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This article reads Salvador Plascencia's The People of Paper (2005) in dialogue with Édouard Glissant's concept of "opacity", an ethical and esthetic stance that values impeding comprehension. This novel's opacity arises from various limiting mechanisms – linguistic, translational, and formal – which both invite and inhibit interpretation, and in so doing open up a space in which readers can think with the text. Bringing The People of Paper and Glissant's thought together shows how Plascencia's text thickens and complicates readerly engagement, and so increases the esthetic purchase of the novel. The People of Paper both invites and deflects the idea that esthetic experience might offer a route to understanding the social or that it provides the foundation of a more ethical relation with others. In parallel, Plascencia's innovative use of the page and his invocation of an intertextual history of such innovation expands the scope of Glissant's theory, by incorporating the physical medium of the book and the workings of genre history as components of an opaque poetics. [ABSTRACT FROM AUTHOR]

This paper delineates the socio-historical imagination underpinning the works of Miraji, one of the pioneers of Urdu poetic modernism. It argues that the ‘modernism’ attributed to Miraji’s poetry is best understood as the culmination of, as well as a veritable departure from, a specific diachronic movement internal to the history of modern Urdu literature. Presenting the idea of ‘naturalness’ as one of the principal catalysts of this internal movement, this paper demonstrates how Miraji attempted to reorient the trajectory of modern Urdu poetry by adopting an equivocal poetic language, which challenged the moral, social, and political imports of this politico-aesthetic discourse of ‘naturalness’. [ABSTRACT FROM AUTHOR]

In the beginning of the twentieth century, after its rapid insertion into the vortex of oil and mineral extraction, Venezuela was forced to re-think its relationship with nature. This process of rethink, characterised by an eagerness for modernisation, resulted in a series of discourses focused on Venezuela's Amazonia as a repository of possibilities. This paper analyses how these possibilities were channelled through the metaphor of el secreto de la tierra, tracing an early reading of the ideological configuration of Venezuela and its Amazonia as a land of inexhaustible material and poetic richness. This metaphor was voiced by a set of socio-ecological discourses written about the Venezuelan Amazon, including the essay on Venezuelan geography and culture by Enrique Bernardo Núñez Una ojeada al mapa de Venezuela (1939). The paper focuses on the representation of this region as a set of discursive constructions entangled with the naturalisation of the modernising ideal that has fuelled the imaginaries of material growth and rentier capitalism in Venezuela. The concluding remarks will point to how such a reading can help us to understand a discursive and poetic radicalisation embedded in conflicting approaches to the nature-culture confluence in the Venezuelan Amazon. [ABSTRACT FROM AUTHOR]

Focusing on the philosophical puzzle of time and its relation with being and presence the paper explores the volatile relationalities un/tying them in shaping our conceptualisation of memory as re-turning. With such an approach the paper analyses the paradoxes that always haunt any attempt at thinking time, being and presence in their specificity as well as within their general embrace. It is through such play of the specific and general, the paper submits, that the thinking of memory and its acts of re-turning comes to be conceptualised in terms of linear, teleological, homogenous understanding of continuity. Turning towards Bergson and Heidegger's approaches to the question of time, presence and being the paper attempts to open-up the layered paradoxes that not only shape any act of turning but also the thinking of possible itself as a general category for conceptualising memory as re-turning. Bringing in the question of language and its ontological and temporal concerns, the paper thus brings in the concept of "poetics" to hint at the continuous negotiation that thinking of such interstices in language demands. It is towards such contingencies of the (un)timely, the paper submits, that any attempt at thinking memory as re-turning gestures. [ABSTRACT FROM AUTHOR]

How to make students and teachers stop Stop and think and feel Reading slow Reading aloud Savouring silence Being there with all our emotions and bodies An experiment Not a social experiment Not a psychological experiment But a poetic Accompanied by a French philosopher Gaston Bachelard was always there in the atmosphere Our classroom practice With our master's students In sustainable management We searched for poetic moments Turned into a conversation Turned into a paper A paper about the poetics of teaching Phenomenologizing philosophy Rupturing classrooms [ABSTRACT FROM AUTHOR]

