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Статті в журналах з теми "Poetic system"
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Boyko, Nadiya. "Dominants of the scientific and linguistic world of Anatolii Moisiienko." Ukrainian Linguistics, no. 53 (2023): 73–87. http://dx.doi.org/10.17721/um/53(2023).73-87.
Повний текст джерелаАнотація:
The analysis of scientific & linguistics dominants of A. Moisiienko revealed the synthesis of the fundamental knowledge of a linguist and literary critic, the dynamics of emotions, and the expression of the poet’s evaluations aimed at updating the national scientific and artistic paradigms. The linguist managed to combine several hypostases, appearing before the reader as a scrupulous linguist-researcher of the apperceptive system of Shevchenko’s poem, the worlds of symbols and the silent word, the world of poetics and the dynamics of text structures, the world of the intertextuality of the poetic text; and as an obsessed literary critic who, raising several extremely relevant problems of the modern scientific study of poetic idiostyles, specific features of individual authorial verse genres in the system of individual artistic texts, focuses on European intellectualism and modernism; and as an inspired poet, in whose poems the Ukrainian poetic language appears as a world of linguistic and aesthetic signs of national culture. The scientific texts of A. Moisiienko were studied from the standpoint of anthropocentrism and textocentrism, considering the structure of textual categories, means of their objectification, and factors of actualization of the author’s dominant constants. The multi-aspect studies of A. Moisiienko’s poetic linguistics are commented on, which gives an idea of the specificity of the figurative idiopoetic system, and its dominant features, which distinguish the author's language creation against the all-Ukrainian background and among traditional samples of national poetics. It was found that the dominant features of the author’s scientific linguistic world include the linguistic stylistic interpretation of the apperceptive system of Shevchenko’s poem, the artistic understanding of the linguistic worlds of symbol and silent word, the world of poetics and the dynamics of text structures, the world of the intertextuality of a poetic text.
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Pavlov, Evgeny. "“Only God Can Be”: Aleksandr Vvedensky, Kant, God, and Time." Religions 12, no. 8 (August 18, 2021): 658. http://dx.doi.org/10.3390/rel12080658.
Повний текст джерелаАнотація:
This article discusses the place of God in the poetic system of Aleksandr Vvedensky. Vvedensky’s famous pronouncement on his “poetic critique” is more throughgoing than Kant’s critical enterprise, and invites a comparison between the movement of Kant’s thought in the Critique of Judgment, and what Vvedensky’s recourse to senselessness aims to achieve. Time in Vvedensky poetics may be seen as a radical extension of Kant’s philosophical system where it ultimately resides in an equally inaccessible realm on which its entire edifice is founded.
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Marković, Bojan. "The Meaning of Writing Modern Poetry in a/the New Century." Transcultural Studies 11, no. 1 (December 23, 2015): 22–34. http://dx.doi.org/10.1163/23751606-01101004.
Повний текст джерелаАнотація:
The paper deals with the sense of writing poetry as a form of text immanence that is antinomous to the contemporary age, which is also an alternative system of thought, of transformation, of imitation and of critical redefinition of the reality of that contemporary age. At the same time, poetry is a neglected, peripheral literary genre, but also a hyperbolized fictional form that opens the way to an alternative victory of opinions and feelings. Essayistic in structure, the paper discusses several poems and the poetics of three 20th century Serbian and Yugoslav Modernists (Kosovel, Dis, Crnjanski), in order to show, on the basis of their developing and differentiated poetic self-consciousness, what sense the writing of poetry might have in the 21st century. In these instances of poetics, paradigmatic of poetic self-consciousness in general, not all the possibilities of the sense of creativity and action have been exhausted, nor the poetic solutions leading to it.
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Buivytė, Giedrė. "The Manifestations of Fate in Medieval Germanic Poetry and Lithuanian Folk Songs." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/2 (March 11, 2021): 8–21. http://dx.doi.org/10.37384/aplkp.2021.26-2.008.
Повний текст джерелаАнотація:
Reflections of mythical worldview are embedded in traditional oral poetry, viz. Old Icelandic collection of poems Poetic Edda, Old English poem Beowulf, and Lithuanian folk songs. Archaic motifs and archetypal imagery are conveyed by means of poetic grammar (alliteration, kennings, epithets, etc.). Through interpretation, the hidden (symbolic) meaning of the poetic grammar is unveiled, and the connection between the two worlds, the sacred (the divine) and the profane (the human) (Eliade 1959), is exposed. To advance the analysis of poetic narrative, the methodology employed in the paper combines comparative Indo-European poetics (Watkins 1995) and oral-formulaic theory (Kiparsky 1976; Foley 1996). The paper focuses on the poetic narrative’s motifs that encode the archetypal image of the goddess(es) of fate in the Germanic and Baltic traditions. Selected passages from Old Icelandic, Old English, and Lithuanian poetic texts reveal the motif of fate in the following contexts: the establishment of the laws governing human life, the courtship and wedding narrative, the inescapable decrees of misery and death, the warrior’s fame and fate, and the connection between the goddess of fate and the cuckoo bird (in the Lithuanian tradition). The poetic grammar and poetic formulas, in particular, reveal the prototypical characteristics of the supernatural beings who rule fate – Norns, Wyrd, and Laima – and present them as an integral part of the Indo-European mythological system.
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Vinokurova, Antonina Afanas'evna, and Sargylana Ivanovna Egorova. "The system of comparisons in the works of Even poets." Филология: научные исследования, no. 12 (December 2023): 69–79. http://dx.doi.org/10.7256/2454-0749.2023.12.69433.
Повний текст джерелаАнотація:
The article is devoted to the issue of the system of comparisons used in the language of Even poetry. The paper provides a list of means of expressing comparisons, distinguished from the positions of "subject", "predicate" and "argument". In order to develop a universal comprehensive model for studying the technique of poetic comparison as a component of the poet's style, we conducted observations on the language of poetic works by Even poets Nikolai Tarabukin, Platon Lamutsky, Andrei Krivoshapkin, Evdokia Bokova and Varvara Arkuk. The obtained material allows, first of all, to clarify the list of means of expressing poetic comparison. Analyzing the material on this topic, we came to the conclusion that comparisons help the poet convey the feeling and mood of the lyrical hero, create a poetic text mainly, such an approach performs such an important function as aesthetic. When classifying examples, we rely on the original Even language and the main research methods are semantic-stylistic, contextual, classification, and also use field methodology. The methodology uses the works of A.N. Veselovsky, A. A. Potebni, B. V. Tomashevsky. The novelty of this article is determined by the fact that Even poetry is one of the young literatures of the national literature of the Russian Federation. The means of enhancing the visual expressiveness of speech, the comparison used by the Even poets, reveal the art of the original culture of the Evens and the wonderful flair of the native Even language. Comparison is a universal cognitive structure where a person learns about the world around them. In Even poetry, the authors, revealing the picture of the world of the North and the Arctic, using a comparison, showed a special artistic perception. The North and the Arctic remain the space that was mastered by the northern peoples and they created a circumpolar culture where the world of people and nature are harmonious. In the poetry of the Even poets, we have identified some noteworthy comparisons that create their own special artistic poetic language.
