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This article explores some of the ways in which contemporary poets are tracing the roots and routes via which objects have come to, and continue to, reside within the walls of the museum. Focusing on poetic mediations of British Museums — on the Museum of London, the Manchester Museum, and the British Museum — the article analyses the works of Bernardine Evaristo, Inua Ellams, and Daljit Nagra. These poetic mediations can be read as literary archaeologies — as the concept is used by Evaristo — which speak to the histories, movements, and contemporaneous moments of colonial encounter that take place within the institution of the museum. The article moves to consider the way in which literary archaeologies might chart both a history of migration — looking at Bernardine Evaristo's The Emperor's Babe — and the migration of objects which are displayed in museums in Britain — with a focus on Inua Ellams's poem Tusk — before going on to examine the museum as institution, as it is presented in Daljit Nagra's collection British Museum. Setting these distinct, but complementary poetic interventions alongside one another, the article asks: how do these literary archaeologies respond to the histories and present-day stories told by — and about — British museums in the twenty-first century? [ABSTRACT FROM AUTHOR]

Copyright of Alizes is the property of Universite de la Reunion 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 paper describes Japanese Zen monk Sesson Yūbai’s (1290–1347) long poem Minzanka written in Chinese, especially focusing on the way its formal properties influence the way in which natural phenomena are described in it. Afterwards, these stylistic features are contrasted with Japanese language poetry of the period, including waka, renga, and wakan renku forms, and also with Tsurezuregusa, a prosaic Medieval Japanese text. The full working translation of Minzanka is included in the paper. [ABSTRACT FROM AUTHOR]

Library run co-curricular programs offer a powerful response to the growing demand for academic librarians to perform new roles to improve students' information literacy. Increasing in popularity, co-curricular programs are embedding information literacy skills in increasingly unique, creative, and effective ways. Initiated by the Run Run Shaw Library, CityU, the poetry recital project is a co-curricular program which connects students with historical East Asian poetry in a fun, engaging and insightful manner. This paper recounts how the poetry recital project facilitated a knowledge transfer linking students to scholars, and used historical poetry as a device to embed information literacy teachings. [ABSTRACT FROM AUTHOR]

History is replete with examples of how literature can be a critical strategy for calling out abuses, exposing forms of oppression, and envisioning democratic futures. Two poets of note--South Korea's Kim Chi Ha and the Philippines' Amado Hernandez--served as their respective societies' conscience for their unequivocal commitment to justice and equality. Both suffered incarceration for their political and literary activities, but are now vindicated, their works considered timeless paeans to genuine freedom and democracy. In this paper, I analyze the poems of these two important literary figures through the lens of Liberation Theology, in particular the notion of resistance as the fusion of the discourses of critique and possibility, of denunciation and annunciation. This suggests that while some poems can be read as powerful execrations against oppression and injustice, there are also poems expressing that more humanizing conditions are possible. The paper concludes that this dialectic of Liberation Theology may be employed in interrogating other cultural forms and practices. [ABSTRACT FROM AUTHOR]

In an effort to capture how Orientalist translations, imitations and criticism of Asian poetry came to inform the idealization of lyric as a universal genre, this paper focuses on the practice of poetic metre in the nineteenth century. How did Victorian conceptions of recitational communities, bounded by shared 'national' metres, square against the wealth of translated works that were a major component of Victorian print culture? The amateur Orientalist Ebenezer Pocock explained various metres and musical practices associated with 'Persian lyrics' in his book Flowers of the East (1833) and offered equivalent metres in English before replicating these shared English/Persian metres in his own imitative poem 'The Khanjgaruh: A Fragment'. This article sketches how Pocock's casting of this hybrid material in metres that would already have been recognizable to his English readers seems to have the intended effect of both orienting his work towards his domestic audience and grounding such a flexible approach within the Persian tradition itself. Pocock's poem sits amongst a range of accompanying materials including translations of Sa'dī and scholarly essays on comparative philology and Persian literary history. Each of these different pieces supports the collection's greater effort – best encapsulated by 'The Khanjgaruh' – to both remember and imagine the shared poetic history between Asia and Europe. Pocock's writing thus emblemizes how the nineteenth-century 'West–East lyric' was a product of both historical and philological recovering as well as the willed creation of poets and poetry enthusiasts. As a category, lyric performs a binding function in Pocock's work to pull together a linguistically and professionally diverse community of writers. [ABSTRACT FROM AUTHOR]

