What is the ocean’s role in human and planetary history? How have writers, sailors, painters, scientists, historians, and philosophers from across time and space poetically envisioned the oceans and depicted human entanglements with the sea? In order to answer these questions, Søren Frank covers an impressive range of material in A Poetic History of the Oceans: Greek, Roman and Biblical texts, an Icelandic Saga, Shakespearean drama, Jens Munk’s logbook, 19th century-writers such as James Fenimore Cooper, Herman Melville, Jules Michelet, Victor Hugo, Jules Verne, Jonas Lie, and Joseph Conrad as well as their 20th and 21st century-heirs like J. G. Ballard, Jens Bjørneboe, and Siri Ranva Hjelm Jacobsen. A Poetic History of the Oceans promotes what Frank labels an amphibian comparative literature and mobilises recent theoretical concepts and methodological developments in Blue Humanities, Blue Ecology, and New Materialism to shed new light on well-known texts and introduce readers to important, but lesser-known Scandinavian literary engagements with the sea.

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Roland Barthes's consideration of the drawings of New York artist Saul Steinberg — originally an artist book posthumously published in France in 1983 — is historically important as one of the last remaining books in Barthes's oeuvre to be translated into English. all except you continues Barthes's inquiries into image–text relations, specifically the indiscernible horizon where writing meets drawing, one becoming the other. In his attempt to blur these registers, he produces less a critique than a translation, an attempt to merge author and artist, to see himself and his desire in the work of Steinberg, using the resources of structural linguistics and psychoanalysis. The impertinence of his critique mimics the deformations of Steinberg's drawings that are ""sassy, deformed by the look on high, stretched, excessively crunched."" We become suspicious that Barthes is writing more into Steinberg than Steinberg holds, or even that Steinberg is an alibi for some other aim that is withheld. Joe Milutis's translation takes the opportunity of a running commentary, in the form of translator's notes, to amplify Barthes's impertinent reading and authorial one-upmanship by speculating on the presumed failures and detoured transferences of the text. Since Barthes is less concerned with writing about art than writing through it, Milutis's "double session" perhaps provides the most faithful translation of the Barthesian eros in his write-through of the write-through.

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„Anthologisches Schreiben“ untersucht, wie Hugo von Hofmannsthal, Walter Benjamin und Rudolf Borchardt ihre schriftstellerische Praxis als Traditionspolitik begreifen und modellieren. Die Analyse zeichnet die mind map bürgerlich-männlicher literarischer Intelligenz, ihrer Denkstile, Arbeitsweisen und Kommunikationsformen kritisch nach. Die Anthologie und das anthologische Schreiben werden dabei als widersprüchliches ästhetisches Modell gedeutet, das im Zuge der massiven Transformationen des 1. Weltkriegs intellektuelle Freiräume zugleich vor vermeintlichen Zumutungen des Politischen bewahrt und die Kehrseite dieser Freiräume befragt: Wie haben Hofmannsthal, Benjamin und Borchardt literaturhistorisch begründete Identitäten für ihr Hier und Jetzt eingesetzt und genutzt?

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Chinese Poetry in Times of Mind, Mayhem and Money is a groundbreaking study covering a range of contemporary authors and issues, from Haizi to Yin Lichuan and from poetic rhythm to exile-bashing. Its rigorous scholarship, literary sensitivity and lively style make it eminently fit for classroom use.

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This volume gathers Alessandro De Francesco’s essays and theoretical writings produced from 2015 to 2022. It follows the first volume Continuum: Writings on Poetry as Artistic Practice, reuniting essays written between 2007 and 2015. The title of this new volume could only be Continuum 2, given that the underlying concept remains the same: to testify to the seamless continuity of the author’s commitment to poetry and art over the years, and to reaffirm at the same time, on a theoretical level, a model of creation and thinking as a continuous flow, not discretized, not quantized, but organic, liquid, without end or beginning; a kind of linguistic translation of the space-time in which every text, like every other object, is necessarily immersed. Continuum 2 is a trilingual book, containing writings in English, French, and Italian, and it is particularly focused on two lines of inquiry: the author’s ongoing meditation on the poetic practice, and the first steps of his new investigation into seventeenth-century art, poetry, and forms of thought.

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Seit Beginn des 21. Jahrhunderts greifen viele Autor*innen auf Weblogs zurück, um über ihr Leben und ihre schriftstellerische Arbeit zu berichten und sich im Literaturbetrieb zu positionieren. Diese literarischen Blogs werden zudem oft als gedruckte Bücher publiziert, wodurch ein Wechsel des Mediums stattfindet. Marcella Fassio fokussiert die Praktiken, Poetiken und Autorschaftsentwürfe deutschsprachiger literarischer Weblogs und geht der Frage nach, inwieweit diese als Genre und Subjektivierungspraktik gefasst werden können. Mit der Verknüpfung von gattungstheoretischen und praxistheoretischen Ansätzen erschließt sie damit erstmals literarische Weblogs in einer breiten vergleichenden Analyse.

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Die literarische Beschreibung zeigt sich als eines der zentralen Elemente spätantiker Dichtung. Sie dient dabei insofern in einer Doppelrolle, als sie in einem Wechselspiel sowohl der Repräsentation multisensorischer Wahrnehmungen als auch der Durchbrechung der durch sie erzeugten Illusion durch metapoetische Diskurse zuarbeitet.

