Poetic Sensibility Research Articles

Good Ol’ Boys and Beer: A Moral Framework for Understanding Republican Values in Country Music

The narrative discourse of country music from 2016 to 2021 constructs a worldview clinging onto a nostalgic sense of community and moral values despite a world torn asunder by Covid 19, politics, race, gender, and religion. Country music during these tumultuous times offers listeners a moral community and a sense of unchanging place and shared meaning. In this article. I examine the construction of moral communities in contemporary country music by unpacking the structure of small-town values and sensibilities, including the vestigial Puritan religious attachments to the Judeo-Christian bible and loyal attachments to a poetic sense of place and community. I argue that a close narrative analysis of Top Billboard Country Music’s lyrics reveals how these hometown values are framed to construct a world of collective effervescence.

과학 논픽션 문학으로서 “침묵의 봄”의 의의

“Silent Spring” is an exemplary work of ‘science nonfiction literature’ that successfully combines science and literature. Rachel Carson uses scientific evidence to persuade her readers and a variety of literary techniques to engage them. Carson masterfully intertwines scientific truths with her literary and poetic sensibilities, underscored by a profound ecological consciousness. By analyzing the criticisms of “Silent Spring” that appear in “Silent Spring at 50,” this paper seeks to more objectively evaluate Carson's arguments and explore the way forward for the genre of science nonfiction literature. The analysis reveals that some criticisms of Carson may be ascribed to the limitations of her era, while some other critiques appear unjust, given that Carson's focus diverged from that of her critics. Still other criticisms are unfairly directed at Carson. The paper suggests that Carson's work could have better exemplified scientific discourse by embracing the possibility of error and avoiding overly simplistic binary logic. By employing Carson as a reflective model, future generations can improve their ability to merge science and literature.

Vertical ethnography: Writing the poetics of materiality

In gratitude toward those who have paved the way for a multitude of academic writing genres, we continue to de-stabilize writing conventions to propose, so as to put forward, ways of writing ethnographic research differently. We do this through an exploration of how the poetics of materiality can be written in ethnographic research. By means of Bachelard’s work on material imagination and poetic instants, as well as re-visiting ethnographic clay-and-wood fieldwork, we suggest the subgenre of vertical ethnography. This is a genre that enables a shift from the often taken-for-granted thick description, which focuses on interpretations of meaning of what happened in the field, to deep inscription, a writing that breaks through the surface when our entanglement with materiality is awakening poetic sensibilities, enabling a vertical writing of ethnographic accounts.

Analysis of the effect of music on personal emotional experience and identification of psychophysiological signals

Abstract Human beings have a long history of understanding, exploring, and pursuing music and health, and ancient and modern cultures have provided detailed and clear records of this. We here attempt to examine the effects of music on individuals’ emotional experiences and psychophysiological signals by exploring the functions of music at both the psychological and physiological levels. The present study investigated the mood induced by popular music from a psychological and physiological measurement perspective, focusing on the effects of the following factors on mood: key (major, minor, pentatonic); rhythmic pattern (steady rhythm, flowing rhythm), and a total of 40 subjects were recruited for the study. Psychophysiological signals under the influence of music were measured and analyzed. The results showed that: tonality had a significant effect on arousal and potency, and pentatonic tonality had a significant difference in a poetic sense and heart rate variability from Western tonality; the rhythmic type had a significant effect on arousal and poetic sense; in the presence of musical stimuli only, theta power spectral moments were significantly different in the left and right hemispheres, and the right side was larger than the left side; theta power spectra differed with different tonality and rhythmic type: theta power The theta power spectrum differs with different tunings and rhythmic patterns: the difference between left and right brain is smaller in pentatonic than in Western tuning. Therefore, music has significant effects on both emotion and physiological psychology, and the theoretical and methodological findings of this study lay the foundation for the design of musical interaction services.

Who (What) Lies in the Tomb in the Middle English St. Erkenwald ?

