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Poetry as Consciousness
Haiku Forests, Space of Mind, and an Ethics of Freedom

Poetry as Consciousness 書影
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Richard Gilbert(リチャード・ギルバート) 著
A5判・上製カバー装 総304ページ
定価:本体3000円+税
2018年2月28日刊 ISBN978-4-86330-189-4

English bibliography page

人間の認知プロセスそのものは一種の詩である。認知言語学などを援用し、俳句の奥深さを探る!

日本及び世界の現代俳句の作品を、認知神経科学、認知言語学、文体論、心理言語学、および意識研究などの知見を活かして分析し、詩的想像力がいかに人間の内面につながっているか、そして社会的・文化的な重要性を持っているかを論じる。そして特に思考空間(Thoughtspace)の理論を用い、210の俳句を分析したことは、学術上特筆すべき成果である。
また、サビーヌ・ミラー(Sabine Miller)による、植物を用いたアート作品"Floragrams"が、論の運びとリンクする構成となっている。

本書は平成29年度熊本大学学術出版助成、および平成27〜29年度採択 科学研究費補助金 基盤研究(C)「俳句の国際教育への活用とネットワーク構築:現代俳句の文化的多様性の双方向的発信」(課題番号:15K02755、研究代表者:リチャード・ギルバート)の助成を受けたものです。This work has been supported by The Japan Society for the Promotion of Science (JSPS) Grant-in-Aid for Scientific Research Kakenhi 15K02755 (2015-2018). Book publication has been supported by a Kumamoto University Academic Publication Subsidy.

著者紹介

Richard Gilbert(リチャード・ギルバート)
1954年、アメリカ合衆国コネチカット州生まれ。亡命チベット僧チョギャム・トゥルンパが設立した大学であるナロパ大学(Naropa University, Boulder, Colorado)にてアレン・ギンズバーグ、 ゲイリー・スナイダーらビート詩人とともに学び、瞑想心理学(Contemplative Psychology)の修士号を取得。臨床心理士として勤務。
ユニオン大学(The Union Institute & University)にて元型心理学の創始者ジェイムズ・ヒルマン(James Hillman)に学び、詩学・深層心理学の博士号(Ph.D. in Poetics and Depth Psychology)を取得。
1997年に来日、2002年熊本大学文学部外国人教師、2004年同大准教授、2016年教授。2003年より「草枕」国際俳句大会審査員を務める。
主な著書にPoems of Consciousness: Contemporary Japanese & English-language Haiku in Cross-cultural Perspective (HSA 2009 Mildred Kanterman Award 受賞作、2008)
The Disjunctive Dragonfly: A New Theory of English-language Haiku (the Touchstone Prize 受賞作、2013)など。 主な共著に Earth in Sunrise: A Course for English-Language Haiku Study(2017)など。

目次

ACKNOWLEDGEMENTS
INTRODUCTION
Poetry and the Beauty of Distance
A Personal Journey
Overview: Poetry, Sanctuary and the Space of Mind
I. SPACE OF MIND
The Perception of the Unique
Immeasurability
Sunny-side Up in Space
Soul
Space is the Place
The Specious Present: The Poetry-line & Haiku
Between Meaning and Unknowing
Architectures to Inspire Dwelling
Properties of Thoughtspace
Six Notions Concerning the Psycho-poetic Landscape of Thought
Seven Properties of Thoughtspace
II. PHILOPOETIC VOLITION
Volition: Enactments of Personal Philosophy
Remembrance and Distance
III. THE SHAPE OF JAZZ TO COME
A Memoir
Inhabitation
In Review: And Why Haiku?
Secrecy
IV. PRIVACY MATTERS
The Panopticon
Time Slips Away
V. SANCTUARY
Theatre of the Sacred
Sanctuary, Temenos and Risk
Beyond the Salon
Anarchic Sanctuaries, Collaborative Worlds
Q1. What for you is an anarchic sanctuary?
Q2. Would you provide some examples
Q3. How would entering a virtual social world
contrast with reading speculative fiction?
Q4. Experiencing group-creative social & virtual
collaboration, what are some benefits and contrasts?
Q5. Is somatic physicality (being present in physical
proximity) overrated as to social congress?
Q6. How do you imagine the future, in relation to a positive
sociality which values anarchic forms of sanctuary
?
Where We Have Never Been
VI. HAIKU, AN ETHICS OF FREEDOM
Remystification
Analysis: Conceptual Architectures of Thoughtspace
Outline: 36 Qualities of Thoughtspace Derived from 7 Properties
1) SPACE (Perception)
1. Minimal Creation
2. Novel Worlds
3. Immeasurability
4. Unknown Unknowns
2) LANGUAGE (Terminologies & Shared Communication)
5. Concreta vs Abstracta
6. Conceptual Blending
7. Neologism (Unusuality)
8. Possible Worlds
9. Inferred Narratives
10. Staging -- Theatres of Story
3) THOUGHTSPACE (Conditional Ephemerality)
11. Philopoetic Volition
12. Practice of Invention
13. Spatial Thermoclines
4) METAPHORICS (Deformational fictions; ‘to be as’)
14. Fantasy Imagery
15. Paradox
16. Alternativity
17. Idiosyncrasy (Fallacy)
18. Crafting of Presentation
19. Mimesis (“Shadow of the Divine”)
5) ARCHITECTURES (Design-intention)
20. Design-architecture
21. World building, Construction
22. Temenos
23. Precincts
24. Construction -- Sacred Construction
25. Notions of Anarchic Sanctuary
6) SOUL (Explorative Desire)
26. Soul (as Core Value)
27. Remembrance and Distance
28. Grit, Guts
29. Desire, Passion
31. With Risk
7) THE “THIRD” (“Hypothetical” Humanity)
32. Distance
33. Forms of Resistance
34. Inhabitation (Dwelling)
35. Place
36. Consciousness -- Revisions of World and Self
CONCLUSION
Permeability
Poetic Force and Imaginal Space at Liberty
An Ethics of Freedom
VII. APPENDIX 1. 36 QUALITIES OF THOUGHTSPACE
Verbose Description
1) SPACE
2) LANGUAGE
3) THOUGHTSPACE
4) METAPHORICS
5) ARCHITECTURES
6) SOUL
7) THE “THIRD

