 2016): 123–34. http://dx.doi.org/10.3384/sens.2002-3030.2016.1.123-134.
Повний текст джерелаАнотація:
Bokens strukturer har i flera avseenden överförts till digitala publiceringsplattformer. Sidorna i läsplattans texter kan ibland till och med ”bläddras” fram och tillbaka på ett sätt som visuellt imiterar den fysiska bokens sidvändningar. Samtidigt har digitaliseringen av texter medfört ett antal mediespecifika möjligheter, exempelvis hyperlänkarnas förmåga att genom ett klick förflytta läsarens fokus från ett avsnitt till ett annat. I motsats till vad många befarade när boken fick konkurrens av digitala alternativ har digitaliseringen av texter medfört ett nytt intresse för bokmediet och dess unika möjligheter. Samtidigt kan vi notera att digitala strukturer letar sig in i den fysiska litteraturen. Jag kommer här att lyfta fram två böcker i vilka digitala hyperlänkstrukturer kan identifieras: Tom Phillips A Humument (1970) samt Elisabeth Tonnards Whiteout (2006). Båda dessa diktsamlingar kan beskrivas som Erasure Poetry, eller raderingspoesi, vilket innebär att de tillkommit genom raderingar i befintliga texter.[1] Det är således en form av återbrukspoesi som, till skillnad från medeltida palimpsester, inte bara återanvänder skrivmaterialet/boksidan utan även själva källtexten.[2] Ny text framträder genom överstrykningar i äldre. Snarare än att ses som frambringad ur ett konkret behov bör raderingspoesin kopplas till ett intresse för boken som medium och till en medvetenhet om det intertextuella nätverk litterära texter ingår i och till det problematiserande av författarrollen som aktualiserats under 1900-talet.
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Clark, Julia Hansell. "Ikaino’s Afterlives: The Legacies of Landscape in the Fiction of Kim Yujeong." Seoul Journal of Korean Studies 36, no. 1 (June 2023): 139–65. http://dx.doi.org/10.1353/seo.2023.a902137.
Повний текст джерелаАнотація:
Abstract: This article examines the works of Kim Yujeong as a contemporary response to Ikaino literature, a subgenre of Zainichi Korean literature that flourished from the 1950s–1980s. Ikaino is the old name of the neighborhood of Osaka that was and remains the area of Japan with the largest population of Zainichi Koreans. Ikaino’s origins as a settlement of Korean migrant laborers in the 1920s and its official erasure from Osaka city maps in 1973 have often been mythologized within Zainichi Korean fiction and poetry. I read Kim Yujeong’s short stories “Tanpopo” (2000), “Murasame” (2002), and “Tamayura” (2015), which feature working women protagonists traversing Ikaino’s borders, as contemporary works of Ikaino literature that interrogate the Zainichi community’s cultural and historical understandings of the entangled geographies of Japan and the two Koreas. I argue that Kim portrays Ikaino landscapes as spaces constituted through their residents’ collective imaginings of Jeju Island and North Korea. Kim also subverts our expectations of multilingualism in Zainichi literature through the use of local dialect in her representation of Japanese residents of Ikaino. Throughout her work, she seeks to both shed light on the multiple structures of oppression that face Zainichi women living in the Ikaino area today, and critique the way those women have been represented in prior works of Zainichi literature.
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Hayward, Beverley. "Resisting higher education's (re) production of elitism in an ethos of care-taking." Soundings 84, no. 84 (October 10, 2023): 29–43. http://dx.doi.org/10.3898/soun.84-85.02.2023.
