White Space as Mpanelanelana: Developing the Poetics of Liminality

姆帕内拉内拉纳的空白：发展阈限诗学

• 批准号: 1650018
• 金额: --
• 依托单位: University of East Anglia
• 依托单位国家: 英国
• 项目类别: Studentship
• 财政年份: 2015
• 资助国家: 英国
• 起止时间: 2015 至 无数据
• 项目状态: 已结题
• 来源: https://gtr.ukri.org/projects?ref=studentship-1650018
• 关键词: White; Space; Mpanelanelana; Developing; Poetics

A mpanelanelana (from the Malagasy word anelanelana, meaning 'between') is a go-between, catalyst or spiritual medium in Madagascar. Liminality (from the Latin word limen, meaning 'threshold') is a term emerging from anthropological discourse, but now used across disciplines when discussing in-between states or spaces. Through creative practice, teaching practice and critical analysis in an intercultural and interlinguistic context, this project explores the significance of liminality in our apprehension of the 'poetic' and in the writing, reading and criticism of poetry. Research time will be divided between spells in the UK and in Madagascar, both outside and inside the Academy (in the School of Literature, Drama and Creative Writing at the University of East Anglia, and in the English Department at the University of Antananarivo).The creative thesis offers a lyric voice of fragments, traces and 'code-switching' between the English and Malagasy languages; inspired by techniques in contemporary Western painting and poetry - and by a form of communication via negative space that is omnipresent in Madagascar. There is an exploration of liminal poetics at a technical level, therefore, through experimentation with poetic form. At the same time, this component takes liminality in its myriad forms as a central concern thematically: how an atmosphere of 'low-intensity conflict' may be experienced with the senses; the role of silk in mediating relations between the living and the dead in Madagascar; ways of loving and expressing anger in different cultural contexts; the colouring of chameleons and camouflage as a concept; the behaviour of birds inside the eye of a cyclone; trespass, land tenure and notions of otherness on an island where most people never see the sea, etc.The critical component engages with the work of Western critics and theorists like Craig Dworkin, Glyn Maxwell and Gaston Bachelard - and with the work of Malagasy critics and theorists like Elie Rajaonarison, Serge Henri Rodin and Hemerson Andrianetrazafy. It examines the creative work of Western poets from Sappho to Larry Eigner and Thomas A. Clark - and Malagasy literature from oral traditions like the Hainteny, to the work of contemporary writers like Michèle Rakotoson and members of the Faribolana Sandratra. It asks how far a heightened awareness of liminality might help in theoretical discussions of the poetics of place and, in particular, of 'radical landscape poetry'. For practical insights, it also looks to lessons from the teaching of creative writing at the University of Antananarivo and at UEA. This sets the thesis up for a re-examination of the poetics of in-betweenness and for advancing a new theory in the field of liminal poetics. It argues that white space may be used as a poetic technique not just for 'arbitrary' aesthetic effect as in the formal experimentalist tradition but, when rooted in a concrete socio-anthropological context, as a tool that offers us unique assistance across everyday boundaries: in the making of meaning, in our dialogue with sense and emotion; in voicing what could otherwise not be said.

一个mpanelanelana（来自马达加斯加语anelanelana，意思是“之间”）是一个中间人，催化剂或精神媒介在马达加斯加。极限性（Liminality，来自拉丁语limen，意思是“阈值”）是一个人类学话语中出现的术语，但现在在讨论介于状态或空间之间时跨学科使用。通过跨文化和跨语言语境下的创作实践、教学实践和批评分析，本项目探讨了阈限在我们理解“诗”以及诗歌写作、阅读和批评中的重要性。研究时间将在英国和马达加斯加的咒语之间分配，包括学院内外（在东英吉利大学文学、戏剧和创意写作学院和塔那那利佛大学英语系）。创造性的论文提供了英语和马达加斯加语之间的片段、痕迹和“代码转换”的抒情声音;灵感来自当代西方绘画和诗歌的技巧-以及通过马达加斯加无处不在的负空间进行交流的形式。因此，通过对诗歌形式的实验，在技术层面上对阈诗学进行了探索。与此同时，这一组成部分采取的阈限在其无数形式作为一个中心关注的主题：如何与感官体验的气氛'低强度冲突';丝绸在调解马达加斯加生者和死者之间的关系的作用;在不同的文化背景下的爱和表达愤怒的方式;变色龙和伪装的颜色作为一个概念;飓风眼内鸟类的行为;侵入，土地保有权和他者的概念在一个岛屿上，大多数人从来没有看到大海等关键组成部分从事与西方批评家和理论家的工作，如克雷格德沃金，格林麦克斯韦和加斯顿巴什拉-和马达加斯加批评家和理论家的工作，如埃利Rajaonarison，塞尔日·亨利·罗丹和赫默森·安德里亚内特拉扎菲。它考察了从萨福到拉里·艾格纳和托马斯A.克拉克和马达加斯加文学从口头传统，如海恩特尼，以当代作家的工作，如米歇尔Rakotoson和成员的Faribolana Sandratra。它问在多大程度上提高意识的阈限可能有助于理论讨论的诗学的地方，特别是“激进的风景诗”。对于实际的见解，它还期待从塔那那利佛大学和东英吉利大学的创意写作教学的经验教训。这为重新审视“中间性”诗学，并在阈诗学领域提出新的理论奠定了基础。它认为，白色空间可以被用作一种诗意的技巧，不仅仅是为了达到正式实验主义传统中的“任意”美学效果，而是当植根于具体的社会人类学背景时，作为一种工具，为我们提供跨越日常边界的独特帮助：在意义的创造中，在我们与感官和情感的对话中，在表达否则无法表达的东西中。