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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]

Integrating literacy practices in science classrooms can help students read complex scientific text, write arguments as part of shared cross-disciplinary practices, and engage with content. In the Linking Science, Mathematics, and Literacy for All Learners program, middle school science, mathematics, ELA, and special education teachers have been implementing multimodal STEM text sets that include a range of texts and scaffolds that support instruction and students' content learning. One of these strategies combines reading and writing in unique and creative ways: poetry writing! Blackout and found poems are accessible approaches to help students focus on key words and ideas in a complex text, pull out those words to work with them, and then reconstruct them into a poem. This approach can be used in a variety of ways, and in some of the examples provided, students include an altered page from a scientific article on which they find their words, black out the rest of the text, and then illustrate the entire document to help show their message [ABSTRACT FROM AUTHOR]

Contemplating the school to work transition in the insecure and unpredictable twenty-first century world of work can be anxiety inducing for college students. Consequently, college students may develop disempowered career stories in which they feel ill prepared to explore career prospects or engage with the world of work. This paper describes a career counselling intervention aimed at transforming the disempowered career stories of college students into more empowered versions. Grounded in career construction theory and designed as a group modality, the intervention employs poetry therapy to enhance the development of internally defined and motivated career stories among the group participants. Although this paper highlights the Kenyan context, the intervention itself can easily be adapted to other contexts. [ABSTRACT FROM AUTHOR]

“What am I without paid work?” Some would say, “A non-person.” Others might say, “Free!” The experience of retirement is explored using creative writing for therapeutic purposes. Written from the perspective of fictional British retirees from different workplaces, the paper offers a view of how expressive and reflective writing can be both therapy and research at times of transition. Little in the literature on retirement in the UK uses the “experience near” approaches of writing as inquiry. This paper will point out some of the benefits of research methods that are “up close and personal”, culturally embedded and embodied. Encouraging the use of playful, creative writing in individual counselling and in groups is one of the aims of this paper. [ABSTRACT FROM AUTHOR]

This paper explores the impact of a Spoken Word Education Programme (SWEP hereafter) on young people’s engagement with poetry in a group of schools in London, UK. It does so with reference to the secondary Discourses of school-based learning and the Spoken Word community, an artistic ‘community of practice’ into which they were being inducted. It focuses on what happened when secondary students, already enculturated into school Discourses about learning (in their English lessons especially), learned about new ways of being readers, writers, listeners, and performers through the SWEP Discourse. The paper draws on qualitative data collected during the first three years of programme development to consider how an introduction to the social practices of this artistic community appeared to influence 11–18 year old students’ attitudes to poetry study, discussion, writing, and performance both in school and beyond the parameters of traditional secondary school learning. [ABSTRACT FROM PUBLISHER]

In "A Long Poem: Take Time to ...", I relate how the people on one city block engaged in a community based "long poem" art project during the Covid-19 pandemic. Arranged in two parts, this paper first looks at the literature on community art and its impact on personal and social health and wellbeing. Second, I describe how a street community art and poetry project led to social engagement, dialogue, healthy interaction, and good memories. [ABSTRACT FROM AUTHOR]

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

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

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]

The paper considers the emotional development of students in initial qualifying social work education. We argue that this has been a much less emphasised area of the curriculum for almost two decades, which needs to be addressed in the college and practice curricula. The focus here is on college-based work using examples from liberal arts (LA) to facilitate students' emotional development. This includes work by the authors. We suggest that LA could be the basis of a particular module in first-year/foundation teaching with explicit learning outcomes and assessment but also in modules throughout qualifying programmes. We also think the ideas have relevance for learning outcomes at all levels of the Professional Capabilities Framework (PCF). We examine the concept of 'emotional intelligence'(EI) as a rationale for why LA appear to be effective in facilitating students' development. It is a connection which we think has significant potential. We have adopted here just one area of LA--an arts-based approach--to illustrate the potential for this type of education and argue that the process of working in this way can result in students developing emotionally as well as cognitively. [ABSTRACT FROM AUTHOR]

