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114
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"Forensic sciences Poetry."
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Was famed poet Pablo Neruda poisoned? Scientists warn case not closed
Forensic investigation uncovers evidence that a lethal bacterium could have been in his body when he died.
Forensic investigation uncovers evidence that a lethal bacterium could have been in his body when he died.
Journal Article
Forensic Poetics
The concept of forensic aesthetics has emerged in recent decades to describe investigative art and design practices that address violence in the public sphere. Forensic art works do not simply seek to document and represent violence; instead, they also construct alternative forums in which violence can appear and be evaluated. Drawing from the theorizations of forensics by Thomas Keenan, Eyal Weizman, and the Forensic Architecture agency, this article argues that a forensic aesthetic can also be found in contemporary poetry, as exemplified by C. D. Wright, Maggie Nelson, and Robin Coste Lewis. By investigating public spaces like the prison, the courtroom, and the art museum, these authors create literary works that extend the established traditions of documentary poetry into new arenas of disputation. Forensic poetics opens alternative ways of conceptualizing fundamental questions in art and literary theory, including the relationships between poetic form and public forum, aesthetic and legal judgment, and linguistic and visual representation.
Journal Article
China's Flat Earth: History and 8 August 2008
The opening ceremony of the 29th Olympiad in Beijing was celebrated in China as an opportunity for the country to “tell its story to the world.” This article offers a forensic analysis of that story and how it was created under Party fiat with the active collaboration of local and international arts figures. In a scene-by-scene description of the ceremony, the article also reviews the symbiotic relationship of avant-garde cultural activists and the party-state, a relationship that has continuously evolved throughout the Reform era (since 1978). It also discusses contentious historical issues related to the revival of real and imagined national traditions in the era of China's re-emergence on the global stage.
Journal Article
Getting Carried Away: How Rhetorical Transport Gets Judgment Going
Situations calling for judgment give impetus to rhetoric's ability to \"bring before the eyes\" absent or unapparent persons, places, or things. Rhetoricians often attribute this aspect of rhetoric's power to phantasia, the capacity through which images of stimuli past, passing, or to come are generated and made present. This article proposes and pursues a conceptualization of \"rhetorical transport\" predicated on civic phantasia, a mode of distance collapse whereby rhetors move subjects or objects so as to enable or impede particular judgments. Rhetorical transport abounds in rhetorical practice, but this article focuses on its presence in Gorgias, Cicero, and Thomas Paine.
Journal Article
The Organization of Augustine's Psalmus contra Partem Donati
AbstractAugustine of Hippo writes in the Retractations that he composed his Psalmus contra Partem Donati (393) as a retort to the rhymed \"psalms\" which Donatist congregations chanted, and that he had intended his own Psalm for chanting in his congregation. Instead of a lyrical hymn, however, Augustine composed a brilliant defense of the catholic understanding of the nature and mission of the Christian community in the world. The piece was meant for his congregation to sing according to individual capacity but was structured and delivered as a homily rather than a hymn. To produce his didactic, polemical sung sermon, Augustine employed not only the standard rhetorical elements like repetition, anaphora, and even prosopopoeia, which readers have recognized, he also used the organizational pattern of forensic oratory: exordium, narratio, refutatio, confirmatio, and peroratio, which has not been commented on. The form of the Psalmus also has no sources in Latin but it reflects the pattern of other verse sermons of the era, such as those abundantly represented in the Greek East.
Journal Article
History, Poetry, and the Footnote: Cleanth Brooks and Kenneth Burke on Keats's \Ode on a Grecian Urn\
In the summer of 1943, two critics were - unbeknownst to each other—finishing essays on Keats's \"Ode on a Grecian Urn.\" One of these, Cleanth Brooks's History without Footnotes: An Account of Keats' Urn , would grow to become an icon of literary science; the other, Kenneth Burke's Symbolic Action in a Poem by Keats , faded into relative obscurity. Today, one of the few traces that remain of the link between both essays is a footnote in which Brooks acknowledges the similarities between Burke's analysis and his own. My paper aims to recover the rhetorical dynamics of this footnote's moment of composition by framing it against the backdrop of the war of independence which the emergent field of literary criticism waged against historicist scholarship. Brooks, I will argue, sought in Burke a much needed ally that would help him recover and defend poetic language as a valid gateway into the historical real. This alliance, however, forced Brooks to exaggerate the convergence of their respective \"dramatic\" ways of reading: their superficial similarities mask substantial differences in opinion on the methods and evidence used to substantiate one's reading of a literary text—differences that have severe implications on the way literary texts are connected to, and can act upon, the past.
Journal Article
INTRODUCTION: ON TEXTS AND PERFORMATICS
[...]scholars focused largely on the intersections of law and literature; on the ethics of representation in contexts of violations defined by their 'unspeakability'; and on the role of literary narrative, particularly the bildungsroman form, in charting (and disrupting) the growth of human rights and its incumbent 'person' (citizen). Naimou identifies Wideman's creation of multiple narrative voices as the rhetorical technique prosopopoeia-the creation of a face, a mask or a persona-arguing that Wideman adapts the collage form to narrative prose in order to highlight the performativity of the person in international human rights law.\" For Vellino and Waisvisz, the genre 'theater of redress' expands upon the traditional work of the trial, tribunal, museum, or memorial, mobilizing aesthetic resources in order to create and engage a \"transnational witnessing public\" of atrocity (114).
Journal Article
William Gibson's Paternity Test
Contemporary culture views DNA through a strange temporal logic: on the one hand, technologies of DNA identification and sequencing testify to fundamental transformations in the way we understand biology, anthropology, law, and medicine—we live in \"the DNA age\"; and on the other, these technologies have revealed as much about the past as they have about the present or future, gesturing backwards to scenes of conception, crime, and evolutionary branching. The essay shows how this double temporal logic operates within William Gibson's electronic poem Agrippa . It concludes that the poem's stanzas form a metaphorical DNA fingerprint that reveals Gibson's life to be, paradoxically, a novel repetition of his father's and grandfather's lives.
Journal Article