Повний текст джерелаАнотація:
The University for the Creative Arts (UCA) is undergoing a transformation. This is the perspective sold to the staff as jobs are terminated. This time it is not so much a restructure as a complete closure of further education across all campuses in Surrey and Kent. The UCA is 'stepping back' as a Further Education provider, to focus on undergraduate, postgraduate and research degrees. In addition, the campus that most serves the local community, in Chatham, Kent, is to be closed and sold, most likely for redevelopment. This essay explores the neoliberal agenda that led to this sad erasure of a prestigious arts community, whose alumni included Zandra Rhodes, Tracey Emin and Billy Childish. It exposes the common-sense discourses employed by the university to compel the staff and student body to consent to the neoliberal methods at play. A mixed media embroidery artwork and poetry have been created for this article, and referenced is a recent exhibition, UCA - Retrospective: Creativity Past, Present & Future. Creative arts practices illustrate this story, as well as many conversations with students and staff. The stories of those living through this experience are woven within the narrative. In the sadness of loss there is also celebration, as our own transformations are made possible: leaving one collective space of creativity enables openings. To stitch and repair the soul of self and others creates understandings and an awareness. In this way freedoms are fostered, and social justice prevails.
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Zayarna, Iryna. "DMITRO CHIZHEVSKY AS A RESEARCHER OF THE STUDY OF FUTURISM IN RUSSIAN LITERATURE: A DIACHRONIC VECTOR." Polish Studies of Kyiv, no. 35 (2019): 127–34. http://dx.doi.org/10.17721/psk.2019.35.127-134.
Повний текст джерелаАнотація:
The article deals with the fundamental development directions of futurism studying in Russian poetry in the D. Chizhevsky’s scientific heritage. The author determined the methodological significance of the futurism analysis initiated by the Ukrainian scientist just as organic and valuable artistic phenomenon in the history of Russian literature. His research «On the poetry of Russian futurism» (New York, 1963) was published on the contrary to the total silencing of the avant-garde in the USSR and its almost complete erasure from the historical map of the development of literature. The scientist connects there a number of distinguishing tenden- cies of the futuristic poetics with the preceding stage (the literature of symbolism), and predicts the appearance of studies of this aspect of literary continuity. Author of this article analyses works of similar subjects that have replenished science at the late twentieth – early twenty- first centuries (Bobrinskaya, Kling). D. Chizhevsky pays the most attention to the peculiarities and innovations of the poetic language of the futurists, defines various ways of word creation in their poetic practice – morphological word forms, innovations, morphemic and phonetic «zaum», violations of grammatical norms. As a specialist in comparative literary studies, he drew attention to the connection between the Russian avant-garde and both the Polish (the Scamander group) and the Czech avant-garde in the works of individual authors (V.Nesval). While studying Russian futurism and in a number of works on baroque literature, D. Chizhevsky traces the diachronic connection of Russian futurism with the baroque tradition, reveals the typological affinity of many events in time distant literatures. The baroque dimension of futuristic poetics clearly observed in the conceptual position of Chizhevsky when it comes about «complexity», the opacity of the poetic language of such artists as Mayakovsky, Pasternak, about lan- guage game, the experiment of an abstruse language, intentional stylistic opacity, and the «incomprehensibility» of futurist texts. The profound idea of outlining diachronic typological processes in various literatures turned out to be quite productive and had further literary development, just as a scheme of the «wave» movement of styles proposed by Chizhevsky in the es- say «Cultural and historical eras». In support of this thesis, in this article it was analyzed a number of philological works of the late twentieth – early twenty-first century, where the analogies between the baroque and avant-garde artistic paradigms were traced. To a large extent, the works of the Ukrainian philologist and culturologist have contributed to the formation of broad historical and literary views on typological processes in various literatures, on the study of the genesis of individual literary phenomena and historical typology in the diachronic aspect.
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Farquhar, Sandy, and Esther Fitzpatrick. "Unearthing truths in duoethnographic method." Qualitative Research Journal 16, no. 3 (August 8, 2016): 238–50. http://dx.doi.org/10.1108/qrj-07-2015-0061.
