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Healthcare professionals are increasingly suffering from burnout. Poetry writing should be considered as a resource to reduce symptoms of burnout. The effects of poetry writing have been studied in clinical settings for both health professionals and for patients, and benefits have been found for both groups. Healthcare workers suffering from burnout occupy a unique position as both patient and provider, and so may "double-dip" into the benefits that poetry writing provides both patients and practitioners. [ABSTRACT FROM AUTHOR]

Selection of the literary work in bibliotherapy is a crucial process. The purpose of this study was to examine Rumi's poetry for its potential use as a bibliotherapeutic intervention by utilizing [Hynes, A. M., & Hynes-Berry, M. (1986). Bibliotherapy: The interactive process: A handbook. Westview Press] criteria. Authors reviewed over 300 Rumi poems online and through print resources and selected 22 poems that had potential therapeutic use based on the content of the poem. Six reviewers rated 22 poems based on Hynes and Hynes-Berry criteria. Results indicated interrater reliability of.86. Fifteen out of 22 poems received a mean score over 4.0 (out of 5), and of these 15, nine poems received a mean score higher than 4.50 indicating a high therapeutic power for their use as a bibliotherapeutic intervention in counseling. The implications and future research directions are discussed. [ABSTRACT FROM AUTHOR]

This essay explores a student teacher's experience teaching an identity-themed poetry unit to a Year 9 class at an all-boys comprehensive school through the lens of one student's writing. Investigating an intimate poem, produced at the end of a difficult lesson, reveals the importance of allowing students the space to bring their individual backgrounds and interests into their writing, as well as provoking questions about the uses of EAL categorisation. Contrary to the typical deficit assumption of EAL learners, this case study finds that the approach of teaching a diverse class by valuing difference allows individuals' personal interests to motivate their learning and leads to a richer experience for all. [ABSTRACT FROM AUTHOR]

Reading is not a linear process. In this commentary on Struppe-Schanda's autoethnographic work, I explore the multilinear nature of reading from the experience of being able or unable to 'read' her work. This commentary attempts an autoethnography that emphasises the subjective feelings of the researcher and resists the traditional modalities of 'science'. In determining the starting point for this commentary, whether as an autoethnographer or cultural psychologist, I discovered numerous potential directions for further development. Presented as a fictional conversation with my other self, this commentary delves into the implications of deliberative autoethnography, which seeks to explore subjectivity differently from mainstream evocative autoethnography. [ABSTRACT FROM AUTHOR]

This article analyzes Sufi supplications in the poetic works of Shaykh Abū Bakr ʿAtīq b. Khiḍr b. Abī Bakr b. Mūsā al-Kashināwī (1909–1974), known in Hausa as Shehi Abubakar Atiƙu Sanka. It examines the literary and aesthetic aspects of Atiƙu's supplicatory odes, as well as their social and political functions. Atiƙu, a significant Tijani scholar in Kano, Nigeria, was a prominent voice in the Fayḍa Tijāniyya movement, which greatly enhanced Islamic scholarship and literacy across West Africa. The Fayḍa literature includes various genres, particularly classical Arabic odes (usually monorhyme), with the Sufi supplicatory ode (qaṣīdat al-tawassul) being a notable sub-genre. Despite their devotional nature, these odes are often overlooked by Western scholars for their literary and historical value. This article shows that Atiƙu's odes possess a unique aesthetic grounded in reiteration and intertextuality, which contributes to their coherence and unity. Moreover, these supplicatory odes play crucial social roles and serve as valuable sources of social history. The study relies on Atiƙu's original manuscripts, which contain paratextual elements and annotations about political and religious contexts, providing a basis for a socio-literary analysis of this Islamic poetry sub-genre in Africa. [ABSTRACT FROM AUTHOR]

