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

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

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]

The Dutch-Flemish literary project De eenzame uitvaart (The lonely funeral) consists of city-based groups of poets who write poems and perform them at funerals of fellow citizens who died lonely and often anonymously. At first sight, this project could be considered as a revival of the genre of occasional poetry and, more generally, as an exponent of the 'revenge' of the lyric in the twenty-first century. This revenge, a term borrowed from Thomas Vaessens, implies that contemporary poetry no longer functions as a marginal and elitist genre but has reconquered its popular status and societal value – in short, its heteronomous function. This paper aims to question this idea of the lyric's revenge by analysing the ambitions (as expressed by the initiators of the project) and a selection of poems of De eenzame uitvaart. It contends that the project is founded on a firm belief in the potency of the lyric and its specific language but that this belief is often contradicted by the hesitant rhetoric of the actual poems. This discrepancy between great ambitions and hesitant practice is interpreted as a symptom of the contemporary status of the lyric, which takes revenge yet only reluctantly. [ABSTRACT FROM AUTHOR]

Philosopher Byung-Chul Han’s In the Swarm (2017. Translated by Erik Butler. Cambridge, MA: The MIT Press) foretells of a near-future in which ‘the mounting narcissification of perception is making the gaze, the other, disappear’ (24). Asking the rhetorical question, ‘If poets are in the business of cultivating “voice” then, logically enough, to which ends?’ this paper intends to argue that poetry can be an ethical cry seeking a fraternity of others in a ‘post-truth’ era, which Han imagines to belong to the newly emerging Homo digitalis (11). Finally, this paper speculates that the creative producer must turn, politically, to face ourselves within our others, as distanced and as near as a mirror’s reflection. Making-sacred in the marketplace-real, by these means can we hope to shelter together, a fraternity gathered against what Han characterises as a fast-approaching shitstorm (2). [ABSTRACT FROM AUTHOR]

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

This paper returns to early twentieth-century America's concern with democracy and "the local" in order to frame the populist parameters of poetic appeals to "the people" in the work of the Southern Fugitive poets on the one hand, and William Carlos Williams on the other. It argues that the Southern Fugitives' commitment to what Chantal Mouffe identifies as a populist politics of antagonism runs counter to Williams's very different attempt to grapple with the idea of "the people." The Fugitives' claims to a form of constitutional autochthony depended upon the violent exclusion of Native and African-American "uninhabitants": the negative requirement for the decidedly populist continuation and preservation of what Allen Tate explicitly called "White rule." By contrast, Williams's more self-reflexive lyrical voice foregrounds the epistemological limitations of the poetic imagination and hence the problematic maneuvers by which a "people" may be conscripted into the service of populist national allegories. [ABSTRACT FROM AUTHOR]

This paper explores the impact Keats had, both as a 'poet' and as a 'man', on the young apprentice William Smith Williams, who worked for Taylor and Hessey and who may have been the last person to shake Keats's hand as he boarded the Maria Crowther for Naples. Williams's poem, published in The Table Book in 1827, reveals Keats's attractiveness to his teenage admirer, and suggests some of his feelings on leaving England. [ABSTRACT FROM AUTHOR]

This paper examines what it takes to call yourself "a poet" through the lens of inclusive programming at Brooklyn Public Library. [ABSTRACT FROM AUTHOR]

The poet speaks in a particular way that can "bring things to nearness". This particular way of bringing things to nearness may have some useful implications for understanding human well-being. Sometimes I have noticed that, when I read a poem that really "speaks to me", the poetic language puts me in touch with well-being in a very palpable way, and this has brought me to wonder about this question: What is it that is taking place in a much loved poem that can bring me close to a felt sense of well-being? This paper will draw upon some philosophical insights from the writings of Heidegger and Gendlin to explore what poetry opens up and holds in order to speak of well-being. What is it about poetry that is adequate to hold the deepest roots of hearing with the fullness of what is speaking? Heidegger's later ideas about the essence of language and its non-representational power held within the unity of "the fourfold" may be helpful here. And what is it about poetry that can open up worlds, open us to sensation, and carry us beyond the literal words into the experience of well-being? Gendlin's ideas concerning "thinking beyond patterns" and "carrying forward" may illuminate how poetry holds open what other language cuts off for us. The paper will conclude by pointing to poetry as a crucial form of adequate human discourse that is up to the task of understanding well-being and is therefore highly relevant to health and social care. [ABSTRACT FROM AUTHOR]

This paper aims to shed further light on the life and work of the little-known author Catalina Clara Ramírez de Guzmán (1618-c.1684) by attempting to situate her production in an as yet unexplored context, namely, the tradition of literary forums and academias in her home city of Llerena and in Extremadura generally. The task is not without difficulties due to the paucity of surviving records of such circles in the region. Although there are no actual records of her participation in academies or formal competitions, a detailed consideration of Ramírez de Guzmán's family and social background and an analysis of a broad selection of her poetry provide strong circumstantial evidence that she was familiar with, and very probably contributed to, gatherings of this nature in Llerena, which boasted a flourishing community of poets, including members of her own family. The paper contends that a sizeable portion of her poetry may have been penned for such occasions. [ABSTRACT FROM AUTHOR]

