Poetic Image

شیعر و پەخشان وەک هەموو هونەرەکانی دیکە بۆ پەیوەندی لەگەڵ بەردەنگی خۆیان پێویستیان بە چەند کەرەستەیەک هەیە؛ یەکێک لەم کەرەستانە، درکەیە. هەر لە کۆنەوە پسپۆڕانی ئەدەبی ئاماژەیان بە کارتێکەریی درکە لەسەر شێوازی ئاخافتنی ئاسایی و شیعر کردووە و وەک شێوازێکی دەربڕینی ئەدەبی پێناسەیان کردووە. لەم وتارەدا، درکە و جۆرەکانی لە شیعری کلاسیکدا بە شێوازێکی نوێ شرۆڤە کراوە. درکە، وشە، دەستەوشە، یان ڕستەیەکه‌ بێژەر بە شێوازێک بەکاری ‌دێنێت کە مەبەست لە دەربڕینی، واتای نهێنییە. زۆرێک لە واتاکان ڕەنگە ئەگەر بە شێوازی ئاسایی دەرببڕدرێن؛ زۆر کارتێکەر نەبن. درکە واتاکان بە شێوازی هونەری دەگەیەنێت و ئەم تایبەتمەندییەش بێ‌گومان لە زانستی ڕەوانبێژییەوە سەرچاوە دەگرێت. شوێنی سەرهەڵدانی درکە، ئاخافتنی ئاسایی خەڵکە و لە پەیوەندییەکانی ڕۆژانەی ئاخێوەرانی کۆمەڵگادا ڕۆڵی بووە و لە کات و شوێنی تایبەتدا بۆ گەیاندن و ئاگادارکردنەوە بە مەبەستی جۆراوجۆر بەکار هاتووە. درکە ئاوێنەی فەرهەنگە و ئاستی ڕۆشنبیریی نەتەوەیی دەردەخات؛ لای هەموو ئاخێوەرانی زمانی دایکی بەکار هاتوووە، واتە مۆری کۆمەڵی پێوەیە و مانەوە و نەمانەوەی پەیوەندی بە بڕیاری کۆمەڵەوە هەیە. لە ڕووی دەروونییەوە درکە کارتێکەریی بەهێزی لەسەر ئاخێوەرانی هەر نەتەوەیەک هەیە؛ جاری وایە هاندەرە و جاری واشە هیوابەخش و ساڕێژکەری ئازارە دەروونییەکانە. لەم توێژینەوەیەدا هەوڵ ­دراوە جیاوازیی درکە و ڕازەکانی خواستن، خوازە و پەند تاوتوێ بکرێت و پاشان لایەنی جوانیناسی‌ درکە لە شیعری کلاسیکدا شرۆڤە بکرێت. ئەم توێژینەوەیە بە شێوازی وەسـفی–شیکارانە درکە و جۆرەکانی لە شیعری کلاسیکدا تاوتوێ کردووە. هەوێنی سەرەکی ئەنجامی ئەم لێکۆڵینەوەیە ئەم پرسیارانە بووە: هۆکاری سەرەکیی سەرهەڵدانی درکە لە ئەدەبیاتدا چییە؟ بۆچی بێژەر ناڕاستەوخۆ وتەکانی دەردەبڕێت؟ بەو پرسیارانەوە دەچینە ناو مژاری سەرەکیی وتارەکەوە.

