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Drawing from my experience of being gender trolled for my poem, titled “Dear Nationalists”, shared on Facebook and subsequently published in a webzine, I explore the relationship between Northeast Indian Anglophone writings and the role played by language in its reception and the affect elucidated by it. Toward this end, I explore the relationship of English to other local languages/mother tongue to understand its emotive appeal. NIAL are already read as a mark of disloyalty to the mother tongue or at least invites an opinion of lacking rootedness to one’s native milieu. In this paper I explore whether the adverse reactions to my poem, however disproportionate, can be understood by exploring the reception of a poem, and the role played by gender and cultural identity in the very act of reading. [ABSTRACT FROM AUTHOR]

This paper extends recent examinations of neoliberalism’s affective impact through a close reading of Kae Tempest’s 2016 piece Let Them Eat Chaos. Building upon the work of Rachel Greenwald Smith, I demonstrate how Tempest locates geopolitical discussions of neoliberal affect in London’s particular geo-historical contexts. The significance of this approach lies in the insights Tempest offers into the digital infrastructures that underpin neoliberalism’s affective atmosphere. These findings are expounded through a close reading of Tempest’s work in dialogue with the writings of Paul Gilroy, Byung-Chul Han, Wendy Hui Kyong Chun and Mark Fisher. Through such a framework, I foreground how gentrification is a key driver in establishing, and maintaining, neoliberalism’s digitally enervating affects. The paper concludes via the work of Hans Blumenberg – whose meditations on maritime disaster help unpack the emancipatory humanism Tempest seeks to salvage from London’s ruin. Offering no grand political alternatives, Tempest’s critique of neoliberal technology aims, instead, at redrawing the parameters of political solidarity. [ABSTRACT FROM AUTHOR]

The Wandiny creative gathering of Indigenous and non-Indigenous poets, artists, Elders, and participants across Australia actively sought to foreground First Nations voices, stories, poetry, art, and ontology. This paper presents the auto-ethnographic reflections from the event organisers, demonstrating that participation in a gathering that honours Eldership and Country is a profoundly personal and spiritual experience. Following a call-and-response format, the event promoted deep listening and responsive writing contributed to a cultural sense of being and understanding. [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 traces the centrality of rivers in twentieth-century and contemporary popular music and poetry in the regional context of Punjab in the north-west of the subcontinent. In contrast to the riverine imaginations in the songs of eastern or central India, we look at the very different evocations of rivers—both real and conceptual—in the subcontinent's north-west. Rivers feature centrally in the love legends, devotional and folk poetry, and songs of Punjab, and here we trace a river-based 'hydropoetics' in Punjab, querying land-focused perspectives. From the metaphysical and the sacred to the sensual, and from the realms of the quotidian to those of mourning and trauma, we argue that in Punjab, 'singing the river' is central to people's definitions of regional and ontological identity, and to the way they understand their place in the world. [ABSTRACT FROM AUTHOR]

This paper is written in a personal capacity and mainly takes the form of a poem - in five sections - composed as a response to some of the ideas in the article by Hannu Heikkinen and colleagues in this same issue of "Educational Action Research": 'Action research as narrative: five principles for validation'. The poem takes its title and structure from that article: its coming-into-being as a piece of work is described in the short introduction. As the introduction mentions, the author-poet has discussed, in previous papers, some of the connections and disconnections between the practices of educational research and poetry. The present paper offers actual work-in-practice that illustrates how these have been played out in one context - which was as poet-in-residence at a conference on inter-professional learning and practice in healthcare. The author is very keen to tempt others into dialogue on these issues. [ABSTRACT FROM AUTHOR]

This paper focuses on issues of permission and the space for creative writing practice which emerged from a day-long poetry writing workshop with UK English Literature students aged 16–18 funded by the University of Hull's Bridges to Everywhere project. Drawing on critical frameworks from Hall and Thomson (2017. "Creativity in Teaching: What Can Teachers Learn from Artists?" Research Papers in Education 32 (1): 106–120) and Harris and de Bruin (2018. "An International Study of Creative Pedagogies in Practice in Secondary Schools: Toward a Creative Ecology." Journal of Curriculum and Pedagogy 15 (2): 215–235), pertaining to artistic practices and creative pedagogies, it seeks to explore how poetry might flourish in the classroom. It does so by outlining and discussing a set of distinctive practices identified in one writer's approach as she guides students through a workshop experience to make their own choices about their poetry writing. The paper considers particular challenges for creative practitioners and for students, concerning agency in learning about poetry within school curriculum confines. It concludes by posing some questions about how such creative practices might be sustained within a post-COVID-19 educational environment. [ABSTRACT FROM AUTHOR]

