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This article explores the presence of falconry in the Old English poem "The Battle of Maldon" and the Middle High German work "Kudrun." It discusses the different interpretations of the motif, including its connection to noble lineage, bravery, and disdain for invaders. The comparison with "Kudrun" helps to clarify scholarly debates and presents a more positive view of the young warrior in "The Battle of Maldon." Additionally, the article provides evidence from various sources to support the existence of falconry in early medieval England, highlighting its association with royalty and nobility. It suggests that falconry may have played a significant social role during this time. [Extracted from the article]

War poetry voices the traumatic cultural productions and sensitivity through the formal, aesthetic and creative dimensions of psychical responses. A perpetual trauma is imprinted on the psyche and the cultural memory of the people living through wars. To witness the representative suffering, war poetry needs to be examined from experiential and embodied dimensions of cognitive perception. Mosab Abu Toha is an acclaimed Palestinian poet who represents his affective experiences, to lament over the displacement, loss and cultural clashes he witnesses, in his autobiographical poetry. The research highlights that Abu Toha, in his transitional poetic space of the selected poem, invokes the receptiveness of witnessing through the defamilairized graphic images and syntactic representation which are foregrounded. Further, the prototypical cognitive models in his selected poem are both situational and cultural. The research is significant in examining the embodied and experiential dimensions of language processing in the poetic space to encode the readers' positionalities and the linguistic structures that invoke the specific perspective in readers' imagination. [ABSTRACT FROM AUTHOR]

The First World War blurred the lines between "ordinary" and "literary" writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one's writing practices until they found a journal full of poems after the author's death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war. [ABSTRACT FROM AUTHOR]

During the Holocaust, poets went to extraordinary lengths to write their poems and transmit them. Poems that were written during those years were often buried in the ground, stitched into clothing, smuggled out of prisons, or graffitied onto walls. These object documents carried more than facts about these events; they carried the feeling of living through these events. This research explores the last poems of four Holocaust poets, Władysław Szlengel, Selma Meerbaum-Eisinger, Hannah Szenes, and Abramek Koplowicz, investigating not only the poems but their object-ness and their stories of transference. These poems, like urgent postcards, deliver messages to a family, to a community, to the world. They ask―what does it mean to write a poem as a last will and testament? [ABSTRACT FROM AUTHOR]

War Poems by Ukrainian writer Alexander Korotko was the first emblem of the new resistance literature that arose in Ukraine in 2022. The reality of the war became a factor of resistance, generating new senses toward the establishment of an innovative political reality in Ukraine. At the same time, Korotko's book is an intensification of Ukrainian resistance to the ideology of new Russian fascism (Rashism). The poet resorts to the construction of metaphors that combine the idealistic and the real, in which there are graphic depictions of reality in all its forms of war and terror. At the same time, the narrative demonstrates the need to sacralize the space-time dimension of Ukrainian reality, outlining the consequences of the war from the perspective of the future. The poetic subject affirms the idea of the victory of humanity; the war becomes a factor in the drastic reformatting of the world and Ukrainian reality and the formation of a new sociocultural and political identity of Ukraine in the paradigm of new humanism, a New Sincerity. The tragic events of Irpin and Mariupol find their poetic configurations and constellations in the book, which maps out the topography of war in Ukraine in 2022. The narrative presents the key concepts of war and how its emotional and intellectual representations are exploited and reinforced in Ukrainian society and media. The perspective of Berlant's methodology regarding the analysis of the poetic narrative constructed in the conditions of military operations has been explained and underlined. [ABSTRACT FROM AUTHOR]

Copyright of Humanities & Educational Sciences Journal is the property of Humanities & Educational Sciences 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.)

