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Journal articles on the topic 'Central American Experimental poetry'
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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.
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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
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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.
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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.
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Paul Lai. "Race and the Avant-Garde: Experimental and Asian American Poetry Since 1965 (review)." MELUS: Multi-Ethnic Literature of the U.S. 35, no. 2 (2010): 209–12. http://dx.doi.org/10.1353/mel.0.0096.
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Kotin, Joshua. "Wallace Stevens's Point of View." PMLA/Publications of the Modern Language Association of America 130, no. 1 (January 2015): 54–68. http://dx.doi.org/10.1632/pmla.2015.130.1.54.
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“The earth, for us, is flat and bare. / … Poetry // Exceeding music must take the place / Of empty heaven and its hymns… Such claims saturate Wallace Stevens's work: poetry, Stevens affirms and reaffirms, is a potential source of value in a secular world. This essay tracks his attempts to realize this potential—to write a poem that would satisfy his metaphysical need. His work is relentlessly self-critical and experimental, and over his career he develops extravagant (and ultimately hermetic) responses to a stubborn philosophical problem. My aim is to reframe critical approaches to a central topic in Stevens's poetry and to re-evaluate his relation to philosophy. In the process, I hope to suggest answers to more general questions: What is experimental poetry? How do poets think in verse? Why do poets write difficult poems? What makes a poem difficult in the first place?
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Raine, A. "The Feminist Avant-Garde in American Poetry; Lyric Interventions: Feminism, Experimental Poetry, and Contemporary Discourse; Gertrude Stein: The Language That Rises, 1923-1934." American Literature 79, no. 3 (September 1, 2007): 627–30. http://dx.doi.org/10.1215/00029831-2007-031.
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Lerner, Allan W., and Lloyd S. Etheredge. "Can Governments Learn? American Foreign Policy and Central American Revolutions." Political Psychology 7, no. 4 (December 1986): 803. http://dx.doi.org/10.2307/3791217.
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Tyler, Linda L. "Commerce and Poetry Hand in Hand: Music in American Department Stores, 1880-1930." Journal of the American Musicological Society 45, no. 1 (1992): 75–120. http://dx.doi.org/10.2307/831490.
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Department stores emerged as central institutions in the expansion of the consumer culture in the United States in the late nineteenth and early twentieth centuries, and music played an unusually prominent and varied role in these new palaces of consumption. Over the half century from 1880 to 1930 a wide range of music was presented in the stores, including elegant evening concerts conducted by such luminaries as Richard Strauss and Leopold Stokowski, afternoon programs given by professional and amateur musicians in large in-store concert halls, performances by choruses and bands made up of store employees, background music played by pianists or string quartets, and phonograph demonstrations. Trade papers published for department store retailers reveal the marketing strategies that largely motivated this impressive patronage of music. Music's range of cultural associations worked to the retailers' advantage by investing the stores with excitement and drama, by imbuing commonplace goods with luxury and status, and by encouraging leisurely shopping among women. The commercial setting, in turn, left indellible marks on the music: in the length of concert programs, in the types of works commissioned by the stores, in the mixing of popular and classical repertories, and in the reduction of music to a commodity. The department stores proved a crucial testing ground for the widescale commercialization of music in twentieth-century America.
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Shrestha, Muna. "Nature: A Notable Feature of Robert Frost’s poetry." Journal of Advanced Academic Research 7, no. 1 (June 29, 2020): 37–50. http://dx.doi.org/10.3126/jaar.v7i1.35466.
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The aim of this present article is to examine Robert Frost’s poetical theme and its values which explain the voice of Nature and also to highlight the treatment of Nature in some of his selected Poems. Frost is a famous American Poet and his poems are mostly autobiographical in subject. During this period, when modern poetry is becoming more complex, Frost gets success using his poetic style with refined and simple language. He has been mostly influenced by the environment around him while composing his masterpieces. He uses different phrases and thrill in poetry. His central theme doesn’t concentrate on the typical rural life but on the dramatic conflict happening in the natural world. He expresses deep love and sympathy towards Nature and utilizes it to express his viewpoint and to make his verse fascinating. He thinks Nature is not only the source of pleasure, but also an inspiration for human wisdom. His poems contain symbolism, hidden meanings, sounds, rhyme, meter, metaphors and more.
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Caccavale, Fiammetta, and Anders Søgaard. "Predicting Concrete and Abstract Entities in Modern Poetry." Proceedings of the AAAI Conference on Artificial Intelligence 33 (July 17, 2019): 858–64. http://dx.doi.org/10.1609/aaai.v33i01.3301858.
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One dimension of modernist poetry is introducing entities in surprising contexts, such as wheelbarrow in Bob Dylan’s feel like falling in love with the first woman I meet/ putting her in a wheelbarrow. This paper considers the problem of teaching a neural language model to select poetic entities, based on local context windows. We do so by fine-tuning and evaluating language models on the poetry of American modernists, both on seen and unseen poets, and across a range of experimental designs. We also compare the performance of our poetic language model to human, professional poets. Our main finding is that, perhaps surprisingly, modernist poetry differs most from ordinary language when entities are concrete, like wheelbarrow, and while our fine-tuning strategy successfully adapts to poetic language in general, outperforming professional poets, the biggest error reduction is observed with concrete entities.
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Weber, Joanne. "Cyborgs and Fox Wives." Canadian Journal of Disability Studies 10, no. 1 (March 4, 2021): 54–83. http://dx.doi.org/10.15353/cjds.v10i1.729.
