Log in

Relevant bibliographies by topics / Central American Experimental poetry

Contents

Journal articles
Dissertations / Theses
Books
Book chapters
Conference papers

Academic literature on the topic 'Central American Experimental poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 6 February 2022

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Central American Experimental poetry.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Central American Experimental poetry"

1

Ku, Taehun. "Modern American Experimental Poetry: Objectivism and Language Poet." British and American Language and Literature Association of Korea 121 (June 17, 2016): 1–16. http://dx.doi.org/10.21297/ballak.2016.121.1.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Damon, M. "Race and the Avant-Garde: Experimental and Asian American Poetry since 1965; Poetic Obligation: Ethics in Experimental American Poetry after 1945." American Literature 82, no. 1 (January 1, 2010): 216–18. http://dx.doi.org/10.1215/00029831-2009-088.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Kim, Daejoong. "Dialectics of Aesthetic Politics in Asian American Experimental Poetry." Journal of East-West Comparative Literature 42 (December 31, 2017): 219–39. http://dx.doi.org/10.29324/jewcl.2017.12.42.219.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Glaser, Ben. "Folk Iambics: Prosody, Vestiges, and Sterling Brown's Outline for the Study of the Poetry of American Negroes." PMLA/Publications of the Modern Language Association of America 129, no. 3 (May 2014): 417–34. http://dx.doi.org/10.1632/pmla.2014.129.3.417.

Full text

Abstract:

Studies of the New Negro Renaissance have long emphasized the emergence in black poetry of the vernacular and of folk-oriented rhythms in particular. Sterling Brown's critical work and poetry show, however, that traditional English meters had a central role in the discourse and poetics of New Negro poetry. Reading his 1931 Outline for the Study of the Poetry of American Negroes together with James Weldon Johnson's Book of American Negro Poetry (1922) suggests that these meters counteracted dominant racialized ideas about black bodies, rhythms, and song. The polymetrical surface of Brown's own early poem “When de Saints Go Ma'ching Home” (1927) reveals that Brown treated iambic pentameter as a vernacular form, destabilizing entrenched divisions between conventional and innovative, white and black, past and present. Future studies of black poetry might therefore look to prosodic hybridity as a powerful critique of audience ideology.

APA, Harvard, Vancouver, ISO, and other styles

5

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.

Full text

Abstract:

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.

APA, Harvard, Vancouver, ISO, and other styles

6

Engelbert, Jo Anne. "Neither hades nor hell: Problems of allusion in the translation of central American poetry." Language & Communication 10, no. 1 (January 1990): 57–62. http://dx.doi.org/10.1016/0271-5309(90)90024-6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Bonilla Navarro, José Francisco. "Tendencias temáticas y discursivas de la poesía centroamericana del siglo XIX (Trends in Topics and Discourse in 19th-Century Central American Poetry)." LETRAS 2, no. 60 (February 22, 2017): 45. http://dx.doi.org/10.15359/rl.2-60.2.

Full text

Abstract:

El estudio es una exploración histórica sobre algunos aspectos del desarrollo de la poesía centroamericana a lo largo del siglo XIX, como parte de un proyecto más amplio para la recuperación documental y comentada, de una importante manifestación del género lírico, escasamente tratado por la crítica. Se describe la recopilación El Parnaso centroamericano (1882), del que se hacen observaciones sobre sus criterios de selección, la temática predominante, y las tendencias estético-discursivas de los poemas recogidos: poesía panegírica, poesía patriótica, poesía amorosa, metapoesía.The study is a historical exploration of certain aspects in the development of Central American poetry during the 19th century. It was carried out as part of a larger project for the recovery and analysis of documents corresponding to a significant manifestation in the genre of poetry which has been somewhat overlooked by literary critics. A description is provided of El Parnaso centroamericano (1882), with a commentary on selection criteria, the predominant issues, and the esthetic discourse tendencies of the poems collected: panegyric poetry, patriotic poetry, love poetry, and metapoetry.

APA, Harvard, Vancouver, ISO, and other styles

8

Bachmann, Pauline, and Jasmin Wrobel. "Redes da Poesia Experimental: Arquivos, Sítios, Coleções." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 7, no. 1 (November 17, 2019): 237–46. http://dx.doi.org/10.14195/2182-8830_7-1_13.

