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Starting from the analysis of a cycle of sonnets neglected by criticism (Rime 126-130), this paper aims to demonstrate the meaning of the private themes in Bembo's lyrics with regard to the historical context of the first thirty years of the XVI century, in connection with the uncertainty generated by the Italian Wars as well as with the role of intellectuals and writers in Renaissance society. All of the texts are tied to a precise moment, the year 1526: the extremes of the sequence are two civic-political sonnets, addressed to Clemente VII and his datary Giberti, while the central texts are dedicated to the theme of friendship and to la Morosina's illness. The series appears particularly uneven, even more so because of its position just behind the ending of the amorous canzoniere and before the spiritual texts; however, the sonnets are bound together by the theme of fortune and history, in which is rooted Bembo's idea of the love lyric. The paper proves that this thematic thread hints at an articulated discourse about poetic autonomy, grounded in the Latin classics, which represent the true substrate of Bembo's poetry. The study of the sources and of the macrotext confirms the importance of Propertius and Horace in the Rime: specifically, in the Venusian poet Bembo identified a point of reference for the definition of the writers' position vis-à-vis power and for the idea of constructing a monumental work, capable of making eternal not only the memory of its author but also that of his friends, lovers, and lords who are involved in the verses; in Propertius, instead, he saw an example for the treatment of the amorous theme in poetic discourse. [ABSTRACT FROM AUTHOR]

This paper comments on a recent article "Revolutionary poetry and liquid crystal chemistry: Herman Gorter, Ada Prins and the interface between literature and science" by Hub Zwart (Foundations of Chemistry, published online: 10 July 2020), in which the author explores the influence of the liquid crystal research of Ada Prins on the epic poem Pan written by her long-time lover Herman Gorter. The present paper reviews the basic science of liquid crystals and explains the connections between the work of Prins and its influence on the poem. Other examples of the use of "liquid crystal" as a literary device are identified from renaissance poetry, and the uses of the metaphor in these poems are analysed from a scientific perspective. From these examples it is suggested that creative concepts from poetry may contain elements of substance that appear in hitherto unrecognised scientific realities. [ABSTRACT FROM AUTHOR]

This research paper deals with the Qur’anic intertextuality in the poetry of the Khawarkhs, as it represents a remarkable phenomenon in their poetry that cannot be missed by the eye. The aim of the paper is to explore the manifestations of this type of intertextuality in the poetry of this unruly religious sect. The research has been conducted according to the requirements of its procedural plan that consists of two axes. The first is theoretical that it stops at the concept of intertextuality in terms of linguistic and idiomatic intertextuality. The paper also tackles the importance of Holy Qur’an and its employment in poetic texts, in particular, and literary texts, in general. As for the second axis, that represents the authenticity of the study, the paper is purely empirical, in which the Qur’anic intertextuality has been clarified in the poetry of the Kharijites through four forms of intertextuality, represented in: quotational intertextuality, intertextuality of reference, indicative intertextuality, and the stylistic intertextuality. The paper has followed the analytical and empirical methodology; one of its most important procedural instruments is the adaption of the modern critical methods and their brilliant conquests. [ABSTRACT FROM AUTHOR]

This paper provides a textual analysis of Walt Whitman's "Song of Myself", revealing its significance as a national poem. The paper argues that Whitman's "Song of Myself" breaks literary and political limits, challenging the sovereignty of the nation. By examining "Song of Myself" in the six different editions of Whitman's Leaves of Grass, this paper will further analyze Whitman's style and his speaker as representations of the limitations and sovereignty of literary tradition and the politics of his nation. By "politics," I refer to the religious, political, and social doctrines that shape the nation. By "literary," I mean the traditional literary style of writing, such as the poem's form, scope, and subject. [ABSTRACT FROM AUTHOR]

The machine or automatic translator is a distinct 21st technological innovation. Although limited in its capability to translate, it is generally appreciated as a powerful adjunct tool for translation. Among today's most popular machine translators is Google Translate, an online statistical machine translator (SMT). It may be utilized by anyone, by any ideology, and for a variety of political, cultural and economic objectives. This paper is a project on the subversive potential of translation using Google Translate as an aid for translation, contrary to its original monopoly capitalist ethos of privatizing language and information, and of market expansion. This paper articulates a possibility for a nationalist and anti-imperialist project by using Google Translate as an adjunct tool to translate from English to Filipino a poem written by Carlos Bulosan. [ABSTRACT FROM AUTHOR]

