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Journal articles on the topic 'Poetic invention'

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Published: 4 June 2021

Last updated: 5 February 2022

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1

Bromwich, David. "Poetic Invention and the Self-Unseeing." Grand Street 7, no. 1 (1987): 115. http://dx.doi.org/10.2307/25007047.

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Maddux, Carolyn, and Mark Strand. "The Weather of Words: Poetic Invention." Antioch Review 59, no. 1 (2001): 120. http://dx.doi.org/10.2307/4614126.

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Edwards, Robert R. "Poetic Invention and the Medieval Causae." Mediaeval Studies 55 (January 1993): 183–217. http://dx.doi.org/10.1484/j.ms.2.306409.

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Sharp, Zachary Daniel. "“Fitter to Please the Court Than the School”: Courtly and Paideutic Rhetoric in Elizabethan Poetics." Rhetorica 38, no. 1 (2020): 57–83. http://dx.doi.org/10.1525/rh.2020.38.1.57.

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This paper argues that Elizabethan handbooks on poetics enact two coevolving traditions in the history of rhetoric and poetics: one sees poetry as a rhetorical art of stylistic invention, while the other sees it as an object of study, analysis, and ethical training. To show this, I examine George Puttenham's Art of English Poesy and contrast it with William Scott's recently discovered Model of Poesy. Puttenham demonstrates how poetic style works as a tool of rhetorical invention; Scott, on the other hand, treats poetics as a method of literary critical analysis. Scott's poetics, I argue, is de

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Grazia, Margreta De, and Joel Fineman. "Shakespeare's Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets." Shakespeare Quarterly 37, no. 4 (1986): 529. http://dx.doi.org/10.2307/2870693.

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KINNEY, A. F. "Shakespeare's Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets." Modern Language Quarterly 47, no. 2 (1986): 194–97. http://dx.doi.org/10.1215/00267929-47-2-194.

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Berdichevsky, Dina. "The Long Endless Railroads, the Blowing of Winds, and the Invention of the Hebrew Mood." Comparative Literature 73, no. 1 (2021): 23–40. http://dx.doi.org/10.1215/00104124-8738862.

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AbstractThis article explores the moment of “invention” of the Hebrew mood. Around the year 1900 a new expression for mood appeared in Hebrew: matsav ruah. The articulation of a new linguistic expression was paralleled by the rise of an original atmospheric prose, mood prose, in Hebrew. By analyzing these parallel events, the article suggests that the matsav ruah of the early 1900s was a new form of self-experience and that this new form stimulated original poetic language created by a cohort of Hebrew, East European writers, including Yosef Hayim Brenner, Uri Nissan Gnessin, and others. The a

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Cintrão, Heloísa Pezza. "Translating “Under the Sign of Invention”: Gilberto Gil’s Song Lyric Translation." Meta 54, no. 4 (2010): 813–32. http://dx.doi.org/10.7202/038905ar.

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Abstract The translation of song lyrics shares in the difficulties of constrained translation, as well as in the impossibilities of poetic translation. In Gilberto Gil’s adaptation of the song “I just called to say I love you” by Stevie Wonder, two translation procedures stand out: (1) to take broad semantic fields as translation units, and (2) to opt for cultural adaptation in terms of the translation’s poles of domesticating/foreignizing. The way Gil faces up to the challenges of the translation of the song is consistent with Haroldo de Campos ideas on transcreation.

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CHOI, Seoyoon. "LIBERTY AS THE IMPOSSIBLE, THE LANGUAGE OF SILENCE: IN REREADING KIM SUYǑNG’S WORKS IN 1960s." International Journal of Korean Humanities and Social Sciences 3 (July 8, 2017): 63–71. http://dx.doi.org/10.14746/kr.2017.03.03.