Abstract: This article makes the case for an Anglo-Saxon cultural identity for the nameless man in the tomb in the Middle English St. Erkenwald on textual, hagiographic, historical, art historical, and literary grounds. The poem’s historical proem, akin to similar prologues in Middle English lives of pre-Conquest saints, evokes the negative stereotype of the primitive Saxon heathen popular in the post-Conquest era, which the remainder of the poem dispels. The incorrupt corpse and garments, in the guise of a king, signal two abiding markers of Anglo-Saxon sanctity that distinguish it from post-Conquest hagiography, while the body’s social role as a judge announces a primary arena of continuing authority of early English culture. The material culture of the tomb and robes bespeaks Anglo-Saxon design and the social and economic networks that facilitated these artforms. When revived, the body expresses an Anglo-Saxon worldview in terms of time, historical orientation, poetic sensibility, codes of reciprocity, spirituality, and life after death. The poem portrays a golden age of early English society and proposes its acceptance in the contemporary world of the poem.

“Rede hit sofft”: John Audelay's Practice of Care

“Rede hit sofft”: John Audelay's Practice of Care

Yōkobo

As part of a multidisciplinary research and a PhD project to strengthen the connection between retired couples living at home, we imagined and designed Yōkobo. It is a robot at the crossroads of a sensitive approach and a robotic trend that bridges the gap between humans (Human-Robot-Human Interactions field). As a theoretical contribution, Yōkobo is at the intersection of various concepts: behavioral objects, robjects, weak robotics, and slow technology. Yōkobo is a trinket bowl placed in the entrance of homes. Its discreet presence expresses hospitality and celebrates small moments of everyday life, welcoming visitors and inhabitants of the house. The name comes from the contraction of “yōkoso” (welcome in Japanese) and “robot” (with French pronunciation). In addition to these functions, Yōkobo expresses the state of the home using data from connected IoT devices, combining various house parameters (such as temperature, air quality, etc.) to express the home's “mood” through its motions. Finally, Yōkobo used in tandem with house keys, can convey a trace, a message based on motion. And a trace is a memory of the partner's passage. Yōkobo is resolutely innovative and disruptive. It does not sit within the lineage of the general vision of what robots are and what they can do: it is an object intended to be unobtrusive, stemming from ambient computing, while having an ongoing subtle presence. It does not make sounds, unlike voice assistants and the trend for using voice modality interaction. It expresses its environment only through motion and light. to move away from home's companion robots and the biases they can generate through facial representation, Yōkobo has neither an anthropomorphic shape nor can talk. Yōkobo is intended to be made of natural materials such as ceramic, wood, or wool to break with the idea of plastic, disposable, and toy robots, and to improve its integration in everyday home life. as a slow technology product, understanding and integrating Yōkobo into one's life takes time and requires accepting not having a clear, repetitive, and instantaneous response to an action. Its contribution is not measured in terms of efficiency and utility; it is the sum of different experiences with the product over time that creates the object's meaning and value. Getting to know Yōkobo's expressive motions is continuous and progressive. Yōkobo is an object that is understood through perception and touches the poetic sensibility of its users. Yōkobo is a concept that puts people's relationships at the center. It does not impose itself to propose an exclusive Human-Object relationship. It reveals the presence of the other by expressing the last impermanent trace of the other's passage. It is an object of sensitive presence. This work is the result of interdisciplinary research between roboticists, designers, and ergonomists. The navigation (directions and overlay) of this pan.able demonstrates the design and engineering processes, as well as the interaction modalities.

