Search

Amelia Opie's novels have typically been received as following the structure of the fallen-woman plot. This article reveals how Opie's late understudied novel The Only Child; or, Portia Bellenden (1821) forms a radical departure from this genre as the heroine uses her skill in writing and poetry composition to orchestrate for another character to die in her place. Using recent approaches in cognitive narratology, in particular the theory of predictive processing, I analyse how Portia utilises composition to manipulate emotions and genre expectations, and thus attain agency over plot events. This new cognitive account of composition's representation demonstrates how the novel's original poems model a method for constructing decisions that depart patriarchal scripted narratives. The cognitive approach to composition reveals how the novel's radical politics lie, not in offering specific political values, but in demonstrating how the reader can use composition to interrogate gendered ideologies that are represented as moral behaviour. [ABSTRACT FROM AUTHOR]

Gerald Dawe is one of the most significant Irish poets of the past few decades. In this interview he describes his formation as a poet and banks on his experience as a literary critic and educator to discuss the status of poetry within contemporary education. He shares his views on how young people can be encouraged to engage with the reading and writing of poetry. [ABSTRACT FROM AUTHOR]

The article explores the profound influence of Shakespeare on Emily Dickinson's poetry and letters. Topics include Dickinson's passionate rediscovery of Shakespeare after a period of withdrawal, her allusions to Shakespeare's tragedies in her own work, and the ways in which Shakespeare's themes of loss and suffering resonate in Dickinson's life and poetry.

This article examines the impact of a poet‐led classroom‐based poetry programme on secondary school students' writer identities and self‐expression, particularly focusing on BPoC teenagers. Drawing on the Writing Realities framework, the research uses focus groups, participant observations, and interviews with the poet‐in‐residence. Rather than analysing the students' poems, the study explores their engagement with poetry writing and the poet‐in‐residence, highlighting the contribution to self‐reflection and meaning‐making. The findings reveal how the residency introduced students to diverse poetry forms, community‐based poetry, and collaborative writing, facilitating critical engagement with themes relevant to their lives. However, the school's status as a Predominantly White Institution hindered full expression of BPoC students' identities. The presence of the poet‐in‐residence, a young mixed‐heritage Muslim woman, positively influenced students' relationships with writing, particularly for BPoC students, by providing a protected space for self‐expression and identity exploration. The study underscores the importance of creating supportive environments in schools to nurture BPoC students' creativity and writer identity, emphasising the need for anti‐racist practices and culturally sustaining pedagogies to empower students from socially marginalised groups. [ABSTRACT FROM AUTHOR]

In secondary English classrooms, poetry is often a text that is least liked because it is viewed as being “inaccessible,” reserved for the elite, and/or too abstract. Part of the reason for this also lies in the traditional, colonial structures of introducing poetry such as relying on canonical texts and close reading analysis. Yet, outside of the classroom poetry is used in more accessible and engaging manners. With the advancements of technology, there also includes multimodal ways in which to read and write poetry that could be much more interesting for both educators and youth. This paper opens a discussion to consider multimodal and aesthetic responses to including poetry such as using digital apps like PhoneMe, a free accessible platform that allows users to post their written poems, record themselves reciting poems, and pin their poems directly on to an interactive digital map. The uniqueness of PhoneMe—a layered multimodal approach—can provide a more engaging way to teach and learn poetry. [ABSTRACT FROM AUTHOR]

Kia ora e hoa, wishing wellness and vitality, to you, dear friend. This piece is a window into the realities of being a fat Māori girl and woman. It offers insights into the sense making, intimacies, and intricacies of being a fat Māori girl, and now woman. This piece is whakapapa, the layering of genealogy, of thought, of realities, of experiences, of identities. It offers a glimpse into a time of whakapapa, of how I have made sense of my world in my many identities. Here, I share poems written throughout my research journey and my relationship navigating insider-research, being embedded in the research, being the research, and the ways in which I actualize Kaupapa Māori research. This piece opens with a karakia, a spiritual offering of safety, of welcome, and starts with the poem When I was, sharing moments and memories from ages 5 to 33. It then transitions to the poem When I am, a poem of potential, which connects back with the atua Hinenuitepō, a powerful ancestor and wahine deity, as well as her stories, transitions, and Kaupapa that she has shared with me, so that I may make sense of the world and this Kaupapa, the ways she has guided me on my journey. It then ends with a karakia, a spiritual offering of safety and cleansing, a farewell, to you e hoa. [ABSTRACT FROM AUTHOR]

From the perspective of a poet and first-year psychoanalytic training candidate, this paper develops Jeremy Safran's ideas about the dialectic between psychoanalysis and Buddhism by drawing an analogy between their processes and those of a poetry practice to define an alternative to pathological dissociation under capitalist systems of value. The paper details the writer's experience of working a day job in an office and the pathological dissociation which she subsequently attempts to overcome and critique through writing poetry. Various poems written at work are shared and analyzed as evidence. Drawing from Safran's edited volume, Psychoanalysis and Buddhism, the author then identifies aspects of Zen Buddhist meditation practice and the psychoanalytic process that focus on connecting with reality, however conflicted, as opposed to escaping it. This paper was written under the mentorship of the psychoanalyst and Zen teacher Barry Magid. [ABSTRACT FROM AUTHOR]

