Poetry and Film

From Robert Lowell to Frank Bidart 93 of the self, to delve into difficult psychic or emotional spaces. This trope of self-othering, with the poet's Phoenix-like murder/suicide of one limiting, monovocal persona and rebirth into a polyphonic opera of various subaltern personae, is a complex and difficult trope to pin down, for the poet's self othering is closely connected to Freud's concept of negation. Sigmund Freud, in his short 1925 paper "Negation," asserts that one of the primary ways that "the content of a repressed image or idea can make its way into the consciousness" is on the "condition that it is negated" (235). Freud goes on to argue that "Negation is a way of taking cognizance of what is re pressed; indeed it is already a lifting of the repression, though not, of course, an acceptance of what is repressed" (235-36). Through negation, therefore, the analysand can bring to the analytic table, or perhaps to the analytic couch, repressed memories and emotions (a move forward in the analytic process) while simultaneously protecting him or herself by denying the validity of the memory or idea. The process of negation is thus akin to the dreamer allowing repressed material, or symptoms, to appear in dreams, but only in altered or displaced forms. Negation and dream-displacements are both dehiscent at tempts of the subject to bring repressed material to the surface, while simulta neously protectively keeping this repressed material from total consciousness or acceptance. Negation and displacement thus bear a two-headed, paradoxi cal function: they are both a part of the healing process, a forward step in the analysand's journey, and an attempt to protect the self from the inherent pain of true confrontation with the repressed material.

Published out of Weimar, Germany, 5 issues of The “Poetry Film Magazine” appeared between 2016 and 2020. Its self-declared aim was  "to promote the exchange of ideas and information on the poetry film genre."  (Since 2020, the magazine has morphed into an annual catalogue for the International Poetry Film Festival of Thuringia.) Founded and edited by Aline Helmcke and Guido Naschert, the inaugural issue was focused on the theme,  "Faszination Poetryfilm?" or "What is fascinating people about this category of short film?"                       
                                                                                                                                         
In their opening statement, the editors emphasize that 'Poems are not “scripts” for short films. Anyone who misunderstands poetry films as mere film adaptations of poetry will not gain much from them.'   
                                                                                                                                               
For all 5 issues, go to: https://poetryfilmtage.de/poetryfilmkanal/

Federico García Lorca exemplifies the kind of "poetic thought" characteristic of late modernist poets like JoséÁngel Valente. Because of the circumstances of Lorca's reception, however, this intellectual lineage has remained in the shadows. This article argues that Lorca's lectures belong to the same genre as the prose writings of Valente, Machado, or Lezama Lima and that therefore late modernist poetics is less exceptional in the Hispanic tradition than it might have seemed.

9 ff ERHAPS the single most significant development in Spanish poetry of the most recent decade is a waning of the avant-garde impulse that has animated modern poetry from the early years of .^1^.-the twentieth century. One anthologist charac-(TiCil terizes the poetry of the 1980s as "una poesia-» * 'moderna' que por primera vez en este siglo, no se identifica con vanguardia" (Barella 14). One symptom of the times is a changed attitude toward the literary and artistic past. The founding gesture of the avant-garde is a break with tradition. The modern artist makes use of cultural monuments by rewriting them, wrenching them from their original contexts: Duchamp paints a moustache on the Mona Lisa and provides an obscene caption. A similar attitude is evident in the last self-proclaimed avant-garde in Spanish letters, the novisimos of the late 1960s and 1970s. Questioning the artistic stultification of the immediate postwar period, these writers revindicate the poetic modernity of the prewar period. In spite of the considerable distance between the postmodernism of the 1970s and the modernism of earlier decades, the novisimos view themselves as a new manifestation of the avantgarde tradition of twentieth-century art.

PhD student in Digital Media-Arts, with a Master's degree in Heritage, Arts, and Cultural Tourism. Currently collaborates with Direção Regional de Cultura do Norte (DRCN), providing support in the revision and edition of the "Património a Norte" collection and with Cine-Clube de Avanca in the organization of its archive. Researcher at Centro de Investigação Transdisciplinar-"Cultura, Espaço e Memória" (CITCEM) and at Centro de Investigação em Artes e Comunicação (CIAC). His research fields include Film Studies and Digital Arts.

