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This article puts Alexander Jabbari's The Making of Persianate Modernity in conversation with Levi Thompson's Reorienting Modernism in Arabic and Persian Poetry to explore the relationship between literary modernism and literary modernity in non-Western literary contexts. It highlights the authors' parallel theoretical engagements of Michel Foucault's "attitude of modernity" and modernists' and modernizers' reworkings of literary heritage through the sublation of premodern literary content and form into modern conceptions of literary history. Drawing on these parallels, the article reviews several points of convergence in contemporary Arabic literary historical analysis that limn Jabbari's approach to the Persianate world, which crosses between Persian and Urdu, the naskh and nastaʿlīq scripts, and Iran and India. It seeks out connections in the work and thought of Jabbari's interlocutors, such as Muḥammad-Taqī Bahār and N. M. Rashed; Iranian modernist poets Nīmā Yūshīj, Aḥmad Shāmlū, and Furūgh Farrukhzād; and the Arab "free verse" (shiʿr ḥurr) poets such as ʿAbd al-Wahhāb al-Bayātī and Badr Shākir al-Sayyāb. The article highlights how Jabbari's book proves that literary historians in the Persianate world were subject to modernization discourse in making themselves modern and therefore covered up aspects of their premodern heritage that did not fit their modernizing projects. [ABSTRACT FROM AUTHOR]

This paper delineates the socio-historical imagination underpinning the works of Miraji, one of the pioneers of Urdu poetic modernism. It argues that the 'modernism' attributed to Miraji's poetry is best understood as the culmination of, as well as a veritable departure from, a specific diachronic movement internal to the history of modern Urdu literature. Presenting the idea of 'naturalness' as one of the principal catalysts of this internal movement, this paper demonstrates how Miraji attempted to reorient the trajectory of modern Urdu poetry by adopting an equivocal poetic language, which challenged the moral, social, and political imports of this politico-aesthetic discourse of 'naturalness'. [ABSTRACT FROM AUTHOR]

This paper presents an overview of free verse and how it emerged and evolved in Arabic literature and examines the differences between free verse and standard poetry. It presents language analysis of using free verse in Arabic literature and discusses the reasons behind free verse adoption. The researcher analyzed pieces of free verse to study the reasons behind using it instead of standard poetry. The analysis includes pieces of free verse to understand the meaning of the texts and its different layers. Not like standard poetry, regular rhythm or meter is not required in free verse. The movement of using free verse started by simplifying poetry rules by producing poems with a single foot or simple meter and rhyme. The analysis shows that poets used free verse because it gives them more freedom to express their thoughts, to use their personal style of musical rhythms, to use different rhythms and meters that go with their emotions and themes and to best express their poetic experiences. It also shows that free verse enables poets to use descriptive language, metaphors, historical depths elements, signs of cultural effects, new meanings without chains and to adopt words repetition as a rhetorical device meaningfully. [ABSTRACT FROM AUTHOR]

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In the article, the stages of development of Azerbaijani poetry from the 19th century to the 20th-21st centuries, which were accompanied by fundamental changes, were reviewed. It has been noted that the wars that took place at the beginning of the 20th century and the strict rules and regulations applied by the Soviet regime had an undeniable influence on our literature. It was at that time, during the years of Repression, prominent representatives of Azerbaijani poetry were subjected to political oppression and persecution, exiled and shot. The names of the poets who played a special role in the development of Azerbaijani poetic thought during the Soviet period were mentioned, and at the same time, the genre and form innovations they brought to our poetry were shown. Starting from the 60s, poets and writers began to deepen their view of man and his spiritual world. This movement, which began in literature for the sake of freedom of speech and thought, political thought, pluralism, national independence, and social justice, was continued in the 70s and 90s, and finally achieved its prospective goals with the acquisition of political sovereignty and state independence of Azerbaijan. The trend of critical realism that prevailed in Azerbaijani poetry in the 19th century was replaced by socialism-realism in the 20th century. The names of the leading representatives of this current have been mentioned. The article compares the similarities and differences of both French and Azerbaijani poetry of the 20th century in terms of literary trends, form, content, and genre, citing the names of poets and showing examples. In particular, the poems of the French surrealist poet Jacques Préver are compared to the poems of Rasul Rza and Huseyn Javid and Adil Mirseyid. The article also examines the form and content of the newest poets distinguished by their innovation in 21st century Azerbaijani poetry. [ABSTRACT FROM AUTHOR]

