Search

In difficult times, people turn to poetry, reading, and writing for solace and peace. In emotionally intense and traumatic times, people use poetry to process and understand the lived eyepieces. The havoc wreaked by the COVID-19 pandemic has affected the emotional and psychological well-being of individuals all across the world. Poetry has emerged as a savior in these difficult times. A phenomenon, "lockdown poems", came into existence as individuals all across the globe processed and shared their lived experiences of isolation, pain, and suffering through poems. In the present paper, students of a management program process and share their experiences of the COVID-19 pandemic, the subsequent lockdowns, and their community work experience. Poetry as a therapeutic and hope-building tool is discussed in the paper along with the original poems written by the students. [ABSTRACT FROM AUTHOR]

This paper seeks to explain how music can be sad and how music is different from poetry and from painting in terms of one’s experience of sadness in an artwork. Expression theorists like John Dewey believe that music is expressive of emotions because it stems from the spontaneous overflow of the artist’s inner turmoil. That is, music, per se, has the power to make the listener, say, sad. On the other hand, projection theorists like Stephen Davies maintain that the listener experiences a piece of music as sad because s/he projects his/her sadness onto it or recognises the property of sadness in it. Although nowadays widely considered more valid than the expression theory, the projection theory has been refined by several critics. Jerrod Levinson, for instance, maintains that, in order to recognise or experience the emotions in music, the listener needs to be “appropriately backgrounded” and to listen to music in its (socio-historical and/or intellectual) context. Convincing as it seems, Levinson’s notion of an “appropriately backgrounded” audience, I shall argue, applies to poetry better than to music in general, in that poetry, owing to being verbally mediated, must greatly involve the reader’s cognitive mediation for him/her to infer the emotions in it. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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 investigates the concept of emotion and its relevance to education via character education through the medium of poetry. The objective is to demonstrate the potential implementation of character education through poetry, and to show the intrinsic link between poetry and virtue, knowledge and reasoning. It is argued that poetry serves as a bridge between emotion and character education. The philosophy of emotions is explored through the works of Aristotle, Karin Bohlin and David Carr. Character education is understood in terms of a Neo-Aristotelian approach, drawing on Kristján Kristjánsson, Bohlin and Carr. My position is that, through exercising the craft of poetry, children and young students are provided with tools for exploring emotions, and for discerning and deliberating about virtues and moral contextual nuances in the broader context of human experience. [ABSTRACT FROM AUTHOR]

Background: Transitions are critical periods that can lead to growth and, or, distress. Transitions are a sociocultural process, yet most approaches to transitions in practice and research do not explore the social or developmental aspects of entering a new training phase. Wenger reminds us that identity development is crucial when newcomers navigate change. In this paper, we use Wenger's modes of identification: engagement, imagination and alignment to explore students' identity development (as a student and professional) during the transition from pre‐clinical to clinical training. Methods: We enrolled nine 2nd‐year medical students who generated 61 entries comprising audio diary (or typed) reflections over 9 months (starting 3 months before clinical clerkships began) and interviewed them twice. We used research poems (transcripts reframed as poetry) to help construct a meaningful, emotive elicitation of our longitudinal data and analysed data using sensitising concepts from Wenger's modes of identification. Results: Students described their transition as a journey filled with positive and negative emotions and uncertainty about their current and future careers. Students navigated the transition using three mechanisms: (1) becoming more engaged through taking charge, (2) shaping their image of self through engagement and finding role models and (3) learning to flexibly adapt to clerkship norms by managing expectations and adopting a journey mindset. Conclusions: We successfully narrated students' identity formation during their transition to clinical training. We learned that students became more engaged over time by learning to take charge. They shaped their image of self by engaging in team activities and reflecting on role models. They learnt to adapt flexibly to clerkship norms by managing expectations and adopting a journey mindset. We suggest that institutions provide a safe opportunity for medical students to reflect, allowing students' transition periods to be lived, reflected on and supported. The authors showcase Wenger's three modes of identification (engagement, imagination, and alignment) as medical students transition to clinical training using longitudinal qualitative methods and research poetry. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Languages for Specific Purposes is the property of University of Oradea, Faculty of Economic Sciences 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 Arts for Linguistic & Literary Studies is the property of Thamar University 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 explores the role of reflective practice in the medical field and investigates the factors that influence reflective writing. While reflective practice is widely acknowledged as crucial in medical education, there is a need to expand its conceptual boundaries and move beyond mere pedagogical exercises. The paper argues for the inclusion of creative writing, specifically poetry, as a form of reflective practice that allows medical students to effectively process their emotions and develop a more compassionate approach to patient care. By engaging in poetic expression, students can navigate ethical dilemmas, reflect on personal challenges, and cultivate empathy and appreciation for diverse perspectives. [ABSTRACT FROM AUTHOR]