No abstract availableThis editorial was originally published by Parallel Press, an imprint of the University of Wisconsin-Madison Libraries, as part of The International Journal of Screendance, Volume 3 (2013), Parallel Press, http://journals.library.wisc.edu/index.php/screendance/issue/view/55. It is made available here with the kind permission of Parallel Press.

A writer's style reflects how textual meaning-making processes are achieved through a literary text's form, which includes various textual strategies employed. Available literature suggests that almost every linguistic theory takes the sentence structure as a combination of 'form' and 'content', whose taxonomic amplifications provide a springboard for description that leads to a more comprehensive extension of linguistic analyses revealing the semantic and symbolic aspects of language making up a text. Hence, although textual analysis may start by identifying its form and content, a comprehensive approach that engulfs a text's syntactic and semantic aspects provides a broader perspective. Keeping these in mind, this study is based on the premise that structural analysis enables the identification of the poet's recurrent method of composing different literary texts of the same genre and guides analysts to semantic interpretations. Examining the poetic language of a selection of haikus written by Wright, with a focus on the syntactic and semantic identifications, it is observed that the poet has an uncompromising style toward utilizing a pattern with minor alterations to construct various poems. The poet achieves an effective diction using a restricted number of lexical and grammatical items, which fits into the terseness of haikus, a poetic form known for its brevity and conciseness.

The article is a record of collaboration between a poet and a filmmaker Á one undertaken under several people's gaze, becoming aware of itself through the perspectives of the visual and the verbal artist, of the critic and creative maker. It observes the process from the poet's and the filmmaker's sides of the interface, in the language and thought processes that come naturally to each, exploring particularly the use of metaphor to throw light upon the collaborators' investigation of poetryfilm. As the project progressed it revealed the tensions between the participants' allegiance to the idea of collaboration and the urge to retain control of one's own medium and ways of working. Tracking the collaboration throughout each stage of development, from initial conversations, through false turns and periods of apparent impasse, the article records the inputs and shifts that led to a final synthesis and publication in an unexpected form.

and where this chapter comes in, Isabella Gardner, Elizabeth Bishop, and Jean Garrigue. The "flawed light" of the title comes from Bogan's "The Alchemist": "I broke my life, to seek relief / From the flawed light of love and grief." Millier did not ignore Bishop's alcoholism in Elizabeth Bishop: Life and the Memory of It (1993) and got chastised for it by Anthony Hecht, who declared that Bishop when put up against male topers like Algernon Swinburne, Dylan Thomas, and John Berryman "is not in their league at all." Robert Giroux also gruffly dismissed any insinuation that Bishop might have been an alcoholic. Nothing daunted, in Flawed Light Millier makes ample use of scientific studies on the effects of alcohol on creativity, the susceptibility of writers and artists to alcoholic drinking, and ways in which the experience of drinking alcohol and the consequences of alcoholism are different for women. They get drunk faster and stay drunk longer on a third less alcohol; the length of time before physical dependence on alcohol sets in is much shorter, and cirrhosis of the liver occurs more quickly; and as drinkers they are more subject to feelings of low esteem, shame, and guilt and suffer more from depression. They also commit suicide more often. Social attitudes toward women drinkers remain harsher, and one study notes that even homeless, skid-row women typically drink alone, taking their bottle around the corner or across the park to drink. Millier remarks, "A drunken man may be amusing; a drunk woman is not." Female poets tend to be far more restrained in their self-representations as drinkers and drunkards, but Millier contends that alcohol and alcoholism imbue the form, imagery, and content of their poetry. She nowhere reduces the poets' work, however, to "the conditions of symptoms of a disease, or to the accidental effusions of an artist who has lost control of her art, and her life."

