Poetic Theory Research Articles

신시론의 실존주의와 김수영

The poets of “New Poetry” published the first volume of “New Poetry” in April 1948, and in October of the same year they participated in the special edition of Sartre's existentialism in “Shincheonji”. However, there is no trace of Kim Sooyoung's official activities as a member of the same poetry association until “New City and Citizens' Chorus” was published in 1949. In the early days of the New Poetry Theory, Kim Sooyoung seems to have concentrated on studying poetry theory rather than on external activities. Because he had no basis in poetry theory, he had no personal relationship with the modernist poets, and his pride was hurt. However, Kim Sooyoung did not show such an expression until the mid and late 1960s. However, about 10 years after Park Inhwan's death, he criticized Park Inhwan's criticism and at the same time expressed his critical attitude toward the past modernist activities to the outside world. This seems to be connected with the period when Kim Sooyoung first realized the “dimension of criticism”.
 Kim Sooyoung was deeply concerned with the concept of conscience, one of the central themes of Heidegger's existentialism. Park Inhwan and the New Poetry poets, on the other hand, focused on Sartre's existentialism. In particular, Heidegger's existentialism had a great influence on Kim Sooyoung's poetic worldview and became the basis for his original poetic theory called “Whole Body Poetics. Ten years after Park In-hwan's death, Kim Soo-young acquired the “level of criticism,” and on this basis he criticized the “difficult poetry” of Park In-hwan and New Poetry. Park Inhwan and the New Poetry Theory insisted on the social responsibility of literature, but Kim Sooyoung criticized this position of the New Poetry Theory. However, since Park Inhwan died in 1956, the question remains whether it is justified for Kim Sooyoung to blame Park Inhwan for the literary trend of the 1960s ten years later. Therefore, this paper will reveal new facts about Park Inhwan's cultural and artistic activities after his death. In addition, this paper points out that it is not possible to evaluate Park Inhwan properly due to the lack of data.

王維 시의 은일 공간에 대한 인지시학적 접근

The purpose of this paper is to use cognitive poetics as a perspective for analyzing poems by the renowned Chinese poet Wang Wei(王維), particularly those set against an idyllic backdrop. The paper begins by outlining the cognitive poetics theory as a methodology for analyzing the poems. From the poem of Tao Yuanming, who had a significant influence on Wang Wei's poetry, ｢Returning to the Idyll(歸園田居)｣ was selected as a representative example of the knowledge structure for interpreting the poems. Based on this, the paper analyzes five poems.
 Through the analysis, it was confirmed that the idyllic settings that appear in Wang Wei's poems are shaped as ‘Yinyi(隱逸)’ space that restore the true self. Furthermore, during the cognitive analysis process, it was found that a literary device called “sunset,” which commonly appears in Wang Wei's poems, influenced the interpretation of the poems.

Analysis of the Integration of Poetry and Painting in William Carlos Williams' April

William Carlos Williams (William Carlos Williams 1883-1963) is one of the most famous American poets in the 20th century. His creation is characterized by the use of spoken language, trying to convey the feelings with concise and clear descriptive images and loose short sentences. The integration of poetry and painting is another major feature of his works, that is, integrating the painting art into the poetry creation, making the text full of light and color art, and making the whole poem more vivid and realistic. "April" is appropriate wording, using the combination of activity and inertia , to describe the images in the poem like a painting. It is a poem that visually reflects the spring, with philosophical and negative complex emotions inside. Based on Kandinsky's colorology and Williams's poetics theory, this paper explores the artistic effect of poetry and painting shown by this poem from the three aspects of color description, form and image.

