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In recent research special attention has been paid to theocentric space-time as a cosmological principle that explains the enumerative character of the traditional litany. It is, indeed, no accident that the genre gained popularity during the ascendancy of Neoplatonism, according to which geography of the visible world is misleading as all the diversity of earthly and celestial creations somehow springs up from a divine monad. However, a question arises: to what extent the ancient assumptions are still relevant in the 20th- and 21st-century poetic litanies of different countries? This essay argues that in the poems by Juan-Eduardo Cirlot, Richard Eberhart, Frantiešek Halas, Anna Kamieńska, Desanka Maksimović, Charles Péguy, Giovanni Raboni, Aurelia Thiegi, and others, the litanic enumeration almost automatically implies concentric space-time, a fact which sometimes is additionally highlighted by an anaphoric order of spatial pronouns, such as "here," "where," "in," "over" etc. At the same time, however, the name of God is only sporadically mentioned which means that the space's dependence on the single source of existence is announced through the genre itself rather than through words. Finally, the essay also seeks to explain the surprising stability and durability of the genre semantics. As it is illustrated by the poems of Anna Kamieńska, Audre Lorde, and Kazimierz Wierzyński, when the divine monad is expelled from the central position of a litany's universe and replaced by a human being, the genre resists - as it were - the attempts at questioning the theocentric concept of its space-time. Since the litanic semantics is expressed by formal rather than verbal means, a poet turns out to have no tools to contradict the content of the genre and the only way to accentuate one's particular standpoint is to initiate a dialogue between what is said in words and what is said through the genre. [ABSTRACT FROM AUTHOR]

The idea of “Britain and Europe” that David Cameron emphasised in his speech on 23 January 2013 is a curious one – it evokes a shared history full of intricate twists, which spans over several centuries, and at the same time, preserves the apparent incompatibility of the island nation and the continent. Cameron even proposed an “in-out referendum” to determine the future of the British people, and its realisation in 2016 made Brexit an unexpected reality and signifies a crucial setback in the history of the European project. Brexit is furthermore an expression of “a perceived cultural distinction between Britain and Europe” (Spiering 2015) that seems to persist in British discourse specifically. The paper thus uses Menno Spiering’s concept of “British Euroscepticism” (2004), a unique form of Euroscepticism in terms of history, politics and culture, to discuss the cultural aspects of British differentness as entailing not only an opposition to Europe but also a potential to reflect on shared values and experiences. Based on this, the paper will trace the presentation of Europe in contemporary literature that emerged as a reaction to Brexit, especially poetry by Simon Armitage, Sean O’Brien and David Clarke, to ascertain the British perspective on the continent as either the paradigmatic Other or a constituent part for defining British identity.

Since the sixties of the twentieth century, different algorithms for using poetic texts in the transformation of urban space have emerged. Poetic discourse is being increasingly contextualized in space, whose role in the contemporary cultural system and specific tasks of urbanism has been growing. In the urban context, poetry may acquire different forms — street performances, advertisements, murals and other types of visual poetry. It may turn the city into a venue for a festival of urban poetry. The poetic text interacts with urban objects (monuments, train stations, airports, bus stops, and benches), including QR codes and other technical means. The article explores the process of integrating poetic texts into urban space using the example of the Netherlands, Belgium, Russia, Spain and countries of Latin America. Urban poetry contributes to overcoming the linearity and elitism of the poetic text, shifting the emphasis from verbal to the visual or performative component of the text, and strengthening the function of the addressee. As a result, poetry acquires an applied character. The city becomes an instrument of mediated poetic communication and can be used for the representation of the city.