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Using an arts based posthumanist lens, (Deleuze & Guattari, 1987; jagodzinski & Wallin, 2013) I examine my evolving beliefs about American Sign Language (ASL) through the analysis of arts based data (poetry) (Leavy, 2015). Central to my analysis is an examination of Western domination and control of the language used by ‘othered’ communities through the imposition of dualisms, binaries and categories in sign language ideologies (Canagarajah, 2013). This exploration traces the evolution of sign language ideologies embraced by the deaf cyborg subject featured in the poetry volume as she explores ways to survive and resist the effects of a monolingual language ideology embedded in an imaginary assemblage containing intra-actions between human, animal, earth and machine (Deleuze & Guattari, 1987).
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Byrne, Deirdre. "NEW MYTHS, NEW SCRIPTS: REVISIONIST MYTHOPOESIS IN CONTEMPORARY SOUTH AFRICAN WOMEN’S POETRY." Gender Questions 2, no. 1 (September 21, 2016): 52–66. http://dx.doi.org/10.25159/2412-8457/1564.
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Considerable theoretical and critical work has been done on the way British and American women poets re-vision (Rich 1976) male-centred myth. Some South African women poets have also used similar strategies. My article identifies a gap in the academy’s reading of a significant, but somewhat neglected, body of poetry and begins to address this lack of scholarship. I argue that South African women poets use their art to re-vision some of the central constructs of patriarchal mythology, including the association of women with the body and the irrational, and men with the mind and logic. These poems function on two levels: They demonstrate that the constructs they subvert are artificial; and they create new and empowering narratives for women in order to contribute to the reimagining of gender relations.
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Repp, Anna. "Multicultural component and its linguistic representation in Langston Hughes’ poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 22 (2020): 73–78. http://dx.doi.org/10.34079/2226-3055-2020-13-22-73-78.
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Nowadays, the problem of the representation of multiculturalism in modern poetry needs special consideration. Our research is devoted to the investigation of the specific features of the multicultural component in the poetry of Langston Hughes. The main tasks of the paper are to investigate such notions, as «multiculturalism», «realia», «national identity» and «blues»; and to analyze the linguistic and cultural specificity of Hughes’ poetry. Multiculturalism is a term that came into usage after the idea of a “melting pot». Such scholars as Glazer, Hollinger, and Taylor have been investigating this term. Multicultutralism is the way in which different authors maintain their identity through their work while educating others on their cultural ideas. Multicultural literature is oriented around issues of race, ethnicity, gender, etc. Multicultural American literature of the 20th century resonates with the hopes and fears of the whole of American history and reflects the rich complexity and variety of the American experience. James Mercer Langston Hughes, an American writer who was an important figure in the Harlem Renaissance and made the African American experience the subject of his works. His writings ranged from poetry and plays to novels and newspaper columns. We would like to pay special attention to Langston Hughes’ poetry. «The Negro Speaks of Rivers» was the first poem published in Langston Hughes’s long writing career. The poem first appeared in the magazine Crisis in June of 1921 and was subsequently published in Hughes’s first volume of poetry, The Weary Blues, in 1926, written when he was only 19. «The Negro Speaks of Rivers» as well as the rest of his works treats themes Hughes explored all his life: the experiences of African Americans in history, black identity and pride. Multiculturalism is connected with the notion of realia. It is a linguistic phenomenon, which refers to the culture-specific vocabulary. The works of such well-known scientists, as S. Vlahov, S. Florin, I. Kashkin, A. Fedorov have been central in the study of this issue. The key factor in defining any phenomenon as realia is national referring to the object of a certain country, nation, or social community. National identity is not an inborn trait. It is essentially socially constructed. A person's national identity results from the presence of elements from the «common points» in people's daily lives: national symbols, colors, nation's history, blood ties, and so on. We can find all these aspects (geographical realia, proper names, and many others) in the work of Langston Hughes. While analysing the poems of Langston Hughes we discover that his language is closely connected with the culture. Thus, the idea of multicultural writing is that racial and ethnic minority voices are a crucial element in United States literary history and culture
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Lampugnani, Vittorio Magnago. "Die Konstruktion von Natur – Central Park neu besichtigt | The Construction of Nature – Central Park Revisited." Schweizerische Zeitschrift fur Forstwesen 156, no. 8 (August 1, 2005): 288–96. http://dx.doi.org/10.3188/szf.2005.0288.
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In the first half of the 19th century scientific philosophers in the United States, such as Emerson and Thoreau, began to pursue the relationship between man and nature. Painters from the Hudson River School discovered the rural spaces to the north of New York and began to celebrate the American landscape in their paintings. In many places at this time garden societies were founded, which generated widespread support for the creation of park enclosures While the first such were cemeteries with the character of parks, housing developments on the peripheries of towns were later set in generous park landscapes. However, the centres of the growing American cities also need green spaces and the so-called «park movement»reached a first high point with New York's Central Park. It was not only an experimental field for modern urban elements, but even today is a force of social cohesion.
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Quetchenbach, Bernard. "Illuminating the Anthropocene: Ecopoetic Explorers at the Edge of the Naturecultures Abyss." American Literary History 31, no. 2 (2019): 325–35. http://dx.doi.org/10.1093/alh/ajz010.
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Abstract This essay-review considers three recent ecocritical texts that examine the environmental imagination at work in contemporary North American experimental ecopoetry. Compensating for decades of ecocritical neglect, the scholars represented by these volumes turn their attention to experimental poetry of the late twentieth and early twenty-first centuries. Special attention is focused on the work of poets attempting to synthesize art and science, and to develop poetics as a means to forge and communicate new links between species. Striving to incorporate environmental systems into poetic structures, contemporary ecopoets promote a crucial role and an ambitious agenda for the genre. Spurred by the Anthropocene imperative to reconfigure relationships between human and nonhuman, civilization and planet, nature and culture, experimental ecopoets create art that is both playful and urgent, but often difficult and obscure. The criticism gathered in these texts provides timely and much-needed theory and context illuminating a vibrant and important movement, or series of related movements, meant to equip both poetry and human culture for coping with the challenges posed by Anthropocene conditions and necessities.
