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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]

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 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]

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]

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]

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 paper explores the role of reflective practice in the medical field and investigates the factors that influence reflective writing. While reflective practice is widely acknowledged as crucial in medical education, there is a need to expand its conceptual boundaries and move beyond mere pedagogical exercises. The paper argues for the inclusion of creative writing, specifically poetry, as a form of reflective practice that allows medical students to effectively process their emotions and develop a more compassionate approach to patient care. By engaging in poetic expression, students can navigate ethical dilemmas, reflect on personal challenges, and cultivate empathy and appreciation for diverse perspectives. [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]

This research uses poetry as a form of data to explore a sense of ‘belonging’ for staff working in higher education. Poetic content analysis was explored as a research method and using poetry in this way has allowed for a nuanced exploration of questions of belonging in the context of individual intersectional identities. Following an analysis of eighteen poems submitted by staff working in higher education four major categories emerged: ‘Community’, ‘Exclusion’, ‘Transformation’, and ‘Self’. These emergent narratives led to several recommendations that institutions and individuals might consider implementing to create a more positive sense of belonging for all staff working in higher education. These recommendations and emergent narratives are centred around a willingness for higher education as a sector to better recognise and nurture the deep-rooted commitment that is shared by many staff to the potential of higher education both now and in the future. [ABSTRACT FROM AUTHOR]

There has been little research into poetry classification and the potential to access poems by form and genre. The categories listed in the Library of Congress Genre/Form Terms (LCGFT), Wikipedia, Amazon.com, and the poetry-sharing platform, PoetrySoup, were compared through a systematic mapping process. It was found that LCGFT coverage is more extensive for poetry than fiction, but all four sources' coverage is limited. Beyond a small core of well-established forms and genres, poetry is classified in many less well-known ways, with many categories based on form, as well as a wide range of other characteristics, including some very specific ones. [ABSTRACT FROM AUTHOR]