How do we make sense of our place in the field as researchers and as sexual, spiritual beings? Ethnographic fieldwork is central to several disciplines, including geography. It involves the researcher encountering and gathering stories and meanings through interaction with people's lived experiences in settings that are often not the researcher's own. Although rarely strain‐free, fieldwork is seen as a transformative experience, both from the personal and the academic point of view. This paper, situated at the intersection of geography, queer/ing practices, and ethnographic methodology, explores poetry as a form of self‐care in the field. In recent years, poetry has emerged as a creative and productive mode of representation and (co‐)interpretation of qualitative data. Based on my own spiritual experience(s) while conducting fieldwork in Spain, I consider prayer cards as a poetic form and a means through which issues of self‐care and spiritual self‐preservation are made visible, particularly when experienced within a social environment that is hostile to LGBTQ+ lived experiences of faith. [ABSTRACT FROM AUTHOR]

Bud Osborn (1947-2014) was an American poet and activist who arrived in Vancouver, Canada in 1986. He landed in Vancouver's oldest neighbourhood, the Downtown Eastside (DTES), while struggling with heroin addiction. The DTES is a complex and politically active neighbourhood and site of intersecting social crises. Osborn would spend the remainder of his life capturing this community in his poetry, which is often understood solely through activism for harm reduction and against gentrification. In this article, I engage with his poetry to understand the politics which motivate his activism. This exploration will include a variety of textual mediums, voices, and analytic perspectives to capture the complex politics contained in his words. I believe that by reading his words we can examine his complicated self-positionality as a PWUD (people who use drugs) and a member of the lumpenproletariat who occupied sociocultural spaces that often excluded those from his social standing. This examination shows how he constitutes the DTES as a space of material and discursive struggle. What emerges from this examination is how his poetic resistance at the level of the signifier intertwines with his street-level resistance. That is, how the act of writing and reading poetry can be an act of defiance. [ABSTRACT FROM AUTHOR]

In this essay, I analyze the extent to which repetition can be considered creative in the context of penitential poetry, and what the ramifications are of that pairing for our own understandings of that poetry. When sin is inherited and confessions were guided by eminently repeatable formulae, how does penitential poetry come into being for the first time and enter penitential discourse as a "makyng" that is created or made yet already received, already repeated and circulating at the moment of its birth? The carol, I argue, presents a good place to address that question: its idiosyncratic formal components present a site of creativity and repetition between text and audience, a conjunction which anticipates the dynamics of filmic montage as conceived by Sergei Eisenstein. This aspect of the carol also invites us to explore how authority is created and received in the present moment, bereft of the difference from the present moment so often involved in constructing auctoritas. In conversation with Eisenstein, the medieval penitential carol ultimately becomes a site to reconsider how poetic form can simultaneously uphold and dismantle hierarchical relationships between creators and audiences. In so doing, the penitential carol invites us to re-approach our own critical "makyngs," which effectively channel the work of medieval poetic form from centuries past. [ABSTRACT FROM AUTHOR]

As AI-generated text continues to evolve, distinguishing it from human-authored content has become increasingly difficult. This study examined whether non-expert readers could reliably differentiate between AI-generated poems and those written by well-known human poets. We conducted two experiments with non-expert poetry readers and found that participants performed below chance levels in identifying AI-generated poems (46.6% accuracy, χ2(1, N = 16,340) = 75.13, p < 0.0001). Notably, participants were more likely to judge AI-generated poems as human-authored than actual human-authored poems (χ2(2, N = 16,340) = 247.04, p < 0.0001). We found that AI-generated poems were rated more favorably in qualities such as rhythm and beauty, and that this contributed to their mistaken identification as human-authored. Our findings suggest that participants employed shared yet flawed heuristics to differentiate AI from human poetry: the simplicity of AI-generated poems may be easier for non-experts to understand, leading them to prefer AI-generated poetry and misinterpret the complexity of human poems as incoherence generated by AI. [ABSTRACT FROM AUTHOR]

