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1
Keen, Catherine. "Lutto, silenzi e omissioni: la 'Vita nova' fra vissuto e poetato." Quaderni di Gargnano, no. 5 (December 7, 2022): 1–18. http://dx.doi.org/10.54103/quadernidigargnano-05-03.
Повний текст джерелаАнотація:
This essay reflects on Dante's exploration of the theme of mourning in the Vita nova. It draws on critical approaches proposed by Giorgio Agamben, on the challenges of concluding poetic works, and by Nicola Gardini, on the eloquence of the unsaid, to review how Dante's organization of a unified narrative text still leaves space for inarticulacy, silences and omissions that together underline the difficulty of voicing sorrow in poetic form. As the ending of the Vita nova projects Dante's "book of memory" forward towards future as well as past experiences, biographical and poetic, his poetics of mourning for Beatrice become closely imbricated with the eloquence of what is not (yet) uttered. Questo saggio riflette sull'esplorazione dantesca del tema del lutto nella Vita nova. Attingendo agli approcci critici proposti da un lato da Giorgio Agamben, sulle difficoltà di concludere un'opera poetica, e dall'altro da Nicola Gardini, sull'eloquenza del non detto, esso esamina come l'organizzazione dantesca di un testo narrativo unitario lasci ancora spazio all'inarticolazione, ai silenzi e alle omissioni, che insieme sottolineano la difficoltà di dare voce al dolore in forma poetica. Poiché il finale della Vita nova proietta il "libro della memoria" di Dante verso esperienze passate e future, biografiche e poetiche, la sua poetica del lutto per la morte di Beatrice si lega strettamente alla retorica del non (ancora) detto.
2
Nykyforuk, Tetyana, and Valeriyа Andriyets. "Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research." Current issues of social sciences and history of medicine, no. 1 (August 14, 2023): 139–41. http://dx.doi.org/10.24061/2411-6181.1.2023.392.
Повний текст джерелаАнотація:
Literary reception of the poetics of S. Vorobkevych's poetic works through the prism of Osip Makovey's research. Goal. In the segment of the study of the literary reception of the poetics of S. Vorobkevich's poetic works, analyze the literary and critical materials of O. Makovey (“Literary heritage according to Izidor Vorobkevich”, “Izidor Vorobkevich”, “General notes on the poetry of Izidor Vorobkevich”), published in the first few decades after the writer's death. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and the method of slow reading (the method of receptive poetics) were practiced, aimed to reveal S. Vorobkevych artistic means, interpret his works. Comparative and comparative historical methods are used to reveal the influence of other authors on the poetics of Bukovynian writer. Biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The peculiarities of the development of poetics of poetry of S. Vorobkevych on the basis of certain its elements (generic, metaology, poetic syntax, phonics, versification) in the diachronic aspect were determined for the first time in Ukrainian literary studies in the given thesis. For this purpose, the scientific literature related to the study of elements of poetics of poetry works by S. Vorobkevych has been analyzed. The author’s approach on the form of poetic text is studied. The role of extraneous influences on poetry of S. Vorobkevych in the aspect of poetics is determined. Conclusions. The study of publications related to the topic of the study showed that the most valuable of them are the materials of O. Makovey, V. Lesyn and O. Romanets, P. Nykonenko, M. Bondar, P. Nykonenko. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. On the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period it becomes possible to get a general picture of the poetics of domestic poetry works in Bukovyna in the second half of the nineteenth century.
3
Miller, Peter. "Prosody, Media, and the Poetry of Edgar Allan Poe." PMLA/Publications of the Modern Language Association of America 135, no. 2 (March 2020): 315–28. http://dx.doi.org/10.1632/pmla.2020.135.2.315.
Повний текст джерелаАнотація:
Edgar Allan Poe's poetry and poetic theory maintain an awkward standing in anglophone literary criticism but offer a valuable resource to scholars of historical poetics and, more specifically, historical prosody. In poems such as “The Raven” and “The Bells” and essays such as “The Rationale of Verse,” Poe pre sents prosodic structure as a kind of palimpsest of jostling sound media (e.g., phonetic script, meter, scansion, musical form, nonhuman voices), which obey different prosodic logics when engaged by different readers, both within and across periods. In this way, Poe's poetics challenges both historicist and formalist approaches to prosody, delyricizing poetic voice by demonstrating its embeddedness in media while insisting on the multiplicity of prosodic options available when individual readers verbalize the same poetical text. Rehabilitating Poe's prosodic project helps us see poems as products of both media history and real- time performance. (PM)
4
Kulnieks, Andrejs, and Kelly Young. "Ekphrastic Poetics: Fostering a Curriculum of Ecological Awareness Through Poetic Inquiry." in education 20, no. 2 (November 14, 2014): 78–89. http://dx.doi.org/10.37119/ojs2014.v20i2.199.
Повний текст джерелаАнотація:
In this article we outline the role of ekphrastic poetics in an ecological practice of poetic inquiry. Ekphrastic poetics, as a rhetorical device, involves one medium of art relating to another medium by unfolding its form and essence. Ultimately, our work involves a poetic response to an aesthetic form and it is through our ongoing collaborations that we are able to outline the importance of the poetic benefits of dwelling in natural places. We offer specific examples of how we engage in interpretive response activities that help to foster ecological habits of mind in teacher education. Keywords: arts-informed; ekphrastic poetics; collaboration; poetic inquiry; ecology; curriculum
5
Johnson, Kimberly. "Poetics/Praxis." Christianity & Literature 68, no. 3 (February 12, 2019): 365–78. http://dx.doi.org/10.1177/0148333119827677.
Повний текст джерелаАнотація:
This Introduction to a special issue on “Poetics/Praxis” provides a brief overview of the shared investments of poetic texts and Christian practice. It offers a brief survey of exegetical writing on the incarnation in order to illustrate sympathies between early Christian thinking about the meaningfulness of materiality and theoretical accounts of poetic structure.
6
Bartczak, Kacper. "Be Poetics of Plenitude and the Poet’s Biography: Self-Creation in Some Later Poems by John Ashbery." Polish Journal for American Studies, no. 9 (2015) (July 20, 2023): 51–74. http://dx.doi.org/10.7311/pjas.9/2015/4.
Повний текст джерелаАнотація:
Thee article deals with the status of biographical references in John Ashbery’s later poetry. It is an attempt to work out an approach that, while keeping the biographical in view, is an alternative to the way in which the biographical has functioned in recent Ashbery scholarship. In discussing Ashbery’s strategy, I use the neo-pragmatist idea of aesthetic self-creation, especially a version of it developed by Alexander Nehamas in his writings on aesthetic objects. The term I am developing to discuss the variety of self-creation in Ashbery is “the emerging self,” and I see it as a component of a poetics which I am calling the pragmatist ironist poetics of plenitude. The emerging self of the poetics of plenitude, rising over the expanse of a lifetime of poetry writing, is a type of poetic authorial subjectivity whose relation to the empirical facts of the author’s biography reverses the relation between poetry and biography found in confessional poetry. The poetics of plenitude shows the biographical fact to be dependent on the poetic element on which it relies for its authenticity. Within the poetics of plenitude, it is the poetic that is the real and authentic.