En el horizonte de una investigación acerca de las solidaridades entre las artes del lenguaje (lengua, poética, escritura) y maneras de concebir lo real o habitar un mundo, el seminario interrogará el legado filosófico-literario de China clásica, una poética sostenida y radical de la imagen que ha tenido un impacto contemporáneo que va desde la poesía al cine.
En un primer bloque, tras introducir el rendimiento metafísico-epistemológico de la imaginación lingüística (formas poéticas y gramatológicas como síntesis de lo real que conforman una visión de mundo determinada), se hará un examen comparativo entre la economía de la ‘metáfora’ en la poética/retórica occidental y la economía de la ‘imagen dinámica’ en la poética china, discerniendo las solidaridades básicas entre sus actuaciones estéticas y las cosmovisiones respectivas. Partiendo de la sentencia heideggeriana –“lo metafórico no existe más que en el interior de las fronteras de la metafísica [occidental]”– y asistidos, entre otros, por los trabajos de F. Nietzsche, J. Derrida, P. Ricoeur y F. Jullien, se indagarán al menos dos series de relaciones que permiten delimitar la concepción china del arte como ‘correlación’ y ‘proceso’, desmarcándola de la poiesis y mimesis que se impone en Occidente desde Aristóteles. Estas son: (i) las relaciones entre espacialidad y figura, con énfasis en las solidaridades entre la correlación de la imagen dinámica y una metafísica horizontal e inmanente, frente a las solidaridades entre la sustitución metafórica y el dualismo jerárquico de la ontología; (ii) las relaciones entre temporalidad y figura, con énfasis en las solidaridades entre la vibración dinámica de la imagen y una concepción de la temporalidad como proceso o flujo, frente a las solidaridades entre la traslación estructural en la metáfora y una concepción del tiempo como movimiento.
En un segundo bloque se interrogarán las grandes concepciones clásicas del pensamiento poético, con atención a las maneras en que promueven el estatuto de la imagen como respuesta subjetiva y entelequia de lo real. La atención a la poética expresiva de tendencia confuciana estará centrada en la doctrina de la ‘corrección de los nombres’ y en la concepción de la imagen como respuesta subjetivo-emocional ante la objetividad-natural. El examen de la poética metafísica de tendencia taoísta pondrá atención a la imagen como búsqueda de ‘representación más allá de la representación’ y entelequia de las correlaciones cósmicas (actualización de las virtualidades de la inmanencia).
En un tercer bloque se examinarán las diversas formas de la imagen en la poesía china, con atención a su síntesis de lo real como correlación y proceso. Tras discernir los elementos de lengua/escritura que contribuyen a la promoción e impacto de la imagen dinámica, el énfasis estará en ciertos arreglos mayores (paralelismo, cuartetos, octetos, etc.) que forjan una tensión característica entre lo subjetivo-proposicional y lo objetivo-imagístico, así como en otras formas de significación por fragmentación y yuxtaposición (montaje) que han tenido un impacto decisivo en las artes contemporáneas.
En un bloque final, dedicado precisamente a los ecos contemporáneos de esta poética de la imagen, se interrogará el método ideogramático en la poesía moderna (del imagismo de Ezra Pound a la poesía concreta brasilera), así como el impacto del ideograma y la imagen dinámica en el montaje cinematográfico.
El desarrollo de este programa general se hará en contrapunto con cuatro sesiones intercaladas, a cargo del Dr. Fernando Pérez, quien nos introducirá a los elementos esenciales de la poética y escritura chinas, así como a al legado respectivo de Wang Wei, Li Po y Du Fu, las tres cumbres indiscutibles de la Edad de Oro.
Los ecos de las formas de la poética china en las estrategias contemporáneas del cine serán abordadas por el cineasta Raúl Ruiz.

Текст има за циљ бављење филозофском мишљу француског епистемолога и феноменолога – Гастона Башлара (Gaston Bachelard), измештањем њеног тумачења из општег у конкретно поље архитектуре. Поетику простора (Lа Poétique de l’Espace), као Башларово дело које и данас ужива најсвеобухватнију рецепцију међу архитектима и теоретичарима архитектуре, узећемо као полазиште разматрања. У намери да се не заустави на разматрањима која укључују само текстове који се стриктно тематски или проблемски тичу архитектуре, текст има за циљ да позиционира и контекстуализује Башларову филозофску мисао у оквиру феноменолошких разматрања која су нашла своју примену у архитектонској теорији. У том смислу, пружићемо увид у дуалност односа између Башларовог концепта поетске слике (l’image poétique) и поетског објекта/мотива који се, у нашем случају, односи на градивне елементе архитектонског објекта намењеног становању. Дакле, покушаћемо да, поред материјалног и геометријског, сагледамо и објаснимо искуствени начин разумевања просторности и издвојимо одјеке Башларове филозофске мисли који у себи носе потенцијал изобличавања архитектонског промишљања. Резултати истраживања посредно ће указати на два могућа начина тумачења Башларовог дела: 1) аналогијску примену и преузимање интерпретација Башларовог текста као обрнутог приручника-сановника за изазивање и уписивање жељеног доживљаја у архитектонски простор и 2) примену механизама саме феноменолошке анализе смештених у интересовање за процес настајања поетске слике као смернице за актуелизацију архитектонског објекта у његовој специфичној реалности посредством рада на његовој поетичности.
Кључне речи: феноменологија архитектуре, Гастон Башлар, поетика простора, поетска слика, просторни доживљај, доживљај простора