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Sutton-Spence, Rachel, and Donna Jo Napoli. "How much can classifiers be analogous to their referents?" Gesture 13, no. 1 (December 5, 2013): 1–27. http://dx.doi.org/10.1075/gest.13.1.01sut.
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Sign Language poetry is especially valued for its presentation of strong visual images. Here, we explore the highly visual signs that British Sign Language and American Sign Language poets create as part of the ‘classifier system’ of their languages. Signed languages, as they create visually-motivated messages, utilise categoricity (more traditionally considered ‘language’) and analogy (more traditionally considered extra-linguistic and the domain of ‘gesture’). Classifiers in sign languages arguably show both these characteristics (Oviedo, 2004). In our discussion of sign language poetry, we see that poets take elements that are widely understood to be highly visual, closely representing their referents, and make them even more highly visual — so going beyond categorisation and into new areas of analogue.
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Carbajosa Palmero, Natalia. "Entre la extrañeza y las equivalencias naturales: traducir la poesía experimental de Lorine Niedecker." TRANS. Revista de Traductología, no. 24 (December 22, 2020): 191–204. http://dx.doi.org/10.24310/trans.2020.v0i24.8028.
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This paper shows how my translations of objectivist American poet Lorine Niedecker for the bilingual volume Y el lugar era agua: Antología poética, published in 2018, have constantly sought for natural Spanish equivalences in sound and rhythm while trying, through different translating and rhetorical techniques, to keep the tone of strangeness that a more literal approach to the translation (after Walter Benjamin’s reflections on the translation of experimental poetry) would render. To this end, specific translation uses (punctuation sings such as the long dash and other visual display elements, paraphrasing and amplification, homophony, alliteration, and techniques for the reproduction of a sustained tone in the target text) will be explained with respect to the translation choices for some of the most successful poems of the author.
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Naghmeh-Abbaspour, Bita, Tengku Sepora Tengku Mahadi, and Marlina Jamal. "THE IMPACT OF DOMINANT IDEOLOGY OF TARGET SOCIETY ON LEXICAL CHOICES OF TRANSLATION: THE CASE STUDY OF THE ESSENTIAL RUMI." Humanities & Social Sciences Reviews 7, no. 6 (January 10, 2020): 1162–71. http://dx.doi.org/10.18510/hssr.2019.76166.
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Purpose: The current research investigates the translator’s lexical choices in terms of ideological concepts of The Essential Rumi. Moreover, by providing an overview of the social context of the target society, the study supports the logic behind the lexical choices.
Methodology: Based on the association of ideology and critical discourse analysis as well as considering manipulation as one of the central concepts of it, the study employs CDA as its theoretical and analytical framework.
Main Findings: The finding reveals that the Islamic ideology of Rumi’s poetry is extremely manipulated based on the dominant ideological trends of the target social context.
Applications: The current study will contribute to the discipline of translation studies in general and the field of literary translation in particular.
Novelty/Originality: Although the extraordinary fascination of North American poetry readers toward Rumi attracted numerous scholars of different fields, the lack of a textual study is strongly felt in this area. Therefore, to fill this void, the present study is going to investigate the congruency of the ideological load of Rumi’s original poetry and Barks’ translations of it at the lexical level.
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Schaefer, Heike. "Poetry in Transmedial Perspective: Rethinking Intermedial Literary Studies in the Digital Age." Acta Universitatis Sapientiae, Film and Media Studies 10, no. 1 (August 1, 2015): 169–82. http://dx.doi.org/10.1515/ausfm-2015-0033.
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Abstract In the digital age. literary practice proliferates across different media platforms. Contemporary literary texts are written, circulated and rea|d in a variety of media, ranging from traditional print formats to online environments. This essay explores the implications that the transmedial dispersal of literary culture has for intermedial literary studies. If literature no longer functions as a unified single medium (if it ever did) but unfolds in a multiplicity of media, concepts central to intermediality studies, such as media specificity, media boundaries and media change, have to be reconsidered. Taking as its test case the adaptation of E. E. Cummings’s experimental poetry in Alison Clifford’s new media artwork The Sweet Old Etcetera as well as in YouTube clips, the essay argues for a reconceptualization of contemporary literature as a transmedial configuration or network. Rather than think of literature as a single self-contained medium that engages in intermedial exchange and competition with other media, such as film or music, we can better understand how literature operates and develops in the digital age if we recognize the medial heterogeneity and transmedial distribution of literary practice.
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Redka, I. "Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry." Studia Philologica 1, no. 14 (2020): 53–59. http://dx.doi.org/10.28925/2311-2425.2020.148.
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The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.
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Abdalla Babiker, Ahmed Adam. "The Theme of Humanitarianism as Portrayed in Langston Hughes’ Poetry." World Journal of English Language 9, no. 1 (November 26, 2018): 22. http://dx.doi.org/10.5430/wjel.v9n1p22.
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This study focuses on the theme of humanitarianism as portrayed in Hughes’ poetry. One key objective of this study is to find out to what extent Hughes deals with the theme of humanitarianism in his poetry. Also, to shed lights on the theme of humanitarianism as human value and to compare the western concept of humanitarianism with the Islamic one and reach some conclusions. The study follows the descriptive, analytic and comparative approach to discuss and rationally analyze five selected poems of Hughes with special reference to the theme of humanitarianism that is depicted in them. In accordance, a number of findings have been obtained: many types of humanitarianism such as reducing the human suffering, protection of human rights, including, right of life, security, freedom, equality, justice and peace have been portrayed in Langston Hughes poetry. In addition, values of impartiality and neutrality which represent the central point of humanitarianism are also portrayed. Also, it can be said that conducting comparative studies is one important means for cultural understanding between different peoples, and can be used as an effective means for the exchange of ideas, values, experiences and yet draw the nations closer to each other; hence contributing to the spread of understanding and peace between peoples. Moreover, despite the existence of some differences in some points, specifications and concepts, nonetheless, the theme of humanitarianism is found as a key value in both American and Islamic traditions; although the difference of cultures, including religions. Lastly, it can be said that due to the findings of the study, we could argue that, the humanitarianism cannot be separated from human rights.