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Literary description emerges as one of the central elements of late antique poetry. It serves a dual role in that it interacts both to represent multisensory perceptions and to break through the illusion it creates through metapoetic discourse. This self-referentiality makes the late antique descriptive a space of intense literary communication between poet and readership in different genres and contexts. This study systematically examines the textual strategies of description in selected works by the poets Claudian, Prudence and Ausonius, who were active between the late 4th and early 5th centuries. The texts are analysed with regard to ancient conceptualisations of descriptio and with the help of modern models of literary and cultural studies. The texts show both a continuation and an intensification of already existing traditions, which are expressed in a productive use of intertexts, a complex mediality and a textual world that plays with distance and proximity.

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Das Marginale ist ein immanenter Bestandteil der Lebenswirklichkeit. W.G. Sebald und Orhan Pamuk widmen sich ihm in ihrer Prosa auf vielfältige Weise: Randfiguren, politische und geografische Peripherien, eine verdrängte Vergangenheit sowie marginale Objekte wie Ruinen, Verfallenes und scheinbar wertlose Gegenstände sind wesentlicher Gegenstand ihrer Werke. Ersin Münüklü eruiert ihre emphatische Auseinandersetzung mit dem Marginalen als ein poetologisches Prinzip ihrer Erzählungen. Das Marginale wird hier mit Sinnhaftigkeit besetzt und erscheint als ein in ethisch-ästhetischer Hinsicht wertvolles Erkenntnismodell: eine Poetik des Marginalen.

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This volume draws together a diverse array of scholars from across the humanities to formulate and address the question of “ethics and literary practice” for a new decade. In taking up a conjunction whose terms remain productively open to question, fifteen essays survey a range of approaches and topics including genre and disciplinary rhetoric, emergence theory and literary signification, the ethics of alterity, of attention, and of aesthetics, the decolonial and the paracritical, neorealism and contingency, analogy and affect, scripture and national literature. From Seamus Heaney to Hannah Arendt, Teresa Brennan to Stanley Cavell, Ronit Matalon to Édouard Glissant, Uwe Timm to Katherena Vermette, Notes for Echo Lake to the Gospel of St. Matthew, these contributions demonstrate how broadly and fruitfully ramifying its organizing inquiry can be. Bringing such multifarious perspectives to the topic feels only more urgent as language, meaning, and expression enter the crucible of a “post-truth” era.

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Recent decades have brought to light the staggering ubiquity of human activity upon Earth and the startling fragility of our planet and its life systems. This is so momentous that many scientists and scholars now argue that we have left the relative climactic stability of the Holocene and have entered a new geological epoch known as the Anthropocene. This emerging epoch may prompt us not only to reconsider our understanding of Earth systems, but also to reimagine ourselves and what it means to be human. How does the Earth’s precarious state reveal our own? How does this vulnerable condition prompt new ways of thinking and being? The essays that are part of this collection consider how the transformative thinking demanded by our vulnerability inspires us to reconceive our place in the cosmos, alongside each other and, potentially, before God. Who are we “after” (the concept of) the Anthropocene? What forms of thought and structures of feeling might attend us in this state? How might we determine our values and to what do we orient our hopes? Faith, a conceptual apparatus for engaging the unseen, helps us weigh the implications of this massive, but in some ways, mysterious, force on the lives we lead; faith helps us visualize what it means to exist in this new and still emergent reality.

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This book examines the notion of storytelling in videogames. This topic allows new perspectives on the enduring problem of narrative in digital games, while also opening up different avenues of inquiry. The collection looks at storytelling in games from many perspectives. Topics include the remediation of Conrad’s Heart of Darkness in games such as Spec Ops: The Line; the storytelling similarities in Twin Peaks and Deadly Premonition, a new concept of ‘choice poetics’; the esthetics of Alien films and games, and a new theoretical overview of early game studies on narrative

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In their continual attempt to transcend what they perceived as the superficiality, commercialism, and precariousness of life in post-World War II America, the Beat writers turned to the classical authors who provided, on the one hand, a discourse of sublimity to help them articulate their desire for a purity of experience, and, on the other, a venerable literary heritage.This volume examines for the first time the intersections between the Beat writers and the Greco-Roman literary tradition. Many of the “Beats” were university-trained and highly conscious of their literary forebears, frequently incorporating their knowledge of Classical literature into their own avant-garde, experimental practice. The interactions between writers who fashioned themselves as new and iconoclastic, and a venerable literary tradition often seen as conservative and culturally hegemonic, produced fascinating tensions and paradoxes, which are explored here by a diverse group of contributors.

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Aristotle’s neat compartmentalization notwithstanding (Poetics, ch. 9), historians and playwrights have both been laying claim to representations of the past – arguably since Antiquity, but certainly since the Renaissance. At a time when narratology challenges historiographers to differentiate their “emplotments” (White) from literary inventions, this thirteen-essay collection takes a fresh look at the production of historico-political knowledge in literature and the intricacies of reality and fiction. Written by experts who teach in Germany, Austria, Russia, and the United States, the articles provide a thorough interpretation of early modern drama (with a view to classical times and the 19th century) as an ideological platform that is as open to royal self-fashioning and soteriology as it is to travestying and subverting the means and ends of historical interpretation. The comparative analysis of metapoetic and historiosophic aspects also sheds light on drama as a transnational phenomenon, demonstrating the importance of the cultural net that links the multifaceted textual examples from France, Russia, England, Italy, and the Netherlands.

