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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.

Nel sempre più ampio bacino degli studi dedicati alla letteratura sulla migrazione, poco spazio è tuttora riservato alle migrazioni di ritorno. Il tema, già di interesse dall’inizio del ventesimo secolo, diventa cruciale nel contesto contemporaneo. L’articolo analizza la questione nella letteratura italoamericana del secondo Novecento assumendo la produzione di Luciano Cecchinel come case study. Il legame tra Cecchinel e la cultura americana è strettamente connesso alla storia del ramo materno della sua famiglia, i cui capostipiti presero parte alla Grande Emigrazione stabilendosi in Ohio. I suoi nonni dovettero poi tornare in Italia per problemi economici durante la Grande Depressione, separandosi dai parenti più prossimi che, rimasti oltreoceano, non incontrarono mai più. La loro figlia Annie, madre del poeta, soffrì l’allontanamento dagli affetti e da quella che considerava la sua patria, tanto da rifiutare inizialmente di apprendere la lingua italiana. Divenuta madre a sua volta, Annie contribuì a far apprendere al figlio la sua lingua, la lingua americana. In ragione di questa “odissea famigliare,” Cecchinel ha maturato quella che Du Bois definirebbe una “double-consciousness,” tale che Folco Portinari si chiede se l’autore sia “un poeta americano che scrive in italiano o un poeta italiano che traduce benissimo dall’inglese.” Questo tratto della sua poetica emerge nelle raccolte ‘americane’ sulla diaspora familiare, Lungo la traccia (2005) e Da sponda a sponda (2019), vincitrice del premio Viareggio per la poesia 2020. In queste opere, Cecchinel dà voce alle esperienze di diverse generazioni di migranti di ritorno. Anche sulla base di interviste con l’autore, l’articolo si propone di analizzare il suo viaggio poetico con il duplice obiettivo di esaminare le peculiarità tematiche e formali di queste raccolte e di fornire spunti metodologici per approcciare il tema della migrazione di ritorno.

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.)

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]

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]

“Ghazal 3” from the book “Akhare Shahnameh” by Mahdi Akhavan Sales have considered as one of the best contemporary lyric poems by researchers. What are the reasons for its superiority? And why has this poem found such a place in contemporary poetry? Using descriptive- analytical method, this research shows that this poem in four areas including language, music, rhetoric and content has moved beyond the boundaries of poetry and has achieved a new area of harmony and artistic unity. Linguistically, the connection with the past linguistic elements at the levels of vocabulary and syntax has created temporal abnormality or archaism and a multidimensional linguistic atmosphere that is unimaginable. The innovative rhythm of the poem is in harmony with its romantic and tragic theme, and along with the alliteration and repetition, it has filled “ghazal 3” with internal and external music. Rhetorically, the author's attempt to take advantage of the innovative form of rhetorical and novel arrays and to avoid common and vulgar stereotypes, has promoted rhetorical images in the direction of the lyrical content of this poem. Conceptually, the representation of nostalgia of the presence of the beloved in the best moments of the poet's life, describing the greatness of her existence in the alleys of love and enduring the sorrow of her distance, fills the poetic space with the intimacy and tenderness of a real and experienced love. The combination of the mentioned factors has turned “ghazal 3” into a successful model for modern Nimai love songs and contemporary lyrical poetry. [ABSTRACT FROM AUTHOR]

Breaking Traditions One of the prominent features of contemporary literature is that each of the literary writers has somehow tried to modernize and break the traditions. In the contemporary period, Forough Farrokhzad and Simin Behbahani are the most famous female poets in this field. The purpose of this study is to analyze and analyze the traditions of these two poets, focusing on their feminine traditions in their poetry. An analytical research method - comparative study of Forough and Simin's poems from the perspective of feminine traditions has been studied. The high frequency of feminine traditions in the poetry of these two poets was analyzed and compared in three main areas: the problem of woman, the problem of love and the problem of language. Women are the most important issue in the poetry of these two poets, and they have tried to convey their religion to their fellow men, and in this respect they have shown womanhood in their poems, both through feminine language and love. Women's sportswear. [ABSTRACT FROM AUTHOR]

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.