ABSTRACT
This paper aims to examine the philosophical work of the French epistemologist and phenomenologist – Gaston Bachelard, by transferring its interpretation from the general into a specific field of architecture. The Poetics of Space (Lа Poétique de l’Espace), as a Bachelard’s work that enjoys even today the most comprehensive reception among the architects and theorists of architecture, shall be taken as a starting point of our analysis. Intending not to limit itself to the considerations which encompass only texts that are strictly thematically or problematically dealing with architecture, this paper aims to position and contextualise Bashlar’s philosophical thought within the phenomenological reflections that found their applications in the theory of architecture. In this sence, we shall provide an insight into the duality of relations between the Bachelard’s concept of poetic image (l’image poétique) and a poetic object/motif, which, in our case, referes to the inherent elements of an architectural object intended for dwelling. Therefore, in addition to the material and geometric, we shall try to apprehend and explain the experiential manner of spatial perception, and single out the echoes of Bashlar’s philosophical thought, which carry within themselves a potential to distort architectural thinking. The results of research shall indirectly demonstrate two possible ways of interpreting the Bachelard’s work: 1) the analogous application and appropriation of interpretations of Bachelard’s text as a reversed manual- dreambook for provoking and inscribing the desired experience in the architectural space, and 2) the application of the mechanisms of phenomenological analysis itself, directed towards the interest in the process of creating a poetic image, as guidelines for the actualisation of an architectural object in its specific reality, through the work on its poeticity.
Keywords: phenomenology of architecture, Gaston Bachelard, poetics of space, poetic image, spatial experience, experience of space

This paper aims to be a suggestion for the discussion of the poetic image raised by literary scholars, who try to apply the theorem of visual image studies to poetic image. Because the image studies hitherto dealt with visual images, it is unavoidable to make clear the difference and concept between 'poetic image' and 'visual image’. For this purpose, this paper examines the theories about the difference between visual images and linguistic texts. Above all, the visual image is distinguished from the text in that it contains the details of the objects to be depicted. According to Lessing, who wants to draw the line between painting and literature, literature is better suited to describe the actions that take place in time, and art is better suited to describe objects in space. This is due to the continuity, the medial characteristics of language, which results in different way of perception in poetry and paintings. In many cases, the specific details in the painting may reveal the habitual and unintentional traces, escaping from the artist's consciousness of painting. Morelli set this as a starting point for a method of discerning the forgery from the original. Roland Barthes, who defines photographs as 'codeless messages', argues that in the photographic image there is a point that does not get involved in the language (punctum). The media theorist Kittler noticed that the literature has functioned as a instrument to record and transmit sensory information by language, which, in conjunction with the emergence of technical media such as photography and cinema, has lost its validity. These theories raise the questions of the concept of poetic images and images produced by visual mediums, which must be further clarified.

Упркос томе што је реч о савременом писцу, за Ивана В. Лалића данас можемо рећи да је својеврсни класик српске књижевности. Томе је много допринело интересовање критике и научне заједнице за проучавање његовог дела и одређивање његовог места у историји српске књижевности, изражено особито од почетка деведесетих година XX века наовамо, али и само Лалићево песничко наслеђе, његови следбеници у нашој поезији. С друге стране, постоје у савременој српској поезији и приметни отпори одређених песничких групација према интелектуализму, ерудији и сликовности поезије Лалићеве песничке генерације, као и према њиховим стваралачким начелима, што опет указује на утврђено место Лалићевог песништва и на његову улогу традицијског репера или полазишта. Нису сви овакви дијалози, дакако, конструктивни, али се ово дело показује као живо и провокативно за ствараоце данашњице.

