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Journal articles on the topic 'A poetics of listening'

Author: Grafiati

Published: 4 June 2021

Last updated: 10 February 2022

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1

Coronil, Fernando. "Listening to the Subaltern: The Poetics of Neocolonial States." Poetics Today 15, no. 4 (1994): 643. http://dx.doi.org/10.2307/1773104.

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Long, Paul. "The poetics of recorded time: Listening again to popular music history." Popular Music History 12, no. 3 (2020): 295–315. http://dx.doi.org/10.1558/pomh.42114.

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WAKE, CAROLINE. "The Politics and Poetics of Listening: Attending Headphone Verbatim Theatre in Post-Cronulla Australia." Theatre Research International 39, no. 2 (2014): 82–100. http://dx.doi.org/10.1017/s0307883314000029.

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This article analyses Stories of Love & Hate, a headphone verbatim play produced in the aftermath of the Cronulla Riots in Sydney, Australia. While verbatim theatre typically invites audiences to listen therapeutically, Stories of Love & Hate enacts and enables two alternative forms of listening. First, it enacts the paradoxical mode of ‘ethical eavesdropping’; second, it enables the metatheatrical mode of ‘mediatized listening’. In doing so, the play asks spectators to reconsider whom they listen to and how. It also asks scholars to reconsider claims that verbatim theatre gives voice

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DeLuca, Erik. "Wolf Listeners: An Introduction to the Acoustemological Politics and Poetics of Isle Royale National Park." Leonardo Music Journal 26 (December 2016): 87–90. http://dx.doi.org/10.1162/lmj_a_00982.

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Listening to wolf howls as both material object and socially constructed metaphor highlights the contested relationship between nature and culture. The author conducted field research on Isle Royale National Park from 2011 to 2015, from which data he offers a narrative wherein citizen-scientists who listen for the howl literally “lend their ears” to a wolf biologist who has led the longest continuous predator-prey study in the world. The theoretical framework of this essay extends acoustic ecology, first theorized by R. Murray Schafer, to include environmental history and cultural theory, whic

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Schlosser, Joel Alden. "A Poetics of American Citizenship: Blackness, Injury, and Claudia Rankine’s Citizen." Law, Culture and the Humanities 16, no. 3 (2016): 432–53. http://dx.doi.org/10.1177/1743872116674918.

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Theories of citizenship have relied both explicitly and implicitly on the concept of “standing.” This article challenges “standing” as a metaphor of citizenship by contrasting it with that of “injury.” Examining Claudia Rankine’s Citizen elucidates a poetics of citizenship that both calls attention to what prevents many black citizens in the United States from standing and provides a basis for alternative practices of citizenship. Refusing a politics of ressentiment often tied to identification of social injury, Citizen prefigures a transformed citizenship of tarrying, listening, and transform

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Zieliński. "Women as Victims of War in Homer’s Oral Poetics." Humanities 8, no. 3 (2019): 141. http://dx.doi.org/10.3390/h8030141.

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The article presents the problem of the empathy felt by the author or authors of the Iliad and Odyssey towards women depicted as victims of war. Understanding of the world in the Homeric poems may be misinterpreted today. Since Homer’s works are a product of oral culture, in order to determine his intentions, it is necessary to look at them from the perspective of the tradition from which they derive. Furthermore, the author of an oral work can be deemed as creative because s/he shapes his/her story through interaction with the listening audience. The different aspects of the relationship of w

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Gorji, Mina. "John Clare and the Language of Listening." Romanticism 26, no. 2 (2020): 153–67. http://dx.doi.org/10.3366/rom.2020.0461.

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This essay examines the representation of listening in a number of Clare's 1832 poems, paying attention to the language used, including prepositions, ideophones, verb forms, dialect and literary allusion. It considers how listening locates and is located in his poems and argues that in ‘The Fernowls Nest’ literary allusion is an especially appropriate language for describing the poem's strangely displaced sounds. It proposes that Clare's listening is alert and responsive to different aural perspectives, that it is compound and reflexive, and especially attuned to moments of aural ambiguity, wh

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Alff, David. "Before Infrastructure: The Poetics of Paving in John Gay's Trivia." PMLA/Publications of the Modern Language Association of America 132, no. 5 (2017): 1134–48. http://dx.doi.org/10.1632/pmla.2017.132.5.1134.

