stack: Minimalist Poetics consists of a portfolio of practice-led research — a volume-length minimalist poem entitled stack — and a critical essay. The poem applies and adapts several minimalist writing strategies, which are evaluated in the critical essay to create a text that is rich in imagery yet indeterminate in meaning. In addition, stack is innovative in its structural approach — through original use of enjambment, footnoting and repetition, lines may be treated as discrete entities and, also, as combinations. A key research question that the practice-led component and the critical essay interrogate is the applicability and development of the poetics of the “New Sentence”, and other formally innovative approaches in the field of minimalist writing. The first part of the critical essay contextualises the creative portfolio in relation to the field of minimalist poetics as a whole. It sets out how stack belongs to a strand of minimalist poetry that evolved out of imagism and objectivism, and whose key practitioners include Robert Grenier, Robert Lax and Aram Saroyan. Subsequently, the thesis outlines the methods that were used to generate the creative portfolio. Effectively these latter sections present a manual for making minimalist poetry. Aside from exploring the written elements of stack, the thesis also examines my practice of conducting what I refer to as ‘minimalist interventions’ (embodied, micro-actions). These interventions, which have taken place in a range of environments, generally function as stimuli for the written aspects of the poem.

This thesis contains an analysis of the ways in which form and content are combined to create significance within a text, as well as an exploration of the ways in which the mechanics of didactic fiction convey this significance to the reader.

This dissertation rereads sonnets by three crucial but misunderstood early twentieth-century women poets at the intersection of the study of American literary history and scholarship of the sonnet as a genre, exposing and correcting a problematic loss of nuance in both narratives. Genre scholarship of the sonnet rarely extends into the twentieth century, while early twentieth-century studies tend to focus on nontraditional poem types. But in fact, as I show, formal poetry, the sonnet in particular, engaged deeply with the contemporary social issues of the period, and proved especially useful for women writers to consider the ways their identities as women and poets functioned in a world that was changing rapidly. Using the sonnet’s dialectical form, which creates tension with an internal turn, and which engages inherently with its own history, these women writers demonstrated the enduring power of the sonnet as well as their own positions as women and poets. Tying together genre and period scholarship, my dissertation corrects misreadings of Edna St. Vincent Millay, Sarah Teasdale, and Helene Johnson; of the period we often refer to as “modernism”; and of the sonnet form.

This thesis is concerned with the longform poetics of Charles Olson and of John Cage, and with the role indeterminacy plays in their constitution and reception. The work of these authors poses unusual and particular challenges to readers, and it is towards readers and reading that this thesis is primarily oriented. Each chapter describes a problem or difficulty which these texts create for readers, and attempts to model that difficulty as clearly as possible in order to demonstrate how it forces readers to reassess received readerly protocols. As such, the thesis is also concerned with the limits of traditional critical methodologies in the face of such works. Though the concrete examples presented are mostly taken from a relatively circumscribed time and culture – the USA post-World War Two – I claim that the problematics of indeterminacy herein discussed are generally prevalent in long poetic forms, and in a certain sense constitutive of them. The thesis maps how ‘indeterminacy’ as a concept within literary criticism conflicts with that model of criticism concerned primarily with the ‘close reading’ of texts and the hermeneutic elucidation of ‘meaning’ thereby. Between historicism and close reading, it argues that this indeterminacy is most pervasive and yet most critically overlooked within traditions of what I call ‘longform’ poetics. The Introduction, discusses the unfitness of Cage’s early text ‘Indeterminacy’ to traditional modes of close-reading as exemplified in I.A. Richards and William Empson. It then recounts the developing discourse around poetic indeterminacy as it emerged through Roman Ingarden, Wolfgang Iser, Marjorie Perloff and Charles Altieri, and how that discourse increasingly configures the question of indeterminacy less around meaning and more around reading as an activity in itself. Chapter One provides a critical redescription of Olson’s hugely influential manifesto-essay ‘Projective Verse’ via comparison to Muriel Rukeyser’s The Life of Poetry. Chapter Two addresses the problem of reading speed with reference to Olson’s interest in the cinema. Chapter Three describes the poetics of heterogeneity and surprise exemplified by Cage’s Mushroom Book. Chapter Four investigates the arrangement and disarray of Olson’s ‘archive poetics’ and his insistent habit of listing. Chapter Five considers how Cage’s cavilling over the idea of ‘ideas’ informs and deforms his huge mesostic lectures I-VI. Chapter Six uses Olson’s interest in models to tease out the constitution of his longform poetics on a set of indeterminate part-whole relations. Chapter Seven traces the effects of typos in two editions of Cage’s Anarchy, and in the thought and editorial practices of Olson. Throughout, the thesis delineates various protocols for reading, models for how to engage the longform texts of Olson and Cage, aiming to demonstrate how for these poetries one needs to select and ‘read through’ a poetics as a sort of optic, one through which such reticent texts can be made legible.

