Art Of Poetry Research Articles

Like a Box of Chocolates

Like a Box of Chocolates Bill Tremblay (bio) RESPECT: The Poetry of Detroit Music Jim Daniels and M. L. Liebler, eds. Michigan State University Press https://msupress.org/9781611863369/respect/ 362, Pages; Print, $29.95 I used to teach a class called Beat Lit. Once I gave an assignment on the idea that if the Beats wanted to take a reading of the soul of America they went to jazz. The assignment asked students to write about what music they go to take the pulse of the nation. They were encouraged to create a mixtape or CD and use any media they thought relevant as illustrations for their conclusions. RESPECT: The Poetry of Detroit Music doesn't draw conclusions. The editors (to quote Ezra Pound) "heap up the components of thought" and leave the connection-making implicit in the text for the reader to engage with. RESPECT would make a great anthology to teach from because it offers not just poetry and song lyrics but a paradigm of how to put together any anthology on any topic on any place and time. RESPECT (or R-E-S-P-E-C-T as Aretha Franklin spelled it) is an astonishingly comprehensive presentation of poetry in response to Detroit music and its scene, organized chronologically in five sections, the first being "Detroit Jazz," and then, successively, "Detroit Blues," "Northern Soul," "Detroit Rocks," and finally "Hip Hop into Techno." Each section is organized alphabetically by the names of the poets; so, e.g. "Detroit Jazz" starts with Mark James Andrews (more about him later) and ends with Al Young. As readers continue through the sections, they will see Eminem and June Jordan, Rita Dove and Robbie Robertson, Philip Levine and Jack White, Nikki Giovanni and Paul Simon, i.e. if the reader wants to put them together that way, or according to whatever juxtapositions the reader wishes to create. The materials are under one roof, there for exploration and use. There aren't any bad chocolates. The dimensions of this anthology open onto the infinite. The substance, the organization of it, the brief bios of the contributors, all invite readers to listen to the musicians, singers, composers, band leaders, band members, and lyrics that triggered the poets to write. RESPECT is like a surrealist game. If you (dear reader) type in a name on a search engine to find out more about a singer/composer, the information often suggests leads to other artists. I typed in Johnny O'Neal to get some background on George Kalamaras's "Every Note You Play Is A Blue Note" because I wanted to hear what made Kalamaras say "You move through clusters of stars // with your Milky Way hands" and found Johnny born in Detroit, starting in R & B but shifting to jazz, playing with various bands, notably Art Blakey's Jazz Messengers. And, as happens when vast herds of written pieces are put together, associations form. In other words, RESPECT is a vast resource, not only to follow leads driven initially by love of the music, by memories it evokes, by reflections on how the music struck the poet, but also the personal and public experience as delivered by the poet when the related arts of poetry and music are the occasion of social solidarity. Or social displacement, as Toi Derricott says in "Blackbottom," "We had lost our voice in the suburbs ... we had lost the right to sing in the street and damn creation." Or Rita Dove's recollection of herself and the music in "Golden Oldie" where she recalls being "a young girl dying to feel alive / to discover / A pain majestic enough / To live by." Responses to the music can extend from one's first high school dance to meditations on the ineffability of "soul." What is Soul? (Didn't Louis Armstrong say, "If you got to ask, you'll never know"?) Never mind the Soul Train it rode in on. Soon you are wandering through this crowded anthology thinking "The Sociology of Music." The record is wide enough to get you thinking "The Anthropology of Music." Or Economics. What did Detroit do but put the means of production...

Horace’s monster. An unknown eleventh-century drawing in MS 9776–78 of the Royal Library of Belgium

Normally, manuscripts of classical Latin authors are without illustrations. This paper is about a codex that has one. In MS 9776–78 fol. 51r features a drawing of a monster illustrating the beginning of the Art of poetry. It was added in a second stage, but still in the eleventh century.

