The Rhetoric of Poetry Contests and Competition Marc Pietrzykowski
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Link to 2012 Abstracts / Program
April 9-14, 2012 Tucson, Arizona www.consciousness.arizona.edu 10th Biennial Toward a Science of Consciousness Toward a Science of Consciousness 2013 April 9-14, 2012 Tucson, Arizona Loews Ventana Canyon Resort March 3-9, 2013 Sponsored by The University of Arizona Dayalbagh University Center for CONSCIOUSNESS STUDIES Agra, India Contents Welcome . 2-3 Conference Overview . 4-6 Social Events . 5 Pre-Conference Workshop List . 7 Conference Schedule . 8-18 INDEX: Plenary . 19-21 Concurrents . 22-29 Posters . 30-41 Art/Tech/Health Demos . 42-43 CCS Taxonomy/Classifications . 44-45 Abstracts by Classification . 46-234 Keynote Speakers . 235-236 Plenary Biographies . 237-249 Index to Authors . 250-251 Maps . 261-264 WELCOME We thank our original sponsor the Fetzer Institute, and the YeTaDeL Foundation which has Welcome to Toward a Science of Consciousness 2012, the tenth biennial international, faithfully supported CCS and TSC for many, many years . We also thank Deepak Chopra and interdisciplinary Tucson Conference on the fundamental question of how the brain produces The Chopra Foundation and DEI-Dayalbagh Educational Institute/Dayalbagh University, Agra conscious experience . Sponsored and organized by the Center for Consciousness Studies India for their program support . at the University of Arizona, this year’s conference is being held for the first time at the beautiful and eco-friendly Loews Ventana Canyon Resort Hotel . Special thanks to: Czarina Salido for her help in organizing music, volunteers, hospitality suite, and local Toward a Science of Consciousness (TSC) is the largest and longest-running business donations – Chris Duffield for editing help – Kelly Virgin, Dave Brokaw, Mary interdisciplinary conference emphasizing broad and rigorous approaches to the study Miniaci and the staff at Loews Ventana Canyon – Ben Anderson at Swank AV – Nikki Lee of conscious awareness . -
Hermeneutics: a Literary Interpretive Art
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 9-2019 Hermeneutics: A Literary Interpretive Art David A. Reitman The Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/3403 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] HERMENEUTICS: A LITERARY INTERPRETATIVE ART by DAVID A. REITMAN A master’s thesis submitted to the Graduate Faculty in Liberal Studies in partial fulfillment of the requirements for the degree of Master of Arts, The City University of New York 2019 © 2019 DAVID A. REITMAN All Rights Reserved ii Hermeneutics: A Literary Interpretative Art by David A. Reitman This manuscript has been read and accepted for the Graduate Faculty in Liberal Studies in satisfaction of the thesis requirement for the degree of Master of Arts. Date George Fragopoulos Thesis Advisor Date Elizabeth Macaulay-Lewis Executive Officer THE CITY UNIVERSITY OF NEW YORK iii ABSTRACT Hermeneutics: A Literary Interpretative Art by David A. Reitman Advisor: George Fragopoulos This thesis examines the historical traditions of hermeneutics and its potential to enhance the process of literary interpretation and understanding. The discussion draws from the historical emplotment of hermeneutics as literary theory and method presented in the Norton Anthology of Theory and Criticism with further elaboration from several other texts. The central aim of the thesis is to illuminate the challenges inherent in the literary interpretive arts by investigating select philosophical and linguistic approaches to the study and practice of literary theory and criticism embodied within the canonical works of the Anthology. -
ION: Plato's Defense of Poetry Critical Introduction We
