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Готові списки джерел за темами / Poetics of silence

Добірка наукової літератури з теми "Poetics of silence"

Автор: Grafiati

Опубліковано: 28 вересня 2022

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Статті в журналах з теми "Poetics of silence":

1

Boase-Beier, Jean. "Translating Celan’s poetics of silence." Target. International Journal of Translation Studies 23, no. 2 (December 21, 2011): 165–77. http://dx.doi.org/10.1075/target.23.2.02boa.

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Holocaust poetry is like all poetry in that it does not just convey events, but also triggers emotions, and has the potential to change cognitive models and challenge unconsidered views. And yet it relates to real events that must not be falsified. Silences are at the heart of Holocaust poetry. Here I examine a poem by Paul Celan and how it, and its silences, can be translated. Using the notion of conceptual blending I explain how the poem works, and how its translation can also work as a Holocaust poem.

2

Lo, Yimon. "‘A Tale of Silent Suffering’: Wordsworth’s Poetics of Silence and its Function of Reintegration." English: Journal of the English Association 69, no. 264 (2020): 25–41. http://dx.doi.org/10.1093/english/efz051.

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Abstract Silence is an important aspect of Wordsworth’s treatment of sound and the auditory imagination. With different emphases, a number of critics have attended to the significance of silence in Wordsworth’s poetry. Various other scholars have addressed the notion of community in Wordsworth’s silence. Their readings encourage a reappraisal of Wordsworth’s poetics of silence as a mode of mournful reconciliation with forgotten communities. Alert to the ambiguities and contingencies in Wordsworth’s consolatory vision, my argument reinforces the social and communal function of silence rather than evaluating its achievement of compensation or reassurance in respect of loss and suffering. My reading engages with the emergent critical interest in Wordsworth’s use of negativity to offer a renewed perspective on how Wordsworth poeticizes the negative quality that silence lends to sound and mobilizes the idea of unattainable silence. Through debunking the conventional dualistic perception of sound and silence, my essay redefines the concept of auditory presence and absence to evaluate Wordsworth’s poetics of silence in terms of its effectiveness as a medium for social, spiritual, and imaginative reintegration.

3

Rangarajan, Sudarsan. "The Poetics of Silence in Maria Chapdelaine." Neophilologus 96, no. 1 (April 23, 2011): 33–46. http://dx.doi.org/10.1007/s11061-011-9262-4.

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4

Caldwell, Caleb. "Silence and Geoffrey Hill’s Poetics of Witness." Religion and the Arts 17, no. 5 (2013): 545–67. http://dx.doi.org/10.1163/15685292-12341300.

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AbstractFocusing on Geoffrey Hill’s early poetry concerning atrocity and the Holocaust, this essay argues that Hill presents his poems as shared events between the poles of the impossibility and the actuality of witness, instead of as poetic speech that fully signifies witness. Through close readings of “Funeral Music” and “September Song,” this article shows that Hill’s heavy use of negative rhetorical devices, his famous ambiguities, and his thematic explorations of silence do not debunk the possibility of witness but rather awaken awareness to the complications inherent in any response to atrocity.

5

De Visscher, Eric. "“There's no such a thing as silence…” John Cage's poetics of silence." Interface 18, no. 4 (January 1989): 257–68. http://dx.doi.org/10.1080/09298218908570550.

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6

Pitts, Angela. "Orpheus, the Poetics of Silence, and the Humanities." International Journal of Literary Humanities 10, no. 2 (2013): 105–16. http://dx.doi.org/10.18848/2327-7912/cgp/v10i02/43868.

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7

Heller, Michael. "A Note on William Bronk's Poetics of Silence." Chicago Review 44, no. 3/4 (1998): 136. http://dx.doi.org/10.2307/25304318.

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8

Fagan, Paul. "Silence, gender and metamorphosis in Joanna Walsh’s ‘Worlds from the Word’s End’." Short Fiction in Theory & Practice 11, no. 1-2 (June 1, 2021): 91–109. http://dx.doi.org/10.1386/fict_00038_1.