The article proposes a textual and linguistic analysis of Il Mondo salvato dai ragazzini e altri poemi by Elsa Morante (Einaudi 1968): textual structure, sectoral languages, foreign words, dialectal words, great abundance of names and toponyms make a poetic work which is related to the plurality of languages and styles of the Divina Commedia. The interpretation of the text presents remarks that are very close to remarks present in contemporary Morantian essays (Pro o contro la bomba atomica, Sul romanzo, Il Beato propagandista del Paradiso).

The study presents an experiment aimed at discovering similarities and differences in how American and Ukrainian participants perceived contemporary free verse. Three poems were examined from the perspectives of intertextual/infratextual/intratextual context dimensions. The presence of intertextual characteristics – reflecting social reality and metaphoric content – was recognized by the majority in both groups of participants, yet across the groups, there were differences in the degree of value placed on each characteristic. Differences in views on the infratextual contexts reflect the variability of functions performed by the initial/intermediate/closing parts of the poems. As regards intratextual context dimension, there were significant similarities in the participants’ views on the imagery, in the constructed text-worlds, emotional responses, interpretations, and encountered difficulties. The analysis of the intratextual contexts of the poems indicates that some texts may drive readers’ interpretations, thus reducing the role of culture in their reception.

The article presents the author's views on American poet Gwendolyn Brooks and her depiction of urban poverty, radical support of African American arts, and her role as a kind of progenitor of African American poetry from the mid-twentieth century onward. Her late work investigates the possibilities of free verse, and her early work is a master class in what meter and rhyme can do to subjects.

The study presents an experiment aimed at discovering similarities and differences in how American and Ukrainian participants perceived contemporary free verse. Three poems were examined from the perspectives of intertextual/infratextual/intratextual context dimensions. The presence of intertextual characteristics -- reflecting social reality and metaphoric content -- was recognized by the majority in both groups of participants, yet across the groups, there were differences in the degree of value placed on each characteristic. Differences in views on the infratextual contexts reflect the variability of functions performed by the initial/intermediate/closing parts of the poems. As regards intratextual context dimension, there were significant similarities in the participants' views on the imagery, in the constructed text-worlds, emotional responses, interpretations, and encountered difficulties. The analysis of the intratextual contexts of the poems indicates that some texts may drive readers' interpretations, thus reducing the role of culture in their reception. [ABSTRACT FROM AUTHOR]

This article presents Alexandru Macedonskiʼs contribution to Romanian literature concerning the promotion of new literary tendencies – at the beginning in those times – Symbolism and Parnassianism. In this study I brought into discussion the vocation of “Mecenas poet” that Macedonski had in the literary space of Bucharest after the foundation of the society Literatorul. I also presented in this paper the Macedonskiʼs conception on versification. His ideas were published in the pages of the magazine “Literatorul”, in the colection entitled Arta versurilor. I highlighted here his activity as a promoter and guider in the Romanian literary space, because this is a quality that makes him radically different from his contemporaries.

Многие поэты обращались к свободным формам стиха, полагая, что только такая форма может адекватно воплотить современную действительность и восприятие этой действительности поэтом. Обращаясь в данной статье к переводам стихотворения «Er starb vor Mohaiszk» («Он пал под Мажайском») Э. М. Ремарка, написанного в свободной форме, верлибром, авторы ставили перед собой задачу проследить, как переводчики, работая с такой формой иноязычной поэзии, воплотили основные особенности оригинала на языке перевода. Проведенный сравнительный анализ оригинала и переводов показывает, что эта форма стиха, балансируя между прозой и традиционным стихосложением, требует от переводчика предельной концентрации на всех уровнях текста: лексическом, синтаксическом и ритмико-интонационном, а отступление от адекватного воссоздания даже одного из этих элементов приводит к искажению всего произведения. Результаты исследования можно использовать в спецкурсах и семинарах по теории художественного перевода, в курсах сопоставительной стилистики русского и немецкого языков, в творческих семинарах переводчиков, а также при критической оценке вновь создаваемых переводов поэтических текстов Э. М. Ремарка.