Shakespeare’s Muse of Fire

In 1599 both Shakespeare and Thomas Dekker debuted works with choruses that evoked muses and enjoined audiences to augment the limits of theatre with their power of imagination.1 Sometime in the spring or early summer, Shakespeare’s Chorus sighed onstage for ‘a muse of fire that would ascend/The brightest heaven of invention’ and create ‘a kingdom for a stage’.2 Addressing the audience directly, the Chorus directs that they allow the actors to ‘cram/Within this wooden O the very casques/That did affright the air at Agincourt’.3 And at Christmastime, Dekker’s prologue to Old Fortunatus informed playgoers that ‘this small Circumference must stand/For the imagined Sur-face of much land’ and begged ‘your thoughts to help poore Art’.4 The conceit is unusual and unlike any earlier dramatic prologues: both Dekker and Shakespeare set the stage, so to speak, by drawing attention to theatre’s status as mimetic art. The timeline of, and relationship between, these two plays has been well debated.5 Their opening choruses are too alike to be coincidental productions of a particular moment in time; but their chronology is complicated by the fact that the 1600 quarto of Henry V left out all the Chorus’s lines. The current prevailing view, argued in earlier issues of this journal by James Bednarz, is that—despite the later publishing date—Shakespeare was likely Dekker’s source.6 The investigation may close there, with this inventive explosion of mimesis as further evidence of Shakespeare’s ‘imaginary puissance’ (to borrow a phrase out of context from Henry V’s Chorus).7 However, a case can be made for a little-studied volume of poetry and poetic theory by King James VI/I, titled Essayes of a Prentise and published in Scotland in 1584, as a potential and unexplored source for Shakespeare’s (and/or Dekker’s) Chorus. In the short sonnet sequence that opens the volume, James repeats a rhetorical plea for assistance with his verses’ mimetic aspirations that, paradoxically, draws attention to its status as art in much the same fashion that the more well-known choruses do.

엘리엇의 객관성 시학과 감정의 자리

My paper aims to find the locus of emotion in T. S. Eliot’s objective poetics. Eliot is best known as the promulgator of modern poetics of objectivity in contrast to the Romantic conception of poetry emphasizing subjective feelings. Specifically, along with “an objective correlative,” “impersonality,” defined as “escape from emotion” or “escape from personality,” becomes the watchword identifying the objectivity of his poetic theory. The problem is that the subsequent Modernist reception of Eliot’s poetics contains misunderstanding it as if it disregarded the emotional aspect of poetry. But, actually, Eliot affirms emotion and personality as the essential poetic experiences over and over again throughout his essays on poetry. And even in those scholars who have recognized that affirmation, the problem lies, too: they are at a loss, looking on Eliot’s acknowledgment of both personality and impersonality as a contradiction. In an attempt to solve these problems, my thesis has raised and justified the argument that Eliot, in his basic premise, allocates “impersonality” in the sphere of the poetic technique of creation and “personality” or “emotion” in the locus of the poetic content. By finding the locus of emotion in another poetic sphere than the objective technique, my argument has concomitantly clarified that Eliot’s conceptions of personality and impersonality are not contradictory at all but consistent over the critical writings published throughout his career.

Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo

The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses as well as the method of generalisation have been exploited for this research. The European poetic tradition has passed a long way in searching for new forms and means of the artistic representation of reality. The emergence of the Sicilian School on the Apennine Peninsula in the 13th century became the initial stage of the literary and linguistic history of the Old World. It marked the beginning of Italian poesy the development of the Dolce Stil Nuovo and was largely the forerunner of Dante’s and Petrarch’s poems, laying the foundations of the philosophy of lyric poetry. The Sicilians gave a powerful impetus to the further development of poetic theory, images, and themes, which would be pivotal in stilnovismo, as well as to the assimilation of many authors of the Renaissance in Europe. The appeal to certain themes and motives as well as their transformation highlighted the idea of Sicilian authors about poetry as a specific kind of philosophy. We emphasise that the time of origination and a highly cultured environment have caused the refinement of art forms and stylistic devices for revealing the conceptual content of such verses. Giacomo da Lentini reconceptualised the approaches to rhyming and poetising, and most importantly — to the psychological perception of reality and understanding of love in the metaphysical dimension. The ideological and aesthetic unity of the poets of the Dolce Stil Nuovo, who developed the innovations of da Lentini, made it possible to relate them with the writers of the early Renaissance. The article also focuses on the specifics of literary activity during the expansion of new European poetry leading to the invention of a sonnet as the poetic form that follows a particular rhyming pattern.