Many of this year's book-length studies and edited collections are group portraits that invite us to consider the search for new narratives, histories, and ordering principles for representing groups, movements, a≈liations, associations, and o≈cial and uno≈cial ''circles'' of American poets at midcentury. Such histories evince familiar bonds of fraternity, sorority, religion, civic passion, friendship, and rebellion, but also included among them are speculations on how poetic histories might be written di√erently, less monolithically, more flexibly, and with greater attention to the fact that the problem with any category, as Elizabeth Bishop once commented wryly, is that ''none of the books ever gets it right.'' While the borders of late modern and contemporary American poetry have been expanding for some time to include the transnational and transpoetic, abundant compelling new work on cultural interrelatedness, hybridity, and poetic syncretisms make an even stronger case for reconsidering oppositions of experimental and mainstream traditions. i Poets at Midcentury A good example of the flexible approach, Thomas Travisano's Midcentury Quartet: Bishop, Lowell, Jarrell, Berryman, and the Making of a Postmodern Aesthetic (Virginia) links members of a largely ''private, uno≈cial circle'' of poets through ''polyphonic exchanges'' conducted by means of letters, criticism, poetry, readings, and conversation in youth, midlife, and old age. Such a history knocks yet another prop from beneath the already fragile paradigm of confessionalism by joining the psychologically imperiled individual of the postwar period to the ''petit recit,'' or ''little narrative,'' rather than the ''master narratives'' of mod

CORE View metadata, citation and similar papers at core.ac.uk provided by OpenSIUC "With Eyes Upside Down, Can We Still Read?" I. Introduction In his new book, Eyes Upside Down (2008), the dean of American avant-garde film studies, P. Adams Sitney, details the Emersonian tradition implicit in the major postwar experimental filmmakers-Marie Menken, Stan Brakhage, Hollis Frampton, among them-to whom he has devoted his life's work. Even though Sitney's earlier masterpiece, Visionary Film (1974, 2002), clearly emerged from his literary training in Romanticism under Harold Bloom in the 1960s, the new book's aggressive literary turn is remarkable. When I first looked at the table of contents for Eyes Upside Down, devoted to the same individual avant-garde filmmakers as Visionary Film, I assumed it was merely a re-packaging of Sitney's basic mantra of radical individualism, that the 1960s avant-garde cinema represented the best of American filmmaking, so different from Hollywood because its filmmakers were devoted to using the camera in eclectic, highly personal ways. However, Sitney's new book is so much more than that, connecting a wide array of twentieth-century experimentalism, from Brakhage in film and John Cage in music to their nineteenth-century Romantic literary counterparts, from the essays of Emerson and Thoreau to the anti-Transcendentalism of Herman Melville. As an interdisciplinary scholar interested in as wide a relationship between film and literature as can be imagined, I believe the publication of Sitney's new book could represent the beginning of a new sub-discipline in the field of adaptation studies, which we might call experimental adaptation studies. It is the project of this essay to sketch some possibilities for such a sub-discipline. 1 At first glance, such an endeavor seems like pure folly. As opposed to the commercial filmmaking in Hollywood, and other national cinemas as well for that matter (say, France in the 1930s), there is no commitment to either theatrical or literary source texts in the avant-garde tradition. Indeed, many experimental films are built upon a deliberately non-literary base, such as Fernand Léger's Ballet mécanique (1924), a non-narrative visual exploration of the geometric shapes of modernity. It is as un-literary a mode of filmmaking as one can imagine. And yet, the ground broken by Eyes Upside Down suggests that the literary culture undergirding the experimental film tradition in the United States is provocatively complex. Sitney gives us one possibility for thinking about literature and its relationship to avant-garde cinema, a cultural historical approach in which the literary soil of Emersonian Transcendentalism comes to fruition in post-World War II experimental filmmaking. However, Sitney is no adaptation studies scholar, and his approach is not interested in mining the intertextual relationships between the different artistic forms that are literature and cinema. If one seeks them out, it becomes clear that experimental cinema's sources lie in literary culture more often than we might have thought. In this essay, I will explore three possibilities for thinking differently about the relationship between literature and experimental cinema. First, I will examine