7
Liu, Dan. "The Impersonal Theory of Poetry in “Tradition and the Individual Talent” by TS Eliot." Journal of Contemporary Educational Research 8, no. 6 (July 3, 2024): 104–9. http://dx.doi.org/10.26689/jcer.v8i6.7350.
Повний текст джерелаАнотація:
Eliot, an important poet, playwright, and literary critic of the nineteenth century in the United States, was the founder of Western modernism. He pioneered the modern poetic criticism. His practice of modernist poetry is the transition from traditionalist poetics to modernist poetics in the 20th century. His famous poetics theory declaration “Tradition and the Individual Talent” is an immortal classic in the field of poetics theory, in which he proposed the concept of “Traditional,” the theory of “Impersonal” poetry, “Objective Correlative,” and so on. All had a profound influence on the 20th-century poetry creation. This paper aims to analyze and discuss the important “Impersonal” theory from the three aspects of its connotation, the relationship between “Personality” and its intertextuality with New Criticism, so as to further understand Eliot’s poetic concepts.
8
Stougaard-Nielsen, Jakob. "Tidens rytmik." K&K - Kultur og Klasse 34, no. 102 (October 2, 2006): 108–28. http://dx.doi.org/10.7146/kok.v34i102.22319.
Повний текст джерелаАнотація:
Dante Alighieri, William Carlos Williams’ prosodi og Michel Serres Rhythm of TimeThe article discusses William Carlos Williams’s poetics and his particular conception of a modern prosody as expressed in the essay »Speech Rhythm« (1913) and as materialized in his experiments with a poetic form he himself termed »the variable foot« in »the triadic verse«. The article suggests that Williams’s poetics should be conceived as both an attempt to reinvigorate a typographically governed poetic language, his reaction to free verse, and as a larger figure for a poetic project which attempts to offer a poetic form to an unruly American idiom. Additionally, Williams’s new poetic measure is considered as an attempt to produce a poetic voice that could capture the rhythms and temporalities suggested by the modern age. Williams’s poetics present, then, a conflation of poetic scheme and trope, of prosody and anthropology, and are presented here as in tune with Ezra Pound, George Antheil, Albert Einstein and Michel Serres’ aesthetic and scientific abstractions of temporality. Williams’s poetic experiments offer a new measure for a modern »time«.
9
Pavlovna, Natalia. "POETIC DISCOURSE IN A TIME OF CRISIS: THE CONCEPT OF LYRICISM." Grail of Science, no. 18-19 (September 4, 2022): 222–34. http://dx.doi.org/10.36074/grail-of-science.26.08.2022.40.
Повний текст джерелаАнотація:
The study of poetic discourse received great impetus from the beginning of the twentieth century onward with the rise of general linguistics (Linguistic Poetics), and sociology (Sociological Poetics). As for Linguistic Poetics, presented in the framework of Roman Jakobson, it had exhausted its potential for theoretical inquiry. Sociological Poetics, on the contrary, has not yet received the attention it deserves. This paper provides a brief account of two projects of Sociological Poetics devised by Voloshinov/Bakhtin, and T. Adorno. It offers schematic conceptualization of the notion of lyricism; contains some observations on the aesthetic evaluation of the realization of the concept lyricism through the prism of rhetorical sublime.
10
Schweppenhäuser, Jakob. "Poetikkens kunstformer: Om forholdet mellem poesi og poetik i Niels Lyngsøs MORFEUS." K&K - Kultur og Klasse 37, no. 108 (August 22, 2009): 160–87. http://dx.doi.org/10.7146/kok.v37i108.22002.
Повний текст джерелаАнотація:
Art Forms in Poetics: On the Relationship between Poetry and Poetics in Niels Lyngsø’s MORFEUS:In Denmark, the genre of poetics has to a high degree developed into poets’ own reflections on their literary work and working process. This turn has resulted in a textual hybridity, restlessly oscillating between essayistic-theoretical orientation and poetic discourse. It has been pointed out that scholars have generally failed to pay attention to the artistic elements of such poetological writings. This is where this article takes its point of departure, probing Danish poet Niels Lyngsø’s abundant, complex and ambitious bastard piece MORFEUS from 2004 – a blend of visual poetry, sonnets, associative lists, essays on literature and the arts and many other forms. Inserted in a slipcase, the large quadratic, unpaged sheets, fastened with metal rings, seem extremely tactile; the reader becomes a percipient, a sensing body. As the poetry and the poetics are inseparably wrapped in each other, the poetic, sensuous perception mode is encouraged to be transferred to the ordinarily content-orientated reading of theoretical reflections. The point is now that this transfer turns out to be fruitful: the poetic function is at times strikingly operative. Passages where this is the case are analysed profoundly and the implications and perspectives of this fusion of poetry and poetics are unfolded.
11
WADA, Yugen. "Poetical Defects (dosa) in Sanskrit Poetics:." Journal of Indian and Buddhist Studies (Indogaku Bukkyogaku Kenkyu) 61, no. 1 (2012): 289–86. http://dx.doi.org/10.4259/ibk.61.1_289.
Повний текст джерела
12
Kalmykova, Vera V. "Osip Mandelstam as the author of the unwritten “Poetics”." Philological Sciences. Scientific Essays of Higher Education, no. 5 (September 2022): 61–72. http://dx.doi.org/10.20339/phs.5-22.061.
Повний текст джерелаАнотація:
In Russia 1910–20s — the time of the formation of poetics as a scientific discipline. Poetics as a science also attracted the attention of O.E. Mandelstam, who correlate his poetic practice with the current state of philology. N.S. Gumilev assumed that Mandelstam would write a study on poetics. In the articles and essays of the 1910 –30s, many categories of poetics were comprehended by Mandelstam: poet and poetry, art and reality, author, reader, the theme of a work of art, language and speech, etc. The original terminology of Mandelstam, which has no scientific character (“omitted links”, “meanings”, “Mention keyboard”).
13
Takacs, Axel Marc Oaks. "Transposing Metaphors and Poetics from Text to World." Journal of Sufi Studies 9, no. 1 (March 25, 2021): 106–44. http://dx.doi.org/10.1163/22105956-bja10008.
