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Good for the Soul: John Curtin's Life with Poetry: By Toby Davidson. Although the sources for this argument are less plentiful than those made in relation to Curtin's political career, Davidson traces the importance of poetry at key points of Curtin's life. Davidson shows that poetic allusions were not uncommon in 1940s political rhetoric, that Curtin fostered the publication of poetry, and that many citizens responded to his wartime speeches by sending him their own poems. [Extracted from the article]

Young cautions us not to simplify poetic cognition, and argues that, "metaphors should not be thought of as objects; while metaphors can utilize preexisting structures in the brain ... they are realized as a process and not as an accessing of pre-stored metaphorical relations." We have gone off and explored metaphor and other meaning-making processes in practically everything that is human, but what has gone on in the world of poetry, where many people used to believe metaphor originated? Poetry is language at its most distilled and most powerful Rita Dove (David Streitfeld, Washington Post, "Laureate for a New Age", March 19, 1993). They ask two questions: (a) what make a metaphor good (and not just apt, more commonly associated with comprehensibility), and (b) the more specific question "what discriminates good poetic metaphors from good non-poetic metaphor. [Extracted from the article]

This paper advocates for a reading of John Scottus Eriugena's Carmina that situates his collection of poems within the genre of devotional poetry. Although the Carmina has recently benefited from scholarship on Eriugena's theology, typologies of his poems consistently overlook the significance of their theological themes. Most instead attribute more significance to their political themes, since Charles the Bald commissioned many of Eriugena's poems for special occasions at his royal court. This paper argues that a textual analysis which compares the significance of theological and political themes in the Carmina reveals several reasons why Eriugena's poems should be read as devotional poetry. First, it explains how typologies of Eriugena's poems overlook the significance of their theological themes by overstating the significance of Charles and his royal court. Then, it offers a close reading of three poems in the Carmina to show how Eriugena uses theological themes to frame political ones. [ABSTRACT FROM AUTHOR]

3 VestAndPage (2013) ' Antarctic dream - Ice as architecture of the human spirit: VestAndPage performative works in Antarctica ', Performance Research: On Ice 18 (6): 71 - 80. doi: 10.1080/13528165.2013.908059 Et Anima Est Sanguis et Sanguis Est Anima: "First let's make poems, with blood": VestAndPage blood writing Image © VestAndPage This piece of rice paper belongs to a series of four pieces of paper I wrote as part of our installation Afterwor(l)ds for the Oostende Triennial. [Extracted from the article]

This paper looks at the role of fathers in the family. Structured around three poems, it emphasises the need for a triangular structure in the mind, enabling the child (and any individual) to look at 'reality', internal and thus external too, from a third position. The Oedipal situation, what Hanna Segal called 'the core complex', lies deep within the mind of any individual, and continues to have vital relevance in the lives of modern families. Clinical material is included in the paper to illustrate the points made. [ABSTRACT FROM AUTHOR]

This paper constitutes a radical re-reading of W. S. Graham’s long poem, The Nightfishing (1955). It begins by attending to the poet’s brief but significant time spent in New York and how the resonant influence of Marcel Duchamp may have unexpectedly influenced Graham’s composition of The Nightfishing, which has previously been read as a metaphysical journey out into language-as-ocean, and while such a reading is valid, it is also selective; this paper, instead, reads The Nightfishing as equally – if not more – indebted to Graham’s parallel experiments with and interest in what he calls ‘already made phrases’. John Cage is introduced as a comparable second-generation Duchampian, and whose experiments with tape-recorders form an important parallel example to Graham’s own interest in vocal materiality. The paper thereby provides a new transatlantic inflection to Graham’s verse-composition, and reveals it as structured by the indeterminate qualities of recording equipment, radio, quotation, citationality, and sampling. In this light, his work becomes recontextualised as a curation of found voices – a reading that relates also to larger questions of intention, contingency, and the critic’s own mode of composition. [ABSTRACT FROM AUTHOR]

This paper aims to uncover the underlying metaphorical expressions regarding the importance of love to human life in English and Vietnamese poetry based on Conceptual Metaphor Theory, which suggests that metaphor is based on human thought as well as on language. For metaphor identification, the authors use a five-step procedure based on Pragglejaz Group's method for metaphorical expressions and a self-proposed three-step procedure for conceptual metaphors. The findings reveal that love is metaphorically expressed to have a considerable influence on both the physical and mental aspects of human life. This paper is also a comparative investigation showing both similarities and differences in the love-life metaphorical expressions between the two languages. The similarities are explained by the same grounding of metaphor-embodiment and the universality of conceptual metaphors. The differences are attributed to cultural distinction. [ABSTRACT FROM AUTHOR]