A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets by David Grundy

Reviewed by: A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets by David Grundy Howard Rambsy II David Grundy. A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets. New York: Bloomsbury, 2019. 280pp. $114.00 Beginning in the mid-2000s, a succession of scholars produced works on the Black Arts Movement. Tony Bolden, Melba Joyce Boyd, Cheryl Clarke, James Smethurst, Kalamu ya Salaam, and several others published treatments on the era and its many contributors. This overall critical discourse expanded and deepened our knowledge of one the most enduring and explosive artistic enterprises in Black literary history. David Grundy’s A Black Arts Poetry Machine: Amiri Baraka and the Umbra Poets extends the scholarly assessments on the Black Arts era, but with a twist. Rather than concentrate primarily on the works produced during the late 1960s through the mid-1970s, Grundy examines the literary and cultural activities that preceded and crucially influenced what would become known as the Black Arts Movement. Previous studies have mentioned the significance of the arts group Umbra in passing, citing how its members would later make memorable contributions to Black Arts. Grundy, however, offers in-depth, illuminating treatments of works by some of its members. Amiri Baraka’s name appears in the subtitle, and he is referenced throughout the book. Nonetheless, Grundy moves well beyond this one looming figure, offering analyses of writings, editorial practices, and organizing activities of various other Umbra members such as David Henderson, Ishmael Reed, Calvin C. Hernton, Lorenzo Thomas, Askia Touré, and Tom Dent. Grundy is especially interested in highlighting their connectivity as a defining practice and aesthetic of the Umbra group. Their association has sometimes been overlooked or downplayed for various reasons. The extensive analyses of select poems by Baraka, Henderson, Hernton, Dent, and Thomas constitute one of the major contributions of this project. There are relatively few book-length studies on Black poetry, and even fewer examinations of the figures, notwithstanding Baraka, that are highlighted here. Even the analysis of Baraka’s poems breaks new ground by acknowledging him as a prominent Umbra artist-activist and at the same time showing how he learned invaluable lessons from the group. Grundy’s examinations of these poets’ work provide insight into their artistry and establish their places within American and African American literary histories. A Black Arts Poetry Machine, it is worth noting, is more than a book of poetic interpretation. What Grundy has produced here also stands out as both literary and cultural history. His opening chapter focuses on the political activism of the group [End Page 345] On Guard for Freedom, which participated in protests following the murder of Patrice Lumumba in 1961. Members of On Guard in turn formed the core of Umbra. In retrospect and through Grundy’s helpful work, Umbra was evidently serving as a kind of Black Arts prototype by merging political activism and literary production. The poems focusing on Lumumba that Umbra members were composing were a blueprint for the proliferation of Malcolm X poems published during the late 1960s and the ’70s. The prose and verse produced by Umbra also reflected a sense of internationalism among creators. The interest and expressed sympathies with Congolese and Cuban political struggles shaped an expansive world view apparent in the works of Umbra membership. A recognition that this group paved the way for subsequent artists and movement is crucial. “By ignoring and distorting the recent histories out of which the Black Arts emerged, particularly in New York,” notes Grundy, “we receive a history of black aesthetic radicalism which downplays its origins in collective struggle and debate.” The Black Arts Movement is generally recognized, sometimes reluctantly, as a major reason why American institutions have readily embraced African American poets during the twenty-first century. Yet, as Grundy’s study clarifies, On Guard and then Umbra did indispensable work that further paved the way for Black Arts. In fact, Grundy, citing the work of Cheryl Higashida, points out that Rosa Guy and Maya Angelou, who participated in protests at the United Nations, met with and positively influenced the political awareness of Malcolm X. Somehow, the contributions of these Black women and others have...