Повний текст джерелаАнотація:
Abstract This article examines the use of Sufi lexicons (iṣṭilāḥāt) through the relatively unknown Mystical Commentary of the Love Lyrics of Ḥāƒiẓ by Abū al-Ḥasan Khatamī Lāhūrī. It resituates the iṣṭilāḥāt within the context of the philosophical-Sufi tradition, engaging theories of metaphor, imagination, poetry, and imaginaries from Ricœur, Castoriadis, Lakoff and Johnson, and Caputo. Rather than employing the iṣṭilāḥāt to produce a static correspondence between poetic terms and metaphysical realities, Lāhūrī’s theo-poetics transposes the metaphors and poetics of the poems into metaphors and poetics of this phenomenal world. This reading challenges previous criticisms of Sufi commentaries, particularly on the dīvān-i Ḥāfiẓ. The critique that the application of iṣṭilāḥāt disembodies or allegorizes the poetic images is challenged when they are interpreted within the philosophical-Sufi tradition. Contrary to literary criticisms of iṣṭilāḥāt, the poem is not merely a formal suitcase for mystical meaning; rather, poetics, the poem’s content, and theology create a nexus of interpretation for Lāhūrī.
14
Sharma, Amrita. "Innovation and the Poetic Discourse: Reading Experimental Trends in Post-War American Poetry." SMART MOVES JOURNAL IJELLH 8, no. 1 (January 28, 2020): 8. http://dx.doi.org/10.24113/ijellh.v8i1.10371.
Повний текст джерелаАнотація:
This paper aims at analysing the rise of innovative and experimental poetics within the American poetic grounds and the factors that remain extremely influential in establishing an alternate poetic culture that emerged with the rise of modernism within poetic circles. With influential and significant American poetic voices like Ezra Pound, T.S. Eliot and innovative women poets like Gertrude Stein popularising the use of ‘experimental’ techniques within the processes of poetic construction, the American poetic culture witnessed the rapid growth of an alternate realm of poetic activity that particularly gained significant recognition in the post-war era. This paper attempts to present an overview of the various post-war poetic groupings that contributed to the establishment of an experimental tradition within contemporary American poetics.
15
Nykyforuk, Tetyana. "Sydir Vorobkevych on poetics: theme, idea." Current issues of social sciences and history of medicine 29, no. 1 (February 25, 2021): 98–100. http://dx.doi.org/10.24061/2411-6181.1.2021.252.
Повний текст джерелаАнотація:
The purpose of the article. To analyze the scientific literature related to the study of the elements of poetics of poetic works of S. Vorobkevych. To study the author's views on the form of a poetic text. Research methods are predetermined by the purpose and tasks of the work, the object of research and are complex. The hermeneutic method and comparative and comparative historical, biographical method makes it possible to find out the dependence of S. Vorobkevych’s views on poetics on the life basis. Scientific novelty. The realization of this task is also connected with the study of the writer's views on poetics. They may not always be correct, some judgments have undergone some changes chronologically, but their value in understanding the poetics of works is unquestionable. The writer mostly used the term "style", interpreting this category as a set of artistic means that distinguish the work of one author from another. S. Vorobkevych divided literature into poetry, prose and drama. He differentiated poetry into folk (folklore) and literary. He defined a literary work as a structure consisting of content and form. In the content segment, S. Vorobkevych defined a theme and an idea. In his own work, the writer described two themes: the theme of Bukovyna in various versions and the theme of the historical past of Ukraine. The poet defined the idea of a literary work as "pearl", "grain", "fruit". Conclusions. S. Vorobkevych’s arguments about the form of the literary work were important. The results obtained are an important material for expressing our knowledge of the poetics of S. Vorobkevych's poetic works; they are the material for comparison with the similar material on the artistic nature of Y. Fedkovych’s poetic works. Researcher might receive a general picture of the poetics of national poetry works in Bukovynain the second half of the nineteenth century on the basis of revealing common features, taking into account the data of other Ukrainian poets of the region of this period.
16
Thorsen, Bengerd Juul. "Baumgarten’s Meditationes as a Commentary on Horace’s Ars Poetica." Philosophica: International Journal for the History of Philosophy 22, no. 44 (2014): 9–25. http://dx.doi.org/10.5840/philosophica2014224415.
Повний текст джерелаАнотація:
In his first work, the poetics Meditationes philosophicae de nonnullis ad poema pertinentibus. Baumgarten frequently cites Horace’s Ars Poetica. Horace was highly esteemed by Baumgarten and his contemporaries, especially in the fields of poetics and art theory. Baumgarten uses Ars Poetica throughout Meditationes. but it is especially in the paragraphs introducing some of the key concepts of his philosophy that there is a significant amount of excerpts from Horace’s poetics. In this article, I examine if and how contemporary scholarly interpretations may have influenced these uses of Horace’s text and maybe even Baumgarten’s theory. Following a brief account of relevant commentaries as well as Horace’s position in contemporary art theory, I explore the implied interpretations of Ars Poetica in Baumgarten’s excerpts, focusing on his three key terms, phantasia. heterocosmica and methodum lucidam. Compared to the conception of Horace as expressed in the commentaries, this study suggests a complex interaction between those and Baumgarten’s art theory.
17
Takacs, Axel Marc Oaks. "Theological Aporia and the Cultivation of Desire: Reading Eriugena’s Creatio Ex Nihilo through an Islamic Theo-Poetics." Theological Studies 84, no. 4 (November 29, 2023): 679–707. http://dx.doi.org/10.1177/00405639231209055.
Повний текст джерелаАнотація:
This comparative theological article expands on John Thiel’s article on aporias in theological method. Through an Islamic theo-poetics, it complements the import of hermeneutics in theological method with poetics. In an Islamic theo-poetics, aporias are inverted: they are not impassable walls, but “liminal spaces” through which creative imagination and revelation emerge. Reading Eriugena’s Periphyseon through two Persian love lyrics by Ḥāfiẓ (and a later commentary) draws out the poetics of the former, a dialogue often described as an exercise in dialectical reasoning. Attention to the poetics of aporetics offers another way to understand the role of aporia in theology: to cultivate (infinite) desire for God. Theology is a theo-poetic reflection on the mystery of our communal theo(poïe)sis. Along the way, I indicate how theology construed as poetics—not merely hermeneutics—makes theological aesthetics possible, underscores the role of affective knowledge, and reveals how Eriugena the poet shaped Eriugena the dialectician.
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Bartczak, Kacper. "The Poetics of Plenitude in Peter Gizzi’s Recent Poetry." Polish Journal for American Studies, no. 11 (Autumn 2017) (2023): 391–407. http://dx.doi.org/10.7311/pjas.11/2/2017.11.
