Littérature scientifique sur le sujet « Eco poetic »
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Articles de revues sur le sujet "Eco poetic"
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Hampson, Gary P. « Facilitating eco-logical futures through postformal poetic ecosophy ». Futures 42, no 10 (décembre 2010) : 1064–72. http://dx.doi.org/10.1016/j.futures.2010.08.005.
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Kong, Ya Wei, Chang An Liu, Ji Long Zhao, Bin Zhao et Xiao Dong Li. « How Green Technic and Poetic Issues in Eco-Architectural Practice ». Advanced Materials Research 250-253 (mai 2011) : 3292–98. http://dx.doi.org/10.4028/www.scientific.net/amr.250-253.3292.
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The reconstruction in the area of Wenchuan Earthquake strives to be eco-friendly and recalls the question of how green. Built environment, which is reconstructed according to the green of eco-architecture, must contribute more positively to the planet and the pleasure of place as well as answering the sustainable demands of comfort. To address both technic and poetic issues in eco-architectural practice, in the design proposal for a Rural Sunshine Primary School located at Barkam County of Sichuan Province, low technologically, sensory experience of sustainable strategies is widely introduced to reinforce the meaning of green building and encourages the children in disaster area to make friends with nature and future. Three interactive issues, eco site plan, sustainability strategy and green environment, are introduced as the core concepts in the design, while the children in disaster area comfortably and sensorily experience daylighting, ventilation and thermal performance of green building.
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Tzanelli, Rodanthi. « Eco-Aesthetics and Climate Change ». Transfers 11, no 2 (1 juin 2021) : 116–20. http://dx.doi.org/10.3167/trans.2021.110209.
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Environmental sustainability and ecological aesthetics experience a turbulent affair when academic language is replaced by an artistic register: can we articulate contemporary crises stemming from uncontrolled mobilities, such as hyper-consumption, hyper-automobilities, and technological pollution, better by replacing sociological analysis with affective poetic language? The following poem (unpublished but belonging to the theme of Altermodernities: A Traveller’s Notes, book 1: Anthropocene Entanglements) explores what this transition offers to a “public sociology” of modernity that relays theory to multiple publics in alternative visual and textual styles.
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Chang, Chia-ju. « Documenting life in the era of climate change : Huang Hsin-yao’s Nimbus and Taivalu ». Asian Cinema 30, no 2 (1 octobre 2019) : 235–54. http://dx.doi.org/10.1386/ac_00006_1.
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What can the poetic or experimental mode of documentary contribute to the discourses of the New Taiwan Documentaries, particularly the ones that address everyday eco-disasters in the Pacific Rim during the climate change era? In this article, I use Huang Hsin-yao’s Daishui yun (Nimbus) (2009) and Shenmei zhi dao (Taivalu: Taiwan vs. Tuvalu) (2010) as case studies of what I call ‘cli-fi ethnographic documentary’. These documentaries demonstrate that the employment of the poetic documentary mode, as a filmic strategy, provides a different outlet to address the tension, for example, between planetary suffering, eco-aesthetics, human psychological adaptability and environmental justice. Here the Taiwanese directors dare to imagine a broader, deep-time, more-than-human multispecies world, affect and aesthetics, while not eschewing the question of justice, accountability and causality.
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Moraes, Janaína. « Residual collaborations : Inviting Repaired coexistence through ecological imagination within Resilient choreographic Relationships ». Journal of Dance & ; Somatic Practices 13, no 1 (1 décembre 2021) : 83–94. http://dx.doi.org/10.1386/jdsp_00038_1.
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This article contains two case studies that aRe shaped as ‘suitcase stories’ Referring to collaboration. These stories addRess the Relationships between human and moRe-than-human beings as they journey through cReative processes guided by the perspective of ecological relationalities. The stories pResented heRe aRe echoes of entangled narratives, in an attempt to voice the perspective of an artist who found Resilience through togetherness and co-labouring. Both cases are responses to damaged worlds, and they sought Reflection through the embodiment of somatic experiences on eco-conscious experimentations in dance practice. The notion of invitation poetics is pResented as a political and poetic framework of ‘becoming’ through practices of coexistence.
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Ryan, John Charles. « Planting the Eco-Humanities ? Climate Change, Poetic Narratives, and Botanical Lives ». Rupkatha Journal on Interdisciplinary Studies in Humanities 8, no 3 (18 août 2016) : 61–70. http://dx.doi.org/10.21659/rupkatha.v8n3.08.
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Mahmoud, Mohamed Abdel Wahab. « Climate Change & ; Ecocide in Helen Moore’s “Ecozoa” : An Eco-Poetic Study ». CDELT Occasional Papers in the Development of English Education 80, no 1 (1 octobre 2022) : 215–42. http://dx.doi.org/10.21608/opde.2022.282213.
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Terblanche, J. E., et R. F. Terblanche. « Ezra Pound’s orientalist poetry, natural rootedness, and Lepidoptera ». Literator 23, no 3 (6 août 2002) : 97–116. http://dx.doi.org/10.4102/lit.v23i3.345.
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In this article, we focus on the outward purpose (Umberto Eco) and natural rootedness of Ezra Pound’s translation of Li Tai Po’s “The River Merchant’s Wife: a Letter.” Natural rootedness – a sign actively conditioned by and into a dynamic ecosystem – is a central aspect of Taoist poetics and modernist orientalism (Gary Snyder). We follow the outward purpose of the sign, in further exploration of a zone of between-ness: between the opposites of culture and nature (William Howarth). In particular, we focus on the butterfly image in this poem. An interdisciplinary, ecosemiotic reading is made of this image within its poetic and natural context. We argue that this image is related to actual (ecological and evolutionary) butterfly colouration and behaviour in the (Chinese) ecosystem. Although no historical evidence of either Pound’s or Li Po’s interest in butterflies exists as far as could be determined, the middle ground between English and Chinese that Pound occupies (Eric Hayot) in this translation, could partially explain the interlevel correspondence between this image and actual butterfly behaviour. The article demonstrates that the image ties in well with an autumnal orpimentation or “enyellowment” of butterflies, as well as their sexual behaviour. It concludes that the significance of the sign is enhanced by its outward purpose towards and interpenetration with and within active nature, culminating in this central natural image in this important and creative poetic translation by Pound.
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De Ros, Xon. « El legado oculto de Antonio Machado a la generación de poetas del medio siglo ». Prosemas 4 (19 février 2020) : 203. http://dx.doi.org/10.17811/prep.4.2019.203-222.