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Grigoriev, Yuri. "System harmony of poetic text translation." Science Bulletin of the Novosibirsk State Technical University, no. 1 (March 20, 2018): 79–102. http://dx.doi.org/10.17212/1814-1196-2018-1-79-102.
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Khakimov, Mukhammad Khodjakhonovich, and Hilola Ravshan kizi Yunusova. "VISUAL POETIC TEXTS AS MULTISEMIOTIC SYSTEM." Theoretical & Applied Science 100, no. 08 (August 30, 2021): 185–88. http://dx.doi.org/10.15863/tas.2021.08.100.36.
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Yasakova, E. A. "«Beauty» in David Samoilov’s Poetic System." Russian language at school 80, no. 4 (July 18, 2019): 67–71. http://dx.doi.org/10.30515/0131-6141-2019-80-4-67-71.
Повний текст джерелаАнотація:
The purpose of the article is to analyse the functioning of the concept “beauty” in the works of D. Samoilov. Using lyrical texts as an example, the author describes the poetic vision of “beauty”, highlights the means of implementing the D. Samoilov’ worldview of, offers an original philological analysis of his poems in the light of the notions of beauty as one of the most important artistic components of D. Samoilov’s poetic system. The article draws parallels between the understanding of beauty in the works of various poets in the 19th – 20th centuries.
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Передерій, Ганна Миколаївна. "CATACHRESIS IN THE IMAGERY SPACE OF ENGLISH POETIC DRAMA: A COGNITIVE PERSPECTIVE." Scientific Bulletin of Kherson State University Series Germanic Studies and Intercultural Communication, no. 1 (August 21, 2023): 118–23. http://dx.doi.org/10.32999/ksu2663-3426/2023-1-16.
Повний текст джерелаАнотація:
This article focuses on revealing the nature of catachresis from a cognitive perspective in the imagery space of English poetic drama. The relevance of this article is determined by general tendency of modern linguistics on integration of traditional and novel approaches to analysis of semantics of literary texts in general and poetic drama in particular. The methodology of comprehensive analysis of the imagery space of English poetic drama is based on linguistic assumption of cognitive poetics. The application of such analysis made it possible to reveal genre properties and the specifics of the imagery space of English poetic drama. To formal properties of poetic drama we refer: special rhythmic-syntactic organization, enjambment, parallelism, specific compositional-graphic arrangement of a text (dialogue, monologue, polylogue, author’s remarks, act division, action, scene etc.) and types of narration. We consider lyricism+dramatism, eventfulness, tendency to ambiguity of meaning, the specifics of image system as content properties of poetic drama. The specifics of the imagery space of English poetic drama are clarified via linguistic and cognitive analysis of the types of verbal poetic images: ambivalent, parabolic, paradoxical and symbolic. A paradoxical verbal poetic image is seen as a textual construal and a cognitive structure which has two planes – conceptual and verbal. It is a multifaceted phenomenon, a verbalized knowledge in the text construed by pre-conceptual, conceptual and language domains. In the context of our research we refer oxymoron, antithesis, paradox and catachresis to contrastive stylistic devices that create a paradoxical verbal poetic image. It is maintained that catachresis as a contrastive figure of speech is predominantly manifested in paradoxical verbal poetic images in the imagery space of English poetic drama. In paradoxical verbal poetic images various linguocognitive processes and operations of creating specifics are traced. The formation of paradoxical verbal poetic images is associated with linguo-cognitive processes of categorization and verbalization (mainly with linguo-cognitive operations of contrastive mapping). It has been proved that the formation of paradoxical verbal poetic images is predetermined by cognitive operations of attributive, situational and relational contrastive mappings.
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Antonov, Yuri Grigorievich, and Nikolai Valerievich Karpov. "THE MOTIF-IMAGE WORLD OF DMITRY TAGANOV’s LYRICS." Yearbook of Finno-Ugric Studies 16, no. 3 (September 29, 2022): 462–69. http://dx.doi.org/10.35634/2224-9443-2022-16-3-462-469.
Повний текст джерелаАнотація:
The article examines the artistic specificity of the lyrics of Erzyan poet Dmitry Taganov, analyzes the motif-image system of his poetic experiments, defines the author's place in the modern national poetic system, points out the individual-author concepts that enrich Mordovian poetry. The most common constants of the author's poetry are outlined: the image of home which reveals the inner state of a lyrical hero, recreates the surrounding reality, indicates the ongoing transformation of human existence; his mother tongue, love and care for which is one of the creative dominants for the poet. The poet's great interest towards the theme of home is revealed through the images of close people and landscape, through which he recreates a picture of his second homeland and highlights the feelings of a lyrical hero. The description of seasons helps Taganov to reveal his state of mind. The analysis of the poet's lyrics allows us to state that the poet, possessing an individual poetic style, reveals the inner world of a lyrical hero and recreates the surrounding reality in a concise form and memorable artistic means.
Дисертації з теми "Poetic system"
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Kšicová, Barbora. "Poetika struktur." Master's thesis, Vysoké učení technické v Brně. Fakulta výtvarných umění, 2012. http://www.nusl.cz/ntk/nusl-232348.
Повний текст джерелаАнотація:
The practical thesis is based on a visual experimental poetry and its sign system. I am working with own sign system which was inspired by organized fence's structures. These structures were depicted by typographical signs which creates a new graphical compositions. Whole work is organized into three separated author's books. Their interconnection is emphasized by putting into a common case. The first book entitled Poetry of structure – Inspiration establishes contact with readers by means of photographs of spaces and fence's structures. The second book entitled Poetry of structure – Manual is an interlink of the work which informs readers both with the fence's structures and with the typographical compositions. Confrontation of the fence's photographs with the typographical compositions developed an advancement of the reality transformation to the abstract structure. The third book entitled Poetry of structure is the integral poetic anthology. The book presents both the blind blocking of typographical compositions themselves and the final experimental poems based on them.