It is easy to underestimate Ruth. The story is short and sweet, in elementary Hebrew, about a loyal and obedient daughter-in-law, or so we have been led to believe. The book and its eponymous character are surprisingly complex. Although Ruth is an exemplar of Hebrew narrative, it contains two poetic insertions in the first chapter. Literal translations lose the poetry, and poetic translations are less faithful to the original language. Ruth has been chosen for road-testing a range of hermeneutical approaches, and here is one more. This paper approaches these poetic insertions and, indeed, the book of Ruth, as poetry and explores a new method for examining and interpreting Hebrew poetic texts, namely, exegetical poetry. I pay particular attention to poetic devices—parsing for parallelism, alliteration, and other poetic elements—and explore their significance. As I translate and exegete, I compose poetry reflecting the form, content, and theological themes of the Hebrew poetry through the use of similar English devices, imagery, and mood. The result is an amalgam of showing through exegetical poetry and telling through prose commentary, enriching our understanding of the characterization of Ruth and Naomi, and the relationship between these poetic insertions and the broader narrative. [ABSTRACT FROM AUTHOR]

Born with the August Revolution in 1945, the generations of modern Vietnamese ethnic minority writers form their own appearance, contributing to creating unique voices and identities. In this paper, we argue that three generations of ethnic minority poets, which represent three waves of writers, create three types of geographical landscapes of Hanoi. Firstly, the country's capital in wartime is portrayed vaguely in the dreams of the periphery. It is a central geographical entity that holds the beliefs and aspirations of the entire nation. Secondly, Hanoi is presented through its everyday appearance, which is full of contradictions that make residents leave and dream of an idealised mountainous region. Finally, Hanoi is described as a decentralised metropolis through the gazes of ethnic minority poets who were born in Hanoi. This creates in their poetry the process of deterritorialization, i.e. the process of becoming the Other. It can be said that geographical shifts have created new spaces, thus giving people different concepts of home. [ABSTRACT FROM AUTHOR]

This essay looks at the shifting poetic and aesthetic strategies that Gwendolyn Brooks employed over her more than fifty‐year career. The first Black American poet to receive a Pulitzer Prize for Poetry, Brooks initiates a lineage of poetry and poets dedicated to attending to the daily conditions of Black life in America. Long a poet of daily Black life, Brooks announces via her poetry an aesthetics committed to, in the words of Langston Hughes, "the inherent expressions of Negro life in America: the eternal tom‐tom beating in the Negro soul — the tom‐tom of revolt against weariness in a white world, a world of subway trains, and work, work, work; the tom‐tom of joy and laughter, and pain swallowed in a smile." Through textual analyses of the language of several of Brooks's poems alongside interviews with Brooks and critical essays about Brooks's work, this essay points to Brooks as the poet most steadfastly exploring what philosopher George Yancy describes as "the lived density of race." Yancy notes that "while the focus on demonstrating the nonreferential status of race is important work within the context of liberation praxis vis‐a‐vis racism — indeed indispensable work —... it is at the level of the lived density of race that so much more work needs to be done." This is the work of Gwendolyn Brooks's art. [ABSTRACT FROM AUTHOR]

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

This paper explores poetry as a means of augmenting cross-cultural connections; we maintain that the genre is inherently humanistic, and that connecting with poets abroad and at large can be generative, exploratory, and invested in locating traits amid our differences that ulitmately draw us closer toward renewed ethical engagements. In a world that seems increasingly distracted by noise (often produced willfully, it seems, to ideological intent), poetry remains yet a means of intervening, interfering with, and interrupting the myopias of narrowed accounts of self, and self in relation to others. We argue that poetry can continue to make uncommonly useful contributions towards a common humanity: as our numerous inter-cultural projects demonstrate, to think poetically and connectively is to work non-reductively, in resonant ways that can shift us beyond the quotidian, into the boundlessly possible. [ABSTRACT FROM AUTHOR]

