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Bud Osborn (1947-2014) was an American poet and activist who arrived in Vancouver, Canada in 1986. He landed in Vancouver's oldest neighbourhood, the Downtown Eastside (DTES), while struggling with heroin addiction. The DTES is a complex and politically active neighbourhood and site of intersecting social crises. Osborn would spend the remainder of his life capturing this community in his poetry, which is often understood solely through activism for harm reduction and against gentrification. In this article, I engage with his poetry to understand the politics which motivate his activism. This exploration will include a variety of textual mediums, voices, and analytic perspectives to capture the complex politics contained in his words. I believe that by reading his words we can examine his complicated self-positionality as a PWUD (people who use drugs) and a member of the lumpenproletariat who occupied sociocultural spaces that often excluded those from his social standing. This examination shows how he constitutes the DTES as a space of material and discursive struggle. What emerges from this examination is how his poetic resistance at the level of the signifier intertwines with his street-level resistance. That is, how the act of writing and reading poetry can be an act of defiance. [ABSTRACT FROM AUTHOR]

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

The author examines the meta-criticism approach evident in the poetry collection "Observations" by American poet and critic Marianne Moore. Topics include comments on Moore's tendency to borrow quotations from unexpected sources such as from the diaries of Russian author Leo Tolstoy, a definition of resistance in "Observations," the manifestation of Moore's moral views on human nature, judgment and criticism in her work, and the implication of her engagement with criticism in the collection.

African Americans and Palestinians share a long history of prolonged traumas, ethnic genocide, and systematic apartheid, which finds its traces in Palestinian and African American poetry of resistance. The brutal practices of the Israeli government in Palestine, as well as the racist ideology and imperialistic hegemony of the recurring American governments, became the primary targets of African American and Palestinian resistance poetry. This treatise critically investigates social, political, historical, and human zones of contact between African American and Palestinian poets through the lens of postcolonial theory, highlighting topics of collective interest that underpin the discourse of the two poetic traditions. Exploring historical and textual spaces, the article illustrates tendencies toward home, identity, freedom, and struggle that permeate the Palestinian and African American poetic discourse. With its focus on poetry, the article highlights parallels between the two literary traditions that brought Palestinians and African Americans together in their fight for independence, self-determination, sovereignty, and universal justice. While African American nonviolent protest poetry is marked by intense nostalgia and a burning yearning for freedom, Palestinian resistance poetry is primarily defined by intense rage, revolution, and a vehement burning desire to reclaim the lost land and identity via all possible acts of resistance. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Anbar University for Languages & Literature / Magallat Gami'at Al-Anbar Li-Lugat Wa-al-Adabl 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.)

This article examines five poems of different African American poets from 1900 to 1999. Its main objective is to explore how each poet tackles African Americans' – and sometimes other minorities'- marginalization and persecution in the US, highlighting the eco-injustice practices conducted by the white authority. It also traces the established bond between African Americans and nature in the twentieth century through an ecocritical analysis of the selected poems. The article includes an examination of the reaction of African American schools developing from racial romanticism to resistance. To achieve this, the article identifies the differences between two basic terms that are usually used interchangeably: ecojustice and environmental justice. Then it identifies and illustrates four types of ecopoetry: nature poetry, environmental poetry, ecological poetry, reclamation ecopoetics/ecojustice poetry. [ABSTRACT FROM AUTHOR]

Nineteenth-century American women poets wrote parodies to challenge the sentimental portrayals of women and resist literary commercialism. Building on Mikhail Bakhtin's and Linda Hutcheon's theories of the dialogic and literary parody, this article explores how Lydia Sigourney (1791–1865) and Phoebe Cary (1824–71) parody male authors such as Poe and Longfellow to register their critiques while ostensibly maintaining a demure image for their readers. Their parodies also manifest subversive intent by speaking from and on behalf of marginalized groups, including women, the working class, and Native Americans, and by indicating support for environmental justice. [ABSTRACT FROM AUTHOR]

Copyright of Fabrica Litterarum Polono-Italica is the property of Wydawnictwo Uniwersytetu Slaskiego 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.)