This paper reports on the use of four poetry writing exercises in the Creative Writing stream of the four-week intensive residential programme, Arts for Recovery, Resilience, Teamwork and Skills (ARRTS), with Australian Defence Force participants diagnosed with post-traumatic stress disorder (PTSD) or anxiety disorders. The programme is hosted twice annually by the University of Canberra. As a Creative Writing Mentor for the programme, I have developed these exercises, which have specific goals: metaphor creation, writing from the senses and using detail, and writing about movement and the body to assist engagement; these exercises are generative. These approaches are predicated on the idea that the therapeutic value of writing is assisted by trying to write well. They highlight the need to both restore and explore symbolic language, an ability which is sometimes lost following trauma; to use sensory detail; and the value of writing in embodied ways. After discussing each exercise, the paper reflects on their usefulness to participants. [ABSTRACT FROM AUTHOR]

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

This paper delineates a distinctly post-1960s expression of hunger and desire for food in Cuban and Egyptian cultural production. Hunger has always been present in aesthetic renditions of everyday life in both locales. Following the early-1960s socialist expansion of the role of the state, a new expression of hunger for animal protein emerged that relied on vegetarian tropes and parodied official discourse. Expressions of this "new hunger" captured the contradictory state of being conditioned, through state food programs, to see the consumption of animal products as the epitome of a healthy diet that endows one with the status of being "developed" and "modern" while simultaneously not being afforded satisfactory access to those food items due to conditions beyond one's individual control. In such contexts, the average citizen is primarily vegetarian and not by choice, while those with access to power live the promised dream of carnivorous plenty. This article analyzes several political speeches, cartoons, jokes, and songs to map the rhetorical and aesthetic characteristics of such satiric expressions and demonstrate how they were informed by the growing gap between early revolutionary official promises of food for all and actual food shortages. [ABSTRACT FROM AUTHOR]

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]

In a personal paper about the author's animus, Watsky explores his fascination with Louise Glück, after attempting to solicit first her poetry for Jung Journal and then an interview about her voice in her poetry shortly after her death. He realized he had projected his anima onto a complete stranger known only through her writing. Suspicious of his motives, he proceeds to read her entire oeuvre during a two-week period, exploring their intersections and their divergences. Watsky then narrates a previous projection onto the writer Joanna Field who turned out to be the Freudian analyst Marion Milner. After reading all of her work and convinced that she had been influenced by Jung, he sought her out in Hamstead, England. [ABSTRACT FROM AUTHOR]

This paper explores the possibilities of using character education through poetry to cultivate virtue in a secondary-school context. It focuses on the philosophical assumptions behind the intervention development and some implications of the intervention. We explore character education and poetry teaching as a tool for moral reasoning through the means of the method of 'poetic inquiry,' drawing also on insights from Wittgenstein. Character education and 'poetic inquiry' share similar goals, but are not harmonious as far as theory and methodology goes. It clearly matters what exactly is to be cultivated, and in this paper we show that 'poetic inquiry' and character education, if used to foster practical reasoning, can be used as a means of ethical-cum-emotional self-cultivation. What makes both these case-specific approaches effective, and to some extent unique, is the possible employment of creative writing, and the development of the intellectual virtue of creative critical thinking. [ABSTRACT FROM AUTHOR]

Modern Indonesia has been shaped by human rights abuses, with the military regime of Major-General Suharto (1966 −1998) standing at the fulcrum of this history. Over twenty-five years since its fall, survivors and their families continue to struggle with this legacy. This paper focuses on the case of Wiji Thukul, a disappeared poet-activist whose life and work continue to inspire progressive Indonesians decades after he played an important role in the movement that helped topple Suharto's dictatorship. It translates for a non-Indonesian audience his life, which was characterised by a creative practice that gave voice to working-class people like himself. It asserts that remembering Thukul has helped energise and galvanise efforts to advance Indonesia's conflicted and fragile democratic project. In doing this, it also charts how, in the first two decades of the millennium, he came to be an underground icon of activism and public discourse on unresolved human rights abuses and democratic reform, notably through the 'refusing to forget' movement. This has been significant in resistance to the return of authoritarianism. Beyond this, it examines how his memory has been translated for a new generation that never experienced the regime and argues for his significance in an international context. [ABSTRACT FROM AUTHOR]

