Emergent-Emerging Writing An essay written by Paul Valéry is titled "Le Situation de Baudelaire," translated in the Collected English Works as "The Place of Baudelaire." Our translators may have taken liberties here, for if Valéry wanted to say "place" would he not have said "lieu" or "endroit"? "Place" comes via Middle English and Middle French alike from Latin "platea," a street or courtyard, whereas both the English and French "situation" are straight from Latin "situ," place. Why this detour through etymology, which seems either way to take us back to, or puts us back in, place? Because in talking about place(less Place) I want to think less about place as location and more about place as situation, placement, a manner or posture, a stand or a way of situating oneself in a place. In some ways it will be impossible for me to avoid place-as-location altogether, since I am ultimately concerned about the place of contemporary poetry, what takes place there and how I place myself in relation to it. But a place(less place) is for me less a place without place, or a place that is nowhere, a no-place or utopia; rather, a place less place, place with its placeness subtracted and leaving as the remainder: a situation, a situating. This then would be the place of contemporary poetry, its situation. But to speak of contemporary poetry is already to demarcate too vast a place. You have to give this situation more specificity, but the proper vocabulary escapes me. The term "avant-garde" seems presumptuous if not anachronistic; "experimental" writing, all writing is experimental; "linguistically innovative" risks eliding visual, semantic, and other material and perceptual innovations; post-so-called-language writing, with all the requisite and multiply-embedded scare quotes that would require so much qualification as to foreclose other more fruitful discussion... Perhaps then it's best, given the historical specificity our conference organizers have chosen, to talk about emergent and emerging writers. In an essay entitled "Emerging Avant-Garde Poetries and the Post-Language Crisis" (which, as you may gather by the title and from what I have already said, I have some problems with), Mark Wallace uses the word "emerging" exclusively. I prefer to use "emergent" and "emerging" together because the former has a feel of facticity, of accomplishment to it, while still also carrying the sense of "continuing emergence" that the latter is more limited to.
Appeal to emotions, individualism, and intellectual achievement were three important elements of Romanticism. This essay will explore the degree to which Cyrano de Bergerac exemplifies these elements of Romanticism.
"A place or situation . . . " is the definition mostly used in the play's plot. The change of the village is shown when Danforth states that ". . . a person is either with this court or he must be counted against it, there be no road between. This is a sharp time, now, a precise time--we live no longer in the dusky afternoon when evil mixed itself with good and befuddled the world."(94). This comment shows that the village has indeed gone through a change and that good and evil are, from this point forward, seen as black and white. There is a distinct separation
ballads and poems, a few have risen to the fore front of the genre as an
Both Romantics and Modernists felt loss of authority, either from man or man's religious following. Poetry changed what it focused on as those figures lost respect or importance in the public's lives. I believe Yeats sums up my point partially in lines 19 and 20, "That twenty centuries of stony sleep/ Were vexed to nightmare by a rocking cradle.
Seduction, as well as some other terms, has been an important chapter for Beaudrillard’s theory of sexuality. Beadrillars was applying/using/ these terms in order to expand his analysis on the contemporary culture. Within his studies, he examines and identifies the attributes, strategies and meaning of seduction, the act of diverting from one’s path and its fatal attraction.
...h of writing styles from Emily Dickinson and Walt Whitman, poetry would never be where it is today.
Poets wanted to be known for their unique style and way of writing, giving themselves more of an edge over other poets, to stand out. That is what the Modernism era was all about, poets giving their work more of themselves. Robert Hayden wrote most...
One particularly useful cross-disciplinary element employed in concrete poetry is the use of space. The poetry of Emmett Williams, Seiichi Nikuni, and Ilse and Pierre Garnier in particular, make use of spatial relationships in their poetry. The use of space can be employed in place of traditional grammar and syntax to convey meaning in concrete poetry, particularly when the spatial position of one element is taken into consideration with other elements of the poem. Another element that may arise from these spatial relationships is a temporal aspect that all poetry employs, but which becomes uniquely meaningful in the context of the concrete poetry of the twentieth century. Without these relationships concrete poems may appear as crude distortions of words on a page, with no significant sense or meaning to communicate. Therefore, the temporal/spatial relationships between poetic elements become necessary tools which the reader needs in order to fully understand the linguistically driven meaning behind many concrete poems.
