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The fluidity of literature aligns with Actor-Network Theory (ANT), which posits a greater focus on all facets of a network of associations, including non-human actants, and can assist in encouraging us all to consider broader relationships written into the poem, as well as those manifested by the relationships between the reader, writer, speaker and poem itself. By employing critical making to design and construct a video portrayal of the poetic elements and networks, we are able to see how they are constantly in flux, moving and evolving, and specified to any unique reader of a poem. [ABSTRACT FROM AUTHOR]

There is a vast catalogue of research on Wallace Stevens's 1934 poem "The Idea of Order at Key West." The article offers a complementary alternative by carrying out a practical experiment of reading Stevens through a special method. It looks past interpretive determinations in order to bring into view the experience of reading the poem through the medium specific elements of the vanishing intermedialities by which the reader of any inclination is affected. The notions of design and agency are employed in an innovative fashion to evidence the effects of the words employed. [ABSTRACT FROM AUTHOR]

This article discusses the growing trend in literary studies towards poetics-based approaches, as evidenced by the increasing number of book titles using the term "poetics." The author examines the implications and limitations of this trend, questioning the boundaries and organization of poetics as an expanded term of art. The article also reviews two books, Lucy Alford's "Forms of Poetic Attention" and Adam R. Rosenthal's "Poetics and the Gift," which offer unique perspectives on poetry's status and essence. Alford's book focuses on attention as the central element of poetry, while Rosenthal's book explores the concept of the gift in poetry through case studies of various authors, engaging with Derridean argumentative protocols and interpretive effects. [Extracted from the article]

Three-time Poet Laureate Robert Pinsky is one of the US' most important contemporary poets. In this interview, he talks about his formation as a poet and the status of poetry in contemporary culture. He also shares his views on the place of poetry in education, and on how teachers can play a vital role in engaging young people with the genre. Besides discussing the significance of the projects he devised as poet laureate, he uses his knowledge and experience as a poet and educator to explain how young people's engagement with the reading and writing of poetry can best be enhanced. [ABSTRACT FROM AUTHOR]

The author reports on her experiences at the 2023 Phillis Wheatley Poetry Festival held on November 1-4, 2023. She recounts how she came to know African American poet and essayist June Jordan. She also recalls the workshop "Interpreting Resistance and Ancestral Preservation of Afro Latin Spiritual Systems," she attended at the festival. She also cites her spoken words performances at the festival.

Copyright of Revista Crítica de Ciências Sociais is the property of Centro de Estudos Sociais 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.)

Metaphrasis is an exercise of the English humanist schoolroom that harbors both a theory of form and a method of reading. From the perspective of metaphrasis, the central question one asks of a form is not what it is. Metaphrasis encourages us to ask, instead: What is the range of this poem’s formal possibilities? What variety of forms might this poem take? What variety of forms should this poem take? Or what variety of forms would this poem take under a specific set of alternative conditions, whether we conceive of those conditions along historical, aesthetic, or ethical axes? In this essay, I take up a single stanza from Edmund Spenser’s The Faerie Queene (1596), and I argue that where form establishes the parameters of possibility for a poem, the critical activity of metaphrasis permits us to imagine the world of the poem otherwise. [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]

This article is concerned with reading in Hoccleve's 'Remonstrance to Oldcastle' (c. 1415), specifically with the way in which what the poem says about reading contrasts both with other aspects of Hoccleve's advice and with the kind of reading that is encouraged by its mise-en-page. In his attempt to counter Oldcastle's heretical beliefs, Hoccleve twice counsels against engaged, interpretative reading: first in his praise of the orthodox family who avoid textual criticism of Scripture; second in the famous passage where he advises Oldcastle to read romance rather than the Bible. The article argues that the glossing of the poem nonetheless encourages very active engagement with Hoccleve's own text, that such engaged reading reveals his remonstrance to be directed at Henry V as much as Oldcastle, and that the programme of supposedly innocuous reading that he suggests for Oldcastle is one of the points where this is most apparent. Paying close attention both to Hoccleve's sources and to the form in which the text appears in MS HM 111, it demonstrates that every aspect of the text begs the question that Hoccleve encourages Oldcastle not to ask: 'Why stant this word heere?' [ABSTRACT FROM AUTHOR]

"Julian and Maddalo" is concerned to the point of preoccupation with the content, tone, and form of talk. Critics who have noted the importance of dialogue to the poem have done so by viewing it as a means of postulating abstract ideas or outlining the biographical features of the poem's supposed alter egos. We should be wary of thinking of these exchanges in such coded ways, especially if we recall that Julian is unsure of his memory ("I recall / The sense of what he said, although I mar / The force of his expressions"), that Maddalo is aware of speech's deceptions ("I think you might / Make such a system refutation- tight / As far as words go"), and that the maniac's first symptom is his "ever talking." The opening of Paradise Lost, book 9—"No more of talk where God or Angel Guest / With Man, as with his Friend familiar used, / To sit indulgent"—marks the moment epic turns into tragedy (a tragedy brought about in part by a couple's inability to talk it over). Shelley conceives of "Julian and Maddalo" in Miltonic terms, and contrives a talk between friends familiar to judge the value of conversation. [ABSTRACT FROM AUTHOR]

