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The activity of self-translation may be seen as a mise-en-scène of the hybrid auctorial self, as well as an ideal stage for a reconstruction of meanings, through a second original. As a (re)creative paradigm, self-translation echoes the concept of poiesis as a 'bringing into appearance', according to Heidegger's interpretation, namely as a crystallisation of the refracted facets of language and self. In this connection, the genetic approach may represent a tool to access the aesthetic world of the writer (the poietes) and to explore his (re)creative process. This paper discusses the case-study of the distinguished Taiwanese poet Yu Guangzhong (1928–2017), and his self-translated poetry collected in Shouye ren 守夜人/The Night Watchman. Through a comparative reading of three selected bilingual poems with their manuscript versions, this paper aims to investigate Yu's poetics of self-translation, while observing through the multi-layered spectrum of a linguistic and cultural rendering. [ABSTRACT FROM AUTHOR]

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]

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]

Nietzsche's interest in tragedy continues throughout his work. And yet scholarship on Nietzsche's account of tragedy has focused almost exclusively on his first book, The Birth of Tragedy – a work which is in many ways discontinuous with his more mature philosophical views. In this paper, I aim to illuminate Nietzsche's post-Birth of Tragedy views on tragedy by setting them in the context of a particular historical conversation. Ever since Plato banished the tragic poets from the kallipolis, various philosophers have attempted to respond to his challenge to offer a 'defense of poetry'. What Nietzsche offers, I argue, is a distinctive form of response to Plato's challenge. I show how Nietzsche takes seriously Plato's worries, and even ends up in partial agreement with him: tragedy is not (unqualifiedly) valuable; it can be spiritually dangerous. Key to Nietzsche's account is a distinction he draws between two types of tragic audience. For the 'lower types', tragedy is – as Plato feared – dangerous. For the 'higher types', however, tragedy can act as a regenerative force. Finally, I discuss a distinctive form of value that tragedy makes available to a modern audience: tragedy can act as a stimulus towards the process of the revaluation of values. [ABSTRACT FROM AUTHOR]

The Dutch-Flemish literary project De eenzame uitvaart (The lonely funeral) consists of city-based groups of poets who write poems and perform them at funerals of fellow citizens who died lonely and often anonymously. At first sight, this project could be considered as a revival of the genre of occasional poetry and, more generally, as an exponent of the 'revenge' of the lyric in the twenty-first century. This revenge, a term borrowed from Thomas Vaessens, implies that contemporary poetry no longer functions as a marginal and elitist genre but has reconquered its popular status and societal value – in short, its heteronomous function. This paper aims to question this idea of the lyric's revenge by analysing the ambitions (as expressed by the initiators of the project) and a selection of poems of De eenzame uitvaart. It contends that the project is founded on a firm belief in the potency of the lyric and its specific language but that this belief is often contradicted by the hesitant rhetoric of the actual poems. This discrepancy between great ambitions and hesitant practice is interpreted as a symptom of the contemporary status of the lyric, which takes revenge yet only reluctantly. [ABSTRACT FROM AUTHOR]

Philosopher Byung-Chul Han’s In the Swarm (2017. Translated by Erik Butler. Cambridge, MA: The MIT Press) foretells of a near-future in which ‘the mounting narcissification of perception is making the gaze, the other, disappear’ (24). Asking the rhetorical question, ‘If poets are in the business of cultivating “voice” then, logically enough, to which ends?’ this paper intends to argue that poetry can be an ethical cry seeking a fraternity of others in a ‘post-truth’ era, which Han imagines to belong to the newly emerging Homo digitalis (11). Finally, this paper speculates that the creative producer must turn, politically, to face ourselves within our others, as distanced and as near as a mirror’s reflection. Making-sacred in the marketplace-real, by these means can we hope to shelter together, a fraternity gathered against what Han characterises as a fast-approaching shitstorm (2). [ABSTRACT FROM AUTHOR]