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"What do we do when we read? Reading can be an act of consumption or an act of creation. Our “work reading” overlaps with our “pleasure reading,” and yet these two modes of reading engage with different parts of the self. It is sometimes passive, sometimes active, and can even be an embodied form. The contributors to this volume share their own histories of reading in order to reveal the shared pleasure that lies in this most solitary of acts – which is also, paradoxically, the act of most complete plenitude. Many of the contributors engage in academic writing, and several publish in other genres, including poetry and fiction; some contributors maintain an active online presence. All are engaged with reading’s capacity to stimulate and excite as well as to frustrate and confuse. The synergies and tensions of online reading and print reading animate these thirteen contributions, generating a sense of shared community. Together, the authors open their libraries to us. This is how we read."

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Current scientific advances are reshaping our understanding of prehistory, offering unprecedented insights into the movements and kinship patterns of prehistoric populations. These new advances provide us with detailed information on several aspects of the early speakers of Indo-European and their lives. However, the prehistoric humans that we know through bones and potsherds were once real people speaking real languages and having specific beliefs, mythological tales and poetic expressions. With this book, we want to apply a multidisciplinary approach that combines historical linguistics, archaeology, and comparative religion in order to improve our understanding of the early speakers of Indo-European. The book is a collection of papers by specialists in historical linguistics, archaeology and comparative religion, each examining different facets of the early Indo-European speakers, including their language, culture, and religious practices.

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Current scientific advances are reshaping our understanding of prehistory, offering unprecedented insights into the movements and kinship patterns of prehistoric populations. These new advances provide us with detailed information on several aspects of the early speakers of Indo-European and their lives. However, the prehistoric humans that we know through bones and potsherds were once real people speaking real languages and having specific beliefs, mythological tales and poetic expressions. With this book, we want to apply a multidisciplinary approach that combines historical linguistics, archaeology, and comparative religion in order to improve our understanding of the early speakers of Indo-European. The book is a collection of papers by specialists in historical linguistics, archaeology and comparative religion, each examining different facets of the early Indo-European speakers, including their language, culture, and religious practices.

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Acta Slavica Estonica is an international series of publications on current issues of Russian and other Slavic languages, literatures and cultures. This volume This volume is devoted to the interrelations of the prominent Estonian writer Jaan Kross (1920–2007) with Russian literature and culture. It includes contributions on the poetics of some of Kross' works ("The Czar's Madman", "Professor Martens' Departure", "Michelson's Matriculation", "The Third Range of Hills", "A Hard Night for Dr. Karell") and his translations from Russian (e.g. D. Samoilov's poetry and A. Griboedov's "The Misfortune of Being Clever"). Contributors include Lea Pild, Ljubov Kisseljova, Timur Guzairov, Tatiana Stepanischeva, Dmitry Ivanov, and Maria Tamm. An appendix includes the original Russian text of the autobiography of Johann Köler, the patriarch of Estonian national art and protagonist of one of Kross' novels. So far, this text has appeared only in fragments; the full version was found in the Archive of the Institute of Russian literature in St. Petersburg and is here published, with an extensive commentary, for the first time.

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The Writer’s Poetics. Poetics as an Approach to an Author’s Body of Work is an introduction to the writer’s poetics as a distinctive research orientation, as well as a collection of case studies focusing on authors working in different eras and languages. While the 20th Century traditions of poetics have produced studies on the textual styles and techniques that characterize the writing of particular authors, the research orientation has not been explicitly defined and sufficiently theorized. The Writer’s Poetics frames the research orientation theoretically, and the 14 case studies making up the chapters demonstrate the diversity of viewpoints available within it. The contributors study authors ranging from 19th Century Finnish-Swedish female writers to 20th Century African-American novelists to postmodernist and contemporary authors of prose and lyric – and to the most successful Finnish rap artists of the 2010’s.

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The Writer’s Poetics. Poetics as an Approach to an Author’s Body of Work is an introduction to the writer’s poetics as a distinctive research orientation, as well as a collection of case studies focusing on authors working in different eras and languages. While the 20th Century traditions of poetics have produced studies on the textual styles and techniques that characterize the writing of particular authors, the research orientation has not been explicitly defined and sufficiently theorized. The Writer’s Poetics frames the research orientation theoretically, and the 14 case studies making up the chapters demonstrate the diversity of viewpoints available within it. The contributors study authors ranging from 19th Century Finnish-Swedish female writers to 20th Century African-American novelists to postmodernist and contemporary authors of prose and lyric – and to the most successful Finnish rap artists of the 2010’s.

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Ist Kunst eine Form des Handelns? Und wenn ja, in welchem Sinne? Handlungen werden häufig als praktische Verkörperung von Intentionen aufgefasst. Die Beiträge des Bandes zeigen: Von der kunstphilosophischen Tradition her lässt sich die Frage nach Kunst und Handlung sowohl mit Blick auf die Hervorbringung von Kunst als auch mit Blick auf ihre Erfahrung stellen. Kunst im Rahmen einer Poetik aufzufassen bedeutet allerdings, sie als eine Handlung zu bestimmen, der bestimmte Ziele zu eigen sind.

