Diagnosing with the poetic imagination

2021 ◽  
pp. 189-214
Author(s):  
Alan Bleakley ◽  
Shane Neilson
Keyword(s):  
Poetic Imagination

The Calender’s Visions of Beauty

2017 ◽  
Author(s):  
Kenneth Borris
Keyword(s):  
Early Modern ◽  
Written Discourse ◽  
The Sublime ◽  
Poetic Imagination ◽  
Shepheardes Calender ◽  
Visionary Poetics

By reconsidering the main female exemplars of beauty in Spenser’s Shepheardes Calender, this chapter shows that the admiration of beauty is central there, as it is also in early modern Platonic poetics. As in the Phaedrus, beauty for Spenser inspires visionary apprehension; yet unlike Plato the poet links this stimulus to literary pursuit of the sublime. Platonism associated genuine beauty with truth and goodness, and Spenser likewise assumes that his Calender’s esthetic disclosures foster wisdom and virtue in at least some readers, and hence in the nation. However, whereas Plato valorizes philosophy for illuminating truth, Spenser advocates the enraptured poetic imagination endued with learning. In doing so, he seeks to circumvent, insofar as possible, the intrinsic limitations of words, images, and written discourse, such as those that Plato had identified in the Phaedrus. This reading newly illuminates the strategies of Spenser’s visionary poetics.

The Poetic Imagination: Of Myopia, Botany, and Electromagnetism

MLN ◽  
1982 ◽  
Vol 97 (4) ◽  
pp. 849
Author(s):  
Susan Willey
Keyword(s):  
Poetic Imagination

scholarly journals Richard Murphy: Autobiography and the Connemara landscape

Literator ◽  
2015 ◽  
Vol 36 (1) ◽  
Author(s):  
Elsa Meihuizen
Keyword(s):  
Natural Environment ◽  
North West ◽  
Poetic Imagination ◽  
Creative Self ◽  
The Relationship

It could be argued that an important feature of Richard Murphy’s work, and of his identity as a poet is the relationship between the creative self and a particular place, where ‘place’ should be understood as referring not just to physical qualities of the natural environment, but in a broader sense to denote an environment in which everything is interrelated and connected, and in which there is no sharp division between the natural and the human. The landscape providing inspiration for Murphy’s poetic imagination is the landscapes and seascapes of Connemara in north-west Ireland. In 1959 he settled in this environment which was to be his base for the next 20 years and from this period and this location emanated the bulk of his poetic oeuvre. For Murphy committing to a life of writing poetry necessarily means being in the Connemara landscape. Returning to this environment in adulthood represents a quest for recovering childhood feelings, of belonging and love, as connected to particular places. Murphy’s Connemara poems could be read as an account of this process of re-placement, as a type of autobiographical text in which the artist creates a ‘double portrait’: in writing about the landscape he also writes about himself, creating a place-portrait which is, at the same time, a self-portrait.

scholarly journals Księga Schulza, Księga Lema

Schulz/Forum ◽  
2018 ◽  
Author(s):  
Tymoteusz Skiba
Keyword(s):  
Common Element ◽  
Fictional World ◽  
Crucial Element ◽  
Poetic Imagination ◽  
Axis Mundi

The Book is not only a crucial element of the fictional world of Schulz and Lem, but also a metaphor of creation. The poetic imagination of both writers is rooted in the mythical image of the ur-Book, the Authentic Scroll which makes the axis mundi of reality. The artistic task of Schulz was to reconstruct that lost idea, while Lem decided to abandon it in favor of a vision of enormous, overwhelming libraries. At any rate, the attitude toward the myth of the Book turns out to be a common element, if not a symbol characteristic of both Schulz’s and Lem’s fiction.

Indian philosophers on poetic imagination (pratibhā)

1979 ◽  
Vol 7 (2) ◽  
pp. 153-207 ◽  
Author(s):  
Elizabeth Christie
Keyword(s):  
Poetic Imagination
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