Jean-Luc Nancy’s The Inoperative Community (1986) and subsequent critical responses to it [Rorty, Richard. Contingency, Irony, Solidarity. Cambridge: Cambridge University Press, 1989; Agamben, Giorgio. The Coming Community. Minneapolis: University of Minnesota Press, 1993; Blanchot, Maurice. The Unavowable Community. Barrytown, NY: Station Hill Press, 1998; Esposito, Roberto. Communitas: The Origin and Destiny of Community. Stanford, CA: Stanford University Press, 1998; Miller, Joseph Hillis. The Conflagration of Community: Fiction Before and After Auschwitz. Chicago: Chicago University Press, 2011; Miller, Joseph Hillis. Communities in Fiction. New York: Fordham University Press, 2014] create a philosophical framework which can be applied to unearth communities of culture which go beyond geographical, physical or temporal contact. This paper defends this cultural framework’s usefulness to ascertain points of contact for contemporary poetry in English on both sides of the Atlantic, thus responding to Nancy’s denunciation of the “dissolution, the dislocation, or the conflagration of the community” in modern thought. The fate of poetic production across the Atlantic seems to be divergent; while in Europe poetry is a liminal activity, it remains a vibrant activity both in the USA and Canada. Younger British poets continue to write lyrical and experiential poems, often within received forms. It contrasts with the overabundance of new, radical ideas about poetry put forward by American and Canadian poets: from experimental, technology mediated or intermedial poetry to conceptualism, poets beyond the Atlantic try to self-impose limits to poetic diction in order to supersede Romantic poetics. Comparing both poetics proves most fruitful when they are analysed against an unworked (Nancy’s désoeuvrée, often also translated as inoperative) transatlantic community of practice: there are formal influences between European movements such as French Oulipo in the 1960s or Fluxus in the 1970s with current poetry in the States and Canada; conversely, poetry in Europe has been permeable to high Modernism and post-modern aesthetics from across the Atlantic. As the paper demonstrates, this comparative approach provides a more inclusive vantage point that insists on the fluidity of our contemporary global culture and allows for the establishment of connections hitherto unnoticed in current poetry, thus countering claims of its stagnancy, commoditisation and complacency. [ABSTRACT FROM AUTHOR]

This paper explores the impact Keats had, both as a 'poet' and as a 'man', on the young apprentice William Smith Williams, who worked for Taylor and Hessey and who may have been the last person to shake Keats's hand as he boarded the Maria Crowther for Naples. Williams's poem, published in The Table Book in 1827, reveals Keats's attractiveness to his teenage admirer, and suggests some of his feelings on leaving England. [ABSTRACT FROM AUTHOR]

This paper examines what it takes to call yourself "a poet" through the lens of inclusive programming at Brooklyn Public Library. [ABSTRACT FROM AUTHOR]

The poet speaks in a particular way that can "bring things to nearness". This particular way of bringing things to nearness may have some useful implications for understanding human well-being. Sometimes I have noticed that, when I read a poem that really "speaks to me", the poetic language puts me in touch with well-being in a very palpable way, and this has brought me to wonder about this question: What is it that is taking place in a much loved poem that can bring me close to a felt sense of well-being? This paper will draw upon some philosophical insights from the writings of Heidegger and Gendlin to explore what poetry opens up and holds in order to speak of well-being. What is it about poetry that is adequate to hold the deepest roots of hearing with the fullness of what is speaking? Heidegger's later ideas about the essence of language and its non-representational power held within the unity of "the fourfold" may be helpful here. And what is it about poetry that can open up worlds, open us to sensation, and carry us beyond the literal words into the experience of well-being? Gendlin's ideas concerning "thinking beyond patterns" and "carrying forward" may illuminate how poetry holds open what other language cuts off for us. The paper will conclude by pointing to poetry as a crucial form of adequate human discourse that is up to the task of understanding well-being and is therefore highly relevant to health and social care. [ABSTRACT FROM AUTHOR]

This essay considers considers two pamphlets from the early career of John Taylor the Water Poet, The Pennyles Pilgrimage (1618) and The Praise of Hemp-seed (1620), and explores Taylor's description of writing as a branch of domestic industry whose virtues reside in plainness rather than fineness. Most early modern theorists of poetry privileged ingenium or natural wit, arguing that literary excellence originated in the smooth, spontaneous workings of the imagination. Drawing resourcefully from contemporary theories of authorship, including Ben Jonson's, Taylor proposed instead that literary value depended upon exercitatio , the intellectual and physical labour involved in writing. It is argued that the familiar contemporary figure of the pot-poet enabled Taylor to contribute in important ways to contemporary debates about literary worth. Although pot-poetry was associated with both social roughness and aesthetic worthlessness, this category of literature nevertheless provided Taylor with a vocabulary to describe and enact new strategies of professionalism in print. [ABSTRACT FROM AUTHOR]