ОСОБЕННОСТИ УПОТРЕБЛЕНИЯ СТИЛИСТИЧЕСКИХ ПРИЕМОВ В ДРЕВНЕАНГЛИЙСКОЙ ПОЭЗИИ НА ОСНОВЕ ДРЕВНЕАНГЛИЙСКОГО ПИСЬМЕННОГО ПОЭТИЧЕСКОГО ПАМЯТНИКА «БЕОВУЛЬФ»

Statement of the problem. Learning the canons of the Old German art of poetry is the main instrument for forming the skills of poetic syllable as a source of new cultural information for the specialists in the field of the history of the Old English language and German Philology in general. The object for the analysis is the mythological praising epos with its strictly limited lexical models and metric rules. The Old English metrics is considered as a result of a linguistic experiment absolutizing the principal of conditional stylistic figures as language signs. Extraordinary stylistic devices such as hending, scothending, aldahending, and kenning present a great interest for understanding the opportunities in the old English poetry and demand a thorough textual analysis. The purpose of this article is to consider the canons of the old English poetry in the aspect of comparative historical language study for overcoming intercultural dissonance in the cognitive perception of the epos by a modern reader. The methodology of study is based on comprising the materials of the old English epos using the comparative historical method and the method of the purposeful search of examples of stylistic devices which are not typical for present day poetry. The method of their etymological analysis corrects the notion of the poetic form used in the literary creation. Research results. The textual material of the old English epos researched by the authors leads to the conclusion that a poetic form is shown in the diachronic interaction of a poetic word and old English culture. Conclusion. The methodology of the study allowed pointing out the main directions of using metric rules on the phonetic level and lexical patterns on the level of language usage. The research of extraordinary stylistic devices contributes to the development of methods for studying old English and old German poetry in general.

Oral Literature - 'A Poetry of Art'

The subject of this study shall consider the outlooks of Prof. Eqrem Cabej regarding the Albanian oral art creativity. This is carried out with a view to properly analyse the views and opinions articulated by Prof. Cabej in his work perspectives and studies, whether it is about the Albanian oral literature, as an indivisible national wealth, narrowly linked to the history and economic and political circumstances of the Albanian people, or whether it is about particular sections of this literature, always aiming to enlighten his views on the values of oral literature. At the same time, other subjects of the study also take account of additional views of Prof. Cabej about literature, particularly the subjects, themes, characters and variants of oral literature that we may encounter among the peoples of the Balkan Peninsula. This means that he will approach these problems from within, for the reason that there he shall find the safest dough for such relevant studies. The leading purpose for studying this scientific challenge is to highlight the views, attitudes and elucidations voiced by Prof. Cabej’s numerous writings on particular issues of literature in general, and on oral literature in particular.

Between the Contingent and the Transcendent: Heaney’s ‘Poetics’ and their Implications for Teaching Poetry and Creative Writing in the Upper Post-primary School

ABSTRACTIn evaluating some of Heaney’s prose writings about the art of poetry – what I have called his ‘Poetics’ – the paper explores how those ideas could enhance the teaching of poetry in the upper post-primary schools. The paper is divided into four closely interconnected sections. The first section evaluates Heaney’s thoughts about the potential centrality of poetry in the English curriculum. In the second section, Heaney’s thoughts about the conflict between ‘poetry’s self-delighting inventiveness’ and ‘the pressures of reality’ are considered, with some complementary attention to a few of Heaney’s own Troubles poems. The third section, in evaluating Heaney’s critiques of some individual poets, registers some of his valuable specific, as well as more general, pedagogical insights. Finally, his prose thoughts about the wellsprings of poetic creativity are examined, together with a brief critique of his poem ‘The Play Way’, which is focused on teaching creative writing in a post-primary classroom.

On the Art of Poetry

On the Art of Poetry

An Intercultural Interpretation on Heidegger’s Poet

Abstract For the later Heidegger, the poet is the messenger of Being, insofar as he speaks after the Saying (Sage) of Being. But only when the poet takes the risk of being mad, can he hear the message of Being and bring it out. As such, the poet does not need any human art of poetry. Heidegger calls this kind of bringing-out “techne” in its original sense – but not in the ordinary sense of human technique. This paper tries to discover how the poet in the state of madness without using any human art can still convey the message of Being. I try to answer this question at first with the help of two dialogues from Plato, i.e. Ion and Phaedrus. I then take two Chinese classical poets, Li Bai (李白) and Du Fu (杜甫), as examples to illustrate such interpretation of Heidegger’s concept of the poet.