This paper interrogates the value of silence, located within liminal spaces in Sarnath Banerjee's Doab Dil (2019). Structured as an informal graphic essay, Doab Dil proffers ironic commentaries on nature, culture, cities, the countryside, history, fiction, work, sleep, insomnia, popular culture, and the quest for meaning in life. In the process, Doab Dil combines text and drawing to construct a postmodernist intertextual mural of juxtaposed quotations, descriptions, and metaphysical reflection on the values of contemporary culture. At the points of these juxtapositions, liminal spaces are created that are characterised by a dense silence. The centrality of the liminal in the creative imagination of Doab Dil is evident in the title that signposts the fertile tract of land found at the confluence of two rivers. Recollecting Homi Bhabha on the liminal as a horizon of possibilities, this paper explores the ways in which the poetic representation of liminality constructs political spaces of critique, which draw on the silence between confluent thoughts on diverse themes for critical reflection. Through literary criticism, the paper investigates the poetics and politics of possibilities in Doab Dil positioned within liminal spaces, and the role of silence as a representational strategy for a metaphysical commentary on reality. [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 explores the construction of affective solidarities within and across the spaces and boundaries of colonized and racialized worlds in the works of militant poets of the Portuguese colonies in Africa. From the 1940s to the 1960s a distinct form of anticolonial poetry emerged written by a generation of Angolans and Mozambicans who became involved in the liberation struggles. The paper examines how poetry served as a vehicle to imagine and call into being various subjectivities and affective relations which actively countered the restrictions of colonialism and racism, especially on the part of the assimilados, the small educated elite constructed by Portuguese colonialism. Several important forms of anticolonial connectivity are expressed in these poems: connections with the broader African diaspora in North America, the Caribbean and Brazil; connections with all continental Africans; connections across the spaces of the Portuguese colonial empire – Angola, Mozambique, Guinea-Bissau, Cabo Verde, São Tomé and Príncipe; and connections of solidarity and unity between the assimilados and indígenas of the Portuguese colonies. These various dimensions of affective connection were constitutive of a new anticolonial imagination and looked towards liberated futures. [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]

This paper concentrates on the self-reflexive and multi-voiced narration in Damon Galgut's The Promise. Adopting Elleke Boehmer's analysis of postcolonial poetics and Derek Attridge's notion of resistance, the discussion shows how Galgut's novel both invites and resists modes of reading associated with the third-person narrative, specifically the principles of detachment and narratorial omniscience. The first part of this article investigates the narrator's complex interaction with the protagonists and the narratees. One feature of narration in The Promise is that it shows the narrator as belonging to the same racial group as the protagonists, at the same time seeking to transcend the limitations of their viewpoint. The fact that the protagonists' racially inflected perception of the world is projected onto the narratees impacts the readers' reception of the narrative text, denying them a stable subject position from which to judge the thoughts and actions of the protagonists. The second part of the article is devoted to the treatment of narratorial omniscience, which is consciously and self-reflexively limited by Galgut's decision to focus on the perspective of white South Africans. It is shown that the narrator's limitations direct our attention to the boundary between the said and the unsaid, thus resisting modes of reading connected with the realist novel. The conclusion of the article considers The Promise in the wider context of the liberal humanist tradition, arguing that the novel can be situated in the broad tradition of reconstructed liberalism, though it should be kept in mind that Galgut's treatment of this stance is characterized chiefly by cautiousness and political realism. [ABSTRACT FROM AUTHOR]

As a professor emeritus of the Department of English, National Taiwan University, Perng Ching-Hsi (1945-) has dedicated his lifetime to literary translation and Shakespeare Studies for more than half a century. His Chinese translations of Shakespeare's plays are adopted by local Taiwan drama companies for their outstanding lingual performability on the stage for the audience of our times. The paper seeks to explore how Perng manages to render the various Shakespearean poetic styles of Hamlet into equivalent, readable and performable Chinese language. First, the investigation will focus on the way Perng resorts to sophisticated domestication strategy in translating the proper names of the play into corresponding Chinese character names, names that are in most cases highly revealing of the characters' essential roles as well as dramatic functions in the play. Second, the research will probe into Perng's special literary expressions in the Chinese language, a language that hallmarks formal and semantic fidelity to Shakespeare's original rhetorics and poetics. Altogether, I argue that Perng Ching-Hsi's Chinese translation of Shakespeare's Hamlet features a dual contextualization, with which he attempts not merely to represent the original poetic styles of the play, but also to incarnate the poetics of Chinese literary convention. [ABSTRACT FROM AUTHOR]