Copyright of REMAH Journal is the property of Research & Development of Human Recourses Center (REMAH) 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 goal of this essay, composed by educators from three different university and community organizations in Boston, is to share an overview of one community reading and engagement experience with the work of Phillis Wheatley Peters. In addition, it aims to provide a possible model for similarly collaborative community and higher education partnerships generally, as well as specific engagements with Phillis Wheatley Peters. And finally, we hope to highlight the powerful value of art to facilitate the inclusion of all diverse voices as part of our efforts to combat racist ignorance and create a more truly democratic society. [ABSTRACT FROM AUTHOR]

In this brief introduction to Derek Attridge's 'The Event of a Poem' and John Wilkinson's 'Reading Denise Riley with Derek Attridge', David Nowell Smith outlines some of the key concepts and questions explored in Attridge's and Wilkinson's essays. The central question is a double one: How does meaning in a poem unfold, and how do we as readers make sense of this unfolding? To ask this question means focusing on meaning as a process rather than a content that lies notionally behind the words; it is to understand the poem as actualized in the event, and experience, of its encounter with its audience/reader. The introduction reflects on the peculiar challenges, and pleasures, posed by a poem, such as Denise Riley's 'Lone Star Clattering', where the multiple registers, allusions, and references, would complicate our habitual meaning-making processes. What do individual reading histories bring to such a poem? And what kinds of attention would this poem demand of its readers? [ABSTRACT FROM AUTHOR]

This essay responds to a challenge offered by the avowed bafflement of the critic and prosodist Derek Attridge faced with a poem by Denise Riley, 'Lone Star Clattering'. It argues that Attridge's adoption of an interpretative approach derived from Don Paterson, employing a step-by-step and constrictive cognitive framing, cannot succeed with a late Modernist lyric poem. Drawing on classroom experience with the same poem, it describes a prevalent cats-cradle approach as a variant on such constrictive reading, where a small group of external referents is grabbed onto, and the poem forced into unseemly conformity with them. The essay proposes instead a practice of feline reading characterized by a hovering casual interest, a constant scan of the sensual and mental fields so that their contours are felt, while sustaining a hair-trigger responsiveness to any unanticipated event along with a Keatsian tolerance of irresolution. [ABSTRACT FROM AUTHOR]

Copyright of REMAH Journal is the property of Research & Development of Human Recourses Center (REMAH) 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 focuses on appreciation of and new poetry by the distinguished American Irish/Irish American poet Greg Delanty. It mentions Delanty easily traverses the Atlantic and provides new perspectives through his outstanding poetry on both sides of the pond. It also mentions Delanty also includes a variety of forms and styles in "Breaking News."

The article discusses the importance of poetry and its meaning, purpose, and significance. It highlights that poetry offers freedom-not the promise, or the rhetoric, or the image of freedom, but the real-time experience, the sensation, of transcending constrictions of place, person, and circumstance. It also notes that once to feel truly free is to acquire an impatience, an intolerance even, of oppressions great and small.

This paper explores structures of attention in the lyric poetry of James Schuyler. Arguing for a poetics of distraction and boredom, I suggest that Schuyler's idiosyncratic use of the parenthesis functions as a formal strategy for confronting readerly distraction in the long-form lyric, breaking the reader's attention to produce new forms of rhythmic and temporal engagement. Through readings of Roland Barthes' The Pleasure of the Text and Camera Lucida, I show how the digressional parentheses in Schuyler's poems open up syntactical spaces which house the body of both speaker and reader, substituting the cerebral for the corporeal to induce states of textual pleasure and recode readerly attitudes to boredom. This paper situates itself in relation to contemporary questions of attention in twenty-first century culture, proposing models for both writing and reading poetry that might engender continued engagement with the lyric form. [ABSTRACT FROM AUTHOR]

We present here an account of the way we employ the reading of poetry in engaging participants of an intensive four-week creative arts programme known as ARRTS (Arts for Recovery, Resilience, Teamwork and Skills) for wounded, ill or injured serving military personnel people with injury or illness, to prepare and assist them in writing their own stories. Poetry can deal with experience and perception in unique ways, as can haiku, which are invaluable for their accessibility and depth. The open qualities of our reading matter invite discussion and models the fact that poetry gives us permission to feel and to express ourselves. This discussion and engagement with readings is a key aspect of any prospective writer's development, and, supplemented by the identification of specific techniques such as enjambment, creates awareness of ways in which it is possible to 're-author' experience for healing effect. [ABSTRACT FROM AUTHOR]

Copyright of Gripla is the property of Stofnun Arna Magnussonar i islenskum fraedm 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.)

In this article, I attend to poetic expressions of passionate longing for a beloved among displaced single Syrian men in the Jordanian capital of Amman. With a point of departure in the story and poetry of Qays, a 28-year-old Syrian man from Damascus, the article engages in an exploration of the poetic space engendered in the process of writing and reading poetry in exile. It demonstrates how longing found expression and relief in love poetry, as it enabled the young Syrian men to, momentarily, displace themselves to a different time and place, closer to the women they longed for. The poetry I thus argue, engenders and constitutes a creative space of possibility in which the impossible becomes possible in exile. [ABSTRACT FROM AUTHOR]

Loneliness can wear many affective guises from withdrawal to creativity. This essay reads Elizabeth Bishop's negotiation of the intimate relationship between poetry and loneliness through the lens of British object relations psychoanalysis. Reading Bishop alongside the British school of psychoanalysis firstly illuminates the relationship between poetry and states of solitude; and helps to uncover the ways in which loneliness is recovered in the postwar period from its more dangerous state: isolation. This essay proposes a theory of reading poetry where the refusal of the solipsistic lyric transforms isolated subjects into communities of the lonely. [ABSTRACT FROM AUTHOR]