Search

Sennan Anton diverges from the traditional poetic meters adhered to by classical poets in his activist poetry, distancing himself from the conventional seas of poetry. In this structure, he articulates his poetic experience by exploring the visual aspects of poetry and utilizes poetic inspirations and symbolism to achieve a new poetic perspective. This approach allows him to express the dimensions of his contemporary life experiences. This research employs a descriptive-analytical method to elucidate the concept of activist poetry and its various cultural frameworks. Additionally, it exposes the structure of activist poetry odes in contemporary Iraqi poetry, specifically focusing on the technical aspects within three poetry collections of Sennan Anton: "A Rainbow Splattered with Wars," "One Night in All Cities," and "As in Heaven." The findings highlight the high frequency of rhythm in Sennan Anton's verses. The poet liberates himself from the constraints of meter, reflecting the involuntary aspect of his mind in expanding his thoughts through various geometric forms in his poetry, transforming it into a sort of verbal tableau. Numerous examples of rhymed, consecutive, and compound verses are evident in Anton's poetry. The diversity of poetic meters is apparent in Anton's work, as he departs from conventional poetic meters and prosodic constraints, characteristics of classical poetry. [ABSTRACT FROM AUTHOR]

Copyright of ABEI Journal: The Brazilian Journal of Irish Studies is the property of Associacao Brasileira de Estudos Irlandeses 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 Revue Francaise d'Etudes Americaines is the property of Editions Belin and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Resistance Literature / Adabīyyāt-i Pāydārī is the property of Shahid Bahonar University of Kerman, Department of Persian Language & Literature and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The paper examines the linguistic and communication changes taking place in poetic dis­course under the influence of new media. The digital interface (blogs, social networks, applica­tions) affects the transformation of all the parameters of communication, due to the dominance of information channels and codes. The interaction of poetic language with colloquial speech and the influence of digital technologies lead to the creation of new strategies of subjectivation and addressing in contemporary poetry, as well as to an increase in the role of poetic pragmat­ics. In addition, the process of meaning formation in contemporary poetry involves the mech­anism of transcoding, i. e. the transfer of a message from one format to another, which can take place during the conversion from a paper (or analogue) format to a digital one. Transcoding involves a change in the form and content of the message, as well as other communication parameters. The paper classifies and explores in detail the pragmatic parameters that undergo transcoding under the influence of digital technologies, acting as new pragmatic techniques of poetic utterance.

The history of language and gender studies goes back the 19th century. When the first currents under the title of "feminism" were formed in the West. Based on the opinions that consider the speaking and writing styles of women and men to be different from each other, language can be the place where gender elements appear. Based on these opinions, the present research, which is provided in a descriptive-analytical way, with a comparative approach, examines the gender indicators of language at both intellectual and linguistic levels in the poems of Tahereh Saffarzadeh and Fadwa Tuqan. is to answer these questions that, firstly, how and at what level the gender indicators are reflected in the poetic language of these poets, and secondly, to what extent the presence of common metatextual factors in the poetry of these two could have a similar result in the research achievements. The findings of the research show that common factors such as femininity, the influence of both of these poets on the social and political developments of their time, living in a single period of contemporary history, and the influence of their poetry on the literary teachings of romanticism and realism, cause the formation of gender behaviors. It is similar in their poetic language. [ABSTRACT FROM AUTHOR]

The paper’s aim is to relate some Portuguese-language contemporary poetry to the most relevant technological phenomenon in the last decades, the computer and digital revolution. Three hypotheses to proceed with such approach are proposed: a) the machine as a poetry-generator, executing the poet’s developed project, as in the work of Antero de Alda and André Vallias; b) the incorporation of tech universe in socalled traditional poetry, such as in the exploitation of barcodes in Manuel de Freitas’ Isilda ou a nudez dos códigos de barra, or the appropriation of advertisement and joke in a visual poem by Patricia Lino, or the cloning of e-mail format in Fabiano Calixto’s correspondence poems; and c) the usage of video platforms and social networks as a means of broadcasting and distributing poetry, especially YouTube, in which formats as videopoem and battle rap registers have become common. [ABSTRACT FROM AUTHOR]