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Resumen: Los estudios dedicados a investigar la ascendencia de Antonio Machado en la generación poética del 50 han resaltado la crítica social y la reflexión metafísica como rasgos comunes en ambos. Este artículo se propone explorar el componente erótico, un aspecto poco estudiado en la poesía de Machado a pesar de la relevancia que tiene en la obra de sus apócrifos, examinando uno de los poemas tempranos de «Galerías» a la luz de su lectura por parte de Jaime Gil de Biedma. El análisis de las estrategias que generan el potencial erótico del poema machadiano, a través de enfoques proporcionados por teorías y poéticas del erotismo elaboradas por autores como George Bataille, Roland Barthes, Octavio Paz y Anne Carson, entre otros, revela una estructura de ecos y resonancias poéticas que evocan una figura mediadora del deseo. La reacción de Gil de Biedma sugiere una sensibilidad receptiva a esta veta del legado de Machado. Palabras clave: Erotismo; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poetas del 50; tradición poética; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; triángulo erótico; mediador del deseo; eco poético.Abstract: Researchers working on the influence of Antonio Machado on the Spanish mid-1950s generation of poets have highlighted social critique and metaphysical reflexivity as common features in both. Prompted by Jaime Gil de Biedma’s reading of one of Machado’s earlier poems from the series ‘Galerías’, this essay explores the erotic component in the poem, an element under-researched in Machado’s poetry despite its relevance to the writings of his apocryphals. Drawing on theories of eroticism proposed, among others, by Georges Bataille, Octavio Paz, Roland Barthes and Anne Carson, an analysis of the textual strategies that generate the erotic potential in Machado’s poem reveals a network of echoes and poetic resonances which conjure up the figure of a mediator of desire. Gil de Biedma’s reading suggests a sensibility receptive to this strand of Machado’s legacy. Key words: Eroticism; Antonio Machado; Charles Baudelaire; Jaime Gil de Biedma; poets of 1950; poetic tradition; Michel Foucault; Georges Bataille; Anne Carson; Octavio Paz; erotic triangle; mediator of desire; poetic echo.
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Węgrzyniak, Anna. « Ćwiczenie ekologicznej wyobraźni. O poezji Julii Fiedorczuk ». Poznańskie Studia Polonistyczne. Seria Literacka, no 33 (26 octobre 2018) : 219–35. http://dx.doi.org/10.14746/pspsl.2018.33.13.
Texte intégralRésumé :
The key to reading Julia Fiedorczuk’s poems – interpreted within the paradigm of eco-poetry – are the words used in the titles of her poetry volumes: “bio”, “planet” and “oxygen”, which foretell bio-centrism. The poetic imagery unites organic tissues with the artist’s “texture”. A love relationship of a human with a non-human reveals ecological sensitivity, yet it is a painful “love” because it is accompanied by the disagreement about the fragility of existence and the progressing degradation of the planet.
Thèses sur le sujet "Eco poetic"
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Hsu, Li-Hsin. « Emily Dickinson's poetic mapping of the world ». Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7573.
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This thesis investigates Emily Dickinson's spatial imagination. It examines how her poetic landscape responds to the conditions of modernity in an age of modernization, expansionism, colonialism and science. In particular, I look at how the social and cultural representations of nature and heaven are revised and appropriated in her poems to challenge the hierarchical structure of visual dominance embedded in the public discourses of her time. Although she seldom travelled, her writing oscillates between experiential empiricism, sensationalistic reportage, and ecological imagination to account for the social and geographical transition of a rapidly industrialized and commercialized society. The notion of transcendence, progress and ascension in Enlightenment and Transcendentalist writings, based upon technological advancement and geographical expansion, characterized the social and cultural imagination of her time. Alternatively, an increasingly cosmopolitan New England registers a poetic contact zones as well as a Bakhtinian carnivalesque space, in which colonial relations can be subverted, western constructions of orientalism challenged, and capitalist modernity inflected. Dickinson voiced in her poems her critical reception of such a phantasmagoric site of a modern world. I explore how her cartographic projection registers the conflicting nature of modernity, while resists the process of empowerment pursued by her contemporary writers, presenting a more dynamic poetic vision of the world. In the first chapter, I explore her use of empirical mapping as a poetic approach to challenge the Enlightenment notion of progress and modernity. I look at her poems of social transitions, especially her poems of the Bible, the train, the pastoral, and the graveyard, to show how she addresses the issue of modernization. Her visit to Mount Auburn and the rural landscape movement are explored to show her complex poetic response toward modernity. In the second chapter, I focus on her poems of emigration and exploration to see how she appropriates frontier metaphors and exploratory narratives that dominated the discourses of national and cultural projects of her time. The colonial expeditions and national expansionism of her time are examined to show her revision and deconstruction of quest narratives. In the third chapter, I examine her commercial metaphors in relation to cosmopolitanism. I discuss her metaphors of tourism to see how her poems are based upon the notion of consumption as a poetic mode that is closely related to the violence of global displacement and imperial contestation. Her tourist experiences and reading of travel writings will be examined to show her critical response towards the dominant visual representations of her time. In the last chapter, I explore her poems of visitation and reception to show her elastic spatial imagination through her notion of neighbouring and compound vision. In particular, I discuss her poetic reception and appropriation of the theories of Edward Hitchcock and Thomas De Quincey. I conclude suggesting that her spatial imagination reveals her poetic attempt to account for the conditions of modernity.
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Gimenez, Mathieu. « Joseph Delteil, le vivant à l'oeuvre ». Electronic Thesis or Diss., Amiens, 2021. http://www.theses.fr/2021AMIE0102.