As an Aboriginal woman critiquing Australia's education system as a site of ongoing colonialism, I aim to actively resist the temptation to perform research within Western hegemonic research paradigms, and instead seek ways to disrupt normative research practices with the what, how, and why of research. In this paper, I utilise Indigenous autoethnography as a cultural imperative to 'walk my talk', embedding an autoethnographic dataset of reflection, poetry, emotion, and subjective blurting in response to my experiences of colonialism in the academy. Indigenous autoethnography allows a space from which I can expose (and resist) the abnormality of the 'normal'; fulfil cultural, ethical and relational obligations; and recentre axiology and ontology as a starting place for research. This paper seeks to contribute to the small but growing literature on Indigenous autoethnography, to offer another pathway for Indigenous scholars to follow, as well as illuminate normative research practices for non-Indigenous researchers. [ABSTRACT FROM AUTHOR]

The paper will look at two Irish literary texts from the mid-1990s up to the present day, and will read these texts in terms of their dramatisation of the politics of debt and guilt. Attention will be given to how different literary genres narrated debt and guilt in Irish society under the sway of the globalised Celtic Tiger economy. An analysis of Denis O'Driscoll's poem, 'The Celtic Tiger' will be presented first of all, as the poem is instructive on Ireland's new slew of performed identities during the economic 'boom', and the poem will be attended to in terms of the cultural politics of performance, desire and affect. Subsequently the paper will analyse Claire Kilroy's novel, The Devil I Know, an analysis that will be underpinned by a theoretical framework that focuses on how debt and guilt are formative of the modern sovereign subject. The arguments forwarded in the paper will take significant theoretical guidance from both Friedrich Nietzsche and Maurizio Lazzarato. [ABSTRACT FROM AUTHOR]

This paper focusses on colour terminology as a tool for achieving ἐνάργεια (pictorial vividness) in the Latin poetry of the first century c.e. After briefly outlining the developments in the concept of ἐνάργεια from Aristotle to Quintilian, the paper considers the use of Latin terms for black in three descriptive passages from Statius' epic poem, the Thebaid. It is observed that the poet privileges the juxtaposition of the two adjectives ater and niger in a pattern of uariatio, where ater often carries a figurative meaning and repeats established poetic clichés, while niger is part of unparalleled collocations that evoke a material notion of blackness. Further analysis of the uariatio in the context of each passage reveals that the juxtaposition of the two-colour terms enhances the vividness of the objects described not only by increasing their chromatic impact but also by establishing connections with other parts of the poem, and by inviting a reflection on the competing practices of imitation and transgression of poetic models. The analysis of one stylistic feature (the use of colour terms in uariatio) shows that this stylistic feature is used by Statius for achieving ἐνάργεια as an artistic effect, for reflecting on ἐνάργεια as an instrument through which poetic models are challenged, and for tying his own poetic practice to contemporary rhetorical discussions. [ABSTRACT FROM AUTHOR]

This paper discusses the relation between the poetic and teaching. Drawing on Heidegger's question of Being and his turn to poetry as the site through which Being is brought forth through an interplay between revealing and concealing, I address the intricacies of poetic thinking in teaching. I argue that thinking 'about' teaching needs to go beyond the calculative frames of reflection, prevalent in practices of teaching today. I refer to three poems to explain the deeper modes of thinking that emerge from poetry and how these can inform teaching in a manner that releases students' openness to learn and teachers' meditation on what confers their being in teaching. I conceive teachers' work as poesis, pointing to their responsibility to attend to the call of thinking as beings who 'occasion' relations with/in the world in the advents of being and becoming. [ABSTRACT FROM AUTHOR]

