Search

Though trace fossils have been recorded from the Tal Group of the Krol-Tal Belt by earlier workers, most of the records are at generic level only. This paper describes, in detail, 24 ichnospecies from 20 ichnogenera, some of which are being reported for the first time, from the Ganog and Koti Dhaman sections of the Nigalidhar Syncline, H.P. Based on the ichnostratigraphic and ichnofabric analyses these ichnofossils have been categorized into three ichnoassemblages, namely Palaeophycus-Phycodes, Daedalus-Phycodes, and Cruziana Ichnoassemblages. An attempt has also been made for correlation of the Tal sections with other Precambrian-Cambrian sections of the world. [ABSTRACT FROM AUTHOR]

Older adults suffer from narcissistic injuries due to the multiple losses faced during later stages of life. A combination of poetry therapy and self-psychology can be an effective approach to address these losses. While self-psychology focuses on the fragmented self, and aids in the development of a more cohesive self, poetry therapy provides opportunities for expression, creativity, and life review that circumvent the limitations often faced by older adults. This paper is a single case study that explores how poetry therapy can be used to generate self-object experiences that provide structure to the older adult's ego. [ABSTRACT FROM AUTHOR]

This study offers an arts-based a/r/tographic inquiry using poetic transcription and representation of interviews conducted with a co-educational group of 14 students in a West Vancouver, British Columbia secondary school rhythm and blues band class. The decision to translate and analyse the interview transcripts into the Japanese poetry form of haiku is rooted in research literature in education and other fields, primarily health and nursing studies. Those studies demonstrate the efficacy of the highly condensed haiku to transmit meaning in a synthesised and creative form. While music education has a body of scholarship on students' attitudes towards music and their music education, this kind of research has generally been presented in more traditional ways. Our contention here is that arts-based topics are complemented and illuminated when investigated through arts-based methods. As well, arts-based methods such as a/r/tography, offer multiple and complex perspectives of what the data 'means', thereby offering a welcome harmony of topic and method. This paper captures the depth and intensity of emotions, engagement and transformative affects that adolescents experience through music making - music matters to young people. [ABSTRACT FROM AUTHOR]

The purpose of this paper is to deal with the subject of failure from various angles. The first angle relates to the lyrical failure, which takes place at any moment in which the mind chooses to envelop something with a familiar context instead of revealing what is new in it, or chooses to know “about” something rather than knowing the thing itself. The second angle considers the link between experiences of failure and the human ability to imagine and to live “parallel universes.” The third angle considers the experience of failure as being connected with the work of mourning. The fourth angle relates to the experience of failure as creating a dialogue with our interior sense of measure. The fifth angle considers the internal dialogue of failure as comprising within itself the unconscious fantasy of a “higher authority,” which sees beyond us and guards our steps. The sixth angle considers the experience of failure as a lyrical gesture, one which exists not in the territory of authentic truth, but in the breathing space which can be created only as the result of moving between choices. Finally, through the integration of the various angles a therapeutic case will be presented to demonstrate a situation of obsessive libidinal investment in the experience of failure. [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.

This paper draws on research on masculinities to examine poetry as a socially and culturally gendered genre. Situated in the context of the current 'crisis' around boys' underachievement in school, attention is drawn to the problematic understanding of poetry as an unsuitable genre for boys. Attention is further drawn to the way in which poetry, when offered up to boys, is often imbued with traditional and outdated definitions of masculinity. We illustrate the extent to which hegemonic versions of masculinity are implicated in discourses about poetry as an unsuitable genre for boys. This is accomplished by undertaking a critical analysis of various sources such as Odean's (1998) Great Book for Boys, and Scieszka's (2005) Guys Write for Guys Read, as well as Iggulden and Iggulden's (2006) The Dangerous Book for Boys. Historical perspectives which highlight the role of sexologists in forging an association between poetry and effeminacy are also used to illuminate the legacy associated with the treatment of poetry somehow discordant with dominant understandings about boys' developing masculinity. In this way, we provide a richer understanding of poetry and its discursive relationship to masculinity. [ABSTRACT FROM AUTHOR]

This paper describes a simple creative writing exercise that is a complement to the marketing educator's existing toolkit. Much of the writing in business education is descriptive and analytical. Poetry writing is a form of creative expression that encourages students to reflect on their experiences as consumers, thereby increasing engagement and deepening learning. The poetry writing exercise is described, its use in marketing education discussed, and preliminary evidence for its success in an undergraduate introductory marketing class provided. [ABSTRACT FROM AUTHOR]

