Search

This article examines the reclamation of forgotten roots in Puerto Rican diaspora poetry, focusing on three poems from the post-Nuyorican migration period. The analysis highlights the presence of indigenous and African roots in these poems, demonstrating a progression in navigating historically marginalized aspects of Puerto Rican identity. The article discusses the themes and perspectives presented in the poems, which explore the poets' connections to their Taíno and African heritage, their complex feelings about their identity, and their experiences as Puerto Ricans in the United States. The text emphasizes the importance of embracing diverse cultural influences and calls for representation and recognition of the Puerto Rican community in the broader Caribbean literary canon. [Extracted from the article]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 study focuses on the principal stylistic characteristics of metrical formation and rhyme in the poetry collection of Taysīr Subūl Aḥzān Ṣaḥrāwiyyah ‘Desert Sorrows’. It explores the impact of traditional Arabic metrical forms on articulating the poet's real-life and psychological experiences. The research also delves into the importance of rhyme in fostering a unified emotional flow, maintaining the continuity of events, and culminating the poet's conceptual thoughts. The study concludes that Subūl's selection of classical Arabic meters (Buhur) and their metrical variations significantly contribute to the freedom and fluidity of his expression, enriching the rhythmic and semantic depth of his poetry. The varied application of softened rhyme schemes emerges as a prominent stylistic feature, encouraging readers to ponder over the implications and meanings of his poetic lines. [ABSTRACT FROM AUTHOR]

"Words Like Daggers: The Political Poetry of the Negev Bedouin" is a curated collection of Negev Bedouin poetry that expresses dissent, resilience, and resistance to occupation, forced settlement, and exile. The editor, Kobi Peled, explores the political and historical context of the Bedouin society in the Negev, highlighting the impact of systematic colonial settlement. The collection provides valuable insights into daily life, settler practices, and colonial influences in the region. However, it acknowledges the limitations of the collection, including biases in the selection process and the exclusion of women's poetry. The book is divided into five parts, covering different periods and themes, and includes detailed annotations and interpretations of the poems. It is a valuable resource for researchers interested in war studies, poetry, territorial history, social memory, and refugee studies. [Extracted from the article]

The aim of this paper is to investigate the assertion of gender difference and gender identity in contemporary Romanian feminist poetry, taking the works of Medeea Iancu, Iuliana Lungu, Mădălina Oprea, and Nóra Ugron as its starting point. This study will underline recurring thematic patterns, highlighting the priority awarded, within these poetry collections, to matters pertaining to textuality, as well as to the peripheral position of women writers within the literary field. As a result of the uneven development of Eastern Europe's women's movement(s) during the postcommunist transition, Romanian feminism can be described as a synthesis between Second- and Third Wave feminist themes (Miroiu), namely as having haphazardly imported both issues pertaining to "difference-" and to intersectional feminism. The emphasis local feminist poets place on positing difference, as well as on embracing a fluid identity, has motivated the usage of a theoretical framework based on the concepts of "sexual/gender difference", and justified the attempt of linking these literary projects to the tradition of so-called "French post-structuralist feminism". Lastly, this study proposes an overview of the possible political relevance that "neomaterialist" (Braidotti) strands of feminism may hold today, as well as an outline of some of the limitations that they pose. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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 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]

