scholarly journals LOS CUERPOS QUE NOS MIRAN DESDE LEJOS. FIGURAS DEL OTRO Y TÉCNICA DEL OBSERVADOR EN LA HERIDA EN LA LENGUA, DE CHANTAL MAILLARD

2021 ◽  
Vol 30 ◽  
pp. 255
Author(s):  
Manuel A. BROULLÓN-LOZANO
Keyword(s):  
Poetic Creation

Resumen: La creación poética de Chantal Maillard se construye en variación sobre los mismos temas y figuras: hilos, agujeros, cuerpos, heridas, tiempo, miradas, dificultad de decir. Bajo estos temas y figuras, el problema de la otredad: ¿cómo representar?, ¿cómo entrar siquiera en contacto auténtico con lo otro? En este artículo propondremos un acercamiento a la cuestión a partir de un análisis retórico, intertextual y semiótico-estructural del libro de poemas La herida en la lengua.Abstract: Chantal Maillard’s poetic creation has been built on variations from the same themes and figures, such as threads, holes, bodies, wounds, time, gazes, or difficulty to say. So, these themes and figures refer the otherness topic: how it could be represented? Are we even able to get in trully contact with others? In order to propose an approach to this topic, in this essay, the poem’s book La herida en la lengua shall be analysed by using Rethorics, Intertextuality and Structural Semiotics.

Kreation und Zeit

2006 ◽  
Vol 51 (1) ◽  
pp. 118-133
Author(s):  
Renate Schlesier
Keyword(s):  
Central Position ◽  
Intellectual Work ◽  
Eine Analyse ◽  
Artistic Production ◽  
Poetic Creation

Das Inspirationskonzept ist für Prousts selbstreflexive Bestimmung künstlerischer Produktion von zentraler Bedeutung (dies läßt sich durch eine Analyse von Textstellen sowohl aus dem letzten Teil von Prousts Recherche als auch aus dem Kontext von Jean Santeuil und Contre Sainte-Beuve zeigen). Prousts spezifische Bestimmung der Inspiration als etwas, das auf intellektuelle Arbeit nicht verzichten kann, unterminiert jedoch antiintellektualistische platonische Dichtungslehren. Dies impliziert zudem, daß Proust die Kluft zwischen Künstlern und Nicht-Künstlern für unüberbrückbar erklärt. Inspiration ist für Proust etwas Verzauberndes, weil sie wiedergefundene Zeit ist, die jedoch erst im poetischen Kreationsprozeß Gestalt gewinnt. The concept of inspiration occupies a central position in the realm of Proust’s self-reflexive evaluation of artistic production (as can be demonstrated by an analysis of passages bothfrom the last part of Proust’s ›Recherche‹ and from the context of ›Jean Santeuil‹ and ›Contre SainteBeuve‹). Yet by evaluating inspiration as something that could not do without intellectual work, Proust undermines anti-intellectualistic platonizing poetics. In addition, this implies that Proust declares the gap between artists and non-artists as unbridgeable. For Proust, inspiration is enchanting because it is time regained, but takes shape only in the process of poetic creation.

Pity and Poetics in Chaucer's Legend of Good Women

PMLA ◽  
2015 ◽  
Vol 130 (5) ◽  
pp. 1302-1317 ◽  
Author(s):  
Anne Schuurman
Keyword(s):  
Emotional Experience ◽  
Critical Reception ◽  
Poetic Creation

Modern critical reception of Geoffrey Chaucer's The Legend of Good Women has been unequivocal in its resistance to the pathos of the text, but, despite this resistance, the Legend makes us feel pity regardless of our rational intentions. To this end, the Legend and its prologue are thematically and structurally unified, and together they provoke an unsettling awareness that our emotions do not belong entirely to us. For Chaucer, the art of feeling pity maps onto the art of writing poetry in that both involve performed sincerity that is not insincere for being performed, a kind of authentic inauthenticity. The paradox of emotional experience is thus the paradox of poetic creation: what feels most uniquely yours is in fact learned, acquired, and imitative.

scholarly journals The Echo of ‘After-Poetry’: Hans Bethge and the Chinese Lyric

2020 ◽  
Vol 17 (2) ◽  
pp. 303-317
Author(s):  
Ben Hutchinson
Keyword(s):  
Tang Dynasty ◽  
Chinese Poetry ◽  
The West ◽  
The Tang Dynasty ◽  
Li Bai ◽  
Modern Europe ◽  
Lied Von Der Erde ◽  
Poetic Creation