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Infrastructuralism denotes an emerging field of critical inquiry dedicated to understanding the facilities, equipment, and personnel that deliver civilization's most basic amenities, including water, light, heat, waste disposal, and transportation. How did writers portray infrastructure before it became a word and concept? In his 1716 mock-georgic poem Trivia; or, The Art of Walking the Streets of London, John Gay depicted one element of eighteenth-century society's built underpinnings, the street, as an assemblage of decaying but reparable matter, a site for disparately institutionalized form

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Farina, Diego Lock. "Notas sobre (ou acordes para) o Noturno do Chile, a tormenta ruidosa de Roberto Bolaño." Scriptorium 4, no. 2 (2019): 122. http://dx.doi.org/10.15448/2526-8848.2018.2.32539.

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Noturno do Chile, de Roberto Bolaño, funciona como uma autêntica máquina literária de denúncia, de afinada ironia e instigante trabalho estético. Tendo como narrador em primeira pessoa um padre extremamente envolvido com a ditadura de Pinochet, a obra opera uma tormenta ruidosa na forma que faz os signos estremecerem, ao passo que contra-assina a voz do próprio narrador que cria. O presente ensaio busca analisar as sutilezas formais que Bolaño desenvolve no controverso combate interno entre as memórias do narrador e a matéria narrada historicamente contextualizada, visando ainda entender como

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Torra-Mattenklott, Caroline. "The Fable as Figure: Christian Wolff's Geometric Fable Theory and Its Creative Reception by Lessing and Herder." Science in Context 18, no. 4 (2005): 525–52. http://dx.doi.org/10.1017/s0269889705000657.

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ArgumentIn his Philosophia practica universalis (1738–39), Christian Wolff proposes a “mathematical” theory of moral action that includes his statements on the Aesopian fable. As a sort of moral example, Wolff claims, the fable is an appropriate means to influence human conduct because it conveys general truths to intuition. This didactic concept is modeled on the geometrical figure: Just as students intuit mathematical demonstrations by looking at figures on a blackboard, one can learn how to execute complex actions by listening to a fable. Wolff's “scientific” fable theory met with an ambiva

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Creighton, Alexander. "Chekhov’s fiddle: Towards a musical poetics of fiction." Short Fiction in Theory & Practice 9, no. 2 (2019): 129–43. http://dx.doi.org/10.1386/fict_00006_1.

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This article explores what it means to listen to Chekhov and how this listening can provide a useful comparative framework for the study of time in short fiction. Since the tune of Chekhov’s stories lies partly in their strategic silences, we must attend as much to the unsaid, the musical rests, as to what is told. To theorize the meaningful relations that exist in and between a story’s silences and its words, I analyse two of Chekhov’s stories – ‘Easter Night’ and ‘The Bishop’ – with respect to two key terms: melodic setting and harmonic characterization. These terms refer to phenomena that r

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Forrest. "“The mind / is listening”: Aurality and Noise Poetics in the Poetry of William Carlos Williams." William Carlos Williams Review 33, no. 1-2 (2016): 63. http://dx.doi.org/10.5325/willcarlwillrevi.33.1-2.0063.

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Forrest, Seth. "“The mind / is listening”: Aurality and Noise Poetics in the Poetry of William Carlos Williams." William Carlos Williams Review 33, no. 1-2 (2016): 63–80. http://dx.doi.org/10.1353/wcw.2016.0015.

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Moslemi, Amir Abbas, and Shiva Hemmati. "Heteroglossia: Bakhtinian Dialogism within a Play's Monologue." International Letters of Social and Humanistic Sciences 52 (May 2015): 55–60. http://dx.doi.org/10.18052/www.scipress.com/ilshs.52.55.

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This study tries to expand the richness of Bakhtin’s theory of novel by showing the reader that its thorough features could be traced back in a play rather than a novel, considering it more than what is usually the basis of “historical poetics” mainly in the form of a novel accentuating the constitution of a social ideology besides an individual one while gesturing dialogically in the interaction between representation in its textual form and particularities of its proper probable forces in their socio-historical stratifications within notions such as dialogism, intertextuality, heteroglossia

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Butler, Shane. "Animal listening." Journal of Interdisciplinary Voice Studies 6, no. 1 (2021): 27–38. http://dx.doi.org/10.1386/jivs_00035_1.