Full text

Abstract:

Apresentação sumária de oito sítios web relacionados com o tema deste número "Redes da Poesia Experimental". Figuram na seleção os seguintes sítios web: Arquivo Digital da PO.EX: Poesia Experimental Portuguesa; poesia concreta: o projeto verbivocovisual; Archivo Guillermo Deisler (1940-1995); Arquivo Centro de Arte Experimental Vigo; Stephanie Strickland Papers, 1955-2016; Documents of 20th-century Latin American and Latino Art; Archiv Sohm e The Sackner Archive of Visual and Concrete Poetry. DOI: https://doi.org/10.14195/2182-8830_7-1_13

APA, Harvard, Vancouver, ISO, and other styles

9

White, Ashanti L. "Race and the Avant-Garde: Experimental and Asian-American Poetry Since 1965 (review)." Callaloo 34, no. 1 (2011): 210–13. http://dx.doi.org/10.1353/cal.2011.0019.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

McCaffery, Steve. "Race and the Avant-Garde: Experimental and Asian American Poetry since 1965 (review)." University of Toronto Quarterly 80, no. 2 (2011): 373–74. http://dx.doi.org/10.1353/utq.2011.0031.

Full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Dissertations / Theses on the topic "Central American Experimental poetry"

1

Brown, Nathan. "The materials technoscience and poetry at the limits of fabrication /." Diss., Restricted to subscribing institutions, 2008. http://proquest.umi.com/pqdweb?did=1678685111&sid=4&Fmt=2&clientId=1564&RQT=309&VName=PQD.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Evans, Meagan. "Sounding Silence: American Women's Experimental Poetics." Thesis, University of Oregon, 2013. http://hdl.handle.net/1794/12946.

Full text

Abstract:

Traditional feminist readings have valued women's writing that voices silenced experiences. In contrast, other twentieth-century theoretical formulations regard absences, refusals, and silences as constitutive of aesthetic practice rather than as imposed upon it. This dissertation attends carefully to how U.S. women writers approach the nonlinguistic, accounting for how they have been silenced as well as for the kinds of silencing that women poets themselves perform. It argues that U.S. women's experimental poetry is driven by contradictory relationships to language and silence: in one strain, gendered cultural repression spurs American women poets to push language into new territory, often figured as speaking out. But in another mode, female identification with the nonrational or nonlinguistic, whether externally enforced or strategically inhabited, impels women to develop poetic silences in order to resist the impositions of language on a feminized other. Meeting these simultaneous and opposed goals--creating poetic forms capable of greater expressive range while signaling the inadequacy of linguistic expression--necessitates formal experimentation. My primary claim that an unresolved ambivalence toward the nonlinguistic drives innovation dictates an emphasis on formal technique, including syntax, rhyme and meter, sentence and stanza structure, and figuration. This attention to poetic particulars grounds my contextualization of the work of each poet I consider--Emily Dickinson, Lorine Niedecker, and Gwendolyn Brooks--in relation to her own life, to broader literary and cultural histories, and to poststructuralist theories of language. The first chapter of my dissertation explores the role that early American, particularly Puritan and Transcendental, attitudes toward wilderness shape poetic motivations both to extend and limit the reach of language throughout the nineteenth and twentieth centuries. In subsequent chapters, I evaluate how those motivations change in the context of Dickinson's nineteenth-century spirituality, Niedecker's modernist and postmodernist anxieties about the role of the poet, and Brooks's engagement with the politics and aesthetics of black nationalism. Reading U.S. women's poetic innovation as simultaneously breaking and cultivating silences opens a dialogue among historically feminist understandings of silence as oppressive, theories that put silence at the heart of poetic impulse, and avant-garde theoretical conceptions of linguistic experimentation as a feminist project.

APA, Harvard, Vancouver, ISO, and other styles

3

Bizzari, Lauren E. "An Experimental Assessment of Blight-Resistant American Chestnut Success on Reclaimed Mine Lands Across Central Appalachia." Ohio University / OhioLINK, 2013. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1374230662.

Full text

APA, Harvard, Vancouver, ISO, and other styles

4

Pieterse, Annel. "Language limits : the dissolution of the lyric subject in experimental print and performance poetry." Thesis, Stellenbosch : Stellenbosch University, 2012. http://hdl.handle.net/10019.1/71855.

