Search

The Dan Davin Poetry Festival took place in Invercargill, New Zealand, attracting prodigious poets for three days of literary events. The festival included panel discussions, workshops, and a poetry showcase, where both professional poets and newcomers shared their work. The festival aimed to support creative writing in Southland and continued the legacy of Dan Davin, an Invercargill-born writer who supported New Zealand authors. The Dan Davin Literary Foundation organizes a creative writing competition and hosts a Writer in Residence program, with the goal of nurturing and promoting local writers. [Extracted from the article]

Poetry competitions are significant activities within the literary and cultural realms. These competitions reflect people's interest in poetry and poets. The book "Al-ʿAqīdah al-Adabīyah fī Sabʿah al-Funūn al-Maʿnawīyah" by Aḥmad al-Rabbāt al-Halabī, a folk poet who lived in the late 18th and early 19th centuries, provides valuable information about competitions held among folk poets who specialized in seven types of poetry: Şi›r al-Karīd, Muwashshah, Dū-beyt, Kān-wa-kān, Zajal, Qûma and Mawāliyyā. These competitions, which took place during the Ottoman period, were organized objectively and institutionally, following specific rules in public venues accessible to poets, writers, and the general public. Despite being overlooked in Arab literary history books, these competitions were held in coffee houses in the Levant and Egypt during the 18th century, and the winning poet would receive a prize consisting of a caftan and a monetary reward. This article aims to shed light on this cultural and literary activity based on the aforementioned book, providing insights into the cultural and literary life in the Levant and Egypt towards the end of the 18th century. The article is divided into two main sections: the first provides an overview of Aḥmad al-Rabbāt al-Halabī and his book "Al-ʻAqīdah al-Adabīyah fī Sabʻah al-Funūn al-Maʻnawīyah" while the second offers detailed information about the venues, organization, and awards of these poetry contests. [ABSTRACT FROM AUTHOR]

The Two Row Repair trilogy refuses erasure as it tracks a journey of attempted recovery and repair, using the Two Row Wampum (Kaswenta) as inspiration, model, and directive. The Two Row Wampum, a foundational agreement made between Haudenosaunee and Dutch in 1613, extends into the present as a promise between Haudenosaunee and people of European descent to co‐exist in peace, respect, and friendship, and in common stewardship for all orders of life. The author, a tenth‐generation Dutch descendant settler, received first place in the 2023 Society for Humanistic Anthropology's 37th Annual Ethnographic Poetry Competition for Parts II and III of this trilogy. [ABSTRACT FROM AUTHOR]

Copyright of Cumhuriyet Ilahiyat Dergisi / Cumhuriyet Theology Journal is the property of Cumhuriyet Universitesi, Ilahiyat Fakultesi / Cumhuriyet University, Faculty of Theology 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 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.)

This article examines the representation of rice in Asian literature, focusing on its cultural and spiritual significance. It explores the historical context of rice cultivation in Asia, which was impacted by Western colonialism and exploitation. Despite this, rice remains an important part of Asian culture, as reflected in myths, folklore, and legends. The study analyzes four rice-themed poems from Indonesia, Korea, and Vietnam, using postcolonial ecocriticism to understand the cultural and spiritual values of rice in the face of global challenges. The poems delve into themes of war, sacrifice, and ecological changes, emphasizing the importance of reclaiming indigenous knowledge and practices for ecological restoration. The exploration of nostalgia in these poems reveals the deep yearning and cultural memory associated with rice, showcasing its multifaceted meanings and significance in postcolonial ecosystems. [Extracted from the article]