Повний текст джерелаАнотація:
This article continues my earlier exploration of an aesthetic, poetic, and cognitive phenomenon that I am calling “the poetics of plenitude.” Here, I trace this poetics in Peter Gizzi’s more recent volumes, with special attention given to his 2015 collection Archeophonics. In my discussion, I show how the term “plenitude,” which I distinguish against a number of other uses of this concept, evolves in Gizzi’s poems toward an emergence of a subjectivity. Such emergence is triggered within the space of a poem working as a device that modulates a specifically understood excess of externality. The externality engaged by Gizzi’s poetry is a kind of pragmatist composite that links the sense of the material presence of the world with the larger body of the earlier poetic descriptions of this presence. Since such amalgamation of matter with its existent poetic description entails contact with the poetic predecessors of the newly emerging poet, Gizzi’s variety of the poetics of plenitude also shows a new understanding of what Harold Bloom conceptualized when he argued that poetry is a response to the “anxiety of influence.”
19
Majeed AL-Nasiry, Nahida Taha, and Shatha Kathim AL-Saadi. "Cognitive Poetics and Teaching Poetry." Journal of Tikrit University for Humanities 27, no. 9 (November 26, 2020): 1–14. http://dx.doi.org/10.25130/jtuh.27.9.2020.24.
Повний текст джерелаАнотація:
Cognitive poetics is a brand-new field which comes into existence since the mid-seventies. The aim of the study is to theoretically explicate the relationship between cognitive poetics and literary genres.This study highlights the prominent ideas that cognitive poetics assists in teaching any literary genre especially, poetry. These ideas are exploiting metaphor in discussing aesthetically and cognitively any literary genre like poetry.The selected poem entitled Little Jonny‟s Confession by the British Liverpool poet Brian Patten is explained and discussed briefly to show the effect of cognitive poetic view on understanding the poem.
20
Davis, Megan. "Exiled Poetics." Art/Research International: A Transdisciplinary Journal 7, no. 2 (December 4, 2022): 351–68. http://dx.doi.org/10.18432/ari29676.
Повний текст джерелаАнотація:
Taking up the writings of Louise Glück and Mahmoud Darwish, this essay (re)searches the place and potential of a transnational, Edenic imagination as a vision of belonging amidst the alienation of modern life. Where a transnational poetics rejects ossified borders and boundaries, seeking porosity and imaginative possibilities that work across, around, through, and in-between, an Edenic imagination embraces a consciousness that simultaneously holds holy memory alongside longing for transcendence; so too do these ways of reading and seeing refract in the art-making I attempt as I seek the invisible web of connective, human tissue present in the poetic renderings of Eden by Glück and Darwish. As forces of modernity, colonization, and globalization maim and sever, a transnational, Edenic imagination gives language and location to our thirst for sacred inhabitance. As a method of inquiry, such a reading invites both researcher and reader to dwell in the liminal space of poetics. Guided by the poetic explorations of Eden and exile by Glück and Darwish, I work to consider how poetry itself becomes a hybrid site of belonging. The hope is that, through a deep (re)reading of the verses in which Glück and Darwish employ Eden as a metaphor, poetic inquiry might provide a way for us to more fully traverse categories of life, death, time, longing, space, and culture, exploring the complex matrices of our human experience and pursuit of home.
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Rohrbach, Emily. "Keats’s Vanishing Books." Romanticism 28, no. 2 (July 2022): 165–74. http://dx.doi.org/10.3366/rom.2022.0552.
Повний текст джерелаАнотація:
Keats’s poems written in the years leading up to his annus mirabilis, 1819, frequently feature books, but those references and images vanish from his poetic production in 1819 and the subsequent publication of that verse in his 1820 volume. This essay attempts to account for that shift in his poetics by exploring Keats’s relation to his friend and mentor Leigh Hunt, proposing that this poetic shift attends Keats’s political departure from Hunt’s privatised, metropolitan imagination in favour of a more public and egalitarian poetics of dispossession.
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Reysner, Marina L. "Beauty in the Mirror of Poetics [Book review:] N.Yu. Chalisova. Of Persian Beauty. The Lovers’ Companion by Šaraf ad-Dīn Rāmī. Analysis, translation from Persian, commentary, indices, and appendix. Moscow: Higher School of Economics Publishing House; 2021. 430 с." Orientalistica 5, № 1 (30 березня 2022): 147–56. http://dx.doi.org/10.31696/2618-7043-2022-5-1-147-156.
Повний текст джерелаАнотація:
The book under review is written by the renowned specialist in Iranian studies, the distinguished Russian scholar Natalia Yurievna Chalisova. She is known as the translator of the most significant and authoritative medieval Iranian treatises on poetics written in Classic Persian. The present book comprises a commented edition and translation of the poetical treatise by Sharaf ad-Din Rami under the title “Interlocutor of Lovers”, compiled in the 14th century. This is a unique work, which combines the features of the ‘ilm al-badi‘ (adornments of poetic speech) with the list of poetical hints and expressions as applied to describe the beauty beloved. The book will obviously not be neglected by a modern lay reader since it comprises a captivating narrative along with a curious list of “motives” used in medieval poetry to describe the object of love and praise ‘de capite ad calcem’. It will also attract a scholar's attention from academics to university teachers and students. Equally, the category of beauty in medieval poetics will earn the attention of medievalists, such as historians of medieval Iran, historians of art, culture and medieval philosophy, etc.
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Moskvichova, Oksana. "Poetical Text as the Specific Way of the Reflection of Reality." Studia Linguistica, no. 13 (2018): 215–27. http://dx.doi.org/10.17721/studling2018.13.215-227.
Повний текст джерелаАнотація:
The article is dedicated to the embodiment of reality in the poetic model of the world of the British poetry by means of the linguistic and poetic analysis of tropes as the way to actualize cognitive processes in the formation of the world model. By means of linguistic, poetic and cognitive analysis the cognitive aspect of the poetry of the British romantic, modern and post-modern periods is investigated. From the position of cognitive linguistics and cognitive poetics poetry is analyzed as the embodiment in the poetical works the result of cognition of a poet and his interpretation of reality on the background of his physical, social and cultural experience. Reconstruction of the poetical model of the world on the base of British poetical texts is accentuated on the notion of poetry and poetic texts, on the reflection of reality in poetry, on esthetic aspect of poetry and on linguistic and communicative peculiarities of poetry. The article is actual as the generalization of linguistic, poetic and cognitive paradigms aimed to the construction of the model of the world of different cultural and historic periods. The aim and the results of investigation are determined by the specification of the poetical viewpoint embodied in the British poetry of romantic, modern and post-modern periods.
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Hart, Jonathan Locke, and Ming Xie. "World Poetics and Comparative Poetics." University of Toronto Quarterly 88, no. 2 (August 2019): 91–100. http://dx.doi.org/10.3138/utq.88.2.01.