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Lutz, Cosima Paul Jean. "Aufess-Systeme : Jean Pauls Poetik des Verzehrs /." Würzburg : Königshausen & Neumann, 2007. http://deposit.d-nb.de/cgi-bin/dokserv?id=3028523&prov=M&dok_var=1&dok_ext=htm.
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Ernest, David Solomon Harold. "Meaning in Small, Snyders and Pearce : an application of Lotman’s semiotics to ‘coloured’ literature." Diss., University of Pretoria, 2004. http://hdl.handle.net/2263/28757.
Повний текст джерелаАнотація:
In this study, a semiotic point of view of selected literature written by ‘coloured’ writers is examined, using some of the semiotic theories of Jurij M. Lotman, one of the leading Soviet semioticians of the school of Tartu. Selected theories of Lotman are applied to ‘coloured’ literature. These include an examination of poetic language (based on Lotman’s theory of a primary and secondary modelling system), the iconicity of the text, the aesthetics of identity and opposition, the distinction between text and extra-text, and the relationship that exists between the extra-text, culture and code. The literary texts chosen for analysis are works by three contemporary ‘coloured’ writers, namely Adam Small, Peter Snyders and Robert Pearce, who have all contributed poetry, prose and drama to Afrikaans literature in general, and original Afrikaans literature in particular. The selected dramas are Joanie Galant-hulle (Small 1978), Political Joke (Snyders 1983) and Die Laaste Supper in Marabastad (Pearce 1988b)*. These writers’ works span approximately three consecutive decades and their work can be examined for commonality and differences. The three chosen dramas were written five years apart respectively; yet they reveal thematic similarities. The dramas also feature a common ‘deviant’ language code used by ‘coloured’ people and discussed in this study as original Afrikaans. This code, which is juxtaposed with standard Afrikaans, is one of the basic areas of interest that motivated the choice of subject for this study. The primary objective of this study is to examine the differentiation that Lotman makes between the various sign systems that operate in natural language (the primary modelling system) and poetic language (a secondary modelling system), and to determine whether these sign systems can be detected and are functional in ‘coloured’ literature. In addition, an investigation is made of the iconicity that operates in poetic language (which, according to Lotman, is the basis for differentiation), and to ascertain whether iconicity occurs in these examples of ‘coloured’ literature and to what extent it influences meaning. In the process, intratextual relations within the poetic text were scrutinised to establish whether the manipulation of language, devices and codes raises any particular expectation in the poetic text, and also to detect whether oppositionally constituted code-systems which set up their own patterns of expectation within the syntactic and lexical levels of the poetic text clash with and contradict prior expectations. In addition, an analysis has been made to determine whether a new understanding of the texts can be reached, based on Lotman’s aesthetics of identity and opposition, and to what extent the reader is forced to collaborate in the modelling process of the texts when the reader’s expectations are undermined by an aesthetics of opposition. The study has successfully corroborated and substantiated all the selected aspects of Lotman’s theory. The differentiation that Lotman makes between the primary and secondary language model is demonstrated especially by the iconicity that operates in poetic language. Examples are abundant in the selected literature and are conspicuous, especially through the manipulation of the language, devices and codes employed by the authors to defamiliarise objects so that they transcend their familiar characteristics and perceptions, and sometimes signify a totally new concept. In this way, readers’ expectations are subverted and they are invited to collaborate in the modelling process of the texts. These techniques are also an integral part of both the text and the extra-text, and their presence justifies Lotman’s claims that the meaning of a literary text cannot be understood outside its cultural or historical context. In retrospect, it can be argued that this research has opened up some additional avenues for an analysis of meaning in ‘coloured’ literature.Dissertation (MA (English))--University of Pretoria, 2004.
English
unrestricted
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Wood, Christopher. "What lies above : using poetic methods to interrogate user positions across GNSS infrastructures." Thesis, Queen Mary, University of London, 2018. http://qmro.qmul.ac.uk/xmlui/handle/123456789/53587.
Повний текст джерелаАнотація:
This thesis argues for the use of what I term `poetic methods' in approaching the study of Global Navigation Satellite Systems (GNSS) infrastructures. Poetic methods frame research experiments with techniques drawn from art practice and build understandings of an infrastructure's actions, or the \texture" [1] of those actions by leveraging symbol and metaphor. This work is situated in an interdisciplinary space across Human Computer Interaction (HCI), art, design and the study of Science, Technology and Society (STS). The theoretical grounding of the work draws on Actor Network Theory (ANT) and Karen Barad's intra-activity [2] to emphasise sociotechnical practices and objects as emergent across combinations of material agency. From Bowker and Star's concept of infrastructural inversion [1], I argue that infrastructures become visible through points of breakdown. To probe GNSS infrastructure, I stage an experiment where its smooth operation is disrupted. Re-framing the infrastructure in this way draws participant's attention to its influence in forming practices. I then use a second method of short form speculative design [3] workshops to have participants think about scenarios where the user is pushed further into the background and user and infrastructure are understood as nodes in `more-than-human-networks'. Alongside this participant-facing research work, I give an account of artworks that developed from my own practice in response to the research questions. These are understood as deep responses to the design workshops' prompt to re-think how we understand the actions, influence and ontology of GNSS infrastructures. At the end of this art and research process I have a finished artwork and several sets of rich qualitative data. I use these to understand how effective my techniques are in achieving infrastructural inversion, diagnostically understanding the actions of GNSS infrastructure and the texture of how those actions are felt by participants, and interrogating ontological questions around concepts of `user' and `infrastructure'. I argue that the poetic methods offer an innovative set of techniques that can be added to a wider research project to help interrogate blackboxing, practically achieve infrastructural inversion and begin to move towards ontological critique. These offer a new methodological tool to STS researchers and contribute to HCI debates around non- user-centered design practices. I offer some suggestions for further refinements to these techniques and point towards some possible future work.
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Silvia, Rozza. "Il sistema dei generi nella poesia lirica romanza medievale." Doctoral thesis, Università di Siena, 2020. http://hdl.handle.net/11365/1106571.
Повний текст джерелаАнотація:
The present work analyzes the so-called 'system' of lyric genres within medieval romance literatures, selecting as field of investigation the Occitan, Old French and Galician-Portuguese traditions. The aim is to verify the solidity of the lyrical taxonomies developed in the modern era, determining to what extent they actually correspond to the data obtainable from the analysis of ancient sources and questioning the applicability of the concepts of 'genre' and 'system' to the medieval literary context. To this end, the present work deals separately with the three traditions, identifying within each of them some significant research areas to reconstruct the degree of distinctive consciousness possessed by the authors and the public of Troubadour poetry.