The critics and those who study contemporary poems recognize the world of poetry and its poetics through its title. The title functions as an entry for the poem. Generally, the title has a prominent place in reading poems, enjoying the pleasure of literature, and receiving the theme. Focusing on this element leads to both knowing the status of the poet and drawing the co-ordinates and finally explaining and understanding his poetry.The category of title in modern Persian poetry is completely different from traditional and pre-existing poetry. In contemporary poetry, the title is not only for the naming but also has other tasks in terms of aesthetics, artistic, and semantic perspective. Choosing the title of the poem, on the one hand, provides the audience with a deep perception of the content while and on the other hand, after reading the poem as a compound, it helps the audience expand the semantic domain. The title can also be considered as the identity card of the poem.Manouchehr Atashi, like many poets and critical writers of his time, believes that fundamental changes in modern poetry are not limited to issues such as the meter, rhyme, theme but extends to other dimensions one of which is the selection of titles. He is a poet who has highlighted the focus on the title in contemporary Persian poetry as a necessity in terms of structure, concept, and aesthetics. By focusing on the title of the poetry, this contemporary poet has shown that making fundamental changes in poetry can be a signature, not necessarily a founding. The basis and meaning of the signature are that the poet can consider a new attitude without destroying the capacities and contents of traditional poetry, relying on some of its possibilities.In most of Atashi's poems, a tangible and meaningful relationship can be observed between the title and the text. The relationship between the titles of the collection is more based on their relationship from the perspective of the structure of components and multi-component compositions than can be seen from a semantic point of view. In addition, the predominant aspect of the poet's tendency from this perspective is towards nature and the southern climate.In poems that have no title, this element appers as a tool to expand the semantic range. The use of titles such as indicative sentences, written signs, uncomplete sentences, English sentences, etc. in harmony with the content shows the poet's view of the influential place of the title in the structure. Finally, looking at the poet's etymology, we understand well why the absence of the title does not cause a defect in traditional poetry, such as the sonnet, but many contemporary poems are entirely dependent on the existence of this component in such a way that their change could have a direct impact on the meaning and basis of poems.There seems to be a dirth of research pertaining to the subject of "title". Also, the samples for studies in the field of title do not meet the needs of the audience. Paying attention to this issue could open a new window for critics and enthusiasts to better understand this poet.The purpose of this research is to focus on four collections of Manouchehr Atashi poems: Other Song, Soil Song, Accident in the Morning, and the Last Event and show the importance of choosing titles and their dependence on the text, initiative, and creativity in choosing the title. The results show how the contemporary modern poet is well aware of the function and effect of the title of the poem and uses it as a tool to expand the semantic range of poems and instill the concepts of an audience as well as creating an impact.

This article explores the notion of intercultural and intertextual crossing (in the combined senses of migration and intersection) in Sarah Howe’s poetry collection Loop of Jade (2015). Born in Hong Kong to a Chinese mother and British father, Howe grew up in the UK. Loop of Jade explores the experience of cultural hybridity and deracination through an intertextual poetics predicated on artifice and irony, going against the grain of a simple, unmediated confessional poetic narrative “of the origins.” After the actual experience of return paradoxically leads to a crisis of identification, intertextuality becomes an alternative route allowing Howe to approach her origins obliquely. A Borgesian epigraph – a surprising abecedary of apparently arbitrary categories of animals given in a “certain Chinese encyclopedia” – becomes a structuring device for the whole collection, announcing its project to reflect on real or imaginary cultural differences. Working through various constructions and misconceptions of Asia in the Western imagination, the poems ultimately develop a complex sense of belonging. This article argues that Howe uses a multiplicity of intertexts to create what Homi Bhabha calls an “in-between,” interstitial subjectivity, which reflects on its intercultural plurality and fragmentation, and explores the degree to which modern identity is shaped by cultural differences. It also explores the political dimensions of Howe’s use of intertextuality, denouncing China’s history of repression and censorship, as well as the violence against women and the anxiety of miscegenation in traditional culture. Finally, I also show that Howe ambivalently engages with the legacy of modernist poetry, particularly with Ezra Pound’s appropriation of Chinese culture and writing system.