This paper examines how Emily Dickinson was previously studied and compares it to the most recent critical approaches, particularly on the subject of emotion. Using religious poetry, poetry about nature, and humor, this paper examines the critical interpretations that previously highlighted the role that pain and suffering played in Dickinson's poetry as well as the gradual change on Dickinson's critical studies that took place since the seventies. With the growing diversity of critical perspectives, it may come as a surprise that it is still necessary to refer back to the darker image of the poet: why does this image persist? And is it possible to reconcile Dickinson's popular image with the new critical currents? This article reveals that Dickinson's image is permanently under construction. [ABSTRACT FROM AUTHOR]

Copyright of Myrtia is the property of Servicio de Publicaciones de la Universidad de Murcia 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.)

To explore the affective domains embedded in academic development and teacher practice, a team of academic developers was invited to consider a poem and how it reflects the emotions and feelings underpinning experiences as teachers within Higher Education. We used a method of arts-informed, collective biography to evaluate a poem to draw upon and share memories to interrogate lived experiences. Our research is framed using the lens of pedagogic frailty model to see how affective and discursive encounters are produced and impact us. We contend that collective arts-based and biographical approaches can provide alternative ways for ourselves and teachers to examine their own pedagogic frailty. [ABSTRACT FROM AUTHOR]

This paper concerns young adults who came to Sweden from Afghanistan as unaccompanied refugee minors (UMs) and their engagement with poetry and other creative activities. The aim was to explore how UMs use poetic writing and other creative activities to handle resettlement challenges. Seven young men and six young women, aged 18–24, participated in semi-structured interviews. The material was analyzed using the three components of poetry therapy, developed by Mazza. Three themes were identified: (1) Encouragement; (2) Creative expressions as a "safe place"; and (3) A sense of recognition. Through creative expressions, our participants could understand and handle the emotional difficulties and the insecurity associated with resettlement. Poetic writing was a way to convey personal experiences of injustices, a source of self-understanding, and a way to establish new social networks. We discuss and present suggestions on how poetry and other creative activities can be integrated in interventions toward UMs. [ABSTRACT FROM AUTHOR]

While scholarship suggests Black and Brown youth disproportionately experience stressors that can disrupt cognitive and emotional regulatory processes, the recognize the resilience and innovation that Black and Brown youth have demonstrated amidst exposure to systemic stressors. Given this reality, school counselors are responsible for adopting strategies that center Black and Brown youth's internal capacity to foster authentic, emotional, development. This paper describes a culturally responsive school counseling intervention that leverages evidence-based counseling theory and hip-hop cultural practices to aid student's internal social and emotional potential. Specifically, the amalgamation of Hip-Hop and Spoken Word Therapy and Motivational Interviewing offers school counselors a social and emotional learning framework designed to engage with the complex intersectionality and emotional experiences of Black and Brown youth. A conceptual framing is presented herein, followed by tangible strategies for school counselors, an illustrative case study, and implications for practice and future research. [ABSTRACT FROM AUTHOR]

