holophrastic

Unknowing Escapists

 

 

 

 

 

 

 

Unknowing Escapists 

 

 

 

Death, ..not proud—So sleep!

...dreaming of thy softer skin

—Thee—objectified!








Author's Notes/Comments: 

Reedited on 07.19.2019, 07.18.2019, 07.17.2019 (On clarifications, disambiguation, misspelled/mistyped words, grammatical/semantical errors):  Upon reviewing my notes/comments, I could not help but notice something that I had to revise.  I have edited that something in my Author's Notes/Comments, for some time, yet I had not been able to update and indicate those in the former reedition (I may have forgotten it).  Some of my previous grammatical/semantical errors were corrected/edited; but that had also lent itself to being still erroneous after I had found out about the others/another, consequently.  Those were the scruples which I had, i.e., in noticing/not noticing/ignoring an unedited/missed part, i.e., of a sentence (that was erroneous & that which was consequently omitted.)

 

The idea behind this practice poem is certainly not an allusion to John Donne's famous line or to his poem, although it sounded like it—in fact, it was sort of in my head before this was done (I do not know about his poetics until later on, after doing this).  But the usage might easily denote such notions or concepts which you might have in mind already (a correlative or a relation/association to this).  The phrase first came to mind while I was in my first few steps of composing something (which I wanted to pull off in the creation process alone & not necessarily done while visualizing my supposed ends).  That might/could be dangerous if it was Magic.  I did not know what had prompted me.  It does not necessarily end up as I supposed to have wanted it to come off (in that it was not my endpoint, to think about it).  My orientation is/was not in that specified way, as for most poetic styles &/or semblances with each poems that are rather perceptual (aside from being already conceptual).  Generally.  It is a moot point to take note of the circularity of such philosophical arguments (e.g., especially at this time) which I could have done with the rest of my haiku adaptations during the last.  I kept on feeling awkward at using haikus in the first place, or for taking on the minimalistic Japanese approaches/styles (& the use of blank spaces), just to go about such particular pieces of "literary work".  I especially connote my written English aside from my own thoughts about the subjects (&/or objects) that comprise the 'denotata'/'designata' at the moment.  Besides, if you might want to really know about my objectives, you may outright realize that these would be my test pieces or guides for mapping out my whole understanding of Language.  I just hope that this note's real message (real intention) comes across and becomes well received in conjuction with the poem's explanation/history/reason/etc. as in the other author's notes/comments that went before this.

Ugaling Naintindihan

 

 

 

 

 

 

 

Ugaling Naintindihan

 

 

Sa sayaw nito

Mga dahon sa paso

—'wag ipakita!








Author's Notes/Comments: 

Reedited on 07.16.2019 (misspelled 1.  "imagintation" v. "imagination" & 2. "of much greater interest to me" v. "of a much greater interest to me" in this Author's Notes/Comments); 07.02.2019 (inclusion of the additional term "Political Philosophy" among the list of cognate subjects, for clarification of both its grammatical & semantical errors, which can be both a technical &/or a philosophical issue):




This poem is a Filipino/Tagalog poem, composed in a particular way (or form).   A far different poetical form, &/or composition—which is of a Japanese haiku (with seventeen syllables), but using a native language (my native language of Filipino/Tagalog—["taga-ilog"]), I was merely examining the subconscious aspects of meaning (with a seeming specialism on meaning-making and sense-making).  That exercise is subjective & should also be empirically related (through experience/experiential) as it emerges from those agencies of my own subjective imagination/observation (otherwise stated numerous times in my past author's notes/comments section).  Specifically making such a uniquely described poem was, again, a form of my practice/exercise, in the hopes of understanding haikus/tankas deeply (more significantly, in relation to my own studies of these manifold poetics).  Poems are generally considered art forms, so I thought that it could also be assumed (or presumed) to be synonymous with the maxim that goes..art is..the "highest form of expression" (from an "a priori" impression/knowledge which I have about it—a supposed quality of any type of an art).  That could still be debated due to art theories and art criticism.  Is it a philosophical/moral argument which still involves value judgements/moral judgements/critique?  In my own terms, and in most of my current adaptations of language, I wanted to get cues from suchlike works of mine to emphatically connote cultural influences that were (for myself) seeming to be inevitably applied (such as in many of these examples).  I believe those matters to be highly important in determining social phenomena which is why we have sociolinguistical considerations in Linguistics as an area/field of study (e.g, Logicism, Russell, & Oxford Philosophy).  The reason why I may have seemed to be constantly consumed by my own informal philosophical studies (casual self-directed ones, which also span the cognate subjects of Philosophy of Language, its so-called theories of language/perception/meaning, Linguistics & its subfields, including Political Philosophy) are the sheer evidential implications that I have gotten from Culture Theory (for my overarching Moral Philosophy studies, as part of another newer study, which was said to be emerging from the 1990s, & which is of a much greater interest to me—Intercultural Studies).  Those other underlying concepts relating to that, other than those denoted already, were cultural relativism/moral relativism/moral knowledge as interconnected with my religious studies whereby virtually every culture are purported to have their own (including cultural rights & literary developments).  The synonymy of intermingling social factors in our everyday lives (& perceived realities) and social realities (social facts that I have since been delving into, in a sociological point of view) can be making a huge part of my theme (i.e., just in order to rediscover the cultural impact of language, or its notions, and to prove how Media Culture have played a big role in anyone's worldview, e.g., depersonalization, disenchantment, disenfranchisement, defamiliarization, decentralization, dehumanization somehow).  Finally (not fatalistically), just to emphasize its presumed direct/indirect sociocultural/sociolinguistic connection to 'social identities' or one's very own political views/standpoints (without discounting the psychological facets whereof, which is also a presupposed given).  Therefore, while in that process of self-discovery (reinstated all-too-well), it is hoped to emphasize those said/implied objectives (and to avoid redundancy in the future explananda or explicantia of my poetics ).  Thank you for reading on & for your consideration.