Буддийская традиция и япон­ская поэзия сквозь призму «песен радости» (на материале цикла «Сто строф о временах года» Дзиэна)

The study discusses the relationship between Buddhism and poetry in early medieval Japan drawing on the cycle of poems “One Hundred Verses about the Seasons” (Shikidai hyakushu) dedicated to the shrine in Ise and written by the Tendai monk Jien (1155–1225). The paper deals with discursive strategies and ritual practices based on the exam­ples of the cycle “One Hundred Verses about the Seasons” by Jien, by which Buddhism in early medieval Japan consecrated a new ritual use of one of the genres of court litera­ture, waka poetry. The paper briefly describes the process of incorporating the forms of Japanese waka poetry into Buddhist rites, traces the appearance of “songs of joy from following the teachings of (Buddha)” (ho:raku) in ritual practice, explains the meaning of the word ho:raku, describes a stage in the development of poetic theory formulated within the framework of Japanese esoteric Buddhism, characterizes the essence and meaning of “songs of joy” in the Buddhist tradition. The authors point to the contribution of Jien to the development of poetic theory and the relevance of new forms of waka, “songs of joy” created on the basis of this theory. The textual analysis of the cycle “One Hundred Verses about the Seasons”, its structure and content allows identifying the fea­tures of the genre of spiritual poetry ho:raku. The results also display how secular themes (nature, love lyrics) are reinterpreted to convey the experience of learning the teachings of Buddha, show the functioning of waka poetry as a means of preaching Buddhist teach­ings, as a way to comprehend the truth and achieve enlightenment.

«Красота со взломом»: пересоздание текста читателем как коммуникативная стратегия в региональном авангардном дискурсе

The paper focuses on a poetic discourse of the avant-garde poetic community “41º” (A. Kruchenykh, I. Terentyev, I. Zdanevich). Unlike the public actions of “classic” avant-garde (futuristic) communities, “41º” relied less on scandal as a means to attract the attention of the “newshawk”, a relay of a public action for a broader audience. Regional journalists, literary critics sympathized with the futurists and included them into their creative community. Their attention did not have to be attracted on purpose. Scandal has been replaced by cooperation. Therefore, the communicative strategy that has developed in the “41º” community is predicated on a dialogue, it implies the activity of the reader. It as a consequence, the reader parodies the poet-orator. The reader deliberately alters and then creatively twists the poet’s statement, appropriating the device and becoming the author himself, a subject expressing feelings. This strategy becomes topical in A. Kruchenykh and I. Terentyev poetic theory as part of the “readerly” program. A quest “mistakes” (textual zones subject to a parodic recoding) in someone else’s text is foregrounded. A “mistake” (“shift”) makes it possible to reimagine the text as a semiotic object and reassign its reference to a readerly intention not coinciding with the authorial one, so that the reader as a co-performer becomes a co-author. The purpose of text misreading (“hacking”) is to shift the focus from the “I” of the writing subject and from the printed statement to the context as a source of creativity and to the performer’s gesture as the referent of the statement.

流散與回歸：沃勒•索因卡詩學的行思源流

Wole Soyinka’s diasporic experience in foreign countries can be divided into two stages. In 1954, he went to study in the UK, having his theatrical talents exercised and improved. His works at this time mainly showed deep concern for the fate of his motherland, Nigeria. In 1964, in order to avoid political persecution, Soyinka was forced to flee to Europe and the United States, and the works at this time mainly expressed his criticism and struggles against the political dictatorship in Nigeria. These two diasporic experiences enabled Soyinka to integrate African and Western cultures into his w-orks and poetic theory. While absorbing the essence of human art, he resolutely returned to his home culture of Africa, creating a type of soul-shaking “ritual tragedy” and developing a unique theory of African tragedy.

Gottfried Benn’s Poetry and Unbracketing the Expressionist Image

After studying the prevailing expressionistic attitude in Benn’s early poems such as “Nachtcafé,” the paper traces the loosening of imagery in Benn’s more psychoanalytic and mythological poems. The paper then offers a close reading of “Das sind doch Menschen,” a poem from Benn’s latest period, which exemplifies a distinct break in his poetics and the emergence of a markedly performative and personal voice. The backdrop of expressionism, his early fascination with mythology and mid-career attempts to achieve a perfect lyric structure continued to have obvious influences on Benn’s later writing but this personal and anecdotal period occasions a new balance between poetic image, lyric self, and abstract statement. In addition, the paper also traces Benn’s attempts to recover a more agentic lyric self within the larger poetic context of the post-war era, turning to poetic theories advanced by contemporaneous poets such as Ingeborg Bachmann and in Benn’s own momentous lecture on poetics, Probleme der Lyrik.

