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Mikhail Bakhtin in the dialogical principle (or the logic of dialogue) theory review the areas of dialoge's creation and several voices in textes. According to Bakhtin's view, since dialogism is hidden in the nature of an artistic work. In this article, there is a considering about dominant dialogical space on collection of poems of Kaiser Aminpour as a leading contemporary poet. The poetic life of Kaiser Aminpour goes back to the years 1357-1386 and dominant thought over his poems includes three different period; idealism, frustration and introversion and in each period, special language and expression is used in his poems according to the used concepts and themes. In this article, we analyze the poetry of different periods in the poetic life of Kaiser Aminpour with a descriptive and analytical methodes and a special approach to Mikhail Bakhtin's theory or his “the logic of dialogu’’ theory and so, we review transformations in the field of language and speech. Results of this study show that Kaiser Aminpour is a dialogue-oriented poet and he used preparations and techniques related to the logic of dialogue to create dialogue space in his poems including another voice, Bi-directional speech, intertextuality, addressed statements and chronotope. The method of using of dialogical preparations in the Aminpour poetry is also dependent to changes that it was dominant on his language and thought in different periods of his poetic life.

This is a critical and analytical study about some poems written by the Brazilianpoet Fábio Weintraub concerning the construction of the poeticspace as acritical and poetical view of the subject. The lyric aspect in the poet’s work is objective and sensitive towards urban scenes in which all the objects play a role as images of the cities’ routine, in which space is performed as the drama of thesubject who sees the scene.

Copyright of Teksty Drugie is the property of Polish Academy of Sciences, Institute of Literary Research and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The oft-mentioned turn in French poetry in the 1990s coincided with the rediscovery of the practical use of discourse and its transferability across media, a trait that Jean-Marie Gleize described as littéralité. Gleize cites Nathalie Quintane as one of the emerging poets of the 1990s who epitomizes this trend insofar as she effects a severe reduction of the figural and develops a form of writing that is so direct, so devoid of depth, that the reader finds it disconcerting in its simplicity. Quintane dwells on details whose presence is so remarkably unremarkable that it overturns, by its opacity, the process of image production and myth building that has become one of the constants of postindustrial society. Quintane's prose, which she subjects to a process of "dumbing down" (nunuchérie), is analyzed from the standpoint of what we call discursive reframing, that is, the alteration of the relation between a statement and its framing discourses. [ABSTRACT FROM AUTHOR]

Allusions to Lorine Niedecker in the work of contemporary poets Elizabeth Willis, Liana Quill, and Pattie McCarthy construct a shadow literary history that advances Niedecker's contributions more effectively than literary scholarship. Deploying allusion in ways deeply consonant with Niedecker's ethos, these works establish systems of referral that counter the more competitive, exclusionary modes of the traditional trope and offer fresh ways of understanding affinities among women writers. [ABSTRACT FROM AUTHOR]

Harryette Mullen's Urban Tumbleweed: Notes from a Tanka Diary (2014) advances a quotidian archive of ephemera that brings into focus the convergence of ordinary affects, environment, and racial politics. This assemblage of 366 poems conceived as part of Mullen's daily walking practice also stresses the significance of race and racism to the genre of walk poem. Mullen's writing distills routine experiences, observations, and sensations into poetic forms, and her resulting collection illuminates environmental damage and systemic inequalities based on class and race, ultimately modeling how a sharpened awareness of body and place cultivates attention to broader social and ecological realities. [ABSTRACT FROM AUTHOR]

This essay reframes a much remarked shift in Clark Coolidge’s poetry, from the atomistic early poems to the longer forms that emerged in the mid-seventies, by focusing this development through the lens of Coolidge’s collaboration with Philip Guston. In bringing attention to a relatively neglected body of work - the collaborative portfolio of image-text drawings called ‘poem-pictures’, and their remediation in the book Baffling Means - this essay shows how the change in Coolidge’s poetics circa 1975 corresponds to a prior shift in Guston’s painting, circa 1970, from his abstract expressionist to neo-figurative period. I draw on art historian Robert Slifkin’s re-reading of Guston’s ‘return to figuration’ through Erich Auerbach and Paul de Man’s epistemological and historiographic theories of the figural in order to show how Coolidge, in his collaboration with Guston, unfolds a ‘figural’ poetics from his earlier literalist and materialist approach to language. The essay redresses the shortfall of analysis of Guston’s collaborations with poets in art-historical narratives, while it shows how existing critical discourse misapprehends the change in Coolidge’s poetics as a move toward a ‘lyrical’ mode. [ABSTRACT FROM AUTHOR]