Based on the theories of Yuri Rozhdestvensky, this article considers vers libres a 'third' genre: neither prose nor poetry, but a separate artistic form where prose and poetry intersect. As other types of speech, free verse is influenced by the changes in communication technologies. Using representative examples of Russian free verse, the article studies this influence. It traces the correlations between Russian vers libres and oral genres, including proverbs and fables, and between vers libre and written genres, specifically sacred texts: psalms and prayers. It explains the influence of print technology on free verse, shows that prose printed texts can be close to free verse, and explains why scientific texts, even well written, cannot. It demonstrates how Russian verlibrists responded to mass media styles and pressures, highlighting the use of irony. The patterns and regularities observed for the Russian material may be applicable to free verse in other languages, pending further research. [ABSTRACT FROM AUTHOR]

The paper outlines challenges that might be faced by translators of the first version of "Song of Myself" by Walt Whitman into Russian, which has not yet found its rightful place in the Russian literary culture. Intonation patterns of the poem in its original version of 1855 that are oversaturated with expressive means are compared to those of the authorized text of 1881. The conclusions drawn herein may prompt fancy translation solutions. Attention should be paid to Whitman's "expressive punctuation techniques" used in the first version to achieve a dramatic effect. It is noteworthy that in the authorized text, the poet is seeking to streamline the rhythm and make sound patterns richer at the expense of spontaneity and ingenuousness of the first version.

This paper seeks to shed light on Ferdinand Freiligrath`s and Walt Whitman`s impact upon Miloš Crnjanski`s early political and poetological reflections. It is interesting that the Serbian poet and writer, who rarely and reluctantly spoke about his literary role models, mentions the German poet Ferdinand Freiligrath twice in his autobiographical work Ithaca and Comments, claiming he identified with him during his youth. Although obvious connections can be found in political ideas and revolutionary aspirations shared by the two poets, Freiligrath's significance seems to lie in the fact that he introduced Walt Whitman to the German literary audience and thus undoubtedly influenced the development of modern poetry.

In Louise Glück’s latest collection Faithful And Virtuous Night (2014), the poet’s swerving toward a more narrative form contributes—surprisingly perhaps—to revising the traditional Romantic chiasmus that exists between the mourning or suffering personae and their environment. This article attempts at capturing how Glück’s choices in lineation in her verse expose the intrinsic loss and hiatus there is between language and the world. It means to illustrate the way time and lyric subjectivity are structured in Glück’s latest collection.

“I am not thoroughly satisfied with what he has done. I have told him—I mean I am disgusted with him and his long lines.” As Williams delivers this message to his friend Walter Sutton, he condemns what he sees as Allen Ginsberg’s inability to both carve and curb his verse. This article explores what occurs when the line won’t break, when it goes on stubbornly wandering off the page. Ginsberg’s long verse thus comes to index a break in his modernist lineage. It operates a departure from his modernist masters, Williams, Pound and Eliot. According to the Beat poet, the line should not be modelled after the length of the page, but rather attempt to break its delineations so as to return the poem to its original breath. These observations invite us to take a closer look at the long line as both a political and personal expression of the poet’s journey on and off the page.

In his article “Drums of Doubt: On the Rhythmical Origins of Poetic and Scientific Exploration” Caius Dobrescu argues that even though the sciences and arts of doubt have never been connected to the notion of rhythm, doubt is a form of energy, and more specifically, a form of vibration. It implies an exploratory movement that constantly expands and recoils in a space essentially experienced as uncharted territory. Poetry acquires cognitive attributes through oscillatory rhythmic patterns that are explorative and adaptive. In order to test this hypothesis, the essay focuses on the nature and functioning of free verse. This modern prosodic mutation brings about a dovetailing of the rhythmic spectrum, but also, and more significantly, a change in the very manner of understanding and experiencing rhythm. Oscillatory rhythms are broadly associable with entrainment indexes that point to the adaptation of inner physiological and behavioral rhythms to oscillatory environment stimuli. Free verse emerges from the experience of regaining an original explorative, adaptive, and orientation-oriented condition of consciousness.