Stewart, Dustin. Futures of Enlightenment Poetry

Stewart, Dustin. <i>Futures of Enlightenment Poetry</i>

Reinterpretation on Wang Guowei’s Youmei and Hongzhuang

In Wang Guowei’s famous poetics work, Ren Jian Ci Hua (人间词话) (1908), he distinguished two categories of Chinese classical aesthetics—youmei (优美), or the beautiful, and hongzhuang (宏壮), or the magnificent, which appeared in the fourth paragraph that Wuwozhijing (无我之境) (worlds without I) can be obtained in the tranquility of nature. Generally regarded as the last master of Chinese Classical Poetics, Wang Guowei had tried to take Chinese traditional poetics discourse and to combine it with the connotation of Western aesthetic theory, rather than simply using Western classical poetics theory to interpret and judge Chinese classical literature or theories.

'Parable' Tellers in The Tolkapiyam Theory of Statements

Tolkappiyam, which is an ancient grammar book of Tamil, is not only a grammar book, but it also has the nature of presenting the theory of poetics and can present the theory of poetry in detail. The Tolkappiyam, which has mainly described the Thinai literary tradition, the ancient literary tradition of Tamil, as a theory, has effectively documented the literary heritage of Tamil, i.e., the Thinai literary tradition, by describing it as a poetic theory of how the Agatthinai-Puratthinai literature, which are the components of the Thinai tradition, should be fabricated. In this way, the word "Parable" receives a lot of attention in the context of narrative theory in Agathinai poetics. That is to say, the fact that Tolkappiyam defines the principle of how the parable should be presented or expounded when the claimants make a statement gives rise to various social understandings. On this basis, this thesis explores the gender-social backgrounds that are focused on telling the parable.

올슨과 물리학 그리고 '객체주의'

Olson, Physics and 'objectism.' This paper examines how the American poet Charles Olson was influenced by the discoveries of modern physics in his poetry and prose. Einstein's physics demanded a change in our imaginative picture of the world and poets were attracted to such his concepts as the loss of absolute space and time. Olson's seminal essay “Projective Verse” advances methods of understanding poetry which draws from Einstein's special theory of relativity. In addition, this paper discusses the ways Olson drew from quantum mechanics in writing his poetic theories by focusing on “uncertainty principle.”&#x0D; In the early modernism represented by Eliot, the subject’s relation to objects is generally considered as one of recognition or domination and is characterized by discontinuity. Olson tries to break down the subject's epistemological tower by saying “a man is himself an object.” Olson’s definition of “a poem as object” shifts our attention from the subject’s power to dominate an object to “a series of objects in field” including the self and the poem, and leads a new way of American poetry beyond modernism.

