Poetics Of Space Research Articles

피안과 모성을 향한 동경과 사랑, 그 희구와 좌절의 시적 공간 － 1960년대 구자운의 바다 관련 시를 중심으로

피안과 모성을 향한 동경과 사랑, 그 희구와 좌절의 시적 공간 － 1960년대 구자운의 바다 관련 시를 중심으로

Poetics of Space from Perspective as a Symbolic Form to Secular Construction of Religion

Poetics of Space from Perspective as a Symbolic Form to Secular Construction of Religion

In the center of a circle: poetics of space in Dante’s “Divine Comedy” and H. Melville’s novel “Moby-Dick, or The Whale”

This article is dedicated to the analysis of peculiarities of space arrangement in the “Divine Comedy” by Alighieri and the novel Moby-Dick, or The Whale” by Herman Melville. On the examples of structural mythologemes “journey inside yourself” and “path towards the center of a circle”, present in both works, the author notes the impact of Dante upon Melville and determines the differences in their poetics of space. Structural, semantic and comparative-historical analysis of the texts in question allows speaking of the transformation of symbolism of the images of circle and its center, circular, vertical and horizontal movement, as well as reconsideration of meaning of the category of chaos and order, opposition “internal-external” from Dante’s works to worldview of the authors of the era of Romanticism. The novelty of this work consists in simultaneous analysis of the impact of Dante’s poetry upon Melville and comparison of peculiarities of the poetics of space of both authors for determining fundamental changes in representations of the structure of world space and space of the inner world of a person. In artistic realm of H. Melville, symbolic point of the center of a circle – “center of the world” –is no longer static, it becomes unreliable, depicting heads of madman characters and the images of the objects, which semantics does not resemble the concept of emptiness. The motif of the loss of structuredness along with the motif of mutual reciprocity of spatial dimensions and characteristics distinguish Melville’s poetics of space, delineated in the dialogue with distinct features of space arrangement in Dante’s works.

시적 공간의 특성과 공간경험 연구 - 2018년 베니스 건축비엔날레 영국관 사례 중심으로 -

시적 공간의 특성과 공간경험 연구 - 2018년 베니스 건축비엔날레 영국관 사례 중심으로 -

Over Her Dead Body: Marianella Morena’s Delmira Agustini in No daré hijos, daré versos

No daré hijos, daré versos, by Marianella Morena, debuted in October 2014 in Montevideo during the centennial year of Delmira Agustini’s death at the hands of her ex-husband Enrique Job Reyes. It was also performed in Spain in 2016. Over Agustini’s dead body, Morena and her acting group, La Morena, develop multiple strands of meaning in differing temporalities and frameworks of power as they demonstrate an engagement with affective currents and attitudes toward both views of the body and memory through performance, space, and trauma. In the play, they create theatrical and poetic space to explore and move beyond binaries to conclude modernization’s project of sexual revolution and to finish the story of the New Woman–at least as it pertains to Uruguay’s “New Woman” as characterized by Agustini and her poetry.

“Talking” containers. Visual heterotopias in the picture¬books illustrated by Svein Nyhus

The article discusses picturebooks illustrated by a Norwe­gian artist, Svein Nyhus, to show his specific symbolic manner of depicting the child’s environment. It is argued that the illustrator employs characteristic recurrent elements of home representations and elaborates an interesting interplay of outer and inner spaces, consistently focusing the child’s perspective. This is demonstrated by an analysis of four picturebooks by the Norwegian artist: Pappa! (1998, Daddy!), Snill (2002, Nice), Sinna mann (2003, Angry Man) and Haret till mamma (2007, Mum’s Hair). The books have been regarded as ambitious literature for children, addressing difficult issues or even sometimes breaking a taboo. To show Nyhus’ visual method of thematising childhood’s traumas in relation to a home space is also one of the aims of the paper. The analysis of visual content is carried out with references to the textual narratives, drawing on ideas about heterotopia by Michel Foucault (1984), self-effacement by Karen Horney (1997) and the poetics of space by Gaston Bachelard (1969).

The Poetics of Space in Nâzım Hikmet's Poem, Straw-Blond

This study investigates the understanding of space in Nâzim Hikmet's poem Straw-Blond and the central role it plays in the composition of the text. Straw-Blond represents a diversion in the oeuvre of Hikmet, a politically controversial and arguably still the most beloved poet in Turkey, who is well-known for his realistic approach and linear narration. A train journey in the background, the text includes descriptions of several cities and places while dealing with the idea of loss in shapes of separation, exile, and aging. The unique way of how space is conceived can be summed up by the sudden and ceaseless jumps from one location to another, either to a geographically different place or to a moment in the past. This surreal network of spaces composed of places in different locations and times leads to a non-linear narration of a fast tempo that refers to the inevitability of the passing of time and it creates an extremely vague and uncanny atmosphere, which, in return, feeds the central theme of the fear of the loss. All the locations from different cities and times are interlinked in a way that the spatial composition of spaces takes center stage as an instrument of narration. Thus, the flow of spaces creates a unique architecture of narration.