This paper critically examines the motifs of genocide and violence in Zimbabwean literature. For more articulation of ideas, it intersects both preoccupations of genocide and gender violence in the Zimbabwean ideological purview, particularly in selected poetry. The paper probes into disarm sensitivity the domain of genocide and violence as universal phenomena and underscores various levels of vitriolic and diatribe people sometimes face in their interactions in a society that is polarized by racial and ethnic violence. It valorizes genocide and sectarian violence as bodily configuration of destruction on the mental, economic, social and political psyche of the people in time and space. Contextualising different perspectives from the World war I to the World war II, the holocaust, the experiences of the peoples of Afghanistan, Congo, Algeria, together with the Nigeria's Boko Haram insurgency and the Fulani Herdsmen's usurpation of lands are some examples of violence which directly or indirectly facilitate genocide. Similarly, the genocide experience of Namibia and the destruction of the Zulu kingdom of South Africa have all contributed to diverse application of genocide phenomenon which lends axiomatic credence to the loss of sense of belongings; the loss of lives and social abuse; physical and mental destruction; economic polarization and inhuman dispositions frequently experienced by people of diverse races. The imposition of colonialism, post-colonialism and neo-colonialism at divergent epochs have consequently crippled people and made them incapacitated to meet the immediate yearnings of their dynamic societies. The painful experience of genocide in Burundi and Rwanda has degenerated into hate and perjury. However, based on all those reflections on genocide, this paper specifically examines genocide and violence within the framework of Zimbabwean landscape and poetry in order to demonstrate that 'genocide has largely been visualized as a crime under international and national laws and has been criticized in all ramifications'. This paper is a response to how Zimbabwean people experience different categorizations of genocide and copious representations of these phenomena in poetry. It x-rays the human loss of lives, innate pogrom and psychological destructions ostensibly visualized by the people at different times before and after the independence of 1980. The paper showcases how Zimbabweans have not enjoyed the dividends of democracy, but rather experienced dejection in their lands leading to rejection and forceful migration to different countries. All poetry citations are to the collection of poetry entitled: (And Now the Poets Speak). This paper applies the genocide theory of 'final solution'- a psychological tenet which was propounded by Sabby Sagall and enhanced by Susan Zyl to explain the trajectory of genocide and how this brings the framework of violence to an end in Zimbabwe and in Africa at large. [ABSTRACT FROM AUTHOR]

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

In evaluating some of Heaney's prose writings about the art of poetry – what I have called his 'Poetics' – the paper explores how those ideas could enhance the teaching of poetry in the upper post-primary schools. The paper is divided into four closely interconnected sections. The first section evaluates Heaney's thoughts about the potential centrality of poetry in the English curriculum. In the second section, Heaney's thoughts about the conflict between 'poetry's self-delighting inventiveness' and 'the pressures of reality' are considered, with some complementary attention to a few of Heaney's own Troubles poems. The third section, in evaluating Heaney's critiques of some individual poets, registers some of his valuable specific, as well as more general, pedagogical insights. Finally, his prose thoughts about the wellsprings of poetic creativity are examined, together with a brief critique of his poem 'The Play Way', which is focused on teaching creative writing in a post-primary classroom. [ABSTRACT FROM AUTHOR]

This paper proposes the concept of the ‘feral’ as a mode of thought characteristic of creative-critical writing. Reflecting upon the experience of writing a poetry collection, it draws upon the work of Paul Valéry and Simon Jarvis to argue that poetry utilises a distinct way of ‘thinking-through-making’ (Jarvis, Simon. 2010a. “For a Poetics of Verse.”PMLA: Publications of the Modern Language Association of America125 (4): 931–935.) that is not paraphrasable and not analogous to prose. Taking up Merleau-Ponty’s concept of the chiasm, it argues for the ferality of all creative endeavours in their shared experience of interiority’s fluidity during practice, and goes on to assert the critical validity of such an oscillating mode of thought, observing that the ‘feral’ does not so much challenge binarised conceptualisations (interior/exteriorandcritical/creativebeing the two most relevant to this enquiry) as fail completely to recognise them as relevant. This paper argues that creative work is valid in its own right as an act of intellectual enquiry and that asserting its alterity can only be fruitful to those of us working on our creative projects within and/or without academia. [ABSTRACT FROM PUBLISHER]

Artefacts considered in this paper include poetry and prose from my previous doctoral research with social work students; exploring how they experience, express, and manage the emotional content of practice learning. The poetry includes I-poems, where words of students are taken directly from verbatim research transcripts and reconstructed as part of my sense-making. Additionally, an autoethnographic response via poetry and prose creates a counterpoint and further perspective. This co-construction between my experience and that of student participants promotes authenticity via powerful messages in poetic form. In the context of performative research, these artefacts are best shared. Utilising teaching sessions within a 3-year undergraduate social work programme in the UK, as a performative medium, these research artefacts enable current social work students to explore overarching learning outcomes. Students engage with artefacts as an introduction to qualitative research. Students experience at first hand, poetry and prose as a non-traditional research medium through the methodology of interpretative phenomenological analysis (IPA). This enables exploration of artefacts, promoting a deeper engagement with complex narratives. They discover how poetry and prose present a valuable conduit for tangible emotional engagement and connection. In addition, students develop their own creativity when reflecting on practice, to support critical reflection. [ABSTRACT FROM AUTHOR]

