Heidegger, Hölderlin, and the Subject of Poetic Language

2005 ◽  
Vol 45 (4) ◽  
pp. 551-552
Author(s):  
Nocolas Birns ◽  
Keyword(s):  
Poetic Language ◽  
The Subject

The Russian Futuristic Experiment: the Language of the Poetic Resistance

2020 ◽  
Vol 29 (2) ◽  
pp. 261-272
Author(s):  
Magdalena Kostova-Panayotova
Keyword(s):  
Nineteenth Century ◽  
20Th Century ◽  
Artistic Expression ◽  
Poetic Language ◽  
Creative Mind ◽  
Avant Garde ◽  
The World ◽  
Poetic Text ◽  
The Subject ◽  
The Mind

The main Avant-garde trend in the first third of the 20th century, Futurism, through its various groups and creative personalities, upholds its own conception of art and creator, strives to give a contemporary image of the world, to reveal the hidden essence of things, the inner relation of the elements. According to Futurism, art is meant to change lives, but not as it seems in the writings of nineteenth-century realists: by influencing the rational and changing the mind of the reader. The development of a new artistic expression, in a new poetic language, the use of contemporary forms of artistic conditionality have become major tasks for the generation of poets and artists from the 1910s. Poet futurists reduce the language of literature to its traditional understandings, neglect its inherent rules and laws, because they accept it as something external to the subject, which impedes the expression of its essence. From the depiction of the object to its expression - this is how the break in the creative mind of the futuristic author can be characterized. The linguistic revolution, effected with poetic means by the futurists, is a desperate and utopian attempt to acquire the organic integrity of the world, thirsting for its transformation. Thanks to futurism, the register of poetic techniques was expanded in the 20th century and directions were created for the creation of new expressive means of writing poetic text.

Réflexions Sur La Reconstruction De La Phraséologie Poétique Indo-Européenne

Diachronica ◽  
1993 ◽  
Vol 10 (1) ◽  
pp. 1-12 ◽  
Author(s):  
Enrico Campanile
Keyword(s):  
Sich Eine ◽  
Poetic Language ◽  
Lexical Variation ◽  
European Languages ◽  
History Of ◽  
The Subject ◽  
The Common

SUMMARY Indo-Iranian poetic phraseology has been the subject of quite a number of contributions which have resulted in the identification of numerous formulas of poetic language. These results have effectively been facilitated by the fact that not only Vedic and Gathic culture, but also the lexicon of the texts are extremely conservative, so much so that their comparison permits the reconstruction of entire verbal strings which could be attributed with certainty to the common phase of Indo-Iranian. The present study attempts to show that, among these formulas, there are a great number which could be traced back to the poetic lexicon of Indo-European, and this to the extent where they are attested not only in Vedic and Avestan, but in other Indo-European languages as well. This presupposes that one considers at the same time the phenomena of lexical renewal and lexical variation which manifest themselves in the history of every language and even in Indo-European. All this means that the reconstruction of the poetic formulas of Indo-European should be based not on the identity of signifiers, but on that of the signifieds. RÉSUMÉ La phraséologie poétique de l'indo-iranien a fait l'objet de bien des contributions, qui ont abouti à l'identification de nombreuses formules du langage poétique; et cela a été objectivement facilité par le fait que non seulement la culture, mais aussi le lexique des textes védiques et gathiques sont extrêmement conservateurs, si bien que leur comparaison permet de reconstruire sans difficulté des séquences verbales que l'on peut attribuer avec certitude à la phase commune de l'indo-iranien. Notre étude se propose de montrer que, parmi ces formules, nombreuses sont celles qu'on peut faire remonter au lexique poétique de l'indo-européen, dans la mesure où elles sont attestées non seulement en védique et en avestique, mais aussi dans d'autres langues indo-européennes, pour peu que l'on prenne en compte les phénomènes de renouvellement lexical et de variation lexicale qui se sont manifestés dans l'histoire de chaque langue et même dans l'indo-européen. Cela signifie que la reconstruction des formules poétiques de l'indo-européen doit se fonder non pas sur l'identité des signifiants, mais sur celle des signifiés. ZUSAMMENFASSUNG Indo-iranische poetische Phraseologie ist bisher schon Objekt vieler Bei-trage gewesen, die zur Identifikation einer groBen Anzahl von Formeln poeti-scher Sprache geführt haben. Diese Ergebnisse sind nicht zuletzt dadurch mög-lich geworden, daB nicht nur die vedische und gathische Kultur, sondern auch das Lexikon dieser Texte ziemlich konservativ sind, und zwar so sehr, daB deren Vergleich ohne Schwierigkeit die Rekonstruktion ganzer Verbalfolgen erlaubt, die mit Sicherheit der gemeinsamen indo-iranischen Phase zugeschrie-ben werden konnen. Die vorgelegte Arbeit versucht zu zeigen, daB unter diesen Formeln sich eine groBe Anzahl befindet, die auf das poetische Lexikon des Indo-Europaischen zurückgeführt werden können, und dies soweit sie nicht nur fur das Vedische und Avestische, sondern auch für andere indoeuropaische Sprachen attestiert sind. AU dies setzt freilich voraus, daß man ebenfalls Phä-nomene lexikalischer Erneuerung und lexikalischer Variation mitberücksichtigt, die sich in der Geschichte einer jeden Sprache manifestieren, sogar im Indo-Europäischen. All dies bedeutet, daß sich die Rekonstruktion poetischer Formeln des Indo-Europäischen nicht auf die Identität der Bezeichnenden, sondern der Bezeichneten stützen muß.