Social Media Poetics: The Technological Forms of Alt Lit Poetry

Social Media Poetics:The Technological Forms of Alt Lit Poetry Justin Tonra (bio) "140+140!" was the tweet that heralded a defining change to Twitter. On November 7, 2017, Twitter founder JACK DORSEY announced that the maximum length of a tweet would be increased to 280 characters from its previous limit of 140. The change was intended to remove a constraint that was perceived to hinder expression, leading to abandoned tweets among English language users.1 For a business model based on the aggregation of data for the purposes of advertising and data licensing, abandoned tweets represented unrealized commercial potential. However, for poets who had used Twitter's 140-character constraint to draft and publish lines of verse, the change was not so profitable. In the last decade, social media has proved an unexpectedly rich breeding ground for certain poets to publish and promote their poetry. Rupi Kaur has primarily used Instagram to share her poetry, selling more than eleven million copies of her books since her self-published debut, milk and honey (2014). With other poets achieving fame and commercial success on other platforms, the phenomenon of social media poetry has resulted in a dizzying blend of egalitarian publishing opportunity, canny marketing, and an assemblage of "scammers and opportunists and ironists."2 However, many writers from the Alt Lit movement have also used social [End Page 597] media platforms as catalysts for creative inspiration and formal experiment. This movement, whose heyday was the first half of the 2010s, was characterized by online- and self-publication and by its authors' relentless social media activity. Primarily an online community, its leading contributors made successful transitions to print with major publishers. Alt Lit authors mined their personal data archives for their printed works, charging their writing with a distinctive aesthetic whose trace is preserved in the process of their works' remediation from digital media to print. Creating their work in the course of this platform-hopping, these writers take a unique poetic measure of our social media landscape. A social media poetics has emerged in Alt Lit, found at the intersection of three important aspects of the movement: an examination of its contemporary relevance; an analysis of the lyricization process that takes place when social media posts are remediated for the printed page; and a delineation of Alt Lit's poetic genealogy, which encompasses Charles Olson and the Beats, their relationships with technology, and the formal influence of subsequent developments in the history of communication technologies. Section 1 provides a brief history of Alt Lit's rise and fall, highlighting features of the movement that illustrate its contemporary relevance and recommend it for analysis and critique in the current moment. Two longer sections augment these claims for significance with arguments that situate Alt Lit within the context of past and present poetic theories and practices. Section 2 combines close readings with the framework of lyric reading to reveal shifts that occur when text that originates on social media is reworked for poetry's printed page. During this process, a solitary speaking voice that invites a lyric reading is foregrounded. At the same time, however, the verse line preserves an essential formal relationship with the social media post that is concealed by the logic of lyric reading. Finally, section 3 positions Alt Lit writers as successors to a developing tradition, articulated by Olson and [End Page 598] consolidated by the Beats, which linked the verse line with the poet's breath. Principles similar to those that informed Olson's theory featured prominently in the development of mobile communications technologies so that a distinct line connects these poetic theories and practices, and their engagements with technology, to Alt Lit. Together, these three sections identify and analyze the contemporary and historic underpinnings of the social media poetics that characterize Alt Lit. ALT LIT TODAY During its peak in the 2010s, Alt Lit (sometimes hyphenated) attracted equal measures of acclaim and disdain. While detractors characterized the movement as the work of "boring, infantile narcissists," other critics celebrated its tonal and stylistic emulation of social media by "the first group of young writers grappling with the constant presence of the Internet."3 Although the movement was relatively...

THE EKOPUITIKA THEORY

&#x0D; &#x0D; &#x0D; &#x0D; This study aims to: (1) describe the sense of ekopuitika theory; (2) describe the working mechanism of ekopuitika theory; and (3) describe the application of the ekopuitika theory in the oral literature.&#x0D; The theory used in this research is ekopuitika theory, ecology theory, and poetics theory.&#x0D; The data collecting technique or data collection process utilized in this research are as follows: (1) recording technique, either audio or audiovisual, (2) notes, (3) rooted interview, (4) literature study and documentation analysis.&#x0D; The finding of the research is (1) the meaning ekopuitika theory is literary theory/knowledge of poetry which is associated with the environment. (2) the working mechanism is started from analyzing the poetics theory which consists of: 1. Sound that includes: a) rima; (b) assonance; (c) alliteration; (d) anaphora; (e) efoni; (f) kakafoni; and (g) onomatopoeic. 2. Rime (metrum and rhythm) 3. Word includes: (a) vocabulary; (b) diction; (c) figurative language; (d) imagery; and (e) linguistic factors. 4. Phrase that includes: (a) nominal phrases; (b) verbal phrase; (c) the numeral phrase; (d) the adverb phrase; and (e) the prepositional phrase. 5. Sentence/array includes: (a) declarative sentences; (b) interrogative sentences; (c) the imperative sentence; and (d) the exclamatory sentence. 6. The discourse that includes: (a) cohesion and (b) coherence.&#x0D; The next how it works, is further analyzed once more with the ecology theory that includes: (a) the representation of nature: plant, animal, mountain, water, sea, land, air, sun, and sky; (b) the manifestation of the representation of behavior: traditional event (ritual), religion, knowledge, cosmology, language, myth, art, moral, and housing.&#x0D; &#x0D; &#x0D; &#x0D; &#x0D; After the ekopuitika theory applied in the oral literature there was a result that evidently for the representation of nature related to the plant and animal, while for the representation of the behavior associated with the traditional event (ritual) and language.