Khavari Kashani, nicknamed Fakhr al-Waizin and the language of Islam, which is one of the titles bestowed on him by Muzaffar al-Din Shah, is one of the poets of the constitutional period whose research on his poems has not been observed. In addition to being a poet, he is a journalist and with his poetry and prose tools, he has patriotic and political poems that show the poet's social commitment . He criticizes the Shah, the courtiers, and the foreign colonizers (Russia and Britain) in a strange way, and his poems on the homeland are among the best poems of the constitutional era. The reflection of many political and social events of this period can be seen in Oriental poetry .Patriotism, xenophobia, critique of moral, cultural and social vices, and freedom-seeking are among the themes found in his poems, which we will address in this article. In most of these cases, he has presented his message and critique by using allegory. [ABSTRACT FROM AUTHOR]

In 1600, Japan-based Jesuits printed a moveable-type edition of the Wakan rōeishū (The Collection of Japanese and Chinese resonant verse), a bilingual anthology of classical Japanese and Chinese poetry that had long been an emblem of Japan's literary world. Made to educate Japanese and foreigners alike in the scripts, languages, and literatures of Japan, the Amakusa Rōeishū was a component of an educational and evangelizing mission. Although it was neither translated into European languages nor widely circulated, the Amakusa Rōeishū represents an alternative to prevailing conceptions of world literature in its capacity to invite and challenge readers to work through its (decreasingly) foreign systems of meaning. By redesigning the anthology's title page, reediting its contents, and repositioning it on a multilingual and multidirectional curriculum, Jesuit printers and teachers invited an incommensurate ecumene of readers to work through a singular text from a plurality of directions. [ABSTRACT FROM AUTHOR]

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

The article presents several poems. Untitled. First Line: 28 03 1975 2 a.m.; Last Line: An Nho'n Bình Khê. "On Minimalism." First Line: A choreography of vendors; Last Line: The clarity of lightness. "Shinjuku." First Line: Skimming water lines; Last Line: Flickers on a cold spring night.

This article explores the circulation, translation and rewriting of poems and tropes of Chinese, Japanese, Korean and Indian literature in literary works from Peru, Chile and Argentina. The presence of Oriental Asian Lyrics left significant traces in Latin American literature since Modernism, echoing the Historic Avant-Garde's interest in Non-Western symbolic universes. The essay concentrates in poems by Hugo Padeletti (Argentina), Juan Luis Martinez (Chile) and José Watanabe (Peru) and proposes a tentative map and a quantitative approximation to examine new transit circuits between these two worlds. The goal is to recognize Asian Lyric tradition's footprints--as the Buddhistinspired sensibility-- in texts from recent South American poets, with the goal to make a reading, rewriting, circulation and transcription map of motives and procedures of Asian poetry in works by contemporary South American poets. [ABSTRACT FROM AUTHOR]

Modernism and Post-Modernism are widely viewed as the mainstreams of the poetic scene in contemporary China. However, we can still find some Romantic poets of great importance, which illustrates the revival of Romanticism in contemporary China. Haizi, a talented poet who has been exerting great influence on contemporary and younger poets since his death, is a great example which profoundly suggests the opportunity Romanticism has and the dilemma it confronts in the cultural context of contemporary China. The intimacy between Haizi and Romanticism lies mainly in the self-positioning and self-fashioning. Haizi's emphasis on ego, subjectivity and will, his claim of poets to be 'kings,' is a quite unique phenomenon in the contemporary Chinese scene where poets are marginalized and their subjectivities are weakened by the society and even themselves. Therefore, Haizi's poetry not only reveals its connection with Romanticism, but also the tension between the ideals of Romantic poetics and the reality of contemporary Chinese society. [ABSTRACT FROM AUTHOR]