Повний текст джерелаАнотація:
Purpose – The purpose of this paper is to engage with challenges the authors encountered in duoethnographic inquiry, including questions about what it means to tell the truth, and the decisions the authors made about what stories to include and exclude. The focus is on the ethical challenges involved in duoethnography and the ways in which the authors chose, and or felt compelled to, overcome them. The authors provide an argument for the need of intimate, eclectic and open-ended inquiry-based research that poses questions, challenges dominant discourses and promotes a compositional methodology in which to explore lived the experience of participants. Design/methodology/approach – The authors’ own duoethnographic process, embedded in an anthropological hermeneutics (Ricoeur, 1991), within a mode of narrative inquiry, developed over a period of three to four months. The authors had a number of formal and informal conversations – some recorded and transcribed, others remembered and reflected on later in e-mails or in draft academic papers. The authors shared articles, e-mailed, conversed with family and examined photos. Reflecting on some of these conversations, the authors were sometimes uncomfortable with the way the stories they shared had the potential to expose aspects of themselves and those the authors are close to. The authors developed fictionalising techniques and poetry in order to tell these stories. Findings – Duoethnography engages with method that reveals truth as layered, contradictory and necessarily intersubjective. It is this tentative and contingent nature of truth that augers for a hyper-consciousness of the relationship between transgression and transformation. Using fictional ways of knowing: poetry, scripting and metaphor; and the usual technologies of research: anonymisation, de-identification; and drawing on notions of redaction and under erasure the authors found safe ways to represent particularly challenging issues. The process involved intimate revealing – small stories that the authors shared here to argue for the importance of the affective in transformative educational research. Research limitations/implications – The authors continue to work in uncomfortable places and suggest that ethics often involves irreconcilable and incommensurate discourses which cannot always be accounted for in normalised codes of ethics. The authors argue that this tension provides an important on-going ethical encounter where, as researchers, the authors continue to generate and implement creative and innovative methodologies. Originality/value – Throughout the paper the authors have suggested ways to challenge the linear, logical and the predictable as the authors wrestled with how personal narratives may reveal personal truth and transformation that may open ways for larger transformative actions.
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Escandell Montiel, Daniel. "Logoemesis y cultura textovisual: figuras de la generación y visibilización del texto en el arte escrito mediado por las pantallas." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 67. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271540.
Повний текст джерелаАнотація:
La combinación de texto e imagen, ya en formatos clásicos como la poesía visual o el cómic, se ha abordado desde la perspectiva de lo literario a tenor tanto de la disposición textual como de la comunión de lo textual con el aparato gráfico, lo que puede implicar la intervención logofágica. Los estudios sobre literatura electrónica han afrontado ya problemas de la textovisualidad como los cotos impuestos en la digitalización o adaptación de esas formas artísticas por la rigidez formal del libro electrónico. Esto nos ha permitido divisar los límites y complejidades de algunos formatos digitales, pero también otear una fenomenología inversa a la tachadura e invisibilidad textual. En este artículo analizamos la relación intermedial y transmedial de texto e imagen desde en la literatura electrónica desde el punto de vista de la técnica narrativa logofágica para establecer cómo es el camino inverso, el de la emesis textual. Para ello, estudiamos la fenomenología de las figuras literarias textovisuales en las pantallas. The combination of text and image, already in classic formats such as visual poetry or comics, has been approached from a literary perspective according to both the textual layout and the text communion with the graphic apparatus, which may involve logophagic interventions. Previous studies on e-literature have faced text-visual problems such as the boundaries imposed on the digitization or adaptation of these forms of art due to the formal rigidity of electronic books. This has enabled us to glimpse at the limits and complexities of some digital formats, but also to perceive a reverse phenomenology to textual erasure and invisibility. In this article we analyse the intermedial and transmedial relationship between text and image in electronic literature from the point of view of logophagic rhetorical techniques in order to establish what the reverse path, the textual emesis, is. To do so, we study the phenomenology of literary text-visual rhetorical devices on screens.
