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This work examines the poetry collection Junín (1930) by the Peruvian author Enrique Bustamante y Ballivián (1883–1937). While a part of the Latin American avant-garde expresses a fascination with the rise of new machines in the metropolis, this article demonstrates that Bustamante y Ballivián responds to this trend by representing machinery of a different kind – extractivist machinery – in a different type of space: the Andes. The author also engages with the indigenista avant-garde poetic proposals of his Peruvian contemporaries. Unlike them, the poet does not aim to give voice to the indigenous subject, nor does he idealize or solely link it to nature. Instead, he portrays it as 'coupled' to the mineral extraction machinery. Additionally, the poet depicts this machinery as invasive, contaminating and destructive to the landscape and its inhabitants. This work argues that Junín emerges as the first poetic representation of the ecological impacts caused by large-scale mining exploitation in the Andes. [ABSTRACT FROM AUTHOR]

The article presents information on the collection of Amiri Baraka's works, highlighting facts on his collection of poetry, print publications regarding the Black arts movement and his involvement in politics. Topics include the documentation of the collection, Black Women's United Front (BWUF), and the African Liberation.

The paper is dedicated to the literary historical legacy of the slavist Rudo Brtáň (1907 - 1998). It is inspired by Brtáň's research on Slovak-language Low-land literature, in particular the chapter Literature and Culture of Slovak Protestants in Sarvaš (1722 - 1918), which comes from the yet unpublished manuscript titled Slovak-language Low-land Literature until 1918. The paper focuses on the work of Michal Markovič Sr. (1707 - 1762/4), who worked in Sarvaš (present-day Hungary) as a Slovak evangelical priest. The analysis deals with Markovič's collection of poems called Duchovní zrcadlo ženského pohlaví z Písem svatých představené/The Spiritual Mirror of the Female Sex presented in the Holy Scriptures, printed probably in Bratislava in 1783. The method of the text analysis is supported by the theoretical assumptions of the Czech literary historian Eduard Petrů, who saw the basis for the interpretation of a literary work in revealing the interpretation core. The goal is to identify the author's intention encoded in the genesis of Markovič's collection, and to decode the reader's interpretation of that time. Markovič wrote the collection in order to stimulate moral attitudes of the whole evangelical community, not only the women's. He composed it with the intention to support the Bible self-study motivating the readers with the inserted biblical coordinates as well as narratives reduced to several poetic lines. The contribution of the analysis can be seen in classifying the genre of the collection as a collection of epigram-like poems. These findings confirm the influence of ancient and renaissance literature on Slovak literary production written in the local vernacular in the mid-18th century. [ABSTRACT FROM AUTHOR]

The widely renowned and exhaustively researched Kashmiri-American diasporic poet, Agha Shahid Ali, has received acclaim for his portrayal of themes such as loss, longing for the homeland, nostalgia, hyphenated identity, hybridity, and dislocation, among others. However, within the purview of new historicism, this paper intends to examine the interplay of literature, culture, and history. Using Clifford Geertz's framework of "thick description," the paper analyzes Agha's poetry as a cultural artifact with ethnographic value. Through a semiotic analysis of select poems based on Bakhtin's notion of chronotopes, the paper aims to unravel themes of fragmented identity, cultural memorialization, and the preservation of imaginary homelands. The paper also attempts to explore that Agha Shahid Ali, actively engaged with the socio-political turmoil in his homeland. He sought to reconcile the tensions between different traditions and religious communities, envisioning a personal utopia rooted in his privileged position. His poetry reflects his historical context, facilitating a symbolic exchange between the fragments of Kashmiri culture. Through intertextual references, religious symbols, and social emblems, Ali constructs a significant and experimental narrative about Kashmir. [ABSTRACT FROM AUTHOR]

Copyright of Al-Andalus journal for Humanities & Social Sciences is the property of Alandalus University for Science & Technology 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 Journal of Babylon Center for Humanities Studies 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.)