This article explores the relationship between metaphors and emotion in the context of adolescent distress and psychotherapeutic treatment. Drawing on data from an ethnographic study of Mexican American adolescents receiving outpatient treatment for a variety of emotional and behavioral problems, the article examines what I call "prescribed" metaphors deployed in mainstream, manualized child and adolescent Cognitive Behavioral Therapies commonly used in mainstream clinical contexts. I explore the models of emotion communicated to youth by one such metaphor, youth responses to this metaphor, and the potential implications for young people as they take up the underlying models and affective practices embedded in the metaphor. Specifically, I examine how youth respond to messages about emotion metacognition and emotion regulation embedded in a metaphor that equates feelings with temperatures that can be monitored and objectively measured. I find that youth are at once convinced that abstract knowledge about internal states is inherently valuable because it is linked to desired forms of personhood, but also concerned about the limits of technical metaphors to capture aspects of lived experience and the flattening and homogenization of affect that might accompany the practices such metaphors help to enact. I analyze alternative interpretations of prescribed metaphors as well as the spontaneous metaphors used by youth to talk about their emotions and experiences of distress, in an effort to think through the politics and poetics of emotion metaphors in the context of an evidence-based psychotherapy for young people. [ABSTRACT FROM AUTHOR]

Although emotions occupy an important place in Alevism, their representation in Alevi history and the present has not yet been sufficiently researched. This study addresses this desideratum and discusses the representation and codification of emotions on the basis of central representatives of Alevi poetry. The focus of this study is the conjunction of constitutive teachings with basic emotions. In the poems, religious beliefs that are considered constitutive are explicitly linked to emotions such as love, grief and anger. In this way, central beliefs become emotionally charged and correspondingly more accentuated. At the same time, the poems convey an emotional expectation to the target audience: various rhetorical stylistic devices are used to convey to the addressees how they should react emotionally to certain ideas, memories and beliefs. In this way, these emotions fulfil the function of feeling rules that must be observed in order to be part of the collective. The analysis of Alevi poetry suggests that emotions have been an important factor in the history of Alevism for social order, group formation and religio-cultural demarcation. [ABSTRACT FROM AUTHOR]

This article assesses the topic of theatrical performances and sculpture in medieval India through an analysis of the relationship between narrative sculptures, literary works of poetry (kāvya), and theatrical performances, as these are described in the manuals on dance/theatre (nāṭya), such as the Nāṭyaśāstra of Bharata, with the commentary Abhinavabhāratī by Abhinavagupta, Saṅgītaratnākara, and Nṛttaratnāvalī. The sculptures included in this study are found in four temples built by the Hoysaḷa dynasty in the 12th and 13th centuries and represent the story of "Arjuna and the Hunter (kirāta)", told in the Mahābhārata and in later literary works that were well-known in the courts of South India, including the Hoysaḷa court. After providing a detailed description of the sculptures based on the śilpa and nāṭya śāstras (treatises on sculpture and theatre), the study suggests that the sculptors carving these images adopted the technical language of nāṭya according to its theatrical usage (viniyoga), as an instrument to convey specific meanings and to express the emotions (bhāvas and rasas) evoked in the story, in both dancing and non-dancing figures. [ABSTRACT FROM AUTHOR]

Originally intended for qualitative research, I-poetry is proffered here as a tool that counselor educators can use to help counselor trainees develop case conceptualization and treatment planning skills. Discussion includes a description of the I-poem Transcript and Case Conceptualization (ITCC) assignment, a teaching strategy that incorporates I-poetry with case conceptualization. With the discussion, we present step-by-step instructions for constructing an I-poem transcript from a recorded counseling session and using a client's "I" statements from the transcript to conceptualize elements of a client's case utilizing the T/C Model for Case Conceptualization. We include reflective questions that can help counselor trainees to devise treatment plans based on their written conceptualizations and discuss additional applications of I-poem transcripts in counselor education and clinical practice. [ABSTRACT FROM AUTHOR]

The author describes her experience of having psychosis and how thinking and writing have brought an end to her condition. She reveals growing up as a child in poverty while experiencing neglect and abuse. She considers writing and thinking as the two turning points in her life which she demonstrates through her poetry. Among the themes of her poetry are having two versions of her reality, waiting and ecstasy.

