Terry Locke 2015 Taylor amp Francis Some theory Sensemaking as aesthetic When we make sense of some aspect of our experience we give it some kind of form or shape The creative or imaginative process might be thought of as the movement from form ID: 648858
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From Literal to Figurative
Terry Locke
© 2015 Taylor & FrancisSlide2
Some theory: Sense-making as aesthetic
When we make sense of some aspect of our experience we give it some kind of form or shape;The creative or imaginative process might be thought of as the movement from formless
ness to
formliness
(an ugly word, I’ll admit);Our imaginations work with materials or representational resources in these acts of sense-making. Representational resources can be verbal, visual, aural, multimodal, tactile and so on);The form that emerges in any act of sense-making is susceptible to evaluation. Some forms are more pleasing or shapely than others, though human beings will differ in their views on what makes a form seemly or shapely or pleasing or just plain beautiful.
© 2015 Taylor & FrancisSlide3
Some theory: Sense-making as aesthetic (2)
One kind of criterion of evaluation is pragmatic, that is, it relates to the social consequences or use of a particular form of something. For example, George Orwell wrote the short novel, Animal Farm
(an art object in verbal form) as a response to Stalinist oppression in Russia and published it. We can evaluate the novel for its formal qualities (e.g.
its
characterization), but also for its social consequences.The forms of content that emerge in our acts of sense-making can be thought of as provisional knowledge artifacts. They express our knowledge about something at a particular time and in a particular place and are always up for revision. The emphasis here is more on knowing as a verb than knowledge as a noun.There is a cultural dimension to our acts of sense-making. All of us, in varying ways, are members of culturally based sense-making communities.© 2015 Taylor & FrancisSlide4
Biopoems
“
This is just to say
”
by William Carlos Williams (cf Kenneth Koch, Rose, where did you get that red?) “The Tyger” by William BlakeHaiku
Formulae can be in terms of formal features or content features
© 2015 Taylor & FrancisSlide5
This Is Just to Say
I have eaten
the plums
that were in
the icebox and which you were probably saving for breakfast
Forgive me
they were delicious
so sweet
and so cold
William Carlos Williams
© 2015 Taylor & FrancisSlide6
A Negro Woman
carrying a bunch of marigolds
wrapped
in an old newspaper.She carries them upright, bareheaded, the bullkof her thighs causing her to waddle as she walkslooking into the store window which she passes on her way.What is she but an ambassador from another world
a world of pretty marigolds
of two shades
which she announces
not knowing what she does
other
than walk the streets
holding the flowers upright
as a torch
so early in the morning. William Carlos Williams© 2015 Taylor & FrancisSlide7
A couple of definitions
Structure: The relationship of elements to one another within a whole text. Structure is inherently meaningful.Form: Aspects of the texture, structure and overall
organization
of a text that are potentially meaningful.
© 2015 Taylor & FrancisSlide8
Creativity, transformation and figurative language
Literal object:
(Something actually present)
Drawing pin
Piece of chalk
Door knob
Transformational technique
Personification
Simile
Metaphor
Figurative object
(a thing referred to for the purpose of comparison)
“a thin man in a sombrero”
Like “a powdery hourglass”
“…a ghostly marker”
“handle on the unknown”
“cup and saucer”
“mushroom”
“steel ball”
© 2015 Taylor & FrancisSlide9
Williams on metaphor“an easy lateral sliding”
© 2015 Taylor & FrancisSlide10
My teacher
Her hair is like smog clinging to a building.Her eyes are like death’s army marchingTowards me.And her teeth are like jagged rocks,Devouring ships.Her nose is like a blunt pencil.Jacinta Day (10)
© 2015 Taylor & FrancisSlide11
Some terms
In a figurative image, references are made to objects outside the literal situation for the purpose of comparison;
In the case of
metaphor
, this comparison is a blunt identification (He’s a lion of a man);In the case of simile, the comparison is softened by the use of ‘like’ or ‘as’ (She was like a wildcat when put upon);In the case of personification, a non-human object is described in terms of human characteristics (The cold hand of death was upon her).
© 2015 Taylor & FrancisSlide12
ActivityReflect inwardly on a person you know and that you have a feeling for (attitude to). Describe that person concretely, using a mix of literal and figurative language to communicate your feelings about this person. Write your text in such a way that none of your lines arrives at the right-hand margin.
© 2015 Taylor & FrancisSlide13
Non-metrical verseRhythm and stress (see handout)
What is non-metrical verse? (see handout)Why not free verse?Assumes a base “rhythmic code”Difference/emphasis achieved by irregularity or interventionNon-syntactical pauses (see Denise
Levertov
hand-out).
© 2015 Taylor & FrancisSlide14
Some notational devicesLineation:
Line-breaks;Notated pauses;Dropped lines;Line lengthRepetition:Words;
Structures
Conventional syntax violations (see Williams poem as an example of this)
© 2015 Taylor & FrancisSlide15
Denise Levertov playing with line: from About marriage
(i) the birds saw me and let me be
near them.)
(ii) I would be
met and meet you so, in a green airy space© 2015 Taylor & FrancisSlide16
Working with the rough notes of a poem
© 2015 Taylor & FrancisSlide17
Potentials of revision
Content: Are there telling details about the chosen person that you have overlooked? Try imagining them engaged in a typical activity? What do they typically wear? Are there certain objects you associate with them? or colours?Rhetorical strategy:
Do you have a particular reader in mind as you write? What difference would it make to your poem if you did?
Structure:
Is there a logic in the way your poem is sequenced? (Think of Helen’s poem in Chapter 1.) Do you want to rethink the sequence?Layout: Are your lines too long? Would certain details stand out more if you had shorter lines or line-breaks at particular points.Syntax and punctuation: Are you being too fussy about correct syntax? Could you omit words that are not really adding to your poem? (Watch out for the word “very”.)Diction: Are your words as particular as they could be. For instance, “amble”, “strut”, “stride” are more particular than “walk”. Could you replace an abstract expression with words that help your read see, hear, smell, touch and taste? Are you over-focusing on the visual at the expense of other senses?
© 2015 Taylor & Francis