Looking into the expression of an indigenous speech in the colonial press published in Algeria in the nineteenth century is not without its difficulties. One might think that a priori these newspapers would not permit the native populations to speak, for practical reasons as much as political and social ones. This article rests on a few cases taken from colonial newspapers and aims at examining the words that the colonizers stole to those who had become "indigenous" in the colonial lexicon: for which texts were they credited? How did they emerge and what literary ethos was being built? In these texts targeted at colonizers, the fact that indigenous people were expressing themselves was being questioned as it revealed the ideological foundations of colonization through that particular type of literature. Arabian poetry was one axis to apprehend native discourse, that is, an idealized speech that was still connected to orientalism and the thirst for "local color." Historical texts also provided a second access to this discourse, this time from a scholarly perspective, which turned colonial words into dominant discourse even when it came to historical truth. Finally, on a different level, caricatures highlighted the representation of the spoken word by the indigenous. These three types of texts, considered as a whole and illustrated here by precise examples, share a common presentation of a colonial voice that relays the voice of the colonized. What remains is to observe the rare cases of texts claiming a native signature, which deserve our attention given their unusual character. [ABSTRACT FROM AUTHOR]

This chapter examines the poetry of Scottish South Asians, the 'New Scots', who bring a whole history of displacement, dislocation and relocation with them, as their memory of the 'elsewhere' enters their writing. Their voices are significant as they embody multicultural Scotland with postcolonial dialectics that signify an encounter in the Third Space where they are affected by and affect the 'host' community. This chapter will question whether the writing of 'New Scots' has added more than just 'colour' to Scottish poetry, as it traces the recent migrant history and analyses the lives and 'voices' of diasporic communities as evident in their poetry. The objective is to assess how the new 'voices' have blended in, expanded and/or challenged the boundaries of what defines Scottish poetry, and determine whether they form a 'community' of poets distinguished by the complexity of their regional allegiances, both past and present. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the editor discusses articles in the issue on topics including set poetics and culturalism in productive dialogue; promotion of poetics programme; and views on Asian filmmaking.

Word frequency methods have been used by psychologists, linguists (and of these computational linguists), etc. with a variety of purposes. In this study the frequency count method has been applied in order to find out a thematic hierarchy within a group of related texts. The particular texts chosen are a group of 70poems of the XIII century South- Asiatic author Sultan Bahu. Sultan Bahu's poems contain his interpretation of the Beloved and human's relationship with Him. The importance of this research lies in the fact that Sultan Bahu's texts have never been thoroughly analyzed from a linguistic point of view. Through the analysis of the results of the frequency counts a hierarchy of subtopics within the main topic will be revealed. The present research paper attempts to uncover and evaluate Sultan Bahu's concept of mystical love and its components in a hierarchical manner. [ABSTRACT FROM AUTHOR]

This article discusses Western attitudes to the style of the Koran from the sixteenth to the late eighteenth century. The subject is of particular interest because the question of the Koran's aesthetic value is ultimately linked with the Islamic belief that the inimitable beauty of Muhammad's revelation is the very proof of its divine origin (i'jāz al-Qur'ān). Given the apologetic function of this doctrine in Islamic theology, many early modern European orientalists, from Theodor Bibliander to Ludovico Marracci, criticised the style. Some of the arguments presented were remarkably persistent and can be followed up to the present day. This article also shows, however, that since the end of the seventeenth century scholars such as Andreas Acoluthus, George Sale and Claude-Etienne Savary had developed a more favourable attitude to the Koranic style, while, at the end of the eighteenth century, the Prophet Muhammad was seen as an inspired genius and the Koran as an example of 'divine poetry'. [ABSTRACT FROM AUTHOR]