The study starts from the analysis of the author's metageneric terminology; through the quantitative and qualitative analysis of the terms used in the practice of self-designation of the text and in the metapoetic reflections have been identified some genres well recognizable at the time of production of the lyrics, while other categories have been proved to be devoid of an explicit acknowledgement by the authors or provided of a still uncertain degree of specialization. At the terminological level the three linguistic areas have shown some inevitable points of contact, but each of them then has distinguished itself for having developed a range of terms functional to the specific repertoire.
The study of lyric texts has been accompanied by the examination of the manuscript tradition, always with the aim of finding information related to the degree of recognizability of generic categories. Initially we have focused on the individual manuscript witnesses, studying the phenomenology of the generic ordering criterion within the anthologies. For each tradition, an overall picture has been presented through a wide range of cases, which took into account the presence of generic sections and more or less explicit groupings of typologically homogeneous texts. A very diversified scenario has emerged: not only each lyrical tradition, but also the single manuscript witnesses show that they have made independent choices in the distribution of the texts and in the emphasis given to the different genres. Analogies and differences have been further underlined at a later stage, when the discussion has taken the point of view of the textual categories, analyzing in a transversal way the position and the weight of the single genres within the manuscript tradition of romance lyric.
The study of the chansonniers has led us to focus on a further aspect: the paratextual apparatus, although marginal compared to the lyric text, are in fact the bearers of a great deal of information related to the genre of poems. In all the three lyric traditions analyzed, the rubrics have proved to be fundamental in providing confirmations or additional data in relation to the degree of recognizability of some genres and to the perception that copyists and compilers of songbooks had of them.
The data emerged from the survey carried out within the lyric tradition have been then compared with those obtained from the analysis of external (but chronologically not too distant from the era of production of the lyrics) textual corpora, as in the case of the Provençal vidas and razos or the first Old French novels with lyrical insertions. Also medieval treatises have proved to be a particularly profitable research area: they manifest the will to offer, for the first time in a systematic way, a comprehensive overview of medieval lyric genres, although the witness of the artes poeticae is the result of a retrospective reflection and concerns in a very unequal way the three lyric traditions.
On the basis of information gathered within the ancient sources, we have proceeded to a critical examination of the repertoires published in the modern era, trying to highlight their strengths and problematic aspects; the operation has led to a reconsideration of some categories of doubtful legitimacy, such as the Provençal sirventes-canso and the Galician-Portuguese escarnio de amor.
Although it cannot be denied that medieval authors had the perception of the existence of certain textual categories (corresponding to our 'genres'), the overall picture is so differentiated - not only between different repertoires, but also within the same repertoire - that speaking of 'one' system of genres has proved to be substantially groundless for the complex of medieval romance lyric.
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Sesk, David Andrew. "Poetics and the realistic novel, contextual equivalence systems in Michael Ondaatje's In the skin of a lion." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp04/mq23700.pdf.
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Santana, Doralice Pereira de. "Poesia popular nordestina: uma abordagem para o tratamento da relação fala-escrita." Universidade Católica de Pernambuco, 2009. http://www.unicap.br/tede//tde_busca/arquivo.php?codArquivo=480.
Повний текст джерелаАнотація:
A poesia popular, fenômeno cultural que tem origem no Nordeste do Brasil, é uma prática social consagrada através dos tempos pela tradição e quando vista como fenômeno de linguagem, representa um campo da atividade humana em que gêneros textuais são materializados na oralidade e na escrita. Neste trabalho, a poesia popular nordestina é tratada do ponto de vista da relação fala-escrita no continuum linguístico. Os gêneros selecionados são o cordel, gênero escrito da poesia popular, o repente, como gênero ontologicamente oral no contexto da cantoria de viola, e nesse contexto de produção reconhecido como cantoria, e a peleja virtual, gênero digital emergente que reúne elementos textuais dos dois primeiros. A peleja virtual constitui-se enquanto gênero à medida que os poetas cordelistas se reunem no espaço cibernético para produzir poesia, utilizando as mesmas estratégias de textualização de suas contrapartes, o cordel e a cantoria, fazendo uso, no entanto, de uma nova tecnologia, a internet, e tendo como modo de produção a escrita digital em lugar da oralidade e da escrita tradicional dos folhetos. Esses gêneros são analisados aqui, a partir de suas semelhanças a priori, para serem distribuídos no continuum linguístico que se dá na relação fala-escrita. Aspectos como oralidade e escrita, marcas de transmutação de gêneros antigos em novos gêneros textuais, bem como a análise de gêneros e o debate sobre o hipertexto são discutidos neste trabalho.Popular poetry is a cultural phenomena originated in the Northeastern Brazil. A social practice recognized through time and tradition that when seen as a language phenomena represents one field of human activity in which genres are materialized, either in oral and written forms. On this work popular poetry is treated in the relation speech-write from the standpoint of the linguistic continuum. The selected genres for this research are cordel, written genre of popular poetry, repente as a genre ontologically oral, therefore recognized by the name of cantoria because of its context of production and virtual contention, a digital emergent genre which is formed by textual elements of both the spoken and written ones, cordel and cantoria for this matter. The virtual contention exist as genre when is the virtual meeting between poets in the cyberspace to produce poetry takes place, as they use the same strategies of textualization of its counterparts, cordel and cantoria, on the other hand making use of a new technology: the internet. These three genres were analyzed from the stand point of their resemblances a priori, as to be distributed inside the linguistic continuum which occurs in the relation between spoken and written genres. Aspects such as speech and writing, the debate on hypertext, as well as the principle of transmutation of the existent genres to originate others with their own characteristics and the analysis of genres are the central points in this investigation work.
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Long, Jia. "De l’instance poétique au discours métadramatique dans la trilogie espagnole de Beaumarchais." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL109.
