Poetics Of Memory Research Articles

Animal sauve enfant abandonné : quand la topique animalière vient éclairer autrement les topoï répertoriés (à partir du Shâhnâmeh de Ferdousi)

<p>The article continues with the post entitled "Poetic memory or the use of topos "ENFANT ABANDONNE" in Milan Kundera’s The unbearable lightness of being " published on the SATOR research notebook by Madeleine Jeay, in which she shows that Kundera works a topical situation corresponding to a number of topoi listed in SATORBASE as ADOPTER ENFANT TROUVE, DESOBEIR ORDRE DE TROUVER ENFANT, ENLEVER SECRETEMENT ENFANT etc. The article continues this reflection and focusses on the animal topic in the Shah Nameh of Ferdousi, reflecting on the role of the Simorgh (this mythical bird that plays an essential role in Persian culture and that is found in the Manteq-et-their (The dialogue of the birds) of Farid eddine Attar and in the metaphysical and philosophical texts of Avicenna and Sohravardi. In the Shah Nameh the Simorgh rescues Zal, abandoned as a child by his father, King Sam, and raises him until the latter, now an adult, finds his father who grants him the royal filiation. And the child is fed at night by a gazelle. Such topical configurations that could be called ANIMAL SAVES CHILD ABANDONS are very widespread. We question the original scene of a close relationship between human sovereignty and animal sovereignty, the part of sovereignty being equally distributed between man and animal which is here the inseparable adjuvant. The methodological question of topical naming is also addressed.</p>

Kawi-samaya: Towards an Ecocritical Theory of Kakawin literature

Abstract There is not much by way of literary theory for kakawin—the classical literature of Java. This article proposes a semiotic model for the study of belletristic texts in Old Javanese: one that is based on the study of literary commonplaces that we have called kawi-samayas. Given the way the mental world of kakawin is deeply enmeshed with the external, natural world, we focus on the ecoliterary treatment of Kapat, the fourth month in the Javanese calendar. By studying the poetic elaboration of motifs related to Kapat in several kakawin texts, beginning with Monaguṇa’s Sumanasāntaka, we discuss the notions of poetic memory and literary tradition. The idea of poetic memory also helps in chalking out the active role of literary audiences in shaping the allusive and reflexive aesthetics of kakawin literature.

Vocalizar a ferida A ‘memória poética’ da comunidade afrodescendente portuguesa

Taking into consideration the recent emergence of Afrodescendant literature in Portugal and the ongoing literary criticism debate surrounding its delineations, this article engages in an analysis of its poetic production through the concept of ‘poetic memory’. Poetic memory constitutes a politically charged remembrance endeavour, seeking to elucidate the enduring ramifications of the colonial legacy through the act of composing poetry. The poetry collections by Yara Nakahanda Monteiro and raquellima, along with the collaborative project Djidiu – A herança do ouvido, notably awaken the ghosts of Afrodescendant postmemory. They establish a bridge between the timeless echoes of historical violence and the complexities of identity concerns. These texts underscore the potential for vulnerability and memory to evolve into both individual and collective healing practices through the medium of poetry and its vocalization. Through the invocation of the colonial past and its enduring spectral presence, this poetic production accentuates the urgency, for Portuguese society, to assume responsibility for this historical legacy.

Thinking on Six Feet: The Joy of the Kannada Kuvalayānanda

Abstract Jāyagauḍa’s Kannaḍakuvalayānanda, the name may suggest, is another run-of-the-mill regional adaptation of Appayya Dīkṣita’s bestseller textbook of Sanskrit poetics—The Joy of the Night Lily (Kuvalayānanda). However, a close reading of Jāyagauḍa’s definitions and more importantly, his carefully curated examples, tells a different story. Jāyagauḍa’s text is by no means a slavish translation, nor is his aim to present a brandnew, local theory of poetic figures. Rather, the Kannaḍakuvalayānanda places recent ṣaṭpadi poetry at the center-stage of poetics and creatively shifts the valence of understanding figures from abstract theory to writerly and readerly practice, beginning with Appayya Dīkṣita’s own examples. The interaction of a “Sanskrit” poetic theory with a Kannada poetic memory here produces most unusual results. This experiment also draws our attention to a dazzlingly new (and as it turns out, very traditional) mode of doing literary criticism—in Sanskrit as well as in Kannada.

