Ana içeriğe atla


Sofra ; geneleksel olarak oturulan yasanan bir cografyayi temsil eder.Etrafinda oturulur birlikte yemek yenir,yaygin inanisin disinda bilinen gercek vatan dogdugun yer degil doydugun yerdir.Turkiyede bu soz bir kalip olarak cok kullanilir.Yuzey olarak sofranin  uzerinde bulunan kafatasi ile birlikte   tahta yuzey  çöle,  gozundeki kurt ise payini bekleyen ac kurda gonderme yapar.

The dinning table represents a common, traditional geography of life. People gather around it, sit together, and eat. The truth is that “your homeland is not where you are born but where you eat”. In Turkey, this is an often used, boilerplate saying. The skull and the wood surface of the dining table refer to the desert, while the wolf inside the skull’s eye is a reference to “the hungry wolf that awaits its share”.


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Illustration by Maurice Sendak from Open House for Butterflies by Ruth Krauss

The Language Habitat: an Ecopoetry Manifesto

The Language Habitat: an Ecopoetry Manifesto

By James Engelhardt

Ecopoetry is connection.

It’s a way to engage the world by and through language. This poetry might be wary of language, but at its core believes that language is an evolved ability that comes from our bodies, that is close to the core of who we are in the world. Ecopoetry might borrow strategies and approaches from postmodernism and its off-shoots, depending on the poet and their interests, but the ecopoetic space is not a postmodern space. An ecopoem might play with slippages, but the play will lead to further connections.

Ecopoetry does share a space with science. One of the concerns of ecopoetry is non-human nature (it shares this concern with the critical apparatus it borrows from, ecocriticism). It certainly shares that concern with most of the world’s history of poetry: How can we connect with non-human nature that seems so much more, so much larger than ourselves? How can we understand it? One way is to l…
..Jameson writes that in our “contemporary world system,” the image has been
replaced by the simulacrum, and reality by the pseudoevent. In terms of culture, we have lost the “critical distance” that modernism presumed—we no longer have “the possibility of the positioning of the cultural act outside the massive Being of capital.” “Aesthetic production today has become integrated into commodity production generally.” In Warhol’s Factory, aesthetic production became commodity production. The Factory was rather like the pre-automated factories of his hometown Pittsburgh—Caroline Jones refers to it as a “pre-Taylorized collective.”..