Scar on the Stone: Contemporary Poetry from Bosnia

1999 ◽  
Vol 73 (3) ◽  
pp. 557
Author(s):  
Kim Jastremski ◽  
Chris Agee
Keyword(s):  
Contemporary Poetry

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.

The open subject and translations from nature: Answers to the Anthropocene in contemporary poetry (Gennadij Ajgi, Les Murray, Christian Lehnert)

2021 ◽  
pp. 205301962110386
Author(s):  
Henrieke Stahl (Trier)
Keyword(s):  
Sensory Perception ◽  
Contemporary Poetry ◽  
Natural Phenomena ◽  
Equal Footing ◽  
The World ◽  
Hierarchical Levels ◽  
The Relationship ◽  
Living Being

With the help of the concepts ‘aura’ and ‘autopoiesis’, the relationship between poetry and natural phenomena can be defined as a ‘translation from nature’. Gennadij Ajgi translates his auratic manner of perceiving into poetry. For him, the poem becomes an epistemic medium transcending the sensory perception of nature for a hidden, spiritual level. Les Murray, conversely, demonstrates an autopoietic understanding of nature: The poet himself becomes the medium of the living being. Christian Lehnert takes up impulses from both orientations. He combines the opposing concepts so that they correspond to the hierarchical levels of his religious and metaphysical vision of the world. The three authors all aim to alter the attitude of humans towards nature through their ‘translation from nature into poetry’ so that humankind will open itself towards nature and raise it from an object which can be instrumentalised to an autonomous subject on equal footing with humanity itself.

William Blake in Contemporary Russian Literature and Culture

2021 ◽  
pp. 71-88
Author(s):  
Vera V. Serdechnaia ◽  
Keyword(s):  
Human Physiology ◽  
Significant Role ◽  
William Blake ◽  
Russian Literature ◽  
Contemporary Poetry ◽  
The World ◽  
Great Tradition ◽  
Dead Man ◽  
The Universe ◽  
Creative Life

The article discusses the creativity of the English romantic William Blake comprehended in contemporary Russian literature and culture. These facts are quite significant, since many Russian thinkers and writers, such as Igor Garin and Merab Mamardashvili, mention Blake in their works. Blake, partly remembered as a symbolist and mystic, loomed large in the cultural universe of the Moscow mystical “Yuzhinsky” circle, members of which were, in particular, Yuri Mamleev, Yevgeny Golovin, Alexander Dugin, Yuri Stefanov. For them, Blake was an integral part of the great Tradition or ancient knowledge, lost by the civilization. Blake has been mentioned and quoted in the prose by Yuri Buida, Alexey Gryakalov, Ivan Ermakov, Ksenia Buksha, Oleg Postnov and in the poetry by Olga Kuznetsova, Maria Galina, Alla Gorbunova, Maxim Kalinin and others. Andrei Tavrov enters into a creative dialogue with the English Romanticist in his poetic cycle Lament for Blake (2018). Tavrov creatively renders Blake’s metaphysics of human physiology. The poem “Blake. Sparrow” shows an impressive fusion of Blake’s motives and lyrics. in particular, the multilevel character of the mythological world (from Ulro to Eden), conversations with Angels and traveling through the stars in “The Marriage”, the image of a sparrow and a visionary bird in general, images of insects guided through the night (“Dream”), the image of Milton like the meteorite in the heel of the narrator, the figure of Flaxman and the philosophy of creation by the word. In Tavrov’s work, Blake inhabits in a bizarre world of metaliterature, including Gogol and Derzhavin, Velasquez and Newton, Lear and Oedipus, Pan and Melchizedek. Blake, as the creator of overlapping worlds, becomes for Tavrov the key to the total poetization of the universe; where a transition is made from the hermetic principle “as above, so below” to the principle “everything in everything”. This principle turns out to be the most important for contemporary poetry. Blake’s paintings and drawings have become a part of Russian book culture: the famous engraving of the Creator God with a compass “The Ancient of Days” is often used in book graphics; the Moscow conceptualist Viktor Pivovarov, the author of samizdat, admitted that Blake inspired him with his experience in book printing. Blake’s influence can also be seen in the works of contemporary sculptor Alexander Kudryavtsev (1938–2011), namely, his ceramic fresco “The Creation of the World”. Thus, Blake, who came, among others, through the work of The DOORS and Jarmusch’s Dead Man, plays a significant role in the space of contemporary Russian literature. In these terms, the most significant of his works are “Songs” and “The Marriage of Heaven and Hell”, as well as mystical revelations of prophetic poems and his creative life of a genius unrecognized during his lifetime in general.

One World? The Poetics of Passenger Flight and the Perception of the Global

PMLA ◽  
2012 ◽  
Vol 127 (2) ◽  
pp. 264-282 ◽  
Author(s):  
Marit J. MacArthur
Keyword(s):  
Contemporary Poetry ◽  
Air Travel ◽  
Early Years ◽  
Flight Speed ◽  
Global Perspective ◽  
Historical Background ◽  
Private Lives ◽  
Time Space ◽  
Space Compression

The poetry of passenger flight, especially in the early years of the jet age, is exceptional in illuminating the perceptual, affective, and ethical confusions of the global perspective. Offering readings of James Merrill's “Flying from Byzantium,” Elizabeth Bishop's “Night City,” Amiri Baraka's “The Nation Is like Ourselves,” and Derek Walcott's “The Fortunate Traveller,” this essay integrates theoretical grounding in the phenomenology of flight (speed, distance, time, and perspective), the legacy of Romantic landscape meditation in contemporary poetry and the evolution of the literature of flight, and relevant historical background about the development of commercial air travel. The passenger's view in the period when flight was no longer thrilling and not yet tedious is a peculiarly apt trope for the difficulties of imagining the global and of registering the conundrum of globalization—in its most basic sense, time-space compression—from its repercussions in our private lives to the greatest humanitarian challenges of our time.

All in the space of a poem: Spatial logics in poetry

2017 ◽  
Vol 47 (3) ◽  
pp. 249-258
Author(s):  
K. Arunlal ◽  
C. Sunitha Srinivas
Keyword(s):  
Print Culture ◽  
Cultural Practices ◽  
Contemporary Poetry ◽  
Living History ◽  
Modern History ◽  
Spatial Turn ◽  
Art Forms ◽  
Human Sense ◽  
Spatial Logics ◽  
The Way

One of the oldest cultural practices of human societies, poetry, simultaneously responded and contributed to the evolution of human sense of spaces. Before print culture became ubiquitous, poetry was a time-art: all classic poetic techniques and devices were meant to hold a piece of verse permanently in a person’s memory, and by extension, in a community’s living history. However, contemporary poetry has little use for the chronologic dimension of poetry. The correlation of spatialized poetry with the new proliferation of ideas regarding space can be explored in multiple angles. The way space is looked at has changed in all art forms due to certain contingencies of modern history. This paper is a mapping of these alterations in the spatial turn of poetry, and a further application of ideas of space in understanding contemporary poetry.

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