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The Celebrated poet and author of Can Poetry Matter?offers another bold, insightful collection of essays on literature's changing place in contemporary culturePoetry is an art that preceded writing, and it will survive television and video games . . . The problem won't be finding an audience. The challenge will be writing well enough to deserve one. In Disappearing Ink, Dana Gioia stakes the claim for poetry's place amid American popular culture, where poetry in its latest oral forms -rap, slam, performance-is transforming the traditional literary culture of the printed page. But, as the seminal title essay asks, "What is a conscientious critic supposed to do with an Eminem or Jay-Z?" In a brilliant array of essays that test the pulse of traditional and contemporary poetry, Gioia ponders the future of the written word and how it might find its most relevant incarnation. With the clarity, wit, and feisty intelligence that made Can Poetry Matter? one of the most important and controversial books about literature and contemporary American society, Gioia again demonstrates his unique abilities of observation and uncanny prognostication to examine our complicated everyday relationship to art. Dana Gioia offers insightful essays on literature's changing place in contemporary culture in this new collection." "What happens to poetry in a culture that no longer depends on books? Dana Gioia dismisses the standard cliches about poetry's precarious place in a society transformed by electronic media. Looking at both the literary world and popular entertainment, Gioia's original title essay offers an account of how new technologies and innovative forms of oral poetry - rap, slam, spoken work, performance art - are revitalizing the art in unexpected ways. I. Disappearing Ink Disappearing Ink: Poetry at the End of Print Culture The Hand of the Poet: The Magical Value of Manuscripts Longfellow in the Aftermath of Modernism II. West Coast Elegies Fallen Western Star: The Decline of San Francisco as a Literary Region Rexroth Rediscovered Brother Beat Jack Spicer and San Francisco’s Lost Bohemia John Haines Discovering Kay Ryan The Cult of Weldon Kees On Being a California Poet III. “All I Have is a Voice” “All I Have is a Voice”: September 11th and American Poetry Two Views of Robert Frost —The Life —The Poetry Elizabeth Bishop: From Coterie to Canon Barbara Howes and the Eminent Sorority The Journey of William Jay Smith Short Views —Donald Hall —Philip Levine —Peter Davison —Randall Jarrell —Janet Lewis —Samuel Menashe —Donald Justice James Tate and American Surrealism What is Italian American Poetry? “Connect the Prose and the Passion”
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La desaparición tiene memoria. La poesía lo sabe. Ese pulso sin mundo sigue alerta, visible o invisible, audible o inaudible, viviendo de un conflicto no siempre subterráneo. El mundo trabaja para que ese conflicto no le dañe, para que no lo altere como mundo existente. Pero el daño para la poesía no es una opción: es una necesidad. Por eso, la escritura poética tiene la responsabilidad de escuchar aunque fuera el rumor de ese conflicto: abriga el deseo secreto de poder decirlo. Claro que, entonces, la cuestión del poder, en su sentido más amplio y a la vez más radical, no le es ajena.
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Eduardo Milán registra la tradición poética latinoamericana a partir de un presente poético integrado por Rubén Darío, Vicente Huidobro, César Vallejo, Pablo Neruda, Oliverio Girondo, Lezama Lima, Octavio Paz y Haroldo de Campos. Milán localiza también en el paisaje poético a los herederos de estos autores: Rodolfo Hinostroza, Raúl Zurita, Néstor Perlongher, Antonio Cisneros, José Kozer y David Huerta.
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Este artigo forma parte dun traballo de investigación máis amplo que intenta afondar na historia do Grupo de Comunicación Poética Rompente facendo unha crónica do grupo, así como unha recompilación de todos os textos que Rompente publicou ou que ficaron inéditos ou esquecidos pola crítica. Aquí faise unha aproximación a unha das actividades de Rompente: a performance. Destácase esta modalidade artística, tanto pola relevancia que tivo no momento como tamén pola repercusión que ía ter este xeito de interpretar a arte de modo interdisciplinario (poesía, música e pintura) na creación artística galega de finais do século XX. Téntase facer do mesmo xeito unha pequena reflexión sobre o concepto performance. In this article I will discuss one of the activities of the Grupo de Comunicación Poética Rompente: performance. This artistic form is emphasised for the relevance it had at a given period and for the repercussions that this form of interpreting art by interdisciplinary means (poetry, music, and painting) had on Galician artistic creation at the end of the twentieth century. In the same manner, I will try to offer some new considerations on the concept of performance.
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Enfoque
- Análise Cultural (2)
- Literário (2)
- Comparatista (1)
- Estético (1)
- Estudos Gays-Lésbicos (1)
- Histórico (1)
- Interartes (1)
- Semiótico-Cultural (1)
- Sobre Performance (1)
Espaço Geocultural
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América
(2)
- América do Norte (1)
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Europa
(1)
- Europa Atlântica (1)
Período
- 1990–atualidade (3)
- 1946–1989 (2)
Relações Interartísticas
- Performance (3)
- Música (2)
- Artes Cênicas (1)
- Artes Gráficas (1)
- Improvisação e Happening (1)
- Pintura (1)
- Vídeo (1)
Repertórios
- Poéticas Sociais (3)
- Poéticas da Voz (2)
- Poéticas das Neovanguardas (2)
- Poéticas Identitárias (2)
- Poéticas Lúdicas (2)
- Metapoesia (1)
- Poesia Tradicional (1)
- Poéticas Agitprop (1)
- Poéticas Biográficas (1)
- Poéticas da Improvisação (1)
Tipo de recurso
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