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This essay considers the methodological intervention of understanding a 'mother tongue' (matribhasha) as a gendered vernacular. It seeks to illustrate the subversive potential of the vernacular as a gendered lens though which we can understand the Dalit feminist critiques of caste hierarchies and Dalit and non-Dalit patriarchies, and the places they intersect. The essay considers the works of Anita Bharti and Meena Kandasamy, contemporary Dalit women authors who write in Hindi and English, respectively. Thus, this paper extends the definition of the vernacular beyond the confines of linguistic and regional specificity, allowing for a feminist reclamation of the term. [ABSTRACT FROM AUTHOR]

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

The line is arguably the most defining feature of poetic structure. Discussions of prosody are prone to the limitations of convention, though the poet may strive for more freedom in the line. This paper begins by noting an example of a radical use of page space from Mallarmé and goes on to describe recent innovations and experiments with line breaks in work by Australian and New Zealand poets, and to summarise the functions of the line breaks used. These explorations of form show that the poetic line is neither static nor redundant in contemporary practice, and suggest the need for poets to reappraise the possibilities made available to them by the work of their peers. [ABSTRACT FROM PUBLISHER]

This paper draws on research on masculinities to examine poetry as a socially and culturally gendered genre. Situated in the context of the current 'crisis' around boys' underachievement in school, attention is drawn to the problematic understanding of poetry as an unsuitable genre for boys. Attention is further drawn to the way in which poetry, when offered up to boys, is often imbued with traditional and outdated definitions of masculinity. We illustrate the extent to which hegemonic versions of masculinity are implicated in discourses about poetry as an unsuitable genre for boys. This is accomplished by undertaking a critical analysis of various sources such as Odean's (1998) Great Book for Boys, and Scieszka's (2005) Guys Write for Guys Read, as well as Iggulden and Iggulden's (2006) The Dangerous Book for Boys. Historical perspectives which highlight the role of sexologists in forging an association between poetry and effeminacy are also used to illuminate the legacy associated with the treatment of poetry somehow discordant with dominant understandings about boys' developing masculinity. In this way, we provide a richer understanding of poetry and its discursive relationship to masculinity. [ABSTRACT FROM AUTHOR]

Previous studies of poetry in healthcare education have investigated self-selected groups. Many have been descriptive, whilst others speculated on utility and justification. This study explores perceptions of learners, a cohort of 13 registrars in one general practice training scheme, who experienced poetry-based sessions within their curriculum. The study's design was naturalistic, consisting of two poetry-based small group sessions, facilitated by a course organiser. The first session used poems selected by the facilitator, the second, poems selected by the registrars. Poems were read and then discussed, with an emphasis on individuals sharing their personal responses to the poems. This paper reports the first stage of the study, which utilised questionnaires and a focus group to investigate the perceptions of the entire cohort. The second stage, involving individual in-depth interviews with six registrars, will be reported in another publication. Poetry sessions were considered enjoyable and effective, even by those previously sceptical. These sessions required no expert literary resource, just a facilitator with a willingness to explore the learners' responses to the poems. The registrars identified benefits that may help doctors, both personally and professionally. Potential impacts on patient care were also identified. Differences between the two types of poetry session are considered. [ABSTRACT FROM AUTHOR]

This paper is an attempt to demonstrate the power and meaning of human lyricism by the only means that can really do so - lyricism itself. Using a fresh reading of T. S. Eliot's Four Quartets (Eliot, 1944), the author demonstrates the lyrical attitude Eliot himself offers us as a way to observe the world. This lyrical attitude, which the author believes is a vital component of the analytic presence, will be presented here as a unique kind of integration between the predictable and explicable - and that which is inexplicable and sometimes even unknowable. [ABSTRACT FROM AUTHOR]

Focuses on the poems of Maggie O'Sullivan. Description of the poem "Murmur"; John Cage's piano pieces.

It is important to consider Leonard Cohen by looking back though his posthumous collection, The Flame Poems and Selections from Notebooks. From 1967 onward, Cohen came to be known increasingly as a songwriter and singer. In Montreal, and in Canada generally, Cohen was acknowledged as a literary figure, singer, and songwriter. Internationally, particularly in the United States, about the time of his death and after, Cohen's fame was anchored in music. This article examines two scholarly treatments of Cohen's work. It is written for Canadian and, especially, American readers, to remind them of Cohen as a poet and novelist because he was best known for his music and songs. Focusing on Cohen's literary dimension, his accomplishment as a poet, and his creativity as an artist, the article argues that poetry has lyrical origins and that there is a false dichotomy that separates music lyrics from poetry. Cohen's poetry is well crafted and beautiful and so memorable. [ABSTRACT FROM AUTHOR]