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This paper intends to present the personal, lived experiences of embodiment and describe how transition in AM has enlarged my perception of intersubjectivity. We all transition throughout different stages of life and I have struggled through many forms of transition. Personal therapy and writing poetry aid transitions and have also taught me that this self is a process which interacts with myself, others and the world we inhabit. Transition in AM after moving adds to this process for during this time the possibility of experiencing non-duality opens up, for writing with metaphors and moving are brought together. There is a strong link between moving and metaphor for both emanate from the body and metaphors act as a distinct link between the physical and thinking self for they connect us to ourselves and make us whole. [ABSTRACT FROM AUTHOR]

This article explores the memory of war, trauma, and revolt in Albanian poetry emerging from the aftermath of the 1998–99 Kosovo War. It focuses on constructing Kosovo Albanian post-war poetry and asks about the avenues of literary representation of war. It examines the work of Xhevdet Bajraj, Arben Idrizi and Halil Matoshi, focusing on the subjects' positions – exile and national victimhood in the case of Bajraj; critique of violence in the case of Idrizi; disillusion and trauma in the case of Matoshi. The article also finds that Kosovo's post-war literature stands in a broader framework of the literature from ex- Yugoslav republics, providing a geographical and cultural background to war poetry. The view and interpretation of the literary response to the Kosovo War aims to highlight poetry that keeps memory about the war alive, as well and explores the impact of war, to protest against violence and domination. [ABSTRACT FROM AUTHOR]

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

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

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

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

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

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

This article examines how poetry subverted Francoist control over the written word in National-Catholic Spain. Despite the policing of culture by the regime's censors, poets were able to use their works to express their nonconformity with the social and political situation. Spanish poets working under the regime resorted to subtle techniques in order to articulate their dissent. This article explores the political possibilities of one such technique: parody. It evaluates the limitations of parodic discourse as a form of political critique and offers an appraisal of the value of this literary form in the specific context of Francoist Spain. Offering a close reading of a work of parodic poetry by Ángel González, the article analyses how parody is used to appropriate and subvert Francoist National-Catholic discourse. [ABSTRACT FROM AUTHOR]

The social and literary evolution of contemporary Chile is characterized by the affirmation of new voices from indigenous peoples. This article aims to show how one of these voices, the mestizo poet of Mapuche-Huilliche origin Jaime Luis Huenún, articulates a poetic project of great originality and critical significance. In the collection Reducciones (Reservations), the documentary poetry invites the reader to engage with the decolonization of knowledge, while Fanon city meu (fanon city meu) focuses on the ravages of colonization on identity. The latter is seen as a descent into hell. The infernal motif is made clearer by the polemical discussion Fanon has with Sartre on the latter's text Black Orpheus. This implicit dialogue provides the key to Huenun's decolonial poetics and allows us to underline the aporia inherent in the quest for identity and its inextricable link with betrayal. [ABSTRACT FROM AUTHOR]

The essay re-arranges elements of three online conversations between the authors in May-June 2022. Throughout these conversations the authors explored themes around the poetics of dissent, oppositional consciousness, dissidence, and poetry of witness, in relation to the process of coming-to-consciousness. The essay translates the resonant, non-linear dynamic of the conversations into writing, and arranges the content in six central sections: Stepping Out, Immersions and Accompaniments, Countering Acquiescence, Being Present, Extremity, and Dissidence. Each section is introduced first by a quote by Forché, then by a brief reflection and conceptualization by Gräbner, and a key term then introduces each train of thought. The themes emerge within a poetic, conceptual and political reflection on consciousness and conscience. [ABSTRACT FROM AUTHOR]

