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Though foundational to contemporary qualitative research of most types, phenomenology has, as a research method, not garnered much attention in recent years. In this paper, I define phenomenology and explain why it is a useful tool for educators and educational researchers. I focus particularly on the value of phenomenological poetry in centering discussions of policy, praxis, and the social contexts of education on the words and experiences of those living them, and representing their experiences in greater complexity. I conclude that emphasis on phenomenological considerations, how people understand and experience their lives, mitigates the risk of developing pedagogy, perspectives, and policies that are self-defeating and prone to unintended consequences. [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]

An introduction to the journal titled "Poetry Matters" is presented in which the editor discusses poetry in education with a paper on free writing by Cliff Yates, research that examines how secondary aged readers respond to texts when the same words are presented in poetic and non-literary prosaic forms by Joan Peskin, and an article by Vicky Obied, who examines poetry's role within the developmental literacy practices of bilingual children.

Examining Kipling's "The White Man's Burden" within the rhetorical context of pro-imperialist British newspapers in the 1898-9 period demonstrates that the poem itself is both product and cause of the relationship these publications were constructing between Great Britain and its erstwhile colony. "The Times" (London), the "Spectator," "The Economist," and the "Daily Mail" all supported US imperialism, but they also perceived the necessity for Great Britain to control a potential rival. To facilitate a mentoring relationship they constructed a set of arguments concerning US responsibilities in the aftermath of its victory over Spain in 1898—9 and suggested that the USA should model its colonial policies after Britain's own imperial administration. Kipling's poem comes directly out of these arguments; moreover, once published, the papers instantly recycled it to support their points. Together with the newspapers' arguments, the poem constituted a clear intervention into debates over the course of US imperialism. [ABSTRACT FROM AUTHOR]

This paper presents a critical discussion of the treatment of mimetic art, and particularly poetry and the theatre, in the work of the Athenian philosopher Plato (427–347 BC). It centres on Plato’s discussion of the corrupting powers of the arts in the Republic, and the implications that his fierce attack on poetry and theatre have for his construction of the ideal polity. The legacy of Platonic ideas in later elaborations of the corrupting power of the arts is discussed. Furthermore, the paper investigates the relationship between current debates on cultural policy and the Platonic idea that the transformative powers of the arts ought to be harnessed by the state to promote a just society. The conclusion thus reached is that “instrumental cultural policy”, rather then being a modern invention, was in fact first theorized precisely in Plato’s Republic. [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]

This paper outlines some of the relationships between Kamula understandings of embodied personhood and place. It seeks to supplement existing accounts of place in the Bosavi region of Papua New Guinea (PNG). Such understandings have largely been based on song, poetry and myth ( Feld 1982 ; Schieffelin 1976 ). By way of contrast, this paper describes comparatively mundane Kamula experiences of place. The Kamula talk I consider emphasizes socially mediated forms of unification of person and place associated with notions of shared 'appearance', 'equivalence' and 'enhancement'. Such terms are further explained by reference to Kamula understandings of the effects of losing a relationship with place. I conclude by showing how such understandings of loss are being deployed in Kamula demands for compensation from the state and logging companies. Through a discussion of these themes the paper contributes to the growing literature on the relationship between personhood, place and development in Papua New Guinea. [ABSTRACT FROM AUTHOR]

This paper reflects on the teaching of the unseen poetry element of the English Literature GCSE in 2022. It explores the author's reflections on the successes and limitations of using a less structured approach with a single Year 11 class, concluding that the pedagogies outlined were more successful than previous iterations in terms of pupil engagement and preparation for high-stakes assessment. However, the approach could have been improved with even less structure early in the unit. [ABSTRACT FROM AUTHOR]

