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.
"Investigative Spaces in the Poetry of Pierre Reverdy, Jules Supervielle, and Henri Michaux."
CLCWeb: Comparative Literature and Culture
This text has been double-blind peer reviewed by 2+1 experts in the field.
The above text, published by Purdue University Press ©Purdue University, has been downloaded 1265 times as of 05/04/17. Note: the download counts of the journal's material are since Issue 9.1 (March 2007), since the journal's format in pdf (instead of in html 1999-2007).