Carta florentina (2018) es el último de los poemarios publicados por Guillermo Carnero. La obra crea y exalta el tú amado, mismo sujeto femenino y destinatario poético al que el autor ya se referiría en Verano inglés, publicado dos décadas antes. La voz poética es el Hacedor de un mundo consagrado a la mujer y es conocedora y testigo de ese hecho: crea para ella un texto prolijo de imágenes y la rescata a través del ejercicio de la escritura. El presente trabajo analiza la evolución en el tratamiento formal de la figura femenina dentro de la poesía de Guillermo Carnero desde su libro Verano inglés a este último de Carta florentina. Cómo se estructura la representación del sujeto amado y en qué medida el propio autor se prefigura dentro del texto son algunos de los aspectos tratados, en continuo diálogo con la tradición clásica, las referencias culturales —prevalencia del mundo pictórico— y su propia obra anterior. [ABSTRACT FROM AUTHOR]

The article analyzes publications by nosotros, an indie publishing house concerned with giving visibility to the production of Argentinean and Brazilian women. For four years, the publishing house portrays the work in progress of women poets in bilingual booklets (Spanish-Portuguese) with thematic and aesthetic diversity. The present text intends to discuss processes of erasure and inclusion of women in institutional environments and poetic anthologies in Brazilian poetry; the difficulty of a mature woman to persist publishing even today; the independent market as the locus that remains possible to articulate resistance and new poetics; the themes of physical displacement in poetry written by women and the search for new roads to find their ways. Statistics on poetic anthologies from the beginning of the century are pointed out to measure the exclusion of women, besides the use of the theoretical aspects of gender studies and feminist criticism to analyze the poems in the methodology. In conclusion, the editorial task of nosostros, and this very text are acts to guarantee the memory of women Brazilian poets, to portray their work in progress, to affirm that they exist and can persist in the future. [ABSTRACT FROM AUTHOR]

Considering that form becomes a crucial issue for the modernity discourse, attached with notions of rhythm, community and criticism, this article seeks to analyze the dismantling tradition and historical revision project that the poet Edimilson de Almeida Pereira carries out to propose his conception of antiform. In dialogue with the Afro-diaspora heritage, among other modern and archaic poetic expressions, the poet's constant interruption verse ends up including in the discourse of the poetry crisis issues related to origin, survival and dissemination, in order to undo any permanent and positive reading of the notion of form. This article questions some theories of verse, such as those of Mallarmé, Giorgio Agamben and Marcos Siscar, in addition to the important contributions of Jacques Derrida to the problem of style and to the task of deconstruction, which are central to the approximation of a poetics notoriously inclined to learning how to disassemble, while also working for continuity, infinity and justice. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Surra Man Raa 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.)

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. [ABSTRACT FROM AUTHOR]

Mysticism, Sufism, terminologies, and codes related to them have always been present in classical Persian poetry and have been deployed by numerous poets. However, this connection has become quite limited in contemporary poetry. Bearing in mind that these codes offer the possibility of producing, receiving, and interpreting texts, in this article, we attempt to examine the mystical codes in Seyyed Hassan Hosseini's poetry so that we can understand the role and influence of mysticism and Sufism on creation of poetic imageries and themes in his work. This article examines the linguistic, mental and rhetorical layers of Hosseini's poems via descriptive-analytical approach to show the quality of the influence of these codes. The results show that although with the developments in the modern world and the change in the taste of the new generation, mystical and Sufi elements and codes are no longer the focus of attention of contemporary poets, especially modern poets, Seyyed Hassan Hosseini has deployed these codes in three linguistic, literal and mental fields. In the field of rhetoric, he has used these codes to create various poetic imageries such as similes, metaphors, and all kinds of allusions and symmetries. In the mental field, he has used many of these codes to fight hypocrisy and its manifestations. In this way, he has been able to deploy these codes to enrich contemporary literature and reduce the chasm between modern poetry and classical Persian poetry, to some extent.

