Questions of possibility: contemporary poetry and poetic form

2005 ◽  
Vol 42 (11) ◽  
pp. 42-6334-42-6334
Keyword(s):  
Contemporary Poetry ◽  
Poetic Form

scholarly journals Ungdomens poetiska form

Barnboken ◽  
2021 ◽  
Author(s):  
Evelina Stenbeck
Keyword(s):  
Young People ◽  
Theoretical Perspective ◽  
Contemporary Poetry ◽  
Poetic Language ◽  
Poetic Form ◽  
Love Poetry ◽  
Symbolic Form ◽  
Young Readers ◽  
Power Of Language

The Poetic Form of Youth: The Rebellious Power of Language and Desire in the Anthologies Kärlek och uppror and Berör och förstör Siv Widerberg and Anna Artén’s poetry anthology Kärlek och uppror: 210 dikter för unga människor (Love and Rebellion: 210 Poems for Young People, 1989) is something of a classic when it comes to Swedish contemporary poetry explicitly addressing young readers. Thirty years after its publication another poetry anthology, Berör och förstör: Dikter för unga (Affect and Destroy: Poems for Youth, 2019), edited by Athena Farrokhzad and Kristofer Folkhammar, was published. Both books tap into a long tradition of lyrical anthologies. Neither of the anthologies contain poetry written primarily for young readers. On the contrary, the anthologies include poems from the Swedish lyrical canon. Although the two anthologies share a similar structure and joint themes such as youth, love, poetry, and rebellion, they are significantly different in regard to poetic form and the conceptualizations of youth. The main theoretical perspective in this study is that the form of the anthologized poems can be understood as ideological expressions of an interplay between the genre's tradition and its specific aesthetic context. By historizing the genre and comparing the different paratexts of the anthologies, the article shows that adult conceptions of youth hides behind the editorial choices. In a quest to (re)create new writing subjects, through the rebellious powers of poetic language and love, the symbolic form of youth poetry both challenges and negates adult notions of youth in the two anthologies.

The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism

2021 ◽  
Vol 13 (1-2) ◽  
pp. 401-413
Author(s):  
Valeria Odnoral ◽  
Keyword(s):  
Literary Criticism ◽  
Contemporary Poetry ◽  
Poetic Form ◽  
Speaking Up ◽  
The Social ◽  
Aesthetic Form ◽  
Critical Approaches ◽  
History Of ◽  
The Aesthetic ◽  
The Right

The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.

Poetry & Listening

2020 ◽  
Author(s):  
Zoë Skoulding
Keyword(s):  
English Language ◽  
Contemporary Music ◽  
Contemporary Poetry ◽  
Sound Studies ◽  
Language Poetry ◽  
Poetic Form ◽  
Performance Technology ◽  
Recorded Sound ◽  
The Social ◽  
The Uk

Listening has always mattered in poetry, but how does poetry change when listening has been transformed? In Poetry and Listening: The Noise of Lyric, the field of sound studies, which has revolutionised research in contemporary music, is brought into dialogue with new lyric criticism. Examining poetry as mediated by performance, technology and translation, this book discovers how contemporary poetry has been re-energised by the influence of recorded sound and influenced by the creative methods that emerged with it. It offers an exploration of contemporary poetry’s acoustic contexts, moving beyond traditional analysis of poetic form to consider the social, political and ecological dimensions of a poem's sounds and silences. Through detailed discussion of innovative English-language poetry from the UK and USA, including works by Denise Riley, Sean Bonney, Caroline Bergvall, Mei-mei Berssenbrugge, Carol Watts, Claudia Rankine, Vahni Capildeo, Tom Raworth, Emma Bennett, Jonathan Skinner, Holly Pester, Tracie Morris, Hannah Silva, Rhys Trimble, Peter Hughes, Jeff Hilson and Tim Atkins, it argues for the centrality of listening to a form of composition in which language not only represents sonic experience but is part of it. With reference to Jean-Luc Nancy’s distinction between hearing and listening, alongside other key theorists of sound and noise, it shows how poetry offers insights into sensory perception, and how it charts acoustic relationships between language and the environment.

