The poetic representation of “NEEM” and Tagore

2021 ◽  
Vol 30 ◽  
pp. 7-38
Author(s):  
Chun-sik Kim
Keyword(s):  
Poetic Representation

Baudelaire's Creole Gothic : A Postcolonial Afterlife for Les Fleurs du mal

2021 ◽  
Vol 21 (1) ◽  
pp. 10-34
Author(s):  
Mary Gallagher
Keyword(s):  
Racial Difference ◽  
Social Death ◽  
Chattel Slavery ◽  
Plantation Slavery ◽  
Living Dead ◽  
Poetic Representation ◽  
The City ◽  
Fleurs Du Mal ◽  
Hard Labour

Baudelaire’s verse poetry is informed by a pervasive Creole Gothic resonance. Two separate but related topoi, the Undead and the Living Dead, lie at the heart of the collection’s necrological imaginary of slave and zombie labour. It is this Gothic double-trope of death-in-life/life-in-death that activates the Gothic Creole strain running through Les Fleurs du mal. Ironically, those poems that seem to evoke most directly the Creole world that Baudelaire encountered in 1841, firstly in Mauritius and then in Réunion, avoid all evocation of plantation slavery. Conversely, the city poems associate modern metropolitan life with the idea of slavery, representing it as a living death and death as a merely temporary and reversible escape. The collection’s representation of this ‘living death’ foreshadows the construction (by Orlando Patterson, most notably) of transatlantic chattel slavery as ‘social death’. As for the poetic representation of the ‘Undead’, this centres on the figure of the zombie. The zombie is essentially a slave for whom death has proved no guarantee against an endless ‘living death’ of hard labour. If the Creole inflection of Baudelaire’s imagery relates primarily to the realities of industrialized plantation labour and to the chattel slavery on which it was based, it is further reinforced by indices of tropical localisation and of racial difference, more specifically pigmentation. However subliminal its resonance, this Creole Gothic strain guarantees for Baudelaire’s Fleurs du mal a vivid postcolonial afterlife.

Philomela’s Marks

2013 ◽  
Author(s):  
Marion Wells
Keyword(s):  
Sexual Violence ◽  
Female Body ◽  
The Winter's Tale ◽  
Winter's Tale ◽  
Titus Andronicus ◽  
The Feminine ◽  
Poetic Representation ◽  
Rape Of Lucrece

This essay explores the significance of the mutual imbrication of ekphrasis and sexual violence in Shakespeare’s poetry. Beginning with a discussion of Philomela’s substitution of a woven picture (the teasingly opaque ‘purpureas notas’) for an oral account of violence in Ovid’s Metamorphoses, I analyse Shakespeare’s revision of this foundational story in Titus Andronicus. Arguing that in Shakespeare’s work ekphrasis functions as a gendered site of contestation between image and word in which the feminine image is organized and contained by the masculine ‘noting’ of an artist figure, I consider how Shakespeare’s other extensive use of the Philomela story in Cymbeline clarifies this pattern. My final texts, The Rape of Lucrece and The Winter’s Tale, allow me to unpack more fully the function of ekphasis in drawing attention to the predication of poetic representation on the abjection of the female body.

Poetry and Mixed Methods Research

2020 ◽  
Vol 12 (2) ◽  
pp. 153-165
Author(s):  
Mandy M. Archibald ◽  
Anthony J. Onwuegbuzie
Keyword(s):  
Mixed Methods ◽  
Mixed Methods Research ◽  
Meaning Making ◽  
Research Process ◽  
Data Sets ◽  
Hermeneutic Circle ◽  
Arts Based Research ◽  
Research Designs ◽  
Human Creativity ◽  
Poetic Representation

Integration—or the meaningful bringing together of different data sets, sampling strategies, research designs, analytic procedures, inferences, or the like—is considered by many to be the hallmark characteristic of mixed methods research. Poetry, with its innate capacity for leveraging human creativity, and like arts-based research more generally, which can provide holistic and complexity-based perspectives through various approaches to data collection, analysis, and representation, can offer something of interest to dialogue on integration in mixed methods research. Therefore, in this editorial, we discuss and promote the use of poetry in mixed methods research. We contend that the complexities and mean-making parallelisms between poetry and mixed methods research render them relevant partners in a quest to complete the hermeneutic circle whose origin represents experiences, phenomena, information, and/or the like. We advance the notion that including poetic representation facilitates the mixed methods research process as a dynamic, iterative, interactive, synergistic, integrative, holistic, embodied, creative, artistic, and transformational meaning-making process that opens up a new epistemological, theoretical, and methodological space. We refer to this as the fourth space, where the quantitative, qualitative, mixed methods, and poetic research traditions intersect to enable different and deeper levels of meaning making to occur. We end our editorial with a poetic representation driven by a word count analysis of our editorial and that synthesizes our thoughts regarding the intersection of poetry and mixed methods research within this fourth space—a representation that we have entitled, “Dear Article.”

Du Bellay’s Cendre and the Formless Signifier

2017 ◽  
Author(s):  
Andrew Hui
Keyword(s):  
Literary Tradition ◽  
History Of ◽  
Poetic Representation

La poudreuse cendre, “the dusty ashes,” is the lexical guide to this chapter. Signifying a persistent, formless materiality, this formulation is repeated like a mantra throughout Les Antiquitez. Cendre and poudre play an operative role in Du Bellay’s poetics, for the two words are used to describe the matter of literary tradition itself and to rethink the nature of poetic representation. We will first give a mini-history of the cendre topos in the literary and biblical tradition, which will help us think about the nature of signs and their signified vis-à-vis Rome. Then we will look at how Du Bellay uses repetition in order to evoke the innumerable permutations of Rome. And finally with architecture we go back to the exegi monumentum topos as it is played out in the afterlife of Du Bellay’s sonnets. Under the long shadow of a ruinous antiquity, Du Bellay crafts his monuments as fluid, mutable things.

“I Feel Like I Can’t Avoid Dying”: A Poetic Representation of a Survivor’s Traumatic Experience in the Great East Japan Earthquake

2020 ◽  
Vol 27 (1) ◽  
pp. 45-58 ◽  
Author(s):  
Atsushi Iida
Keyword(s):  
Life Story ◽  
Great East Japan Earthquake ◽  
Cultural Trauma ◽  
Personal Life ◽  
Traumatic Experience ◽  
Poetic Form ◽  
Poetic Representation ◽  
Insight Into

This article is a poetic rendition of a recorded and transcribed oral personal life story of a survivor of the Great East Japan Earthquake in 2011. The aim of the current study is to reproduce and explore his series of dramatic experiences in poetic form and better understand cultural trauma caused by the massive disaster–the magnitude 9.0 earthquake, subsequent tsunami, and nuclear meltdown. This article provides insight into the relatively unexamined issue of cultural trauma emerging from the unprecedented disaster and presents what the earthquake survivor saw and felt through such a catastrophe.

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