Sylvia Plath (1932-1963) was an American author and poet, perhaps best known for her semi-autobiographical novel The Bell Jar. Her poetical oeuvre was filled with challenging themes of suicidality, mental illness, and a budding feminism, particularly in the poems composed toward the end of her tragically short life. One of these poems, "Lady Lazarus," pushes the bounds of expectation and, some would say, propriety. This short reflective Poet's Pen focuses on Sylvia Plath and the many themes--feminism, suicidality, self-rebirth--for which she would later be known. The poem itself is a melting pot of imagery, drawing themes from the Judeo-Christian perspective, cycles of death and rebirth, and the mythology of the phoenix rising from the ashes. [ABSTRACT FROM AUTHOR]

Black females have always played an important role in literature. Amanda Gorman and Maya Angelou are two of the most pivotal literary figures whose art has contributed to the liberty and independence of black women all over the world. They have employed their literature in order to discuss social problems, and this is the reason why their poetry can be regarded as political poetry. This research intends to analyze the theme of love and the way it is politicized in some poems by Gorman and Angelou. In fact, this study inspects the amalgamation of love and a black feminist politics since the examination of the penetration of love into politics reveals that black feminism's politicization of love exceeds the problems of identity politics, primarily intersectionality. In order to achieve this goal, hooks has been selected as this paper's main theoretician owing to her preoccupation with the intersectionality of race, capitalism, and gender, and what she has labeled as these three features' aptitude to cause and extend women's suppression and class dominion. [ABSTRACT FROM AUTHOR]

While common knowledge on Wallace Stevens suggests that he influenced only one Asian American poet (his friend, the scholar Peter H. Lee), a fuller investigation into Stevens's legacy reveals that he very well may be the Anglophone modernist with the most widespread and enduring influence on the past eighty years of Asian American poetics. In this essay's first half, I retell the history of Stevens's reception by Asian American poets, distinguishing it from his reception by Black poets (on the one hand) and from Asian American poets' responses to modernist orientalism (on the other). In the essay's second half, I offer a flexible argument about the indispensability of Stevensian abstraction to two of the most celebrated poets of their generation, Arthur Sze and Vijay Seshadri. [ABSTRACT FROM AUTHOR]

Copyright of Journal of College of Languages 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.)

This essay examines the complex role of the poet-translator through the specific case of the collaborative relationship between Mexican poet Octavio Paz and his long-time translator, the American poet Muriel Rukeyser. The article first outlines the role of literary translation in Rukeyser's artistic practice and illustrates her outlook on the process. More generally, it engages with existing theorizations of the translation of poetry, especially those that focus on the often precarious position of the established poet as translator. With Rukeyser's translatorial position established, the article then provides a close reading of the correspondence between these two long-time collaborators, bringing to the foreground a gradually increasing disconnect over how Paz's poetry should be translated. These progressively differing points of view on translation would eventually play a role in opening up Paz's Spanish-language poetry to new translators in the United States. While this article examines an understudied but crucial facet of Rukeyser's career as a writer and translator, it also sheds light on the complicated set of expectations and realities involved when one poet translates another. [ABSTRACT FROM AUTHOR]

The article explores the use of Black American poets in the 2020 US Democratic Primaries, focusing on how candidates incorporated poetry into their campaigns. It raises questions about the authenticity and effectiveness of these strategies and examines the implications of using Black poets in terms of outgroup affiliations and the distribution of Blackness. The article emphasizes the need for critical examination of the use of Black poets and poetry in political campaigns, highlighting the appropriation and re-authoring of Black culture by white institutions. It also discusses the historical sublimation of Black personhood and the commodification of Black poets for political gain. The text examines the complex dynamics of race, politics, and representation in the context of US electoralism. [Extracted from the article]

The article examines Amiri Baraka's play "Dutchman" as a cautionary tale about the perils of Black Americans succumbing to the seduction of white American culture. Baraka's work emphasizes the necessity of forging self-determined Black identities and resisting assimilation, advocating for activism through art.