Ismail Shahroudi is one of the capable and community-oriented poets of new Persian poetry. His poetry often takes on the color of social symbolism. He is a humanist poet whose works are full of passion and social excitement, politics, struggle, and human emotions. The purpose of this research, was analysis of Ismail Shahroudi's poetry in terms of the qualities of symbols and their rhetorical and artistic roles in suspending meaning, providing semantic multiplicity, and explaining social and critical issues through a descriptive-analytical method. The research results showed that the use of symbolic images in his poetry based on his thoughts was a way to express and propose the topics and themes that he could not represent directly and clearly. It was a way to enter the problems and demonstrate the pains that the atmosphere of the society and authoritarians did not allow to approach. Shahroudi considered the symbolic approach as a window to seriously and humanely look at social and political issues, plan and explain them, and rebel, protest, and shout against adversity and disorder. He used all kinds of symbols like literary, natural, and historical symbols, etc. He also put them beautifully and consciously at the service of social and political issues. Despite the conventional usage of symbols in many cases to express his critical and protesting thoughts, Shahroudi achieved innovation in creating symbols.IntroductionSocial poetry is regarded as one of the most important and penetrating ways of expressing ideas and a person’s inner desires. By thinking about and tending to soulful social elements, it prepares the ground for its presence in the society By this means, it is guided from selfishness towards the pure source of love and altruism, which provides an escape from the society and the desire for autocracy that destroys one's human personality and falls to the lowest point of existence. Shahroudi considers the symbolic approach as a different point of view to look deeply and humanely at social and political issues, expressing them, and rebel, protest, and shout against adversity and disorder. He has used all kinds of symbols like literary, natural, and historical symbols, etc. Also, he has put them beautifully and consciously at the service of social and political issues. He has expressed his ideas symbolically and used literary allegories in an attempt to make his texts beautiful and polished. The attractiveness of this positive pulse gently and cleverly makes a connection between the meanings and the readers. Symbolism or symbolic language is a method that has long been known among humans as one of the effective ways of conveying messages and communicating. The awareness and recognition of the value and importance of this symbolic language in different ages have caused reflection of symbols in the literary and artistic works in human societies in such a way that it has led to the appearance of a literary school called symbolism in the societies like Europe. Symbols are one of the tools of cognition and the most fundamental way of expression. In contemporary literature and new poetry, poets turn to symbolic poetry for two reasons: political and social conditions of the society and tyranny and severe suffocation ruling its atmosphere. Detailed research methodThis article was carried out via an analytical-descriptive method and the use of library sources to analyze the aesthetics of symbols in Ismail Shahroudi's poems at the content level and their connections with the social conditions of his time. Discussion and reviewSymbolism was an artistic movement in reaction to realism and imperialism movements. Poets, musicians, artists, and writers used symbols to express their concepts indirectly. Symbolism means the use of symbols and symbolic concepts. It is a method in poetry that arose in France between 1870 and 1900 in response to extreme realism. The tendency of Nima and his followers toward symbolic language has not been unaffected by their acquaintance with the European School of Symbolism, especially since Nima as the leader of this movement was familiar with French language and literature and its literary schools. This new form of language that Nima created is not unrelated to his knowledge of French language, culture, and literature, especially his familiarity with the methods of romanticism and symbolism appeared in Rimbaud, Verlaine, and Stephen Mallarmé’s poetries. Apparently, Nima gave a new life to Persian poetry. It was a tradition that made it fruitful by knowing about the revolution that had occurred in French poetry. Nima's dealing with symbolic language, which was noticed and imitated by other young poets after him, was the result of the interaction of several things. On the one hand, the poets of this trend felt a sense of commitment towards social-political issues and considered it their mission to deal with the people, their pains, ideals, and wishes and on the other hand, due to the society atmosphere of suffocation and fear, they could not fulfill their social and political commitments and missions and be safe from its consequences and damage at the same time; therefore, they had to resort to an indirect and interpretable language, i.e., a code and sign language, for addressing social and political issues. Apart from this, the poets of this movement were well aware that the direct and raw expressions of social and political issues would empty their poems of the elements of literature and poetry. Therefore, they had to look for a method that not only saved the literary and artistic elements, but also did not make their poems devoid of social and political elements. This method was the same method of using symbolic expressions.The poets described the political events of the 28th Mordad Coup by using symbols and symbolic language indirectly in their socialist-symbolistic poems. Symbolism in Persian poetry was one of the emerging phenomena that started with Nima Yoshij as the founder and actual representative of this poetic trend. Influenced by French symbolism and literary works, he introduced some distinctive features of European symbolism into his poetry and Persian literature. After him, we can mention some poets, such as Shamlou, Akhawan, Forough Farrokhzad, Siavosh Kasraei, Manouchehr Atashi, Shafii Kadkani, Hoshang Ebtahaj, Ismail Shahroudi, etc., who brought the poetry of social symbolism to its peak in the 30s and 40s.Ismail Shahroudi was one of the first poets, who followed Nima's style and turned to this new poetry. He was a poet whose poems had a social flavor. His social poetry is popular among people all over the world since it is not indifferent to the social and popular events around it and these events played a prominent role in its formation. Unlike political poetry, it focuses on human relations more than what is dedicated to political discourses and ideological propositions. in the poetry of contemporary poets can be examined in different categories. However, this article just analyzed some terms that had symbolic aspects and each of them were classified according to the word concepts. Among these classifications were natural phenomena, human phenomena, colors, numbers, names of characters or human symbols, mythological elements, special symbols, and religious and historical symbols. Conclusion One of the most important approaches of contemporary Persian poetry towards political and social themes is symbolism or social symbolism. By creating images and poetic expressions and using symbolic thinking and language, Ismail Shahroudi was able to find a privileged place among contemporary poets, especially those of the 30s and 40s. By looking at the events surrounding his life and the political and social atmosphere of the time and based on his commitment and sense of social responsibility, Shahroudi described and explained the incidents of the society indirectly through symbolism and symbolic language. He had a vital influence on the social trends of the future. From the coup of 1954 to the revolution of 1979, it influenced on the minds and the society. The source of most of Shahroudi's symbols was nature and its diverse landscapes, i.e., forests, mountains, seas, rivers, etc. In addition to nature, it dealt with human phenomena and everything made by human hands, such as houses, walls, objects, etc. These symbolic terms had a high frequency in his poetry; therefore, symbols of natural phenomena and human phenomena could be seen abundantly in his poems. Additionally, he sometimes used mythological elements, names of characters, and human symbols, etc., to express certain concepts as symbols. Sometimes these symbols had an innovative aspect, such as Yankee and Jumna, etc., which were symbols of various social issues. Relying on the concept of the symbols, the poet showed the darkness and blackness of his times, the suffocating situation, the feeling of deep despair, and hopelessness towards the social situation in all the symbolic terms of his poems. Unlike other poets of Shahroudi's age, whose poems were filled with despair and hopelessness, the existence of the symbols of brightness, such as windows and lights, was a sign of hope for a bright future in his poetry. Therefore, by examining the symbols of Shahroudi's poetry, we could gain more knowledge about the social situation of his day.

Sammanfattning Syftet med studien är att ge en första kvantitativ överblick över hur svenska samtida poeter läser upp sina dikter. Frågeställningarna gäller dels på vilket sätt poetuppläsningar skiljer sig från skådespelaruppläsningar av litterär prosa och från icke-textbundet tal, dels vilka skillnader som finns bland poeterna med avseende på födelseår och kön. Därtill diskuteras resultaten i en estetisk och social kontext. För analysen används 12 prosodiska mått som gäller läshastighet, pauser, rytmisk komplexitet och olika aspekter av tonhöjden; de tas fram med en datorstödd metod och för jämförelsen används deskriptiv statistisk analys. Studien visar att poeterna läser långsammare än de andra grupperna. De läser dessutom mer monotont och mer rytmiskt förutsägbart, vilket indikerar en mer formell, mindre uttrycksfull stil med särdrag som kan förknippas med den gängse röstklichén Poet Voice. Inom poetgruppen är det de något yngre (födda 1970 och senare) respektive kvinnorna som i högre grad uppvisar dessa drag.