Concepts of “Reversed Ekfrásis”: Camões’s Poetry in Portuguese Artistic Narrative

Since its publication in 1572 the poem Os Lusíadas by Luís de Camões has been considered a masterwork, describing in decasyllabic verses one of the most extraordinary events of the Portuguese sixteenth century: the conquest of seas never before sailed and the triumphant arrival in the lands of Calicut in 1497. However, it was only from the last quarter of the eighteenth century that Camões’s work became a scholarly benchmark in the curriculum vitae of Portuguese artists. This was due above all to the cultural context of the era, closely attuned to the interest of the Lisbon elites in recovering Portuguese poetic memory. It can be stated that this era witnessed the recovery of Os Lusíadas, which had won its own space in Lisbon artistic circles, later serving different “causes” throughout the nineteenth and twentieth centuries, in a striking process of reversed “Ekfrásis”.

La ‘Galassia MQDQ:’ un concetto di filologia tradizionale, digitale, sostenibile

The investigation of intertextuality within a corpus of Latin poetry is the main objective of the research functions of the so-called ‘Musisque Deoque Galaxy’: formular recurrences, and lexical and metric-verbal co-occurrences draw a dense network of relationships between texts, where poetic memory presents itself in various modalities. This contribution aims to analyse the latest developments in the “Musisque Deoque Galaxy” both from the point of view of the tools created to enable new textual acquisitions and new analyses, and from the technological point of view, with reference to the work carried out to ensure a long-term sustainability.

«Я, как мог, служил родному слову…»: Родина и чужбина в сонетном творчестве поэтов русского дальневосточного зарубежья

The study aims to identify the artistic specifics of the sonnet genre in the poetry of the Russian Far Eastern émigré community, which is conditioned by the influence of the historical, socio-cultural context of the epoch. The scientific novelty lies in involving little-known material, i.e. the sonnets by poets of the Russian émigré community in the Far East. The paper examines the features of the poetic embodiment of the “Motherland – foreign land” opposition: eschatological moods, nostalgic motifs. The researcher traces the attitude to the Revolution, the Motherland, reflections on the fate of an émigré poet, which expands the content sphere of the sonnet and determines its poetical heterogeneity, eclecticism. As a result, it has been revealed that the image of Russia is recreated through landscape sketches, poetic mythologemes, literary reminiscences. References to various literary traditions are intended to immortalise the poetic memory of the Motherland. Dramatic tension at the architectonic level is expressed in a demonstrative departure from the sonnet canon, the appearance of genre modifications. The genre of the sonnet allows overcoming subjectivity, individuality in the assessment of émigré reality, along with emotional intensity, contributes to the epic comprehension of events.

Mnemonic narrative method in the trilogy by Agota Kristof (“The Notebook”, “The Proof”, “The Third Lie”)

The article analyzes three novels by the Hungarian-Swiss writer Agota Kristof through the poetics of memory. The trilogy is dedicated to the representation of the consciousness of the person whose life is destroyed by a series of historical cataclysms. Every novel presents a slightly different version of Lucas and Сlaus brothers life, their memories of the past traumatic events. In the hero's memories, the reality is distorted to such an extent that the very existence of the twin brother from the first novel is called into question. At the artistic level, the possibility of reconstructing the true course of events is constantly problematized. In this regard, the trilogy can be considered from the point of view of implementing the mnemonic narrative method in it - a special narrative method, which involves the creation of a novel hero character, whose inner life is turned to the past. This method is based on a conscious creative approach to description of the retracing mind and an approach to reflection about the process and description methods.

The Deployment of Autobiography in Heterobiography: Poetic Memory in Boitempo by Carlos Drummond de Andrade

This article discusses the conflicting relationship between autobiography and poetry in poems within Drummond’s Boitempo trilogy. Exploring this theme is significant for the problematization of a rather naive reading that seeks the reasons for a poem in its extraliterary sphere, that is, in the life of the poet, providing a broader understanding of the lyrical subject as a complex fictional element. Accordingly, in this study, we apply the theoretical conceptions of Hoisel (2019), Lejeune (2014), Arfuch (2010), Smith (1971) and Iser (1996, 2002) to debate autobiographical space in poetry and the reception of the most astute part of Drummond’s lyrical remembrance. The article also discusses, following Halbwachs (1990), Silva (2009), Miranda (1988) and Santiago (2008, 2004), the collective nature of memory and the resemanticization of the subject in fiction. Moreover, our analysis of selected poems dialogs with the critical arguments of Candido (2000), Villaça (2006) and Pedrosa (2011) to clarify how Drummond’s memorialistic texts propose the recreation of the past — of an “I” that is recognized as an “other” and projects itself in this “other”, which is constantly cowritten through the act of reading.