Most poetry-generation systems apply opportunistic approaches where algorithmic procedures are applied to explore the conceptual space defined by a given knowledge resource in search of solutions that might be aesthetically valuable. Aesthetical value is assumed to arise from compliance to a given poetic form – such as rhyme or metrical regularity – or from evidence of semantic relations between the words in the resulting poems that can be interpreted as rhetorical tropes – such as similes, analogies, or metaphors. This approach tends to fix a priori the aesthetic parameters of the results, and imposes no constraints on the message to be conveyed. The present paper describes an attempt to initiate a shift in this balance, introducing means for constraining the output to certain topics and allowing a looser mechanism for constraining form. This goal arose as a result of the need to produce poems for a themed collection commissioned to be included in a book. The solution adopted explores an approach to creativity where the goals are not solely aesthetic and where the results may be surprising in their poetic form. An existing computer poet, originally developed to produce poems in a given form but with no specific constraints on their content, is put to the task of producing a set of poems with explicit restrictions on content, and allowing for an exploration of poetic form. Alternative generation methods are devised to overcome the difficulties, and the various insights arising from these new methods and the impact they have on the set of resulting poems are discussed in terms of their potential contribution to better poetry-generation systems. [ABSTRACT FROM PUBLISHER]

, , Decomposition nothing changes on the eastern front well, I've had it up to here at the moment of death, metal gets hot and people get cold don't talk to me about Luhansk it's long since turned into hansk Lu had been razed to the ground to the crimson pavement my friends are held hostage and I can't reach them, I can't do netsk to pull them out of the basements from under the rubble yet here you are, writing poems ideally smooth poems high-minded gilded poems beautiful as embroidery there's no poetry about war just decomposition only letters remain and they all make a single sound - rrr Pervomaisk has been split into pervo and maisk into particles in primeval flux war is over again yet peace has not come and where's my deb alts evo? crow, wheels when the city was destroyed they started fighting over the cemetery it was right before Easter - wooden crosses over the freshly dug graves put out their paper blossoms - red, blue, yellow neon green, orange, raspberry pink joyful relatives poured vodka for themselves and for the dead - straight into their graves and the dead asked for more, and more, and more and their relatives kept pouring the carnival went on but at some point a young man set off a trip-wire at the grave of his mother-in-law an old man gazed into the sky and lost it forever a fat man smashed his shot glass at the fence around his wife's grave glass fell at his feet like hail Easter came now a live crow sits on the grave of Anna Andriivna Ravenova instead of a headstone BTR-80 wheels rest at the cemetery nest of the Kolesnyk family where lie buried Maria Viktorivna, Pylyp Vasylyovych, and Mykola Pylypovych what are they to me, those wheels and that crow?. [Extracted from the article]

This article investigates the problem of dwelling in Gertrude Stein's collection of prose poems Tender Buttons. Though Stein's innovative language and depiction of objects and alterity have long been the focus of a scholarly investigation, rarely have critics investigated how Stein's objects relate to each other, and how her poetic language intervenes on the literary construction of spatial relationships. Drawing principally on Martin Heidegger and Michel de Certeau, this paper investigates Stein's employment of a tactical approach to dwelling. [ABSTRACT FROM AUTHOR]

This paper examines the possibility of viewing TESOL teachers' identities through the metaphor of 'poet-teachers', viewing second language teachers as creative and collaborative meaning-makers. We analyzed interviews, poems and classroom discourse among 16 Chinese, Vietnamese and English L1 speakers who participated in poetry writing course as a component of their TESOL teacher preparation curriculum. We identified three qualities related to poetic habits of TESOL teacher identity. Firstly, creative (l)imitation which enhances their identities as connected to and expanding from past structures, yielding new future selves. Secondly, the practice of surprising oneself in and through an L2, shifting scripted perceptions of language learning toward improvisational play. Lastly, teaching poetry illuminated the ways in which the language classroom becomes a site for dialogic collaboration, two-way exchanges where creative meaning-making can occur for both teacher and student alike. The results suggest imitation, surprise, and collaboration can create emotionally and linguistically rewarding experiences, encouraging the TESOL educator to identify as co-learners and to grow as interactive producers of meaning, not just passive instructors and receptors of language form. [ABSTRACT FROM AUTHOR]

