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This work examines the poetry collection Junín (1930) by the Peruvian author Enrique Bustamante y Ballivián (1883–1937). While a part of the Latin American avant-garde expresses a fascination with the rise of new machines in the metropolis, this article demonstrates that Bustamante y Ballivián responds to this trend by representing machinery of a different kind – extractivist machinery – in a different type of space: the Andes. The author also engages with the indigenista avant-garde poetic proposals of his Peruvian contemporaries. Unlike them, the poet does not aim to give voice to the indigenous subject, nor does he idealize or solely link it to nature. Instead, he portrays it as 'coupled' to the mineral extraction machinery. Additionally, the poet depicts this machinery as invasive, contaminating and destructive to the landscape and its inhabitants. This work argues that Junín emerges as the first poetic representation of the ecological impacts caused by large-scale mining exploitation in the Andes. [ABSTRACT FROM AUTHOR]

The proletarian writer H. T. Tsiang worked and lived in the US under the constant threat of deportation since arriving in the country under the Johnson-Reed Act. This article examines a cache of poetry that Tsiang wrote in the Ellis Island detention center from 1940–1941 and mailed to the painter, book illustrator, and author Rockwell Kent. These poems, which are preserved among Kent's papers in the form of a toilet paper manuscript, a make-shift chapbook, and typescript sheafs, were roundly rejected by publishers in Tsiang's time. Yet they speak to his precarious immigration status and his long-term project of constituting proletarian readerships outside US publishing. Tsiang's unpublished poems, I argue, composed a counterpublic of early Chinese American writing that grew from, and responded to, the conditions of exclusion. Having been detained on both Angel Island and Ellis Island, Tsiang was willing to take the "crooked path" into US cultural memory. [ABSTRACT FROM AUTHOR]

The article presents information on the collection of Amiri Baraka's works, highlighting facts on his collection of poetry, print publications regarding the Black arts movement and his involvement in politics. Topics include the documentation of the collection, Black Women's United Front (BWUF), and the African Liberation.

This research paper discussed the historical overviews of Prose Poetry in Oman, also deals with Issa’s poetic experience, specifically his two recent poetry collections “Strangers as We Came”, and “Blue Lightning in a Distant Sky”. This article aims to highlight the Omani poetic experience in the prose poem. It also points toward addressing the experience of one of the most important early pioneers of the prose poem in Oman; “Sama Issa”. He is the poet Samaa Issa as a representative of the experience of Omani poets and one of the founders since more than 40 years ago. He is also considered one of the most prominent contemporary poets who represent the prose poets in Oman. Current paper covered several topics: An introduction to the Omani prose poem, and Sama Issa as an example of the prose poem in Oman and one of its early pioneers. It also discussed; Reading in the Sama Issa’s collection “Strangers as We Came”, which includes: (The cover and Title, the poetic self, and cultural intertextuality). In addition to a reading in his second collection “Blue Lightning in a Distant Sky”, which includes: (A return to the self, Place and Memory, Poetic Ambiguity, Inspiration from the Words of Ancient Omani culture, and the structure of the poem in the sky of Issa). The paper includes a written testimony by the poet Sama Issa, in which he talks about his poetic experience. The study concluded that the poetic experience of the prose poem in Oman extended and developed through the pioneer poets, as well as the poets of the new generation, on both the quantitative and artistic levels. The study also highlighted an aspect of Sama Issa’s poetry as a model for the Omani prose poem. [ABSTRACT FROM AUTHOR]

This paper addresses the unique challenges a translator would have when translating a text from a postcolonial country, especially one that has significance amongst the language speakers, such as Cilapattikaram. This paper compares three English translations of Cilapattikaram, a centuries-old Tamil poem that has an undeniable significance among the Tamil-speaking population. By analyzing three English translations of Cilapattikaram, done in the 1930s, 1960s, and 1990s, respectively, the paper examines how translation situated in the political space of decolonization and regional identity affects the text for a better understanding of the dilemmas of the translator and the effect of translation has on the meanings of the text. [ABSTRACT FROM AUTHOR]

Considering both Diane di Prima's "The Loba Recovers the Memory of a Mare" and Allen Ginsberg's "Howl", the present essay addresses the ways in which the poets share similarities within their "beat methods of writing" and poetic tradition whilst also accentuating the disparities between the two, showcasing the need for more focus on female centred narratives. The paper begins by emphasizing Diane di Prima's life and work as well as her relationship with Allen Ginsberg, arguing for their status as poetic counterparts within the Beat Generation. Ginsberg's intention of singing the best minds of his generation seems incomplete as "Howl" not only fails to consider female poets but also fails to consider women as more than sexual objects. Through a feminist studies scope, the essay highlights Di Prima's invaluable contribution as a Beat poet, discussing the ways in which the author problematizes the role of women in society, how they're oppressed and the ways in which they fight against it. Additionally, through Di Prima's titular character of her quasi-epic poetry collection "Loba", the paper aims to explore the concept of "feminine rage" in connection to the second wave of the feminist movement in the United States of America during the 60's and 70's and the rise of radical feminism which aimed to weaponize women's anger against the patriarchy and status quo. Echoing Ginsberg, Diane di Prima takes on "Howl" and feminizes it, revisiting and recovering women's place in society. [ABSTRACT FROM AUTHOR]