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The poetry collections considered can be included in the so-called neo-avant-garde aesthetic. The first part of the study is devoted to the main thematic cores of the Chilean neoliberal discourse, such as technicism, apoliticism, the weakening of the state and the freedom of the subject. At the same time, we indicate the realisations implied by such a panorama, for example through consumerism, visual culture and urban space. The phenomenological-receptive approach to the texts is directed towards the enucleation of the lyrical effects. The poetic images and lyrical resources are considered in relation to the possible implications they might have on a subject in contact with a pervasive neoliberal environment.

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A history of legal emotions in William Blackstone’s England and their relationship to justice William Blackstone’s masterpiece, Commentaries on the Laws of England (1765–1769), famously took the “ungodly jumble” of English law and transformed it into an elegant and easily transportable four-volume summary. Soon after publication, the work became an international monument not only to English law, but to universal English concepts of justice and what Blackstone called “the immutable laws of good and evil.” Most legal historians regard the Commentaries as a brilliant application of Enlightenment reasoning to English legal history. Loving Justice contends that Blackstone’s work extends beyond making sense of English law to invoke emotions such as desire, disgust, sadness, embarrassment, terror, tenderness, and happiness. By enlisting an affective aesthetics to represent English law as just, Blackstone created an evocative poetics of justice whose influence persists across the Western world. In doing so, he encouraged readers to feel as much as reason their way to justice. Ultimately, Temple argues that the Commentaries offers a complex map of our affective relationship to juridical culture, one that illuminates both individual and communal understandings of our search for justice, and is crucial for understanding both justice and injustice today.

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Marian hymns and sequences occupy a central place in the history of sacred song. Alongside Latin poetry, starting from the early Middle Ages, there were also vernacular translations, which adapted, modified, and transformed the image of Mary from their original models. The conference volume assembles a broad range of interdisciplinary papers that examine these processes of reformulation and appropriation.

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In welchem Zusammenhang steht ›das Virtuelle‹ mit Poetiken, die in der Romantik konturiert wurden? Andreas Sieß zeigt, dass sich die ästhetischen Vorstellungen dessen, was ›das Virtuelle‹ ist, nicht nur bereits um 1800 konsolidierten, sondern dass die (bild-)ästhetischen Maßstäbe, die heute grundlegend für moderne Anwendungen der Virtual Reality sind, bereits damals Gegenstand von Aushandlungen waren. Anhand der Begriffe ›Maschine‹ und ›Atmosphäre‹ verhandelt er zwei gegenläufige Stoßrichtungen des Virtuellen, deren dialektisches Spiel eine neue Perspektive auf Fragestellungen zu der Gestaltung von gegenwärtigen virtuellen Medien anbietet.

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Die monetäre Förderung von Kunst und Literatur ist seit der Antike ein fester Bestandteil kulturellen Lebens. Eine mäzenatische Poetik ist bereits im Mittelalter und vor allem im 16. bis 19. Jahrhundert in Gattungen wie Prologen, Epilogen oder Gelegenheitsgedichten präsent. Dagegen bleibt moderne Förderpolitik auf der Textebene meist unsichtbar, denn die sich als autonom verstehende Literatur weist den Anschein von Abhängigkeit entschieden zurück. Dennoch zeigen Medien- und Öffentlichkeitsarbeit, vertragliche Vorgaben und das Aushandeln von Verhältnissen zu Förderern, auf die auch in Texten rekurriert wird, eine andere Realität. In diesem komplexen Koordinatensystem von mäzenatischer Poetik und Förderpraxis macht der Band historische Entwicklungslinien und Kontinuitäten vom Mittelalter bis in die Gegenwart sichtbar. Anhand von vier exemplarischen Teilbereichen werden die vielfältigen Ausprägungen, aber auch die Bedingungen dieses spannungsreichen Verhältnisses skizziert: Beleuchtet werden Werkpolitik, Poetik und Pragmatik einerseits sowie Repräsentationsformen, Medialität und Ästhetik andererseits.

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Monografie romanisty Záviše Šumana je výsledkem jeho dlouhodobého studia raně novověké francouzské dramatické tvorby a dobové interpretace Aristotelovy Poetiky. Cenný je zejména jeho přístup teoreticko-metodologický, tj. zhodnocení korpusu teoretických a kritických textů o poetice tragédie v dobovém kontextu, a to s důrazem na co nejpřesnější analýzu dobových koncepcí a poukazem na to, že se teoretická řešení ne vždy shodovala s praxí. Dokladované texty francouzských originálů jsou uvedeny v paralelním postavení s (převážně) autorským překladem. Publikaci doplňuje informačně obsažný poznámkový aparát, rozsáhlá bibliografie, rejstřík a resumé v anglickém a francouzském jazyce.

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This Special Issue showcases poets who enhance the breadth of modernist literary practices. The cohering concept is a complex relationship to both gender and modernity through original experiments with language. Leading scholars explore writers who both fit and extend orthodox modernist histories: Marianne Moore, H.D., Edna St Vincent Millay, Dorothy Parker, Katherine Mansfield, and Charlotte Mew were born around the cusp of the twentieth century and flourished during the 1920s and 1930s; Lynette Roberts, Helen Adam and Hope Mirrlees were contemporaries but publishing or recognition came later; the next generation can include Gwendolyn Brooks, Stevie Smith and Muriel Spark; Veronica Forrest-Thomson represents a third generation who published into the 1980s, while Frances Presley and M. NourbeSe Philip hinge this group with the contemporary poets Carol Watts and Natasha Trethewey, whose works continue and rejuvenate progressive stylistics. The essays offer new readings of both well-known and unfamiliar poets. They are truly groundbreaking in plundering diverse theoretical fields in ways that disturb any lingering notions of a homogenized women’s poetry. The authors supplant into literary poetic analysis notions of geometry and mathematics, maritime materialities, tourism and taxonomy, architecture, classicism, folk art, Christianity and death, whimsy and empathy.

