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The article discusses the course that review the protest literature. The course arises in teaching that relates to the roles of writers or artist in the movement for social change and the relationship between the individual creativity and social actions. It also differentiates the difference between the work that directly involve the moments of conflict. It also involves the genre that differentiates the kind of works that function as social protest literature. The conception on how an artist can be understood to be functioning in the society.

The article focuses on the use of Homeric verses for magical literary sources. The verses were taken from different books of Iliad and Odyssey. Majority of Homeric verses used in magic were employed either to protect or to heal, but the exact origin of their usage is not known. According to cathartic poet, Orpheus, poetry in the classical period is closely coordinated with the eschatological needs of various initiatory ritual groups. It is believed that the music greatly contributed to health in curing specific ailments.

The article discusses the canonical collection of William Shakespeare's works in the 17th century. It has been said that Shakespeare's works, preserved in the first four Folios, included only plays. Furthermore, the attempt to bring a comprehensive collection of his poems in 1640, excluded the most celebrated poems like "Venus and Adonis" and "The Rape of Lucrece." However, in 1664 and a few years following that, a second issue of the Third and a Fourth Folio revealed that the previous Folios were not as comprehensive as it was perceived. Several plays and poems were added to the collection to make the Third and Fourth Folios as the accepted complete Shakespeare. Issues pertaining to authenticity are also tackled.

The article presents a criticism and interpretation of Plautus "Bacchides" 884-9, in which the slave Chrysalus threatens to fetch a kitchen utensil to stab the soldier and make him more severely wounded than soricina nenia. The article discusses the articles written to unravel the mystery of confossiorem soricina nenia.

The article features the lyric poetry as a literary form. Lyric is considered as the oldest verse form and has remained the most intense and moving among literary genres. The performative nature of lyric poetry is one major reason for its power to engage the reader. Lyric is an utterance subject to repeated performance that makes it heard over and over again.

After reviewing current opinions about the social function of literature in second-century BCE Rome, I focus on two controversial fragments assigned to Cato the Censor's Origines. In the first, Cato portrays the ancestors in a convivial setting as they sing the praises and the manly deeds of famous men; in the second, he gestures towards the pontifex maximus' specialized use of writing and the functioning of the tabula as a locus of memory. By drawing on the field of performance studies, I identify the performative features inherent in both of these fragments and map out how these features inform the positioning of Cato in relation to the identity politics of his time, professionalism, and writing. The aim of this study is to return the Origines to its immediate socio-cultural purview, but working towards this aim will also entail a shift in perspective and a reassessment of our notions of "poetry" and "prose." In fact, by stressing the performance dimension that underlies the genesis of the Origines as a text, this article will also expose the shortcomings inherent in the hyper-literary approaches that have been so far adopted. [ABSTRACT FROM AUTHOR]