Poetic Movement Research Articles

Spirituality in the Black Arts Movement

The article investigates the significance of spirituality in the works of the Black Arts Movement poets. By examining the poetry of Amiri Baraka and Maya Angelou, the study uncovers the various facets of spirituality that African Americans embrace, including “Africanized” Christianity, jazz poetry, and Islam. The article aims to show if spirituality is merely a way to celebrate cultural diversity or a vehicle for social change. It draws on Gilles Deleuze and Félix Guattari’s theory of minor literature to demonstrate that the Black Arts Movement is a minor literature, whereby cultural markers such as spirituality are politicized. Because spirituality endows the Black Arts Movement with a political value and a collective enunciation, this movement becomes a revolutionary force that aims to enact social change. This politicized spirituality is symptomatic of a desire to foster a strong, positive bond with Africa, which is an antidote to the strangeness of mainstream society. The remembrance of the African past through Afrocentric spirituality is a tool for defining and redefining one’s sense of belonging. It is also a quest for an essentially black aesthetic.

The Blue Hills Archipelago: Longform poetics & the ecological anti-epic

This essay puts forth Laurie Duggan’s decades-long serial poem, Blue Hills (1980–), as a radical antimythic and ecological approach to longform ‘epic’ poetics – or what I term the ‘ecological anti-epic’. The essay first reflects on the mythic ambitions of twentieth century Anglo-American modernist epic poets, such as Ezra Pound and TS Eliot, before turning to what I call the North American ‘antiepic’ postmodernist serial poem tradition. Centring on Robert Duncan’s Passages – a key influence on Duggan’s own series – I argue this ‘anti-epic’ approach to the long poem replaced the ‘mythical method’ (Eliot 1923: 483) of early modernist epics with a compositional method. Reading Blue Hills through the guiding principle of Duncan’s series, ‘grand collage’ (2014: 298), the essay then posits that Blue Hills – as a localised re-deployment of Duncan’s grand collage method – can be read as both a continuation, and subversive settler Australian reimagination, of the North American anti-epic serial poem tradition. Drawing on Peter Minter’s archipelagic approach to reading Australian poetry, Blue Hills is then read as a type of archipelago of poetic islands, one which challenges not only the epiccum-mythic ambitions of modernist longform poetry, but also the racially charged environmental myth-conceptions of early settler Australian poetic movements, such as the Jindyworobaks. I conclude with a brief reflection on the links between the process-based aesthetics of post-modern anti-epics and what Connor Weightman calls the ‘ecological long poem’ (2020: 3), ultimately positing that Duggan’s Blue Hills refutes the modernist penchant for speaking declaratively about the world and instead affects a sense that the world is reveling in its own wording.

The Inauguration Ceremony of Ahmad Shawqi as Prince of Arab Poets in Cairo, 1927

Ahmad Shawqi became a member of the Senate in 1924 and was named the ‘Prince of Poets’ in 1927. This was the year that the second edition of his poetry collection, Al-Shawqiyyat, was published. The first edition was published in 1898, and on the occasion of the issuance of the second edition, a number of ceremonies honouring the poet were held in his behalf. This pledge of allegiance constituted a national event par excellence. The ceremony was attended by King Fu'ad, Prime Minister Sa'ad Zaghloul, and a large group of Arab visitors. Bahrain participated by sending a small golden palm tree, which was donated by its emir to the Prince of Poets. The ‘Princedom of Arab Poetry’, began with the pledge of allegiance to Ahmad Shawqi, during a special ceremony on 29 April 1927 in the presence of a group of Arab poets. This group was led by Hafeth Ibrahim, Shawqi’s competitor, to confirm that Shawqi was undoubtedly the highest poet among his peers at the time, and he has remained distinguished in the Arab consciousness to the present day, despite the rise of other good poets and many poetic movements.

Network Temporality in Percival Everett’s Poetry

Drawing on new media scholarship, the article suggests that Percival Everett’s poetry can be understood through the lens of hypergraphical knowledge. In this context, Everett’s poetry operates as a synchronic and diachronic exploration of poetic movements, genres, forms, and inheritances, embodying network-temporal relations similar to the hypernarrator(s) of his fiction. Ultimately, this analysis observes the expansive and cohesive nature of Everett’s work, inviting readers to refocus their attention on the indeterminate surface of, and the intricate web of meaning in his poetry.