РУССКАЯ КЛАССИКА В ОНЛАЙН-СООБЩЕСТВАХ ЧИТАТЕЛЕЙ

On the Internet, readers of Russian literature create online communities (fandoms), in which users experiment with classical literature and construct their own versions of source texts. Although each separate fandom is dedicated to a particular classical work, authors (ficwriters) compare different classical texts and construct a common artistic space based on those. The article deals with the content and boundaries of the online corpus of amateur works based on Russian classical literature. The research subject is fanfics in which artistic worlds of several classical works are combined (crossovers). There are distinguished two forms of modeling a common artistic space in fandoms dedicated to Russian classical literature: 1) through the character's outlook and transformation of the traditional loci; 2) through the narrator’s outlook and creation of an unstable space. The first form involves separating space into ‘public’ and ‘intimate’; the second form is based on the division of space into ‘sacred’ and ‘ordinary’. To describe the connection of fanfics based on classical literature but published in different fandoms, we use the concept ‘superfandom’, which is a corpus of fanfics based on different classical works where texts are united by the types of transformation of original sources and by common strategies of readers’ reception. This binary typology of space reflects the features of perception of Russian classical literature in communities originally created by popular literature fans. On the one hand, ficwriters regard classical literature as an object of honoring; on the other hand, they use the poetics of space from different classical sources to show their own artistic preferences, including acceptance or rejection of Russian classical literature.

Poetika prostora Gastona Bašlara - inverzni sanovnik za tumačenje mišljenja građenjem

This paper aims to examine the philosophical work of the French epistemologist and phenomenologist - Gaston Bachelard, by transferring its interpretation from the general into a specific field of architecture. The Poetics of Space (La Poétique de l'Espace), as a Bachelard's work that enjoys even today the most comprehensive reception among the architects and theorists of architecture, shall be taken as a starting point of our analysis. Intending not to limit itself to the considerations which encompass only texts that are strictly thematically or problematically dealing with architecture, this paper aims to position and contextualise Bashlar's philosophical thought within the phenomenological reflections that found their applications in the theory of architecture. In this sence, we shall provide an insight into the duality of relations between the Bachelard's concept of poetic image (l'image poétique) and a poetic object/motif, which, in our case, referes to the inherent elements of an architectural object intended for dwelling. Therefore, in addition to the material and geometric, we shall try to apprehend and explain the experiential manner of spatial perception, and single out the echoes of Bashlar's philosophical thought, which carry within themselves a potential to distort architectural thinking. The results of research shall indirectly demonstrate two possible ways of interpreting the Bachelard's work: 1) the analogous application and appropriation of interpretations of Bachelard's text as a reversed manualdreambook for provoking and inscribing the desired experience in the architectural space, and 2) the application of the mechanisms of phenomenological analysis itself, directed towards the interest in the process of creating a poetic image, as guidelines for the actualisation of an architectural object in its specific reality, through the work on its poeticity.