The lyric poem has often been understood as incompatible with other discourses, set apart by its compression, privacy, and identification with the individual self. Recently, the New Lyric Studies has rejected both the essentialism and the exceptionalism of the lyric as a genre or mode, seeking instead to expose the term lyric as an ideological reading practice that separates the text from its historical context. This essay examines some of the ways in which four new books on poetry by Siobhan Phillips, Joel Nickels, Christopher Nealon, and Oren Izenberg contribute to lyric theory by emphasizing what the poem holds in common with other discourses. I analyze the intersection between the lyric and four concepts borrowed from sociology, moral philosophy, political theory, and economics: the everyday, the multitude, capital, and person. Stressing the lyric’s compatibility rather than its distinction, these four critics reveal the universalism and collectivity out of which the lyric voice...

Some words take their time a-blossoming. As the poet and critic Stephen Burt notes in the very efficient introduction to his new book, ''adolescence'' has been part of the English vocabulary at least since the fifteenth century, but it only came into widespread use following the publication of the psychologist G. Stanley Hall's phenomenally successful Adolescence in 1904. The term supplied a handy nomination for the period between childhood and maturity-a phase thought genuinely ''new in modern life'' by some, ''newly important'' by others-and soon gathered to itself a number of crucial beliefs about youth in the modern world: that the younger generation differed from its predecessors more sharply than those predecessors did from theirs; that modern young people have developed a peer culture or subculture in which they ''acquire norms from one another'' rather than their elders; and that in individuals the phase is marked by heightened sexuality and creativity, rebelliousness, group mindedness, introspection, and volatility of emotions and beliefs. Such qualities are not always accounted virtues, of course, but when they are they may ''resemble the virtues sought in a particular kind or genre of art'' (4). And it is this last point that grounds The Forms of Youth. Poets of the twentieth century and after, Burt argues, have often discerned a kinship between adolescence and the kinds of poetry they have striven to fashion and promote. William Carlos Williams, for example, ''found in adolescents and their peer culture after the First World War important analogues for the newness, demotic speech, and sexual energy he sought in his own New World verse,'' ''models and metaphors for his own deliberately unfinished, alwaysbeginning-again works of art'' (28-29, 33). Marianne Moore ''identified

Casa das Máquinas is an audiovisual confrontation between two artificial engines-Máquina de Ouver and Máquina Canora-in a multimodal dialogue that explores the poetic language of Mário de Sá-Carneiro. The poems Epígrafe, Anto and Fim, serve as feedstock to the machines, with their words oiling the internal engines of both entities, pulsating their mechanical universe and stimuli.

Casa das Máquinas is an audiovisual confrontation between two artificial engines-Máquina de Ouver and Máquina Canora-in a multimodal dialogue that explores the poetic language of Mário de Sá-Carneiro. The poems Epígrafe, Anto and Fim, serve as feedstock to the machines, with their words oiling the internal engines of both entities, pulsating their mechanical universe and stimuli.

Letter from the Editor Letter from the Guest Editors Neal Lerner The Workplace Meets the Academy: The Hybrid Literacy of Returning RNs in Journal Writing for Introduction to Theology Helen Collins Sitler Stories in the Nursing Classroom: Writing and Learning through Stories Jeanne Sorrell Responding in Writing to Clinical Cases: The Development of Clinical Reasoning in Nursing Melinda Granger Oberleitner LANGUAGE AND LEARNING ACROSS THE DISCIPLINES Language and Learning Across the Disciplines is a joint publication of Georgia Southern University ...

In 2007 (only one year after the launch of YouTube) Lithuanian-American avant-garde filmmaker Jonas Mekas embarked on his first transmedial creation between cinema and the Internet, entitled 365 Day Project. Radicalizing the performative dimension which had characterized his experimental diary films, the then-octogenarian Mekas—one of the seminal figures of the “New American cinema”— challenged himself to create and publish a short film on his website for each day of the year 2007. All the short films (whose running time ranged from one and a half to twenty minutes) were free to be downloaded on the day of their publication, while later they could be bought for an inexpensive price. Footages were both old and new, creating a fragmented temporality (resulting in shifts in years, locations and topics) that brought the immediacy of the diary form into dialogue with memory and history. Mekas called these videos “eye-pod poems,” a wordplay that, on the one hand, indicated the confluence ...