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This article examines several works written by Kim Suyǒng in the 1960s with a focus on negation as the poetic method in accordance with revolution. He lived through a late colonial period, the Korean War, the April Revolution, and Park Chung Hee’s regime and he was keenly aware Koreans had not spoken of liberty as the invention of modernity in our mother tongue throughout our history. He dedicated all his poems to demonstrating why liberty was impossible to be spoken in Korean. In the course of his writing, his authentic poetic language developed into silence as a martyr, the language of deat

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Twitchell-Waas, Jeffrey. "Ghostly Effects: Orientalist Translation in Pound and the Yasusada Text." Asian Journal of Social Science 29, no. 2 (2001): 234–48. http://dx.doi.org/10.1163/156853101x00055.

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AbstractT.S. Eliot famously remarked that Ezra Pound was "the inventor of Chinese poetry for our time." The nature of this invention is examined within the context of Pound's larger modernist project: his transformation of classical Chinese poetry into Imagist free verse and his projection of a vision of China as a utopian counter-image to the failure of the contemporary West. Although Pound clearly enough was consciously appropriating Chinese poetry according to his own poetic concerns, his particular solutions have had a pervasive impact in determining the look and sound of classical Orienta

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Schlesier, Renate. "Platons Erfindung. Des Wahnsinnigen Dichters." Zeitschrift für Ästhetik und Allgemeine Kunstwissenschaft Band 51. Heft 1 51, no. 1 (2006): 46–61. http://dx.doi.org/10.28937/1000107610.

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Die Charakterisierung des Dichtungsakts als eines Zustands von Vernunftlosigkeit und Ekstasis ist nicht, wie Platon (gefolgt von vielen Interpreten bis heute) behauptet, eine uralte – angeblich auch bei den früheren Dichtern dokumentierte – antike griechische Tradition, sondern eine Erfindung Platons. Dazu gehört auch die Gleichsetzung dichterischer Inspiration mit göttlicher Besessenheit, die Platon als erster vollzieht. Platons subversive Erfindung des wahnsinnigen Dichters steht im Dienst seines Modells des Philosophen, der wie der Dichter über Enthusiasmos verfüge, aber anders als dieser a

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12

Paris. "“One Does Not Write for Slaves”: Wynter, Sartre, and the Poetic Phenomenology of Invention." Journal of Speculative Philosophy 33, no. 3 (2019): 407. http://dx.doi.org/10.5325/jspecphil.33.3.0407.

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Wheeler, Richard P. "Shakespeare's Perjured Eye: The Invention of Poetic Subjectivity in the Sonnets. Joel Fineman , Shakespeare." Modern Philology 86, no. 1 (1988): 87–90. http://dx.doi.org/10.1086/391677.

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Moreira, Marcello, and José Fernando Sales Gonçalves. "O retrato reverso da donna: retrato satírico em metáforas de doce em Fênix Renascida / The Reverse Portrait of the Donna: Satirical Portrait in Candy Metaphors in Fênix Renascida." Caligrama: Revista de Estudos Românicos 24, no. 3 (2019): 105. http://dx.doi.org/10.17851/2238-3824.24.3.105-123.

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Resumo: Este artigo propõe-se analisar um dos gêneros mais produtivos da poesia palaciana portuguesa dos séculos XVI e XVII, o retrato elogioso da donna, de fundo petrarquista, largamente praticado no Quinhentos por poetas como Luís de Camões, Pero de Andrade Caminha e Sá de Miranda, e, no século seguinte, pelos poetas cujas obras foram reunidas nas coletâneas de verso Fênix Renascida e Postilhão de Apolo. Demonstra-se a prática de “notação” do retrato elogioso, discutem-se os preceitos retóricos e poéticos que o regravam, sua utilidade como controle dos afetos cortesãos, e como o seu contrári

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Roman, L. "A History of Lost Tablets." Classical Antiquity 25, no. 2 (2006): 351–88. http://dx.doi.org/10.1525/ca.2006.25.2.351.

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Abstract This study examines a recurrent scenario in Roman poetry of the first-person genres: the separation of the poet from his writing tablets. Catullus' tablets are stolen (c.42); Propertius' are lost (3.23); Ovid's (Am. 1.11––12) are consigned to disuse and decay by their disappointed owner. Martial, who does not reproduce the specific narrative of loss, nonetheless engages with the tradition of lost tablets from within the fiction of festive gift-exchange in his Apophoreta (14.1––21): rather than losing or rejecting the tablets, he gives them away to guests/readers at his Saturnalian par

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Grajales, Marina. "Translation as Alchemy: Julio Cortázar’s Transition From Poetic Imitation to Invention in “Tombeau de Mallarmé”." Estudios del Discurso 6, no. 2 (2020): 24–47. http://dx.doi.org/10.30973/esdi/2020.6.2/3.