Despite his high profile in poetry anthologies and in the commentaries of specialists in South East Asian literature, the craft of Ee Tiang Hong has not been subject to close investigation. Systematic attention to the linguistic organization of his poems brings out Ee's command of resources more general to speakers of English than the localistic lexical items and idioms which are overt signals of his provenance as a sensibility, but are not synonymous with his technique as a poet. Ensemble effects in Ee's poems, based on grammatical selections from mood, transitivity, theme and clause combination (including subordination and embedding) are examined and interpreted here. Such textual ensembles are part of the poet's syntactic craft (Ee, personal communication) and invite comparison with strategies developed by other poets of English whose works tend to dominate university curricula in English literature (viz. Yeats, Frost, Stevens, Auden). Such systematic analyses and comparisons stimulate further reflection on terms, such as ‘hybridity’ and ‘code-switching’, which have directed attention away from a poet's craft and towards his or her cultural provenance. While Malacca, Singapore and Perth cannot be treated merely as background to Ee's work, further enquiry into motivated selection across the language of Ee's poems assists us in understanding what is substantial and what is misleading about the point of view implicit in terms like ‘code-switching’. Greater attention to ‘register’ and ‘class’ may also help in another systemic domain crucial to Ee's sensibility – namely, what counts as progress in systems of education. [ABSTRACT FROM AUTHOR]

Michelle Yeh is now teaching at Department of East Asian Languages and Cultures and Department of Comparative Literature, University of California Davis while studying long-term modern Chinese poetry. Through a unique perspective of margin, a systematic introduction is made of Michelle Yeh 's fruitful studies. By an analysis of unique features concerning modern Chinese poetry, such as aesthetic image,metaphor improvement and cycling structure,the central ideas in Michelle Yeh's studies are discussed in detail. A series of theories put forward by Michelle Yeh are introduced,such as cult of poetry, modernism and post-modernism in poetry and cultural politics in poetry. Finally, as an expert in comparative literature, Michelle Yeh's broad views and fruitful research results are demonstrated. [ABSTRACT FROM AUTHOR]

Copyright of Dirasat: Human & Social Sciences is the property of University of Jordan 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.)

Of Lu You's 241 du shu shi (poems written after reading books) anthologized in the Quan Song shi (Complete Song Poetry) 101 are du shi shi (poems written after reading poems). This paper uses these 101 poems as the basis for an analytic text, and attempts to examine Lu's response to the study of poems composed by Tao Yuanming, Li Bai, Du Fu, Cen Sen, Wang Wei, Bai Juyi, Yuan Jie, Xu Hun, Han Wo, Mei Yaochen, Lin Bu, Wei Ye, Fan Zhongyan, Huang Tingjian, Lu Benzhong, and Su Guo. The writing strategies used Lu's du shi shi basically consist, firstly, of moods aroused from contacts with the living world, and secondly, of emotions expressed allegorically. The writing style of Lu consists mainly of chanting feelings and expressing aspirations, tilting toward the "bi (trope) xing (symbol)" metaphoric style popular during the Tang dynasty. This style is characterized by (1) selecting certain phrases from books the poet has read to reflect the poet's mood; (2) privately remembering one's predecessors and pursuing a transcendental life; (3) chanting Nature and deciding whether to secure an official position or remain a recluse; (4) encouraging people's will and spirit; and (5) lamenting vicissitudes and expecting renaissance. In short, the "bi xing" metaphor in the du shi shi enables the poet to express feelings and emotions, thus lending profundity to the poem. As for Lu's veneration of this paradigm as the criterion for expounding the tradition, it is identical to the du shi shi in the Northern Song. Other genres of du shi shi include responses to poems and critiques of poems--rarely if any. Compositions like the summary of poems and the repetition of the narration of the text are collected sporadically in the prefaces, epilogues, and notes in the Wei Nan wenji. Lu, as a bibliographer and intellectual 61ite, proposes that poetry be concerned with the ordinary world, or being-in-the-world, instead of only with mechanical book knowledge, and that poetry reflect multiple layers of literature and strive for perfection. In other words, Lu's poetic theory recommends that literary works be regarded as having the catalytic potential of "bi xing," and as being the media for expressing both grief and indignation of which discourses like fafen ... and yanzhi ... are examples, and for the venting of lamentations for the turmoil in society and of pity for oneself. Therefore, Lu's shi shi is slightly different from other works of the Song period in that he believes that books or knowledge ought to be a stepping stone for composing poetry rather than being a stumbling block. [ABSTRACT FROM AUTHOR]