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The ‘Elegy on the Nightingale’ is a curious Latin poem of uncertain (but probably post-classical) date and authorship that is transmitted by several medieval manuscripts. It offers a catalogue of animal sounds rich in what linguists call iconicity, and literary scholars, onomatopoeia: to read these verses aloud is to imitate the sounds being described. The poem begins in address to the nightingale of its title, praised for her ability to make music by mimicking all she hears. By the end has the poem itself done the same? For all their playfulness, the verses strike at the heart of our own theo

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Freer, Alexander. "Musicality and the Limits of Meaning in Wordsworth and Kant." Paragraph 36, no. 3 (2013): 324–43. http://dx.doi.org/10.3366/para.2013.0097.

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I argue that the difficulty Kant encounters in evaluating music in the third Critique is caused by his problematic attempt to separate sound (the physical phenomenon) from meaning. Analogously, Wordsworth attempts in the Preface to divide metrical pleasure and the feeling derived from the semantic meaning of poems. In both cases, this separation can be overcome by a radical, Romantic understanding of musicality, whereby music not only participates in meaning but becomes its grounds. While this remains latent in Kant, Wordsworth's ‘Tintern Abbey’ can assert the centrality of listening to thinki

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Laarif, Boutheina Boughnim. "Poetry: The Experience of Listening." Janus Head 18, no. 1 (2020): 30–41. http://dx.doi.org/10.5840/jh20201813.

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As a verbal art, the “specifica poetica ” of poetry is incontestably its peculiar rhythmic and sound patterning. Regarded as a ‘twin-sister’ of music, as it originally was meant to be sung, poetry offers a different experience of language and the world. Reciting a poem, reading it ‘aloud mentally’, or simply listening to someone else’s recitation is not a trifle experience. It may prove unsettlingly significant in the light of recent philosophical treatments, inscribed into Heidegger’s existential thought based on his multi-dimensional notion of temporality intrinsic in Being/Dasein, notably,

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Ryle, Simon. "Shakespeare’s e-a-r." Cahiers Élisabéthains: A Journal of English Renaissance Studies 100, no. 1 (2019): 24–43. http://dx.doi.org/10.1177/0184767819863812.

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This article analyses the relation of the printing press and theories of media and writing technology to Shakespearean poetics. It explores listening and alphabetic letters in Shakespeare’s language, drawing from the criticism of Joel Fineman and Jean-Luc Godard’s King Lear (1987), as well as instances in early modern culture in which language might seem to fragment or separate from the body, including the exegetical practice known as ‘text crumbling’ and recusant exorcisms. Proposing a media archaeology of aural and textual fragmentation, the article considers how and why Shakespeare’s attent

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Sivuoja-Gunaratnam, Anne. "Miniatures and tensions: phenomenological reverberations in and around Kaija Saariaho's Lichtbogen (1985-86)." Articles 25, no. 1-2 (2012): 44–66. http://dx.doi.org/10.7202/1013305ar.

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The article studies miniatures in Kaija Saariaho's Lichtbogen for nine musicians and live electronics (1985-86). The research material consists of records, the score and composer's interviews and articles. Methodologically, the article is based on Gaston Bachelard 's phenomenology (The Poetics of Space) and Denis Smalley's "Spectromorphology." Miniatures are subtle spatio-temporal constellations, which require a non-global listening strategy, or an "aural magnification glass" in order to be perceived. In Saariaho's case, these miniatures are often imbued with musical tension, which reverberate

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20

Mailman, Joshua Banks. "UPON THE OCCASION OF THE MILTON BABBITT (1916–2011) CENTENARY: AN INTERVIEW WITH BENJAMIN BORETZ." Tempo 70, no. 278 (2016): 29–44. http://dx.doi.org/10.1017/s0040298216000322.