This qualitative study explores identity formation in LGBT+ Singaporean adolescents, and how reading, writing, and listening to poetry shapes Singaporean adolescents' social identities as queer people. Analyzing in-depth interviews with nine LGBT+ Singaporean adolescents, four themes were found: (1) LGBT+ Singaporean adolescents interested in poetry believe that reading, writing, and/or listening to poetry has been an integral part of constructing their queer identities; (2) the poems that have impacted LGBT+ Singaporean adolescents' queer identities the most have been informed by queer sociocultural values; (3) poetry provides validation to LGBT+ Singaporean adolescents that their identities are real and that others before them have experienced the same challenges they are going through; and (4) poetry serves as a third space for LGBT+ Singaporean adolescents to safely construct their growing queer identities. Implications for teachers, counselors, and adult supporters of queer Singaporean adolescents are discussed, and recommendations for future research are provided. [ABSTRACT FROM AUTHOR]

In this article, the author argues that the exploration of alternative forms of research representation can result in new possibilities for making meaning in educational research. Narrative inquiry as a methodology has become established as an approach in education but remains contested in many ways. How we come to an understanding of such research findings and in particular how the issues of voice and representation are resolved are subject to much debate. Here, the author proposes that using fictive methods of representation of research, particularly poetry, can have implications for the ways in which meaning is made and therefore the possible meanings that can be made. Further, this article argues that the poetic form allows for the inclusion of many voices and stories in a non-hierarchical manner, making the author's influence explicit without it being dominant. Researchers have argued for poetic representations of research data as a means to evoke the participants' experience whilst making the author's influence explicit; here, it is argued that poetry can be utilized to provide a fuller representation of the research, placing the voice of the participants, the researcher and the literature on an equal level within the whole story of the research project. This article first details narrative inquiry as a methodological approach and its particular application to educational research before discussing the issues surrounding voice and representation. Subsequently, fictive forms of representation are explored as a means of addressing these issues. [ABSTRACT FROM PUBLISHER]

Drawing from in-depth qualitative research of poetry communities in New York City and Toronto, Canada, and grounded in theories of gift relations and Bourdieu's conception of fields of literary production (1996), this article argues that the sustainability of the arts must include visions of sustainability that extend beyond the economic if they are to be true to the internal experience and definitions of fields of artistic production. This article argues that relations among poets can be understood as exemplars of a gift economy and that these gift relations among poets contribute to the sustainability of this artistic field and career. A model of how gift relations are patterned among poetry communities is proposed to more clearly articulate the patterns of this process. [ABSTRACT FROM AUTHOR]

In this essay I offer a series of autobiographical ruminations and poems for inviting readers to reflect on poetic possibilities for conceiving and fostering the well‐being of teachers. As an educator, I am confronted daily with challenges. In order to sustain my spirit and energy, I turn to poetry, both reading and writing poetry, and I find in poetry a location of wisdom, sustenance and hope. One of my great concerns about teaching is that the demands are so relentless that even the most dedicated teachers often experience burnout, dissatisfaction, ennui, hopelessness and despair. Therefore, I claim that teachers, both beginning and experienced, should learn to know themselves as poets in order to foster living creatively in the pedagogic contexts of classrooms and the larger pedagogic contexts outside classrooms. I invite both new and experienced teachers to consider the significance of a phrase like ‘living poetically’. I seek to contextualize the more practical and pragmatic considerations of teaching in an understanding of pedagogy as a poetic, emotional, personal, spiritual commitment and experience. My claim is simply that transformative learning can be effectively promoted by giving attention to poetry and poetic knowing and poetic living. I am learning to live poetically, and I am learning that the heart of pedagogy is revitalized and sustained by poetic knowing, being and becoming. Poetry engages us with language, nurtures the inner life, acknowledges the particular and local, encourages us to listen to our hearts, fosters flexibility and trust, and invites creativity and creative living. [ABSTRACT FROM AUTHOR]

A wide range of cultural artifacts have the potential to be effectively deployed in the intellectual development of students of accounting, specifically reporting on the use of poetry as a means of seeking to identify individual ideas, create shared meanings, develop a reflective approach, and raise a critical consciousness about the social meaning of accounting and accountancy. In this instance a poem featuring an accountant was used as a catalyst to provoke thought and facilitate discussion within a group of firstyear accounting undergraduates. The author briefly describes the pedagogic process employed and outlines the response of the learners. [ABSTRACT FROM AUTHOR]