The end of the poem and its continuations

The paper addresses the problem of the boundaries of the poem, both at the textual level – considering the poem as a definitive formation and the author's repeated return to a single poem – and in terms of its transgression toward both literary and non-literary texts. It focuses on broad borderlands or intermedial and intersemiotic fields, where poetic language and imagery extend beyond their own limits toward other art forms such as music and visual art. In these encounters, poetry enters into resonances, interpenetrations, harmonies, and contradictions with its own imagery. This process gives rise to new forms of intertextuality, intermediality, and inter-iconicity within the arts. Poetic writing may also engage in diverse osmoses and interferences with non-literary discourses – such as philosophical writing – and not exclusively in interpretation, but also via mutually enriching oscillations. Examples of this dynamic can be found in the texts of such authors as Friedrich Nietzsche or Martin Heidegger. The study takes as its methodological starting point the rhizomatic ontology of the artwork, understood as a condition for its scriptibility (Gilles Deleuze, Roland Barthes).