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Williams, Rhian. "“OUR DEEP, DEAR SILENCE”: MARRIAGE AND LYRICISM IN THE SONNETS FROM THE PORTUGUESE." Victorian Literature and Culture 37, no. 1 (March 2009): 85–102. http://dx.doi.org/10.1017/s1060150309090068.
Повний текст джерелаАнотація:
Sonnet XLI of Elizabeth Barrett Browning'sSonnets from the Portuguese is candid about its ambition to write love poetry that will last: — Oh, to shootMy soul's full meaning into future years, —That they should lend it utterance, and saluteLove that endures, with Life that disappears! – (Barrett Browning 397) This is a rare moment in the sequence of hope enunciated. Although littered with apparently unfettered exclamations of the newly loved and newly loving – “I seemed not one | For such man's love!” (XXXII), “Beloved, I only love thee!” (IX) – the rhetorical mode of the Sonnets from the Portuguese also feels reticent, provisional, even transient: “This said, ‘I am thine’ – and so, its ink has paled | With lying at my heart that beats too fast” (XXVIII). Yet the sequence's desire for endurance may be reconciled with its frequent return to moments of erasure – “My letters! – all dead paper, . . . mute and white! –” (XXVIII) – by attending to the generative effects of silence in this most ambivalent of sonnet performances. Indeed, the sequence appears to fall in with Daniel Barenboim's logic, which would dictate that if ensuing years are to produce, as the sonnet anticipates, “utterance” – to form sound – the sonnet itself must provide the pre-silence. If silence is the pulse of “Love that endures” (passing over from life to love), then the Sonnets from the Portuguese become, perhaps, an exercise in learning, in Derrida's terms, “how to be silent.” Despite such elevated investment, however, silence clearly troubles our reading of this sonnet sequence; not only does it threaten to undermine the efficacy of a sequence celebrated for the enunciation of love, but it also gestures at a broader Victorian discourse in which silence and “woman-love,” as sonnet XIII names it, are more frequently brought together as an effect of systemized suppression. But, I suggest that these sonnets are, in fact, pushing us to reconsider how we read silence; perhaps surprisingly, this is revealed by paying attention to the sequence's careful anticipation of marriage. Indeed, establishing a conjugal perspective on these poems reveals a radical dynamic in which silencing, in fact, gives way to finding, as Derrida asks, “how to say something.”
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Baghoolizadeh, Beeta. "Seeing Black America in Iran." American Historical Review 128, no. 4 (December 1, 2023): 1618–42. http://dx.doi.org/10.1093/ahr/rhad383.
Повний текст джерелаАнотація:
Abstract From the 1960s onwards, many Iranians closely followed Black American protests during the Civil Rights and Black Power movements in the United States. This period proved pivotal for Iranian understandings of race, where intellectuals, revolutionaries, and those in media would use US-centric histories of enslavement, racism, and Black Americans to erase nineteenth-century histories of enslavement and racism in Iran, tacitly displacing the existence of Black Iranians across the national landscape. Black American Muslims, particularly Malcolm X, emerged as the ideal form of Blackness. After the 1979 revolution, non-Black Iranians and the Iranian government would continue this focus on US-based racism through an official narrative that repeatedly defined racism as a US-only problem, ultimately cementing the erasures around histories of enslavement and Black Iranians that began with abolition in 1929. Through an analysis of speeches, memoirs, poetry, newspaper articles, photography, and other illustrated media, this article weaves together vignettes to demonstrate how the pervasiveness of racial hierarchies fashioned around US histories came to shift an Iranian vocabulary and conceptualization of race. This article traces the changes in racial discourse during the 1960s and 1970s, the 1979 revolution, and the Iran-Iraq War from an Iranian perspective.
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Khan, Kalsoom, Mumtaz Ahmad, and Malik Mujeeb ur Rahman. "Poetic Negotiations: Salad Bowl Feminism in Selected Poetry of Fehmida Riaz, Pat Mora and Joan Loveridge-Sanbonmatsu." Global Social Sciences Review V, no. II (June 30, 2020): 541–50. http://dx.doi.org/10.31703/gssr.2020(v-ii).51.