در شعر معاصر یأس و امید از مضامین پرکاربردی است که شاعران در پی رخدادهای سیاسی و اجتماعی در اشعار خود به‌کار برده‌اند. حسین منزوی از شاعران معاصری است که با اندیشۀ سیاسی و اجتماعی و تحول در سرودن غزل نو که یکی از ارکان ابداع غزل نو به‌حساب می‌آید پا به عرصۀ ظهور نهاد. در سروده‌های وی اشعاری وجود دارد که بیانگر افکار سیاسی و اجتماعی او می‌باشد. پژوهش حاضر به روش توصیفی و تحلیلی و با تکیه بر داده‎های منابع کتابخانه‎ای به‌رشتۀ تحریر درآمده است. یافته‎های پژوهش حاکی از این است که مضمون اشعار سیاسی و اجتماعی وی بیشتر یأس و حسرت و خفقان و گلایه از روزگار و مرگ است. در بسیاری از اشعار منزوی واژۀ یأس و امید ملاحظه می‌شود و در برخی از سروده‌های وی امیدواری به زندگی بسیار رنگین است و می‌توان گفت وی امیدوارترین شاعر معاصر است. درحالی‌که این‌گونه نیست و بسیاری از امیدهای اشعار او حکایت از ناامیدی دارد که از شکست سیاسی، اجتماعی، عشقی و عمومی نشأت می‌گیرد. رفتار انسان‌ها در محیط کار تابع عوامل بسیار گسترده‌ای است که ریشه در ویژگی‌های انسان و نوع تعامل در محیط دارد. به‌خصوص صاحب‌نظران در مکتب جبرگرایان روی این موضوع تأکید داشته و تأثیرگذاربودن و تعیین‌کننده‌بودن عوامل طبیعی اعتقاد داشته و این رویکرد رابطۀ محیط و رفتار را رابطه علّی می­دانند. خمسۀ نظامی نیز یکی از آثار فاخر ادب فارسی است که مصور شده و دارای نگاره‌هایی است. بررسی نگاره‌های موجود در این اثر نیز حاکی از امتداد امیدها و رنج‌ها در این آثار هنر است.اهداف پژوهش:بررسی تأثیر شکست سیاسی، اجتماعی، عشقی و عمومی بر اشعار حسین منزوی.بررسی تطبیقی مضمون در اشعار حسین منزوی و نگاره‎های خمسه نظامی.سؤالات پژوهش:تأثیر شکست سیاسی، اجتماعی، عشقی و عمومی بر اشعار حسین منزوی چگونه می‎باشد؟مضامین اشعار حسین منزوی و نگاره‎های خمسۀ نظامی چه شباهتی با یکدیگر دارند؟

Using geocritical methods and exploring the spatiality of texts, this study aims to demonstrate that the rhizomatic, the well-known Deleuzian concept, constitutes one of the spatial forms in contemporary Romanian poetry. In this sense, rhizomatic poetics transgress unitary semantics through interferences, disorders and (constantly rearranged) connections of forms and images to ultimately signal new perceptions of reality. As global meanings are pulverized, within some networks that capitalize mainly on the trace and the semantic transgressivity, these poetics end up generating a continuous reassembly of real elements, akin to a system which, through juxtaposition, multiplicity and nomadism, creates its own formal and affective space.

Yuri Lotman’s ‘semiosphere’ refers to an abstract enclosed space in which signs possess their meaning. What is placed within the boundaries of this sphere possesses culture and internal order. On the other hand, the outside is an extra symbolic or non-symbolic disordered and chaotic space in which the semiotics cannot be defined. Lotman believes that the semiosphere is in constant change due to mechanisms such as exclusion and absorption at the borders. Shamlou’s “Dar Astaneh” is a long poem, written in the late stages of his life, which summarises his philosophical and religious views regarding life, death, and the afterlife. This article employs Lotman's theory of cultural semiotics to analyse the semiosphere of the poem. The analysis concludes that Shamlou excludes metaphysical elements from the semiosphere, highlights distinctions between humnan and non-human natures, and celebrates human centrality. [ABSTRACT FROM AUTHOR]

deviation is the most effective form of foregrounding the language and includes all the methods that disrupt the conventional rules of the language and lead to defamiliarization. Grammatical deviation is used to remove familiarity from language of poetry and includes avoiding the rules of morphology and syntax governing the language. Every language has a specific grammatical structure, but in poetry, this structural order is ignored. In the field of rhetoric, we come across a set of methods formed in order to highlight the meaning of the poem and lead to rhetorical innovations. The present study, with a descriptive-analytical method, aims to identify, categorize and analyze the basic techniques that have played a significant role in the evolution of contemporary ghazal by reflecting on the ghazals of "Manochehr Neyestani", "Mohammad Ali Bahmani" and "Hossein Monzavi" and answer these questions "what are the commonly used grammar and rhetorical technics that have led to the highlighting of form and meaning in the new ghazal, and which of the mentioned poets has played a more effective role in renewing the image of the ghazal. The findings from the study show that the common rhetorical techniques in the ghazals of these three poets, in addition to the use of other symbols, metaphors, similes, personification and paradoxes, are due to the power of imagination and portraying the unseen and unheard things that have formed in the poet's mind. Grammatical metanormatives common in the ghazals of the mentioned poets in two fields of grammar and syntax include: lexical, temporal and syntactical metanormatives. The extent of using these methods by the mentioned poets is different. Hossein Monzavi is considered one of the pioneers of this field due to the frequency and variety of grammatical metanormatives and rhetorical methods, and he has played a significant role in reinventing the image of ghazal. [ABSTRACT FROM AUTHOR]

There is in the prefaces of novels by Émile Zola (Thérèse Raquin, 1868) and by the brothers Jules e Edmond de Goncourt (Germinie Lacerteux, 1861; La fille Elisa, 1876 and Les frères Zemganno, 1879) the evocation of a specific place of the writer or the narrator as a researcher or scientist and of a specific methodology of novel construction from the gathering of notes, clippings and observations, thus composing a particular conception of literature and science. Dwelling on these questions, the aim of this article is to investigate the approximations or dissonances between the propositions of naturalisms (BECKER; DUFIEF, 2017) and two works of Brazilian contemporary art - parque das ruínas, by Marília Garcia (2018), and Viajo porque preciso, volto porque te amo, by Marcelo Gomes and Karim Aïnouz (2009) - with regard to the relationship that is established between art and science. From an analysis of textual aspects to extratextual spheres and other elements of visuality, this paper investigates, echoing the discussions of Bruno Leites (2017), the procedures and proposals that may connect French naturalisms and Brazilian art in contemporaneity. [ABSTRACT FROM AUTHOR]