Full text

Abstract:

Thesis (PhD)--Stellenbosch University, 2012.
ENGLISH ABSTRACT: In this thesis, I undertake an extensive overview of a range of language activities that foreground the materiality of language, and that require an active reader oriented towards the text as a producer, rather than a consumer, of meaning. To this end, performance, as a function of both orality and print texts, forms an important focus for my argument. I am particularly interested in the effect that the disruption of language has on the position of the subject in language, especially in terms of the dialogic exchange between local and global subject positions. Poetry is a language activity that requires a particular attention to form and meaning, and that is licensed to activate and exploit the materiality of language. For this reason, I have focused on the work of a selection of North American poets, the Language poets. These poets are primarily concerned with the performative possibilities of language as it appears in print media. I juxtapose these language activities with those of a selection of contemporary South African poets whose work is marked by the influence of oral forms, and reveals telling interplays between media. All these poets are preoccupied with the ways in which the sign might be disrupted. In my discussion of the work of the Language poets, I consider how examples of their print poetics present the reader with language fragments, arranged according to non-syntactic principles. Confronted by the lack of an individuated lyric subject around whom these fragments might cohere, the reader is obliged to make his/her own connections between words, sounds and phrases. Similarly, in the work of the performance poets, I identify several aspects in the poetry that trouble a transparent transmission of expression, and instead require the poetry to be read as an interrogation of the constitution of the subject. Here, the ―I‖ fleetingly occupies multiple, shifting subject positions, and the poetic interplay between media and language tends towards a continuous destabilising of the poetic self. Poets and performers are, to some extent, licensed to experiment with language in ways that render it opaque. Because the language activities of poets and performers are generally accommodated within the order of symbolic or metaphoric language, their experimentation with non-communicative excesses can be understood as part of their framework. However, in situations where ―communicative‖ language is expected, the order of literal or forensic language cannot accommodate seemingly non-communicative excesses that appear to render the text opaque. Ultimately, I am concerned with exploring the manner in which attention to the materiality of language might open up alternative understandings of language, subjectivity and representation in South African public discourse. My conclusion therefore considers the consequences when the issues opened up by the poetry – questions of self and subject, authority and representation – are translated into forensic frameworks and testimonial discourse.
AFRIKAANSE OPSOMMING: My proefskrif bied ‘n breedvoerige oorsig van ‘n reeks taal-aktiwiteite wat die materialiteit van taal sigbaar maak. Hierdie taal-aktiwiteite skep tekste wat die leser/kyker noop om as vervaardiger, eerder as verbruiker, van betekenis in ‘n aktiewe verhouding met die teks te tree. Die performatiewe funksie van beide gesproke sowel as gedrukte taal vorm dus die hooffokus van my argument. Ek stel veral belang in die effek wat onderbrekings en versteurings in taal op die subjek van taal uitoefen, en hoe hierdie prosesse die die dialogiese verhouding tussen lokale en globale subjek-posisies beïnvloed. Poëtiese taal-aktiwiteite word gekenmerk deur ‘n fokus op vorm en die verhouding tussen vorm en inhoud. Terwyl die meeste taalpraktyke taaldeursigtigheid vereis ter wille van direkte kommunikasie, het poëtiese taal tot ‘n mate die vryheid om die materaliteit van taal te gebruik en te ontgin. Om hierdie rede fokus ek selektief op die werk van ‘n groep Noord-Amerikaanse digters, die sogenaamde ―Language poets‖. Hierdie digters is hoofsaaklik met die performatiewe moontlikhede van gedrukte taal bemoeid. Voorts word hierdie taal-aktiwiteite met ‘n seleksie kontemporêre Suid-Afrikaanse digters se werk vergelyk, wat gekenmerk word deur die invloed van gesproke taalvorms wat met ‘n verskeidenhed media in wisselwerking gestel word. Al hierdie digters is geïnteresseerd in die maniere waarop die inherente onstabiliteit van linguistiese aanduiers ontgin kan word. In my bespreking van die werk van die Language poets ondersoek ek voorbeelde van hul gedrukte digkuns wat die leser voor taalfragmente te staan bring wat nie volgens die gewone reëls van sintaks georganiseer is nie. Die gebrek aan ‘n geïndividualiseerde liriese subjek, waarom hierdie fragmente ‘n samehangendheid sou kon kry, noop die leser om haar eie verbindings tussen woorde, klanke en frases te maak. Op ‘n soortgelyke wyse identifiseer ek verskeie aspekte wat die deursigtige versending van taaluitinge in die werk van sekere Suid-Afrikanse performance poets belemmer. Hierdie gedigte kan eerder gelees word as ‘n interrogasie van die proses waardeur die samestelling van die subjek in taal geskied. In hierdie gedigte bewoon die ―ek‖ vlietend ‘n verskeidenheid verskuiwende subjek-posisies. Die wisselwerking van verskillende media dra ook by tot die vermenigvuldiging van subjek-posisies, en loop uit op ‘n performatiewe uitbeelding van die destabilisering van die digterlike ―self.‖ Digters en performers is tot ‘n mate vry om met die vertroebelingsmoontlikhede van taal te eksperimenteer. Omdat die taal-aktiwiteite van digters en performers gewoonlik binne die orde van simboliese of metaforiese taal val, kan hul eksperimentering met die nie-kommunikatiewe oormaat van taal binne hierdie raamwerk verstaan word. Hierdie oormaat kan egter nie binne die orde van letterlike of forensiese taal geakkommodeer word nie. Ten slotte voer ek aan dat ‘n fokus op die materialiteit van taal alternatiewe verstaansraamwerke moontlik maak, waardeur ons begrip van die verhouding tussen taal, subjektiwiteit en representasie in die Suid-Afrikaanse publieke diskoers verbreed kan word. In my slothoofstuk oorweeg ek wat gebeur as die kwessies wat deur die bogenoemde performatiewe taal-aktiwiteite opgeroep word – vrae rondom die self en die subjek, outoriteit en representasie – binne ‘n forensiese raamwerk na die diskoers van getuienis oorgedra word