What is the thinking that poetry does? In his essay, ‘The origin of the work of art’, Martin Heidegger proposes a distinction between two poetic modes –DichtungandPoesie –in which the former is an extra-linguistic framing essence which makesPoesie, the manifestation of poetry in language, possible. In another essay, ‘What are poets for?’ the philosopher claims technology creates a fissure of forgetfulness between selves and contexts, and that ‘To be a poet in a destitute time means: to attend, singing, to the trace of the fugitive gods’. This ficto-critical paper – written after the experience of a week's vipassanā meditation – reads Robert Hass' poem ‘Meditation at Lagunitas’ as a text that aims for chthonic reconnection between objects, experience, and language. In speculating that processes of active and non-linguistic practice are generativeandhumanising, this paper re-reads meditation as a mode of gnostic self-extinction (after Eliot) which can enable access to intuitive zones (Heidegger'sDichtung), and which situates ‘an understanding of reality that transcends ordinary comprehension’. [ABSTRACT FROM AUTHOR]

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

Although the battle between culture and commerce isn't over, the conflict has entered a new phase. Research reveals that elite artists like Picasso, Dalí and Warhol – among others – were canny commercial operators who knew their own worth and weren't reluctant to exploit it. However, we are less well informed of culture and commerce's co-dependency in artistic spheres where money rarely intrudes. This paper examines the marketing activities of T.S. Eliot, perhaps the preeminent poet of the twentieth century and epitome of art-for-art's-sake avant-gardism. It indicates that, aided and abetted byil miglior fabbro, Ezra Pound, Eliot proved to be an adroit authorpreneur. Their marketing ofThe Waste Landbrand was ahead of its time and in tune with our own. Few poets are condemned to fame and fortune. Eliot was an entrepreneurial exception. [ABSTRACT FROM PUBLISHER]

This paper investigates gender in Middle English Pearl through language analysis in broader literary, cultural, and philosophical contexts, focusing particularly on the portrayal of the maiden, but taking into account also the dreamer-narrator and the Lamb. It is demonstrated that, far from being a consistently feminine figure, the Pearl maiden is a queer being, invested with masculine attributes as well. The article traces the reversals of normative gender patterns and sexual roles throughout the poem and attempts their interpretation. It questions, for the first time in Pearl criticism, the assumption that the maiden was a female person, probably the poet's daughter. [ABSTRACT FROM AUTHOR]

Anglophone women’s poetry in Manipur in the last decade critiques the norms prevalent in patriarchal societies. This article focuses on six contemporary women poets whose works highlight the woman, her subjectivity, and her truths. Collectively, their works constitute an emerging feminist poetic tradition in Manipur. Despite the multiplicities of location and creative idiom of each poet, their poetry converges upon seminal issues and amplify one another’s voices, giving us an intimate glimpse of women’s trysts with everyday structures of patriarchy. The respective poets attempt to rewrite previously inscribed taboos and cultural practices—some by reimagining tropes that have weighed against fair representation of women such as the body, female desire, and myths; and others by breaking the cycle of abuse and shame through testimonial poetry. [ABSTRACT FROM AUTHOR]

The article discusses the re-release of the literary works of the poets Stevie Smith and William May. It cites on Philip Larkin's praise of Smith's doodled drawings, fairytale characters and singsong rhythms. The article also discusses Smith as a reader and performer of her own poetry and published "Selected Poems" in 1962 and "The Frog Prince and Other Poems" in 1966 in Great Britain.

This essay considers the role of the untimely in the work of Stevie Smith. It explores motifs of belatedness in her reception history, suggesting how her own authorial persona and public presentation encodes this response. It examines the notion of the last-minute in her work, focusing on motifs such as disruption, elongation and delay. It suggests how her revision practice responded to the idea of being 'too late', with the moment of publication providing her with further prompts to revise her work. It focuses on final words and endings in her poetry and frames her interest in Christianity through ideas of temporality and form. [ABSTRACT FROM AUTHOR]

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

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

In light of the regained interest in the body and embodiment in literary studies, this article seeks to elucidate the relationship between embodiment and knowing as evident in a number of poems by South African poet Gabeba Baderoon, a poet who has to date been neglected by critical inquiry. The purpose of this discussion is to illustrate the notion of embodiment depicted in Baderoon’s work, and to indicate how her unique portrayal can contribute to the discourse on embodiment in literature. This paper takes a phenomenological approach of the kind entertained by Maurice Merleau-Ponty as its starting point, and utilises brief close readings of four of Baderoon’s poems to demonstrate how the notion of embodiment can be understood through her work. It shall be argued that this is done on two interrelated and often simultaneously rendered levels: embodiment as a motif, and her poetry as a form of embodiment. This aspect of her work is especially lucid when considering the recurring theme of knowledge, in which she emphasizes the necessary embodiment in the process of knowing, an approach that transcends the presupposed mind-body dichotomy, and significantly relates to phenomenological notions such as ‘lived experience’ and ‘dwelling’. Studying Baderoon’s poems in light of her depiction of the body and embodiment not only offers a distinctive view of the embodied nature of knowledge, but moreover, provides an insightful glance at practising a ‘theory’ of embodiment in literary studies. [ABSTRACT FROM PUBLISHER]