Developed in the context of a bipolar world order, Julius Nyerere's political philosophy of Ujamaa expressed an African socialist vision predicated on the principles of non-alignment, anti-imperialism, and the aspiration to Pan-Africanism. Government promotion of formal Swahili poetry as a medium for the dissemination of Ujamaa prompted students and faculty at the University of Dar es Salaam to begin experimenting with free verse in the early 1970s. In response, a fierce public debate would emerge about appropriate forms for poetry written in Swahili. Ostensibly an aesthetic disagreement, the debate would reflect contradictions in Ujamaa philosophy and tensions inherent to Cold War political culture. Looking beyond prevailing descriptions of the debate as a dispute between traditionalism and modernism, this article traces the emergence of poetic voices responding to and questioning both the form and content of dominant political discourse and beginning to imagine new social and political formations outside the framework of Ujamaa., On June 6, 1968, a year and a half after the release of the Arusha Declaration, which ushered in Julius Nyerere's form of African socialism--known in Swahili as Ujamaa, or [...]

In this paper, I attempt to read the poetic principle behind the Tammuzi movement of modern Arabic poetry through the lens of speculative poetics. While speculative-poetic accounts of modern poetry, such as those provided by Allen Grossman, blazed new paths connecting poetry to personhood in modernity, their application to the development of modern poetry outside of Europe remains limited by their self-avowed focus on European history. This paper will outline a critical corrective to speculative poetics which, I argue, can be of value in extending its domain of application to Arabic projects of poetic modernity, particularly the two tendencies of "free verse" and "commitment" poetry that emerged out of the Tammuzi movement.

“Imago” is a poem birthed from a place of understanding surrender. More specifically; the poem is an empathetic effort to understand the choices of one’s parents from the position of an adult child. The collages work with the extended metaphor of “a fly in your glass of wine” while also presenting the ever- Southern aftermath of a drink left outside, right underneath the porch lights. [ABSTRACT FROM AUTHOR]

This article examines two intrinsically linked periodical publications: Others: A Magazine of the New Verse (1915–1919) and Others: An Anthology of the New Verse (1916–1920) both edited by Alfred Kreymborg. To date, scholarship on the publications has focused either on the magazine or, to a lesser extent, on the anthology, but never on the dynamic between the two publications. The article begins by considering the way both publications challenged the boundaries of medial form in an effort to better characterize the respective functions of the magazine and the anthology in the Others dynamic. It demonstrates how the anthology, an annual publication, allowed Kreymborg to reclaim editorial agency over the Others brand, facilitating a secondary round of editing of the magazine's contents. By creating a secondary selection of poems increasingly collated by guest editors, Kreymborg was able to further shape the representation of the duo. The restoration of the Others anthology to the history of the Others project sheds new light on key contributors and resultantly requires us to further nuance our understanding of the Others magazine as a largely inclusive project. In uncovering the role the Others anthology played in the Others dynamic, this article ultimately underscores the need to include the serially published modernist anthology in our understanding of the diverse and interrelated modernist media ecology. [ABSTRACT FROM AUTHOR]

A paradoxical feature of the lament as a poetical and musical genre is the imbalance between the supposedly spontaneous expression of emotional turmoil and the artificial dimension of its artistic representation. Embedded in the lament since antiquity, such tension becomes particularly prominent in the early modern period, when the development of the 'lamenting mode' in poetry and vocal music facilitated experimentation in both domains. After reconsidering the rhetorical status of the lament, this essay explores the ways in which one specific lament – Olimpia's from Ariosto's Orlando furioso – moves across mediums and genres. More precisely, by focusing on the transition from ottava rima to the free-verse recitative style of seventeenth-century lamenti and cantatas, the article argues that the formal instability intrinsic to the lament exposes the limitations of any attempt to represent the utterance of a lamenting character as well as the expressive potential conveyed by its quintessentially performative nature. [ABSTRACT FROM AUTHOR]