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This article explores paradoxical silence as a strategy of contemporary feminist short story writing in Joanna Walsh’s ‘Worlds from the Word’s End’ (2017). To draw out the story’s engagements with writing women’s agency beyond the binaries of embodiment and disembodiment, passivity and activity, inner and outer life, it reads Walsh’s text at the nexus of three interrelated traditions. First, it situates the story within a genealogy of women’s ‘non-writing’, which develops new aesthetic strategies through the short story form for both writing and reading the silences of women. Secondly, it explores the significance of women’s speech loss in Ovid’s The Metamorphoses to the transformative drive of Walsh’s poetics of silence, with a specific focus on the figure of Echo. Thirdly, it places Walsh’s epistolary short story into conversation with philosophical debates about the distinct silences of plenitude and vacuum, transcendence and immanence, the human and the nonhuman, by reading it comparatively with Hugo von Hofmannsthal’s ‘Ein Brief’. In conclusion, it is argued that ‘Worlds from the Word’s End’ ironizes the Ovidian topos of the silent figure who nevertheless speaks her desires in order to trouble the binaries that regulate strategies of voluntary silence in the feminist short story.

9

Edmondson, Laura. "Antihomosexual Acts on Trial: The Poetics of Justice in Uganda." TDR/The Drama Review 63, no. 2 (June 2019): 6–33. http://dx.doi.org/10.1162/dram_a_00833.

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Reading across artistic, political, and legal expressions of LGBT activism in and from Uganda reveals an aesthetics of silence. These moments of silence serve as a strategy of deferral that enables Ugandans on both sides of the Anti-Homosexuality Bill controversy to refuse humanitarian savior narratives, affirm the legitimacy of the postcolonial state, and point the way toward an East African grammar of justice.

10

Caranfa. "Literature, Art, and Sacred Silence in Whitehead's Poetics of Philosophy." Journal of Speculative Philosophy 29, no. 4 (2015): 474. http://dx.doi.org/10.5325/jspecphil.29.4.0474.

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Дисертації з теми "Poetics of silence":

1

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

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

2

Pick, Peter Richard. "Interjections of silence : the poetics and politics of radical protestant writing 1642-1660." Thesis, University of Birmingham, 2000. http://etheses.bham.ac.uk//id/eprint/244/.

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In this thesis I have undertaken a close reading of texts by William Walwyn, Abiezer Coppe and James Nayler. In reading Nayler, I have also engaged with texts by Richard Farnsworth and Richard Baxter. My approach has been to consider these writings in their own terms and right, rather than merely as contextual sidelights on literary or social matters. I believe that all writing expresses aesthetic concerns and social attitudes. I hope my study will contribute to a necessary and continuing project of recovering such voices, so often marginalised and considered either as symptoms of mental disorder, or simply of no literary value. I have applied Bakhtinian perspectives and Discourse Analysis in my readings, although I hope not to the detriment of the writers' own understanding of their work, as I am reluctant to impose ahistorical interpretations on the writings of a previous era. I believe many misunderstandings arise from such procedures. I have not wished to apply a strategic reading to these texts, but rather to recover what they meant for their writers and readers at the extraordinary moment which produced them. I have attempted to integrate them in their own historical context, to explain difficulties arising in their interpretation, to explore their theology and social message, and as far as possible to relate them to the literary history from which they have been largely divorced. The thesis is not intended as a general review of pamphlet literature, of which there are several valuable examples, but as exploration and explanation of specific writings by representatives of the 'Radical Protestant' movements known as Levellers, Ranters and Quakers.

3

Dickson, Lesley. ""A silence that had to be overcome" : 50 poems and a personal statement on poetics." Thesis, University of Aberdeen, 2012. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=192181.

