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.

Mpanelanelana（来自马达加斯加语词Anenelanelana，意思是“之间”）是马达加斯加的伴侣，催化剂或精神媒介。限制性（来自拉丁语limen，意思是“阈值”）是一个来自人类学话语的术语，但现在在讨论状态或空间之间讨论内部学科时使用。通过创造性实践，教学实践和批判性分析在跨文化和教学环境中，该项目探讨了限制性在我们对“诗意”以及诗歌的写作，阅读和批判性方面的意义。研究时间将在英国和马达加斯加的咒语之间分配，无论是在学院外部还是在学院内（在东安格利亚大学的文学，戏剧和创意写作学院，以及antananarivo大学的英语系）。创意论文提供碎片，痕迹，痕迹，痕迹，英语''英语和马拉格语之间的抒情诗。受到当代西方绘画和诗歌技术的启发 - 以及通过马达加斯加无处不在的负面空间进行交流的形式。因此，通过使用诗意形式进行实验，可以在技术层面上探索Liminal Poetics。同时，该组成部分以其无数形式的限制性作为一个主题的中心关注：“低强度冲突”的气氛如何在感觉中经历；丝绸在马达加斯加的生命与死者之间的关系中的作用；在不同文化背景下爱和表达愤怒的方式；变色龙和伪装的着色是一个概念；鸟眼内的鸟类的行为；大多数人从未见过大海等岛上的侵入，土地任期和其他味道。关键组成部分与西方批判性和理论家（如克雷格·德沃金（Craig Dworkin），格莱恩·麦克斯韦（Glyn Maxwell）和加斯顿·巴切拉德（Gaston Bachelard）等理论家的作品 - 以及马加加斯加批评者的工作以及像Elie Rajaonarison，Serge Henri Rodin Rodin and Heminersersy and Hemersorsy and Hemerson和Hemersons and Hemersorny and rianetery和Theorists一样。它研究了西方诗人的创造性作品，从萨福到拉里·伊格纳（Larry Eigner）和托马斯·A·克拉克（Thomas A.它询问对限制性的认识的提高可能有助于在理论上讨论场所的诗学，尤其是“激进景观诗歌”。对于实用的见解，它还可以从Antanarivo大学和UEA的创意写作教学中获得教训。这是为了重新审查中间性的诗学，并推进了在限制诗学领域的新理论。这个空白可以用作一种诗意技术，不仅是为了“任意”的审美效果，就像在正式的实验主义传统中一样，而且还植根于具体的社会人类学环境时，作为一种工具，可以为我们提供每天界限的独特协助：在意义上，在我们与意义和情感的对话中的含义；在发声否则不可能说的话时。