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Eustace, Nicole. "Emotional Pursuits and the American Revolution." Emotion Review 12, no. 3 (July 2020): 146–55. http://dx.doi.org/10.1177/1754073920931566.
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A major paradox of modern happiness gained wide public exposure in 1776 when Thomas Jefferson substituted the phrase “the pursuit of happiness” in place of Locke’s formulation: “life, liberty, and property.” In substituting happiness for property, Jefferson obscured the central hypocrisy of the Revolution, that—as contemporaries complained—the “loudest yelps for liberty” were made by those practicing slavery. Jefferson elided the overlap between the pursuit of happiness and the protection of human property. And he blurred the connection between the assertion of slave power and the creation of a broad emotional hegemony in the service of multifaceted projects of political-economic mastery. Today, historians of emotion face an urgent need to explore the deep roots of this feeling in systems of unfreedom.
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Stembkovska, Ganna O. "Поезія як стратегія виживання (Нобелівська премія з літератури 2020 року)." Visnik Nacional'noi' academii' nauk Ukrai'ni, no. 12 (December 20, 2020): 50–55. http://dx.doi.org/10.15407/visn2020.12.050.
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The Nobel Prize in Literature in 2020 was awarded to the American poet Louise Glück “for her unmistakable poetic voice that with austere beauty makes individual existence universal.” According to the Nobel Committee, Louise Glück's work is characterized by a striving for clarity, and “childhood and family life, the close relationship with parents and siblings, is a thematic that has remained central with her.”
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Kerr, Douglas. "‘King Lear’ as an Experimental Musical: the Japanese Production of ‘Ria O’." New Theatre Quarterly 18, no. 2 (May 2002): 161–75. http://dx.doi.org/10.1017/s0266464x02000246.
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The avant-garde Japanese company Ban'yu Inryoku was formed following the death in 1983 of the inspirational writer and director Shuji Terayama, who has subsequently become a cult figure. This article explores his influence – both limiting and liberating – on the production by one of the founders of the company, his disciple J. A. Seazer, of an experimental musical version of King Lear, as Ria O. Douglas Kerr places the production – seen in England during the Japan Festival of 1991 – within the context of evolving attitudes towards the avant-garde theatrical movement in Japan during the late 'sixties, notably as modified by the national trauma of the gas attack in Tokyo of 1995. Adapting Shakespeare was a break with the Terayama tradition of presenting only works collectively created by the ensemble – and it also made their work more accessible to the intercultural festival circuit. Explicated by the printed synopsis which forms a ‘map’ of the play for its audiences, the production also used Brechtian signboards to signal the titles of scenes, while being predicated also on the ‘representation of the inner and the outer experience’ which was Artaud's perception of Balinese performance. Lear himself was in this sense the entranced dancer, depending on the guidance of his supporters. Douglas Kerr, who explores here the tensions between the cultural elements employed and between the ideological pulls for conservatism and for social change, is currently an advanced PhD student at Stanford University in American Literature. His interests include Performance Poetics and Buddhism in contemporary American poetry.
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Murillo, Edwin. "Irresoluciones en la poesía de Manuel Gutiérrez Nájera." Estudios Hispánicos 26 (November 15, 2018): 83–95. http://dx.doi.org/10.19195/2084-2546.26.9.
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Irresolutions in the Poetry of Manuel Gutiérrez NájeraLiterary Existentialism, due to its contemporaneity, calls for a synchronized analysis in its Hispanic American variant since it is often interpreted from a peripheral perspective. That is to say, to speak of a Hispanic American Existentialism requires an examination of the literary production of the latter period of nineteenth century modernismo. The central idea of this article is to continue documenting the imprint of modernismo in the Existentialism canon by using a poetic voice that addresses the problems of being in the world, in other words, a testament to the axiological breakdown vis-à-vis the symptoms of modernity. In this article, I offer some commentaries on the anthropocentric disposition of a leading figure of Hispanic American poetic modernity, Manuel Gutiérrez Nájera, focusing on the most impressionistic moments of this epistemological issue. I turn to introspective poems that consider human solitude. This theme, centered on the problem of commitment and the pursuit of purpose in life, is more accurately termed protoexistentialism of the nineteenth century.
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Chiang, River Ya-ling. "Graphic Poetry: How To Help Students Get The Most Out Of Pictures." Journal of College Teaching & Learning (TLC) 10, no. 3 (June 29, 2013): 179. http://dx.doi.org/10.19030/tlc.v10i3.7934.
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Thispaper attempts to give an account of some innovative work in paintings andmodern poetry and to show how modern poets, such as Jane Flanders and AnneSexton, the two American poets in particular, express and develop radically newconventions for their respective arts. Also elaborated are how such changes inartistic techniques are related to profound shifts in intellectual assumptionsand how teachers might be able to help their students get the most out ofpictures in Graphic Poetry class, apart from simply giving the students thedefinitions of the so-called graphic poetry.Modernvisual artists advocate the essential principle that art must set aside theconventions of the recent past and find new forms of expressions. Themultiplicity of perspectives, abstraction, and obscurity all characterize theartistic tendencies in the period. Jane Flanderss Van Goghs Bed and AnneSextons The Starry Night will be taken as examples to explain how the majorartists in the period experiment with new forms and advocate theories of artthat still exert influences on our ideas about the value of art. In addition, thepaper also attempts to focus on the development of the central ideas of theModernist period from within the mental world of the artists/poets discussedhere because, in the poets/painters work, there are clear marks of individualcharacter and temperament. Students can be motivated by these marks in thepainting and then can easily understand the meaning that a poem conveys andthus enjoy the words and images in it.