The publication, in 1908, of Hans Bethge's Die chinesische Flöte marked a highpoint in the reception of Chinese poetry in modern Europe. Bethge's ‘Nachdichtungen’ (‘after-poems’) of poems from the Tang dynasty through to the late 1800s were extraordinarily popular, and were almost immediately immortalized by Gustav Mahler's decision to use a selection from them as the text for Das Lied von der Erde (1909). Yet Bethge could not read Chinese, and so based his poems on existing translations by figures including Judith Gautier, whose Livre de Jade had appeared in 1867. This article situates Bethge's reception of Chinese poetry – and in particular, that of Li-Tai-Po (Li Bai) – within the context of European chinoiserie, notably by concentrating on his engagement with a recurring imagery of lyrics and Lieder. Although he was deaf to the music of Chinese, Bethge was extremely sensitive to the ways in which Li-Tai-Po's self-conscious reflections on poetic creation underlay his ‘after-poems’ or Nachdichtungen, deriving his impetus from images of the rebirth of prose – songs, birdsong, lyrics, Lieder – as poetry. The very form of the ‘lyric’ emerges as predicated on its function as echo: the call of the Chinese flute elicits the response of the European willow. That this is necessarily a comparative process – between Asia and Europe, between China, France, and Germany – suggests its resonance as an example of the West-Eastern lyric.

scholarly journals I dropped a big stone on the water snake… Poetic and the Folk Image of a SNAKE

2021 ◽  
pp. 375-387
Author(s):  
Magdalena Wołoszyn
Keyword(s):  
Common Sense ◽  
Folk Culture ◽  
The Third ◽  
Cultural Image ◽  
Water Snake ◽  
Polish Language ◽  
Lyrical Subject ◽  
Poetic Creation ◽  
The Guardian ◽  
Living Creature

The aim of the article is to reconstruct the linguistic and cultural image of the snake in Polish language and Polish folk culture, functioning within three different but complementary genre-based models: (a) mythological, which echoes are present in belief stories, records of beliefs, and descriptions of practices; (b) biblical (religious), Judeo-Christian, settled in aytiological legends, wedding speeches, religious and historical songs (c) colloquial (common sense), confirmed mainly in colloquial phraseology. In the first model, the snake appears as the guardian of the house and the enclosure, a living creature, friendly to people and animals, whose presence ensures happiness and prosperity; in the second – the serpent is a symbol of evil, sin and Satan; in the third, the most stabilized features of the snake are: wisdom, prudence, but the most of all cunning and sly. The features that emerge especially from the mythological and religious model are the basis for the interpretation of the poetic creation of a snake from Czesław Miłosz’s poem Rue Descartes, in which the lyrical subject combines all evil that has happened to him in his life with in breaking of the ban and just punishment for killing a water snake coiled in the grass.

scholarly journals Os deslimites da palavra de Manoel de Barros

Scriptorium ◽  
2019 ◽  
Vol 5 (1) ◽  
pp. 32558
Author(s):  
Geysiane De Andrade
Keyword(s):  
Creative Process ◽  
Contemporary Poetry ◽  
Poetic Creation

Manoel de Barros se traduziu na liberdade e no encantamento dos versos, em um trabalho artesanal com as palavras. Na linguagem, construiu um infinito particular, onde desvela muito mais do que as belezas do Pantanal, mas a grandeza do homem e da vida, uma poesia contemporânea que dialoga com a tradição simbolista e moderna. Exemplo disso é O livro das Ignorãças, no qual o autor apresenta seu percurso criativo e as origens de sua criação poética, transformando o ínfimo, o nada e as miudezas em pura poesia. Assim, este trabalho apresenta um pouco do projeto poético de Barros, especialmente no livro em questão, refletindo sobre seu processo criativo de acordo com algumas das teorias da criação poética.  *** The unlimits of the word of Manoel de Barros ***Manoel de Barros translated himself into the freedom and enchantment of the verses, in a handcrafted work with words. In language, he constructed a particular infinite, where he unveils much more than the beauties of Pantanal, but the greatness of man and life, contemporary poetry that dialogues with the symbolism and modern tradition. A great example is O livro das Ignorãças, in which the author presents his creative journey and the origins of his poetic creation, transforming the tiny, the nothingness and the offal into pure poetry. Thus, this paper presents a little of the poetic project of Barros, especially in this book, reflecting on its creative process according to some poetic creation theories.Keywords: Poetry; Manoel de Barros; Modern lyric; Poetic creation.