This paper re-examines a number of scholarly claims about John Donne's attitudes toward the "New Science" in Ignatius His Conclave and An Anatomy of the World. Published in the same year (1611), both texts confirm Donne's intense interest in the cosmological debates of his day; yet, each poem explores a different cosmological model. Read together, the two poems, provide a more resolved picture of Donne's thoughts about the controversy. Making use of extensive archival research in early-modern medicinal semeiology (diagnosis/prognosis), this paper pays special attention to Donne's use of anatomy as a metaphysical conceit. In particular, a careful examination of the medical use of astrological anatomy in early-modern Europe extends our understanding of Donne's concerns about the controversy. Ultimately, this paper maintains that Donne's distress about the "New Science" extends well beyond contemporary debates over cosmological models and atomism, to concerns over the status of meaning itself, in a world robbed of signification. [ABSTRACT FROM AUTHOR]

This paper re-examines a number of scholarly claims about John Donne's attitudes toward the "New Science" in Ignatius His Conclave and An Anatomy of the World. Published in the same year (1611), both texts confirm Donne's intense interest in the cosmological debates of his day; yet, each poem explores a different cosmological model. Read together, the two poems, provide a more resolved picture of Donne's thoughts about the controversy. Making use of extensive archival research in early-modern medicinal semeiology (diagnosis/prognosis), this paper pays special attention to Donne's use of anatomy as a metaphysical conceit. In particular, a careful examination of the medical use of astrological anatomy in early-modern Europe extends our understanding of Donne's concerns about the controversy. Ultimately, this paper maintains that Donne's distress about the "New Science" extends well beyond contemporary debates over cosmological models and atomism, to concerns over the status of meaning itself, in a world robbed of signification. [ABSTRACT FROM AUTHOR]

in the period following the 1968 protests, the question arose of how a transparent music could be conceived, especially one which it would be impossible to misunderstand, and which would therefore be protected against political misuse. this was very often the object of discussion. in a paper delivered at the ‘musik und politik’ symposium held in vienna in 1991, i developed four political aspects of music: function, content, means of production, and the poetic. to explain: function:music composed for ritual and representation, etc, or music composed to increase productivity, or enable an increase of consumption, either in the workplace, the cowshed, or the shopping centre. external content/subject:music with text, plot, or programme. means of production and distribution: free art or dependent work. the methods by which the music is made, its poetry and its style (spahlinger, 1991). as a composer, i am most interested in the final point. i would like to explore this as posing the main set of problems for this paper, as well as posing the question of which processes effect meaning in a new music that can be differentiated from traditional music. i shall devote the first third of this article to this issue. i will then be in a position to question whether analogies exist with political thought. i will briefly examine the other three political aspects, in particular the means of production. [ABSTRACT FROM PUBLISHER]

This paper explores the role of literacy in the lives of women who are recovering from substance abuse. It discusses the work and products of a one-year literacy workshop in which participants were immersed in reading, writing and sharing of different writings and works of arts. The work with the women converged around their poetry, prose and free writing during their literacy workshop and journaling. Conversations about their writing revealed four themes: (1) finding one’s voice, (2) shifting self-perceptions, (3) writing as an outlet for expression and for sharing traumatic events, and (4) talking about addiction. The overarching concept of these four themes is literacy as a healing tool. This paper discusses the role of writing as a tool for healing from traumatic events and dealing with addiction. [ABSTRACT FROM AUTHOR]

This paper introduces a new teaching method, poetry, into the geography classroom, accompanied by an out-of-class discussion on a blog, and finds that its effects are rather different from those of traditional teaching methods, as it allows new perspectives on instructional content related to migrant workers’ lives and identities in China. The method enables students to analyse content from the perspective of cultural geography, in which poetry acts as an art form that connects people’s identities and social spaces. On the basis of this, we also provide some suggestions to engage students in critical analysis of poetry, from the perspective of cultural geography, through interactive online platforms such as blogs. [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 semester-long study attempted to investigate 122 (M: 21; F: 101) Taiwanese undergraduates' responses to bibliotherapy and two textbooks in an Advanced English Reading classroom. Data collection included an anonymous 6-point Likert scaled questionnaire with a space for free comments and the students' reflection papers to show their perceptions. The results of the study showed that bibliotherapy effectively helped the students (a) understand the importance of self-knowledge, life growth, emotion management, positive thinking, and behavior awareness, (b) understand the importance of (literature) reading, (literature) reading course, and the benefits of (literature) reading, and (c) enhance self-understanding, positive thinking, mental growth, and (positive) behavioral change. Moreover, the study found that the two textbooks could effectively boost the students' bibliotherapeutic energy, including their positive thinking ability, mental growth, and mature behavior. [ABSTRACT FROM AUTHOR]