ION: Plato's defense of poetry Critical Introduction We occasionally use a word as a position marker. For example, the word 'Plato' is most often used to mark an anti-poetic position in the "old quarrel" between philosophy and poetry. Occasionally that marker is shifted slightly, but even in those cases it does not shift much. So, W.K.C. Guthrie in his magisterial History of Greek Philosophy1 can conclude [Plato] never flinched from the thesis that poets, unlike philosophers, wrote without knowledge and without regard to the moral effect of their poems, and that therefore they must either be banned or censored (Vol IV, 211). Generally, studies of individual dialogues take such markers as their interpretative horizon. So, Kenneth Dorter,2 who sees the importance of the Ion as "the only dialogue which discusses art in its own terms at all" (65) begins his article with the statement There is no question that Plato regarded art as a serious and dangerous rival to philosophy—this is a theme that remains constant from the very early Ion to the very late Laws (65). Even in those very rare instances where the marker is itself brought into question, as Julius Elias' Plato's Defence of Poetry3 attempts to do, the one dialogue in which Plato picks up poetry (rather than rhetoric) on its own account and not in an explicitly political or educational setting—the Ion—is overlooked entirely or given quite short shrift. Elias, after a two paragraph summary of the dialogue says "almost anybody could defend poetry better than Ion; we must look elsewhere for weightier arguments and worthier opponents" (6) and does not refer to the dialogue again in his book. -
010 Nagy Epic.Pdf (258.2Kb)
Epic The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Nagy, Gregory. 2009. Epic. In The Oxford Handbook of Philosophy and Literature, edited by Richard Eldridge, 19–44. Oxford: Oxford University Press. Published Version doi:10.1093/oxfordhb/9780195182637.003.0002 Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:15479860 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA Epic Gregory Nagy [[This essay is an online version of an original printed version that appeared as Chapter 1 in The Oxford Handbook of Philosophy and Literature, ed. Richard Eldridge (Oxford: Oxford University Press 2009) 19-44. In this online version, the original page-numbers of the printed version are indicated within braces (“{” and “}”). For example, “{19|20}” indicates where p. 19 of the printed version ends and p. 20 begins.]] What is epic? For a definition, we must look to the origins of the term. The word epic comes from the ancient Greek noun epos. As we are about to see, epos refers to a literary genre that we understand as ‘epic’. But the question is, can we say that this word epic refers to the same genre as epos? The simple answer is: no. But the answer is complicated by the fact that there is no single understanding of the concept of a genre - let alone the concept of epic. -
Science-Fiction Srudies
INFORMATION TO USERS This manuscript has been repmôuced from the micrdilm master. UMI films the text difecüy from the original or copy submitted. mus, some thesis and dissertation copies are in typewnter face, while ofhen may be from any type of cornputer printer. The quality of this repfoâuction is dependent upon the quality of the copy submitted. Broken or indistind print, cdored or poor quality illustrations and photographs, print bleedttrrough, substandard margins, and imwr alignment can adversely aff&zt reprodudion. In the unlikely event tnat the author did not send UMI a cornplete manuscript and there are missing pages, these wïll be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e-g., maps, drawings, charb) are reproduced by sectiming the original, beginning at the upper bft-hand corner and cantinuing from left to right in eqwl seaiocis with small overlaps. Photographs included in the original manuscript have been reproduoed xerographicaliy in mis copy. Higher quality 6" x 9" bbck and mite photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI direcüy to order. Be11 8 Howell Information and Leaming 300 North Zeeb Road, Ann Arbor, MI 481064346 USA 800-521-0800 NOTE TO USERS The original manuscript received by UMI contains pages with indistinct andlor slanted print. Pages were microfilmed as received. # This reproduction is the best copy available The Cyborg. Cyberspace. and Nonh herican Science Fiction Salvatore Proietti Department of English iht~GiI1University. Monneal July 1998 A Thesis Submitted to the Faculty of Graduate Studies and Research in Partial Fulfillment of the Requirements of the Degree of Doctor of Philosophy Q Salvatore Proietti, 1998 National Library Bibliothèque nationale 1*1 of Canada du Canada Acquisitions and Acquisitions et Bibliographie Services services bibliographiques 395 Wellington Street 395. -
