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In the mid-1920s the poet W. B. Yeats was pleased to discover contemporary philosophers, Giovanni Gentile and A. N. Whitehead, whose metaphysical and educational philosophies seemed to coincide with his own commitments. Whitehead shares with Gentile a sense of reality as activity and an understanding of knowledge as constructed from abstractions that are open to evaluation and imaginative reconfiguration. Yeats was a Senator of the Irish Free State and took an interest in schooling. Soon after visiting a Montessori-inspired girls' school in Waterford, he began his poem 'Among School Children". (The text of the poem is printed at the end of this paper.) I argue that an awareness of the philosophical ideas Yeats had recently encountered should encourage restless rather than fixed interpretations of the poem and that this sense of restlessness and imaginative reconfiguration reflects the approach to education the three writers, at that time, shared: that at best our modes of apprehension provide only glimpses of reality and therefore each child's understanding and learning must be kept moving. [ABSTRACT FROM AUTHOR]

Moreover, the book has much to offer SNR readers as it critically engages with a range of current debates and diverse topical areas in rangeland science such as adaptive rangeland decision-making, grazing interactions, public land planning, and fire resilience. As a collection, the poems in this book communicate feelings, facts, and the complexity of rangelands - and offer visions for the future of rangeland management. Grazing the Fire - Poetry of Rangeland Science: A Review: by Fernández-Giménez, María E. (Ed.). [Extracted from the article]

In this paper I apply current ecologically centred methodologies in the humanities to explore the familiar image of the bird-soul in The Seafarer in close relation to the real seabirds that are one of the most striking aspects of the maritime environment of the poem. Far from appearing as mere background incidentals, the poet's treatment of the seabirds we first encounter resonates with contemporary ornithological knowledge, and suggests that they feature specifically as species that best convey the ascetic trials and endeavours of the sea-going speaker who observes, listens to and names seabirds. The curious essence of seabirds as creatures that are always at home on the seas, and yet journeying to a home elsewhere, establishes them as what I term "native foreigners", a paradox that highlights the seafarer's conflicting yearnings and reflects the difficult earthly/celestial dynamic in the poem's perceptions of the soul's journey. [ABSTRACT FROM AUTHOR]

For Shaddock, to use a concept from Thomas Ogden amongst others "Campo dei Fiori" exists in the "third" position - 'it emerges as a new term between the poet's witnessing and the world's sorrow'. In the opening chapter of I Poetry and Psychoanalysis i David Shaddock is clear that he wants ' ... to extend our understanding of the therapy process by looking at it through the lens of poetics' (p. 4). Shaddock makes use of this thinking in his compelling chapter, 'Standing against silence: Czeslaw Milosz, Denise Levertov and poetry of witness'. Shaddock quotes Milosz on the tensions involved in the poetry of witness where the poet has to ' ... remain aware of the weight of fact without yielding to the temptation to become only a reporter' (p. 41-42). [Extracted from the article]

This article offers a detailed reading of the surviving sonnets of the poet known as the Compiuta Donzella di Firenze, paying particular attention to her performance of a feminine subject and critical engagement with common lyric tropes. A lack of biographical information about the Compiuta Donzella, the first woman to whom literary texts in the Italian vernacular are attributed, has led to speculation over her identity and ‘authenticity’, or to biographical readings of her texts. Acknowledging the same sorts of playful, ironic, and performative lyric subject and content in the Compiuta Donzella’s work that are commonly ascribed to other lyric voices allows us to appreciate the technical and thematic artifice in her sonnets. Comparative close readings of her surviving texts and some responses to them (by Guittone d’Arezzo, Maestro Rinuccino or Guido Guinizzelli, and an anonymous poet) provides a broader perspective on her work as engaged in active dialogue with the lyric context of thirteenth-century Italy. [ABSTRACT FROM PUBLISHER]

The article analyzes several poems by Eavan Boland including "The Death of Reason," "What We Lost," and "In a Bad Light". Particular focus is given to themes of gender, class, and imperialism in her poetry. The author emphasizes Boland's use of textile imagery and her critique of male-authored Irish poetry in which women are conflated with the Irish nation. Topics discussed include patriarchy and capitalism.