Mererid Puw Davies' book, "Poetic Writing and the Vietnam War in West Germany: On Fire," explores the role of poetry in the West German opposition to the Vietnam War. The book argues that poetry was a key form of expression for anti-war sentiments and that it allowed writers to encode contradictions and ambiguities. The book also examines the gendered representations of Vietnam in German anti-war writing and the intermedial relationship between film, photography, and poetry. Overall, the book offers a comprehensive analysis of the significance of poetry in the context of the Vietnam War and its impact on West German culture and politics. [Extracted from the article]

This article explicates the strategies of legitimization through spatial proximization. Although, there is a spike of interest in war poetry in recent years, proximization and legitimization aspects of war poetry still need to be explored. Thus, it is important to investigate war poetry from such perspectives because "poetry occupies a critical place in the war resistance literary tradition" (Metres (2007, p. 5). In this article, we grapple with the ways in which legitimization strategies are operated at the level of spatial proximization. Cap argues that (2013), "spatial proximization always forces the vision of a physically destructive character of the ODCs' impact" (p.74). This article draws attention to rhetorical interplay between legitimization strategies and spatial proximization: one leads to the other. War poetry of Afghanistan uses spatial proximization as an instrument for legitimization purposes. In order to critically analyze the poetics of war, we have adopted Cap's (2012) model of proximization which contains spatial, temporal and axiological proximization. However, we have utilized only spatial proximization aspect of the model because it suits with my study. Our findings show that legitimization strategies are manifested in war poetry of Afghanistan for achieving certain political goals. This study is important because it provides critical insights to the readers concerning the rhetorical and political nature of war poetry. [ABSTRACT FROM AUTHOR]

The study highlights Wilfred Owen’s anger over the Loss of Young Soldiers' Lives in the Poem “Anthem for Doomed Youth”. The objectives of the study are to show the anger of Wilfred Owen over the loss of young soldiers' lives, to show the physical and psychological state of the soldiers after the war, and to highlight the language of war poetry emphasizes some topics, such as suffering and death, violence, terror by the army, and hopelessness presented by the poet. The paper used a descriptive and analytical methodology to comprehend Owen's message about his refusal to funeral young soldiers in war. According to the study's conclusion, greater consideration must be given to those who defend their country, and their sacrifice when they pass away in war has to be recognized and appreciated. Consideration must be taken of the psychological state of those soldiers.

During the Holocaust, poets went to extraordinary lengths to write their poems and transmit them. Poems that were written during those years were often buried in the ground, stitched into clothing, smuggled out of prisons, or graffitied onto walls. These object documents carried more than facts about these events; they carried the feeling of living through these events. This research explores the last poems of four Holocaust poets, Władysław Szlengel, Selma Meerbaum-Eisinger, Hannah Szenes, and Abramek Koplowicz, investigating not only the poems but their object-ness and their stories of transference. These poems, like urgent postcards, deliver messages to a family, to a community, to the world. They ask―what does it mean to write a poem as a last will and testament?

The article features poet Alfred Tennyson. Topics mentioned include the analysis of Tennyson's relation to British imperialism and tradition of war poetry, his concept of an ideal womanhood, and Tennyson's way of conceptualizing the effect of naturalness and all social connection ordered through art.

This article explores the impact of the Great War on composer Vaughan Williams and focuses on two of his works, the Pastoral Symphony and Sancta Civitas. It discusses the influence of modernism on his music and the presence of romantic elements in his compositions. The article also provides insight into the composer's personal experiences during the war and his efforts to revive his career afterwards. Additionally, it discusses the musical relationship between composers Holst and Vaughan Williams in the early 1920s, highlighting their exploration of Christian themes in their choral works. The article explores the concept of modernism and Neo-Romanticism in music, emphasizing the diverse range of musical expressions in Vaughan Williams's work. It specifically examines the structure and themes present in the oratorio Sancta Civitas, highlighting the use of tonal stability and instability, as well as the representation of grief and mourning in the music. The article concludes by discussing the reception of Sancta Civitas in the early 20th century and its reflection of Vaughan Williams's belief in a better world. [Extracted from the article]

The present situation urgently calls for the multifaceted studies of Russophone literature against war. The authors of the following essays develop their inquiry through the following questions: How does the relationship with the notion of the enemy shape the war poetry of Boris Slutskii and Ian Satunovskii? To what extent can the war poetry of the latter be seen as a matrix of his biographic narrative construction, especially considering that Satunovskii's lyrical subject is shattered, stuttering, de-language/d? How does today's popular poetry of protest differ from today's avant-garde poetics? What are the differences between their means of expression, address, and foci? All of these studies seek to explore the anti-war position in modernist poetry that has been developed through drastically different means, yet the general purpose is aptly formulated by one of our authors as "to bear witness and respond to the ongoing atrocities and destruction." [ABSTRACT FROM AUTHOR]