Introduction to Hesiod
INTRODUCTION TO HESIOD unlike homer, whose identity as a poet is so obscure that it is sometimes proposed that he is a committee, Hesiod’s dis- tinctive voice in the Theogony (Th) and the Works and Days (WD) delivers to us the ‹rst “poetic self ” and depicts the ‹rst poetic career in western literature. He is afraid of sailing, hates his home- town (Askra), has a brother and a father, entered a poetry contest, and has (or re›ects) signi‹cant anxieties about women. Most of this information comes from the Works and Days, because the didactic genre exploits the ‹rst-person speaker’s authority. However, even in the Theogony the poet’s relation to the Muses has a personal edge that makes the invocation’s generic appeal Hesiod’s particular call. The view that Homer (that is, the poet conventionally known as the author of the Iliad and the Odyssey) was earlier than Hesiod has recently given way to some skepticism, but in any case the poems of both, in the form we have them written, date from between 750 and 600 BCE. Hesiod and Homer were paired in antiquity, as they are today, as the great epic poets of the Greek archaic era. To us their similarities seem few. For one thing, we have no sense of the organizing power of the dactylic hexameter, the meter in which Hesiod’s and Homer’s poems are composed and whose sound de‹ned epic, nor of the Ionian dialect that was the characteristic speech of archaic Greek epic. To modern stu- dents “epic” as a genre suggests something big, usually historic, sometimes overblown; epic can ‹t the grand scope of Homer, but not Hesiod’s comparative brevity (one book of the Iliad can be as long as the whole Works and Days, and the Theogony only exceeds it by two hundred lines). -
Weekly Menuwm 19 INHALTSVERZEICHNIS 21.09.07
Soulfood Music Distribution weekly menuWM 19 INHALTSVERZEICHNIS 21.09.07 JAZZ / WORLD 3 - 4 POP / ROCK 4 - 19 RAP / HIP HOP 19 - 23 EBM / GOTHIC / DARK WAVE 23 - 26 PUNK / ALTERNATIVE 26 - 28 METAL / HARD ROCK 28 - 36 DVD / VHS MUSIK 36 - 37 MERCHANDISE 37 - 44 WEITERE VÖs 45 - 47 ON TOUR 48 - 60 Auftragsannahme Soulfood Music Distribution Tel +49 (0)40 854196 21 WM 19 +49 (0)40 854196 22 Fax +49 (0)40 854196 10 weekly menu [email protected] www.soulfood-music.de Jetzt im VVK erhältlich! 21.09.07 JAZZ / WORLD Jazz/World Jazz/World 28.09.07 Boi Akih 21.09.07 Yalelol Enja Snetberger & Stockhausen Format: CD Streams PC: B Best.-Nr.: ENJ 9487 Enja 0 63757 94872 8 Format: CD Nach ihrem Quartettalbum „Uwa I“ (ENJ-9472 2) von 2004 präsentiert PC: B die Sängerin Monica Akihary ihre Band Boi Akih („Prinzessin Akih“) Best.-Nr.: ENJ 9511 diesmal in einer konzentrierten Duett-Besetzung. „2004 begannen wir 0 63757 95112 4 damit, das ‚Uwa I‘-Material im Duo aufzuführen“, erzählt sie. „Als Matthias Winckelmann die Aufnahme eines dieser Konzerte hörte, war er sich Ferenc Snétberger, „musikalischer Kosmopolit“ (Die Welt), entstammt sofort sicher, dass wir ein Duo-Album machen sollten. Wir erwärmten einer ungarischen Sinti-Roma-Familie. Als Kind schon spielte er Gypsy- uns immer mehr für diese Idee und seit 2005 konzentrieren wir uns ganz Gitarre, als Teenager lernte er klassische, studierte dann Jazzgitarre an aufs Duo.“ Monicas Partner im Leben und in der Musik (seit 1995) ist der der Franz-Liszt-Akademie Budapest und ergänzte später sein Spiel durch holländische Gitarren-Virtuose Niels Brouwer, ein großartiger Kompo- brasilianische und spanische Technik. -
Africa-Lite: Cultural Appropriation and Commodification of Historic Blackness in Post- Apartheid Fabric and Décor Design
