Issue Details: First known date: 2018... 2018 A 'Meandering' Line : The Effect of Indeterminacy in a Gallery Ekphrasis
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'To develop a meandering poetics specific to a ‘gallery’ ekphrastic poem, this paper examines the performance of the poetic line to create indeterminacy in two ekphrastic works published in 2016; Paul Hetherington’s Gallery of Antique Art and Ken Bolton’s ‘Dark Heart’. Whilst Hetherington’s work traverses a sequence of prose-poetic ‘rooms’ through his notionally ekphrastic gallery, Bolton’s poem is a scattered collage of his gallery experience, evading the traditionally ekphrastic mode of detached contemplation. Both poets bring the timeless properties of artworks in a gallery into the temporal flow of language by allowing for ‘detours’ to rupture the stilled time of the art-objects. Instead of approaching the artwork directly, the poet’s lived experience in the gallery space produces the poem, as an after effect of the poet’s failure to provide a comprehensive translation of the artworks contained within a gallery. Ekphrasis is posited as a creative and interpretive drive experienced by the poet, lived in the presence of an artwork or artworks, performed through the meandering poetic line.'   (Introduction)

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    y separately published work icon Axon : Creative Explorations Materiality, Creativity, Material Poetics vol. 8 no. 1 May 2018 14093085 2018 periodical issue

    'Material poetics is not a new concept. The last century has seen the boundaries between creative genres dissolve, allowing attentiveness to materiality — once the exclusive concern of sculpture and craft — to pervade and tantalise less tangible practices. The development of a digital realm has not destroyed materiality, as originally feared, but served to foreground it; and the collaboration that can take place between digital and analogue, verbal and visual, is what drives this issue.

    'Writers such as Kristen Kreider (Poetics and Place: The Architecture of Sign, Subject and Site, 2014), Lyn Hejinian (The Language of Inquiry), James Stuart (The Material Poem), Astrid Lorange (On Language as Material), and others deal with language, its material properties, its affinitive qualities. Where creative practitioners in general work with physical, tangible materials – everything from paper and paint through to the body – writers typically have nothing but language as their material. However, words, phrases, sentences and lines have their own tactility and affordances, and this is explored in the special section in this issue – ‘The Poetic Line’, edited by Owen Bullock. His introduction provides a context to the line, its property and its potential; and the contributions to that section, as well as contributions by poets Geoff Page and Jackson to the main section, exemplify the material practices of poets.'  (Editorial introduction)

    2018
Last amended 22 Jun 2018 11:43:20
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