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‘Scottish’, ‘woman’, ‘lesbian’; these words are markers of identity and a starting point in my attempt to place myself within a poetic tradition. This study towards a statement of poetics considers ideas of identity and tradition as they relate to the public and private spheres. The first chapter considers how traditions are built and the external factors which impact upon them by looking at both physical and more ideological notions of place and space as they relate to nationhood and a sense of belonging. The focus then narrows to consider the situation of female poets as marginal. There is an interrogation of whether female poets are marginalised by the predominantly patriarchal literary canon or if they seek out these liminal borders and hinterlands. This is considered in the context of Elizabeth Bishop’s ‘forced exile’ and the more voluntary travels of Kathleen Jamie. The study then turns to consider the theoretical history behind women’s writing and how this impacts upon their varied ways of ‘reading the map of tradition’. In considering the private, or personal, sphere there is a discussion of the internal impulses which the poet acts upon in order to look at the nature of poetic imperative. This section begins with the statement that ‘every poem breaks a silence which had to be overcome’, and this in turn opens up questions of how external silencing might affect the internal impulse to assert and/or disclose. With specific focus on mid-twentieth century American Confessional poetry, further questions are asked regarding the ‘worth of art’ and the poet’s decoding and self-censorship of their own work in order to both hide and break taboos surrounding sexuality and privacy. The study then becomes more specifically personal in the reflective chapter which deals thematically with a selection of my own poems from the folio. This is in order to chart not only the evolution of my work but also the evolution of my own poetic imperatives. The final chapter reflects upon my use of free verse, looking briefly at the history of the form from the early twentieth-century onwards before going on to consider how the various theories and poetics which have grown out of the broadly vernacular, ‘free verse revolution’ have impacted formally upon my own work.

4

Cain, Christina. "Between the Waves: Truth-Telling, Feminism, and Silence in the Modernist Era Poetics of Laura Riding Jackson and Muriel Rukeyser." Thesis, University of North Texas, 2006. https://digital.library.unt.edu/ark:/67531/metadc5419/.

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This paper presents the lives and early feminist works of two modernist era poets, Laura Riding Jackson and Muriel Rukeyser. Despite differences of style, the two poets shared a common theme of essentialist feminism before its popularization by 1950s and 60s second wave feminists. The two poets also endured periods of poetic silence or self censorship which can be attributed to modernism, McCarthyism, and rising conservatism. Analysis of their poems helps to remedy their exclusion from the common canon.

5

Khakshour, Faroudji Morteza. "Poétique du silence dans l’œuvre de Maurice Blanchot." Thesis, Sorbonne université, 2022. https://accesdistant.sorbonne-universite.fr/login?url=https://theses-intra.sorbonne-universite.fr/2022SORUL016.pdf.

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L’œuvre de Maurice Blanchot est mystérieuse et inquiétante. Son lecteur devrait être d’ores et déjà prêt à se perdre dans un labyrinthe et à accepter le risque d’être à jamais enfermé dans cet espace où chercher à trouver la sortie est comme une faute grave. L’essentiel de la critique blanchotienne s’attache à la quête désespérée de l’infini et de l’impossible dans la littérature ; dans ses récits, Maurice Blanchot tente de pratiquer les principes et les éléments de cette conception spécifique de la littérature à travers une poétique du silence. Cette thèse porte, dans un premier temps, sur la pensée littéraire de Blanchot qui, selon nous, s’intéresse avant tout à indiquer les failles et l’échec de l’écriture pour tracer l’indicible ; nous tentons ensuite de mesurer les conséquences d’une telle approche dans l’œuvre narrative de Blanchot
Maurice Blanchot's work is mysterious and disturbing. Its reader should already be prepared to get lost in a labyrinth and accept the risk of being locked in this space. Much of the Blanchot criticism is concerned with the desperate quest for the infinite and the impossible in literature; in his stories, Maurice Blanchot tries to practice the principles and elements of this specific conception of literature through a poetics of silence. This thesis focuses, first, on the literary thought of Blanchot who, in our opinion, is primarily interested in indicating the flaws and failure of writing to trace the unspeakable; we then attempt to measure the consequences of such an approach in Blanchot's narrative work

6

Miksic, Vanda. "Des silences linguistiques à la poétique des silences: l'oeuvre de Stéphane Mallarmé." Doctoral thesis, Universite Libre de Bruxelles, 2005. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/210994.