This paper examines the literary thinking of the Nietzschean-influenced community Guinhoe and its central concern, Poetry and Novel (1936), a magazine published by a coterie of writers. Guinhoe was a unique community that chose to be considered as non-group, a paradoxical self-definition that reflected the concepts of the group and its members. This particular writing community presented itself through ideas, writings and literary concepts based upon Nietzsche's concept of "Eternal Recurrence." The deconstruction and denial of themselves as a group through their writing allows the Guinhoe community to continue to exist. There is no objective shape, only activity and process, and in this sense the community considers the action of writing itself as literature. In other words, the community is writing itself endlessly by repeating the action of writing. [ABSTRACT FROM AUTHOR]

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 aim of this brief paper is to promote the scientific study of creative writing and make it an integral part of the research agenda of the scientific study of literature. This paper focuses on the genre of poetry and is organized around three basic questions: (1) What do we currently know about poetry writing? (2) Why study poetry writing? (3) How can poetry writing be studied? Together the answers to these questions provide a rationale for the proposed research agenda and an overview of ways in which this project can be accomplished. A review of the literature on poetry writing reveals a process which involves extensive revision within a recursive writing process that reaffirms the characterization of poetry as a genre that combines attention to meaning with attention to form. [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]

This paper examines the use of co-switching in Navajo written poetry. I look specifically at the use of code-switching from English dominant poems to Navajo. I outline three general semantic domains that are most commonly code-switched from English to Navajo: 1) emotions; 2) mythic characters; and 3) traditional place-names. I suggest that this has to do with a general linguistic ideology that understands these domains as incommensurate with English. I argue that such code-switches are "emblematic identity displays." I conclude by discussing the relationship between "folk" orthographies and "standard" orthographies. I argue that an over-reliance on "the standard" and a diminishing of "folk" orthographies limits the potential for creativity and subtly undermines notions of incommensurability when Navajo poets are limited to "the standard", a standard that many Navajos do not know. [ABSTRACT FROM AUTHOR]

In literary texts that present a poetic speaker whose psychic apparatus suffers; writing becomes the site for the oscillation between subjectivity and desubjectivity. This paper poses the question on how to approach texts rooted in the experience of psychic suffering in relation to the concepts of "testimony", "author" and "writing". The selected literary texts are a group of poems written by the Italian poet Alda Merini and 4.48 Psychosis, a play written by the English playwright Sarah Kane. In these texts, the poetic speaker experiences a desubjectivation produced by highly invasive psychiatric procedures. These texts account for this experience [Benjamin] and establish themselves as healthy practices [Deleuze]. By doing so, they do not function as instances of resubjectivation; instead, they retain the oscillation between resubjectivation and desubjectivation. [ABSTRACT FROM AUTHOR]

Purpose Extant research has painted a clear picture of the myriad ways that schools are failing to provide a meaningful education, and meaningful literacy pedagogies, to all youth. Given this crisis shouldered disproportionately by youth of color in urban schools, this paper aims to take a retrospective approach to understanding the lasting reverberations of a high school poetry class on a group of students who experienced urban traumas including but not limited to educational injustices. In contrast to the representations of failing schools, some current research offers various portraits of urban students engaging in empowering ways in classrooms that make critical use of media arts, poetry and hip hop. The questions driving this study are based on what happens once students step out of these alternative classroom spaces. For youth who have dropped out of the traditional system, what was the nature of the writing they produced in an alternative literacy learning space and what relationship did it have to their development as young adults?Design/methodology/approach Using qualitative case study methodology, this paper explores the memorable writing produced in the context of a high school poetry class by six case study participants to understand its meaning in their lives over time. It is through a dialogic lens that this research makes sense of the relationship between the written words produced by these youth, their actions in and on the world in their early adulthood, and their moments of development as survivors of trauma and as civic actors.Findings Student discussion of what I describe as touchstone poems revealed how these poems functioned to reorganize experiences and memories for the case study participants that enabled them to feel increased agency in relation to their personal and socio-cultural struggles.Originality/value For these students who were perpetually labeled as at-risk, poetry class served as a space where they could collectively engage in positive risk-taking that held meaning in their lives after high school and catalyzed the development of agentive identities. [ABSTRACT FROM AUTHOR]