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Kemal, Salim. "ARABIC POETICS AND ARISTOTLE'S POETICS." British Journal of Aesthetics 26, no. 2 (1986): 112–23. http://dx.doi.org/10.1093/bjaesthetics/26.2.112.
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Младеновић, Јелена. "НЕОЛОГИЗАМ „ОНОЦВЕТНО” У АРИЉСКОМ АНЂЕЛУ БРАНКА МИЉКОВИЋА". PHILOLOGIA MEDIANA 14, № 1 (13 червня 2022): 35–44. http://dx.doi.org/10.46630/phm.14.2022.02.
Повний текст джерелаАнотація:
“The Angel of Arilje”, a poem from Branko Miljković’s volume of poems Fire and Nothing (1960), is the poet’s another expression of transforming the metaphysical into poetical. All the significant questions in Miljković’s poetics, furthermore, in neosymbolist poetics are mirrored in it: the relation between poetry and reality, erasing of subject (oblivion), and the nature of poem. Within the image of an angel (a fresco and poetic imagery), Miljković has discovered the desired balance between the material and the spiritual. The relation between the realities of the former and the latter side of the wall is a precondition for understanding Miljković’s notion of emptiness, not only as a place of birth of poetry, but also as the discovery of the ontological meaning. Having in mind the lexicographic aspect of the poem “The Angel of Arilje”, here we observe Miljković’s neologism “onocvetno/other-florally” as the key poetism in which Miljković’s creative principle of connecting metaphysics and poetry is epitomized.
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Humeniuk, Viktor I. "Figurative World of Poem by Taras Shevchenko “A Meditation (Water Is Flowing to the Blue Sea…)” and the Peculiarities of its Recreation in Crimean Tatar Translation." Studia Litterarum 7, no. 3 (2022): 280–97. http://dx.doi.org/10.22455/2500-4247-2022-7-3-280-297.
Повний текст джерелаАнотація:
Crimean Tatar translations of Taras Shevchenko’s poetic compositions are most perfectly represented in Simferopol publications as “Saylama sheerler” [“The elected Works”] (1940) and “Far and Near – Uzaq ve yaqyn – Shevchenko” (1999). A substantial contribution to this sphere was done particularly by such modern poets as Isa Abduraman, Yunus Kandym, Shakir Selim. Ablyaziz Veliyey is also among them, being the author of the poetical interpretations of such Shevchenko’s lyrics as “Don’t marry the rich one,” “Mother Gave Birth to Me” and also “A meditation (Water Is Flowing to the Blue Sea…).” The last composition and the comparison of it with Crimean Tatar translation is the main object of studying in the suggested publication. Personality of the stranger, who endures the ordeals at foreign land and thinks about his misfortune, being at sea coast, is in the centre of the composition. Laconically impressive metaphorical-picturesque imagery is characteristic to the poetics of this work. Permanent association of water flowing with irreversible flying of time is connected here with the poetic thoughts about the difficulties of human’s destiny. Genre-stylistic, versification, image-composition and other peculiarities of the origin are conveyed appropriately in Crimean Tatar interpretation by A. Veliyev. Conveying these peculiarities, the translator absolutely in accordance to the poetics of the origin, tactfully and spectacularly appeals to the poetic means of folk song.
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Ogle. "Poetic “being-with”: A Case for Relational Poetics." Interdisciplinary Literary Studies 23, no. 1 (2021): 69. http://dx.doi.org/10.5325/intelitestud.23.1.0069.
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Shvets, Alla. "FRANKO’S POETIC CYCLE “MOURNING SONGS”: ASPECTS OF POETICS." Слово і Час, no. 5 (October 11, 2021): 3–21. http://dx.doi.org/10.33608/0236-1477.2021.05.3-21.
Повний текст джерелаАнотація:
Franko’s poetic cycle “Mourning Songs” became the third in his collection “From the Heights and Lowlands” (1893), however, this cycle was not included in the first edition of the collection in 1887. Nine lyrical poems of the cycle “Mourning Songs” mainly belong to the genre of reflective-meditative lyrics, in which the author (lyrical subject) reflects on social structure, ontological and existential problems. The articulation of the mental state of the lyrical hero, his inner suffering, loneliness, social vacuum, feeling of being unwanted in the world are important motives here.
Franko purposely doesn’t arrange poems in chronological order but instead develops the inner plotline of the cycle with the following motives: guilt for the mournful mood of his muse, inner rebellion against social evil, apocalyptic vision of destroying the old world order, declaration of his solidarity with the humiliated, obsession with the idea of service, emotional despair, resignation and passive reconciliation with one’s own misfortune, statement of one’s social credo, the experience of loneliness and marginality, optimistic vision of the earthly paradise against the background of prison-like gloom.
As a result, eschatological motives appear: the domination of evil on earth inevitably will lead to its destruction for the sake of a new life and restoration of just law and order. In mood and stylistically, Franko’s jail poetry corresponds to the prison lyrics by Taras Shevchenko.
Each of the nine poems in the cycle has been considered in terms of poetics, genre, imagery, literary means, versification, as well as intertextual parallels at the level of reminiscences and allusions. The researcher paid attention to the character of the lyrical hero, the internal plot of the cycle, chronotopic organization, leitmotifs, folklore structures.
The philosophical meditations of the cycle “Mourning Songs”, perceived in the context of Franko’s biography, reflect the parallelism of the lyrical hero’s existence and the author’s psychobiography of the period marked by the first two arrests.
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Chang, Tsung Chi. "Unsettling Irish poetic tradition: Eavan Boland’s feminist poetics." Neohelicon 43, no. 2 (July 25, 2016): 591–601. http://dx.doi.org/10.1007/s11059-016-0345-x.
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S.V., Zhilyakov. "POETICS OF POETIC "MEMORIES": THE MAIN GENRE ATTRIBUTES." Philologos 56, no. 1 (2023): 47–55. http://dx.doi.org/10.24888/2079-2638-2023-56-1-47-55.
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Merilai, Arne. "Poetics is in the Genes. A Manifesto." Interlitteraria 27, no. 2 (December 31, 2022): 318–29. http://dx.doi.org/10.12697/il.2022.27.2.15.