The lecture presents Ezra Pound’s groundbreaking poetics of translation, which overlaps with his best legacy as a writer and consequent impact on Modernist and contemporary literature. In the understanding that there is no historic sustained translation performance without a conception of language and an idea of culture, beyond examining the creative versions Pound shaped from a variety of tongues (Provençal, Chinese, Latin, and others), I articulate the conception of language that defines his differential approach to literary translation (‘plain meaning’ charged by musical, imagistic or contextual effects), as well as the cultural impact he devised from the task: the ways in which translation, through its very donation of poetic forms of meaning and representation, is able to modify language and culture (strengthening perception, expanding a world-view, reviving voices of the past which criticise and shape the present).

En el horizonte de una aproximación comparativa a los rendimientos trascendentales del poema –las formas poéticas como exploración de la representación y puesta en común de mundos posibles–, el seminario examinará cómo las figuraciones dominantes de la imagen sintetizan con-figuraciones características de lo real, poniendo especial atención a la proyección de concepciones metafísicas.

Tras una introducción in media res a las solidaridades básicas que se disciernen entre ‘formas del poema’ y ‘concepciones de mundo’, lo que llevará a precisar las relaciones fundacionales que cabe suponer entre los comportamientos de la imagen literaria y las proyecciones metafísicas de lo real, el grueso del seminario estará dedicado a examinar el gran contraste que se observa entre las figuraciones características de la ‘metáfora’ en la poética occidental y de la ‘imagen dinámica’ en la poética china, verificando cómo el encuentro entre ambas detonó la revolución poética del montaje en las vanguardias históricas. De una parte, se interrogará el rol fundacional que cabe atribuir a las figuraciones metafórico-analógicas en la síntesis poética de una serie de configuraciones dualistas y sustitutivas que han caracterizado diversas versiones clásicas, medievales y modernas de la onto-teología occidental. De otra, se evaluará el rol fundacional que cabe atribuir a las figuraciones paralelísticas de la imagen dinámica en la síntesis poética de las configuraciones correlativas e inmanentes que se disciernen en diversos momentos del pensamiento chino. Finalmente, si esta figuración propia de la ‘imagen dinámica’ irrumpió de manera inaudita en Occidente a comienzos del siglo XX –un evento de traducción que daría a sus formas nuevas posibilidades al interior de los lenguajes poéticos de las vanguardias, decantando en las formas contemporáneas del ‘montaje’–, se examinará hasta qué punto la experimentación poética radical y consiguientes posibilidades de representación que trajeron las nuevas formas de significación por fragmentación y yuxtaposición de lo real permitieron una revolución estética aparejada a una concepción inédita de la trascendencia en la inmanencia.

Complementando la atención a la estricta especificidad del comportamiento del poema con una al horizonte de discurso estético en el cual se inscribe, el trabajo de seminario supondrá un contrapunto permanente entre la lectura de ‘consideraciones teóricas’ (de filosofía y poética) sobre los diversos aspectos de las relaciones lenguaje-mundo a ser tratados y el examen atento de ‘poemas escogidos’ para cada instancia de interrogación. En lo que respecta a la perspectiva teórico-crítica, se leerán textos breves de Platón, Aristóteles, Quintiliano, Lu Chi, Liu Xie, Lao Tze, Vico, Hegel, Nietzsche, E. Fenollosa, F. Jullien, E. Cassirer, W. Benjamin, M. Heidegger, P. Ricoeur, J. Derrida y J. L. Borges. En lo que respecta al corpus poético-literario, se leerán pasajes y poemas de Píndaro, Homero, Horacio, Virgilio, Shijing (El libro de las Odas), Los diecinueve poemas antiguos, Li Po, Du Fu, Wang Wei, Dante, Petrarca, Quevedo, Shakespeare, Hölderlin, E. Pound y T. S. Eliot.

