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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]

This article examines Francisco P. Ramírez’s editorial practice of altering reprint poems culled from periodicals, books, and anthologies from across the Hispanophone world and reprinted in Southern California. By isolating El Clamor Público’s poems, mapping their potential citational provenance and place of publication, and comparing reproductions to originals, I show how Ramírez’s reprint practices shaped authorship and genre in his paper. I propose Ramírez’s reprint practices are important examples of the print culture norm of editing reprint poems to centralize the reading public’s interests and experiences. Ramírez’s reprint practices made the poems more understandable to and relevant for a California audience while at the same time facilitating an intellectual and cultural sense of belonging that resists the reproduction of knowledge and aesthetics from a non-California epistemology. [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]

Copyright of Dicenda: Cuadernos de Filologia Hispanica is the property of Universidad Complutense de Madrid 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.)

Copyright of Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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.)

In this paper I take a look at two lyric poems: fragment 31 of Sappho and fragment 130B of Alcaeus. The first-person speakers in these two poems were commonly identified with their authors in antiquity. I argue that this was not the case when the poems were first performed on Lesbos. For the original audience these first-person speakers were general and would not necessarily have been identified with either Sappho or Alcaeus. Other people on Lesbos who performed these poems as songs could identify with them as well. It was only when the poems left the island and were reperformed in cities like Athens that the gap between first-person speaker and performer became so great that the question arose who the first-person speaker might have been. He or she was then identified with Sappho and Alcaeus, and the author, as the autobiographical subject of his or her poetry, was born. [ABSTRACT FROM AUTHOR]

Copyright of RILCE. Revista de Filología Hispánica is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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 paper provides a reflection about anonymity and authorship in folk poetry in general and in the Greek folk poetry in particular. Anonymity means absence of an author with historical entity and it is a characteristic feature of folk poetry. On the other hand, every text has an author, but the author of folk poetry has a different relationship with his work from the literary author; he is constrained in his task by the traditionality of themes and form, wich are related to the extraliterary fonction of folk poetry. Four interesting cases of Greek folk poetry are analised which have been attributed by the tradition to historically existing authors, and the reasons of such attribution are investigated. [ABSTRACT FROM AUTHOR]

John Donne is acknowledged for his mastery of metaphysical conceits. A metaphysical conceit is a complicated and highly astonishing literary device that creates a far-fetched and odd comparison between a nonphysical feature of a person and a physical entity in the world. It is an extended simile and metaphor to catch the interest and attention of the readers towards the text. Deconstruction is a term coined by the French philosopher Jacques Derrida that refers to an approach to reading a text. One of the philosophical principles of deconstruction is to disperse thoughts of binary oppositions, to break down the old style of a hierarchical model, and rejects the inflexibility of metaphysics. Deconstruction is the process of reversing the hierarchies in order to uncover the whole ideological process of making hierarchies. It believes that a text has multiple meanings. In John Donne's poetic work, this is the only practical and technical way by which his poetry can be understood, as the relations between 'ideas' and 'words' are almost constantly complex and manifold. The paper is an attempt on Donne's metaphysical conceits in his select poems to explore internal contradictions, inconsistencies, and multiple layers of meaning through a deconstructive lens. [ABSTRACT FROM AUTHOR]

This study analyzes the depiction of nature in poetry, especially in Ibn-Khafaja's and Wordsworth's selected poems. This study is based on New Criticism's conceptual, analytical, and theoretical approaches. New Criticism studies the achievement of the works' meanings by studying their "interrelationships of sound, texture, structure, rhetoric, and a host of other literary devices" (Bressler, 2011, p. 57). The significance of the study is to provide a parallel comparative study between these two poets whose religions, traditions, languages, and eras are dissimilar. Ibn-Khafaja recognizes his surrounding nature as the ideal and beautiful place where people feel relaxed, hopeful, and pleased. He states that humankind and nature are originally adapted to each other, and people are always fascinated by the beauty of nature. He sees nature as the typical shelter to stay happy and peaceful. He is fascinated by the images of the mountains, horses, birds, and trees. On the other hand, Wordsworth shows nature as a place of happiness, perfectness, and peace. He accentuates the deep relationship between human beings and nature, and how people admire nature in its beautiful images. Wordsworth presents how the fascinating images of nature can affect man's mood and mind. [ABSTRACT FROM AUTHOR]

The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb's life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar's theological writings from the vantage point of Arabia's oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb's appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic. [ABSTRACT FROM AUTHOR]

This paper discusses the innovative use of AI computer algorithms in the creation of tanka, a form of Japanese poetry. From the recent forays into computer-generated poetry in Japan, I look at two computer programs in particular: the instant tanka generator "Inu-zaru," created by Sasaki Arara, and the "gūzen tanka" Twitter bot by programmer Inaniwa. These programs engender new paradoxical models of technology-mediated authorship and reading, whereby human agency is at once subtracted from the composition process while also being presupposed as a necessary component in the participant reader. Such forms of reading and writing shed new light on theoretical matters such as the death of the author even as they pose intractable questions concerning international copyright conventions. [ABSTRACT FROM AUTHOR]

