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The article focuses on the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba in order to valorize Black and African creative expression and intellectual thought. Topics discussed included the Topics discussed include the effect of the poem on the (Second Festival of Black Arts and Culture) FESTAC's event, the marginalization of African women in Pan-Africanism, and discourse of anticolonial struggle for final emancipation and self-determination.

The article offers poetry criticism of the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba. Topics discussed include (Second Festival of Black Arts and Culture) FESTAC's project that aims to valorize Black and African creative expression and intellectual thought, the marginalization of African women in Pan-Africanism, and discourse of anticolonial struggle in the neocolonial context of the 1970s for final emancipation and self-determination.

The article focuses on African women who have been marginalized in the performance, planning, and documentation of Pan-Africanist projects, following the series of Pan-African Congresses held from 1919 onward. Topics discussed include by the republication of the poem "Festac . . . Souvenirs de Lagos," ("Festac . . . Memories of Lagos") by Mariama Diop nee Ba at the Second World Black and African Festival of Arts and Culture (FESTAC) and the historical relevance of the poem with festival.

The article focuses on the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba in order to valorize Black and African creative expression and intellectual thought on account of the Second Festival of Black Arts and Culture) FESTAC event. Topics discussed include effect of the poem on people attending FESTAC, marginalization of African women in Pan-Africanism, and discourse of anticolonial struggle for final emancipation and self-determination.

In this article, the author discusses the online representation of the African women in Pan-Africanism in the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba on social media platforms such as Instagram. It explains a term mediated ancestrality as a connection of younger generation with ancestors (poets) whose works being adapted to a digital communication technology such as twentieth century African literature, extending it into digital platform.

The article focuses on two poems including "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba and another by Younousse Seye, which aimed at African women in Pan-Africanism.It mentions that these poems were circulated at the Second Festival of Black Arts and Culture) FESTAC event in 1977 and Pan-African Festival of Algiers (PANAF) in 1969. Topics discussed include creative expression and intellectual thought of neocolonial African women.

The article focuses on the poem "Festac . . . Souvenirs de Lagos" ("Festac . . . Memories of Lagos," by Mariama Diop nee Ba in order to valorize Black and African creative expression and intellectual thought on account of (Second Festival of Black Arts and Culture) FESTAC event. It discusses an era of Nigeria's geopolitical ascendance in the wake of a 1973 oil embargo, in reference with the Lagos of 1977. It focuses on Nigeria's deviation on shaping the global notions of black culture.

The article offers information on three documents which discuss various topics related to Roma enslavement. Topics covered include requests for emancipation and arguments for freedom made by the enslaved, poetry addressing enslavement and advocating for abolition, and a free non-Roma woman named Dina, who was enslaved to get married to an enslaved man to be recognized. Also mentioned is the imbrication of coloniality with interimperiality in the European East for Roma enslavement.

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Archivo histórico de Kipus: Revista Andina de Letras y Estudios Culturales, 1995 y 1996.

Copyright of Propaganda in the World & Local Conflicts is the property of Cherkas Global University Press 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 Studia Histórica: Historia Moderna is the property of Ediciones Universidad de Salamanca 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 compares the Icelandic tradition of patriotic poetry to that of Denmark, from which it took its cue in the eighteenth and nineteenth centuries, and with which it shares some characteristics. Icelandic patriotic poets adopted the central notion of 'territorial kinship', identifying the nation with the land, often through gendered images, especially by personifying the country as a woman or mother. Their poems usually include the following five characteristics: 1. An address to the country or the nation; 2. An enumeration of the typical characteristics of the country; 3. The use of common nouns, as opposed to proper nouns, since the poems are supposed to engage all Icelanders by using general descriptions of their country; 4. The confirmation of territorial kinship, i. e. the land as the parent or foster parent of each Icelander; 5. A wish, a prayer,ablessing or a whetting on behalf of the country. [ABSTRACT FROM AUTHOR]

The founders of the first literary café in reborn Poland, namely ‘Pikador’ in Warsaw, chose a poem by Jan Lechoń for the inauguration ceremony in November 1918. In the poem, titled Mochnacki, the young poet recollects a historical concert of Maurycy Mochnacki, a Romantic tribune of the 19th-century Warsaw, a pianist and a writer. Different possibilities of interpretation of the work, which is heavily emotional – ranging from patriotic poetry, through an almost social satire to an intimate confession encoded in the form of a description of a piano concert and reactions of the foreign audience to it – are not contradictory as they complement each other well.