A modern paradigm of Oriental-Occidental translatio is presented by ... Andrés Claro ... in his comprehensive study “Montage as East-West Poetic Configuration. Ezra Pound’s Translation of Chinese Images”. The critic demonstrates that Ezra Pound’s principle of montage, developed at first in his early collection of translated Chinese poems called Cathay (1915) that contributed  to revolutionize English and Western poetry, is not only a re-orientation of euro-centred literature and of global translatio studii, but a reconfiguration of poetic form and representation as such. As a result, montage ‘formally’ emerged as “a hybrid figure of mixed origins”.
In order to illustrate the complexity of cultural transfer or translatio studii in the field of translation between Eastern and Western languages and literatures, Claro starts with the presentation of Pound’s iconical notice on the front cover of Cathay. This notice synoptically displays in the shape of an inverted cone the creative translation process leading to East-Western Cathay: it goes from the Chinese poems, many of them by Li Po (jap. Rihaku), to Ernest Fenollosa’s English translation and notes, via a Japanese sinologue – Pound’s professor, ignoring English – and via an auxiliary Japanese-English interpreter – up to Ezra Pound himself who, besides retranslating in Cathay Fenollosa’s cribs and paraphrases of Chinese poetry, was to edit Fenollosa’s essay The Chinese Character as a Medium for Poetry (1918) whose ideas had inspired his own translational poetry and poetics since he was handed over the manuscript in 1913, after the author’s death (1908).
In the first chapter on “East-West Poetic Figurations” Claro analyses the principles of Pound’s creative transpositions of the Chinese images into the English language, with constant reference to Fenollosa’s notes and with close comparisons between Fenollosa’s more prosaic and Pound’s more poetic translations. The basic principle is the English re-creation of Chinese imagery, rooted in the partly pictographic writing system and in the syntactic isolation, the asyndetic juxtaposition of discrete images stimulating a vivid dynamic between the imagistic figures in the reader’s mind. While Pound’s translations aim mainly, in accordance with the principle of phanopoeia, at an adequate, yet creative, verbovisual figuration, the ‘equivalence’ of Chinese and English melopoeia, i.e. phonic and rhythmic figuration, and of logopoeia, i.e. cultural and allusive figuration, is either reduced or completely left apart, due to historic and linguistic resistance or to the poet’s personal ignorance, as he declares himself.
Another principle of Chinese writing is the cosmic correspondence between nature and literature, firstly the word considered as a natural and moving thing, and secondly the verbovisual configuration of invisible cosmic correlations between things. Its symbolic matrix is the figure of Yin Yang that constitutes the dynamic parallelism of corresponding and complementary pairs of all kinds. In a series of lucid interpretations, Andrés Claro, so to speak, ‘carves the dragon’ by working out some subtle stylistic couplings or “dynamic imagistic arrangements” in classical Chinese poetry, namely in Li Po’s couplets, quatrains and octets, heteroglossically transfigured in Ezra Pound’s Cathay. Claro’s interpretation includes the philosophical value of imagistic figuration, where he notes, with reference to contemporary sinologues, the significant linkage between the Taoist principle of cosmic correspondence and the Chinese word wen that designates literature through the meaning of ‘pattern’, especially the stirring figure of parallelism. This goes along with a comparative analysis of Oriental and Occidental conceptions of cosmic and literary figures, of parallelism and metaphor.
In his second chapter “East-West Metaphysical Configurations: from ideological criticism to the transcendental revolution of montage”, the scholar looks at the more or less ‘discrete’ and ‘discreet’ modes of montage within the context of the work of Ezra Pound: the more ‘discreet’ and a bit less ‘discrete’ Cathay versus the more ‘discrete’ and less ‘discreet’ The Cantos. At the same time, he considers the modes of montage in the larger context of Western Modernism in the fields of literature, the arts and the media, with a focus on T.S. Eliot, on Picasso and on Sergei Eisenstein’s essay “The Cinematographic Principle and the Ideogram”. Since montage is substantially linked to the aspect of history, the scholar investigates the double connexions between the context of World War I in which Cathay is embedded and the topic of ancient history in Cathay, on the one hand, and on the other hand, the connexions between ancient and contemporary world history, including World War II, in and around The Cantos.
Against the background of Chinese ‘ideogrammaticality’, The Cantos induced a new form of representation in epic poetry where ideogrammic and idiomatic fragmentation and semantic polyvalence become overwhelming and eliminate intentional meaning and anticipatory historical sense, while staging it in an kaleidoscopic way. The performative and imagistic impact is predominant, very much like Walter Benjamin has stated in his Passagen-Werk regarding the phenomenon of Modernity. Both world views, the traditional Occidental dualism of two separate worlds with its static mode of metaphorical figuration and the dynamic ideogrammic figuration of correlated immanent worlds in Oriental poetry and Taoism are finally disconnected from Modernity. They are replaced by the poetic and ideogrammic figure of the interruptive and instantaneous event that generates flashes of impersonal meanings and multiple perspectives on a possible past and future, lacking both origo and telos.
Still, in the broken figures of montage there is also a partial re-membring of disiecta membra: the figure of interlingual and intermedial couplings of Chinese and European characters, of translational parallelisms in The Cantos. They are conceived as a multiple écart, semantic, phonic and graphic, operating erratically in praesentia and in absentia: a complex convergence and divergence of Eastern and Western idioms and ideas. 