APA, Harvard, Vancouver, ISO, and other styles

5

Ledesma, Eduardo. "The Historic Avant-Garde, the Neo-Avant-Garde and the Digital Age: Experimental Visual-Textual Forms in the Luso-Hispanic World." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10286.

Full text

Abstract:

My dissertation examines the experimental poetry of three periods, the historical avant-garde of the 1920s, the neo-avant-gardes of the 1950s, 60s, and 70s, and the digital avant-garde (from the 1990s until the present), drawing on the works of poets from the Luso-Hispanic world including the Iberian Peninsula and Latin America. Scholars such as Renato Poggioli and Peter Bürger define the avant-garde as radically new and unrepeatable, an "advanced" guard that exhausted its aesthetic and political possibilities. I challenge this view by establishing a continuity of avant-gardes that emerge during periods of technological innovation and cultural exchange, introducing new artistic modalities, engaging with emerging media and re-purposing the strategies of past avant-gardes to their own historical conditions. Experimental poetic practices such as visual, kinetic, phonetic, concrete, video poetry, and poetic performance have unfolded over time and across national boundaries in response to global, social, and technological forces. My focus is on poetry broadly understood as works that "experiment" with the interplay between the visual, the sonorous and the verbal, questioning both genre and medium specificity, and contesting traditional discipline-bound tools of analysis. In order to critically approach poems that are often not printed on a page, and depend on more than verbal communication, I draw on disciplines such as literary analysis--including close-readings--media theory, and film analysis, and deploy theories of metaphor, embodiment and affect to interpret works that focus on the materiality of language through typographic experiments, script animation, and performance. The selection includes poems by authors from the 1920s such as Josep M. Junoy, Joan Salvat-Papasseit, José Juan Tablada, Guilherme de Almeida; neo-avant-garde visual and concrete poets from the 1960s such as Joan Brossa, Julio Campal, Edgardo Vigo, and Décio Pignatari; and their contemporary counterparts working with digital media such as Ana María Uribe, Olga Delgado, María Mencía, Arnaldo Antunes, and Eduardo Kac. Examining digital poetry in the light of older poetic practices, I compare and contrast how artists have queried the status of literature as a purely script-based art, considering how notions of experimental literature have changed through time (diachronically), but also isolate each period (synchronically).
Romance Languages and Literatures

APA, Harvard, Vancouver, ISO, and other styles

6

Rodabaugh, Hannah Marie. "A Flower Opened in the Stinking." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1280785012.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Salter, Tiffany M. "Decolonizing Forms:Linguistic Practice, Experimentation, and U.S. Empire in Asian American and Pacific Islander Literature." The Ohio State University, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=osu1494246148681761.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Winslow, Aaron. "The Labor of the Avant-Garde: Experimental Form and the Politics of Work in Post-War American Poetry and Fiction." Thesis, 2015. https://doi.org/10.7916/D8NZ86FX.