Copyright of Basic Education College Magazine For Educational & Humanities Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The purpose of this article is to make explicit the keys of the prose texts of Ricardo Molina in Cántico. Current research about the poets in «Cántico» require setting limits to discover the origins of a possible group poetics and to define their impact in the 20th century up until today. Intimacy, aestheticism and the desire for perfection are key in the poetics that Molina reveals through the short essays from «Uriel», and they highlight the influences and references of the «Cántico» poets, shedding light on possible connection between his poetry and Luis de Góngora. [ABSTRACT FROM AUTHOR]

P oetics of Erasure as Creation expresses the poetics of the author concerning his erasure works, in particular Pesoa (Balangay Productions, 2014). The essay situates conceptual writing to which erasure method (appropriation) belongs and the concept of the new in between modernism and postmodernism in contemporary poetry and subsequently explores the processes and principles involved in the author s own creative and uncreative writing practices. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Review: Justyna Tabaszewska, Poetyki pamięci. Współczesna poezja wobec tradycji i pamięci [Poetics of Memory: Contemporary Poetry, Tradition and Memory], Wydawnictwo IBL PAN, Warsaw 2016. [ABSTRACT FROM AUTHOR]

In the article there have been considered the political work of Azerbaijan's writers lived of XX century. 30 years of political lyrics of Azerbaijan's poetry's members as a research object helped us on investigation of our past history in today's reality. By different examples, obtained from different writers there have been enlighten the development of political lyrics of Azerbaijan in Soviet rule years. [ABSTRACT FROM AUTHOR]

Conceptual poetry, widely considered to be one of the twenty-first century’s preeminent avant-gardes, is now under attack. Kenneth Goldsmith’s failed performance “The Body of Michael Brown” has thrown conceptualism into crisis—especially in regards to the racial politics of appropriation. Nevertheless, works such as M. NourbeSe Philip’s Zong! and Claudia Rankine’s Citizen show how conceptual techniques can effectively respond to racial traumas. Similarly, Chilean poet Carlos Soto Román’s textual appropriations protest against state-sponsored murder and suggest new modes of political critique from the global South. Moving beyond a North American context and disentangling the conceptualisms of the movement’s most high-profile practitioners from late conceptual projects by writers of color demonstrate how conceptual poetry is not dying, as some claim, but evolving along different lines of lineage. [ABSTRACT FROM AUTHOR]

Copyright of Culture Context / Konteksty Kultury is the property of Jagiellonian University Press and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

2 Kings 1:1-5, 14 recounts how a young virgin, Abishag the Shunammite, was brought to old King David to warm his cold bones. After the king's death, Abishag functions as a pawn in Adonijah's attempt to usurp his brother. Throughout the narrative none of Abishag's emotions are revealed. Although numerous twentieth-century poets have addressed this biblical theme, I shall focus on those by American Jewish women poets. This approach is based on Hélène Cixous observation that "woman must write woman"-in this case, women poets giving a female figure the voice she is denied in the biblical text. Demonstrating Cixous' argument that women's writing and freedom is bound up with their sexuality, they use Abishag to find their way from silence and passivity into independence and sexuality. From Glück's submissive "Abishag" (1975), the little-known biblical figure develops into an independent woman in charge of her own destiny (B. Holender, 1991; E. A. Sussman-Socolow, 1999; D. Walders, 2005), working her way from a mere "warming device" into a sexy woman who uses her sexuality to tease the king (S. Kaufman, 1984) or dreams of different sexual relations (L. Barrett, 2007), her sexuality being bound up with her independence (S. Skolnik, 2011). [ABSTRACT FROM AUTHOR]