In this interview, Bangladeshi Anglophone poet, translator, and critic Kaiser Haq discusses diverse aspects of his writings and concerns. First of all, he talks about his recently published poetry collection, The New Frontier & Other Odds and Ends in Verse and Prose. Then, he dwells upon the charms and challenges of conquering new frontiers during his long poetic journey, his distinguished career as an academician, his role as an essayist and his work as a translator. He gives his opinion about the tradition of Bangladeshi Anglophone poetry and sheds light on his stance as a poet-witness and as a social critic. His representation of aberrant figures, debt to Bengal's rich folk heritage, transformation of mundane observations to socio-political musings, and exploration of issues like identity and the environment come to the fore in course of the conversation. He spells out his poetic standpoint on issues like tradition and modernity, love and sex, religion and ethnicity, and diversity and unity. He takes pains to explain how his poetry testifies to Bangladesh's evolution over the years through all the ups and downs. He points out how exposure to other climes and cultures and love for his own country and country people complement each other to create his poetic credo. Later, he elaborates on his attitude to memory and the media. He reveals his perspectives on poetic craftmanship and stylistic innovation. The interview wraps up with an enduring message from Kaiser Haq the poet for his readers. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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 summarizes the initial phase of Béla Markó’s career leading up to his first poetry collection, A szavak városában (In the City of Words, 1974). Markó’s first writing attempts were published in local newspapers during his school years in Târgu Secuiesc/Kézdivásárhely, later gaining visibility in national daily and weekly publications. Shortly thereafter, Béla Markó’s poems were introduced in the Megyei Tükör by Árpád Farkas, and in Igaz Szó by János Székely. His notable poem Egyszerû vers (Simple Poem) is often considered a manifesto of his generation. His years at the university in Kolozsvár/Cluj (1970-1974) unfolded in a briefly liberated political and intellectual atmosphere following the “thaw” in Romania after 1968. During this time, in addition to the Echinox student journal, Béla Markó’s works were regularly published in various types of publications. Following his publication in Kapuállító (1982), his work also appeared in the anthology Varázslataink (1974), retaining its title despite censorship cutting Markó’s verse. From 1971 to 1973, he led the Gaál Gábor Circle, a forum for young writers and poets at the university, which served as a valuable platform for public discourse and also attracted the interest of the secret police of the regime, the Securitate. [ABSTRACT FROM AUTHOR]

This study aims to investigate the prominent linguistic features in the poetry collection I Feel Different by the poet Ismail Al-Saudi. It seeks to highlight the role of language and grammar in constructing literary texts and uncovering their aesthetic and intended meanings. The study is divided into four main themes: the empty exception and its significance in the poetry collection, prohibition and command and their significance in the poetry collection, interrogation and its significance in the poetry collection, and justification and its significance in the poetry collection. The introduction provides an overview of the importance of language and its role in literary text interpretation. The study employs both descriptive and analytical approaches to explore the linguistic features. It begins by presenting an overview of the linguistic features as mentioned in language and grammar books. Subsequently, the analytical study reveals the purposes and full meanings of these linguistic features in the poetic verses. [ABSTRACT FROM AUTHOR]

This article focuses on the analysis of some contemporary Mexican literary works, in which the southern or northern geographical border of Mexico is represented as a counterhegemonic, violent, and geopolitically vulnerable space. For this purpose, the novels 2666 (2004), by Roberto Bolaño To the other side (2008), by Heriberto Yépez; The Scorched Lands (2015), by Emiliano Monge, and the testimonial collection of poems The Central American Book of the Dead (2018), by Balam Rodrigo will be reviewed in particular. In these texts, the border is configured as a territory of multiple sociocultural relations and economic transactions, in which particular values and interests are conditioned by the laws of the market. In each of these texts, drug trafficking is present directly or indirectly, who controls, manages, or eliminates everything that seems useless. [ABSTRACT FROM AUTHOR]

During the internal armed conflict in Peru (1980-2000) the Andean population endured its worst violence, both by subversive groups and by State agents. Among the other collections of poems that represent the civil war, Rocío Silva Santisteban's Las hijas del terror stands out in its poeticization of the terror experienced by Andean women victims of sexual violence. This article analyzes four poems from the collection: "Chunniqwasi", "BAvioLADA", "Disappeared" and "Las hijas del terror". It examines, on the one hand, the representation of memory and, on the other, the hierarchies of power that contributed to terror and sexual violence in times of war as well as in times of peace. For our analysis, we employ the concepts of subalternity (Gayatri Spivak), trashization (proposed by Daniel Castillo Durante and studied by Rocío Silva Santisteban), and necropower and necrowriting (Achille Mbembe and Cristina Rivera Garza, respectively). Other important concepts by Marfil Francke, Kimberle Crenshaw and Jelke Boesten on intersectionality and sexual violence help us further the analysis. [ABSTRACT FROM AUTHOR]