Among the literary studies of R.J. Wilkinson (1867-1941) - an administrator-scholar of diverse interests and the compiler of the famous Malay-English dictionary - his survey Malay literature: romance, history, poetry (1907) occupies a special place. Published in the series, 'Papers on Malay subjects', created by Wilkinson with a view to broadening prospective colonial officials' understanding of the Malays, this survey drew material from both his 'field studies' and from written texts, often Singaporean lithographs. The use of these sources, more demotic than was usually the case in Malay studies at the time, influenced Wilkinson's insights into the significance of the oral element in traditional Malay literature, the nature of its creators' literary views and their audiences' particular characteristics. A number of his pioneering ideas have been confirmed and further elaborated by contemporary students of traditional Malay literature. At the same time, Wilkinson's survey, like his other works, had the overarching task of defending the 'Malay cause', which he understood as the conservation of Malay traditions and customs combined with their development. It is precisely this approach that explains Wilkinson's position vis-a-vis traditional Malay literature, which is expressed in the survey through what can metaphorically be viewed as a theatrical performance, with a 'Malay rhapsodist', a 'pedantic scribe', a 'European' and 'Wilkinson' himself as its characters. [ABSTRACT FROM AUTHOR]

Imaginings and uses of place in Northern Ireland are characterised frequently by sectarianism, leading to the strict territorialisation of space along cultural, political and religious dividing lines. It is argued that such geographies underpin the six counties' ongoing intercommunal conflict. Extrapolating from the work of feminist economic geographers J. K. Gibson-Graham, this paper suggests that in order to fracture the monolith of spatial sectarianism, attention must be paid to imaginings and uses of place which sidestep or move beyond the tendency to exclude. Here I examine poetry by Michael Longley and Sinead Morrissey for its alternative envisaging of place, and argue that these particular instances of opening out a spatial imaginary are of import both in a Northern Irish context, and further afield. [ABSTRACT FROM AUTHOR]

Undermining the narrow critical approaches which neglect the potential intersection between modernism and postcolonialism, this paper explores the attempt by contemporary Arab poets to engage Western modernist heritage in order to articulate domestic narratives integral to the geopolitics of the Arab region in the postcolonial era. In an attempt to redefine tradition and deviate from fossilised inherited legacies and tyrannical regimes, postcolonial Arab writers, led by the Iraqi poet, Abdul-Wahhab Al-Bayati, pursue solace and redemption in Western modernism, developing Western forms into a poetics of resistance and protest. Through textual apprenticeship, assimilated from Western literature and culture, they combine modernism and postcolonialism into a nexus incorporating Western techniques while emphasising variants and displacements between their nationalist perspective and that of their Western forebears. Convinced of the role played by the West in the shaping of modern Arabic cultural traditions, Al-Bayati reconstructs colonial modernism as a narrative of liberation, engaging in dialogues with Western pioneering writers and masterpieces. Transforming Western modernist strategies into a revolutionary construct, Al-Bayati aims to challenge internal oppression and external hegemony. Through tran-cultural entanglement and textual appropriation of Western narratives he provides diversity and insight into postcolonial Arabic poetry, intensifying the awareness of other traditions and reconstructing his own heritage. [ABSTRACT FROM AUTHOR]

This paper addresses the self-discovery of the author, a graduate student, in recognizing her overlapping identities of researcher, artist, and activist and the role of poetry through all of them. The journey through the identities, inspired by Catherine Etmanski's (2006) artistic journey, brings an awareness of the ability of poetry to encourage praxis. The author uses poetry to share others' voices, then she begins to share her own voice through her poetry, and finally, she begins to create spaces for others to compose their own poetry or alternative ways of making meaning. Etmanski maintains that education is the key characteristic among all means of social change, and therefore, the author concludes that her poetry, personal or research-based, as a means to educate, should be used to encourage social change. [ABSTRACT FROM AUTHOR]

