Teorie poetów. Manifesty późnoawangardowe i poetyckie programy

This research paper considers the avant-garde manifestos and programmatic statements of poets, in the light of the debate on the emancipatory potential of neoavant-garde art. The author shows the need to redefine the notion of artistic autonomy that new art programmes involve. In the first part of the article, the point of origin of the modern understanding of artistic autonomy is reflected on in its two basic formulas: Kantian and Hegelian. The second part evolves an analysis of three examples of contemporary metapoetic statements by Polish poets (Piotr Sommer, Andrzej Sosnowski, Kacper Bartczak). Their neoavant-garde premises of the performative character of the theoretical discussions, and of the artistic elements that connect their theoretical ideas to the actual works of these poets lead us to the conclusion that engaged, activistic poetic practice, concerning he rules directed by the questions of autonomy of art, cannot be judged from the point of view of the Kantian definition of this autonomy, especially if we take the poetical matter of avant-garde provenance into consideration.

Menginpehn lien Pohnpei: A poetic ethnography of urohs (Pohnpeian skirts)

<p>This thesis perpetuates a legacy of menginpehn lien Pohnpei (the handiwork of Pohnpeian women) through a poetic ethnography of urohs, Pohnpeian appliquéd and machine embroidered skirts. I trace the “social life” of these valuable textiles and their relationships to the women who make, sell, wear, gift and love them on two Micronesian islands, Pohnpei, Federated States of Micronesia (FSM), and the U.S. Territory of Guam where there is a small Pohnpeian migrant community. As a lien Pohnpei poet, this reflexive multi-sited research project is rooted in an “oceanic imaginary.” It is indigenously framed within the scholarship and creativity of Pacific Studies and critical ethnography that responds to the creative, which is so important to urohs and the lives of Pohnpeian women. I explore a genealogy and evolution of women’s nting (writing) from pelipel, tattoos, that marked Pohnpeian bodies to cloth production, including dohr, likoutei (wraparounds), as well as contemporary urohs, to my poetry, another kind of dynamic, textual and textured “writing.” Pacific Literature evolved from the visual, and in Pohnpei this included various forms of menginpehn lih, which this thesis seeks to continue through experimental ethnographic and poetic practice on the sensual textile art of urohs. Thus, it made sense not only to take photographs to “capture” these stunning textiles, but to visualize my thesis as an urohs—the central design or mwahi are my poems, essential to the making of an urohs kaselel (beautiful urohs), appliquéd or embroidered to the scholarly, academic writing or likou, the fabric, that forms the larger skirt, all sewn together with a misihn en deidei (sewing machine), the theory and methodology, on which this thesis runs. My seven months of ethnographic “homework” consisted of oral history interviews, koasoai (conversations), and time spent experiencing urohs with the women whose lives are so entangled in them. The voices of lien Pohnpei are privileged in this Pohnpei-centric study written bilingually in English and Pohnpeian to best reflect our worldviews and the skirts that often function as our “second skins,” threading us in complex ways to other lien Pohnpei at home and in our homes away from home, such as Guam. Lastly, this thesis-skirt reveals what our urohs do for us as lien Pohnpei, how they create meaning in our lives, as opposed to having an essentialist “meaning”—urohs are an unacknowledged force in Pohnpei’s and FSM’s economy; these textiles are “women’s wealth,” dipwisou kesempwal (valuable goods) that give women power and agency within Pohnpeian culture, tiahk, and allow them to support their families; urohs are one of the most expressive ways for women today to display their identities as lien Pohnpei at home and in the diaspora. The poetry I write in response to these innovative, colorful textiles reflects the multilayered ways women articulate our relationships with urohs within the social fabric of Pohnpeian lives, which perpetuates our creativity through the labour of our “fine-hands” and minds.</p>

Menginpehn lien Pohnpei: A poetic ethnography of urohs (Pohnpeian skirts)