Despite growing evidence demonstrating the psychotherapeutic potential of reading and writing poetry for various mental health problems, there remains limited evidence in relation to psychosis. This paper explores the therapeutic potential of poetry for psychosis by exploring the narratives of people with experience of psychosis who read and write poetry and people who are using poetry therapeutically within their practice. Nineteen participants were recruited to the research and data was collected via narrative interviews. Interviews were audio recorded, transcribed, and subjected to Labovian narrative analysis. Four themes were identified: i) the unsayable becoming sayable; ii) poetry supporting discovery, play and meaning making; iii) relational expression through poetry; and iv) poetry and recovery. The research offers a poetic window into the way in which we might begin to understand the language of psychosis and the interpersonal communication challenge therein. The authors propose the concept of the "poetic wavelength" which can inform the education of practitioners who are working with people who experience psychosis. Understanding the "Poetic Wavelength" offers an alternative form of meaning making, developing the capacity of practitioners in being able to accurately detect emotional states, and to respond accordingly, ultimately improving the experience of service users. [ABSTRACT FROM AUTHOR]

This  paper argues that there is scope for considerable change and improvement in the way in which Poetry is taught at Key Stage Two in Northern Ireland. In making this case for significant improvement, the paper has three interconnected parts. In the first part, a range of critical ideas highlight the richness of poetry as a literary genre. Secondly, a  number of pedagogical ideas are presented, which emphasise the enjoyment of poetry as an end in itself. In the third part, there is firstly a comparative evaluation of the statutory requirements for teaching Key Stage Two poetry in Northern Ireland and England. Secondly, the results of a questionnaire, which was distributed to a reasonably representative selection of Literacy Coordinators in primary schools across Northern Ireland, are evaluated. The results suggest that there is Indeed considerable scope for improvement in the teaching of poetry at Key Stage Two in Northern Ireland. [ABSTRACT FROM AUTHOR]

With limited inclusion of Black traveler experiences in tourism scholarship and given that gender and racialization occur across geographies, this article explores the ways in which positionality and embodiment influence a Black diasporic woman researcher's experience in the cross-cultural context of Livingstone, Zambia. It further explores key player and researcher-participant relationships within the research context, where an autoethnographic approach and the creative analytic practice (CAP) of poetry are used as reflexive practices and to demonstrate the impact of researcher social identities (e.g. race, gender, nationality) on the research process. Aligning with the creative (re)turn in geography scholarship, the use of CAP demonstrates how similar methodologies can provide a more well-rounded view of participant voices, specifically that of Black people informing the production of knowledge. More importantly, the Blackness of diasporic researchers is valued, especially when coupled with mindful intentionality in the approach and assumptions of the research process. [ABSTRACT FROM AUTHOR]

The author undertook a self-curated independent study that led her to consider the elements of the ontology of being a whole human. Thomas Ogden, D. W. Winnicott, and poetry were integral to the experience. While contemporary psychoanalytic constructs such as object relations, fantasy, enactment, early development, and the interpersonal remain the theoretical bedrock in our work, the mounting politico-cultural fragmentation and social crises of the present moment makes it more imperative than ever that we contemplate and engage with our patients and ourselves as whole humans and all that that wholeness implies. The author identifies seven components—love, authenticity/truth, aliveness, solitude, dialectical influence, loss, and bodily autonomy—as crucial contributors to the creative composite that is being a whole human. The author considers each component with reference to specific poems and to Ogden's and Winnicott's writings and lived beings. [ABSTRACT FROM AUTHOR]

The Siculo-Norman king, Roger II (1095–1154), created a courtly culture that used art, architecture, and literature to reflect the symbolic and cultural values of the states that ringed the Mediterranean. An essential vehicle for Roger's cosmopolitan dialogue was the performance of court poetry that was broadly inclusive of the poetic conventions of the Latin, Greek, and Arabic-speaking worlds. Poetic performance at Palermo created an integrative dialogue of cultural valuation that crossed political as well as linguistic boundaries. While such acts of statesmanship might seem quaint to modern eyes, the potential of Siculo-Norman cosmopolitanism becomes more intriguing when we reflect on the current reality of failed states (Northern Africa), continuous conflicts (Israel), and fissured unions (EU) that ring the Mediterranean today. Roger's diplomatic use of poetry offers a refreshing alternative to the broken dialogue that exists in contemporary interstate relations in the Mediterranean. This paper illustrates that diplomatic poetic exchange has the ability to create cross-cultural commensurability in ways that modern cosmopolitan practices rooted in international law cannot. [ABSTRACT FROM AUTHOR]