Copyright of Perífrasis. Revista de Literatura, Teoría y Crítica is the property of Universidad de los Andes 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 study seeks to monitor the semiotic structure and describe it in the poem "Children of Shatila" by the Palestinian poet Ahmed Al-Rimawi, in two axes: the horizontal axis, in the phonetic, structural, lexical and semantic levels. The vertical axis touched on the three structures: similarity, contradiction, conflict or tension. We concluded that the poem has a deep structure embodied in the sounds that make the children of Shatila confront the negative enemy of life and spatial existence, leading to the heroism they achieved for man and place. Thus, the poem embodied the pain of the entire Palestinian people, but the new reality changes the equation, and there becomes a dialectical situation between the past and the present, existence and nothingness, space and no-place, and thus the poet communicates his conscious intention full of hope and renewal. [ABSTRACT FROM AUTHOR]

Although it may seem an impossible task to offer a panorama of contemporary Brazilian poetry, we will discuss a selection of poets who possibly epitomize the most significant current trends. We start with a brief presentation of four well-regarded authors whose works represent major poetic currents: Augusto de Campos, Francisco Alvim, Armando Freitas Filho and Adélia Prado. We then comment on excerpts from a few important younger poets, whose works embrace several different tones and styles, from indigenous symbolic mythology to crude or ironic testimonials of life in the big city, from melodious lyrical intimacy to a more social perspective. For the second part of this article, we have chosen Paulo Henriques Britto, Josely Vianna Baptista, Ricardo Aleixo, Carlito Azevedo, Eucanaã Ferraz and Ana Martins Marques. We hope this preliminary selection may awaken the interest of future readers to the enormous variety and richness of Brazilian poetry.

Under the dominant nature-human binary, trans individuals are rejected from both categories on the grounds of their technologized embodiment. Contemporary trans poetic works, including Jos Charles’ Feeld, reject this dualism through its poetic form and Middle English dialect in order to recover access to both nature and the body. Taking a multidisciplinary approach across trans, ecological, and media theory, with particular attention to the subfields of transecology and somatechnics, this paper argues that technology and nature are compatible, not mutually exclusive. Feeld—which embraces a “natural,” embodying technology—is set in stark contrast with Titane, a recent horror film that manifests the violence inherent in “unnatural” technology. A varied approach of textual analysis and applied theoretical frameworks draws on Stryker, Butler, Haraway, and Kristeva, among others. A trans ethic emerges as an urgent and imperative path to recovering the body alongside the label of naturalness.

The article attempts to interpret several of Teresa Ferenc’s poems included in the volume Pieta, published in 1981. The selected works combine the motifs of home, mother and the girl who is the author’s porte-parole. Written from the perspective of the trauma experienced in childhood: the burning of the family village and the death of her parents, we find numerous biblical allusions and cultural contexts, the explanation of which is the subject of this study. An attempt has been made to demonstrate the richness of the poetic imagery, the source of which can be traced back to extreme experiences.

The Hungarian-born English contemporary poet George Szirtes has written several times about two traumas of his family history: the Holocaust, which both his parents survived, while several of their relatives perished, and the Revolution of 1956, which forced them into exile. My paper focuses on two major narratives about Szirtes’s mother: a cycle of poems “Metro” (1988) and a biography in prose The Photographer at Sixteen (2019). Exploring the differences in perspective and form as well as the similarities in themes and structure, I seek the answer to the questions how one’s own memories are intertwined with the past of the communities where one belongs; how these controversial sets of memories might lead to internal conflicts; and how the memory of one’s predecessors are being transformed by the process of the speaker’s own transformation in the time span of three decades. Investigating these aspects, I argue that Marianne Hirsch’s concept of postmemory not only proves to be instrumental in understanding several books by Szirtes better but also that Szirtes goes one step further than Hirsch by revealing how individual memory not only is embedded into and influenced by communal memory, but also is constructed in the form of family memories passed on from one generation to the next.