Lyu Geum ..., a retinue officer of the Choson emissary sent to the Qing court in Beijing in 1777, brought along a copy of the Hanke jinyan ji ..., a collection of poems of four young Choson poets compiled by himself, and presented it to Li Tiaoyuan ... and Pan Tingyun ..., two eminent Qing poets of that time. They gave high marks to the four poets' achievements and wrote prefaces for the book. This was a very significant event in the history of Sino-Korean cultural contacts during the Qing dynasty. Firstly, these four poets' stature was elevated in Korea because the Qing poets gave them high marks, and they became known as the "Four Poets." Secondly, from then on, Choson poets Lee Deokmu ... Park Jega ..., and Lyu Deokong ... wrote letters and kept close contacts with Li Tiaoyuan and Pan Tingjun; later, they met with each other in Beijing several times. Thirdly, after they returned to Korea, they advocated that Choson should learn from Qing China and initiate political reform; hence, they became the backbone of the Choson Bukka School. [ABSTRACT FROM AUTHOR]

This article analyzes Shao Yong's poem "Great Chant on Observing 'Weiqi'" as exemplary of his three-step epistemology. The first part of the poem describes the emotional intensity and unpredictability involved in the weiqi games. The second part includes observations with the mind, pondering on historical events as weiqi analogies. The third part explores the principles implicit within the cosmic games, focusing on basic concerns as fundamental universal processes and interrelationships.

Enumerates and assesses some of the major multiple-author anthologies of Chinese poetry available in English. Translations of the poetry anthology "Shi Jing"; Information on "The Songs of the South: An Ancient Chinese Anthology of Poems by Qu Yuan and Other Poets"; Background on the poetry from the T'ang era.

T. S. Eliot famously remarked that Ezra Pound was "the inventor of Chinese poetry for our time." The nature of this invention is examined within the context of Pound's larger modernist project: his transformation of classical Chinese poetry into Imagist free verse and his projection of a vision of China as a utopian counter-image to the failure of the contemporary west. Although Pound clearly enough was consciously appropriating Chinese poetry according to his own poetic concerns, his particular solutions have had a pervasive impact in determining the look and sound of classical Oriental poetry in English ever since. The fundamental problem raised by this very influential tradition of poetic translation is the illusory desire for easy access to the foreign. In the early 1990s there began to appear the hoax texts purportedly by the previously unknown avantgarde Japanese poet Akiri Yasusada. Although a simulation rather than a translation's proper, the Yasusada text will here be considered as a forceful questioning of the usual assumptions of translation's faithfulness and obligations to the foreign original. The elaborate construction of the Yasusada texts, including their initial public presentation as a hoax and the subsequent controversy, puts the reader in a disquieting and self-reflective position with respect to the desire for the authentic foreign. [ABSTRACT FROM AUTHOR]

Asserts that the North Caucasian area has its own native hearths of ancient metallurgy as reflected in Ossetian epic poetry. Period of the North Caucasian copper age; Legends of the Narts; Two ways in which steel was made in the ancient period.

Discussion on the conception of oriental character by E.M. Forster which is based on his awareness of Urdu poetry. Text of his diary entry on January 10, 1911; Analysis of his interpretation of a poetry from Mirza Asadullah Khan Ghalib; Examination of his use of the concept of God in his poetry.