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Abstract

In his paper, "Investigative Spaces in the Poetry of Pierre Reverdy, Jules Supervielle, and Henri Michaux," Hugo Azérad revisits the notion of poetic space and tries to re-examine it in a novel light. In so doing, Azérad re-adapts phenomenology, which tells us that space outreaches itself in the shape of an horizon of perception. But can we posit a space which would progressively do away with perceiver and perceived alike, a space which poetry (art?) can help establish? Azérad attempts to approach poetic space as if it were a utopian place of encounter, different from the physical or psychological dimensions found usually in studies offered on the subject. Poetic space would be a threshold where the poet, the poem, and reality annihilate themselves by using images which are Benjaminian in nature, in order to create/prepare -- i.e., poème préparé similar to Cage's piano préparé -- the ground for an experience/encounter to happen. Azérad exemplifies his notions about poetic space with texts by Supervielle, Reverdy, Michaux, Mondrian, and Malevich, and decomposes the categories of subject-object, inside-outside for the sake of a "not yet" created dimension: a vital terrain of elective experience.

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