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

Jesús Cos Causse (1945–2007) was a foundational voice within black Cuban literature of the Revolution. As a journalist, diplomat and cultural activist, he was also instrumental in creating institutions which used poetry as a means of instigating social justice and promoting regional cooperation among Caribbean and Latin American societies. Although Cos Causse was a prolific writer and a pivotal force in Cuba's artistic industries for decades, his work has not enjoyed much critical reception in English. This is partly because he was based in Santiago de Cuba. This placed him beyond the focus of the enterprises of cultural criticism (national and international) which have tended to be obsessed with Havana and with the cultural prototypes generated in the nation's capital. This paper offers a reading of Cos Causse's poetry which pays attention to his exploration of ideas of the black family, of Santiago de Cuba and of the place of black Cubans within the Revolution. It highlights the powerful anti-colonialist stance of Cos Causse's thinking and shows the vital role that the history of Santiago plays in the development of his radical poetic conscience. I argue that Jesús Cos Causse's poetry demonstrates the indispensable significance of family, the city of Santiago and the Revolution as coordinates of belonging for black Cubans (renowned or anonymous). [ABSTRACT FROM AUTHOR]

This conceptual paper examines the possibilities for restorying the self through drama conventions using narrative poetry as a stimulus. Using the poem "The Terrorist, He's Watching" by Wislawa Szymborska to engage with drama conventions, we illustrate how educators might support young and marginalised people to participate in the process of restorying. In doing so, we argue for the importance of using poetry and drama to create meta-narratives of discourse which empower participants to restory themselves into the dominant forms of narrative through creative exploration. Szymborska's poem has been chosen as a stimulus due to the poet's use of multiple perspectives and roles, in different times and places, which enable people to reshape and reimagine their identity and explore dominant narratives about terrorism. The authors intend to follow this conceptual piece with an empirical study. [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]

Although Stevie Smith's poetry is in many ways very close to the laconic and less-deceived tone characteristic of Philip Larkin, there is one aspect of her work in which she differs strikingly from him and from the general features of Movement poetry: that is, in her use of what Larkin, in his 1956 'statement on poetry', contemptuously called a 'common myth-kitty'. In this chapter, I attempt to examine the treasures of Stevie's myth-kitty, not merely with the aim of distancing Smith from the Movement, but of reassessing her relationship with modernism and other poets of the generation which came to prominence in the 1930s, in particular, W. H. Auden. Smith's closest connection with modernism has often been seen to be her use of a stream-of-consciousness technique, as deployed in Novel on Yellow Paper—a technique which is inevitably compared to and dismissed as inferior to that of Virginia Woolf. Instead, I will put forward the claim that Smith's relationship to modernism should also be seen in her use of intertextuality, in the classical and other mythic fragments which, despite considerable differences of tone, place her work in the same tradition as James Joyce, Ezra Pound and T. S Eliot. I attempt to demonstrate how she draws on this 'myth-kitty', especially ın her poetry, focusing on her treatment of female mythical figures, and argue that the key figure in Smith's oeuvre—the counterpart and equivalent of Eliot's Tiresias—is the figure of Persephone on her journey to the underworld. [ABSTRACT FROM AUTHOR]

This paper provides a reading, through a decolonial lens, of the debut work of two recently published South African poets, Sindiswa Busuku-Mathese and Koleka Putuma. In the work of both poets, the reader encounters contemporary South African black womxn subjects, constructed in the matrix of global coloniality. The works articulate issues of identity and belonging, with which many young South Africans are undoubtedly grappling. Both poets identify, interrogate, and resist what might be termed the realms of coloniality—namely coloniality of power, coloniality of knowledge, and coloniality of being—in a process of "unlearning". A close reading of the themes and aesthetics of these two poets suggests that the site of enunciation for the speaking subjects that emerge is located at the fault lines between two or more very divergent knowledge frameworks. [ABSTRACT FROM AUTHOR]