Frangois Cheng (1929- ), elected to the Academie Frangaise in 2002, structurally introduced the lexicological, syntactic, and semiotic form of Tang poetry to the French academia via his academic works. In the late 1980s, Frangois Cheng shifted his focus from academic writing to creative writing, both in French, winning the 1998 Prix Femina for his novel Le Dit de Tianyi (1998) and Prix Roger Caillois for his collection of poems Double chant (2000). Focusing on his less-discussed poetry, which reveals higher congruity of his understanding of Chinese literary classics with creative representation, this paper argues that, as an analyst of Tang poetry, Cheng also acts as a contemporary translator of the classical Chinese aesthetic ideology into French modern verses. His subjective creation of poetry is both transcultural and trans-temporal, ambiguously corresponding to his lingual, racial, cultural, and national belonging, and appropriating a new valid form of French literary style. This ambiguity both transcends national identification and universalizes the international flow of knowledge. Beyond Feng Lan's (2017) recognition of Frangois Cheng as a special representative of Chinese diasporic intellectuals who mediate between institutionalized French discourses and Chinese classical philosophy, a close reading of Cheng's poems in the paper will support an investigation of his successive and transformative production of text. [ABSTRACT FROM AUTHOR]

Contemporary erasure poetry and the poetics of remediated forms are often taken as serving as political battlegrounds and sites of epistemic transference. At the same time, what is missing from the literature is a discussion of medieval manuscripts and the history of palimpsests. This paper explores two topics: (1) how the Archimedes palimpsest allows us to understand blackout poems as sites of knowledge production as well as conversations between polemic positions and (2) how poetic remediation can inform our valuation of the erasures situated in the Archimedes palimpsest. Through analysis of Travis Macdonald's The O Mission Repo, Rachel Stempel's "Natal Girl (& Other Repeat Offenses)," Molly R. Sullivan's "Levonorgestrel," and the Archimedes palimpsest, this paper explores how both medieval manuscripts and modern forms of poetry serve us as classroom realia, illustrating that their value extends beyond disciplinary boundaries to reveal new ways of conceiving artistic and pedagogical praxes. [ABSTRACT FROM AUTHOR]

The proletarian writer H. T. Tsiang worked and lived in the US under the constant threat of deportation since arriving in the country under the Johnson-Reed Act. This article examines a cache of poetry that Tsiang wrote in the Ellis Island detention center from 1940–1941 and mailed to the painter, book illustrator, and author Rockwell Kent. These poems, which are preserved among Kent's papers in the form of a toilet paper manuscript, a make-shift chapbook, and typescript sheafs, were roundly rejected by publishers in Tsiang's time. Yet they speak to his precarious immigration status and his long-term project of constituting proletarian readerships outside US publishing. Tsiang's unpublished poems, I argue, composed a counterpublic of early Chinese American writing that grew from, and responded to, the conditions of exclusion. Having been detained on both Angel Island and Ellis Island, Tsiang was willing to take the "crooked path" into US cultural memory. [ABSTRACT FROM AUTHOR]

This paper examines Carl Dennis's secularized religious visions in his Pulitzer-winning poetry collection, Practical Gods (2001). Dennis's secularized religious visions can be quite understandable in the context of the ascending trends of secularization, diversification, and globalization of religion in America, and they demonstrate affinities with literary predecessors such as Wallace Stevens, with his aestheticized religion under the influence of Nietzsche, as well as with the innovative religious thinking of William Blake, Kazantzakis, and Oscar Wilde, and with certain aspects of Taoism and Zen Buddhism. This paper addresses Dennis's perception of theological controversies, such as the contradiction between the omnipotence of God and the existence of evil, theological determinism vs. human free will, theological view of history vs. New Historicism, divinity in man, aestheticized religion, and earthly paradise through the focused lens of Dennis's "practical religion". Despite the breadth of the theses in Dennis's conceived practical religion as examined in this paper, they are all tied up with the core of the phenomenological study of religion: that religion is important to believers of the religion irrespective of the objective truth of the religion or the actual existence of God. In Dennis's views, as accorded with the phenomenological study of religions, God maybe an idea and a fiction, but it is a necessary fiction for humans. Thus, Dennis humanizes gods with the flaws and fragility of humanity while deifying ordinary humanity in the contemporary context. Contrasting what he views as theological determinism with its view of linear history and the apocalypse of grand events, Dennis embraces human free will, a non-teleological, aestheticized living with necessary fiction, and a transient paradise on earth. Carl Dennis's religious vision reveals a poststructuralist (even though he did not brand himself so) abolition of the absoluteness of a transcendent signifier as well as binary opposition (between God and man, good and evil, religious/historical truth and fictionality), and it manifests an affinity with New Historicism and the phenomenological study of religion. [ABSTRACT FROM AUTHOR]