This article offers an analytical framework that places debates in postcolonial literature and transnational literature in dialogue. The juxtaposition of concepts from both renders legible the existence of what the author refers to as world literature's errant texts. These errant texts, 'Gbenga Adeoba suggests, travel in a different form than current concepts of world literature allow and demonstrate world-making sensibilities. In the way they enact (re)worlding, world literature's errant texts contest a marginalizing impulse and foreground polycentric alliances and aesthetic maps that assert relationality. The article proposes the poetry of Jay Wright as exemplary of such errantry and considers the multicultural and relational aspect of his poetics as his contribution to the contemporary conversation on world literature. [ABSTRACT FROM AUTHOR]

This article seeks to demonstrate the heretofore unnoted influence of Arthur Conan Doyle on the poetry of James Merrill, most notably in both Merrill's famous lyric, "Lost in Translation," and his epic trilogy, The Changing Light at Sandover. In particular, the article seeks to show how Merrill saw as proximal to each other what many Conan Doyle experts and Sherlockians have seen as befuddlingly exclusive: the skepticism of Sherlock Holmes and the spiritualism of his creator, Conan Doyle. [ABSTRACT FROM AUTHOR]

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

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

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

Empathy is an important aspect of therapeutic relationships in health and social care settings. Health educators can foster empathy development in learners through creative writing activities. Drawing on the humanities, specifically poetry, this paper offers strategies for educators to support empathy development in learners, with a focus on service user poetry and associated creative writing activities. We discuss how poetry can enable alternative perspectives about care to emerge thereby challenging previously held assumptions about mental and physical states. Using poetry can enable a rehearsal of empathy by bringing experiences to the learner in a safe and facilitated environment. Through creative writing activities, we believe that students can learn to better understand and empathise with others, as well as explore their own feelings and experiences related to caregiving, to support self-care. [ABSTRACT FROM AUTHOR]

Background: For mental disorders Mutual Aid Groups (MAG) have been proposed, however, these have lack of methodologies that approach the needs of young people. The aim of the present study was to determine the impact of MAG in rural and semi-urban environments, developed through poetry, on the improvement of mental health. Methods: A quasi-experimental study was carried out in Caldas, Colombia. 171 adolescents participated, divided into 10 MAG. Child Behavior Checklist 4–18 (CBCL/4–18) was used and the nuclear components of the MAG were applied, adding elements of introduction to poetry, creation and group rituals. Results: Statistically significant associations (P <.001) were found between the number of sessions and the reduction of symptoms, as well as a decrease in Internalizing Problems and Social problems, after participating in the groups. Conclusion: Poetry applied to the core components of the MAG can improve psychiatric symptoms in adolescents. [ABSTRACT FROM AUTHOR]

Poetry and philosophy have had a close but uneasy relationship in the western tradition. Both share an eschewal of the discovery of novel facts, but are somewhat opposed in that discovery is a central aim of poetry, but not at all the aim of philosophy. Through a close reading of W.H. Auden's 'In Memory of W.B. Yeats' and a versification of part of G.E. Moore's 'A Defence of Common Sense', I argue that what poetry shows corresponds, in a broadly symbolist sense, to Wittgenstein's understanding of the miraculous nature of the world. In this regard, poetry can offer philosophy clarity, in the form of its tonal architecture, value, and ethics, and may also constitute a perspicuous representation. Poetry remains in a perpetual mode of potential, as well as being possessed of a vatic autonomy. [ABSTRACT FROM AUTHOR]

Taking its cue from Stanley Cavell's framing of Romanticism as a 'quest of the ordinary', this essay revisits the amplification of the category of the ordinary in the English literature of the Romantic era. Focusing on a specific genre, the preface to poetry, it examines the construction of poetry as a special case of that category in three Romantic prefaces: Wordsworth's 'Preface' to Lyrical Ballads (1800) Hazlitt's prefatory lecture 'On Poetry in General' in his Lectures on the English Poets (1818) and Shelley's 'Preface' to Prometheus Unbound (1820). By tracing and comparing the conceptual bases of these prefaces, it attempts to nuance and discriminate their differing versions of ordinariness. Variations notwithstanding, the reciprocal characterisation of poetry and ordinariness, at the heart of the poetics of three major Romantic writers, is shown to be fundamental also to their arguments for agency and their resistance to what Cavell calls 'the drive to the inhuman'. [ABSTRACT FROM AUTHOR]