In this paper, the author, who is a single mother of a young man with mental illness, describes her son’s first psychotic break. By melding poetry, prose, dream journal entries, and medical case notes, she explores the embodied experience of witnessing her son’s decompensation. In sharing her story, she reminds other caregivers of people with mental illness that they are not alone. She makes sense of her experience with findings from the literature about posttraumatic stress among family caregivers of people with chronic illness and explores the implications for caregivers, practitioners, and scholars of mental illness, trauma, and loss. [ABSTRACT FROM AUTHOR]

The death of a loved one can create a tear in the fabric of meaning. Grieving involves remaking meaning. In therapy, events can be emplotted into stories, which can return some sense of coherence to the bereaved. In this paper, I present a way of narrating loss through a narrative therapy approach of retelling. This involved writing found poems, known as rescued speech poems, from the conversations of people who had lost a loved partner. The found poetry sought to bring an order to grieving and to polish the beauty of key moments following loss. For one participant, the found poetry amplified a narrative of the biography of the loved one. For another, the poems added beauty to a memory of her deceased partner. Thus, rescued speech poems—judiciously selected from speech, and sensitively arranged on the page—can provide another way to facilitate vibrant meaning-making of life after loss. [ABSTRACT FROM AUTHOR]

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

This paper considers alternative ways of teaching Romantic poetry to post-sixteen English Literature pupils in England. It explores how practitioners can value tangents developed by pupils' independent thinking when pupils are given the freedom to develop their own ideas. It reflects on a lesson planned to respond to a tangent developed by the class in a previous session; that William Blake's "The Tyger", to a contemporary reader, explores the 21st century preoccupation of climate change. The lesson outlined in this report built upon these ideas further, valuing the pupils' tangential thinking. Approaches like these are particularly important now as the performativity agenda in schools, promoted by league tables as a measure of effectiveness, can result in some schools teaching to the test, at the exclusion of encouraging personal and creative responses to texts. [ABSTRACT FROM AUTHOR]

This essay zooms in on the story of the Palestinian body condemned to suffer unspeakable injustices so that a system based on inequity keeps working for the few. It relies on poetic texts written or performed by those whose bodies are controlled by the interrelated forces of settler colonialism, authoritarianism, and imperialism. The storms these forces unleash and the prices they exact in terms of human life cement the condition of the body whose life bears witness to the fall of justice. The essay argues that these poets practice what we would like to call "seizing life from the teeth of death" wherein their determination to fight oppression exceeds national and regional boundaries to embrace and learn from the indigenous nations in the United States. [ABSTRACT FROM AUTHOR]

This paper examines the Neo-Confucian hermeneutic debates surrounding the interpretation of Zhu Xi's poem ‘The Boat Song of Wuyi's Nine Bends’ (1185 AD). The question of whether to regard the poem as a poetic description of landscape or as a philosophical lesson in a poetic form led to serious philosophical discussions in China and Korea in the centuries that followed its publication. This paper investigates the philosophical commentaries on the poem produced during the Yuan and Ming dynasties, and the contentious hermeneutic debates it sparked among Chosŏn Neo-Confucians which fanned the flames of factional politics. On the whole, this paper aims to reveal the divergent and unsettling interpretive traditions within Neo-Confucianism, and argues that the common division of Neo-Confucian poetry into the categories of philosophical and non-philosophical does not aptly represent the highly nuanced discussion of the subject. [ABSTRACT FROM PUBLISHER]

In this article, we explore the value of metaphorical performance as both a site of inquiry and a product of inquiry. As we engaged in dialogue about performance versus presentation, audience perceptions, and how best to capture our musings in written text, we encountered resistance both within ourselves and within our audience. Situating this dialogue within the paradigm of arts-based inquiry allows us to resolve issues related to identity, acceptable research presentation formats, and audience, both intended and accidental. The paper is intended to be read as a performance text and ongoing dialogue that weaves together our voices as teachers-writers-researchers and those of prominent researchers in the field. [ABSTRACT FROM PUBLISHER]

The article presents a lesson plan for secondary education which teaches the concept of using found poetry in finding geography.