Andrew Ross has persuasively argued that camp sensibility occurs "when the products [...] of a much earlier mode of production, which has lost its power to produce and dominate cultural meanings, become available, in the present, for redefinition according to contemporary codes of taste" (312). It is not yet cus tomary to read poetry through the lens of camp. Yet any engaged follower of contemporary verse will recognize in Ross's words a partial description of the genre's occulted status in twenty-first-century literary culture. If camp is a "re discovery of history's waste" (320), as Ross notes, in this essay I ask to what degree does poetry perform a similar waste management? My test case for this inquiry is New York School poet James Schuyler, whose camp poetics recuper ates both bodily and consumer waste. Schuyler is not the most obviously camp figure among New York School po ets. That distinction rests with Frank O'Hara, whose whimsical embrace of pop culture made him an early standard-bearer, and scapegoat, for the camp cause. Schuyler's version of camp is staged not through identification with glamor ously self-destructive female stars (by contrast, witness O'Hara's famous line, "Oh Lana Turner we love you get up" [449]), but rather through an unabashed embrace of the abject material of trash and waste. Consider the following pas-Christopher Schmidt is the author o f a book o f poems, The Next in Line, winner o f the 2007 Slope Editions Book Prize and published in 2008. He is currently working on a book-length study on the poetics o f waste mangagement, from which "Baby, I am the garbage: James Schuyler's Taste for Waste" is excerpted. Recent poems, essays, and reviews can also be found in SubStance, In tervalles, LaPetiteZine.org, Tin House, and other publications. He has taught at Bard College, Hunter College, and Brooklyn College.

Gertrude Stein in a letter to Car1 Van Vechtenl You can't fully critique the dominant culture if you are confined to the forms through which it reproduces itself, not because hegemonic forms are compromised "in themselves" but because their criticality has been commandeered. -Charles Bernstein in "Revenge of the Poet-criticn* I'd like to point out the tremendous blossoming in the work of the eighties under the apex of gender and race. It seems to me the given Scenario (cf. The Politics of Time: Using and Cruising History, p. 180 this issue) and its simplistic if schematic opposition is only fruitful in that it might bring u p debates that have been conveniently erased, or, all t o o frequently, forgotten. These debates-of form vs. content, modernism vs. post-modernism, 'political' speech vs. apolitical form, ambiguity vs. accessibility, radicalism vs. populism, etc.-are longstanding in film and other art discourses, including those of painting, dance, experimental music, and language writing. It is important t o underline that I especially mean t o critique the idea of the mastenvork, the original, and the apolitical-as I recall an alternative history, a History of the Refused.

When my wife, Joan Floberg Gillespie, and I came to Chicago fn 1979, the possibility of my obtaining a doctorate in English remained for me an unrealized dream. More than anyone else, Joan has helped me realize this dream. I cannot convey my gratitude. Becoming part of the Loyola Graduate Program in English has been like coming home. So many professors have reminded me of my father's colleagues and family friends. In particular, I acknowledge Professor Agnes Donohue; she reacquainted me with my early vision of the ideal, humane teacher. My Loyola education has advanced under two exceptional directors of the Graduate Program, Professors James E. Rocks and Allen Frantzen. Both have been wonderfully supportive, available, and sympathetically critical. On my dissertation COlllDittee they were joined by Professor Paul Jay, who leant his expertise in autobiography and contemporary criticism. Joan Thesing provided invaluable assistance in preparing the text. Throughout my education I have been helped by exceptional teachers. I especially thank Mother M. Rosemary, Margaret Pfau, Ward Miner, Thelma Miner and S.I. Roberts. I thank all the friends and associates who have encouraged me. And I gratefully acknowledge the help Ruth Floberg has provided Joan and me during this period. Some autobiographies are never written, but find expression in the work and lives of others. iii VITA The author, Dennis Patrick Gillespie, was born on August 20, 1944, in Youngstown, Ohio. He attended Saint Edward's School and graduated from Ursuline High School in Youngstown, where he was active in forensics and was president of the student council. Mr. Gillespie received his undergraduate education at Harvard University and Youngstown University. He holds a Bachelor of Arts degree cum laude in English from both universities, awarded in 1966 (Youngstown) and 1970 (Harvard). He received a Master of Arts degree in American Studies from the University of Hawaii in 1978. At Harvard, his honors essay, "The Figure of Christ in Paradise Regained," received High Honors. At the University of Hawaii his major writing concerned the themes of death and dying in American nonfiction. At Youngstown University, his principal essay focused on religious issues in modern fiction.