Повний текст джерелаАнотація:
Beaumarchais fait son entrée dans le théâtre français en crise. Comment écrire en tant que dramaturge ? Trois procédés s’offrent à lui : développer une théorie de la fusion déjà entamée par d’autres précurseurs : Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire et Diderot. Tout d’abord, en préconisant la fusion du comique et du dramique, il stimule des effets de gaieté et d’attendrissement chez son public, annonce officiellement la naissance du nouveau genre : le Drame. Ceci dépasse la séparation nette entre le tragique et le comique, faisant ainsi au sein du genre théâtral un premier pas vers une révolution qui implique de nombreuses possibilités. Ensuite, en introduisant des éléments narratifs dans le genre théâtral, il effectue une fusion entre le roman et le théâtre, révolutionne ainsi le concept de genre dramatique. La poétique dramatique chez lui n’est pas qu’une question d’esthétique formelle, mais relève de l’extension littéraire de sa vie de combattant aux plans historique, social, politique de son époque. Dans une perspective de réception, son utilisation du discours métadramatique permet à son public d’être en permanence entre distance et illusion. Ceci révolutionne le rapport scène-public et exercera une influence considérable sur sa postérité. Au sens large, le discours métathéâtral de Beaumarchais dépasse son temps. La circulation séculaire de la trilogie espagnole permettra au public chinois d’étudier l’adresse singulière de Beaumarchais sur sa poétique dramatique et ses riches connotations idéologiques qui se mêlera dans l’histoire, la société et l’esthétique chinoises. Ainsi, Beaumarchais et ses œuvres s’intégreront à la généalogie de la littérature étrangère classique en Chine, et deviendront un événement typique de la littérature mondialiséeBeaumarchais made his dramaturgical entry when French theatre was undergoing a crisis. How to write as a playwright? He solved this issue on three levels and developed a theory of fusion already started by other precursors: Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire and Diderot. First of all, by advocating the fusion of the comic and the dramatic, he stimulated the effects of gaiety and tenderness in his audience, officially announcing the birth of the new genre: Drama. This overcomes the clear separation between the tragic and the comic, thus taking the first step within the theatrical genre towards a revolution that opens up a whole range of possibilities. Then, by introducing narrative elements into the theatrical genre, he achieved the fusion between the novel and the theatre, revolutionising the concept of dramatic genre. For him, dramatic poetics was not just a question of formal aesthetics, but of the literary extension of his life as a fighter, which relates to the historic, social and political context of his time. From a reception perspective, his use of metadramatic discourse allowed his audience to be constantly wavering between distance and illusion. This revolutionised the relationship between stage and audience, and had a considerable influence on his posterity. In the broadest sense, Beaumarchais’ metatheatrical discourse transcended his time. The secular circulation of the Spanish trilogy will enable Chinese audiences to study Beaumarchais' singular address on his dramatic poetics and its rich ideological connotations, which will blend into Chinese history, society and aesthetics. In this way, Beaumarchais and his works will become part of the genealogy of classical foreign literature in China, and a typical event in the world literature
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Jackson, Janet Ruth. "A coat of ashes: A collection of poems, incorporating a metafictional narrative - and - Poetry, Daoism, physics and systems theory: a poetics: A set of critical essays." Thesis, Edith Cowan University, Research Online, Perth, Western Australia, 2018. https://ro.ecu.edu.au/theses/2125.
Повний текст джерелаАнотація:
This thesis comprises a book-length creative work accompanied by a set of essays. It explores how poetry might bring together spiritual and scientific discourses, focusing primarily on philosophical Daoism (Taoism) and contemporary physics. Systems theory (the science of complex and self-organising systems) is a secondary focus of the creative work and is used metaphorically in theorising the writing process.
The creative work, “A coat of ashes”, is chiefly concerned with the nature of being. It asks, “What is?”, “What am I?” and, most urgently, “What matters?”. To engage with these questions, it opens a space in which voices expressing scientific and spiritual worldviews may be heard on equal terms. “A coat of ashes” contributes a substantial number of poems to the small corpus of Daoist-influenced poetry in English and adds to the larger corpus of poetry engaging with the sciences. The poems are offset by a metafictional narrative, “The Dream”, which may be read as an allegory of the writing journey and the struggle to combine discourses.
The four essays articulate the poetics of “A coat of ashes” by addressing its context, themes, influences, methodology and compositional processes. They contribute to both literary criticism and writing theory. Like the creative work, they focus on dialogues between rationalist or scientific discourses and subjective or spiritual ones.
The first essay, “An introduction”, discusses the thesis itself: its rationale, background, components, limitations and implications. The second, “Singing the quantum”, reviews scholarship discussing the influence of physics on poetry, then examines figurative representations of physics concepts in selected poems by Rebecca Elson, Cilla McQueen and
Frederick Seidel. These poems illustrate how contemporary poetry can interpret scientific
concepts in terms of subjective human concerns.
The third essay, “Let the song be bare”, discusses existing Daoist poetry criticism before considering Daoist influences in the poetry of Ursula K. Le Guin, Randolph Stow and Judith Wright. These non-Indigenous poets with a strong awareness of the sciences have, by adopting Daoist-inflected senses of the sacred, been able to articulate the tension engendered by their problematic relationships with colonised landscapes. Moreover, the changing aesthetic of Wright’s later poetry reflects a struggle between Daoist quietism and European lyric commentary.
The final essay, “Animating the ash”, reflects on the process of writing poetry, using examples from “A coat of ashes” to construct a theoretical synthesis based on Daoism, systems theory and contemporary poetics. It proposes a novel way to characterise the nature and emergence of the hard-to-define quality that makes a poem a poem. This essay also discusses some of the Daoist and scientific motifs that occur in the creative work.
As a whole, this project highlights the potential of both the sciences and the more ancient ways of knowing — when seen in each other’s light — to help us apprehend the world’s material and metaphysical nature and live harmoniously within it.
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Perin, Tiago Rebello. "As formas verbais finitas do hebraico bíblico: qatal, yiqtol, wayyiqtol e weqatal e seus respectivos usos na narrativa e poesia bíblica." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8158/tde-16082016-104318/.
Повний текст джерелаАнотація:
O sistema verbal do hebraico bíblico tem sido objeto de debate desde o início dos estudos gramaticais até os dias atuais. As conjugações de sufixo e prefixo, com ou sem a presença do waw prefixado (respectivamente, as formas verbais: qatal, yiqtol, weqatal e wayyiqtol) tomam uma parte central nesse debate devido à grande amplitude de significados que possuem na Bíblia Hebraica. A presente pesquisa propõe-se a apresentar as várias correntes teóricas acerca da interpretação do significado e relação dessas quatro formas verbais e também o uso das mesmas nos textos narrativos e poéticos da Bíblia Hebraica.The verbal system of Biblical Hebrew has been the subject of debate since the beginning of grammatical studies until today. The suffix and prefix conjugations, with or without the presence of prefixed waw (respectively, the verbal forms: qatal, yiqtol, weqatal e wayyiqtol) take a central part in this debate because of the wide range of meaning that they have in the Hebrew Bible. This research aims to present the various theoretical perspectives about the interpretation of the meaning and relationship of these four verbal forms and also the use of each of them in narrative and poetic texts of the Hebrew Bible.
