A Poetics of Place: The Poetry of Ralph Gustafson

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For cost savings, you can change your plan at any time online in the “Settings & Account” section. If you’d like to retain your premium access and save 20%, you can opt to pay annually at the end of the trial. Paul Hills (Courtauld Institute of Art): The Poetics of Place in the Paintings of Giovanni Bellini, with a Coda on David Jones Elizabeth Rainsford-McMahon: The Crafting of ‘Still-Points’ in Thomas Merton’s Journalistic Writing

Lexi Eikelboom: Art-Making as Spiritual Place-Making: A Search for Parallels between Art and Liturgy A comparative example of meta-structural poetics that underline a phenomenology of transformation can be found in Hillman, B. (2001). Cascadia, Middletown, CT: Wesleyan University Press. Oswald uses marginalia quite differently in ‘Five Fables of a Length of Flesh in Woods etc (2005).Rhetoric, and above all, the Poetics, had an immense effect on literary theory after the Renaissance. In the ancient world, Aristotelian doctrine was known mainly through the works of his successor Theophrastus ( c. 372–288/287), now lost except for two books on plants and a famous collection of 30 Characters, sketches… Read More discussed by Aristotle in the Poetics as an essential part of the plot of a tragedy, although anagnorisis occurs in comedy, epic, and, at a later date, the novel as well. Anagnorisis usually involves revelation of the true identity of persons previously unknown, as when a father recognizes a stranger… Read More The Poetics of Space ( French: La Poétique de l'Espace) is a 1958 book about architecture by the French philosopher Gaston Bachelard. The book is considered an important work about art. Commentators have compared Bachelard's views to those of the philosopher Martin Heidegger. A lot of place poems are about bucolic and natural places. They have a tone of what might be described as enduring rural felicity. Contemporary poets, including Cresswell, take a more inclusive view of the modern world with all its comforts and challenges. When C.D.Wright was asked about her sense of place, she replied that it is phrase that she feels is “quite drained of significance,” but she nevertheless writes about actual places because they are “so real”

Joaquín Cruz Lamas: Indigenous Cosmology and Roman Catholicism in the Convent of San Gabriel Cholula Hina Khalid: Participating in the Divine Playfulness: The Theological Aesthetics of Rabindranath Tagore (1861-1941) Tom Duggan: The Insufficiency of Secular-Minded Aesthetics in Understanding the Music of Sir James MacMillanon a misunderstanding of Aristotle’s Poetics, in which the philosopher attempted to give a critical definition of the nature of tragedy. The new theory was first put into dramatic practice in Jean Mairet’s Sophonisbe (1634), a tragedy that enjoyed considerable success. Corneille, not directly involved in the call for regular… Read More Bachelard also discusses psychoanalysis and the work of the psychiatrist Carl Jung. Comparing the psychoanalytic and phenomenological approaches to his subject matter, he sees merit in both, but finds the phenomenological approach preferable. [2] Publication history [ edit ] Charles Howell: Spatial Absence in Gordon Matta-Clark: The Dialectic of Presence and Absence and the Aesthetics of Revelation Cresswell, Timothy 2015, Topo-poetics: Poetry and Place, Royal Holloway University of London, Doctoral Thesis in English-Creative Writing, at https://pure.royalholloway.ac.uk/portal/files/25313757/Complete_poems.2015.final_signed.pdf Owen Sheers in his essay “Poetry and Place: some personal reflections” suggests that: “A poem like landscape, situates us by translating the abstract world of thought and feeling into a physical language.” His essay is illustrated with photos of Welsh mountains, so by “physical language” I think he means a language that responds to the carefully observed characteristics of a particular place yet makes imaginative connections with broader feelings and ideas.

The Poetics of Space was first published by Presses Universitaires de France in 1958. In 1964, the Orion Press, Inc. published the book, with a foreword by the philosopher Étienne Gilson, in an English translation by the writer Maria Jolas. Beacon Press republished the work in English in 1969. In 1994, it republished it in a new edition with an added foreword by the historian John R. Stilgoe. [3] [4] [5] In 2014, Penguin Books published an edition with a foreword by the novelist Mark Z. Danielewski and an introduction by the philosopher Richard Kearney. [6] [7] [8] Reception [ edit ] Amanda Ralph was described by the late poet and artist Adrian Henri as ‘The Poet of the Discarded’– a phrase which has been used extensively to describe her work in newspaper articles and magazines, including Art Review. She is an installation artist whose practice is concerned with finding ‘ready-made art’ within the everyday landscape. Her meticulously arranged assemblages suggest new readings of familiar objects, offering a respectful nod to the past, yet grounding the viewer in the present moment. Neither Tintern Abbey nor the River Wye is mentioned except in the poem’s title, yet Wordsworth’s descriptions of “steep and lofty cliffs,” “plots of cottage ground,” “hedge-rows, hardly hedge-rows, little lines/ of sportive wood run wild,” and “pastoral farms,” evoke the specific character of the Wye valley and make it recognizable even to those who may not be familiar with it. This poem, like many poems of place, is in other words, communicates intersubjectively; it is simultaneously about somewhere particular and has a widely shared resonance.The phrases are Ralph Waldo Emerson’s; see Bristow, T. (2006). Contracted to an Eye-Quiet World: Poetics of Place in Alice Oswald and William Carlos Williams, Symbiosis: A Journal of Anglo American Literary Relations, 10(2), 167–185; the British tradition is clarified by Haughton, H. (2013, 24 May). Water Worlds: Poets’ Rivers from Thomas Warton to Alice Oswald, Times Literary Supplement, 13–15. Pope, Alexander, 1731 Epistles to Various Persons: Epistle IV Of the Use of Riches, to Richard Boyle, Earl of Burlington. Dave Nelson’s paintings are layered with material. With inspection it is possible to see how every mark is made, every piece assembled. Natural and organic overlaying of structure and form – marks, scrapings, symbols, colour and collage building on the panels. Kearney, Richard (2014). "Introduction". The Poetics of Space. New York: Penguin Books. ISBN 978-0-14-310752-1. Kathryn Wills: Yves Bonnefoy, W.B. Yeats and the transubstantiation of the Protestant word into Catholic présence