Повний текст джерелаАнотація:
The manifesto “Poetics is in the Genes” reveals the commonality between poetics and genetics for the first time. Outside of cellular biology attempts have been made in both (text)linguistics and semiotics to describe the genome and its interactions as similar to language. However, the approach of this interpretation relies particularly on the poetic function of language and its underlying self-referentiality as the starting point. Poetic relevance reveals itself explicitly in its relationship to the cutting-edge concept of CRISPR (Clustered Regularly Interspaced Short Palindromic Repeats), which thematises abundant metric and figurative phenomena and terms on several levels: accumulation, regularity, interval, different repetitions, rhythm, iamb/trochee, stressed/unstressed units, longitude, orchestration; equivalency, substitution, connotation, contrast, analogy; synecdoche, metonymy, metaphor, irony, symbol, paradox, implicature, epithet, simile; palindrome, chiasmus, ellipsis, zeugma, calembour, polysyndeton; poem, verse, stanza, chapter, refrain, (identical) rhyme, collage/bricolage, plot, composition, text, hypertext, architext, palimpsest; graphic imagery, symmetry/asymmetry; homonyms, synonyms, antonyms, archaisms, neologisms; words, phrases, sentences, syntax, definition, quote; cacophony/noise, harmony; spatial and time deixis; self-reflexivity of the utterance and utterer. From this perspective, life stems from primordial poetics as the first level. It is a convincing enough association to apply poetic analysis to the free interpretation process of genomes. A universal law of nature is that symmetry dictates design (including asymmetry): poetics is everywhere.
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Nykyforuk, Tetyana, та Valeriyа Andriyets. "Literary reception of poetics of Sydir Vorobkevych’s poetic works in О. Makovei's literary and critical works". Current issues of social sciences and history of medicine, № 3 (31) (7 березня 2022): 49–51. http://dx.doi.org/10.24061/2411-6181.3.2021.292.
Повний текст джерелаАнотація:
This study is aimed to consider and systematize the literary and critical works of O. Makovei, to analyze the scientist’s thoughts about the poetics of S. Vorobkevych’s poetic works in terms of generics, metalogy, poetic syntax, phonics, versification, to outline the significance, value and objectivity of O. Makovei’s research. Research methods: analysis, synthesis, comparative and historical, comparative, descriptive, method of receptive poetics, biographical. Scientific novelty of the research. For the first time in Ukrainian literary criticism, the poetics of S. Vorobkevych's poetic works was studied through the prism of O. Makovei's vision; materials are analyzed in terms of generics, metalogy, poetic syntax, phonics, versification. Summary. Literary critic O. Makovei largely contributed to the study of the life and career of S. Vorobkevych primarily as a compiler of a three-volume edition of works by S. Vorobkevych. Studies related to the biography of the Bukovynian artist are also very interesting. Considerations about the periodization of S. Vorobkevych's poetic work are correct. O. Makovei is the author of the foreword “General Notes on the Poetry of Izydor Vorobkevych”. The researcher made a review in the newspaper “Bukovyna” about the published Vorobkevych collection “Over the Prut”. The review identifies three main theses related to the topic of this study: 1) while analyzing the poem of the author of the collection “Over Prut”, it is necessary to take into account the unity of verbal and musical rhythms; 2) most of the poems in the collection are written “in the style of folk songs”; 3) in the poems of S. Vorobkevych the influence of T. Shevchenko and P. Kulish is noticeable. The main provisions and conclusions of O. Makovei express the idea of the peculiarities of the poetics of the poetic works of S. Vorobkevych and might be a good basis for further research in this perspective.
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Sharp, Zachary Daniel. "“Fitter to Please the Court Than the School”: Courtly and Paideutic Rhetoric in Elizabethan Poetics." Rhetorica 38, no. 1 (2020): 57–83. http://dx.doi.org/10.1525/rh.2020.38.1.57.
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This paper argues that Elizabethan handbooks on poetics enact two coevolving traditions in the history of rhetoric and poetics: one sees poetry as a rhetorical art of stylistic invention, while the other sees it as an object of study, analysis, and ethical training. To show this, I examine George Puttenham's Art of English Poesy and contrast it with William Scott's recently discovered Model of Poesy. Puttenham demonstrates how poetic style works as a tool of rhetorical invention; Scott, on the other hand, treats poetics as a method of literary critical analysis. Scott's poetics, I argue, is derived from a “paideutic” tradition, the aims of which mirror those found in educational treatises that concern the hermeneutic training students received in English grammar schools. Puttenham, writing for courtiers, instead makes a case for poetics as a means of rhetorical adaptation at court—his handbook, in short, shows poetry to be a rhetorical and pragmatic art of verbal performance that exists outside the schoolroom.
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Sharifi, Ahmad, and Mohammad Reza Hashemi. "A study of poetics in Coleman Barks’ translations of Rumi." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 18, no. 2 (November 11, 2020): 127–49. http://dx.doi.org/10.1075/forum.20004.has.
Повний текст джерелаАнотація:
Abstract Coleman Barks’ translations of Rumi’s works are astonishingly popular, especially among the American public. The study presented here deals particularly with the role of poetics in shaping the image and reception of Rumi’s works in the target language and culture. Thus, it describes and analyses Barks’ approach/strategies in rendering the poetic elements of Rumi’s poems, and examines Barks’ translation poetics in the context of the dominant poetics in the target literature. The corpus of the study is delimited to Barks’ renditions of the poems of the first book of the Masnavi included in The Essential Rumi (1995). The findings involve Barks’ modifications in favor of the formal and structural conventions of English poetry, the linguistic and literary norms of the target language and the taste and communicative needs of the target audience as well as the conformity of Barks’ translation poetics with the dominant poetics and ideology of his time.
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Shaytanov, Igor. "Comparative/Historical Poetics in an Age of Cultural Studies." Style 57, no. 1 (February 2023): 1–10. http://dx.doi.org/10.5325/style.57.1.0001.
Повний текст джерелаАнотація:
ABSTRACT “Comparative poetics” does not belong to the set of established terms. It was introduced by Earl Miner (1990) and might have heralded an ambitious project if not immediately undermined by the subtitle “An Intercultural Essay on Theories of Literature.” It did not take long to find that poetics did not easily agree with cultural studies as they were proposed. The word, reduced to a sign and viewed as a function, was cut off from its poetic significance. In search for a new poetics, a special interest has been recently demonstrated toward “historical poetics” only vaguely heard of before thanks to the eminent Russian scholars (the Formalists, Bakhtin, and Propp) but still less known in its original form worked out by Alexander Veselovsky. His magnum opus, unfinished by the author, may serve as a guide in our search for method to restore the study of verbal art as poetics of world literature.
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Shidmehr, Nilofar. "Poetic Inquiry and Its Lyrical Potential for Research." in education 20, no. 2 (November 14, 2014): 12–20. http://dx.doi.org/10.37119/ojs2014.v20i2.180.
