scholarly journals Living with grace on the earth: the poetic voice in Antjie Krog’s A change of tongue

Literator ◽  
2009 ◽  
Vol 30 (2) ◽  
pp. 69-88 ◽  
Author(s):  
A. Polatinsky
Keyword(s):  
The Body ◽  
Poetic Voice ◽  
Non Fiction ◽  
The Earth ◽  
Creative Non Fiction ◽  
The Voice

“A change of tongue”, Antjie Krog’s second creative non-fiction, articulates experiences of the postapartheid quotidian in two tongues: that of the journalist and that of the poet. This article examines Krog’s various instantiations of the poetic voice, and argues that the site of the body is crucial to Krog’s understanding of how languages and landscapes are translated into human experiences of belonging, alienation and self-expression. The voice that is inspired by, and best conjures these acts of somatic translation is the poetic voice, Krog suggests. The article argues that Krog endows the poetic tongue with particular capacities for synaesthetic perception and for modes of imagining that surrender many of the limitations we ascribe to other registers and grammars. Despite the profusion of challenges and setbacks expressed by the evidence-oriented journalist, the three poetic strands in the text, which are identified and explored in this article, provide a space of meditation and of refreshed language in which processes of hopeful revivification can occur.

Creative Incantations and Involutions in D. H. Lawrence

2018 ◽  
Author(s):  
Carrie Rohman
Keyword(s):  
Sexual Selection ◽  
The Body ◽  
Nonhuman Animal ◽  
Poetic Voice ◽  
The Earth ◽  
Human Animal ◽  
Women In Love

This chapter considers Lawrence’s “blood-consciousness” through the Deleuzian refrain in his poem, “Tortoise Shout,” and through the underanalyzed moments in Women in Love when Gudrun and Birkin partake in creatural dances. The rhythm, tempo, and melody of the tortoise’s shout enacts a refrain, which is ultimately linked to rhythms of the poetic voice, the body, and the earth. Thus, the poem itself is an affective becoming in which forces cross or are shared by human animal and nonhuman animal. My discussions of Gudrun’s dance of “seduction” with the cattle, and Birkin’s “licentious” dancing in Women in Love, move us beyond received interpretations of sexuality in Lawrence. Gudrun’s scene, in particular, reveals dance to be much more than some expressive practice, but rather a becoming-imperceptible/animal that capitalizes on the rituals of sexual selection. Lawrence’s Deleuzian dancing can ultimately be framed as a “lapsing out” or line of flight into the inhuman.

scholarly journals ‘My Tongue Gets t-t-t-’: Words, Sense, and Vocal Presence in Van Morrison'sIt's Too Late to Stop Now

2016 ◽  
Vol 13 (1) ◽  
pp. 53-76
Author(s):  
RICHARD ELLIOTT
Keyword(s):  
The Body ◽  
Poetic Voice ◽  
Post Hoc ◽  
The Relationship ◽  
The Voice

AbstractVan Morrison's live version of his song ‘Cyprus Avenue’ on the 1974 albumIt's Too Late to Stop Nowprovides an example of the authority of the singer's voice and of how it leads and demands submission from musicians, songs, and audience. Morrison's voice constantly suggests that it is reflecting important experience and can be understood both as an attempt to capture something and as a post-hoc witnessing or testimony. Through the example of Morrison's work, and ofIt's Too Late to Stop Nowin particular, this article explores the location of the voice in terms of the body and of particular places and histories. It then proceeds to a reflection on the relationship between the performing voice as producer of sound, noise, and music and the poetic voice that provides the words and visions upon which the performing voice goes to work. It concludes by focusing on a moment within ‘Cyprus Avenue’ where Morrison performs the act of being tongue-tied, discussing this as an example of ‘aesthetic stutter’. Throughout, attention is also paid to how other voices (particularly those of rock critics) connect to Morrison's voice by attempting to describe it, re-perform it, or explain it.

Grounded in the Body

2014 ◽  
Vol 22 (3) ◽  
pp. 292-306
Author(s):  
Elizabeth Boase
Keyword(s):  
Perspective Taking ◽  
The Body ◽  
The Other ◽  
Embodied Language ◽  
The Earth ◽  
Human World ◽  
To Come ◽  
A Site ◽  
The City ◽  
The Voice

The personification of Jerusalem as female in Lamentations is often the entry point for interpretive engagements with the book. Although Daughter Zion metaphorically represents the physical city, the figure is most often interpreted as a poetic means of portraying the suffering and distress of the human inhabitants of the city. Descriptions throughout are dominated by images of human suffering and degradation, and the struggle to come to terms with the trauma of military defeat and destruction. The book is, in its essence, anthropocentric. Does this mean, however, that these poems are limited only to an anthropocentric reading? Drawing on Bakhtinian dialogics, this paper explores the possibility of reading Lamentations 2 from another perspective. Taking its cue from Lamentations’ opening image of the widowed city seated (on the earth?), the discussion explores the metonymic potential of reading the embodied language of the text as a site of engagement with the other-than-human world. Through an excess of seeing, Lamentations 2 is read alongside Jer. 4:5–31as a means of retrieving the voice of another (non-human Other) in the text.