The Art of Machine Use Subversion in Digital Poetry

Howard Becker (1982) terms a cooperative network of people organized through and around joint knowledge and conventions of practice as an “art world”. A new “art world is born when it brings together people who never cooperated before to produce art based on and using conventions previously unknown or not exploited in that way” (310). This essay examines digital poetry art practice as an example of Becker’s type of novel, networked, and collaborative cultural activity. The diffusion of Internet technologies and the ubiquity of computing has allowed for the creation of many new art worlds, digital poetry being just one example. Furthermore, digital poetry art practice demonstrates a long history of machine use subversion, as we see technologies initially designed for other uses being repurposed to create digital poetry. In these cases, most consequentially to our thinking regarding digital poetry, what occurs is the process described by Becker: “the people who develop new art worlds participate in the broad currents of intellectual and expressive interest growing out of extant tradition and practice” (314). Although the digital poem is a distinct and unique literary artifact, digital poetry can be regarded as an ouroboric recursive practice that builds on the extant traditions of early experimentations with print, film, and video poetry as well as net art. Understanding how digital poetry operates as an art world allows us to legitimize and recognize the importance of digital culture and its impact on contemporary art and culture.

Laborious Ben Jonson

This essay discusses labor in the poetry of Ben Jonson and engages some notable recent critical assessments of Jonson's labor as a concept determined by material production. Contemporaries, such as John Donne, often drew attention to Jonson's “labor” as he himself does in a Latin phrase on the frontispiece of the 1616 folio. What did he mean by it? The characteristic integration of labor that Jonson exhibits in both his poetic practice and persona was tied to a foundational idea that he received and developed from translation of Horace's “Art of Poetry.” Rather than determined by market forces and the like, the multiplex meanings and contexts that Jonson can be seen to associate with labor suggests that it was a concept he received from classical and medieval writers who emphasized that both the material and spiritual ends of poetry were equally important. Poets such as Milton, Robert Southwell, and Herbert also display similar ideas tied to labor. A discussion of Hercules' Labors in Pleasure Reconciled to Virtue, in which Jonson draws attention to the relationship between virtue, labor, and happiness, as well as demonstrates his familiarity with the association medieval writers made between labor and the labyrinth, concludes the essay.

Across Space and Time: Commonalities in Natyashastra, The Republic, and Poetics

By the time Chandragupta Maurya established the Mauryan Empire in 322 B.C., Plato, the Greek philosopher had already envisaged an ideal commonwealth and had captured its principles in his The Republic, banishing all poets from his ideal state; and Aristotle, who started off as a student of Plato, had already presented to the world a clear rebuttal to Plato in his treatise, Poetics. There doesn’t seem to be much evidence to support the hypothesis that Bharata’s Natyasastra written sometime between 2nd century B.C. and 2nd century A.D. was influenced by Aristotle’s Poetics, or that, since the date of Natyasastra’s publication is so uncertain, Natyasastra in some way had an influence on Poetics. But this lack of evidence does not undermine the fact that in the Mauryan period (322 B.C. to 185 B.C.), there was an eager influx of Greek diplomats and explorers like Megasthenesin the subcontinent, who were not only political and economic emissaries, but also cultural ambassadors. Neither does this lack of evidence undermine the possibility of an influence, on either side of the theorists. But the case under consideration is not the existence of any physical evidence that could establish a connection, but rather that connection or no connection, Plato’s Republic, Aristotle’s Poetics and Bharata’s Natyasastra have a common thread. All the three works are in some way or other an exposition on the imitative art of poetry and drama, and inevitably, each is linked to the other, if in nothing else, then at least in terms of comparative analysis.

