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The article analyzes the relationship between exile and identity in Uruguayan poet Cristina Peri Rossi. Her poetry collection "Estado de exilio" is examined, and four moments in her journey are identified: pain, castration, integration, and love. Psychoanalysis is used to interpret these stages, highlighting how exile breaks the rigid structures of the subject. The importance of language and writing as ways to overcome the pain of exile is mentioned. The article concludes by emphasizing the possibility of reinventing identity through exile. [Extracted from the article]

This paper assesses the relationship between the so-called "curses" on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, "to rule over" in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God's speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, "The Song I Sing Complete" with speech and motifs reassigned to the woman's voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel's neighbors in Mesopotamia and Egypt. [ABSTRACT FROM AUTHOR]

This paper undertakes a comparative study of two poets from different cultures and eras: Jamil Buthainah, a late seventh-century Arab Udhri poet, and Sir Philip Sidney, an English Elizabethan poet. Based on Jamil Buthainah's Diwan and Sidney's sonnets in Astrophil and Stella, the analysis focuses on four shared thematic threads: the blamers and slanderers, the portrayal of the beloved, the beloved’s eyes, and the speakers’ idealization of their love objects. Rather than seeking to identify any influence of one poet on the other, as there was none, this study highlights the poets’ similar experiences in love—both were deeply in love but did not marry their beloveds. Additionally, both works exclusively address the theme of the speakers’ thwarted love for their women. This paper aims to explore the similarities and differences in how Jamil Buthainah and Sidney loved and expressed their love, examining where their experiences converge and diverge. The goal is to gain a deeper understanding of the diversity and richness of poetic expression across different ages and cultures. [ABSTRACT FROM AUTHOR]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management 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.)

When classical Arabic and Turkish poetry is viewed from a broad perspective, these two important representatives of Muslim literature in the East share many similarities in terms of poetic meter and verse forms, literary genres, and themes. This research focuses on the theme of "concealment and disclosure of love," which is one of the most common subjects on which Arab and Turkish poets write. We aim to shed light on classic Arabic and Turkish poets and the similarities between their poetry in this work. According to the narratives, the lover (poet) hides his love because he fears being condemned. However, the fire of love that burns in his heart causes him all kinds of problems, and the secret of love that he hides becomes apparent, sometimes through tears, sometimes through heartache, and sometimes through physical weakness and yellowness of the face (fever). Despite the fear of being exposed, this state of the lover who betrays himself has been the subject of many poems, and the signs by which poets reveal their secret state of love have been compared to a whistleblower in both literary traditions. [ABSTRACT FROM AUTHOR]

This paper undertakes a comparative study of two poets from different cultures and eras: Jamil Buthainah, a late seventh-century Arab Udhri poet, and Sir Philip Sidney, an English Elizabethan poet. Based on Jamil Buthainah's Diwan and Sidney's sonnets in Astrophil and Stella, the analysis focuses on four shared thematic threads: the blamers and slanderers, the portrayal of the beloved, the beloved’s eyes, and the speakers’ idealization of their love objects. Rather than seeking to identify any influence of one poet on the other, as there was none, this study highlights the poets’ similar experiences in love—both were deeply in love but did not marry their beloveds. Additionally, both works exclusively address the theme of the speakers’ thwarted love for their women. This paper aims to explore the similarities and differences in how Jamil Buthainah and Sidney loved and expressed their love, examining where their experiences converge and diverge. The goal is to gain a deeper understanding of the diversity and richness of poetic expression across different ages and cultures.

Four poems by the mathematician Felix Hausdorff are presented in English translation, together with their German originals and commentary about Hausdorff's multidisciplinary achievements. [ABSTRACT FROM AUTHOR]

Copyright of Philologist / Filolog: Journal of Language, Literary & Cultural Studies is the property of University of Banja Luka, Faculty of Philology / Univerzitet u Banjoj Luci, Filoloski Fakultet 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.)