The representation of animals in literature has long been dominated by anthropocentric perspectives that prioritize human experiences and values. Animals were relegated to metaphors and narrative accessories, neglecting their inherent rights and treating them primarily as reflections of human qualities. This paper examines the works of contemporary American poets Louise Glück and Mary Oliver, focusing on how their selected poems reconsider conventional anthropocentric patterns of animal representations in poetry. The analysis centers on the poets' strategies to blur rigid boundaries between the human-animal divide by challenging conventional depictions where animals are frequently assigned peripheral roles. The study explores how these poems cultivate powerful connections with the natural world, fostering a sense of communion and interconnectedness with nature. Additionally, the research highlights the deliberate efforts by the poets to reconfigure hierarchies, challenge value dualisms, and question anthropocentric narratives that sanction oppression. Lastly, the paper contributes to the broader discourse on ecocritical thought, enriching discussions on literature and environmental activism. [ABSTRACT FROM AUTHOR]

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

The present study aims at rebalancing Water's public image and evaluations, which seemingly have been until now relegated to a secondary position comparatively with other global and regional phenomena, objectives and actions on the ground - climate change, conflicts, migration and so on. The purpose is not only to consolidate Water's status on the national chanceries' agendas, as well as those pertaining to regional and global fora, but also to identify meaningful approaches and pragmatic solutions to the present Water issues and challenges, the geopolitical ones included. This demarche was possible based on a cooperative approach Human Intelligence (HI) - Artificial Intelligence (AI). In practical terms, a wide range of Water issues of the day were approached as a result of a sui generis "division of labour" between the two, hence the text's Part ONE and Part Two, not excluding relevant points of intersection between them. With regard to the AI, we opened a "dialogue"1 with ChatGPT2, one of the most used at the time AI models. Through a number of specific patterns of dialogue in the given case - Chats, we aimed at capitalizing AI/ChatGPT specific potential in terms of accessed quantity of data and their processing capacity. Interestingly, in two of the Chats, our "interlocutor" came to acknowledge some of its inner limitations. As an element of absolute novelty too, the study advanced the possibility, first of all in teleological terms, that AI/ChatGPT and Water could share a common fundamental characteristic, namely the unique capability to expand and penetrate areas and territories, overcoming whatever eventual obstacles. Such a heuristic opening allowed us to navigate with the study's core theme from water crises and hazards to famous sayings describing water traits and impacts, by Chinese and Japanese wise-men, or Romanian and American great poets and one Great Composer. As well as, not ignoring the impressive "water proper timbre" and its array of effective manifestations on the ground. It is in this light of balance between material water's traits and the more ethereal ones that we discussed and convened with our interlocutor - AI/ChatGPT, using one of the Chats, even our Study's present title. As a final part, a set of recommendations with regard to future Water evolutions were envisioned, and that on the background of the consequential triple nexus between AI - HI - Water, considering also that today's AI/ChatGPT is a work in progress, with future horizons impacting intimately the interlinks with Water. [ABSTRACT FROM AUTHOR]

Copyright of Lingüística y Literatura is the property of Universidad de Antioquia, Facultad de Comunicaciones 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 explores the influence of Ralph Emerson on Wallace Stevens' early poems, challenging the notion of mere "Emersonian echoes" and identifying specific verbal borrowings in "Harmonium" that deepen our understanding of Stevens' work. Topics include the role of nature in "Invective Against Swans" and the portrayal of American landscape in "Anecdote of the Jar," shedding light on Stevens' cNature omplex engagement with Emersonian themes.

This essay argues that Ah Sin—a character in American poet Bret Harte's satirical poem, "Plain Language from Truthful James"—became a meme used in racialized thinking across the nineteenth-century Anglophone world. Variations of the Ah Sin character appeared in forms ranging from newspapers and the burlesque to Anthony Trollope's novel, The Way We Live Now. Trollope's The Way We Live Now deploys the meme to critique the workings of a media landscape prone to oversimplification and exclusion. By contrast, the novel renarrativizes Ah Sin by invoking the poem's contexts of the American West. However, instead of Harte's Chinese gold miner, Trollope creates an imaginary Chinese emperor, thereby reflecting the complicated geopolitics of British and American attitudes toward Chinese migration and the Qing empire. [ABSTRACT FROM AUTHOR]