Повний текст джерелаАнотація:
The research attempts to evaluate the depiction of women's oppression in specific postcolonial contexts at the hands of the interlocked power pattern formed by manifold factors like patriarchy, class conflict, religion, ethnicity and imperialism in the selected poetry of the renowned Pakistani poetess Fehmida Riaz, the Latino American Poetess Pat Mora, and the Japanese poetess Sanbonmatsu. It applies the theory of Postcolonial Feminism to bring to the fore the oppression of postcolonial women at the intersection of gender, class, race, religion and culture, hence, offering a critique of Western Feminist discourse and its slogan of sisterhood, which tends to erase heterogeneity in women's situations across the globe. The theory of Third World Feminism as well as the portrayals in these poetic compositions from a variety of postcolonial social formations, highlight the fact that postcolonial women are not a monolithic and archetypal suffering category as presented in Western discourses; instead, their resistant agency and subversive subjectivity also stands at the center of their creative writings.
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Lacore, Michelle. "Étude comparée de deux récits des Bacchantes." Kentron 14, no. 1 (1998): 47–61. http://dx.doi.org/10.3406/kent.1998.1590.
Повний текст джерелаАнотація:
In the Bacchae, Euripides twice uses the highly codified form of the messenger's speech. These two speeches, not only symmetrical but bound together, contain the fable's setting and by their power of suggestion (by means of rythm and all-encompassing vision), erase the borderline between narrative and drama, undermining all monovalent exegesis of the dionysism, here made a matter of pure poetry.
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Sandy, Mark. "“The Colossal Fabric’s Form”: Remodelling Memory, History, and Forgetting in Byron’s Poetic Recollections of Ruins." Articles, no. 51 (October 31, 2008): 0. http://dx.doi.org/10.7202/019258ar.
Повний текст джерелаАнотація:
Abstract This essay reads Byron’s personal and historical reflections in Manfred and Childe Harold’s Pilgrimage through Nietzsche’s meditations on memory and forgetting in Untimely Meditations. These poetic recollections are explored as moments of wilful erasure. Central to Nietzsche’s thoughts “On the Use and Disadvantages of History for Life” is how single moments are forgotten only to be unwillingly recalled at some future present historical moment. Byron’s desire to forget biography and history, paradoxically, produces a capacity to remember. Byron’s meditations on historical ruins become his own imaginative reflections on both the impulse to, and impossibility of, recovering historical and personal origins or securing an authorial posthumous reputation.
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Gómez-Bravo, Ana M. "«Female (co)authorship in Cancionero Poetry»." Revista de Literatura Medieval 30 (December 31, 2018): 153–72. http://dx.doi.org/10.37536/rpm.2018.30.0.74048.
Повний текст джерелаАнотація:
Resumen: La autoría femenina era una cuestión polémica en la Iberia del siglo XV y principios del XVI. Gran parte de la producción poética de este período estaba asociada con la interacción social, lo que permitía una compleja negociación de la autoría y los papeles de género. Si bien el discurso femenino era fundamental para la escritura poética y las prácticas culturales relacionadas con el mismo, estaban en funcionamiento prácticas editoriales que suprimían las contribuciones de las mujeres a la escritura. El estudio apunta a una imbricación textual del discurso femenino y masculino en varias etapas de la composición poética y propone una reconsideración de las aproximaciones a la autoría femenina (y masculina).Palabras clave: Cancionero, mujeres escritoras, poesía medieval, poesía renacentista.Abstract: Female authorship was a contentious subject in fifteenth- and early sixteen-century Iberia. During the period, a substantial amount of poetic production was associated with social interaction, which enabled a complex negotiation of authorship and gender roles. While female discourse was central to poetic writing and to the cultural practices connected to it, editorial practices worked to erase women’s contributions to poetic writing. The study shows a textual imbrication of female and male discourse at several stages of poetic composition and proposes a reconsideration of existing approaches to female (and male) authorship.Keywords: Cancionero, Women writers, medieval poetry, renaissance poetry.