The InVersiya Poetry Festival: The Creativity of Communication and Collective Authorship

This article analyses three projects created within the framework of the Chelyabinsk poetic laboratory festival InVersiya (photograph album Developer, calendar Dogs and Baobabs, and the film Walking Man) in the aspect of the features of modern media poetry in its regional refraction. Poetry festivals are characterised by a combination of experimentation and accessibility to the public, the subordination of individual poetic ideas to the general conceptual framework of the project, and quite often the dominance of creativity over artistry, performativity, and procedurality. The InVersiya festival is a part of the Ural poetic movement, which is quite developed today. The author concludes that the Ural authors are open to interaction with poets and artists from other cities and countries, overcoming the complex of “provinciality”, fitting into the all-Russian poetic context. The analysis of the projects the author refers to demonstrates the dominance of the communicative function of poetry and the importance of the pragmatics of the poetic text. The article examines specific methods of interaction between verbal and visual components, revealing strategies of collective authorship. According to the author, among the “Ural” poetic traditions proper, one can name the preservation of the dual addressing of works (elitist and mass), the implicit presence of the gender and environmental components of the figurative range, and a drive towards experiment.

LA RETÓRICA DEL REFRENAMIENTO EN LA PIEDRA ALADA (2005) DE JOSÉ WATANABE

José Watanabe is considered one of the most important poets of the generation of 70’s, despite his insularity in relation to the poetic movements of his time. In 2005, he published La piedra alada, which did not receive much attention from literary criticism. In this sense, to contribute to the study of La piedra alada, the article aims to examine the topic of stone in this collection of poems through the analysis of the following poems “La piedra del río” and “Jardín japonés”. To do this, it is hypothesized that in La piedra alada, the figure of the stone, by fulfilling a spatial orientation and a model role, allows the approach of a rhetoric of restraint beyond elocutio, in other words, as inventio. The interlocutors proposed by Camilo Fernández Cozman, the cognitive taxonomy of the metaphor proposed by George Lakoff and Mark Johnson, the contributions of Stefano Arduini to the General Textual Rhetoric, the classification of the argumentative techniques of Chaïm Perelman and, finally, the concept of restraint.

Aphrodiasporic aesthetics as a place to imagine and transform the world: black cinema and liberation

This article analyzes the Afro-diasporic aesthetics as a place to imagine and transform the world, understanding the pedagogical function of black cinema, in light of African philosophies, and black epistemologies, as a space-time of liberation. On the path to achieving this goal, we will focus on the exercise of imagination (hooks, 2020), as a philosophical-political tool, as it produces meaning and directs action. Through the short films “Kbela”, by director Yasmin Thayná and “Sem Asas”, by Renata Martins, we will navigate the drifts of understanding African-Brazilian philosophies articulated with the Poetics of Movement. With this, we seek to understand how the debate about imagination can be a field of dispute and understanding of citizenship and confrontation of racism. Our intention is to provoke the debate on the imagination as a possibility of building an "another region of the world", assuming places of belonging and expansion of freedoms, as spaces of a dispute of senses and citizenship.

Небесный ангел Михаила Лермонтова (Духовный опыт как творческая категория)

The article is devoted to a comprehensive examination of the religious and moral origins of M. Yu. Lermontov’s creative work. The poetic movement of the great artist can be imagined as the realization and expression of a unique spiritual experience associated with the only in Russian literature in terms of its intensity experience of the Christian thought about the lost heavenly bliss, the ways to find it or the eternal loss in a person’s earthly life. Within this framework the poem “Angel” becomes a kind of “program” that covers the work of Lermontov in all his spiritual range. The article analyzes the ways of returning to the lost harmony with the Creator sung by Lermontov — the heroic service of Heavenly truth (“Borodino,” “Song about Tsar Ivan Vasilyevich…”), the feat of maternal love (“Cossack lullaby”), as well as the poet’s catastrophic experiences of human Godforsakenness (“Meditation,” “Both boring and sad,” “Gratitude”). The novel “A Hero of Our Time” is studied in terms of of the conceptual opposition “boring — fun.” Much attention is given to an attempt to determine the true hierarchy of light and darkness, delight and obscurity in Lermontov’s work, where the height of the spiritual ideal and the perfection of poetic speech ultimately transform the “Pechorinsky” meanings and moods.