Alice Oswald's two books of Homeric verse, Memorial and Nobody, excavate the Iliad and the Odyssey, respectively, for sounds other than those man-glorifying songs of war and adventure made classical by literary tradition. They stress what Oswald calls the fluid, fleeting "livingness" of oral poetry that literary culture arguably deadens in its efforts to standardise and monumentalise Homer' s heroic narrative. To adjust the poetic balance between livingness and lastingness, Oswald distils Homer's narrative to its evanescent and/or atmospheric elements and she foregrounds those diluvial clamours which repeatedly drown out the hero's boasts and shouts, dampen his immortal aspirations and dissolve his bronze-clad psyche. This essay shows how Oswald's recovery of Homer's oral poetry in modern English verse concerns our approach to Anthropocene turbulence wherein we, her readers, might find ourselves adrift. It examines Oswald's strategy of stressing Homer's aquatic fluency at the expense of his heroic-anthropocentric-narrative and in view of Anthropocene philosophy that calls for a shift from imperial, instrumental thinking about water as an exploitable global resource to empathic thinking with water as a companion, supra-human, species. [ABSTRACT FROM AUTHOR]

Aim. The aim of the article is to present the reminiscences of Ludmiła Marjańska in the light of selected poems and an analysis of documents. Concepts. The article is based on previous research on autobiographism and biographism, and presents the autobiographical space shaped directly in the form of Ludmiła Marjahska's private memoirs, which are the literature of the testimony. The main assumption of the article is an analysis of the poet's personal experiences, especially those experiences which in turn became an inspiration in creating poetic content. Results and conclusions. The research assumptions introducing the genetic context and literary critical statements reflect the autobiographical background of the writer's poetic works. An exhibition of selected elements of the poet's biography allows for the reconstruction of important life events transformed into literary material. [ABSTRACT FROM AUTHOR]

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Copyright of Revue Académique des Études Sociales et Humaines is the property of Hassif Benbouali University of Chlef 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.)

Introduction: Social poetry mostly deals with expressing the problems, needs, and daily life issues of the society. This kind of poetry is a result of the direct connection between the poet and the society; the poet tries to reflect the objective events and realities of their own society through it. Contemporary Arabic and Persian poetry, alongside other topics, mostly addresses the pains and sufferings of the people. Mahmoud Darwish and Qahar Asi, like other contemporary poets, have been influenced by the political and social circumstances of their time. The tyranny of the rulers in these two countries has obliged these poets to fulfill their social mission effectively. Although social poetry is a subset of poetry of sustainability, as it has assigned a significant portion of their poems to itself. It has been subject to independent research, analysis, and scrutiny to reveal the perspectives and views of these two poets. The findings show that the most important social themes in the poems of these two poets consist of: sympathy with people, the pain and suffering of war refugees, exile, hope for the future, and the promise of peace. Furthermore, the political events in their homeland and the difference in the environment have resulted in a difference in their perspectives. Methodology: It is a pure descriptive study in which the documentation tool has been used to collect the data. The content was organized using a descriptive-analytic method based on the American school framework for comparative studies. The researchers also apply a quantitative research approach to explain and evaluate synaesthesia in the abovementioned works. Discussion: Critics consider poetry to have various functions, ranging from providing pleasure to describing and explaining phenomena in the world of existence, cultivating and refining ethics, and promoting values. Of course, it should not be overlooked that each of these functions can vary depending on the conditions of time, place, literary type, and the poet's perspective. However, one of the most important functions and responsibilities of poetry is its social function because social events and movements are among the important human issues that have an inseparable connection with the spirit and psyche of human beings. When poetry becomes intertwined with the life of the people in society, it attracts more attention and takes literary works to the edge of immortality. Social events are not always the same, so their reflection in literature and poetry is always different. Different literary forms are also the result of social and cultural conditions, and poetry is a suitable medium for reflecting these events among various literary types. Badr Shaker al-Siyab, a modernist Arab poet, sees poetry as having a social purpose and believes that poets and artists have a great responsibility to their society and the people, which they must fulfill in the best way possible and highlight the pains and desires of their fellow citizens" (Rajaei, 2009: 164). Khalil Matran, one of the pioneer poets of the romanticism literary trend, also believes that every nation makes its own tyrants and oppressors, the silence of the people in the face of oppression and social injustices cause oppression to continue. In dealing with social issues and fighting against oppression, he directly mentions the names of oppressive rulers (Mir Qadri, 2006: 412). Nazik Al-Malaika who is one of the pioneers of realism and the founders of new poetry, believes: "All the visual, auditory and mental emotions a person are formed in society, and to be one of the citizens of this society, he cannot escape from the characteristics that govern it, and such a person whether you like it or not, you have to portray your society. Consquently, community and sociability are natural characteristics of every person, which cannot be considered as a shirt that a person can take off whenever he wants, but in his blood, thoughts and nerves (Al-Malaika, 1962: 264). Ehsan Abbas is one of the Arabic critics who took the social aspects of the poetry in his consideration and believes that the poet's relationship with society takes shape in three distinct ways: a) The social position of poetry in terms of its connection to economic factors, social environment, and values that shape or manifest in the poet's work. b) The social theme or objective that the poet strives to achieve. c) The social impact of poetry through its reliance on the audience, which can be small and limited or large and extensive (Abbas, 2009: 137). Mikhail Naimeh believes that "Poetry is not merely a combination, coordination, and harmonization of words, rhymes, and rhythms, nor is it simply a creative force. Poetry is the song of the nightingale, the cooing of the dove, the sound of trickling water, and the roar of thunder. It is the smile of a child and the tears of a mother who has lost her child. Poetry has accompanied humans since the beginning of creation and will stay with them from childhood to the moment of death. Poetry is familiar to broken hearts devoid of joy and excitement in this world, as well as to hearts full of sophisticated pleasures and desires" (Naimeh, 1998: 91). The contemporary world has witnessed tremendous changes in human society. These developments are prominently revealed in the field of human relations and affect poetry. Contemporary poetry reflects human experiences. "Today's poet is no longer the old poet who sits on the platform of oratory, exhortation and wisdom, but comes among the people and ranks among them, and shares his lived experience in his poetry with them (Ziyaadini, 1389: 36-37). Therefore, the most important task of contemporary poetry is to reflect the social and human realities of a society, and it is a powerful and influential tool for expressing new ideas that sprout in the mind of the poet. By utilizing the power of expression and the companionship of words, poets can highlight the existing realities in society. On the other hand, human issues and themes have become increasingly complex in human society, and poets consider it their responsibilities to reflect these human realities and strive to achieve this primary and great goal. In this regard, we have witnessed the emergence of poets in two countries, "Palestine and Afghanistan", who have taken steps towards social activism and struggle with a humanistic and social approach. Among all these poets, Mahmoud Darwish and Qahhar Aasi have shone brightly with almost similar destinies in defending the human values of their homeland and people. In this research, among the human themes of these two poets, the components of their social poetry, which have more critical and corrective content, have been examined. Because the analysis of such poetry expresses common pains on the one hand, and clarifies the poet's thoughts on the social realities on the other hand. Conclusion: Based on the research conducted alongside linguistic and cultural differences, there are common social themes in the poetry of these two poets. The most important common themes are empathy with the people, reflection of the pain and sorrow of refugees, exile, hope for a brighter future, and the promise of peace. However, what distinguishes the social themes between these two poets is the political evolutions. In Afghanistan before and after Mujahideen, Qahar Asi, like Mahmoud Darwish, always criticized the occupying forces and defended Islamic and human values in his poetry. But after the Islamic government came to power and the internal wars began, he focused more on criticizing and reflecting on their atrocities. Meanwhile Darwish in his poems, mostly screams the pain of exile and criticizes the aggressions of the occupying forces, but Qahar Asi, in addition to criticizing foreign forces, focuses more on reflecting on internal wars, reflecting on atrocities, and warning against bloodshed. Empathy with the people is also one of his important themes. Alongside his efforts to liberate the country from foreign domination, he is not insensible to the daily lives of the people. In his poetry, he calls on everyone to support and help oppressed people. The poet encourages people to defend national values, kindness, and unity. He has also reflected on the suffering and sorrow of Islamic countries in some of his poems. [ABSTRACT FROM AUTHOR]