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Saenger, Michael. "Frame, Glass, Verse: The Technology of Poetic Invention in the English Renaissance by Rayna Kalas." Comitatus: A Journal of Medieval and Renaissance Studies 40, no. 1 (2009): 303–4. http://dx.doi.org/10.1353/cjm.2009.0005.

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Marques, Pedro. "Poética da sacada: do corpo ao caco contemporâneo." Revista do Centro de Estudos Portugueses 34, no. 51 (2014): 107. http://dx.doi.org/10.17851/2359-0076.34.51.107-139.

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<p>A <em>poética da sacada </em>é das linhagens decisivas da poesia brasileira em décadas. Até quem evita, não raro propõe saídas a ela. Como achado de pensamento ou de linguagem, a sacada deriva da alteração provocada por toda figura retórica na língua corrente. Como operação radical com valor em si conecta-se a rupturas perpetradas por vanguardas, no caso, modernistas e concretistas. Pela quantidade e variedade de publicações, de tons humorísticos aos filosóficos, trata-se da vertente dominante, cujos usos, rigorosos ou facilitadores, privilegiam a sacada como unidade ante-

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Puchalska, Iwona. "Deus ex machina, czyli o doświadczeniu fonografii w poezji Stanisława Barańczaka / DEUS EX MACHINA, OR THE EXPERIENCE OF PHONOGRAPHY IN THE POETRY OF STANISŁAW BARAŃCZAK." Ruch Literacki 54, no. 4-5 (2013): 477–94. http://dx.doi.org/10.2478/v10273-012-0082-3.

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Summary This article deals with a new range of musical topoi that entered the literature of the 20th century following the invention of new techniques of recording and copying of sound. The phonographic revolution led to a wide-ranging revision of traditional musical terms and opened the way for new approaches to the problem of ontology of the musical work of art. Its ripples also reached the realm of poetry, giving rise to new motifs and themes of ‘poetic musicology’. Stanisław Barańczak is without doubt a typical phonographic poet, and his work both reflects the general developments in the w

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Bousquet, Mireille. "La boue dans : "Petits paquets grammaire d'oiseau"." Samuel Beckett Today / Aujourd'hui 20, no. 1 (2008): 71–82. http://dx.doi.org/10.1163/18757405-020001006.

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The mud is not the least of the elements in Beckett's work. In , its disquieting presence moulds the narrator – a shapeless substance one can either drink or sink into. Although the mud could most evidently be interpreted as an image of the human condition, my aim is to show that it operates on a poetic level and through a complex interweaving of language and value. Rather than trying to bring out the meaning of this ambiguous and suggestive element, I want to focus on how the mud produces significance and creates new possibilities of hearing and seeing, through the invention of a renewed mode

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Freitas, Marcus Vinicius. "O escritor e seu ofício: em busca da Teoria da Literatura." Aletria: Revista de Estudos de Literatura 20, no. 2 (2010): 183–98. http://dx.doi.org/10.17851/2317-2096.20.2.183-198.

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Resumo: O presente artigo constitui a formulação das hipóteses e das linhas de análise de uma pesquisa sobre os elementos de teoria da literatura constantes das reflexões de diversos escritores da literatura brasileira sobre o ofício de escritor. O corpus da pesquisa inclui tanto poetas quanto prosadores de ficção, num arco temporal que vai do século XIX à contemporaneidade, com vista ao levantamento de reflexões e posições autorais sobre temas que se agrupam em dois campos, correspondentes à poesia e à prosa de ficção, respectivamente: a) inspiração poética, uso de formas fixas e ritmos, vers

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Goldstein, David B. "Rayna Kalas, Frame, Glass, Verse: The Technology of Poetic Invention in the English RenaissanceFrame, Glass, Verse: The Technology of Poetic Invention in the English Renaissance. Rayna Kalas . Ithaca, NY, and London: Cornell University Press, 2007. Pp. xix+248." Modern Philology 108, no. 2 (2010): E100—E103. http://dx.doi.org/10.1086/655474.