This paper examines Carl Dennis's secularized religious visions in his Pulitzer-winning poetry collection, Practical Gods (2001). Dennis's secularized religious visions can be quite understandable in the context of the ascending trends of secularization, diversification, and globalization of religion in America, and they demonstrate affinities with literary predecessors such as Wallace Stevens, with his aestheticized religion under the influence of Nietzsche, as well as with the innovative religious thinking of William Blake, Kazantzakis, and Oscar Wilde, and with certain aspects of Taoism and Zen Buddhism. This paper addresses Dennis's perception of theological controversies, such as the contradiction between the omnipotence of God and the existence of evil, theological determinism vs. human free will, theological view of history vs. New Historicism, divinity in man, aestheticized religion, and earthly paradise through the focused lens of Dennis's "practical religion". Despite the breadth of the theses in Dennis's conceived practical religion as examined in this paper, they are all tied up with the core of the phenomenological study of religion: that religion is important to believers of the religion irrespective of the objective truth of the religion or the actual existence of God. In Dennis's views, as accorded with the phenomenological study of religions, God maybe an idea and a fiction, but it is a necessary fiction for humans. Thus, Dennis humanizes gods with the flaws and fragility of humanity while deifying ordinary humanity in the contemporary context. Contrasting what he views as theological determinism with its view of linear history and the apocalypse of grand events, Dennis embraces human free will, a non-teleological, aestheticized living with necessary fiction, and a transient paradise on earth. Carl Dennis's religious vision reveals a poststructuralist (even though he did not brand himself so) abolition of the absoluteness of a transcendent signifier as well as binary opposition (between God and man, good and evil, religious/historical truth and fictionality), and it manifests an affinity with New Historicism and the phenomenological study of religion. [ABSTRACT FROM AUTHOR]

This article looks at Richard Georges' poetry collection Epiphaneia, which is set on the British Virgin Islands in the aftermath of hurricane Irma. While Georges' poems are placed amidst destruction, they go beyond narratives of devastation; instead, they articulate a poetics of livingness on the hurricane-struck island. This paper first draws out critical debates on the coloniality of climate that show the longue durée and complexity of a history of catastrophe in the Caribbean context. It addresses how Epiphaneia challenges one-sided discourses of island dependency and victimization by offering ways to perceive islands in the Anthropocene not as passive victims of catastrophes but as sites of living within what Glissant calls a chaos-world. This article then advances an ecopoetics of the archipelago in the wake of the hurricane. The various tensions held by the island after the storm will be traced through the word 'still': the ongoing violence of coloniality, still present; yet continuously resisted due to the island's and islanders' resilience and survival, still alive. This paper explores the poetics emerging from the island in the Anthropocene: What poetics are needed to sustain life after, and within, catastrophe? What does it mean to exist and move, still, on the island in the wake of the hurricane? [ABSTRACT FROM AUTHOR]

The paper presents the first Polish translation of a mini-series of six short poems about Hyella by Andrea Navagero (1483-1529). The selected works are part of Navagero's famous Latin poetry collection entitled Lusus. The translation is supplemented by an introduction and commentary notes. The Latin text reproduced in the paper is based on the edition of Lusus by Claudio Griggio (2001). The introduction presents the author's biography and includes a brief description of the whole collection. Navagero was a diplomat, a poet and the official historian of the Republic of Venice. Collected by friends in Orationes duae, carminaque nonnulla, his poems were edited posthumously in Venice in 1530. The most important part of Lusus are bucolic epigrams, a new form of Neo-Latin pastoral developed by Navagero. This minor lyric form called "pastoral play" (lusus pastoralis) gained recognition quickly and was widely imitated in 16th century. The collection also includes other literary genres - bucolic poems, elegies, and erotic poems. However, the most famous is the series of epigrams whose heroine or addressee is Hyella, a girl impossible to identify. The introduction presents a discussion about the sources and the interpretation of the love poems about Hyella (poems 21, 22, 28, 31, 32 and 37). The most important literary tradition from which Navagero draws inspiration is the Greek and Latin ancient epigram. For poem 21, the source is the Anacreontea 19, while poem 22 uses the motifs of the lamp and the night as the guardians of lovers, both popular in The Greek Anthology. For two other pieces, the direct source is the poetry of Catullus: poem 31 uses Catullus's carmen 5, while poem 32 combines motifs from Catullus's carmina 82, 92 and 109. In addition, in poem 28 we find similarities with Ausonius's epigram 9. Other important sources for Navagero were the poetry of Petrarch and the neo-Catullan poets, mostly Giovanni Pontano, Michele Marullo, and Cristoforo Landino. [ABSTRACT FROM AUTHOR]

The production and circulation of poetry on social media has gained critical attention over the past decade. Known popularly as Instapoetry, this digital literary phenomenon has been celebrated in the Global North for increased printed poetry sales and changing readership patterns. Little has been written about Instapoetry from the Global South despite its popularity amongst black women readers and sharers, especially in South Africa. By offering a Southern analysis of the poetry and Instagram profile of Malawian storyteller and instapoet Upile Chisala, grounded in decolonial theory, this paper suggests that the oft-cited criticism against Instapoetry as "not poetry" fails to acknowledge its location on "the other side of the line." Chisala's poetry is an example of post-abyssality: it draws attention to the abyssal line and seeks to overcome it. The paper argues that Chisala's call to voice and self-love is a "re-humaning" ethic that is useful for challenging coloniality of being. Her poetry therefore contributes to reimagining the being of black women and girls. [ABSTRACT FROM AUTHOR]

This article presents contemporary Judeo-Spanish poetry for children in the context of the postvernacular mode (when the language is not used any more in everyday communication) of the language. It discusses the poetry collections of three authors who have published Judeo-Spanish poems in the twenty-first century: Ada Gattegno-Saltiel, Avner Perez, and Sarah Aroeste, as well as the project Yeladino, which is an anthology of Judeo-Spanish translations of Hebrew poems. It analyses the books and projects in terms of their subject matter, language, and poetic devices, as well as the relation of some of them with music, theatre-music performance, and educational activities. The paper raises the question of audience of this poetry, allowing for the fact that nowadays there are no children learning Judeo-Spanish as their first language, and that the language itself is considered severely endangered. The paper states the presence of the dual address in these books, i.e. to children and adults, both on the level of implied and real audience. [ABSTRACT FROM AUTHOR]