With the increasing importance of values education, the question of how to transfer values also comes to the fore. Making use of literary works in value transfer is a frequently used way. Although fictional texts come to the fore in this value transfer or value acquisition process, poems are closer to values by nature among literary works. Values and poems overlap in that they contain implicit meaning, implicitly convey the message, and appeal to emotions. It is important to know how values take place in poems for children, who are the target audience of values education. The aim of this study is to reveal the values in contemporary children's poetry and the changes in the distribution of these values over the years. Thats why children's poems written after 1980 were examined in the context of values. In the study, the data obtained by document analysis were analyzed by content analysis. As a result of the study, it has been seen that the use of individual values in poems is gradually increasing, the most processed value is love, the least discussed value is scientificity, and the values are implicitly given in the poems. [ABSTRACT FROM AUTHOR]

Collecting contemporary poetry is often a low priority for libraries, but interest in poetry is rising, and many library patrons have the potential to become poetry readers. Building a collection of poetry chapbooks can maximize the impact of a renewed poetry collecting effort because the poetry chapbook is an accessible, high-interest, and often low-cost form that captures the cutting edge of the poetic field. I introduce the poetry chapbook and its creative and social functions and describe various avenues for building a chapbook collection, including acquisition strategies, examples of digital initiatives such as participatory chapbook repository projects, and notes on promoting engagement. The community-building potential and links to higher-level goals such as diverse collecting, local interest, and cultural preservation allow chapbook collections to add unique value to a variety of public, academic, special, and school library contexts.

This article focuses on the hybrid dimension of Ruth Padel’s collection Beethoven Variations. Poems on a Life (2020). Through this literary palimpsest, Padel explores the possible intersections between biography, poetry, fiction and criticism, in order to challenge the conventions of traditional biography. I examine how the poet reconstructs Beethoven’s itinerary, weaving a poetic narrative punctuated by silences, anachronisms and imaginary mise-en-scènes, which are more typical of lyric poetry and autofiction. The article also examines the role of intermediality in the collection, looking at how Padel evokes the richness of Beethoven’s musical universe through the sonorities of language, and how she represents his deafness through the sonic limits of poetry.

The article explores the work of two contemporary poets, Alice Oswald and J.R. Carpenter, with reference to the material and immaterial aspects of their poetic projects. It is argued that although disparate in their form, both artists’ works are linked by their interest in the environmental forces as (im)material manifestations of more-than-human agency. In this sense they can be seen as belonging to a longer and broader strain of poetic endeavours (like concrete poetry and land art) that struggle to problematise the relationship between form and meaning. The article also employs the notion of earth scripts which allows to see such poetic and artistic practices as forms of descriptions of the earth characterized by differing degrees of sensitivity to the environmental challenges posed by the Anthropocene.

Since the lost labour struggles of the mid-1980s, (working-class) poets like Carol Ann Duffy and Simon Armitage have progressively asserted their themes across the social strata. Hence, four of their poems are put to closer scrutiny. Especially Armitage’s verse mirrors a tendency in contemporary working-class poetry – frequently located in the North and the Midlands – to reflect on endangered traditions, with no small amount of nostalgia. Yet, its issues – solidarity, equality and historical consciousness – have also been taken up by black and female lyricists. Consequently, the poetry of the new working classes includes the concerns of all disadvantaged people of England (and the world).

