Concrete poetry presents its readers with a unique and often confounding situation. In addition to using language or parts of language in non-traditional ways, concrete poetry also uses elements that are more commonly associated with visual art. However, concrete poetry is not visual art. It is still concerned, primarily, with the use of language, generally to communicate some meaning to the reader in a way that is undeniably linguistic in nature. Concrete poetry is therefore an especially unique
works of literature provide responses to much debated topics. Opinions are brought forth by means of rhetorical devices and supported by some type of accepted truth. In two such pieces, The Republic by Plato and “A Defense of Poetry” by Shelley, Plato expresses a belief about poetry that Shelley disagrees with and responds to. Through rhetorical devices such as metaphors and symbolism and the use of deductive logic and Socratic writing, Plato provides a strong, very supported argument while Shelley’s
man struggles to reach the world of Forms through the use of reason. Anything then that does not serve reason is the enemy of man. Given this, it is only but logical that poetry should be eradicated from society. Poetry shifts man’s focus away from reason by presenting man with imitations of objects from the concrete world. Poetry, with its focus on mimesis or imitation, has no moral value. While Plato sees reality as a shadow of a realm of pure Ideas (which in turn is copied by art), Aristotle sees
all the girls that I was a poet. They seemed to find it a little more touching than a rapper" (Prince Paul, The Source 16) The lyrics of rappers are very similar to the words of Black poets. It is argued as to wether or not rap is a viable form of poetry. Both discuss similar subjects, write in the same style and use the same type of language in their writings. When looking at a poem or reading rap lyrics, distinguishing between the two can be difficult, if not impossible.Both Black rappers and Black
To bridge humankind’s alienation from science and technology, Christian Bök turns science into poetry, and poetry into science. He delves into “pataphysics,” the poetics of an imaginary science which renders the English language whimsical and at times nonsensical. He also attempts virtuosic feats with his sound and concrete poetry. Bök’s language welcomes new interpretations and shows that poetry is an ongoing process that can disrupt traditions and reshape them. Bök’s innovative use of sound
De Rerum Natura (On the Nature of the Universe), a comprehensive exposition of the Epicurean world-view, thought poetry could disperse the "terrors of the soul". In recent times, the expressive arts consist of verbal and nonverbal ways of representing feelings, there has been renewed interest in the use of the arts especially art forms that are considered "expressive." Through concrete and abstract verbal and nonverbal art forms that inspire, direct, and heal. For example the guerrilla girls, allowing
knowledge, and goodness directly affect their specific ideas about art. For Plato, art imitates a world that is already far removed from authentic reality, Truth. Truth exists only in intellectual abstraction, that is, paradoxically, more real than concrete objects. The universal essence, the Idea, the Form of a thing, is more real and thus more important than its physical substance. The physical world, the world of appearances experienced through the senses, does not harbor reality. This tangible world
century ago, but has not been taken serious until recently with the development of tests capable of testing whether or not the condition was real. Previously, scientists thought that this was a figment of the imagination, drug abuse, or in its most concrete form one of memory. As if seeing a number paired with a color, say in early childhood was the reason that a person paired them later on in life. There was also the theory that these people were very creative and when they said that they could taste
one hand, wisdom means the poetic wisdom that provides intelligibility for the peoples of the nations during their early stages of development. On the other hand, wisdom means the noetic knowledge gained by the Vichian scientist who contemplates concrete historicity in the light of the New Science. By means of an examination of three principle aspects of Vico’s science, and by looking to his conception of the origin of the most rudimentary institutions of humanity, primordial piety— fear of the mythic
creatures, and we have good reason to be. We have subdued a planet, changed the course of rivers, watered deserts, written poetry to make angels cry, and wrapped the world in a network of electric impulses and digital displays. We have created and killed not one but many gods. We can make a cloud rain by shooting heavy metal into it, and we can create a lake by pouring concrete in a canyon and damming a river. Most days, it seems that we human beings have everything under control and that if we miss
