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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]

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 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]

We have become well-familiar with how unpoetic teaching can be. The prevalence, furthered by much recent reform, of a systematic school culture focused on accountability, standardisation, and learnification often renders teaching dehumanised work. This paper theorises a poetics of teaching. We begin considering poetics, focusing on figurative language as a concept at the core of the art. Figurative language offers a model for figurative education, in which teachers treat their practice as metaphors treat language, a move that opens education towards complexity and ambiguity. Further, we consider what makes poetry matter to people: resonance, or the relational aspects of writing. We explore resonance in conversation with philosophies of relationality, theorising how poetic teaching necessitates an engagement with the relational. We find what may be required to teach poetically is risk-taking, risks all the more beautiful for the ways they engage teachers and students as complex persons doing meaningful work. [ABSTRACT FROM AUTHOR]

This article uses eighteenth-century correspondence and daily writing to unpack the complex networks of emotional, artistic, and poetic exchange that surrounded Plas Newydd, the home of the so-called 'Ladies of Llangollen', Sarah Ponsonby and Lady Eleanor Butler. It focuses on the gifting of a printed copy of George Romney's painting Serena Reading (1782) to the women by the poet Anna Seward, viewed by the trio as a portrait. Using an interdisciplinary and microhistorical approach, the article places the image within two contexts: first, within an intricate display of gifted portraits at Plas Newydd; and second, in relation to Seward's poetry. In so doing, it argues for the centrality of the cultural, emotional, and intellectual process of exchange as a way for understanding the emotional life of the period. By focusing on the literary lives of this portrait-object, the article also demonstrates the necessity of an intermedial approach to eighteenth-century visual and material culture, highlighting the productive possibilities of using textual sources to consider long-lost artworks. [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 essay grows out of the sense that the diatribes against purportedly bad poetry on the Internet have become less interesting. It examines the flourishing Internet-enabled poetry culture in India today through a few works of dissent poetry birthed and circulating online. As digital artefacts, these poems live, in a manner of speaking, very public lives unlike born-digital novels or longer prose forms. They can be accessed and manipulated by anyone with an Internet connection or a cheap data plan on their phone. Most of these poems are also almost simultaneously translated by members of that poetic, political, or intellectual community. They are read out loud, listened to, seen, and yelled out and yelled at as they move across intermedial environments as Instagram posts, YouTube and TikTok videos, protest performances, and WhatsApp forwards. How do these self-consciously political poems perform their politics through their mediated and linguistic environments? Analysing three poems – Aamir Aziz's 'Ballad of Pehlu Khan', Ajmal Khan's 'Write Me Down, I Am an Indian', and Tishani Doshi's 'Girls Are Coming Out of the Woods' – the essay argues that Indian dissent poetry on the Internet leverages the viral logics of social media to defy state surveillance and censorship, toward new political affiliations. In doing so, this poetry reprises a long tradition of folk and resistance poetics as part of a digital protest culture. [ABSTRACT FROM AUTHOR]