The paper explores the infiltration of topolect into the poetry of Liu Bannong and Crescent Moon Society authors, induced by the Folksong Collection Movement, often labeled as introducing vernacular into poetry. The language of Liu Bannong’s New Poetry presents a complex hybrid between the emerging literary norm, local Beijing vernacular and his native lect of the northern Taihu region. Many contemporaries noted his poetry’s merits and his invaluable contribution to New Poetry development, greatly facilitated by Liu Bannong’s professional linguistic training. Following Liu Ban Nong’s footsteps, the Crescent Moon Society suggested experimenting with a new poetic language through the prism of the vernacular. Theorizing was supported by poetic practice: the authors of the Crescent Moon Society included topolect vocabulary in the texts abundantly, and directly marked individual poems as colloquial. In addition to inlaying topolect vocabulary or including large fragments of text written in topolect, topolectization was also carried out through rhyming. Despite the fact that further influence of this topolect poetry remained underestimated, the emerging connection between topolect and the authentic embodiment of the idea of a national language has become important for any discussion about language reform in the new China.

Nima Yooshij's theories about poetry and poet are in his previously published collections, and the process of his poetic developments can be drawn from them; moreover, there are many other poems of Nima Yooshij in the last two books, which are very important in the analysis of his poetic developments. In the current research, we have examined these two collections by considering the most important theories of Nima, including paying attention to symbolism, declamation and the natural process of speech, descriptive and narrative pattern, objectivity and subjectivity, harmony, and transubstantiation. The results show that Nima has a great interest in classical literature in addition to Western literature in order to achieve symbolism. In addition to the dramatic structure, Nima uses the capacity of "narrative" and "story" to express the content and tries to blend with nature and provide an objective and external description of it, unlike classical poetry. Nima does not see classical poetry as having a body-like unity and puts all the elements of the poem in the direction of creating a harmonious composition, which he calls "harmony" and "form".Keywords: Nima Yooshij, Navāy-e Kārvān, Sad Sāl-e Degar, Objectivity and Subjectivity, Harmony, Contemporary Poetry. IntroductionThe evolution of Nima's poetry and the transformation of his poetry can be seen and analyzed in the collection edited by Siros Tahbaz. Therefore, Nima's early experiences and some of his other unpublished poems, which can show the transformations of his poetry step by step, are recious works that show the infinite suffering and hardship of the "Father of Modern Persian Poetry".Research question: What features do the two published collections of Nima Yooshij show in his poetry? Literature ReviewAlthough Nima has created significant pieces, there are differences of opinion among critics, researchers, and even his students and followers. Terms such as "subjective" and "objective", "declamation" and "natural expression", "new point of view", "absorption", "transubstantiation" and "harmony" and etc. include most of his theories and it can be admitted that neither Nima was able to express them unambiguously, nor his students and critics have the same opinions about all of them. From this point of view, we see that Akhavan Sales and some other critics consider the "Mādar-e Bedathā-ye Nimā" in "prosodic meter", while Nima himself does not believe in this matter. Nima Yooshij's two newly published collections, entitled "Sad Sāl-e Degar" and "Navāy-e Kārvān", which contain his significant poems, are a great opportunity to examine Nima's ideas and theories more closely. In the present research, the two collections have been investigated by considering Nima Yooshij’s theories. MethodologyThe research method in this article is descriptive-analytical and based on library studies. First, from this point of view, Nima’s most important ideas about poems and poetry have been examined, and then, taking into consideration his two recent collections, some points about Nima's ideas have been examined. In this study, an attempt has been made to discuss the opinions of other critics. ResultsAccording to the last two collections of Nima Yooshij, it was concluded that:He was able to achieve his desired symbolism by paying attention to Western literature, mystical symbols, and allegories. His poem "Vampire" is derived from European literature. Some of his other poems are also derived from native elements.Nima has several poems with a dramatic structure, which shows his special attention to the "dramatic structure of poetry", which is also mentioned in the introduction of the legend.Nima uses the elements of narration and description for the story structure of his poems, and by creating a complete harmony of all linguistic elements, he presents a poem that has a body-like composition. This feature makes his poetry achieve the "form" or "harmony" that he wants.Another artistic feature of Nima's poetry is the absorption and analysis of the environment and objects. This point prevents him from repeating what others have said. In fact, creating a link between the outer and inner world and "being one with the object" creates a new and individual view of the poet in the poetic images that Nima has emphasized many times.Nima’s two collections of classical poems are an unsuccessful imitation of great poets such as Nezami, Sa'di, and Rumi; the evolution of his poetry is in Nimai's free verses. Some of Nima's poems in this collection can be among his most brilliant works among his other successful poems.