The most important characteristic that can be distinguished in Mufdi Zakaria's patriotic resistance poetry is the struggle with sound and dazzling with rhythm, believing in the effect on the recipient through the beautiful voice and the jingling rhythm, and its purpose is to convince the recipient with the beautiful voice that charges it with the elegant verbal features, making it equivalent to a gunshot, a shell sting, and a scream Anger, and Qajaj echoed in the depths of the rugged valleys from which the revolutionaries were departing. On this basis, we pose the following problem: What has the resistance national poetry achieved in the field of artistic creativity in general for Mufdi Zakaria, and in the poem of the rising sacrifice in particular? In order to answer this question, we will see how Mufdi Zakaria deals with the artistic rhythm in his patriotic poetry, and we will give an example - about that - by studying the poem "The Rising Sacrifice". Hence, this research paper, entitled "The Aesthetics of Struggle with Voice and Dazzling with Rhythm in the Poetry of Mufdi Zakaria's National Resistance", aims to highlight the aesthetics of external rhythm, and internal rhythm, highlighting the characteristics of each of them in the poem "The Rising Sacrifice". [ABSTRACT FROM AUTHOR]

Lu You 陸游 wrote eight "Expressing Anger" and "Feeling Anger" poems from 59 to 79. There was another poem titled "Against Feeling Anger." Comparing these poems with those previous related poems, it is possible to discern three distinctive features. First, he clarified the role of "foreigners." Lu You transformed the standard conception of foreign peoples, arguing that their existence was sanctioned by Heaven. He further maintained that they would eventually perish because of their violations against the divine order. Second, Lu engaged in self-analysis through a series of poems that focused on his personal talent and virtue. In these poems, he not only extended his inner spiritual space to the past and future, but also emphasized his unyielding patriotism. And third, Lu modified some portions of his previous compositions. By creating a poem with the new title "Against Feeling Anger," he took the genre in a new direction, opposing those who sought to live happily in the moment. In conclusion, he highlighted the traditional focus on the "self," and fulfilled contemporary needs by reconceptualizing the functional role played by "foreigners" and Heaven in these poems. Finally, he defended the primary preserve of previous compositions by creating a poem using a new title. [ABSTRACT FROM AUTHOR]

The paper introduces into scientific circulation all the lists of the poem “To the Present War” (“Vot, v voinstvennom azarte...”) anonymously published in different editions in 1854 and kept in P.A. Vyazemsky’s archive. It analyzes their variant readings in comparison with the printed text and the intriguing late indication of Grand Prince Admiral K.N. Romanov as the author of this poem in one of the lists.

Copyright of Prohistoria is the property of Prohistoria Ediciones 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.)

Wawrzyniec Engeström (altern. Lars Benzelstierna von Engeström) was a 19th-century Polish aristocrat with Swedish roots, a historian, writer and political activist who made it his life's mission to build bridges between Polish and Swedish culture. The rapprochement he sought was based on anti-German and anti-Russian sentiments. In his poems A Song about Our Stars (Pieśń o gwiazdach naszych, 1874, 1883) and The Vistula: A National Fantasy (Wisła - Fantazja narodowa, 1883) he drew on Wincenty Pol's Songs of Our Land (Pieśni o ziemi naszej). They all celebrated the idea of national unity based on historical memory, religion and custom. His inspiration came from Swedish Romantic literature, whose main works he translated into Polish. [ABSTRACT FROM AUTHOR]