Повний текст джерелаАнотація:
Including both discursive and lyrical inquiry as complementary sides of research and education, educational poetics is a way of re-imagining education that creates greater critical awareness of and ethical responsibility for our learning processes and inspires learners to employ their human potential for imagination and critical thinking to revise and remake "common sense."Keywords: education; educational poetics; pedagogy; poetic inquiry; the lyrical
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Locke Hart, Jonathan. "The Culture of Poetics and the Poetics of Culture of Marshall McLuhan – Toronto and Canada, Text and Context." University of Toronto Quarterly 91, no. 4 (November 1, 2022): 74–99. http://dx.doi.org/10.3138/utq.91.4.04.
Повний текст джерелаАнотація:
This article discusses Marshall McLuhan’s idea of Canada and his work on poetry, poetics, humanities, and related subjects. McLuhan’s sense of poetry, poetics, technology, culture, and nature depends in part upon his view of Canada. He sees the connections between the United States and Canada while also admitting some distinctions. Britain, France, Canada, and the United States are interrelated in the forging of boundaries and identities. The article assumes that McLuhan’s contribution to the long-time debate on Canadian identity is thoughtful, poetic, far-reaching, and deserving of detailed attention. The figure of the artist is important for McLuhan, who says that the electric age should be the opposite of surface and requires more thought and work. Discussing poetry, McLuhan examines Ezra Pound, who wrote notes to T.S. Eliot’s The Waste Land. McLuhan provides notes or glosses to his own work in his poetic vision in The Gutenberg Galaxy, and his culture of poetics and poetics of culture were of Toronto, the University of Toronto, Canada, North America, and beyond. For McLuhan, the electric age gives Canada – a borderline case – advantages and provides new ways of thinking.
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Tahmasebian, Kayvan, and Rebecca Ruth Gould. "The Translational Horizons of Iranian Modernism: Ahmad Shamlu’s Canon of the Global South." Twentieth-Century Literature 68, no. 1 (March 1, 2022): 25–52. http://dx.doi.org/10.1215/0041462x-9668884.
Повний текст джерелаАнотація:
This article explores how the Iranian poet and translator Ahmad Shamlu (1925–2000) reconceives the configuration of world poetics. Working at the intersection of global modernism and translation studies, it traces the formation of a Persian modernist poetics of solidarity on the basis of translations from so-called third-world literatures and explores how Shamlu’s political aesthetic traverses national borders to embrace ignored and marginalized poetic traditions. Rather than relying on French and other European modernisms to reinvigorate his national literature, Shamlu made available to his Iranian contemporaries a broad panorama of world literature that brought together Global Southern literatures, modernist poetics, and transnational political commitments. In tracing the literary and political forms shaped by Shamlu’s poetics of global solidarity, this article develops a post-Eurocentric framework for the study of Iranian literary modernism.
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Martin, Richard P. "Hesiod's Metanastic Poetics." Ramus 21, no. 1 (1992): 11–33. http://dx.doi.org/10.1017/s0048671x00002654.
Повний текст джерелаАнотація:
The received wisdom about Hesiod's poetics is simple: he is no Homer. His poetry is supposedly rough, awkward, unsophisticated, repetitive, disjointed, a second-best versifier's striving after effect. Too often the rhetoric even of those who respect Hesiodic poetry damns it with faint praise. Readers of the Princeton Encyclopedia of Poetry and Poetics—to take just one easily available reference that students might consult—learn that Hesiod's ‘didactic epics’ were meant forthe peasant of Boeotia rather than the Ionian aristocrat, being concerned with the morality and beliefs of the small farmer toughly confronting a life of ceaseless labor and few rewards. While they cannot be compared to Homer's works in scope or genius, they often display much poetic power.
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Al-Rayes, Hamad. "A Speculative Poetics of Tammuz: Myth, Sentiment, and Modernism in Twentieth Century Arabic Poetry." Labyrinth 22, no. 2 (February 17, 2021): 156. http://dx.doi.org/10.25180/lj.v22i2.243.
Повний текст джерелаАнотація:
In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement.
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Moll, François. "Dissolution du sujet et specularite minerale dans la poetique de Roger Caillois." Studia Universitatis Babeș-Bolyai Philologia 67, no. 3 (September 20, 2022): 287–302. http://dx.doi.org/10.24193/subbphilo.2022.3.28.
Повний текст джерелаАнотація:
"Dissolution of the Subject and Mineral Specularity in the Poetics of Roger Caillois. Heir to analogical thought – which is a scientific, philosophical and poetic thought of nature – Roger Caillois develops a demanding poetic ethics. Postulating, in his critical and poetic work, the necessary dissolution of the subject, Caillois only seeks to strengthen his presence, to ward off his fear of indistinction and to ensure, ultimately, his own scriptural legitimacy. In doing so, he chooses stone, which he opposes to the indecent volubility of the plant, as a literary model of sustainability, as the emblem of his poetics and as a lyrical mirror through which alone he agrees to appear in his own text. Keywords: Caillois, poetry, nature, dissolution, subject"
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Al-Rayes, Hamad. "A Speculative Poetics of Tammuz: Myth, Sentiment, and Modernism in Twentieth Century Arabic Poetry." Labyrinth 22, no. 2 (December 30, 2020): 156–76. http://dx.doi.org/10.25180/lj.v22i2.250.
Повний текст джерелаАнотація:
In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement.
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Feddern, Stefan, and Andreas Kablitz. "Mimesis." Poetica 51, no. 1-2 (September 22, 2020): 1–84. http://dx.doi.org/10.30965/25890530-05101001.
Повний текст джерелаАнотація:
Abstract This article starts off from the observation of the deeply polysemic character of the term mimesis in current literary studies. On the one hand, it is used to denote a poetics of imitation which was mainly derived from the Poetics of Aristotle and was to become the predominant conception of poetry in early modern times until the advent of Romanticism. On the other hand, besides this historical meaning, mimesis has, at the same time, a systematic significance. It refers to any poetics that defines poetry as a specific representation of reality. In this sense, the poetics of realism is quite unanimously considered to be a paradigmatic example of mimetic literature. Our attempt to bring together both sides of the notion of mimesis, to connect its systematic and its historical meaning, is based on a theoretical approach developed in the first part of our study by a criticism of Wittgenstein’s notion of “family resemblance” (Familienähnlichkeit). In the second part, this theoretical model is used for an analysis of the conception of mimesis in Plato’s Republic, Aristotle’s Poetics, and Horace’s Ars poetica.
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Rarytskyi, Oleh. "Ivan Prokofiev is a poet and researcher of literature." IVAN OHIIENKO AND CONTEMPORARY SCIENCE AND EDUCATION SCHOLARLY PAPERS PHILOLOGY, no. 18 (December 29, 2021): 169–83. http://dx.doi.org/10.32626/2309-7086.2021-18-2.169-183.