My paper is a meditation on the performativity of history writing and uses the case of the ship, Lady Kennaway, as a point of departure. Lady Kennaway was a 19th century ship whose last voyage included transporting young women to the port city of East London, South Africa. This was under the auspices of the Colonial Office in London, as part of the Cape Governor's scheme to increase the region's settler population. I recycle the genre of the epic poem to present this history as a tale, to draw together histories of sexuality and gender relations under colonialism and oceanic crossings. [ABSTRACT FROM AUTHOR]

This article's premise is that war is ontological devastation, which opens up questions as to how to write about it. The paper contends that even critiques of war, whether critical-geopolitical analyses of global structures or ethnographies of the everyday, center war in ways that underscore erasures of non-war life, and therefore risk participating in that same ontological devastation. Engagement with extra-academic conversational worlds, both their social lives and their intellectual ones, is ethically necessary in writing war. To that end, this article examines poetic production from one front in the US-led "Global War on Terror": Swat Valley, Pakistan. Poets in Swat have produced an analysis of war as ontological devastation, but also protest their reduction, in the minds of others and themselves, to the violence-stricken present. This intervention is not an intellectual critique alone. Focusing on a new genre of "resistance" poetry, this article shows how poets resist war by maintaining worlds partly beyond it. In this, the critical content and the social lives of poetry are inseparable. [ABSTRACT FROM AUTHOR]

Since its inception, Nigerian poetry in English has always been characterized by protest in nature. Beyond its aesthetic scope, it has been critical of socio-political and environmental problems that have bedevilled the nation. This paper is concerned with such literary instrumentalism; the use of poetry by Nigerian writers, living in Nigeria, as an instrument against abuses of human and environmental rights. The theoretical framework that is employed is drawn from the notions of protest writing in Africa and ideas of postcolonial ecocriticism. This will provide a context that brings the fate of humans and nonhumans together under the weight of a failed home government and multinational capitalism in contemporary Nigeria. This study will trace the development of literary and political events in Nigeria, followed by a textual analysis of selected poems. Attention will also be paid to the growth of environmental legislation in Nigeria since the colonial period. This article concludes by arguing that in the absence of an effective or practical legal framework, poetry remains one of the most significant instruments for highlighting the violation of human and environmental rights. As such, the study benefits contemporary scholarship by drawing attention to the social dimension of poetry – and the arts generally – as well as the role literature plays in foregrounding environmental crises in postcolonial societies. [ABSTRACT FROM AUTHOR]

On the question of structure, form and rules Singer and Walker write: ‘Like the drag queen or the hermit crab, we borrow our shapes and shells to find a space our bodies fit’. By examining two scholarly works – ‘Scenes from a Radical Theatre’ and ‘Ethics, Writing, and Splinters in the Heart’ this paper seeks to examine the question of form when making creative scholarly works by drawing on the interdisciplinary domain of nonfiction studies. Here, we are thinking of not just defining what form is being employed in any one piece of writing – i.e. the ‘how’ of the work – buthowthe how – this shape, thisraison d'etre– comes into being on the page to direct/fashion/influence and/or define and communicate meaning. It is a way to think expansively or differently about our scholarly practices, an occasion to get under the skin of what we do, to experience ‘lateness’, and ‘after thinking’: what might invention look like; what are the risks, the challenges. In presenting this paper, I want to dare myself too. Learn lessons from this study. See if I can write it in a way that is contiguous with my thinking. [ABSTRACT FROM PUBLISHER]

Background: People in palliative and end of life care often experience issues relating to feelings of loneliness and feeling unable to connect with and express their emptions. This can lead to poorer outcomes for people, and inhibits person-centred experiences. Aim: To understand the benefits of poetry therapy for people in palliative and end of life care. Methods: A narrative review of literature pertinent to the use of poetry with people in palliative and end of life care produced 13 relevant papers, which are presented within this paper. Results: Within the literature, 4 key themes emerged: (1) The impact of poetry on the wellbeing of people in palliative and end of life care, (2) the impact of poetry on the wellbeing and confidence of health care professionals, (3) the value of poetry for family members preparing for and coping with bereavement, and (4) The value of poetry in facilitating person-centred practices in palliative care. Conclusions: Poetry therapy can enable a person-centred culture by promoting feelings of well being for people in palliative care, and is also beneficial for health care professionals and family members. [ABSTRACT FROM AUTHOR]