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Joseph Delteil, auteur phare de l'entre-deux-guerres, ayant fait ses armes chez les surréalistes notamment, sans tomber tout à fait dans l'oubli, n'a pas aujourd'hui l'attention qu'il mérite. Pour un écrivain chez qui la nature a joué un rôle essentiel, il était étonnant de voir que ce sujet n'avait jamais été traité pour lui-même. Cela était d'autant plus étonnant que Joseph Delteil est l'auteur de textes profondément écologiques tels que Jésus II ou bien encore François d'Assise, tous deux publiés après la Seconde Guerre mondiale. Outre ces textes, c'est tout un travail sur la réceptivité, sur l'état poétique et sur l'attention au vivant qui est à l'œuvre au sein du processus créateur de Joseph Delteil, et ce depuis les œuvres de jeunesse jusqu'aux œuvres de la maturité. Notre travail analyse, à partir de la formation intellectuelle de Delteil et du regard qu'il pose sur le vivant, les mouvements de sa pensée en lien avec le devenir des sociétés humaines. Pour cela, nous avons utilisé les outils de l'écopoétique, discipline encore récente et qui doit se développer dans le champ des études universitaires francophones, ce qui nous permet de mettre en lumière ce que nous avons appelé l'"écopoétique chrétienne", à savoir une sensibilité poétique et écologique partagée par un ensemble d'écrivains aux XXème et XXIème siècles se reconnaissant comme chrétiens et fortement marqués par les questions environnementales (André Dhôtel, Marie Gevers, Christian Bobin, René Guy-Cadou, Colette Nys-Mazure, Philippe Forcioli…). Cette mise en lumière nous permet de montrer toute la part prise par les écrivains chrétiens au sein de la création littéraire française moderne et contemporaineJoseph Delteil is a leading author from the interwar years, who cut his teeth with the surrealists, in particular. Although he has not fallen entirely into oblivion, he is not receiving the attention he deserves these days. Considering that he is a writer for whom nature has played an essential role, it is astonishing to observe that he never dealt with this subject himself. This was all the more astonishing that Joseph Delteil was the author of deeply ecological texts such as "Jesus II" or even "François d'Assise", both published after the Second World War. We can add "Jeanne d'Arc" or "La Deltheillerie", of course. Each of these powerfull books, in his own way, questions the the relationship to living things and the future of human societies. In addition to these texts, it is a whole work on receptivity, on the poetic state and on attention to the living that is at work within the creative process of Joseph Delteil, and this from the works of youth until to the works of maturity. This study analyses the movements of Delteil's thoughts in relation to the future of human society, based on his intellectual education and view of living things. To this end, the tools of ecrocritism and ecopoetics have been used to highlight 'Christian ecopoetics', namely a poetic and ecological sensitivity shared by a set of writers in the XX and XXI centuries, who saw themselves as Christians and strongly affected by environmental issues (André Dhôtel, Marie Gevers, Colette Nys-Mazure, Philippe Forcioli, René Guy Cadou, Frédéric Jacques Temple, Christian Bobin…). This highlighting allows us to show all the price part by Christian writers within modern and contemporary French literary creation
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Silveira, Juliana Fabrícia da. « Ecos medievalizantes na poesia de Manuel Bandeira : um exercício de aprendizagem poética / ». São José do Rio Preto : [s.n.], 2009. http://hdl.handle.net/11449/94139.
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Orientador: Marcos Antonio SiscarBanca: Susanna Busato
Banca: Wilton José Marques
Resumo: Esse trabalho analisa a presença de ecos medievalizantes na poesia de Manuel Bandeira como exercício de aprendizagem poética. Para isso, selecionamos alguns poemas de Bandeira que possuem uma vinculação mais explícita com a lírica medieval, seja pela temática, seja pela forma, embora esses ecos perpassem por toda sua produção poética. A influência decisiva da poesia medieval portuguesa é apontada pelo próprio poeta em suas cartas, crônicas e na autobiografia intelectual Itinerário de Pasárgada e se manifestam de modo exemplar nos poemas analisados neste trabalho ("Cantiga de amor", de Mafuá do Malungo; "Canção das muitas Marias", de Opus 10; "Cantar de amor" e "Cossante", de Lira dos Cinquent'anos; "Solau do desamado", de Cinza das horas; e "Rimancete" e "Baladilha arcaica", de Carnaval). Cada um deles empreende uma relação diferente com o medieval, ora pela negação dos arquétipos da poesia antiga, ora pelo tom de homenagem. Enfatizando o modo como se realiza essa recuperação da poesia medieval, o trabalho dá destaque ao fato de que a poesia de Bandeira modula e problematiza os pressupostos de liberação do passado e do lusitanismo característicos do Modernismo de 1922. Esse gesto não se baseia em um espírito de continuidade, mas funciona como experimentação que permite a Bandeira se especializar e se singularizar dentro de um campo que destaca o caráter rítmico e profano da poesia.
Abstract: The aim of this work is to analyze the presence of medieval echoes in Manuel Bandeira‟s poetry as an exercise of poetic learning. To this end, some of Bandeira‟s poems which a more explicit connection with medieval lyrics either thematic or formal were selected, although these echoes can be identified throughout his poetic works. The crucial influence of Portuguese medieval poetry is pointed out by the poet himself in his personal letters, chronicles and intellectual autobiography named Itinerário de Pasárgada, and in an exemplary way in "Cantiga de amor"(Mafuá do Malungo); "Canção das muitas Marias" (Opus 10); "Cantar de amor" and "Cossante" (Lira dos Cinquent'anos); "Solau do desamado" (Cinza das horas); "Rimancete" and "Baladilha arcaica" (Carnaval), poems analyzed in this work. Each poem undertakes a different relationship with the medieval element, either by the denial of traditional poetry archetypes or by showing signs of respect. When emphasizing how this return of medieval poetry is realized, this work highlights the fact that Bandeira‟s poetry modulates and problematizes the presuppositions of rupture from (Luso-medieval) tradition, characteristics of Brazilian Modernism in 1922. The poet‟s attitude is not based on a spirit of continuity. It works as an experiment that allows Bandeira to have a specific and singular style within a field which emphasizes the rhythm and profanity of poetry.
Mestre
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Silveira, Juliana Fabrícia da [UNESP]. « Ecos medievalizantes na poesia de Manuel Bandeira : um exercício de aprendizagem poética ». Universidade Estadual Paulista (UNESP), 2009. http://hdl.handle.net/11449/94139.
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silveira_jf_me_sjrp.pdf: 372236 bytes, checksum: 5d3c02c0720146a6f7cf7a9c1423d1b2 (MD5)Esse trabalho analisa a presença de ecos medievalizantes na poesia de Manuel Bandeira como exercício de aprendizagem poética. Para isso, selecionamos alguns poemas de Bandeira que possuem uma vinculação mais explícita com a lírica medieval, seja pela temática, seja pela forma, embora esses ecos perpassem por toda sua produção poética. A influência decisiva da poesia medieval portuguesa é apontada pelo próprio poeta em suas cartas, crônicas e na autobiografia intelectual Itinerário de Pasárgada e se manifestam de modo exemplar nos poemas analisados neste trabalho (“Cantiga de amor”, de Mafuá do Malungo; “Canção das muitas Marias”, de Opus 10; “Cantar de amor” e “Cossante”, de Lira dos Cinquent’anos; “Solau do desamado”, de Cinza das horas; e “Rimancete” e “Baladilha arcaica”, de Carnaval). Cada um deles empreende uma relação diferente com o medieval, ora pela negação dos arquétipos da poesia antiga, ora pelo tom de homenagem. Enfatizando o modo como se realiza essa recuperação da poesia medieval, o trabalho dá destaque ao fato de que a poesia de Bandeira modula e problematiza os pressupostos de liberação do passado e do lusitanismo característicos do Modernismo de 1922. Esse gesto não se baseia em um espírito de continuidade, mas funciona como experimentação que permite a Bandeira se especializar e se singularizar dentro de um campo que destaca o caráter rítmico e profano da poesia.