Nótaí na nEagarthóirí: Editor’s Notes

Nótaí na nEagarthóirí: Editor’s Notes David Gardiner Bob Dylan, Minnesota’s sometime favorite son, wrote “Blind Willie McTell” in 1983. Had he put this song on Infidels, music as we know it may have packed itself up, handed over the award, and stopped. Given the rabid rights management of the Dylan estate, I cannot quote a single full line from the song for fear of New Hibernia Review being sued to two inches less than its life. Still, it seems we have all been staring out windows of our own St. James Hotels. When Dylan wrote that song in Red Wing, Minnesota, he reflected on isolation, a condemned land, racism, the presence or absence of God, and (toward which those all lead) the blues. Evident in the writings we have gathered from all over the globe in recent months, those same themes provide a common bass note. This, our summer issue, seems to be the issue for the “summer that wasn’t.” In that vein, Boris Pasternak’s The Last Summer provides a melancholy, though not the same sort of isolation that some of us have felt, especially in some places in the United States. He looks backward, like Stefan Zweig, to earlier European times—a myth of romance and class harmony and love. We know that those times were no “summer of love,” but at the moment it seems that perhaps those gods have been slain. Hopefully not. And hopefully you’ll indulge us as we introduce the present volume. Another European author well attuned to Pasternak and Zweig, Gaston Bachelard wrote in The Poetics of Space (1958), his groundbreaking study of our interiors and how we encounter them, “our house is the corner of our world.” He continued: “the house shelters the daydreaming, the house protects the dreamer, the house allows one to dream in peace.” Obviously, Bachelard did not have twenty-four-hour news networks. Snide comments aside, the house has provided these things for all of us, sometimes lately in spite of ourselves. Since the beginning of this year, we have often heard that “we are all in this together.” That is only partly true. We are all individuals. Our physical positions are amazingly similar. We have all, at some point, been staring out windows. Rather than “we are all in this together,” “we are all alone together” might be more appropriate. [End Page 5] Not only does that phrasing mirror the human condition of radical selfness—we are, after all, the center of every experience that we have—but it unites us in a very different way. New Hibernia Review ’s contributors come from all over the world. All over the world each one of us, at one point or another, has stared out the window at our environs. The view is different from each place, but each of us stands in the same position. About the cover piece, Harry Clarke’s frontispiece for Origin of John Jameson Whiskey: Containing Some Interesting Observations Thereon Together with the Causes of Its Present Scarcity (1924), Angela Griffith has written: “a single figure stands defiantly on deck, neck scarf flying in the wind, resolved to meet journey’s end. The monumentality of the scene is belied by the delicacy of its rendering.” Beneath the ship, the viewer will note a surprisingly benevolent force of nature. Defiance, delicacy, and providence seem to be combined in our summer issue, as we hope they are in all of our readers’ lives. Vincent van Gogh, well acquainted with this triumvirate, told us long ago that “it is indeed worthwhile to devote one’s life to the task of expressing the poetry.” We hope that you experience the poetry of dance, cinema, literature, spirituality, history, and music that has been gathered in this issue. We are again pleased to offer a wide mixture of works in Irish studies. First is the appropriately titled “A Door Opening.” We then dance in Australia, watch The Informer through many lenses, dive into the gothic, enjoy an important new series of poems, explore charity during a forgotten famine, make sense of the Pogues (which is quite a task), and, referring back to Dylan, focus...

The Waiting Room: A Space for Self-Expression in the Pediatric Primary Care Setting.

In The Poetics of Space , Gaston Bachelard1 characterizes the house as “one of the greatest powers of integration for the thoughts, memories and dreams of mankind...Life begins well, it begins enclosed, protected, all warm in the bosom of the house.” As medical students, it was often difficult to feel a sense of belonging as we transitioned between rotations throughout our core clinical year. During this time of frequent change, we felt most at home in the Charles B. Rangel Community Health Center in Harlem (hereafter, Rangel), which provides care to a Medicaid-insured, predominantly African American and Hispanic population. As members of the Daniel Noyes Brown Scholars Program, a program within the medical school that seeks to expose students to primary care models and mentors, we were uniquely fortunate to enjoy a longitudinal experience at Rangel, making it a space where we felt safe and connected to the staff and patient community. We hoped to make the space that had become our professional home into an inviting and comfortable medical home for patients and families. When thinking about how best to enhance the medical home model, we thought it might be interesting to examine the physical design of the clinic itself because of our shared interest in narrative medicine and the therapeutic potential of art and architecture.2 Although the field of narrative medicine emphasizes the power of stories and the importance of listening in … Address correspondence to Anoushka A. Sinha, MD, MS, Pediatric Residency Training Program, Columbia University Irving Medical Center, 630 W 168th St, CHN-517, New York, NY 10032. E-mail: as4531{at}cumc.columbia.edu

БІЛЯ ВИТОКІВ ПОЕТИЧНОГО КОСМОСУ ОЛЕКСІЯ ДОВГОГО

The article analyzes the nature of linguistic explication of the ideas of Oleksii Dovhiy’s lyrical hero about the features of the universe and the organization of the universe. The author deals with such issues of general theoretical significance as the concept and linguistic worldview. During the research it was found out that Oleksii Dovhiy’s poetry combines the revelation of a son who prides himself on the glory of generations, paternal and grandfather’s moral principles, confession of a fighter for the Fatherland, a manuscript of the medium, to whom all the secrets of the universe are revealed. The language of his poetry reflects the representation of his lyric hero about the three-component world, which consists of the upper, middle and lower tiers. His lyric hero is aware of the HIGHER WORLD as a world of the divine, a world of eternal truths and laws, a world of angels and pure poetry. The main images that fill this world are the images of sun, sky, bird and wind. One of the central concepts that actualize the locus of the MIDDLE WORLD (or world of the earth) in Oleksii Dovhiy’s poetic universe is the image-concept of the LAND. This image is an expression of such lexical and semantic variants of the land tokens as ‘the native land (Ukraine)ʼ and ‘the upper layer of the earth’s crust; soil that is cultivated and used for growing plantsʼ. THE UNDERGROUND WORLD is updated by entering the words «field» and «shadow» in the text. As research has shown, the image of the road in Oleksii Dovhiy’s poetic space is one of the central ones, since, firstly, the verbalizers of this image often act as components that make up the macro-image of the MIDDLE WORLD, and secondly, the image is combined different time shades in the horizontal spatial plane of the author’s world plane. THE UNDERGROUND WORLD is represented in most cases by tokens that are associated with other spatial tiers. However, by entering into the text, such units as «shadow» and «field» acquire contextually predetermined semantic nuances that associatively associate with the lower tier.