It is through the use of literary devices that author is able to express her thoughts with heightened artistry and an increased emotional effect. These literary devices play a crucial part in the formation of the profundity and resonance of literary works. The significance of these creative tools in the field of literature is investigated in this research project in depth. This study investigates how numerous literary devices, such as metaphors, symbolism, allegory, and foreshadowing, contribute to the depth and enduring impressions of literary masterpieces through an exhaustive investigation of a variety of literary works. The research investigates the various ways in which literary elements might act as bridges to connect the emotions of the reader with the aims of the author. These tactics allow for a more profound grasp of difficult concepts and issues by drawing on potent imagery and stimulating the reader's imagination. In addition, the study explores the manner in which literary devices inspire resonance within the readers, thereby creating a relationship that is long-lasting between the readers and the text. The research reveals the complex impact that different literary devices have on a variety of literary genres by drawing on theoretical frameworks and conducting in-depth textual analysis. In works ranging from literary classics to cutting-edge poetry, this research analyses the recurring motifs and stylistic devices that compel the reader to experience a range of feelings, stimulate in-depth thought, and make an indelible mark on their psyche. The results of this study show that literary devices are not only decorative touches; rather, they are essential instruments that authors make use of when creating works of art that stand the test of time. These tactics create a strong relationship between the author's vision and the reader's sense by improving the texture of the language and deepening the layers of meaning in the text. The final section of the research investigates the repercussions of this impact, illuminating the everlasting significance of literary techniques in moulding the literary landscape and promoting a deeper comprehension of human experiences by means of the written word. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta 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.)

The article lists the attributions of authorship of anonymous, pseudonymous, or incompletely signed letters, poems, articles, reviews, obituaries, drawings, and staff notes appearing in the Gentleman's Magazine during the years 1824–1826.

Although there is a rich, original archive of Phillis Wheatley's poetry about children, Wheatley's role in writing the culture of American childhood has not been widely noted. Conversely, while little can be archivally reconstructed about Wheatley's young life, popular biographies of the poet have, since the nineteenth century, placed emphasis on her childhood precocity. This essay intervenes in the first problem and deconstructs the latter, arguing that Wheatley was a major architect of American childhood who carved political interventions in childhood's pliant terms, and who pressed audaciously on its hardening racial boundaries. Placing Wheatley at the center of the early American epistemic, pedagogical, and political struggle over childhood's meaning, this essay traces the dominant racial politics of childhood that came to diminish Wheatley—as either a childlike poet or an exceptional child—in dialogue with Wheatley's own invocations of childhood, family, knowledge, and freedom in her personal writings and published work. Reading Wheatley's elegies to deceased white children beside the poem in which she casts herself—"young in life"—this essay argues that Wheatley drafted early lines in modern American childhood's recognizable form, while expanding beyond the American imagination of childhood's cognitive, social, and racial limits. [ABSTRACT FROM AUTHOR]

Copyright of Context / Kontekst is the property of Institute of Macedonian Literature 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.)

An interview with Dr. Tiffanie Tate Moore, author of "FloweTry: A collection of 108 poetic flows on Life, Love, and Liturgical issues" is presented. Topics discussed include influence of Dr. Moore's life journey on the poems and influence of poems on her life, numbers of poem in her book, and poem that inspired the most joyful memories in her life.

Through a focus on 'Moi, Eugénie Grandet', one of the last exhibitions Louise Bourgeois worked on before her death in 2010, this article explores the artist's writings, both public and private, and her interactions with writers, to assess the potentially literary nature of her written and visual works. Arguing that Bourgeois's dialogues with Honoré de Balzac's novel Eugénie Grandet is a contemporary and feminist response to a longstanding tradition of pictorial appropriations of Balzac's work—from Paul Cézanne's 'Frenhofer, c'est moi!' to Pablo Picasso's illustrations for the centenary edition of Balzac's The Unknown Masterpiece—this article brings to light a literary intertext to Bourgeois's visual works and contends that it is a crucial aspect of her œuvre. Reckoning with a growing critical interest in the artist's archives and a rising number of edited volumes devoted to her writings, this article considers existing claims that identify Bourgeois as a writer and a poet. Aligning with Roland Barthes's definition of the literary text as a 'new cloth woven with old quotations' and the figure of active reader developed in Barthes's own dialogues with Balzac, this article contends that Bourgeois's literariness is found in simultaneous writing, reading and visual practices and in the ambivalence—between dependency and resistance—towards the words they rely on. Ultimately, this exploration of Bourgeois's words participates in a wider debate on the status of artists' writings, first articulated in Linda Goddard's 2012 special issue of this journal, where they are defined through their 'heightened awareness of the inescapable tensions and crossovers between practice and discourse' and the way they 'bear the trace of this consciousness'. [ABSTRACT FROM AUTHOR]

A personal narrative is presented which explores the author's experiences of being a Jewish woman author writing, teaching and translating poetry.