Oğuz Atay'ın "Ne Evet Ne Hayır" Adlı Kısa Öyküsünde Sürreal ve Postmodern Estetiğin Paydaşlıkları

The Turkish literature of the Republican Period, a stage in which modern Turkish literature developed in a Western way and made serious breakthroughs, is a process in which different artistic understandings are successfully applied through different genres. The surrealist aesthetics adopted by the Garip Movement poets in the 1940s, and the postmodernist attitude that started with Oğuz Atay in the 1970s and continued with names such as Orhan Pamuk and Hasan Ali Toptaş are concrete indicators of the fundamental changes in Turkish literature. This study is based on the cynical attitude in surrealism that opposes the logical order and singular reality, the importance given to the subconscious, and the original expression techniques, as well as the hyperrealism of postmodernism, the aspect of intertextuality that makes use of techniques such as parody, irony, sarcastic/ridiculous transformation, and the commonalities created by the gamification of language, which it transforms into an ontological issue. The study aims to examine the common aspects of surrealist attitude and postmodern aesthetics in literary works, in a comparative and text-centered manner, through the short story "Ne Evet Ne Hayır" (Neither Yes Nor No). Following a descriptive method, the analysis of the aforementioned short story was made by considering the identical or similar principles of both movements. In line with the data obtained, it has been determined that the humor, language use, view of reality, and subconscious preferences in the short story are suitable for both surrealism and postmodernism.

ОБ ЭВОЛЮЦИИ ОТНОШЕНИЯ АКМЕИСТОВ К НАСЛЕДИЮ СИМВОЛИЗМА

The article analyzes a number of poems by Acmeists, representative for the philosophical and aesthetic foundations and poetics of this movement in the Russian poetry of the Silver Age. The research attention is focused on reception dynamics, in particular, the legacy of symbolism, by the poets of the acmeistic direction. Acmeism in the study is interpreted, first of all, as post-symbolism: philosophical-aesthetic and purely artistic achievements of the older poetic movement of Symbolists became a foundation for their own artistic achievements. The Acmeists’ break up with the Symbolists was never absolute. The declared opposition to Symbolism left great opportunities for attraction and reliance on previous practicies and their direct use in the process of cultural and artistic transmission. Creative strategies of Symbolism have always continued to exist within the frame of the Acmeists’ activity, and since the 1920s sometimes they even determined the nature of their art. The article analyzes in detail the selected poems by A. Akhmatova, N. Gumilev, G. Ivanov, and G. Adamovich. In the article it is established that among the “younger” acmeists (G. Ivanov and G. Adamovich), compared with the older ‘Guild poets’ (N. Gumilev and A. Akhmatova), the attraction to the creative principles approved by the Symbolist poets is increasing. Representatives of the younger acmeist group can be defined as “those who overcame Acmeism” (in analogy with the well-known title of the article by V.M. Zhirmunsky “Those who overcame Symbolism”). The essence of this overcoming consists in removing the fundamental opposition of aesthetic attitudes and poetics of two movements: the symbolist impulse to the transcendent, supported by the corresponding poetic language, and the acmeistic requirement for the tangibility, convexity, material and bodily “heaviness” of the artistic image.

Transformative Art Making and Caregiving with Young Children: Motherscholarship with The Scribble Squad

Transformative Art Making and Caregiving with Young Children: Motherscholarship with The Scribble Squad

Ezra Pound and Mang Ke (??): Image, Affect, and Consumerism in Western and Chinese Modernism

"Modernist" culture is a complex constellation of cultural phenomena—the qualities of economic goods based upon desire rather than need, aesthetics and experiential values, horizons of possible ways to understand the world, and social formations—that effect and assign value to human experience. The growing imbrication of consumerism with poetics can be seen both in the poetry of the late twentieth-century Chinese poet, Mang Ke (芒克, 1950-) and Ezra Pound (1885–1972) and their respective poetic movements: menglong (朦胧; "misty" or "obscure") poetry in China in the late twentieth century and the poetry of Imagism in the early twentieth century in the West. Juxtaposing these poets and movements shows that the spirit of modernism, once caught within material, historical and economic phenomena, does not belong to any particular culture. Its conjunction of relations among things creates the conditions of sensibilities for emerging affects imbricated with new modalities of feeling, understanding, and social organization.