Bella Li's writing engages in intertextual ways with philosophy, cartography and writing by other poets and from a diasporic perspective she also engages inventively with Australian literary tropes. Focusing on two poems from Li's chapbook Maps, Cargo (2013), "Just Then" and "Drowning Dream," I argue that these poems use intertextual references to enact a form of diasporic place-making through the creation of doubled places. Each of the poems references a poet from the United States of America, John Ashbery for "Just Then" and Anne Sexton for "Drowning Dream," but each poem also complicates this reference via diasporic citational practices. In the poems this complication, and the act of place-making, is carried out through depictions of water. The doubled properties of water as depicted in these poems are able to offer transformation and reflection, something which allows the doubleness of diasporic place-making to emerge through the intertextuality of the poems. This artistic practice in turn adds a significant diasporic viewpoint to Australian literary criticism about place. [ABSTRACT FROM AUTHOR]

This article analyzes the renowned 1999 Seamus Heaney's Beowulf creative translation with the aim to explore the relationship between the idea of the poem's anonymous author and the translator's imitative and competitive attitude towards it. In the second part of the paper, the translation will be analyzed in the light of the notions of formulaic language, secondary orality, vernacularization and transitionality. [ABSTRACT FROM AUTHOR]

The recent book of poems by Davide Puccini (Il fondo e L'onda, Nomos Edizioni 2016) is a fervent and intimate inventory of the world of childhood and adolescence recollected through playing, environments and objects sunk in the oblivion of the bottom of the sea or brought afloat by the waves. The past can, however, be remembered thanks to poetic words. Apart from much literary interference the poems are linked to the Author's previous works and have a surprising recovery in the coming-of-age novel that Puccini published in 2018. [ABSTRACT FROM AUTHOR]

Copyright of Estudios Románicos is the property of Servicio de Publicaciones de la Universidad de Murcia and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Giving a voice to the voiceless while making the unseen visible has been one major preoccupation of contemporary British poetry since the 1980s. Andrew McMillan’s debut collection Physical, which exposes gay male desire in a raw, unflinchingly honest, and sometimes shocking way, has gained him a large array of critical accolades. The poems’ confessional exploration of the male body does not lead to a celebration of virility and strength; instead, they insist on its frailty and pay attention to the invisible details and changing rhythms of intimate relations. This paper aims at showing that, despite McMillan’s insistence on physicality and concreteness, his work is also, and probably mostly, about exposing the unseen vulnerability of male experience. It attempts to demonstrate that the celebration of those bodies is a way to overcome several layers of invisibility: the taboo of gay sexuality, a certain male repression of the truth of decay and mortality, and the unspoken, fleeting rhythms of desire. The article then focuses on McMillan’s celebration of the male body’s vulnerability: in his poems, the drive for sincerity leads to a vulnerable mode of writing where the fragility of physical existence is granted a surprising and paradoxical form of holiness. It finally looks at McMillan’s typographic exposure of breath as a sign of vulnerability in a collection devoid of any punctuation. In conclusion, it suggests that the risk-taking inherent in McMillan’s ethical and aesthetic ambition could be fruitfully interpreted in parallel with his experience as a performer of his work.

How did the criterion of poetic sincerity transform, in the space of a half-century, from a fundamental tenet of radical modernism to an incarnation of lyrical and expressive orthodoxy? Why have efforts to reintegrate sincerity into experimental poetics and literary traditions—such as the problematic New Sincerity of the 1990s—met with limited success? Continuing a reflection begun in my study Rhétorique de la sincérité, I suggest that this disconnect between innovative American poetics and the criterion of sincerity may be traced back to the fundamentally wrongheaded association between sincerity and expression. Reintegrating sincerity into innovative contemporary verse seems possible not by creating a new form of “sincere” expression, but by distancing sincerity from the notion of expressivity altogether.