More than one contemporary Irish poet becomes anxious when quoting Dante, not only because Dante is the unsurpassable poet of all times, but also because Heaney’s improvisations on the Florentine poet appear, in Ireland, to carry more weight than that of the Italian poet himself. The path Heaney followed in his ‘research’ mainly meant ‘digging’ into the depths of history, language and myth. Dante, in particular, had surely not been studied prior to Hopkins and Frost, Hughes and Hardy, MacDiarmid and Larkin, MacCaig and Maclean, all the poets Heaney had read and, in part, even met before producing some of his middle- and late-career masterpieces. From the very beginning, Heaney’s ‘underground’ theme was his personal process of ‘digging’. In his interviews and essays, Heaney often quoted the Inferno and the Purgatorio and his insights into the ‘underground’ were often presented as spatial and symbolic contraries: surface/underground; high/low; light/darkness, outside/inside, hell/heaven; demon/angel, etc. The attraction to Dante and the presence of the Florentine poet as a background influence on Heaney’s poetry is here underlined by exploring some of his key collections and poems.

This paper explores the presence of the poetic word in contemporary urban settings: from “Poetry in Motion,” displayed in the New York City subway at the very place where one usually finds ads, to fluid xenon light projections of huge verse on the exterior of buildings in Basel or Zurich by visual artist Jenny Holzer, who presents poems of the Nobel Laureate Wisława Szymborska together with her own short “Truisms.” Or from single poems permanently written on walls – e.g. a much-discussed concrete poem by Eugen Gomringer at the facade of a Berlin college of education – to the technically enhanced spoken word, audible from far away as a side effect of gigantic poetry slam events in stadiums, e.g. the Trabrennbahn (race course) in Hamburg and even performative events such as Ulrike Almut Sandig’s „augenpost“ in which poems are ‘published’ on posters, flyers and free postcards in the urban space of Leipzig or declaimed on public squares in Indian metropolises through a megaphone. Such presentations of poetry in urban space are still uncommon, thus creating an aesthetic experience that differs strongly from reception in private settings or even in readings or public poetry festivals, as the poem relates to its urban surroundings.

The article is devoted to the study of genre features of the lyrical cycle of travel in modern poetry on the example of “Indian Cycle” (2008) by Vera Polozkova. The relevance of the study is due to the need to comprehend the lyrical cycle of travel as a synthetic genre form, in the structure of which various kinds of changes take place, first of all, genre features of the lyric cycle and travelogue are synthesized. The study of this genre form makes it possible not only to determine the originality of the author's creative manner and his place in the modern literary process, but also to trace the main trends in the development of the lyric cycle of travel in modern Russian poetry as a whole. The novelty of the research lies in the identification of genre, problem-thematic, compositional features of the “Indian Cycle”, which makes it possible to draw a conclusion about the expansion of the genre-typological features of the travel cycle due to additional lyrical motives (landscape, philosophical, love). It is established that the lyrical cycle of V. Polozkova’s travel is built along a real geographical route, the image of the country being visited becomes a plot-forming basis. In the course of the study, the peculiarities of the artistic perception of the geographical, cultural and historical space of the eastern country, national spirit and attributes are revealed. The features of the influence of the travel route on the inner world of the lyrical heroine are analyzed. Cultural codes and clichés associated with stereotypical perception of India are being rethought. The work proves that V. Polozkova's "Indian Cycle" clearly demonstrates the trend of genre synthesis emerging in contemporary poetry.

Despite being 'one of the most distinctive and distinguished of those British poets who began to publish in the 1950s', the writer, editor, critic, and translator Jon Silkin remains a largely forgotten figure in contemporary poetry. However, with the publication his Complete Poems in 2015 and the availability of his archive, there has been a renewed critical interest in the charismatic, prolific, and contentious poet. Drawing heavily from Silkin's unpublished correspondence, this article contributes to this revival by exploring his place within the post-1945 Anglo-Jewish community and his relationship to his Jewish identity and cultural heritage. In particular, it investigates how the First World War poet (and fellow Anglo-Jew) Isaac Rosenberg became a vital means through which Silkin articulated his poetic identity as one caught between two hyphenated cultures and histories and defined his relationship with his Anglo-Jewish contemporaries. [ABSTRACT FROM AUTHOR]