French astrophysicist Jean-Claude Pecker, who passed away in early 2020, left behind a rich body of work that reflects his active engagement with areas beyond the scientific, among them the visual arts, social activism, and poetry. This paper follows Pecker as he grapples with the loss of his parents in the Holocaust and articulates the impact of this loss on his life and work. My discussion draws primarily on Pecker's poetry collections Galets poétiques and Lamento 1944-1994, with occasional references to other writings, among them a provisional draft of the opening chapter from Pecker's memoir and letters recounting his family history. Allusions to Pecker's Jewish heritage are absent from the poetry collections yet are prominently present in other writings in the context of antisemitism as the core of his "feeling Jewish" on the one hand and the rejection of Judaism among all other religions on the other. Reflecting on the violence that afflicted his life during the war years and admitting his deep pessimism regarding the future of both humanity and the environment, the elderly Pecker conveys in his writings a sense of diminished agency both in his own life and in that of the sun, the celestial body broadly considered a mainstay of his scientific work. Contextualizing Pecker among his peers, I suggest that while the themes of deportation and death figure centrally in the poems, Pecker is less in conversation with Holocaust poetry or poets and more in dialogue with a group of French artist-friends, united in the knowledge of nature's timeless beauty and in the recognition of the presence within humanity of love, friendship, and the unlimited capacity for inflicting harm and great pain. [ABSTRACT FROM AUTHOR]

Mina Loy's "Feminist Manifesto" was written in 1914, around the time of the modernist revolution in poetry in the United States. She penned this aggressively toned piece to open women's eyes to their place under the patriarchy and steps they should take, however drastic, to fight against its influence on their lives. Her work was unpublished during her lifetime, as it was intended merely as a letter to fellow writer Mabel Dodge Luhan. However, after its eventual publication in The Lost Lunar Baedeker, a collection of her poems, this fiery work was available to all. This paper will analyze the literary elements of tone, diction, and form found in the "Manifesto," as well as their effect. Additionally, these effects were attempted to be mimicked in a piece inspired by Mina Loy's work. [ABSTRACT FROM AUTHOR]

Author Henrika Ringbom's collection of poems entitled Händelser ur Nya Pressen 1968–1974. Prosadikter (2009) is a rare piece of Finland-Swedish literature. Rewriting news from a Finland-Swedish evening press paper during the 1960s and 1970s, it offers a view on the colonial mind-set of the Nordic countries. The poems not only depict political events from various parts of a global world, they also open up an unmarked category in Nordic literature, that of race and whiteness. An essential part of Finland-Swede's self-understanding goes back to its status as a minority. This applies even to Finland-Swedish literature. It also has a notable tradition of female feminist writing that runs through the 20th century. Finland-Swedish literature, however, belongs also to a majority when it comes to Western ideas of race and whiteness in a Nordic context. In my analysis, I show how Ringbom scrutinizes events from a phase Tobias Hübinette and Catrin Lundström (2014) call the "white solidarity" (1968–2001), characterized by antiracism, anti-apartheid, social justice and gender equality, but also of color-blindness. I show how Ringbom contributes to the current discussions of political Nordic literature with a rich, complex, ambivalent and defamiliarizing way. The poems actively remind us how both political events and political poetry are complex and contradictory. Rather than offering a clear-cut poetic activism, Rinbom writes political poetry of the second degree, one that examines and reflects upon the conditions of politics, popular media, and political poetry. [ABSTRACT FROM AUTHOR]

Personal experiences of David Rubadiri, as a Malawian born in colonial Africa and rising into literary and academic prominence in its postcolonial state, shaped his literary endeavours. This paper explores how Rubadiri's poetry serves as a critique of Africa's postcolonial state plunged into disillusionment and hopelessness by its rulers. The paper deploys Biographical Criticism as a guiding theory from which significant contextual background reliance is justified. The analysis dwells on his only poetry collection, An African Thunderstorm and Other Poems (2004) which spans across his writing career and depicts the socio-political malaise plaguing the (post)colony. [ABSTRACT FROM AUTHOR]

This paper argues that in Silvae 3.3, written to console Claudius Etruscus on the death of his beloved father, Statius reverses his own account of the contentious relationship between Tisiphone and Pietas in Thebaid Books 1 and 11 to present his patron's affectionate bond with his father as antithetical to Oedipus' resentful relationship with his sons. In the Thebaid , Oedipus summons Tisiphone from the Underworld to punish his own children by stirring up civil war, and the Fury promptly obeys, banishing Pietas from earth to prevent her from stopping the conflict. In Silvae 3.3, on the other hand, the poet asks Pietas to come back to earth, and urges the Furies to stay away from the deceased. The return of Pietas, also portrayed in Silvae 5.2, shows that in his collection of occasional poetry Statius rewrites his own epic to restore cosmos: while in the chaotic narrative universe of the Thebaid all fundamental values, including filial devotion, are turned upside down, the Silvae describe a more conventional and reassuring world, founded on virtue rather than vengeance. [ABSTRACT FROM AUTHOR]