The authors of this paper present a performative, practice-led interpretation of interrupting keynotes. They analyse keynotes in which a performance poet interrupts the white, female, professorial, northern scholar, with his own poetry as a poet of the global south. Using Benjamin's essay on Brecht's Epic theatre and interruption as a critical device, the authors will consider how oral scholarship might offer ways of disturbing the epistemological dominance of scholarly forms such as the keynote. By creating, through interruptions, a performative poetics as a practice-led decolonial scholarship, the authors explore the keynote as form, within an intercultural, artistic, hospicing and conflict transformational frame. [ABSTRACT FROM AUTHOR]

In this paper, first meetings in analytic therapy are considered thematically, experientially and pragmatically. Attention is given to how we think and feel about beginning therapy, and how these first sessions can be structured so as to facilitate the start of a collaborative analytic project. The history of ideas about first meetings is reviewed and the perspectives in this paper are located in this unfolding narrative. The contributions of several psychoanalytic writers whose ideas have influenced my own are considered. The focus throughout is on the hopes and anxieties of both patient and therapist and how these emerge experientially and procedurally in first meetings. The relational traditions introduced in first meetings can structure opportunities for collaborative, transformational work over the course of time. The ideas presented in this paper are illustrated by an extended case example. [ABSTRACT FROM AUTHOR]

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Inspired by a panel which took place at the 2018 IARPP conference in New York – this paper, which deals with the bilingualism of the language of the victim and the language of the perpetrator, offers a close reading of the panel's three papers, trying to characterize their unique poetics of testimony through a differentiation between four modes of traumatic testimony which are distinguished from one another by the degree of the psychic motility they succeed to form in relation to traumatic memories: the "metaphoric", the "metonymic", the "excessive" and the "Muselmann" testimonial modes. The last part of the paper suggests a link between the testimonial language of the victim and the testimonial language of the victimizer, trying to understand these polarized languages as two variations of the refusal to mourn. [ABSTRACT FROM AUTHOR]

This paper gives an account of the most significant elements of Derrida's ethical thought, drawing on the desert of the Hebrew Bible, which Derrida associates with a moral law that is ethically troubling. Partly with reference to Kierkegaard's account of the story of Abraham and Isaac, Derrida examines how ethical law can become subordinate to the sovereignty of the power apparently at the source of ethics which may then destroy moral law. The political equivalent of this is the decision proposed by Carl Schmitt, drawing on Kierkegaard. Derrida's famous statement that "deconstruction is justice" is the recognition that justice, and ethics in general, is caught between the formality of law and the violence of the sovereign power. One outcome of this is sacrifice as substitution, where ethics becomes recompense for violation through sacrifice. Sacrifice is the offering of a substitute. The substitution becomes repeated and itself is then the source of violence contravening some sense of ethics. Derrida's attempts to escape from these deserts include a poetics which recognises the subjective and the aesthetic in the interpretation of law. It also includes the development of a form of sacrifice which is the individual responding to violation in an individualised way which cannot be substituted. [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 poetry of Mexican author Jaime Sabines (1926–1999) is situated within a period of change in Latin America (Cuban revolution, dictatorships, and stylistic changes in literature) that linked the author to colloquialism. According to Cesare Del Mastro, this is a form marked by the use of plain and popular language rather than academicism. Using this style as a platform, two central topics presented in the collection of poems Diario Semanario y poemas en prosa (1961) are addressed in this paper: the everyday and the mortuary. Both are shown as symptomatic expressions of an affront to modernity, with signs of oppression, and the tense relationships and poetic responses are analyzed as a response to deep historical transformations. [ABSTRACT FROM AUTHOR]

This paper examines Yoogum and Kudjela poet Lionel Fogarty's commitment to define the terms in which his work will be remembered through close analysis of a range of archival materials gathered by Kalkadoon scholar Philip Morrissey and Tyne Daile Sumner for Lionel Fogarty's Selected Poems 1980–2017 (2017). I describe this component of his work as hauntology, a term picked up from Jacques Derrida's Spectres of Marx (1993) by Eve Tuck and Christopher Ree, who redefine hauntology as a 'relentless remembering and reminding that will not be appeased by settler society's assurances of innocence and reconciliation.'1 In reference to these materials, I argue that Fogarty's poetry has a hauntological capacity to recall the moment of the poem's expression in endlessly cyclical processes so as to resist closure. By analysing the way these materials exemplify Fogarty's poetic principles, the paper anticipates a shift in the relationship between Aboriginal Australian writers and the literary archive. [ABSTRACT FROM AUTHOR]

