Image’s reversibility and the definition of poetry

Abstract

In discussing the origin, the meaning and the translation of the central notion in the research by Iuri Tynianov, namely, the oscillating traces, the article seeks to insist on the relation between the definition of poetry and the image of reversibility. Bringing echoes of German romanticism and trying to draw up the paradoxes of its own time, Tynianov’s theory indeed demonstrated a great concern with the vocabulary used to describe the dynamic form of the literary text and its dynamic inscription into the fields of knowledge. Enthusiast of experiment and of the contradiction’s creative potential, Tynianov hesitated between organic metaphors inherited from the romanticism and the spatial ones inspired by the literature of the beginning of the XX century as well as by the pós-Cézannean painting. Struggling for the enhancement of the discourse of the literary theory, Tynianov’s investigations found developments in researches by Julia Kristeva, among others who insisted on the subversion of the space vision in terms of a neutral recipient or a medium of separation, looking for its comprehension in relation to text with its anguishing unfoldings provoked by the experience of loss.