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The activity of self-translation may be seen as a mise-en-scène of the hybrid auctorial self, as well as an ideal stage for a reconstruction of meanings, through a second original. As a (re)creative paradigm, self-translation echoes the concept of poiesis as a 'bringing into appearance', according to Heidegger's interpretation, namely as a crystallisation of the refracted facets of language and self. In this connection, the genetic approach may represent a tool to access the aesthetic world of the writer (the poietes) and to explore his (re)creative process. This paper discusses the case-study of the distinguished Taiwanese poet Yu Guangzhong (1928–2017), and his self-translated poetry collected in Shouye ren 守夜人/The Night Watchman. Through a comparative reading of three selected bilingual poems with their manuscript versions, this paper aims to investigate Yu's poetics of self-translation, while observing through the multi-layered spectrum of a linguistic and cultural rendering. [ABSTRACT FROM AUTHOR]

It may appear that the act of writing is fruitless in the face of the size and open-ended complexity of gathering environmental calamities including global heating, species extinction, and the appearance of plastic in everything. And yet – and yet – poets and others continue to write in ways that allow us to think about the earth's futures and, more specifically, the future of place in catastrophic times. Geo, Eco and Topo – poetics are acts of making – making earth, home, and place. Making earth as homeplace. This paper considers Juliana Spahr's book Well Then There Now as an entry point into thinking and writing about place in a relational way appropriate for a time of emergency. It focuses on the ways writing-as-making (poiesis) can help us to diagnose troubled worlds and prefigure new ones. The paper surveys the connections between geography and poetry, outlines the contributions of eco, geo and topo poetics and explores the hybrid poetics of Well Then There Now before advocating for the affordances of creative writerly approaches for geography more broadly. [ABSTRACT FROM AUTHOR]

This essay argues that "The lamentacion of a Gentilwoman vpon the death of her late deceased frend William Gruffith Gent." in The Gorgeous Gallery of Gallant Inventions (1578), attributed to Isabella Whitney, is a witty reimagining of one of the most popular Renaissance literary genres: the epitaph. The poet's grief revolves around the personal consequences of her secret lover's death, handling stock phrases and situational irony to strangely moving effect. While the poem's first-person speaker invokes the epitaph only to repudiate it, the three quatrains framing the text (written in the third person and therefore generally attributed to the volume's editor Thomas Proctor), pins down the mourning presence with the epitaphic "here." This paper suggests single authorship of the doubled text by showing how the poem posits personal lament as the site of interment located by the spatial demonstrative "here," to fashion a poetics of closure in which the voice of the languishing female poet becomes, through linguistic and textual splitting, a living epitaph for the dead beloved. [ABSTRACT FROM AUTHOR]

Literary studies on the aesthetics of performance in the late Ming have paid scant attention to critics' poetic writings as a form to express their thoughts and feelings toward performance. This paper examines poems by Zang Maoxun (1550–1620), collected in Fubao tang ji, as well as poems by his social coterie in Jinling and Wuxing, that focus on the social and poetic aspects of performance. In recent scholarly discourse, Zang Maoxun's role as editor and publisher of Yuan performative texts has been well covered, but neither his status as a poet nor the poetic exchanges within his social network have been properly investigated as sources for information on Chinese theater. This paper focuses on non-dramatic forms of literature, poetry in particular, in order to unveil the social occasions that precipitated his poetic compositions and the treatment of musical performance in his poetry. [ABSTRACT FROM AUTHOR]

This paper emerges from a seven-year, ongoing relational poetics between two poets and their former secondary English teacher. Organized by the world's urgencies, the three authors have studied the force of poetry throughout incidences of violence against Black lives close to home and across the United States. This practice began in the classroom and continues beyond graduation through remote correspondence across three cities. Through it we develop the concept of study as love, engaging with Moten & Harney's concept of study as irreducibly social and in excess of institutional parameters. We also develop the concept of poetics as more than methodology, engaging with Glissant's poetics of relation. Through love and poetics, we call for literacy studies engaged with the ontogenesis of Black life, moving beyond institutionally white disciplinary methods and standard research outputs. We ask how the poetics of relation and the love of study produce new worlds. [ABSTRACT FROM AUTHOR]