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In an increasingly technologized and connected world, it seems as if noise must be increasing. Noise, however, is a complicated term with a complicated history. Noise can be traced through structures of power, theories of knowledge, communication, and scientific practice, as well as through questions of art, sound, and music. Thus, rather than assume that it must be increasing, this work has focused on better understanding the various ways that noise is defined, what that noise can do, and how we can use noise as a strategically political tactic. Noise Thinks the Anthropocene is a textual experiment in noise poetics that uses the growing body of research into noise as source material. It is an experiment in that it results from indeterminate means, alternative grammar, and experimental thinking. The outcome was not predetermined. It uses noise to explain, elucidate, and evoke (akin to other poetic forms) within the textual milieu in a manner that seeks to be less determinate and more improvisational than conventional writing. Noise Thinks the Anthropocene argues that noise poetics is a necessary form for addressing political inequality, coexistence with the (nonhuman) other, the ecological crisis, and sustainability because it approaches these issues as a system of interconnected fragments and excesses and thus has the potential to reach or envision solutions in novel ways.

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Hablar de lo romántico o del romanticismo suscita el deslucido lugar común del amor, las lágrimas, la tristeza o la ternura que expresa un amante a quien ama. El otro tópico es el de los escritores del siglo XIX que encabezaron la revolución poética contra el progreso ilustrado y el progreso burgués que antes celebraban. Al margen de los sesgos frente a este movimiento literario, en el presente libro se analizan el pensamiento teórico y poético de Friedrich Hölderlin, el pensamiento poético de Novalis y el de Wilhelm Heinrich Wackenroder, quien tuvo una estrecha relación con Ludwig Tieck. Estos autores estuvieron vinculados a las temáticas del momento: la Ilustración, la filosofía de Immanuel Kant, el influjo de los dos grandes referentes del clasicismo de Weimar Johann Wolfgang von Goethe y Johann Friedrich Schiller y los acontecimientos revolucionarios de Francia. En este sentido, en el texto se realiza una interpretación de los ideales que expresaron estos escritores en su producción poética.

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My thinking is related to theology as blotting pad is related to ink. It is saturated with it. Were one to go by the blotter, however, nothing of what is written would remain.~ Walter Benjamin“No longer imminent, the End is immanent.” “Ends are ends,” Frank Kermode goes on to clarify, “only when they are not negative but frankly transfigure the events in which they were immanent.” From its imminence to its immanence, not “negative,” “no longer,” but transformative, how is “the End” in turn “transfigured”? In what may ending be said then to consist?To “the end times” of apocalypse and eschatology Giorgio Agamben, following Gianni Carchia, opposes messianism and “messianic time”—to the end of time, in a formula, the time of the end. To the writings of those for whom to philosophize is to learn how to die—from Plato to Montaigne and beyond—one may oppose, in like manner, the writings of Spinoza, who “thinks of death least of all things”—“for nature is Messianic by reason of its eternal and total passing away,” as Benjamin writes—and so in whose pages “wisdom,” transfigured, “is a meditation on life.”TABLE OF CONTENTS // PREFACE. Note Toward a Theory of the Militant — ONE. The Untranslatable: Triptych on a Sentence by Rey Chow — TWO. The Thing Itself — THREE. The Return to Philology — FOUR. The Lion and the Ball: On the Secret of Language — FIVE. Place without Description, or, Thinking with Poems — SIX. “Utopia is the very topia of things”: On Parables — POSTFACE. “To Believe in this World”: Immanence and MilitancyABOUT THE AUTHORM. Munro is the author of Theory is like a Surging Sea (punctum, 2015).

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Pindar’s Pythian Twelve is the only choral lyric epinicion in our possession composed for the winner of a non-athletic competition. Often regarded as an ode of straightforward interpretation, close analysis of the text reveals that it presents several challenges to modern readers. This book offers an updated translation of the text and an investigation of the main interpretative issues of the epinicion with the aid of historical linguistics. By identifying devices which Pindar might have inherited from earlier periods of poetic language, the study provides insights into the thematic aspects of the ode as well as on Pindar’s compositional technique.

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Poétique des frontières. Une approche transversale des littératures de langue française est un ouvrage collectif réunissant 15 contributions. À partir de l’examen des frontières, et en s’appuyant sur des approches issues des débats théoriques sur la « littérature mondiale » (World Literature), il propose une approche de l’ensemble des littératures de langue française qui a pour ambition de remédier aux apories relevées par la critique à propos de la « littérature-monde en français ».

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“Prose” refers to a largely free mode of speaking and writing that is not tethered to any normative form, and which permits a wide range of composition styles due to the openness of its content and form. In 18 chapters, this volume makes “prose” – an important but thus far insufficiently examined category of literary studies – the subject of historical, methodological, and theoretical investigations.