This paper aims to establish how ecological thinking, or the idea of interconnectedness among all beings, from the Indigenous onto-epistemic view in Kim Scott's Benang: From the Heart warrants a poetics of being and identity as fluid, floating, permeable, or leaking, never rigid or definitive. It builds on the idea of the mesh and the aesthetics of uncanny and how this view attunes to the Indigenous openness for kinship with, companionship of, intimacy and becoming with other beings. Such a view thus enacts Harley, the main protagonist, as regenerating his effaced Aboriginal identity through entanglements and becoming with all beings, humans and nonhumans, or Country at large, in both the latter's material and spiritual aspects. [ABSTRACT FROM AUTHOR]

The second project discussed, I Wally Wallace and the Magic Case i (2022), is a short film made by undergraduate screen production and game design students who were co-supervised by Dooley and Emery at the University of South Australia. With a focus on striving for high-level outcomes following industry processes, the authors describe their "community of practice" studio model of teaching, whereby student productions are Executive Produced by academic staff. Dooley and Emery utilise a self-reflective methodology to underpin their argument that these projects identified and developed common ground across multi-discipline screen production collaboration. [Extracted from the article]

This commentary addresses several issues raised in Charles Levin and Dawn Skorczewski's probing and insightful paper (this issue) on the tragic story of Anne Sexton's sexual relations with her analyst. Highlighted are (1) the nature of the betrayal in sexual boundary violations, that being the lie; (2) the false dichotomy of real and unreal analytic love; and (3) the ways in which Sexton attempted to be heard, even through unconscious emanations, as in her poetry. Speculative inquiry is offered about Duhl and others involved in her tragic story. Finally, and in accord with Levin and Skorczewski's rendering, I aim to celebrate Sexton and her poetry, returning her voice to her in both conscious and unconscious expressions. Atonement and repair are offered in truth-telling – a righting of her legacy that hopefully will be helpful to others as well. [ABSTRACT FROM AUTHOR]

In contextually specific and formally distinctive ways, Chimamanda Ngozi Adichie's Americanah and Imbolo Mbue's Behold the Dreamers are fictional interrogations of Obama's presidential pledge to resuscitate the American dream on the wake of the global financial crash. This paper explores how they supplement and challenge familiar tropes associated with African and American, rather than African-American, diaspora writing. Given broader debates within transnational literary studies about flows and exchanges (of people, finance, cultural production, dissemination, consumption et al.) linking the global South and North, I consider how these texts grapple with the complexities and complicities of contemporary neoliberalism through the lens of renascent African Marxisms. While my chosen writers could not be described as Marxist, I engage with more materially oriented scholarship, such as Krishnan's Writing Spatiality in West Africa and Ngugi's The Rise of the African Novel, to consider how Americanah and Behold the Dreamers circulate in a global literary marketplace where certain texts, not to mention authors, are seen as symptomatic of an African and/or Afropolitan and/or 'Africapitalist' renaissance. By grappling with Marxist-inflected scholarship, this paper interrogates the politics, as well as poetics, of the oft-conspicuous airbrushing of those socio-economic, specifically class concerns at the heart of these entangled debates. [ABSTRACT FROM AUTHOR]

Literary studies on the aesthetics of performance in the late Ming have paid scant attention to critics' poetic writings as a form to express their thoughts and feelings toward performance. This paper examines poems by Zang Maoxun (1550–1620), collected in Fubao tang ji, as well as poems by his social coterie in Jinling and Wuxing, that focus on the social and poetic aspects of performance. In recent scholarly discourse, Zang Maoxun's role as editor and publisher of Yuan performative texts has been well covered, but neither his status as a poet nor the poetic exchanges within his social network have been properly investigated as sources for information on Chinese theater. This paper focuses on non-dramatic forms of literature, poetry in particular, in order to unveil the social occasions that precipitated his poetic compositions and the treatment of musical performance in his poetry. [ABSTRACT FROM AUTHOR]

A popular author in Italy since the late 1990s, Irish writer Catherine Dunne, like Elena Ferrante, has engaged with topics of female emancipation, resistance to patriarchal values, and the mother-daughter relationship, among others. The popular and critical acclaim Dunne's narrative has received in Italy — with her debut novel predating Ferrante's The Days of Abandonment (2002) and her subsequent work anticipating many Ferrantean themes — begs for a thorough comparative appraisal of these two authors' oeuvres. In this article, Ferrara first shows how Dunne's debut novel In the Beginning and her second novel A Name for Himself anticipate important themes and tropes explored by Ferrante in her narrative, including the concept of smarginatura or dissolving margins. Secondly, Ferrara identifies the central place that grief and grievability play in both authors' non-anthropocentric, anti-patriarchal poetics and in the construction of their female subjects. Through the lens of trauma studies and posthumanist theory, the paper reveals how Dunne and Ferrante's characters overcome abandonment and loss through a productive interconnection with nonhuman objects and entities that are signifiers of grief, such as photographs, dolls and stuffed animals. The analysis concludes with a comparative case-study of Ferrante's Neapolitan Novels (2011–2014) and Dunne's The Years that Followed. [ABSTRACT FROM AUTHOR]