Jean-Luc Nancy’s The Inoperative Community (1986) and subsequent critical responses to it [Rorty, Richard. Contingency, Irony, Solidarity. Cambridge: Cambridge University Press, 1989; Agamben, Giorgio. The Coming Community. Minneapolis: University of Minnesota Press, 1993; Blanchot, Maurice. The Unavowable Community. Barrytown, NY: Station Hill Press, 1998; Esposito, Roberto. Communitas: The Origin and Destiny of Community. Stanford, CA: Stanford University Press, 1998; Miller, Joseph Hillis. The Conflagration of Community: Fiction Before and After Auschwitz. Chicago: Chicago University Press, 2011; Miller, Joseph Hillis. Communities in Fiction. New York: Fordham University Press, 2014] create a philosophical framework which can be applied to unearth communities of culture which go beyond geographical, physical or temporal contact. This paper defends this cultural framework’s usefulness to ascertain points of contact for contemporary poetry in English on both sides of the Atlantic, thus responding to Nancy’s denunciation of the “dissolution, the dislocation, or the conflagration of the community” in modern thought. The fate of poetic production across the Atlantic seems to be divergent; while in Europe poetry is a liminal activity, it remains a vibrant activity both in the USA and Canada. Younger British poets continue to write lyrical and experiential poems, often within received forms. It contrasts with the overabundance of new, radical ideas about poetry put forward by American and Canadian poets: from experimental, technology mediated or intermedial poetry to conceptualism, poets beyond the Atlantic try to self-impose limits to poetic diction in order to supersede Romantic poetics. Comparing both poetics proves most fruitful when they are analysed against an unworked (Nancy’s désoeuvrée, often also translated as inoperative) transatlantic community of practice: there are formal influences between European movements such as French Oulipo in the 1960s or Fluxus in the 1970s with current poetry in the States and Canada; conversely, poetry in Europe has been permeable to high Modernism and post-modern aesthetics from across the Atlantic. As the paper demonstrates, this comparative approach provides a more inclusive vantage point that insists on the fluidity of our contemporary global culture and allows for the establishment of connections hitherto unnoticed in current poetry, thus countering claims of its stagnancy, commoditisation and complacency. [ABSTRACT FROM AUTHOR]

The objective of the paper is to examine some of the ways in which studies of language and literature may interact. Works by Anders Sørensen Vedel, Leonora Christina and Thomas Kingo are cited to illustrate the joint concerns of the two fields. Most of the issues treated demonstrate the usefulness of linguistic investigations to poetics, namely as regards the stylistic assessment of given expressions, the shaping of the ballad genre, the genesis of a work as decisive for the literary analysis, the role of imperceptible linguistic devices in creating metrically correct poems, and the contemporary reception of baroque poetry. On the other hand the paper states the reasons for including the three authors in a history of the Danish language, namely the impact of both Vedel's and Kingo's individual styles on the general evolution of written Danish, the evidence of the history of the Danish lexicon provided by especially Vedel, and the value of the dialogues in Leonora Christina's work as source for spoken language in the multilingual Danish society. [ABSTRACT FROM AUTHOR]

Antonio Sebastiano Minturno (1500–1574) is remembered today primarily for his substantial contributions to Cinquecento poetics, aimed at establishing the lyric as a macrogenre alongside drama and narrative poetry (De poeta, 1559; L'arte poetica, 1564). Yet in addition to his poetological writings, Minturno also produced a significant number of other works, including a series of poems in the volgare published under the title Rime et prose del Sig. Antonio Minturno (1559). What is more, Minturno referred to his own poems time and again in order to support his poetological positions and to exemplify his theoretical approaches to poetry and to literature in general. Although Minturno himself quite obviously saw a close connection between his poems and his poetics, his lyric oeuvre has received surprisingly little scholarly attention so far. The present paper seeks to fill this lacuna by investigating the nexus between theory and poetic practice in Minturno's works. [ABSTRACT FROM AUTHOR]