The paper by Barbara Pizer is discussed in terms of the analyst's use of the self. An important element in the use of the self in the psychoanalytic situation is the analyst's deeply personal, unique guiding spirit or muse. Poetry acts as a muse for Pizer. In this context, the historical romance between poetry and psychoanalysis is discussed. A successful poem can strike an immediate resonance with the known but inchoate and unarticulated experiences of the reader or listener. Like a dream, a poem can stimulate inquiry without footnotes, citations, or metapsychology. But unlike what Freud believed, poets do not have easy access to psychological insights. Pizer uses poetry in the consulting room to "construct, deconstruct, and then construct again." Her refusal to make such use a technique or method is supported with two illustrations from Orfano's own clinical work. [ABSTRACT FROM AUTHOR]

What is the thinking that poetry does? In his essay, ‘The origin of the work of art’, Martin Heidegger proposes a distinction between two poetic modes –DichtungandPoesie –in which the former is an extra-linguistic framing essence which makesPoesie, the manifestation of poetry in language, possible. In another essay, ‘What are poets for?’ the philosopher claims technology creates a fissure of forgetfulness between selves and contexts, and that ‘To be a poet in a destitute time means: to attend, singing, to the trace of the fugitive gods’. This ficto-critical paper – written after the experience of a week's vipassanā meditation – reads Robert Hass' poem ‘Meditation at Lagunitas’ as a text that aims for chthonic reconnection between objects, experience, and language. In speculating that processes of active and non-linguistic practice are generativeandhumanising, this paper re-reads meditation as a mode of gnostic self-extinction (after Eliot) which can enable access to intuitive zones (Heidegger'sDichtung), and which situates ‘an understanding of reality that transcends ordinary comprehension’. [ABSTRACT FROM AUTHOR]

This paper aims to shed further light on the life and work of the little-known author Catalina Clara Ramírez de Guzmán (1618-c.1684) by attempting to situate her production in an as yet unexplored context, namely, the tradition of literary forums and academias in her home city of Llerena and in Extremadura generally. The task is not without difficulties due to the paucity of surviving records of such circles in the region. Although there are no actual records of her participation in academies or formal competitions, a detailed consideration of Ramírez de Guzmán's family and social background and an analysis of a broad selection of her poetry provide strong circumstantial evidence that she was familiar with, and very probably contributed to, gatherings of this nature in Llerena, which boasted a flourishing community of poets, including members of her own family. The paper contends that a sizeable portion of her poetry may have been penned for such occasions. [ABSTRACT FROM AUTHOR]

This paper offers a circling around the interrelations of language and trauma, identity and forgiving through the figure and poems of Paul Celan. In this context, the circle itself becomes a cipher for the trauma of the Shoah and the (im)possibility of speaking or writing poetry after Auschwitz. Via Jenny Edkins, Giorgio Agamben, and Derrida, the poetic is interrogated as an ethical response to the political and social betrayal that is trauma; the subsequent effect of trauma on speaking and listening to testimony is then considered. Finally, the paper explores the poetic as a cipher for forgiving, distinct from moral forgiveness and guilt and equally separate from legal responsibility and debt. Celan's own suicide and one of his elegies are considered as final, literal ciphers in this perpetual and imperfect circling. [ABSTRACT FROM AUTHOR]

Copyright of Hispanic Research Journal is the property of Taylor & Francis Ltd 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.)

Although the battle between culture and commerce isn't over, the conflict has entered a new phase. Research reveals that elite artists like Picasso, Dalí and Warhol – among others – were canny commercial operators who knew their own worth and weren't reluctant to exploit it. However, we are less well informed of culture and commerce's co-dependency in artistic spheres where money rarely intrudes. This paper examines the marketing activities of T.S. Eliot, perhaps the preeminent poet of the twentieth century and epitome of art-for-art's-sake avant-gardism. It indicates that, aided and abetted byil miglior fabbro, Ezra Pound, Eliot proved to be an adroit authorpreneur. Their marketing ofThe Waste Landbrand was ahead of its time and in tune with our own. Few poets are condemned to fame and fortune. Eliot was an entrepreneurial exception. [ABSTRACT FROM PUBLISHER]

This paper investigates gender in Middle English Pearl through language analysis in broader literary, cultural, and philosophical contexts, focusing particularly on the portrayal of the maiden, but taking into account also the dreamer-narrator and the Lamb. It is demonstrated that, far from being a consistently feminine figure, the Pearl maiden is a queer being, invested with masculine attributes as well. The article traces the reversals of normative gender patterns and sexual roles throughout the poem and attempts their interpretation. It questions, for the first time in Pearl criticism, the assumption that the maiden was a female person, probably the poet's daughter. [ABSTRACT FROM AUTHOR]