Being an interdisciplinary field of study in the humanities, literature serves as a vehicle to varieties of philosophical thought. The purpose of this paper is to examine the theme of absurdity and the meaninglessness of life that manifests in the poems of Eshetu Chole. The article particularly deals with selected poems that correspond to the twentieth century absurd philosophical thoughts typically advocated by Albert Camus in his essay The Myth of Sisyphus. Although the notion of the absurd seems to be fading as a result of contemporary technological advancement, human beings cannot completely and permanently be deceived from the feeling of the absurd. The thematic analysis thus, significantly explored the fundamental absurd nature of human existence and sparks how individuals, once they are conscious of the absurd, should respond to it in day to day life. To achieve this, through an examination of the central point of the poems, the paper illuminates typical absurd characteristics of human nature squarely facing a life of infirmity, ignorance, helplessness, hopelessness, nostalgia, and the futility of searching for meaning in an ignorant world. [ABSTRACT FROM AUTHOR]

This paper will discuss the possibility of attributing authorship to translations by carrying out a comparative stylometric analysis of an author's poems and their translations of other writers' works. The paper puts forward two hypotheses. Firstly, its aim is to test whether an author's poems and translations share stylistic patterns. Secondly, it will test whether these shared patterns can be used to attribute authorship of translations. The complete works of Antonio Colinas and Eloy Sánchez Rosillo, together with their respective translations of Giacomo Leopardi's Cantos, will be used. Based on these texts, we will build computational representations that correspond to the stylistic profiles of each author, using various style cues related to metrics, grammar, and lexicon. These representations will serve as input for the calculation of similarity. Its result will allow us to determine to what extent characteristics of an author's own verses remain in the translated poems and whether there is more closeness between the two translations or between each author's poetry and their translation. [ABSTRACT FROM AUTHOR]

In 1896 William Osler wrote in his pamphlet, John Keats, The Apothecary Poet, 'All lovers of poetry cherish Keats' memory for the splendour of the verse with which he has enriched our literature'. Later T. Wilson Parry stated, 'To me Keats is and ever will be the doctors' poet'. The abiding question underlying this paper is why Keats appeals to so many members of the medical profession and why so few now read the other medical poets. The paper sets out to address this question. It concludes that the reason why Keats is particularly admired by the medical profession is not just because of his early tragic death nor his training in medicine but because his poetry embodies negative capability and an ability to bear the knowledge that pain and pleasure, love and hate, loveliness and ugliness are intertwined. The entwining of Keats's whole life experience (including his medical knowledge) in his emotionally truthful poetry makes his work directly accessible and recognizable to those engaged in a profession which binds them close to the painful, insistent and contradictory realities of human life. [ABSTRACT FROM AUTHOR]

In difficult times, people turn to poetry, reading, and writing for solace and peace. In emotionally intense and traumatic times, people use poetry to process and understand the lived eyepieces. The havoc wreaked by the COVID-19 pandemic has affected the emotional and psychological well-being of individuals all across the world. Poetry has emerged as a savior in these difficult times. A phenomenon, "lockdown poems", came into existence as individuals all across the globe processed and shared their lived experiences of isolation, pain, and suffering through poems. In the present paper, students of a management program process and share their experiences of the COVID-19 pandemic, the subsequent lockdowns, and their community work experience. Poetry as a therapeutic and hope-building tool is discussed in the paper along with the original poems written by the students. [ABSTRACT FROM AUTHOR]

This paper considers the concept of 'religion' in Katherine Philips's poems to her close women friends – Mary Aubrey ('Rosania') and Anne Owen ('Lucasia') – in the early 1650s, poems that find Philips adding a religious dimension to her more usual language of Platonic friendship. The paper argues that she does so in response to the religious conflict that embroiled her and her husband amidst Parliament's efforts to propagate the gospel in Wales. The paper adds new historical information about the effects of the Propagation on Philips and about the marriage of Mary Aubrey, an event that Philips characterized as 'apostasy'. If the Propagation set Philips to thinking about friendship between women as an alternative to sectarian conflict, Aubrey's 'apostasy' obliged her to think in more nuanced ways about ecclesial power. Philips thus contributes to the archive of ecclesiological imagination that emerged from the 1650s. [ABSTRACT FROM AUTHOR]