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AbstractThis edited transcript of a public pre-concert discussion with composer, theorist and critic Benjamin Boretz not only touches on early personal encounters with Babbitt but also ranges over issues of reception of his music, listening experiences, transformations of music's temporality, connections to Schoenberg, Webern, Cage, and postmodernism, stylistic changes over Babbitt's career and composerly poetics, as well as motivations and consequences for precompositional structures and systems. The discussion took place on 22 November 2015, at the first of three recitals during the 2015–16

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21

Stewart, Sheila. "The Grief Beneath Your Mothertongue: Listening Through Poetic Inquiry." LEARNing Landscapes 4, no. 1 (2010): 85–104. http://dx.doi.org/10.36510/learnland.v4i1.364.

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This paper examines the process of writing a first poetry collection, A Hat to Stop a Train, as an example of poetic inquiry that has taught, and continues to teach about listening in and through language. It explores language as mothertongue, beginning with our relationships with our mothers and entwined with developing a poetic voice. Poetic inquiry brings insights into issues of silence and voice, loss and grief, for the author and her own writing, and also for the adult literacy learners she works with, whose circumstances and cultural and linguistic dislocations require careful listening.

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22

Dörries, Matthias. "The Art of Listening." Historical Studies in the Natural Sciences 51, no. 4 (2021): 468–506. http://dx.doi.org/10.1525/hsns.2021.51.4.468.

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Music and seismology merged in the daily work of the Caltech professor Hugo Benioff, who united the avant-garde technology of the 1920s with a nineteenth-century Helmholtzian aesthetic, cultural, and scientific understanding of music. The transducer facilitated this merger, mediating between science and music and allowing for new ways of listening to waves outside the audible range. Benioff had the capacity to listen—“listening” understood here not as passive perception, but as an active search to distinguish and separate signal from noise, whether from in- or outside of the instrument. For mo

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Hovey, Richard B., Valerie Curro Khayat, and Eugene Feig. "Listening to and letting pain speak: poetic reflections." British Journal of Pain 12, no. 2 (2017): 95–103. http://dx.doi.org/10.1177/2049463717741146.

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The humanities invite opportunities for people to describe through their metaphors, symbols and language a means in which to interpret their pain and reinterpret their new lived experiences. The patient and family all live with pain and can only use their pain narratives of that experience to confront or even to begin to understand the quantifiable discipline of medicine. The patient and family narratives act to retain meaning within a lived pained experience. These narratives add meaning to the person as a stay against only having a clinical–pathological understanding of what is happening to

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Briggs, Charles L. "Dear Dr. Freud." Cultural Anthropology 29, no. 2 (2014): 312–43. http://dx.doi.org/10.14506/ca29.2.08.

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Framed as a letter to Sigmund Freud, this text weaves precariously between psychoanalytic interpretations of mourning and laments sung during an epidemic of an unknown disease in the Delta Amacuro rain forest of Venezuela in 2008. This encounter extends reflection on the ways that Freud, Klein, Laplanche, Nasio, and other psychoanalysts have characterized “the work of mourning,” urging attention to the poetics, acoustics, and bodily materiality of lamentation. Focusing on a meeting that took place just before the burial of a young man, it explores claims made by lamenters on audiences, interpe

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Iațeșen, Loredana Viorica. "7. Advocating the Poetics of Sound in the Cycle Les Nuits d´Été by Hector Berlioz." Review of Artistic Education 15, no. 1 (2018): 59–73. http://dx.doi.org/10.2478/rae-2018-0007.

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Abstract By consulting monographies, musicological studies, specialty articles about the personality of romantic musician Hector Berlioz and implicitly linked to the relevance of his significant opera, one discovers researchers’ constant preoccupation for historical, stylistic, analytical, hermeneutical comments upon aspects related to established scores (the Fantastic, Harold in Italy symphonies, dramatic legend The Damnation of Faust, dramatic symphony Romeo and Juliet, the Requiem, etc.). Out of his compositions, it is remarkable that the cycle Les nuits d´été was rarely approached from a m

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CENCIARELLI, CARLO. "Bach and Cigarettes: Imagining the Everyday in Jarmusch'sInt. Trailer. Night." Twentieth-Century Music 7, no. 2 (2010): 219–43. http://dx.doi.org/10.1017/s147857221100017x.