Ezra Pound’s “Pisan Cantos” is a multi-layered palimpsest rewritten and written over previous editions several times, in which the non-translation of quotes, sayings and headlines becomes an aesthetically significant device. Younger branches of complex poetry after 1945, on the one hand, overcome Pound’s total project, on the other, inherit him through this ‘gap’. Within the framework of this article, the author explores how hermetic poetry (language writing, metarealism and generation of the 21st century) uses non-translation and untrans­latable to create/express political and ontological problems corresponding to this gap. So, in “Drafts” by Rachel Blau DuPlessis, palimpsest exposes the very deployment of language, writing, the ‘trace’ of other languages — all this develops together with the optics of studying writing and the loosening of the dominant hierarchies of poetic subjectivity and artistic form. In the poetry of metarealists Arkady Dragomoshchenko and Alexei Parshchikov, non-translation serves as a way of creating palimpsest marginalia, structuring the perception of interweaving images both through donor text and through the transformation of its motives. And the discommunicative palimpsest of Ekaterina Zakharkiv’s poem “Hiroo Onoda” is based on the unrepresentative function of the non-translation, when the collision of different lan­guages, quotes and references creates both difficulty in perception and communicative faults in the narrative fabric of the work. Thus, the article is an attempt to derive points on a con­tour map of poetic practices, showing both the formation of a way of inter-linguistic inte­rac­tion within the text that is different from multilingualism, and the ways of inheritance through the rupture of the complex and ambiguous nature of Ezra Pound’s “Cantos”, which gave rise not only to a new type of modernist epic, but also a special type of poetic palimpsest.

The author attempts to answer the question whether it is possible to think about death without fear. On the basis of poems by Wisława Szymborska, Elżbieta Skorupska-Raczyńska and Karol Wojtyla, she concludes that the death of the closest people is accompanied by grief and longing and it can be consoled by faith in God. In overcoming the fear of one’s own death a few things can be helpful, namely thinking about the inevitability of death, believing in life after death and leading a good life. Yet, mass death and the death of children cannot be tamed.

Myth is a very effective and complex concept in people's lives, which always shows itself in a different way. In the distant past, they were a real and inseparable part of human life, and now they are part of the unconscious memory of humans. Gods and active inhabitants are a part of mythology that have more of a religious function and according to this role, they have undergone more changes over time. Therefore, the question arises whether there are any traces of these myths left today or not? Considering that poetry is one of those arts that provide the ground for the emergence of mythology, we have analyzed the poems of five poets of this period to answer this question. Studies show that in the vast land of Iran, although with the change of religions over the years, these myths have sometimes been adapted and changed; But they have never disappeared and in the fluid space of the poets' minds, they have sometimes appeared. Purpose: We want to examine the signs of the mythology of gods and active inhabitants in contemporary poetry, which are apparently more shrouded in silence. Research method: descriptive-analytical library. Findings and results: Ahuramazda, Amshaspandan, Azar or Atash, Mitra and Nahid are sometimes shown in contemporary poetry while maintaining their self-interest. Also, the active residents sometimes in its ancient form (Soroush) and sometimes influenced by the religion of Islam (Angels) have had various expressions in contemporary poetry. [ABSTRACT FROM AUTHOR]