This paper is focused on Tanure Ojaide's poetry as ecocritical art for negating ecological imperialism, which he envisions is one of the major causes of political impasse, ecological malaise and socio-economic dissonance in the Niger delta of Nigeria as well as a fundamental obstacle to its remaking. In order to remake this region for environmental and developmental sustainability, Ojaide's poetics advances the possibility of this through art of resistance, a kind of dissidence poetry couched in ecocriticism that negates ecological imperialism, a capitalist practice that destroys the Niger delta environment. Ecocriticism is a type of aesthetics or artistic representation that considers the nature of the relationship existing between literature and the natural environment. The central idea of this paper is that Ojaide's ecocritical poetry is premised on questioning as well as negating imperialist operations in the Niger delta, where the activities of the multinationals in partnership with Nigeria's political class have left a ledger of destruction, deprivation and violence. Thus, in Ojaide's contention, since art is a refraction of realities in human world, it could be a potent instrument in remaking Nigeria for sustainable development through the insights and possibilities that it offers. [ABSTRACT FROM AUTHOR]

The article presents several selected poems and paintings by Chinese poet and painter Che Qianzi. It highlights the paintings titled "Melancholy Hair," "Green Cloud," and "Born in 1963." It notes the poems "Feelers," "Beijingers," and "Wake Up Like an Infant." The Chinese translations of the mentioned poems are also given.

Self-injury among female adolescents has become an important clinical issue in social work practice. Anxiety has been cited as one of the primary reasons that self-injury occurs in this population. This paper explores the role of empathy in mitigating anxiety and helping with emotional regulation and highlights the need to empathically monitor the self-systems of female clients who self-injure. This paper considers issues of gender and family structure within this population and explores transference and countertransference as important processes that can help to develop empathy in the therapeutic relationship. A case study is presented to highlight these important processes. Implications for social work practice are discussed. [ABSTRACT FROM AUTHOR]

This paper explores the relationship between New Critical close reading techniques and studies of literary engagement by building on the work of Sumara, Rosenblatt and Todorov. New Critical techniques responded to the allusive density and terseness of modernist poetry and fiction. In the half-century since, the situated approaches favoured by postmodernism have pushed the hermeticism and analytic underpinnings of modernism (that of the text as an entity unto itself) from vogue. After delineating some precepts from the New Critical perspective and tracing the shift towards postmodernism, this paper argues for a synergistic critical approach for literary exploration in the secondary and tertiary classroom; specifically, it argues for the pedagogical necessity of close reading as a precursor to literary engagement and postmodernist textual considerations. [ABSTRACT FROM AUTHOR]

This paper places the position adopted by the younger Jakobson in contrast with his more famous later statements, in order to examine the effects of his legacy. While the analytical and structural consequences of Jakobson's work in literary scholarship have proven immensely valuable, there are also some aspects of humanity, consciousness and emotional connection that have been, if not entirely lost, then certainly backgrounded in literary scholarship. This paper argues for a return to Jakobson's own early principles, in the form of a cognitive poetics of literary exploration, with examples from emotionally-affecting literary works. [ABSTRACT FROM AUTHOR]

This paper reports on the experience of composing a book of poems about visual art and on the ways in which this was affected by the institutional circumstances pertaining to its funding. Underpinning the AHRC's support for creative writing is the notion that creative writing should be conceived as a form of practice-led research. The case for support therefore stressed the ways in which the modes of writing about art would also form a subject for creative practice and critical reflection and the author offered both a critical preface and a critical article in this context. A project which involves ekphrasis, however, brings the relationship between the creative and critical components of the creative act into the sharpest possible focus and the author found himself engaged on a project which had the Academy's understanding of creative writing at its heart. This paper examines how the reading of an unusual critical text - itself a hybrid of critical prose and poetry - impacted the intellectual tensions at play among the poems being created, leading to paradoxical outcomes: the incorporation of critical prose into lyrically inflected prose-poems and a rejection of critical prose as a vehicle adequate to the documentation of practice-led creative processes. [ABSTRACT FROM AUTHOR]