The name instapoetry – or Instagram poetry – suggests a specific attachment of poetry to Instagram. But how bound is instapoetry to Instagram? This article uncovers the relationship between instapoetry and Instagram by analysing the participatory-made exhibits of Norwegian instapoet Trygve Skaug. By investigating the various media instantiations of Skaug's poetry, the article discusses how instapoetry is platform-dependent and shows how the poetry binds to many different contexts and materialities by existing in multiple media ecologies. Based on this, the paper introduces the post-digital circulation process of poetry as constituting instapoetry's medial constitution. This process focuses on the emergence of "new media"-cultural approaches to poetry as a post-digital, but still platformed, state of cultural production, interlocking with "old media" ways, as well as creating a setting for the dominance of a platformed lyric poetry. [ABSTRACT FROM AUTHOR]

This paper aims to analyze the works of two of the prominent nationalist writers during the Commonwealth Period: Amado V. Hernandez, who writes in Tagalog, and Salvador P. Lopez for the English language. Using their works that were written during the period - 'Kayumanggi at iba pang tula', a collection of poems by Hernandez, and selected essays like 'Proletarian Literature' and 'Literature and Society' by Lopez - the paper will identify the dominant ideas and views of the writers on writing the nation using their pen. It will also try to recognize and position the social role and responsibility of the writers during their time and milieu. From here, although there are significant distinct features and standpoints from which the two writers are concerned, Hernandez and Lopez maintained to be critical and nationalist amidst the systemic and all-out Americanization of the Filipino people for almost five decades of direct colonization of the Philippines. [ABSTRACT FROM AUTHOR]

This paper examines the significance of soundscapes in the Tamil American poet Divya Victor's reconstruction of the archive of anti-South Asian violence in her acclaimed poetry collection Curb (Nightboat Books, 2021). Being a continuation of the poet's investigation of the limits of conceptual and "documental" poetics (Michael Leong), advanced in her Natural Subjects, UNSUB and Kith, Curb appropriates public and personal records to critique discrimination against the South Asian community in America's post-9/11 political landscape. Victor's poetics enact extreme witnessing, reestablishing the archive's unheard durations that her modality of the lyric upholds, and recovering locutions of the Indian diaspora eroded or erased by anti-immigrant and anti-Asian racism. Tracing the dynamics of location and locution at the sites of violent events as well as their barely audible frequencies registered in the sequence "Frequency (Alka's Testimony)," I argue that the archive's duration in Curb is extended by forms of "sonic agency" (Brandon LaBelle). I further show how, through the poetic work of hearing and sounding (including such techniques as echolocation and ventriloquy), Victor creates a simultaneously critical and lyrical space akin to auditory experience where the text's multiple durational vectors throw into sharp relief the lives "curbed," diminished, or destroyed by wounding, fear, and trauma, testifying to the extremity of the very act of witnessing. Finally, focusing on opacity as a fundamental quality of the archive, I also turn to Carolyn Chen's concrète sound compositions and Amarnath Ravva's assemblages that traverse Curb, accompanying the poet in collaborative hearing of the archive's spatial, temporal, and sonic dynamics. [ABSTRACT FROM AUTHOR]

Although the Danube-Black Sea Canal had been one of Ceaușescu's pet projects, used by the communist leader to enhance his image as a visionary prophet of the Golden Era of socialism, the idea of a canal that would connect the Danube and the Black Sea may have been as old as ancient Roman history. It is certainly along one of the lines of Trajan's Wall (Valul lui Traian), running along the Kara Su Valley, that the canal had been imagined, in the 19th century, by various adventurers and travellers. In the 20th century, with the development of technology, the idea turned into a project: in 1922 and 1923, two Romanian engineers (Jean Stoenescu Dunăre and Aurel Bărglăzan) came up with very definite plans of how to create a fourth arm of the Danube, which would help navigation by shortening the distance travelled by commercial ships with about 400 kilometres. The actual building of the Canal, initiated by Gheorghe Gheorghiu Dej at Stalin's orders, was less intended as a technological advancement and more as a pretext to exterminate the interwar elite in the forced labour camps established along the Danube. Work at the Canal began in 1949 and ended in 1953, after Stalin's death. Though only 20 km had been completed out of the intended 70 km, the legacy of the forced labour camps includes a large number of poems written by the detainees, detailing the inhuman treatment they received and making up a shattering testimonial of life in the Communist labour camps. My paper intends to present and analyse a selection of such poems, showing how they take up the myth of the exiled Ovid and mix it with symbols of Christian suffering. In most of the poems, the colour that is associated with life in the labour camps is black: the blackness of the Black Sea (the inhospitable Pontus, in Ovid's poetry) is thus transferred onto the traditional 'blue' Danube. [ABSTRACT FROM AUTHOR]

Edward Whitley refers to Snow as one of the great "American bards", especially because of her status as a marginalized woman in a radical religious community.[79] She would seem a logical launching place for poetry influenced by the Book of Mormon, but despite how prolific and important she was as a Latter-day Saint poet, Snow wrote only one poem that touched on the Book of Mormon, and even that is rather oblique. She also discusses common themes, many of which connect with Cumorah, Moroni, or the death of the Nephite culture and the state of Native Americans in the nineteenth century.[91] Based on the roughly 150 published poems about the Book of Mormon, I have myself found Cumorah poetry, poems about the unearthing of the gold plates and Moroni's mission, to constitute the largest single corpus of Book of Mormon verse. Twenty years ago, in an unpublished paper delivered at Sunstone Symposium, Robert Hughes, Latter-day Saint poet and critic, identifies roughly eight thousand poems written by Latter-day Saints, of which only a mere hundred or so include Book of Mormon themes.[70] He goes on to say that there are far more Latter-day Saint poems with biblical influences than with Book of Mormon influences. Her Book of Mormon section discusses four poems briefly but with little commentary, including James Hart's verse from his interview with David Whitmer.[84] One year later, J. Nile Washburn submitted his thesis on 615 Latter-day Saint poems written between 1847 and 1877.[85] He analyzes these poems for common themes and forms. [Extracted from the article]