‘Man Is Ill Because He Is Badly Constructed’: Artaud, Klossowski and Deleuze in Search for the Earth Inside

2011 ◽  
Vol 5 (1) ◽  
pp. 18-34 ◽  
Author(s):  
Rick Dolphijn
Keyword(s):  
Performance Art ◽  
Holy Spirit ◽  
The Body ◽  
Deleuze And Guattari ◽  
The Earth ◽  
The Holy Spirit ◽  
Life Itself ◽  
Body Without Organs ◽  
Ways Of Thinking ◽  
And Performance

Starting with Antonin Artaud's radio play To Have Done With The Judgement Of God, this article analyses the ways in which Artaud's idea of the body without organs links up with various of his writings on the body and bodily theatre and with Deleuze and Guattari's later development of his ideas. Using Klossowski (or Klossowski's Nietzsche) to explain how the dominance of dialogue equals the dominance of God, I go on to examine how the Son (the facialised body), the Father (Language) and the Holy Spirit (Subjectification), need to be warded off in order to revitalize the body, reuniting it with ‘the earth’ it has been separated from. Artaud's writings on Balinese dancing and the Tarahumaran people pave the way for the new body to appear. Reconstructing the body through bodily practices, through religion and above all through art, as Deleuze and Guattari suggest, we are introduced not only to new ways of thinking theatre and performance art, but to life itself.

‘A pinch of unseen, unguarded dust’: The World and Self in Thomas Hardy's Poems

2018 ◽  
Vol 8 (1) ◽  
pp. 49-66
Author(s):  
Monika Szuba
Keyword(s):  
The Body ◽  
The Self ◽  
Phenomenological Philosophy ◽  
The Earth ◽  
The World ◽  
The Universe ◽  
Recurrent Theme ◽  
Body Subject

The essay discusses selected poems from Thomas Hardy's vast body of poetry, focusing on representations of the self and the world. Employing Maurice Merleau-Ponty's concepts such as the body-subject, wild being, flesh, and reversibility, the essay offers an analysis of Hardy's poems in the light of phenomenological philosophy. It argues that far from demonstrating ‘cosmic indifference’, Hardy's poetry offers a sympathetic vision of interrelations governing the universe. The attunement with voices of the Earth foregrounded in the poems enables the self's entanglement in the flesh of the world, a chiasmatic intertwining of beings inserted between the leaves of the world. The relation of the self with the world is established through the act of perception, mainly visual and aural, when the body becomes intertwined with the world, thus resulting in a powerful welding. Such moments of vision are brief and elusive, which enhances a sense of transitoriness, and, yet, they are also timeless as the self becomes immersed in the experience. As time is a recurrent theme in Hardy's poetry, this essay discusses it in the context of dwelling, the provisionality of which is demonstrated in the prevalent sense of temporality, marked by seasons and birdsong, which underline the rhythms of the world.

Feminist Cyber-Artivism, Musicing, and Music Teaching and Learning

2020 ◽  
pp. 291-312
Author(s):  
Marissa Silverman
Keyword(s):  
Social Media ◽  
Music Education ◽  
Case Studies ◽  
Teaching And Learning ◽  
The Body ◽  
The Internet ◽  
Philosophical Investigation ◽  
Music Teaching ◽  
Music Making ◽  
The Voice

This chapter asks an important, yet seemingly illusive, question: In what ways does the internet provide (or not) activist—or, for present purposes “artivist”—opportunities and engagements for musicing, music sharing, and music teaching and learning? According to Asante (2008), an “artivist (artist + activist) uses her artistic talents to fight and struggle against injustice and oppression—by any medium necessary. The artivist merges commitment to freedom and justice with the pen, the lens, the brush, the voice, the body, and the imagination. The artivist knows that to make an observation is to have an obligation” (p. 6). Given this view, can (and should) social media be a means to achieve artivism through online musicing and music sharing, and, therefore, music teaching and learning? Taking a feminist perspective, this chapter interrogates the nature of cyber musical artivism as a potential means to a necessary end: positive transformation. In what ways can social media be a conduit (or hindrance) for cyber musical artivism? What might musicing and music sharing gain (or lose) from engaging with online artivist practices? In addition to a philosophical investigation, this chapter will examine select case studies of online artivist music making and music sharing communities with the above concerns in mind, specifically as they relate to music education.