scholarly journals The poetics of vulnerability: creative writing among young adults in treatment for psychosis in light of Ricoeur’s and Kristeva’s philosophy of language and subjectivity

2021 ◽  
Author(s):  
Oddgeir Synnes ◽  
Kristin Lie Romm ◽  
Hilde Bondevik
Keyword(s):  
Young Adults ◽  
Creative Writing ◽  
Philosophy Of Language ◽  
Meaning Making ◽  
Poetic Language ◽  
Subject Formation ◽  
Linguistic Resources ◽  
Writing Group ◽  
Group Context ◽  
The Subject

AbstractThere is a growing interest in the application of creative writing in the treatment of mental illness. Nonpharmacological approaches have shown that access to poetic, creative language can allow for the verbalisation of illness experiences, as well as for self-expressions that can include other facets of the subject outside of the disease. In particular, creative writing in a safe group context has proven to be of particular importance. In this article, we present a pilot on a creative writing group for young adults in treatment for psychosis. We set the texts and experiences from the writing group in dialogue with Paul Ricoeur’s and Julia Kristeva’s philosophies on poetic language as meaning making and part of subject formation. The focus is on language as materiality and potentiality and on the patient’s inherent linguistic resources as founded in a group dynamic. As a whole, the project seeks to give an increased theoretical and empirical understanding of the potentiality of language and creativity for healing experiences, participation and meaning-making processes among vulnerable people. Furthermore, a practice founded in poetic language might critically address both the general and biomedical understanding of the subject and disease.

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

2021 ◽  
Author(s):  
Natalya Androsova
Keyword(s):  
Human Experience ◽  
The Other ◽  
Contemporary Society ◽  
Poetic Language ◽  
The Feminine ◽  
The World ◽  
The Subject ◽  
Poetic Practice ◽  
Mode Of Being ◽  
A Site

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.

scholarly journals VERBALIZATION OF MYTH OF THE «GARDEN» IN OLEKSII DOVHIY’S POETIC LANGUAGE

2019 ◽  
pp. 250-260
Author(s):  
Oleksandr Oleksandr
Keyword(s):  
Human Mind ◽  
Poetic Language ◽  
Linguistic Research ◽  
The Subject ◽  
The Individual

The article analyzes peculiarities of interpretation of the myth «garden» of Oleksii Dovhiy’s lyrical hero and the nature of its lingual expression. During the research it was found out that within the anthropocentric approach in linguistics special attention was paid to the study of the peculiarities of lingual reflection of the worldview by the individual. Based on a review of linguistic research on the subject, it was concluded that the linguistic worldview is a way of reflecting reality in the human mind through the lens of the lingual and cultural-national features of a particular lingual collective. The problems of structure of the concept were investigated within the defined problems. The peculiarities of correlation of concept components are found out. During the analysis of concept it is proved that «mythologema» is a kind of continuation of the concept and is presented in the literature at the level of associations with mythical realities, allusions and reminiscences. A study of Oleksii Dovhiy’s poetic language showed that the myth «garden» is one of the most spread in the author’s language. Having studied the linguistic peculiarities of the expression of this myth and its correlative images, we have proved that it is interpreted by Oleksii Dovhiy’s lyrical hero as a certain otherworldly, as an ideal locus, as well as a harmoniously ordered universe.