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Alvarado Borgoño, Miguel. "Néstor García Canclini y la antigua búsqueda de una antropología literaria latinoamericana." Literatura y Lingüística, no. 22 (May 27, 2015): 59. http://dx.doi.org/10.29344/0717621x.22.123.
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ResumenEn este artículo se realiza una lectura del libro Cortázar, Una Antropología Poética de Néstor García Canclini. Ello con el fin de identificar los puntos de inicio de una antropología literaria como género híbrido. Sostenemos así la independencia de las escrituras experimentales de las antropologías literarias latinoamericanas de las escrituras experimentales desarrolladas en Europa y Norteamérica desde la corriente postmoderna.Palabras clave: Antropología – literato – poesía – CortázarAbstractIn this article a reading of the book: Cortázar. Una Antropología Poética, it with the purpose of to identify the points of beginning of a literary anthropology like hybrid sort. We base therefore the independence of the experimental writings of the Latin American literary anthropologies of the developed experimental writings on Europe and North America from the postmodern current.Key words: Anthropology – literacy – Cortázar – poetry*
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Romero Figueroa, Edgar. "Una retórica revolucionaria: el caso de las poéticas centroamericanas." Revista Trace, no. 77 (January 31, 2020): 59. http://dx.doi.org/10.22134/trace.77.2020.146.
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La lectura de cuatro poetas centroamericanos: Ernesto Cardenal, Roberto Sosa, Otto René Castillo y Roque Dalton permite esbozar la caracterización de una cierta poesía revolucionaria de la segunda mitad del siglo XX, desde una perspectiva retórico-discursiva. Para ello, se cuestiona la función que algunos dispositivos retóricos específicos (figuras como la metáfora o estrategias complejas, y por ende difícilmente clasificables, como el motivo o topos) cumplen en los proyectos poético-revolucionarios.Abstract: Through the work of four Central American poets: Ernesto Cardenal, Roberto Sosa, Otto René Castillo, and Roque Dalton, we describe the features of certain revolutionary poetry of the second half of the 20th century, from a rhetorical and discourse theory perspective. For this, we question the function of some specific rhetorical devices (figures like the metaphor or complex strategies, therefore difficult to classify, as the motif or topos) in revolutionary poetic projects.Key words: Central American poets, Central America, revolution, rhetoric, second half of 20th century.Résumé : La lecture de quatre poètes centre-américains, Ernesto Cardenal, Roberto Sosa, Otto René Castillo et Roque Dalton permet d’esquisser la caractérisation d’une certaine poésie révolutionnaire de la deuxième moitié du XXe siècle depuis une perspective réthorico-discursive. Pour ce faire, nous interrogeons la fonction de certains dispositifs rhétoriques précis (figures de style telles que la métaphore mais aussi stratégies complexes et donc difficilement classables, comme le motif et le topos) dans les projets poético-révolutionnaires.Mots-clés : poètes centre-américains, Amérique centrale, révolution, rhétorique, deuxième moitié du XXe siècle.
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Енкарнацьйон Санчеc Аренас and Ессам Басем. "Cognitive Exploration of ‘Traveling’ in the Poetry of Widad Benmoussa." East European Journal of Psycholinguistics 5, no. 2 (December 28, 2018): 6–15. http://dx.doi.org/10.29038/eejpl.2018.5.2.are.
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The concept of motion is central to the human cognition and it is universally studied in cognitive linguistics. This research paper investigates concept of motion, with special reference to traveling, in the poetry of Widad Benmoussa. It mainly focuses on the cognitive dimensions underlying the metaphorical representation of traveling. To this end, the research conducts a semi-automated analysis of a corpus representing Widad’s poetic collections. MetaNet’s physical path is mainly used to reveal the cognitive respects of traveling. The personae the poetess assigns are found to pursue a dynamic goal through activation of several physical paths. During the unstable romantic relations, several travel impediments are met. Travel stops and detours, travel companions, paths in journey as well as changing travel destinations are the most stressed elements of ‘Traveling’ respects. With such a described high frequency of sudden departures and hopping, the male persona the poetess assigns evinces typical features of 'wanderlust' or dromomania.
References
Arenas, E. S. (2018). Exploring pornography in Widad Benmoussa’s poetry using LIWC and corpus tools. Sexuality & Culture, 22(4), 1094–1111.
Baicchi, A. (2017). The relevance of conceptual metaphor in semantic interpretation. Estetica. Studi e Ricerche, 7(1), 155–170.
Carey, A. L., Brucks, M. S., Küfner, A. C., Holtzman, N. S., Back, M. D., Donnellan, M. B., ... & Mehl, M. R. (2015). Narcissism and the use of personal pronouns revisited. Journal of Personality and Social Psychology, 109(3), e1.
David, O., & Matlock, T. (2018). Cross-linguistic automated detection of metaphors for poverty and cancer. Language and Cognition, 10(3), 467–493.
David, O., Lakoff, G., & Stickles, E. (2016). Cascades in metaphor and grammar. Constructions and Frames, 8(2), 214–255.
Essam, B. A. (2016). Nizarre Qabbani’s original versus translated pornographic ideology: A corpus-based study. Sexuality & Culture, 20(4), 965–986
Forceville, C. (2016). Conceptual metaphor theory, blending theory, and other cognitivist perspectives on comics. The Visual Narrative Reader, 89–114.