Full text

Abstract:

While literary critics have explored the politics of labor in pre-war modernist literature, the post-45 avant-garde has continued to be framed as a depoliticized repetition of previous avant-garde styles. Examining American avant-garde literature in its relation to the political and economic shifts from the 1960s through the late 1980s, my dissertation corrects this narrative to show that labor and labor politics were central categories in post-war experimental poetry and fiction. I argue that writers as disparate as Charles Olson, William S. Burroughs, Samuel R. Delany, and Susan Howe reworked disjunctive modernist forms to cognitively map emergent economic tendencies in the US. Parataxis, collage, surrealist imagery, aleatory compositional methods, non-linear plotting, and metafictional narrative conceits all constitute the stylistic techniques of an avant-garde engaged in an extended dialogue about work and the politics of work. The canon of experimental literature functioned as a counter-discourse that contested and reshaped discourses of labor by considering it alongside categories of race, gender, and sexuality. By using labor as an entry point into the avant-garde, my dissertation reconsiders the post-war literary canon, revealing an avant-garde that includes writers working across modes and genres. The adaptation of experimental techniques in genre writing turned the avant-garde into a popular literary mode. My dissertation particularly focuses on science fiction (SF), where the adaptation of experimental style played a crucial role in the development of the genre. Beginning with the 1960s British and American New Wave movement, SF writers turned to the experimental novel--often by way of modernist poetics--as a way to challenge the reified form of mainstream science fiction novels. I argue that this critique of the novel also functioned as a covert critique of the labor practices of the literary market place that guided the production of genre fiction. In this way, I contest traditional accounts that see post-war and contemporary experimental literature as increasingly marginal and self-reflective by tracking the avant-garde's concern with depicting quotidian work, and representing themselves as workers, to critique institutions of intellectual and artistic production.

APA, Harvard, Vancouver, ISO, and other styles

9

Cornejo, Kency. "Visual Disobedience: The Geopolitics of Experimental Art in Central America, 1990-Present." Diss., 2014. http://hdl.handle.net/10161/9088.

Full text

Abstract:

This dissertation centers on the relationship between art and politics in postwar Central America as materialized in the specific issues of racial and gendered violence that derive from the region's geopolitical location and history. It argues that the decade of the 1990s marks a moment of change in the region's cultural infrastructure, both institutionally and conceptually, in which artists seek a new visual language of experimental art practices to articulate and conceptualize a critical understanding of place, experience and knowledge. It posits that visual and conceptual manifestations of violence in Central American performance, conceptual art and installation extend beyond a critique of the state, and beyond the scope of political parties in perpetuating violent circumstances in these countries. It argues that instead artists use experimental practices in art to locate manifestations of racial violence in an historical system of domination and as a legacy of colonialism still witnessed, lived, and learned by multiple subjectivities in the region. In this postwar period artists move beyond the cold-war rhetoric of the previous decades and instead root the current social and political injustices in what Aníbal Quijano calls the `coloniality of power.' Through an engagement of decolonial methodologies, this dissertation challenges the label "political art" in Central America and offers what I call "visual disobedience" as a response to the coloniality of seeing. I posit that visual colonization is yet another aspect of the coloniality of power and indispensable to projects of decolonization. It offers an analysis of various works to show how visual disobedience responds specifically to racial and gender violence and the equally violent colonization of visuality in Mesoamerica. Such geopolitical critiques through art unmask themes specific to life and identity in contemporary Central America, from indigenous genocide, femicide, transnational gangs, to mass imprisonments and a new wave of social cleansing. I propose that Central American artists--beyond an anti-colonial stance--are engaging in visual disobedience so as to construct decolonial epistemologies in art, through art, and as art as decolonial gestures for healing.

Dissertation

APA, Harvard, Vancouver, ISO, and other styles

10

García, Núñez de Cáceres Jorge Federico. "La afectividad como contra-discurso de la poesía comprometida de Daisy Zamora, Otto René Castillo y Roque Dalton." Thesis, 2010. http://hdl.handle.net/2152/ETD-UT-2010-08-1858.