In Antwerp, everyday interactions in ethno-racially diverse neighbourhoods have become the object of polarized debate and policy interventions that posit 'living together' as an ideal. Residents routinely use living together as a frame to assess themselves and their neighbourhood. They also bring divergent vernacular moral practices and sensory experiences to everyday interactions across difference. This complicates understandings of conviviality as a singular, demarcatable dimension of urban life. This paper delineates, instead, theoretical, methodological and textual manoeuvres for approaching conviviality in the plural. Methodologically, biographical interviewing and go-alongs are combined to explore diverging vernacular modes of engagement, and their intersections. Textually, the stylistic device of a collage of 'mobile monologues' – first-person, situated stream-of-consciousness narrations – works to recreate in writing a polyphony of embodied and moral modes of being, and their unfolding across myriad interactions. Finally, mobile monologues bring-out understudied dimensions of conviviality: (1) the situated performance of local narratives, (2) the circulation of moral economies of neighbourliness, (3) the contested political resignification of vernacular notions and practices in relation to discourses of living together. Conviviality emerges as heterogeneously assembled from a multiplicity of intersecting vernacular universes, whose political relevance in relation to living together is actively made and contested. [ABSTRACT FROM AUTHOR]

This paper emerges from a seven-year, ongoing relational poetics between two poets and their former secondary English teacher. Organized by the world's urgencies, the three authors have studied the force of poetry throughout incidences of violence against Black lives close to home and across the United States. This practice began in the classroom and continues beyond graduation through remote correspondence across three cities. Through it we develop the concept of study as love, engaging with Moten & Harney's concept of study as irreducibly social and in excess of institutional parameters. We also develop the concept of poetics as more than methodology, engaging with Glissant's poetics of relation. Through love and poetics, we call for literacy studies engaged with the ontogenesis of Black life, moving beyond institutionally white disciplinary methods and standard research outputs. We ask how the poetics of relation and the love of study produce new worlds. [ABSTRACT FROM AUTHOR]

In this paper I introduce some concepts from psychoanalysis, a poem, a clinical vignette and a personal anecdote. I am asking what light the knowledge of unconscious processes can throw on the memorisation of poems and therefore what use to the individual can be derived from learning poems by heart. A version of the paper was first given at the Poetry, Memory and Performance conference at Homerton College, University of Cambridge, in March 2015. [ABSTRACT FROM PUBLISHER]

This paper addresses Kyrgyz 'time-telling', exploring how Kyrgyz herders and villagers 'tell' of their experience of time through genealogies, family stories and epic poetry. The author takes a phenomenological approach, drawing on different forms of narrative; interweaving history, myth and story; revealing the life within the past, as genres mesh (and not always seamlessly). She argues that the lived experience of 'time-telling' works through narrative, memory, sound, performance, and poetics, providing a matrix through which the past is continuously brought to life for performers and audience alike. The paper is in three parts. The first sets the scene, exploring three interwoven, kin-related Kyrgyz genres - family trees, genealogies, and epic poetry. The second looks at diverse manifestations of the Kyrgyz epic Manas, and its interpenetration with social life. The third reveals how different forms of performing and remembering the epic bring the past to life through the act of performance. [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]

Throughout its history, Thai cinema has been entangled with institutions of state power. Through invasive systems of censorship and discursive regulation, the state not only regulates public expressions but also sculpts particular forms of national identity, silencing other forms of remembrance and identification. Against these pressures, independent filmmakers in Thailand creatively negotiate the boundaries of state censorship through silences, narrative discontinuities and elliptical plot structures to simultaneously evade state censorship and renegotiate national systems of memorialisation under military rule. This paper investigates how the Thammasat University Massacre is remediated through Anocha Suwichakornpong's 2016 film Dao khanong (By the Time It Gets Dark), and finds that the film intentionally evades direct representation of the massacre to instead disarticulate national memory cultures and reimagine unconsolidated futures disentangled from institutions of authoritarian power. [ABSTRACT FROM AUTHOR]