VIII. APPENDIX 2. DISJUNCTION IN HAIKU--STRONG AND WEAK
A New Definition
Disjunctive Modes
Haiku Exhibiting Strong Disjunction
Haiku Exhibiting Weak Disjunction
Critical Usefulness: Terminology
Living Haiku
IX. APPENDIX 3. FORETHOUGHT
X. ENDNOTES
XI. REFERENCES


Floragrams, by Sabine Miller

1. “Poet and Temenos,” 2016
2. “Space-egg,” 2017
3. “Immeasurable Intangible Unknown,” 2017
4. “Spatial Thermoclines,” 2017
5. “Roses for Ornette,” 2017
6. “Imagination is Unclaimed,” 2017
7. “Theatre of Dwelling,” 2016
8. "Anarchic Sanctuary," 2017
9. “Emily’s Darlings,” 2016
10. “Rose in Time,” 2016
11. “Contiguous Spaces,” 2017
12. “Thoughtcraft,” 2016
13. “Amnion,” 2017
14. “Surface and Depth,” 2017
15. “The Spectral City,” 2017
16. “Volitional Formations,” 2017

推薦文1
Poetry as Consciousness will take the reader on a deep dive into the role that mind plays in the process of poetic creation. Richard Gilbert, one of the world’s leading theorists in English-language haiku, introduces the reader to a broad range of terms and concepts borrowed from such disciplines as archetypal psychology, cognitive linguistics, literary theory, neurophenomenology, philosophy, Buddhism, comparative religions, Roman and Greek mythology, as well as the ethical-technology design movement in order to broaden our understanding of the poetic process, which Gilbert describes as a “psycho-poetic landscape of thought,” a shared consciousness between poet and reader that also provides access to mythopoetic realities. After a careful reading of the challenging theoretical sections, the reader should be rewarded with a different perspective regarding why we find poetry so engaging. Gilbert then describes in detail this shared landscape of the poetic imagination as thoughtspace, a territory comprised of 7 properties and 36 qualities that he intriguingly illustrates with 216 haiku which also feature a disjunctive style. Something that should also appeal to readers is the interview-written data of poets whose words Gilbert uses to describe specific kinds of alternative communities, where, as authentic places for the poetic imagination, poets may dwell.
Poetry as Consciousness invites the reader to consider the view that, through mythopoetic imagination, consciousness presents experiences of realities that enlarge who we are. To accomplish this, however, requires freedom in thoughtspace, indeed, as Gilbert argues, it is necessary to embrace “an ethics of freedom.” Poetry as Consciousness simply helps us better understand the visceral and transformative impact that poetry, and haiku in particular, has upon our lives.

Victor Ortiz, Ph.D., Department of World Languages, Marlborough School, Los Angeles

推薦文2
We need poetry more than ever, if only to recognize ourselves. Richard Gilbert’s Poetry as Consciousness reminds us that indeed at a fundamental level we are poetry -- that the co-creative “poetic space of mind” is a primary and essential expression of our being-human in the world.
Poetry as Consciousness is sublime, a compelling picture of poetry as the languaging of the creative substance and alchemy of mind and soul, as Gilbert also peers further through the veil to give vocabulary to the elusive haiku genre within the context of its role as a cognitive poetics. I believe we will continue to find how much we need this work and others in a like vein as we explore the new interior frontiers of the 21st Century.

Michelle Tennison, author of murmuration (2016)

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