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

This paper interrogates jazz music as a model for an aesthetic and stylistic device deployed by *Edward Brathwaite and Allen Ginsberg in their poetry. The two poets traverse the literary Worlds of America and the Caribbean respectively, literary called The New World. Edward Brathwaite in his Rights of Passage creates a plethora of sonorous devices that exemplify his jazz aesthetic interest. In the poem, key words serve as notes of the music. He struck a high-pitch note when he indicated in his essay "Jazz and the West Indian Novel" that "Words ... are the notes of this new New Orleans music" (i.e. West Indian Literature) (63). In the same vein, Allen Ginsberg employs almost same literary devices that resonate of the jazz technique in his poem Howl. His words in the poem recreate an ambience of the acoustic sounds of jazz music. The poetry is aurally stimulating, and very highly rhythmic. The popular music of the day -- jazz -- had played an integral part, and formative role in terms of the composition of the poems. The two poets used this poetic form to formulate and tell history and most profoundly, as a form of protest. The recurrence of jazz musical elements in the poems indicate the importance of the principles of repetition, syncopation, rhythm, improvisation and the riff. [ABSTRACT FROM AUTHOR]

, , 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]

Palestinian poets Nathalie Handal and Naomi Shihab Nye deploy nonhuman perspectives to mourn the lost homeland, reflecting on the Nakba ('the Catastrophe', the 1948 Palestinian exodus) as a site of environmental and social rupture. Representations of environmental ruptures as means of reflecting on the Nakba are not new to the Palestinian literary tradition. Understanding these ruptures by way of posthumanist appeals is, however, a radical gesture that we can locate at the centre of troubled attempts to merge, or at a minimum 'converge', the 'respective preoccupations of ecocriticism and postcolonial studies', to use Robert Spencer's enunciation. Through close readings of the multispecies ecologies deployed by Nathalie Handal and Naomi Shihab Nye, this paper reconciles postcolonial Palestine with posthumanist Palestine, honouring the poets' compositions of vistas of nonhuman animals and habitats, and studying their experimentation with interspecies kinship. [ABSTRACT FROM AUTHOR]

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]

In healthcare institutions across the country, the role of poetry continues to emerge within the liminal spaces between the medical humanities and clinical care. While the field of narrative medicine is well-developed generally, formal review of the state of poetry as a healing modality is limited. Poetry in the medical humanities literature has often been described by its indefinability as much as by its impact on healing. The power of poetry in healthcare is thought to be multi-faceted and deserves to be explored further. Poetry can be medicine for both patient and clinician. "Poetic Medicine" is a modality that has been utilized for the healing of grief, loss, wounds of the psyche and spirit, and as a process for expanding resiliency in healthcare-applications that are particularly relevant to the practice of hospice and palliative medicine-for patient and clinician alike. While numerous approaches share common themes, current programs bringing poetry into healthcare have been operating largely in isolation from each other-with a lack of national consensus on definitions or structures of interventions. Such isolation is a major restriction to the study and growth of Poetic Medicine. While it is not known with certitude, the number of Poetic Medicine programs in healthcare in the United States appears to be growing. In this paper, we propose an initial framework to define the role and impact of poetry in healthcare and then describe two different, well-established Poetic Medicine programs in the United States. [ABSTRACT FROM AUTHOR]

Comments on several poems about medical humanities. "The Paper Bag," by Paul Marshall Wortman; "Between the Panes," by Christopher Hummel; "Guillain Barré," by Michael Rowe; "Dental Care at St. Louis University," by Mary Kennan Herbert.

In the Netherlands, the poet Herman Gorter (1864–1927) is mostly known as the author of the neo-romantic poem May and the "sensitivistic" Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an "open letter" to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and "bourgeois", unconnected with what was happening in the real (material-political) world. He wanted to put his poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan (11,000 lines of verse, published in 1916), two terms are rather prominent, namely heelal ("universe") and kristal ("crystal"). These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek (who studied the universe) and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter's secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter's work and the main objective of this paper is to demonstrate her influence on Gorter's Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter's Pan, highlighting important connections with Ada Prins' research into liquid crystal chemistry. [ABSTRACT FROM AUTHOR]

This paper examines the strategies Anne Sexton, Carol Ann Duffy, and Margaret Atwood employ in their revisionist myth making project to disclose and denounce the detrimental impact of patriarchal norms and institutions on women and gender equality. The poets rewrite classical myths and fairy tales this time to tell the stories of those who have been excluded from historical and sociocultural narratives. The new stories of Sexton, Duffy, and Atwood unsettle gender stereotypes with humorous and purposely bathetic plot twists and enable women to reject secondary roles historically attributed to them. Female characters in the poems reclaim their power through literary (re)creation by confronting male domination and internalized guilt over feelings of incompetence. This paper proposes that these revisionist strategies may help to forge an independent identity for women, artists and non-artists alike, and to generate the necessary critical response against the oppressive discourse of patriarchy. [ABSTRACT FROM AUTHOR]