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In the 2011 book Dark Matter: Art and Politics in the Age of Enterprise Culture, the artist Gregory Sholette posits that we are living in an era of surplus creative energies concentrated in a teeming archive of artists, the poor, the “unskilled” and the “economically invisible.” It is a potentially disruptive archive that capitalism can’t always manage but can still hope to eventually exploit and assimilate. Within this archive seethes creative energy that can extend itself in unique and unsettling ways, across multiple categories and disciplines. Often, however such energy is captured by the winners and arbiters in our “risk society” and thereby sanitized and neutralized. So it becomes necessary for artists, theorists, writers and activists to be versatile in their tactics, cryptic and evasive in their manifestations and criminally implacable in their visions.The Iron Garters are an “art gang” that masquerades, disseminates and performs as your archetypal “criminals,” “outcasts” “mystics,” “losers” and “lunatics”: in short, a vital and necessary social surplus. Their antics have been traced back to Jean Genet’s novel The Thief’s Journal, the films of Kenneth Anger, as well as the Dada poems of Baroness Elsa and Hugo Ball. Yet still other Garters have been nourished on the Vienna Actionists, Genesis P-Orridge, Diamanda Galas, Gilles Deleuze, Samuel Delany, and the dulcet sounds of The Cramps. With a critical and aesthetic arsenal salvaged from underground “kulchurs” and academia’s collective libido, the Iron Garters are not afraid to demand excitement along with analysis, frenzy coupled to resistance, and fashion inseparable from infiltration. Founded in San Francisco on a full moon night after a “deathpunk” show, the original members grew adversely impacted by the economic invasions reducing a once great city to a tepid monoculture. Fueled by queer, antinomian, heretical and radical traditions, the Garters pilgrimaged into various trans-continental sanctuaries and beachheads, leaving behind them radiant paper trails of provocation and sedition. This volume is one such radiant paper trail.Despite its many hiatuses, the Garters archive has grown more fertile, thanks in part to its endurance in imaginary/speculative realms. Currently, the Garters are remobilizing as a “crime art collective,” with cells operating in cities most in need of “crime-art,” while also re-asserting itself as an ongoing “transmedia” project. This present archive is a small fraction of the decade’s worth of Garter experiments, epistles, stories and communiqués. In a political epoch when risk and anxiety seem to predicate our every move, and when being poor, different, “unskilled” or “a failure” (as judged by the demigods of Profit, Fear, Reason & Security) means that you are essentially criminalized, then it becomes imperative for art (wedded to theory and style) to celebrate its own “criminal,” “dangerous” and “unassimiliable” nature. So let the Garters initiate you into the mysteries that are already yours, once you rid yourself of fear, anxiety and the need to be respectable.

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Reiner Schürmann’s thinking is, as he himself would say, “riveted to a monstrous site.” It remains focused on and situated between natality and mortality, the ultimate traits that condition human life. This book traces the contours of Schürmann’s thinking in his magnum opus Broken Hegemonies in order to uncover the possibility of a politics that resists the hegemonic tendency to posit principles that set the world and our relationships with one another into violent order. The book follows in the footsteps of Oedipus who, in abject recognition of his finitude, stumbles upon the possibility of another politics with the help of his daughters at Colonus. The path toward this other, collaboratively created and thus poetic politics begins with an encounter with Aristotle, a thinker whom Schürmann most frequently read as the founder of hegemonic metaphysics, but whose thinking reveals itself as alive to beginnings in ways that open new possibility for human community. This return to beginnings leads, in turn, to Plotinus, who Schürmann reads as marking the destitution of the ancient hegemony of the Parmenidean principle of the One. By bringing Schürmann’s innovative and compelling reading of René Char’s poem, The Shark and the Gull, into dialogue with Plotinus we come to encounter the power of symbols to transform reality and open us to new constellations of possible community. In Plotinus, where we expected to encounter an end, we experience a new way of thinking natality in terms of what comes to language in Char as the nuptial. Having thus been awakened to the power of symbols, we are prepared to experience how in Kant being itself comes to expression as plurivocal in a way that reveals just how pathologically delusional it is to attempt to deploy univocal principles in a plurivocal world. This opens us to what Schürmann calls the “singularization to come,” a formulation that gestures to a mode of comportment at home in the ravaged site between natality and mortality. This then returns us to Oedipus at Colonus; but not to him alone. Rather, it points to the relationship that emerges for a time between Antigone, Ismene, and Oedipus, as they navigate a way between their exile from Thebes and Oedipus’s final resting place near Athens. Here, having been awakened to the power of a poetic politics, we attend to three symbolic moments of touching between Oedipus and his daughters through which we might discern something of the new possibilities a poetic politics opens for us if we settle into the ravaged site that conditions our existence, together.

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The Netherlandish rhetoricians of the sixteenth century have, in the course of the last decades, shed their image of third-rate poets who, lacking all sense of true beauty, were capable only of pompous verbosity and a shallow manipulation of form. The new scholarly assessment has also shed light on the role they played in the cultural and literary life of their time, and it now appears that many of their dramas are well worth staging. Once the sixteenth century was freed from the stigma of being the "preparatory phase" for the Golden Age, the way was clear for thorough studies of the literature produced during the most turbulent period in the history of the Low Countries. This volume contains essays which deal with works written not only in Dutch, but also in French and in New Latin, with topics ranging from the effects of poetic principles on literary practice to the use of poetry as a means for improving society and developing the individual. The unifying thread in these studies is the pivotal importance of rhetoric in all forms of literary expression.