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Bhattacharya, Rima. "The Transgendered Devotee: Ambiguity of Gender in Devotional Poetry." Indian Journal of Gender Studies 25, no. 2 (May 20, 2018): 151–79. http://dx.doi.org/10.1177/0971521518761432.
Повний текст джерелаАнотація:
The concept of ‘identity’ often becomes convoluted within the tradition of bhakti (devotion of god). This article engages in a comparative study of two of Lord Krishna’s devotees, each from a different gender group, in order to determine if gender divisions remain constant or change with the emerging emotions of bhakti. The article claims that the works of the early bhakti poets evince several instances of queer identity that history and modern Indian homophobia seek to erase. To understand such complexities, the article uses the queer theory, whose main project is to explore the contested categorisation of gender and sexuality. According to the queer theory, identities are not fixed, categorised or labelled, but composed instead of a variety of constituents which often cannot be characterised systematically. The objective of the article is to reveal both Mirabai and Surdas as sexual subjects who are culturally dependent and historically specific.
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Drumsta, Emily. "Words against erasure: the persistence of the poetic in Jabrā Ibrāhīm Jabrā’sIn Search of Walid Masoud." Middle Eastern Literatures 19, no. 1 (January 2, 2016): 56–76. http://dx.doi.org/10.1080/1475262x.2016.1208441.
Повний текст джерела
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Gohar, Saddik M. "The dialectics of homeland and identity: Reconstructing Africa in the poetry of Langston Hughes and Mohamed Al-Fayturi." Tydskrif vir Letterkunde 45, no. 1 (February 15, 2018): 42–74. http://dx.doi.org/10.17159/2309-9070/tvl.v.45i1.4460.
Повний текст джерелаАнотація:
The article investigates the dialectics between homeland and identity in the poetry of the Sudanese poet, Mohamed Al-Fayturi and his literary master, Langston Hughes in order to underline their attitudes toward crucial issues integral to the African and African-American experience such as identity, racism, enslavement and colonisation. The article argues that – in Hughes’s early poetry –Africa is depicted as the land of ancient civilisations in order to strengthen African-American feelings of ethnic pride during the Harlem Renaissance. This idealistic image of a pre-slavery, a pre-colonial Africa, argues the paper, disappears from the poetry of Hughes, after the Harlem Renaissance, to be replaced with a more realistic image of Africa under colonisation. The article also demonstrates that unlike Hughes, who attempts to romanticize Africa, Al-Fayturi rejects a romantic confrontation with the roots. Interrogating western colonial narratives about Africa, Al-Fayturi reconstructs pre-colonial African history in order to reveal the tragic consequences of colonisation and slavery upon the psyche of the African people. The article also points out that in their attempts to confront the oppressive powers which aim to erase the identity of their peoples, Hughes and Al-Fayturi explore areas of overlap drama between the turbulent experience of African-Americans and the catastrophic history of black Africans dismantling colonial narratives and erecting their own cultural mythology.
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Gazzaz, Rasha, and Tariq Elyas. "ABORIGINALS’ RACIAL INEQUALITY AND LINGUISTIC DISPLACEMENT IN THE POEM "THEY ASK ME: ‘WHO AM I?’”." LiNGUA: Jurnal Ilmu Bahasa dan Sastra 19, no. 1 (June 27, 2024): 1–7. http://dx.doi.org/10.18860/ling.v19i1.27059.