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]

This paper is written in a personal capacity and mainly takes the form of a poem - in five sections - composed as a response to some of the ideas in the article by Hannu Heikkinen and colleagues in this same issue of "Educational Action Research": 'Action research as narrative: five principles for validation'. The poem takes its title and structure from that article: its coming-into-being as a piece of work is described in the short introduction. As the introduction mentions, the author-poet has discussed, in previous papers, some of the connections and disconnections between the practices of educational research and poetry. The present paper offers actual work-in-practice that illustrates how these have been played out in one context - which was as poet-in-residence at a conference on inter-professional learning and practice in healthcare. The author is very keen to tempt others into dialogue on these issues. [ABSTRACT FROM AUTHOR]

Museum-based learning activities provide interactive and innovative ways to integrate the arts and humanities into medical education. Like other museum-based activities, the Group Poem supports the development of multiple clinically relevant skills and attributes, such as observation, communication, perspective-taking, empathy, and implicit bias awareness. In this paper, we present a step-by-step guide for educators seeking to design and implement a museum-based Group Poem activity for medical learners. The overall 'task' of the activity is for learners to collectively create a poem that they perform for others, a process that participants find to be engaging and meaningful to their formation as physicians. In this paper, we provide specific directions on pre-selecting the works of art, preparing the supplies, dividing into small groups, providing iterative instructions to learners, managing the timing of the session, and debriefing the activity. Although designed to be experienced in an art museum, we note that the Group Poem activity can also be conducted in the classroom or virtually using photographic or digital reproductions of artwork. [ABSTRACT FROM AUTHOR]

Andrew Young (1885–1971) belongs to the English tradition of the 'parson poet'. Poetry written by serving clergy often provides both a personal perspective on Christianity, free of strict orthodoxy, and a reflection of Christianity's place in the prevailing culture. Most of Young's work consisted of short poems with only occasional Christian reference. Later in life he abandoned short poems and wrote two long works exploring a visionary afterlife. This paper argues that the key to these two long poems, important but neglected examples of mid-twentieth-century Christian literature, is a personal re-imagining of the Trinity. [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]

Empathy is an important aspect of therapeutic relationships in health and social care settings. Health educators can foster empathy development in learners through creative writing activities. Drawing on the humanities, specifically poetry, this paper offers strategies for educators to support empathy development in learners, with a focus on service user poetry and associated creative writing activities. We discuss how poetry can enable alternative perspectives about care to emerge thereby challenging previously held assumptions about mental and physical states. Using poetry can enable a rehearsal of empathy by bringing experiences to the learner in a safe and facilitated environment. Through creative writing activities, we believe that students can learn to better understand and empathise with others, as well as explore their own feelings and experiences related to caregiving, to support self-care. [ABSTRACT FROM AUTHOR]

High-stakes assessments continue to command a directing influence on education systems globally. While there is much research detailing the challenges associated with this curricular framework, there is little evidence of a move away from high-stakes assessment frameworks to date. Accordingly, attention is being drawn to spaces and opportunities where meaningful teaching and learning experiences may be fostered within high-stakes systems. This paper explores the case of the Transition Year Programme in Ireland through the lens of the poetry classroom as a case study of striking counter-cultural curriculum innovation set within a high-stakes assessment educational framework. Drawing on the perspectives of poetry teachers, the findings of the study highlight the joy, freedom and gravitational pull experienced by practitioners teaching on this programme. Curriculum and policy-based considerations supporting both the integration of counter-cultural educational innovations across high-stakes educational systems and within high-stakes educational programmes are advanced arising from the findings of this study. [ABSTRACT FROM AUTHOR]

This paper investigates the concept of emotion and its relevance to education via character education through the medium of poetry. The objective is to demonstrate the potential implementation of character education through poetry, and to show the intrinsic link between poetry and virtue, knowledge and reasoning. It is argued that poetry serves as a bridge between emotion and character education. The philosophy of emotions is explored through the works of Aristotle, Karin Bohlin and David Carr. Character education is understood in terms of a Neo-Aristotelian approach, drawing on Kristján Kristjánsson, Bohlin and Carr. My position is that, through exercising the craft of poetry, children and young students are provided with tools for exploring emotions, and for discerning and deliberating about virtues and moral contextual nuances in the broader context of human experience. [ABSTRACT FROM AUTHOR]