Copyright of Croatica: Magazine for Croatian Language, Literature & Culture is the property of University of Zagreb, Faculty of Humanities & Social Sciences 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 Croatica: Magazine for Croatian Language, Literature & Culture is the property of University of Zagreb, Faculty of Humanities & Social Sciences 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 essay explores the secular imaginary of contemporary elegy, with a focus on writers in the U.S. Comparing recent poems by Natasha Trethewey, Danez Smith, Sam Sax, primarily, I examine variations in the figure of apostrophe addressed to the dead as imaginative critiques of secular hope. These poets use precarious forms of apostrophe to explore the conceptual impasse of posthumous personhood in a secular social world. Their writing disperses this foreclosed subjectivity across other effects, sites, and practices, as an ethical world-building agency. These lyrical attempts to imagine a secular social ontology of being with the dead articulate powerful possibilities for political justice and passionate attachment. [ABSTRACT FROM AUTHOR]

This essay examines Fiona Perry's début collection of free verse, Alchemy (2020), from the perspective of archetypal psychology and attachment theory. It argues that alchemical symbolism, specifically nigredo imagery, serves to poetically explore the critical notions of change and transition as pedagogical spaces for developing a deeper understanding of life through memory, trauma, loss, and displacement. This process of learning through transitionality is also mediated by the widespread and expressively intensified occurrences of many symbolic, mnestically-loaded and affectively-biased objects of everyday use exerting the function, like Winnicott's transitional objects, of psychic organisers and developmental facilitators in the most critical stages of the speaker's process of personal growth. Moreover, they open up a transitional third space of experience, where the mundus imaginalis and the playful, poetic uses of verbal language act therapeutically as metaphysical intermediaries in the dialogue between conscious and unconscious, matter and spirit, time and eternity, the trivial and the sacred. [ABSTRACT FROM AUTHOR]

Copyright of Estudis Romànics is the property of Institut d'Estudis Catalans 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 Quaderns: Revista de Traducció is the property of Universitat Autonoma de Barcelona 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.)

Sharon Olds’ body of work has always been tied to physicality: in a 2017 article, John Freeman calls her “America’s Brave Poet of the Body.” In 2016, she published Odes, a collection of poems inspired by Pablo Neruda’s Odes to Common Things, in which the poet sings of artichokes and wine, praising the beauty of daily life and of abstract notions such as love and friendship. Among Sharon Olds’ many Odes, a collection of “body poems” stands out. These poems bring the “blazon” to mind, a French medieval poetic form in which the feminine body is fragmented and mapped, from head to toe. Echoes of Whitman’s “body electric” can be found in the poet’s “blazons” but the poems are not simply praises. They reveal the layered nature of the “feminine body,” a social, political, and cultural notion. Using Camille Froidevaux-Metterie’s reflexions on “embodied” female experience, I will read these poems through the lens of feminist phenomenology, investigating the many facets of Sharon Olds’ rewriting of the male subject / female object dynamic of this poetic form.

The article is based on the hypothesis that contemporary poetry performs the function of a mediator within a fragmented society. The poetic text, in addition to its existence in a book format, is realized in a variety of media contexts, interacting with different types of art, as well as penetrating both public and personal communication. At the same time, the poetic form can change itself, losing the customary formal features, but retaining the generic (lyrical) essence. The processes of “other existence” of a poetic text are heterogeneous and large-scale; in this article the thesis about the medial function of contemporary poetry is illustrated on the material of one specially chosen text – the poem “In Nice” by E. Simonova. Simonova’s free verses from the book “Her Two Only Dresses” (2020) fit not only into women’s poetry, but also into the so-called “docupoetry”. At the same time, Simonova’s poetry is distinguished by the desire to overcome antagonisms and unite the seemingly incompatible. The example of the poem “In Nice” proves the significance for Simonova of the classical poetic tradition, which, however, is subject to inversion. On the composition level, Pushkin’s elegy “When I wander outside the city thoughtfully ...” is used as a pretext. The name of Georgy Adamovich framing the text actualizes the acmeist tradition and the memory of the poetry of the “Parisian note”, with the key themes of death, exile, and Russia. At the same time, the tradition is refracted paradoxically in Simonova’s text: self-irony is dissonant with the elegiac modus, the sacred (Easter) becomes mundane, the dead are perceived as alive, and the poetic word becomes a guarantee of eternal life. But with all the paradoxes and inversions, Simonova’s poem expresses a harmonious image of the world and the poet. Simonova’s creative work demonstrates a special socio-cultural function of contemporary poetry: to act as a mediator between culture and everyday life, classics and “post-poetry”, spoken word and book tradition, verse and prose, and poet and reader. Performing a communicative function, the poet, however, does not completely merge with any of the socio-cultural “loci”, revealing the features of tricksterism and, at the same time, internal disharmony. The harmony of paradoxes does not lead to the static

