By Christopher Kelen
The method of poetry has importantly intuitive points and poetry embodies an ambivalence in the direction of recognition and in the direction of these actions of notion during which it truly is constituted. It used to be skill to favour doubt over the productions of the rational brain that led Keats to affiliate poetry along with his 'negative capability'. attention is - like poetry - a floating signifier, a time period of huge reference, and with a number implications within the quite a few disciplinary contexts within which it reveals forex. Poetry, attention and group is set poetry, realization and neighborhood, approximately their reflexive relationships in method, and approximately how those relationships subject to the realm this present day and to worlds to come back. This publication is drawn to the character of poetic, in preference to different, inspiration; it's drawn to the serious software of those varieties of concept to every others' productions, and in how poetic proposal could or is probably not topic to its personal regime. Poetry - as perform of checking out the bounds of language - includes a reflexive objective: that of realizing the adventure in phrases made attainable for, and via, the poem. Poetic that means and fact are printed among languages (likewise among genres, among texts, among subjects); it truly is during this inter-subjective and inter-cultural area that the boundaries of language (and so of attainable worlds) are came across. Christopher (Kit) Kelen is an affiliate Professor on the college of Macau in south China, the place he has taught Literature and artistic Writing during the last 9 years. the newest of Kelen's 9 released volumes of poetry are After Meng Jiao (published in 2008 by way of VAC in Chicago) and as from the dwelling web page - a trilingual quantity of 1 hundred poems for Yao Feng (published in 2008 through ASM in Macao). a brand new quantity God shield me from those that wish what's most sensible for me is drawing close from Picaro in Australia. Kelen publishes in a number of theoretical parts, together with poetics, pedagogy, literary and cultural reviews. he's the editor of the online magazine Poetry Macao and poetry editor for the per month lifestyle/current affairs magazine Macao nearer.
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Extra resources for Poetry, Consciousness and Community (Consciousness, Literature and the Arts, Volume 23)
The notion of poetry’s knowledge of itself suggests a shorthand for the knowledges of those who have invested in poetry. That consciousness privileged in relation to the process of poetry’s survival is waking, decisive and certainly, for all practical purposes, regards itself as superior to (at least able to stand above) those productions it sees itself as duty-bound to discriminate. It could at this point easily be argued that this position above is the canonic view and that it is imposed on literature, by its mediators, as a kind of wishful thinking; these mediators hoping to glorify themselves by association with that clarity and elevation of view, to which poetic imagination is entitled.
It is this, to hold the candle up to the album. (in Hoover, 1994: 177) Perhaps what is most unsettling in poetry’s potential is its role in keeping questions open, in unresolving, in (to reverse Kant’s aude sapere maxim) daring not to know. Nietzsche exhorts ‘we must not pester a poet with subtle interpretations, but should take pleasure in the uncertainty of his horizon, as if the road to various other thoughts were still open’ (1994: 125). As if the road were still open…poetry, as 50 Poetry, Consciousness, Community witness of and as exercise of consciousness in the practice of betweenness, is in a position to make a critical intervention in reality, which itself becomes of what we share.
But that’s just our simile. The character’s invented, his haste is make-believe, his news inhuman. (in Milosz, 1996: 68) As for Eliot’s idea that the bad poet is personal, David Antin devotes his work ‘a private occasion in a public place’ to a problematics of self-consciousness which draw us from such a conclusion: im doing what poets have done for a long time they’ve talked out of a private sense sometimes from a private need but theyve talked about it in a rather peculiar context for anybody to eavesdrop (in Hoover, 1994: 232) If we discard both the intentionalist fallacy and the view over poetry which canonic criticism cannot but claim; if we sacrifice, that is, the prospect of definitive judgement for its turns with ambivalence, what choice have we got but to commit the ontological sin of regarding poetry as constituting a consciousness in its own right?
Poetry, Consciousness and Community (Consciousness, Literature and the Arts, Volume 23) by Christopher Kelen