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AbstractIn Jim Jarmusch'sInt. Trailer. Night(2002) a young American actress, alone in her trailer for a ten-minute break, lights up a cigarette and puts on a CD of theGoldberg Variations. In this short, almost plotless experimental film Bach sounds outside the frameworks that typically motivate the diegetic presence of so-called ‘classical music’ in cinema, detached from the places and signifiers of high art and from high-level meanings and pointed occurrences. This unusual representation of listening opens up two complementary lines of enquiry: first, into the way in which Jarmusch draws on B

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Hanuszkiewicz, Marcin. "The Death of Language: Listening to the Echoes (of Georges Bataille) in "Star Wars: Knights of the Old Republic II—The Sith Lords"." Text Matters, no. 10 (November 24, 2020): 257–73. http://dx.doi.org/10.18778/2083-2931.10.16.

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This article is, firstly, an analysis of Kreia, a character from the Star Wars: Knights of the Old Republic II—The Sith Lords video game, a character whose role in the game is pivotal: the conversations the player has with Kreia serve as the main narrative basis for the entire game experience. Secondly, on the basis of a collection of quotations from these conversations, this article juxtaposes Kreia and Georges Bataille. An intriguing variant of the blind seer trope is revealed in Kreia through studying the game’s poetics, in which a focus on the sense of hearing is discerned. Kreia and Batai

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MASLOVA, Marina Valentinovna. "LISTENING POETIC SPEECH ON RUSSIAN LESSONS IN THE 5th GRADE." Tambov University Review. Series: Humanities 22, no. 6 (170) (2017): 131–37. http://dx.doi.org/10.20310/1810-0201-2017-22-6(170)-131-137.

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Marks, Donald R., Jed Seltzer, Jeffrey P. Beck, and Jennifer Block Lerner. "Lectiofor living: an exploration of mindful listening to poetic texts." Journal of Poetry Therapy 31, no. 2 (2018): 87–106. http://dx.doi.org/10.1080/08893675.2018.1448952.

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Ullah, Sahar Ishtiaque. "Postclassical Poetics: The Role of the Amatory Prelude for the Medieval Islamic Republic of Letters." Cambridge Journal of Postcolonial Literary Inquiry 3, no. 2 (2016): 203–25. http://dx.doi.org/10.1017/pli.2016.11.

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AbstractThe prophetic encomia—panegyrics dedicated to the prophet Muhammad—are one of the most often recited forms of Arabic poetry up to today and are grounded in a cultural milieu where hagiography, competitive circulation of narrative and counter-narratives, rituals and esoteric practices, and educational institutions have a role in its formation. The unifying of the classical erotic poetic with the postclassical devotional created out of the encomium a vehicle that encapsulated palpable memory, nostalgia, and aspirational ideal for a greater past and beloved subject and successfully left a

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Richter, Sandra Regina, and Dulcimarta Lemos Lino. "estar à escuta: música e docência na educação infantil." childhood & philosophy 15 (October 28, 2019): 1–24. http://dx.doi.org/10.12957/childphilo.2019.43941.

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This paper brings studies around the poetic dimension of language to approach the relationship between teaching in preschool education and the experience of being open and listening as an aesthesic way of coexisting in the world. The approximation of philosophy, arts and preschool education from the reunion between music and education highlights that listening refers to the sound of meaning, and not to the meaning of the sound to be interpreted. The dialog with the thinking of Jean-Luc Nancy, stating that the sensible sense/meaning arouses the intelligible sense/meaning and in a constant movem

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Görtschacher, Wolfgang. "‘I start again with every story, listening’: Sound, silence and voice in two short stories by David Constantine." Short Fiction in Theory & Practice 11, no. 1-2 (2021): 73–89. http://dx.doi.org/10.1386/fict_00037_1.

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This article examines sound and the sonic aspects of voice and silence in two short stories by David Constantine – ‘Tea at the Midland’ and ‘Under the Dam’ – to show that they are not only relevant for an analysis of his poetry but also for his short stories. Employing Jonathan Sterne’s definition of sonic culture as a theoretical starting point, the phonotextual (Garrett Stewart) multiplicity of patterns in each text is seen as an alternative to the protagonists-focalizers’ ‘silenced’ situation and is associated with their desired joys in life. In ‘Tea at the Midland’ the withheld soundscape

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Roeske, Tina, Pauline Larrouy-Maestri, Yasuhiro Sakamoto, and David Poeppel. "Listening to birdsong reveals basic features of rate perception and aesthetic judgements." Proceedings of the Royal Society B: Biological Sciences 287, no. 1923 (2020): 20193010. http://dx.doi.org/10.1098/rspb.2019.3010.