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23

Jones, Prudence. "A Goddess Arrives: Nineteenth Century Sources of the New Age Triple Moon Goddess." Culture and Cosmos 09, no. 01 (2005): 47–71. http://dx.doi.org/10.46472/cc.0109.0205.

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The Triple Moon Goddess of contemporary Pagan and New Age thought is generally assumed to be an invention ex nihilo of the 20th century, with no precursor in classical antiquity, created by the poetic imagination of Robert Graves (1895-1985), with possible inspiration from the classicist and anthropologist Jane Ellen Harrison (1850-1928). However this hypothesis is incorrect. The Triple Goddess was presented in the 20th century before Graves. In addition, this paper is the first to reveal some astrological and esoteric as well as scholarly writings of the 19th century which presented and discu

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Brunvand, Amy. "The Poetry of Government Information." DttP: Documents to the People 47, no. 2 (2019): 16. http://dx.doi.org/10.5860/dttp.v47i2.7033.

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Anne Carson’s Autobiograpy of Red is one of those beloved poetry books that everyone kept telling me to read, but somehow I never got around to it until recently. Imagine my surprise to find government documents librarianship at the crux of the story! In Carson’s poetic novel, our hero Geryon is so full of artistic and erotic passion that he appears as a winged red monster. After he is dumped by a lover, “Geryon’s life entered a numb time, caught between the tongue and the taste,” a poetic dark-night-of-the-soul rendered metaphorically as a job shelving government documents in a joyless librar

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Bergstein, Mary. "Marian Politics in Quattrocento Florence: The Renewed Dedication of Santa Maria del Fiore in 1412." Renaissance Quarterly 44, no. 4 (1991): 673–719. http://dx.doi.org/10.2307/2862484.

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On the Feastday of the Nativity of the Virgin, September 8, 1296, the papal legate of Boniface VIII, Pietro Valeriano di Piperno, blessed the rebuilding of the church of S. Reparata in Florence. In the ceremonial presence of the podestà, the Standard-Bearer of Justice, and the priors of the Signoria, he named the new cathedral “Santa Maria del Fiore.” Arnolfo di Cambio was made chief architect in charge of the renewal; and it was he who began a program of monumental sculpture devoted to the life of the Virgin (fig. 1). Giovanni Villani, who recorded the benediction ceremony in his chronicle, a

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Jackson, Virginia. "Specters of the Ballad." Nineteenth-Century Literature 71, no. 2 (2016): 176–96. http://dx.doi.org/10.1525/ncl.2016.71.2.176.

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Virginia Jackson, “Specters of the Ballad” (pp. 176–196) This essay argues that Paul Laurence Dunbar’s ballad “The Haunted Oak” (1901) indexes Dunbar’s invention of the modern American lyric through the (lynching) form of modern racism. How does race ghost-write poetry’s redefinition around the lyric? How does it create a dramatically abstract “speaker” that gives voice to and for an imagined community? Dunbar inverts both romantic apostrophe and Victorian dramatic monologue and dialogue in his speaking bough. He does this by framing his poem as a pre-romantic border ballad, a tale of Scots re

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Martínez Serrano, Leonor María. "The Audible Light of Words: Mark Strand on Poetry and the Self." ES Review. Spanish Journal of English Studies, no. 39 (December 14, 2018): 255–80. http://dx.doi.org/10.24197/ersjes.39.2018.255-280.

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The aim of this paper is to look at American poet Mark Strand’s thinking about what poetry is all about, as expressed in his poetry collections and prose works, especially in The Monument (1978), a book of “notes, observations, rants, and revelations” about literary immortality, but also a meditation on “the translation of a self, and the text as self, the self as book”; in The Continuous Life (1990), a collection of luminous pieces on various aspects of the literary enterprise, including reading, translation and the multitude of selves making up the self; and in The Weather of Words: Poetic I

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COLETTE, MARIE-NOËL. "The melodic nucleus derived from anaphoral chant: ‘signature tune’ of Kyrie eleison melodies." Plainsong and Medieval Music 17, no. 2 (2008): 129–46. http://dx.doi.org/10.1017/s0961137108000843.