This article presents some of the emergent methods developed to fit a study of quality in inclusive research with people with learning disabilities. It addresses (i) the ways in which the methodology was a response to the need for constructive, transformative dialogue through use of repeated focus groups in a design interspersing dialogic and reflective spaces; and (ii) how stimulus materials for the focus groups involved imaginative and creative interactions with data. Particular innovations in the blending of narrative and thematic analyses and data generation and analysis processes are explored, specifically the creative use of metaphor as stimulus and the playful adaptation of I-poems from the Listening Guide approach as writing and performance. In reflecting on these methodological turns we also reflect on creativity as an interpretive lens. The paper is an invitation for further methodological dialogue and development. [ABSTRACT FROM AUTHOR]

This paper shows how reading and writing processes contribute to therapist supervision as a means of working through impasse situations and facilitating the development of the therapeutic self. Texts read and written during supervision will mediate resistance, blocked narratives and containment or attention issues, as well as difficulties in change and processing developments during therapy. Texts will serve as a platform to contain the unconscious and conscious realms and shall contain the professional intrapersonal processing of the supervisee, as well as therapist-patient transference and countertransference relations and supervision relations. For this purpose, three variations of supervision shall be presented, demonstrating the transformative power of reading and writing processes for supervision in impasse situations: (1) reading and writing the therapeutic hour's summaries as a means to gain a re-observation; (2) the text's contribution in removing the patient's identity barriers; (3) the text as a release container to expose the iceberg. [ABSTRACT FROM AUTHOR]

This paper includes research into the pervasiveness and dangerousness of intimate partner violence and the ways that poetry therapy can be used to help victims gain perspective on their situation. According to the World Health Organization, over 30 percent of women worldwide have experienced violence at the hands of a partner. The author's personal experience with poetry therapy in leaving an abusive relationship of 13 years is used as an example. [ABSTRACT FROM AUTHOR]

This article examines the samples of poetry of Hazrat Alisher Navoi, which are one of the important sources for studying his personal life. Therefore, the poetry of a great poet is an image of his joy, dreams, happy moments, sorrows. Through the experiences of the poet, the spiritual world of a person is known, his feelings, experiences, the world of sadness, joy and desire, philosophical and moral issues worthy of study are imprinted. [ABSTRACT FROM AUTHOR]

This research investigated the use of poems for reflection. Participants (n = 16) were enrolled upon a Foundation Degree in Sports Coaching. Part modular assessment saw the students create an action plan that provided key indicators as to their ability within a range of study skills. The entire cohort failed to implement the plan. Whilst there exists a prevailing wind of poetic embrace within the social sciences, limitations are evident within the domain of sport and physical activity. The research questions whether poems may be implemented as a means to initial reflection and reorientation and as a consolidation of prior learning. Findings suggest poetry may aid initial reflection and reorientation and a consolidation of prior learning, that the writings were enjoyable, at times frustrating, developmental and that such creativity might be advocated elsewhere across the HE curriculum. Implications for the learner are discussed and I suggest a framework for practitioners (‘Reflective Facilitation’), which considers how we may assist our learners in a process of guided discovery in which their reflections may become critical and self-governed. The paper then considers the limitations of the research process and offers considerations for future practice. [ABSTRACT FROM PUBLISHER]

Medieval authorship is characterized by parameters fundamentally different from early modern or modern parameters. On the basis of the popular matter of Alexander, this article investigates into the different ideas that individual authors connected with their writing activity, into how they thought about themselves and what image they created of themselves, and into what traditions they positioned themselves in. This paper considers the Latin text of Archipresbyter Leo of Naples and that of Walter of Châtillon, as well as Lamprecht's and Rudolf von Ems's Middle High German Alexander verses. [ABSTRACT FROM AUTHOR]

Copyright of Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 pilot clinical trial tested effectiveness of a poetry writing intervention for family caregivers of elders with dementia. This paper presents findings from a larger study using mixed methods to examine outcome variables of self-transcendence, resilience, depressive symptoms, and subjective caregiver burden. Findings reported here focus on qualitative analysis of in-depth interviews conducted with participants following their poetry writing experience. A grounded theory approach was used. Themes that arose from the data support a mid-range Theory of Self-Affirmation in Caregivers with subthemes of achievement, catharsis, greater acceptance, empathy, self-awareness, reflection, creative and fun, positive challenge, and helping others. [ABSTRACT FROM AUTHOR]