This article explores a selection of Mahmoud Darwish’s poetry and Samuel Beckett’s Murphy (1938) as postcolonial texts which are rich with postcolonial undertones. Beckett and Darwish articulate a counter-discursive rhetoric that undermines any hierarchically installed oppressive structures. Although political classifications and restrictions limit many neutral inquiries of such texts and hinder objective scholarship on Irish and Palestinian literature, many academic studies on Irish and Palestinian forms of literature have emerged. Counteracting hubristic structures, this paper tackles works from Ireland and Palestine as predominantly imbued with postcolonial implications. The research brings these authors from far-flung parts of the world to address postcolonial manifestations in Ireland and Palestine. Despite their convergences and divergences, texts from both perspectives must be used to critique structures and forces of colonialism in order to further contextualize them within the postcolonial realm. Reading Beckett alongside Darwish helped to solidify the idea that colonialism employs the same discourse regardless of place or time. It also demonstrates that oppressed people tend to employ comparable dissent mechanisms. Much like the speakers of Darwish’s Unfortunately, It Was Paradise, Leaves of Olives, “Mural,” and “My Mother” are always caught up in subordinate power relations, the eponymous protagonist of Murphy is degraded as an inferior other; one who is disenfranchised and excluded both inside and outside Ireland. Both authors refute stereotypes and stigmatization and offer a dissenting paradigm blurring power-based divisions to the status quo that renders the Palestinians and Irish as inferior to others. [ABSTRACT FROM AUTHOR]

Mary Leapor (1722-46) is one of the many under-studied women poets of the eighteenth-century. She is often described as a laboring-class poet which, while historically accurate, implies her immediate marginalization as an writer by her class and gender. Her focus of enquiry explores a new female authorial interiority, embracing her own volition, personality, and aesthetic sensibility through the act of writing itself. This nascent individualism, arising from the examination of feeling, lies at the heart of her work and heralds the social protest that will erupt later in the century. This paper hopes to offer a broader perspective on Leapor's work through close readings of a selection of her poems and analysis of the ideas this precocious, self-educated woman was exploring in her work. [ABSTRACT FROM AUTHOR]

The paper presents the first Polish translation of a mini-series of six short poems about Hyella by Andrea Navagero (1483-1529). The selected works are part of Navagero's famous Latin poetry collection entitled Lusus. The translation is supplemented by an introduction and commentary notes. The Latin text reproduced in the paper is based on the edition of Lusus by Claudio Griggio (2001). The introduction presents the author's biography and includes a brief description of the whole collection. Navagero was a diplomat, a poet and the official historian of the Republic of Venice. Collected by friends in Orationes duae, carminaque nonnulla, his poems were edited posthumously in Venice in 1530. The most important part of Lusus are bucolic epigrams, a new form of Neo-Latin pastoral developed by Navagero. This minor lyric form called "pastoral play" (lusus pastoralis) gained recognition quickly and was widely imitated in 16th century. The collection also includes other literary genres - bucolic poems, elegies, and erotic poems. However, the most famous is the series of epigrams whose heroine or addressee is Hyella, a girl impossible to identify. The introduction presents a discussion about the sources and the interpretation of the love poems about Hyella (poems 21, 22, 28, 31, 32 and 37). The most important literary tradition from which Navagero draws inspiration is the Greek and Latin ancient epigram. For poem 21, the source is the Anacreontea 19, while poem 22 uses the motifs of the lamp and the night as the guardians of lovers, both popular in The Greek Anthology. For two other pieces, the direct source is the poetry of Catullus: poem 31 uses Catullus's carmen 5, while poem 32 combines motifs from Catullus's carmina 82, 92 and 109. In addition, in poem 28 we find similarities with Ausonius's epigram 9. Other important sources for Navagero were the poetry of Petrarch and the neo-Catullan poets, mostly Giovanni Pontano, Michele Marullo, and Cristoforo Landino. [ABSTRACT FROM AUTHOR]

This article presents contemporary Judeo-Spanish poetry for children in the context of the postvernacular mode (when the language is not used any more in everyday communication) of the language. It discusses the poetry collections of three authors who have published Judeo-Spanish poems in the twenty-first century: Ada Gattegno-Saltiel, Avner Perez, and Sarah Aroeste, as well as the project Yeladino, which is an anthology of Judeo-Spanish translations of Hebrew poems. It analyses the books and projects in terms of their subject matter, language, and poetic devices, as well as the relation of some of them with music, theatre-music performance, and educational activities. The paper raises the question of audience of this poetry, allowing for the fact that nowadays there are no children learning Judeo-Spanish as their first language, and that the language itself is considered severely endangered. The paper states the presence of the dual address in these books, i.e. to children and adults, both on the level of implied and real audience. [ABSTRACT FROM AUTHOR]