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AbstractWhereas the melodies of the Ordinary chants of the Mass seem to have been rather few in earlier centuries, they subsequently developed and multiplied as a consequence of new modes of poetic invention (tropes and prosulas), their melodies taking into account the theory of the octoechos. Kyrie melodies provide us with particularly striking witnesses to this development. Despite their number, their diversity, and their classification in the octoechal system, almost all of the Kyrie melodies, at least until the end of the twelfth century, can be traced back to an earlier melodic formula, s

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Silva, Sandra Kretli. "Os Cadernos da Realidade dos alunos da LEDOC/UFES como agenciamentos coletivos de enunciação / The student's notebook on LEDOC/UFED as collective enunciation management." Cadernos CIMEAC 8, no. 1 (2018): 303. http://dx.doi.org/10.18554/cimeac.v8i1.2356.

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Este texto objetiva apresentar resultados de uma pesquisa que investiga os “usos” que os professores e os alunos fazem dos cadernos da realidade produzidos pelos alunos do curso de Licenciatura em Educação do Campo da Universidade Federal do Espírito Santo. Problematiza o modo como os usos desses cadernos expressam os currículos pensadospraticados. Utiliza, como aporte teórico-metodológico, o pensamento de Michel de Certeau (1994), Deleuze e Parnet (1977), Deleuze e Guattari (2015) e Lazaratto (2006; 2014). Aponta que os alunos fazem usos diversos dos cadernos: favorecer a memória, como indica

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Fleck, Jonathan. "Translation, Race, and Ideology in Oriki Orixá." Journal of World Literature 1, no. 3 (2016): 342–56. http://dx.doi.org/10.1163/24056480-00103004.

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In the midst of an influential career writing on Brazilian cultural production, the sociologist-turned-political marketer Antonio Risério publishes Oriki Orixá, a book of Portuguese re-translations of Yoruba oriki poetry (1996, reprinted 2013). Understanding translation as a partial and ideologically-motivated act of representation, the current article situates Oriki Orixá within an ideology of race in Brazil. I take into account textual and paratextual materials including the book’s introduction by Augusto de Campos; the editorial promotion of the work; its circulation within a literary netwo

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HONG, SUNGHEE. "The Void of Onoeeu Mudo(Dance of Agony) - poetic écriture as a performance of invention of modern ‘world’ and modern ‘language’." Comparative Korean Studies 26, no. 2 (2018): 543–84. http://dx.doi.org/10.19115/cks.26.2.17.

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Silvares, Lavinia. "The deep search of knowledge: George Chapman's glosses in The Shadow of Night (1594)." Acta Scientiarum. Language and Culture 39, no. 3 (2017): 321. http://dx.doi.org/10.4025/actascilangcult.v39i3.32208.

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This paper addresses the glosses of the first edition of George Chapman's philosophical elegy, The Shadow of Night (1594), as a specific and common practice of prescriptive work, produced by Renaissance authors following the ancient tradition of the auctoris interpretatio. Assuming the gloss as an exposition and scrutiny of the places of poetic invention and elocution, Chapman puts himself in the position of both annotator and authorizer of his text, defining a particular legibility for the poem within the learned circles of the English court of Shakespeare’s time. Considering the view of the

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Manzari, Francesca. "Pour une théorie périphérique et/ou amoureuse : lectures d’Agamben, Derrida, Rancière." Interlitteraria 25, no. 2 (2020): 422–34. http://dx.doi.org/10.12697/il.2020.25.2.13.