Abstract The literary legacy for a nation provides guarantee for its identity and personality literary tradition appears the basis of modernity in any realm especially literary modernity, for if otherwise, the literary modernity would be transitory and unsustainable. Modernity proves the presence of tradition in our contemporaneity. Though literary tradition looks forlorn in history during the deep and penetrating developments in the society, it, indeed, keeps on its presence in the contemporaneity whether directly or indirectly however it seems occasionally absent. Tradition, as an absent existence however omnipresent is what we require firmly although some may neglect it. The presence of literary legacy and tradition of the past in the poems of contemporary poets, especially those who inherit the legacy to greater extent, is not of an identical share. Undoubtedly the more a poet inherits the legacy, the more the legacy varies in his or her poems. However the poet is not always using the legacy consciously, for his gradual and vast familiarity with the literary legacy little by little becomes his mental treasures and thus acts as the constructive elements of his mental structure. It, through the poet's mental activities, moves to his consciousness on the basis of the process of association of ideas when the poet is actively unaware of its origin or even its relation to literary legacy and tradition. Among the contemporary poets, Shafi'ee Kadkani has benefitted from the legacy of classic literature to a great extent and it can be explicitly or implicitly understood in various forms in his poetical works whether in the context of thought and semantic or in thematisation, imagery and language combinations. The essay does not investigate exclusively the obvious part of the presence of tradition specifically in the form of classic thoughts and themes in his poems the part he himself occasionally denotes clearly. But it surveys the implicit combinations, ironies, phrases, images, and themes employed in the context of poems while the poet himself has been unaware of their origin and use altogether during the versification. The count of these varieties mentioned in the essay could rise and they imply Kadkani's conscious or unconscious adaptation from the tradition and refer to the vast and deep influence of the literary legacy in forming his mentality. In the pursuit, it is hold the study inquires the combinations that are borrowed from the classic masterminds of Persian literature by M. Sereshk. It should be said these combinations may be employed consciously or unconsciously in the poems of M. Sereshk whereas their great frequency illustrate M. Sereshk's awareness and achievement in the literature of Persian territory. In fact the use of these various combinations however unconscious maintains the conviction that they are found as sediments in the treasure of his mind through ages of investigation and disclosed now and then when versifying his poems. It is noteworthy saying the reference to the classic poems does not mean M. Sereshk has borrowed a combination from a particular poet it depicts they had been already employed in the content of Persian poetry centuries before M. Sereshk thus their employment portrays his growing interest and perfect skill in our classic literature. For instance, we do not mean he has borrowed the combination of "masti va rasti" – drunkenness and righteousness – from the poet, Amman Samani, but we are supposed to say the combination however once had been applied in the classic texts by a poet named Amman Samani. Of course, another poet may have used the very combination but it seems a tough job to find them all, because on the one hand, it requires a comprehensive knowledge on the poetic and prosaic classic texts and on the other hand it demands a long life. And then he versified the verse: "but the moments of drunkenness drunkenness and righteousness" The abovementioned adaptation has been borrowed from Samani: "till I say without a word less Yeah, yeah, drunkenness and righteousness"