This paper interrogates the portrait of YHWH that emerges in the face of the pain and suffering of Jeremiah and the covenant people of YHWH. The paper attends to the question through a combination of synchronic and canonical methods in reading the book of Jeremiah. Through a theological analysis and exposition of some key texts, which includes Jeremiah 8:18-9:3 11:18-12:13; and 32:1-15, this paper demonstrates that the portrait of YHWH that emerges is not a God who watches the suffering of his covenant people helplessly, hardheartedly or dispassionately from without, but is himself grief-stricken in the suffering of his people, so that he might eventually bring suffering to an end and hold all that are complicit accountable. The paper discusses the call of Jeremiah in the light of its connotation of forthcoming suffering and pain and the non-insulation of the prophet and YHWH's covenant people from the coming suffering. This is followed by an expose on the nature of the suffering of YHWH as portrayed by Jeremiah in his poetry of lament in 8:18-9:3 as well as the vital function of Jeremiah 32 in the suffering of YHWH's people. [ABSTRACT FROM AUTHOR]

S. L. Peeran is an important figure in the contemporary Indian English Poetry. He has surprised the poetry world during the last fifteen years by presenting eighteen noteworthy volumes of poetry. He writes on various themes which include: selfrealisation, spiritual consciousness, nature, humanity, love for God, love for human, family relationship, hope, sympathy, corruption and currant issues. Being a legal practitioner and a former Judge by profession his socio-political awareness is well reflected in his poems and as a result, his tone is moralistic, compassionate, consoling and solicitous. ‘Love for human being’ and ‘Love for God’ are the dominant themes of his poetry and almost in every collection he has presented these themes. Like Vivekananda and Aurobindo, Peeran also stressed on universal brotherhood and unity of mankind as the religion of world. One finds in his an assimilation of diverse religions and cultural ideals and notions that manifest his tolerant mind. In Sufism four consciousnesses have been recognised: Naf’s-e Ammarah, Naf’s-e Mutmaeena, Naf’s-e Lawwamah and Naf’s-e Radhia. Out of the four my paper is highlighting mostly on Naf’s-e Mutmaeena and Naf’s-e Radhia out of Peeran’s poetry. This paper is a benign effort to present S. L. Peeran as a contemporary Sufi Poet. [ABSTRACT FROM AUTHOR]

This study is based on Joe Ushie's creative use of the morphological resources of the English Language to realise lexical innovations in his poetry collection A Reign of Locusts (2004). It has been argued that the contact between the English Language and Nigerian indigenous languages is responsible for the innovative use of language in Nigerian literature. However, this paper contends that Nigerian poets in general and Joe Ushie in particular, manipulates the linguistic resources of morphology to realise lexical innovations. The paper considers the creative use of compounding, affixation, blends, lexical hyphenation and lexical bracketing as morphological resources of lexical innovation that are stylistically and thematically motivated. It reveals that Joe Ushie manipulates existing morphological processes to create novel words. It further shows that Joe Ushie's lexical innovative processes are productive and creative and that the innovative lexical items are nonce formations that have not been integrated into the lexical stock of the English Language. It then suggests that close attention should be paid to such innovative lexis in creative writings in second and foreign language contexts (non-native) as they have the implications for increasing the lexical stock of non-native English in particular and Standard English in general. [ABSTRACT FROM AUTHOR]

Diane Seuss's ekphrastic poetry collection Still Life with Two Dead Peacocks and a Girl is a celebration of life and death, imagination and reality, stillness and movement. This paper focuses on the first poem of the collection to investigate the relationship between the poetic persona and the landscape surrounding her. I employ central principles of cognitive linguistics as applied in the field of stylistics to discuss the manifestation of her mind style and examine how she constructs and situates herself in the environment. Drawing on Langacker's notion of construal, I analyze the perspective and the degree of specificity of the descriptions. I also trace the extensive use of the container image schema that underlies the semantics of the poem. The paper demonstrates that despite her assumed idyllic existence, the poetic voice's ornate descriptions of nature conceal a sense of uneasiness and confinement and the highly granular lexical choices and figurative expressions reveal her anthropocentric view of the environment. This gives rise to her feelings of alienation while the presence of the container image schema reinforces her sense of confinement. From an ecostylistic perspective, the analysis demonstrates how an anthropocentric view may manifest itself linguistically, highlighting textual features of anthropocentric narratives. [ABSTRACT FROM AUTHOR]