As digital photography proliferates in the contemporary world, theorists and creative writers continue to debate what photographs signify and how the poetic ekphrasis of photographs should be understood. This has become a pressing issue in an age when new technologies allow the easy manipulation of digital images – which, depending on the context in which they are viewed, are increasingly being characterised as creative, imaginative, unreliable or deceptive. Yet nineteenth- and early to mid-twentieth-century theorists tended to assume that photographs had a direct, if complex, relationship to observable, external reality, something reiterated by Susan Sontag as late as 1977. This paper discusses how ekphrastic poems by Thomas Hardy and Philip Larkin enshrine assumptions about photography that are now shifting, and how contemporary ekphrastic poems about photographs increasingly challenge, sometimes subversively, photography's link to the 'real'. Such poetry continues to emphasise the way photographs connote a 'chasm' or 'thickening' of time but are more troubled than earlier authors by the idea that photographs may not represent anything clear or knowable. Eve Joseph's and Leslie Scalapino's poetry demonstrates ways in which photographs tend to juxtapose a sense of transience with a new sense of photography's sometimes obdurate problematics. [ABSTRACT FROM AUTHOR]

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A co-design project, consisting of individual and collective design activities, was organized with clients of a mental health service, in order to explore its potential to support people with psychosis. The group met for approximately two hours, weekly, for six months, participating in design activities and collectively deciding on the project purpose and outcome – a boardgame. The experience of one group participant (Anthony) is explored, selected as the first case study within an Interpretative Phenomenological Analytical (IPA) framework. Following IPA's ideographic focus, Anthony's case was purposefully selected, as it portrayed a detailed picture, informing theoretical reflection on designing as therapeutic. The paper includes Anthony's first-hand account, combined with an analysis of data from three semi-structured interviews, photographic evidence and a reflective diary kept by the lead researcher. Results suggest that, for Anthony, design activity: a) helps developing a sense of agency b) is experienced as grounding in reality c) contributes to the development of inter-personal relationships, and d) has a different sense of rhythm than artistic practice. These results are contextualized within literature on the lived experience of psychosis and suggest that designing can be beneficial for people with psychosis, providing the backdrop for further research and practice. [ABSTRACT FROM AUTHOR]

Nietzsche's interest in tragedy continues throughout his work. And yet scholarship on Nietzsche's account of tragedy has focused almost exclusively on his first book, The Birth of Tragedy – a work which is in many ways discontinuous with his more mature philosophical views. In this paper, I aim to illuminate Nietzsche's post-Birth of Tragedy views on tragedy by setting them in the context of a particular historical conversation. Ever since Plato banished the tragic poets from the kallipolis, various philosophers have attempted to respond to his challenge to offer a 'defense of poetry'. What Nietzsche offers, I argue, is a distinctive form of response to Plato's challenge. I show how Nietzsche takes seriously Plato's worries, and even ends up in partial agreement with him: tragedy is not (unqualifiedly) valuable; it can be spiritually dangerous. Key to Nietzsche's account is a distinction he draws between two types of tragic audience. For the 'lower types', tragedy is – as Plato feared – dangerous. For the 'higher types', however, tragedy can act as a regenerative force. Finally, I discuss a distinctive form of value that tragedy makes available to a modern audience: tragedy can act as a stimulus towards the process of the revaluation of values. [ABSTRACT FROM AUTHOR]

Trainers played an immensely important role in ancient sports. Yet, they often disappear in the descriptions of great athletic feats in epinician poetry, the poems of praise that celebrated great athletes in the ancient world. This paper examines the manner in which trainers fade from epinician narrative and argues that their disappearance may have to do with the nature of the body and the role of trainers and physicians in the Greek world. Admitting the importance of trainers might challenge the notion that the greatness of athletes stemmed from birth and breeding. The fact that trainers sold their services as commodities would exacerbate this. [ABSTRACT FROM AUTHOR]