This paper defines the notion of dialogic local space and highlights its importance to teaching and learning. A dialogic local space values multiple local realities as it invites us to listen to, take up, and have confidence in our own local everyday and personal realities, and to listen to, consider, and respond to other local realities. This openness can deepen and widen how we know and see our own realities. We show what a dialogic local space can look like in a second grade classroom community. We employ sociocultural discourse analysis to illuminate one teacher's pedagogical choices in a month-long poetry Writing Workshop unit for seven-and-eight year olds. We present a big picture look at the unit and then take a close look at five minilessons. Findings detail ways this teacher's minilesson design, flow, and content cultivate dialogic local spaces, and how a dialogic stance, manifest in classroom talk practices, encourages students to participate in these spaces. [ABSTRACT FROM AUTHOR]

Theorization of cultural and political issues of Northeast of India often creates a disengagement from the actual cultural performances produced in the region. This unique geo-cultural place is sometimes homogenized. In actuality, it is the home of diverse socio-cultural practices and performances. In the context of globalization, deforestation, Christianization, other internal clashes and external influences, material bodies, here, are continuously being rewritten in socio-cultural sphere. Non-representational theory considers poetry as an effective mode of exhibiting the virtual multiplicity of the nonrepresentational world. This paper will focus on exploring the corpus of Northeast Indian English poetry that focuses on social practices and bodily experiences to interpret the entire cultural flow of everyday life. As Non-representational Theory positions 'affect' as a central issue to individual and collective disposition in constituting the affective political discourse, this paper will also indicate some political imperatives by advancing a politics of hope in the realm of socio-political sphere. [ABSTRACT FROM AUTHOR]

This paper considers the philosophical concept of cosmopolitanism within the global context of increasing securitisation and the racial surveillance of asylum seekers and migrants. It explores how a literary text, such as Dionne Brand's long-form poem Inventory (2006), offers a way to assess critically the hidden architectures of migrant detention centres and illuminate what has been called the 'banopticon' apparatus and its disciplinary management of the immigrant other (Bigo, D., 2008. Globalized (in)Security: the Field and the Ban-opticon [sic]. In: D. Bigo and A. Tsoukala, eds. Terror, Insecurity, and Liberty: Illiberal Practices of Liberal Regimes After 9/11. London: Routledge, 10–48). In contrast to literary writers who seek to humanise the plight of individuals caught up in the so-called migrant crisis, Brand instead represents flows of data that tally the overwhelming effects of the nation-state's entanglement with globalisation, as well as the material realities of the state's response. Drawing on developments in surveillance studies including Steve Mann's notion of 'sousveillance' – a form of counter-surveillance initiated from below – this paper analyses Inventory and proposes that it generates a cynical cosmopolitan vision, a cosmopolitanism of detachment that bears witness to the structural forms of state oppression and disenfranchisement. The paper concludes by aligning Brand's negative cosmopolitanism with the politics of refusal, as first articulated in cosmopolitanism's origins by Diogenes the Cynic. [ABSTRACT FROM AUTHOR]

This paper proposes to procure a delinquent view on the dominance of narrative in the sourcing and representation of consumer insights, in theorised storylines and in marketing management. It aims to provide a form of consumer intelligence that captures the flow of discontinuities in the fragmented expressions of marketing, by proposing a critical poetics as an aesthetic form of sceptical reflexivity on brands. Traditionally narrative perspectives of theory and method have prevailed in the storied understanding of brands and consumption. This paper proposes that the inherent openness of poetics in method and representation provides an academic and managerial alternative that combines the big mythical stories and the small real-time experiences of the everyday materiality of brands. The exploration of a critical poetics as a formal 'mattering' of the cultural complexity of marketing artefacts is advanced in two ways: firstly as a complementary mediation of the singularities of marketable meanings in a wider cultural setting and secondly as a critical alternative for a re-textualisation of the brand concept itself. As a critique of existing critical narrative itself, and especially as an alternative for the predictable countercultural mythology against the McDonald's brandscape, new poetry has been purposively written. This is an evocation of the messy multiplicity and ambiguity of consumers and outsiders, in the warm chaosmos and on the far fringes of Birdland. [ABSTRACT FROM AUTHOR]