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Le silence — ou plutôt la grande variété de ce que l’on appelle “silences” — est un phénomène complexe qui prend une part directe dans la dynamique du langage et la création du sens linguistique, mais aussi dans la production du sens symbolique et des effets poétiques. Le travail est organisé en deux parties: la première traite la question de l'acte de silence dans l'expérience linguistique du monde, tandis que la deuxième analyse l'expérience poétique des silences en appliquant les résultats précédemment obtenus au Coup de dés de Stéphane Mallarmé. Plus précisément, dans la partie linguistique, on passe en revue différentes théories pour dégager la place que le silence s’y voit reconnaître. On l’étudie successivement en tant que signe linguistique, en tant qu’acte linguistique, comme élément pertinent, comme procédé rhétorique, comme phénomène symbolique. La partie poétique se fonde sur la théorie de l'évocation pour aboutir, en passant par un chapitre consacré à la poésie moderne dans son ensemble, à l'œuvre de Stéphane Mallarmé, le premier poète qui ait créé une véritable poétique des silences, tant dans ses ouvrages poétiques (dont le Coup de dés est l'exemple le plus radical) que dans ses écrits théoriques.
Doctorat en philosophie et lettres, Orientation linguistique
info:eu-repo/semantics/nonPublished

7

Lessinger, Enora. "The Translation of Silence in K. Ishiguro’s Novels ˸ testing the Explicitation Hypothesis on Unreliable Narratives." Thesis, Paris 3, 2019. http://bibnum.univ-paris3.fr/webclient/DeliveryManager?pid=323335.

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Cette thèse explore la traduction de quatre romans de Kazuo Ishiguro en cinq langues : le français, l'espagnol, l'hébreu, le portugais et le turc. La centralité de l'implicite et du non-dit dans le pacte narratif appelle à une participation active du lecteur implicite, ce qui a naturellement des conséquences sur le procédé de traduction : d'une part, le traducteur est en premier lieu un lecteur, et de l'autre la traduction comporte un risque communicationnel accru (Becher 2010a). Afin d'explorer le défi lié à la recréation de la poétique du silence à l’œuvre dans la stratégie narrative de ces romans, le présent travail croise l'étude des universaux de traduction à celle de la poétique narrative, testant au niveau narratif l'hypothèse de l'explicitation proposée par Blum-Kulka en 1986. Cet universel de traduction potentiel postule l'existence d'une tendance à l'explicitation dans le passage du texte source au texte cible. L'approche narratologique adoptée ici constitue une nouvelle perspective dans l'étude de l'explicitation en traduction. Les approches linguistique et cognitive sont présentes avant tout pour permettre de situer l'approche narratologique dans le champ de l'étude de l'explicitation. Les résultats obtenus montrent une tendance globale à l'implicitation de la stratégie narrative dans les récits caractérisés par un pacte narratif collaboratif. Cette implicitation peut prendre la forme d'un remplissage des blancs narratifs et d'une résolution de l'ambiguïté du texte, ou passer par la disparition d'indices textuels permettant au lecteur implicite d'accéder au sous-texte. Ces résultats suggèrent que l'universel de traduction en jeu n'est pas l'explicitation, mais plutôt la réduction de voix narratives complexes (Chesterman 2010)
This thesis explores the translations of four of Kazuo Ishiguro’s novels into five target languages – French, Hebrew, Portuguese, Spanish and Turkish. The centrality of the implicit and the unsaid in the narrative pact entails the implied reader’s active participation and naturally has consequences on the translation process, both because the translator is initially a reader and due to the increased communicative risk involved in translation (Becher 2010a). In order to explore the challenge of recreating the verbal restraint and poetics of silence at work in these novels’ respective narrative strategies, this investigation crosses the study of translation universals with that of narrative poetics, testing at the narratological level the explicitation hypothesis put forward by Blum-Kulka in 1986. This potential universal of translation posits the existence of a tendency towards greater explicitness in target texts than in corresponding source texts. The focus on narrative poetics adopted here constitutes a new approach to the study of explicitation in translation; linguistic and cognitive explicitness are considered chiefly in order to situate narratological explicitness in relation to them. The results obtained show a generalised tendency towards implicitation of the narrative strategy in unreliable narratives, i.e. in narratives where indirectness is a central narrative device. This implicitation can correspond to blank-filling and resolution of ambiguity, or to the disappearance of the textual clues pointing the implied reader to the subtext below the surface narrative. This in turn suggests that the translation universal at play here is not explicitation but reduction of complex narrative voices (Chesterman 2010)