A great many successful poets earn their living as members of the university community. While teaching, research and administration can provide a reasonable and a reliable income, it has an impact not only on how much time is available for writing, but also what sorts of thinking emerge; on the ways in which relationships and responsibilities intertwine, and how to find ways to balance competing priorities. In this conversation between two poet academics, Jen and Katharine talk through their own experiences, grounded in scholarly thinking, and particularly address the role of language, meaning and materiality in the charting and the crafting of a life. [ABSTRACT FROM AUTHOR]

This article rereads Bernard Mandeville's infamous poem The Fable of the Bees: or, Private Vices Publick Benefits (1714; 1723; 1729) and Emilie du Châtelet's French translation (1735-1738) in the context of the eighteenth-century debates around the differences between humans and animals. It argues that the considerable alterations to the text undertaken by Châtelet should be understood as a response to Mandeville's vitalistic theories of physical and political bodies, and their implications for his theory of political economy. Through close readings of the two versions of the Fable, the article shows that Châtelet's reworking circumvents the idea – central to Mandeville's text – that all living bodies, whether human or animal, are interconnected systems animated by vital 'spirits'. I thus use Mandeville's and Châtelet's texts as a window for exploring the implications of different positions in the debate on the animal-human hierarchy. [ABSTRACT FROM AUTHOR]

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

This article addresses the question of how poetry and deep body-voice work share an ability to integrate body, mind, and feelings. Identifying five core poetry techniques, it discusses research that explains the way that poetry can affect brain and bodily sensations, as well as emotion and intellect. The relevance of the Triune Brain model to both poetry and voice is described, and a model of brain-voicing links is proposed, with a hypothesis as to why poetry, and certain kinds of voicing—metaphorically and literally—"go deep." The practice of "free-voicing" is introduced in this context, and its relevance to voice work, therapy, and well-being are discussed. [ABSTRACT FROM AUTHOR]

To identify expert poets' cognitive processes as they compose poetry, we asked 10 expert poets and 10 novice writers of poetry to think aloud as they composed a poem. Compared to the novices, expert poets revealed an associative playfulness and surrendering of consciousness, similar to that shown in research on general creativity in domains such as art, music, and science. Experts also demonstrated significantly more evidence of deliberate procedures and active revision. Novices rarely revised their poems. With regard to meaning, experts made significantly more comments about how the text was meaningful, in particular how textual elements evoke and amplify meaning, than about what the text merely meant. The novices commented more on what the text meant than how the text was meaningful. In discussing the results, we propose a model of the cognitive processes involved in poetic composition, and explore implications for instruction in school and post-secondary educational settings. [ABSTRACT FROM AUTHOR]

The problem with the term “Cavalier Poets”, as Peter Davidson has pointed out, is that it “identifies a school by allegiance and period, rather than by a distinguishing literary feature”. But if we were to redefine the Cavalier poets in terms of “a distinguishing literary feature”, what exactly would that feature be? Understanding the Cavalier poets in terms of their interest in contemporary continental poetry, and its translation and imitation in English, rather than in terms of political allegiance, can help preserve the utility of “Cavalier poets” as a critical term. A reconstruction of the interests of both pre- and post-war Cavaliers in Italian baroque and Frenchlibertinpoetics can shed some new light on their intellectual and philosophical, as well as literary, preoccupations. It should also prompt a reassessment of what an anthology of verse that retains the title of “Cavalier Poets” might look like. [ABSTRACT FROM PUBLISHER]

A change in direction of the journalNew Coinduring the 1990s saw the emergence of a diverse group of poets who had previously struggled for publication. This article recognises this often overlooked collective and argues that they quickly established their own style of “Poetry of No Sure Place”, which expresses a malaise of sadness within South Africa that is popularly felt but rarely articulated. Focusing on three collections of poetry by Mxolisi Nyezwa, I show how this group’s work rests on a permanent – and possibly worsening – sense of imbalance. The article explores how Nyezwa attempts to reconcile a felt public and private need to write, struggles to find a source of connection and questions the permanence of social change in South Africa. Nyezwa epitomises the marginalisation, apprehension and uncertainty ofNew Coin’s Poetry of No Sure Place. [ABSTRACT FROM PUBLISHER]

The article reports on topics related to the Keats-Shelley House museum in Rome, Italy. Topics include the increase in the number of visitors at the museum, the education outreach workshops in partnership with ARTandSEEK with Romantic poets as the inspiration for children to write their own poems and create their own artwork, and the Keats-Shelley House Poetry Prize for Schools competition, as well as mentioned a lecture given by professor Sean Hughes of Imperial College London.