Starting with attempts by several authors, in particular Arthur Miller, to explain the nature of the impulse to write, this paper examines the tensions and relationships between conceptions of the act of writing as 'making' and as 'saying'. Writing conceived as craft is explored using recent ideas from sociology and neuroscientific research into how we learn to read and write. Writing as 'saying' is examined in terms of its capacity to 'bear witness' to the world and the nature of consciousness and some of the ethical implications of this. The capacity of fiction and poetry to represent consciousness is examined in terms of the interdisciplinary debate on the relationship between language and cognition. [ABSTRACT FROM AUTHOR]

Trauma needs containment and recognition in order to be handled, and this project enabled the soldier to do both through the use of writing and poetry. This paper is based on the qualitative findings of an 18-month long poetry therapy group conducted in a veteran's center, and follows the progress of the veterans as they learned to use writing and poetry to focus on the present and reconnect to a broad spectrum of emotions they had been trained to suppress. The paper describes the theory behind the exercises and their impact on the veterans. [ABSTRACT FROM AUTHOR]

Starting with Knut Hamsun's first novel, Hunger (1890) this paper tries to explore the reasons why Hamsun even today, 150 years after he was born, has such strong impact on his readers. A number of reasons for his popularity is mentioned - e.g. his unique and poetic style of writing, his humour, his intense and tragic love stories, his renewal of European poetry of nature. Special emphasis is put on his complex and modern and independent female characters, for instance Edvarda Mack in the novel Pan (1894).In several ways the young and left-wing radical Knut Hamsun developed into a more conservative, some would say reactionary, author. But even in his more conservative novels there are many progressive tendencies to be found. In spite of his sympathy for Germany during World War II, Knut Hamsun is today one of the most widely read authors in Norway, and some of the reasons for this seem to be his youthful and modern mixture of humour and desperation, of pain and happiness. [ABSTRACT FROM AUTHOR]

This paper is about a writing and literary translation program called Poetry Inside Out (PIO). Students in the PIO program study poetic form and structure, figurative language, and the fundamentals of literary translation in an extended workshop format. During a typical Poetry Inside Out workshop, participants read, discuss, translate and recite poems by great authors. They examine the lines, words, cadences and structure of a poem, practise valuable language arts skills, and produce their own poetry inspired by the authors they study. Literary translation is fundamental to the program because it challenges students to think about the ways syntax, grammar, vocabulary, rhythm, nuances and colloquialisms of both languages influence meaning. The purpose of this paper is to explore the synergy between the program principles, what we teach, and what students learn in response. [ABSTRACT FROM AUTHOR]

This paper follows the process of one student/professor team that traded in the theoretical process of publishing for a more hands on approach. When professors have students who show great potential, it's common to direct them towards publishing. In a recent situation I had with a student, instead of leaving this at the level of suggestion and direction, we teamed up and took a step by step approach to publishing poetry: from writing prompts, to revisions, to submissions, and finally to dual publication. In fall 2006, both of our chapbooks of poetry were published by Pudding House Press. For accelerated students, this can be a significant stage in their academic career. It also adds to the professor's publication records. [ABSTRACT FROM AUTHOR]

This article builds on an analysis of Sea and Spar Between by Nick Montfort and Stephanie Strickland and Tree of Codes by Jonathan Safran Foer to examine print and digital forms of writing through resonance, replication, and repetition. It explores the plastic and textual space of the page and screen and focuses more specifically on the composition of fragments and the way they can be apprehended by readers. Conversely, digital borrowing is not a mechanical process of self-identical recurrence, and like its print counterpart, it is a gesture of differenciation and a play of singularities (Deleuze). In investigating the entanglement of a work with a source text, this article also explores how creative gestures initiate a “floating” space as theorized by Jean-François Lyotard, that is, a space at once rigid and flexible where the reader is both bound and floating. [ABSTRACT FROM AUTHOR]