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In recent decades, the focus of Folklore Studies has shifted from analysing the products of oral traditions as texts to examining the ways in which people use and produce these items, and the areas of study have broadened to include vernacular cultures and genres in diverse verbal and material forms. As evident from the introduction and twelve chapters of this collection, these interests are today shared by several disciplines that cooperate in the area of cultural studies. This book provides insights into current questions about the “nature” of words: it discusses both the inherent essence of vernacular expression and how that essence is tied to various genre-ecological, performative, and material environments. The chapters include studies on the poetics, form, function, performance, and composition of traditional and new vernacular forms, including explorations of hybridity, materiality, and change, as well as critical examinations of archival practices and publication processes.

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In recent decades, the focus of Folklore Studies has shifted from analysing the products of oral traditions as texts to examining the ways in which people use and produce these items, and the areas of study have broadened to include vernacular cultures and genres in diverse verbal and material forms. As evident from the introduction and twelve chapters of this collection, these interests are today shared by several disciplines that cooperate in the area of cultural studies. This book provides insights into current questions about the “nature” of words: it discusses both the inherent essence of vernacular expression and how that essence is tied to various genre-ecological, performative, and material environments. The chapters include studies on the poetics, form, function, performance, and composition of traditional and new vernacular forms, including explorations of hybridity, materiality, and change, as well as critical examinations of archival practices and publication processes.

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Special Issue of Arts: “Slavic and Eastern-European Visuality: Modernity and Tradition” is focused on researching interactions of art and literature, of philosophy and visual poetry, and generally on theoretical aspects of cultural analysis.

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This book presents an innovative format for poetry criticism that its authors call "dialogical poetics." This approach shows that readings of poems, which in academic literary criticism often look like a product of settled knowledge, are in reality a continual negotiation between readers. But Derek Attridge and Henry Staten agree to rein in their own interpretive ingenuity and "minimally interpret" poems – reading them with careful regard for what the poem can be shown to actually say, in detail and as a whole, from opening to closure. Based on a series of emails, the book explores a number of topics in the reading of poetry, including historical and intellectual context, modernist difficulty, the role of criticism, and translation. This highly readable book will appeal to anyone who enjoys poetry, offering an inspiring resource for students whilst also mounting a challenge to some of the approaches to poetry currently widespread in the academy.

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The volume gathers articles by a majority of well-known specialists in their respective areas - Anglo-American studies; comparative; poetics; feminist studies; Pessoa studies -, besides a collection of poems by poets of several nationalities, all of them having been present in the International Meeetings of Poets, organized by the Anglo-American studies group of the Faculty of Letters of UC. It also encompasses a section with testimonials in tribute to Prof. Irene Ramalho Santos.

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"In the winter of 476 A.D. the Ostrogoths, hungry and exhausted from wandering for months along the barren confines of the Byzantine Empire, wrote to Emperor Zeno in Constantinople requesting permission to enter the walled city of Epidaurum and just kinda crash and charge their phones. Closer to home, Orpheus walks Eurydice through a suburban refrigerator as a matter of tax planning. In The Goths & Other Stories, sexual desire, food, space, and anger are distorted; prose fiction, experimental poetry, philosophy, and design theory intersect and breed. The poetics of car accidents, capitalist consumption, and anarchist terrorism unfold at a Southern California car dealership. Readers of all centuries will feel at home in this book. The smell of seafood and speculative urban planning merge into a 1990s computer game, Abidjan has 12,756 streets with no way to go from one to another, an apocalypse of tax law and classical mythology descends upon suburbia and reveals a medieval theology of design, theater, and light. The book’s six stories are set in different times and places – sometimes within the same narrative – but have in common a slippery approach to the boundaries between fiction and theory, between ontological planes, between the comical and the moral. Together they also form a treatise on the nature of writing as a branch of design – one whose medium is easier to reveal than to define."

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This book radically refigures the conceptual and formal significance of childhood in nineteenth-century English poetry. By theorizing infancy as a poetics as well as a space of continual beginning, Ruderman shows how it allowed poets access to inchoate, uncanny, and mutable forms of subjectivity and art. While recent historicist studies have documented the "freshness of experience" childhood confers on 19th-century poetry and culture, this book draws on new formalist and psychoanalytic perspectives to rethink familiar concepts such as immortality, the sublime, and the death drive as well as forms and genres such as the pastoral, the ode, and the ballad. Ruderman establishes that infancy emerges as a unique structure of feeling simultaneously with new theories of lyric poetry at the end of the eighteenth century. He then explores the intertwining of poetic experimentation and infancy in Wordsworth, Anna Barbauld, Blake, Coleridge, Erasmus Darwin, Sara Coleridge, Shelley, Matthew Arnold, Tennyson, and Augusta Webster. Each chapter addresses andanalyzes a specific moment in a writers’ work, moments of tenderness or mourning, birth or death, physical or mental illness, when infancy is analogized, eulogized, or theorized. Moving between canonical and archival materials, and combining textual and inter-textual reading, metrical and prosodic analysis, and post-Freudian psychoanalytic theory, the book shows how poetic engagements with infancy anticipate psychoanalytic and phenomenological (i.e. modern) ways of being in the world. Ultimately, Rudermansuggests that it is not so much that we return to infancy as that infancy returns (obsessively, compulsively) in us. This book shows how by tracking changing attitudes towards the idea of infancy, one might also map the emotional, political, and aesthetic terrain of nineteenth-century culture. It will be of interest to scholars in the areas of British romanticism and Victorianism, as well as 19th-century American literature and culture, histories of childhood, and representations of the child from art historical, cultural studies, and literary perspectives. "D. B. Ruderman’s The Idea of Infancy in Nineteenth-Century British Poetry: Romanticism, Subjectivity, Form is an interesting contribution to this field, and it manages to bring a new perspective to our understanding of Romantic-era and Victorian representations of infancy and childhood. …a supremely exciting book that will be a key work for generations of readers of nineteenth-century poetry." Isobel Armstrong, Birkbeck, University of London Victorian Studies (59.4)