Irisawa Yasuo (b. 1931) is one of the most theoretical and experimental poets that postwar Japan has produced. His poetry is highly individual; its themes and techniques place it firmly in the mainstream of contemporary international poetry. Like T. S. Eliot, Irisawa insists on the impersonality of the poet in creative expression. The point of his work is arrived at through implication, through the allusiveness contained in language; in language games reminiscent of James Joyce, and echoes from past time reminiscent of Eliot's work. Irisawa creates ambivalent images tied to the theme of mortality. This paper explores the variety of his narrative techniques, his creation of myths, his use of satire and even nonsense poetry. It considers the theory of the restructuring of language he expounds in Memorandum on the Structure of Poetry: if words are divorced from their daily usage, they may be joined together in new ways to create 'a meaning beyond meaning'. Irisawa does this in abstract conceptions filled with references and allusions to existing literature, as we see in My Izumo, a poem about spiritual identification with the past, which alludes to ancient Japanese works such as Izumo Fudoki and the Kojiki. This article shows how Irisawa's work exemplifies a dominant trend in modern Japanese poetry: the denial of meaning as it is ordinarily interpreted and in its place the use of language to create abstract visions which contain a 'meaning beyond meaning' - Irisawa's central thesis. [ABSTRACT FROM AUTHOR]

This paper is an attempt to demonstrate the power and meaning of human lyricism by the only means that can really do so - lyricism itself. Using a fresh reading of T. S. Eliot's Four Quartets (Eliot, 1944), the author demonstrates the lyrical attitude Eliot himself offers us as a way to observe the world. This lyrical attitude, which the author believes is a vital component of the analytic presence, will be presented here as a unique kind of integration between the predictable and explicable - and that which is inexplicable and sometimes even unknowable. [ABSTRACT FROM AUTHOR]

The current pattern around music created by young spoken word artists in South Africa makes one think of musicality as a strong influence and force in today's poetry; from accompanying bands of instruments at live performances, to CD recordings with background music and experimental projects. Musicality within the observed poetry goes beyond the traditional praise poet's voice and love for percussions, but validates these poets as musicians in their own right - writing, arranging and performing words to musical instruments and time. This phenomenon is increasingly making music and the art of spoken word inseparable. These two forms of expressions (spoken word and music) are being woven together by these artists in ways that build a mutual partnership and bridging the gap between what is sung and what is spoken. This paper therefore, aims to analyse the musical traces of few selected productions recently released on CDs by some of South Africa's youngest and most talented spoken word artists. [ABSTRACT FROM AUTHOR]

This paper discusses the use of different forms of artistic representation (poems, images, music, literature) to convey research findings. It theorises creativity as emerging from the precarious interplay between external and internal worlds that can surprise and demand invention and representation. Using examples from palliative care and ideas from post-structuralism and psychoanalytic aesthetics, the article examines the form and content of art works as encounters and events which can 'make way' for what is beyond immediate recognition and experience, both how things 'might be' and the 'not yet'. In tracing my own experiences of where artistic representations come from, I suggest that such representations can involve an emotional, sensual and corporeal opening out to others that involves the suspension of intellect. Through this discussion I argue that art can touch people and convey complex and incoherent notions of difference and otherness, precisely because of its ambiguities and insecurities of meaning. This ambiguity means that the lived experience of public presentation through and with art is always a gamble, based on risk and vulnerability for both the presenter and the audience. The basis of this mutual vulnerability is seen as productive and connective. [ABSTRACT FROM AUTHOR]

Previous studies of poetry in healthcare education have investigated self-selected groups. Many have been descriptive, whilst others speculated on utility and justification. This study explores perceptions of learners, a cohort of 13 registrars in one general practice training scheme, who experienced poetry-based sessions within their curriculum. The study's design was naturalistic, consisting of two poetry-based small group sessions, facilitated by a course organiser. The first session used poems selected by the facilitator, the second, poems selected by the registrars. Poems were read and then discussed, with an emphasis on individuals sharing their personal responses to the poems. This paper reports the first stage of the study, which utilised questionnaires and a focus group to investigate the perceptions of the entire cohort. The second stage, involving individual in-depth interviews with six registrars, will be reported in another publication. Poetry sessions were considered enjoyable and effective, even by those previously sceptical. These sessions required no expert literary resource, just a facilitator with a willingness to explore the learners' responses to the poems. The registrars identified benefits that may help doctors, both personally and professionally. Potential impacts on patient care were also identified. Differences between the two types of poetry session are considered. [ABSTRACT FROM AUTHOR]