This paper explores what light an examination of the poetry of witness to trauma can shed on the treatment of trauma victims. In particular it looks at how the cultural act of writing poetry can restore a sense of a third to traumatized people. The paper examines in detail: "Dedication" by Czeslaw Milosz. Two aspects of the author's approach to the subject emerge: (1) the author links the details of the trauma experience to details in the non-traumatized world, and (2) the author describes his own limitations and inadequacy as witnesses. A case example is offered of a couple where one partner suffered an extremely traumatic childhood is described. In the end, the therapist and the husband admit their helplessness in the face of the wife's trauma, and this provides a kind of healing. [ABSTRACT FROM AUTHOR]

This paper explores the performance of spoken word poetry at three venues in East London through an attention to the ways in which participants experience and conceptualize these expressive events. Drawing from observation at events and interviews with performers, this paper illuminates the most commonly reported motivations behind the uptake of this genre of performance: achieving emotional healing and providing coping tools to others. By investigating these motivations, this paper considers how spoken word performance can become a personal and collective process of care, where performers overcome individual struggle through shifting bodily orientations and attitudes, while attuning affectively with others through pedagogical caretaking relations. [ABSTRACT FROM AUTHOR]

For the past four decades, biomedical science has transformed clinical outcomes for HIV and AIDS. However, the social, economic and gendered determinants of HIV remain largely intact. The social science and humanities offer concepts and methods for articulating why these remain intractable. I used poetic inquiry – an arts-based, qualitative approach – as I reviewed literature on the "end of AIDS, and post-AIDS". As I did so, I considered what contribution the social sciences and humanities could make in moving us closer to these ideals. Several themes and found poems emerged in this reading: (1) how language oversimplifies complex social realities; (2) the voices of people living with HIV and AIDS must be included; (3) HIV and AIDS intersects with social inequalities; (4) social and structural issues are no barrier to HIV prevention and (5) the need for radical interdisciplinarity. The paper concludes that the end of AIDS requires responses that are integrated, holistic and that radically challenge our silo'd disciplinary boundaries and frames. The social sciences and humanities are key to this charge. [ABSTRACT FROM AUTHOR]

In a personal paper about the author's animus, Watsky explores his fascination with Louise Glück, after attempting to solicit first her poetry for Jung Journal and then an interview about her voice in her poetry shortly after her death. He realized he had projected his anima onto a complete stranger known only through her writing. Suspicious of his motives, he proceeds to read her entire oeuvre during a two-week period, exploring their intersections and their divergences. Watsky then narrates a previous projection onto the writer Joanna Field who turned out to be the Freudian analyst Marion Milner. After reading all of her work and convinced that she had been influenced by Jung, he sought her out in Hamstead, England. [ABSTRACT FROM AUTHOR]

Romantic-period studies have been keenly sensitive to the notion of mobility across borders, both in literal and figurative terms, investigating it in relation to issues of personal and national identity. This essay discusses Byron's various forms of border-crossing with specific reference to his Italian years, starting with the most immediate loco-geographic meaning of the term, that is, Byron's traversing the many frontiers that marked the Italian territory, partitioned in a plurality of states. The focus is on Byron's experience of the technologies of control which were set into place in the early nineteenth century, testified by his traveling papers and registered, often with a touch of humor, in his correspondence. Byron's musings on the practices and implications of the documentary control of mobility and identity spilled over, in a more serious key, into the concerns of his poetic output, notably in the lines of his 1819 lyric "To the Po." Translating the notion of borders and border-crossing onto the page, here Byron resisted the crystallizing of identity at work in the biopolitical domain by making the fluidity of the history-laden river Po the locus of his rebirth as transnational subject. [ABSTRACT FROM AUTHOR]

Although as a response to the New Cross and Grenfell Tower fires Jay Bernard's collection Surge (2019) engages with the themes of loss and mourning, no critical attempt has been made to approach this complex sequence of poems from the perspective of the poetic elegy. This paper argues that reading Surge as a neo-elegy sheds light on Bernard's intervention in current discourses on the grievability of Black lives in order to carry out their work of mournful protest. I intend to show the ways in which Surge endorses and enhances the ethico-political purpose and innovative expansiveness – regarding time, voice, and place – that characterize the contemporary Black elegy to address the past and ongoing struggles of the Black British community. Even if rooted in British postcolonial history, Bernard's project in Surge resonates with the concerns of the Black Lives Matter global movement and the body of Black elegiac poetry developing around it. [ABSTRACT FROM AUTHOR]