On Taking our Sources Seriously: Servius and the Theatrical Life of Vergil's Eclogues

This article revisits a famous staple of the Vergilian tradition, Servius's heavily contested scholion on the actress Volumnia Cytheris's theatrical rendition of Vergil's sixth Eclogue. By shifting the focus of inquiry from the strictly historical question ‘did it happen?’ it cuts through, identifies and disentangles a nexus of prejudices which have led to the devaluing of Servius's information. The sidelining or dismissal of this piece of evidence, I argue, has more to teach us about our own culturally entrenched and discipline-inherited assumptions than about what could have happened in late Republican Rome. Scrutiny of the evidence on the stage re-mediation of high poetry suggests it is entirely plausible that Cytheris would have performed a theatricalized version of Vergil's masterpiece. Indeed at the very heart of the story lies the convergence between élite poetry and the world of professional stage artists. Moreover, Cytheris's possible performance of a repertoire that coincides with the mythological core of pantomime dancing in its artistic maturity opens pivotal questions concerning what Plutarch (Mor.748a) aptly calls the “full association and mutual entanglement” between the arts of poetry and dance. Taking Servius seriously gives us the impetus to explore more decisively dimensions of Roman life that have been messily sidelined as a result of the systematic privileging of “texts” in our surveys of Roman intellectual landscapes over the centuries. Even if Servius's extract turned out to be no more than a “myth”, an “anecdote”, as such narratives go, this is an incredibly helpful one, provided we are willing to press it into the service of larger inquiries regarding the “circulation” of cultural energy between élite and popular culture.

Rethinking Aristotle’s Hamartia: The Igbo Nigerian Tragic Form in Chinua Achebe’s Fiction

Rethinking Aristotle’s Hamartia: The Igbo Nigerian Tragic Form in Chinua Achebe’s Fiction Ignatius Chukwumah (bio) Tragedy as a literary form is no doubt present in African literature. Like most human creations, it arises from “a pan-human universal experience unlimited by national or ethnic barriers” (Anyokwu 1). In Wole Soyinka’s words, [t]he persistent search for the meaning of tragedy, for a redefinition in terms of cultural or private experience is, at the least, man’s recognition of certain areas of depth-experience which are not satisfactorily explained by general aesthetic theories; and of all the subjective unease that is aroused by man’s creative insights, that wrench within the human psyche which we vaguely define as ‘tragedy’ is the most insistent voice that bids us return to our own sources. (140) Implied in Soyinka’s comment above are a couple of truths: first, the reaffirmation of the universality of the tragic principle, and second, the inadequacy of any one extant aesthetic theorizing of tragedy to account for the concept, since the examination of tragedy as human experience will continue. In other words, any one perspective of tragedy is not the last word on it, with many cultures articulating the tragic experience in varied ways. Accordingly, Henry A. Kelly agrees that tragedy is of different kinds (xv). Despite its uniqueness, the African thought on tragedy, with the exception [End Page 223] of the Yoruba espoused by Soyinka, remains on tentative ground and un-theorized. That is especially true of Igbo approaches to tragedy even as some narratives of the Igbo of Nigeria are highly praised as tragic. For example, Jeffrey Easto, while glossing over textual references and filial relationships in Chinua Achebe’s Things Fall Apart (1958) and No Longer at Ease (1960), identifies what he terms “the commonalities of tragedy and fate” of their protagonists: Okonkwo and Obi Okonkwo, respectively (60). Both men, he contends, bow to pressures emanating from the white man’s world, and suffer a depressing end. Arrow of God (1964), another of Achebe’s novels, is an eminent text with an imposing tragic hero. However, Owen Mordaunt offers a twist to this, from the tragedy of the individual to that of the community, by seeing “the tragedy of Umuaro” inscribed in “the tragedy of Ezeulu,” the work’s protagonist (160). But if these narratives substantially qualify as tragedy, a concept that takes “in narrative as well as dramatic works” (Kelly xv), how can one be well acquainted with their peculiar form? What sort of tragedy are they; in what form do Africans capture their experience as tragedy, in contrast to the Western idea of it; and how can such African aesthetic concepts as, say, the Igbo notion of nso—the code of order ordained by Ala, the Igbo Earth goddess and guardian of morality—illuminate Aristotle’s key element of tragedy, hamartia? Insights generated by these queries will enrich our understanding of suffering in modern Igbo narratives, which will constitute our primary context, though extra-literary references will assist in mounting the argument of this essay. This work argues that the tragic form in African literature varies from the Western sort, as elaborated in Sophocles’s Oedipus the King and theorized in Aristotle’s On the Art of Poetry. I seek to establish the distinctiveness of African tragedy by revising Aristotle’s fundamental concept, hamartia, and substituting the nso concept for it, as discernible in the existing Igbo worldview of these narratives, with a focus on the tragic works of Chinua Achebe. Achebe is not only a foremost Igbo novelist, but Africa’s leading light in the tragic genre. Analysis of his novels proceeds in the order of the sequence of represented historical realities inasmuch as they evince the theoretic purposes of this project and disclose useful insights beneficial for the rest of the African tragic narrative tradition. [End Page 224] Aristotle’s Theory of Tragedy S. A. Dseagu, in his insightful essay on “The Tragic Ethos in African Literature,” proposes that the African concept of man departs from the Western sort (238–58). Whereas it fits Western orientation that the individual paves way for the general public, resulting in tragedy that...