In Madness and Civilization, Michel Foucault discuses the history of insanity in Europe from the sixteenth to the nineteenth century. He begins his analysis with the treatment of the lepers and criminals concluding with the treatment of the insane. As “madness” became part of everyday life, people of the time were though to be threatened by “madness”. This sense of threat resulted in the hiding of the “mad” in early day asylum or “mad house”, whose conditions were inhumane. As medicine evolved, and the conditions of the “mad” worsened; There was a distinction made between medicine and reason. Not all that were housed in these “mad houses” were mad. Some indeed were insane, but others were sick and their disease were contagious. However, both were unhealthy and had to be separated from society.
The term “place” holds much deeper meaning than plainly being an area in space. A “place” is where one belongs to and feels comfortable, where stories and memories are made for people. However, there is still a lot to explore about what makes a place a “place,” and until an undisputed agreement is reached on what a “place” means, there should not be any definite answer to what defines a
A famous poet once said, " I would define, in brief, the poetry of words as the rhythmical creation of beauty." That famous poet was known as Edgar Allan Poe and he is seen as one of the most significant writers from the romanticism era. If you think about it, Poe was right. Poetry is a creation of beauty that one reads with the heart instead of their eyes. It allows you to express yourself and inspire others. poetry is everywhere, It’s the lyrics on the radio and the plot to your favorite movie. If you have never written a poem before, then you have not lived the life from a true literary perspective. Perhaps you just don 't understand the values of writing or maybe you aren 't able to express your thoughts into words, so I 'm going to show you how you can overcome these obstacles.
Additionally, poetry is not only about human feeling, but also the art of diction. Samuel Taylor Coleridge proposes poetry as the most beautiful words (Fadila: 2011). Definitely, in order to get a beautiful literary work the author composes and arranges the words as good as possible. Carlyle defines poetry as musical thoughts (Fadila: 2011). So, the author creates the poem by selecting melodious sounds as the music in his poem. In addition, Dunton present the definition of poetry as human thought concretely and artistically in emotional and rhythmical language (Fadila: 2011). Typically, poetry is composed for revealing something special through artistic ways.
There are those people who I like to call traditionalist, the ones who believe that things must be done a certain all the time without change or revision. Then there are those who I like to call modernist, the ones that like to change and find new ways. When it comes to poetry there is no such thing. Khalil Gibran says, “Poetry is a deal of joy and pain and wonder, with a dash of dictionary.” I say poetry is just a sequence of twenty six letters formed together to make words and those words put together in a sequence to get a reaction from a reader. This solidifies that all poetry has the same goal of rousing the reader, however there are many different approaches of how to reach that goal. To demonstrate there are three well known authors: Marianne Moore, Archibald MacLeish, and Wallace Stevens. There writing styles being: Stevens who reflects the influence of symbolist literary movement, MacLeish follows the Modernist (experimental), and Moore writes like a Modernist but focuses more on animals and nature.
Henry Wadsworth Longfellow, Emily Dickinson, and Walt Whitman all use different varieties of themes, mood, structure and literary devices throughout their poetry. Poetry uses aesthetic and rhythmic qualities of language. Poetry has been around for years, even back in the early 1900’s.
Everyone loves a good song. Whether it be new or old, there are different people who have their preferences on what kind of song they like. Does this same observation go along with poetry as well? Many young people like the genre of music called rap. Rap is actually an acronym for “Rhythm and Poetry”. There is also the man named Shakespeare, who wrote plays for entertainment. However, just like how older people would not come to like and appreciate rap music, it is hard for younger people to come to appreciate literature. Smith describes this as “the quotations and snippets from letters, histories, ballads, and propaganda that cut across the poetry are retained in the new compilation, and the overall effect suggests a modernist symphony.” (Smith) There are going to be people who complain about how poetry has changed. Woolf makes the argument that the new and ever evolving poetry is