John Aubrey's Lives derive from a commitment to ‘encourage’ science and public projects which began in 1649 with his support of the inventor Francis Potter. Aubrey's life's work was the fostering of a diverse community of practitioners, humble and distinguished, occasional and highly committed. His Lives represent and maintain ‘conversation’ between such persons, forming a paper community in which ‘hints’ of tentative or half-formed ideas might be preserved for the public benefit. The valuation of brilliant insights over their laborious perfection and demonstration is a characteristic of the later seventeenth-century's understanding of the proper nature of gentlemanly participation in intellectual culture. However, this interest in recording and pursuing ‘hints’ leads Aubrey to share the fate of polymaths like Wren and Hooke, called by Samuel Butler ‘the Hint-Keeper’, the impressiveness of whose breadth of interests were eclipsed by the model-offered by Newton after the publication of Principia in 1687. [ABSTRACT FROM AUTHOR]

This paper is a literary critic's attempt to complement the historian's, the political scientist's, and the Islamist's accounts of the Islamic reform spirit in the dynamic Muslim community of Northern Nigeria. Consequently a thematic analysis of the religio-political reform poetry genre is put forth to illustrate the phenomenon. [ABSTRACT FROM AUTHOR]

This paper demonstrates how drama therapy assists incarcerated women in freeing themselves from internalized oppressive beliefs. In the context of a drug and alcohol treatment program for incarcerated women, the authors assist the women in building three distinct bridges to healing: a new relationship to one's self, to other women, and to the community. Writing exercises, performance techniques, and group drama therapy empower women to express their diverse voices. As the women risk sharing their personal stories and journeys of recovery, they begin to actively envision a different future for themselves. The participants discover talents that offer them an opportunity to experience themselves in a different light, no longer bound by the stigma of being in prison. [ABSTRACT FROM AUTHOR]

This paper will explore the use of poetry in therapy, particularly with trauma survivors, and clients in recovery from addiction to alcohol and other drugs. Practice examples from sessions with individuals and groups illustrate some of the methods and benefits of writing poetry. Mazza's (2003) model is introduced, together with a discussion of the theoretical base and research supporting poetry writing as a therapeutic collaboration. In addition, the author demonstrates how therapists can use poetry writing themselves as a way to make sense of their work, and relieve the stress of absorbing the hurt and pain of their clients. Samples of poetry from her work and that of other therapists are included. [ABSTRACT FROM AUTHOR]

The case presented in this paper demonstrates how the patient's use of poetry and body enactments illustrates the gestalt of her early trauma in which words alone are insufficient. A clinical example is used to exemplify both the patient's and the analyst's conscious and unconscious subjectivity that resides in embodied states. The case also conveys a paradox between the patient feeling understood and known via the articulation of her experience, which was often through her poetry, and simultaneously feeling the spoken word can never fully express what she feels and who she is. [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]

Through poetry and strips of narrative, this paper discusses the embodied experience of chemical sensitivity and the anthropologist author's and other patients' journey through altered perception towards knowledge, community and transformation in the context of a medical clinic. The narratives are situated in several strands of relevant theory, including Merleau‐Ponty's work on the primacy of perception, feminist perspectives on embodied experience and standpoint epistemology, disability studies, identity creation through narrating the self, and Lave and Wenger's situated learning in a community of practice. [ABSTRACT FROM AUTHOR]

In this paper, I explore cultural discourse, gender and the subjectivities of local people on the frontier of empire in mid‐20th century southern Africa. Using the example of Nekwaya Loide Shikongo, a prominent woman from Ondonga in northern Namibia (the colonial “Ovamboland”), and an epic poem on the deposed King Iipumbu yaShilongo that she performed in 1953, I discuss how gender was constituted and mediated. The narrative of a remarkable woman’s life and her poetry is told to understand how gender in relation to other forms of identity was constructed in different cultural discourses. I argue that both the Christian mission’s cultural discourse and the South African colonial administration’s efforts to masculinise the “native” political authority gendered Owambo elite women whose identities had previously included “gender” only as a rather contingent component. The example of Loide Shikongo, however, also shows that many Owambo continued to pursue heterogeneous, and sometimes ambiguous, strategies in their claims to Christian models of modernity. [ABSTRACT FROM AUTHOR]

The contribution of stories in biblio-poetry therapy practice and in enhancing personal development is the focus of this paper. Writing, telling and listening to stories open up possibilities for change and new learning windows. Through expressive and communicative stories, therapeutic and developmental dia- and polylogism can expand one's imaginative space and perspectives of action in a “holding framework” and even in virtual communities. Rewriting previous “truth stories” moves and modifies one's conceptions of self, others and life relations. The inhibitions, failures and dislocations inherent in storytelling also provide valuable experiential and experimental touching/moving knowledge. The presence of the “imagined reader” and the “internal supervisor” in the writing process can help in reflecting, evaluating and steering, through meta-emotional and metacognitive processes, one's own and others’ needs, aspirations and goals. [ABSTRACT FROM AUTHOR]