Orientador: Trajano Augusto Ricca Vieira / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-07T07:28:44Z (GMT). No. of bitstreams: 1 Barriviera_Alessandro_M.pdf: 27896667 bytes, checksum: 2b246e86e231acf8419b696321599ee5 (MD5) Previous issue date: 2006 / Resumo: O presente trabalho consiste numa tradução da Poética de Aristóteles, acompanhada do texto grego e notas. A poesia sempre teve papel predominante na cultura grega antiga. Conduta moral e religiosa, por exemplo, tinham suas regras - mesmo se criticadas por alguns - estabelecidas nos poemas homéricos. Ao contrário de seu mestre Platão, que excluía a poesia do domínio da investigação racional, atribuindo-a antes ao entusiasmo e inspiração das Musas e inserindo o poeta na mesma classe dos profetas e adivinhos, Aristóteles julgava que a poesia podia ser submetida à reflexão racional e sistematizada num corpo de conhecimentos a que os gregos davam o nome de techne, e que nós traduzimos por "arte" ou "técnica". A Poética constitui o esforço de Aristóteles para cumprir tal tarefa. A obra é constituída de 26 capítulos e pode ser dividida em três principais partes: (a) dos capítulos 1 a 5 Aristóteles teoriza sobre a natureza da poesia em geral, subsumindo-a no gênero das artes miméticas; (b) os capítulos 6 a 22 consistem num estudo minucioso da tragédia e de suas partes constitutivas; (c) a partir do capítulo 23 até ao final, Aristóteles volta-se para o estudo da poesia épica. A Poética culmina com uma comparação entre esses dois gêneros poéticos e o julgamento da tragédia como superior à epopéia / Abstract: This work consists in a translation of Aristotle's Poetics, with greek text and notes. Poetry has always had a predominant role in ancient greek culture. For instance, moral and religious behaviour had their rules - even if criticized by some - laid down in Homeric poems. Contrary to his master Plato, who excluded poetry from the scope of rational investigation, ascribing it rather to enthusiasm and Muses' inspiration, and ranging the poet with prophets and diviners, Aristotle considered that poetry could be subjected to rational reflection and systematized in a body of knowledge which the Greeks called techne ("art" or "craft"). The Poetics constitutes Aristotle's effort to fulfill such a task. The work is formed by 26 chapters and can be divided up into three main parts: (a) from chapter 1 to 5, Aristotle theorizes about the nature of poetry in general, subsuming it into the genre of mimetic arts; (b) chapters 6 to 22 consist in a meticulous study of tragedy and its constitutive parts; (c) from chapter 23 to the end, Aristotle turns towards the study of epic. The Poetics culminates in a comparison between both these poetic genres, tragedy being judged superior to epic / Mestrado / Mestre em Linguística

Par un déplacement de l’action tragique dans la familia qu’il psychologise, Sénèque intériorise la théorie des passions et affirme les bienfaits libérateurs de l’intellection autant sur un plan politique que social et ontologique. Celle-ci, par le respect de la pietas et de la fides, garantit l’équité sociale et préserve la cité du tyran. Par le juste assentiment et une bonne maîtrise du temps, elle préserve le héros du furor et du sentiment tragique de sa condition douloureuse. Le cantonnant dans les bornes du pudor, elle le détourne de la transgression par laquelle le furieux croit se libérer des contingences et le porte à trouver sa joie dans une morale de l’effort et l’adhésion volontaire à son destin. Ces valeurs stoïciennes sont portées par une esthétique du sublime et de l’émotion. Reposant sur l’image et une écriture fluctuante, entre discours suggestif et réalisme épique, elle suscite « l’horreur délicieuse », portant le spectateur vers une analogie cathartique. La théâtralisation du mythe, allégorie des conflits terrifiants de l’homme avec lui-même comme avec le cosmos, se fait parole universelle. / By a displacement of tragic action in familia he psychologises, Seneque internalizes theory of passions end maintains liberating benefits of the intellection as much on a political point of view as on social and ontological ones. Through the respect of pietas and fides, the intellection guarantees social equity and protects the city from the tyrant. By the right assent and time control, it protects the hero from the furor and the tragic feeling of his painful condition. It confines the hero inside furor borders and so diverts him from infringement by which the furious believes to be free from events and leads him to find happiness through a morality of efforts and deliberate support of his destiny. These stoicienne values are brought by an aesthetic pleasing of the sublime and emotion. Based on pictures and texts, between evocative speech and epic realism, it creates “the delicious horror”, bringing the spectator towards an cathartical analogy. The theatricalisation of myth, allegory of terrifying conflicts of mankind against himself or cosmos, is universal speech.