This panel opens up innovative ways of thinking about Romanticism and "the problem of sharing our earth with other creatures." Over the last couple of decades, the crisis in human relations with animals has deteriorated to the point that it has become increasingly recognized as a constitutive part of the global environmental crisis. Like the climate crisis, the "animal crisis" originates with the emergence of the industrial form of capitalism in Britain around the turn of the nineteenth century. Appreciation of this historical constellation can and should become the basis of a renewed Romantic animal studies. However, reading Romanticism as a reflection of and on the historical origins of the contemporary crisis in human-animal relations in turn requires rethinking and openly debating topics, archive, and method. To indicate the initial results and style of our efforts, we have chosen not to summarize the papers presented, but rather to pose ten collectively formulated questions and to briefly answer as individuals a selection of three of those questions. Overall, we hope not just to make an argument for what we regard as a vital area of research in Romantic studies, but to encourage more research on the topic. [ABSTRACT FROM AUTHOR]

In this paper, we attend to the everyday creative practices of residents of a riverbank settlement, kampung Ratmakan, in Yogyakarta, Indonesia, and the materials through which urban imaginaries are constructed. Building on Colin McFarlane's recent insight that while 'fragmentation' is a crucial term in the grammar of urban theory, the fragments themselves have received little attention, we inquire into how children mobilise material and temporal fragments to produce unique forms of public life and imaginaries of what is possible in the city. Through a collaborative art project conducted with residents of kampung Ratmakan, we contribute an empirical richness to McFarlane's calls for a politics of urban fragments. Using art practice as both a method of inquiry and means of co-producing knowledge, we document some of the ways in which a sensory politics is articulated through children's embodied modes of relating to their urban environment. [ABSTRACT FROM AUTHOR]

This paper opens an unsolved conundrum about writing psychoanalysis posed as series of questions. What is the pull into theory and the push against theory in my writing? How does creative writing, drawing, and printmaking catalyze the implicit, unspoken, or unspeakable when I am working in the position of analyst? How is the field of my listening formed (by all the ways I play daily) with language and with images? What of this art outside the clinic allows me to bring something new back into my analytic work? I answer these questions with a poetics and two prints, necessarily incomplete and not entirely satisfactory. [ABSTRACT FROM AUTHOR]

This paper addresses the experiential field of artistic pieces that incline language and words to work from their sound, material and rhythmic dimension. They are poetic and sound works freed from the verticality, rectitude and weight of the semantic. In our ordinary experience of language we forget the physical existence of words, their sounds, their rhythms. Without that physicality, words become transparent, completely resolved into what they mean. To incline them means to give them sound and rhythm. It means to make them material, bringing them to our attention and reconnect with their physical existence: the possibility of becoming an image. From the concept of inclination developed by Adriana Cavarero as a relational model against verticality – to rethink a subjectivity marked by vulnerability – it is argued that inclining language, allows us to question ourselves about the ways in which sound relates to images, as it will be seen through works by Itziar Okariz and Gertrude Stein. A leaning that also dialogues with the ways of deviation from the established language proposed by Julia Kristeva and Hélène Cixous. In turn, we re-experience our relationship with the materiality of language, the act of listening, as well as the visuality of sounds. [ABSTRACT FROM AUTHOR]

Do covers still have a place in our digital age? The physical book has proved more resilient than champions of electronic texts once predicted, but the overall trend is plain: with each passing year we are reading less from printed paper and more on phones, tablets, e-book readers, and computers. The question this article addresses is: Do cover images still have a place when the publications that they previously covered are becoming nothing more than digital bits? By pointing out how they communicate very differently than the texts that they represent, the article argues for the continuing importance of cover images and for the need to meditate anew on the poetics of communication. [ABSTRACT FROM AUTHOR]

In this paper, I explore how the sensory experiences provided -- or, at least, promised -- by the croissant inflect a range of performances. My investigation draws on personal experience, public performances, and fieldwork interviews with both pâtissiers and consumers. Brazilian anthropologist Roberto Da Matta stressed that the study of ritual should address how trivial elements of one's social world can be transformed into symbols which, in certain contexts, construct moments of special intensity. I draw on Da Matta's work to investigate how and why croissant consumption can form the centrepiece of ritualised processes. My analysis of pâtissiers' narratives about their croissant-making reveals the importance of a gustatory taste imaginary. Descriptions of their learning experiences and motivations allows for parallels to be made between croissant preparation and participation in the more conventionally-conceived performance form of music. I also consider how gustatory taste vis-à-vis the croissant can inform notions of discriminatory taste, and then interrogate ideas concerning class and connoisseurship which can result in (admittedly idiosyncratic) manifestations of Pierre Bourdieu's concept of "cultural capital". My paper is book-ended by accounts of two performances of croissant-eating given in very different circumstances – one was a personal experience and illuminates complex familial relations; the other took place in highly charged circumstances before the international media and was disseminated around the world. Overall, I present the richness of the croissant as a performative entity and demonstrate how distinct performances bring different colours to the pastry. [ABSTRACT FROM AUTHOR]