Background Methods Results Conclusions Long-term care homes for older and disabled adults, including those who are living with dementia, facilitate a diversity of recreational activities and program as social interventions. The relationships between interventional elements and participant impacts are not well understood.This paper explores a poetry methodology and reports the findings from a pilot test of Dementia Arts Mapping, a novel ethnographic observational technique, to better understand impacts of poetry and recreation on people living with dementia in long-term care settings. Between 2017 and 2020, at 17 skilled nursing facilities throughout Wisconsin, researchers situated within care homes observed participants during diverse activities.We found poetry workshops surpassed other activities in eliciting self-expression.Dementia Arts Mapping is an effective instrument for generating insights about dementia care and may be further enhanced for future use in research to inform care provision to foster meaningful engagement with people with dementia. [ABSTRACT FROM AUTHOR]

Empathy is an important aspect of therapeutic relationships in health and social care settings. Health educators can foster empathy development in learners through creative writing activities. Drawing on the humanities, specifically poetry, this paper offers strategies for educators to support empathy development in learners, with a focus on service user poetry and associated creative writing activities. We discuss how poetry can enable alternative perspectives about care to emerge thereby challenging previously held assumptions about mental and physical states. Using poetry can enable a rehearsal of empathy by bringing experiences to the learner in a safe and facilitated environment. Through creative writing activities, we believe that students can learn to better understand and empathise with others, as well as explore their own feelings and experiences related to caregiving, to support self-care. [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]

Creative writing workshops in high-school English-as-a-foreign-language education have had little attention from researchers so far. Addressing this gap, this paper investigates the creative production of Brazilian high-school students after a workshop unit on iconicity. Their iconic poems are analysed visually, thematically and stylistically. Despite variation in students' self-identified language proficiency, the results show that the poems presented visual and thematic diversity. The stylistic analysis evidenced the richness of students' creations notwithstanding their lack of English proficiency. Although some surface language infelicities are identified, these do not limit their expression. Overall, the findings reveal that iconicity was not only an appropriate topic for these students, but it also proved to be a genuine way by means of which they could freely express their individuality, breaking away from conventions, reflecting on a variety of matters, and registering their observation of the world and of themselves. [ABSTRACT FROM AUTHOR]

Drawing from topology and literature, this paper seeks to show how the key factors involved in the experience, enjoyment, and understanding of poetry may be illustrated using Brouwer's fixed point theorem and Proust's madeleine episode. Its aim is to provide a cross-disciplinary framework which allows both the understanding of poetry through mathematics and of mathematics through poetry. [ABSTRACT FROM AUTHOR]

There is a contradiction in how Stevie Smith saw the relationship between her poems and drawings. On the one hand, she looked at her doodles as vital to her poetry and backed with a great deal of intentionality. She painstakingly cut and pasted them into her drafts and left detailed notes to her publishers when those placements were not to her exact specifications. On the other hand, though, she talked about her doodles as if they were ephemeral and backed only by caprice. This essay argues that Smith's doodles play at the intersection of intentionality and caprice; in doing so, they become deliberately detachable objects that signify both placed with and when displaced from her poetry. Decisions, whether by Smith or by her editors, to move or remove an image have both subtle and dramatic changes for readers' experiencing of her poems. This paper relies on archival and published sources to provide readings of several of Smith's poems including 'Do Take Muriel Out,' 'The Rehearsal,' 'The After-Thought,' and 'Not Waving but Drowning.' In their continual ability to be removed and reattached to her poetry, Smith's doodles destabilize the texts that they supposedly compliment, while at the same time also revitalizing them by allowing them to remain open to new interpretations. [ABSTRACT FROM AUTHOR]

This paper explores teaching in higher education through poetic transcription in order to illustrate the range of influences that shape the ways in which we teach. Through using poetry, this paper examines dimensions such as the past, emotion, humour and uncertainty, which are important aspects of teaching that are sometimes sidelined by more traditional research methods. The paper evokes the richness and complexity of academic life through placing the personal and the particular at the centre in a way that highlights the complexity. In this way it invites participation in the lives of others through providing a window into the academic experience. [ABSTRACT FROM AUTHOR]

The paper takes its cue from Zimbabwean poet John Eppel's views on his use of satire stated in a recent paper. It explores how his different approaches to writing at different periods of his country's history are reflected in two poems from his collection Songs, My Country Taught Me. [ABSTRACT FROM AUTHOR]

In the city of Dar es Salaam, hip-hop and performance poetry events are a vibrant, visible presence. Research into this phenomenon has generally explored its relation to historical, economic, social or political contexts. Such approaches are only ever rarely concerned with the experiences generated by and within the performances. This paper takes aesthetic experience as a point of departure, exploring how participants experience performance poetry and hip-hop in Dar es Salaam. Reflecting on the notion of 'vibe' as expressed by participants during fieldwork, I suggest it refers to the aesthetic experience of performance which is also a form of knowledge production through which participants engage with their everyday lives. 'Vibe' allows us to grasp the sensuous rendering of hip-hop and performance poetry and highlights the entanglement between body, space and text in producing the aesthetic experience of the performance. [ABSTRACT FROM AUTHOR]