Part of the poetry of Abigael Bohórquez (1936-1995) can be read as poetry of homosexual testimony. Specifically, his last collection of poems, his poetic testament, Poesida (1996), allows for this reading, since this cruel but supportive document seeks to put shame on the side of the heteronormative discourse, the one that reacted by condemning homosexual practices at the height of the Hiv/Aids pandemic in the 1980s & 1990s of the 20th century. Poesida will be studied from the poetics of misrepresentation, as a proposal for analysis for the dissident resistance to the discursive normalization that the collection of poems offers, both in the confrontation of the literary tradition, as well as in the poetic space and in the autobiographical references. Bohórquez builds a mural, a testimony, a series of songs and portraits so as not to forget, dignify and resist the shame with which they tried to classify those who died with the weight of stigma and guilt. [ABSTRACT FROM AUTHOR]

Born and bred in the Western lands in the context of ecological crisis and feminist movement in the 1970s, ecofeminism views men's rule over women and human's rule over nature as two aspects of the same issue, and believes that there is an inherent connection between them. By criticizing the oppressive status of women and nature, and eliminating the dualism rooted in western patriarchy, ecofeminism aims to promote equality and harmony among all things. Taoism, an ancient Eastern philosophy with a history of thousands of years, also places great emphasis on harmony among individuals, nature, society, and the universe. Its principles of "the unity of man and nature", and balance between "Yin" and "Yang" provide philosophical support for ecofeminism which rejects dualisms and encourages wholeness and harmony. As society and economy develop rapidly, humanity faces a series of crisis, and this paper just intends to combine ecofeminism with Taoism to make an analysis on Louise Glück's poem collection of A Village Life to explore her ecofeminist consciousness and how she advocates the establishment of a diverse but harmonious world without hierarchical differences in her poems. [ABSTRACT FROM AUTHOR]

The essay provides a new reading of the debut collection of poems by the experimental poet and conceptual artist Nóra Ružičková (b. 1977). After outlining the way the feminist thought entered Slovak academic and literary discourse in the 1990s, the article conducts a Lacanian reading of chosen elements of the poet's first collection of poems Mikronauti ([Micronauts] 1998). The essay starts from a reading of several of Ružičková's poems published in the Slovak (and Czech) feminist periodical Aspekt (1993 -- 2004) in 1997 and then moves on to discussing the way the collection was read through the prism of feminist theory (Hélène Cixous and her concept of écriture féminine). The article then provides a close reading of a poem addressing the issue of women's writing. The last section of the essay discusses the research of the body and the subject with regards to interiority and exteriority and the visual means of expression in Lacan (topology) and Ružičková who also illustrated her collection of poems. In its concluding remarks, the essay proposes to conceptualise Ružičková's writing as research-based poetry. [ABSTRACT FROM AUTHOR]

Mária Jančová (1908 -- 2003) has been primarily known as the author of children's books. This paper, however, aims to focus on her -- largely overlooked -- poetry. After an initial mapping of the theme of motherhood in Slovak women poets from the late 19th to the mid-20th century, the article takes a look at the phase of Jančová's writing career when she authored poems. Some of these were published in her only collection of poetry, Blahoslavení ([Blessed] 1940, 1968). The article provides a close reading of several poems and comments on the flowing of energy between the movements of the body (external movements and internal processes) and nature, with reference to the notion of "lyrical gestures" as defined by the French literary scholar Dominique Rabaté. It also discusses the image of the bodily connection between the mother and her sick little son and the transmigration of the human element into meteorological phenomena and flowers. The poet's inclination towards the country life connected to the elements and rhythms of life (in this collection) or her confessional-referential poetry of sentiment (present in other poems) may resonate with contemporary readers or inspire theory of the lyric. The essay's theoretical framework is based on the conceptualisation of motherhood in literary studies, philosophy, and art theory, and on theories that connect aesthetics with bodily processes. [ABSTRACT FROM AUTHOR]