Вокруг «мистерии вечной гибели и вечного спасения»: Нравственно-философская «спираль» Ю.В. Бондарева

The research deals with a specific “Bondarev’s” feature of the human characters study in holistic poetical and philosophical space of his works about war, the author’s position, his manner of artistic thinking, the formation of his own, individual author’s worldview, which is based on deep traditions of Russian classical artistic and philosophical thought, outgoing to the works of A.S. Pushkin, F.M. Dostoevsky and L.N. Tolstoy. The “touches" of understanding of the so-called Bondarev’s “spiral” are presented, its main features are formulated. In the aspect of the spiritual and cultural paradigm, the behavior of some Y.V. Bondarev’s heroes is conceptualized in a situation designated by him as “either-or”, dating back to traditional Russian spiritual conflict of “eternal destruction or eternal salvation”.

Multimodal Textualities: Poetic Aesthetic Digital Space

Multimodal Textualities: Poetic Aesthetic Digital Space

ИМЕНА НУЛЕВОЙ СУФФИКСАЦИИ В РАННЕЙ ЛИРИКЕ АННЫ АХМАТОВОЙ

Zero suffixation in Anna Akhmatova’s poetic texts was studied. The textual analysis of A. Akhmatova’s early poems rich in nominals with various types of zero suffixation was performed. Comparison with her later poems was carried out. On the one hand, this approach shows A. Akhmatova’s desire to overcome the traditions of symbolism and her attempts to develop an original style. On the other hand, nominals with zero suffixation clearly prevailed in A. Akhmatova’s early poems as compared with the later works. Particular attention was paid to the role of nominals with zero suffixation in the poetic space organization of two poetry collections: “Evening” (‘Vecher’) and “Beads” (‘Chetki’). We considered lexical, word-building, syntagmatic, grammatical, stylistic, tropeic, and other features of derivatives of zero suffixes in these poetry collections. It was revealed that nominals with zero suffixation were mainly used as a means of concentration of meanings and embodiment of the special drama of the poet’s lyrical monologue. The results of the research are important for expanding the knowledge on the text-forming function of word formation and, in particular, nominals with zero suffixation.

The Home of the Senses: insights on Rudolf Olgiati’s Houses

In the period between 1939 and 1992, Rudolf Olgiati built around 150 houses and small residential complexes in a very limited area of Graubünden. He developed a truly unique way of doing things, defining a personal language that has transcended his local context. This paper hypothesises that his work also contains a valuable lesson that can be applied in many other places. It is a matter of arguing how, from the harmony of the architectural elements, the materials, the colour and the furniture, and through an exceptional sensitivity to the perceptions of the inhabitant, Olgiati manages to elevate the house above the architectural object and transform it into a home for the mind as well. To this end, the article establishes the relationship between Olgiati’s domestic architecture and the philosophical idea of home, as described by Bachelard in The Poetics of Space. In 1957, the year the essay was published, Olgiati began to build his first houses. Determining aspects in his training are pointed out, selected elements of his architecture analysed, with the aim of understanding his character and his sensitivity, and identifying the issues that tell us more about the quality of these houses. All of them touch on with emotional distinction the close, the concrete, and the useful, through the sensitive application of the universal and the abstract. Perhaps then, like Bachelard’s home, they become a nest for memories and emotions, an intimate place for memory and dreams, an instrument that allows the inhabitant, in the words of the philosopher, “to face the cosmos”.