This article addresses the connections between material strategies and knowledge construction in contemporary literature. Through two case studies, Anne Carson's Nox (2010) and The Beauty of the Husband (2001), this article argues that by capitalising on the material, often visual component of literature, Carson heightens an embodied reading process that encourages affective forms of knowledge. To this end, my reading builds on theories of visual textuality by Anne-Marie Christin and Johanna Drucker in conversation with insights from cognitive theory. Through an emphasis on visual patterns, the analysis demonstrates how the knowledge worlds evoked in these long poems, understood as referring to the epistemological premises and possibilities afforded by the literary work, are shaped by the visual screen of the page and of the literary work as a whole. As physical and imaginative spaces, Nox and The Beauty of the Husband thus stage intricate relationships between matter and knowledge, which are foregrounded in poetic and multimodal works but are present in all literary works to a certain extent. The implication is that readers can only know as much about a literary work as they can see and feel. [ABSTRACT FROM AUTHOR]

Ch'oe Namsŏn was a key figure in the introduction of geography into the print media culture of early twentieth-century Chosŏn. Ch'oe used geography as a tool, creating a new territorial consciousness for national cohesion, and this article explores how this greatly shaped his poetic landscape. Locating itself between the boundaries of literary studies and cultural geography, this work looks at Ch'oe's underexplored T'aebaek poetry, in which his interests in geography, history, and national identity significantly converge. Drawing on "Mount Taebaek" of Korea's past, Ch'oe fashions the mountain into a pseudo-religious icon of nationhood. A symbolic landscape, evocative of a uniquely Korean past yet rising as a global icon going into a modern world, Ch'oe's poetry creates a godlike figure for the Korean people to look to in a changing time of imperialism, nationalism, and modern progress. Through various iterations of T'aebaek—benevolent deity, bringer of modernity, omnipotent ruler of the world—one sees the mountain play a vital role in the shaping of Ch'oe's nationalist project, which would have continued influence on his writings later in life. [ABSTRACT FROM AUTHOR]

The present study tested the effect of title type on the aesthetic evaluation of Japanese poetry. Ninety participants read a Japanese poem presented with either a "descriptive" title, an "elaborative" title, or no title. Participants then gave ratings according to their aesthetic experiences on the poem. The results revealed that the title type significantly influenced the readers' aesthetic evaluations. Specifically, descriptive titles promoted more thought about the poem compared to elaborative titles. This finding can be attributed to the enhanced processing fluency afforded by descriptive titles, which allows readers to more readily understand and grasp the key characteristics of the poem, thereby facilitating thought evocation. These results extend previous findings on the influence of titles on the aesthetic appreciation of paintings and music to the domain of poetry. Furthermore, they highlight the role of processing fluency in possibly mediating the relationship between title type and aesthetic evaluation. [ABSTRACT FROM AUTHOR]

In this article, we share the results of a year-long project (a poem) and the process by which we created the poem, which we term voces poéticas. The poem is the result of 11 pláticas held over the course of nearly one year and is composed of words, phrases, and sentences that represent our experiences and identities as Chicanas/Latinas/Mexicanas in the academy. Our pláticas provided a safe place where we shared and held space to reflect on our experiences at predominantly white institutions (PWI) and theorized our experiences in relation to other Chicanas/Latinas in the academy. At the heart of this process was a type of poetic inquiry we call voces poéticas that was used to analyze and share our findings. We describe this process of creation that we also view as an act of resistance. [ABSTRACT FROM AUTHOR]

