Writing As Thesis


The context of the genres of this group I chose to start this group are combination of this three, Arts, Philosophy, and Poetry. Therefore, here I would like to create this group for us to discuss and to create good writings or good poetry.

What I intend to contextualise a good writing has a very strict sense as the references I use below. A good poetry or writing has an ontological significance (1) and benefits all of us (2).

This group is for those who can take, 1. Writing as fiction (3), and 2. Writing as thesis (4).

(1) "The poetic image is not subject to an inner thrust. It is not an echo of the past. On the contrary: through the brilliance of an image, the distant past resounds with echoes, and it is hard to know at what depth these echoes will reverberate and die away. Because its novelty and its action, the poetic image has an entity and a dynamism of its own; it is referable to a direct ontology.[] The poet does not confer the past of his image upon me, and yet his image immediately takes roots in me. The communicability of an unusual image is a fact of great ontological significance."
Gaston Bachelard (1884 - 1962), The Poetics of Space (1958), Introduction xvi, xvii.

"I only read and re-read what I like, with a bit of readers pride mixed in with much enthusiasm. But whereas pride usually develops into a massive sentiment that weighs upon the entire psyche, the touch of pride that is born adherence to the felicity of an image, remains secret and unobtrusive. It is within us, mere readers that we are, it is for us, and for us alone. It is a homely sort of pride. Nobody knows that in reading we are re-living our temptations to be a poet. All readers who have a certain passion for reading, nurture and repress, through reading, the desire to become a writer. When the page we have just read is too near perfection, our modesty suppresses this desire. But it reappears, nevertheless. In any case, every reader who re-reads a work that he likes, knows that its pages concern him. []. In certain types of reading with which we are in deep sympathy, in the very expression itself, we are the beneficiaries. "
Gaston Bachelard (1884 - 1962), The Poetics of Space (1958), Introduction xxvi.

"The poetic image places us at the origin of the speaking being []. The image offered us by reading the poem now become really our own. It takes root in us. It has given by another, but we begin to have the impression that we could created it, that we should have created it. It becomes a new being in our language, expressing us by making us what it expresses; in other words, it is at once a becoming of expression, and a becoming of our being. "
Gaston Bachelard (1884 - 1962), The Poetics of Space (1958), Introduction xviii.

(3) "(Aristotle) believes both painting and poetry to be forms of 'mimesis', a word which I shall translate as 'imitation' [...] Aristotle's contention, then, is that human beings are by nature prone to engage in the creation of likenesses, and to respond to likenesses with pleasure, and he explains this instinct by reference to their innate desire for knowledge [...] Aristotle's concept of poetry as imitation is therefore consistent with (although not identical) that of fiction. Indeed, the events in a poem do not even have to conform to the basic structure of reality."
Malcolm Heath, Introduction, in Poetics, Aristotle.

(4) "[]
There are reasons why this principle might apply to poetry especially. Poets must be able to project themselves into the emotions of others; natural talent, or even a touch of insanity, are necessary for this. Moreover, metaphor (which Aristotle regards as the most important feature of poetic language) depends on the ability to perceive similarities; this, he says, is a natural gift and cannot be taught. Aristotle is unlikely to have assumed, therefore, that reading Poetics would make someone good at composing poetry, and it is unrealistic to think of the Poetics as a do-it-yourself manual for would-be-poets. Aristotles interest is philosophical; that is, it is driven by his desire to understand. The production of good poems is an activity that can be understood, and the Poetics is an attempt to lay that intelligibility open to inspection."
Malcolm Heath, Introduction, in Poetics, Aristotle.

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