Jose Garcia Villa is best known as a modernist Filipino poet who migrated to America in the 1930s. Much critical discussion of Villa in Philippine literary studies has emphasised his narrow concern with aestheticism and his rejection of contemporary demands to politicise artistic production. This paper returns to Villa's first short story collection Footnote of Youth (1933) and argues for a reconsideration of the politics of Villa's modernist aesthetics. In particular, I wish to concentrate on a series of short stories at the end of the collection that present revisionary 'shadow biographies' of revolutionary hero Jose Rizal, whose own life story and novels have attained, in Carol Hau 's words, the status of 'master-narratives' of the Philippine nation, with Rizal himself portrayed as the 'First Filipino'. Apart from engaging in translation across language in a multilingual environment, the short stories are translations in a larger sense. They re-present elements of longer narratives such as biography and indeed the 'biographisation of the social' deployed by the colonial and bourgeois national states in a consciously fragmentary form. Furthermore, they map such biographies onto the lives of ordinary Filipinos in a manner that destabilises them: on a rational level, the claims of filiation made in these stories are preposterous, yet the narrative and literary economies of the texts encourage readerly identification with their subaltern protagonists. In exploring the space of contradiction that Villa's stories occupy, and the manner in which their formal qualities enable a reappraisal of this space, this paper also to makes a larger argument concerning the frequently neglected centrality of the short story and life-writing in exploring national imaginaries under late colonialism, and encourages reflection on the manner in which biographisation is an unacknowledged subtext in contemporary postcolonial literary studies. [ABSTRACT FROM AUTHOR]

This paper discusses the crucial tension between expression and experience in the Futurist art-action programme, by focusing on its noisy dimension. In the 1910s, the Futurists shocked the bourgeois audience with clamorous happenings and educated their senses towards a new aesthetics of mixed sensations. Noise was a key ingredient in their avant-garde programme. The paper demonstrates how Futurist art even in its most visual expressions remains fundamentally an art for the ears. Three types of images - typographical, painterly, and cinematic - are analysed from an aural perspective, in order to highlight the synaesthetic mechanisms at work in the Futurist art experience. The main concern is to point out how the Futurists applied visual effects to actually enhance the auditory sensibility of people. This leads to the conclusion that Futurism does not need sound in order to be noisy, because even in its 'silent' forms it is noisy in its essence. [ABSTRACT FROM AUTHOR]

This paper introduces and explores the relationship between Caribbean female poets and the game of cricket given cricket's historical importance to the Anglophone Caribbean and the numerous appearances of cricket within Caribbean literature. For if we are to appreciate cricket as a significant activity for the Caribbean, then the relationship between women and the game must also be investigated. In this context, it is noteworthy that a number of Caribbean women writers have mobilized cricket in their work, drawing on and contesting the game's socio-political position and demonstrating its availability to them as a means of capturing their own Caribbean and life experiences. After briefly introducing the place of women in Caribbean cricket poetry, the discussion focuses on the cricketing works of Anim-Addo, who dedicated both of her poetry collections to her mother, Jane Joseph, a Grenada player during the post-war period. Notably, Anim-Addo takes up her mother's cricketing 'herstory' and infuses it with her own diasporic idiom of feminist transgression, social reclamation and boundary crossings. The paper concludes by examining how Jean Breeze has mobilized the sport as a metaphor for female sexuality, sexual enjoyment and self articulation in her poem 'on cricket, sex and housework'. [ABSTRACT FROM AUTHOR]

Among the literary studies of R.J. Wilkinson (1867-1941) - an administrator-scholar of diverse interests and the compiler of the famous Malay-English dictionary - his survey Malay literature: romance, history, poetry (1907) occupies a special place. Published in the series, 'Papers on Malay subjects', created by Wilkinson with a view to broadening prospective colonial officials' understanding of the Malays, this survey drew material from both his 'field studies' and from written texts, often Singaporean lithographs. The use of these sources, more demotic than was usually the case in Malay studies at the time, influenced Wilkinson's insights into the significance of the oral element in traditional Malay literature, the nature of its creators' literary views and their audiences' particular characteristics. A number of his pioneering ideas have been confirmed and further elaborated by contemporary students of traditional Malay literature. At the same time, Wilkinson's survey, like his other works, had the overarching task of defending the 'Malay cause', which he understood as the conservation of Malay traditions and customs combined with their development. It is precisely this approach that explains Wilkinson's position vis-a-vis traditional Malay literature, which is expressed in the survey through what can metaphorically be viewed as a theatrical performance, with a 'Malay rhapsodist', a 'pedantic scribe', a 'European' and 'Wilkinson' himself as its characters. [ABSTRACT FROM AUTHOR]