در دورۀ معاصر، به­ویژه از دهه چهل شمسی شاهد رشد سبک سمبولیسم در شعر و هنر در ایران هستیم. شعر اجتماعی، با گرایش سمبولیستی، گسترده‌ترین و معروف‌ترین جریان شعر معاصر است؛ جریانی شاعرانه ـ اندیشمندانه که سهم برجسته‌ای در تاریخ ادبیات معاصر ایران دارد. بارزترین ویژگی این جریان، پیوند معنادارِ شعر با جامعه است. گونه‌ی شعر انتقادی ـ اجتماعی در این مقطع از زمان، نمودی آشکار می‌یابد؛ بر این اساس، حساسیت انسانی و شاعرانه‌ی شاعران از یک‌سو و استبداد حاکم بر جامعه‌ی ایرانی، از دیگر سو، این گروه از شاعران را به سرایش سروده‌هایی اجتماعی ـ سمبلیک سوق می‌دهد؛ اینان با به‌کارگیری این شیوه می‌توانند به صورتی غیرمستقیم، اعتراض خویش را بازتاب دهند؛ اینان با کاربستِ شگردی ادبی: سمبل، که از پوشیدگی ذاتی برخوردار است، به طرح مسائل مورد نظر خویش می‌پردازند. در این جستار، به شیوه‌ی توصیفی ـ تحلیلی، پس از واکاوی سروده‌های نیما، شاملو، اخوان، فرخزاد و شفیعی کدکنی از این منظر، مشخص می‌گردد که سمبولیسم اجتماعی بازتاب گسترده‌ای در سروده‌های این گروه از شاعران یافته و اشعار اجتماعی - اعتراضی شاعران مذکور، در بیداری جامعه‌ی غفلت­زده ایران، نقشی برجسته داشته است. از سوی دیگر در آثار هنری، این دوره چون خانه­ها نیز شاهد کاربست سبک سمبولیسم هستیم.اهداف پژوهش:مطالعۀ نمادشناسی و نمادگرایی اجتماعی _ سیاسی در شعر شاعران معاصر.بررسی سبک سمبولیسم در خانه­های مشروطه تبریز.سؤالات پژوهش:سبک سمبوالیسم چه کاربردی در اشعار شاعران دورۀ معاصر داشته است؟شاعران دورۀ معاصر بیان اعتراضی خویش چه نمادهایی را به کار گرفته و یا آفریده‌اند؟

The poetry of the 20th century has become a real linguistic laboratory. The transition from traditional (national) systems of versification to free verse and, what is especially important, to international free verse, which can be translated faster and with less distortion, made it possible to reduce the time gap in the reception of American authors in France and French authors in the USA. John Ashbury, a prominent representative of the New York School, who lived in France for about 10 years, Denis Roche and Marcelin Pleine — members of the editorial board of the avant-garde magazine Tel Quel, the theorist of intransitive writing R. Barthes were active participants in the transatlantic dialogue of poets in the middle of the 20th century. The texts of John Ashbery and Denis Roche are an international vers libre created according to the principle of intransitive writing. R. Barth, also participating in the French-American dialogue, analyses the peculiarities of writing of the period in question in his paper “To write is an intransitive verb” (1966). A poem is understood as a rhythmic inoculation of lived experience, which has a transformative power for the writer and the reader.

In the early twentieth century, with the rise of women's issues in the continuation of the world's feminist movements, women's literature was formed in Iran and the Arab world. Women's issues in Persian and Arabic poetry first appeared in the poems of Forough Farrokhzad and Ghada al-Samman. Later, Simin Behbahani in Persian literature and Souad al-Sabah in Arabic became famous poets in the framework of liberal feminism and gave a new interpretation of women's desires and problems. Challenging gender discrimination, they have raised the issue of human equality in a reformist and principled manner. This article has analyzed and compared the components of feminist criticism in the poetry of two poets with a descriptive-analytical method and a comparative approach. Discrimination due to misconceptions about love, marriage, and the emphasis on awareness, freedom, individual and identity independence, and changing attitudes are among the most important themes of two poets. Because of their social commonalities, beliefs, lived experiences, traditions, and similar circumstances, they have described the status and position of women with highly realistic conceptions of common themes. The critical point of view and the style of expression of both poets are non-iconoclastic and in accordance with liberal feminism.

Afghanistan since 1979 has been facing acute political, social and cultural developments such as the invasion of the Soviet army, the establishment of Soviet-backed Communist Quadrants, the sacred jihad against aliens and their expulsion from Afghanistan, the start of civil wars, the emergence of radical groups such as the Taliban, the Haqqani network, and al-Qaeda, Housing women and girls and closing school doors to them, migration, suicide and explosions have had profound and negative effects on the minds of the Afghan people, especially women.One of the highlights in today's Afghan poetry is the female character and issues of Afghan women. In this article, the type of social look at women, the female personality, the impact of people's lives, customs, contemporary government behavior and developments on the fate of women and the like reflected in contemporary Afghan poetry is analyzed. One of the unfortunate effects of this instability in Afghanistan was to marginalize women in society and politics and to disregard their rights and thus to victimize women in various ways. In addition to reflecting women's suffering oppression, poets emphasize women's emancipation and respect for their rights and they have rejected violence and humiliation against women and ridiculous views of the mass and sexism.