Africa-Lite: Cultural appropriation and commodification of historic blackness in post- apartheid fabric and décor design By Annemi Conradie Dissertation presented for the degree of Doctor of Visual Arts in the Faculty of Arts and Social Sciences at Stellenbosch University Supervisor: Prof. Lize van Robbroeck Department: Visual Arts April 2019 Stellenbosch University https://scholar.sun.ac.za Declaration By submitting this dissertation electronically, I declare that the entirety of the work contained therein is my own, original work, that I am the sole author thereof (save to the extent explicitly otherwise stated), that reproduction and publication thereof by Stellenbosch University will not infringe any third party rights and that I have not previously in its entirety or in part submitted it for obtaining any qualification. April 2019 Copyright © 2019 Stellenbosch University All rights reserved Stellenbosch University https://scholar.sun.ac.za Abstract Over the past few years, cultural appropriation has gained a degree of notoriety as a buzzword, after emerging into the wider public arena from academic, legal and political discourses. Internationally and in South Africa, debates arise predominantly around cases where historically asymmetric power relations are symbolically or materially re-enacted when dominant groups appropriate from economic or political minorities. This study examines the appropriation of colonial images of black individuals and bodies for commodification in twenty- first century South African décor and fabric design. A prominent trend in post-apartheid visual design, the re- purposing and commodification of archival photographs, and its circulation within local and global image economies and design markets demand further research and comprehensive theorising. -
A Conversation with David Antin
A CONVERSATION WITH DAVID ANTIN DAVID ANTIN & CHARLES BERNSTEIN ALBUM NOTES by DAVID ANTIN GRANARY BOOKS NEW YORK CITY 2002 © 2002 David Antin, Charles Bernstein & Granary Books, Inc. All rights reserved. No portion of this book may be reproduced without express written permission of the author or publisher. A portion of this conversation was published in The Review of Contemporary Fiction, Vol. XXI No. 1, Spring 2001. Printed and bound in the United States of America in an edition of 1000 copies of which 26 are lettered and signed. Cover and Book Design: Julie Harrison Cover photo: Phel Steinmetz Library of Congress Cataloging-in-Publication Data Antin, David. A conversation with David Antin / David Antin and Charles Bernstein ; and album notes, David Antin. p. cm. ISBN 1-887123-55-5 1. Antin, David--Interviews. 2. Poets, American--20th century--Interviews. I. Bernstein, Charles, 1950- II. Title. PS3551.N75 Z465 2002 811'.54--dc21 2002001192 Granary Books, Inc. 307 Seventh Ave. Suite 1401 New York, NY 10001 USA www.granarybooks.com Distributed to the trade by D.A.P./Distributed Art Publishers 155 Avenue of the Americas, Second Floor New York, NY 10013-1507 Orders: (800) 338-BOOK • Tel.: (212) 627-1999 • Fax: (212) 627-9484 Also available from Small Press Distribution 1341 Seventh Street Berkeley, CA 94710 Orders: (800) 869-7553 • Tel.: (510) 524-1668 • Fax: (510) 524-0582 www.spdbooks.org David Antin and Charles Bernstein Charles Bernstein: In 1999, I had the opportunity to tour Brooklyn Technical High School with my daughter Emma, who was just going into ninth grade. -
Anatomy of Criticism with a New Foreword by Harold Bloom ANATOMY of CRITICISM
Anatomy of Criticism With a new foreword by Harold Bloom ANATOMY OF CRITICISM Four Essays Anatomy of Criticism FOUR ESSAYS With a Foreword by Harold Bloom NORTHROP FRYE PRINCETON UNIVERSITY PRESS PRINCETON AND OXFORD Published by Princeton University Press, 41 William Street, Princeton, New Jersey 08540 In the United Kingdom: Princeton University Press, 3 Market Place, Woodstock, Oxfordshire OX20 1SY Copyright © 1957, by Princeton University Press All Rights Reserved L.C. Card No. 56-8380 ISBN 0-691-06999-9 (paperback edn.) ISBN 0-691-06004-5 (hardcover edn.) Fifteenth printing, with a new Foreword, 2000 Publication of this book has been aided by a grant from the Council of the Humanities, Princeton University, and the Class of 1932 Lectureship. FIRST PRINCETON PAPERBACK Edition, 1971 Third printing, 1973 Tenth printing, 1990 The paper used in this publication meets the minimum requirements of ANSI/NISO Z39.48-1992 (R1997) {Permanence of Paper) www.pup.princeton.edu 25 24 23 22 21 20 19 18 17 16 15 Printed in the United States of America HELENAE UXORI Foreword NORTHROP FRYE IN RETROSPECT The publication of Northrop Frye's Notebooks troubled some of his old admirers, myself included. One unfortunate passage gave us Frye's affirmation that he alone, of all modern critics, possessed genius. I think of Kenneth Burke and of William Empson; were they less gifted than Frye? Or were George Wilson Knight or Ernst Robert Curtius less original and creative than the Canadian master? And yet I share Frye's sympathy for what our current "cultural" polemicists dismiss as the "romantic ideology of genius." In that supposed ideology, there is a transcendental realm, but we are alienated from it. -