Doctor Eduardo Bernabé Ordaz: An Exemplary Father for Cuban Psychologists

There are figures that the passage of time is blurring from the memory archive of peoples. Others, on the contrary, take root with such force that they remain registered forever in the poetic memory of humanity». That is the case of Dr. Eduardo Bernabé Ordaz Ducungé (1921-2006), described by professor and senior researcher Raúl Fuillerat Alfonso (1950-2015) as the «intellectual and spiritual father of island psychologists» This chronicle evokes the sacred memory of the founding director of the Havana Psychiatric Hospital, on the occasion of Parents’ Day, in the year of the 101st anniversary of his birth.

Poetics of Memory on Dictatorships

This research explores how three memorial museums in “Latin America” exhibit trauma and violence from their respective dictatorial regimes. I analyze the impact of globalization with regard to common Holocaust tropes and themes by examining their content and display techniques via their official virtual platforms. The three memorial museums highlighted in this paper are the Memory and Human Rights Museum (MMDH) in Chile; the Ex Centro Clandestino de Detencion, Tortura y Exterminio (ESMA) in Argentina; and the Memorial Museum of Dominican Resistance in the Dominican Republic. I argue that these museums combine Latin American and Holocaust museological techniques and aesthetics in their exhibitions to accomplish two goals: (1) attract an international audience and (2) receive worldwide recognition in universal organizations such as the United Nations (UN) or UNESCO. The efforts implemented by these museums are apparent in their vernacular (the native language spoken in a particular region), display techniques, vision/purpose statements, and their interpretative text.

Luis listens to Lohengrin: Luis Cernuda’s desire across queer time

ABSTRACT In this essay, I consider three of Luis Cernuda’s poems dealing in art and spectatorship as models for how he might have imagined queer erotic desire. Analyses of two of Cernuda’s ekphrastic poems show how the poet made both aesthetic and erotic experience perceptible and palpable within intertwined bodily and temporal relations. I read these ekphrastic exercises in light of Daniel Aguirre-Oteiza’s “poetic memory” as a concept that anchors poetic forms to a spectral and recurrent temporality exacted in the bodies of poet and reader. Then, I turn to one of Cernuda’s later poems, “Luis de Baviera escucha Lohengrin”, in order to demonstrate how poetics and performance converge in the poet’s work. “Luis de Baviera” exemplifies the experience of materially felt desires across time and links Cernuda (and, us, his readers) to a history of (male homo)erotic attachments. In the article’s conclusion, I suggest centering Luis’s modes of feeling as a method to make reverberations of affect and relation cohere as a shared knowledge outside of and against historical time.

Irish Children's Literature and the Poetics of Memory by Rebecca Long

Irish Children's Literature and the Poetics of Memory by Rebecca Long

Прием мгновенного перемещения во времени в повестях Валентина Катаева «Маленькая железная дверь в стене» и Бориса Рахманина «Часы без стрелок»

The aim of the study is to determine the function of the “instantaneous transfer into another time” technique in historical prose, which is attained by identifying the literary argumentation of its application by writers who use fundamentally different historical material and achieve similar but not tautological results. Having analysed this technique in conjunction with the semantics of the title and the vector chosen by the authors in order to achieve historical accuracy, the researcher has found that for V. Kataev, referring to names of historical figures and creating an image of poetic memories form the same genre priorities, while the image of a clock without hands, reflected in the title of B. Rakhmanin’s novella, prompts him to give his own genre definition - “it is both a fairy tale and a true story”. Scientific novelty of the study lies in providing insight into these specific genre priorities.

Poetics of Memory about the Democracy Movement in Myanmar: With a Focus on the Narratives in the Commemorations

Poetics of Memory about the Democracy Movement in Myanmar: With a Focus on the Narratives in the Commemorations

Lavinia Greenlaw’s response to Chaucer and the poetics of memory

ABSTRACT In 1932 C. S. Lewis famously argued how Chaucer medievalized Boccaccio’s story of Troilus and Criseyde as told in Il Filostrato. More than eighty years later, the opposite process is at work in Lavinia Greenlaw’s A Double Sorrow. The aim of my article is to examine what Greenlaw really did to Chaucer’s poem, to paraphrase the title of Lewis’s essay, in her attempt to make the Trojan story ‘more itself rather than less so’. I hope to show how the modern poet distances herself both from ancient authorities and the authorial stance adopted by Chaucer in Troilus and Criseyde, namely that of the storytelling historian who relies on memorised ‘matter’, and – taking images rather than the plot as the starting point – formulates a different model of memory. In this model information is creatively processed rather than merely fixed and stored and thus memory, especially autobiographical memory, emerges suddenly and automatically rather than being effortfully retrieved, as in the ancient model, evoked by Chaucer. Traces of the same model are also to be found in Greenlaw’s novel In the City of Love’s Sleep and Hilary Mantel’s Giving Up the Ghost, both of which will be referred to for comparison.

