A Poetics of Place: The Poetry of Ralph Gustafson

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Wright, C.D. in Jeremy Richards, ”A shifting Sense of Place: four poets discuss where their work belongs in the world,” accessed at https://www.poetryfoundation.org/articles/69640/a-shifting-sense-of-place This quality is deepened because Wordsworth then contemplates how he owes to “these beauteous forms” memories of when he was last here, recollections that offer him “tranquil restoration” and lighten “the weary weight of all this unintelligible world.” And he then reflects on how his experiences of the world have changed as he has matured and makes the chastening imaginative association that has informed much of my own thinking about place and landscape: Ann Marie Jakubowski: The Believer as Aesthete: Conversion and Convention in Oscar Wilde’s De Profundis

Dave Nelson’s paintings are layered with material. With inspection it is possible to see how every mark is made, every piece assembled. Natural and organic overlaying of structure and form – marks, scrapings, symbols, colour and collage building on the panels. is Aristotle’s remark in the Poetics that it should be clear without being “mean.” But subsequent generations of poets were more scrupulous in avoiding meanness than in cultivating clarity. Depending heavily on expressions used by previous poets, they evolved in time a language sprinkled with such archaic terms as eftsoons,… Read More Wordsworth, William, 1798 “Lines composed a few miles above Tintern Abbey” in D.C. Somervell (ed) 1920 Selections from Wordsworth, J.M. Dent and Sons. by French classicists from Aristotle’s Poetics; they require a play to have a single action represented as occurring in a single place and within the course of a day. These principles were called, respectively, unity of action, unity of place, and unity of time. Read MoreShared Socioeconomic Pathways from the IPCC Sixth Assessment and their Implications for the Future of Places With a poetry reading by Hilary Davies, live sculpting by Timothy Schmalz, andamusical performance of OlivierMessiaen’s ‘Quartet for the End ofTime’ Call for Papers The works on show in this exhibition question Welch’s past life, and her sense of place and belonging. ‘Muffled Tableau’ presents replica components of the artist’s teenage bedroom clad in felt, whilst ‘Shoe Fossils’ are casts of the space inside the artist’s own shoes. The normally hidden internal surface textures are revealed, to capture and preserve lived moments and memories.

on a misunderstanding of Aristotle’s Poetics, in which the philosopher attempted to give a critical definition of the nature of tragedy. The new theory was first put into dramatic practice in Jean Mairet’s Sophonisbe (1634), a tragedy that enjoyed considerable success. Corneille, not directly involved in the call for regular… Read More Neither Tintern Abbey nor the River Wye is mentioned except in the poem’s title, yet Wordsworth’s descriptions of “steep and lofty cliffs,” “plots of cottage ground,” “hedge-rows, hardly hedge-rows, little lines/ of sportive wood run wild,” and “pastoral farms,” evoke the specific character of the Wye valley and make it recognizable even to those who may not be familiar with it. This poem, like many poems of place, is in other words, communicates intersubjectively; it is simultaneously about somewhere particular and has a widely shared resonance. Adam Young: From Bloomsbury to Toledo: Tracing The Evolution of Roy Campbell's Thought and Experiences to CatholicismAmanda Ralph was described by the late poet and artist Adrian Henri as ‘The Poet of the Discarded’– a phrase which has been used extensively to describe her work in newspaper articles and magazines, including Art Review. She is an installation artist whose practice is concerned with finding ‘ready-made art’ within the everyday landscape. Her meticulously arranged assemblages suggest new readings of familiar objects, offering a respectful nod to the past, yet grounding the viewer in the present moment. This conference is being organised by the Centre for Catholic Studies at Durham University and theUniversity of Notre Dame’s London Global Gateway, in association with The Tablet and Farm Street Church. Venue Colette Hughes/Nic Aodha: Of Wasteness and Desolation,[..]a Day of Trumpet and Alarm against the Fenced Cities and the High Towers (Zephaniah 1:6): David Jones's Christian Voyage in" The Anathemata, fragments of an attempted writing the term casually in the Poetics in describing the tragic hero as a man of noble rank and nature whose misfortune is not brought about by villainy but by some “error of judgment” (hamartia). This imperfection later came to be interpreted as a moral flaw, such as Othello’s jealousy or… Read More Bachelard also discusses psychoanalysis and the work of the psychiatrist Carl Jung. Comparing the psychoanalytic and phenomenological approaches to his subject matter, he sees merit in both, but finds the phenomenological approach preferable. [2] Publication history [ edit ]