Kevin L. Schwartz. Remapping Persian Literary History, 1700–1900

Kevin L. Schwartz. <i>Remapping Persian Literary History, 1700–1900</i>

Anthology of Praise Poems - A Study

Poets use different strategies to deliver their poetry. While trying to explain a concept, Kavikko Abdul Rahman is one of those who not only says the meaning but also writes using strategies to arouse interest and feelings in the minds of the readers. Abdul Rahman's poetry has received the Sahitya Akademi Award for his poem "The purpose of poetry is to realize that poetry is a unique spiritual pleasure." After 1960, Abdul Rahman was a treasure to the world of poetry. He is famous for his poetic poems. His style is to hook listeners with puns. Vaanapadi worked with movement poets. He is one of those who have established a place for himself in the field of new poetry. With his poetry collection "Paal Veedhi," he has established himself as an experimental writer. He has explained the natural feelings of man through intimate poetry. Humanity fills itself in a circle. The poetry collection of Abdul Rahman's "Anthology of Praise Poems" explains that humanity is crawling here as images without content. This article seeks to examine the poems in these praise poetry collections. Abdul Rahman's poems are expressions of emotions. Based on these, he aims to highlight feelings and imaginations in his poems. Abdul Rahman's poems have little political purpose, but social consciousness is abundant in his poems.

The Rise of Yawol Poetry in Manipuri Literature

The Manipuri term yawol or ya-ol means ‘a new awakening or beginning’. It is a term primarily associated with the Manipuri insurgency movement known locally as yawol eehou. Apart from the impending political turmoil and the polarising nature of this movement, there was a passionate, phenomenal boom of literary products in the Manipuri language since the 70s issuing from this insurgency movement. Yawol poetry is both a poetic movement and a literary period, much like the Mizo literature ‘Rambuai’ and Naga literature of the ‘troubled times’. The urge to adopt a new style of writing based on lived experiences rather than some poetic fancy or nostalgia for a bygone era by the Manipuri writers, especially in poetry, coincided with the rise of the insurgency movement in the state. Names such as ‘violent literature’ or ‘blood literature’ that have characterised Manipuri literature sometimes overshadow the ‘non-violent’ yet rich poetic expressions intrinsic to the state. However, not addressing the widespread prevalence of violence and anarchy in Manipuri literature will be historically and aesthetically incorrect. In this paper, the author shall explore the rise of such a distinct poetic style adopted by scores of Manipuri poets across four decades and explain why the poetics of blood and violence have been a significant mainstay in Manipuri poetry.

Poetry at the first steps of Artificial Intelligence

This paper is about Artificial Intelligence (AI) attempts at writing poetry, usually referred to with the term “poetry generation”. Poetry generation started out from Digital Humanities, which developed out of humanities computing; nowadays, however, it is part of Computational Creativity, a field that tackles several areas of art and science. In the paper it is examined, first, why poetry was chosen among other literary genres as a field for experimentation. Mention is made to the characteristics of poetry (namely arbitrariness and absurdity) that make it fertile ground for such endeavors and also to various text- and reader-centered literary approaches that favored experimentation even by human poets. Then, a rough historic look at poetry generation is attempted, followed by a review of the methods employed, either for fun or as academic projects, along Lamb et al.’s (2017) taxonomy which distinguishes between mere poetry generation and result enhancement. Another taxonomy by Gonçalo Oliveira (2017), dividing between form and content issues in poetry generation, is also briefly presented. The results of poetry generators are evaluated as generally poor and the reasons for this failure are examined: inability of computers to understand any word as a sign with a signified, lack of general intelligence, process- (rather than output-) driven attempts, etc. Then, computer-like results from a number of human poetic movements are also presented as a juxtaposition: DADA, stream of consciousness, OuLiPo, LangPo, Flarf, blackout/erasure poetry. The equivalence between (i) human poets that are concerned more with experimentation more than with good results and (ii) computer scientists who are process-driven leads to a discussion of the characteristics of humanness, of the possibility of granting future AI personhood and of the need to see our world in terms of a new, more refined ontology.