The Nabati poetry of Sheikh Mohamed Bin Rashid Al Maktoum is a chronicle of Emirati history and cultural traditions. It constitutes a mosaic of unprecedented patriotic narratives about the history and cultural heritage of Emirati society since the pre-state era preceding the foundation and unification of the United Arab Emirates in the early 1970's. Sheikh Mohamed's poetry also captures Emirati contributions in the current era where the UAE occupies a prominent position on the world map. Regardless of its local status as a national record of an emerging country struggling to pass through the intersectional labyrinth of heritage and modernity, the Nabati poetry of Sheikh Mohamed has not received sufficient critical and analytical scrutiny. On this basis, the paper critically investigates the panoramic Nabati poetry of Sheikh Mohamed from different perspectives in order to explore significant thematic constructs underpinning historical and socio-political issues with great ramifications on the international and regional levels. Moreover, the paper aims to locate Sheikh Mohamed's poetry in its appropriate rank as a national archive reflecting the history and collective memory of a nation striving to make a paradigmatic shift towards an era of progress, advancement and prosperity. In a related context, the paper recommends that it is relevant to include selected texts from the patriotic poetry of Sheikh Mohamed in the Arabic language and social studies curricula in UAE schools at this critical time, when patriotic values should be instilled and sentiments of national belonging and loyalty embedded in students' hearts. [ABSTRACT FROM AUTHOR]

Historical epics have great significance in world literature. Kazakh historical epics were created by folk poets. In the study, authorial historical epics are compared with heroic poetry and historical epics. In the narrative, common motives are defined between the historical epics by folk poets and the heroic poetry; the attributes are listed differentiating the former from the heroic epics. The subject of this research is the historical epics made by folk poets, their place in the Kazakh literature, the ancient motives, epical traditions in the structure, plot of compositions of this category. [ABSTRACT FROM AUTHOR]

Despite disregard for patriotic themes among poets born between 1970’s and 1980’s, exceptional cases analyzed in this article provide a glimpse of new perspectives on exploring the patriotic poetry in Mexican literature. This could show that patriotic contemporary Mexican poetry, far from being lost as subgenre, is immersed in a process of profound transformation.

The founders of the first literary café in reborn Poland, namely ‘Pikador’ in Warsaw, chose a poem by Jan Lechoń for the inauguration ceremony in November 1918. In the poem, titled Mochnacki, the young poet recollects a historical concert of Maurycy Mochnacki, a Romantic tribune of the 19th-century Warsaw, a pianist and a writer. Different possibilities of interpretation of the work, which is heavily emotional–ranging from patriotic poetry, through an almost social satire to an intimate confession encoded in the form of a description of a piano concert and reactions of the foreign audience to it – are not contradictory as they complement each other well. [ABSTRACT FROM AUTHOR]

Copyright of Revista de la Biblioteca Nacional Jose Marti is the property of Biblioteca Nacional de Cuba Jose Marti 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 her article "The patriotic poetry of Adrian Păunescu. An experiment of reframing history" Mihăilă Anamaria discusses the different aspects showed by the patriotic poetry of Adrian Păunescu, especially after 1989, but in comparison with its anterior forms. Following the concepts of Maurizio Viroli, this work intends to demonstrate the permanency of ideology in writing and critical reception, framing the historical truth and the problem of ethic view. The patriotic theme shows the social imperatives and the rhetorical changes in addition to the époque. Păunescu's essays of "automistification", his "censored" volumes or the interviews and the documents hidden by the Party and illustrated after 1990 prove, at the end, a modus vivendi under communism. [ABSTRACT FROM AUTHOR]

The inspiration for this essay appearance the author found in amazing actuality of Kostić's poetry, and romantic ideas which were survived and re-actualized in our time in the form of neo-Romanticism and escalation of national feelings (although romanticism as literary movement disappeared from literary-artistic scene long time ago). Starting from the brilliant study of Stanislav Vinaver on Laza Kostic named Fascinating and Defies, which Vinaver opens by reminiscence on the initiator of historiography of Serbs, Jovan Rajic, and his comprehension of Minerva, the Goddess of learning and wisdom with the Old Romans, the author of this paper tries to perceive in what measure the Writer adopted Minerva's doctrine following the example of Kostić's poetry, but at the example of contemporary happenings, in what measure we had done it as a nation?.

The Union of the Community Centers (chitalishte) in Bulgaria was established in April 1911. In May 2011 the 32nd Congress of the Union was held. This poem was written by Valentin Kachev in celebration of the centenary of the Union.