Full text

Abstract:

In this work, I explain that the focus of criticism on the Central American poetry of the second half of the twentieth century has emphasized its political content. I argue, however, that such a limited view obscures the broader import of this poetry and its place in Latin American literature. By reading the work of Nicaraguan Daisy Zamora, Guatemalan Otto René Castillo, and Salvadoran Roque Dalton with an emphasis on affectivity rather than revolution, I suggest a different relationship between the poet and society, one that is not limited to the marginal figure of the mujer soldado, the poeta guerrillero or the poeta marxista in conflict with all societal norms. Rather, I argue that my study portrays the complex subjectivity of the speaker/poet not unlike that of non-revolutionary poets, as well as his or her multi-dimensional affective connections to family and society. At the same time, an analysis of affect in this poetry allows us to reconsider the nature of the revolutionary figure itself, no longer a myth or a romantic hero, but an individual inserted in society in a more complex way. In Chapter 1, “Daisy Zamora: De la mujer-soldado a la mujer-mujer”, I contend that an analysis of affectivity of her poetic work reveals how personal memory constructs an individualized subjectivity different from that of a woman-soldier. In the second chapter, “Otto René Castillo: De la lucha revolucionaria a la soledad del poema,” I argue that a negative connotation of romantic love is projected in his poems bringing about traces of existential solitude in the lyric subjectivity. Furthermore, Castillo’s poetry elicits a binary opposition between “the people” and the guerrillero in which the former is portrayed as lacking of agency. The third chapter, “Roque Dalton: y/o subjetividad en crisis,” reveals the ways in which the Salvadoran poet textualizes a poetic of disenchantment by way of projecting disdain and contempt to the “motherland.” In conclusion, my approach pinpoints how Zamora, Castillo and Dalton share the same preoccupations, affects and ways to conceive reality, which are also similar to the practices of those poets whose works are better-known given their national origin or because their poetic production has been widely studied by academia. This document has been written in Spanish.
text

APA, Harvard, Vancouver, ISO, and other styles

Books on the topic "Central American Experimental poetry"

1

Cárdenas, Galel. Poesía de vanguardia de Centroamérica. Tegucigalpa: Editorial Argos, 2013.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

2

Clarke, Cheryl. Experimental Love: Poetry. Ithaca, USA: Firebrand Books, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

3

Clarke, Cheryl. Experimental love: Poetry. Ithaca, N.Y: Firebrand Books, 1993.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

4

American experimental poetry and democratic thought. New York: Oxford University Press, 2009.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

5

Fieled, Adam. American Tour. Edited by Funtime Press. Conshohocken, Pa: Funtime Press, 2018.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

6

Lurie, Toby. Word-scales. Lewiston, N.Y: Mellen Poetry Press, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

7

Meilo, So, ed. Central heating: Poems about fire and warmth. New York: Alfred A. Knopf, 2005.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

8

Argüelles, Ivan. Madonna septet. Elmwood, CT: Potes & Poets Press, 2000.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

9

Jenkins, Grant Matthew. Poetic obligation: Ethics in experimental American poetry after 1945. Iowa City: University of Iowa Press, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

10

Jenkins, Grant Matthew. Poetic obligation: Ethics in experimental American poetry after 1945. Iowa City: University of Iowa Press, 2008.

Find full text

APA, Harvard, Vancouver, ISO, and other styles

More sources

Book chapters on the topic "Central American Experimental poetry"

1

Huntsperger, David W. "The Tactics of the Text: Experimental Form in David Antin’s “Novel Poem”." In Procedural Form in Postmodern American Poetry, 71–95. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106109_4.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Lagapa, Jason. "Afterword—Not Yet the End: the Resistance to Closure in Bloch’s Anticipatory Consciousness and Contemporary Experimental Poetry." In Negative Theology and Utopian Thought in Contemporary American Poetry, 117–25. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-55284-2_6.

Full text

APA, Harvard, Vancouver, ISO, and other styles

3

Elhariry, Yasser. "Sufis in Mecca." In Pacifist Invasions. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940407.003.0006.

