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Series: Phoenix Poets

out of nothingness when the exploding bang occurred. “Incredible!” astonished Clayfeld muses to himself while wondering if human creativity also emerges out of nothingness, and if all matter, everything that is, is fated to be swallowed up by primal nothingness again. Clayfeld conjectures whether the fixed laws of mathematics— everywhere the same throughout the universe— existed previous to when the bang occurred, despite the paradox that there was absolutely nothing in the void before conceivable space/time began. His meditations cause his vertigo, though

titles of conventional anonymity. While the craftsmanship of these hommages is generally (but not always) beyond technical reproach, revealing a Ver- laine still adventuresome in matters of form, meter, and rhyme, most critics agree that, as occasional verse brought to life for reasons less than purely aesthetic, they provided Ver- laine with an excuse for continuing a creativity already, sadly, beginning to lack the fire of inner conviction. Souvenir de Manchester À Theodore C. London Je n’ai vu Manchester que d’un coin de Salford, Donc très mal et très peu, quel que

who did the work were known as the 4/panty'painters.ft) Architecture was not the only outlet for his creativity. In the opinion of many it was his poetry that was vigorous now; it grew stronger than ever as painting and sculpture were fail, ing him. Anticipations of Vittoria Colonna's death in 1547 and the ensuing grief account for many of the dozen or so sonnets and madrigals written that year. After those last memories of her, there are no more love poems for either man or woman, aI, though 263, written perhaps in the ten months after her death, suggests

, packaged, polished, wrinkles and contradictions eliminated, digressions booted. Insofar as we make hiring decisions using these crite- ria, insofar as we train graduate students to conform to such market imper- atives, insofar as we present our own writing and scholarship and evaluate 94 F RAM E L 0 C K each other's along these lines, then the demands of our work-teaching, research, encouraging creativity-will be severely compromised. Profes- sionalization need not be antithetical to our work as educators and writers and searchers, but in itself professionalization

. WHAT KIND OF GUY WAS HE? Just so you shouldn't have to ask again, He was the kind of guy that if he said Something and you were the kind of guy that said You can say that again, he'd say it again. TO MY LEAST FAVORITE REVIEWER When I was young, just starting at our game, I ambitioned to be christlike, and forgive thee. For a mortal Jew that proved too proud an aim; Now it's my humbler hope just to outlive thee. TO THE POETS Song sparrow's limited creativity, Three eighth-notes and a trill all summer long, The falling second of the chickadee-- It's a

but to mobilize imaginations. But how can we mobilize imaginations, those imaginary nations, when, for the most part, "imagination" and "subjectivity" have become house pets of the personal lifestyle industry, cousins to a "creativity" that seems to apply more to earrings than to hearing? This is no doubt Adorno's fear in questioning the historical role of lyric poetry in the wake of a systematic extermination process that seems to show up all our means of representa- tion as thin, palely inadequate to the realities at hand. For most conventional verse

originality, and creativity to enlighten his peers. Campanella believed that his actions on behalf of his fellow man, in particular his leadership of the 1599 Ca- labrian uprising, were his gifts of fi re. For his actions, he saw his own im- prisonment (both physical and psycho- spiritual) as his Caucasus (poem 71 he titles “Sonetto nel Caucaso,” for instance). Campanella’s poetics and thought, even when sketched so briefl y as they are in the preceding pages, leave one to wonder how Campanella’s poetry might compare to English poetry of the time, and particularly to

intensity of the light signifies the poet’s movement between creative “impotence and potentiality,” between what Sereni called his “di≈culties in understanding the world and the continuing impulse to discover new and hidden significances.”‡fi He calls upon this very symbol of his creativity in “The Disease of the Elm”: “Lead me, variable star, as long as you’re able . . .”‡fl Yet a further significance of the changing degrees of brightness is a wavering between the enchanting and flattering appearances of life and the alluring transparency, the emptiness which is death

second, compiled during one pregnancy, as many women did at the time, which registers a set of instructions regarding her property.15 WO R K S Modesta Pozzo entered the literary world under the pen name of Moderata Fonte. Many writers at the time, including her uncle Doglioni, had a nom de plume for literary purposes, especially when becoming members of liter- ary academies. But this was not particularly common for women, who in any case were rarely members of academies at the time. Modesta’s choice of a pseudonym shows a surprising creativity. In her fi ctitious