In the Covid-19 global crisis, gender-based violence (GBV) has been reshaped and reconfigured, with increases in some places and decreases in others. During our exploration of the changes in GBV through trans/feminist collaborative reflexive storying, we noticed the fragmentary nature of our storied recollections, which both represented and heightened the emotions in the work. With an intention of distilling the words even further, we challenged ourselves, as transdisciplinary researchers, to create a collaborative renga poem, which we titled, "Silent Footsteps." An ancient Japanese form, the renga is a series of short, linked verses. This article demonstrates that renga offers an accessible, collaborative poetic research method, not only for research teams but also for non-academic groups to connect with each other. It has the ability to convey deep emotion, with an authentic personal voice, while being confined to structure and rules. Along with creating two stanzas each turn in a round of emails, we all wrote a reflection to engage with the process that identifies this method of writing research as holistic and creative, able to further connect the authors, reflect on the new knowledge and meaning that this work has motivated. Based on these reflections, which are woven throughout and on the renga poem, which is presented in full at the end, we argue that (a) renga is a timely poetic form, (b) it enhances transdisciplinary collaboration, and (c) that it offers both resistance and catharsis. [ABSTRACT FROM AUTHOR]

Ismail Shahroudi is one of the capable and community-oriented poets of new Persian poetry. His poetry often takes on the color of social symbolism. He is a humanist poet whose works are full of passion and social excitement, politics, struggle, and human emotions. The purpose of this research, was analysis of Ismail Shahroudi's poetry in terms of the qualities of symbols and their rhetorical and artistic roles in suspending meaning, providing semantic multiplicity, and explaining social and critical issues through a descriptive analytical method. The research results showed that the use of symbolic images in his poetry based on his thoughts was a way to express and propose the topics and themes that he could not represent directly and clearly. It was a way to enter the problems and demonstrate the pains that the atmosphere of the society and authoritarians did not allow to approach. Shahroudi considered the symbolic approach as a window to seriously and humanely look at social and political issues, plan and explain them, and rebel, protest, and shout against adversity and disorder. He used all kinds of symbols like literary, natural, and historical symbols, etc. He also put them beautifully and consciously at the service of social and political issues. Despite the conventional usage of symbols in many cases to express his critical and protesting thoughts, Shahroudi achieved innovation in creating symbols. [ABSTRACT FROM AUTHOR]

Myth is an element of human culture that narrates a true story with an unusual nature. It discusses the miraculous action in the indeterminate time of beginning, as superhuman experiences and as a mental imaginative process with the help of works of art. It is recreated and continues to live with the help of this cultural element. Artistic-literary works become broad, deep, and lasting and acquire a global dimension and immortality. Therefore, mythological elements in different periods of Persian poetry have always been recreated with ups and downs. No period sans theme and image creation in the mythological literature and the dynamic spirit of myth has always flowed in the body of Persian poetry. Poets have used this cultural element with different approaches and have recreated it. The present study, using a descriptive-analytical method, investigates the reproduction of mythological-epic themes and narratives in the contemporary poetry of Afghanistan (from the Constitution to 1380 AD). The results of the present research show that the reproduction of mythological elements in contemporary Afghan poetry is not a pure imitation but a purposeful creation that contemporary poets, using their literary talents most artistically, relate mythological narratives and characters with events and personalities. They have adapted in their times, by linking the present and the past. They have presented their political thoughts and human emotions. [ABSTRACT FROM AUTHOR]

Emotion classification from online content has received considerable attention from researchers in recent times. Most of the work in this direction has been carried out on classifying emotions from informal text, such as chat, sms, tweets and other social media content. However, less attention is given to emotion classification from formal text, such as poetry. In this work, we propose an emotion classification system from poetry text using a deep neural network model. For this purpose, the BiLSTM model is implemented on a benchmark poetry dataset. This is capable of classifying poetry into different emotion types, such as love, anger, alone, suicide and surprise. The efficiency of the proposed model is compared with different baseline methods, including machine learning and deep learning models. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Anbar University for Languages & Literature / Magallat Gami'at Al-Anbar Li-Lugat Wa-al-Adabl is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)