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The timing of acoustic events is central to human speech and music. Tempo tends to be slower in aesthetic contexts: rates in poetic speech and music are slower than non-poetic, running speech. We tested whether a general aesthetic preference for slower rates can account for this, using birdsong as a stimulus: it structurally resembles human sequences but is unbiased by their production or processing constraints. When listeners selected the birdsong playback tempo that was most pleasing, they showed no bias towards any range of note rates. However, upon hearing a novel stimulus, listeners rapid

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Prince, Cali. "Bone Poems: Listening and Speaking from the Ground." Ethnographic Edge 2, no. 1 (2018): 77. http://dx.doi.org/10.15663/tee.v2i1.33.

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As a practice-led researcher traversing the multiple worlds that exist between artists, communities and institutions, I turned to poetry to begin to speak the unspeakable; to retrieve the metaphorical bones of a story that were taken out. The bones of this story came through the voices of four women who lived and worked at a site located in Western Sydney. Their stories opened a crack in the findings of the research. Unexpectedly their stories interconnected. In an emergent process rather than a predetermined one, the poetic became a way to bring some of the fragmented ‘bones’ of this story to

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Hooper, Michael. "CONFUSION IN THE SERVICE OF DISCOVERY." Tempo 69, no. 272 (2015): 12–23. http://dx.doi.org/10.1017/s0040298214000990.

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AbstractWhile some research results from consistent processes, careful methodologies and detailed planning, much practice-based research resists these strategies, privileging knowledge that remains complex and unstable. This knowledge frequently sits outside sequences of analysis, such as testing or deduction. Yet there is nothing new about the kind of knowledge that resists clarity. In The Progressive Poetics of Confusion in the French Enlightenment, John O'Neal argues for complexity and confusion as essential parts of an Enlightenment project in writing from the eighteenth century, and claim

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Snowber, Celeste. "The mentor as artist: a poetic exploration of listening, creating, and mentoring." Mentoring & Tutoring: Partnership in Learning 13, no. 3 (2005): 345–53. http://dx.doi.org/10.1080/13611260500107424.

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Ramsay, Lorna Louise. "Performing Embodied Pedagogy: Listening to the Small Talk of My Injured Back." in education 20, no. 2 (2014): 147–60. http://dx.doi.org/10.37119/ojs2014.v20i2.176.

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I approach my new class of teachers-in-training with familiar embodied postures of discomfort and pain, anxiety and fear. I listen to my embodied poetic texts and reinterpret them through an injured body as inquiry into all my identities as musician, writer, photographer, educator, and yogi. I introduce myself to my new students by playing my flute, a vulnerable demonstration and invitation to negotiate corporeal histories through arts-based expression and transformative writing processes.

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Opiela, Anna. "La musique sacralisée dans les œuvres de quelques écrivains romantiques." Quêtes littéraires, no. 3 (December 30, 2013): 66–75. http://dx.doi.org/10.31743/ql.4606.

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This article analyses poetic visions, based on synesthesia and referring to Swedenborg’s correspondence theory, evoked by listening to music. In these visions the musical impressions are in some way sanctified and they contribute to the development of the spiritual area. This aesthetic phenomenon is noticeable in Balzac’s novels. The music for him is the light penetrating the listener’s soul and a means of accessing divine mysteries. Similarly, in George Sand’s works music is the inspiration to create soulful poetic visions and the character of Consuelo who, by her singing, is vouchsafed by di

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Cherneyko, L. O. "ORDINARY CONSCIOUSNESS: ITS BOUNDS AND FORMS OF SPEECH." Bulletin of Kemerovo State University, no. 3 (July 28, 2016): 194–202. http://dx.doi.org/10.21603/2078-8975-2016-3-194-202.