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This paper builds on the discussion of Bungakuron in Origins of Modern Japanese Literature (1993). It focuses on Soseki's collaboration with Masaoka Shiki to revive haiku and the links that Soseki found between the haiku-related genre of shaseibun (literary sketches) and the grotesque, loosely plotted realism of Laurence Sterne. Like Bakhtin, Soseki recognizes something in early novelistic forms that would later be disciplined out. Furthermore, this paper argues that in the preface to Bungakuron Soseki provides both an encomium to his dead friend Masaoka and a prescient announcement of the 'end of literature', perceived 100 years early from his vantage point as a non-Western subject witnessing the 'end of empire' in London. [ABSTRACT FROM AUTHOR]

This paper arose from research into a class of 11-year-olds' relationships with poetry. The paper describes how by analysing the children's comments about poetry it became clear that their parents were active in rigorously selecting, censoring and generally controlling the children's reading diet, most markedly with poetry, and that patterns began to emerge of how they went about this task. In an analysis drawing on Ball and Vincent's (2005) work it became clear that processes of social reproduction were at work. [ABSTRACT FROM AUTHOR]

This paper considers the ways in which the authentic strategies and struggles of the creative writer in formulating a text, can be translated into classroom activity. It explores four activities which derived from my own practice as a writer, and demonstrates the process of adapting, trialling and evaluating them in a range of different classroom settings. The paper attempts to answer the questions: were these 'real-life' processes successful as a basis for learning activities? How did the learners respond and what can we learn from their responses? The paper concludes with the premise that being congruent with one's own 'real-life' strategies can indeed lead to valid learning activities, and that these activities help us to deconstruct many of the myths about what it means to be creative. [ABSTRACT FROM AUTHOR]

The paper asks how Somalis perceived their ‘national’ identity in relation to clan-based society in the context of European colonial and Ethiopian imperial domination in the first half of the twentieth century. The paper uses Somali oral poetry as historical source since poetry is widely acknowledged as the most profound expression of cultural and political discourse in (northern) Somali society. This paper argues that one of the most famous and enduring examples of ‘classical’ Somali poetry – a series of linked poems known as Gubo – sheds light on an important but neglected period of Somali history, the aftermath of the Dervish wars. The Gubo poems map the experience of three clans who are situated along the eastern Ethiopian border with the colonial Somali-lands during the period in which the Ethiopian and the colonial administrations (British and Italian) pacified Somali resistance and demarcated the borders between their Somali-inhabited territories (circa 1920–1950). The poems also form a link between the poetic discourse of the Dervish leader, proto-nationalist and famed poet Sayyid Maxamad Cabdille Xasan, and the first modern Somali nationalists. The Gubo poems comment on two issues that continue to preoccupy Somali politics and history today, namely the division of the Somali peoples into different ‘national’ territories, and the primacy of ‘clan’ in Somali political life. [ABSTRACT FROM AUTHOR]

In James Elroy Flecker's poem The Gates of Damascus , the poet imagines four exits from the safe comfortable city to the outside world. Each gate takes the traveller into a different set of temptations and dangers. The Aleppo Gate leads to trade and commerce, the Mecca Gate is for faith and pilgrimage, the Lebanon Gate is for exploration and the search for enlightenment, and the Baghdad Gate leads to danger and even death. When we educational researchers leave our safe city, our ivory tower, our Damascus, we can choose which gate we take: that is our destination, our goal, our methods. The paper will explore the choices that face educational researchers, and the consequences of those choices. Issues of funding, faith, exploration and danger will be discussed with examples from controversies about educational research. [ABSTRACT FROM AUTHOR]