8

Smuts, Lyn. "The visualization of sound : an investigation into the interplay of the senses in artmaking." Thesis, Link to the online version, 2008. http://hdl.handle.net/10019/905.

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9

Svensson, Kristofer. "Beyond Ecophony." Thesis, Kungl. Musikhögskolan, Institutionen för komposition, dirigering och musikteori, 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:kmh:diva-1351.

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10

Heller, Alberto Andrés. "John Cage e a poética do silêncio." Florianópolis, SC, 2008. http://repositorio.ufsc.br/xmlui/handle/123456789/91918.

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Анотація:

Tese (doutorado) - Universidade Federal de Santa Catarina, Centro de Comunicação e Expressão. Programa de Pós-graduação em Literatura
Made available in DSpace on 2012-10-24T03:53:02Z (GMT). No. of bitstreams: 1 257998.pdf: 6692523 bytes, checksum: a10ab55284a867b4c5b89753d7b78170 (MD5)
Esta tese se propõe a analisar o silêncio a partir da obra de John Cage (especialmente a literária e a musical). Esse silêncio, inicialmente compreendido por Cage como um empírico (a pausa em música), revela-se gradualmente um transcendente: não mais uma substância nem a simples ausência de som, mas um modo da ação (modo de silêncio), aparecendo como estilo, profundidade, aura, dimensão, verticalidade, densidade. Esse silêncio implica modos de percepção e temporalidade próprios, descritos aqui a partir das noções de Gelassenheit (Heidegger) e Awareness (Gestalt) e estabelecendo conexões com as noções de Invisível em Merleau-Ponty e de Nada no Zen-budismo.

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Книги з теми "Poetics of silence":

1

Rubin, James Henry. Manet's silence and the poetics of bouquets. London: Reaktion Books, 1994.

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2

Rubin, James Henry. Manet's silence and the poetics of bouquets. Cambridge, Mass: Harvard University Press, 1994.

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3

Cheymol, Pierre. Le silence de Babel. Paris: Librairie José Corti, 1990.

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4

McCracken, Peggy Sue. The poetics of silence in the French Middle Ages. Ann Arbor, Mi: University Microfilms International, 1990.

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5

Ali, Kazim. Orange alert: Essays on poetry, art, and the architecture of silence. Ann Arbor: University of Michigan Press, 2010.

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6

Ali, Kazim. Orange alert: Essays on poetry, art and the architecture of silence. Ann Arbor: University of Michigan Press, 2010.

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7

Richard, Bradford. Silence and sound: Theories of poetics from the eighteenth century. Rutherford [N.J.]: Fairleigh Dickinson University Press, 1992.

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8

Martin, Elaine. Nelly Sachs: The poetics of silence and the limits of representation. Berlin: De Gruyter, 2011.

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9

Geerts, Walter. Le silence sonore: La poétique du premier Gide, entre intertexte et métatexte. Namur, Belgique: Presses universitaires de Namur, 1992.

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10

Pick, Peter Richard. Interjections of silence: the poetics and politics of radical protestant writing 1642-1660. Birmingham: University of Birmingham, 2000.

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Частини книг з теми "Poetics of silence":

1

Roberts, Merrilees. "Shame, Silence and Historicism in The Cenci." In Shelley’s Poetics of Reticence, 97–120. New York, NY : Routledge, 2020. |: Routledge, 2020. http://dx.doi.org/10.4324/9780429288791-4.