Most poetry-generation systems apply opportunistic approaches where algorithmic procedures are applied to explore the conceptual space defined by a given knowledge resource in search of solutions that might be aesthetically valuable. Aesthetical value is assumed to arise from compliance to a given poetic form – such as rhyme or metrical regularity – or from evidence of semantic relations between the words in the resulting poems that can be interpreted as rhetorical tropes – such as similes, analogies, or metaphors. This approach tends to fix a priori the aesthetic parameters of the results, and imposes no constraints on the message to be conveyed. The present paper describes an attempt to initiate a shift in this balance, introducing means for constraining the output to certain topics and allowing a looser mechanism for constraining form. This goal arose as a result of the need to produce poems for a themed collection commissioned to be included in a book. The solution adopted explores an approach to creativity where the goals are not solely aesthetic and where the results may be surprising in their poetic form. An existing computer poet, originally developed to produce poems in a given form but with no specific constraints on their content, is put to the task of producing a set of poems with explicit restrictions on content, and allowing for an exploration of poetic form. Alternative generation methods are devised to overcome the difficulties, and the various insights arising from these new methods and the impact they have on the set of resulting poems are discussed in terms of their potential contribution to better poetry-generation systems. [ABSTRACT FROM PUBLISHER]

We have become well-familiar with how unpoetic teaching can be. The prevalence, furthered by much recent reform, of a systematic school culture focused on accountability, standardisation, and learnification often renders teaching dehumanised work. This paper theorises a poetics of teaching. We begin considering poetics, focusing on figurative language as a concept at the core of the art. Figurative language offers a model for figurative education, in which teachers treat their practice as metaphors treat language, a move that opens education towards complexity and ambiguity. Further, we consider what makes poetry matter to people: resonance, or the relational aspects of writing. We explore resonance in conversation with philosophies of relationality, theorising how poetic teaching necessitates an engagement with the relational. We find what may be required to teach poetically is risk-taking, risks all the more beautiful for the ways they engage teachers and students as complex persons doing meaningful work. [ABSTRACT FROM AUTHOR]

This paper places the position adopted by the younger Jakobson in contrast with his more famous later statements, in order to examine the effects of his legacy. While the analytical and structural consequences of Jakobson's work in literary scholarship have proven immensely valuable, there are also some aspects of humanity, consciousness and emotional connection that have been, if not entirely lost, then certainly backgrounded in literary scholarship. This paper argues for a return to Jakobson's own early principles, in the form of a cognitive poetics of literary exploration, with examples from emotionally-affecting literary works. [ABSTRACT FROM AUTHOR]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper is devoted to the influence of Chodasevič’s poetic technique on Mandel′štam's poetry. We make an attempt to analyze Mandel′štam's lateNovye stichi(“Ne govori nikomu … ”, “Kuda kak strašno nam s toboj … ” and “My s toboj na kuchne posidim … ”), which are connected to each other through the theme of fear. From the point of view of the poetic technique, these texts are also connected to each other through the literary device of the unexpected twist of meaning, which was associated with Chodasevič’s lyrics in Mandel′štam's consciousness. [ABSTRACT FROM AUTHOR]

This paper asserts that the poetics of New England poet Denise Levertov may be seen as a bridge from Victorian poet Gerard Manley Hopkins’ poetics to postmodern poetics of today. Using the imagism and the ideas of Richard Rorty, William Pratt, Jean-Francois Lyotard, Charles Bernstein, and Bob Perelman, the writer outlines how the key concepts of imagism were adopted from Gerard Manley Hopkins and in new guises used by modernist poets such as Ezra Pound and Denise Levertov and postmodern poets such as Sheila Murphy and Arthur Vogelsang. The writer also contends that what governs the changes in the Victorian poet's desperate poetics is attitude: Modernist poetry is one of mourning, and postmodernist poetry is one of joy in the absurd. [ABSTRACT FROM PUBLISHER]