As a result of the intersection with biology, philosophy, and anthropology, psychology has generated a valuable theoretical corpus on the theory of affect and emotions in a context where the subject faces a permanent biosphere crisis. Scholars such as Melanie Klein (1998, 2001) and Lawrence Buell (2016) agree in distinguishing between depression and fear as immediate emotions in adversity. However, we note that in recent years so-called outlawed emotions (Jaggar, 1989), such as hatred, envy, shame, or guilt, have also played a decisive role in interpreting moments of crisis. Among these emotions, guilt is the one that has generated the most literature so far and the one that, according to traditional psychology, harms the subject the most (Freud 1923). Still subject to rigid gender stereotypes, guilt is characterized by its negative impact on the psyche and the ability to activate adaptive mechanisms concerning moral and social behaviour (Barret, 1995; Eisenberg, 1986). Given these characteristics and the fact that in modern subjectivity it no longer fits only within the limits of the individual self, this article will explore the new poetic figurations of guilt in the anthropogenic era. Thus, from the analysis of a selection of poems from Nosaltres, qui (2020) by Mireia Calafell, Lianes o les rates que imiten l'Esther Williams (2021), Núria Mirabet and Als llacs (2021), Silvie Rothkovic, I will study how ecohumanism manifests itself in the poetic imagination when faced with destruction, extinction, and irreversibility narratives. [ABSTRACT FROM AUTHOR]

This paper considers the dialectics between national decadence and regeneration in d'Annunzio's Il piacere. It argues that the novel's fin-de-siècle reception was conditioned by the author's prior classification as an immoral, anti-national writer in the wake of the poetry collection Intermezzo di rime. This classification determined a reading of d'Annunzio's debut novel in terms of decadence, while Il piacere itself actually pointed toward a literature of regeneration. The novel staged d'Annunzio's opposition to his own prior classification, while making claims for a more committed and more internationally relevant model of Italian literature in the context of European modernity. [ABSTRACT FROM AUTHOR]

This paper reads Nadia Prado's poetry collection ©Copyright (2003) from a decolonial perspective, based on Walter Mignolo's conceptualization of history as heterogeneous and decentred, aspects that I argue also permeate subjectivity and poetic expression. The poem delves into criticism of both Chilean neoliberal reality and a wider Latin American context in which the US has become a new economic and cultural hegemonic entity to be resisted from the margins. As a follow-up from the poetry/performance work Poesía es + (2002), co-authored with Malú Urriola, ©Copyright explores expression or its lack thereof within a profit-driven Chilean democratic transitional moment. Prado's poetry opens up space that paves the way for a deep critique of neo-colonialism and neoliberalism. At the same time, this poem becomes part of a larger corpus of poetic, narrative and critical work that has compiled concerns and discontents since neoliberalism was imposed in Chile. [ABSTRACT FROM AUTHOR]

Literary anthologies have traditionally been a preferential channel for the dissemination of poetry among young readers, as well as a fundamental pedagogical resource for poetry education in academic contexts. Both uses alone justify the interest in ensuring that the authors and texts they include sufficiently represent the richness and complexity of a genre which, in the Spanish-speaking world, is currently undergoing a phase of expansion and a search for new paths. Added to this is the need to make visible those creators who, because they are women, have traditionally been silenced and left on the margins of the history of literature and of the channels destined to the dissemination of cultural heritage. Starting from these premises, after a brief historical contextualisation, this paper examines a corpus of fourteen children's poetry anthologies, published between 2000 and 2020, with the aim of analysing the presence and visibility of female authors of poetry. The results reveal a significant gender bias, incompatible with the values prevailing in the current socio-cultural context, which diverts attention from the thematic and formal peculiarities of poetry written by women, as well as silencing younger voices. [ABSTRACT FROM AUTHOR]

This paper claims that there is such a thing as poetry that is sensitive to the capitalist logics of financial abstraction. It does this by situating poetry from the eighteenth and twenty-first centuries in relation to historically comparable revolutions in finance and financial instruments. It argues that such poetry offers ways in which to apprehend and materialise historical and contemporary financial abstraction; it further claims that such work signals and responds to the ways in which finance influences the relationship between social life and knowledge, in poems that interface the production of knowledge with capital's relentless chasing after value. In different ways and from different motivations, the work of Jonathan Swift and William Fuller leverages aesthetic form against the abstractive mechanisms of financialization and acts as a counterbalance against them. For Swift, this means the Tory humanist satire of credit and banking in the wake of the English Financial Revolution (and especially in the context of England's first great financial crisis, the so-called South Sea Bubble of 1720); for Fuller, this means his poetry's syntactical animation, and lyrical transcendence, of the formal logics of the derivative, the most profoundly transformative financial form of modern capitalism. [ABSTRACT FROM AUTHOR]

Two major themes dominate the poetry of the Alexandrian poet, C. P. Cavafy: homosexual desire and Greekness, broadly defined. This paper explores the interconnectivity of these motifs, showing how Cavafy's poetic queerness is expressed through his relationship with the ancient Greek world, especially Hellenistic Alexandria. I focus on Cavafy's incorporation of ancient sculpture into his poetry and the ways that sculpture, for Cavafy, is a vehicle for expressing forbidden desires in an acceptable way. In this, I draw on the works of Liana Giannakopoulou on statuary in modern Greek poetry and Dimitris Papanikolaou on Cavafy's homosexuality and its presentation in the poetry. Sculpture features in around a third of Cavafy's poems and pervades it in various ways: the inclusion of physical statues as focuses of ecphrastic description, the use of sculptural language and metaphor, and the likening of Cavafy's beloveds to Greek marbles of the past, to name but three. This article argues that Cavafy utilizes the statuary of the ancient Greek world as raw material, from which he sculpts his modern Greek queerness, variously desiring the statuesque bodies of contemporary Alexandrian youths and constructing eroticized depictions of ancient Greek marbles. The very ontology of queerness is, for Cavafy, 'created' using explicitly sculptural metaphors (e.g. the repeated uses of the verb κάνω ['to make'] in descriptions of 'those made like me') and he employs Hellenistic statues as a productive link between his desires and so-called 'Greek desire', placing himself within a continuum of queer, Greek men. [ABSTRACT FROM AUTHOR]