In this paper I reconstruct Schlegel's idea that romantic poetry can re-enchant nature in a way that is uniquely compatible with modernity's epistemic and political values of criticism, self-criticism, and freedom. I trace several stages in Schlegel's early thinking concerning nature. First, he criticises modern culture for its analytic, reflective form of rationality which encourages a disenchanting view of nature. Second, he re-evaluates this modern form of rationality as making possible an ironic, romantic, poetry, which portrays natural phenomena as mysterious indications of an underlying reality that transcends knowledge. Yet Schlegel relies here on a contrast between human freedom and natural necessity that reinstates a disenchanting view of nature as fully intelligible and predictable. Third, therefore, he reconceives nature as inherently creative and poetic, rethinking human creativity as consisting in participation in natural creative processes. He replaces his earlier "idealist" view that reality is in itself unknowable with the "idealist realist" view that reality is knowable as creative nature, yet, in its spontaneous creativity, still eludes full comprehension. I argue that Schlegel's third approach to the re-enchantment of nature is his most consistent and satisfactory, and is important for contemporary environmental philosophy in showing how re-enchantment is compatible with modernity. [ABSTRACT FROM AUTHOR]

The paper by Barbara Pizer is discussed in terms of the analyst's use of the self. An important element in the use of the self in the psychoanalytic situation is the analyst's deeply personal, unique guiding spirit or muse. Poetry acts as a muse for Pizer. In this context, the historical romance between poetry and psychoanalysis is discussed. A successful poem can strike an immediate resonance with the known but inchoate and unarticulated experiences of the reader or listener. Like a dream, a poem can stimulate inquiry without footnotes, citations, or metapsychology. But unlike what Freud believed, poets do not have easy access to psychological insights. Pizer uses poetry in the consulting room to "construct, deconstruct, and then construct again." Her refusal to make such use a technique or method is supported with two illustrations from Orfano's own clinical work. [ABSTRACT FROM AUTHOR]

British publishing of contemporary poetry in translation is largely, though not exclusively, concerned with presenting poets to a British readership for the first time: much of this readership must be 'recruited" through the reliability of a publishing "brand name." This pattern sits inside the wider UK pattern of publishing and reading relatively small amounts of literature in translation. Nor is it readily accorded a high profile. For example, in the Saturday Guardian, a national broadsheet with a circulation of half a million, the "Review" (a forty-page books supplement)for 14/2/04 looked at no works in translation. These kinds of figures speak for themselves. UK book culture is notoriously monoglot: there is certainly international writing, but for historical and also linguistic reasons (the end of empire was succeeded by the empire of language) it is dominated by international writing in English: from the Indian subcontinent, Africa, the Carribean, Australia and New Zealand, the US and Canada. Each of these regions contributes big-hitting novelists to the British publishing scene. Faced with these cultural continuities, which are daily reinforced by popular culture in the Anglophone world, it may seem almost impossible for the unfamiliar, highly characteristic and specific literary culture of a country like Slovakia, to get a hearing in the UK. The paper deals with paradoxes and dilemmas that raise from such an enterprise. [ABSTRACT FROM AUTHOR]

The idea of `teaching' reflexivity might seem to some to be a nonsense but many students, both undergraduate and postgraduate, struggle with `it' as a concept, a process and as a means of moving away from simplistic themed research categories towards in-depth interpretation. This paper will examine the nature of reflexivity from the perspective of a personal stance and suggest the use of particular strategies for interpreting data reflexively. Such strategies include the use of biographical accounts and organising principles, the exploration of metaphor and metonymy and the utilisation of poetry as an interpretative device. It will offer particular ways of undertaking reflexive interpretation that have been used successfully with many postgraduate students and researchers. [ABSTRACT FROM AUTHOR]

This paper explores the symbolism of wine in medieval Persian poetry, focusing particularly on the works of Hafiz. It provides a brief overview of the archaeological and historical evidence pertaining to wine in Persia. This is followed by an account of medieval court poetry in Persia, before attention focuses explicitly on the work of Hafiz. This highlights the symbolism of wine particularly through an interpretation of Hafiz's ethical system, which is seen as being closely derived from 8th century Malamati philosophy. [ABSTRACT FROM AUTHOR]