Gibbs Jr, R. W. (2011). Evaluating conceptual metaphor theory. Discourse Processes, 48(8), 529–562.
Kövecses, Z. (2008). Conceptual metaphor theory: Some criticisms and alternative proposals. Annual Review of Cognitive Linguistics, 6(1), 168–184.
Lakoff, G. (2014). Mapping the brain's metaphor circuitry: Metaphorical thought in everyday reason. Frontiers in Human Neuroscience, 8, 958.
Lakoff, G., & Johnson, M. (2008). Metaphors We Live By. University of Chicago press.
Lee, M. G., & Barnden, J. A. (2001). Mental metaphors from the Master Metaphor List: Empirical examples and the application of the ATT-Meta system. Cognitive Science Research Papers-University of Birmingham CSRP.
Lönneker-Rodman, B. (2008). The Hamburg metaphor database project: issues in resource creation. Language Resources and Evaluation, 42(3), 293–318.
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Stickles, E., David, O., Dodge, E. K., & Hong, J. (2016). Formalizing contemporary conceptual metaphor theory. Constructions and Frames, 8(2), 166–213
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Benmoussa, W. (2001). I have Roots in Air (in Arabic). Morocco: Ministry of Culture.
Benmoussa, W. (2006). Between Two Clouds (in Arabic and French). Morocco: Marsam Publishing House.
Benmoussa, W. (2007). I Opened It on You (in Arabic). Morocco: Marsam Publishing House.
Benmoussa, W. (2008). Storm in a Body (in Arabic). Morocco: Marsam Publishing House.
Benmoussa, W. (2010). I Hardly Lost my Narcissism (in Arabic). Syria: Ward Publishing House.
Benmoussa, W. (2014). I Stroll Along This Life. Morocco: Tobkal Publishing House
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Tellini, Silvia Mara. "Experimental Language Deconstructing Patriarchal Discourse in Ntozake Shange’s for colored girls who have considered suicide/ when the rainbow is enuf." American, British and Canadian Studies Journal 25, no. 1 (December 1, 2015): 155–70. http://dx.doi.org/10.1515/abcsj-2015-0012.
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Abstract By sharing the experiences of women and the black community of her time, represented as a journey towards womanhood on stage, Afro- American playwright Ntozake Shange deconstructs the patriarchal structure of language, by pushing the boundaries of genres as she assembles prose, poetry and stage performance in a “choreopoem” capable of empowering and liberating the trajectories of the represented black women. The present study explores the semiotic and linguistic deconstructions of the patriarchal ideology in for colored girls who have considered suicide/ when the rainbow is enuf, aiming at a discussion of the author’s experimentalism with language outside instituted discursive paradigms regarding women. Considering that the concept of the liberation of the individual is strongly historicized in the play, the characters of the seven ladies are focalized as being tightly related to the feminist movement in North America in the seventies. Furthermore, the implications of ideological impositions and limited roles for women in society are analyzed.
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Gutiérrez Marx, Graciela G. "Invisible Artists, or the Net Without a Fisherman … (My Life in Mail Art)." ARTMargins 1, no. 2–3 (June 2012): 147–51. http://dx.doi.org/10.1162/artm_a_00018.
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Perhaps we can think that mail art derives from Dada and link it to Fluxus, Filliou's proposal of an eternal network, and the highly innovative poetry and experimental art, born at the same time in different countries. GGMarx practiced collective creation, in poor areas of the southern cone of South America. In a broader and ideologically more sensitive context, a folk art appeared, thanks to the popular struggles in Cuba, México, Brazil, Chile, Bolivia, Peru, Nicaragua, Venezuela, Uruguay, Colombia, Ecuador and Argentina. The liberation movements, developed during the seventies, have marked the direction of Latin American mail-art intercourse. But they acquired their real strength in Argentina in 1976, when the Military Terrorist State was implanted and started the time of art = life.
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Conrad, Eric. "The Poet as Printer’s Fist: Walt Whitman’s Indicative Hand." Nineteenth-Century Literature 74, no. 1 (June 1, 2019): 54–86. http://dx.doi.org/10.1525/ncl.2019.74.1.54.
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Eric Conrad, “The Poet as Printer’s Fist: Walt Whitman’s Indicative Hand” (pp. 54–86) At the intersection of the professional author’s ascent in the United States and the growing centralization and sophistication of the advertising trade, a new anxiety surfaces in the world of nineteenth-century American publishing: how best to sell the literary text and, in turn, market its author. While a number of vocal literary figures perceived the encroachment of advertising, tainted by its ties to patent medicine fraud, as anathema to the genteel world of letters, Walt Whitman eagerly embraced its promotional potential. Nowhere is that affinity more pronounced than in the visual symbol Whitman used to represent his revolutionary poetics within the third edition of Leaves of Grass (1860): a butterfly perched on an outstretched index finger. Contemporaneous readers would have instantly recognized that curious pointing hand as a manicule or printer’s fist, an icon with deep ties to both manuscript culture and the world of commercial advertising. In this essay I track two trajectories—Whitman’s insistence that his poetry merely gestured toward a future, superior generation of poets and the 1860 edition’s relationship to developments in American book design and literary marketing—to demonstrate that Whitman’s butterfly icon does not simply brand his poetry with a recognizable symbol: by embracing the iconography of nineteenth-century promotion to point readers to their unrealized poetic future, it visually distills the central argument of Leaves of Grass. Understood within these contexts, Whitman’s pointing finger insists that Leaves of Grass is itself an advertisement, an audacious and ephemeral announcement for a so-called new breed of poets.
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Higgins, Wayne, and David Gochis. "Synthesis of Results from the North American Monsoon Experiment (NAME) Process Study." Journal of Climate 20, no. 9 (May 1, 2007): 1601–7. http://dx.doi.org/10.1175/jcli4081.1.