This article proposes a reflection on the idea of intervention present in the literary production of recent decades in Mexico. Whether in an evident way, through the graphic marks in the body of the poems, or through an elaboration that seeks to dilate conventional discourses, the intervention here has to do with the strategies created to intercede, through language, in the imaginary of the reader and, therefore, in his or her discourses. Thinking of them as producers of "poetics of intervention", the writings that we present here question the discourses of power, as well as the complex and different forms of authority. Resulting from diverse compositional processes, these writings make us reflect on the present time and the need for imagination for human survival. The dialogue with the mythical is one of the aspects of these processes, which is the subject of this first approach to the "poetics of intervention" in Mexico in the contemporary sphere. [ABSTRACT FROM AUTHOR]

Copyright of Basic Education College Magazine For Educational & Humanities Sciences 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 Lesan-on Mobeen-on is the property of Imam Khomeini International University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences 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.)

Corona my year (2020. 2021) had various repercussions that touched all levels, and literature was not isolated from its repercussions; He responded to the various changes that accompanied the epidemic, and they created texts that defined the pandemic, stood on its effects and tried to provide solutions to respond to it, supporting the stone as a preventive measure to limit the spread of the epidemic. Among the poets who responded to the repercussions of Corona, the poet Abdel Aziz Hammami, in his poem “Corona” adhered to reality and presented a creative document that defined the epidemic and provided precautionary instructions and instructions to prevent it, stressing the importance of quarantine, resorting to God, submission and prostration to him to lift the epidemic and scourge. [ABSTRACT FROM AUTHOR]

The Dutch-Flemish literary project De eenzame uitvaart (The lonely funeral) consists of city-based groups of poets who write poems and perform them at funerals of fellow citizens who died lonely and often anonymously. At first sight, this project could be considered as a revival of the genre of occasional poetry and, more generally, as an exponent of the 'revenge' of the lyric in the twenty-first century. This revenge, a term borrowed from Thomas Vaessens, implies that contemporary poetry no longer functions as a marginal and elitist genre but has reconquered its popular status and societal value – in short, its heteronomous function. This paper aims to question this idea of the lyric's revenge by analysing the ambitions (as expressed by the initiators of the project) and a selection of poems of De eenzame uitvaart. It contends that the project is founded on a firm belief in the potency of the lyric and its specific language but that this belief is often contradicted by the hesitant rhetoric of the actual poems. This discrepancy between great ambitions and hesitant practice is interpreted as a symptom of the contemporary status of the lyric, which takes revenge yet only reluctantly. [ABSTRACT FROM AUTHOR]

This article aims to establish two emerging literary traditions observed in contemporary British poetry. Starting with Sarah Howe's Loop of Jade (2015), there have been a group of debut collections by British poets with Hong Kong heritage. Some of them were born in the UK, while others emigrated there for personal, familial, or professional reasons. Examining their ekphrastic practices, namely, their poetic engagements with the visual arts, I will recognise two entangled, geographically specific kinds of ekphrasis, namely, Hong Kong ekphrasis and Chinese ekphrasis. I have observed that the former as seen in recent British poetry is used to reconstruct an 'old Hong Kong', which is characterised by an expatriate or second-generation point of view and conflicts with the city faced by the social movements since 2014. The latter self-reflexively engages with traditional Chinese art and the most sensitive topics in China's history. Together, the two overlapping but individually distinct types of ekphrasis enrich and complicate our understanding of the long ekphrastic tradition, the young tradition of Hong Kong poetry, the close connections between contemporary British poetry, cultural memory, and diaspora, and the complex geopolitical relations between Hong Kong, mainland China, and the UK. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

In this paper, I analyze the poems written in English by young, contemporary Kashmiri poets in an online platform called "The Kashmir Tales." Through textual analysis of these intensely personal poems, I argue, that these poems show the effects of trauma in a highly mystical language. In order to demonstrate this relationship of the poems with trauma, I interpret two prominent and recurrent motifs in the poems - prisons and the interplay of love and death. [ABSTRACT FROM AUTHOR]