Defining a Tradition

Abstract Allison Busch's seminal work on the classical Hindi literature of Mughal India demonstrated how the composition of works of poetic theory (ritigranths) became a defining literary enterprise of vernacular court poets in the Mughal-Rajput milieu. Though firmly based in a Sanskrit worldview, Hindi intellectuals exhibited newness in their theorization of the art of poetic craft. Engaging with Busch's work on the ritigranth genre, this article demonstrates how the poet-scholars of Rajasthan who were experts in Brajbhasha and Marwari—or Hindi and Rajasthani, respectively, as they are largely understood today—theorized and created new knowledge systems to define their four-hundred-year-old Marwari literary culture. Keeping up with the theoreticians of Brajbhasha who blended Vaishnava bhakti (devotion) with poetic theory, the Rajasthani scholars placed their work in a multilingual literary culture that was increasingly expanding as India came under the knowledge regimes of colonialism.

TECHNICAL QUALITIES IN THE POETRY OF EMILY DICKINSON

Dickinson’s reputation as a poet is based not only on the contents of her poetry but also on her art and technique. No American poet attracted the attention of scholars and critics with his or her technical qualities as Dickinson did. Although, unlike Wordsworth, Matthew Arnold and T.S Eliot, she had no formal theory of poetics for writing poetry but her art and technique of writing poetry have been the subjects of discussion among many critics like James Reeves and Douglas Duncan. It was due to her fastidious nature that she did not learn the secrets of poetic art from any poet or critic. She never had the benefit of accomplished poetic guidance. She wrote to Higginson that so far as the writing of poetry is concerned, she had none to ask. This is why, there are many technical defects in her poetry but these defects are a part of her originality as a poet. She composed by instinct which told her that mechanical regularities disturb the free flow of thoughts. As a poet, she depended on inspiration and in the absence of inspiration, she failed to write good poetry. The following poem is the result of labour and, as such, it does not possess poetic excellence:

Yemapoetics: Towards a Theory of Healing in Indigenous Poetry from Sikkim

Literature that is being composed from or about the politico-geographical category of Northeast India focuses on violence and ethnic movements in major ways (Hazarika, 1996; Barpujari, 1998; Baruah, 2005; Paula, 2008). While Weberian understanding of indigenous cosmology has led to archiving, documenting and research on ethnic epistemologies from Northeast India, in the absence of indigenous literary theories, literature from this region faces the challenges of homogenisation or becoming case studies for ethnographic documentation and anthropological inquiry (Karlsson &amp; Subba, 2006; Subba, 2009; Lepcha et al, 2020 in the context of Sikkim). This paper intends to propose a theory of reading that upholds the role and participation of the poet(ess) as a shaman- a transforming agent and a transformed individual herself. This theory is being named Yemapoetics, deriving its epistemic framework from the figure of shamaness or Yema in the Limboo healing tradition in Sikkim. Yemapoetics is an attempt to propose a new indigenous paradigm for indigenous literary expression around the world. This theory identifies stages of poetic composition as well as reception, ranging from purification, possession, communication to catharsis. An indigenous literary theory like this will provide contexts for locating the poet(ess), examining her/his role as community healer who connects the modern, urban psyche of individuals with communal, archetypal symbols. This enables a process of retracing and re-membering through the poetic act that is essential to healing and recovery. Just as Limboo cosmology recognises women as first humans to be created, this paper argues that women’s psychospiritual agency should be at the centre for poetic theories to accord validity and applicability of feminist spirituality to indigenous literary theorisation. For the purpose, an illustration of the proposed theory will be made with reference to select indigenous poets from Sikkim.

The Poetics of Heterodox Desires in Federico García Lorca’s Late Poetry

This article examines Federico García Lorca’s late poetic works from a queer perspective, offering close readings of a selection of poems from Diván del Tamarit and Sonetos del amor oscuro (1931-1936). Both works reveal Lorca’s mature lyrical approach to love experiences, desire and death, existential anguish and the role of poetic creation. I argue that Lorca creates a queer spatiotemporal realm in which the interweaving of desire and death mirrors the indeterminacy and transgressive nature of the bodies and identities invoked by the poetic voice. Drawing on Lorca’s poetic theory of duende, I examine fluidity and cyclicality between desire and death as key elements of heterodox subjective formation which challenge normative ideas of gender, affect, sexuality and identity. By transgressing time, space, bodies, gender and sexuality, Lorca imagines new and alternative ways of being, becoming and relating to the world which challenge linearity, logical or stable and fixed identities or binary physical-affective distinctions, proposing transformation, fluidity and metamorphosis as queer strategies of survival, rebirth and reinvention.