All things poetic and all things verse.
This essay explores insistently practical medieval texts—works whose explicit goal is to assist their readers to make something in the world beyond the page (a book, a culinary dish, an ointment, an object) and asks if they can be said to have a poetics. Drawing on Michel de Certeau and Pierre Bourdieu’s theories of practice as well as Gérard Genette’s concepts of literariness, the article examines medieval vocabularies, medical texts, recipes, carving manuals, and several works by Geoffrey Chaucer and John Lydgate to consider the relationship of the poetic and the practical and the broad appeal of the how-to text in late medieval English literature and culture.
Feminist resistance has been crucial for Argentina’s recovery from the military dictatorship of 1976-1983. Alicia Partnoy was “disappeared” into one of hundreds of torture centers sardonically called “Little Schools.” After her release and exile to the United States, she published her poetic testimony, The Little School, with Cleis Press in 1986. This paper discusses how the literary testimony of The Little School intervenes in the misogynist pedagogy that propelled the violence of the dictatorship. Her text performs alternative modes of knowledge-building within that violent instruction. She does this by declaring herself “una mala alumna” – a “bad student” – of the school’s instruction, which demanded passivity and embodied silence. I argue that Partnoy mobilizes the metaphor of being a “bad student” of the School not only to teach about the structural and personal violence of the dictatorship, but to encourage audiences to grapple with how to safeguard resistant learning within violent instructional frameworks of classroom, public, and cultural pedagogy. To be a “bad student,” or what I call a “willful learner,” is to build resilient forms of self and community within the space of the structural and personal violence of the School where, as Partnoy writes, “professors use the lessons of torture and humiliation to teach us to lose the memories of ourselves.” I further argue that the figure of the willful learner in her text maps onto the generative possibilities of the willful reading of her text’s own audiences. Partnoy’s lesson is a timely reminder of the urgency of safeguarding willful learning within institutions built on the maintenance of white supremacy.
I teach in undergraduate Introduction to Poetry two or three times a year. I find the students get very caught up in the difference between “Open Form” and “Closed Form” poetry. Their reaction tends to be well out of proportion to the significance of the distinction. One reason is that they want to make absolute […]
Electronic literature, essentially, must be electronic and literary. Even if we cannot define the literary, we can at least recognize it, and, from recognition, we can begin to build meaning. This chapter attempts to do just that: offer readers an account of some of the contexts that suggest literature that is inherently digital and extrapolate from those contexts a poetics suited to works of this nature.
This paper provides an overview and commentary of Aristotle’s theory of poetry, of drama, and of narrative structure, as presented the Poetics. The main emphasis falls on plot structure, but we expound other important subjects dealt with in the work, such as the cognitive origins of literature, the nature of poetry, an incipient theory of media and the analysis of genres, the nature and elements of tragedy, and other subjects such as epic narrative and the structure of critical debates.
This paper presents an introductory overview of Plato’s poetics, aesthetics, and literary theory, with particular reference to his notion of mimesis, and grounding the discussion on his Theory of Ideas. It is part of a lecture series on the history of literary criticism, partly available online as HYPERCRITICA: A HYPERTEXTUAL HISTORY OF LITERARY CRITICISM. http://www.unizar.es/departamentos/filologia_inglesa/garciala/hypercritica/00.Hypercritica.html Keywords: Plato, Philosophy, Literary theory, Aesthetics, Poetics, Ideas, Representation, Mimesis
This essay explores the meaning of Kenneth Burke’s notion of the “poetic corrective” from his book _Permanence and Change_ by examining the ideas of William Carlos Williams, a lifelong friend and frequent correspondent with Burke. Williams’s poetry is also examined as a potential model for the “poetic corrective,” which I suggest is what Burke might have had in mind for his coming corrective.
A reading of Boccaccio’s poetics in the Decameron from the perspective of his interpretative strategies in the Genealogy of the Pagan Gods.
This study is premised upon my experience of translating _Ekattorer Chithi_ (Bengali title) or _Letters of 1971_ (English version of the title), an anthology of letters written by the freedom fighters of the Liberation War of Bangladesh in 1971, into English. Letters of 1971, a collection of letters, diverse as they are in meaning and implications, encompasses a myriad of issues and hence can be looked at from different perspectives in different ways. The main point of this study is to investigate the political, historical, and literary aspects of the letters written by the freedom fighters in 1971. It focuses on how they fashioned and were refashioned by the people and their social, political, and cultural milieu in which they occurred in different conjunctures of time and place. Put in other words, it will make a “thick description” of the letters in order to explore different voices and layers of significance—be they historical, political, social, cultural, gendered, generic, and the like. The study is based on an ethnographic approach called “thick description”—an interpretive approach coined and expounded by Clifford Geertz, an influential American anthropologist of the 20th century. As a heuristic theoretical tool, this method provides an opportunity to analyze the work _Letters of 1971_ under discussion from various perspectives and to evaluate political, historical, cultural, and literary issues brought up by the letter-writers.