The aim of this work is to analyze the presence of medieval echoes in Manuel Bandeira‟s poetry as an exercise of poetic learning. To this end, some of Bandeira‟s poems which a more explicit connection with medieval lyrics either thematic or formal were selected, although these echoes can be identified throughout his poetic works. The crucial influence of Portuguese medieval poetry is pointed out by the poet himself in his personal letters, chronicles and intellectual autobiography named Itinerário de Pasárgada, and in an exemplary way in “Cantiga de amor”(Mafuá do Malungo); “Canção das muitas Marias” (Opus 10); “Cantar de amor” and “Cossante” (Lira dos Cinquent’anos); “Solau do desamado” (Cinza das horas); “Rimancete” and “Baladilha arcaica” (Carnaval), poems analyzed in this work. Each poem undertakes a different relationship with the medieval element, either by the denial of traditional poetry archetypes or by showing signs of respect. When emphasizing how this return of medieval poetry is realized, this work highlights the fact that Bandeira‟s poetry modulates and problematizes the presuppositions of rupture from (Luso-medieval) tradition, characteristics of Brazilian Modernism in 1922. The poet‟s attitude is not based on a spirit of continuity. It works as an experiment that allows Bandeira to have a specific and singular style within a field which emphasizes the rhythm and profanity of poetry.
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Kývalová, Eva. « Benjamin Britten - The Poet's Echo ». Master's thesis, Akademie múzických umění v Praze.Hudební a taneční fakulta. Knihovna, 2018. http://www.nusl.cz/ntk/nusl-391665.
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In this thesis I focused on song cycle written by english composer Benjamin Britten The Poet’s Echo, which is based on poems by russian writter Aleksander Sergeyevich Pushkin. Benjamin Britten dedicate his song cycle to his close friends Galina Vishnevskaya and Mstislav Rostropovich, who performed this piece on premiere performance in Moscow. The purpose of my contribution was to outline the background of the admirable work, introduce all key persons interested in the piece and mapping of lyrics and music view in general in this cycle.
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Freitas, Anelise de. « A defesa do ECO ». Universidade Federal de Juiz de Fora (UFJF), 2017. https://repositorio.ufjf.br/jspui/handle/ufjf/5657.
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A tese concentra sua atenção no panorama da cena contemporânea de poesia em Juiz de Fora, utilizando o início do sarau ECO – Performances Poéticas como estopim para o pensamento dessa formação de um cenário, que compreende o início do século XXI até a atualidade. A metodologia que se objetivou utilizar foi a da autoetnografia, isto é, a partir da prática de autoreflexão da pesquisadora como uma observadora não-indeferente, perspectiva essa apontada por Daniela Versiani. O aporte teórico se dá, principalmente pelo desenvolvimento de alguns termos críticos praticados por pensadores como Hans Ulrich Gumbrecht, Luciana di Leone, Paul Zumthur e Pierre Bourdieu, que discutem, respectivamente, a produção de presença, o afeto, a performance e a criação simbólica do campo, discussões importantes para o desenvolvimento dessa pesquisa. Para efeitos de economia do texto o capítulo teórico é deslocado em formas de notas para o final da investigação, recebendo o nome de EFEMÉRIDES & CARTOGRAFIA: NOTAS INDEFESAS.
La tesis pone su atención en el panorama de la escena de la poesía contemporánea de Juiz de Fora, utilizando el nacimiento de la tertulia Eco – Performances Poéticas como un inicio para el pensamiento de la formación del escenario que comprende el inicio del siglo XXI hasta hoy día. La metodología utilizada fue de la autoetnografía, o sea, a partir de la práctica autoreflexiva de la encuestadora como una observadora no-indiferente, perspectiva apuntada por Daniela Versiani. El marco teórico es, principalmente, compuesto por el desarrollo de algunos puntos críticos ensayados por pensadores como Hans Ulrich Gumbrecht, Luciana di Leone, Paul Zumthur y Pierre Bourdieu, que analizan, espectivamente, la producción de presencia, el afecto, la performance y la creación simbólica de los campos, discusiones importantes para el desarrollo de la encuesta. Para efectos económicos del texto el capítulo teórico está desplazado como notas al final de la investigación, nombrado como EFEMÉRIDES & CARTOGRAFIA: NOTAS INDEFESAS.
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BITTENCOURT, Frederico Luis Domingues. « Ecos de Narciso [manuscrito] : leitura do livro Ecos ». Universidade Federal de Goiás, 2009. http://repositorio.bc.ufg.br/tede/handle/tde/2432.
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Previous issue date: 2009-03-27This study proposes to examine the book Echoes: the jewel of Pandora, of the goiana poet Yêda Schmaltz. To do so, she takes as its leitmotif the update, processed in the book, the myths of Echo and Narcissus. The reinvention of classical myths noticed in Echoes is exemplary of an applicant in the work of the author, which is, in the narratives of antiquity, one of the main centers of creation of her literature. In this case, the archetypal mythological women are treated in different and successive books in order to reveal the various stages of psychological growth of women. In Echoes, the character of the same name, unlike the original narrative, overcomes the rejection and beats the challenges of loving relationship. This overcoming causes in the I lyric the reach of the true love, which necessarily involves the development of self, the self-love, only to then distribute it to the others. Considering the development of this study, first of all, there will be a presentation of the author and her literature. Then, as this study includes the upgrade of classical myths in a modern poet, it will present some considerations on myth and on the relationship myth and poetry, seeking, as possible, establish a dialogue between these considerations and poems of the book covered. Finally, the procedure will be to rescue the narrative of Echo and Narcissus, as it appears in Ovid, the recovery of interpretations and theories about the narrative and also to examine, through the comment of paradigmatic poems, recovering the difference that Yêda Schmaltz stablishes about the myths of Echo and Narcissus
Este estudo propõe examinar o livro Ecos: a jóia de Pandora, da poeta goiana Yêda Schmaltz. Para tal, toma como fio condutor a atualização, processada no livro, dos mitos de Eco e Narciso. A reinvenção de mitos clássicos notada em Ecos é exemplar de um processo recorrente na obra da autora, a qual encontra, nas narrativas da Antiguidade, um dos principais núcleos de criação de sua obra. Nesse processo, os arquétipos mitológicos femininos são tratados em diferentes e sucessivos livros, de modo a revelar as diversas etapas do crescimento psicológico da mulher. Em Ecos, a personagem de mesmo nome, diferentemente da narrativa original, supera a rejeição e vence os desafios da relação amorosa. Essa superação faz com que o eu lírico alcance o amor autêntico, que perpassa obrigatoriamente pela valorização de si mesmo, pelo auto-amor, para só em seguida distribuílo aos outros. No desenvolvimento deste estudo, primeiramente, far-se-á uma apresentação da autora e da sua obra. Em seguida, como o trabalho contempla a atualização de mitos clássicos em uma poeta moderna, serão apresentadas algumas considerações sobre mito e sobre a relação mito e poesia, procurando, sempre que possível, estabelecer um diálogo entre essas considerações e poemas do livro contemplado. Por fim, proceder-se-á ao resgate da narrativa de Eco e Narciso, conforme aparece em Ovídio, à recuperação de interpretações e teorias sobre essa narrativa e também ao exame, por meio de comentário de poemas paradigmáticos, da recuperação com diferença que Yêda Schmaltz realiza dos mitos de Eco e Narciso
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Uhly, Steven. « Multipersonalität als Poetik : Umberto Eco, Il nome della rosa : João Ubaldo Ribeiro, Viva o povo brasileiro : José Saramago, O evangelho segundo Jesus Cristo / ». Frankfurt am Main : P. Lang, 2000. http://catalogue.bnf.fr/ark:/12148/cb39921787n.