The ruins of classical antiquity provoke a paradoxical, antinomic response; they evoke fears of decay and death, even as they promise survival and even immortality. The paper illustrates this point by discussing a newly discovered fragment of Sappho. The author suggests that the poem's meanings, held in abeyance, echo the ways in which we encounter the ruins of antiquity as twenty-first-century readers, identifying with these bodies, desiring both the pathos of ruin, and the consolations of the material objects' relative immortality. Twenty-first century readers of Sappho's poetry read, restore and reinscribe her poems within the horizon of their own aesthetics, their conscious and unconscious desires. The fragment, with its doubled, ambiguous, ambivalent endings, juxtaposed with other recovered fragments, is emblematic of the encounter with the remnants and ruins of all of antiquity, material remains that call for identification and fantasy, the recognition of inevitable physical decay, and the utopian hope for immortality, or, failing that, survival and the persistence in ruin. [ABSTRACT FROM AUTHOR]

The fleetingness of time and the anguish it provokes is one of the most recurrent topics in modern literature. The romantic attitude of the poet tortured by thinking of the brevity of life is often adopted by Lorca, who in his writings proposes two ways of 'remaining', that is, not being forgotten by not dying: 1: having descendants, an option about which the poet will express a certain frustration in the poems; 2: simply writing and being remembered in every reading of his works. In this paper I will try to show how Lorca attempts a third way in the Suites (1920-21) by trying to insert himself into a mythical tradition which, according to Ricoeur (1974: 426), is an eternal discourse, updated throughout history and becoming an archetype into which people's experiences can be fitted, by including mythical references in his poems, which reflect the experiences and wishes of the poetic voice. Moreover, the mythical tradition that Lorca chooses to connect with is that of the deities who are able to be fertile without sexual interaction. In this light the Suites become one of the first attempts made by Lorca to become 'eternal', due to their form of intellectualized Poetry, which asserts their validity independently of when or by whom they are being read, and the references to myths. [ABSTRACT FROM AUTHOR]

Irisawa Yasuo (b. 1931) is one of the most theoretical and experimental poets that postwar Japan has produced. His poetry is highly individual; its themes and techniques place it firmly in the mainstream of contemporary international poetry. Like T. S. Eliot, Irisawa insists on the impersonality of the poet in creative expression. The point of his work is arrived at through implication, through the allusiveness contained in language; in language games reminiscent of James Joyce, and echoes from past time reminiscent of Eliot's work. Irisawa creates ambivalent images tied to the theme of mortality. This paper explores the variety of his narrative techniques, his creation of myths, his use of satire and even nonsense poetry. It considers the theory of the restructuring of language he expounds in Memorandum on the Structure of Poetry: if words are divorced from their daily usage, they may be joined together in new ways to create 'a meaning beyond meaning'. Irisawa does this in abstract conceptions filled with references and allusions to existing literature, as we see in My Izumo, a poem about spiritual identification with the past, which alludes to ancient Japanese works such as Izumo Fudoki and the Kojiki. This article shows how Irisawa's work exemplifies a dominant trend in modern Japanese poetry: the denial of meaning as it is ordinarily interpreted and in its place the use of language to create abstract visions which contain a 'meaning beyond meaning' - Irisawa's central thesis. [ABSTRACT FROM AUTHOR]

John Aubrey's Lives derive from a commitment to ‘encourage’ science and public projects which began in 1649 with his support of the inventor Francis Potter. Aubrey's life's work was the fostering of a diverse community of practitioners, humble and distinguished, occasional and highly committed. His Lives represent and maintain ‘conversation’ between such persons, forming a paper community in which ‘hints’ of tentative or half-formed ideas might be preserved for the public benefit. The valuation of brilliant insights over their laborious perfection and demonstration is a characteristic of the later seventeenth-century's understanding of the proper nature of gentlemanly participation in intellectual culture. However, this interest in recording and pursuing ‘hints’ leads Aubrey to share the fate of polymaths like Wren and Hooke, called by Samuel Butler ‘the Hint-Keeper’, the impressiveness of whose breadth of interests were eclipsed by the model-offered by Newton after the publication of Principia in 1687. [ABSTRACT FROM AUTHOR]