The paper offers literature review of the three suggested approaches that answer the question of ancient Egyptian meter. These theories reflect the constant contradictions between the dominant European Imperial languages of the 19 century (German - French - English). The paper also investigates the religious motivations that prompt Euro-American scholars to compare ancient Egyptian with Biblical texts. The rediscovered thematic affinities formed the main objective of these studies in order to restore historical hypothesizes that approve the legitimacy of several Biblical thoughts. Moving beyond the theoretical parameters of Eurocentric modernity, this paper argues that medieval Arabic literary criticism can be used as a foundation for understanding the literary nature of ancient Egyptian literary devices in order to recognize the various internal forces of the ancient Egyptian literary reproductions. Premodern Arabic poetics, represented in the theory of balāghah (literally 'eloquence' and roughly 'poetics'), can offer the ideal path to take advantage of the linguistic affinities between the two languages in the realm of literary studies. [ABSTRACT FROM AUTHOR]

This paper will examine the way poetry -- and particularly the performance of poetry by adolescent characters -- is represented in film. The paper argues that film offers a space within which it is possible to reflect in particularly probing ways on the relationship between poetry's often contradictory roles in both expressing cultural norms and enabling repressed, neglected or forbidden aspects of individuals' experience to be articulated. In particular, the performance of poetry by adolescents in films often takes place in dramatized contexts where the exercise of institutional authority is being questioned and individuals are undergoing difficult forms of personal transformation, awakening or development. Analysis and comparison of some exemplary instances in which the performance of poetry plays a central role in such struggles reveals much about the continued potency of poetic forms in an era when mainstream poetry itself has come to be widely perceived as either marginal or irrelevant to most ordinary people's lives. Focusing on three films from different decades in particular (Splendor in the Grass; Dead Poets Society; and The History Boys) but with reference to a wider range of examples from different cultural contexts too, the paper will examine how films may challenge mainstream classroom pedagogies and model some of the complex ways in which the poetic is imbricated in life experiences. [ABSTRACT FROM AUTHOR]

This paper investigates premodern conceptions of spaces of otherness, particularly within the context of Persian Sufi poetry. Abbasid-era travel literature describing monasteries, as well as real hostilities between Muslims and Christians, gave symbolic dimensions to spaces of antinomian activity in thirteenth-century eastern Iran. Making use of Edward Soja's thirdspace , as well as Jorge Luis Borges's the Aleph , this paper pays particular attention to the pseudo-hagiographical narrative of the "Shaykh of Ṣanʿān" in the poem Manṭiq al-Ṭayr (Speech of the Birds). In this account by the Persian poet Farīd al-Dīn ʿAṭṭār (d. 1221), Byzantium contrasts with the Kaʿba in Mecca, just as the wine-house, the Christian church, and the ruins contrast with normative spaces wherein expectations of decorum can lead to ostentatious and insincere modes of worship. By creating magical spaces of infidelity, spaces devoid of piety, ʿAṭṭār conveys themes of losing oneself to a carnal and ultimately divine Other. [ABSTRACT FROM AUTHOR]

"Leibnizian Perspectivism in Baumgarten. Notes on the Influence of the Concept of petites perceptions in Baumgartian Aesthetics". In 1735 Baumgarten published his Philosophical Reflections on Poetry. There he develops for the first time the idea of a science of sensibility capable of apprehending the idea of beauty in art; a science which he denominates aesthetics. This quest to determine what beauty is and what the status of aesthetic experience within the edifice of knowledge is seems to be more related to the Leibnizian approaches to sensitivity than to the Wolffian gnoseological framework, not only because of the way in which it deals with the concepts of perfection, beauty and truth, but mainly due to the fact that, in the development of Baumgarten's research on sensitivity, mechanisms of subjectivation similar to the ones presented by Leibniz seem to be deployed --mechanisms characterized by a strong perspectival background. In view of this, this paper investigates the Leibnizian influence on Baumgartian philosophy, and specifically the question about how the concept of petites perceptions, as a central element of Leibniz's perspectivist conception, influences the notion of aesthetics developed by Baumgarten. [ABSTRACT FROM AUTHOR]