Dickinson's Nerves, Frost's Woods: Poetry in the Shadow of the Past by William Logan

Reviewed by: Dickinson's Nerves, Frost's Woods: Poetry in the Shadow of the Past by William Logan William H. Pritchard (bio) William Logan, Dickinson's Nerves, Frost's Woods: Poetry in the Shadow of the Past (Columbia University Press, 2018), 416 pp. Criticism is messy by nature and messy in fact. The art of poetry is a dirty business. A critic is the construction of his errors, his silliness, his sincerity, his doubt. —William Logan, "Against Aesthetics" Over the past few decades William Logan has established himself as the leading critic and reviewer of modern and contemporary poetry. He has done this with a formidable willingness to review and review again the latest slim volumes from American and English poets. His frequent, omnibus poetry chronicles in The New Criterion are such as to make an aspiring young poet, or an established older one, worry that the Logan axe may fall on his or her latest effort. Speaking of Randall Jarrell, to whom he is regularly compared with approval (Logan's first collection of literary essays and reviews was dedicated to Jarrell and R. P. Blackmur), he referred to Jarrell's "genially murderous style." Reviewers of Logan's own books tend to quote instances of a similar style, of which a couple of examples: Billy Collins loves the "cheesy sentiment of the everyday"; he is "the Caspar Milquetoast of contemporary poetry; never a word used in earnest; never [End Page 452] a memorable phrase." On Sharon Olds, for whom Logan has a pensive and especially murderous fondness, returning more than once to review one of her books: "She trades in shameless prose chopped up into lines of poetry, lurid as a tabloid"; her poetry is "vivid as a bullet wound, and written without taste or depth"; "She loves being gruesome under the guise of being human," and her poems are "as erotic as a greasy sock." He has a good word for the critic Helen Vendler, calling her book on Shakespeare's sonnets "a masterpiece of reader's attention," but finds in a sentence from another of her books "unnecessary exaggeration," "leaden repetition," and "rhetoric gone wild with self-esteem." As a rule, any compliment to a poet or a reviewer or a critic is favored with some less tasty additive. However inescapable the comparison of Logan to Jarrell may be, there is a significant difference in how Logan has dealt with poetry over the 25 or so years that he has been actively writing about it. Jarrell wrote his brief, if genially murderous reviews of other poets early in his career—they would be gathered together only posthumously. His finest book, Poetry and the Age, has only a single omnibus verse chronicle, containing mainly sympathetic, not-at-all murderous treatments of the poets gathered. What we remember about Poetry and the Age are its two essays on Frost, along with admiring accounts of Whitman, Marianne Moore, Wallace Stevens, William Carlos Williams, and appreciations of emerging talents like Robert Lowell and Elizabeth Bishop. So the main force of Jarrell's writings about poetry is encomiastic. By contrast, Logan has followed his first, relatively short book of poetry commentary with five substantial volumes—each in the 300-page range—that contain all the verse chronicles he has been turning out since the century began. As with his return visits to Sharon Olds, contemporaries keep popping up for Logan to have a further crack at; not all the commentary is negative, but since a lot of it is strongly on the dismissive side it's not clear just how much attention posterity will pay to these reviews, even when as often they are right on. Where Logan shines even more than his predecessor Jarrell is in the substantial essays on modern poets. Among those are Housman, Frost, Pound, Stevens, Hart Crane, Auden, Moore, Lowell, Bishop, and Geoffrey Hill. Many of them are outstanding examples of permanently valuable criticism. To single out just two, the appearance of Lowell's Collected Poems prompted a 41-page survey of the poet's work from Lord Weary's Castle to Day by Day ("The World Out-Herods Herod"). I know of no essay on the poet...