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Abstract An international team of scientists from the United States, Mexico, and Central America carried out a major field campaign during the summer of 2004 to develop an improved understanding of the North American monsoon system leading to improved precipitation forecasts. Results from this campaign, which is the centerpiece of the North American Monsoon Experiment (NAME) Process Study, are reported in this issue of the Journal of Climate. In addition to a synthesis of key findings, this brief overview article also raises some important unresolved issues that require further attention. More detailed background information on NAME, including motivating science questions, where NAME 2004 was conducted, when, and the experimental design, was published previously by Higgins et al.
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Kamionowski, Jerzy. "“By [some] other means”: Talking (about) Racism and Race through Visual Arts in Claudia Rankine’s Citizen. An American Lyric." Text Matters, no. 10 (November 24, 2020): 392–407. http://dx.doi.org/10.18778/2083-2931.10.21.
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Claudia Rankine’s Citizen. An American Lyric is a perplexing work of literature both because of its original presentation of the issue of racism in the US today and the original formal ways through which its message is communicated. It is formally innovative and technically experimental in an unusual “average reader”-friendly manner, situating itself a world apart from postmodern “poetics of interruption and illegibility” (Davidson 602). Paradoxically, being almost a poem with a purpose, it expands existing categories. Its sociological orientation and emphasis on poetic language’s capacity to inform, instruct, emotionally move and morally engage the reader goes together with activating more experimental formal strategies, as it merges a variety of media: there are examples of spectacular instances of racism, represented by the photographs, and in a series of scripts for Situation videos made by the author in collaboration with her husband John Lucas. This article demonstrates how formal engagement with the visual arts may serve the purpose of stigmatizing racism and making poetry matter within the field of current public debate on important cultural, social and political problems discussed in historical contexts of racism-cum-race. The conceptualization of the issues discussed here is based on the notion of “seeing through race” (introduced into the field of study of the visual arts and literature by W. J. T. Mitchell in 2012), which has changed the perception of the relationship between race and racism.
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Brožek, Josef, and Vid Pečjak. "Psychology of the Scientist: LIV. Reception and Rejection of “Western” Psychology in “Eastern” Europe during the 1950S and 1960S: Woodworth's Experimental Psychology." Perceptual and Motor Skills 74, no. 1 (February 1992): 179–86. http://dx.doi.org/10.2466/pms.1992.74.1.179.
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This is a report on a fascinating but unknown facet of the history of American and international psychology. Its aim is to describe the differences in attitudes of “East European” (Soviet, Slovak, Polish, and Yugoslav) psychologists to American psychology and, more concretely and specifically, to R. S. Woodworth's textbook Experimental psychology of 1938 or its second (Woodworth-Schlosberg) edition of 1954. While in the eyes of most of the Western psychologists and of many American politicians, “Eastern” Europe (including Central European Czechs and South European Yugoslavs) appeared ideologically homogeneous, the attitudes to Experimental psychology varied from very negative and negative to positive and very positive. While the reported facts are striking, the information currently available to us does not provide an adequate basis for the interpretation of the differences. This applies, in particular, to what were the countries with “orthodox” Communist governments (Soviet Union, Czechoslovakia, and Poland).
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Fensham, Rachel. "“Breakin' the Rules”: Eleo Pomare and the Transcultural Choreographies of Black Modernity." Dance Research Journal 45, no. 1 (December 10, 2012): 41–63. http://dx.doi.org/10.1017/s0149767712000253.
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The radical innovations of African-American artists with artistic form during the 1960s and 1970s, according to black performance theorist Fred Moten, led to a new theorization of the avant-garde. His book, In the Break: The Radical Aesthetics of the Black Tradition, discusses the poetry and jazz music of artists, from Amiri Baraka and Billie Holiday to Charles Mingus, and extols their radical experimentation with the structures and conventions of aurality, visuality, literature, and performance dominant in European art and aesthetics. In this essay, I consider the implications of these processes of resignification in relation to the choreographic legacy of the artist, Eleo Pomare, whose work and career during this period was both experimental and radical and, I will suggest, critical to the formation of a transnational, multiracial conception of modern dance.
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Sullivan, Kelly. "Yeats's Birds: Recognising the Animal." Modernist Cultures 16, no. 1 (February 2021): 114–37. http://dx.doi.org/10.3366/mod.2021.0322.
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Yeats's use of avian imagery forms part of his turn toward a modernist poetics, particularly in volumes written in response to social and political upheavals, world war, and revolution in Ireland. Yeats's birds vacillate between symbolic presences and literal creatures, but in his most experimental work, he uses the avian to explore the limits of human consciousness and of empathy, epistemological queries central to modernism. Considering Yeats's post-1914 poetry through a less anthropocentric view, this article interprets his engagement with politics and revolutionary action from an ecologically-complex and inclusive standpoint, revealing his more nuanced ethical position at a moment of profound cultural, political, and class-based change. His recognition of an avian other-ness offers both an objective correlative for the opacity of other people, and simultaneously presents a world view that grants birds and animals their own consciousness.
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Gauvin, Mitchell. "Laying Bare the Device." Minnesota review 2021, no. 96 (May 1, 2021): 82–100. http://dx.doi.org/10.1215/00265667-8851548.
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What do experiential poet Bruce Andrews and former Fox News pundit Bill O’Reilly have in common? On the surface, almost nothing—the former is a highly regarded, retired academic and the latter a disgraced TV host and conservative partisan. For a brief four minutes in 2006, however, the two met and discussed on national television the nature of politics and higher education, with predictable obtuseness on the part of O’Reilly. Nothing was concluded or conceded, and arguably nothing was learned. Yet both did portend a fundamental change to the operation of American political life. O’Reilly’s attempt was far more public (and destructive), but Andrews’s political project has remained confined to a small contingent of scholars. This article reexamines Andrews’s claim that the only effective means of political resistance can come from an experimental poetic practice that challenges the ideology of American individualism at the heart of contemporary sense making. The author argues that the limitations of this political project are instructive and relevant beyond the confines of a scholarly interest in poetry, which are revealed through readings of Harryette Mullen.