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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 study presents a critical analysis of the use of paradox in Fadwa Touqan's collection "July and the Other Thing" (tˈamuz walʃɑiʔ alˈʔɑxar). It reveals that the poet willfully employs paradoxes in the collection, including the paradox in the title, which reflects her unique vision. Most of the poems in the collection incorporate various forms of paradox, such as verbal, romantic, dramatic, and motor behaviour paradoxes. The study explores the relationship between the paradox in the title and the other poems, focusing on the dialectic relationship between life and death. The study contributes to the limited body of Arab critical literature dedicated to the theory and practice of paradox in poetry, mainly in the context of Fadwa Touqan's works. Touqan, a prominent Arab poet, constantly used irony as a distinct stylistic feature in her poetry, particularly in "July and the Other Thing". [ABSTRACT FROM AUTHOR]

This document is a comment on an article titled "Aesthetic and philosophical searches of Stanislav Shumytskyi's work in the cultural-historical process of the 60s of the 20th century." The author, Dragan Vuchetych, discusses the literary dynamics of the 20th century and the role played by two generations of artists, the "twenties" and the "sixties." The comment focuses on Stanislav Shumytskyi, a little-studied poet and journalist from Ukraine, and analyzes three collections of his poetic works. The analysis reveals the themes, style, and artistic evolution of Shumytskyi's work, highlighting his contributions to Ukrainian poetry of the 1960s. [Extracted from the article]

The representation of animals in literature has long been dominated by anthropocentric perspectives that prioritize human experiences and values. Animals were relegated to metaphors and narrative accessories, neglecting their inherent rights and treating them primarily as reflections of human qualities. This paper examines the works of contemporary American poets Louise Glück and Mary Oliver, focusing on how their selected poems reconsider conventional anthropocentric patterns of animal representations in poetry. The analysis centers on the poets' strategies to blur rigid boundaries between the human-animal divide by challenging conventional depictions where animals are frequently assigned peripheral roles. The study explores how these poems cultivate powerful connections with the natural world, fostering a sense of communion and interconnectedness with nature. Additionally, the research highlights the deliberate efforts by the poets to reconfigure hierarchies, challenge value dualisms, and question anthropocentric narratives that sanction oppression. Lastly, the paper contributes to the broader discourse on ecocritical thought, enriching discussions on literature and environmental activism. [ABSTRACT FROM AUTHOR]

Copyright of Perspectives on Culture / Perspektywy Kultury is the property of Jesuit University Ignatianum in Krakow 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.)

In the 1920s, declamadora Berta Singerman was frequently criticized by the Argentine avant-garde because her popular performances never included their poems. Dismissed as an embodiment of cursilería ever since, she was in fact a key component of international poetry circuits who developed relationships with Alfonsina Storni, Federico García Lorca, and Gabriela Mistral, among others. In correspondence with Alejo Carpentier, the Cuban writer counseled her on capturing the dynamics of declamation onscreen, suggesting that she could emphasize the rhythms of her performances through close-ups on her moving hands accompanying the poem--a technique Singerman employed in a 1942 film. No stranger to working across media, Carpentier recognized rhythm as the crucial connection between declamation's two types of corpus: the collection of poems and the body. In conversation with Carpentier's observations, this piece focuses on how rhythm shaped production and reception alike as Singerman attracted large crowds across the Americas. It argues that Singerman, who would call herself the "libertadora de poesía," accented rhythm in her performances so that audiences could make sense of the recited poems--and this process involved not only allowing those poems to be heard and felt but also creating a space for them to perform ideological work. [ABSTRACT FROM AUTHOR]