Author Henrika Ringbom's collection of poems entitled Händelser ur Nya Pressen 1968–1974. Prosadikter (2009) is a rare piece of Finland-Swedish literature. Rewriting news from a Finland-Swedish evening press paper during the 1960s and 1970s, it offers a view on the colonial mind-set of the Nordic countries. The poems not only depict political events from various parts of a global world, they also open up an unmarked category in Nordic literature, that of race and whiteness. An essential part of Finland-Swede's self-understanding goes back to its status as a minority. This applies even to Finland-Swedish literature. It also has a notable tradition of female feminist writing that runs through the 20th century. Finland-Swedish literature, however, belongs also to a majority when it comes to Western ideas of race and whiteness in a Nordic context. In my analysis, I show how Ringbom scrutinizes events from a phase Tobias Hübinette and Catrin Lundström (2014) call the "white solidarity" (1968–2001), characterized by antiracism, anti-apartheid, social justice and gender equality, but also of color-blindness. I show how Ringbom contributes to the current discussions of political Nordic literature with a rich, complex, ambivalent and defamiliarizing way. The poems actively remind us how both political events and political poetry are complex and contradictory. Rather than offering a clear-cut poetic activism, Rinbom writes political poetry of the second degree, one that examines and reflects upon the conditions of politics, popular media, and political poetry. [ABSTRACT FROM AUTHOR]

Challenging critic Pramatha Chaudhuri's claim that Bengali women authors lacked a genuinely feminine voice, the writer Radharani Devi embarked on a literary experiment – adopting a nom de plume, "Aparajita Devi," she started writing poetry in a markedly "feminine" style about women's experience of everyday domestic life. Aparajita's language, buoyancy, and humor introduced a new esthetic into Bengali poetry. And her poems were wildly popular. This paper makes a two-fold examination: First, it demonstrates Aparajita Devi's originality by addressing how her narrators' vocalization of everyday worlds, delivered in ordinary language voicing common people and circumstances, blew a gust of fresh air over the serene, decorous landscape of Bengali women's literature. And second, it asks what makes her poems so compellingly feminine. While Aparajita was applauded for restoring the feminine to women's writing, did it come instinctively to women writers or was it a persona that any writer could adopt? Radharani Devi's artistic concerns frame the question of the authentic feminine voice against the wider issue of the sources of the poetic impulse in the modern writer. [ABSTRACT FROM AUTHOR]

This paper hopes to argue that the representations of and engagements with landscape by poets writing in English in Northeast India are embedded within the larger cultural and political contexts of the region. Indigenous communities across the world attach profound cultural, political, economic and spiritual significance to the territories they traditionally inhabit. It is for this reason that the preservation of their natural environment becomes crucial to the preservation of their cultural identities. Representations of the landscape by poets of Northeast India reflect the significance attached to and the intimate relationship shared with the natural environment by its diverse indigenous communities. The poets also display their awareness of the threats of ecological degradation faced by the region and the anxiety these threats have produced amongst the local population. The paper will try to understand the political dynamics behind the nostalgic associations ascribed to landscape in the poetry written in English in Northeast India. [ABSTRACT FROM AUTHOR]

This article is an a/r/tographic (artist/researcher/teacher) study through autobiographical close readings of several poems as a means to understand death within what the author calls eternal poetic time. Moving beyond the author's childhood's static image of death, the paper suggests that the ephemeral nature of life is not something to fear, but makes living more beautiful and eternal through the making and sharing of poetry and art. This paper is the first part of a three-paper study, which includes original poetry by the author. [ABSTRACT FROM AUTHOR]

Sarah Curran (1782–1808) has been almost exclusively remembered as the fiancée of United Irishman Robert Emmet, executed in 1803 for treason. However, Curran merits study in her own right as part of an important but neglected circle of literary women centred around three Cork families – the Wilmots, Chetwoods, and Penroses. Supported by recent theoretical approaches to eighteenth- and nineteenth-century women's life writing, this article examines Curran's previously unknown, unstudied, and unpublished poems. Preserved in Wilmot and Chetwood family papers, the poems enhance heretofore limited understandings of Curran's rich creative life and intellectual world. Curran's unpublished poetry and the footprints she left in the early nineteenth-century Irish arts scene are significant, from her literary memorialisation by Thomas Moore and her standing in her wider social circle as a talented harpist, to her poetic and epistolary compositions honouring her personal relationships. This article rehabilitates Curran as a person of great creative ability in her own right, who was recognised and valued as such in her own time by those who knew her best, and rediscovers the agency she exerted in recording events from her own life in poetic form. [ABSTRACT FROM AUTHOR]