The Classics As World Literature in Ezra Pound's Cantos
CHAPTER 3 Creating the Modern Rhapsode: The Classics as World Literature in Ezra Pound’s Cantos Adam J. Goldwyn Constructing Author(ity): Portraits of Ezra Pound in the Epigraphs to The Waste Land For the original version of The Waste Land, T. S. Eliot chose as an epigraph the famous closing lines of his older contemporary Joseph Conrad’s novel Heart of Darkness (1899): Did he live his life again in every detail of desire, temptation, and surren- der during that supreme moment of complete knowledge? He cried in a whisper at some image, at some vision – he cried out twice, a cry that was no more than breath – ‘The horror! the horror!’1 In this epigraph, Eliot uses Conrad to characterize his friend and fellow poet Ezra Pound, the poem’s dedicatee: Pound both assumes the role of and replaces Kurtz, the enigmatic figure at the center of Heart of Darkness, as the speaker in the epigraph. By 1922, Pound had become best known as the founder of Imagism, one of the early avant-gardes of Anglo-American poetry that flourished between 1912 and 1917, and thus Eliot citing Conrad’s “image” was no doubt a marked and recognizable use to Pound. Kurtz’s utterance thus becomes Pound’s declaration of his poetic vision (“The horror! the horror!”). The epigraph, moreover, parallels Pound’s own definition of Imagism and poetry itself from his early aesthetic treatise “A Few Don’ts by an Imagiste” (1913): “An ‘Image’ is that which presents an intellectual and emotional com- plex in an instant of time.” Pound’s description of poetic epiphany parallels Conrad’s “supreme moment of complete knowledge.” The use of Heart of Darkness as an intertext also functions as a fitting intro- duction to a poem with such dystopian ambition: Eliot recognized in Kurtz’s final utterance his own vision of the modern world as a waste land, a vision of 1 Eliot (2005), 76. -
Extending the Embodied Semiotic Square: a Cultural-Semantic Analysis of “Follow Your Arrow”
Semiotica 2020; 236–237: 275–295 Daniel Candel* Extending the embodied semiotic square: A cultural-semantic analysis of “Follow your Arrow” https://doi.org/10.1515/sem-2018-0144 Abstract: Pelkey’s anchoring of the semiotic square in embodiment is excellent news for cognitive literary theory, a dynamic field still in search of itself. However, his validation of the square, though theoretically unexceptionable, suffers in the execution, for his interpretation of the country song “Follow your Arrow” is less successful. The present article benefits from Pelkey’s validation as it organizes a tool of cultural-semantic analysis (CS-tool) as a ‘deviant’ semiotic square. The article then shows how this particular semiotic square allows us to analyze the song in terms which build on Pelkey’s analysis, but also arrive at more satisfying results. Where Pelkey sees liberation in the song and the square, the tool uncovers manipulation in the former and closure in the latter. The article then assesses the complementarity of and differences between the two squares: Pelkey works on a local sentence-level through direct implicature, thus following the narrative/ authorial voice of the poem. The CS-tool starts from a position of higher abstraction requiring a less defined, but still sufficient and more wide-ranging, three-step implicature. This allows the tool to step back from the song’s authorial voice and uncover its manipulations. The article closes by discussing the deviant features of the present square. Keywords: cognitive literary theory, CS-tool, embodiment, semiotic square 1 Introduction Cognitive literary studies is proving a fascinating battlefield (Baumbach et al.