Spontaneity and Improvisation in Postwar Experimental Poetry

Resumo: O objetivo deste artigo é apresentar a poesia experimental portuguesa através da identificação de certos ecos e nexos que as suas criações verbivocovisuais estabelecem com as propostas estéticas de Ernesto de Sousa, colocando-os por isso em diálogo. Pretende-se para isso focalizar o estudo do experimentalismo poético em vetores orientadores que acreditamos permitir uma abordagem mais adequada à multiplicidade e profusão do corpus disponível. Esse foco norteador será construído a partir do conceito de diálogo(s): diálogo com o leitor (a obra em relação interativa com o receptor, isto é, a sua abertura à interpretação); diálogo com a escrita (a obra reflexiva em relação à linguagem, a sua abertura ao código); e diálogo com a tradição (a obra como releitura e reescrita, a sua abertura ao mundo). Conclui-se que a poesia experimental sinaliza uma libertação do texto em direção ao leitor, ao código e a uma renovação da tradição: a uma libertação que é simultaneamente estética e política, aspetos aqui referidos como poeprática e poelítica.Palavras-chave: Poesia experimental portuguesa; dialogismo; abertura; Ernesto de Sousa.Abstract: The aim of this paper is to present the Portuguese experimental poetry through the identification of certain echoes and nexuses that its verbivocovisual creations establish with Ernesto de Sousa’s aesthetic proposals, thus placing them in dialogue. This is achieved by focusing the study of poetic experimentalism using some guiding vectors that we believe allow for a more adequate approach to the multiplicity and profusion of the available corpus. This guiding focus will be built from the concept of dialogue(s): dialogue with the reader (the work in interactive relationship with the receiver, that is, its openness to interpretation); dialogue with writing (the reflexive work in relation to language, its openness to the code); and dialogue with tradition (the work as rereading and rewriting, its openness to the world). We conclude that experimental poetry signals a liberation of the text towards the reader, the code, and a renewal of tradition: a liberation that is both aesthetic and political, aspects referred to here as poepractice and poelitics.Keywords: Portuguese experimental poetry; dialogism; openness; Ernesto de Sousa.

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Early Tomaž Šalamun and American Experimental Poetry

Primerjalna književnost ◽

10.3986/pkn.v42.i3.09 ◽

2019 ◽

Vol 42 (3) ◽

Author(s):

Dubravka Đurić

Keyword(s):

Experimental Poetry

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Epilogue

A Theory of the Aphorism ◽

10.23943/princeton/9780691188959.003.0008 ◽

2019 ◽

pp. 177-188

Author(s):

Andrew Hui

Keyword(s):

Short Stories ◽

Short Form ◽

Political Campaigns ◽

Corporate Communication ◽

Experimental Poetry ◽

Long Form

This epilogue explores Twitter, which was founded in 2006, launching the now ubiquitous platform of the 140-character short form (now enlarged to 280). It is not difficult to see Twitter as a digital descendant of the analog aphorism. However, the ecosystem of twitterature embraces more: it is a vehicle also for journalism, advertising, corporate communication, self-promotion, political campaigns, experimental poetry, micro short stories, collaborative works, and rewritings of the classics. In terms of this book's theory of the aphorism, tweets come before, after, and against long-form publications. Sometimes they function as headlines or clickbaits that link to longer forms of continuous writing. And in terms of the book's central conceptual paradigm—fragments and systems—Twitter offers both on an exponentially larger and faster scale.

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al-Khāl, Yūsuf (1917–1987)

Routledge Encyclopedia of Modernism ◽

10.4324/0123456789-rem1843-1 ◽

2018 ◽

Author(s):

Dounia Badini

Keyword(s):

Spoken Language ◽

Arabic Literature ◽

Experimental Poetry ◽

Poetic Language ◽

American University ◽

Avant Garde ◽

American University Of Beirut ◽

Philosophy Department ◽

Personal Experiences ◽

Literary Circles

Yūsuf al-Khāl was a Lebanese poet and writer, born in 1917 in Syria. He graduated in 1944 from the Philosophy Department at the American University of Beirut where he taught Arabic literature. In 1948 he went to America where he became involved with renewal literary circles. In 1955, he went back to Lebanon with a well-conceived purpose of announcing a second Arab poetic renaissance. In 1957, he founded the magazine Shi‘r (Poetry), which ran until 1964, then from 1967 to 1970. Shi‘r was the most professional avant-garde Arabic magazine dedicated to poetry. Through it, he took pains to support new experimental poetry that aimed to change the poetic language, making it closer to spoken language in terms of the lexicon, structures, and music; to make modernity accessible to the Arab reader through translations of foreign experiences; to renew the themes of poetry by expressing enriching personal experiences. Although he published several works (a novel, a play, poetry, essays, and translations), he is recognized above all as the leader of the modernist Shi‘r movement.

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