The voice of the earth

1993 ◽  
Vol 20 (1) ◽  
pp. 93-95
Author(s):  
Frances Fisher Kaplan
Keyword(s):  
The Earth ◽  
The Voice

scholarly journals Eksistensi Gamelan Gong Gede Saih Pitu Dalam Ritual Agama Hindu Di Banjar Kebon Singapadu ( Perspektif Teologi Hindu )

2018 ◽  
Vol 2 (2) ◽  
pp. 510
Author(s):  
I Wayan Darya
Keyword(s):  
Direct Contact ◽  
Research Method ◽  
Structural Theory ◽  
Cultural Development ◽  
Psychological Function ◽  
Functional Theory ◽  
The Earth ◽  
Theological Perspective ◽  
The Voice ◽  
Approach Problem

<p><em>Types of gamelan that exist in the earth comes from the voice of Genta Pinara Pitu which became the inspiration of the birth gamelan in the realms of the Gods, Rsi, and also on the nature of Bhuta Kala. Furthermore, humans are also inspired to create various types of gamelan, including gamelan Gong Gede Saih Pitu in Banjar Kebon Singapadu. Gamelan can be used as a ritual medium that essentially has a deep theological meaning. Tones of the gamelan are the nyasa (sacred symbols) of the ista dewata who control all directions which form a circle called the pemgider bhuana. Playing one tone means having direct contact with one of the gods. However, the understanding of the existence of Gamelan Gong Gede Saih Pitu about the concept of ideas, structure, barrel, patih / saih, and the type of tetabuhan that it uses, need to be studied further to deepen the existence of Gong Gede Saih Pitu gamelan in Hindu theological perspective hindu ritual. This research uses qualitative research method with theological approach. Problem solving using Structural Theory, Symbol Theory, and Structural Functional Theory to dissect the gamelan's theatrical structure, function, and meaning of Gong Gede Saih Pitu in Banjar Kebon Singapadu.</em></p><p><em>Data obtained from the text and obtained in the field through observation and interview, then processed and analyzed in accordance with the theory used with the method of theological approach, then obtained the result that the gamelan Gong Gede Saih Pitu as a form of art that developed today, has the theological concept derived from the sound of pale pent in the pangider bhuana circle, and its existence not only as an accompaniment of ritual procession and as a cultural development, but has a religious function and psychological function, and contains philosophical-theological meaning, aesthetic meaning, and grandeur, and dignity, which shows how great the concept of the gamelan is as the implementation of Hindu theological tones.</em></p><p><em>Through the results of this research will materialize the understanding of gamelan theology contained in the lontar Prakempa and Aji Gurnitha, and dismissed the notion of the use of gamelan in Hindu rituals as a tradition of mule keto which is identical with the euphoria of splendor to enliven the atmosphere of the ceremony.</em></p>

scholarly journals Archiveras anarquistas: Corporal Testimony in the Work of Diamela Eltit

2013 ◽  
Vol 1 (1) ◽  
pp. 1-17
Author(s):  
Megan Corbin
Keyword(s):  
Feminist Criticism ◽  
The Body ◽  
Diamela Eltit ◽  
Truth Telling ◽  
The Past ◽  
Cultural Texts ◽  
The Subject ◽  
Chilean Dictatorship ◽  
The Voice ◽  
Historical Model

Abstract: There exists a constant within the trajectory of Diamela Eltit’s contributions to New Chilean Fiction: the turn to the body’s revelatory capacity as a corporal archive of human existence. Simultaneously exploring and rejecting the confines of the traditional testimonial reliance on language, Eltit moves the reader to a re-consideration of the truth-telling function of the biological materiality of the body, placing imperfect corporalities on display as a means of speaking, even where the voice itself may falter.  This essay locates Eltit’s move to the corporal within the trajectory of feminist criticism, the traumatic realities of the Chilean dictatorship and post-dictatorship periods, and the search for the recuperation of those bodily knowledges represented by the disappeared.  Next, it turns to Eltit’s Impuesto a la carne as her most recent re-visioning of the importance of corporal textualities, whether or not the subject-matter of the body’s denunciation is connected to the dictatorship.  Lastly, this essay reconsiders the rejective power of the traditional archive, analyzing the effect set models have on those who seek to tell their stories outside of the traditional testimonial model. I argue that the case of Diamela Eltit is an example of the way writers and producers of cultural texts which actively inscribe alternative memories of the past are resisting the authoritative power of the archive and subversively inscribing narrative memory onto bodily materialities, re-orienting the view of the corporal from an evidentiary showing to an active process of re-telling the past. Eltit’s novels, inscribed with her corporal textual model, give voice to survivors, articulating an alternate historical model for the archive, embracing the biological and making it speak against the rigid abuses of authoritarianism.

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