Aesthetics in Indian Art: Progress in the 21st Century

The word “aesthetics” belongs to the field of the science and philosophy of fine art. Fine art has the capacity to present the “Absolute” in sensuous garb and aesthetic relation. Indian aesthetics is primarily concerned with three arts—poetry, music, and architecture—however, sculpture and painting are also studied under aesthetic theories. Poetry is the highest form of literature. Indian art is the art of sign and symbols. This can be seen in the art practice of the eleven participating artists in “From the Tree to the Seed.” The “adequacy” and “inadequacy” of symbols are directly related to their “truth” and “frailty.” This adequacy or inadequacy of the symbol is determined by the degree to which it symbolises its referent symbol of art, because by being its likeness its “truth” is iconic and becomes the projection of its intended referent. Consequently, it communicates super-sensuous truths or forms. Hence, when symbols of art lack the attribute of likeness, it leads to frailty. Alternatively, these symbols raise poetry to the mount of aesthetic pleasure.

“Neither Poets, Painters, nor Sculptors”: Classical Mimesis and the Art of Female Hairdressing in Eighteenth-Century France

In the astute and often satirical Tableau de Paris (1781–88), Louis-Sébastien Mercier writes about the emergence of an unusual literary genre: the hair-dresser’s manifesto. In the eighteenth century, multiple texts boldly claimed hair dressing’s status as a liberal art, on par with the fine arts of poetry, painting, and sculpture. With the rise of the celebrity hairdresser, among them Legros de Rumigny and Autié Léonard, a new notion of the individual hair-dresser as a creator and artist developed from 1760 to 1780 through the adoption and manipulation of aesthetic theories. By examining this thriving literary genre, this article traces the extent to which classical mimesis and the contemporaneous paragone debates of the second half of the century—which deliberated the relative merits of sculpture and painting—breached the walls of the French Royal Academy of Painting and Sculpture to inform a wide range of artistic and artisanal production in France.

Deer in Winter

Deer in Winter Jane Satterfield (bio) The Evergreen House Museum, Baltimore, Maryland One way they enter is to pause,hooved, indelicate among the treeswhere elms and oaks rise in a remnant forest.Ears cupped toward the slightest sound, the deer hear my steps, a misty gauzesurrounding them, like slow parentheses—I watch them browse for twitchy leaves and seed.Daily, they range across the mansion grounds. A raised tail sends the signal flee to fawns—The herd thrives on common causepassed along by spectral kin: elusive, elemental.What wisdom do they share, silent and spellbound? Here, traffic flows; you persist, a doe withdraws,her eye a text of unread codices. [End Page 154] Jane Satterfield jane satterfield is the author of five books, most recently Apocalypse Mix, winner of the 2016 Autumn House Poetry Prize, selected by David St. John. She is the recipient of a National Endowment for the Arts poetry fellowship, the 49th Parallel Poetry Prize from Bellingham Review, the Ledbury Festival Poetry Prize, and more. New poems may found in the Common, Nelle, Hopkins Review, and Interim. She is married to poet Ned Balbo and lives in Baltimore. Copyright © 2019 University of North Carolina Wilmington