According to the classical Arabic sources ‘Ulayya bt. al-Mahdī b. al-Mansūr was a female poet and musician who lived during the Abbasid period. Not much information has survived about ‘Ulayya, who belonged to the Abbasid dynasty. However, some details of her life can be found in classical sources and some of her poems have survived thanks to these works. ‘Ulayya was the daughter of the Abbasid Caliph Mahdī-Billāh, and the half-sister of his successor, Hārūn al-Rashīd. It is said that Hārūn al-Rashīd was particularly interested in her education and encouraged his sister. ‘Ulayya bt. al-Mahdī was an artist known in Arabic literature mostly for her love poems and the songs she composed for them. In classical sources, it was claimed that ‘Ulayya was a very talented artist and even managed to surpass her brother Ibrāhīm b. al-Mahdī, who was a musician like her. ‘Ulayya bt. al-Mahdī’s importance stems from the fact that she was a woman who dealt with poetic themes usually associated with male poets, such as love and wine. The methodology adopted in this study aims to prove the theories on ‘Ulayya’s love poems through her verses. In the first chapter of this article on ‘Ulayya’s life, we have generally relied on the narrations of classical sources, but we have pointed out some contradictions in these works. The ancient literary historians who introduced ‘Ulayya to us claim that she was an extremely pious woman. However, an examination of her love poetry reveals that she composed love poems for people to whom she was not married. This contradicts the portrayed lifestyle of ‘Ulayya, who was supposed to be a very pious woman. ‘Ulayya once stated that her poems were essentially absurd words. This suggests that these poems were composed with literary concerns and did not reflect reality. However, there is also evidence to suggest that these love poems may be related to reality to a certain extent. For example, upon learning that ‘Ulayya was having an affair with palace attendants, Hārūn al-Rashīd forbade his sister from seeing them. Later, to alleviate ‘Ulayya’s sorrow over this prohibition, he presented her with the attendant she liked. In her poems, ‘Ulayya sometimes expresses her thoughts on the phenomenon of love. She thinks that love is essentially an irrational act, argues that love requires monogamy, glorifies unattainable loves, and believes that love is unsolvable. This article aims to reveal the life and love poetry of this extraordinary female poet in classical Arabic literature. It is believed that the examination of ‘Ulayya’s poetic productivity and the introduction of her poetry to the modern world will enable a better understanding of the traces left by the ancient Arab woman in the history of literature. In this context, ‘Ulayya in particular is an ideal example because of the subjects she dealt with in her poetry. A scholarly study of ‘Ulayya’s poetic legacy is intended to contribute to a better understanding of the feminine aspect of classical Arabic poetry. [ABSTRACT FROM AUTHOR]

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D. H. Lawrence is one of the most important writers of the twentieth century who excelled in various fields of literature, including poetry. The research attempts to tackle one of Lawrence's tools utilized in writing his early poems which is colour imagery relying on the close study of 'Love Poems and Others'. The research also highlights how Lawrence has managed to connect utilized colours to the main themes of the poems in order to reflect the extent of these colours impact on understanding the image depending on the thematic analytical approach. [ABSTRACT FROM AUTHOR]

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

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

The lyrical work of Spanish poet Mario Martín Gijón is linguistic in the extreme. Not only does he juxtapose similar-sounding words, but he fuses them graphically into one, with parentheses containing a word fragment [me(re)ce, entreg(u)arme] or two fragments separated by a slash [conju(r/nt)os, in(v/f)ierno]; he also uses enjambment within words (cor / reo, tarde / seosa). These techniques result in a multiplication of readings, which constitutes a major challenge for translators. Terence Dooley, Miguel Ángel Real and the author of this essay (here in the dual role of translator and researcher) translated Martín Gijón’s poetry into English, French and Polish, respectively. Each translator had at their disposal language matter with very distinctive characteristics. The translator into French was able to take advantage of the largely convergent Romance roots, which made it possible to recreate many word games on a one-to-one scale or with only minimal changes. The English language afforded such a possibility much less frequently, and Polish, just once. As a result, the English and Polish translations are re-creations to a much larger extent than the French one. However, the significant differences between each of the versions stem not only from the properties of the target languages, but also from the different approaches of the translators. [ABSTRACT FROM AUTHOR]

"Dante, Petrarch, Boccaccio: Literature, Doctrine, Reality" is a collection of essays by Zygmunt G. Barański that offers a comprehensive overview of his scholarly work on Dante, Petrarch, and Boccaccio. The book explores the historical context that influenced these authors' works and engages with previous scholarship to provide innovative interpretations and critiques. Topics covered include Dante's intellectual development, the distinction between doctrine and theology in Dante's thought, the representation of beatitude in Dante's Paradiso, literary techniques and structures in Dante's work, Petrarch's references to Dante and his attempts to diminish Dante's status, Petrarch's use of the myth of Orpheus and Eurydice, Petrarch's distinction between Epicureanism and Averroism, the relationship between Guido Cavalcanti and Dante, and challenges to traditional interpretations of certain passages in Dante's Comedy. The book concludes with an examination of scatology and obscenity in Dante's Inferno 18. This collection of essays provides valuable insights into medieval authors and is a valuable resource for researchers studying Dante and related subjects. [Extracted from the article]