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

This paper discusses some issues concerning the literature of testimony, particularly Primo Levi's writing. We start from the hypothesis that writing about the experience of the concentration camp and becoming a writer because of that experience seems to have made it likely to be lived, with its gaps and its impossibilities. To clarify the relationship between writing and the experience of the concentration camp in the context of the work of Primo Levi, we employ Jacques Lacan's concept of extimacy. This concept allows us to infer that the relationship between rational writing and poetic writing is inscribed in the work of Levi, less in a dual relationship of binary and linear opposition than from the perspective of internal exclusion. Primo Levi's testimony, read in light of the concept of extimacy, may elucidate the differences between the testimony as an experience of victimization and the testimony as an experience of extimacy. [ABSTRACT FROM AUTHOR]

This paper intends to study the memoirist poetics of Carlos Drummond de Andrades three *preface-poems* that begin, respectively, his three most characteristically memoirist books: Boitempo & A falta que ama (1968), Menino Antigo (1973) and Esquecer para lembrar (1979). lhe key theoretical texts used are Jacques Derrida's fundaments on the characteristics of the autobiographical text and its ability to articulate the subject's past experiences as a form of detachment from himself or herself in search of a self-assessment that can provide self-knowledge. We intend to enhance the *critical* field of the Itabira poet's lyricism through this focus on writing, not to reiterate or judge his poetic assumptions, but to help reveal the constitutive dilemmas of the written experience. [ABSTRACT FROM AUTHOR]

The visual communication of word, meaning and content too often is overlooked in graphic design studies. Graphic design students commonly create designs in which content plays a secondary role while emphasis is placed upon aesthetic and visceral approaches. This predicament derives from the students' lack of guidance in comprehending, creating and transmitting written information. An examination of common collaborations in undergraduate studies indicates that a range of disciplines other than writing are often combined with graphic design. However, graphic design should be visual communication through word and image. Therefore, words should play an integral role in graphic design education. The question then arises: What kind of words could possibly provide content that stimulates change within graphic design studies? Literature poses great potential. It is an ever-evolving, multi-faceted discipline, which places emphasis on aesthetics. An analysis of the relationships between literature and graphic design indicates that numerous commonalities exist. Key examples of parallelisms occur within the realms of: Imagist poetry, visible words, words in motion, fairy tale animation and digital media. In conclusion, literature offers a valuable and diverse content base with the capacity to inspire and enrich today's visually oriented graphic design studies. [ABSTRACT FROM AUTHOR]

The nature of participants' experience in practitioner research is often taken for granted, and its more tacit dimensions overlooked. Poetic expression is valuable in surfacing these tacit dimensions, enabling the researcher to engage with them more consciously and draw on them to strengthen the research. To illustrate, I draw on my own poetically expressive writing relating to the experience of leading an action research project - a text entitled A Gossamer Thread. I describe how I came to write in this way, and draw on the poet Robert Frost's account of 'the figure a poem makes' to show how the writing arises from within experience and is able to clarify its meaning. This process is linked to an understanding of Dewey's concept of integral experience. Ways in which poetic expression may contribute to practitioner research are discussed, exploring how the vitality of poetic expression can energise research and how writing poetically emphasises receptivity, stepping back from assumptions and opening up to possibility. [ABSTRACT FROM AUTHOR]

Abstract: In this paper the author investigates Tiutchev''s ‘Pominki’, a translation of Schiller''s ‘Das Siegesfest’. The date of writing is uncertain and factors are considered that could narrow it down. The literary and political contexts of Tiutchev''s ‘Pominki’ are outlined. They comprise Zhukovskii''s earlier translation of Schiller''s poem, which, perhaps, Tiutchev sought to emulate, and also Zhukovskii''s translation of the Odyssey. All of this is considered against the background of the events in Europe in 1848–1849 and their repercussions in Russia. [Copyright &y& Elsevier]

This article presents the author's insights concerning the poems of John Keats, as well as his principal textual and editorial work in Great Britain. The author said that Keats has several obvious qualities that would make him an attractive writer to connect with, there is the line-by-line richness of his poetry. He was one of the least egotistical successful writers in the history of all the literatures of the world, and in a letter to his brothers he coined the term Negative Capability to make a theory out of it.