This article analyzes the use of ekphrasis in Solmaz Sharif's debut poetry collection, Look (2016). The poems in Look are constructed around terms taken from the United States Department of Defense's Dictionary of Military and Associated Terms and describe the experiences of Sharif and her Iranian family in the aftermath of the events of 9/11. The prominent presence of sight and visuality in the collection will be analyzed through the concept of the "scopic regime." Turning attention towards Sharif's description of artifacts of family memory, including a video recording of Sharif's father and a series of photos of her uncle, it is argued that ekphrasis functions in the collection as a mechanism by which to determine the conditions of visibility within the collection and, in so doing, navigate the problematics of mediating trauma and violence in the contemporary scopic regime. [ABSTRACT FROM AUTHOR]

Literary trauma theory has traditionally been a humanist concern, and the concept of witnessing, so central to the theorization of trauma, has focused on human experience and relationships. This article stages an interdisciplinary intervention by conceptualizing trans-"species" trauma testimony as a literary encounter involving a double-layered witnessing; the human artist witnessing nonhuman animals' witnessing to the failings and crises brought about by human society. Focusing on a selection of contemporary Australian poems, a view emerges of poetic witnessing and testimony that exceeds and complicates the sub-genre lenses of old such as "nature poetry," "ecopoetry," and "protest poetry." I propose a new conceptual category that testifies to traumatic structures and consequences of human practices. I explore how this testimony proceeds through a two-way channel of witnessing in which nonhuman animals are active witnessing agents and not merely witnessed by humans. I concentrate on witnessing as primarily experiential, as a corporal, affective operation in which the senses figure centrally. I argue that when poets witness nonhuman animal experience in poetry, testimony advances as an ethical engagement in an act of solidarity and advocacy. Poetry offers productive potential in this respect due to its affinity for engagement with the senses, its capacity to communicate heightened affect, and its scope for expression, articulation, and evocations of meaning outside of conventional sense-making and the limits of rational understanding. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Italian Studies / Rivista di Studi Italiani is the property of Rivista di Studi Italiani 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.)

English: This collection of three poems (written in Spanish) gives voice to the impact that Spanish colonialism has had on the indigenous languages of present-day Latin America, as well as the disconnect that this has engendered between many indigenous youth and their cultures. Each poem encompasses a perspective grounded in a different period of time, resulting in a circular narrative between the first and last poem. The first piece, 'lluvia', elucidates the atrocities—including cultural and linguistic suppression—committed against the indigenous people by Spanish conquistadores when they first arrived and asserted their rule over regions of Central and South America in the 15th and 16th centuries. The second poem, 'marejada', is set in the chronological present and sheds light upon the effect that this historic suppression and consequent assimilation has had on relationships between indigenous children and their ancestors. The final poem, 'ahogamiento', is set in the near future and premises itself upon the endangered status that many indigenous languages face by virtue of a lack of preservation, and the lack of linguistic evolution these languages have undergone as a result. Español: Esta colección de tres poemas intenta dar voz al impacto que ha tenido el colonialismo español en las lenguas indígenas de la América Latina actual, así como la desconexión que esto ha generado entre muchos jóvenes indígenos y sus culturas. Cada poema abarca una perspectiva arraigada en un periodo de tiempo distinto, lo cual resulta en una narrativa circular entre el primer poema y el último. El primer poema, ‘lluvia’, ilumina las atrocidades que cometieron los conquistadores españoles contra los pueblos indígenos al llegar y cimentar su dominio sobre América Central y del Sur en los siglos XV y XVI, sobre todo en cuanto a la represión lingüistica. El segundo poema, ‘marejada’, está ambientado en el presente cronológico y arroja luz sobre el efecto que ha tenido esta represión en las relaciones entre jóvenes indígenos y sus progenitores. El tercer poema, ‘ahogamiento’, tiene lugar en el futuro cercano y se basa en la posibilidad de extinción a la que hacen frente muchas lenguas indígenas a raíz de una falta de preservación, y la escasez de evolución lingüística que han experimentado como consecuencia.