This article analyzes two recent poetry collections by queer Caribbean writers and probes them for what they can reveal about silence as a combined affective, aesthetic and political strategy. Both Kohnjehr Woman by Ana-Maurine Lara and While They Sleep by Raquel Salas Rivera encourage embodied reading practices that resist traditional literary analysis, understood as focused on achieving "mastery" and intellectual domination of a text, by engaging the reading body queerly and tangentially, and they ask what opportunities are presented by illegibility and untranslatability. I argue that these poems employ silence as a strategy either by creating visual/aural space on the page, refusing translation, or by requiring words to be vocalized in order to be cognitively understood. Following Doris Sommer and Édouard Glissant, this strategic refusal can be understood as a response to the lived experience of disaster within the postcolonial Caribbean and its diaspora that maintains opacity by refusing straightforward legibility, and at the same time allows for a fuller form of solidarity that centers embodied knowledge. [ABSTRACT FROM AUTHOR]

Al-Farabi, a prominent Muslim philosopher and thinker of the 4th century Hijri, made significant contributions to the philosophy of art, particularly in the realm of poetry. Al-Farabi's perspective on poetry echoes Aristotle's concept of "Mimesis," which emphasizes the re-creation of observed phenomena rather than mere imitation, resulting in the enjoyment of a new artistic creation. This viewpoint positions literary works as independent phenomena. This article sought to investigate the extent to which Al-Farabi's ideas aligned with formalism, given his influence by Aristotle. Employing a descriptive method and content analysis, the study drew on the insights of Russian Formalists, particularly regarding Mimesis (re-creation), to analyze Al-Farabi's artistic views on poetry. The examination encompassed several works of Al-Farabi, including "An Essay on the Rules of Poetry", "Poetry Collections", "A Treatise on Proportion and Composition", as well as poetic speeches from "Iihsa’ Aleulum", "Ara’ Ahl Almadinat Alfadhila", and "Fusul al-Montazaea". By scrutinizing the perspectives of experts, who considered ancient Greek critics, such as Aristotle, as formalists, alongside the views of Al-Farabi, a prominent figure in Arabic literary criticism, and by delving into Al-Farabi's own works and opinions, it became evident that formalism strongly influenced Al-Farabi's notions regarding the poetry industry. [ABSTRACT FROM AUTHOR]

Why does anyone write poetry? Lisel Mueller (1924-2020) was a poet, author, and translator with a long and much-decorated career. She and her family fled Nazi Germany in the 1930s and emigrated to the United States, where she would establish herself as a writer. The poem "When I Am Asked" describes the beginning of her journey into poetry, undertaken during a period of grief after the death of her mother. Her writing would come to include nine collections of poetry and myriad accolades, including the 1981 National Book Award and the 1997 Pulitzer Prize for Poetry. Though her ouvre is filled with evocative works, this piece stands out as particularly relevant to physicians and other writers who find solace by expressing themselves through the art of poetry. [ABSTRACT FROM AUTHOR]

The study “Openings into an Ostravized World” examines the poetics and style of the poetry collection Auta vjíždějí do lodí (Cars Are Embarking on Ships), written by Czech poet Petr Hruška in 2007. Hruška’s work is analysed using the line of thought and terminology borrowed from the concept of “faerie” or fairyland, a strange world which cannot be easily left once a mortal has wandered into it; in this case, Hruška’s rendering of his hometown of Ostrava and of its surroundings is seen as such a universe. The study explores how the reader is pulled into the fictional universe through vivid colours, kept “magically imprisoned” by meals and drinks, made aware of where they are by seeing openings into other times and places, and, finally, how the world is made more profound and abstract through the usage of more universal names and sceneries. [ABSTRACT FROM AUTHOR]

Copyright of Critical Language & Literary Studies / Naqd-i Zabān va Adabīyyāt-i Khārijī is the property of Shahid Beheshti University 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 study examines Yu Guangzhong's identity presented in his self-translated poetry collection, The Night Watchman. It employs corpus linguistic methodologies and utilizes the corpus linguistic tool AntConc for analysis. This study highlights Yu Guangzhong's identity, which is presented in different categories and topics of poems. It is found that Yu Guangzhong's identity is ever-changing, varying at different times, and occasionally conflicting and opposing. This study may have practical implications for Chinese literature and culture looking to enhance their international influence, and it may also provide academic insights for investigating other literary giants. [ABSTRACT FROM AUTHOR]