Книги з теми "Poetic system"
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Misheva, Vessela Ivanova. Shame and guilt: Sociology as a poetic system. Uppsala: Uppsala University, Dept. of Sociology, 2000.
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System of ghosts. Iowa City: University of Iowa Press, 2016.
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Wallace-Crabbe, Chris. Afternoon in the central nervous system: A selection of poems. New York: George Braziller, 2015.
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Aufess-Systeme: Jean Pauls Poetik des Verzehrs. Würzburg: Königshausen & Neumann, 2007.
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Murashova, Natal'ya, and Tat'yana Kazanceva. The history of the Study of the Old Believer Spiritual Verse in the context of the study of the artistic system of extra-liturgical spiritual singing. ru: INFRA-M Academic Publishing LLC., 2022. http://dx.doi.org/10.12737/1867637.
Повний текст джерелаАнотація:
The monograph systematizes the historiography of the study of the Old Believer spiritual verse as an independent direction within the framework of the research of the all-Russian extra-liturgical spiritual singing. The chronological principle of the presentation of information resources allowed us to trace the dynamics in the development of research attention to the spiritual verse. The periodization of the history of the study of Old Believer texts of spiritual song-making is determined, the contribution of individual authors is comprehended, key problems are identified and further prospects for scientific research in the field of the musical and poetic heritage of the Old Believers are outlined. The index of publications presented in the work gives an exhaustive idea of the ways of formation and development of research interest in the spiritual song-making of carriers of pre-schismatic Orthodoxy and can be used as an information base for works devoted to spiritual verse. It consists of 447 bibliographic descriptions covering the period from 1859 to 2021. The nominal index includes 226 authors of articles, monographs, dissertations and compilers of collections of various types.
It is intended for specialists engaged in the study of Old Believer culture, folklore, Russian religious poetry and sacred music.
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Oles, Carole. Sympathetic systems: Poems. Spokane, Wash: Lynx House Press, 2000.
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F, Kelly Thomas A., ed. Between system and poetics: Themes in the work of William Desmond. Aldershot, Hants, England: Ashgate Pub., 2005.
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Fairchild, B. H. Early Occult Memory Systems of the Lower Midwest. New York, USA: W. W. Norton & Company, 2003.
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Maʻarekhet hafʻalah: Operating system. Ḥefah: Pardes, 2015.
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Lussier, Mark. Romantic dynamics: The poetics of physicality. Houndmills, Basingstoke, Hampshire: Macmillan Press, 2000.
Знайти повний текст джерелаЧастини книг з теми "Poetic system"
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Perlina, Nina. "Daniil Kharms’s Poetic System: Text, Context, Intertext." In Daniil Kharms and the Poetics of the Absurd, 175–91. London: Palgrave Macmillan UK, 1991. http://dx.doi.org/10.1007/978-1-349-11642-3_13.
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Barker, Will, and Andy M. Tyrrell. "Hardware Fault-Tolerance Within the POEtic System." In Evolvable Systems: From Biology to Hardware, 25–36. Berlin, Heidelberg: Springer Berlin Heidelberg, 2005. http://dx.doi.org/10.1007/11549703_3.
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Crowther, Daniel J. "Why are there Two Systems of Tiberian Ṭeʿamim?" In Semitic Languages and Cultures, 289–328. Cambridge, UK: Open Book Publishers, 2022. http://dx.doi.org/10.11647/obp.0330.08.
Повний текст джерелаАнотація:
Why might it be that a dedicated system of accentuation is used for ‘the Three’—the ‘poetic’ books of Job, Proverbs, and Psalms—but not for the many other ‘poetic texts’ found scattered throughout the ‘Twenty-One’ (the rest of the books of the Hebrew Bible)? The earliest commentators associate the two types of Tiberian accentuation with differences in verse-length. More modern commentators attribute it to the essence of poetry. Following these two ideas, two different methods of presenting poetry can be observed in the Twenty-One. One is appropriate to poetic texts with short verses (of fewer than eight words per verse) and the other is appropriate to poetic texts with long verses (of more than ten words per verse). Within this double system, the practical challenges of presenting short-verse poetic texts under the accentuation system of the Twenty-One can be observed in the one text that attempts this feat (2 Sam. 22). This observation suggests a rationale for a different system of accentuation that is more appropriate to extended texts of exclusively short-verse poetry, as found in the books of Psalms, Proverbs, and Job, but not in the books of Chronicles, Lamentations and Song of Songs.
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Roggen, Daniel, Dario Floreano, and Claudio Mattiussi. "A Morphogenetic Evolutionary System: Phylogenesis of the POEtic Circuit." In Evolvable Systems: From Biology to Hardware, 153–64. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-36553-2_14.
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Rockwell, Richard C. "From a Fictional Globe to Poetic Ecosystems: Modelling Human Interactions with the Environment." In Earth System Analysis, 461–87. Berlin, Heidelberg: Springer Berlin Heidelberg, 1998. http://dx.doi.org/10.1007/978-3-642-52354-0_26.
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Mittlböck-Jungwirth-Fohringer, Stefan. "Poetic Systems—the Art of Transformation." In Digital Fabrication and the Design Build Studio, 148–52. New York: Routledge, 2023. http://dx.doi.org/10.4324/9781003168003-13.
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Flys, Olena, and Maria Bekhta-Hamanchuk. "Poetic Discourse Processing Applying Graph Theoretic Rules." In Advances in Intelligent Systems and Computing, 41–52. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-63270-0_3.
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Eriksson, Jan, Oriol Torres, Andrew Mitchell, Gayle Tucker, Ken Lindsay, David Halliday, Jay Rosenberg, Juan-Manuel Moreno, and Alessandro E. P. Villa. "Spiking Neural Networks for Reconfigurable POEtic Tissue." In Evolvable Systems: From Biology to Hardware, 165–73. Berlin, Heidelberg: Springer Berlin Heidelberg, 2003. http://dx.doi.org/10.1007/3-540-36553-2_15.
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"The Global Poetic System." In Beyond the Screen, 345–62. transcript-Verlag, 2010. http://dx.doi.org/10.14361/9783839412589-015.
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Borràs Castanyer, Laura, and Juan B. Gutiérrez. "The Global Poetic System." In Beyond the Screen, 345–62. transcript Verlag, 2010. http://dx.doi.org/10.1515/9783839412589-015.
Повний текст джерелаТези доповідей конференцій з теми "Poetic system"
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Bekeeva, Aigul Muratovna. "Artistic System Of Dagestan Children'S Poetic Folklore." In International Scientific Congress «KNOWLEDGE, MAN AND CIVILIZATION». European Publisher, 2021. http://dx.doi.org/10.15405/epsbs.2021.05.18.