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2

Gould, Thomas. "The Hatred of Speech and the Poetics of Silence." In Silence and its Derivatives, 199–213. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-031-06523-1_10.

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3

Asals, Heather. "The Voices of Silence and Underwater Experience." In Poetics of the Elements in the Human Condition: The Sea, 299–307. Dordrecht: Springer Netherlands, 1985. http://dx.doi.org/10.1007/978-94-015-3960-9_21.

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4

Verbaal, Wim. "Oleum de saxo durissimo: Bernard of Clairvaux’s Poetics of Silence." In Understanding Monastic Practices of Oral Communication, 319–35. Turnhout: Brepols Publishers, 2011. http://dx.doi.org/10.1484/m.usml-eb.3.4968.

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5

Chen, John Z. Ming, and Yuhua Ji. "Fred Cogswell’s Paradoxical Poetics of Suggestive Silence, Elaboration, and the Dao’s Nature and Rhythms." In Canadian-Daoist Poetics, Ethics, and Aesthetics, 29–48. Berlin, Heidelberg: Springer Berlin Heidelberg, 2016. http://dx.doi.org/10.1007/978-3-662-47959-9_3.

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6

Singh, Anjali. "The Aesthetics of Narrative: Poetics of Indenture." In Voices and Silences, 133–73. London: Routledge, 2022. http://dx.doi.org/10.4324/9781003341499-4.

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7

Street, Seán. "Silent Sound: Imagination and Identification." In Sound Poetics, 17–35. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-58676-2_2.

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8

Armitage, Andrew, and Diane Ramsay. "A Poetic Approach to Researching Silence in Organisations." In Using Arts-based Research Methods, 209–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33069-9_8.

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9

Rosen, Carol. "‘Silent Tongues’: An Interview with Sam Shepard." In Sam Shepard: A ‘Poetic Rodeo’, 212–45. London: Macmillan Education UK, 2004. http://dx.doi.org/10.1007/978-1-137-08443-9_11.

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10

Chaganti, Seeta. "Silent Inscription, Spoken Ceremony: Saint Erkenwald and the Enshrined Judge." In The Medieval Poetics of the Reliquary, 47–71. New York: Palgrave Macmillan US, 2008. http://dx.doi.org/10.1057/9780230615380_3.

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Тези доповідей конференцій з теми "Poetics of silence":

1

Rybárová, Silvia. "Silence as a modality of mystical experience in the work of Sylvie Germain." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-8.

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The article deals with the issue of silence in the thinking and work of the contemporary French author Sylvie Germain. The starting point for deliberation is the author’s essay Acte de silence (2011), in which silence is conceived both as a manifestation of God’s discreet appearance and as an act of humility and patience of man. The presence of silence seems to be a necessary condition for mystical experience. Silence understood in this way is the subject of the analysis in a selected passage from Germain’s novel L’Enfant Méduse (1991), which suggests some specific features of the author’s poetics of the transcendent, also present in her later novel work.

2

Saveljeva, Olga. "Reflection of image of Silence in the Russian literary of XVIIIth c.: Lomonossov and Pindar." In Tenth Rome Cyril-Methodian Readings. Indrik, 2020. http://dx.doi.org/10.31168/91674-576-4.30.

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The purpose of the report is to consider the image and content of «tranquility» in the Russian literature of the XVIII. The image «Beloved Tranquility» and the common styleof the celebrated Lomonossov’s Ode-1747 could be connected with Greek early ode poetics Pindari Pyth.8.

3

Ribeiro Rabello, Rafaelle. "Between absence and presence: Augmented Reality as a self-fiction poetic." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.105.