The inclusion of excerpts from Muriel Rukeyser’s long poem ‘The Book of the Dead’ (1938) in the ‘Historical’ section of The Ecopoetry Anthology (2013) testifies to the eco-ethical prescience of Rukeyser’s poem, which links working class and racial oppression to environmental damage, and demonstrates how poetry can be held responsible for social and environmental justice. However, Rukeyser’s eco-ethical concerns in her work after ‘The Book of the Dead’ have been largely neglected by literary ecocriticism. This paper proposes that The Life of Poetry (1949) deserves a foundational place in what we now, after the rise of environmental activism in the 1960s, call ecopoetics. In Rukeyser’s literary-activist essays, the rhetorical use of natural world imagery to illuminate poetry’s ability to effect social and political change reinforces an environmental context for poetic responsibility. Furthermore, Rukeyser’s argument for the treatment of poetry as a ‘resource’ anticipates contemporary environmental discourse on consumption and sustainability and situates poetry squarely within it. [ABSTRACT FROM AUTHOR]

In this paper I propose a conceptual platform for a constructive dialogue between psychoanalysis and empirical research, and away from the rift between the two. Predicated upon existential philosophy, psychology, and psychoanalysis, this platform is based on a realization that any clinical encounter is 'spoken' through three languages: Pragmatics, poetics, and schematics. Pragmatics pertains to the language of everyday occurrences in-the-world ('I fought with my wife last night'). Poetics is used by the (psychoanalytic) therapeutic community, as well as by therapeutic dyads, to capture, often metaphorically, the enormity of the human situation ('he raged against his wife's refusal to serve as a selfobject'). Schematics refers to the language of hypothesis testing, inductive and deductive reasoning, and empirical science ('this marital dynamic activates the patient's narcissistic vulnerability, leading to agitated depression and possibly to suicidality. I should assess risk'). All three languages are crucial to the clinical endeavour. Psychoanalysis, broadly defined, is the therapeutic school best suited for speaking the three. [ABSTRACT FROM AUTHOR]

My paper briefly reviews where Jakobson contributed to the productive conjunction of linguistics and poetics and comments on where he seemed to fail, and why. It then emphasizes the singularity of literature and reiterates (as it were) the importance of repetition in verbal art. I believe that all Jakobson's ideas in the Closing Statement, when brutally transformationally reduced, amount to saying that repetition lies at the core of verbal art (even if it is not the only phenomenon crucial to verbal art). It is by dint of the diversity of kinds of partial repetition that are licensed in verbal art, that we accord it such an important place in our culture, deeming it a fit means for achieving depth and complexity of representation, or for seeing 'into the life of things'-including that deepest and most mysterious of things, human consciousness. Finally I turn briefly and with the help of a relatively simple poem by Seamus Heaney to the idea that poets continually show linguists things about language, things of which linguists themselves can easily lose sight: especially our power through language to re-think everything and anything. [ABSTRACT FROM AUTHOR]

This paper explores the use of poetic documents in narrative therapy practice. It considers the ways in which feminist and poststructuralist ideas inform these practices and speculates about the extent to which a ‘poetic-mindedness’ might sustain the practice of double- (or multiple-) listening. The author illustrates these explorations with examples from her own therapeutic practice. [ABSTRACT FROM AUTHOR]

Abstract: This paper will explore the notion of ‘poetic enthusiasm’ in early 18th-century verse. The representation of poetic enthusiasm—the claim to false inspiration, and the fanaticism that was perceived to accompany it—was frequently politicized in this period. Through a conflation of religious and literary discourses, poetic enthusiasm was seen to represent the sae kind of anarchy in the realm of literature that the religious enthusiasm associated with Dissent did in the context of the established church. This paper will establish first of all the way in which Tory and Royalist authors such as John Oldham, John Dryden, and Alexander pope used the established satirical caricature of the religious enthusiast to attack their Whig contemporaries. It will go on to suggest, however, that the relationship between politics and enthusiasm is more complex than this equation between Toryism and anti-enthusiasm suggests. While the Tory attack on literary enthusiasm was premised on an elision of political and literary codes, writers such as Dryden and Pope were also trying to separate out an exclusively poetic meaning for the term. Enthusiasm remained and unstable term because although writers recognized that its religious and political applications were different from its literary sense, they could not easily keep the two apart. [Copyright &y& Elsevier]

I consider poetry composition from both the "inside" view of a poet and the "outside" view of a cognitive psychologist. From the perspective of a psychologist, I review behavioral and neural studies of the reception and generation of poetry, with emphasis on metaphor and symbolism. Taking the perspective of a poet, I discuss how the seeds for a poem may arise. Finally, I consider the prospects for future developments in a field of computational neurocognitive poetics. [ABSTRACT FROM AUTHOR]