This paper looks at the textual transformation of noblewomen/poets such as Izumi Shikibu into yūjo or courtesans and bodhisattvas. In trying to make sense of this remarkable reconfiguration, it looks at the many contending Buddhist discourses that shaped medieval texts. It argues that while the practice of poetry, in the hands of male poets, becomes a revered michi which is seen as being concomitant with the Buddhist Way, the noblewoman's poetry is not granted the same status. Women are seen as inherently sinful and lustful and hence their poetry cannot be easily assimilated to the goal of enlightenment. It is by recasting the noblewoman as yūjo , thereby foregrounding and indeed exaggerating her sexuality, that medieval texts, drawing on tantric and other practices, are able to salvage both the noblewoman and her poetry . [ABSTRACT FROM AUTHOR]

With a staring point of seeing a poem as a free association unto which the reader might form his/her own associations, the work of Emily Dickinson is discussed from the point of view of early development and relationship to mother. The paper is based on selected poems, letters and chosen parts from the biography of Emily Dickinson. It is argued that the poet seems to have experienced a trauma during the first months of life in the shape of erratic infant care, that caused environmental impingement. Having to react at this early age made the gradual unfolding of a secure feeling of identity precarious and had deep consequences for body-mind development, and for the relationship between inner and outer realities. The theory of Winnicott and his concepts of "going-on-being", "male and female elements" and impingements are considered. The relationship of Emily Dickinson to her sister-in-law, Sue Gilbert, is seen as important, as the latter had a capacity for being a container of otherwise hidden parts of the poet's inner life. Emily Dickinson's life in isolation, questions of creativity born from experiences of absence and loss and from early bridges broken down, are discussed. [ABSTRACT FROM AUTHOR]

Anglophone women’s poetry in Manipur in the last decade critiques the norms prevalent in patriarchal societies. This article focuses on six contemporary women poets whose works highlight the woman, her subjectivity, and her truths. Collectively, their works constitute an emerging feminist poetic tradition in Manipur. Despite the multiplicities of location and creative idiom of each poet, their poetry converges upon seminal issues and amplify one another’s voices, giving us an intimate glimpse of women’s trysts with everyday structures of patriarchy. The respective poets attempt to rewrite previously inscribed taboos and cultural practices—some by reimagining tropes that have weighed against fair representation of women such as the body, female desire, and myths; and others by breaking the cycle of abuse and shame through testimonial poetry. [ABSTRACT FROM AUTHOR]

This essay considers the role of the untimely in the work of Stevie Smith. It explores motifs of belatedness in her reception history, suggesting how her own authorial persona and public presentation encodes this response. It examines the notion of the last-minute in her work, focusing on motifs such as disruption, elongation and delay. It suggests how her revision practice responded to the idea of being 'too late', with the moment of publication providing her with further prompts to revise her work. It focuses on final words and endings in her poetry and frames her interest in Christianity through ideas of temporality and form. [ABSTRACT FROM AUTHOR]

The article discusses the re-release of the literary works of the poets Stevie Smith and William May. It cites on Philip Larkin's praise of Smith's doodled drawings, fairytale characters and singsong rhythms. The article also discusses Smith as a reader and performer of her own poetry and published "Selected Poems" in 1962 and "The Frog Prince and Other Poems" in 1966 in Great Britain.

This paper argues that Ben Lerner's discussions of poetry and poetics in his two acclaimed novels,Leaving the Atocha Stationand10.04, have not received the serious attention they deserve. Here, I examine the novels as clear extensions of Lerner's poetic project as seen in his three volumes of ‘verse', and link them to the theoretical discussions of poetics one finds in the prose of poets like Baudelaire, Rimbaud, Dickinson, or Pound. This in turn opens the way to seeing Lerner as engaged in an ongoing project in which neither prose nor poetry is privileged, but each dialogues with the other in what must be considered a serial prosimetrum. Following from this, I examine how the prose writings illuminate and enact the poetics of virtuality which Lerner favours and explores in many ways, not least of which being the displacement of poetry and poetics into novels, and the disturbing of the claims generally made for each genre. Ultimately, Lerner's opposition to ‘mere actuality’ or ‘mere positivity’ can only be understood if his novels are allowed to be disturbed by the volumes of poetry that surround them, rather than being left to stand as copious containers that might bound the poetic impulse. [ABSTRACT FROM PUBLISHER]

I consider poetry composition from both the "inside" view of a poet and the "outside" view of a cognitive psychologist. From the perspective of a psychologist, I review behavioral and neural studies of the reception and generation of poetry, with emphasis on metaphor and symbolism. Taking the perspective of a poet, I discuss how the seeds for a poem may arise. Finally, I consider the prospects for future developments in a field of computational neurocognitive poetics. [ABSTRACT FROM AUTHOR]