CAN A D A consistently took up the voice of opposition throughout the week. She championed the "promising films now", with their liberatory potential evident in various contemporary German film practices ranging from new narrative to neo fluxus to neo Dada. Panelist Deke Dusinberre (also ex-NYU) provided a psychoanalytic reading of experimental filmmaking and concluded that it was middleaged. (Perhaps he was projecting a little bit?)

Digital dissertations have been a part of academic research for years now, yet there are still many questions surrounding their processes. Are interactive dissertations significantly different from their paper-based counterparts? What are the effects of digital projects on doctoral education? How does one choose and defend a digital dissertation? This book explores the wider implications of digital scholarship across institutional, geographic, and disciplinary divides.

2014 "Apparatus Poetica" considers how four poets in the late modernist tradition reconceive the potentials of poetic language in order to address the question of advanced technology. Outlining challenges posed to language by communications industries, information theory, computation, and the threat of nuclear war, I show how four poets-James Merrill, Muriel Rukeyser, H.D., and Jack Spicer-explore affinities and crucial distinctions between poetry and technology. Through their experiments in what I call "apparatus poetics," these poets denaturalize culturally embedded assumptions surrounding technology's "neutrality" and poetry's expressive "purity." They do so through procedural innovations in the genre of the poetic epic, that form not coincidentally deemed by modernist anthropologists as the earliest human memory-technology. I begin with a discussion of how the montage apparatus of testimonial poetry in Rukeyser's The Book of the Dead works to indict industrial capital's technological tactics of historical effacement. I next discuss how Jack Spicer, working as a structural linguist in the age of IBM, uses a late modernist method, the "serial lyric," to set up a confrontation between poetic consciousness and language. Spicer casts the old predicament of thought's alienation from language in a new light defined by contemporary forms of technological emergence (especially computational intelligence). In the historical moment where databases begin to supplant cultural archives, H.D.'s Helen in Egypt meditates on translation and disintegration at the virtual horizon of memory and myth. I attend to how H.D.'s late-career epic revives an earlier, modernist moment of inquiry into the "machine mind" and "mnemic technology" through her collaboration with Sigmund Freud. I conclude with an exploration of how James Merrill's The Changing Light at Sandover engages language's aleatory powers to situate inspiration's accidents amid uncertain historical and technological horizons. This dissertation explores how these late modernists use language's technē to rethink mid-century historical forces catalyzed by technology. Insisting on language's poetic ability to exceed instrumentalized capture, these poets share an interest in theorizing new ethical relations for reconnecting "subject" and "process" in an age when forms of collectivity are undergoing rapid technological redefinition. BIOGRAPHICAL SKETCH Avery Slater was an Andrew W. Mellon graduate fellow at the Society for the Humanities during the focal research theme "Occupation" (2013-2014), and she is the recipient of a two year postdoctoral fellowship in English at the University of Texas at Austin (2014-2016). She holds an M.F.A. in poetry (2006, University of Washington) and an M.