scholarly journals Doing Things with Words

2021 ◽  
Vol 21 (61) ◽  
pp. 111-133
Author(s):  
Philip Mills
Keyword(s):  
Philosophy Of Language ◽  
Poetic Language ◽  
Contemporary Philosophy ◽  
Political Force ◽  
Political Forces ◽  
The World ◽  
The Subject ◽  
Capacity To Change

Against the apparent casting away of poetry from contemporary philosophy of language and aesthetics which has left poetry forceless, I argue that poetry has a linguistic, philosophical, and even political force. Against the idea that literature (as novel) can teach us facts about the world, I argue that the force of literature (as poetry) resides in its capacity to change our ways of seeing. First, I contest views which consider poetry forceless by discussing Austin’s and Sartre’s views. Second, I explore the concept of force in the realm of art—focusing on Nietzsche’s philosophy and Menke’s Kraft der Kunst—and the relations between linguistic, artistic, and political forces. Third, I consider how the transformative force of poetry can be considered political by turning to Kristeva’s Revolution in Poetic Language and Meschonnic’s conception of poetry according to which the poem does something to language and the subject. To illustrate this transformative force of poetry, I analyse Caroline Zekri’s poem ‘Un pur rapport grammatical’. I therefore think of poetry not only as doing something with language, but also as doing something to language. To rephrase Austin’s famous title, and thus reverse his evaluation of poetry, poetry might reveal to us not only How to Do Things with Words, but how to do things to words and, through this doing, how to transform and affect the world.

IDEM-FORMA, METABOLA, IDENTITY. IMAGE STUCTURE OF THE POEM BY VLADIMIR ARISTOV "THE DOLPHINARIUM"

2020 ◽  
pp. 128-139
Author(s):  
Aleksei E. Masalov ◽  
Keyword(s):  
21St Century ◽  
Special Technique ◽  
Common Language ◽  
Poetic Language ◽  
Early 21St Century ◽  
Image Structure ◽  
The Subject ◽  
The Early 21St Century

In the article, the author accomplishes analyzing the poem “Dolphinarium” by Vladimir Aristov, in which the poet expresses his search for “the space of general likeness” and a common language, a common corporality. He denominated the work in that vein a concept of “idem-forma”, which means and a way of worldview and a special technique of creating poems and a method in analyzing artistic texts. Such a concept correlates with the concept of metabola, which was introduced by M.N. Epstein for analysis of the metarealism image structure and its poetic language. In V. Aristov’s poetics metabola is one of the elements of idem-forma, which expresses relationships of syncretism, synthesis, and identity at the trope level. While the poet only proposes the term “idem-forma” in the early 21st century, the image structure of the poem “The Dolphinarium” shows us that V. Aristov searches on that count all his literary way. The specific features of that technique usage in the poem are the synthesis at the chronotope and focalization levels, the subject neo-syncretism and the images-metabolas, expressing both the re-semantisation of details in the Soviet life, and the synthesis of worlds – the human and natural, the bodily and linguistic.

‘The “ghost” of it all’: Tragedy, Trauma and a ‘people there and not there’ in Le Rodeur (2016)

2019 ◽  
pp. 279-296
Author(s):  
Celeste-Marie Bernier ◽  
Alan Rice ◽  
Lubaina Himid ◽  
Hannah Durkin
Keyword(s):  
Slave Trade ◽  
Poetic Language ◽  
Slave Ship ◽  
Transatlantic Slave Trade ◽  
Academic Paper ◽  
Visual Artist ◽  
The Subject ◽  
Cultural Historian

Working with a painterly rather than a poetic language, Himid made the radical decision to do justice not to ‘fettered and blind’ bodies and souls as torn apart by ‘agony and blood’, but to reimagine and recreate empowering narratives of Black diasporic artistry, agency and authority across Le Rodeur (2016–18), a series of acrylic on canvas works which is the subject of this chapter. She was inspired to create these paintings by listening to the pioneering cultural historian Anita Rupprecht deliver an academic paper, entitled ‘Modernity, Melancholy and the Transatlantic Slave Trade: The Story of the Slave Ship, Le Rodeur (1819)’, in Preston in 2015. As Himid admits, Rupprecht’s talk had an immediate impact by inspiring her own imaginative response. ‘I was having to make pictures while I was listening to her’, she confirms, remembering that ‘I was just listening to her and making pictures in my head about the actual occurrence’. And yet she was all too aware that ‘I couldn’t make paintings of hundreds of people going blind as it was too horrible’. This chapter examines her powerful statement that, ‘I was struck by the horror of the incident but also by the dread of losing sight, especially as a visual artist’, she readily confides, admitting that ‘[i]t was the most frightening thing I could think of’.