O Núcleo Pivotante da Voz

Partindo do modo de funcionamento da voz nos discursos políticos recentes no Brasil, o artigo busca mostrar como eles são corolários de características muito reconhecidas historicamente e que se ligam em torno da noção de homem cordial, tomada aqui como esse pivoteamento constante da voz entre o privado e o público, a amabilidade e a violência, em todos os casos permanecendo como o núcleo do funcionamento do poder. Essa forma de funcionamento está ligada a um certo modo de conceber a voz de Deus e sua hipóstase política, mecanismo fundante do processo colonial. No entanto, a poesia brasileira tem assumido esse pivoteamento para apontar outros modos de funcionamento da voz, não apenas na tradição europeia, como a questão da voz na Grécia, mas, para além dessa outra báscula Jerusalém-Atenas, para potencializar e traduzir poeticamente os efeitos do complexo oral canibal apontado por Viveiros de Castro a respeito do mundo ameríndio e o modo OrfE(X)U por Edmilson de Almeida Pereira sobre a literatura negra e/ou afro-brasileira. Esses outros modos de existência de voz, colocados em variação, produzem uma nova dinâmica do espaço poético como partilha e dissenso, assumindo o pivoteamento e a variação para possibilitar a emergência de uma outra ética da voz e a sobrevivência dos mundos que ela coloca em jogo.

The Dominating Sign of the Space Structure in TV Drama

يشكل المكان ركنا أساسيا من أركان العملية الابداعية، منذ ان وجدت الفنون والآداب، ويسجل لغاستون باشلار الدور المتميز في تسليط الضوء على أهمية المكان في كتابه الموسوم ( جماليات المكان)، ومنذ ذلك لم يعد المكان وخاصة في الدراما التلفزيونية مجرد خلفية ايضاحية تدلنا على مكان الحدث أو تأريخه، لقد أصبح المكان داخل هذه المسلسلات جزءا لا يتجزأ من النسيج الفني أو الدرامي، بحيث بات المشهد البصري يتشكل الى جانب حركة الاشخاص بلغتهم او بلهجاتهم المحددة داخل المكان كحاضنة للديكور والملابس والمكياج والاكسسوارات والاضاءة مضافا اليه المؤثرات الصوتية والموسيقية، وتأتي زوايا العدسة بعيون المصور الخلاق والمخرج الميدع لتشكيل ما يمكن تسميته بالوحدة البصرية، ويكون المسلسل بالتالي هو عملية الجمع الخلاق عبر المونتاج لمجموعة هذه اللوحات او الوحدات البصرية, وقد اشتمل البحث على مبحثان ضمن الاطار النظري، وهي:المبحث الاول: بنية المكان، اذ تم التطرق في هذا المبحث الى بنية المكان وابعاده وكيفية توظيفه في العمل الفني. المبحث الثاني: آلية اشتغال العلامة المهيمنة ، اذ تم التطرق في هذا المبحث الى تناول اليات توظيف العلامة المهيمنة لبنية المكان في الدراما التلفزيونية

Perceptions of A.A. Akhmatova and her works in China

This thesis is devoted to studying the acceptance extent of A.A. Akhmatova and her works in China. Not enough attention was paid to the acceptance extent of foreign poetess’s works while conducting contemporary studies about Akhmatova. The analyses of Chinese literary works about the Akhmatova poetic heritage and the existing assessments of her poetry are carried out in this thesis for the first time. The author insists that the acceptance of Akhmatova’s works in China goes through several stages. It was in the late 20 century that the Chinese public firstly acquainted with her poems. Yet, the real discovery of her poems occurred only in the 1980s. And at the turn of the XX-XXI centuries, there was a genuine Akhmatova study boom, which began to carry out studies about her biographies and early lyrical works. Associating with analyses of foreign studies about her works and taking into account the poetess’s translation strategies of permeating Chinese poems to Russian poetic space, the researchers identified her significant influence on Chinese poetic culture. Attention is also drawn to analyze the comparative works within the framework of the similarity of “female voices” in poetry. This thesis also indicates the future study trend of Akhmatova in China, which will certainly trigger closer interactions and discussions among Chinese scholars who focus on studying the poetess’s heritage.

Felicidad, educación y democracia en el pensamiento de Nel Noddings

En su libro Happiness and Education (2003) Noddings ofrece pistas para repensar los objetivos de la educación y el papel que la búsqueda de la felicidad debe desempeñar entre ellos. En su análisis de las políticas educativas actuales, basadas en estándares, éstas no sólo están lejos de cumplir con sus objetivos, sino que además están lejos de cumplir con los requisitos de una democracia. Noddings llega a la conclusión de que los currículos educativos deben fomentar la búsqueda de la felicidad si quieren asegurar el cumplimiento de esta doble tarea. Para ello se apoya en los trabajos de los pragmatistas James y Dewey cuyos planteamientos ofrecen la posibilidad de superar la crítica a la crisis en la que se encuentra la educación según los términos establecidos por Arendt, en la medida en que se apoyan en la poética del espacio de Bachelard.