This paper explores in Eielson's return to written poetry his enthusiastic resettlement in the founding text of his poetical production, namely Reinos, published in 1945. Reinos can be seen as a ritual burial or huaca that the 'archaeologist' poet chooses to dig into in his later collections, namely Celebración (2000) and Sin título (2001). As readers witness the unearthing of the Lima period images, the old funerary isotopy becomes the background against which a thriving vitality, a radiance and a critical impulse that had not been seen before burst gleefully thus modifying the reception of Eielson's poetry. Eielson's response to the questions posed by Peruvian filmmakers Patricia Pereyra and Gaby Yepes is finally added. [ABSTRACT FROM AUTHOR]

This paper describes group and community intervention work with individuals currently or formerly experiencing homelessness to create mutual connection and support using art, poetry, stories, pop-up porches, and photobooks. The group and community intervention work was enhanced by International Association of Social Work with Groups (IASWG) SPARC endorsement and funding to create photobooks which served to visualize the life stories and accomplishments of persons identifying as currently or formerly homeless. The two-decade journey of the author's work with individuals experiencing homelessness will be described to illustrate and celebrate how creative group and community interventions addressing homelessness (including photobooks) can connect individuals experiencing homelessness with people who have never experienced homelessness to facilitate group dialogue and mutual understanding. [ABSTRACT FROM AUTHOR]

In many of the oldest known sites of the Pāṇḍya country located not far from the Kāverī River in Tamil Nadu, a dual Hindu obedience, Vaiṣṇava and Śaiva, was developed concomitantly.1 Alongside these Bhakti deities, others are present in these places of communication with the sacred. As stone figures attached to the site and texts evoking the place are the two means used to give form to their deities, one would expect these two mediums to interact, but it is often difficult to correlate them in the Tamil country of the first millennium. This paper aims at exploring such possible relationships at Tiruveḷḷaṟai, the earliest remains of which date to the 8th c. The site has unique archaeological features, such as a svastika-shaped well and the earliest known depictions of some of Kṛṣṇa's feats; it inspired hymns of the Tamil Vaiṣṇava devotional corpus, the Divyaprabandham, and offers numerous inscriptions. The link between Śiva, Viṣṇu and local goddesses proves to be as remarkable here as that between texts and archaeology. [ABSTRACT FROM AUTHOR]

Wiñay Mallki and Hugo Jamioy Juagibioy's poetry allows us to understand some socio-political dimensions of the indigenous literature that is recognized as palabras mayores (ancestral words). The purpose of this article is to contribute to the knowledge of their works starting with a historical overview of the Colombian Southwest to shed a light on the common intentions as well as the encounters of these two poets, from the Yanakuna and Camëntsá people. The text has a bioethnographic approach to the two indigenous authors to establish the relationship of their works with the political and ancestral struggle waged by their indigenous communities. This paper showcases the decolonizing power of the poetries of the two creators from Cauca and Putumayo for the Colombian literary field. Finally, it is important to us to support the opinion of indigenous literatures as oralituras or major words of the native people. [ABSTRACT FROM AUTHOR]

This paper examines the blurred boundaries between the historical narrative and the exemplum. After outlining the main links between the two and the fundamental role of rhetoric to each, the study turns to a specific case: the unexpected death of King John I of Castile. This event is captured in literary form in Alfonso Álvarez de Villasandino's poem Crónica de Ayala, as well as Diego Rodríguez de Almela's Crónica del Despensero and Valerio de las Estorias escolásticas e de España. Drawing from these examples, the article posits four basic principles that underpin the composition of the historical exemplum. [ABSTRACT FROM AUTHOR]

This paper explores two different translation strategies to the issue of sound (operetta) stylisation in the poem "Hermitage" [Pustelnia] by Wisława Szymborska (1981), winner of the Nobel Prize in Literature. The methodology borrows from Gideon Toury's Descriptive Translation Studies (1995, 2012), Itamar Even-Zohar's polysystem theory (1978, 1990). A comparative study of two different translations of the poem conducted by two teams of prominent translators is carried out. This method of exploration intends to reveal the underlying translation mode, the first one towards the text's accuracy and the second one towards the text's adequacy. It is argued that the translators' domesticating procedures, preeminent in the second translation, succeed in recreating the invariant source sound stylisation and the poem's discursiveness, though at the expense of the semantics of the original. Relying on polysystem theory, the author concludes with the correspondence between the target texts' divergent positions in the polysystem and their translation modes, each adopted in a different historical and cultural context. [ABSTRACT FROM AUTHOR]