<p>This thesis perpetuates a legacy of menginpehn lien Pohnpei (the handiwork of Pohnpeian women) through a poetic ethnography of urohs, Pohnpeian appliquéd and machine embroidered skirts. I trace the “social life” of these valuable textiles and their relationships to the women who make, sell, wear, gift and love them on two Micronesian islands, Pohnpei, Federated States of Micronesia (FSM), and the U.S. Territory of Guam where there is a small Pohnpeian migrant community. As a lien Pohnpei poet, this reflexive multi-sited research project is rooted in an “oceanic imaginary.” It is indigenously framed within the scholarship and creativity of Pacific Studies and critical ethnography that responds to the creative, which is so important to urohs and the lives of Pohnpeian women. I explore a genealogy and evolution of women’s nting (writing) from pelipel, tattoos, that marked Pohnpeian bodies to cloth production, including dohr, likoutei (wraparounds), as well as contemporary urohs, to my poetry, another kind of dynamic, textual and textured “writing.” Pacific Literature evolved from the visual, and in Pohnpei this included various forms of menginpehn lih, which this thesis seeks to continue through experimental ethnographic and poetic practice on the sensual textile art of urohs. Thus, it made sense not only to take photographs to “capture” these stunning textiles, but to visualize my thesis as an urohs—the central design or mwahi are my poems, essential to the making of an urohs kaselel (beautiful urohs), appliquéd or embroidered to the scholarly, academic writing or likou, the fabric, that forms the larger skirt, all sewn together with a misihn en deidei (sewing machine), the theory and methodology, on which this thesis runs. My seven months of ethnographic “homework” consisted of oral history interviews, koasoai (conversations), and time spent experiencing urohs with the women whose lives are so entangled in them. The voices of lien Pohnpei are privileged in this Pohnpei-centric study written bilingually in English and Pohnpeian to best reflect our worldviews and the skirts that often function as our “second skins,” threading us in complex ways to other lien Pohnpei at home and in our homes away from home, such as Guam. Lastly, this thesis-skirt reveals what our urohs do for us as lien Pohnpei, how they create meaning in our lives, as opposed to having an essentialist “meaning”—urohs are an unacknowledged force in Pohnpei’s and FSM’s economy; these textiles are “women’s wealth,” dipwisou kesempwal (valuable goods) that give women power and agency within Pohnpeian culture, tiahk, and allow them to support their families; urohs are one of the most expressive ways for women today to display their identities as lien Pohnpei at home and in the diaspora. The poetry I write in response to these innovative, colorful textiles reflects the multilayered ways women articulate our relationships with urohs within the social fabric of Pohnpeian lives, which perpetuates our creativity through the labour of our “fine-hands” and minds.</p>

The politicality of a poetic practice

Daniela Perazzo Domm Jonathan Burrows: Towards a Minor Dance Palgrave Macmillan, 2019

How Can You See in the Dark Part II Mapping

Part of my current Blue(s)Print poetic practice, this piece was written after attending a friend's Nichiren Buddhism conference and then later attending Betty’s Daughter Arts Collaborative’s black/water: The Digital Ceremony. The shape of the poem's maps are inspired by the Angaria Delphinus shell I received recently, thinking about the connections to the Delphi Oracles, Sibyls, and Mami Wata priestesses. I want this piece to represent the Sux within language and history, and that language can be a meditative, spiritual guide and gate opener to the vast history and connections of the diaspora. Is what we think of as lost really lost or just transformed and in constant motion?

Allas Context

This chapter explores in detail Chaucer’s uses of the interjection allas in various prose and poetic texts. Chaucer’s many uses and contexts of allas suggest how the functions and significations of the Middle English interjection were not stable but rather shift according to who is speaking, where, to whom, in what narrative or textual situation. From the perspective of Bakhtin’s theory of dialogism, Chaucer’s poetic practice gives some concreteness to the grammarians’ theories of interjections, affect, and semantics in interpersonal and semiotic contexts.