The Age of Johnson, ed. Jack Lynch and J. T. Scanlan

<i>The Age of Johnson</i>, ed. Jack Lynch and J. T. Scanlan

Drawing on grief: Adapting heuristic inquiry in a practice led thesis

In this presentation, I consider the role and the nature of heurisitic inquiry in the creation of hybrid documentaries. These hybrid documentary artefacts combine interviews, observational video and various applications of animation to translate the narratives of grief into visual and sonic stories. In this research study, it is the grief we experience due to the loss of a loved one which is investigated. I am positioned as an ‘inside researcher’ (Kirpitchenko &amp; Voloder, 2014) who examines a question that is both personally significant and existential. Using a heuristic inquiry through a self-investigation, a self-dialogue and a reflection, I build on my knowledge about the understanding of loss. This presentation uses my initial case studies of a practice-led inquiry to examine how a heuristic inquiry can be employed to enable a documentary maker to navigate internal pathways of the self, while interpreting other people’s shared, reflective narratives of grief. I will demonstrate how a heuristic inquiry can activate plasticity in exploration and heighten the potentials for discovery in the pursuit of a creative practice. Building on Wood’s (2004) assertion that heuristics is more concerned with discovery than the pursuit of proof, this research study considers a heuristic inquiry as a conceptual framework (Douglass &amp; Moustakas, 1990), that engages intuitive questioning which enables similarities, analogies or homologies to surface while artistic data is being generated (Kleining and Witt, 2000). In the session, four novel processes of heuristic engagement will be discussed: maintaining a consciously poetic sensibility that embraces the vulnerability of the practitioner whilst protecting the interviewee; extending periods of indwelling and reflection on the artefacts produced; practicing aroha (showing consideration, connection, love and respect); and pursuing and embracing serendipity as a means of enhancing the possibilities for discovery and novel approaches to practice.

Narcissus in three acts

This essay will address the narcissism of techno-nihilism into which life is being thrown. Written by a political theorist and artist, it looks specifically at the way technology is colonizing the political and artistic imagination. The essay is written over three acts, which traverse the logics of space and time. Act 1 is written by Brad Evans and situated in the year 2038. Based in Zacatecas, Mexico, he imagines a world where the university is now fully digitalized and governed by the world’s tech-giants, whose reach also includes control over all the leading cultural centers. It offers a futurist critique of the role technology is having on the life of an academic and how he imagines it impacted on the broader cultural and political terrains into which life has become fully immersed. Act 2, written by Chantal Meza from the present moment, deals with the impending catastrophe technology promises for art and creative styles for living. Central here is the colonization of art and the poetic sensibility by the desiring machine, notably the arrival of the smart gallery and the artificial intelligence artist who has become key in the battle in denying the exceptionalism of art, leading to the evisceration of what it means to be human. The final act appears in a non-located space and time, which drawing the above analysis together and through mediating on the prevailing myths of the so-called technological revolution—including their flawed literal and theoretical assumptions, asks whether we can even imagine breaking free from this dystopian novella?

Omaggio a un poeta. Sereni e d’Annunzio

This article explores Vittorio Sereni’s attitude towards the literary legacy of d’Annunzio, as expressed in particular in the poem “La poesia è una passione?”, in which Sereni explicitly quotes some lines from d’Annunzio’s Novilunio and appears to refer to a long, and apparently somewhat arduous, process of distancing himself from d’Annunzio’s cumbersome legacy in his early development as a poet. The main point that we try to make is that Sereni’s departure from d’Annunzio and the Liberty style is prompted not so much by a radical shift in poetic sensibility, but rather by a recognition that the world, and the social reality, have changed, and therefore require a renewal of the means of poetic expression. This is contrasted with the poetry of Montale, arguably the most influential Italian poet in the second half of the 20th century: we make the case that Montale’s innovation, decisively influenced by the English-language modernism, is much more radical, and involves not just an updating of the poetic language, but a more fundamental and theoretical renewal of the very idea of poetry and literature and of what they stand for.