Copyright of Classica: Revista Brasileira de Estudos Clássicos is the property of Sociedade Brasileira de Estudos Classicos 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 is a review of the book "Polsko-ukraińsko-rosyjskie konteksty poezji metafizycznej serbskiego baroku" by Justyna Romanowska. The book explores the influence of Polish and Ukrainian-Russian Baroque metaphysical poetry on Serbian poetry in the 18th century. It analyzes the cultural transfers between different parts of the Slavic region and presents Serbian poetry in a broader cultural context. The review praises the author's interpretive skills and research techniques, as well as her understanding of the ethnic-confessional situation of the Polish-Lithuanian state and the Polish-Ukrainian influence on Russian culture. The book also examines common thematic areas and the adaptation of Polish-Ukrainian-Russian patterns in Baroque Serbian literature. It is a comprehensive study that can be valuable for researchers of Serbian culture. [Extracted from the article]

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Dr Shahida Sardar is a renowned poetess of Khyber Pakhtunkhwa. Hafeez Taib is renowned Naat writer. He has a unique natiya consciousness among modern poets. He described the Holy Prophet's(S.A.W) love in various poetry genres like Ghazal, Free verse, sonnet Qatta, Rubai and special form of Alkosaria,. Which includes the ideal aspects of the Prophet's biography, contemporary issues, prayer style, Adorned with sincerity, devotion and the aspect of hope. This article will present thematic dimensions and creative aspects of his poetry. [ABSTRACT FROM AUTHOR]

Routine life happenings change the shape of code of life of every society which reflects in their languages and dialects. When this is to be expressed in words for keeping their record safe for remaining days, thus it is called literature. Likewise, it is treated with Arabic poetry during its long history, particularly, in the Omayyad era when Arabic literature was on its peak. Accordingly all kinds of the Arabic poetry gained some new features and lost some others when Omayyad had their luxurious literature, especially poets. All these lose and gain was due to the environmental and civilizational impacts which affected the life style of the dwellers at that time. These appreciating changings which an art acquires are called its features, and these features give the art a unique mark of identification. Like as, the love poetry of Arabs in Omayyad era in impacted and got some new characteristics other than it had in past. This article describes the features of love poetry of Arabs in Omayyad era especially, in a research way with lighting on the reasons of these changings; such as which characteristics the love poetry had before this era and which were acquired later on to recognize the pre and pre-era soul of the love poetry. This article also carry some examples on the era with descriptive analysis to make it known that love poetry of the era was as effected as the other Arabic poetical arts.

The article is a review of the book "Estela del azar / Wake of Chance" by Consuelo Hernández, highlighting its unique poetic voice and its connection with Colombia. The book explores the concept of chance and is divided into two parts: one that shows the opportunities that chance can offer and another that reflects the negative results of abuse of power and injustice. The poet sings to overcome social and political evils, and affirms herself in joy, beauty, justice, peace, and love. Additionally, it is mentioned that issue 51 of the journal Estudios de Literatura Colombiana is available online, with studies addressing various themes and approaches of Colombian literature. [Extracted from the article]

Copyright of Revista de Filosofía UIS is the property of Universidad Industrial de Santander 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 Literatura y Lingüística is the property of Universidad Catolica Cardenal Raul Silva Henriquez 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.)

One of the most interesting issues in the study of language is the relation between language and gender. A lot of studies have been conducted so far to find out if men speak and write differently from women. The present study is also an attempt in the same area but it considers gender differences in love poetry. It aims to find out the differences between male and female poets in their love poems. The data of the study consists of three male love poems, and three female poems. Leech and Short's (1981) checklist is used as a framework to analyze the selected love poems. The findings of the study reveal that there are differences between male and female poets with regard to lexical categories, grammatical categories and figures of speech. [ABSTRACT FROM AUTHOR]

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The literature history in Goiás is marked by the significant presence of female authors who did not produce on a large scale, however, registered their legacy in literature, thus contributing to the expansion of versions of the world. Among poetesses, Leodegária de Jesus stands out on stage with the literary works Corôa de Lyrios and Orchideas - the only published productions, which for a long time were forgotten, but became a reference in 20th century literature. This essay aims to highlight, in selected poetry, how love is represented and how the aesthetics of different literary periods were mixed and arranged in Leodegária's works. Lastly, the objective is also to rescue the importance of Leodegaria de Jesus as a precursor of women's literature in Goiás. [ABSTRACT FROM AUTHOR]

"Dante's journey in the Botanical Garden" is a project that aims at a broader knowledge of Dante's poetry and his love for Nature and the cultural, environmental and naturalistic heritage exhibited in the Museums and Botanical Gardens, through a multimedia application that engages visitors in an interactive and pleasant way in a cognitive process, using their mobile device, be it smartphone or tablet. The project offers to the visitors an innovative way of using what is contained in the Botanical Garden Museum of the University of Salento, in its natural development, and it can be replicated in other similar contexts, following an application model structured according to a well-defined path of preparation, management and presentation of contents. [ABSTRACT FROM AUTHOR]

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Copyright of Edad de Oro is the property of Departamento de Filologia Espanola de la Universidad Autonoma de Madrid 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.)