This paper examines the use of the barroco in the work of the modern Argentine poet and anthropologist Néstor Perlongher. It considers the use Perlongher makes of the barroco as an operating strategy and as a source for poetic tropes and validation. I assess Perlongher's theoretical work on the neobarroco, the nebulous movement without manifesto that he identified in Latin America in the early 1980s, and explore certain aporia and difficulties this presents through an examination of his œuvre. I aim to uncover a significant schism in his work between an observational, popular barroco stemming from his anthropological work on male prostitution in São Paulo, and the abstract creation of complex forms drawing on the Golden Age barroco in the collection Hule, written as the effects Of AIDS were starting to be felt in Brazil and Argentina. I also consider the links between Perlongher's high-low aesthetic connecting academic and literary practices to street slang and sexuality, and Deleuze's theories on masochism. I suggest that there is reason to regard Perlongher's barroco poetry as a form of vanguard kitsch. Whereas socially committed poetry in Argentina tended to identify kitsch as a deformation of the popular classes' taste by the mass media and commercial forces, Perlongher identifies kitsch elements as an authentic expression of these classes. [ABSTRACT FROM AUTHOR]

This paper looks at the textual transformation of noblewomen/poets such as Izumi Shikibu into yūjo or courtesans and bodhisattvas. In trying to make sense of this remarkable reconfiguration, it looks at the many contending Buddhist discourses that shaped medieval texts. It argues that while the practice of poetry, in the hands of male poets, becomes a revered michi which is seen as being concomitant with the Buddhist Way, the noblewoman's poetry is not granted the same status. Women are seen as inherently sinful and lustful and hence their poetry cannot be easily assimilated to the goal of enlightenment. It is by recasting the noblewoman as yūjo , thereby foregrounding and indeed exaggerating her sexuality, that medieval texts, drawing on tantric and other practices, are able to salvage both the noblewoman and her poetry . [ABSTRACT FROM AUTHOR]

Performance theorist Herbert Blau's The Audience (Baltimore and London, Johns Hopkins Press, 1990) is an important yet neglected theoretical text on theatre audience. Deconstructive, dense and allusive in nature, Blau's text creates a real challenge for his reader. This paper presents a study of The Audience employing what I am calling literature-voiced research poetry. This consists of found poems created from certain kinds of theoretical texts, particularly those that are, like Blau's, rich, thick and metaphorical in nature. In creating these found poems, I am moving into using an arts-based research methodology as a way of knowing within an inquiry process, as well as a way of analysing and representing data (Oberg, A., Arts-based educational research, Notes from presentation at Association for Graduate Education Students (AGES) meeting, University of Victoria, 18 March 2003). My dissertation, Marked by performance: a curriculum theory and poetics for audience in the performing arts (in progress), will include literature-voiced research poems as part of my literature review and will move into researcher-voiced and participant-voiced poems that attempt to capture the residue of performance, and how the experience of performance (specifically theatre performance) has the potential to mark us, to shake us to our core, as Aristotle, Artaud, Barker, Brecht, Grotowski, Nietzsche, and other theatre theorists have long-hypothesized. The completed study will present poetic co-created representations of how performing artists, critics and other highly-experienced audiences, as well as students of audience education (secondary and post-secondary), experience the residue of performances throughout their lives as significant cognitive, affective, social and even potentially profound spiritual events. It goes on to pose the question: what are the implications of these poetic understandings of audience-in-performance (AIP) for emerging curricula of audience and performance studies in education? Thus, the study is an attempt to express these almost inexpressible experiences through poetry for the curricular purpose that, within our increasingly dramatized and performative culture, audience-in-performance education is an important yet neglected aspect of art education and education in general. [ABSTRACT FROM AUTHOR]

With a staring point of seeing a poem as a free association unto which the reader might form his/her own associations, the work of Emily Dickinson is discussed from the point of view of early development and relationship to mother. The paper is based on selected poems, letters and chosen parts from the biography of Emily Dickinson. It is argued that the poet seems to have experienced a trauma during the first months of life in the shape of erratic infant care, that caused environmental impingement. Having to react at this early age made the gradual unfolding of a secure feeling of identity precarious and had deep consequences for body-mind development, and for the relationship between inner and outer realities. The theory of Winnicott and his concepts of "going-on-being", "male and female elements" and impingements are considered. The relationship of Emily Dickinson to her sister-in-law, Sue Gilbert, is seen as important, as the latter had a capacity for being a container of otherwise hidden parts of the poet's inner life. Emily Dickinson's life in isolation, questions of creativity born from experiences of absence and loss and from early bridges broken down, are discussed. [ABSTRACT FROM AUTHOR]