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The paper is devoted to the problem of two types of ordinary consciousness – metalinguistic and poetic. Selected by R. Jakobson, metalinguistic and poetic functions of the language are considered with a focus on speaking and listening that allows you to select “speaker metatexts” (“narrow” = “definitive” and “wide” = “evaluative” presented by reflexives) and “listener metatext”. Special attention is paid to such little-studied speech fact as "meta-apologies", for which there are no conventional rules. The paper also raises the problem of studying the metatext (particulary metaevaluations) in a

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Hoffman, Julie Wasmund, and Jennifer L. Martin. "Critical Social Justice Inquiry Circles: Using Counter-Story as a Counter-Hegemonic Project." Qualitative Inquiry 26, no. 6 (2019): 687–94. http://dx.doi.org/10.1177/1077800419859028.

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This article presents a qualitative dialogic poetic response in the form of a critical social justice inquiry circle and a critical reading of Long Way Down by Jason Reynolds as poetry and as an intentional gesture of listening as activism. This discourse is one of resistance to the acritical/apolitical nature of schooling and to prepare hegemonic/White educators to become culturally responsive (ala Milner) and to devise a new critical methodology, we embark on this radical proposition. Our use of critical social justice inquiry circles using poetic dialogue is inspired by Denzin’s conception

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Michaelsen, Cathrine Bjørnholt. "The Ethos of Poetry: Listening to Poetic and Schizophrenic Expressions of Alienation and Otherness." Journal of the British Society for Phenomenology 52, no. 4 (2021): 334–51. http://dx.doi.org/10.1080/00071773.2021.1915697.

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Desblaches, Claudia. "Listening to the mute voices of prose in recent American short stories." English Text Construction 1, no. 1 (2008): 125–40. http://dx.doi.org/10.1075/etc.1.1.10des.

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This article aims at investigating the indeterminate voices in the short prose of Flannery O’Connor, Patricia Eakins and Barry Hannah. Thus, it focuses on the ‘acousmatic voice’ of O’Connor’s prose: all the hidden sounds, noises and silences that reveal more than the overt narrative voice and trigger a hermeneutic response from the reader. In relation to Patricia Eakins’s short stories, the article analyses how the voice of her prose compensates for the indeterminacy of her surrealist universe. It investigates, in this respect, the musical quality of her prose as well as the poetic rhythms whi

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Brown, Lachlan. "Listening for “The Silence of the Night”: Reading Kevin Hart’s “The Voice of Brisbane”." Religion and the Arts 16, no. 4 (2012): 357–80. http://dx.doi.org/10.1163/156852912x651063.

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AbstractThis essay undertakes a close reading of Kevin Hart’s poem “The Voice of Brisbane” alongside three pertinent voices. The first voice belongs to Yves Bonnefoy and concerns his translation of the French termévidence. Taking into account Hart’s own admiration of Bonnefoy, this essay contrasts the kinds of experiential and poetic claims that the two poets make. The second voice belongs to St. John of the Cross. Hart’s poem owes much to the kinds of mystical meditation that St. John advocates. The third voice belongs to Synesius of Cyrene, a fifth-century Platonist and bishop, whose poem “A

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Walmsley, Heather L., Susan Cox, and Carl Leggo. "“It’s a Trash”: Poetic Responses to the Experiences of a Mexican Egg Donor." Art/Research International: A Transdisciplinary Journal 2, no. 1 (2017): 58. http://dx.doi.org/10.18432/r2qg9q.

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This paper explores the use of found poetry as interpretive and aesthetic inquiry into the meaning and experience of reproductive tourism. The context is an ethnographic study of transnational egg donation, focusing upon the fertility services industry in Cancun, Mexico. Our source is an audio-recorded interview conducted with Maria, a young Mexican woman who struggles to maintain her integrity as a single mother donating eggs to a fertility clinic. Drawing upon Maria’s story, we experiment with three forms of found poetry as a method for listening deeply to her voice. In this paper, we share

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Penwarden, Sarah, and Adrian Schoone. "Pull of Words." Art/Research International: A Transdisciplinary Journal 6, no. 2 (2021): 347–68. http://dx.doi.org/10.18432/ari29572.