The Sacred Defense, an imperative historical event in Iranian civilization in the preceding century, has nowadays developed into one of the most significant cultural symbols of the society. This has led poets and writers to devote their creations to the formation of artworks with themes and concepts related to this phenomenon. This approach has led to the formation of an exceptional style in the works of such literary figures. A motif is a specific theme, character, or pattern that is repeated in various forms in literature and art. The Sacred Defense poetry, which was formed with the occurrence of the mentioned historical event in the sixties, led to the strengthening of Iranian identity and cultural fundamentals. These widely used cultural motifs represent the poetry of war with its own stylistic features that aid to identify commonalities in thought, culture, values ​​and beliefs of the nation. The issue raised in this paper is to study the effect of this particular style of poetry on the formation and creation of conceptual and visual motifs and its reflection in the posters of the Sacred Defense. This research is accomplished relying on descriptive and analytical methods and also on the collection of library data. The findings suggest that a number of the motifs seen in the poetry of this period are faced with lexical, visual and thematic repetitions; moreover, the thematic section includes concepts such as martyrdom, patriotism, the battle between right and wrong, love, and so on. Studies have shown that the unique motifs related to the poetry of the Sacred Defense bestow an emotional, aesthetic, guiding and prominent function on the content of the poem and the approaches of the audience; consequently, the poets of the Sacred Defense created their most intense artworks by emphasizing the mentioned elements in their poetry. Such concepts have caused the endurance of the values of the Sacred Defense in the history of Iranian literature and its presence for the future Therefore, the adoption of this poetic style has increased the role of conceptual and visual themes in the poetry of the Sacred Defense. The posters of this act are created in order to celebrate and spread the culture of this sacred event and are reproductions of its conceptual and visual motifs in literature. Research aims: 1. To investigative the varieties of motifs and their elements in the poetry of the Sacred Defense. 2. To examine the motifs and elements of the Sacred Defense poetry in poster art. Research questions: 1. What elements do the poems of Sacred Defense use in describing the values and beliefs of such act? 2. What is the reflection of the poems of Holy Defense in the posters of this event?

The paper presents an attempt to figure out significant features of the contemporary tradition of poetic recital in China which is firmly based on the evolving voice dimension of Chinese poetry. Different formats of audial presentation stem from the same line of declamatory poetic practices perceived as means of conveying a hyperbolized emotion and/or as an agitation tool; they differ in the choice of the dominant performance platforms and stylistic guidelines. However, the unofficial poetry of contemporary PRC gives also examples of a new type of poetic voicing pretending to be a radically modern practice but being simultaneously an homage or rather a rethinking of the premodern practices. That is recitation with an accompaniment, which actualizes the melody of speech and highlights its prosody. It focuses on audio presentation of the texts using hybrid presentation formats, where the very structure of the versified words enhances the experience of poetry during declamatory performances.

In the field of Law and Literature studies, contributions on poetry are rare. This article focuses on a selection of contemporary poetic works: Cornelius Eady's A Brutal Imagination (2001), Frédéric Boyer's Le Goût du suicide lent (1999), Maurizio Cucchi's Il disperso (1976) and Corrado Benigni's Tribunale della mente (2012). Their lyrical shaping of law establishes a difference from the model of "forensic" poetry that can be found in Charles Reznikoff's Testimony (1978–1979). Through them, this contribution shows how it is possible to challenge a reflection on the language of lyric poetry and that of law at the same time, if we interpret the lyric poetry as a non-narrative discourse. [ABSTRACT FROM AUTHOR]

In Anti-Oedipus, Gilles Deleuze and Félix Guattari proclaim the ‘productive use of the literary machine’ with the aim to extract from the text its ‘revolutionary force’ – their book on Kafka, in which the concept of minor literature is put forward, is their experiment in doing this. The premise of this article is that Bhanu Kapil’s book-length poem How to Wash a Heart provides an apt point of reference for thinking through the problem of minor literature today. Kapil’s work is part of a significant development within contemporary poetry and poetics, writing informed by and building on postcolonial and feminist critiques of humanism and its encoded whiteness. In the light of Kapil’s work, the three characteristics of minor literature identified by Deleuze and Guattari are examined: the deterritorialisation of language, the connection of the individual to a political immediacy and the collective assemblage of enunciation. [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 recent 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. [ABSTRACT FROM AUTHOR]

Copyright of Synergies Portugal is the property of GERFLINT (Groupe d'Etudes et de Recherches pour le Francais Langue Internationale) 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.)

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