Full text

Abstract:

This chapter directly picks up where Stétié ends, with a textual analysis of a poetic cycle of chapbooks by Meddeb. I argue that a renouveau in the Francophone lyric is made possible through his translations of classical Arabic and Sufi poetry. In his chapbooks, Meddeb attempts to refashion himself, after his two successful and widely acclaimed first novels Talismano (1979) and Phantasia (1986), as a mystical, wandering Sufi poet. With Tombeau d’Ibn Arabi (1987), Les 99 stations de Yale (1995), and Aya dans les villes (1999) in particular, Meddeb manically focuses on an adaptational, modern rewriting in French verse of the history of Sufi saints, poets and poetry. Meddeb simultaneously draws on the formal and structural poetics of the pre-Islamic odes (as we will have seen with Tengour and Jabès), but he recasts them in light of the life of the Sufi saints and mystics rather than the pagan poets. Meddeb’s major innovation lies not only in the poetic combination of sacred and profane poetic registers, but also in an original combination of French and Arabic poetic registers with the world of modern American poetics. A central literary case whom I revisit in the conclusion to Pacifist Invasions, a critical re-evaluation of Meddeb reveals him to be indispensable for the successful poetic reconstruction of Francophone studies. I demonstrate how, much like the Sufi poet, and in keeping with ‘Ā’ishah al-Bā‘ūniyyah’s Principles of Sufism, Meddeb’s new Francophone lyric self-inflects as consciousness in search of what lies beyond its knowledge of its current state: situated in relation to itself, its paradoxical internal genealogy, its contemplative meditational mode. The poetic import of Meddeb’s lyric consists of the masterful blending of the figure of the Sufi poet and the Arabic tongue with contemporaneous intonations in French poetry. Meddeb’s writing transverses concurrent and widely divergent poetic trends, and connects them to one another in an original French-language arabesque. Beneath the surface of his first poetic experiments, Meddeb had couched a hidden, propagative poetics of the trace, barely perceptible, held together by thematic and generic modulations, a double lyric voice, and the infralinguistic.

APA, Harvard, Vancouver, ISO, and other styles

4

Müller, Timo. "The Spaces of Black Experimental Poetry." In The African American Sonnet, 109–28. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0007.

Full text

Abstract:

This chapter reads black experimental poetry of the late twentieth and early twenty-first centuries through the lens of the sonnet. While scholars such as Aldon Nielsen and Anthony Reed have stressed the temporal dimension of this poetry, the popularity of the sonnet among black experimental poets draws attention to the spatial dimension. In close readings of sonnet sequences by Ed Roberson, Wanda Coleman, Rita Dove, G. E. Patterson, and Wanda Phipps, the chapter shows how these poets use techniques such as seriality and fragmentation to explore the interstices of contemporary discourses about blackness, question conventionalized meanings, and envision a sphere of semantic openness that overcomes racial stereotypes and limiting ascriptions.

APA, Harvard, Vancouver, ISO, and other styles

5

Golding, Alan. "Experimental Modernisms." In The Cambridge Companion to Modern American Poetry, 37–49. Cambridge University Press, 2015. http://dx.doi.org/10.1017/cco9781139628907.005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

6

Marshall, Alan. "Introduction." In American Experimental Poetry and Democratic Thought, 1–13. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199561926.003.0001.

Full text

APA, Harvard, Vancouver, ISO, and other styles

7

Marshall, Alan. "The Flag of His Disposition: Whitman's Posture." In American Experimental Poetry and Democratic Thought, 14–54. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199561926.003.0002.

Full text

APA, Harvard, Vancouver, ISO, and other styles

8

Marshall, Alan. "The Poet in the Dark: Ezra Pound, an Arendtian Perspective." In American Experimental Poetry and Democratic Thought, 55–91. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199561926.003.0003.

Full text

APA, Harvard, Vancouver, ISO, and other styles

9

Marshall, Alan. "‘I am alive—because | I do not own a House’: Emily Dickinson, Mina Loy, and Lorine Niedecker." In American Experimental Poetry and Democratic Thought, 92–145. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199561926.003.0004.

Full text

APA, Harvard, Vancouver, ISO, and other styles

10

Marshall, Alan. "Williams Stevens Williams…Continuing Revolution." In American Experimental Poetry and Democratic Thought, 146–94. Oxford University Press, 2009. http://dx.doi.org/10.1093/acprof:oso/9780199561926.003.0005.

Full text

APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Central American Experimental poetry"

1

Lajoie, Stephane, Ian Lewkowich, Jennifer Clark, Alyssa Sproles, Krista Dienger, Alison Budelsky, and Marsha Wills-Karp. "Complement-mediated Regulation Of The IL-17A Axis Is A Central Genetic Determinant Of The Severity Of Experimental Allergic Asthma." In American Thoracic Society 2010 International Conference, May 14-19, 2010 • New Orleans. American Thoracic Society, 2010. http://dx.doi.org/10.1164/ajrccm-conference.2010.181.1_meetingabstracts.a5759.