İngiliz Bir Eksantrik: Edith Sitwell ve Façade Şiirlerinde Sesle Yaptığı Deneyler

Throughout Edith Sitwell’s poetic career, one specific factor was always in the foreground in her works, that is, the experimental use of sound. Especially in her earlier period, employing rhythm as an experimental arrangement of sounds dominated the bulk of her poems. Sitwell prioritised this technical element over thematic components, and thus developed an inventive approach to the art of poetry in the early twentieth century. Her famous poetry collection, Façade (1922) can be considered one of the most distinguished examples of her experimental manner, consisting of several abstract poems which were compiled for dramatic performance and for William Walton’s music. With Walton’s contributions, Sitwell combined the elements of music and poetry in Façade, and she formed a new artistic domain where she could express and improve her poetic style by working on the use of sound and rhythm. The reason for her emphasis on the role of rhythm in poetry was not only its significance as a technical attribute but also its functioning as a representative of the century’s spirit. For Sitwell, the rhythm of the twentieth century must not be the rhythm of the eighteenth or the nineteenth centuries, on the contrary, it should reflect the soul of its era. Accordingly, Sitwell advocated that poetry should be compatible with the tone of the period in which it is produced. Therefore, the poems in the collection were designed to be as unsteady, tumultuous, and complex as the era they belonged to, and this composition was achieved through her experimental style. In this respect, the primary aim of this article is to discuss Sitwell’s technical and stylistic experiments with sound in her Façade poems and examine her perception of artistic creation in the twentieth century.

Motions and Spaces: What Collides in Ben Jonson's Epigrams

“Motions and Spaces: What Collides in Ben Jonson's Epigrams,” reads Jonson's epigrams in terms of the distinct ways they manage fluid social forms. Drawing on the new formalist theory of Caroline Levine, the essay defines Jonson's epigrams as short poems that transform collisions, turning the rhythms and motions of social forms into whole and still literary forms. Jonson's epigrams are – despite his demurrals – narratives, telling stories of how figures of shame or praise were instituted out of conflict. Movements of social forms are transformed into poetic and whole forms. The critical heritage on the epigrams can be mapped in terms of an emphasis upon movement or stillness, and the essay proceeds through a range of poems in order to see how movement produces stillness; process and structure, or motion and space, become co-constitutive of the poems. Reading several satiric epigrams and several epigrams of praise, the essay attempts to shift understanding of the epigrams from thinking about people and social relations as they are toward thinking about people and social relations as they become. Jonson's translation of Horace's The Art of Poetry stakes out poetry's purpose: “Things sacred from profane to separate; / The public from the private,” and this essay explores how that process works in Jonson's epigrams.

Profane Shakespeare: Perfection, Pollution, and the Truth of Performance

The focus in the present collection of articles was born from a double sense of urgency, one prompted by a global context marked by the resurgence of religious discourses on purity and condemnations of alleged impurity, and, on a smaller scale, by a critical context which has led to the polarization of the debate around Shakespeare’s religious beliefs. This collection argues that the playwright and poet situates his own truth elsewhere, in his art of poetry and drama, and in the time and act of performance, rather than in any sort of religious affiliation or eschatological horizon, which imply the notions of completion and perfection as well as a belief in unchanging truth. If Shakespeare so broadly and keenly “speaks to us” to this day, it is perhaps because of how profane his art is.