A long way

In his article "Situating a Badiouian Anthropocene in Hagiwara's Postnatural Poetry" Dean A. Brink discusses the ecological dimension of the poetry of one of the founding voices in modern Jap- anese poetry, Sakutarō Hagiwara (1886-1942). Brink argues that Hagiwara developed a poetics char- acterized by engagements with nonhuman organisms and actants to situate the materiality of these actants in ways that diffuse the binary of "language" and "nature" and present a postnatural relationality that Bruno Latour describes. Drawing on the recent work of Alain Badiou, Brink explores materialist alternatives to representationalism—including the Lacanian triangle of the imaginary real and symbolic—by emphasizing human-nonhuman relations and Badiouian models of change in reading poetry in the anthropocene.

H-ART. Revista de historia, teoría y crítica de arte, 2019

As more than a means of recalling, memory is an active cultural creation and landscape inscriptions construct memories by locating place-based historical narratives. To model memory in terms of engagement with a place through inscription, this study focuses on a complex palimpsest petroglyph panel at the site of Kiñan Tan- ka, which is situated in the highland north-central Andes. Photogrammetric modeling and vector renderings of Kiñan Tanka’s panel are analyzed to identify the mi- crostratigraphy of its motifs. These data are paired with recently-acquired excavation data from three nearby rock art sites to reveal a tradition of incised petroglyphs that covered approximately 1300 years (1500 - 200 BC). The spatio-temporal relationships of Kiñan Tanka’s iconography are considered within its context as a venerated place and a threshold between distinct worlds during the Formative Period. Resumen La memoria, más que simplemente un medio para recordar, es una creación cultural activa, y las inscripciones en piedra encontradas en algunos paisajes construyen memorias al situar narrativas arraigadas en lugares específicos. Para modelar la memoria en términos de conexión con un lugar a través de inscripciones, el presente estudio se enfoca en un complejo panel de petroglifos en palimpsesto en el sitio de Kiñan Tanka, en las tierras altas del centro-norte de los Andes. Examinamos datos adquiridos a través del modelado fotogramétrico y de las representaciones vectoriales de este panel junto con datos de excavaciones recientemente realizadas en tres sitios de arte rupestre cercanos, con el propósito de revelar una tradición de inscripciones que se extendió durante unos 1300 años (1500 - 200 a. C.). Las relaciones espacio-temporales de la iconografía de Kiñan Tanka se consideran dentro de su contexto como un lugar venerado y como un umbral entre mundos distintos durante el Período Formativo. Resumo Mais que uma forma de lembrança, a memória é uma criação cultural ativa, e a inscrição da paisagem construi assim memória a colocar narrativas baseadas no lugar onde é inscrita. Este estudo quer prover uma análise de- talhada de estes processos, e assim concentra-se num painel complexo de palimpsestos e petróglifos na área do Kiñan Tanka, nas terras altas dos Andes do centro-norte. O painel contem muitos exemplos da micro estratigra- fia dos motivos alto-andinos. As informações adquiridas através da modelação fotogramétrica e do desenho ve- torial do painel são comparadas com a informação de escavação recentemente obtida de outras três áreas de arte rupestre pertas do Kiñan Tanka, para assim revelar uma tradição de inscrição que durou 1300 anos (1500 - 200 a. e. c.). Estas relações entre o local dos tipos espe- cíficos de iconografia e seu contexto geográfico provam que a arte rupestre do Kiñan Tanka serviu como uma ati- vidade localizada para construir memórias baseadas na localização onde eram feitas, através do desenvolvimen- to de narrativas durante o Período Formativo.

Here is an uptodate list of publications of Dr R.K. Singh (Ram Krishna Singh), Retd Professor of English, Indian Institute of Technology--ISM, Dhanbad. The list includes all his books, articles, reviews and other information of interest to researchers and scholars in Indian English Writing, ESP/EST and poetry.

Background:

Here is a point to ponder over. Though short verses were available aplenty in many literary societies the creative genre called haibun was perhaps rare; it was a Japanese speciality, a gift from Matsuo Basho (1644-94). Even haiku is known world over as a Japanese genre of short verse. Poets writing haiku and related poems usually relate to the original creations adapted to their respective tongues adhering to the Japanese style and content, to the extent possible.

This paper analyses hibakusha (atomic bomb survivor) poetry as examples of the nuclear sublime, which Rob Wilson argues is ‘one of the unimaginable, trans-material grounds of a global condition that, paradoxically, can and must be re-imagined, represented, and invoked to prevent this trauma of negativity from happening in post-Cold War history’ (1989: 1). We argue that of all atomic bomb literature, poetry best captures the devastation of atomic warfare and a message of hope for the future because of its emphasis on the economy of expression and, as Robert Jay Lifton argues, its ‘symbolic transformation’ (1991: 21). The ineffability of experience, explored in the Burkean Romantic Sublime, will be discussed as persisting into the politics of the twentieth century and impacting on definitions of the nuclear sublime. While hibakusha continue to be discriminated against –compounded recently by the ongoing catastrophe at the Fukushima Daiichi nuclear power complex –the nuclear sublime compels them to record their experiences in testimony, literature or poetry or to risk a ‘forgetting’ that may lead to the annihilation of the human race. This paper argues that poetry –specifically tanka and haiku best captures the nuclear sublime.

21st AAWP Conference proceedings, 2016

Response mode: taking everything and the genre Abstract: This hybrid paper of creative and critical writing reflects on my explorations of poetry. I write in what I call 'response mode', which is a group of behaviours, beginning with impersonation, and also open to understandings gained from other art forms. After studying the style and techniques of other poets, I move towards a mid-point between another poet's voice and my own, effectively, a new, hybrid voice. The engagement with literary ancestors enables evolution towards an expression that is more fully my own. Stealing the designations of genre ensures a continued experiment. The challenges and variety of voicings made possible by prose poetry and haibun are important. The haibun influences other new hybrid forms, which encompass found poetry and appropriate language in a way which is redolent of the times. We take from exhibitions, songs, film, poems, conversation. Poets eavesdrop; I do it on the bus. If there is stealing, it is on a spectrum, which includes intertext. My poems draw from Gerard Manley Hopkins, Yunna Moritz and Alan Loney, and from sculptor Cori Beardsley, who suggest to me fresh possibilities. Biographical note: Owen Bullock is a PhD Candidate in Creative Writing at the University of Canberra. His research interests are semiotics and poetry, line and space, prose poetry, collaboration and haikai literature. His publications include River's Edge (Recent Work Press, 2016), A Cornish Story (Palores, 2010) and sometimes the sky isn't big enough (Steele Roberts, 2010). He has edited a number of journals and anthologies, including Poetry New Zealand.

Stellenbosch Theological Journal, 2019

Forgiveness is a deeply contested theological notion in contemporary South African theology and society. e same could be said for South African theologies of reconciliation, of which forgiveness is considered to be a part. Some claim that these concepts have been weakened, abused, and corrupted. In particular, there are doubts whether forgiveness holds any theological or social value at present. John de Gruchy has devoted a great deal of time and eort to developing a theologically subtle, and politically robust, understanding of forgiveness that links justice and reconciliation. is article will consider how John de Gruchy's dialogical theology, which takes account of both the ontological and the structural aspects of forgiveness, facilitates an understanding of political forgiveness that can address some of the critiques of this notion in contemporary South African theologies.

2015