The article provides a comparative analysis of how two key poets, Boris Slutskii and Ian Satunovskii, responded to World War II, in which they both fought, in the poems written at the front or shortly thereafter. Via Lydia Ginzburg's notion of the deductive and inductive modes in lyric poetry, the article reveals how Slutskii and Satunovskii approach the figure of the enemy and shuttle between particulars and the universal in their verse. Dissimilar in their life choices (official for Slutskii and underground for Satunovskii), they share an aesthetic kinship, with Slutskii pressing harder toward generalizations, often radically revisionist, and Satunovskii insisting on the particulars and aphoristic fragmentariness. Both poets resist the grandiose and odic in figuring out how to navigate between the collective, personal, and intimate in confronting the catastrophe. [ABSTRACT FROM AUTHOR]

Sara Teasdale is an American lyric poet who produced collections of poetry in romance, melancholy and unrequited love. However, she left a mark in World War II poetry. Her famous poem ―There Will Come Soft Rains‖ is her most famous work in that genre. It is popular to this day because of Ray Bradbury, the famous science fiction writer. It inspired a short story of his, making Sara Teasdale's poem the groundwork of a totally different genre. This paper will explore the poem, the short story and how both are linked together through themes of war, destruction and the power of nature. [ABSTRACT FROM AUTHOR]

Buddhist fund-raising poetry lays at the intersection of literary arts, religious meaning making, and economic exchange. A twelfth-century woodblock print of Venerable Miaozhan's Gāthā 妙湛和尚偈頌 contains 180 previously lost poems by the Chan master Miaozhan Sihui 妙湛思慧 (1071–1145). Neither Venerable Miaozhan's Gāthā nor Miaozhan himself have previously been studied, likely because this rare text was in private collections until recently. Unusually, most of his poems are about fund-raising. This article introduces the text of Venerable Miaozhan's Gāthā and its author, as well as the social networks encoded in his poems. Then, I focus on verses about fund-raising, economic exchange, and the role of tea in donations. Socioeconomic changes after war, the economic practices of monastery estates, and fund-raising instructions in ritual handbooks all provide contexts that partially explain Miaozhan's fund-raising poetry. I interpret Miaozhan's fund-raising poems as a religioliterary technology that circulated into the world where it could participate in the fashioning of religious meaning amid economic relationships between the monastery and its patrons. [ABSTRACT FROM AUTHOR]

By creating and perversely analyzing a poem entitled "We scream and create so that the darkness does not prevail," the author enters a personal journey as a "wordsmith" and observes her experience and understanding of the world affected by the war in Ukraine. The poem uses images and narrative techniques to trigger complex emotional states in the reader, encouraging them to confront violence, resistance, struggle, and conflict in the context of the war in Ukraine. [ABSTRACT FROM AUTHOR]

The article informs about Jahan Ramazani's book "Poetry in a Global Age," emphasizing its significant contribution in calling for the study of poetry within a world literature model that respects linguistic specificity. Topic include the critique, however, raises questions about the book's applicability from a Central European perspective, where English's cultural influence has been less decisive, and suggests a need for a more nuanced consideration of global perspectives in poetry studies.

Turning to the First World War patriotic narrative of "for ever England," epitomised by Rupert Brooke and his writing as the point of departure, this paper investigates 21st century commemorative women's poetry written during the First World War centenary years and its subversive interaction with this traditional war narrative. This article argues that while the public discourse on war memory often turned to the idea of a "shared past" between the UK and former colonies, thus "sanitising" the history of colonial violence (as argued by Santanu Das), poems by Yrsa Daley-Ward, Malika Booker, Imtiaz Dharker, and Jenny Lewis written for commemorative anthologies effectively de-colonise the narrative(s) of the First World War by opening up the space for new voices and construing the image of England beyond "for ever England" in its relation to other spaces and other wars. [ABSTRACT FROM AUTHOR]