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Siegel, Eric Mitchell. « Reading the public comment : the keystone XL pipeline and future of environmental writing ». Thesis, University of Iowa, 2014. https://ir.uiowa.edu/etd/4754.
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In the lead up to the 2011 official U.S. State Department decision on the proposed Keystone XL pipeline--running from the Alberta, Canada Tar Sands to the Gulf of Mexico--the Department held nine public meetings in Fall 2011 in the six U.S. states through which the proposed Keystone XL pipeline project would pass (the Department rejected the proposal; however, a new proposal is under consideration as of this writing). The transcripts of these public meetings are publicly accessible.
Understanding the pipeline as a project of trans-national trade and the global circulation of petrochemicals--including global emissions of carbon dioxide--this paper hones in on one region within one U.S. state: the Nebraskan Sandhills, a cattle ranching region of grass-stabilized sand dunes and inter-dunal valleys stretching 20,000-square miles across the north-central part of the state, under which rests a vast hydrological network, including the largest freshwater aquifer in the world - the Ogallala Aquifer.
This essay argues that we can read the Public Comments as a form of poetic expression, paying attention to the ways the State Department transcription process formatted the oral testimonies into an "official" and sanctioned public document -- instituting line-breaks and other syntactical procedures. Using the tools of literary-critical analysis, this paper makes a case that we can read the Comments as a form of documentary poetry - in the tradition of such American modernist poets as Charles Reznikoff, Muriel Rukeyser, and George Oppen - that explore ecological questions while experimenting with lyric structures. The Comments reveal competing environmental stakeholders' stances - on such topics as Prairie systems ecology and the neoliberal economics of private-public capital markets. In doing so, they subsequently express citizens' various understandings of themselves in relation to landscape, ecology, technology, and geo-politics.
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Christensen, Niels H. « The Slow Violence of Eco-Apocalypse in the Poetry of José Emilio Pacheco ». BYU ScholarsArchive, 2021. https://scholarsarchive.byu.edu/etd/8961.
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Over the course of his fifty-year career, Mexican writer José Emilio Pacheco has almost habitually written poetry about environmental themes especially those related to pollution, extraction, deforestation, and other related themes of destruction. Simultaneously, his work has engaged with questions of temporality, namely the passing of time and the inherent violence of such questions. In this essay, I examine a selection of Pacheco's poetry from the 1970s to the early 2000s, demonstrating Pacheco's marrying of the two concepts: environmental degradation and time. This marriage results in a provocative synthesis of eco-apocalypse, a phenomenon that details a paradoxical end that never actually arrives, but only consistently worsens. I illuminate Pacheco's work by incorporating Rob Nixon's concept of "slow violenceâ€, which informs my reading of the poetry by calling to its imaginative power. This power allows it to depict that which is imperceptible, either because it moves too slowly or too broadly to be witnessed by the human observant. In short, Pacheco's poetry addresses human-perceived time and natural or deep time in light of the ongoing apocalypse, which, despite the morose tone of the poetry, obliquely urges the reader towards an awareness of eco-apocalypse.
Livres sur le sujet "Eco poetic"
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Xie, Tingqiu. Xun zhao shi yi de jia yuan : Guizhou sheng tai wen xue yan jiu = In search of the poetic homeland : a study of Guizhou eco-literature. Beijing Shi : She hui ke xue wen xian chu ban she, 2018.
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1063-1135, Yuanwu, dir. Blue Cliff Record : A poetic echo. New Paltz, N.Y : Codhill Press, 2001.
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)((eco(lang)(uage(reader)). Brooklyn, N.Y : Portable Press at Yo-Yo Labs, 2010.
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Brenda, Iijima, dir. )((eco(lang)(uage(reader)). Brooklyn, N.Y : Portable Press at Yo-Yo Labs, 2010.
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Barranu, Manuela. L'educazione del lettore : La poetica di Umberto Eco nella teoria e nella pratica dei romanzi. Birmingham : University of Birmingham, 1999.
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ill, Hajiri Toshikado, Jacobson David author, Ito, Sally, 1964- translator, editor et Tsuboi Michiko translator editor, dir. Are you an echo ? : The lost poetry of Misuzu Kaneko. Seattle, WA : Consortium, 2016.
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Krings, Marcel. Selbstentwürfe : Zur Poetik des Ich bei Valéry, Rilke, Celan und Beckett. Tübingen : Francke, 2005.
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League of Canadian Poets. Feminist Caucus, dir. Eco poetry : Women poets on the environment, 2009. Toronto : Feminist Caucus of the League of Canadian Poets, 2010.
Trouver le texte intégralChapitres de livres sur le sujet "Eco poetic"
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McTighe, Trish. « Gestures of Helpless Compassion : Beckett’s Eco-Poetics of Extinction ». Dans Samuel Beckett and Catastrophe, 193–213. Cham : Springer International Publishing, 2023. http://dx.doi.org/10.1007/978-3-031-08368-6_11.
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Naji, Jeneen. « Eco-writing and Drone : Digital Poetry During the Anthropocene ». Dans Digital Poetry, 55–64. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-65962-2_5.
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Robert-Murail, Constance. « "Smuggling in Accidental Poetry" : Cognitive and Stylistic Strategies of a Stammering Teen in David Mitchell's Black Swan Green ». Dans Powerful Prose, 231–48. Bielefeld, Germany : transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458808-014.