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Poetic inquirers immerse themselves in the flow of life, listening for art in the ordinary world, offering a response through voice and written word. The biennial International Symposium on Poetic Inquiry, which draws poet-scholars from across disciplines and the world, showcases the artful use of poetry in research as a method of inquiry. In this article, the Fifth Symposium on Poetic Inquiry is relived by two attendees who interrogate found poems they each created from presentations and performances. The poems are brought together as a means of researching each author’s respective approaches

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Costa, Erick Gontijo. "Poema do pensamento: as “Artes poéticas” de Sophia de Mello Breyner Andresen." Revista do Centro de Estudos Portugueses 38, no. 60 (2019): 25. http://dx.doi.org/10.17851/2359-0076.38.60.25-41.

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Resumo: Neste ensaio, investiga-se a articulação entre poesia e pensamento na obra de Sophia de Mello Breyner Andresen. Para isso, aproximam-se as reflexões contidas nas “Artes poéticas” da autora, o pensamento sobre a poesia de Martin Heidegger e o pensamento do poeta Friedrich Hölderlin sobre o papel do poeta e da poesia como fundadores da medida humana no mundo. Dessas aproximações, extraem-se pontos de convergência e diferenças que singularizam a poética de Sophia. Por fim, propõe-se que a obra da poeta portuguesa se escreve no limiar entre poesia e pensamento, como poema em que há sempre

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Norris, Christopher. "In Defence of 'Structural Listening': Some Problems With the New Musicology." Musicological Annual 41, no. 2 (2005): 19–45. http://dx.doi.org/10.4312/mz.41.2.19-45.

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This essay raises a number of issues with regard to recent developments in music theory. Among them is the turn against 'analysis' or 'structural listening' on account of their (supposed) investment in a discourse of mainstream musicology whose aim is to perpetuate the canon of acknowledged 'great works' and the kinds of elitist value-judgement that are conventionally applied to such works. Along with this goes the idea – derived from Paul de Man and exponents of literary deconstruction – that notions such as those of 'organic form', structural unity, thematic integration, long-range tonal or

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Turkel,, Marian C. "A Journey into Caring as Experienced by Nurse Managers." International Journal of Human Caring 7, no. 1 (2003): 20–26. http://dx.doi.org/10.20467/1091-5710.7.1.20.

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The purpose of this phenomenological research was to capture the meaning of caring as experienced by nurse managers during interactions with staff nurses. Data analysis was guided by the phenomenological method (Ray, 1985; van Manen, 1990). Essential themes of growth, listening, support, intuition, receiving gifts, and frustration were described by participants. Variant themes of touch, humor, flexibility, counseling, limitations, and competency also emerged. Interpretive themes of nurses’ way of being, reciprocal caring, and caring moment as transcendence were identified. The unity of meaning

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Bowen, John R. "A Modernist Muslim Poetic: Irony and Social Critique in Gayo Islamic Verse." Journal of Asian Studies 52, no. 3 (1993): 629–46. http://dx.doi.org/10.2307/2058857.

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Muslim movements in the twentieth century have sought to develop new reading and listening publics attuned to the messages of reform and renewal. Across Asia and the Middle East, scholars, poets, and activists have created distinctive vernacular genres intended to make the words of scripture widely available. Newspaper columns, quickly printed tracts, and popular poetry have been shaped to the task of tafsīr, the interpretation of scripture. International networks of printers, booksellers, and, more recently, television producers have extended the reformist's reach far beyond older networks of

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Holzberg, Niklas. "Äsopische geschichten in Meisterlied, Spruchgedicht und comedi." Beiträge zur Geschichte der deutschen Sprache und Literatur 140, no. 4 (2018): 489–504. http://dx.doi.org/10.1515/bgsl-2018-0038.

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Abstract Hans Sachs, who, in upwards of 6000 poetic works, brought literature to the German-speaking urban middle and lower classes, adapted for his largely illiterate audience lengthy portions of Steinhöwel’s ›Esopus‹, including the ›Life of Aesop‹, turning them into Meisterlieder, Spruchgedichte, and a comedi. The ›Life‹ was the source, for one, of selected episodes which he could each rework adeptly for easy listening as individual shorter texts. In the work he wrote for the stage, ›Esopus der fabeldichter‹, moreover, he used his skill as dramatist to link a few episodes from the ›Life‹ and

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