The purpose of this paper is to make an explanation --and to generate a discussion-- on the importance of taking the resources that traditional literature use not only as the "memory-supporting-formulas" they are, but with an analytic focus that let us value them as a complete aesthetic phenomena. Romancero's Triada let me show the stylistic value of these resources, and how different from cultivated literariness' criteria are those that rule traditional one. Examples and discussion will be based on how the Triada can fulfill different poetic functions and, in some cases, define how rich or poor became the aesthetics results in a poem. [ABSTRACT FROM AUTHOR]

The article focuses on the poem "Catullus 68," by Catullus. The poem reflects on the status of texts as physical or metaphysical artifacts and shows the interaction between speech and writing. Poem 68 has three major sections that begin with a reference to a text's material status. As the poem progresses, a literal conception of space and the physical reality of literary artifacts yields to a more metaphorical, less localized understanding.

Chronic illness diagnoses frequently cause the shattering of personal assumptions about the self and the world, resulting in an experience of alienation and fragmentation of identity. Multiple studies on the effects of expressive writing have demonstrated physical, emotional, and psychological health benefits, yet little is known about how it might offer benefit in response to a chronic illness diagnosis. Combining the transformation-through-writing model with the dual process model for non-death loss and grief, I take an autoethnographic approach to explore how creative writing about Fibromyalgia (FM) allowed me to progress from a first story/loss orientation to a second story/restoration orientation as part of a dialogical process of self-reconstruction. [ABSTRACT FROM AUTHOR]

This study explored the pedagogical implications of integrating creative dance into fifth-grade students' poetry reading and writing within the context of an educational design research project. Two teaching designs were developed and implemented by a researcher, a dance teaching artist, and two primary school teachers during two research cycles (the academic year of 2018–2019). Thinking with new materialism, a diffractive analysis was used to identify performative agents that make a difference in students' meaning-making processes. When dance was integrated, it became entangled with the poetry in students' meaning-making processes. The boundaries between reading, writing, and dancing became fluid, enhancing the attention to the materiality, relationality, and embodiment of the students' reading and writing processes. These results demonstrate that dance integration has the pedagogical potential to deepen and broaden the meaning-making in poetry reading and writing. This article therefore concludes by presenting some recommendations for how to integrate creative dance into first language and literature education. [ABSTRACT FROM AUTHOR]

As part of an ethnographic study of a secondary English Language Arts classroom, one teacher took a critical translingual approach to curriculum and instruction, encouraging students to engage in translanguaging and to explore the intersections of language with power and identity. The larger study's central question was, what does participation in a critical translingual English curriculum bring up about students' identities and ideologies in relation to language? Guided by this question, this article details a series of lessons that featured a spoken word poem in which the author used English to reflect on her relationship to Spanish and asked students to explore their language practices in their own writing. This article illustrates that while students' poems expressed an apparent internalization of deficit language ideologies, they also expressed resistance to those very ideologies through the voicing of a translingual sensibility. [ABSTRACT FROM AUTHOR]

Objectives: To conduct a systematic review of arts-based interventions promoting transition from paediatric to adult services for young people (Note: The term young people refers to adolescents and young adults.) with long-term conditions and to explore their effectiveness. Interventions: Arts-based interventions included studies of young people who were actively participating in the intervention rather than passive observers. Visual arts interventions included film/video production, time-based media, photography, animation, sculpture, audio, installation, sound recordings, painting, textiles, print, mixed media, multimedia. Arts-based interventions included creative writing, poetry, dance, choreography and storytelling. Main outcome measures: We included all outcome measures relevant to transition and any chronic condition. These included: self-care knowledge and skills, autonomy, continuity of care, adherence to treatment and attendance at appointments. Results: Seven studies reported arts-based interventions promoting outcomes that are relevant to transition. These studies showed that arts-based interventions may influence young people with long-term conditions self-esteem, confidence and self-expression. The findings must be treated with caution as the evidence was weak with studies using qualitative measures and of poor methodological quality. Conclusions: There is a need for further research of arts-based interventions for children and adolescents with long-term conditions that incorporate objective measurements or validated tools to assess outcomes relevant to the transition process. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including the benefit of creative methods in counseling, the use of combined quantitative career testing and narrative career counseling, and the Dialogical Temporal Chair Technique.