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In this article, Constance Robert-Murail will explore the poetic »accidents« at work in two extracts of Black Swan Green (2006) by David Mitchell. The novel tells the trials and musings of Jason Taylor, a thoughtful 13-year-old growing up in a backwater town full of strange neighbours and middle-school bullies. Throughout the year 1982, the reader witnesses Jason mediating between the various personae of his fragmented identity: Unborn Twin, his faint-hearted alter ego; Eliot Bolivar, the nom-de-plume he uses to write poems for the local parish newspaper; and, most importantly, Hangman, a malignant personification of his stammer. According to Garan Holcombe, David Mitchell's own experience of stammering has provided the novelist with a particular »sensitivity toward the formal necessity of coherence and structure« (Holcombe, 2013). The extract I have decided to focus on dramatises the onset of Jason's speech impediment and acts as a »high emotional intensity passage« (Toolan, 2012) within the structure of the coming-of-age narrative. A close stylistic reading of this particular text highlights the juxtaposition of Jason's pathological speechlessness and his bustling, bubbling inner monologue. This opposition elicits a physical reaction within the reader, caught between frustration and delectation. I would argue that the multimodal nature of the extract generates what Pierre-Louis Patoine has called a »somesthetic« effect on the reader (Patoine, 2016). Stuttering, according to Professor Mark Onslow, is »an idiosyncratic disorder.« (Onslow, 2017). Word avoidance has led Jason to create his own grammar and lexicon: his youthful voice and palliative strategies allow Mitchell to smuggle in moments of »accidental« poetry. The cognitive exploration of Jason's stammer stands both at the core of the reader's response and at the centre of Mitchell's powerful poetics-and it is, last but not least, devastatingly funny.
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Wright, James. « The Fourth Echo ». Dans Contemporary Poetry : A Retrospective from the "Quarterly Review of Literature", sous la direction de Theodore Russell Weiss, 180–81. Princeton : Princeton University Press, 2015. http://dx.doi.org/10.1515/9781400871728-055.
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Quassdorf, Sixta. « The Relevance of Turning a Page : Monotony and Complexity in §25 of David Foster Wallace's The Pale King ». Dans Powerful Prose, 189–206. Bielefeld, Germany : transcript Verlag, 2021. http://dx.doi.org/10.14361/9783839458808-012.
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Sixta Quassdorf analyzes §25 of David Foster Wallace's novel The Pale King. In both form and content, the chapter reveals a masterly condensation of the human in a dehumanized bureaucracy. While the phrase »turns a page« is repeated about 100 times, representing the power of monotony and alienation, we also find variation, rhythmic disruption and flashes of poetic insight that reveal the unassailability of human creativity. In addition, by experiencing formal elements that echo the narrative's meaning, the reader is almost put into the protagonists' position, which goes beyond simply »turning pages.«
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Laine-Frigren, Tuomas. « Traumatized Children in Hungary After World War II ». Dans Palgrave Studies in the History of Experience, 149–76. Cham : Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-84663-3_6.
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AbstractThis chapter examines how children’s wartime suffering was culturally constructed in postwar Hungary. Laine-Frigren uses a wide variety of source materials, such as published expert discourse, journalism and ego documents to explore how children’s suffering was interpreted and worked upon in different contexts, how the processes of healing were understood, and what kind of political meanings were attributed to children’s traumas. The particular focus is on the agency of people who did actual practical work with children, such as psychologists, teachers and civil society activists. The chapter suggests a multiplicity of responses to childhood trauma, from abstract and future-oriented policy-talk to teachers and psychologists promoting specific ways of healing such as offering children moments of joy, taking them on nature trips and exploring poetry.
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Fanucchi, Sonia, et Anita Virga. « “Noi leggiavamo un giorno per diletto” : Reading Dante in South Africa ». Dans Studi e saggi, 13–24. Florence : Firenze University Press, 2021. http://dx.doi.org/10.36253/978-88-5518-458-8.03.
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Since its conception in 2018, our Dante society has evolved to embrace a unique, South African engagement with the poet and his Commedia. This chapter provides an insight into the society’s origin and the conversations that first inspired our South African Convivio with Dante. Through a detailed description of the thinking behind the contributions of students and colleagues, we highlight the process of reading Dante as a powerful personal experience for us and our students. We argue that Dante provides us with a language through which to make sense of our vulnerable position in post-Apartheid South Africa. This is evident in the ways that student responses to Dante echo the Commedia’s Dante-Virgil dynamic - complex, and sometimes rebellious, yet always intimate and affectionate.
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O’Connor, Elizabeth. « “No poetic fantasy / but a biological reality” : ». Dans Eco-Modernism, 51–70. Clemson University Press, 2022. http://dx.doi.org/10.2307/j.ctv32nxx9p.8.
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« Cummings’s poetic status and his eco-logos ». Dans E.E. Cummings : Poetry and Ecology, 19–61. Brill | Rodopi, 2012. http://dx.doi.org/10.1163/9789401208161_004.
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Pisters, Patricia. « Political Gutting, Crushed Life and Poetic Justice ». Dans New Blood in Contemporary Cinema, 155–90. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474466950.003.0005.
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This chapter will return to Woolf’s Three Guineas and political agency and look at Butler’s Kindred and Parable of the Sower. Thechapter has three sections, each addresses different types of political horror. First there is a return to racial and colonial terror in Euzhan Palcy’s A Dry White Season (1989), Claire Denis’s Chocolat (1988) and White Material (2009). Then the chapter takes us to the outcasts and powerful lost souls in man-eat-men environments in The Bad Batch (Ana Lily Amirpour, 2016), Tigers are not Afraid (Issa Lopez, 2017) and Songs My Brothers Taught Me (Chloé Zhao, 2015). In Atlantics (Mati Diop 2019) the sea off the coast of Senegal raises many ghosts from the past and the present. The chapter concludes with a section of eco-horror through the eyes of female directors: Spoor (Agnieska Holland 2017) is an allegory of the feminist backlash in contemporary Poland, wrapped in a hunting tale. Little Joe (Jessica Hausner 2019) and Glass Garden (Shin Sue-won 2017) are contemporary Frankenstein stories with idiosyncratic female scientists.
Actes de conférences sur le sujet "Eco poetic"
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Kirschner, U. « Poetic water images in architecture ». Dans ECO-ARCHITECTURE 2006. Southampton, UK : WIT Press, 2006. http://dx.doi.org/10.2495/arc060151.
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Ying, Yang. « Research on the Eco-criticism of British Romantic Poetry ». Dans 2014 Conference on Informatisation in Education, Management and Business (IEMB-14). Paris, France : Atlantis Press, 2014. http://dx.doi.org/10.2991/iemb-14.2014.98.
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Sun, Jiedong, Ling Zou, Jing Li, Hongxi Li, Richeng Liu et Ce Hou. « Room03—the Echo of Poetry ». Dans 2020 International Conference on Virtual Reality and Visualization (ICVRV). IEEE, 2020. http://dx.doi.org/10.1109/icvrv51359.2020.00085.
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Yulianto, Henrikus. « Avian Poetics in Charles Olson’s “Merce of Egypt” and Robert Creeley’s “The Birds” : Projective Experimentation as an Eco-Vision ». Dans Proceedings of the 9th UNNES Virtual International Conference on English Language Teaching, Literature, and Translation, ELTLT 2020, 14-15 November 2020, Semarang, Indonesia. EAI, 2021. http://dx.doi.org/10.4108/eai.14-11-2020.2310242.