The study focuses on three authors of contemporary Hungarian literature who enter into a dialogue with Kafka's texts through intertextual references and elevate these intertexts to the level of textforming elements in their own works. It examines Kafkaesque intertexts in Péter Esterházy's Indirect (Függő) and The Book of Hrabal (Hrabal könyve), Mihály Kornis's drama Punishments (Büntetések), Szilárd Borbély's poetry collection Berlin -- Hamlet and his posthumously published fragmentary novel Kafka's Son (Kafka fia). Based on the analyses carried out, it can be concluded that Kafka's significance for contemporary Hungarian literature is not limited to the simplistic category of literary influence, but involves multifaceted and complex interactions that, in the case of all three authors under study, are related to the desire to transcend the prevailing literary discourse. [ABSTRACT FROM AUTHOR]

Despite its apparent oblivion, Destierro (1930) has been considered by its author and by critics as a collection of poems that represented an inflexion point in the poetry of Jaime Torres Bodet. This paper analyzes Destierro (1930) through one of its main topics: the experience of dreaming. As it will be pointed out, rather than being lost in unconsciousness, dream is represented as a journey of a lucid sensibility looking for a new poetic expression that might communicate the spirit of modern life. [ABSTRACT FROM AUTHOR]

This study seeks to present the imaginaries of Orompello Street in Concepción, Chile, described in the poetry book Cipango (1992) by Thomas Harris. To do this, a qualitative interpretive analysis of the collection of poems was carried out through reading cards. It was compared with the historical events that occurred in the place and a semi-structured interview with the author to delve into certain meanings present in the text. The results showed that the urban space and the living present in the story make up a heterotopia transformed into dystopia, located in a timeless context, the product of primordial violence that dates back to the time of the discovery of America and that is reproduced not only by the dictatorship of Pinochet but also by the State in democracy. The inhabitants of this place are immersed in a marginal atmosphere of repression and devastation, transforming the place into a wasteland. These characteristics and events make Orompello Street an uninhabitable place but full of meaning. [ABSTRACT FROM AUTHOR]

Modernist symbols are frequent in Lorca’s works. In this article we analyze the representations related to water that we have found in Libro de poemas (1921), de F. G. Lorca. In this investigation we consider that the symbols related to water are feelings of the poet and also universal meanings of human existence. To carry out the study, we have applied the methodology based on the Poetics of the Imaginary (Durand, Bachelard), the universal symbolic cataloging system relates meanings to the search for the meaning of life– The analysis indicates that the meanings of the symbols (sea, river, rain...) offer a system of relationships that unites the feelings of the poet and the anthropological reality. We conclude this investigation and consider that the symbolic world –folkloric sources and Symbolism– contributes to the expression of sadness in the collection of poems. [ABSTRACT FROM AUTHOR]

In this study, we aimed to answers whether the 17th-century poet Ahmed, nicknamed “Ammeci” and going by the pseudonym “Rüşdî,” is a real or an imaginary person, who actually belongs to the Dîvân, a collection of poems that is attributed to him in biographies and biographical sources. Additionally, we reflect on this question based on works from the old and new periods. In accordance with the purpose of the study, we identified all the poets who used the Rüşdî pseudonym in the Classical Turkish literature period and examined their life stories and works. We sought sources that gave information about the poet and the poems attributed to him and compared them in a document analysis. As the result of our research and examination we determined that all of the poems attributed to Ahmed Rüşdî from Edirne belong to another 17th-century poet, Sahhaf Ahmed Rüşdî from Mostar. We also concluded that Ahmed Rüşdî from Edirne, who is claimed to have lived in the 17th-century, is actually Mehmed Reşîd from Edirne. In Safâyî's tezkire, the mistake started when a poem by Sahhaf Ahmed Rüşdî from Mostar was portrayed as belonging to Mehmed Reşîd from Edirne and the poet’s pseudonym was transferred as Rüşdî instead of Reşîd. This continued over in the following centuries, leading to the emergence of an imaginary person named Ahmed Rüşdî from Edirne who lived in the 17th-century. In addition, the existence of a poet named Ahmed Rüşdî from Edirne, who lived in the 19th-century, made solving the problem more complex. [ABSTRACT FROM AUTHOR]