Abstract With Highlighted presence of video m edia in society, its impact on other branches of art and poetry is seen more than before. At the beginning of being familiar with movie in Iran's traditional society, the subject was somehow a taboo and there was no trace of its influence on literature. Due to their poets' worldview, Nimaian poetry and subsequently blank verse reconciled with cinema earlier than classical poetry , but after Iran revolution and deep transformations resulting from war, Ghazal considered cinema and methods of narrative in cinema with a new look. This process is clearly evident in the lyric poets of the post- revolution. Narrative "In the simplest sense, narrative is a story that occurs during time and the narrator is one who narrates the story" (Khalil, 1383: p 107). Better expressed, "The story is what is said and narration is how to say it" (Afkhami, 1382: p 59). One of the main concerns of Nima is entering narrative element as an effective actor in poetry, but perhaps as intensely as contemporary poets of Ghazal have noticed to this Nima's advice, today his followers do not. Narrative in Persian poetry Narratives form a large part of Persian literature . Narrative poem dates back to the first versified epics . In Persian , narrative poetry is often versified in the form of couplet-poem and in two meter of Motaghareb and Hazaj as follows : 1 - " national epic narratives 2 - historical narratives 3 - love and public narratives 4 - allegorical or moral narratives "( Dad, 13 80: narrative poetry entry ) Characteristics of narrative Ghazal 1- The first outcome of narrative Ghazal is the strength of its vertical axis . This artistically makes Ghazal a systematic and coherent structure in which verse or hemistich is no more a semantic unit , but all parts of poem carries the burden of meaning of the poem , so verses can no longer move or change . 2-Translatability is the other results of narrative entrance into Ghazal. To understand the lyric narrative and to achieve the artistic experience that makes it up, it is sufficient to trace the narrative. Although sometimes, knowing allusions and metaphors in Persian language makes most of the audiences enjoy poetry, but instead, loss of pleasure in understanding this lyric narrative is not due to ironic and metaphorical decoding. 3- Narrative in lyric helps Ghazal to consider details instead of general and diverse subjects, and u sing this purposeful ordering of the details, it goes to the state of general issues. Since the details of each poet’s mind are different, this consideration makes a distinction in today's Ghazals. 4- Considering limitations of rhyme and rows that tie poet's hands and feet, addressing narrative in a closed form such as Ghazal is not an easy task so sometimes pursuing a narrative will force the poet to neglect rhyme or rows and make changes in the structure of Ghazal. 5- Entrance of words, new combinations and non-poetic terms into Ghazal is another consequence of becoming Ghazal a narrative. 6-The language of Ghazal went towards spoken language so that some lines of poetry accorded exactly with syntax and nature of people's everyday conversations. Poetic narrative and fictional narrative Narrative is an essential requirement of the story, but it has option to accept or reject the narrative poem. Poetic narrative is not as naked as fictional narrative. Entrance of narrative in poem not only creates a harmonious narrative, but also assists the creation of imagination and poetic speech. Therefore the poet is not bounded by a specific point of view, and doesn't need to persue the logic of the story. In poetry, the word has all of its features and capabilities, and a good poet is someone who knows the value of words and makes use of all its functions, but because the storywriter has not such al limitation on the structure, he doesn’t have to notice all capacities of the word. One of them is visual function and the other is word's phonetic capacity. The advantage that a poet can take from word's sound and form of writing to increase the dramatic richness of Ghazal in the story is by no means available. Differences between narrative Ghazal and cinematic narrative 1- From the viewpoint of power of play, perhaps the major advantage the literature has over films is that a poem does not need any facilities except words to make up atmosphere and design the scene. This advantage makes poetry capable to image surreal spaces that film can not show . 2- In Ghazal, just the special signs that poet wanted is conveyed to the audience namely the author's control is more. So whenever he wants, makes the audience to focus his attention on the text or, on the contrary, divert attention away from. Similarities between narrative Ghazal and cinematic narrative 1- Sometimes, sense and experience that the sequence of short words and phrases of Ghazal suggest to audience is the same as experience the serial of film shots convey. 2- The reader of story - even a short story– has opportunity as well as possibility to read and review each part of the story he prefers , but the movie spectator does not . Considering this, Ghazal is closer to cinema than story. Because, Ghazal is a poem to be read rather than listened , and due to the brevity prevailing over the space of poetry and Ghazal's structural limitations, poet has little opportunity to convey a sense and to present an artistic experience . 3-Today poetry uses the pattern of stanza in its formal system , like plan and shot employed in cinema. This more than verse and hemistich shows temporal and spatial distances , events and sections in the vertical axis of poetry. Such a way that each stanza expresses one temporal and spatial feature of the detached narration , whereas the sections and components of ancient poetry in the lines of verses is cluttered and the process and movement of poem are not known ( Arji, 1390: p 38). 4-Escaping from linear narrative came into the world of cinema firstly from literature. Surrealism was of those schools that were put in a place against Real and somehow separated the time and fixed and tangible position from the story. But change of narrative is the trace of film in Ghazal and that is not applicable in the story. 5-This change in narrative which is accompanied by change in the form from Ghazal to couplet-poem and again to Ghazal is a way in which the poet can freely continue narration , and the audience - who is usually a listener , not a reader - won't feel fatigued , and makes up the prevailing sense and tone of the narrative as the author wants. 6- All of these uses, in addition to the presence of words, phrases, and names which are familiar to a public audience - whose most confrontation with the art is through the cinema and television - are of the reasons that today's Ghazal is more successful than blank verse in attracting attentions