This paper stems from an interest in how we represent the world around us and explores the methods used to represent and explain entrepreneurial activity. This concern places the paper at the heart of the Marketing Entrepreneurship Interface since it is asking fundamental questions about what we are studying and how it can be described. The paper questions traditional modes of representation and highlights alternative ways of presenting our representations of entrepreneurship. [ABSTRACT FROM AUTHOR]

As an Aboriginal woman critiquing Australia's education system as a site of ongoing colonialism, I aim to actively resist the temptation to perform research within Western hegemonic research paradigms, and instead seek ways to disrupt normative research practices with the what, how, and why of research. In this paper, I utilise Indigenous autoethnography as a cultural imperative to 'walk my talk', embedding an autoethnographic dataset of reflection, poetry, emotion, and subjective blurting in response to my experiences of colonialism in the academy. Indigenous autoethnography allows a space from which I can expose (and resist) the abnormality of the 'normal'; fulfil cultural, ethical and relational obligations; and recentre axiology and ontology as a starting place for research. This paper seeks to contribute to the small but growing literature on Indigenous autoethnography, to offer another pathway for Indigenous scholars to follow, as well as illuminate normative research practices for non-Indigenous researchers. [ABSTRACT FROM AUTHOR]

Between the eighteenth and nineteenth centuries, an esthetic revolution awakened a new interest in traditional poetry, which was considered the depositary of the Volksgeist and the most faithful representation of the national character. This paper raises the possibility of using the concept of author function to prove the high coherence with which German Hispanism, and in particular Ferdinand Wolf, considered the people of Spain as the authorial subject of Spanish romances. To do so, I will review the increasing interest in folk poetry since the 1750s contextualizing it within the new processes of the creation of national identities and Europe's special attraction to the Spanish case. Secondly, I will connect this revival to both new esthetic sensibilities that revolutionized the concept of authorship, such as expressive theories, and the creation of a collective subject (das Volk) as the origin of romances. I will analyze this collective subject as a potential author function. Finally, I will compare this against Wolf's thesis on the Spanish Romancero. [ABSTRACT FROM AUTHOR]

The counterfeit works of Rafael Bolívar Coronado (1884–1924) represent a phenomenon with unusual repercussions on critical reception. This author managed to publish more than twelve volumes with false authorship and content, from "crónicas de Indias" to collections of poetry. This article presents a theoretical approach regarding literary falsification in general and highlights the concepts of lightness and multiplicity to propose an interpretation of the Bolívar Coronado case. This paper also deals with the artistic dimension of literary forgeries as creative works that use the same methods and strategies as fiction writing. The set of falsified works by this author can be interpreted as a conceptual proposal that questions the functioning of the literary field of his time. Likewise, his proposal can also be framed within the cultural criticism that the forgery tradition entails: it questions not only the difficult discernment between the concepts of truth and lies, but also the rigidity of some guardians of cultural institutions and the system of legitimation, awards, and literary reviews. [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]

The paper offers literature review of the three suggested approaches that answer the question of ancient Egyptian meter. These theories reflect the constant contradictions between the dominant European Imperial languages of the 19 century (German - French - English). The paper also investigates the religious motivations that prompt Euro-American scholars to compare ancient Egyptian with Biblical texts. The rediscovered thematic affinities formed the main objective of these studies in order to restore historical hypothesizes that approve the legitimacy of several Biblical thoughts. Moving beyond the theoretical parameters of Eurocentric modernity, this paper argues that medieval Arabic literary criticism can be used as a foundation for understanding the literary nature of ancient Egyptian literary devices in order to recognize the various internal forces of the ancient Egyptian literary reproductions. Premodern Arabic poetics, represented in the theory of balāghah (literally 'eloquence' and roughly 'poetics'), can offer the ideal path to take advantage of the linguistic affinities between the two languages in the realm of literary studies. [ABSTRACT FROM AUTHOR]

Examines South African poetry in the 1990s as a response to the theoretical and political commentary of Kelwyn Sole about the subject. Reflection and account of the ways in which the economy impacts on the lives of ordinary South Africans; Problems with the deployment of base and superstructure analysis; Impact of the political economy of the mid-19th century on late-20th century South African poetry.