The Modern Slovak-Ukrainian Poetic Translations

2021 ◽  
Vol 12 (4) ◽  
Author(s):  
M Babenko-Zhyrnova ◽  
Keyword(s):  
Comparative Method ◽  
The Other ◽  
Future Research ◽  
Poetic Language ◽  
Poetic Translation ◽  
Literary Relations ◽  
History Of ◽  
The Subject ◽  
Historical Methods

Abstract. The article is dedicated to the analysis of the modern Slovak-Ukrainian literary translations. Particularly, the attention is focused on the poetic translations, the difficulty of which conditioned by specific poetic language, rhythm, rhyme etc. Slovak-Ukrainian literary relations in the field of poetic translation have its own achievements and problems, and it’s also analyzed in this paper. The purpose of research is to analyse the modern Slovak-Ukrainian poetic translations (the turning age XX – XXI cent.) Results of research. The relevance of the selected inquiry is in the need for urgent understanding of the poetic translations as an important part of Slovak-Ukrainian literary dialogue. The purpose of this article is to research the modern Ukrainian-Slovak poetic translations (XX – XXI sent.). The scientific works of such scholars as M. Mushinka, Y. Bacha, M. Roman, M. Molnar, L. Babota, M. Nevrly, O. Myschanych, A. Cherveniak, F. Kovach, O. Zilynsky, V. Zhidlicky are dedicated to the subject of Slovak-Ukrainian literary relations. Also the works of T. Lihtei, Y. Dzhoganyk, Y. Kundrat, I. Galaida are devoted to the deep analysis of Slovak-Ukrainian literary translations. The incredible propinquity of both languages gives the first conception of easy translation, but researching of languages’ profundity and semantic variety open to us many shades. The poetic translation is the hardest work from the other translations particularly in the case of the rhyme verse. Slovak-Ukrainian poetic translations have a long tradition. The prolonged history of mutual translations continues in the turning age (XX – XXI sent.). The study used mainly comparative method, also typological and historical methods. The detail review of new names presented in this paper, the attention are focused on the anthologies of poetic translations composed by Ukrainian (Dmytro Pavlychko, Illia Galaida etc.) and Slovak translators (Yurai Andrichik). The problems which hinder for active translations are also analyzed in this article. The main result of the investigation is the deep analysis of Slovak-Ukrainian and Ukrainian-Slovak poetic translations. The presentation of little known Slovak and Ukrainian poetic translators, as P. Orieshek, S, Gal, V. Yurichkova, M. Niahai, I. Galaida, M. Bobak etc. is also the result of this study. Promising for future research are the analysis of new Slovak and Ukrainian poetic translations of postmodernist poets, and also the analysis of the modern prose and dramatic translations.

Poiesis as Decision Making: Shklovsky, Tynianov, Bakhtin

Poetics Today ◽  
2021 ◽  
Vol 42 (4) ◽  
pp. 499-517
Author(s):  
Peter Steiner
Keyword(s):  
Decision Making ◽  
Rational Agent ◽  
Decision Science ◽  
Poetic Language ◽  
Specific Goal ◽  
The Subject ◽  
Viktor Shklovsky ◽  
The Way

Abstract This article deals with the theories of Viktor Shklovsky and Iurii Tynianov from the perspective of decision science. It outlines how these two members of the Petersburg Society for the Study of Poetic Language (OPOIAZ) conceived of the writer as a rational agent pursuing a specific goal, and of the means at his or her disposal to attain it. Their approaches, the article illustrates, correspond closely with two specific types of rationality: “instrumental” and “bounded.” To conclude, the essay juxtaposes the formalists’ conceptualization of poetic creativity with Mikhail Bakhtin's view on the subject, arguing that the way he conceives of the strategies available to the literary author fits the label of “interactive rationality.”

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