This paper argues that Ben Lerner's discussions of poetry and poetics in his two acclaimed novels,Leaving the Atocha Stationand10.04, have not received the serious attention they deserve. Here, I examine the novels as clear extensions of Lerner's poetic project as seen in his three volumes of ‘verse', and link them to the theoretical discussions of poetics one finds in the prose of poets like Baudelaire, Rimbaud, Dickinson, or Pound. This in turn opens the way to seeing Lerner as engaged in an ongoing project in which neither prose nor poetry is privileged, but each dialogues with the other in what must be considered a serial prosimetrum. Following from this, I examine how the prose writings illuminate and enact the poetics of virtuality which Lerner favours and explores in many ways, not least of which being the displacement of poetry and poetics into novels, and the disturbing of the claims generally made for each genre. Ultimately, Lerner's opposition to ‘mere actuality’ or ‘mere positivity’ can only be understood if his novels are allowed to be disturbed by the volumes of poetry that surround them, rather than being left to stand as copious containers that might bound the poetic impulse. [ABSTRACT FROM PUBLISHER]

This essay grows out of the sense that the diatribes against purportedly bad poetry on the Internet have become less interesting. It examines the flourishing Internet-enabled poetry culture in India today through a few works of dissent poetry birthed and circulating online. As digital artefacts, these poems live, in a manner of speaking, very public lives unlike born-digital novels or longer prose forms. They can be accessed and manipulated by anyone with an Internet connection or a cheap data plan on their phone. Most of these poems are also almost simultaneously translated by members of that poetic, political, or intellectual community. They are read out loud, listened to, seen, and yelled out and yelled at as they move across intermedial environments as Instagram posts, YouTube and TikTok videos, protest performances, and WhatsApp forwards. How do these self-consciously political poems perform their politics through their mediated and linguistic environments? Analysing three poems – Aamir Aziz's 'Ballad of Pehlu Khan', Ajmal Khan's 'Write Me Down, I Am an Indian', and Tishani Doshi's 'Girls Are Coming Out of the Woods' – the essay argues that Indian dissent poetry on the Internet leverages the viral logics of social media to defy state surveillance and censorship, toward new political affiliations. In doing so, this poetry reprises a long tradition of folk and resistance poetics as part of a digital protest culture. [ABSTRACT FROM AUTHOR]

Few poets have marked tabular spacing as richly as Andre du Bouchet (1923-2001), yet existing studies of this aspect of his writing tend to interpret that space as mainly metaphorical, standing in for absence. I contend that the negative space inherent to metaphors of silence and void limit a reader's understanding of how these interstices render complex any reading and create tensions which play between the temporal-spatial continuum of the page. In a unique combination of both linear and tabular space, the visual impact of du Bouchet's poetry causes the reader to linger at the point where meaning and movement collide. This collision, I argue, originates in the particular use of a set of repeated terms combined with the white spaces of the page to determine both ease of movement and points of immobility. The words, then, rely on the spacing around them and the spaces between them. In this article, I propose a theoretical model of the structural function of the space between words and explain how white space, which is often overlooked or minimized, becomes a catalyst capable of acting upon meaning and movement in reading by virtue of the combined effects of both graphic and linguistic modes. [ABSTRACT FROM AUTHOR]

The nature of participants' experience in practitioner research is often taken for granted, and its more tacit dimensions overlooked. Poetic expression is valuable in surfacing these tacit dimensions, enabling the researcher to engage with them more consciously and draw on them to strengthen the research. To illustrate, I draw on my own poetically expressive writing relating to the experience of leading an action research project - a text entitled A Gossamer Thread. I describe how I came to write in this way, and draw on the poet Robert Frost's account of 'the figure a poem makes' to show how the writing arises from within experience and is able to clarify its meaning. This process is linked to an understanding of Dewey's concept of integral experience. Ways in which poetic expression may contribute to practitioner research are discussed, exploring how the vitality of poetic expression can energise research and how writing poetically emphasises receptivity, stepping back from assumptions and opening up to possibility. [ABSTRACT FROM AUTHOR]

An essay is presented on the relationship between the principles of permaculture and agro-ecology as well as carbon-fixed and decapitalised poetry. The cites the author's paper "Best Sellers" which focuses on the relationship between carbon and arts, reference the thesis of David Graeber on material and social liberalism, and discusses the free-dragging and slow text transitional practices. The author also discusses the role of utilizing permapoesis in the biophysical poetry.