Innovative Interpretations: Three Recent Studies by Latin American Women Scholars

This article offers a survey of recent work by women scholars in the field of Latin American Studies. Focusing on the writings of Emily Hind, Ana Forcinito, and Sophia Beal, it identifies dominant threads in their research into masculinity and canon formation in Mexico, women filmmakers in Argentina, poetics of memory in Uruguay, and gender and urban spatiality in Brazil. Set within a larger context of the history of Gender Studies within the discipline, this piece provides a vision of pioneering developments in contemporary Latin American Cultural Studies.

Dreaming birth for an unborn child: poetic memories of Winnicott’s ‘mirror role of mother and family’ and Tarkovsky’s film Mirror

ABSTRACT In the course of a psychoanalytic psychotherapy of a five-year-old girl with cerebral palsy and profound developmental delay, there came a time when my reverie experiences often included memories of Tarkovsky’s autobiographical cinematic free-verse Mirror. These reverie experiences became forms in which I was able to contain the patient’s state of nothingness associated with her undifferentiated state, and to recognise her urgent need for mirroring of her very existence. In response to these reveries, I came to think of Winnicott’s ideas on mirroring. I propose the idea that birth can be understood as a trope of the most primordial sense of mirroring, created by the link with a subjective object. I describe the ways in which failures in the caregiver’s reverie hamper the infant’s psychological birth, which relies on good-enough mirroring for him to experience himself in the caregiver’s responses to him. When this fails, what emerges is a chimeric ghost-self, a self merged with the caregiver’s trauma or loss. This chimeric ghost is a product of the distortions in the reflected image. The infant will not be able to be born as himself until he can differentiate from the ghost. In order to avoid identification with the ghost, the nature of the parental trauma needs to be understood by patient and therapist, each helping the other in this transformative experience.

How the Grass Grows in the Works of Patrick Modiano

This article is an attempt at deciphering the enigmatic title of Patrick Modiano’s 2012 novel: why did he choose to call it L’Herbe des nuits, despite the book’s apparent lack of engagement with plants? In Jardins de papier, Evelyne Bloch-Dano understands the references to nature in the rest of Modiano’s œuvre as metaphors for the author’s poetics of memory and childhood. I want to argue that another interpretation is possible if we fully consider the plant physiology of grass: unlike trees, it grows from the middle and in between other crops. My article builds on this singularity to flesh out the forms of “middleness” in Modiano’s plots, writing style, and social “milieu.” Such an attention to the specific process of plant germination provides a new entry point into his works and their numerous allusions to vegetation, such as the metaphor of Occupied Paris as a soil, a manure, or an “artificial flower.” Like the narrator of Pour que tu ne te perdes pas dans le quartier, Modiano should be viewed as a “Buffon of trees and flowers,” notably because of the various connections between flora and fauna throughout his texts. To sustain these hypotheses, the article engages with botanical and ecocritical writings on plants, meadows, grass, and class (Rachel Bouvet, Alain Corbin, Gilles Deleuze, Francis Hallé, Denise Le Dantec, Stephanie Posthumus).

Alrededor de mí todo trocado: Vida de desterrado, historia literaria, memoria poética y extrañeza de la lectura

Al poco de morir desterrado en 1939, cercano ya el fin de la guerra civil española, Antonio Machado se convirtió en una figura emblemática para intelectuales tanto republicanos como franquistas. En 1979, durante una lectura organizada en México para conmemorar su fallecimiento, Tomás Segovia criticó la institucionalización de Machado y la reducción de su poesía a un lugar común del hispanismo. Repasar algunos hitos de la historiografía literaria española desde este punto de vista revela una tensión entre relatos de discontinuidad y relatos de continuidad en términos de (re)construcción nacional. Aproximarse a esta tensión a partir del concepto de memoria poética sugerido por Segovia en el marco de las culturas del exilio nos permite dilucidar discrepancias textuales entre memoria poética e historia literaria.