Tras las ruinas del poema: el agotamiento lírico como clave interpretativa en Mordiendo el frío de Edwin Madrid (Crítica)

El autor interpreta el poemario Mordiendo el frío, del ecuatoriano Edwin Madrid. Lo hace a la luz de una afirmación del filósofo Alain Badiou: que el poema actual tiene solo una responsabilidad estética, ya no filosófica. Barreto afirma que Madrid muestra el deslinde entre filosofía y el poema moderno, para ello, se vale del lenguaje coloquial, el humor y la gozosa levedad sexual de Valerio, el personaje poético del libro. Según Barreto, el lenguaje poético, vacío, ya no cataliza la experiencia del sujeto: deviene en pura información. Añade que tal desconfianza en la poesía y el lenguaje líricos constituye una velada crítica a la institucionalización del género. Así, esta obra mostraría el agotamiento lírico de cierta poesía moderna. Barreto sugiere que dicho agotamiento se inserta en las condiciones globalizadas de las sociedades actuales, y que participa de la muerte de la experiencia en el sujeto moderno. Concluye que Madrid no lamenta la ruptura entre filosofía y poesía, por el contrario, busca trazar nuevas sensibilidades, signadas por la cotidianidad posmoderna.

"The Poet of Science": how scientists read their Tennyson

Tennyson’s responses to science have been thoroughly documented and discussed, but how did scientists respond to his poetry? Through examining in detail the work of three scientists who wrote at length about Tennyson--the astronomer Norman Lockyer, the physicist Oliver Lodge, and the American geologist William North Rice--it is possible to see how Tennyson went from being respected by contemporary scientists to being feted as the Poet of Science itself after his death. As a materialist, a Spiritualist, and a Darwinian Methodist respectively, Lockyer, Lodge, and Rice had very different conceptions of how science worked and what it implied about the universe, yet each looked to Tennyson and his poetry to confirm and extend his own judgements and values.

“Bad talk” made good: language variety in four Caribbean British children’s poets

This article looks at how four British-based poets born in the Caribbean exploit the rich language repertoire available to them in their work for children and young people. Following initial consideration of questions of definition and terminology, poetry collections by James Berry, John Agard, Grace Nichols and Valerie Bloom are discussed, with a focus on the interplay and creative tension between the different varieties of Caribbean creoles (“Bad Talk”) and standard English evident in their work. Variation both between the four poets’ usage and within each individual poet’s work is considered, and a trend over time towards the inclusion of fewer creole-influenced poems is noted. This and other issues, such as the labelling of the four poets’ work as ‘performance poetry��� and the nature of the poets’ contribution to British children’s literature, are considered in the conclusion.

Recensionernas retorik : Om könsroller i kulturjournalistiken

At the centre of this study lies the question if normative gender thinking affects the way poetry gets reviewed and how the reviews are written, this in relation to both the gender of the reviewer and the poet. The study crosses three academic fields; gender studies, poetry and journalism, and is based on the cultural studies theory of media affecting and even creating the world around it. The study is based on two types of analysis. One quantitative analysis based on the thematic criticism theory about detail studies that shows bigger patterns, this analysis focuses on how the poet and his/hers work are being treated in the reviews in areas such as how much space they´re given in the newspapers, how they are named by the reviewer and the tendency to quote the reviewed work.  And one qualitative analysis based on the new criticism method of close reading, that focuses on the reviewers way of writing and how that may be connected with theories of gender differences, this both connected to the gender of the reviewers and the poets. The material chosen for this study are all the reviews that were published in the same newspapers and that reviewed two specific poetry works by two specific poets chosen with great sensibility to age and career so that their difference in gender would be the most significant difference between them. The works were chosen based on year of publishing, they were supposed to be published as newly as possible and as close to each other in time as possible. The works I ended up with were Dimman av allt (2001) and Svart som silver (2008) by Bruno K. Öijer and Silverskåp (2000) and Nu försvinner vi eller ingår (2007) by Birgitta Lillpers. The results of this study show several differences in how poetry is being judged and how poetry reviews are being written are connected with the gender of the poets and the reviewer. Lillpers got 35% less space in the newspapers and Öijers poetry got quoted a lot more which confirms that female poetry often is considered as less important than the male poetry, and that men in general tends to be judged as more professional than woman. The male reviewers tended to express themselves with greater certainty than the female reviewers who held a more professional tone in their reviews and focused more on the technical aspects of the poetry. This confirms the theory of the male words are being looked upon as the truth but contradicts the theory of women writing more based on personal experience and of women being less skilled in language techniques. In conclusion, there are differences in how poetry gets reviewed and how the reviews are written that are connected to the genders of the poet and the reviewer but these differences are complex and does not show a clear normative way of thinking about gender

Inside the outside

Inside the Outside is a three screen, gesture and sound poetry performance. It extends the concerns of Traum A Dream (Australia 2003) into the immediacy of the performance situation. Traum A Dream has been described as "A representation of traumatised space, depicting a person who is consumed by a body of pain" and enlists the strategies of Direct Cinema, punk and Artaud's 'cruel' performance.