This chapter proposes a brief history of kinetic poetry as a transmedia and cross-artistic form. It connects the most relevant threads of a possible historiographic narrative of how kinetic poetry has been evolving since the beginning of the twentieth century at the intersection of literature, visual arts, cinema, animation, and technology, across various media. It argues for a transmedia approach because it does not place kinetic poetry at the heart of computational media and as a digital literature-specific genre, but rather as a temporal form that is media and language-specific, but also culturally and politically situated. Kinetic poetry is a form of poetry that relies on spatiotemporal transitions with expressive literary, visual and aural layers. Throughout the twentieth century, authors composed kinetic poems with varied media, such as motorized sculptures, celluloid film, video, holography, and computers. As it is unveiled, the origins of kinetic art and kinetic poetry can be traced back to the Constructivists’ "Realisticheskii Manifest" and the Dadaists’ praxis. When Marcel Duchamp staged puns via rotoreliefs in the 35 mm film "Anémic Cinéma" (1926), he opened up the way for hybrid works that can be experienced through the lenses of cinema, textual art in motion, and kinetic poetry. Later on, language went from projection to interaction, first with the investigations by the experimental poets in the 1950s-80s and then with the explorations by the digital poets from the 1980s onwards. Therefore, the discussion of kinetic poetry’s cultural and technological history goes back to early abstract films, mechanical poetry, film poetry, videopoetry, holopoetry, to finally present algorithmically programmed animation. Because this narrative is heavily Euro- and American-centric, this chapter invites readers to contest the following historiographic version of kinetic poetry’s trajectory, and to share knowledge about works created in other latitudes, especially by women and non-white authors.

At the turn of the twentieth century, the translation and the reception of haiku poetry allowed for theoretical advances beyond the purview of the literary. The haiku-idiom reinvented itself as a practice of poetry as audio-visual technique : haiku as a line of flight, medium of another relationship to language and to images. A hybrid-model of the modernist arts (poetry photography, film), the haiku-idiom became a vehicle for theories articulating the experience of a new spatio-temporal economy of images. As a mode of writing in laconic fragments, gestures of everyday-life, and shadows of memory, the haiku-idiom mobilized for others a relationship of movement, opacity, and distance to language.

Sasha Sokolov’s short graphic composition Duende (“Zerkalo” 2006) is more than a personal and overt homage to the Spanish poet Federico García Lorca; it witnesses a deeper poetic and ‘spiritual’ connection between the two authors. Although unexplored by critics, references to Lorca can be traced in different literary works by Sokolov. The Spanish poet has always represented a source of reference and a model throughout Sokolov’s literary lifetime.

Durante grande parte da sua vida, o cineasta e poeta António Reis (1927-1991) foi professor na «Escola de Cinema». Em Outubro de 2018, o Departamento de Cinema da Escola Superior de Teatro e Cinema organizou a homenagem «Lições António Reis». Esta edição, revista e aumentada relativamente aos textos apresentados nessa ocasião, é composta de três partes distintas, mas interligadas: «Lições António Reis», «Homenagem», «Continuação». Certos de que na procura do ouro não há motivo para largar a picareta, fomos buscar a versos seus – «Descasco as imagens / e entrego-as na boca» – o título deste livro.

José Bogalheiro: "Nota introdutória" — Maria Filomena Molder: "Causas que seguem os efeitos ou ameixas doiradas com orvalho – Sobre Jaime de António Reis" — Nuno Júdice: "Uma poesia próxima da vida" — Manuel Guerra: "Da atenção ardente" — José Bogalheiro: "Uma torrente chamada vida" — Fátima Ribeiro: "António Reis, nosso mestre" — Maria Patrão: "Meia-luz".

This essay will examine the work of Jack Spicer through the lens of Federico García Lorca's homages and his concept of the dark earth inspiration called duende to explore the bonds created through imagined lovers, mostly looking at works proposing relationship through affect, apostrophe, and homoerotics. Spicer communicated with García Lorca in his book After Lorca, which Spicer saw as a direct channeling of the poet and his magic-imbued poetics via translation. In Spicer's work, anamnesis and homage are attempts to unify the writer with the object of channeling-the "same-like" person with whom the author identifies. The act of imagining or channeling a similar writer into conversation provides a direct link to creativity for Spicer and others like him, who write in the vein of queer magic in order to create and perpetuate lineage and connection to the sexual world despite distances of time and space. Uncovering this perspective within the writings of García Lorca and Spicer allows a deeper and more empathetic rereading of both as queer poets and poets interested in writing-as-magic. This likewise encourages a deeper and fuller imitation of these writers by contemporary kin working into queer lineages.