This paper addresses the changing image of the city in the poetry, prose and critical essays of the free verse poet Hagiwara Sakutarō (1886-1942). Sakutarō's growing disillusionment with Japan's modernisation and slavish imitation of Western models is reflected in changes in his poetic representations of the city, from a modern, sophisticated utopia, through the liberating home of the crowd, and the symbol of the existential despair of modern man, to the hallucination of a fevered imagination. The progressive disenchantment with the city in Sakutarō's poetry is accompanied by a corresponding rise in his estimation of the countryside. We can also see the city as a metaphor for modernity and the West on the one hand, and the countryside a trope for Japan and tradition on the other. In calling for a fusion of elements derived from both Western and Japanese culture Hagiwara Sakutarō sought to negotiate a distinctive Japanese modernity in the interwar period, but was, in the end, profoundly disappointed with the colourless intellectual desert he saw emerging from the blend. [ABSTRACT FROM AUTHOR]

The purpose of the paper is to find the degree of difference/similarity of several verse texts: poems by John Keats and translations of these poems into Russian made by different authors. To achieve this goal a deductive classification approach is used which is based on a multivariate discriminant analysis. Metric, rhyme, rhythmical, syntactic characteristics of the original texts and their translations serve as variables which form the multidimensional space of the investigation. [ABSTRACT FROM AUTHOR]

The performance context of medieval Arabic and Persian lyric poetry has yet to receive sufficient scholarly attention. This paper attempts to reconstruct the physical context of medieval Islamic poetic performance and (to a lesser extent) the social setting and human dynamics of such gatherings, with a view to enabling modern-day readers to better appreciate how contemporary audiences enjoyed and understood lyric poetry. This article focuses on the convivial majlis, the primary performance context for lyric poetry in both 'Abb&asline;sid Baghdad and medieval Iran (c.1000-1450), two key milieux in which lyric poetry flourished. Information on maj&asline;lis at which poetry was performed is scattered through a variety of medieval Arabic and Persian prose sources (primarily works of adab and histories), and is largely anecdotal. The poetry itself, insofar as it reflects the context in which it was performed, is also a valuable source of information which can aid our understanding of the medieval majlis. Reference has also been made to art historical studies inasmuch as they provide material evidence to further illustrate what is found in the written sources. [ABSTRACT FROM AUTHOR]

Much of contemporary art practice is both produced and can be read with the notion of the algorithmic as its predominate trope. Similarly one can read older art practices as working under the aegis of allegory. Of course these registers and metaphors can be used to parse a distribution of artistic and cultural production across time in multiple directions. We often think of the algorithmic as that which concerns procedure, and don't see it as its own meaning. In this text I am interested in exploring the algorithmic as a gesture, individual and particular, something that can reveal an interiority of a work. In this way it is perhaps akin to the allergoric, where the work proper, comprised on the surface, simultaneously holds beneath and within it something else. The algorithmic as an author/composer's signature, might be thought of as that secret storehouse of invention. With the advent of contemporary art and sound work turns its attention to sequencing, loops, replication, modulation, mutation, generative systems, database and interface as instruction sets or grammars, both as ways to conceptualize and to produce work. The paper looks at a wide range of stratagems in works of sound, architecture, visual arts, and film to illustrate a correspondence between the allegoric and the algorithmic. Its aim is to encourage both practitioners and theorists to engage these two notions, the allegoric and the algorithmic, as a way to consider and produce work. [ABSTRACT FROM AUTHOR]

In his book Nihonjin no nō [The Japanese Brain], the audiologist Tadanobu Tsunoda builds a case for a physiologically distinct Japanese way of processing sound and, by extension, a case for who can speak with authority for and about the Japanese. While Tsunoda's arguments have struck many scientists (Japanese and not) as being more than a little specious, substantial interest in and/or agreement with Tsunoda's basic claims surfaced in many of my conversations with no less a figure that Tōru Takemitsu. Indeed, Takemitsu spoke often, in casual conversations and in his writings, in terms that could have been written by Tsunoda himself. This paper explores the considerable political implications of the Japanese walls of authenticity constructed/advocated by Tsunoda and Takemitsu and shows that they are made of very unstable stuff. Using analytical models derived from aspects of the materials and organizational processes of classical Japanese poetry and music, I outline ways in which a person denied insider status by these neatly circumscribed Japanese walls may further destabilize them or even topple them altogether and thus be granted the opportunity for free and authoritative participation on the formerly exclusive cultural ground they were designed to protect. [ABSTRACT FROM AUTHOR]