This article looks critically at Celia de Fréine’s Léaslíne a Lorg / In Search of a Horizon (2022), a poetry collection entirely devoted to the lockdown experienced during the first wave of the COVID-19 pandemic by an Irish woman – easily identified with the poet herself – from her house in Dublin. In the 18 poems that make up the collection, published in bilingual format (English and Irish), de Fréine addresses issues as relevant as the supposed objectivity of the scientific discourse around the virus, the human-nonhuman connection, environmental damage and the historical links of the COVID-19 pandemic with previous health crises lived through in Ireland, specifically the Hepatitis C Scandal. My analysis will close-read the poems, adopting both a national and a transnational perspective. The ultimate aim of this essay is to look at the virus in its socio-cultural dimension in order to complement the biomedical narratives around it. [ABSTRACT FROM AUTHOR]

This essay was prompted by a review by the Scottish poet, Robert Crawford, of Clare Bucknell’s recent book, The Treasuries: Poetry Anthologies and the Making of British Culture (2023). It provides a reading of Bucknell’s book in the light of other anthologies. So it is not in itself a review but, rather, a series of reflections on the construction and nature of anthologies stimulated by my reading of Bucknell’s book. Crawford insists on the omissions in Bucknell’s account from a Scottish perspective. But I want to take in a wider perspective, one that includes national identity. Initially, I focus on the index and on the entry for Palgrave’s father and his Jewish name. This leads to a discussion on the authoritative appearance of The Golden Treasury and perhaps on what it is hiding. The essay takes issue with the partial view of English poetry, where Wordsworth is afforded the most poems, and eighteenth-century poets hardly feature. The second half discusses Bucknell’s chapter on the popularity of poetry therapy and her omission of any discussion of recent women’s poetry. The anthology she dismisses out of hand is Yeats’s The Oxford Book of Modern Verse 1892-1935. Such a conclusion invites a response at some length. The focus then shifts to another Irish writer, William Allingham, and his largely forgotten anthology, Nightingale Valley, which was published the year before The Golden Treasury and which Palgrave sought to better. In his thought-provoking choices, which includes possibly the first printing of Blake’s poems in an anthology, Allingham provides a counter to those who read poetry and literature simply in terms of the way they reflect history. In doing so he affords a valuable critique of The Treasuries and The Golden Treasury from over a century and a half ago. [ABSTRACT FROM AUTHOR]

Folklore is one of the core cultural values in traditional societies and writers who are conscious of its aesthetic relevance deploy it in their creative works. Folktale elicits imagery which underscores the relationship of humanity with nature and mythical elements. Writers exploit this relationship to establish traditionalism and pursue revolutionary vision in their works. Anyidoho uses his affiliation to, and understanding of, the Ewe cultural (one of the traditional societies in Ghana) milieu to comment on issues that are germane to the existence of the people in A Harvest of Our Dreams: With Elegy for the Revolution. The is paper, through examination of some of the poems in the collection with Raymond Williams's Cultural Materialism revealed that the poet, with poetic devices, uses folklore and traditional images to advocate for revolution in his society. The paper comes to the conclusion that the poems in the collection are replete with folklore and traditional imagery, which the poet deploys with poetic essence to satirise failings in his society. [ABSTRACT FROM AUTHOR]

Copyright of Recial is the property of Universidad Nacional de Cordoba, Centro de Investigaciones, Facultad de Filosofia y Humanidades 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 Recial is the property of Universidad Nacional de Cordoba, Centro de Investigaciones, Facultad de Filosofia y Humanidades 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 Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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.)