Plagiarism

Plagiarism, a multi-screen film and sound poetry presentation addressing issues of traumatic effect/affect.

Celebrating difference

This thesis examines short fiction and some poetry by writers from four different Australian cultural communities, the Indigenous community, and the Jewish, Chinese and Middle-Eastern communities. I have chosen to study the most recent short fiction available from a selection of writing which originates from each culture. In the chapters on Chinese-Australian and Middle-Eastern Australian fiction I have examined some poetry if it contributes to the subject matter under discussion. In this study I show how the short story form is used as a platform for these writers to express views on their own cultures and on their identity within Australian society. Through a close examination of texts this study reveals the strategies by which many of these narratives provide an imaginative literary challenge to Anglo-Celtic cultural dominance, a challenge which contributes to the political nature of this writing and the shifting nature of the short story genre. This study shows that by celebrating difference these narratives can act as a site of resistance and show a capacity to reflect and instigate cultural change. This thesis examines the process by which these narratives create a dialogue between cultures and address the problems inherent in diverse cultural communities living together.

The letter S

In 'The Letter S' Paul Carter overlays a number of parallel journeys. A group of actors meet with a young playwright to work on a his new play: theirs is an artistic journey. The playwright's father wrote a radio play which they listen to: it is Memory As Desire about the journey in search of the inland sea, and the mutual incomprehension of indigenous and European cultures. His new play is based on the Odyssey and in particular the relationship between father and son: the son searching for the lost father. Just as the search for the inland sea is ill-fated, so to the cast of actors conclude that their search for a new theatre is futile. The indigenous people had no letter 'S', leading to misunderstanding. The explorers failed to listen to the land. The characters in the version of the Odyssey are washed away in a sea of sibilants. This is a work packed full of ideas, puns, and concrete poetry propelled by desire and loss, but also hope.

Flusser's death rattle

A live film performance using magnificent 16mm featuring Dirk De Bruyn in person. Can an image be sonic and ephemeral in the digital age? Live 3-screen film projection, shadow-play and sound poetry plumbing 35 years of experimental film practice, laying bare those processes of graffiti production splattered across the alleyways and railway lines of the planet’s inner cities but whose performance threatens to become completely hidden inside the computer. Images scratched, dyed, bleached and redrawn by hand are brought together to immerse the audience in an aural-visual rant. Does the analogue answer back to the digital media explosion or merely succumb in an angry death rattle of lost causes? Rev presents a rare opportunity to see one of Australia’s most important experimental filmmakers presenting a unique expanded cinema event.

Review short: Cath Keneally's eaten cold

In The Sacred Wood: Essays on Poetry and Criticism, T. S. Eliot famously wrote, ‘Immature poets imitate; mature poets steal; bad poets deface what they take, and good poets make it into something better, or at least something different.’ Cath Kenneally’s eaten cold offers a chain of indelible response-poems to New Zealand poet Janet Charman’s book, cold snack. In Kenneally’s collection, ‘Meanings perpetually eingeschachtelt into meanings’, creating new and original poetry that riffs off Charman’s book without ‘imitating’ or ‘defacing’ it.

Give back peace that will never end: Hibakusha poets as public intellectuals

US censorship of public discussion of the bombings during the Allied Occupation of Japan ensured that the Japanese public knew little about the human consequences of the atomic bombing of Hiroshima and Nagasaki. When hibakusha poets seek a public audience for their poetry, their experiences make them potentially powerful public intellectuals. As Noam Chomsky has observed, the most effective public intellectuals are dissidents who act from the margins. Tōge Sankichi and Kurihara Sadako became activists and their poetry offers a powerful and rousing response to the atomic bombing and lobbies for nuclear disarmament. The simplicity and accessibility of these poems is essential to the public dissemination of their message and Kurihara’s and Tōge’s identification as public intellectuals. This article examines the ways in which hibakusha poets can be recognised as public intellectuals when they seek public audiences for their work. Discussion hinges on a number of considerations centred on public intellectualism, trauma and the uses of language.

A performance do suicídio em Ariel, de Sylvia Plath

This dissertation aims at investigating the book Ariel (1965), written by Sylvia Plath, as a kind of performative and ritual poetry that fragments and reconstructs the personal experience, manipulating the memory of the autobiographical body as a way to rehearse and restore subjectivity. We propose that, in Ariel, the hyperbolic, transcendent and parodic transfiguration of real episodes, used as literary substance, corrupts and subverts the specular idea of a confessional truth usually related to the writer s work. Our objective is to examine signs of confluence between Sylvia Plath s poetry and performance art, departing from de idea that the spectacularization of the self, the exhibition of private rituals, the theatricalization of autobiographical circumstances and the undressing of one s craziness and vulnerability are mutual procedures to the poet and the perfomer. Simultaneously unfolding between the inside and the outside of the poem, Sylvia Plath s real suicide and the death and rebirth rituals performed in the literary text appear as symbolic elements that might reveal the performer s liminal space, where reality and representation coexist, and where the performative testimony does not frame only the real subject s body but also his/her infinite possibilities of being restored through art.