While love passes for being a feeling born in the West in the twelfth century, love poetry, in its declamatory or sung form, appeared in the sixth century among the Bedouin of the Arabian desert before flourishing in the Arabic cities, then Persian and finally in Europe. Love passion, excessive in essence, can be said only in excess with its joys and its distress. The man who experiences this state of passion is feminized, finding in the medium of poetry a socially legitimate space to express his emotions, including jealousy, nostalgia or blasphemy. Singing the beauty of the beloved and the disorder she or he inspires is a way of acknowledging his emotional vulnerability and also a mode of love conquest. But if the language of predation can be found in heterosexual and homosexual Arabic or Persian masculine poetry, such language is absent from feminine poetry, this difference revealing the asymmetrical polarity of desire according to gender. [ABSTRACT FROM AUTHOR]

Much has been said about the influential role of Forough Farrokhzad (1934-1967) in developing a feminine language in modern Iranian love poetry. Despite this, scholars have not systematically or theoretically examined what I call 'the poetics of individuation' in Forough's lyrics. The present article analyses Forough's poetic and individual paths of development as two inevitably parallel and intertwined routes. The article theorises that by removing a pre-imposed patriarchal sense of sin with regard to feminine love, Forough deconstructed the masculine narrative of good poetry in five highly significant ways via the feminine and self gaze. The article concludes that the poet's commitment to poetry as a platform of expression was a means of her liberation and individuation as an independent feminine poet with voice and agency. [ABSTRACT FROM AUTHOR]

This article examines the contemporary Qaṣīda poetry of South Sinai Muzīna Bedouin women from an anthropological perspective, drawing primarily upon a history of emotions framework, as well as Bedouin ethnographic studies and Arabic literary criticism. The article argues that the composition and vocalisation of Qaṣīda poetry in South Sinai is more than a performative art; it is a means of 'navigating' one's emotions as a woman in a patriarchal society where emotional expression for both men and women is deemed inappropriate. In the poetry of Nādiyyah and Umm 'Īd, we gain insight into the subjective lived experience of Bedouin women in South Sinai, as they attempt to poetically express their desire, elation, grief and passion, while simultaneously demonstrating their ability to 'control' their emotional states. [ABSTRACT FROM AUTHOR]

In this article, I attend to poetic expressions of passionate longing for a beloved among displaced single Syrian men in the Jordanian capital of Amman. With a point of departure in the story and poetry of Qays, a 28-year-old Syrian man from Damascus, the article engages in an exploration of the poetic space engendered in the process of writing and reading poetry in exile. It demonstrates how longing found expression and relief in love poetry, as it enabled the young Syrian men to, momentarily, displace themselves to a different time and place, closer to the women they longed for. The poetry I thus argue, engenders and constitutes a creative space of possibility in which the impossible becomes possible in exile. [ABSTRACT FROM AUTHOR]

The present study is focused on the musical genre of the polonaise and its particularities in Chopin's creation, with precise reference to Andante Spianato and The Grande Polonaise Brillante, Op. 22. Chopin's substantial contribution to the genre consists of the transformation of a gallant dance of conventional harmony into a veritable heroic chant of prodigious harmonies. Due to a proficient transformation of a folk motif, Chopin is able to introduce folklore in his major works, according to the larger trend of national awareness that required the artists' return to the folklore sources of inspiration that were able to express the national yearning for freedom. Far from the solemnity of the courteous dance, these pieces become programmatic musical poems, sprung from the most noble of emotions, the love for one's country. The nostalgic chromatics, diffused throughout Chopin's entire creation, is augmented by the call for resistance in front of the historical events (Poland's loss of political independence). The polonaises Chopin composed at maturity had a new form, transforming into veritable epic poems which depicted images of Poland's heroic past as visions impregnated by lyric pathos and pain for the country's troubled history. Although their common feature is the epic and grandiose tone, Chopin's polonaises are extremely varied and versatile, characterized by grandeur and dramatism. The work proposed for analysis - Andante spianato in G Flat - is based on the principles of stanzas and variation and has the structure of two stanzas of A B type, followed by a Coda. Chopin added the coda as an introduction (only around 1843-1835, in Paris) to The Grande Polonaise Brillante, Op. 22 (composed in 1831). Although intensely contrasting, the two parts seem to be connected exactly by this difference. This is the process that describes the genesis of The Grande Polonaise Brillante prédécès d'un Andante Spianato Op 22. [ABSTRACT FROM AUTHOR]

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