A. Knauth (from "Configuration of the Book" - Introduction).

En el horizonte de una aproximación al lenguaje poético como formas de proyectar y habitar mundos, se examina el modo en que diversas figuras literarias en tradiciones ejemplares configuran representaciones características en lo real, abriendo una interrogación acerca de la posibilidad de traducirlas a formas de proyectar y habitar arquitectónicas.

Everything Jack Lindsay wrote was about the past or saturated with historical consciousness. Plebeian experiences, rebellion, revolution, and progressive expectations predominate. It is therefore natural to think of him as a Marxist historian. He himself identified as one, and was a regular attender of the meetings of the Communist Party's Historians' Group, the members which made substantial contributions to British and to Marxist historiography.

Yet on closer examination, Lindsay turns out to have been an unusual sort of historian and an unusual sort of Marxist. A relatively small proportion of his prodigious output qualifies as straightforward 'history’. Instead, there is historical fiction, biography, cultural criticism, and documentation of customs and beliefs. Lindsay’s historical practice stemmed from positions that that largely predated his conversion to Communism. Marxism does not constitute the whole of Lindsay’s philosophy of history, but rather is the keystone of a still broader conception ( “my dialectic”) which owed much to poetry, mysticism and philosophical Idealism.

Трудот се занимава со дефинирање на екфразата и прикажување на нејзината практична функција во градењето на поетскиот стих преку анализа на избран корпус. Низ примерите од поезијата на Вилијам Карлос Вилијамс и Валас Стивенс, претставници на модернизмот но и негови критичари и пост-модернистички визионери, се утврдуваат начините на кои екфразата го претвора поетскиот текст во саморефлексивен и деконструктивен метатекст. Поради својата интеруметничка природа − при што ги користи предностите и недостатоците на вербалната и на визуелната уметност − екфразата е совршено поле за преиспитување на востановените рамки низ кои се третираат сликарството и книжевноста, или во случајов, поезијата. Екфразата се покажува како уште една дефиниција за уметноста повикувајќи го читателот на активно учество во создавањето на значења и слики преку интерпретирање на значењата и сликите кои самите автори ги нудат како резултат на сопственото набљудување на светот.