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For a Peripheral Theory in Love: Reading Agamben, Derrida, Rancière. The introduction of Giorgio Agamben’s book entitled Stanzas, Word and Phantasm in Western Culture is about the relationship of philosophy and poetry to knowledge in Western culture. The stanza is “the essential nucleus” of Tuscan poetry in the thirteenth century. It is actually an invention of Tuscan poets who call stanzas the parts that compose every canzone. Stanza is a word for chamber in Tuscan dialect as well as in Italian. Agamben points out that what makes possible its poetical existence is the fact that a stanza is a

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Manzari, Francesca. "Pour une théorie périphérique et/ou amoureuse : lectures d’Agamben, Derrida, Rancière." Interlitteraria 25, no. 2 (2020): 422–34. http://dx.doi.org/10.12697/il.2020.25.2.13.

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For a Peripheral Theory in Love: Reading Agamben, Derrida, Rancière. The introduction of Giorgio Agamben’s book entitled Stanzas, Word and Phantasm in Western Culture is about the relationship of philosophy and poetry to knowledge in Western culture. The stanza is “the essential nucleus” of Tuscan poetry in the thirteenth century. It is actually an invention of Tuscan poets who call stanzas the parts that compose every canzone. Stanza is a word for chamber in Tuscan dialect as well as in Italian. Agamben points out that what makes possible its poetical existence is the fact that a stanza is a

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Teodorovic, Jasmina. "„FUTURISTIČKA” FANTAZMAGORIJA: „LUČE NOVOG JERUSALIMA 2999”." Lipar, no. 72 (2020): 47–63. http://dx.doi.org/10.46793/lipar72.047t.

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The majority of studies on the last story in Pekić’s gothic novel The New Jerusalem (Serbian: „Luče Novog Jerusalima”, officially translated in English by Zorica Đergović Joksimović ”The Lights of The New Jerusalem 2999”) elaborate on in it in terms of: poetic/narrative auto-referentiality, gothic chronicle, hybrid genre, meta- textuality, historiographic metafictional narrativity, eschatological vision, negative utopia, chiliastic tone, post-apocalyptic vision etc. However, what is to be noted as well is that Pekić’s rhetoric keeps insisting on the same archetypal anthropological matrix, inso

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KROTEVA, Nikolina. "THE TRANSFORMATION OF THE „JAPANESE TRACE“ IN THE WORK OF NIKOLAY STOYKOV." Ezikov Svyat (Orbis Linguarum) 18, no. 1 (2020): 86–93. http://dx.doi.org/10.37708/ezs.swu.v18i1.10.

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e contemporary Bulgarian composer Nikolay Stoykov is extremely attached to the image world of the Bulgarian musical folklore. Colorful as an author, he reconsiders and liberates authentic folk material with modern compositional language and thus breaks the traditional boundaries of musical structures. The subject of my monograph1 was the questions related to the artistic imagery in the choir work of Nikolay Stoykov and the original composer techniques usedby the author. While I was researching and writing about the rich heritage of the composer – about 100 opuses, I encountered various unique

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Chaudhuri, Una. "“Of All Nonsensical Things”: Performance and Animal Life." PMLA/Publications of the Modern Language Association of America 124, no. 2 (2009): 520–25. http://dx.doi.org/10.1632/pmla.2009.124.2.520.

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And of all nonsensical things, I keep thinking about the horse! Not the boy, but the horse, and what it might be trying to do.—Peter Shaffer, EquusA “zoontology” is currently uncovering the productive difficulty that animals bring to philosophy. in essays in a volume by leading philosophers entitled Philosophy and Animal Life, the contours of the challenge that animals pose to philosophy emerge from discussion of, among other texts, J. M. Coetzee's The Lives of Animals, where both rational argumentation and poetic invention are (in Cora Diamond's inspired borrowing from Ted Hughes) “shouldered

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RIGGLE, NICK. "Personal Ideals as Metaphors." Journal of the American Philosophical Association 3, no. 3 (2017): 265–83. http://dx.doi.org/10.1017/apa.2017.30.

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ABSTRACT:What is it to have and act on a personal ideal? Someone who aspires to be a philosopher might imaginatively think ‘I am a philosopher’ by way of motivating herself to think hard about a philosophical question. But doing so seems to require her to act on an inaccurate self-description, given that she is not yet what she regards herself as being. J. David Velleman develops the thought that action-by-ideal involves a kind of fictional self-conception. My aim is to expand our thinking about personal ideals by developing another way of understanding them. On this view action-by-ideal invol

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Dahan-Gaida, Laurence. "Le schématisme de l’invention et la pensée morphogénétique: Paul Valéry, Gilbert Simondon, D’Arcy Thompson." Çédille, no. 18 (2020): 321–35. http://dx.doi.org/10.25145/j.cedille.2020.18.13.