As part of the Hertfordshire Year of Culture, this group exhibition focuses on works by six artists living and working in Hertfordshire. With varying visual languages, artists Fiona Curran, Yva Jung, Dave Nelson, Kirke Raava, Amanda Ralph and Imogen Welch all share an inherent interest in the process of moulding and re-shaping experiences of memory or place. Consisting of assemblages, textile works, painting, photography and installation, the exhibition showcases layered, meticulously constructed works that consider the undercurrents of value systems, social histories and image-making. Galvin, James, “The Poetry of Place: James Wright’s ‘The Secret of Light’ at https://www.poets.org/poetsorg/collection/poetry-and-place

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Owen Sheers in his essay “Poetry and Place: some personal reflections” suggests that: “A poem like landscape, situates us by translating the abstract world of thought and feeling into a physical language.” His essay is illustrated with photos of Welsh mountains, so by “physical language” I think he means a language that responds to the carefully observed characteristics of a particular place yet makes imaginative connections with broader feelings and ideas. Owen Earnshaw: Welcoming the Lord: The Nativity as an archetype for the poetics of places of worship Skinner’s outline suggests that one might briefly consider here historic ideas relating to quests, investigations, and representation. Before the deployment of the term atlas for a collection of maps, the Dutch and Spanish colonialists used to speak of the “speculum.” The Latin word for mirror was replaced by the name of the mythical Greek Titan who supposedly supported the heavens on his shoulders. That shift was paralleled by the move from the medieval conception of a fixed, unchanging, and hierarchical vision of the planet and of a closed circle of civilization with a vertical sense of infinity to a new model offered by Renaissance thought. In 16th-century Europe, during the so-called Age of Discovery, the sea and the land dominated the European worldview as intellectuals began to abandon spiritual parameters and models of knowledge; in short, the round Earth, as an icon, became every bit as important as the Cross (as a symbol of salvation) or Heaven (as the seat of God). Since the 1960s the world’s peoples have become familiar with a new icon and worldview: the blue planet viewed from space. This object is often seen as beautiful and unique—but also as limited (in terms of resources), fragile, and endangered. Our new maps, methods of orientation, and types of “navigation” seek to investigate this newly reconceptualized Earth, envisioned nowadays as a planet that is the very mirror image of ourselves. Ecopoetics embodies the scientific quest as also a spiritual quest to find the most resonant images and icons to create those moments in poetry where the constructions of verse and the reflections on nature, combined, herald a secular and ecological revelation.

Stilgoe, John R. (1994). "Foreword to the 1994 edition". The Poetics of Space. Boston: Beacon Press. ISBN 978-0-8070-6473-3.Dave Nelson’s practice is concerned with the landscape, material, technique and texture. His work is a meditation of the world around him, and his role in it. After a career in mathematics, Nelson has been practising as an artist since 2013 and became an elected Arts Fellow at the Digswell Arts Trust in 2016. He has exhibited in numerous regional exhibitions and appeared on Sky Arts Landscape Artist of the Year in 2017. He will start on the Turps Banana Studio programme in 2021. Thus, Aristotle’s statement in the Poetics that dance is rhythmic movement whose purpose is “to represent men’s characters as well as what they do and suffer” refers to the central role that dance played in classical Greek theatre, where the chorus through its movements reenacted the themes of the drama… Read More