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Yuan, Shaozu, Aijun Dai, Zhiling Yan, Ruixue Liu, Meng Chen, Baoyang Chen, Zhijie Qiu, and Xiaodong He. "Learning to Generate Poetic Chinese Landscape Painting with Calligraphy." In Thirty-First International Joint Conference on Artificial Intelligence {IJCAI-22}. California: International Joint Conferences on Artificial Intelligence Organization, 2022. http://dx.doi.org/10.24963/ijcai.2022/696.
Повний текст джерелаАнотація:
In this paper, we present a novel system (denoted as Polaca) to generate poetic Chinese landscape painting with calligraphy. Unlike previous single image-to-image painting generation, Polaca takes the classic poetry as input and outputs the artistic landscape painting image with the corresponding calligraphy. It is equipped with three different modules to complete the whole piece of landscape painting artwork: the first one is a text-to-image module to generate landscape painting image, the second one is an image-to-image module to generate stylistic calligraphy image, and the third one is an image fusion module to fuse the two images into a whole piece of aesthetic artwork.
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Барахнин, В. Б., О. Ю. Кожемякина та Ю. С. Борзилова. "THЕ DEVELOPMENT OF THE STRUCTURE OF THE SOFTWARE SYSTEM FOR PROCESSING OF POETIC TEXTS CORPUS". У XVII Российская конференция “Распределенные информационно-вычислительные ресурсы: Цифровые двойники и большие данные”. Crossref, 2019. http://dx.doi.org/10.25743/ict.2019.56.22.015.
Повний текст джерелаАнотація:
В данной работе описан процесс проектирования и разработка структуры программной системы обработки корпусов поэтических текстов, реализуемой в рамках проекта комплексного анализа поэтических текстов, создаваемого на базе ИВТ СО РАН. При проектировании учитывались требования, предъявляемые к широкомасштабным системам: модульность, возможность масштабирования компонентов, условная независимость компонентов. This paper describes the development of the structure of the software system for processing of poetic texts corpus, implemented in the framework of the project of complex analysis of poetic texts, created on the basis of the IСT SB RAS. This process took into account the requirements for large-scale systems: the modularity, the ability to scale the components, conditional independence of the components.
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Chystiak, D. O. "Reception of Ukrainian poetic literary discourse in French-speaking countries (1961–2021)." In THE ISSUES OF MODERN PHILOLOGY AND CREATIVE METHODS OF TEACHING A FOREIGN LANGUAGE IN THE EUROPEAN EDUCATION SYSTEM. Baltija Publishing, 2021. http://dx.doi.org/10.30525/978-9934-26-180-0-26.
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Cimpoi, Mihai. "Folclorul și valorile imaginației." In Conferința științifică națională "Sergiu Moraru: 75 de ani de la naștere". “Bogdan Petriceicua-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/sm.75.2021.02.
Повний текст джерелаАнотація:
The author demonstrates in this approach that folklore, unlike cult literature, values the essential richness of the imaginary, being closer to the world, which Eminescu said he „ thought in fairy tales and spoke in poetry”. Folklore was must also conceived as literary art, the interference between it and cult literature was the aesthetic program of the German romantics, of the Romanian classics Eminescu, Alecsandri and Anton Pann, of the contemporary authors Brecht and Auden. Folklore works have the same principles of elaboration as cult literature, they being social and documentary documents, which capture essential moments of human relations with society and history. The author refers to the folklorist Sergiu Moraru, who studied especially the poetic system of the sung lyrical song, subjecting it to a structural and typological analysis.
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Weirauch, Angelika. "CREATIVE WRITING IN CONTEXT OF UNIVERSITIES." In International Conference on Education and New Developments. inScience Press, 2022. http://dx.doi.org/10.36315/2022v1end056.
Повний текст джерелаАнотація:
"We present an old process developed more than a hundred years ago at American universities. It means professional, journalistic and academic forms of writing. It also includes poetry and narrative forms. Creative writing has always been at the heart of university education. Today, there are more than 500 bachelor's degree programs and 250 master's degree programs in this subject in the United States. In other fields of study, it is mandatory to enrol in this subject. After World War II, it came to Europe, first to England and later to Germany. Here, ""... since the 'Sturm und Drang' (1770-1789) of the early Goethe period, the autodidactic poetics of the cult of genius prevailed. The teachability of creative writing has been disputed ever since and its dissemination has therefore always had a hard time in Germany"" [von Werder 2000:99]. It is rarely found in the curricula of German universities. At the Dresden University of Applied Sciences, we have been practicing it for five years with great response from social work students. They learn different methods: professional writing for partners and administration, poetic writing for children's or adult groups, scientific language for their final thesis and later publications. Although we offer it as an elective, more than 80% of students choose it. Final papers are also written on these creative topics or using the methods learned. ""Writing forces economy and precision. What swirls chaotically around in our heads at the same time has to be ordered into succession when writing"" [Bütow in Tieger 2000:9]. The winners of this training are not only our former students! Children in after-school programs and youth clubs improve their writing skills through play. Patients in hospitals work on their biographies. People who only write on the computer discover slow and meaningful writing, activating their emotional system. Therefore, this paper will show how clients benefit from creative writing skills of their social workers and what gain other disciplines can expect as well."
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Braz, Soraya, Rodrigo Dorta, Caio dos Santos, Fernando Fogliano, Renato Hildebrand, Bárbara Milano, Fabio Nunes, Tiago Rubini, and Milton Sogabe. "Water, sustainability and poetics in the works of the cAt group." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.91.