Nicaraguan poet-priest Ernesto Cardenal (1925–2020) is one of the most important Latin American poets. He developed his "exteriorist" poetics in the 1950s, much influenced by Anglo-American poets, in particular Ezra Pound, to differentiate his poetry from the prevailing subjectivist verse in Latin America. The impact of Pound's canto technique on his work is clear, as well. Cardenal's epic poem Cántico cósmico (Cosmic Canticle), published in 1989, is his magnum opus. This work is distinguished by his avant-garde use of science and its language, as he contemplates the entire cosmos and issues of being and non-being. Revolution is another major aspect of the poem, reflecting Cardenal's commitment as a Christian-Marxist revolutionary. My translations of three fragments of his Cosmic Canticle selected by him are published here for the first time. They represent his focus on the origin of our planet and life on Earth. [ABSTRACT FROM AUTHOR]

In his Nobel Prize acceptance speech in 1987, the Russian-born American poet Joseph Brodsky argued that aesthetics is the mother of ethics. However, there is an ambiguity in his use of the term aesthetics. In the first part of this article, I distinguish between Brodsky's narrow use of aesthetics, which refers to problems of beauty, and the broader sense, which refers to the cognitive function of sensibility and feeling. I then suggest that good sense can be made of the claim about the origins of ethics only if we employ the broader sense of aesthetics. The second part draws on examples from Brodsky and the American poet Jorie Graham to illustrate the ways in which the feelings generated by human sensuous receptivity transform the world from a meaningless physical system into meaningful sets of life-valuable relationships. The third part sharpens this conclusion by considering the conditions under which the world can appear to be meaningless. In the final section I link Brodsky's poetic responsiveness to the world to John McMurtry's philosophical analysis of "the felt side of being." Poetic evocation and philosophical argument are two approaches to the same problem which, when brought together, provide a comprehensive explanation of why aesthetics is the mother of ethics. [ABSTRACT FROM AUTHOR]

This essay pursues a double goal. On the one hand, it aims to characterize the authorial staging of Gabriela Mistral by the year 1922, in the context of publication of her first poetry book, Desolación. On the other hand, it inquires into the process that led to the first edition of the book, which did not occur in Chile but in New York City (USA) due to the Spanish philologist Federico de Onís' mediation. The study's methodology shifts the focus from the poetic writing analysis itself to the dynamics of the Ibero-American literary and cultural fields. In this way, this essay elaborates on the conditions that allowed Mistral to have her book published and to consolidate her authorial figuration as a Latin American poet and intellectual of international relevance between the decades of 1920 and 1950. [ABSTRACT FROM AUTHOR]

The present work addresses the deep intertangled poetic kithship between the Jewish German‐language poet Paul Celan (1920 – 70) and his most prolific translator, the contemporary translingual American poet, Pierre Joris (b. 1946). Taking Joris's recent and final translated volume of Celan's poetry — Memory Rose into Threshold Speech (2020) — as its discursive perch, this essay constellates various key interlocutors between the two poets and examines Joris's tremendous half‐century‐long feat in translating Celan into an American idiom. The force and ultimate lasting power of Joris's translation project lies in its rare ability to hold and behold in English the mutilated music of Celan's umfarshtandlekh (incomprehensible) poetics, itself a form of German reimagined through a post‐Holocaust expanded Yiddish. [ABSTRACT FROM AUTHOR]

Pierre Joris discusses his literary journey from Luxembourg to Bard College to Algeria to Paris and London and finally New York. Joris focuses on his translation of Paul Celan, his engagement with the poetry of the Maghreb (culminating in his coediting of The University of California Book of North African Literature, volume 4 of Poems for the Millennium), and the importance of French poet Edmond Jabès. He goes on to address his choice to write in his fourth language, English, and the formative readings of American poetry and his connection to some of the New American Poets of the generation older than him. In the course of the interview, Joris discusses his sense of a nomadic community—or perhaps better to say "negative" or "inoperable" community. Throughout, he comes back to his commitments to writing poetry and to translation as the core the practice of poetry. [ABSTRACT FROM AUTHOR]

The recent venerations of Paul Celan on the occasion of his centenary invite further reflection on how his poems reach across time. As immersed as they are in their own here and now, Celan's poems demonstrate a remarkable capacity to touch on others' histories and experiences and to be touched by them in turn. Drawing on the elaborations of touch in transnational German studies, and the ways in which touch apprehends relations that fall outside of the purview of comparison, opposition, reception, and encounter, this introduction sketches out a framework for appreciating the connections that his poetry facilitates. The essays that follow offer connective readings of Celan that range from the 13th-century Anatolian mystic Yunus Emre to the contemporary American poet Claudia Rankine. [ABSTRACT FROM AUTHOR]