The prophet Ezekiel had a seminal influence on later poets. This speculative paper explores the ways in which he may have chosen to experience disturbed states of mind in order to reintegrate parts of his psyche split off in infancy. It discusses his dialogues with his primitive superego (the agent of the original splitting) and the superego's subsequent metamorphosis. It also suggests that Ezekiel may have given us a poetic account of the experience of reintegration, as well as metaphors for the new levels of psychic maturity resulting from this process. [ABSTRACT FROM AUTHOR]

This paper considers the impact of the NEAB GCSE anthology on the poetry teaching of a small sample group of practitioners in a range of 11-18 schools in one LEA over a two-year period. While some teachers in the sample embraced the opportunities they believe the anthology offered them, others appeared more resistant, perceiving the anthology as reductive and an imposition on their established poetry teaching practices. The process of adjustment, which occurred as teachers began to make the poetry element of the GCSE syllabus their own, is illustrated, with the implications of these findings for classroom practice. [ABSTRACT FROM AUTHOR]

Nils Berg's hypothesis of a proto-hexameter, being the combination of a glyconic and a pherecratean with variants, gives new perspectives for further research on the Homeric language. This paper discusses the metrical aspects of the proto-hexameter hypothesis, shows its explanatory force in questions concerning Homer's artificial forms, and points out areas where further study is needed. [ABSTRACT FROM AUTHOR]

What lessons for psychotherapy can be drawn from the enjoyment and sustenance we find in the use of literature? This paper looks back on a recent creative writing project undertaken with patients in a hospice day centre, and suggested reasons why the patients found this activity not only enjoyable but also therapeutic. Both the hospice as an institution and the poetic form are defined in terms of a transitional space. The article shows how the act of reading and writing poetry places a value for patients on not knowing at a time when the plain hard facts of terminal illness loom large. The author describes a practical way of engaging with poetry in this context, and uses clinical material to describe how the literary arts can provide a transformational object, and a point of inspiration, that may help patients to negotiate the changes brought about by their illness. [ABSTRACT FROM AUTHOR]

ABSTRACT In a previous article (Benton, 1999) which focused on the teaching of poetry in secondary schools, teachers' responses to a survey undertaken in 1998 were compared with those of a similar survey in 1982. It was suggested that a major change was that where the teachers registered concern it was a concern for poetry itself rather than a concern about poetry teaching. By and large they were much more confident in handling the reading and writing of poetry in class than formerly: what appears to exercise them most now are the effects of the National Curriculum and of SATs on their teaching and of changes in the way poetry is examined. These, taken together, are seen by some as having a detrimental effect on the students' experience of poetry. Others, however, see positive advantage in some of the changes. It is these concerns which are the focus of the present paper. [ABSTRACT FROM AUTHOR]

The presentation of sexuality in poetry may be masked by the use of conventional literary devices that obscure as well as reveal the poems' erotic content. Traditional readings of Katherine Philips' and Aphra Behn's poetry have ignored or denied the lesbian aspects of their verse by dismissing them as asexual representations of well-known literary conventions. This paper argues for a recognition of the ways in which these poetic conventions present a complex and sophisticated lesbian sexuality and also comment on other taboo aspects of human sexual relations.

The article examines the use of song-poetry as a vital element in the labor movement in the period 1865-1895. Karl Reuber is not a name scholars are likely to recall. Reuber earned his livelihood polishing furniture and pianos in Pittsburgh in the decades surrounding the Civil War. Like most working-class Americans, he did not leave behind personal papers or memoirs. He was simply one of the millions of workers who owed their survival to the nation's burgeoning industrial base. However, Reuber also joined those who repeatedly rose in protest against the abuses of the rising capitalist elite from 1865 to 1895 and who sought to check capitalist domination by joining fellow workers in a movement for collective redress. Worker gatherings featured song-poetry as a regular part of their agenda, while labor "bards" engendered considerable followings with skills of composition and declamation. The majority of these bards emerged from the ranks of the nation's burgeoning workforce, iron molders, coal miners, coopers, machinists, printers, shoemakers, bakers, railroad brakemen and engineers. This lore and song certainly deserves study in its own right. However, the greatest value of song-poetry may derive from its examination as cultural artifacts and historical documents.