In this article, I investigate how Shadi Angelina Bazeghi writes about the Iran-Iraq War in her poetry collection Flowmatic (2020). Bazeghi assembles several different kinds of texts in Flowmatic, and one of these texts is a testimony by an Iranian soldier-engineer who worked as a programmer setting up at system to identify the bodies and body parts of fallen Iranian soldiers. Both the words of the soldier's testimony and the act of programming and data processing have found their way into the poem; as appropriated text and as the poem's overarching aesthetic mode. Using the soldier's witness account as a prism, I will look at three aspects of the poetry collection: 1) how the testimony is appropriated, 2) how Bazeghi is witnessing though appropriation, and 3) how she writes about war from a feminine point of view. I argue that Bazeghi through the evasive aesthetics and the heightened appropriation in Flowmatic challenges how women can witness and write about war. [ABSTRACT FROM AUTHOR]

For over a century, historians and literary critics appear to have been at odds regarding the poetry of the First World War. This schism owes itself to processes of canonization which restrict (in Britain) or completely ignore (in France) the full extent and diversity of wartime poetic practices. Investigating a new corpus of French poets of the First World War, and considering poetry as a social and cultural category and as a wartime practice whose functions go beyond literary value, this article argues that war poets can be read as ethnographers of wartime culture. In proposing this analogy, it aims to present the ethnographic conventions as a common ground where History and Poetics can establish a dialogue. For scholars aiming to investigate how cultural production shapes experiences of armed conflict, this ensures poets are seen as the producers of interpretive knowledge of war and poems as more than either transparent documents or hermetic lyrical creations. [ABSTRACT FROM AUTHOR]

Poetry and History: the Literary Beginnings of Ignác Cornova This text considers the early creative output of Ignác Cornova, in particular his lesserknown odes and his war poetry. It draws on contemporary research of the latter third of the 18th century focussing on the dynamic social change of the period, the transformation of the media, the emergence of a modern ‘public’, and changing perceptions of artistic as opposed to educational output. One of the difficulties of conceptualizing this period is the existence of two opposing trends – the older ‘Baroque’ tradition and the more ‘modern’ currents of the future national movement. Our text largely obviates this dichotomy by proposing a framework in which Cornova’s oeuvre is seen as evidence of an idiosyncratic cultural situation with its own features and markers. The aim of our study is to place Cornova’s early works within the literary context of his time – a context hard to appreciate today. We are not looking for the ‘future’ Cornova in those beginnings, nor the ‘embryos’ of his later development. Rather, we hope to rehabilitate the literary context in the Czech lands in the 1770s and 1780s as it veered between late Baroque odes, war reportage, and enlightenment patriotism. Alongside Cornova we consider now forgotten figures such as Vojtěch Koťara, Michael Denis, Johann Joseph Eberle and Václav Thám. The result is not a group biography, but rather a problem analysis of one segment of a period that defies unequivocal definition.

The article explores the haunting voices in Thomas Hardy's Boer War poetry. It examines Hardy's interrogation of military campaign through voices in the departure of troops at the outbreak of the Boer War, the influence of the Crimean War in his poetry, depiction of the scenes of London, England and the death of the drummer boy, and the use of dactylic sound and sense of the word drearily to counter the seductive sound of patriotic and warlike poetry.

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi 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 Knjiženstvo is the property of University of Belgrade, Faculty of Philology 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.)

The article reflects on the evolution of the periodical from its inception in 1989 to its 2023 status as a leading journal, highlighting its growth from a modest publication to a prominent international platform for exploring the intersections of war, literature, and the arts. Topics include the journal's early expansion, its pivotal role in hosting conferences and lectures, and its impact on the literary and artistic community.

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

The 19th-century Swahili poet Muyaka bin Haji al-Ghassaniy composed several poems in opposition to the Omani Empire’s invasion of his native Mombasa. In this paper, I focus on one such poem, “Ngoma ya Kizungup’ia”, which has not been studied as comprehensively as many others. I unpack the cultural, choreographic, and poetic significance of the kiumbizi dance form, which serves as one of its central tropes. In light of Muyaka’s poetic invocation of this dance and the historical, political and performative context of 19th-century Swahili war poetry, I apply the rhetorical and literary framework of Signifyin(g) to gain a deeper understanding of the political intentions and poetic execution of Muyaka’s resistance poetry, as distinguished contextually and ideologically from his earlier war dialogue poems. Finally, I reflect on my own experience translating the poem into English using methods of creative transposition, and conclude that the inextricability of the poem's hermeneutic and poetic values renders it especially difficult to translate. [ABSTRACT FROM AUTHOR]

A literary criticism recounts the author's participation in the Museum of Motherhood Annual Conference, highlighting diverse presentations on motherhood, matriarchy, and reproductive landscapes. Topics include discussions on motherhood in Second Wave feminism, performances exploring matrescence, and presentations on breastfeeding as a form of cultural transgression during lockdown.