"Megan Heffernan's book, Making the Miscellany: Poetry, Print, and the History of the Book in Early Modern England, challenges the traditional understanding of poetry compilations in sixteenth- and seventeenth-century England. Heffernan argues that these collections, often referred to as "miscellanies," were not disorganized but intentionally arranged by compilers to create connections between poems. She explores the organizational features of these compilations and their impact on the development of vernacular poetry. Through case studies of various compilations and literary works, Heffernan demonstrates the active role of compilers and their influence on poetic form. This book offers a new perspective on early modern poetry collections and the relationship between compilation and authorship." [Extracted from the article]

Among the contributors to Donald Allen's legendary The New American Poetry anthology, we find at least a dozen queer poets, several of whom were directly involved in the struggle for gay liberation. This article goes in search of their British counterparts, looking at work associated with the so-called British Poetry Revival. Beginning on the cusp of the Sexual Offences Act 1967, I revisit Allen Ginsberg's trip to England in 1965, and argue for the significance of work by his friend Harry Fainlight. I go on to examine in detail Lee Harwood's love poems for John Ashbery and the stifled reception they've received in criticism. The article makes use of fresh archival resources, including Harwood's papers at the British Library and collections relating to the Gay Men's Press at the Bishopsgate Institute. [ABSTRACT FROM AUTHOR]

The main aim of this paper is to present and analyse an ode by the Flemish Jesuit Sidronius Hosschius (Sidronius [or Syderoen] de Hossche, 1596-1653) to "the Sarmatian Horace" Mathias Casimirus Sarbievius (Maciej Kazimierz Sarbiewski, 1595-1640). This eulogy has often been viewed as a masterpiece. In addition, it has two distinct versions: one published in a collection of poems in honour of Sarbievius (the socalled Epicitharisma), first printed in an edition of his oeuvre in 1632, and one in the collective volume of Hosschius's own works issued posthumously in 1656. Both versions were first published by the famous Pltin-Moretus printing house in Antwerp. The paper consists of three sections. The first one focuses on the relationship between Hosschius and Sarbievius and on the Nachleben of Hosschius's ode. The second section offers a general analysis of the poem. Tracing the contents of Hosschius's ode and its sources of inspiration, it argues that Hor. Carm. IV 2 is central to the poem's understanding. The third section discusses the differences between the two versions, in an attempt to disclose why the poem was altered and how the changes influence the ode's meaning. A number of larger changes affect the poem's central message: while in the earlier version Sarbievius is said to outdo Pindar and even Horace, the later version is more cautious. All it does is admit that Sarbievius could perhaps equal Pindar and Orpheus. Hosschius's eulogy and the reception of Sarbievius through his composition have two different traditions: 1) the one found in most editions of Sarbievius's works, where the poem basically proclaims him to be the best Latin lyricist of all time, thereby tying in with other laudatory contributions and promoting both Sarbievius's oeuvre and the editions themselves, and 2) the one added to Hosschius's own poetry, where the adjusted version--which contains more references to ancient literature and which could be called more personal, as well as, perhaps, more realistic--became a fan favourite. In both instances, however, the reinterpretation of the psychological effect of poetry--the translation of furor poeticus from the author to the reader--and the re-evaluation of the concept of aemulatio could be the main reason why Hosschius's ode was so highly valued. [ABSTRACT FROM AUTHOR]

Under the leadership of Qiu Shuyuan, the "Poet Master of the South," a group of Singapore Chinese poets formed the Tanshe poetry society in the 1920s and published the only group collection of classical-style poetry in the colonial period. This society forged a close social bond between the resident- and sojourner-poets, who used traditional poetry to create a cultural space for themselves in overseas Chinese communities. Although they still possessed a sojourner's mentality and often expressed their nostalgia for China or their hometowns in China, they also attempted to accept and appreciate the unique Nanyang culture and customs. By sharing their individual narratives and experiences with fellow members, they together constructed a collective memory and multiple narratives of the homeland while exchanging opinions about the host society. Through textual analysis of Tanshe group compositions, this paper proposes that localization and nostalgia, two seemingly contradictory concepts, are in fact compatible, as emotional attachments to both homeland and hostland both appear in Tanshe society writings. It thus seeks to offer an alternative viewpoint for current Sinophone studies and scholarship about overseas Chinese, holding that nostalgia could prompt Chinese immigrants to contemplate the many potentialities and possibilities of their future, their relationship with "routes and roots," and connections between past and present. The transplantation of many of their cultural practices, of which the poetry society was a significant manifestation, also helped them create a more familiar living place in their out-of-placeness. 摘要: 在"南国诗宗"邱菽园的带领下，一群新加坡的旧体诗人在1920年代组成了檀社，并出版了殖民地时期唯一一部群体诗集。这一诗社为流寓诗人提供了一个紧密的社交网络，他们利用旧体诗的写作，在海外华人社区建立了自己的文化空间。虽然他们仍有强烈的过客心态，经常在作品中表达对中国或故乡的思念，但也尝试接受并欣赏南洋独特的文化习俗。通过与成员分享各自的离散经验，他们一起建构了对故乡的群体记忆和多元的叙事方式，或交流他们对本地社会的看法。本文透过对檀社作品的文本分析，提出本土情怀与乡思两个看似矛盾的概念，其实是可以兼容的，在檀社的写作中，对故乡和寓居地的情感链接即同时并存。作者希望以此为现时的华语语系研究提供一个另类的视野，指出乡思能促使华人移民思考未来的各种潜力和可能性、他们和"路与根"的关系，以及过去和未来之间的联结。作为其中一种显著的移植文化，诗社也有助于移民诗人在他乡异国构建一个较为熟悉的生活空间。 [ABSTRACT FROM AUTHOR]