Повний текст джерелаАнотація:
Through a close reading of “They ask me: ‘Who am I?’’' poem, this paper examines the themes of racial inequality and linguistic displacement of the oppressed race of the Australian Aboriginals, specifically the lost generation as voiced in the poem. Adopting the theoretical frameworks of Kroskrity that focus on the linguistic racism and white supremacy, the authors analytically aim to explore covert linguistic racism through the poem’s narrative. In addition, this paper conveys the representation of race and colonial powers by conveying the exclusion and discrimination the Aborigines faced since the 18th century. It highlights the ‘White Supremacy’ (concerning politics, culture, and linguistics) and the desperate measures the white settlement took to complete the erasure of the linguistic and culture of the minority group of the Aboriginal people. The poem highlights the unspoken voices of the lost generation through the poet's heartfelt agony with his encounter with the history of Aboriginals and their racial and linguistic oppression.
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Pile, Steve. "Echo, Desire, and the Grounds of Knowledge: A Mytho-Poetic Assessment of Buttimer's Geography and the Human Spirit." Environment and Planning D: Society and Space 12, no. 4 (August 1994): 495–507. http://dx.doi.org/10.1068/d120495.
Повний текст джерелаАнотація:
In Geography and the Human Spirit, Buttimer argues that the history of geographical concern is marked by cyclical time, which is distinguished by three phases: Phoenix, Faust, and Narcissus, By taking a longer look at one of these myths, Narcissus, it is possible to suggest that Buttimer bases her account on some problematic assumptions. Thus, the figure of Echo, absent from Buttimer's telling of the myth, can return to disrupt her story. This mytho-poetic assessment reveals something of the way in which ‘others’ are constituted in her story: I take this erasure to be symptomatic of an ‘othering’ humanism, which is predicated on the other, but considers itself self-grounded and thereby distances itself from others. The conclusion questions Buttimer's universalism, her concept of cyclical time, and her sense of a liberation cry of humanism, I suggest that an emancipatory geography cannot rely on undisclosed and marginalized ‘others’, in this case represented by the figure of Echo.
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Arnold-Patti, Abby. "The Africana Womanist Rhetoric of Frances Ellen Watkins Harper." Journal for the History of Rhetoric 26, no. 1 (March 2023): 35–58. http://dx.doi.org/10.5325/jhistrhetoric.26.1.0035.
Повний текст джерелаАнотація:
Abstract To read Frances Ellen Watkins Harper’s corpus of poetry, oratory, and political activism through the lens of feminism is to erase the Afrocentric logics of her rhetoric, but examining her work through the lens of Afrocentricity broadly obscures her radical views on the role of women in society. Africana womanism offers a paradigm through which one can analyze her rhetoric in a way that honors her Blackness and her womanhood—an ethic she insisted on throughout her life. This article elucidates the theory of Africana womanism and highlights evidence of Africana womanist thought in the rhetoric of Watkins Harper, deepening our understanding of women’s contributions to the organizing work and activism of nineteenth-century Black Americans.
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Robertson, Eric. "Writing in Tongues: Multilingual Poetry and Self-Translation in France from Dada to the Present." Nottingham French Studies 56, no. 2 (July 2017): 119–38. http://dx.doi.org/10.3366/nfs.2017.0175.
Повний текст джерелаАнотація:
This essay considers the case of some modern and contemporary bilingual and multilingual poets who have used translation creatively in the context of French literature. Far from attempting to erase the traces of the source language to make it more acceptable to a readership in the target language, these poets – from Hugo Ball, Jean Arp and Henri Michaux to Ryoko Sekiguchi, Caroline Bergvall and Anne Tardos – accept and even welcome the ‘radical artifice’ of their poetry and embrace the inherent foreignness of the word, even in the mother tongue. In myriad ways, their work explores language as a place of difference rather than equivalence, and as a site of slippage in which words are forever susceptible to bordering on other words and other languages, real or invented.
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Ostmeier, Dorothee. "The Rhetorics of Erasure: Cloud and Moon in Brecht's Poetic and Political Texts of the Twenties and Early Thirties." German Studies Review 23, no. 2 (May 2000): 275. http://dx.doi.org/10.2307/1432675.
Повний текст джерела