Bloshteyn offers informative notes about each poet, some of which are as evocative as the poems themselves. There are poems by such well-known figures as Boris Pasternak and poems only discovered recently by family members sorting through papers left by deceased veterans. As well as being available in these separate publications, poems by both Tvardovsky and Simonov are also included in Maria Bloshteyn's anthology, possibly the most varied collection of Russian war poetry yet published anywhere. Bloshteyn includes verse written by front-line soldiers and by civilians in besieged Leningrad, by Gulag inmates, by prisoners-of-war and by at least one poet who collaborated with the Nazi occupiers. [Extracted from the article]

One of the most controversial and hotly debated concepts in contemporary literary theory is that of "crisis." Philosophers and theorists speak about the "death of the author," the "death of literature," post-humanism and trans-humanism (which also imply, in a way, the "death of man"), and so on. However, these "alarmist" claims seem to point to internal changes and evolutions of paradigms and models rather than to the actual ends of domains and concepts. Moreover, they are also successful devices for drawing public attention and critical acclaim, for conferring prestige to their proponents. Engaging with Theodor Adorno's dictum that "to write poetry after Auschwitz is barbaric," my point is that the latest global calamities of the pandemic and of the war in Ukraine demand a more moral use of the term "death." The metaphorical and abstract grand-narrative of the "end of man" fades away when we are confronted with the tragic and concrete realities of people suffering and dying in horrible conditions. Without ignoring the failures of anthropocentrism and the valid criticisms concerning the attitude and position of the human species within the planetary ecosystem, this paper engages with the possibility of ideologically-driven ethics giving way to a "humanism" tout court (not new-, not after-, not non-humanism), predicated on the imperative of caring about actual individuals in pain. [ABSTRACT FROM AUTHOR]

This article examines Thomas MacGreevy's poetry in the context of combatant modernism. It argues that the preoccupations with themes of perception and violence in MacGreevy's poems represent a prolonged engagement with the First World War and its legacy in Irish and British culture and politics. The article considers how this reframing of MacGreevy's work helps elaborate on combatant modernism as an intersecting tradition with the more familiar forms of European modernism represented by the work of T. S. Eliot, James Joyce and others, one in which recognizable techniques of fragmentation and disorientation are brought about not just by aesthetic experimentation but the need to find novel modes of poetic witnessing suitable to the new kind of conflict and suffering the First World War represented. This reorientation places MacGreevy alongside writers such as David Jones and Richard Aldington to reveal how combat service generated its own kind of modernist writing. [ABSTRACT FROM AUTHOR]

The poet Tony Harrison has created work for the stage and television, and even assumed the role of poet/journalist, writing newspaper reports in verse from war-torn Bosnia. His work is underpinned by a belief in the political nature of the act of writing. He has generally attracted a non-working-class readership; nevertheless, he has never abandoned his quest for a 'democratic' poetry. Much of his work has taken the form of a poetry of immediate response to current events. He has also been insistent, at times, on where his poetry should be published. When he wrote 'Initial Illumination' for The Guardian, for example, he argued it should not appear in the 'literary' section, but on the news pages. Harrison sees himself as a 'war poet. He uses his position as a public intellectual to engage in a struggle against dominant discourses and ways of seeing and to bring audiences to confront the horror of war. The article focuses in particular on his Gulf War poem, 'A Cold Coming', in which he uses strategies such as ekphrasis, to position the reader as a kind of 'secondary witness' of a war that had been turned by the media into a distant, anaesthetised spectacle. [ABSTRACT FROM AUTHOR]