These two groups of poems are organized around different topics, the first one meditates on death while the second reflects on nature and the self.

The media discourse is manifested as one of the most prominent elements that are most present - if compared with other artistic features - in the poetry of Mansour Jassim al-Shamsi. This is what prompted us to take this topic as an introduction to study the manifestations of this artistic feature. The poet is keen in pioneering this field to bring the most accurate technical mechanisms in order to build bridges of communication and interdependence with the reader in the literary text. In this research, we relied on the descriptive analytical approach, we decided to shed light on the most prominent expressive mechanisms in the poetry of the contemporary Emirati poet Mansour Jassim alShamsi in light of the media discourse. To achieve this, we relied on two collections of poetry from his literary works, the Diwan “anthology” of Sura wa Asrar (Movement in the night and secrets) and the Diwan “anthology” of mamalek al-Nakhla (the Kingdoms of the Palm). The anthology of ‘sura wa asrar’ consists of a poetic trilogy, entailing the solitudes of Mansour al-Shamsi and its stages, the heavens of a high-ranking woman in love, and hold on, take my hand…! It deals with a set of themes by employing many dualities in a poetic and prose language full of wild imagination and symbolic icons that form the dimensions of his artistic image. As for the anthology of mamalek alNakhla, it holds four poems between its two covers with titles: Kingdoms of Barajeel, Hymns of the Deserts, Kingdoms of al-Nahham and the Mirrors of the Sea, Dusk Before Crossing, the Kingdoms of the Palm, Scandal across his movement between the four kingdoms. [ABSTRACT FROM AUTHOR]

Collecting contemporary poetry is often a low priority for libraries, but interest in poetry is rising, and many library patrons have the potential to become poetry readers. Building a collection of poetry chapbooks can maximize the impact of a renewed poetry collecting effort because the poetry chapbook is an accessible, high-interest, and often low-cost form that captures the cutting edge of the poetic field. I introduce the poetry chapbook and its creative and social functions and describe various avenues for building a chapbook collection, including acquisition strategies, examples of digital initiatives such as participatory chapbook repository projects, and notes on promoting engagement. The community-building potential and links to higher-level goals such as diverse collecting, local interest, and cultural preservation allow chapbook collections to add unique value to a variety of public, academic, special, and school library contexts. [ABSTRACT FROM AUTHOR]

Copyright of Revista Soletras is the property of Editora da Universidade do Estado do Rio de Janeiro (EdUERJ) 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 Śląskie Studia Polonistyczne 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.)

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 work of two contemporary poets, Alice Oswald and J.R. Carpenter, with reference to the material and immaterial aspects of their poetic projects. It is argued that although disparate in their form, both artists' works are linked by their interest in the environmental forces as (im)material manifestations of more-than-human agency. In this sense they can be seen as belonging to a longer and broader strain of poetic endeavours (like concrete poetry and land art) that struggle to problematise the relationship between form and meaning. The article also employs the notion of earth scripts which allows to see such poetic and artistic practices as forms of descriptions of the earth characterized by differing degrees of sensitivity to the environmental challenges posed by the Anthropocene. [ABSTRACT FROM AUTHOR]

