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Additional info for Hieroglyph of Time: The Petrarchan Sestina
Since the negative entails, or includes, the positive term of an opposition (such as any of the fundamental Petrarchan ones), since the negative term of an opposition necessarily makes reference to the positive term, there being no negatives in nature (whereas the positive term only implies or makes covert reference to its negative opposite), the positive is included in the negative; the latter is a specified absence of the former. This obligatory, overt inclusion of the positive in the expression of the negative is what renders the negative a metonymy of the positive and demonstrates the ultimately inclusional nature of metonymy.
A cultist position was established that was associated with intellectual or social prestige. Poetic "understanding" could be perceived as a means of fixing and establishing hierarchies of generosity or intellect. Experimental poetry found stimulation in the poet's will to impose his private, singular creation on a social collectivity of distinction. The use of words based on the realization of the disjunction between a word and its referent could dominate the organization of ideas. According to the poet's genius and his will to abide by self-established conventions, it was his prerogative to designate the disposition of things in his poem as opposed to any "natural" order of succession in external reality.
The concept of time, translated into movement, describe what we can apprehend only as a figure in space, which is primarily linear or primarily cyclical. The direction of the sestina is determined by the order of its six rhyme-words, which in the canon is invariant until the final strophe. The final strophe, the tornada, which is truncated and in which the six words recur in obvious acceleration, provides the listener or reader with a sure signal that the poem is about to end. This feature operates decisively on the semantic and formal temporality of the poem.