Le problème de la communication, et pas seulement du danger des liaisons, est au cœur du roman épistolaire de manière générale et de Clarissa de Samuel Richardson en particulier. Sans cesse menacée d'interruption, la communication représentée dans la diégèse du deuxième roman de Richardson influe également sur le sens et relève à ce titre de ce que Janet Altman a appelé l'épistolarité. Cette étude se concentre sur le code de la communication représentée dans l'œuvre et saisit la lettre dans l’économie de l’information toute particulière dont elle participe, à la croisée d'une communication interne entre ses personnages et des exigences d'une communication externe qui voit le matériau épistolaire affluer vers le Lecteur. Elle s'efforce de souligner à quel point le scénario romanesque est informé par la nature des communications au travers desquelles il s’exprime ainsi qu'à travers les communications auxquelles il donne lieu (Clarissa étant l'objet d'âpres négociations entre son auteur et ses lecteurs), tout comme il informe à son tour la nature de ces communications. L'examen de la communication dans et autour du roman de Richardson met en évidence l'existence d'une poétique qui est aussi une économie. L'histoire de Clarissa n'est pas tant l'histoire de ses lettres que celle de ses communications. / The problem of communication, and not only that of the danger of the liaisons, is at the heart of the epistolary novel in general and of Samuel Richardson's Clarissa in particular. Constantly threatened with interruption, the communication represented in the diegesis of Richardson's second novel also informs meaning and thus belongs to what Janet Altman called epistolarity. This study concentrates on the code of communication represented in the work and endeavors to grasp the letter in its particular economy of communication, at the crossroads of internal communication between its characters and the demands of an external communication that requires that the epistolary material be oriented towards the reader. This study strives to underline to what extent the novelistic scenario is informed by the nature of the communications through which it expresses itself as well as by the communications it produces among its readers in the shape of letters to the author. The examination of communication in and around Richardson's novel bears witness to the existence of a poetics that is also an economy. The history of Clarissa is not so much that of its letters as that of its communications.

Il s’agit d’une thèse menée en sciences de l’art, plus particulièrement en poïétique et esthétique, d’un praticien sculpteur qui réfléchi sur la notion du chaos et la surface dans la sculpture contemporaine. J’ai commencé par mon approche poïétique et celles des autres, comme ceux qui sont à l’origine de l’Arte Povera et du Land Art. Une partie graphique, consistera à traiter ce rapport à travers mon journal d’artiste, un journal du quotidien et du banal à travers le dessin, qui n’est pas seulement un moyen de représentation mais il est un outil de connaissance et de production le réel, il est aussi une façon d’explorer la nature et une manière de comprendre le chaos et de produire la surface. Pour la partie plastique, je sollicite l’utilisation de matériaux trouvés dans ma région natale. Ces matériaux sont touffus, pleins de branches entremêlées, aucune organisation n’est visible. Cette thèse ouvre la voie sur une réflexion qui met l’accent sur les notions du chaos et de la surface. Dans la première partie se pose la question de la création - recherche. Ensuite on a posé la question du chaos et de la surface d’une façon générale en appuyant la réflexion sur des références sûres comme celles de Reynal Sorel (Mythologie et philosophie grecques) Maurice Merleau-Ponty (phénoménologie), Gilles Deleuze et Clément Rosset (philosophie), Jacqueline Lichtenstein (Histoire de l’art et esthétique). Toujours chaos et surface vont ensemble, ils sont complémentaires. On a traité ce duel dans des cas particuliers, comme Auguste Rodin, Henry Moore, de Jean (Hans) Arp et d’artistes d’Arte Povera et du Land Art. / This is a thesis conducted in the science of art, especially in poetics and aesthetic s by a practitioner sculptor who reflected on the notion of chaos and the surface in contemporary sculpture. I started with my approach about poetics and that of other artists, such as those at the origin of the Arte Povera and Land Art. Some graphics will treat this report through my journal as an artist, a daily and banal journal, and through drawing, which is not only a means of representation but it is a tool of knowledge and the production of reality, it is also a way to explore nature and a way of understanding chaos and to produce the surface .The plastic part requests the use of materials found in my home area. These materials are dense, full of tangled branches, where there is no visible order. This thesis opens a discussion that focuses on the concepts of chaos and the surface. In the first part is the issue of creation - research. Then we dealt with the issue of chaos and the surface of a general reflection on supporting references such as Reynal Sorel (Greek mythology and philosophy) Maurice Merleau-Ponty (Phenomenology), Gilles Deleuze and Clément Rosset (philosophy), Jacqueline Lichtenstein (art history and aesthetics). Surface and chaos are always together, they are complementary .We treat this duel in special cases, such as Auguste Rodin, Henry Moore, Jean (Hans) Arp and artists of Arte Povera and Land Art.

Now, it is the purpose of this dissertation to present a study of the imagery in the poetry of Langston Hughes with special emphasis upon (1) its sources, (2) its types, (3) its functions, and, (4) its imprtance as a factor in evaluating Hughes' poetic contributions to society.

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