The paper deals with the definining of ekphrasis and presenting its practical function in constructing the poetic line through the analysis of an elected corpus. Through the poetry examples by William Carlos Williams and Wallace Stevens, representatives of modernism but also its critics and post-modernist visionaries, the ways in which ekphrasis transforms the poetic text into a self-reflexive and deconstructive meta-text are established. Because of its interartistic nature—using the advantages and disadvantages of the verbal and visual art—ekphrasis is the perfect field for the reviewing of the established frames through which painting and literature, or in this case, poetry are handled. Ekphrasis proves itself as yet another definition of art calling the reader to actively participate in the creation of meanings and images by interpreting the meanings and images that the authors themselves offer up as a result of their own observation of the world.

I. Introduction: from human finitude vis-à-vis time to the infinitude of historical-temporal figurations
  i. Time as represented by finite and infinite functions: extension and division, potentiality and actuality
  ii. The basis of finite/infinite functions in dominant habits of poetic figuration

II. Horace’s discrete metaphors: time as finite movement
  i. The content of the imaginary: the finite and discrete movement called forth by a power that transcends it
  ii. The dominant figural habit: the finite and teleological movement of metaphor

III. Wang Wei’s parallelisms: temporality as infinite process
  i. The content of the imaginary: human and natural processes as vibration
  ii. The dominant figural habit: the correlative process of dynamic parallelism

IV. Final Remarks: analogical metaphor and dynamic parallelism - the temporal as finite movement and as infinite process

One of the most well-known poems by Williams is “The Red Wheelbarrow”, where through the way the poetic image is being built, the poet wants to direct the reader’s gaze to the way we perceive through our senses. Not allowing the mind to create its own, mental images, Williams forces it to stay on the problem of the eyesight and how it creates reality through what it allows and what it discards as a consequence of its own biological framework.

In “Anecdote of the Jar” by Stevens, the interesting thing is that the role of the human subject which carries meaning and structures the objective surroundings is taken over by a man-made product, that is an inanimate object. In this case, there is no, as with Williams, “miscellany”  of different and at first sight disparate objects, but a focusing on one thing that challenges and resolves the poetic-pictorial paradox.

Öz Şiiri diğer sanat eserlerinden ayıran en önemli özellik, muhatabına sunduğu sonsuz hayal imkânlarından ileri gelir. Böylesine sonsuz bir hayal âlemine yapıla-cak yolculukta en önemli öğeler, şiirde kullanılan sembol ve imgelerdir. Şeyh Gâ-lib bütün şiirlerinde ama özellikle " Hüsn ü Aşk " mesnevisinde klâsik söylem ve sembolizmin sınırlarını zorlamış, çoğu yerde de bu sınırları aşmıştır. Şiir alanında böylesine özgün bir söylemi yakalayan büyük şairin Dîvân'ı da orijinal ve zengin imgelerle örülü şiirlerle büyük önem arz etmektedir. Bu çalışmada, Gâlib'in dîvânında yer alan " sâkînâme " türünde kaleme aldığı bir terkîb-i bent, ihtiva ettiği imgeler açısından ele alınmaya çalışılacaktır. Abstract The most important feature of poem stems from the endlesss opportunities of imagery it has offered to its collocutors. In a journey to such an endless world of imagination the most important components are symbols and images used in

Arabic sources generally refer to Ibrahim b. Harma (d. ca. 176/792) as one of the “last poets” whose poetry is quoted as lexical and linguistic evidence of sound and “unaffected” language, in other words “pure” Arabic. However, while we argue that the poet’s “pure” Arabic is the main reason for his place of excellence in classical Arabic poetry, we suggest that the poet was well aware of the power of poetic imagery imposed by the new modernity experienced in the Abbasid era. Ibn Harma skillfully
developed the new tool as a means of self-expression in a conscious search for poetic immortality. In this article, we aim to explore the poetic imagery of Ibn Harma through textual analysis of a selection of his poetry.