This paper examines the metaphorical representation of the socio-political and religious space, Nigeria, in Stephen Kekeghe's award-winning collection of poems, Rumbling Sky (2020). Contemporary Nigerian space has been plagued with social, political, and religious vices such as election malpractices, corruption, religious intolerance, cyberspace crime, farmers-herders clash, secessionist claims, kidnapping, killings, and terrorist activities, just to name a few. Writers from different genres of literature have captured these vices in their creative output and critics have remained committed to such writings. This paper examines several vices that ravage the Nigerian space which are reflected and represented in Stephen Kekeghe's Rumbling Sky, poems that received accolade by the 2020 Association of Nigerian Authors. The analysis of poems, therefore, employs critical stylistics and applies the conceptual metaphor approach as its framework, adopting Naming and Describing as its critical stylistic textual-conceptual function. The findings reveal that Stephen Kekeghe's Rumbling Sky might better be considered as an adequate representation and reflection of the contemporary Nigerian space in poetry. It further reveals that the ills of the political ruling class and the tacit connivance of the Nigerian presidency are responsible for the perpetuation of social, political, and religious vices. [ABSTRACT FROM AUTHOR]

Mina Loy's "Feminist Manifesto" was written in 1914, around the time of the modernist revolution in poetry in the United States. She penned this aggressively toned piece to open women's eyes to their place under the patriarchy and steps they should take, however drastic, to fight against its influence on their lives. Her work was unpublished during her lifetime, as it was intended merely as a letter to fellow writer Mabel Dodge Luhan. However, after its eventual publication in The Lost Lunar Baedeker, a collection of her poems, this fiery work was available to all. This paper will analyze the literary elements of tone, diction, and form found in the "Manifesto," as well as their effect. Additionally, these effects were attempted to be mimicked in a piece inspired by Mina Loy's work. [ABSTRACT FROM AUTHOR]

French astrophysicist Jean-Claude Pecker, who passed away in early 2020, left behind a rich body of work that reflects his active engagement with areas beyond the scientific, among them the visual arts, social activism, and poetry. This paper follows Pecker as he grapples with the loss of his parents in the Holocaust and articulates the impact of this loss on his life and work. My discussion draws primarily on Pecker's poetry collections Galets poétiques and Lamento 1944-1994, with occasional references to other writings, among them a provisional draft of the opening chapter from Pecker's memoir and letters recounting his family history. Allusions to Pecker's Jewish heritage are absent from the poetry collections yet are prominently present in other writings in the context of antisemitism as the core of his "feeling Jewish" on the one hand and the rejection of Judaism among all other religions on the other. Reflecting on the violence that afflicted his life during the war years and admitting his deep pessimism regarding the future of both humanity and the environment, the elderly Pecker conveys in his writings a sense of diminished agency both in his own life and in that of the sun, the celestial body broadly considered a mainstay of his scientific work. Contextualizing Pecker among his peers, I suggest that while the themes of deportation and death figure centrally in the poems, Pecker is less in conversation with Holocaust poetry or poets and more in dialogue with a group of French artist-friends, united in the knowledge of nature's timeless beauty and in the recognition of the presence within humanity of love, friendship, and the unlimited capacity for inflicting harm and great pain. [ABSTRACT FROM AUTHOR]

Copyright of Babel: International Journal of Translation / Revue Internationale de la Traduction is the property of John Benjamins Publishing Co. 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 paper examines the Assamese short story “Xomoi-Xeema” (2005) by Saurav Kumar Chaliha and the English poetry collection, Street on the Hill (2006), by Anjum Hasan to propose an expanded notion of Anglophone writing through multilingual readings of regional Indian literature and offer alternative modes of political inclusivity. It examines the role of English in Northeast Indian literary texts in articulating cosmopolitanism from a marginalized space and probing the linguistic frontiers of the postcolonial nation-state. Through this comparative reading, the essay envisions the relationships between region, nation, and world through a series of overlapping linguistic exchanges and provides an alternative understanding of world literature to current models focused on the English-language novel. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Babylon Center for Humanities Studies 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.)