Conversations as Vessels and Anchors

Conversations as Vessels and Anchors

The Techno-Theodicy: How Technology Became the New Religion

This essay addresses the rise of what is understood to be a global techno-theodicy. Recognizing the pandemic of 2020 as representing the first crisis of the post-liberal order, it maps out the changing nature of religious power as it relates to the appropriation of the abstract, from earlier claims on the monotheistic God to the powers of salvation and redemption invested in technology today. Technology in these terms is no longer seen as enabling, let alone a tool for advancing or progressing the lived conditions of life on earth. Nor can it further be seen as an integral force that shapes being in the world alone. It's now presented to us as the only thing which could save a fragile and broken humanity from itself. This has been achieved by collapsing the human into the species, collapsing the species into nature, and collapsing nature into the technological in such a way that there remains no distinction. This results in an outright assault on the poetic sensibility and the art of possibility. Moreover, it also reaches further into the philosophy of death and the remaining frontiers yet to be colonized.

Paiya, Paipaya Word Research in Ettuthogai

Tamil language flourished with Grammatical Literature. It originated along with the origination of the human race. It flourishes and cherishes through all the ages of the Tamil speaking communities with a pack of generational histories. The present paper is to highlight the words from the Tamil Classical Literature and the establishment of its functional usages of today. Also it is to underscore the alien words that hack the beauty of the ideal Tamil language. In Tamil language poetry, prose, essay, novel and short stories taking its reformed spirit according to the newness of the current scenario.There was a rejuvenated spirit among the Tamil language speakers to carry certain words for many generations. It was a gift of all lovers of Tamil speakers today. In one sense the researcher on Tamil language finds, there are alien words weeds to spoil the Tamil original word usages. Only the new innovations in Tamil literary genres and by naming the scientific and technical innovations alone safeguard the Tamil language vocabularies in rhetorical sense. Poetry from Classical Literature is not a comfortable one to read now. The poetic aesthetic sense from classic should be modified according to the present generation to read and feel what it was. The words from Classical Literature fail to give its functional message. For that one needs interpreters, so the need of the commentators and the usage of Dictionaries are preferable for our everyday communication. This paper spots the words like kadavul (God), arisi (rice), manjal (yellow) all from the tamil classical literature are still in function.

Robert Burns and the Refashioning of Scottish Identity through Song

Robert Burns contributed to the collection, compilation, and editing of several song collections, most notably The Scots Musical Museum (1797–1803), although he did not live to see it published. Attribution has proven to be a sticky point of consideration for literary scholars as Burns moved through this conceptual musical museum like a curator: changing, editing, and wholly rewriting sections of song texts to fit his poetic sensibilities. Some tunes were indeed traditional and even Scottish in origin, appearing as they had in earlier collections, while others were almost completely changed, with Burns altering the original text and subverting the traditional message. This, however, had been the traditional art of the ballad maker, and Burns embraced this role, changing both texts and tunes as part of a living, oral tradition. The study focuses on two tunes out of his larger collections, “Greensleeves” and “Ye Jacobites by Name.” “Greensleeves” was a well-known English tune, and “Ye Jacobites by Name” was a ballad that had been used both to attack and justify Scottish resistance to Hanoverian rule. Neither piece would seem to be a particularly promising representation of Scottish culture c. 1800. These pieces, however, highlight an aspect of Burns’s work that not only illuminates his attention to the musicality of these pieces—in an age when most song collections were still printed without notated music—but also his efforts to curate these works, refashioning them to suit a new, proto- Romantic Scottish identity.

Herbert’s The Temple as Early Modern Psychomachia

One does not read very far in the second and by far the longest section of Herbert’s The Temple before the single-minded exhortations of the speaker in “The Church Porch” and the early Lenten “complaints” of Christ to his people in “The Sacrifice” turn to the unpredictable elements of the speaker’s human condition: puzzlement, striving, grief, joy. The quick movement between these elements is due not only to Herbert’s poetic sensibility, I argue, but also to his anthropological understanding and his interest in early Christian precedent. I focus on remnants of Prudentius’ 5th-century Psychomachia in Herbert’s poetry and prose and suggest that they open a new vista onto Herbert’s performance of the unsteady dual state of the temple builder, whether poet or reader.