Adopting a comparative approach to the transcendental outputs of poetic language (the forms of language as an exploration of the representation and synthesis of possible worlds), the essay examines how dominant figurations of the poetic image synthesize characteristic metaphysical-temporal configurations of the real.
      Starting from an experience in medias res of three poems by authors who are classics of their traditions (Horace’s “Ode 4.2”, Du Fu’s “Thinking of Li Po on a Spring Day” and Ezra Pound’s “Canto IV”), we establish how these poems that on the face of it seem to be about the same thing, appearing as tributes to their respective literary predecessors (Pindar, Li Po and Browning), actually differ greatly in the workings of their poetic imagery. This opens the way to a reflection on how their primary poetic figurations, which more broadly reflect the habits of linguistic figuration dominant in their traditions (analogical metaphor in classical poetics, correlative parallelism in Chinese poetics, and the fragmentation-juxtaposition of montage in contemporary poetics), project characteristic metaphysical-temporal configurations (comparison and substitutive referral from the sense-image to the idea in classical ontology, the Tao or Process of correlative unfolding in the Chinese tradition, and that conception of an epiphanic transcendence in immanence, interruption amidst simultaneity, which increasingly defines contemporary representation). The basic solidarities discernible between ‘forms of the poem’ and ‘conceptions of the world’ enable us to outline a more general proposition about the way the dominant habits of poetic imagery project the ideal conceptions whereby a culture responds to the inevitable question about what constitutes the basis of the real.

Advance organizers activate the most suitable schema to learn new material. Poetic
images are signified in schemata and the elements which are not expressed may be
called by advance organizers. The purpose of this investigation is to discern the
effectiveness of advance organizers on the signification of poetic images. Pretestposttest
experimental design with a control group was used in the study. The two
sophomore groups from the Social Sciences Teaching department at Dokuz Eylül
University formed the sample for the study. 74 students (36 in the experimental
group, 38 in the control group) participated in the study. The experimental group
was given advance organizers. Data were collected by the Achievement Test, measuring
the signification of poetic images. There was a statistically significant difference
(p<0.01) between the groups in the signification of poetic images after the
treatment. The difference was in favor of the experimental group.

POETICS AND REVISION: VOLELE SU ME DVE SESTRE, SKUPA (1970) AND VOLILE SU ME DVIJE SESTRE, SKUPA (1989) BY MILAN MILIŠIĆ

As a poet, Milan Milišić (1941-1991) was a part of both Serbian and Croatian literary scenes and an inheritor of both literary traditions; however, his oeuvre has still not been sufficiently researched. The aim of this paper is to consider the importance of Milišić՚s tendency to return to his earlier poems and revise them, making new versions in his notes and changing the collections to a certain extent. The most remarkable transformation is certainly the second edition of his first poetry collection Volele su me dve sestre, skupa (Two Sisters Loved Me, Together) from 1970, which was published in Belgrade, in the Ekavian dialect, unlike the rest of Milišić՚s books. The second edition, entitled Volile su me dvije sestre, skupa, published in Sarajevo in 1989, was written in the Western Ijekavian dialect with a lot of regionalisms from Dubrovnik and the Adriatic region. However significant those changes are for the linguistic and stylistic unity of Milišić՚s work, I was quite interested in the corrections and interventions that could have had larger impact on the poetics and semantics of this book. The comparison between the two versions of the book shows the important differences in the conception of its three cycles. The first one is even differently titled in the second edition and the poet’s interventions point to his intention to make this cycle more coherent in terms of style, meaning and expression of the lyrical self. Also, by introducing the intertextual relation to Torquato Tasso’s poem in the first poem of the cycle, Milišić provides the literary and cultural context of the peculiar and provocative title of his book. The second cycle, entitled „Zapiši to!“ (“Write that Down!”), has numerous travelogue motifs, and its second edition was conceived by Milišić as prose poetry. This emphazised the poems’ narrative and discursive potential, while diminishing the significance of rhetoric and bathetic elements, as well as the presence of the lyric voice. The transformations of the third cycle „Tvrđava“ („The Fortress“) seem not to be so distinct and substantial, mostly some lexical and syntactic revisions, and the variants are rather similar to their original texts. However, through the important modifications and reductions in the cycle՚s key poems, „Tvrđava“ (“The Fortress“), the opening one, and „Volile su me dvije sestre, skupa“ („Two Sisters Loved Me, Together“), the closing one, Milišić made the book more coherent and meaningful both in itself and when viewed in the context of his other works.