Although Ferdinand Hardekopf survives among the poets of Expressionism through a handful of anthologized poems, he remains an elusive figure. In the years around 1912, however, he was widely admired as a secret inspiration for stylistic innovation, particularly in the circle around Kurt Hiller. As a critic of the Berlin literary scene and as a prose stylist of great acerbity, he suggested a poetic diction that combines extreme variations of register. Through the prism of Hardekopf's verse writing, the paper seeks to sketch the social and literary origins of a movement that is still often seen in terms only of 'Aufbruch'. [ABSTRACT FROM AUTHOR]

Few poets have marked tabular spacing as richly as Andre du Bouchet (1923-2001), yet existing studies of this aspect of his writing tend to interpret that space as mainly metaphorical, standing in for absence. I contend that the negative space inherent to metaphors of silence and void limit a reader's understanding of how these interstices render complex any reading and create tensions which play between the temporal-spatial continuum of the page. In a unique combination of both linear and tabular space, the visual impact of du Bouchet's poetry causes the reader to linger at the point where meaning and movement collide. This collision, I argue, originates in the particular use of a set of repeated terms combined with the white spaces of the page to determine both ease of movement and points of immobility. The words, then, rely on the spacing around them and the spaces between them. In this article, I propose a theoretical model of the structural function of the space between words and explain how white space, which is often overlooked or minimized, becomes a catalyst capable of acting upon meaning and movement in reading by virtue of the combined effects of both graphic and linguistic modes. [ABSTRACT FROM AUTHOR]

Old Arabic poetry is acquainted with two main types of love affairs: erotic escapades and sincere or chaste affairs. In the first, the poet-protagonist boasts of his ability to conduct sexual escapades with one woman or more. In the second, the poet-lover tells of a sincere and heart-breaking love affair. In this, the latter instance, the lover may recall some romantic encounters with his beloved; nonetheless, such encounters play only a marginal role. The main subject here is the separation between the lovers, the deep suffering of the lover, and sometimes his attempts to recover. The two kinds of affairs are well represented in the Mu'allaqa of Imru'al-Qays.1 Mentioning more than one beloved in an erotic poem is reasonable. However, it is expected that a lover with a sincere love experience deals-in a certain poem-with only one beloved. But this is not always the case. Some old Arabic poems do include a mention of two or more sincere love affairs experienced by the same lover. The present article aims to shed some light on such a phenomenon in poems composed by pre-Islamic and mukhaḍram poets. This article is a preparatory paper to a forthcoming article that discusses the same issue in the poetry of the mukhaḍram Mulayḥ b. al-Ḥakam who, in our opinion, was unique in describing this phenomenon. [ABSTRACT FROM AUTHOR]

A great many successful poets earn their living as members of the university community. While teaching, research and administration can provide a reasonable and a reliable income, it has an impact not only on how much time is available for writing, but also what sorts of thinking emerge; on the ways in which relationships and responsibilities intertwine, and how to find ways to balance competing priorities. In this conversation between two poet academics, Jen and Katharine talk through their own experiences, grounded in scholarly thinking, and particularly address the role of language, meaning and materiality in the charting and the crafting of a life. [ABSTRACT FROM AUTHOR]

Copyright of Canadian Journal of Latin American & Caribbean Studies (Routledge) 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 article addresses the question of how poetry and deep body-voice work share an ability to integrate body, mind, and feelings. Identifying five core poetry techniques, it discusses research that explains the way that poetry can affect brain and bodily sensations, as well as emotion and intellect. The relevance of the Triune Brain model to both poetry and voice is described, and a model of brain-voicing links is proposed, with a hypothesis as to why poetry, and certain kinds of voicing—metaphorically and literally—"go deep." The practice of "free-voicing" is introduced in this context, and its relevance to voice work, therapy, and well-being are discussed. [ABSTRACT FROM AUTHOR]

This article rereads Bernard Mandeville's infamous poem The Fable of the Bees: or, Private Vices Publick Benefits (1714; 1723; 1729) and Emilie du Châtelet's French translation (1735-1738) in the context of the eighteenth-century debates around the differences between humans and animals. It argues that the considerable alterations to the text undertaken by Châtelet should be understood as a response to Mandeville's vitalistic theories of physical and political bodies, and their implications for his theory of political economy. Through close readings of the two versions of the Fable, the article shows that Châtelet's reworking circumvents the idea – central to Mandeville's text – that all living bodies, whether human or animal, are interconnected systems animated by vital 'spirits'. I thus use Mandeville's and Châtelet's texts as a window for exploring the implications of different positions in the debate on the animal-human hierarchy. [ABSTRACT FROM AUTHOR]