Simon Armitage, perhaps in part owing to his formidable popularity as a plain-speaking poet, has been, throughout his recent poetic career, particularly sought after by memorial commissions. Before his appointment as Poet Laureate in 2019, his consecration as public poet came with the commission of Still in 2016, an intermedial collection commemorating the centenary of the Battle of the Somme. This Poetic Response to Photographs of the Somme Battlefield, encapsulates and highlights the tensions that can already be sensed under the everyday, effortless verse (Armitage, 2010) of his previous commemorative poems written in the 2000s. How to write history when one is not a primary witness, and what issues of authority and legitimacy inevitably arise from poetry commissioned for memorial purposes? Simon Armitage’s artistic solution to these questions is to veer away from his usual plain-speaking style and rely in Still on strategies of indirection and distanciation. Offering “manipulations”, in his own words, of Virgil’s Georgics rather than first-hand poems, his versions of the classical Latin text, rife with echoes of the First World War poets, allow Armitage to renegotiate his relationship with memorial poetry and reveal the ambiguities of his public voice.

Monro's letters to Marinetti are no longer extant, but Marinetti's subsequent letter to Monro responds to what must have been Monro's suggestion, on October 23, 1913: Je viens de recevoir votre dépêche. Afterlives of Futurism Although it is generally assumed that Monro's undoubtedly cooled stance towards the futurists in the December 1913 issue of I Poetry and Drama i constituted a complete, indiscriminate rejection of the movement, there is in fact evidence to suggest that Monro continued to maintain an interest in futurism for the rest of his life. In the September 1913 issue of the London-based journal I Poetry and Drama i , Harold Monro made the astonishing declaration that not only would the issue be devoted to the work of the Italian futurists, but also that the members of the periodical "claim ourselves, also, to be futurists." Prior to his arrival in London, Marinetti sent Monro a telegram from Brussels: "Tres [ I sic i ] heureux de vous voir demain samedi Savoy Hotel a [ I sic i ] 6 heures votre ami Marinetti" (Very happy to see you tomorrow Saturday Savoy Hotel at 6 o'clock your friend Marinetti) (Marinetti to Monro, November 14, 1913). [Extracted from the article]

The poetry of the First World War bears poignant testimony to the unprecedented tragedies of human destructiveness. It has been the subject of numerous studies that looked at it from diverse perspectives, drawing from various contemporary psychological, historical, and literary theories. The present study can be regarded as yet another contribution to the existing picture of this rich and enduring field where literature and history are explored alongside. Informed by the emerging field of digital literary studies, this article aims to revisit the war experience through a computational analysis of the poetry of the Great War and explore how soldier-poets conveyed their emotions in the face of traumatic war experience. We adopted a top-down corpus-driven approach that moved from key semantic domains to lexical items and then to their collocates. First, we detected the key semantic domains of the genre through a corpus tool, Wmatrix. 'Anatomy and physiology', 'religion and the supernatural', and 'senses' were identified as the key semantic domains in our corpus. The unusual abundance of binaries led us to group and treat these lexical items as a separate category: 'binary oppositions'. In the second phase of the research, we analysed these key semantic domains to foreground the frequent lexical items under each domain and explored the surrounding context of those items through their collocational networks exploiting another corpus tool, Lancsbox. Finally, we further investigated the frequent items and corresponding concordance lines to identify the common stylistic features in the Great War Poetry. [ABSTRACT FROM AUTHOR]

In the Judean War 's proem, Josephus professes his need to lament, an atypical statement in Hellenistic and Roman historiography. This article explores his lamentations, in the proem and the work, as they engage body, emotion, gender, and power. It examines the constructions that laments receive in Josephus's diverse literary and cultural backgrounds—biblical and early Jewish literature as well as ancient Greek and Roman traditions. It also considers how the War reflects these constructions. Josephus's laments, staging his wailing voice and suffering body, suggest self-abasement. However, his protagonists' laments often convey resistance and rebellion, a traditional function of laments; they thus shed a more political light on the proem. Josephus masculinizes the typically feminine lamenter-qua-protester figure, perhaps to avoid feminizing his own role. This article interprets Josephus's laments as an embodiment of his carefully subversive account and as emotional resistance against the Roman power. [ABSTRACT FROM AUTHOR]