This paper draws on a survey conducted in 2020–21 in which 163 secondary English teachers in England named a total of 68 individual poems by poets of colour from the global majority which they taught in Key Stage 3 (students aged 11–14). Using the concepts of framing and mental schemas, we categorised these poems by considering which was the most likely frame or theme under which they would be taught. The largest category was Identity (15 poems), followed by War and Conflict (12 poems) and Racism (11 poems). War and Conflict, together with Love and Relationships (7 poems) are categories which reflect GCSE groups of poems. We suggest that poems by global majority poets which are incorporated into the curriculum are likely to be largely framed as being about race or related issues. The exception is the "strong" framing of the GCSE clusters. We argue that this is a shortfall in the ways in which the curriculum is being diversified. We note the long shadow of "Poetry from Other Cultures" and suggest that we need both more poems from global majority authors and more variety in the themes which they explore. [ABSTRACT FROM AUTHOR]

As pressures on new academic staff members increase and change, academic developers need to find different ways of working with them. This paper offers for discussion a new way of supporting early career academics in their negotiation of liminality, the betwixt and between space separating old and new roles. We call this innovative approachpoetic transcription with a twist. We begin by describing the approach, before reflecting on its value in our work with a group of colleagues who came together to share their stories of early career academic life. The paper outlines the responses of the individuals who engaged in the process before considering the possibilities and perils for wider use. [ABSTRACT FROM PUBLISHER]

This paper examines the ways in which ideas and discourses generated by global phenomena (such as the Oil Encounter) travel and get reframed in local topographies. It asks how one might reposition hermeneutics appropriate to a particular context without falling into the trap of an epistemology that is purportedly global but representing other interests? The environment in which crude oil is extracted has been termed heterogeneous and international. Amitav Ghosh describes it as one that is “lacking in a sense of place,” while James Ferguson considers it an “insular and socially thin neoliberal landscape of deregulated enterprises.” This paper goes against the grain by challenging the formations that undergird some of these assumptions. It takes the Niger Delta as a landscape in which quotidian life and the oil infrastructure are intimately intertwined and asks what insights might literary depictions of this context give about the form of globalism that operates within the industrial complex through which oil is extracted. Reading Ibiwari Ikiriko’s poetry collectionOily Tears of the Delta, the paper reflects on how the text stages a dialogue with the global by addressing itself to the oil infrastructure in that environment. It discusses Ikiriko’s poetry as one that encourages the reader to think about locality and geopolitics as possible sites of conflict, as sites of understanding power and the kinds of agency that they enable in the environments where oil is extracted to feed global consumption. [ABSTRACT FROM AUTHOR]

The architect Louis Kahn is known for the simple yet poetic composition of his words. Through some of the unique features of his unbuilt master plan for the urban centre in Central Philadelphia, this paper argues that we can understand the true quality of Kahn’s design only when we look at his proposals through the lens of linguistics and semiotics. The appeal of Kahn’s design lies in what semioticists and linguists would call ‘poetic quality’, or the production of inventive understandings of both the conventions and new inventions of the shared social milieu. It is precisely because the poetic function in language is humanistic, that Kahn’s use of social poetics has brought the abstract ideas of urban planners down to earth in a way that everyone can appreciate. [ABSTRACT FROM PUBLISHER]

Antonio Sebastiano Minturno (1500–1574) is remembered today primarily for his substantial contributions to Cinquecento poetics, aimed at establishing the lyric as a macrogenre alongside drama and narrative poetry (De poeta, 1559; L'arte poetica, 1564). Yet in addition to his poetological writings, Minturno also produced a significant number of other works, including a series of poems in the volgare published under the title Rime et prose del Sig. Antonio Minturno (1559). What is more, Minturno referred to his own poems time and again in order to support his poetological positions and to exemplify his theoretical approaches to poetry and to literature in general. Although Minturno himself quite obviously saw a close connection between his poems and his poetics, his lyric oeuvre has received surprisingly little scholarly attention so far. The present paper seeks to fill this lacuna by investigating the nexus between theory and poetic practice in Minturno's works. [ABSTRACT FROM AUTHOR]