To identify expert poets' cognitive processes as they compose poetry, we asked 10 expert poets and 10 novice writers of poetry to think aloud as they composed a poem. Compared to the novices, expert poets revealed an associative playfulness and surrendering of consciousness, similar to that shown in research on general creativity in domains such as art, music, and science. Experts also demonstrated significantly more evidence of deliberate procedures and active revision. Novices rarely revised their poems. With regard to meaning, experts made significantly more comments about how the text was meaningful, in particular how textual elements evoke and amplify meaning, than about what the text merely meant. The novices commented more on what the text meant than how the text was meaningful. In discussing the results, we propose a model of the cognitive processes involved in poetic composition, and explore implications for instruction in school and post-secondary educational settings. [ABSTRACT FROM AUTHOR]

The problem with the term “Cavalier Poets”, as Peter Davidson has pointed out, is that it “identifies a school by allegiance and period, rather than by a distinguishing literary feature”. But if we were to redefine the Cavalier poets in terms of “a distinguishing literary feature”, what exactly would that feature be? Understanding the Cavalier poets in terms of their interest in contemporary continental poetry, and its translation and imitation in English, rather than in terms of political allegiance, can help preserve the utility of “Cavalier poets” as a critical term. A reconstruction of the interests of both pre- and post-war Cavaliers in Italian baroque and Frenchlibertinpoetics can shed some new light on their intellectual and philosophical, as well as literary, preoccupations. It should also prompt a reassessment of what an anthology of verse that retains the title of “Cavalier Poets” might look like. [ABSTRACT FROM PUBLISHER]

A change in direction of the journalNew Coinduring the 1990s saw the emergence of a diverse group of poets who had previously struggled for publication. This article recognises this often overlooked collective and argues that they quickly established their own style of “Poetry of No Sure Place”, which expresses a malaise of sadness within South Africa that is popularly felt but rarely articulated. Focusing on three collections of poetry by Mxolisi Nyezwa, I show how this group’s work rests on a permanent – and possibly worsening – sense of imbalance. The article explores how Nyezwa attempts to reconcile a felt public and private need to write, struggles to find a source of connection and questions the permanence of social change in South Africa. Nyezwa epitomises the marginalisation, apprehension and uncertainty ofNew Coin’s Poetry of No Sure Place. [ABSTRACT FROM PUBLISHER]

As English becomes more widely used around the world, it has also been increasingly adopted as a language for literary expression by writers who learnt it as an additional language. This is particularly so in post-colonial settings. Just as varieties of English have developed in different parts of the world, literatures in English with regional colour have also emerged. Yet, little is known about how learners of English become published writers in English. Understanding this phenomenon is important as it has implications for the cultivation of literature or literatures, the design of creative writing programmes and, more generally, the teaching of English. As poetry is one of the earliest types of writing to appear in such contexts, it seems useful to address this question by studying the development of poets. This essay offers a model of how poets develop and connects individual growth with the engendering of literary communities. The model is illustrated with the experience of five poets, one each from these locations: Macao, Hong Kong, Singapore, the Philippines and India. It is part of a larger study of 50 poets, ten from each of the five locations. [ABSTRACT FROM PUBLISHER]

Poets have always created personae, inventing masks through which they may voice their works. Even contemporary lyric poetry – a key strand of which emphasises autobiography and confession – presents a multiplicity of voices, many of them at least implicitly claiming to sincerely register authentic feeling and experience and to tell the ‘truth’. But are truth claims in poetry – even ‘confessional’ poetry – a masquerade? Further, in acknowledging that Romanticism and the primacy of the individual and subjective voice in poetry was partly ushered in by a hoaxer, Thomas Chatterton, how much does the post-Romantic lyric retain a vestige of the hoaxer's art? As poets project themselves into imaginative spaces in their poetry can their work ever be said to be authentic or sincere? Starting with some of Simon Critchley's perspectives on poetry I will discuss works by Thomas Moore, Anne Sexton and Emily Dickinson, among others, in order to address these issues. [ABSTRACT FROM PUBLISHER]