In this article I discuss the ways in which writing poetry and reflecting on its meanings may be a valuable tool for promoting an educator's reflexivity surrounding issues of reconciliation. As Canada embarks on the work of healing the difficulties its colonial past has caused its original inhabitants (i.e. Indigenous peoples), educators must explore ways in which they can contribute to a more socially just, democratic, and healthy society. By utilising the theoretical framework of Dialogical Self Theory (DST) to describe and explore identity and the writing of poetry as an exploration of self, it becomes possible for myself, as an educator, to unearth my own biases and begin to create safe spaces for identity exploration, learning, and healing. [ABSTRACT FROM AUTHOR]

Adolescents are more connected to the globalised world than ever before, with an increased prevalence of social media use amongst youth. Young people are composing multimodal creative works, including digital poetry, to share with an online audience, using platforms such as Instagram. Drawing on transliteracies theory, this case study found that three main themes appeared regarding the nature of literacy practices on Instagram. Community and interactivity were important to poets, especially in regard to feedback. The platform and complementary apps, especially those used for photo editing, afforded poets agency and fostered multimodality when composing, thus highlighting the changing nature of digitised writing practices. Value was placed on the mobility and accessibility of Instagram as a mobile app, for composing and consuming digital poetry. Young people may therefore be considered innovators of multimodal writing who employ ever‐evolving technologies to engage in authentic literacy practices in digital spaces. As a result, this study suggests that the implications of Instapoetry on English pedagogy include the increased exposure and relevance of poetry writing and appreciation, a space for student‐centred writing, reading, and analysis of poems, as well as a relevant method of peer review and collaboration. [ABSTRACT FROM AUTHOR]

This article provides a unique lens for understanding young children's poetry writing. It focuses on defamiliarization as a cultural tool and practice to engage students' imagination, playfulness, creativity and aesthetic experience into their poetry writing and to experience the world differently and aesthetically. The research aims of this article are (a) to examine how familiar things were defamiliarized in children's poetry writing process and poems and (b) to explore what and how aesthetic experiences could result from the defamiliarization process. More specifically, three key literacy events were selected from different writing units during one academic year. Ethnographic discourse analysis was adopted to examine the teacher–student interactive conversations in poetry writing when they defamiliarized their familiar things, places and situation. The data analysis showed that the defamiliarization process made an important contribution to the young writers' development of language, literacy and their sense of self as a writer. The results exemplified defamiliarization processes as a way to promote the teaching and learning of writing for aesthetic experience beyond linguistic text production. Furthermore, the article provides critical indicators that link children's writing and multilayered aesthetic experience, and it highlights the critical role of an adult/teacher in channelling children's affinity with play, imagination, creativity and aesthetic experience into their poetry writing. [ABSTRACT FROM AUTHOR]

This essay traces J. M. Coetzee's employment in the computer industry in the 1960s, arguing that this experience influenced his understanding of literature and the writing process. Drawing on his archives, the essay examines Coetzee's programming work and generation of computer poetry. It places his scholarly interest in literary impressionism and stylostatistics in this practical context and outlines his early engagement in the field of humanities computing. One of the major results of his programming experiences was the development of a platform of what I call "aesthetic automatism," or the redeployment of modernist formalism in an age of computation. [ABSTRACT FROM AUTHOR]

Discussion has occurred around what constitutes quality research poetry, with some direction on how a researcher, who is a novice poet, might go about writing good enough research poetry. In an effort to increase the existing conversation, the authors review research poetry literature and ideas from art poets on how to read, write, and revise poetry. The authors interrupt the prose text throughout with poetic interludes and quotes from poets. The conversation is framed by the conception of ish and poemish which is drawn directly from Reynolds's powerful book ish. Poemish representations may be said to be research representations characterized by features of poetry and an effort to blend the aesthetics of poetry and science of research into something which may be said to be poem-like, ish, or poemish. [ABSTRACT FROM AUTHOR]