In this article, we try to show that defamiliarization is basically a philosophical approach to phenomena, especially in the field of language, literature and poetry. In this regard, Derrida's deconstructive approach, as a difference, is more closely related to the concept of Shkolovsky unfamiliarity. Basically, our mentality is a matter of language, and in the meantime, poetry is the crystallization of this kind of mentality. Hence, it can be said that mentality is constructed in the context of language, and in the thinking of poststructuralists such as Barthes, Deleuze, Derrida, this construction is always formed in the form of language. What is particularly important about Derrida's difference and, more generally, about Shkolovsky's unfamiliarity with language, is that we can never say that we have reached the full meaning of a word or sentence or phrase, and so on. Meaning is never fully present in a world. However, in this article, we deal with deviations as defamiliarization in various forms, and suffice with one of these abnormalities, namely the phonetic type, and deal with examples of contemporary Iranian poets from the traditional and romantic spectrum in confirmation of this kind of abnormality. . The poets discussed in this article are Simin Behbahani, Malek e Shoaraye Bahar, Fereydoun Moshiri and Hamid Mossadegh.

This essay considers the problematic presence of the inanimate in elegiac form. Focusing on Geoffrey Hill (1932–2016) as translator/elegist of Paul Celan (1920–1970), this essay argues that Hill's poetry responds to the challenge of addressing the nonliving by way of Celan's own poetics of the inanimate. This doubled incorporation of the inanimate puts under pressure concepts of poetic form and of reading that are structured by organic animation. Hill's poems emerge as structured by a principle of inorganic production that finds its aesthetic paradigm in Kant's concept of "crystallization." Reading the emergence of nonorganic processes from organic spaces in Hill's work, the reemergence of a postindustrial pastoral in elegiac form, and the translation of the crystal-image of ice from Celan's poetry into Hill's own, this essay addresses the possibility of thinking form as a nonorganic process in elegy, and of thinking an elegiac poetics of form. [ABSTRACT FROM AUTHOR]

"Theopoetics" is a term that refers loosely to the aesthetic theories and poetics of using poetry to regain participatory access to the divine. Though the exact definition of theopoetics is somewhat contested, there seems to be overall agreement within the field defined by the term that it has something to do with recovering the experience of the presence of God as a poetic complement to theological rigor. What remains elusive, however, is a practical definition of theopoetical poetry: how would we recognize a theopoetical poem when we saw one? This article moves toward clarity on all three of these questions. [ABSTRACT FROM AUTHOR]

This article establishes the works of women poets in the UK, especially those of non-white and mixed-race ancestries, as major players in poetic ekphrasis. Ekphrasis has been defined as 'the verbal representation of a visual representation' (Heffernan 3). Building on the critical studies of the ekphrases by twentieth-century women poets, this article recognizes the increasingly multicultural landscape of contemporary British ekphrastic poetry and engages in detailed studies of the ekphrastic poems from Grace Nichols's Picasso, I Want My Face Back (2009) and Pascale Petit's What the Water Gave Me: Poems after Frida Kahlo (2010). The two case studies demonstrate how women poets of non-white and mixed-race ancestries return to engaging with art from a diasporic perspective or art from a foreign culture and to exploring the potential and limits of art as a life-, self- and trauma-transmuting agent. The article simultaneously reveals the diverse purposes of ekphrasis in contemporary poetry, as seen in the ekphrastic practices of Nichols, Petit and other women poets. [ABSTRACT FROM AUTHOR]

Layli Long Soldier's debut collection of poetry, WHEREAS, has been primarily framed as a defiant counter-discourse to the allusive 2009 federal apology to native communities, particularly her poems addressing the document directly. Little attention, however, has been given to Long Soldier's unpredictable aesthetic choices as she translates her experience of motherhood, daughterhood, and womanhood through a subjective female lens, which equally emphasize the gravity of this unapologetic federal document. I argue that Long Soldier reinvents lyrical prose and visual poetry through what I call thought-music—the poet's mode of accessing and translating her inner dialogue using alternative punctuation, inventive forms, and white space or 'functional white' [White, Orlando (2015), 'Functional White: Crafting Space & Silence', The Poetry Foundation, 3 November, at ]. In doing so, she interrogates the body's modes of receiving and transference, and composes 'embodied geographies' [Goeman, Mishuana (2013), Mark My Words: Native Women Mapping Our Nations, Minneapolis: University of Minnesota Press]; poems tethered to mental and physical intimacies as a mother and Lakȟóta language learner within her community. The poet's punctuation, typographical architecture, and white space construct a somatic perspective, suggesting that communication is physical, contrary to the colonial rhetoric in the federal apology. [ABSTRACT FROM AUTHOR]

Copyright of Annals of Arts & Languages is the property of Association of Arab Universities 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 aim of our study is to review the meaning of the term "poeticism" and consider its vitality within contemporary poetry. It identifies specific features of contemporary Czech poetic language that distinguish it from the commonly spoken and written language. For this purpose, we utilise data collected in the Corpus of Contemporary Czech Poetry, using a keyword-extraction tool. We argue that poeticisms in contemporary poetry can be identified based on their frequency as keywords which significantly exceeds the frequency of the same words in common language. Our study concludes by drawing a distinction between two types of poeticisms: functional ones are defined by their frequency, while essential ones are used exclusively in poetic language. [ABSTRACT FROM AUTHOR]

Copyright of Revista Foco (Interdisciplinary Studies Journal) is the property of Revista Foco 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.)

Ismail Shahroudi is one of the capable and community-oriented poets of new Persian poetry. His poetry often takes on the color of social symbolism. He is a humanist poet whose works are full of passion and social excitement, politics, struggle, and human emotions. The purpose of this research, was analysis of Ismail Shahroudi's poetry in terms of the qualities of symbols and their rhetorical and artistic roles in suspending meaning, providing semantic multiplicity, and explaining social and critical issues through a descriptive analytical method. The research results showed that the use of symbolic images in his poetry based on his thoughts was a way to express and propose the topics and themes that he could not represent directly and clearly. It was a way to enter the problems and demonstrate the pains that the atmosphere of the society and authoritarians did not allow to approach. Shahroudi considered the symbolic approach as a window to seriously and humanely look at social and political issues, plan and explain them, and rebel, protest, and shout against adversity and disorder. He used all kinds of symbols like literary, natural, and historical symbols, etc. He also put them beautifully and consciously at the service of social and political issues. Despite the conventional usage of symbols in many cases to express his critical and protesting thoughts, Shahroudi achieved innovation in creating symbols. [ABSTRACT FROM AUTHOR]

Symbolism was initiated by Nima Yushij, a contemporary poet. Symbolism sought to express the social and political problems of its age. Many poets were affected by his movement and Safarzadeh was not an exception. Her poems are a reflection of her age, and as the socio-political circumstances were not right to express one’s ideas openly, she resorted to symbolism. Accordingly, the present research aims at analyzing the function of symbolism in Safarzadeh’s poetic style. The findings indicate that symbols are closely interwoven with her own religious, social, and political experiences. Colors, nature, and national and religious myths connote many other ideas and themes and thereby the audience faces a multilayer of meanings.