Повний текст джерелаАнотація:
The article deals with the artistic creativity and literary studies work of writers who at diff erent times were students or teachers of the University of Kamianets-Podilskyi. In particular, the literary and literature studies heritage of Ivan Prokofi ev is outlined, some aspects of his creative evolution are highlighted, the specifi cs of poetic and scientifi c research, some details of their interactions are revealed, psychological factors of their mutual intensifi cations are analyzed.I. Prokofi ev’s poetic works are full-fl edged, artistic and informative. The au-thor’s own poetic practice signifi cantly helped him to penetrate into the deep layers of other writers’ poetics form and content, which provided the scientifi c novelty of his research. The possession of the ability of creating images activated the intuition of the scientist in the comprehension of complicated associative complexes.The study of Leonid Talalai’s poetics performed by I. Prokofi ev is analyzed separately. It is about the infl uence of I. Prokofi ev’s poetic abilities on his compre-hension of the form and content peculiarities of L. Talalai’s works, in particular the intuitive foundations of the latter’s poetry. The methods of psychological refresh-ment of reception and comprehension of poetic works used by I. Prokofi ev are ana-lyzed. As one of the most important facets of L. Talalai’s poetics, I. Prokofi ev con-siders the historiosophical motives of his lyrics, traces the evolution of the writer’s understanding of the Ukraine’s historical role from ancient times to the present.The experience of I. Prokofi ev’s implementation of the slow, hypersensi-tive reading method of poetic texts, the reception in the state of proposed by him «literary clairvoyance» of author’s individual methods of creating images and integration of deep poetic meanings is noteworthy. The article can be useful for researchers of individual poetics and other literary critics.In our opinion, the scientifi c practice of poets who deal with literary studies, including I. Prokofi ev, has certain prospects for the more profound study of fi ction.
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YOON, Hyonyung. "T. S. Eliot’s Objective Poetics and the Locus of Emotion." Journal of the T. S. Eliot Society of Korea 32, no. 2 (January 31, 2023): 147–71. http://dx.doi.org/10.14364/t.s.eliot.2023.32.2.147-71.
Повний текст джерелаАнотація:
My paper aims to find the locus of emotion in T. S. Eliot’s objective poetics. Eliot is best known as the promulgator of modern poetics of objectivity in contrast to the Romantic conception of poetry emphasizing subjective feelings. Specifically, along with “an objective correlative,” “impersonality,” defined as “escape from emotion” or “escape from personality,” becomes the watchword identifying the objectivity of his poetic theory. The problem is that the subsequent Modernist reception of Eliot’s poetics contains misunderstanding it as if it disregarded the emotional aspect of poetry. But, actually, Eliot affirms emotion and personality as the essential poetic experiences over and over again throughout his essays on poetry. And even in those scholars who have recognized that affirmation, the problem lies, too: they are at a loss, looking on Eliot’s acknowledgment of both personality and impersonality as a contradiction. In an attempt to solve these problems, my thesis has raised and justified the argument that Eliot, in his basic premise, allocates “impersonality” in the sphere of the poetic technique of creation and “personality” or “emotion” in the locus of the poetic content. By finding the locus of emotion in another poetic sphere than the objective technique, my argument has concomitantly clarified that Eliot’s conceptions of personality and impersonality are not contradictory at all but consistent over the critical writings published throughout his career.
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Bécel, Laurence. "“Poethic” Particulars: Anne Waldman’s Poetics of Detail in Manatee/Humanity." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 11 (October 18, 2019): 50. http://dx.doi.org/10.12681/syn.20893.
Повний текст джерелаАнотація:
In Manatee/Humanity (2009), Anne Waldman investigates our world through a poetics of detail that records diversity in what Édouard Glissant calls the ‘totality- world,’ against the threat of ‘monolithic’ representations of the world that, inWaldman’s terms, are shaped by totalitarian discourses. The poet’s language engagesher own relationship with the world. As Waldman asks: “What is poetry’srelationship to the composite world, /in the relative world?” In Manatee/Humanity, Waldman deals with relativity through a Buddhist conception of time. Besides, her poetic quest echoes Édouard Glissant’s definition of a poetics of Relation and challenges the ability of poetic writing to account for a Glissantian relationship with the world. Waldman’s interrogation also entails a questioning of the relation betweenthe ‘particulars’ of the world and the world as structure. This essay argues that Waldman uses detail as an epistemological standpoint for herpoetics of interconnected particulars which is entwined with an ethical approach to our contingent world, and may be defined as a poetics of Relation.
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Claramonte Arrufat, Jordi. "Tipologías y métodos de la intervención poética. Un breve acercamiento desde la estética." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada 1, no. 18 (January 9, 2012): 48. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.201218548.
Повний текст джерелаАнотація:
Este artículo propone una división tripartita de las prácticas poéticas en el espacio público: poéticas de denuncia, colaborativas y relacionales. Señalaremos a su vez algunas de las fortalezas y algunas de las flaquezas específicas de las que se pretenden prácticas efectivas en un nivel poético o en un nivel político. Con el fin de pensar mejor esta doble efectividad, el artículo se cierra con la introducción de elementos conceptuales y teóricos que pueden resultar útiles. Palabras clave: Estética modal, repertorios, disposiciones, paisajes. This article argues that poetic practices that take place in public space fall into three categories: poetics of denunciation, collaborative poetics, and relational poetics. We will highlight some of the strengths and weaknesses of those which aim to be effective practices on a poetic or political level. With a view to rethinking this double effectiveness, we will close this article with a series of conceptual and theoretical elements that could be of use. Keywords: Modal Aesthetics, repertoires, dispositions, landscapes
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Calderón Quindós, M. Teresa. "Blending as a theoretical tool for poetic analysis." Annual Review of Cognitive Linguistics 3 (October 31, 2005): 269–99. http://dx.doi.org/10.1075/arcl.3.14cal.
Повний текст джерелаАнотація:
The relation between Linguistics and Poetics has often been a controversial issue in Poetic Studies. With the advent of Cognitive Linguistics and its open disposition to consider any kind of discourse as interesting enough samples of human thought — and human thought being discovered to be of a figurative nature — doors have been widely opened to poetry. Despite the firm reluctance of some Literary sectors to move beyond traditional Poetics, the works by E. Semino, P. Stockwell, Gavins & Steen and M. Freeman are clear confirmation of the modern tendency to incorporate CL findings into poetic analysis. The present paper explores this relation once again. Based on the “unity-in-variety” aesthetic principle, it analyses the way Blending Theory provides the necessary resources to consider any single piece of the poem in the integration network. The paper also offers a systematic methodology — illustrated with a brief analysis of Seamus Heaney’s “Oracle” — which intends to make a contribution to the discipline of Poetics mainly in the educational field.
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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.