Spoken Word and Spirit's Breath: A Theopoetics of Performance Poetry
Stanley Romaine Hopper defined theopoiesis as a performative form of thinking that effect[s] disclosure through the crucial nexus of event'. Unlike theology which seeks an explanation of the revelatory through the tools of rational discourse, this poetic and participatory activity is a breath...
| Main Author: | |
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| Format: | Electronic Article |
| Language: | English |
| Check availability: | HBZ Gateway |
| Journals Online & Print: | Drawer...
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| Fernleihe: | Fernleihe für die Fachinformationsdienste |
| Published: |
Oxford University Press
[2019]
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| In: |
Literature and theology
Year: 2019, Volume: 33, Issue: 3, Pages: 292-306 |
| IxTheo Classification: | FA Theology NBB Doctrine of Revelation VA Philosophy |
| Online Access: |
Volltext (Resolving-System) Volltext (doi) |
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| 520 | |a Stanley Romaine Hopper defined theopoiesis as a performative form of thinking that effect[s] disclosure through the crucial nexus of event'. Unlike theology which seeks an explanation of the revelatory through the tools of rational discourse, this poetic and participatory activity is a breathing with the inhale and exhale of Being that "the god" may breathe through us'. Following Hopper, this article addresses the performative event' of the spoken word as a window into a discussion of creative breath, exploring its implications for a theology that seeks to breathe with' the Spirit. The use of breath in the work of contemporary poets Tony Walsh and Kate Tempest demonstrates a perhaps largely unacknowledged form of poetic difficulty' (one of Geoffrey Hill's criteria for good poetry) in the spoken word. Their intriguing practices of creative breath may contribute to a theopoetics of the Spirit that takes poetic performance seriously as a means of revelatory disclosure. | ||
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