Theory U

2018 ◽  
pp. 259-268
Author(s):  
Pierre Guillet de Monthoux ◽  
Matt Statler
Keyword(s):  
Business Education ◽  
Practical Wisdom ◽  
Business Practice ◽  
Theory U ◽  
Poetic Creation ◽  
Carnegie Report

The recent Carnegie report (Colby, et al., 2011) characterizes the goal of business education as the development of practical wisdom. In this chapter, the authors reframe Scharmer's Theory U as an attempt to develop practical wisdom by applying certain European philosophical concepts. Specifically, they trace a genealogy of social sculpture, Schwungspiel, poetic creation, and spiritual science, and suggest that Scharmer's work integrates these concepts into a pragmatic pedagogy that has implications for business practice as well as business education.

Beyond the Bower

2020 ◽  
pp. 41-60
Author(s):  
Heather Braun
Keyword(s):  
Nineteenth Century ◽  
Women Writers ◽  
Natural World ◽  
Female Characters ◽  
Artistic Production ◽  
Interior Spaces ◽  
Romantic Era ◽  
Definition Of ◽  
Poetic Creation ◽  
Female Poets

Romantic male poets typically describe bowers as lush, ecological spaces for quiet introspection and poetic creation within a distinctly masculinize landscape. In contrast to these idyllic spaces in Nature, the word bower meant something quite different for many nineteenth-century British women writers. For Romantic female poets, these garden bowers were isolated and fragmented spaces where artistic production was inhibited rather than nurtured. Their poems imagine a very different kind of bower, one that is aligned most directly with a second definition of the term: namely, a lady’s apartment in which “embowered” characters are trapped in interior spaces. These barren, claustrophobic bowers offered the antithesis of the freedom and inspiration male poets of the Romantic-era associated with outdoor garden bowers. Poet, essayist, and activist Caroline Norton demonstrates how these artificial domestic prisons produced paralysis and self-division rather than comfort and poetic inspiration. Cut off from the ecological spaces available to their male contemporaries, Norton’s female characters are silenced, distracted, and confined unable to leave their stifling bowers to create space for themselves in the natural world. Many nineteenth-century women writers reconfigured the Romantic garden bower as an unnatural lady’s bower from which female artists must flee in order to create.

scholarly journals Educating Desire: Conversion and Ascent in Dante’s Purgatorio

Religions ◽  
2019 ◽  
Vol 10 (5) ◽  
pp. 305
Author(s):  
Paul A. Camacho
Keyword(s):  
Moral Motivation ◽  
Philosophical Anthropology ◽  
Christian Platonism ◽  
Poetic Creation ◽  
Commentary Tradition

In Cantos 17 and 18 of the Purgatorio, Dante’s Virgil lays out a theory of sin, freedom, and moral motivation based on a philosophical anthropology of loving-desire. As the commentary tradition has long recognized, because Dante placed Virgil’s discourse on love at the heart of the Commedia, the poet invites his readers to use love as a hermeneutic key to the text as a whole. When we contextualize Virgil’s discourse within the broader intention of the poem—to move its readers from disordered love to an ordered love of ultimate things—then we find in these central cantos not just a key to the structure and movement of the poem, but also a key to understanding Dante’s pedagogical aim. With his Commedia, Dante invites us to perform the interior transformation which the poem dramatizes in verse and symbol. He does so by awakening in his readers not only a desire for the beauty of his poetic creation, but also a desire for the beauty of the love described therein. In this way, the poem presents a pedagogy of love, in which the reader participates in the very experience of desire and delight enacted in the text. In this article, I offer an analysis of Virgil’s discourse on love in the Purgatorio, arguing for an explicit and necessary connection between loving-desire and true education. I demonstrate that what informs Dante’s pedagogy of love is the notion of love as ascent, a notion we find articulated especially in the Christian Platonism of Augustine. Finally, I conclude by offering a number of figures, passages, and themes from across the Commedia that provide fruitful material for teachers engaged in the task of educating desire.

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