Poring over good translations of poetry is a special pleasure. It takes us almost uniquely close to the poem and offers insight into the intricate choices of phrasing and rhythm its composition involved. Translating Goethe's poems is also a special problem, because of the simplicity and directness of his diction. The paper looks at the detail of some of John Whaley's versions and celebrates some of his most successful versions. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Latin American & Caribbean Studies (Routledge) is the property of Routledge and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In 1965, Frederick Duhl began a sexual relationship with his patient, poet Anne Sexton, whose previous psychiatrist, Martin Orne, had moved from Boston to Philadelphia. Little is known about this relationship, perhaps because Sexton was persuaded by health professionals, including her previous psychiatrist, not to expose Dr. Duhl. These professionals closed ranks behind Duhl, covering up the ethical misconduct, which may have contributed to Anne Sexton's eventual suicide in 1974. Apart from documented reports elicited by her biographer, Diane Middlebrook, information about Duhl's sexual misconduct is limited to his personal correspondence with Sexton, which Sexton preserved. The exchange of letters between them, including examples of Duhl's amateur poetry, provides an unusual opportunity to investigate the dynamics of sexual boundary violations in psychotherapy. Sexton represents her bewildered feelings poignantly in letters to Duhl, whereas Duhl's stilted efforts to respond to her emotional needs reveal a disturbing pattern of envious appropriation. [ABSTRACT FROM AUTHOR]

This article makes a case for greater inclusion of poetry as distinctive data within interpretive consumer research. It considers that alternative means of representation provide insight into difficult to access consumption fields. The poetic voice allows the emergence of an emic language of experience as the subject engages in self-reflexivity expressed in ways unconstrained by typical research norms. The article also considers some of the methodological choices inherent in engaging with poetic data and illustrates the research value by considering poems that unpack hidden and mundane consumption and consumer resistance. It shows how intimate experiences can be accessed and interrogated using poetic analysis, how poetry can capture the minutia of mundane consumption while laying bare the poet's reflexivity about its meaning, and how the reclamation of a dead art-form can become an active form of rejection and consumer resistance. [ABSTRACT FROM AUTHOR]

First comes the impulse, the lure of the outdoors. Then comes walking: the considered placement of step after step, a warming up through movement and curiosity. Then comes stillness: the simple act of standing or sitting, calm and quiet, with all senses open -- not as a wish to place one's thoughts on the land, nor to seek reflection of the self or journey through personal memory, but to be still, quite simply, in mind and body, open to the land, the elements and the weather, and to the energy and story of place. Devising installations to be sited outdoors brings the landscape as well as the cultural history of particular places into the form and performance of an artwork. This wrestles final control away from us -- we must work with the environment, and, because of this, decisions are made along the way that we could never have foreseen. Uncertainty in this kind of work may be challenging but there is beauty in the synchrony of influences. And because the installations are in public spaces, there is the added dimension of other people encountering the artworks, often unexpectedly, and becoming involved with them: a dynamic of performance and audience is created. The reaction, and a sense of connection or tension between the two, is unpredictable and allows for the final completion of a piece. This work incorporates seven separate pieces and in the 'fragmentation of a rainbow' challenges complacency and expectations in a time of uncertainty: a changing climate, declining habitats and species, and a lack of clarity about how humans might balance personal and spiritual attachment to stunning landscapes, including mountains, with actions that impact them and the future of their ecosystems. [ABSTRACT FROM AUTHOR]

The article focuses on popularity of poetic avant gardes of poet Emily Dickinson and exceptional formal inventiveness and intellectual vibrancy of her poems. Topics discussed include concerns of contemporary conceptual poetics with mutability of genre, and textual consumption, self-theorized movement in early twenty-first-century Anglophone poetics and optical character recognition (OCR) technology into machine-encoded text.