Повний текст джерелаАнотація:
Since 2015, the cAt (science, Art, technology) research group from the Arts Institute of UNESP (São Paulo State University) has reflected upon Art-technology productions, that raise concerns about sustainability related to energy sources and alternative possibilities for energy generation without the direct use of computers and complex technology apparatus, while maintaining relevant aspects of the digital interactive works, such as the use of technology, interaction with the audience and a systemic view. These concerns were initially introduced in the production of the work “Sopro” (“Blow”), started in 2015, which is an interactive work powered by the audience participation through the strength of a wind blow on a pinwheel. This work is based on the use of a simple technological system, seeking the poetic dimension of the act of blowing and primary scientific principles. Upon the development of this work, the group sought the possibility of creating a series of works focused on concerns about sustainability with original interaction dynamics, thus creating new systems and works in which the body of the audience becomes the power source. In this context, not only the resulting works are important, but especially the creative process, in which artists focus their concerns and researches on socio-environmental issues, thus assuming a new view of the world, seeking new attitudes, new relationships with individuals and communities involved within this process, transforming their ways of life and materializing that into Art.In this paper we present the works that are part of the triptych, with each of the works having a different aspect, but related to the others. The works are presented in spherical, cubic and cylindrical formats. The public's physical relationship with the work takes place through a bodily activity, being blowing, touching and moving a part of the piece. The water is always present, but in a different physical state in each one, being part of the technological system and the poetic construction.In this article we focus on the water element, although other technological and symbolic aspects are present in the works. In the work “Sopro”, in the liquid state, water represents the context in which life arises. In the second work, “Toque”, in solid state, water serves as part of the technological process, in partnership with human contact, with the hot and cold contrast for energy generation. And in the third work, “Gesture”, water represents the symbolic part of the work, related to the passage of water from a liquid to a gaseous state, such as the condensation that occurs in the rain process.
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Dong, Hanzhang. "Analyzing the symbolic significance of Angelopoulos’ films from the perspective of semiotics." In Intelligent Human Systems Integration (IHSI 2024) Integrating People and Intelligent Systems. AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004522.
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Symbolic communication is an interdisciplinary field that investigates the meaning and function of symbols in the communication process. Within the framework of symbolic communication studies, symbols are seen as tools individuals employ to convey meanings and values. As a crucial cultural artifact and visual medium, film combines various symbolic elements—including imagery, sound, and plot—to create a distinctive and intricate symbolic system, thus conveying specific meanings through symbol construction. In the films of Angelopoulos, the allure of “symbolic symbolism” is reflected through flowing long shots, captivating mise-en-scène, the manipulation of time, layered spaces with poetic overlays, a blank film reel, the emergence of a giant sculpture hand from the sea, thundering trains, alienating narrative structures, obscure metaphorical symbols, and unique poetic aesthetics. These key elements encompass the crux of deciphering Angelopoulos’ films. The analysis of symbolic symbolism in Angelopoulos’ films can be approached from different perspectives.Firstly, one can utilize the basic model of symbolic communication as a framework for research. This model encompasses six elements that constitute any communicative event. These consist the elements of the speaker and listener, who are the primary participants in symbolic communication. The element of information represents the content conveyed through symbols. Code elements give form to information. In the process of communication, not only the information itself is needed, but also contact elements are needed. Contact media can take various forms. Additionally, both speaker and listener must share a context within which the transmitted information can be comprehended. In the context of Angelopoulos’ films, the films themselves function as the “speaker,” while the audience assumes the role of the “listener”. Furthermore, the specific film products and services constitute the information being communicated, embodying the purpose and communication needs. Contact pertains to the media and settings employed in film communication, while codes encompass the symbolic forms of film, such as words, sounds, images, and colors. Symbolic communication in film is additionally influenced by cultural, social, and historical backgrounds, which may cause symbols to assume differing meanings and interpretations within contexts and for distinct cultural audiences. Secondly, Bakhtin’s theory of symbols suggests that symbolic cognition involves a process of decoding, which comprises four cognitive stages: symbol perception, conceptual cognition, contextual cognition, and dynamic dialogue. By analyzing the narrative structure employed in Angelopoulos’ films, one can construct a word cloud of pertinent cognition through semi-structured interviews and literature research. This approach yields a discussion of the specific visual, tactile, auditory, gustatory, and other symbolic symbolism techniques utilized within the functional spectrum of each narrative stage.In conclusion, the creation of symbolic meaning in Angelopoulos’ films, when viewed through the lens of symbolic communication, represents a multifaceted and diverse process. It encompasses the polysemy, combination, and organization of symbolic elements, alongside the influence of cultural, social, and historical backgrounds. An in-depth exploration of the construction of symbolic meaning in films enables a profound comprehension of the symbolic symbolism employed by Angelopoulos and the consequential impact and significance on the audience.
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Cosentino, Anna Carolina. "Libertarian artistic teaching. A counter-pedagogy?" In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.99.
Повний текст джерелаАнотація:
The capitalist system maintains the colonial logic in the dialogue between knowledge and ways of life. The accumulation of material wealth, individualism, production of goods and exacerbated consumption have resulted in imbalance, physical and symbolic exhaustion of the planet. The field of arts does not constitute an autonomous system in relation to culture, to the aforementioned cultural modes. In it, the processes of formation of subjects, exclusion and discrimination also result from neoliberalism, which imposes a Promethean education linked to the notion of civility and progress, causing malnutrition of feeling, sensitivity, and imagination. The poetic state is relegated to the background and restricted to literary expression. Artistic practices are inserted in the truth regimes of the hegemonic models that produce them. Building other pedagogies requires thinking about ways to deviate from the totalizing ontologies of the so-called traditional educational thought. The impact of (hegemonic) european theoretical constructions on classroom relationships needs to be considered, as well as racism and the absence of women in the epistemic field. It is in this context that initiatives to rethink the dichotomy between reason and imagination present in westernized culture gain importance. Imagination is an important factor of psychosocial balance, it is through imagination that the whole process of symbolization, signification and de-alienation of human thought takes place. Based on the notion that the imaginary and rationality are not antagonistic psychic spheres, the Pedagogy of the Imaginary proposes the reunion of rational and poetic forms of culture based on the revaluation of the imaginative function and reflection on the purpose and meaning we have given to life and education. This without resorting to a set of teaching techniques or strategies, much less taking the Pedagogy of Imaginary as a discipline whose content deals with the imagination or creativity. This study began with the completion of the discipline Pedagogy of the Imaginary in Visual Arts (2020.2/ UFPE), where the participation of students provided insights into the need to identify forms of resistance to hegemonic cultural modes, in addition to motivating us to think about a Pedagogy of the Imaginary for the Artistic Education. Some questions remain: 1) How can the knowledge about art/ life of students undergoing training in the field of teaching/ learning arts be articulated with studies on decoloniality and the Imaginary?; 2) How can the Pedagogy of the Imaginary be conceived for the field of Artistic Education and how can it be plotted with the debate on decoloniality?; 3) How do undergraduate art students think about the possibilities of deviation within their teacher training and internship practices? The doctoral project “Libertarian artistic education. A counter-pedagogy?” which began its second year in October 2021, at FBAUP, intends to continue this debate.
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White, Tom, and David Small. "An interactive poetic garden." In CHI98: ACM Conference on Human Factors and Computing Systems. New York, NY, USA: ACM, 1998. http://dx.doi.org/10.1145/286498.286804.
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