The poems and biographies written to celebrate the lives of Jesuit saints Francisco de Borja and Ignacio de Loyola reveal the same unique definition of "nobility" as a letter of recommendation Jesuit jurist Francisco Suárez wrote for a Morisco knight, where both civil and theological nobility were considered legitimate forms of nobility, though spiritual the greater. The Jesuits were central to early modern chivalric culture, continuing the legacy of medieval religious and military orders. [ABSTRACT FROM AUTHOR]

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

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

Earthquakes are considered to be one of the most dangerous natural disasters, posing a threat to human life and security as well as causing damage to life and property. Although literature is an important mirror that is intertwined with the social, cultural, and historical events of a society and reflects its real life in various aspects, depictions of earthquakes are rarely encountered in the Pre-Islamic Period and the Early Islamic Period. Experts estimate that this is due to the absence of devastating earthquakes during either period. The turning point for poems about earthquakes in Arabic poetry is the sixth century of the Hijra. In this century, the occurrence of multiple earthquakes in the Bilad al-Sham region attracted the attention of the poets of the period and caused them to write many poems depicting various aspects of this disaster that devastated human life. Some of the first poets to describe earthquakes in the Islamic world are; Usama b. Munkiz (d. 584/1188), Sannajatud-Dûh and Ibn Daniel al-Mawsili (d. 710/1310). In his poem about an earthquake that affected Egypt during the reign of the Fatimid caliph Hakim Biemrillah Mansur b. Aziz (996-1021), Sannajatud-Dûh stated that this natural disaster did not occur to harm the people but to celebrate the just rule of Hakim Biemrillah and likened the earthquake to a dancing person. Thus, the poet considered this disaster as an opportunity to praise the ruler of the period and presented an interesting perspective. Arab poets also addressed the earthquakes that occurred in the Arab world that came under Ottoman rule from 1517 onwards. When it came to the modern period, they went beyond geographical borders and described in detail the earthquakes that occurred in countries such as Italy, Japan, and Türkiye, regardless of language, race, and religion. In the modern era, the most prominent poets who wrote poems about earthquakes are the Nile Poet Hafiz İbrahim and Emir al-Shuarâ Ahmed Shawki. Hafiz İbrahim wrote a long ode consisting of 58 couplets about the earthquake that hit the Italian city of Messina in 1908. Although the poet learned about this earthquake, which caused the deaths of more than eighty thousand people, through newspapers and radio, he described the event in detail and vividly as if he had experienced it himself, thanks to his strong human emotions and deep imagination. Poet Ahmed Shawki wrote a poem in which he shared his sorrow with the people of Japan who were affected by the earthquake in 1923. Due to its geographical location in an earthquake zone, Türkiye has experienced numerous devastating earthquakes in recent times. These include the Erzincan earthquake in 1939 and 1992, the Gölcük earthquake in 1999, the Bingöl earthquake in 2003, and the Kahramanmaraş earthquake in 2023, which caused great damage to 11 Turkish cities and whose effects extended as far as Syria. These disasters have certainly inspired the poetry of some Arab poets, causing them to write poems in which they express their human feelings and document pain and loss. Some of the Arab poets who have addressed earthquakes in Türkiye include Muhammed Taqiyyuddin el-Matlabi, Mahmud Hasan Ismail, and Ahmed Ali Suleyman Abdurrahim. Mahmud Hasan Ismail, one of these poets, resorted to the art of personification in his ode to the great Erzincan Earthquake of 1939, and in a dialogue between them, he accused the earthquake of instilling fear in people and destroying their homes. He likened the earthquake to a ruthless tyrant who sheds blood and causes mischief on earth because it left dead and injured under the rubble. This study, following a brief mention of earthquakes in Arabic poetry, delves into the earthquakes that occurred in Türkiye and the impact these events had on Arabic poetry. The descriptive analytical method was employed to evaluate the selected poetic examples in three dimensions: historical reality, emotional dimension, and language. Additionally, the conclusion chapter presents the study's results. [ABSTRACT FROM AUTHOR]