El trabajo propone aproximarse al controvertido cruce entre humor y poesía, un enlace polémico que a menudo ha sido omitido o desvalorizado en las aproximaciones teóricas al género, que lo vinculan más bien con el patetismo, la solemnidad o la gravedad, a partir probablemente de malas lecturas del Romanticismo. En cambio, se plantea un acercamiento a algunas de las voces más importantes de la escena poética española, a partir de las décadas de los ochenta y noventa, como Luis A. de Cuenca, Luis García Montero, Roger Wolfe y Karmelo Iribarren. Ellos plantean en sus obras diversas manifestaciones risibles, presentan-do humores poéticos que apuntan a búsquedas diversas, y que van de la risa a la sonrisa, de la crítica a la ternura y del desagrado a la complacencia para realizar una lectura a contrapelo de la literatura y de la realidad, a través de la lupa descarnada y la lucidez que aporta el humor. // The work proposes to study the polemic cross between humor and poetry, a controversial link that has often been omitted or undervalued in the theoretical approaches to the genre. Often, it has been associated with pathos, solemnity or gravity, probably based on misreading of Romanticism. Instead, we propose an approach to some of the most important voices in the Spanish poetic scene, especially from the 80’s and 90’s, such as Luis A. de Cuenca, Luis García Montero, Roger Wolfe and Karmelo Iribarren. They propose in their works various laughable manifestations, presenting poetic moods that point to diverse searches: from laughter to smile, from criticism to tenderness and from dislike to complacency.

This article examines the ends of lyric poetry in the teleological sense (il fine) by investigating the end (la fine) of certain poems—the textual endings and instances of closure (or lack thereof), i.e., the final strophe, the final verse. In particular, it analyzes some exemplary instances of non-closure in modern and contemporary (mostly Italian) poetry. Drawing on Giorgio Agamben and Timothy Bahti, it explores a peculiar form of non-closure, namely, endings of poems that, by means of self-reflexivity, repetition, and chiastic structures, re-direct the text and its reader back towards its beginning, toward a new reading.

The results of the study of the genre form of ekphrasis in the context of the “visual turn” in the 1990—2000s are presented in the article. A particular case — Shamshad Abdullaev’s poem “Two Films”, which combines the impressions of two films by Spanish director Jose Luis Guerin “En la ciudad de Sylvia” (2007) and “Tren de sombras” (1997) are examined in the article. It has been established that this text is both a narrative about reception and an experience of “poetological” utterance, in which the poet speaks about his understanding of the essence of art, the nature of the creative act, connections between poetry and visual imagery. This is a “complex ekphrasis”, involving the alignment of motives and plots of different works in a single semantic series. Ekphrastic description includes both the reproduction of plot-significant scenes and the peculiarities of the film language. It is proved that the reception of cinema is mediated by other artistic codes (photography, literature), complicated by reflection on the language of philosophy and aesthetics (“mono no aware”, “nunc stans”). The semiotics of the visual, therefore, arises at the intersection of different cultural codes and contexts.

Jung, considers the subconscious mind of man to be the female and male cross-poles of Anima and Animus. Anima's archetype is half feminine in the male psyche and Animus is half masculine in the female psyche. These archetypes are influenced by the relationships and behaviors of the family, especially the parents, in the presence of each individual, and can change his personality under the circumstances of his community and life. The oneness and homogeneity of these archetypes will cause human development, and the domination of each of these cross-poles in the individual will make a series of traits and characters that can be studied from a psychological perspective. These images are unconsciously depicted in the works of artists. GhaemMaghami,as a contemporary lady poet, has also unconsciously expressed these archetypes in his poems in various ways (positively and negatively). the frequency of positive aspect of animus is higher than that of negative side In her poems,74.74% of findings presents positive aspects of animus and25.26% of findings indicates negative aspects of animus. The initial formation of these archetypes is positive when she is single, but after marriage and quitting her child because of the divorce , the negative presentations begin to realize.

This article shows how Aracelis Girmay's The Black Maria (2016) and Raquel Salas Rivera's while they sleep (under the bed is another country) (2019) turn the ongoing catastrophe of coloniality into a visual grammar of/for loss. Aracelis Girmay's The Black Maria offers a prepositional poetics to visualize the catastrophe of Mediterranean migrant crossings within the spacetime of an oceanic coloniality that joins Mediterranean to Atlantic and Caribbean. Raquel Salas Rivera's poetic response to Hurricane María invokes prepositional relationships to reveal and contest the United States' existing hierarchies of colonial-imperial power. Through form, their poetry visualizes how witness, survival, and mourning become decolonizing tactics of resistance. In the two texts, I identify a prepositional poetics that, by signaling movements through space and time, locates the specific catastrophes of displacement and climate change disaster in the Caribbean and the Mediterranean as part of a continuum of coloniality that stretches from the sixteenth century to the present.

The article researches the concept of transnationality on the basis of American theoretical sources and tries to connect it closely to the study of modern and contemporary poetry. Among several challenges of the transnational approach, the concept of the nation is mentioned as an important element, in addition to global connectedness, as is the importance of studying transnational contacts with all involved cultures in mind. Tomaž Šalamun and Charles Simic, two poets who have found success and a positive reception in the other culture, are given as examples of a transnational contact between Slovenia and the U.S. To explain and closely study this contact, the article offers an overview of the characteristics of both poetics, which have made both poets attractive for American or Slovenian critics and readers. Translation, its impossibility and urgency, is mentioned as the central activity that creates transnational moments between cultures.