November 19, 2007
Bishop's Sestina at Great American Pinup: AN IMPACT POST - additional comments
One thing I always find interesting about reading feedback from others is that most often than not, I always end up reforming my ideas. Initially, I find I learn the best when I myself analyze a piece of prose, come to my own conclusions, then compare my ideas to those of others. Just like we have done with this poem, it allows everyone the opportunity to generate our own ideas, then build upon them by tapping into the knowledge base of others.
When I first attempted to decipher a real life display of a Sestina not in poem form, I hit a road block. I began digging through any pieces of information I could find, and trying to draw some similarities between a sestina and this other form of making.
After a while, I began thinking that perhaps some things cannot be connected through the original framework and definition of how a sestina is described.
In a broader sense, a sestina is simply something with a fixed structure, allowing creativity within relative limits. These sets of rules are what a sestina is known for; without them, you loose the essence of what a sestina is and how it derives meaning.
Under this new broader textual framework of a sestina, one thing that I came up with in any style of hip-hop lyrical music is that of a chorus in a song. A chorus, with the same words, formed in the same structure, is used to separate different thoughts within a song. However, each one of these parts must be connected to the chorus to illustrate an overall idea or theme about the song.
One way you could create a sestina from the chorus would be to use the same words, just in a different order each time the song calls upon the chorus. I think it would be interesting to see how the perception of the song would change given the fact the order of the lines of the chorus will be different each time. Would it still hold a particular rhythm? Or would his change distort or take away the meaning of the song overall?
I think the usefulness of a sestina is different for each individual. When I think about the value of a sestina, I think about what type of impact the sestina made in the lives of its viewers. What allows a sestina to make this impact. Is it the structure? I think it partially is. The effort to make a sestina is one reason to read it. Much thought is needed to create such a product that can add value to others.
Given my foresight is limited (i.e. I do not know everything that may affect the future of sestinas) I do not see anything that may dwindle the popularity of a sestina. While much of this class talks about poetry outside its normal forms (i.e. text pieces) I see no reason why a sestina cannot be made in 3D. While some assumptions may need to be made (i.e. showing the same pictures or vocally saying the same words to have the same or different meanings) I would see it as just of a challenge to make a sestina in 3D as opposed to its textual form.
To wrap up and bring full circle the general framework of a sestina, I thought about my summer internship in investment banking. Much of what we do it create models. In order to be useful, a clear structure with ending financial numbers is needed (i.e. the same 6 words). However, the method in which you create those numbers which hold the meaning can change. For example, you can change your assumptions about the company. You can change what you wish to do for the company. Lastly, you can change the relationship you may have with the company. Despite what method you choose, the ending results should be the same.
Posted by helefter at November 19, 2007 06:20 PM
Yes, yes--part of the reason I like to delay my interference in the unfolding of your ideas --I do want to undermine the validity of how you internalize responses, how you configure the meanings that form in the related facets of your experience.
Now, I intrude more, in the time of shaping, of packaging, of consctructing the enclosure that will serve as a reference to your Limited Fork poetry journey.
Yes: I like what you say here:
"In a broader sense, a sestina is simply something with a fixed structure, allowing creativity within relative limits. These sets of rules are what a sestina is known for; without them, you loose the essence of what a sestina is and how it derives meaning."
Is there any (human) creativity that operates without a limit? Does the act of creating, thinking, and so forth produce a framework (of some sort) in which the creating occurs?
Yes--the sestina framework as model.
Indeed, the subject, content of most poems functions as a model
of some knowledge the maker has acquired.
Posted by: thyliasm at November 26, 2007 07:18 PMLogin to leave a comment. Create a new account.