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DAS, Biswajit. « ECOCRITICISM IS THE FLAGSHIP TO HUMANITY : REVISITING AND DECODING ABHIJNANASAKUNTALAM AND ARANYAK ». Dans Synergies in Communication. Editura ASE, 2022. http://dx.doi.org/10.24818/sic/2021/04.04.
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Health is a reciprocal term that combines mutual co-existence in the environment with a considerable veneration to all forms of life. Life on earth is a result of some favourable conditions in the environment from the empirical point of view. So, the health of the environment remains the supreme, and thereby life, once created, has to keep up the conditions in order to sustain or survive itself. Thus there has always been a fascinating relation between health and environment since the dawn of creation of life on earth. Among the innumerable forms of life on earth human beings are considered the best since they are gifted with immense possibilities to comprehend, create, nourish, admonish, reject and accept. So, they have to shoulder the responsibility largely to secure the health of the environment which, in other terms, is the health of the varieties of life forms on earth. Through the ages they undertook overwhelming initiatives that surely advertise humanity; and literature, especially Eco-critical, has been the best call to humanity in order to restore health which is, as mentioned earlier, very much reciprocal. Literature upholds and worships the heavenly relation between health and environment, humanity and Nature. It celebrates the reconciliation of man and environment in the name of poetry very often.
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Jain, Priyanka. « Descolonizando a recitação de imagens ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.150.g295.
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A recitação de imagens é a arte de contar histórias em verso, acompanhada por um acessório visual, como uma pintura em pergaminho ou uma tapeçaria. Numerosas práticas de recitação de imagens eram ativas na Índia, mas sofreram durante a colonização pelos britânicos de várias maneiras. A sutil censura vitoriana do tema do erótico expresso nas narrativas religiosas (que formavam a maior parte do gênero de recitação de imagens), o apagamento da oratura como primitiva, o rebaixamento das práticas de recitação de imagens como arte popular e a divisão entre imagens (objeto e adereços que podem ser exibidos em museus) e recitação (aspectos performativos que não poderiam ser facilmente museificados), enquanto enchia museus europeus com artefatos coloniais, infligiu enormes danos às tradições vivas de recitação de imagens na Índia. Minha pesquisa, conduzida pela prática, busca descolonizar a recitação de imagens para desfazer estes danos. Seguindo o apelo de Walter Mignolo para desvincular-se da hegemonia ocidental, procuro destacar (em vez de noções europeias de beleza e estética) teorias indianas clássicas de afeto (de cerca de 300 d.C.), que podem produzir prazer estético no espectador. Assim, usando a teoria Rasa indiana clássica, bem como a subversão, eu crio narrativas contemporâneas para recitação de imagens usando fatos empíricos de pesquisas científicas (Neurociência, Microbiologia, Fitoquímica e Meteorologia) que são auxiliadas por adereços visuais feitos por amalgamação da estética da pintura em miniatura indiana medieval também como ilustração médica contemporânea. Uma pesquisa conduzida pela prática é o único método para resgatar a prática da recitação de imagens, assim como a prática contemporânea das neo-miniaturas resgatou o gênero das pinturas em miniatura da classificação do kitsch oriental. Ao investir em temas eróticos e oratura, bem como reunir imagem e recitação, espero remover os efeitos adversos da colonização de alguns gêneros de artes indianas. Concretamente, minha prática visa contemporizar a poesia sânscrita erótica clássica, que existe desde 1.000 a.C., compondo poesia erótica que incorpora pesquisa científica e criando composições de imagem e texto, como antes eram encontradas nas miniaturas indianas medievais. A segunda abordagem visa reviver a recitação de imagens usando um arquétipo indiano clássico de uma heroína que sai para encontrar seu amante enfrentando graves perigos e contemporizando-o com a leitura de neurociências. Por meio da prática, descubro minhas memórias corporais que vêm à tona durante a performance; o papel da respiração na voz; como a imagem, o texto, a voz e a performance influenciam uns aos outros iterativamente; e como o efeito é transferido através da performance para o espectador. Por meio da prática, estabeleço um campo mais amplo para os recém-chegados com maior vigor e validade do que, simplesmente, fazer eco a um apelo teórico à descolonização. A uma apresentação da recitação da imagem, será incorporado um vídeo de dez minutos.
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Mello, Fernanda Cavalcanti de, Alba Vieira, Angeli Rose, Luciana Ferdi et Monica Klemz. « ELAS EM REDES : REVISTA DE ARTE E EDUCAÇÃO PARA OUVIR ». Dans I Congresso Brasileiro On-line de Ensino, Pesquisa e Extensão. Revista Multidisciplinar de Educação e Meio Ambiente, 2022. http://dx.doi.org/10.51189/ensipex/16.
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Introdução: O podcast Elas em Redes são um artefato curricular da área de comunicação que tem seus usos modificados, adaptados, quando utilizados para outros campos, como, por exemplo, o campo da educação e das artes. Elas em Redes é uma revista de divulgação científica onde se ouve arte e se produz vivencias artísticas e educativas, uma vez que ela própria é um produto de arte e educação. Objetivos: O podcast visa proliferar espaços de vozes femininas acerca das respectivas pesquisas para disseminar as possibilidades da arte e da educação no empoderamento da mulher e se constitui como laboratório de pesquisa acerca da potência dos sons nos cotidianos para a criação de currículos migrantes, em constante diálogo com as pesquisas individuais de cada participante-autoras do podcast, a saber: dança, literatura, educação, história, mídias criativas, biologia que também assinam esta apresentação, respectivamente. Material e métodos:cDestacamos audiogramas (áudio e vídeo) de danças, por Alba Vieira; poesia feminista, pro Angeli Rose e Ana Belle; narrativas sonoras em diversos temas em educação, por Maria Morais, Fernanda Mello e Vitória Virtus; análises fílmicas e comportamento político-social, por Luciana Ferdi; crônicas sobre formação/transformação das cidades, por Monica Klemz; revisão da literatura acerca da presença dos animais nas artes e na mitologia, por Shery D. Pinheiro; Envelhecimento e vida saudável, por Mariana Paradanta e difusão de pesquisas interdiciplinares e áreas afins, por participantes convidadas, no formato depoimentos ou entrevistas. O podcast é uma revista que reúne as contribuições em áudio das participantes e pautando os temas urgentes sociais na defesa de uma educação plural que respeita os direitos humanos. Resultados: Encontro de linhas de pesquisas que se tocam em palavras e sons, com alcance para um público diversificado na audição dos episódios. Conhecimentos e significações fruem em minibiografias de mulheres desbravadoras das artes e das ciências, educadoras, ativistas, numa rede que vai se ampliando e transbordando para redes sociais, redes de práticas educativas das mais variadas vivências artísticas. Conclusão: Vozes femininas criam possibilidades de conhecimentos plurais eco referenciadas em diálogo com tecnologias digitais e com o ser mulher contemporaneamente.