The aim of the present paper is to come to terms with the poetry written by a young Romanian writer, Olga Ştefan, who published her books in the 2000's - a period of astounding outburst of creativity in the field of poetry. It follows a fourfold outline: the recourse to associative poetics and multiple focalizations, the relation between body, concept and writing, the use of baroque techniques, especially geared towards mixing voices and plenteous figures, the insulation not only as a stronghold of recalibrated human beings, but also as a stimulus for polyphonic poetry writing. Undertaken in the light of resistance and metamorphosis, her poems do not celebrate the weirdness of imaginary, but a sparing alternative to the decentrede mental horizon. [ABSTRACT FROM AUTHOR]

This article examines Magorovy labutí písně ('Magor's swan songs'), a collection of poems by political prisoner Ivan M. Jirous, and an important example of Czech prison poetry from the second half of the 20th century. It was during his imprisonment in Litoměřice, Ostrov, and Valdice (1981-1985) that Jirous wrote the poems, which were smuggled out as motáky (clandestine notes written on rolls of paper) by his friend and fellow prisoner Jiří Gruntorád. The article first characterises the situation of Jirous and the Czech underground during the 1970s and 1980s. It then proceeds to analyse how Magorovy labutí písně represents a form of literary creation whose aesthetic specificity arises from the situation of extreme hardship -- the 'state of emergency' -- in which it was written. This specificity can be found in the authentic and even documentary aspect in which the poems reflect the time and place of the prison, as well as the broader, timeless, and more spatially expansive awareness of life that the poems express. What is essential here is not the contingent aspects of the writing, the fleeting influence of inspiration, but more broadly the conscious use of specific means and methods of poetic composition. It is thus a form of literary expression that confronts the characteristic aspects of prison time and spatial confinement by consciously exceeding the limits of the walls, reaching out into the diverse and varying temporal planes and shifting reality of the surrounding world -- an experience that is only intensified by its juxtaposition to the daily life of the prisoner from which these dimensions have been brutally stripped. This context-based interpretive analysis demonstrates, in conclusion, that the prison poetry in question here aims to define the effects of confinement and the prison environment by means of a complex gesture, one that is unified by a range of interrelated poetic devices: aural (sound and metre), figural, metaphorical, compositional, stylistic, etc. Prison poetry thus facilitates the survival of its creators and fellow (not only political) prisoners -- referred to colloquially as 'muklové' (an acronym for muži určení k likvidaci, or 'men destined for liquidation') -- not only in the physical sense, but above all spiritually, as integral, unbroken personalities. [ABSTRACT FROM AUTHOR]

In this paper we will consider the presence of poetics and aesthetics of the evil and damnation respectively, typical for the French « damned poets », as well as the presence of the modern, avant-guard spirit in the Companions of Isidora Sekulić. By carrying out a comparative and intertextual analysis, firstly we will gradually discover a whole series of harmful but creative poetic images in Isidora Sekulić's work; these images draw their origins from black and grotesque romanticism (Hugo, Nodier, Sue, Nerval), then from Baudelaire and his « terrible » successors like Rimbaud and Lautréamont. In addition to this funeral imagery, we will also recognize plastic images of a physical illness, worthy of the realism or « clinical » naturalism of Zola and his successors. Secondly, we highlight the modern spirit of the Companions. This collection was published in 1913, the same year in which Guillaume Apollinare's Alcools appeared. The collection of prose fragments is the first work of the Serbian writer and at the same time represents a real breath of modernity just like the famous collection of poems by Apollinaire. It is in the context of antitradition and the modern spirit that we bring close the poetry of the French poet and the prose fragments of the Serbian writer. In her « short prose poems » Isidora Sekulić was able to recreate, poetically, her own experience of physical and moral pain. The end goal is to show the depth of Isidora Sekulić's poetic genius communicating, in an underlying but intense way, the earlier spirits who lived and died under the evil sign of the « Black Sun ». [ABSTRACT FROM AUTHOR]

In 19th Century Europe, advances in Oriental research as well as various art-forms such as the visual arts, literature, music, and architecture, aroused high esteem and even outright enthusiasm for the Orient. In this context, a particularly strong impulse was set by Johann Wolfgang von Goethe and his astonishing work West-Östlicher Divan. Using the term "divan" as a starting point, the paper first outlines the long tradition of cultural and political relations between people and nations. Goethe's work plays a highly significant role in the portrayal of these relations: With his intense closeness to the poet Hafiz (his "twin"), Goethe invokes the mutual permeation of Orient and Occident. The presentation provides an introduction to the genesis of the work after 1814, describing its structure, analyzing the themes and leitmotifs of the poetry collections, and, drawing on the various types of relationships, revealing the significance both cultures held for each other. The tremendous impact of these ideas during the 19th and 20th centuries will be demonstrated by examining significant developments including the problematic forms of political interaction. Goethe's aspirations for the relationship between orient and occident served as an impulse: The idea is to enhance the cultural activities between oriental and occidental countries, as building a bridge facilitates a better understanding of each other, and to develop further economic and political relations. [ABSTRACT FROM AUTHOR]