Abstract The literary legacy for a nation provides guarantee for its identity and personality literary tradition appears the basis of modernity in any realm especially literary modernity, for if otherwise, the literary modernity would be transitory and unsustainable. Modernity proves the presence of tradition in our contemporaneity. Though literary tradition looks forlorn in history during the deep and penetrating developments in the society, it, indeed, keeps on its presence in the contemporaneity whether directly or indirectly however it seems occasionally absent. Tradition, as an absent existence however omnipresent is what we require firmly although some may neglect it. The presence of literary legacy and tradition of the past in the poems of contemporary poets, especially those who inherit the legacy to greater extent, is not of an identical share. Undoubtedly the more a poet inherits the legacy, the more the legacy varies in his or her poems. However the poet is not always using the legacy consciously, for his gradual and vast familiarity with the literary legacy little by little becomes his mental treasures and thus acts as the constructive elements of his mental structure. It, through the poet&#39s mental activities, moves to his consciousness on the basis of the process of association of ideas when the poet is actively unaware of its origin or even its relation to literary legacy and tradition. Among the contemporary poets, Shafi&#39ee Kadkani has benefitted from the legacy of classic literature to a great extent and it can be explicitly or implicitly understood in various forms in his poetical works whether in the context of thought and semantic or in thematisation, imagery and language combinations. The essay does not investigate exclusively the obvious part of the presence of tradition specifically in the form of classic thoughts and themes in his poems the part he himself occasionally denotes clearly. But it surveys the implicit combinations, ironies, phrases, images, and themes employed in the context of poems while the poet himself has been unaware of their origin and use altogether during the versification. The count of these varieties mentioned in the essay could rise and they imply Kadkani&#39s conscious or unconscious adaptation from the tradition and refer to the vast and deep influence of the literary legacy in forming his mentality. In the pursuit, it is hold the study inquires the combinations that are borrowed from the classic masterminds of Persian literature by M. Sereshk. It should be said these combinations may be employed consciously or unconsciously in the poems of M. Sereshk whereas their great frequency illustrate M. Sereshk&#39s awareness and achievement in the literature of Persian territory. In fact the use of these various combinations however unconscious maintains the conviction that they are found as sediments in the treasure of his mind through ages of investigation and disclosed now and then when versifying his poems. It is noteworthy saying the reference to the classic poems does not mean M. Sereshk has borrowed a combination from a particular poet it depicts they had been already employed in the content of Persian poetry centuries before M. Sereshk thus their employment portrays his growing interest and perfect skill in our classic literature. For instance, we do not mean he has borrowed the combination of "masti va rasti" â drunkenness and righteousness â from the poet, Amman Samani, but we are supposed to say the combination however once had been applied in the classic texts by a poet named Amman Samani. Of course, another poet may have used the very combination but it seems a tough job to find them all, because on the one hand, it requires a comprehensive knowledge on the poetic and prosaic classic texts and on the other hand it demands a long life. And then he versified the verse: "but the moments of drunkenness drunkenness and righteousness" The abovementioned adaptation has been borrowed from Samani: "till I say without a word less Yeah, yeah, drunkenness and righteousness"

This paper aims to introduce the poetics of Luís Quintais, one of the strongest voices of contemporary Portuguese poetry, in its catastrophic aspect, ie, the ways in which Western contemporary subject figures the world where they live, with the perspective that everything tends to ruin and disappearance. In the Portuguese poetry, previously, a voice had already worked this wire of social ruin, Carlos de Oliveira. In our present time, the Portuguese contemporary poets, each in their own way, say this ruined space of life, but it is Luís Quintais who points more anthropologically the existence on the brink, that's why we speak of a « lyrical dark », image present in his poetry.