This paper examines key aspects of the relationship between the work of Bob Dylan and the cultures of Spain and Spanish-speaking Latin America. These include: the Spanish/Latin American presence in Dylan's songs and prose texts; the reception of Dylan's work by Spanish-speaking critics and intellectuals; influences and parallels between Dylan and Spanish/Latin American musicians and writers, notably Federico García Lorca; and the translation of Dylan into Spanish. Dylan's work is seen as a hybrid cultural phenomenon, generating connections between high-cultural and popular elements. Its two-way relationship with Hispanophone culture is seen as an interesting case of bridge-building between cultural systems.

Review of Chad Bennett's critical book, Word of Mouth: Gossip and American Poetry, which treats the poetries of Gertrude Stein, Langston Hughes, Frank O'Hara, and James Merrill.

(And more briefly, Juliana Spahr, John Keene, Eileen Myles, and D.A. Powell.)

Dans les dernières décennies, un grand nombre de philosophes a commenté l’œuvre de Paul Celan. Denis Thouard l’a récemment souligné dans Pourquoi ce poète ? Le Celan des philosophes (2016) en mettant en évidence plusieurs faiblesses de ces lectures. Souvent, dit-il, elles ne fournissent pas un accès effectif à l’œuvre, mais, au contraire, « elles s’interposent entre celle-ci et le lecteur, risquant de s’y substituer ».

Or, s’il est vrai que les interprétations « philosophiques » de Celan sont souvent problématiques, nous voudrions souligner l’exigence de ne pas renoncer à un regard philosophique sur un ouvrage poétique. Pour ce faire, nous privilégierons l’article de Lévinas « De l’être à l’autre » (1972). D’un côté, certaines de ses caractéristiques confirment la méfiance de Thouard face aux philosophes, car Lévinas n’y fait presque pas référence à des poèmes. De l’autre, Lévinas a quand même développé une lecture admirable, en donnant un nouvel accès à des aspects essentiels de l’œuvre de Celan.

L’essai de Lévinas nous permettra surtout d’observer certaines limites de la perspective de Thouard et de proposer des réflexions d’ordre général sur le type de lecture qu’un philosophe peut développer à propos d’un poète.

Communication au colloque de l'INSL, THE BETWEEN-NESS OF LYRIC / L’ENTRE-DEUX LYRIQUE / LYRIK IM DAZWISCHEN, Lausanne (4-7 juin 2019).

Des années 1920 à nos jours, le cinéma a régulièrement été qualifié de « poétique » ou de « lyrique » par les critiques et, quoique dans une moindre mesure, par certains réalisateurs eux-mêmes comme Jean Epstein, Jean Cocteau, Pier Paolo Pasolini, Maya Deren ou Andreï Tarkovski, pour ne citer que quelques références incontournables. Outre ces discours autorisés, les occurrences triviales foisonnent aussi dans le champ critique, journalistique et promotionnel pour désigner tel ou tel film comme un « poème », voire comme un « haïku », ou pour louer les qualités « lyriques » de telle ou telle séquence, en particulier pour des œuvres faiblement narratives. Cette communication se propose de poser les questions suivantes pour comprendre la persistance du paradigme poétique dans ce contexte. S’expliquerait-il par certaines spécificités médiologiques du cinéma ou répondrait-il avant tout à un besoin persistant de légitimation du medium ? Quelles sont, dans le contexte filmique, les valeurs associées au poétique ? Par sa labilité, la notion de poésie servirait-elle avant tout à mobiliser un système de valeurs, plus qu’un corpus cohérent de principes esthétiques ? En termes pragmatiques, quels effets l’étiquette « poétique » cherche-t-elle aussi à produire sur la réception des films ?