details from the play. In the actual play, one of the principle argument is whether Hamlet is truly mad or not. To analyze this for validity, one would have to look at the linguistics of the play and the situations that play out within it. There is concrete evidence, as well as implied detail, which leads one to believe that Hamlet is only acting as if he were mad in order to carry out his plan to avenge the death of the late King Hamlet. One of the first examples of this evidence shows itself when
questions. Questions like, why am I taking this class? Why am I getting my degree in this field of study? If I don't want to hear about it now, is it something that I want to hear about every day when I go to work? Lets face it. How many of us have a concrete plan as to what we want to do with our lives? If we do, is it our plan? I, along with many other people, am taking a good look at why I did the things I did when I was a younger. I've found, over the past few years, that much of it was a result
The use of reflexivity has and will always be questioned in anthropology. Malinowski, who was a pioneer in the field of anthropology, discouraged the use of reflexivity; he, instead, believed that anthropology was scientific and could produce “concrete evidence” (Malinowski 17). Reflexivity is way in which anthropologists try to get rid of this scientific and rigid anthropology; it is a move towards an emotional and self-reflective anthropology. Reflexivity denies the structuralism which Malinowski
ostracism and exploitation of Caliban because he is perceived as a brutish animal compared to "civilized" folks is in keeping with the theme and intent of the play-to show that reality is more a manifestation of mentality and conscious perception than concrete black and white, definable phenomena. As one scholar of Elizabethan imagery suggests, "The poet who imitates not the visible world but the intelligible as manifested in the visible will not consider that the use of artifice to emphasize form makes
thought, in order to examine the validity of the so-called ‘esoteric Plato’. The confrontation between dialogicity and unwritten doctrines is the main theme of this article. These two views — Hermeneutics and Tübingen School — are not far away on concrete contents, with more or less variations. But it must be noticed that both conceptions of Platonic thinking are contradictory and that is reflected in their explanations of Plato’s own philosophical project. To begin with, I will not compare each
which they must survive involve bleak environmental conditions, truth, and destiny: difficult, though not insurmountable, conditions of life. In my life, the barrenness that I dread most is the inability to grasp with abstract thoughts the concrete, yet ever-changing, life around me. This would be a failure of the mind, which, in turn, would lead to failure of the body. As The Scarlet Letter shows, the mind has such a powerful influence over the body that it can physically mold it to match
Cognitive Senses in 1952. According to Piaget, as children develop, they must make constant mental adaptations to new observations and experiences. Piaget's theory was made up of four stages; the sensorimotor stage, the preoperational stage, the concrete operations stage, and the formal operations stage. If children can be defined by these stages, it is important to note that Shakespeare's character Caliban can also be defined by Piaget's theory because he is presented ultimately as a child. Part
All members of society are subject to sociological rules and regulations that are often hypocritical. These hypocrisies, both concrete and unspoken, are the subject of criticism by authors the world over, utilizing various methods and styles to ridicule society's many fables. Joseph Heller's Catch-22 and Arthur Miller's The Crucible present two stylistically dissimilar literary works that criticize hypocritical functions and conventions within society through equally contrasting methods
sighing of the winds, and the low, sad moan of the waves" gradually have been replaced by the sound of traffic and small weapons fire, the gentle voices of the fairies have been drowned out by the cacophony of the metropolis. In this brave new world of concrete and glass, Shakespeare's "children of Pan" have come more and more to resemble the "children of Man" than ever before. One hundred and fifty years ago, however, it was very different: the world of the fairies was an idealized version of our own
identifiable song, contrary to what is indicated by most editors" (274). Stallybrass seems also to believe that Hecate is there to dance, but at least he credits her with a particularly important number: "the dance of Hecate and the six Witches gives a concrete dramatization of the 'deed without a name' (IV.i.49) which reverses the whole order of 'Nature'" (200). What Hecate's interpolation really supplies, however, is order and much more: balance, authority, direction, and reason are all part of the substance