The Feminine, The Poetic, And The Sacred In BPNichol's The Martyrology And Journal

My goal is not to analyse the sacred – to analyse it is to kill it. The objective is only to explore different ways of approaching the sacred through looking deeply at the nature of poetic language. In our contemporary society, the sacred is the other. And so is the feminine. Our culture often rejects these modes of experience, but poetic practice gives them both a time and a space. My overall argument is that poetic practice creates an approach, a site and a possibility for the sacred to manifest itself phenomenologically by breaking through from the other realm into human experience. Poetic practice holds an intention, creates a direction, a dimension, a state that can approach the experience of the sacred and honour it, be open to it, invite it and allow the subject to suspend the habitual control and instead adopt a surrender mode. Thus, poetic practice itself becomes a sacred activity that teaches us about different kinds of knowledge, experience and insight and invites us to experience a different mode of being in the world, in language, with ourselves, and with each other. Instead of detachment and alienation that permeate our culture, instead of separation from and the resulting objectification of nature, poetic consciousness offers us a more primal mode of being that pre-modern man used to call sacred.

The Feminine, The Poetic, And The Sacred In BPNichol's The Martyrology And Journal

My goal is not to analyse the sacred – to analyse it is to kill it. The objective is only to explore different ways of approaching the sacred through looking deeply at the nature of poetic language. In our contemporary society, the sacred is the other. And so is the feminine. Our culture often rejects these modes of experience, but poetic practice gives them both a time and a space. My overall argument is that poetic practice creates an approach, a site and a possibility for the sacred to manifest itself phenomenologically by breaking through from the other realm into human experience. Poetic practice holds an intention, creates a direction, a dimension, a state that can approach the experience of the sacred and honour it, be open to it, invite it and allow the subject to suspend the habitual control and instead adopt a surrender mode. Thus, poetic practice itself becomes a sacred activity that teaches us about different kinds of knowledge, experience and insight and invites us to experience a different mode of being in the world, in language, with ourselves, and with each other. Instead of detachment and alienation that permeate our culture, instead of separation from and the resulting objectification of nature, poetic consciousness offers us a more primal mode of being that pre-modern man used to call sacred.

Poetics, Self-Understanding and Health

In the thick of the global plague, Richard, Justin and Valery agreed to hold a conversation on the topic of poetics, self-understanding, and health. An analysis and discussion of this trinity requires love of poetry and philosophy. Both supreme human practices take common root in mythology and religion, and also share a notorious categorical divide, that of reason against affect. Is this Platonic divide indeed categorical, given both practices rely on language and creativity to compose their meaning? Interestingly, the practice of poetics does not have the reputation for boosting one’s health, in the mainstream understanding of that concept. If anything, poetic practice gained notoriety for corrupting one’s mind and, possibly, life. Like philosophy? We touched on these and other classical aporia, on the political struggles in American and Australian poetry. Here is a written record of this encounter, countries and miles apart, three persons simply getting to know one another.

The structure of revolutionary feminist surrealism in the poetic practice of Galina Rymbu

The object of this research is the surrealistic code of Russian contemporary poetry. The subject of this research is the authorial version of revolutionary surrealism and the techniques of its realization in the poetry of Galina Rymbu. The article examines such aspects of the topic as female optics, feminist writing, gender issues, as well as the interaction of aesthetic and political, imagery and empirical, subjective and objective. Special attention is given to the consequences of the divergence of surrealistic development trends &ndash; aesthetic and revolutionary surrealism in the poetic practice of G. Rymbu, as well as to the increase of anti-surrealistic tendencies in her poetry. The research methodology is based on the comparative approach, within the framework of which the philological analysis of the text is conducted with the use of narratological, motivic, phenomenological, and elements of hermeneutic methods. The scientific novelty of this work consists in interpretation of the contemporary left-wing poetry and namely feminist poetics of G. Rymbu through the prism of surrealistic code. The position of women in surrealist history and theory is deconstructed by the new realizations of revolutionary surrealism, associated with the feminist project and gender problematic. Emphasis is placed on the analysis of the concepts of transformation and childhood alongside the frequency narrative instance (surrealistic type woman &ndash; child) in the poetic texts of Galina Rymbu.