This paper approaches the poetic work of a contemporary Japanese poet, Keijirô Suga, from its resonances with the discussions of ecocriticism. It proposes the critical operator of ecocritical fiction that in the gesture of the interpretative reading of the poems and the theoretical reflection allows to identify these resonances. The journey finds temporary spaces configurations around the future, the landscape and the relationship between the human and the non-human. Thus, the article contributes to the field of knowledge of contemporary Japanese poetry and ecocriticism. Finally, contemplating the theoretical reflection, we expose an ethical position distanced from certain environmentalist positions. [ABSTRACT FROM AUTHOR]

The paper has a double purpose. It contains a short excerpt from a Polish translation of the latest known adaptation of Bovo-Bukh authored by Moshe Knapheys and published by YIVO in Buenos Aires in 1962. It also contains a basic exegesis of the chivalry poem, starting with its earliest incunables in a vernacular with strong Venetian traits, printed in the 1480s, through its first adaptation in Yiddish-Taytsh by Elia Levita, originally written in Padua in 1507, but published in Isny only in 1541. The Polish translation from modern Yiddish according to the 1962 version also contains a critical apparatus in which the early Venetian text (a 1487 incunable), and Levita's Yiddish-Taytsh adaptation of the latter, according to both the 1507 manuscript and the 1541 print, are taken into consideration for comparison. [ABSTRACT FROM AUTHOR]

The current paper explores the potential of the areas between mathematics and poetry. We will first recall some definitions and results that are needed to construct solutions of the Yang–Baxter equation. A new duality principle is presented and Boolean coalgebras are introduced. A section on poetry dedicated to the Yang–Baxter equation is presented, and a discussion on a poem related to a mathematical formula follows. The final section presents our conclusions and further information on these topics. [ABSTRACT FROM AUTHOR]

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

Despite being a popular classic of German humorous twentieth‐century literature, Joachim Ringelnatz's work has received little scholarly attention. The following study questions the widely accepted stereotypical views that led to the scholarly marginalization of his work—namely the belief that his grotesque, humorous poetry is trivial and non‐reactive to the pressing issues of its time. By demonstrating Ringelnatz's inclination towards the Rabelaisian chronotope as a specific literary time‐space reconstructed by Mikhail Bakhtin in Forms of Time and of the Chronotope in the Novel, this paper argues that Ringelnatz's humorous poetry is neither historically irrelevant nor socially non‐reactive, because his adaptation of the Rabelaisian method confronts the traumatizing situatedness within the "painful time" of postwar Germany. Relating to Rabelais, Ringelnatz not only processes, but also recontextualizes the collective experience of postwar trauma, offering a "corrective" in the form of a "generative" (contra‐annihilative), "bodily‐oriented" time. [ABSTRACT FROM AUTHOR]

This paper studies the textual cohesive devices in the old Arabic poem entitled ‘jafā widduhū’ by the Abbasid poet Basyār bin Burd. This would be done from the perspective of text linguistics. It aims to uncover the extent of organic unity in the text as an example of the old Arabic poetry. The study uses textual method and focuses on three salient aspects of the poem namely: reference, repetition, and conjunction. The study begins with reference as it is the most stand out feature in the text and a grammatical cohesive feature. Three of its categories were explained in the poem: personal, comparative, and implicative references. Subsequently, repetition will be discussed as a lexical reference and four of its categories will be elaborated namely: total, partial, synonymous, and semi synonymous repetitions. Conjunction is also a part of lexical cohesive device and four of its relations are evident in the poem: conjunctive relation, the relation between the whole and part, the relation between the parts, and the relation between the elements of a general category. It is evident in the end that the textual cohesive devices are deployed in the poem and they are overlapping in many instances thus proving the organic unity of the poem. [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]