This article discusses the increasing diversification of perspectives on American poet Gary Snyder's work. It explores how Snyder's global perspective and personal experiences shaped his poetry, which reflects the complex relationships between humans and nature in modern society. The article also highlights the significance of oriental cultural elements in Snyder's works and the influence of Zen thought on his poetry. It examines Snyder's use of Zen imagery and allusions, as well as the ku structure in his poems. Overall, Snyder's poetry is seen as a means of spreading Buddhist teachings and conveying Zen concepts. [Extracted from the article]

Copyright of Trans/Form/Ação is the property of Trans/Form/Acao 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 Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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 Letras (0326-3363) is the property of Pontificia Universidad Catolica Argentina 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 Estudios Filosóficos is the property of Estudios Filosoficos 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.)

Although Maya Angelou is an American by her nationality, her craftsmanship in poetry writing makes her a global citizen. The simple yet thoughtful subject matters of her poetry, selection of lucid language, toning down the burning issues of the modern world etc. appeal literary lovers across the world to read her poetry. The present researcher makes an effort to recount the untold stories of the lives of African Americans: the dark past, unstable present and surviving skills in an unhealthy social setup. [ABSTRACT FROM AUTHOR]

This paper examines the poetry of the two Palestinian American poets, Naomi Shihab Nye and Hala Alyan within the concept of the “thirdspace” of resistance literature. With this premise in mind, the study uses Edward Soja’s concept of “thirdspace” (1998) to examine the poetry of Naomi Shihab Nye and Hala Alyan as an articulation of “resistance poetry” exemplified in Ghassan Kanafani’s book entitled Resistance Literature in Occupied Palestine 1948-1966 (1966). The poem itself, as a form, is an imagined geography constructed by the poet’s personal and collective memories that build up his/her spaces of resistance poetry. In these artistic cartographies, memories traverse from contested lands and geographies to a “thirdspace” that recreates a timeline of stories and narratives that unfold the poems’ resistance manifesto. To foreshadow these imagined memories, the poem functions as: first, a documented tool of resistance to forgetfulness; second, an artistic device for articulating memory; third, a “thirdspace” where contested geographies of resistance and resilience dissolve to re-visioning history that curates hybridized literary spaces of prose poetry and cartographies of memory. [ABSTRACT FROM AUTHOR]

An introduction is presented in which the author discusses various reports within the special issue dealing with topics such as American poetry, American poets with ties to Iranian and Chinese cultures, and literary themes such as crossing an international border.

The article focuses on the problem of courtly love poetry, highlighting how its restraint conveys the existential terror and compensatory joy of the Middle Ages. It explores the concept of "tone" in poetry and its role in conveying social reality and historical experience, it also investigates into contemporary American poets who use a flat and recessive tone to challenge traditional notions of lyric poetry and mentions views of medievalist Hugo Kuhn.

On May 24, 1945, Ezra Pound was arrested for treason by the US Army authorities near Pisa and confined in a gorilla cage for two and a half weeks. He spent a total of 6 months in a prison camp. After being brought to America on December 21, 1945, he was declared medically unfit for trial and was committed to St. Elizabeths Hospital. However, there was a group of skeptical people who claimed that the poet was in fact quite sane. Studies about Pound's life after his imprisonment and years at St. Elizabeths portray the poet as either an old delusional man who was once a prominent poet or as a great schemer who followed the advice of his lawyer and faked madness. Pound's biographers pointed out that during his years at St. Elizabeths, the place became a literary mecca for aspiring poets, implying that the poet was in a rational state of mind. After more than 70 years since the poet entered the hospital, it is crucial to investigate not whether the poet was mad but rather how the poet's words in "Canto 74" were utilized as evidence to persuade the jury and doctors of his insanity. This article aims to analyze "Canto 74" in light of Foucault's approaches to madness and its relation to language. It further explores why The Pisan Cantos, which was declared the Bollingen prize winner in 1948, could be mistaken for the rambling manifestations of a madman. [ABSTRACT FROM AUTHOR]

Copyright of Slavica Occitania is the property of Association Slavica Occitania 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.)