The paper is an inquiry into the poetics of mourning and faith-based intervention in maladaptive grieving processes in Ethiopia. The paper discusses the ways that loss is signified and analyzes the meanings of ethnocultural and psychospiritual practices employed to deal with maladaptive grief processes and their psychological and emotional after-effects. Hermeneutics provided the methodological framework and informed the analysis. The thesis of the paper is that the poetics of mourning and faith-based social interventions are interactionally based meaning making processes. The paper indicates the limitations of the study and their implications for further inquiry. [ABSTRACT FROM AUTHOR]

This paper discusses the relation between the poetic and teaching. Drawing on Heidegger's question of Being and his turn to poetry as the site through which Being is brought forth through an interplay between revealing and concealing, I address the intricacies of poetic thinking in teaching. I argue that thinking 'about' teaching needs to go beyond the calculative frames of reflection, prevalent in practices of teaching today. I refer to three poems to explain the deeper modes of thinking that emerge from poetry and how these can inform teaching in a manner that releases students' openness to learn and teachers' meditation on what confers their being in teaching. I conceive teachers' work as poesis, pointing to their responsibility to attend to the call of thinking as beings who 'occasion' relations with/in the world in the advents of being and becoming. [ABSTRACT FROM AUTHOR]

The Siculo-Norman king, Roger II (1095–1154), created a courtly culture that used art, architecture, and literature to reflect the symbolic and cultural values of the states that ringed the Mediterranean. An essential vehicle for Roger's cosmopolitan dialogue was the performance of court poetry that was broadly inclusive of the poetic conventions of the Latin, Greek, and Arabic-speaking worlds. Poetic performance at Palermo created an integrative dialogue of cultural valuation that crossed political as well as linguistic boundaries. While such acts of statesmanship might seem quaint to modern eyes, the potential of Siculo-Norman cosmopolitanism becomes more intriguing when we reflect on the current reality of failed states (Northern Africa), continuous conflicts (Israel), and fissured unions (EU) that ring the Mediterranean today. Roger's diplomatic use of poetry offers a refreshing alternative to the broken dialogue that exists in contemporary interstate relations in the Mediterranean. This paper illustrates that diplomatic poetic exchange has the ability to create cross-cultural commensurability in ways that modern cosmopolitan practices rooted in international law cannot. [ABSTRACT FROM AUTHOR]

Palestinian poets Nathalie Handal and Naomi Shihab Nye deploy nonhuman perspectives to mourn the lost homeland, reflecting on the Nakba ('the Catastrophe', the 1948 Palestinian exodus) as a site of environmental and social rupture. Representations of environmental ruptures as means of reflecting on the Nakba are not new to the Palestinian literary tradition. Understanding these ruptures by way of posthumanist appeals is, however, a radical gesture that we can locate at the centre of troubled attempts to merge, or at a minimum 'converge', the 'respective preoccupations of ecocriticism and postcolonial studies', to use Robert Spencer's enunciation. Through close readings of the multispecies ecologies deployed by Nathalie Handal and Naomi Shihab Nye, this paper reconciles postcolonial Palestine with posthumanist Palestine, honouring the poets' compositions of vistas of nonhuman animals and habitats, and studying their experimentation with interspecies kinship. [ABSTRACT FROM AUTHOR]

If we consider paratexts as a place for finding traces of metatranslational discourse, those preceding poetry translations may be one of the best examples of this practise, as they tend to be more frequent and long that those introducing other genres. Examining a corpus of 54 translatorial prefaces to Shakespeare's Sonnets into Spanish published between 1877 and 2018, we will see how, in order to account for decisions, translators often base their arguments on commonplaces or memes such as fidelity, equivalence or the superiority of the original. The significance of these ideas in the metatranslational discourse is such that it clearly shows their value beyond a mere explanation of the translation process. This papers interprets these recurrent ideas by resorting to the notion of 'symbolic capital' coined by Bourdieu (1984), and considers that they function as a mechanism to grant prestige and respectability to a given translation both for translators and readers. [ABSTRACT FROM AUTHOR]