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Gilbert Simondon has shown that schemata are not a pure product of the imagination, but that they stem from a dialogue with the «images-objects» origi-nated in the realm of technique or even in nature, which offers an endless source of dynamic schemata that allow visualizing morphogenetic processes very effi-ciently. This expansion of Kant's schematism has allowed the French philosopher to propose a new concept of invention that brings to light the schemata present in technical or natural objects and enables us to transfer them from one field of hu-man experience to another. This article propo

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Strobos, Semon. "Philosophical Origins of the Concept Technical Writing." Journal of Technical Writing and Communication 22, no. 3 (1992): 247–57. http://dx.doi.org/10.2190/g6wp-8rpb-nr5f-f7jr.

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This article collects several examples of technical and creative writing in order to examine whether the differences which have been assumed to exist between the two genres do in fact exist. The formulation of such a dichotomy is traced from I. A. Richards' definition of “poetic vs scientific” writing through C. P. Snow's Two Cultures to Coleridge's Biographia Literaria (Richards' acknowledged source). Coleridge in turn has been shown to be heavily influenced by, in fact to have plagiarized, the work of German idealists, particularly the Schlegels. The German idealists, finally, were working w

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Bazhenova, Yana. "«Climbing The Alps»: Symbolic Toponymy as aFactor of the Cycles Formationin I.A. Bunin’s Oeuvre." Izvestia of Smolensk State University, no. 2(50) (July 2, 2020): 34–47. http://dx.doi.org/10.35785/2072-9464-2020-50-2-34-47.

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The article analyzes the unassembled cycle of I.A. Bunin’sthree texts with the same title «In the Alps». The poem and the chronologically first short story with the same title were written at the beginning of the writer’s literary career. At that time Bunin learned from outstanding predecessors in order to find his own poetic voice and place in the field of literature. The result of the searches showed the invention of a unique genre – the genre of prosaic miniature. Then, half a century after publication of the first texts «In the Alps»,the third short story with the same titleappeared. The m

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Salfen, Kevin. "Britten the Anthologist." 19th-Century Music 38, no. 1 (2014): 79–112. http://dx.doi.org/10.1525/ncm.2014.38.1.079.

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Abstract Benjamin Britten was one of several twentieth-century British composers active before the Second World War who wrote “anthology cycles”—that is, cyclic vocal works on poetry anthologies of the composer's own making. This apparently British invention is deeply indebted to the widespread success of the anthology as a literary form in classrooms, homes, and marketplaces of Victorian and Edwardian England. Britten's early attraction to canonical anthologies such as Arthur Quiller-Couch's Oxford Book of English Verse (1900), for example, is representative of a cultural practice of reading.

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Wilson, Peter. "Dancing for Free: Pindar's Kastor Song for Hieron." Classical Antiquity 38, no. 2 (2019): 298–363. http://dx.doi.org/10.1525/ca.2019.38.2.298.

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This article studies a neglected melic poem by Pindar, a hyporcheme for Hieron of Syracuse. It places the work in the context of vigorous poetic production associated with Hieron's foundation of the city of Aitna in 476/5 and assembles the relevant fragments, arguing for the inclusion of frr. 105ab, 106, 114 S-M, and for the relevance of sch. Aelius Aristeides Panathenaikos 187, 2 Dindorf. It analyzes and accepts as likely the evidence of the Pindaric sch. vet. Pythian 2.127 Drachmann that this hyporcheme was referred to by Pindar as a Kastoreion or “Kastor song,” and weighs the significance o

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Kałuża, Anna. "Materiality of Poetry: Words and Bodies/ Words and Pictures (Ewa Partum, Andrzej Tobis, Adam Kaczanowski)." Praktyka Teoretyczna 34, no. 4 (2019): 131–50. http://dx.doi.org/10.14746/prt2019.4.7.