The emotion of sadness by the Yemeni poet Abdullah Al-Baradouni

This stylistic study deals with the poem of the poet Abdullah Al-Baradouni entitled أمي" (My Mother)" in which he laments his mother, whose separation created in him a deep wound which cannot be healed with the passage of time. And he also collected during his choice of vocabulary a number of words and phrases indicating sadness such as ")my sadness" and "my depression") The same is the case with the structural aspect of sentences which was in line with the sadness which emerged in his breast. He chose for his poem such sounds which carried the meaning of sadness such as nun (صوت النون) which shows sadness, and (صوت الحاء,-H), which suggests expression, This study investigated all those aspects and emphasized Al-Baradouni's outstanding position, having delicate poetic sense, intense emotion, and his other artistic aspects in this research.

Premisas constructivas del sentido y de los mundos explicativos en los aforismos de Lucian Blaga

"Constructive Prerequisites for Sense and Explanatory Worlds in Lucian Blagaʼs Aphorisms. The main purpose of this study is to tackle Lucian Blagaʼs aphorisms by emphasizing the generative strategies involved in the construction of both philosophical or poetic sense and explanatory worlds. If we are to integrate aphorisms within the typological frame of texts, according to Mircea Borcilăʼs proposals, it will be imperative to take into account both their formal peculiarities and, much more importantly, the elements that converge towards their sense creation. In connection with Eugenio Coseriuʼs universes of discourse theory, Blagaʼs aphorisms project two different levels of sense and typological finalities, namely the level of philosophical thought, which underlies the apophantic logos, and the level of creative phantasy, which underlies the poetic logos. However, as we talk about a special prototype of text, we are able to grasp a mixture of universes of discourse and, implicitly, of both their corresponding finalities and strategies through which philosophical or poetic sense is generated. In theory, the hybrid form of some aphorisms reveals their synthetic nature, which coagulates two complementary zones of auctorial consciousness within the same level of discourse, undoubtedly interconnecting creative imprints. Keywords: language, linguistic creativity, universe of discourse, philosophic sense, poetic sense, explanatory worlds, metaphor, aphorism "

Historia no natural: La subjetividad humana y la “Naturaleza” en Historia Natural por Alfredo Veiravé

The poetic sensibilities of the infrequently-studied Argentine poet and academic Alfredo Veiravé (1928-1991) evolved throughout his career from neoromanticism to his own mode of antipoesía. Constant in the development of his poetic voice, however, is how the natural and artificial worlds—and how the sciences and the humanities view these worlds—inspired and confounded him. He came to see the interconnections amongst all things, and his poetry reflects this point of view. Specifically, his 1980 book of poetry, Historia Natural, demonstrates the irony of how the sciences and humanities view the natural world. Through a parodic structure, his speaker catalogs a disparate variety of subjects and objects and layers what he refers to as “asociaciones interminables” with them in a sort of enmeshed palimpsest. With his poetry, Veiravé posits that an overarching authoritative discourse representing the natural world, as it is, does not exist. In this way, Historia natural provides a pivotal example of the post-environmental turn in Latin American ecological thought. It acknowledges and problematizes the role of human subjectivity in the fate of environments, landscapes, and territories.

Autopoetics of sound and signs

Autopoetics aims to create poetry which doesn’t rely on language and its known grammatical-syntactical structure. It is an attempt to overcome the limitations of currently known linguistic territories which are inadequate for artistic communication through simple and non-purely-verbal poetic forms (e.g. visual poetry, Signalism). Autopoetics doesn’t arise from the act of will and consciousness but from the space of the preconscious impulse; from the time and place before knowledge. With autopoetics, the poetess attempts to create a world, from the beginning, and not only to explain it. Autopoetics which shies away from language, creates a cosmic poetry that addresses everyone and isn’t constrained by the borders of language, nationalism(s), or cultures. Thus autopoetics explores the possibility of strengthening the sensuous experience, of creating a deeper involvement in poetic sensibility through a reduction of constraints of language.