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Rutherford, Malcolm. "Science and social control: the institutionalist movement in American economics, 1918-1947." Erasmus Journal for Philosophy and Economics 3, no. 2 (November 14, 2010): 47. http://dx.doi.org/10.23941/ejpe.v3i2.55.
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This paper deals with the concepts of science and social control to be found within interwar institutional economics. It is argued that these were central parts of the institutionalist approach to economics as the key participants in the movement defined it. For institutionalists, science was defined as empirical, investigational, experimental, and instrumental. Social control was defined in terms of the development of new instruments for the control of business to supplement the market mechanism. The concepts of science and social control were joined via John Dewey's pragmatic and instrumental philosophy. These ideas provided important links to the ideals of foundations, such as Rockefeller, and thus to access to research funding. Institutionalist concepts of science and social control were, however, displaced after World War II by Keynesian policy and positivist ideas of scientific methodology.
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Jackson, Todd, Shannon R. Flaherty, and Robert Kosuth. "Culture and Self-Presentation as Predictors of Shyness among Japanese and American Female College Students." Perceptual and Motor Skills 90, no. 2 (April 2000): 475–82. http://dx.doi.org/10.2466/pms.2000.90.2.475.
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Self-presentation theories of shyness have been supported in North American samples but have not been evaluated cross-culturally. This study examined the relative influence of cultural and psychological variables on self-reported shyness among Japanese and American college students. 35 female Japanese-born and 47 United States-born Euro-American female students completed the Shyness Scale, Rosenberg Self-esteem Scale, Interpersonal Competence Questionnaire, Sensitivity to Rejection Scale, and Individualism–Collectivism Scale, and a demographic data sheet. After statistically controlling for Individualism–Collectivism, psychological measures, especially perceived interpersonal competence and sensitivity to rejection, combined for Adjusted R2 =.32 in shyness. Findings suggest that similar factors are central to experiences of shyness for both samples. Researchers should assess the stability of such findings in larger, heterogeneous samples and evaluate whether treatment strategies that reduce expectations of rejection and increase perceived interpersonal competence have comparable efficacy in reducing shyness across cultures.
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TRESCH, JOHN. "‘The potent magic of verisimilitude’: Edgar Allan Poe within the mechanical age." British Journal for the History of Science 30, no. 3 (September 1997): 275–90. http://dx.doi.org/10.1017/s0007087497003087.
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The role and status of writing in scientific practice have become central concerns in the history and philosophy of science. Investigations into the rhetoric of scientific texts, the ‘language games’ of calculation, experimentation and proof, and the uses of textbooks, reports and specialized journals in the formation of scientific communities have all brought a growing awareness of what the American author Edgar Allan Poe (1809–49) heralded as ‘The Power of Words’. In discussing several works of this author, who perhaps more than any of his ‘literary’ contemporaries grappled with the growing dominance of science and technology in his time, this paper shows the potential ambiguity and polyvalence of the rhetoric of science. Poe's writings exploit this increasingly powerful language in a variety of ways: through logical proofs, satires, hoaxes, and the analysis of mysteries, codes and poetry, notably his own. Poe's unorthodox use of scientific rhetoric highlights the importance of historically specific modes of discourse for the consolidation of truth.
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Wargacki, John. "The "Logic of Metaphor" at Work: Hart Crane's Marian Metaphor in the Bridge." Religion and the Arts 10, no. 3 (2006): 329–54. http://dx.doi.org/10.1163/156852906779433410.
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AbstractThis essay explores Hart Crane's transformation of the figure of the Mother of God from its traditional Catholic dimension to an empowering spiritual presence redefined and re-examined according to Crane's ambitious aesthetic designs. While many key figures in The Bridge—from Columbus to Whitman to Williams and Cummings—have garnered ample critical attention, the Marian aspect so central to the poem has been all but neglected. Yet the evidence indicates that, as an iconic force, Mary is as important to the poem as the New World figure of Pocahontas in that she supplies an essential mythic presence for a project that aspires to nothing less than lending "a myth to God."I argue that Crane, via his "Logic of Metaphor," has shrewdly transformed the Mary figure at key moments throughout the text, from the proem to "Virginia," making her role, along with that of Pocahontas, an integral feature of this rich and vibrant contribution to American poetry.
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Schleitwiler, Vince, Abby Sun, and Rea Tajiri. "Messy, Energetic, Intense: A Roundtable Conversation among New York's Asian American Experimental Filmmakers of the Eighties with Roddy Bogawa, Daryl Chin, Shu Lea Cheang, and Rea Tajiri." Film Quarterly 73, no. 3 (2020): 66–78. http://dx.doi.org/10.1525/fq.2020.73.3.66.
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This roundtable grew out of conversations between filmmaker Rea Tajiri, programmer Abby Sun, and scholar Vince Schleitwiler about a misunderstood chapter in the history of Asian American film and media: New York City in the eighties, a vibrant capital of Asian American filmmaking with a distinctively experimental edge. To tell this story, Rea Tajiri contacted her artist contemporaries Shu Lea Cheang and Roddy Bogawa as well as writer and critic Daryl Chin. Daryl had been a fixture in New York City art circles since the sixties, his presence central to Asian American film from the beginning. The scope of this discussion extends loosely from the mid-seventies through the late nineties, with Tajiri, Abby Sun, and Vince Schleitwiler initiating topics, compiling responses, and finalizing its form as a collage-style conversation.