Full text

APA, Harvard, Vancouver, ISO, and other styles

2

Konobrytskyi, Dmytro, Thomas Kurfess, Joshua Tarbutton, and Tommy Tucker. "GPGPU Accelerated 3-Axis CNC Machining Simulation." In ASME 2013 International Manufacturing Science and Engineering Conference collocated with the 41st North American Manufacturing Research Conference. American Society of Mechanical Engineers, 2013. http://dx.doi.org/10.1115/msec2013-1096.

Full text

Abstract:

GPUs (Graphics Processing Units), traditionally used for 3D graphics calculations, have recently got an ability to perform general purpose calculations with a GPGPU (General Purpose GPU) technology. Moreover, GPUs can be much faster than CPUs (Central Processing Units) by performing hundreds or even thousands commands concurrently. This parallel processing allows the GPU achieving the extremely high performance but also requires using only highly parallel algorithms which can provide enough commands on each clock cycle. This work formulates a methodology for selection of a right geometry representation and a data structure suitable for parallel processing on GPU. Then the methodology is used for designing the 3-axis CNC milling simulation algorithm accelerated with the GPGPU technology. The developed algorithm is validated by performing an experimental machining simulation and evaluation of the performance results. The experimental simulation shows an importance of an optimization process and usage of algorithms that provide enough work to GPU. The used test configuration also demonstrates almost an order of magnitude difference between CPU and GPU performance results.

APA, Harvard, Vancouver, ISO, and other styles

3

Baraskar, S. S., and S. S. Banwait. "Application of Multiple Regression and Adaptive Neuro-Fuzzy Inference System for Prediction of Surface Roughness in EDM." In ASME 2012 International Manufacturing Science and Engineering Conference collocated with the 40th North American Manufacturing Research Conference and in participation with the International Conference on Tribology Materials and Processing. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/msec2012-7273.

Full text

Abstract:

A manufacturing system is oriented towards higher production rate, better quality and reduced cost and time to make a product. Surface roughness is an index parameter for determining the quality of a machined product and is influenced by various input process parameters. Surface roughness prediction in Electrical Discharge Machine (EDM) is being attempted with many methodologies, yet there is a need to develop robust, autonomous and accurate predictive system. This work proposes the application of hybrid intelligent technique, multiple regression and adaptive neuro-fuzzy inference system (ANFIS) for prediction of surface roughness in EDM. An experimental data set is obtained with current, pulse-on time and pulse-off time as input parameters and surface roughness as output parameter. Central composite rotatable design was used to plan the experiments. Multiple regression model is developed using the experimental data, to generate additional input-output data set. The input-output data set is used for training and validation of the proposed technique. After validation, data are forwarded for prediction of surface roughness. The proposed hybrid model for the prediction of surface roughness has very good agreement with the experimental results.

APA, Harvard, Vancouver, ISO, and other styles

4

Sambhav, Kumar, Puneet Tandon, Shiv G. Kapoor, and Sanjay G. Dhande. "Mathematical Modeling of Cutting Forces in Micro-Drilling." In ASME 2012 International Manufacturing Science and Engineering Conference collocated with the 40th North American Manufacturing Research Conference and in participation with the International Conference on Tribology Materials and Processing. American Society of Mechanical Engineers, 2012. http://dx.doi.org/10.1115/msec2012-7399.

Full text

Abstract:

In drilling, the primary cutting lips and the secondary cutting lips of the drill shear the material while the central portion of the chisel edge indents the workpiece, making the cutting process complex to understand. As we go for micro-drilling, it exhibits an added complexity to the cutting mechanism when the edge radius gets comparable to chip thickness at low feeds. The presented work models the forces by the primary cutting lip of a micro-drill analytically using slip-line field that includes the changes in the effective rake angle and dead metal cap during cutting for cases of shearing as well as ploughing. To study the variation of forces experimentally, the primary cutting lip and chisel edge forces are separated out by drilling through pilot holes of diameter slightly above the drill-web thickness. Finally, the analytical and experimental results have been compared and the model has been calibrated.

APA, Harvard, Vancouver, ISO, and other styles

We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!