The silky images in Tang poetry are delicate, flexible, and elegant, and are “significant forms” corresponding to the poet’s specific emotions. They are important aesthetic objects in the study of Tang poetry. The paper studies the silky images in Tang poems by focusing on “female needlework images”, “fishing line images”, and slim grass images. from the perspective of “line”, a core elements of formal aesthetics. The study reveals its corresponding beauty and meaning through analysis of the flowing and undulating lines in Tang poetry, and explores the value orientation, aesthetic psychology of the Tang people, as well as the aesthetic customs, social features and historical development track of the Tang Dynasty etc., providing multiple perspectives for the study of Tang poetry. [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 paper presents an overview of Mozambican poetry during the 20th century, highlighting some significant moments in the literature of that African country (in the colonial and national phases). It discusses the literary purposes of writers who produced their work in the colonial and national phases, seeking to situate them within the scope of the cultural resistance that marked the last years of the colonization of Mozambique, trying to trace the paths of Mozambican poetry in its pre-independence and early post-independence years. [ABSTRACT FROM AUTHOR]

This paper presents an analysis of Adília Lopes' poetry, arguing how the act of reading, from the perspective of the contemporary archive, deconstructs the original meanings to create new textual events. In Adília's rewriting processes, the appropriation and deviation practices of archives that reveal many different ways of reading stand out. The displacement of quotations and the mosaic of discourse fragments and memories constitute a sampled poetic as well as a figuration of a collector poet. It demonstrates how, in her writing, the act of reassembling and repurposing quotations promotes, through ironic deviation, a poetics of "unoriginal genius", as proposed by Marjorie Perloff, and/or a "uncreative writing", as in Kenneth Goldsmith's perspective, or or even a reading work, following Roland Barthes' notion. [ABSTRACT FROM AUTHOR]

This paper on rhythm is an adaptation of the semiotic research on rhythm in versified language presented as one of the seven types of poetic iconicity in Chapter 5 of The Communicative Mind: A Linguistic Exploration of Conceptual Integration and Meaning Construction (L. Brandt 2013) entitled "Effects of poetic enunciation: Seven types of iconicity". Defined by the linebreak, poetic language use engenders distinctive interpretive affordances, some of which manifest themselves as emphatically iconic sign relations contributing to the expressive whole of a text. In "Effects of poetic enunciation", I explore syntactic, semantic, phonetic, rhythmic and rhetorical aspects of the phenomenon of semiotic iconicity, and its counterpart aniconicity, in language characterized by an intentionally (line)broken syntax and contribute a systematic account of the different types of semiotic iconicity relations, understood as figural or diagrammatic similarity relations – or, conversely, potent dissimilarity relations, i.e. aniconicity – between expressive means and semantic content. Rhythmic iconicity is the fifth type of iconicity in this typology. [ABSTRACT FROM AUTHOR]

In this paper we present two poetic manuscripts related to Jovellanos and recently located in the Fermín Canella collection of the Tolivar Alas Archive (“Ramón Pérez de Ayala” Public Library, Oviedo). These are two copies of the late 19th/early 20th century owned by the scholar Fermín Canella, both of great relevance. The first one is a lost copy – but of which there was indirect information – of Jovellanos’s Satire III, relevant because it allows us to conclude without a shadow of a doubt that several errors have been introduced in the text until now considered good and edited in the Complete Works of Jovellanos prepared by José Miguel Caso González. The second one gives as a work by Jovellanos a poem never before attributed to him. However, an examination of the text, its textual tradition, and the circumstances of its composition allows us to discard Jovellanos’s authorship. In sum, we establish how Jovellanos’s Satire III should be edited from now on and discard the composition “[Six virtues alone are...]” from his corpus. [ABSTRACT FROM AUTHOR]

The present paper intends to do an inter-semiotic analysis of Raduan Nassar's novel Lavoura Arcaica (1975), and the homonymous movie made by Luiz Fernando Carvalho (2001). This work objective is to detect the poeticity marks that structure both movie and book. At the same time, the paper explores the synesthetic effect created by the poetic elements in both works. It does so to understand how the sensorial stimuli present in both text and film results in the maximum embodiment of these senses, which acquires a sexual feature. To confirm this hypothesis, the writers did bibliographical research. The analysis was guided by the following theories: Pasolini (1966), Saverini (2004), Andrade (2010), Paz (1982) e Bosi (1977). [ABSTRACT FROM AUTHOR]