Collective singing can be a powerful instrument to establish (or counter) political identities. Poets such as those who were involved in the revolutionary Dutch Patriot movement of the 1780s (re)discovered this performative power of song in the second half of the eighteenth century. This article explores how three main principles of the genre--unity of feeling, simplicity, and singability--contributed to a poetics of identification in Dutch eighteenth-century political songs. Through different musical-rhetorical techniques songs had to arouse feelings of collectivity in relation to political abstractions (such as fatherland, freedom, liberty) to which a felt tie would not develop automatically. [ABSTRACT FROM AUTHOR]

Copyright of Religious & Sacred Poetry: An International Quarterly of Religion, Culture & Education is the property of Fundacja Naukowa Katolikow Eschaton 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 Chinese Studies / Hanxue Yanjiu is the property of Center for Chinese Studies/National Central Library 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 re-examines the satirical writings of the Irish wit, essayist and journalist, Francis Sylvester Mahony (1804–1866) (“Father Prout”), who in the 1830s authored a series of comic articles for the conservative London periodical, Fraser's Magazine. It focuses on his best-known essay, “The Rogueries of Thomas Moore” (1834), which provides an ironic commentary on the politicization of historical debate in post-Emancipation Ireland. The article looks afresh at his nuanced critique of the patriotic verse of Thomas Moore (1779–1852). The concept of “original translation,” or translation as “transformation,” is explored in relation to Mahony's supposed discovery of foreign-language precursors to Moore's nationalist ballad collection, the Irish Melodies. In addition, the article explores Mahony's parodic upending of Moore's efforts to recreate an authentic Gaelic past in his English-language poetry, as well as Mahony's subtle critique of the role played by translation in the politicized rewriting of Irish history. It also uses critical theory to examine Mahony's ironic conception of textual transformation in his reworked ballads, resituating his comic re-assessment of Moore's poetry in the broader context of the emergence of a post-Romantic literature in 1830s Ireland. [ABSTRACT FROM PUBLISHER]

The article discusses the ways in which late-18th century British political poetry influenced regional identities in England during the French Revolution. The article describes the literary aspects of the publications "Poems Chiefly by Gentleman of Devonshire and Cornwall" and "Essays by a Society of Gentlemen at Exeter" and explores their affect on forming national and regional identities that expressed a conservative worldview standing against the revolutionary Liberalism of the French revolution. Other subjects under discussion include the affect of the Enlightenment of British culture, the notion of liberty and its relation to conservatism and liberalism, and the understanding of British patriotism.

British women's participation in the Napoleonic Wars was limited in the theaters of warfare, but not in the realms of print. Both the young Felicia Hemans and the older Anna Laetitia Barbauld intervened with poetry in the vigorous public discourse surrounding the ongoing wars with France, albeit with very different motivations and results. Hemans' little-studied England and Spain; or, Patriotism and Valour explicitly supports the British participation in the Peninsular War, but runs into complications when Hemans attempts to justify the destruction of past civilizations in the name of Freedom. Despite its immature enthusiasm, Hemans' poem was well received by critics. Barbauld's better-known Eighteen Hundred and Eleven, by contrast, was famously reviled by John Wilson Croker for drawing attention to the costs of war and, even more grievously, foretelling Britain's eventual decline and overshadowing by the Americas. By putting these two poems back into their wartime contexts and also back into conversation with each other, we can productively explore not only the contributions of each poet to wartime discourse, but also the globalization of the British imagination during the Romantic period. [ABSTRACT FROM AUTHOR]

The article focuses on the composition of state anthems of the Russian Empire and the Soviet Union. An active search for the country's musical symbol began in 1917 when Nicholas II's abdication of the throne of the throne delivered any performance of the old anthem. The melodies and words for the Russian anthem that had appeared in the article authored by famous poet Valerii Iakovlevich Briusov was regarded to be the most constructive among the number of suggestions made with regards to the composition of its national song. Briusov wrote a patriotic song which conveys the spirit of the people, its treasured convictions as well as its fundamental aspirations.

The article presents a 16th century French poem, attributed to Sir Thomas Wriothesley, depicting the 1513 Siege of Thérouanne, France. The text of the work is provided along with an analysis of poetic structure and themes. An overview of larger genre of war poetry depicting the event is cited and the author advocates the value of this particular work.