The consideration of the essential unity of all the arts is determinant in the esthetic ideology of Juan Ramón Jiménez. From this ideal of unity the poet proposes the breaking of limits between poetic, musical, and pictorial languages. This paper establishes the connection of his first books of poetry with painting; analyzes the uses of ekphrasis in Diario de un poeta recién casado and different portraits of painters in Españoles de tres mundos; and also analyzes his personal relationships and varying opinions on different Spanish artists. [ABSTRACT FROM AUTHOR]

This paper examines the Zapatista use of the Word as weapon and as world-making. In particular, we focus on narrative devices and discursive strategies that reveal the locus of enunciation from which the Zapatistas, via Marcos, speak. This Word emerges from, and is situated at, the interstices of Western and Mayan worlds. In the Zapatista stories this is evident through a transmodern use of intertextuality; the critique of "false language" and the eruption of an-other grammar; and a dynamic authorial performance that shifts between Marcos-el Sup as narrator vis-à-vis Marcos as author, spokesperson, and Subcomandante of the EZLN. [ABSTRACT FROM AUTHOR]

A diagrammatic approach to performance art redefines the medium's aesthetic parameters through its cartographic relation to the body and memory. By using Deleuze's concepts of diagram, map and tracing, this essay demonstrates how ephemeral art performances by Rauschenberg, Beuys and Paolini create a territory that is both abstract and concrete and connected to persistent visual art in the forms of lithographs, photographs and installations. [ABSTRACT FROM AUTHOR]

Most poetry-generation systems apply opportunistic approaches where algorithmic procedures are applied to explore the conceptual space defined by a given knowledge resource in search of solutions that might be aesthetically valuable. Aesthetical value is assumed to arise from compliance to a given poetic form – such as rhyme or metrical regularity – or from evidence of semantic relations between the words in the resulting poems that can be interpreted as rhetorical tropes – such as similes, analogies, or metaphors. This approach tends to fix a priori the aesthetic parameters of the results, and imposes no constraints on the message to be conveyed. The present paper describes an attempt to initiate a shift in this balance, introducing means for constraining the output to certain topics and allowing a looser mechanism for constraining form. This goal arose as a result of the need to produce poems for a themed collection commissioned to be included in a book. The solution adopted explores an approach to creativity where the goals are not solely aesthetic and where the results may be surprising in their poetic form. An existing computer poet, originally developed to produce poems in a given form but with no specific constraints on their content, is put to the task of producing a set of poems with explicit restrictions on content, and allowing for an exploration of poetic form. Alternative generation methods are devised to overcome the difficulties, and the various insights arising from these new methods and the impact they have on the set of resulting poems are discussed in terms of their potential contribution to better poetry-generation systems. [ABSTRACT FROM PUBLISHER]

Two women scholars (Khmer and Black) explore how our subjectivities as researchers influence how we understand, give honor to, and (re)present our participants' experiences in ways that value their humanity. Through phenomenological methods and poetic transcription, we seek more nuanced, creative, and powerful ways of positioning participants' critical agency and highlighting the essence of their racialized experiences. In conceptualizing how qualitative researchers can integrate their positions and subjectivities into the research process as an asset, we identify the significant contributions our perspectives make when more thoughtfully incorporated with the lives and stories of our participants. [ABSTRACT FROM AUTHOR]

Lionel Fogarty occupies a curious place in Australia letters. Widely regarded as the most important Aboriginal poet of his generation and even, as John Kinsella declares, 'the greatest living Australian poet', he has nevertheless received relatively little attention from scholars and is published by small, independent presses. Where considered at all, his politically charged, singular poetry is often treated with baffled awe or else conceived as a method of resisting the coloniser through an idiosyncratically 'creolised' English. This paper returns to various critical attempts to think Fogarty's poetry, from 'deep reading' to 're-reading' – some of which, like the trope of 'unsettlement', have yielded influential hermeneutics for the reading of Australian poetry per se – and treats these past readings as an entry point for an analysis of the complex rhetorical and poetic games of address in Fogarty's poetics. It considers, in turn, the poetic importance of Fogarty's sustained commitment to internationalist, liberationist, and anti-colonial politics, which it conceives as a poetics of solidarity. [ABSTRACT FROM AUTHOR]