The aim of this paper is to make a contribution to the old but still vivid discussion on free verse Swahili poems and to suggest a textual approach that avoids culturalism. This approach is based on the ideas of Euphrase Kezilahabi and Ebrahim Hussein, who accuse critics of placing too much emphasis on cultural aspects or context. Kezilahabi and Hussein suggest a more holistic approach based on the aesthetics of the text. The dispute over free verse started in the late 1960s and still continues not only in academic writings, but also in harsh comments made by poets who write in a "traditional way" or scholars that I have had occasion to hear at conferences or during my fieldwork in Dar es Salaam. [ABSTRACT FROM AUTHOR]

'[I]t has unfortunately become a fashion that people who obviously cannot claim to have any legitimation or any understanding in the field of sinology [...], take hold of the sinological works of others and exploit them merely for business reasons', complains the sinologist Leopold Woitsch in 1924, referring to Albert Ehrenstein's newest translations of Chinese poetry. The debate on who could authoritatively translate Chinese poetry was fiercely contested in German modernist circles and still rages to this day. Most scholars still contrast 'poetical' and 'scholarly' translations of Chinese poetry, either claiming that the former in an intuitive way come closer to the original, or criticizing the work of the poets who did not possess the linguistic and cultural background knowledge to dare approach Chinese poetry. However, it is exactly the interaction between the two modes that shaped the German reception of Chinese poetry in the twentieth century. Referring to a number of examples from the early-twentieth-century adaptations of Tang poetry, this article offers a more differentiated perspective on the cooperative and competitive relations between poets' and scholars' translations of Chinese poetry. Against the background of controversies surrounding 'legitimate' translations which shaped literary modernism in the early twentieth century, I show how the poetic and scholarly approaches were (and remain) closely interconnected, and discuss the thematic and aesthetic implications of this interrelationship. [ABSTRACT FROM AUTHOR]

This study argues that Nāzik al-Malāʾikah's poetics—as indicated in her "Introduction" to her collection Shaẓāyā wa-ramād and her book Qaḍāyā al-shiʿr al-muʿāṣir —is in conversation with the famous American poet, critic, and short story writer Edgar Allan Poe's poetics. This affinity has not been properly noted by critics, as their discussions have been limited to issues of form, content, or borrowings from Poe's poems. This article argues that al-Malāʾikah's elaborations on Poe are more profound than hitherto assumed since they articulate a different kind of formal poetics altogether. The chief characteristics of this poetics can be identified as sound/rhythm, concision, refrain (or repetition, with variation). While these innovative instances are foundational in her literary criticism, her poetry also conveys other venues of indebtedness and conversation. [ABSTRACT FROM AUTHOR]

The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language.

Abstract The prosodic innovations of free verse, prose poetry, and concrete poetry that overwhelmed poetic practices in the later nineteenth and throughout the twentieth century were grounded in Romantic ideas and practices with vernacular language. While the key agents of change were Wordsworth, Coleridge, and Byron, John Thelwall's involvement with the British Elocutionary Movement was equally crucial. What Pound called "the first heave" toward prosodic freedom, "To break the pentameter" (Cantos LXXXI), took place in England between 1790 and 1819. [ABSTRACT FROM AUTHOR]

The article discusses the little magazine effect and its role in the development of modernist poetry focusing on the role of poet Alice Corbin as the assistant editor at Poetry magazine. The article discusses Corbin's response to poet Ezra Pound's solicitation for his Catholic Anthology. Topics include rise of free verse, development of imagism, and racial and cultural appropriation that reflects in poetry.

The essay examines the depiction and absence of antebellum bohemians in U.S. literature. It discusses the network of bohemian New York and how it informs criticism of poet Walt Whitman and his innovative approach to free-verse poetry. A network analysis approach is also used to explore the literary history of the group.

The Free Verse poets and the 'Abbāsid muḥdathūn (the modernizers of the eighth and ninth centuries) share a similar meta-poetic posture at the core of their modernizing projects. Both groups were aware of not only their role as initiators of change, but also their position vis-à-vis the poets who wrote before them. This paper examines these two modernizing experiences through the lens of metapoesis to reveal some of the critical and theoretical concerns that continue to haunt Arabic poets today. [ABSTRACT FROM AUTHOR]