Mike Baynham is Emeritus Professor of TESOL at the University of Leeds, a fellow of the Academy of Social Sciences and former Chair of the British Association for Applied Linguistics (BAAL). He was a Visiting Professor at York St John University (2020–2023) and an Honorary Professor at the University of Sydney (2019–2022). His recent publications include: Narrating Migrations from Africa and the Middle East: A Spatio-Temporal Approach (with R. Breeze and S. Gintsburg, Bloomsbury, 2022) and Translation and Translanguaging (with T. K. Lee, Routledge, 2019). In retirement he has become engaged with writing and translating poetry and various types of performance. He translates from Spanish and Arabic mainly and has published translations of the poetry of the Moroccan poet Abdallah Zrika (Baynham 2020). He is currently translating the poetry of the Moroccan zajal poet Adil Latefi and the Kurdish Syrian poet Ceger Hillo. His translation of a poem by Adil was awarded second prize in the 2023 Stephen Spender Poetry Competition. He works as a poetry editor at The Other Side of Hope magazine, setting up a bilingual poetry section, working title Other Tongue/Mother Tongue. In this interview, Mike first elaborates on the reasons behind his involvement with narrative studies and how it became clear that the Labovian model of narrative is not always valid with all types of narrative data. He then reflects on the definition of narrative, the role space and time have in it and offers, as an example of non-linear narrative a "picaresque" story, in the Arab tradition of storytelling. In conclusion Mike offers his vision of the future of narrative studies. [ABSTRACT FROM AUTHOR]

The Greek poet Georgios Zalokostas wrote a long poem, “To Mesologgion”, which deals with the siege of Missolonghi and the sortie of the besieged as a result of this siege and the fall of the city in 1826 as a historical event about. The poem in question is included in the First Athenian School, the first literary school of contemporary Greece, which was influential in Greece between the years 1830 and 1880. Indeed, after Greek independence, Greece’s main intellectual centers were the neighboring Ionian Islands and Athens, the capital of the new Greek Kingdom. During this period, while Greece was trying to create a new political, administrative and cultural life, the main element of the first literary school that emerged in the country was Romanticism. Some features of this school are the use of Katharevousa, the purest form of Modern Greek, the influence of French romanticism, pessimism and melancholy, rhetorical style, patriotic lyrical tone, and themes from the 1821 Greek Revolt. Georgios Zalokostas (1805-1858), born in Ioannina Syrrako, one of the poets of the First Athenian School, emigrated to Italy with his family due to the pressures during the reign of Tepedelenli Ali Pasha, where he studied Italian and Greek literature, and the law. He returned to Greece when the Greek revolt started in 1821. Zalokostas fought against the Turks and took part in the siege of Missolonghi in 1826. His participation in the siege of Missolonghi and his participation in the sortie to leave the besieged city also makes him a witness of this historical event and this testimony gives his poem a special quality. From 1851 to 1877, the intellectual life of Athens was dominated by poetry competitions, which became an important institution, proving the important place of poetry that occupied society. Zalokostas won the first prize in the “Ralleios” poetry competition organized by the University of Athens in 1851 with his poem “To Mesologgion”, which was about the Siege of Missolonghi in 1826. In this article, the Greek poet Georgios Zalokostas and his award-winning poem “To Mesologgion” will be examined within the framework of the mentioned literary school in the history of contemporary Greek literature. While the Siege of Mesolongi in 1826 is dealt with from a historical perspective, the geographical space, elements of Greek mythology, elements of Christianity, historical figures in the siege, and the “other” in the poem will be evaluated and discussed thematically. [ABSTRACT FROM AUTHOR]

This document is a poem titled "Pathophysiology" by Liz Irvin, which won second place in the 42nd William Carlos Williams Poetry Competition. The poem explores the concept of learning about physiology and diseases, emphasizing the faceless nature of diseases and the impact they have on individuals. The poet reflects on the strangeness of the heart's ability to keep beating and uses medical terms to describe the experience. The poem also touches on themes of grief and the intense emotions associated with medical experiences. Liz Irvin is a medical student at the University of Massachusetts Chan Medical School. [Extracted from the article]

The article titled "Escape!" by Jude Okonkwo is a poem that explores themes of frustration, love, and the desire for escape. The poem reflects on the experiences of a black man, highlighting the limited opportunities and challenges he faces. It also touches on the dystopian nature of the narrator's love life and the attempt to find solace in memories and alcohol. Overall, the poem serves as a tribute to those who long for an escape from illness, inequality, and fear. [Extracted from the article]