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This text comprises an excerpt of the Doctoral research completed in 2021, developed in the Line of Poetics and Processes of Performance in Arts (PPGARTES-UFPA), which will present a conceptual reflection about the creative process that unfolded poetically from the appropriation of an old family photo album. The album in question began to be observed as a place of overlapping time and space, triggering an internal movement of belonging by presenting itself as a place of poetic power due to the physical evidence that emerged from it. Through Augmented Reality, the empty spaces left by the time were occupied, following the tracks and telling another narrative through visual, textual, and sound layers, thus reconfiguring the album, which expanded and became a living space of memory activated by the cybrid experience. The way of facing the presence of absence and at the same time the absence of presence provoked me an inner movement of wanting more and more to belong to that space. There were countless times I approached this album and I was always worried about its gaps and emptiness in its narrative. And, by a sudden feeling of belonging to that space, I began to fill its “silence” and become part of that place. I have been calling this act the movement of self-fiction poetic. This concept is widely discussed in the book Essays on self-fiction, organized by Jovita Maria Gerheim and crossed my research, which I appropriated and used as an operative concept, thus comprising a movement that took place through the appropriation of an object, intervening in a poetic way, from which I became a character manifesting myself subjectively in the fictional narrative. Therefore, I articulated myself between the photographic language and other operational resources that mobile devices made possible, to recreate the space in mixtures with the past and the contemporary in a movement of mixing memories. The album presented itself as a space deconstructed by the action of time and subjects and through the poetic movement, I triggered a series of events, overlapping different times and spaces by inserting photographic files, video, text, and sound that activated this place as a living organism, revealing a new experience with memory. The reconfiguration process of this space was triggered exclusively by digital means. The idea of the movement of self-fiction poetic arose precisely because I brought photographic productions of my own in a mix with the photographs already present in the album. This intersection of authorship that unfolded in the presentation of another narrative, which includes me sometimes as a present character, sometimes as a hidden agent, allowed me to travel through the chain of memory and feel myself belonging to that space-time. By wanting to penetrate a past that was not mine, triggering subjective layers of information produced in the interstice of reality and fiction that photography allowed me, I was able to perceive the album beyond a memory space, but as a place of experience that opened and was available for interventions.

4

Gritti, Fabiano. "The silence of God in the poetry of Father David Maria Turoldo." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-6.

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The article concerns the last phase of poetic production of father David Maria Turoldo, notably the last collection published when he was still alive – the Final Chants. In his very long work or religious poet, liturgist, and essayist, he treated a number of topics, incl. social themes and current affairs. In his last phase of his poetic, he doesn’t speak to the society, to the poor, and to marginalised people like in the past, but he addresses God directly – by forming an intense dialogue with the Absolute. In this poetical and mystical dialogue, he interrogates God about the most impenetrable mysteries for human understanding. These mysteries overwhelmed theologians and mystics of all times. Here, we shall focus notably on the topic of God being far from His creation – which is manifested through the divine silence. God seems not to hear the invocations of the faithful; it looks as though He doesn’t care about the problem of suffering (especially of the weakest persons) that remains apparently unrelieved by divine intervention. We shall present some meaningful short examples of such deep and complex issues, in order to introduce the reader to the knowledge of the peculiar Turoldian approach, by providing a possible interpretative key.

5

Campana, Silvia. "Enthralled by mystery. Eckhart, Heidegger and the poet Mujica in an interdisciplinary dialogue." In The Figurativeness of the Language of Mystical Experience. Brno: Masaryk University Press, 2021. http://dx.doi.org/10.5817/cz.muni.p210-9997-2021-5.

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Mysticism and poetry make up an inseparable pairing and, in these times of absence, they reveal the deep desire of man to go beyond the immediate, the existential, the superficial. The Argentine poet Hugo Mujica opens, from his poetic saying, a door towards the abyss and the desert, towards the limit of language and silence. We can glimpse in his poetry Heidegger’s legacy and, together with the philosopher, the Master Eckhart is also dragged from his going to God without god. From the interdisciplinary dialogue between philosophy, theology and poetry, we will approach to decipher this influence that transforms the saying of the poet-philosopher and updates his word in the desert and plunges us into the mystery of the unspeakable.