The paper examines how A. S. Mopeli-Paulus deals with the theme of dispossession (primarily, of livestock) under the apartheid regime and how his imaginary frames repossession as the recovery of a lost pastoral idyll. Three texts are examined: the autobiography The World and the Cattle , the poetry collection Ho Tsamaea ke ho Bona , and the unpublished novel Tongaland. The paper argues that while Mopeli-Paulus's account of dispossession has a material basis (though the coherence of this account is questionable), his framing of repossession in the form of a pastoral idyll is extremely fragile. [ABSTRACT FROM AUTHOR]

In this paper we analyse poetic cycles and poems of a post-romanticist Slovenian poet Simon Jenko (1835-1869) translated from the Slovenian into Serbian by dr. Milorad Živančević. As the founder and editor of the special edition Slovenian Literature in Matica srpska, professor Živančević published Jenko's collection Poetry and Prose in 1975 with an introduction of dr. France Bernik. This edition has gained a wide reception both in academic and scholar community and in the readership of the former Yugoslavia. The concept of the edition aimed to represent canonical authors of the Slovenian literature from Protestant Reformation to the contemporary literary scene. Regarding the poetry of Simon Jenko we discusse types of his verse, form and style that is rooted in the oral tradition of the Slovenian poetry but is also comparable to the Serbian Romantic poets Branko Radičević, J. J. Zmaj, Djura Jakšić and partly Laza Kostić, whish the translator also had in his mind. The apparent simplicity and ease of Jenko's verse can be misleaded by the Serbian readers because he uses topoi and formulas of the oral poetry in a subversive way, anticipating quite opposite meaning than artistically demanding Romanticism of France Prešeren. In Jenko's lyrics love has been presented as a current and short-lived, more as a daily experience of a subject that leads to disintegration and dissociation of Romantic eternal, idealistic love, approaching to Biedermeyer and early Realism on the one hand, and Impressionism on the other. [ABSTRACT FROM AUTHOR]

My article aims to introduce Roger Felix Salditos (1958-2018), a revolutionary martyr, painter, and writer from the Visayas who is better known by his pen name Mayamor and Maya Daniel, to scholars and readers of Philippine literature. For a long time, Salditos' writings can only be read in the publications of the revolutionary movement because of his vocation as a revolutionary who has been active in the countryside of Panay Island. My paper presents some facts about the life of Salditos and the historical narrative of the revolutionary struggle in Panay Island which he was involved in for four decades. I analyze his poetry published in the collection 50: Mga Binalaybay ni Roger Felix Salditos (Mayamor / Maya Daniel) (2020) as active interventions in the writing of Panay Island as a particular terrain of resistance by toiling masses of workers, peasants, and indigenous Tumandok. In conclusion, I read in his poetry both a rooting in local practice, knowledge, and language and their linking and raising to a national and internationalist revolutionary project. The publication of Kerima Tariman's translation of Maya's poetry thus addresses the marginalization of an important voice who embodies the mingling of indigenous literary tradition and the emancipatory vision of the revolutionary movement in the Visayan countrysides. [ABSTRACT FROM AUTHOR]

El morador is the first poetry collection of Javier Sologuren, published in 1944 as a brochure of the journal Historia (n°8). Many critics argue that in these poems the author demonstrates his deft skills with language and poetic forms. That rigorous work of Sologuren also operates composing the set as a structure which integrates the poems in a sequence and meaning aligned with the conception of poetry they express; however, the critics do not mention that aspect of the collection. This paper examines that point on the writing of El morador (which was conceived with a sequential structure and with stylistic unity) and interprets it on the basis of the analysis of each poem. [ABSTRACT FROM AUTHOR]

This paper explores and queries the reliance on postmodernist doctrines that continue to flood the Nigerian cultural and intellectual spaces. Essentially, postmodernism undermines established religious, cultural and political metanarratives that guide the sense of morality, order and decorum that are characteristic of many African societies. To examine the infiltration of the postmodernist philosophy into the Nigerian ideological space, a significant place to begin is the country's literary productions. Ebinyo Ogbowei's marsh boy & other poems is a compelling commentary on the author's appropriation of postmodern creeds to counter long-established metanarratives which have allegedly abetted the fractured political and economic climate of many countries. The poet adopts revolutionary aesthetics, intertextuality, eclecticism, nihilism and pessimism, pornography and playfulness and ruptures linguistic and grammatical conventions to affirm his philosophy of progressive emancipation through revolutionary, nihilistic, and subversive acts. In the end, his postmodernist strategies fail because they plunge his fictional society into deeper chaos and lack of finality and closure, while he embraces coital diversion as an escape hatch from the vagaries of life. This places a huge question mark on the viability of postmodern protocols, especially as it concerns the undermining of religious and cultural metanarratives that have so far provided humanity guidelines for social and political decorum. [ABSTRACT FROM AUTHOR]

This essay reads Micere Mugo's collection My Mother's Poem and Other Songs (1994) as an illustration of self-inscription in nationalism and exile. It argues that beyond the sundry concerns articulated in the collection, an understanding of her work must begin with an acknowledgment of her place among second generation Anglophone African poets. By paying particular attention to the work's investment in orature and performance, the paper contests the reductionist critique that ascribes little poetic significance to the collection. The essay concludes that her reflection on nationalism and exile destabilizes the hegemonic construction of home as a stable category, but nevertheless projects hope for Africa as homeland. [ABSTRACT FROM AUTHOR]