scholarly journals Psycholinguistic Mechanisms of Understanding Contemporary Poetry by Future Philologists

2021 ◽  
Vol 30 (1) ◽  
pp. 139-179
Author(s):  
Nataliia Mykhalchuk ◽  
Ernest Ivashkevych ◽  
Inna Nohachevska ◽  
Alexander Nabochuk ◽  
Oksana Voitenko
Keyword(s):  
Empirical Study ◽  
Aesthetic Experience ◽  
Contemporary Poetry ◽  
Poetic Form ◽  
Personal Qualities ◽  
The Subject ◽  
Poetic Texts ◽  
Sample Method

The purpose of the article is to conduct the empirical study of understanding contemporary poetry by future philologists, which helps us to distinguish psycholinguistic mechanisms of such understanding. The methods of the research. The research was carried out using a sample method (using a questionnaire developed by us (Mykhalchuk, Ivashkevych & Nabochuk, 2020). This questionnaire we use to assess the psychological specifics of understanding of contemporary poetry by future philologists. In order to establish the peculiarities of the content of the associative series of the word “poetry”, we organized an associative experiment. Also we used the method of annotated reading (Illyashenko, 1980). The application of this technique involved solving the following tasks: (1) to develop the criteria to understand poetry for students; (2) to determine the levels of understanding of future philologists of poetic texts. The results of the research. We single out some special psycholinguistic mechanisms of understanding of poetic texts by students-philologists, such as: (1). The mechanism of actualization of “emotions of form”. (2). The mechanism of harmonization of meaning. (3). The mechanism of amplification of poetry. (4). The mechanism of acquiring aesthetic experience. We proved, that the subject of understanding is an active communicative person with multifaceted personal qualities. The subjective component of understanding is specified in two main groups of factors: (1) the factor of the activity of the understanding the subject, generalized in target conditions of understanding; (2) the factor of individual-personal conditionality of understanding: the assessment by the subject of understanding of his/her own moral, volitional, emotional-communicative qualities, personal aggression, a tendency to reflection, etc. Conclusions. The success of improving readers’ perception and understanding of the poetry depends on the activation of the latter. Readers focus more on direct intentions than on their own feelings and ideas about poetry, although the latter determines their different perceptions. The development of the perception and understanding of the poetic form of the reader is due to the realization of the increasing complex of emotional connections of the semantic elements of the text, and emotionality is one of the main criteria for assessing poetry.

The Cambridge Introduction to Poetic Form

2012 ◽  
Author(s):  
Michael D. Hurley ◽  
Michael ONeill
Keyword(s):  
Poetic Form

Asserting the Ineffable: Rhetorical Appropriation of ‘Poetic’ and the Contemporary Poetry Text

CounterText ◽  
2017 ◽  
Vol 3 (2) ◽  
pp. 144-161
Author(s):  
Ming-Qian Ma
Keyword(s):  
Popular Culture ◽  
Contemporary Poetry ◽  
Constitutive Rhetoric ◽  
Rhetorical Situation ◽  
Poetry And Poetics ◽  
Information Transformation ◽  
And Function ◽  
Identity Formations

An elusive, trace-like entity, ‘poetic’ presents itself in the form of an intangible and yet indispensable relation, or relatedness, in the overall dynamics of information transformation. Paradoxical in nature and function, its ineffability forms the very condition of expressivity in poetry and poetics. ‘Poetic’, as such, also gains popularity and practicality in popular culture at large where and when it becomes articulated, tailored pragmatically to the specificities of any given activity. As an epochal phenomenon, this pragmatic rendition of ‘poetic’ takes the more pronounced form of rhetoric, which appropriates ‘poetic’, and which is resorted to by the contending smaller narratives in the postmodern world as their means for their respective identity formations and legitimations. In the context of the contemporary poetry scene, this rhetorical appropriation of ‘poetic’ manifests itself eloquently in the three areas of rhetorical situation, constitutive rhetoric, and rhetorical styles, which reveal the mechanisms of a soft interpellation that grants the contemporary poets their identity and legitimacy through their own performative confirmation.

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