‘The scream of a dragonfly’ or, B. Eichenbaum and Acmeism. Based on the Russkaya Molva newspaper (1912–1913)

The article examines the evolution of B. Eichenbaum’s attitude to Acmeism. The author is particularly interested in Eichenbaum’s early years as a writer and literary critic, especially in his articles that appeared in the Russkaya Molva newspaper in 1912–1913, which have only recently attracted scholarly attention. One of such articles is reprinted here for the first time. Eichenbaum’s publications are interpreted in the context of his works and hitherto unstudied content of Russkaya Molva. The negative treatment of the newspaper by Soviet historians of journalism and literature was predetermined by Lenin’s scathing criticism of the periodical. In reality, however, Orlova’s analysis proves that the newspaper had every right to call itself progressive and politically unbiased. In his polemic with Acmeists, likely guided by B. Sadovskoy, Eichenbaum sides with the latter’s assessment of the poetic movement. He contrasts Acmeists’ output with that of the French poet F. Jammes. Over time, however, Eichenbaum revises his attitude towards Acmeist poetry, especially Akhmatova’s, and later Gumilyov’s, works.

Existential Focus of Reality in “Silent Poetry”

Ukrainian literature of the 1960-80s is notable for the creative achievements of the Sixtiers, the hermeticism of Kyiv school poetry, Samvydav activity, and dissident nonconformism, which was aesthetically enriched by the poetic movement of “silent poetry”. His creative practice involved a latent rejection of the political state, which imposed its ideological criteria on the culture. Poets continued to defend the right to creative self-realization, which gave impetus to the ideological and artistic formation of “silent poetry” by the efforts of I. Zhylenko, S. Yovenko, A. Kychynskyi, V. Pidpalyi, L. Skyrda, L. Talalai, P. Movchan, D. Cherednychenko and others, whose aesthetic dominants of creativity are characterized by existential, cordo-centric and natural philosophical motives. This generation was in search of an individual manner, expressed national consciousness and recognized the autonomy of the poet and art.

"Without bargaining with your conscience": observations about the linguopoetics of N. A. Nekrasov’s lyrical poetry (to the 200th anniversary of the birth)

The article aims to reveal N. A. Nekrasov’s linguopoetic innovations which underpinned the evolution of the subsequent Russian poetry. Various lexical layers of Nekrasov’s lyrical poetry and their formation against a background of the literary Russian language dynamics in the 1850–70s are analysed. The research outlines the major poetic themes of Nekrasov’s poetry, its linguistic content, and compositional development. The paper also devotes attention to the poet’s metrics and versification (in accordance with M. L. Gasparov’s theory concerning the relationship between metre and meaning). Additionally, specific syntactic features of Nekrasov’s poems, their emotional content, and pathos are revealed. N. A. Nekrasov’s thematic, linguistic, and compositional discoveries are compared with various poetic movements in the Russian poetry at the end of the XIXth and in XXth centuries. Besides the observation of the text, lexical semantic and stylistic analysis, the research also exploits the statistical and linguochronological potential of the Russian National Corpus.

The Body’s Memory Archives in the Process of Generating an Aesthetic Movement and `Flow Experiences` for the Audience in the Production of the Performance tXc -TOXIC (after F. Richter’s play Rausch)

"The present enquiry is particularly interested in the performer’s body archiving memory while generating poetic movement on stage. The main site of investigation is a theatre-dance performance and the work engaged by the performers of tXc-TOXIC (after the Falk Richter’s play Rausch, an Insula Creative Hub production, directed by Cristian Grosu, choreographed and co-directed by me). The focal point of my argument is that, with proper and sustained body training, performers can easily incite and produce aesthetic movement after engaging the CI (contact improvisation) means of accessing movement and body memory. Keywords: (Non-toxic) body archives, aesthetic experience, embodiment, dance, performance "