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Prado, Gilbertto. « El Cocinero de las Almas 2006/2022 ». Dans V Congreso Internacional de Investigacion en Artes Visuales ANIAV 2022. RE/DES Conectar. València : Editorial Universitat Politècnica de València, 2022. http://dx.doi.org/10.4995/aniav2022.2022.15330.
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A partir del libro “El Perfecto Cocinero de las Almas de este Mundo”*, un diario de la garçonnière mantenida por Oswald de Andrade** entre 1918 y 1919, el Grupo Poéticas Digitais (ECA-USP) desarrolló un videojuego experimental en 2005/06. En el juego el personaje principal (el visitante) se pierde en São Paulo de 1918 y visita interactivamente varios ambientes en los que va descubriendo la trama. Todo sucede en uno solo día. De esta forma, se trata de un guión de un entorno virtual doblemente laberíntico: son laberintos espaciales (los diversos entornos) y temporales (ya que las tramas dentro de cada entorno son lineales, pero el jugador puede entrar en ellas en cualquier etapa de su desarrollo). En 2015, la garçonnière que todos imaginaban perdida y derribada es redescubierta casi 100 años después en la misma calle, pero con diferente número. La instalación artística (2022) fusiona diferentes momentos ficticios y el juego en cinco pantallas simultáneas, 1918, 2006, con imágenes de la propia garçonnière revisitadas en la actualidad. * El diario trata sobre la relación entre Oswald y Deyse, quien en ese momento es una estudiante de secundaria de 17 años y otros visitantes del apartamento de soltero. Deyse muere a consecuencia de un aborto a la edad de 19 años y se casa in extremis con Oswald en su lecho de muerte. * * Oswald de Andrade, poeta, escritor, uno de los fundadores del movimiento modernista brasileño y autor del Manifiesto Antropofágico.
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Lozano Sampedro, María Teresa. « La palabra del agua en la narrativa de George Sand : "Ce que dit le ruisseau" ». Dans XXV Coloquio AFUE. Palabras e imaginarios del agua. Valencia : Universitat Politècnica València, 2016. http://dx.doi.org/10.4995/xxvcoloquioafue.2016.3033.
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El imaginario del agua en la narrativa sandiana reviste una gran riqueza. El puente, el vado, las aguas tenebrosas, la tormenta, las nubes, son motivos recurrentes que revisten un amplio simbolismo en novelas tan conocidas como La Petite Fadette, La Mare au Diable o François le Champi. Sin pretender abarcar esta diversidad, el propósito de nuestro estudio se centrará en el análisis de un relato muy breve titulado Ce que dit le ruisseau (1863). No muy estudiado por la crítica, este relato presenta claramente una idea esencial de George Sand: la necesidad de escuchar la voz de la naturaleza, tema que constituye el leitmotiv de su última obra, los trece Contes d'une grand'mère (publicados en volumen en 1873 y 1876). En Ce que dit le ruisseau, el lector asiste a un juego de ecos sobre el cual reposan la traducción e interpretación de la palabra poética. La dicotomía entre lo real y lo imaginario se presenta a través de dos voces discordantes: la de un poeta y la de un científico naturalista, a las que se unen la voz del agua y la de una ninfa. El viaje interiorizado y el sueño iniciático se insertan en la realidad en este relato metafórico, como metafóricos son los Contes d'une grand'mère. Y también, como en ellos, el viaje y el sueño son inseparables de la primacía de la oralidad. A través del imaginario acuático, el relato constituye un exponente de la constante transformación y la eterna renovación de todo lo existente. En definitiva, Ce que dit le ruisseau es la expresión de una idea esencial de Sand: la incesante actividad de la Naturaleza, «reina de las hadas» que se opone al vacío de la nada.DOI: http://dx.doi.org/10.4995/XXVColloqueAFUE.2016.3033
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Alonso, Miguel, Bruna Costa et Luca Ribeiro. « Trying to read : the "In Memorian" artwork ». Dans LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.124.
Texte intégralRésumé :
In this presentation we will analyze the multimedia artwork In Memorian, 2021, from the Research Group Realidades (School of Communication and Arts of University of São Paulo, ECA-USP, Brazil). The artwork is a web art that deals with the visualization of data from the coronavirus pandemic in Brazil. These data are appropriated from online databases and it works as the rule of loss of information from 1988’s Brazilian Federal Constitution, Title II - Of Fundamental Rights and Guarantees. The text is fragmented proportionally to Brazilian population and, then, loses its information, pixel by pixel, according to the daily number of deaths by covid-19 in the country. The authors of this presentation are members of the Realidades Group, thus, this analysis will be filled with our creative processes, poetic motivations and the development phases of the artwork. In Memorian exposes the precarious situation of the democratic rights guaranteed by the mentioned article of the Brazilian constitution. Brazil couldn't control covid-19 pandemic. Researches pointed out that it was due to a series of omissions and failures by public managers, mainly the federal government. However, the democratic rights have been under attack for longer. Brazil’s political scene has become dominated by openly conservative, "anti-politics" and "anti-science" wills, quite driven by desinformation and fake news. And all these relationships are fundamental to the development of the work. It seeks to materialize and illustrate hundreds of thousands of deaths in order to make visible the colossal size of human loss. The amount of deaths shatter the black words over the white background, damaging the text and making the reading more difficult. On the work’s website, the text is exhibited in perspective and can be vertically scrolled. It also contains an interactive ruler that shows the Brazilian daily and total number of deaths, enabling the interactor to move across the timeline. The visual character of a ‘monument for the dead’ complaints the governmental negligence that causes this amount of suffering, actions that must not be simply forgotten. In addition, it points out the need for more transparency of covid’s diagnosis and deaths registration and comments on the alarming political scenario that surrounds the sanitary crisis. Furthermore, this artwork is a data visualization piece, which is a very much explored technique used by multimedia artists. We will address its usage to enhances the visibility of things that are often hard to see. We will show another similar artwork in theme, 'Inumeráveis”, 2020, created by a collective of volunteer artists and journalists. Claiming that "alive or dead, we will never be [just] a number", the site is an online monument that features shared stories about the victims, giving individuality to each of them. In Memorian was in the online exhibition EmMeio#13 associated with the Panoramas 2021 event. Additionally, we point out its interaction in different social networks and its own numerical and online nature. The pandemic crisis in Brazil and around the world is not a past reality, still claiming countless lives. Unfortunately, the artwork remains operational.