The art of aitys, which has an important place in Kazakh oral literature, is a poetry duelling competition performed by at least two akins (ashiqs) before a large audience while mostly playing a dombra with the aim of defeating the other performer. The equivalent of "aitys" in Turkey is "atishma". Aitys (atishma) competitions, which are loved by people of all ages in Kazakhstan and which are normally organized at least once a month to celebrate national holidays and various important events as well as to commemorate national heroes, have not been organized for a long time due to the novel coronavirus that has swept across the globe. Therefore, the aitys competition held in the Kazakh city of Oral on 25-26 September 2020 after a hiatus of eight months with the participation of sixteen akins is greatly important. The aityses performed in this competition does not have written records yet; therefore, the study uses the video records available on the internet and examines them according to performance theory. These aityses focus on the developments that the Covid-19 pandemic has caused both globally and in the country, the pandemic-related restrictions over people's social lives, the measures that even prevent live audiences from attending aitys competitions, and the importance of wearing masks, social distancing and quarantining. In this regard, the performer, the audience and the aitys pieces are regarded as a whole; and the aityses, which are performed orally, are considered as a "live event". [ABSTRACT FROM AUTHOR]

This article discusses the types of evidence used to support the critical positions taken by Fujiwara no Shunzei and the monk Kenshō in the Poetry Contest in Six Hundred Rounds (Roppyakuban uta'awase; 1193–1194). As the largest extant poetry competition judged by a single individual, Shunzei, the Roppyakuban uta'awase illustrates a wide range of compositional practice. It also provides a substantial body of practical waka criticism: by Shunzei in his role as judge, by the participants in their comments on their opponents' poems, and by Kenshō in his 'Appeal' (Chinjō) against Shunzei's judgements. Analysis of this critical discussion reveals that unusually, both Kenshō and Shunzei use testimonial evidence from informants to support their critical positions, and Kenshō even utilises his own scholarship and poetic writing, in addition to the expected citation of prior poetry and poetic scholarship by poets of previous generations. Though Shunzei limits his testimony to that from members of the court nobility, Kenshō frequently supports his arguments with evidence from members of the peasantry, revealing that the opinions and views of the lower social classes could be given weight in the critical discussions of waka poets at the end of the twelfth century. [ABSTRACT FROM AUTHOR]

In this paper, I will refer to the Malaysian Migrant Worker and Refugee Poetry Competition and the subsequent collection of the selected entries entitled Voices of the Displaced. I will contend that this opportunity of showcasing the literary and cultural agency of traditionally peripheral migration in Malaysia is effectively instrumental in generating an alternative perspective in addressing the existing discourse of migration and diaspora. Therefore, I will propose that the notion of "local modernities," as professed by Bill Ashcroft, is an appropriate articulation in order to locate this contemporary cultural contingency. Consequently, I will attempt to argue that the emerging diasporic interspaces of local modernities in Malaysia are capable of not only creating shifting spaces and practices where participatory negotiation of sameness and difference can be sustained, but also of initiating a polylogue that represents the distinctive divergences. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities 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.)

Copyright of Trabalhos em Lingüística Aplicada is the property of Universidade Estadual de Campinas - Portal de Periodicos Eletronicos Cientificos 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.)

Focussing on a selection of the poems from the 1823 Académie Française's Prix de Poésie, which had for its title l'Abolition de la traite des noirs, this article will explore the key imagery underpinning representations of slavery and arguments for abolition at the time, answering the critical neglect of antislavery poetry and bringing fresh insight to our understanding of the perceptions and representations of early nineteenth-century slavery. Using postcolonial theory, I will interrogate and problematise the narratives the poets have reproduced, as well as analyse the development of abolitionist discourse over the course of the early nineteenth century. [ABSTRACT FROM AUTHOR]

Jean Regnier's Livre de la prison (c. 1432–33), written while the author was imprisoned in the city of Beauvais, contains a number of puzzling references to individuals Regnier would have encountered during his incarceration. This article provides a new interpretation of two such references, namely to a certain "Pierre Du Puis" and to "no dame" (lines 3887–888). While "Pierre Du Puis" has customarily been assumed to be a person, this article demonstrates that, along with "no dame," Regnier is most likely referring instead to the two cathedrals of Beauvais that stood directly outside of his cell walls. By reconsidering the architectural underpinnings of the poem's composition, I show the importance of the cathedrals in Regnier's vision of the late medieval city. In that puis (or puy) can signify a confraternal devotional society or its annual poetic competition, I also consider how the reference may be connected to the palinodic tradition of devotional lyric that Regnier emulates. [ABSTRACT FROM AUTHOR]

Copyright of Colloquia Humanistica is the property of Polish Academy of Sciences, Institute of Slavic Studies 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.)