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The article discusses the possibilities of the emergence of a neo-materialistic aesthetics of the poem. Each of the analyzed examples—Ewa Partum’s active poetry, Adam Kaczanowski’s toy-art and Andrzej Tobis’s photographic archive—reveals different aspects of this aesthetics. The case of Partum shows that the material concreteness of poetry—today also associated with virtuality— requires other ways of perceiving / commenting / documenting the “poems” happening between the media. Active poetry consists in drawing the text (which eventually turns out to be a jigsaw made of letters) out of the for

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Poch, Chantal. "Inner and deeper: Motifs of fiction in Werner Herzog's films." CINEJ Cinema Journal 7, no. 2 (2019): 101–28. http://dx.doi.org/10.5195/cinej.2019.224.

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The emphasis on the mix of facts and inventions has prevailed in the studies about Bavarian director Werner Herzog’s treatment of fiction, leading to the same result again and again: for Herzog, poetic truth is more important than factual truth. But how can we go beyond this conclusion? This paper will try to open an alternative path of analysis more adequate to his philosophy of filmmaking, one that works through the detection of visual and narrative motifs in his films, thus searching the impact of Herzog’s idea of fiction into his poetics.

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Dolven, Jeff. "Rayna M. Kalas. Frame, Glass, Verse: The Technology of Poetic Invention in the English Renaissance. Ithaca: Cornell University Press, 2007. xix + 248 pp. index. illus. $39.95. ISBN: 978-0-8014-4541-5." Renaissance Quarterly 61, no. 2 (2008): 668–69. http://dx.doi.org/10.1353/ren.0.0019.

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Cirne, Matthews Carvalho Rocha. "Intertextualidade e transgressão na poesia experimental portuguesa / Intertextuality and Transgression in the Experimental Portuguese Poetry." Revista do Centro de Estudos Portugueses 40, no. 63 (2020): 89. http://dx.doi.org/10.17851/2359-0076.40.63.89-106.

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Resumo: A poesia experimental encontra-se constantemente vinculada às obras ensaísticas dos autores que integraram o movimento, em suas diversas fases. Este artigo tem por objetivo compreender a poética de E. M. de Melo e Castro através dos seus ensaios. O ponto de partida será o livro Literatura portuguesa de invenção (1984), do qual serão destacados alguns pontos de interesse, que são a transgressão e a intertextualidade. Buscaremos ainda traçar as fronteiras existentes entre o poema e o ensaio, bem como a relação de ambos com os movimentos de vanguarda e o mecanismo inventivo denominado poe

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Chow, Kenny K. N. "Operating Text and Transcending Machine: Toward an Interdisciplinary Taxonomy of Media Works." Leonardo 41, no. 4 (2008): 373–78. http://dx.doi.org/10.1162/leon.2008.41.4.373.

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This paper uncovers the relationship between texts and machines, two major human inventions seemingly situated at polarities. In the Western tradition, the former originates from Aristotelian poetics and rhetoric, while the latter is associated with science and technology. The two have started to overlap in the 20th century, especially with the advent of the computer—a machine simulating human mental activities. This article begins by revisiting a few cardinal ideas from various scholars. Then, having outlined a corpus of texts in different manifestations related to the essence of machines, th

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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.

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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of con

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Pessoa, Davi. "Paixão e filologia." Remate de Males 40, no. 2 (2020): 546–62. http://dx.doi.org/10.20396/remate.v40i2.8659513.

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Este artigo aborda a intempestiva relação entre crítica e linguagem que emergiu já na juventude de Pasolini, a qual será uma constante mutável por toda sua breve vida. Giorgio Agamben aponta que o jovem Pasolini não subjuga o dialeto friulano à língua constitucional, pois deseja dizer com o dialeto coisas elevadas, difíceis, com maior frescor e potência. Assim, a crítica operada por Pasolini mobilizou eruptivos debates, nos quais colocava em choque a língua como inventum (língua institucional) e a língua como inventio (língua-poesia), para desse confronto insurgir-se uma filologia crítica e in

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