It follows, I think, that good poetry of place sees significance in things and landscapes to which most of us would pay scant attention, and embodies the imagination needed to draw unexpected associations that amplify this significance. Here’s a brief example from Wallace Stevens’ “Anecdote of the Jar” (quoted by Tim Cresswell in his thesis on topo-poetics): Jung’s work begins with a particular way of observing the external world. She is interested in planetary rhythms – the cycles of life and death. Her exhibited body of work is based on themes related to Monday, or ‘day of the moon,’ such as the cycle of the seasons, tide and female fertility. Jung’s work conjures a sense of journey, longing and rhythm based on the Moon-day. Moon is a symbol present in many of Jung’s works – in the concrete slabs of the ‘Mooned Noon’ and in the photographic piece ‘Spooning the Waxing Moon’ where the artist holds a spoon up to the moon as if eclipsing it in front of the camera. His Poetics (the surviving fragment of which is limited to an analysis of tragedy and epic poetry) has sometimes been dismissed as a recipe book for the writing of potboilers. Certainly, Aristotle is primarily interested in the theoretical construction of tragedy, much as an architect might… Read More Skinner’s outline suggests that one might briefly consider here historic ideas relating to quests, investigations, and representation. Before the deployment of the term atlas for a collection of maps, the Dutch and Spanish colonialists used to speak of the “speculum.” The Latin word for mirror was replaced by the name of the mythical Greek Titan who supposedly supported the heavens on his shoulders. That shift was paralleled by the move from the medieval conception of a fixed, unchanging, and hierarchical vision of the planet and of a closed circle of civilization with a vertical sense of infinity to a new model offered by Renaissance thought. In 16th-century Europe, during the so-called Age of Discovery, the sea and the land dominated the European worldview as intellectuals began to abandon spiritual parameters and models of knowledge; in short, the round Earth, as an icon, became every bit as important as the Cross (as a symbol of salvation) or Heaven (as the seat of God). Since the 1960s the world’s peoples have become familiar with a new icon and worldview: the blue planet viewed from space. This object is often seen as beautiful and unique—but also as limited (in terms of resources), fragile, and endangered. Our new maps, methods of orientation, and types of “navigation” seek to investigate this newly reconceptualized Earth, envisioned nowadays as a planet that is the very mirror image of ourselves. Ecopoetics embodies the scientific quest as also a spiritual quest to find the most resonant images and icons to create those moments in poetry where the constructions of verse and the reflections on nature, combined, herald a secular and ecological revelation. Ann Marie Jakubowski: The Believer as Aesthete: Conversion and Convention in Oscar Wilde’s De ProfundisDanielewski, Mark Z. (2014). "Foreword". The Poetics of Space. New York: Penguin Books. ISBN 978-0-14-310752-1. The explicit presentation of fragmentation and reified conceptions of both human subjectivity and natural forces in this chapter relates to the distinctive problems identified by German critical philosophy and its attempt to establish a rational system based on ‘things in themselves’, which developed the idea ‘that thought could only grasp what it itself had created’. Jones, G. S. (1977). The Marxism of the Early Lukács, in Western Marxism: A Critical Reader (pp. 11–60), London: Verso. To move beyond this paradigm of the mastery of the world conceived as ‘self-created’ is the premise of deconstructive ecopoetics; to replay the ideal subject-object relation foreshadowed in Kant, Fichte, Schiller and Schelling is to animate the mind that ‘found itself trapped in an irresoluble antinomy: the ever-fixed gulf between the phenomenal world of necessity and the noumenal world of freedom (ibid., 15). bell hooks, a well-known poet and writer who grew up in a remote area of Appalachia about which she has written several books, says simply that her identity is firmly rooted in a place that is no longer whole. Poets of place, at least those who combine careful observation with imaginative insights, do not merely celebrate place. They recognize that all places offer comforts and challenges and that these are constantly shifting. by French classicists from Aristotle’s Poetics; they require a play to have a single action represented as occurring in a single place and within the course of a day. These principles were called, respectively, unity of action, unity of place, and unity of time. Read More