Starting from the assumption of the significance of verbal omission in the artistic literature this paper is based on the study of interpretative function of ellipsis, allusion and irony in lyrical poetry. Relying on relevant theoretical sources (C. Brooks, K. Guillen, L. Hutcheon, A. William, P. de Man, S. Newstok, H. Van Tress etc.) the paper considers these concepts both as rhetorical figures and structural procedures. Ellipsis is here theoretically considered as intrinsic deficiency, allusion as extrinsic deficinecy, and irony as intrinsic-extrinsic deficiency of possible verbal content. Special attention is paid to (non)verbal context and it's semantic influence as a widespread discursive tool in modern literature and art. As explicative examples the autor took poems of several promminent modern Serbian poets (M. Nastasijevic, S. Raickovic, A. Ristovic). At the end of the paper, the author exposes the theoretical and metodological cosequences of his study. [ABSTRACT FROM AUTHOR]

The versification of Nigerian Civil War poetry which started during and immediately after the civil war in 1970 has continued to resonate in the writings of the Niger Delta poets even in the present twenty first century. In Nigeria as a whole, the pioneers in war poetry include Wole Soyinka, J. P. Clark, Christopher Okigbo and Essie Enekwe. Like the above poets, the poets from the Niger Delta area of Nigeria have also continued to vent their anger on the devastating effects of the war on the people of that region. These poets have shown their sense of history through the documentation of the harrowing and bitter experiences of the casualties of the war which has been aptly described as the ugliest episode in the history of postcolonial Nigeria. Not only that, its literature has been portrayed as the most recurring theme in Nigerian literature. This paper attempts to re-affirm that even in the new millennium, Niger Delta poets have, unabatedly, reminded us of the genocide, rape and torture that greeted the war. The paper also attempts to show that the present prevailing scenarios in that part of the country today, which have resulted into kidnapping, banditry, rape, protests, and all sorts, are echoes of an impending civil war, if not nipped in the bud. The poems of a selected Niger Delta poets: Ebi Yeibo, Hope Eghagha, Ekanpou Enewaridideke and others who write between the year 2000 and the present are used to justify the above. The paper argues that reference to the war and its antecedents is still part of the thematic directions of Nigerian, albeit Niger Delta poetry in the twenty first century. [ABSTRACT FROM AUTHOR]

A recurring subject of manhua (comics) in Republican-era China was the pipa player, a woman whose genealogy can be traced back to the disgraced and displaced subject of Bai Juyi's ninth-century poem Pipa xing (Song of the pipa). This paper traces this woman's development from her conception in Pipa xing and follows her as she is re-imagined by modern poets and manhua artists into a variety of figures, from scorned politicians to modern feminine archetypes. This paper argues that these artists leverage her precarity and anachronism to portray contemporary political turmoil and national insecurity, as they look back at China's imperial past and towards its uncertain future. And instead of reifying the distinction between the prosody of classical and New Poetry, this paper finds classical poetics not only in poems themselves, but also in tropes and images that reveal how poets and poetry reckoned with the rise of new media. [ABSTRACT FROM AUTHOR]

The surrealistic project of redefining the self conceives poetry as a resource to liberate individuals from the moral and rational limits that constrain self-expression. This paper reflects on André Breton's surrealistic program and contends that even if he insistently pleads in favor of revaluating subjective experience, his final purpose transcends this initial goal and calls for a drastic social transformation. In this light, the paper studies the author's poetic explorations tending to liberate the self. Four topics structure this analysis: irrationality as a person's legitimate expression; the surrealistic adoption of an aesthetic of the emotion; its subsequent concretization through the mechanism of sublimation; and the convergence of all these in a poetic that opposes impositions that restrict the activity of the self. [ABSTRACT FROM AUTHOR]

Focusing on different ways of thinking about the future and the end, this paper examines changes in the scale of the farewells taking shape in recent cultural productions. In readings of poems by Roberto Bolaño and the film Melancholia by Lars von Trier, this article suggests that renewed attention to finitude and mortality has had varied effects on temporal experience, with reactions ranging from the pursuit of slowness to the desire for the acceleration of time, including the instigation of destruction. The paper also reflects on the persistence of antagonisms of different sorts within the experience of the anticipation of catastrophe, even as cultural representations tend to stress the generality of the threat. Finally, the paper revisits the question about the problem of the end of the poem. [ABSTRACT FROM AUTHOR]