The article discusses two conferences on Chinese poetry including one entitled "How to Modernize Poetry?A Symposium on Chinese Poetry and Modernity" hosted by Capital University's Centre for the Research of Chinese Poetry in Beijing, China and another entitled "Sixtieth Anniversary of the Epoch Poetry Society" held in Taipei, Taiwan. Topics discussed include challenges of modernity from the 20th century, innovative tactics in poetics and skit performances by students based on poems.

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This study analyzes metaphors in Taiwanese oracular poetry, known as tshiam-si, an Eastern genre written in Chinese and used in many temples in Taiwan. The genre consists of a set of poems representing a myriad of potential divine messages for problem-stricken individuals wanting to seek help from the Divine in the folk religious context. Collected from on-the-spot tshiam-si interpretations conducted in two temples in Taiwan, the data comprised five cases of tshiam-si interpretations. Building on several recent studies that advocate complementary perspectives on metaphor, this article demonstrates how explanations of tshiam-si interpretations benefit from cognitive linguistic and relevance theoretic approaches to metaphors, and how the complementary approaches fit in well with some aspects of real-life tshiam-si interpretations. All in all, by attending to the conceptual, the sociocultural, and the pragmatic of tshiam-si metaphors, this study explores the dynamic coupling of metaphorical cognition and metaphorical communication. [ABSTRACT FROM AUTHOR]

The article examines the roles of diversionary listening and anarchic reading in the creation of an eco-ethical lyric in contemporary women's poetries. Details related to the role of women's poetics in creating communities of perception and articulation are presented. Particular focus is given to the poets Lyn Hejinian and Daphne Marlatt. According to the author, Hejinan's concept of making it strange and Marlatt's concept of mother-tongue can be used to experiment with radical communities and eco-ethical lyrics. Topics discussed include the use of the first person in writing, risk, representation, and selfhood.

This article considers issues of gender in the performance in Afghanistan of chaharbeiti, an important orally transmitted genre of sung poetry. Based on particular performances and other sources, the author discusses differences in poetic choices made by male and female singers. The article draws attention to women's preoccupation with family love and the personalisation of existing texts. Other issues include the gendering of poetic viewpoints and of the object of love, and relations between the sexes as revealed in such performances. [ABSTRACT FROM AUTHOR]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The concept of Poeclectics is described, and used to explore the vitality, diversification and complexity of voice currently exhibited among British poets. The author also examines, through a Poeclectic lens, specific aspects of literary output in order to demonstrate a growing engagement between their means of funding and profound contemporary issues of personal-creative identity. The importance of collaboration among artists is highlighted, principally through the ShadoWork project, thereby introducing the terms polyvocal, co-vocal and multi-vocal. Some key Poeclectic issues are illustrated through site-specific and 'self-performing' work, including a community-based Year of the Artist commission and the unique Poetry Hunt currently on view at the Imperial War Museum. The author concludes with a thorough assessment of the dangers and opportunities presented by Poeclectic practice (particularly in terms of artistic integrity, the modern self and conflict resolution), raising the question of how best to support poets in the growing sector of public commissions, and with a closing emphasis on urban regeneration and community identity. [ABSTRACT FROM AUTHOR]

Oĺga Sedakova and Ivan Zhdanov, two prominent contemporary metarealist poets, depart from traditional mirror poems' reliance on straightforward reflection or description. Their mirror poems elucidate their idiosyncratic poetic systems and, particularly in the case of Zhdanov, they balance metaphor with compelling metonymies and create a valuable connection to the poetry of Boris Pasternak. Zhdanov and Sedakova use mirrors to call attention to the artifice of poetry and to expose to visibility the workings of the poet's mind as the poem is created. In Sedakova's poetry, the poems show surprising flashes of darkness and, in Zhdanov's poems, the mirrors often reveal unusual depths. The essay pursues two overarching questions: 'What do mirrors show us about poetic language?' and 'How do mirrors allow poetry to suggest a theory of subjectivity?' Both questions ask that poems show us their theories of language and of identity. Several poems by each poet are read closely and the readings are used to draw more general conclusions about the possibilities for penetration, transcendence, and revelation in their work. [ABSTRACT FROM AUTHOR]