An analysis of what Mayakovsky, Auden, Jarrell and other modern poets have written about their editing practices reveals a tension between the modernist proclamation that 'there are no rules' (Mayakovsky) and the fact that poets nonetheless need to find some sort of critical standard by which to edit their own work. In the case of an extreme egomaniac like Mayakovsky, one might be tempted to equate that critical standard with the massive law of his own ego - were it not that some part of him clearly finds its productions at times wanting. But if so, where does that critical voice come from? Upon what does it base its judgements? The psychoanalytic theory of the super-ego is key to my argument, which poses a challenge not merely to New Criticism's ideas about objective judgement, but also to the Freudian, and now common-sense, equation between the artist's work and the freedom of unconscious utterance. It suggests that such freedom comes by way of the critical voice in one's own head. [ABSTRACT FROM AUTHOR]

The author reveals his love for both the arts of poetry and dance and suggests qualities they share. He considers both poetry and dance as arts of motion through space and time. Dance, he says, involves bodies moving on a stage while the words in poetry moves on a page or in the cadences of a speaking voice. He calls the arrangement of words in print as verbal choreographic patterning. His observation shows that good choreographers can speed up or slow down events in their dances for special dramatic effects and dance also conveys thoughts and feelings with rapidity. He believes that poets and choreographers can bring perceptions, sensations and experiences alive for others in concrete images.

The article discusses cultural studies to examine writing and to frame youth-produced texts as part of a larger struggle over signs and meanings. It emphasizes that the concept of symbolic creativity or the creativity in the art of everyday life offers a lens on why and how young people engage in poetry. It also argues that unpacking symbolic creativities reveals young people's affinity for particular kinds of texts and the ways in which these texts influence students to produce texts in and out of schools. Moreover, it illustrates how emulation shapes student writing though dialogic encounters with various poets from various traditions.

The article reports on topics related to the Keats-Shelley House museum in Rome, Italy. Topics include the increase in the number of visitors at the museum, the education outreach workshops in partnership with ARTandSEEK with Romantic poets as the inspiration for children to write their own poems and create their own artwork, and the Keats-Shelley House Poetry Prize for Schools competition, as well as mentioned a lecture given by professor Sean Hughes of Imperial College London.

Under the guise of an Arthurian metaphor, this article explores the depiction of violence and totalitarian rule, and the quest for sense and dignity in Herbert's poetry. Doing justice to his stylistic devices and his creative design, I attempt to understand the ways of epic writing. The echo of Herbert's work in Poland and other Central and East European countries demonstrates the power of words for people afflicted by a painful history. [ABSTRACT FROM AUTHOR]

This article argues that the confessional poem reflects an ambiguous relation between poet, reader and text. The confessional poem—at least as Sexton used it—does not so much reproduce a 'real,' as offer a distilled and complex gift that passes from the poet to the reader. As a gift, the confessional poem marks a site of desire, a textual locus which illuminates the complex desires of both speaker and reader. In this sense, if the poem offers a form of 'life-writing,' it does so differently, but no more or less than any other form of art. Utilising psychoanalytic concepts taken from Freud as well as Melanie Klein, this article reads Sexton's poetry as a series of texts through which to consider the role of poetry itself as an attempted act of reparation, reflective of the infantile relationship between mother and child. Within the space of poetry, with its shifting economy of exchange, of listening and speaking, the poem is seen as a complex gift to the intimate other of love and of toxicity that attempts to repair a damaged past, thus moving beyond the lures of the depressive while also charting, perhaps even facilitating, the seductions of the cataclysmic fall into the irreparably melancholic and disconnected. Rooted in artifice, the poem is always, in Sexton's terms, a 'complicated lie,' as well as, potentially, a form of 'confession' and release. [ABSTRACT FROM AUTHOR]

The article focuses on the arcimboldesque portraits in Margaret Cavendish's "Poems and Fancies." It states that William Cavendish's venture beyond the call of duty in the poem that he composed celebrates the first publication of "Poems and Fancies" of his wife Margaret. According to the article, the artistic toll of Margaret is not the lead pencil by her judicious and witty manipulation of figurative language. It also mentions that William punningly extolled Margaret's talent for drawing all things to all things.

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Andrew Marvell's poem 'Upon Appleton House' (circa 1650-52) is considered to be one of his most significant works. Written whilst Marvell was working as a tutor in the household of the retired Parliamentarian general Thomas Fairfax, its aesthetic and political attitudes have caused critical controversy. My article brings new information about Appleton House itself into the literary debate, showing how the remodelling of Fairfax's property by the architect John Webb during Marvell's stay might elucidate the poet's apparently ambivalent attitude towards architecture in the poem. More broadly, this evidence also gives a new perspective on Marvell's own political affiliations at this date. [ABSTRACT FROM AUTHOR]