This essay aims to discuss Percy Bysshe Shelley's poem The Mask of Anarchy within its historical context and in relation to contemporary critical debates. The paper intends to explore Shelley's own response to the arbitrary power that engendered the violence of the Peterloo Massacre on 10 August 1819, during a demonstration in favour of Parliamentary reform. The essay opens by recalling the remarkable phenomenon of the radical free press that was produced in reaction to Peterloo, giving rise to what has been called a 'culture of resistance'. It then attempts to explore the intricacy of Shelley's own ideological views, together with the creative process that enabled him to turn The Mask of Anarchy into a visionary poem, both aesthetically autonomous and politically interventionist. [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]

This paper investigates how differential equations models have been used to study works in literature, poetry and film. We present applications to works by William Shakespeare, Francis Petrarch, Ray Bradbury, Herman Melville, Ridley Scott and others, as well as applications to Greek mythology and the Bible. This paper gives a range of useful examples for teaching, and we discuss how these models have been used in the classroom. [ABSTRACT FROM PUBLISHER]

Referring to Senancour's Oberman, Hölderlin's Hyperion and Carl David Friedrich's painting Wanderer above the Mists, this paper attempts to figure out the romantic approach to sky and clouds as cultural, artistic, and philosophical symbols. Considered as an unlimited space, the sky is an endless matter of meditation regarding human finitude. In several European countries, the recent experience of lockdown has revived this meditation in new terms: notable changes in the sky's appearance suggest that our environment cannot only be regarded as our property, of which we are the guardians; it requests a poetic attention that helps us face the limitless world. [ABSTRACT FROM AUTHOR]

This paper uses a Gwen Harwood poem to open up questions of "knowing" around the teaching of Literature. Following our own brief reading of the poem, we particularly discuss ways in which questions of knowing/knowledge have been considered in Literature teaching historically, such as: - the binary of "knowledge" and "experience" - the role of the cognitive in teaching/studying Literature - forms of knowing that include the aesthetic and affect - how knowledge might be "made" in the Literature classroom: the role of pedagogy and the question of "producing culture" The article concludes with a discussion of how such issues have arisen in a set of interviews with a small number of teachers in Australia and England. Their views on the teaching of Literature help us reflect on the knowledge issues opened up earlier in the article. [ABSTRACT FROM AUTHOR]

This paper investigates what it may mean to re-imagine learning through aesthetic experience with reference to John Dewey’sArt as Experience(1934). The discussion asks what learning might look like when aesthetic experience takes centre stage in the learning process. It investigates what Dewey meant by art as experience and aesthetic experience. Working with Dewey as a philosopher of reconstruction of experience, the discussion examines responses to poetic writings and communication in learning situations. In seeking to discover what poetic writing (as art) does within the experience of a reader and writer it considers three specific learning situations. Firstly there is an examination of a five-year old child’s experience of shared communication through the story of Horton the Elephant. Secondly there is an account of the responses of an 11-year-old child to poetry in a 1950s classroom setting, and later reconstructions of those experiences by the child as adult. Thirdly, the paper extends to intensive writing with 12 to 13-year-old children. The focus is on the process of learning via acts of expression as aesthetic experiences. Through art as experience the child develops perceptions that recover a coherence and continuity of aesthetic experience in art as in everyday life. [ABSTRACT FROM AUTHOR]

Reading Dryden’s seminal essay, ‘Preface concerning Ovid’sEpistles’ alongside Benjamin’s ‘The Task of the Translator’, this paper explores creative processes in which a selection of work from contemporary Korean poet, Lee Young-Kwang, is transmitted from its native Korean and into English-language versions. Lee’s poetry is a complex affair, and his challenging work – which includes implication-filled code-switching and seemingly untranslatable wordplays – places explicit pressures on those who would attempt to make versions. We characterise our task as a spondaic mode of responding and echoing; after Benjamin, we have striven to produceaccurate transmissions of essential content.Focusing toward two poems in particular, ‘나무 金鋼 로켓’ (‘Wooden Diamond Rocket’) and ‘그늘 속의 탬버린’ (‘Tambourine in Shade’), this paper demonstrates how Dryden’s third rule of translation –imitationthrough non-equivalence – enables our small team to bridge gaps (syntactical, orthographic, prosodic, cultural) between Korean and English. Traversing heuristic processes including (but not limited to) correspondence, abandonment, and invention, we have created intimate but wholly strange (and we feel poetic) connections in which the source begets an echoing other. [ABSTRACT FROM PUBLISHER]

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]