The familiarity of Iranians with Greek myths is not so long. If we put aside a few exceptional cases of the past (such as Khajeh Nasiroddin Tusi's mentioning the myth of Sisyphus), we can say that Iranians' familiarity with Greek myths is limited to the contemporary period. It is in the contemporary era that the names of many mythological characters appear in the works of Iranian intellectuals, including Aga Khan Kermani and Ali Shariati. The intellectuals use Greek mythology to explain their thoughts. Likewise, contemporary poets (e.g., Shamlou, Atashi, Naderpour, and M. Azad) paid attention to Greek myths and were inspired by them in various ways. Among the Greek myths, the myth of Prometheus, Sisyphus, Icarus and Achilles have attracted the most attention of contemporary poets and inspired them. Poets like Shamlu and M. Azad took turned to Prometheus due to the similarity of contemporary poets’ mission (informing the mass of people) with this myth; Just as Prometheus steals the fire (the symbol of knowledge) from the gods and gives it to the people, these poets also consider it their mission to bring awareness to the society and the mass of people. This has sometimes even made some poets to identify with Prometheus. The myth of Sisyphus and Icarus are not the same and there are differences between them, but contemporary poets have taken them as symbols of failure after victory. In contemporary poetry, the two mythical characters have been a metaphor for the developments in the history of contemporary Iran, which is a history of successive victories and defeats. Unlike Prometheus, Sisyphus and Icarus, the beauty of the myth of Achilles was the main reason the poets, like Shamlu, paid attention to it. [ABSTRACT FROM AUTHOR]

In his influential essay "The Translator as the Creator of the Canon," Jerzy Jarniewicz outlines the characteristics of what he identifies as "but two of the most interesting species" of translator, the ambassador and the legislator. Building off of Jarniewicz's framework (while also being indebted to Sasha Colby's concept of a "poetics of excavation"), in this essay I propose a hybrid offspring of the ambassador and legislator--the excavator--through the example of American poet Susan Howe's work "Melville's Marginalia," from her 1993 book The Nonconformist's Memorial. Megan Williams asks, "How does Susan Howe's use of Melville... reveal literary history and history itself to be a series of choices that must be rethought and rewritten? What are these choices, and where do they leave Howe's work for posterity?" (106). It is Howe's relationship to posterity that is of particular interest here. Whereas Williams and others take extraordinary care to analyze "Melville's Marginalia" as a discrete text and to avoid making broader remarks about that text's potential relationship to Howe's oeuvre more generally, in my essay I consider how "Melville's Marginalia" is consistent with a sustained effort by Howe to situate herself and her work within the frame of canonical literary figures. Moreover, by offering the contrast of poets such as Don Mee Choi, Sarah Mangold, and C. D. Wright, I suggest that Howe's efforts, in fact, reveal and solidify the expansive versatility of canonical figures--such as Melville, Dickinson, and others--even if there is a clear critical dimension. [ABSTRACT FROM AUTHOR]

Ed Madden's contribution to this special issue is a creative response to themes of the Irish gothic, including four poems from his most recent book, A pooka in Arkansas (Word Works, 2023) and a new poem written explicitly for this volume. The poems offer a creative engagement with themes that animate Irish gothic representation (otherness, repression, authenticity, sexuality, threat) in relation to both sexual and ethnic identity, as well as a specific focus on the folkloric figure of the pooka/púca. [ABSTRACT FROM AUTHOR]

The representation of the Holy Virgin has long constituted one of the most important thematic lines in Italian poetry, both sacred and profane. In terms of the representation of space, the Blessed Mary was traditionally placed in faraway, celestial hierarchies. In more recent periods, this figure is often placed in the space of earthly life, with which the lyrical subject (the enunciator) is more familiar. Juri Lotman's perspective on the space of the typological description of culture shows that divinities belong mainly to the exterior (E) space of culture. Building on these considerations, the purpose of this article is to analyse recent Marian representations - both poetic and theological - in Italian culture. I will demonstrate that, during the 20th century in Italy, Marian sacrum was moved closer to or even inside interior space (I), as the Blessed Virgin started to appear mostly in scenes of daily life and her divine traits gradually lost importance. This kind of spatiality is also found in the ecumenical dialogue. The Second Vatican Council normalized both Marian theology and the faithful's practices, which influenced textual production and brought about further changes in the spatial placement of Mary. While the general social trend towards secularization has been increasing the distance between the human and the divine, Mary's sanctity was transferred to the interior space (I) of everyday life - and this could be one of the factors that relaunched Marian poetry. [ABSTRACT FROM AUTHOR]