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Pentasyllabic poetry has been a focus of critical study since the appearance of the earliest works of Chinese literary criticism in the Six Dynasties period. Throughout the subsequent dynasties, traditional Chinese critics continued to examine pentasyllabic poetry as a leading poetic type and to compile various comprehensive anthologies of it. The Matrix of Lyric Transformation enriches this tradition, using modern analytical methods to explore issues of self-expression and to trace the early formal, thematic, and generic developments of this poetic form. Beginning with a discussion of the Yüeh-fu and ku-shih genres of the Han period, Cai Zong-qi introdues the analytical framework of modes from Western literary criticism to show how the pentasyllabic poetry changed over time. He argues that changing practices of poetic composition effected a shift from a dramatic mode typical of folk compositions to a narrative mode and finally to lyric and symbolic modes developed in literati circles.

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Touch has many layers of meaning, especially so in the affectivity unleashed by humor, where touching spaces often emerge in deconstructive ways that affect the senses, alter sense-making, and generate productive forms of non-knowledge (NichtWissen) and power-lessness (OhnMacht). The study discusses the works of various thinkers, including Friedrich Nietzsche, Sigmund Freud, Frantz Fanon, Helmuth Plessner, Jacques Derrida, Eve Kosofsky Sedgwick, bell hooks, Gayatri Chakravorty Spivak, and Achim Geisenhanslüke. Drawing on such critical theories and poetically generated epistemologies of literary works the study illuminates venues for transformative thought while also paying attention to the ethics of dialogicity and the relation between philosophy and literature.

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The importance of metrical analysis to the broad work of textual criticism and literary analysis cannot be overstated. In the thirty years since the publication of R. D. Fulk’s A History of Old English Meter, metrical theory has been brought to bear on questions of poetic style, dating and literary history, linguistics and language history, editing practice, manuscript analysis and scribal practice. The essays in this collection include contributions from both new scholars and established metrists. They focus on the application of metrical study to literary criticism and manuscript studies, engaging with current debate and offering new perspectives on the crucial role of metre to Old English scholarship.

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Trouble Songs is a hybrid serial work that tracks the appearance of the word “trouble” in 20th- and 21st-century American music. It reads (and sings) songs and poems, with reference to cultural events ranging from the death of a pop singer to the growth of popular resistance movements. The trouble singer invokes the word “trouble” in place of actual trouble—the song is a spell that conjures trouble (from bad luck and disaffection to infidelity, impotence, destitution, and the specter of death) in a temporary form that can be dis-spelled, if only for the length of the song. Singer and song also open a critical space for making trouble, for stirring the heart and mind. This space is a disjunction in time (and a superimposition of events) where singer and listener collaborate on meaning (un/)making as they temporarily transform trouble. Trouble Songs enacts its poetics with the use of footnote and body text as modular, contiguous, and porous fields of writing and imagination, a corollary for overlapping singer/listener roles. In effect, the footnotes sing along with (and trouble) each chapter, providing chorus and counterpoint to these Trouble Songs, as the compositional horizon between body and notes rises and falls. These cultural investigations suggest that the way we sing about trouble, and the way we receive those songs and cultural transmissions, says much about what preoccupies us spiritually and intellectually—what moves us and disturbs us, brings us together even as we keep some things to ourselves.

ABOUT THE AUTHOR

Jeff T. Johnson is a writer and cultural critic living in Philadelphia. His music writing has appeared in Pitchfork, SF Weekly, The Rumpus, Fanzine, Coldfront, Humanities, and Jacket2. Poetry and prose have appeared in PEN America, Encyclopedia, Tarpaulin Sky, 1913: a journal of forms, and Gramma. A chapbook, trunc & frag, is at Our Teeth. His open-field concrete digital poem The Archiverse is documented at archiverse.net, and is anthologized in Electronic Literature Collection Volume 3. Other hybrid projects include Special America (with Claire Donato) and UnderAcademy College. He was a founding editor at Kitchen Sink, where he edited the Louder Than Words music section, and was editor in chief at LIT. He is a Visiting Instructor in the Architecture Writing and BFA Writing Programs at Pratt Institute, and a 2017–2018 Digital Studies Fellow at Rutgers University-Camden. Currently, he is at work on Janky Materiality, a poetics of digital language art and analog synth music. For more information, visit jefftjohnson.com.

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Acta Slavica Estonica is an international series of publications on current issues of Russian and other Slavic languages, literatures and cultures. The first section of this volume contains articles on the history, poetics and reception of the Silver Age in Russian literature and culture in the late 19th century and the first half of the 20th century. In the second section, titled “It was impossible not to Love Zara Grigoryevna…”, several students of Zara Minz share their memories of her. The third section addresses issues of translation and intermediality in Russian and European culture.

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