Landon Loftin and Max Leyf's What Barfield Thought serves as an introduction to the key themes and concepts running through the work of Owen Barfield, the so-called "first and last Inkling." This digestible yet rigorous volume includes chapters on Barfield's primary areas of interest: Language, Poetry, The Evolution of Consciousness, Final Participation, and Science, Technology, and the Crisis of Meaning. With each chapter building on the last, this study makes an excellent primer to Barfield's often difficult and esoteric ideas. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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 emergence of generative AI technologies has led to an increasing number of people collaborating with AI to produce creative works. Across two experimental studies, in which we carefully designed and programmed state-of-the-art human–AI interfaces, we examine how the design of generative AI systems influences human creativity (poetry writing). First, we find that people were most creative when writing a poem on their own, compared to first receiving a poem generated by an AI system and using sophisticated tools to edit it (Study 1). Following this, we demonstrate that this creativity deficit dissipates when people co-create with—not edit—AI and establish creative self-efficacy as an important mechanism in this process (Study 2). Thus, our findings indicate that people must occupy the role of a co-creator, not an editor, to reap the benefits of generative AI in the production of creative works. [ABSTRACT FROM AUTHOR]

The article focuses on the philosophy of poetic thought in the context of contemporary culture, emphasizing the need to transcend mundane thinking. Topics include the critique of ordinary experience through poetry, the role of mystery and delight in poetic expression, and the intersection of reason and poetry as explored through various essays.

Objective: To reflect on the importance of teaching formulation skills in psychiatry training and explore how creative writing, particularly writing poetry, can help achieve this goal. Conclusions: It is vital that formulation skills are embedded throughout psychiatry training. Formulations have an artistic element, and writing poetry can help foster a capacity for curiosity that can assist trainees in developing these skills. [ABSTRACT FROM AUTHOR]

Copyright of Turkish Journal of Social Research / Turkiye Sosyal Arastirmalar Dergisi is the property of Turkish Journal of Social Research 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 delves into a new interpretation of George Herbert's renowned shape poem, "Easter-wings." Topics include the influence of the Hellenistic tradition on Renaissance shape poetry and its encrypted reading techniques, the discovery of a previously unnoticed combined version of the poem in its manuscript sources, and the implications of these findings for textual criticism and the history of the book.

This article highlights how teachers can use poetry writing through the instructional contexts of shared, interactive, guided, and independent writing to provide intentional scaffolding for writers. [ABSTRACT FROM AUTHOR]

Geography is a discipline rooted in the idea of 'earth writing', yet until recently human geographers had left the study of the very matter of the earth – the soil beneath our feet – to natural scientists. If human geographers – amongst other humanities scholars – have begun to address human-soil relationships there is a need to attend to meanings invested in and generated by being with the soil. This paper attempts to address this by analysing the relationship with the soil by those who made their living by tilling and tending it, rural agricultural workers, those who laboured on (and in) the soil. Specifically, it focuses on the 'long 19th century', the period at the start of which when labourers remained the largest occupational sector but when agricultural 'improvement', industrialisation and rapid urbanisation were challenging human-soil entanglements. Drawing upon novels, poetry and biographical writing, this paper plots three key ways in which the relationship between rural workers and the soil was figured: as the link to the past; as inheritance, the promise of the future; and through the affective nature of tilling. In so thinking about these multi-layered meanings, the paper shows not only the value of excavating past human-environmental entanglements but also the need to adopt a cultural geographical methodology and sensibility. In sum, it is shown that soil was a crucible not just of life but of meaning in life. [ABSTRACT FROM AUTHOR]

"Smart (Studies) Now" rethinks the significance of Christopher Smart for authors, critics, and students. While writers from Frances Burney to Allen Ginsberg have rated this elusive author highly, critical appreciation has lagged, often focusing on his madness, or treating him as a hack who got lucky once. This essay extends attention from the linguistic and formal power of Smart's religious verse to highlight his generic range and cross-corpus coherence. Three imperatives to advance Smart studies are formulated: clarity about Smart's influence on authors across various periods, attention to the value and relevance of his complete corpus, and availability of a robust sample of his poetry and prose for classroom use. [ABSTRACT FROM AUTHOR]

This paper explores the career of Wan Kin-lau (1944–1976), a Hong Kong poet and translator who attended the University of Iowa's International Writing Program in 1968. He remained in Iowa City and earned a Master of Fine Arts from the Iowa Writers' Workshop in 1970. Over half of the poems in Wan's master's thesis are self-translations of his poems originally written in Chinese, although nothing in the thesis indicates that any of the poems are translations. In some cases, Wan domesticated his self-translations for an American readership, mainly in relation to his critique of the American War in Vietnam. Contra Venuti's conceptualization of domestication as enabling "the ethnocentric violence of translation," Wan's self-translations demonstrate that domestication is not simply a matter of subjugation to the dominant culture and can instead serve as an act of defiance in which domestic audiences confront uncomfortable political realities as their own. Translation was at the center of Wan's short life, both in his poetry and other literary projects, and in his translation of complex Chinese cultural and political issues for American audiences, especially in relation to the Baodiao movement. [ABSTRACT FROM AUTHOR]

A reflection piece—on rethinking the return of a Martial Law dictator in the form of his namesake, the newly elected president of the Philippines; the gamut of conversations on (un)covered facts, post-truth, appearances, interpolations, populism, revisionism and transformations, as well as the power of (trans)national media and images entangled with participatory publics; and how might a younger generation and/or transgender poet, such as myself, who did not experience first-hand the atrocities of military rule and learned them only through dominant narratives, might create and/or open capacious spaces for empathic opacity, new understandings, and possible coalitions and resistances within a historical moment concurrent with a present and/or imagined dystopia—expressed as a suit of three poems: To write another eye; Now is no longer the time for poets; Requisite condemnation. [ABSTRACT FROM AUTHOR]

The concept of the ‘court metaphor’, which Tanpınar used for the first time in his book XIX. Asır Türk Edebiyatı Tarihi (The History of Turkish Literature in the Nineteenth Century) depicts a world in which the beloved is a ruler and the lover is a slave, in other words, one of the paradigms of classical Ottoman literature. The values imposed by this paradigm are gathered in three activities: War, Hunting and Banquet. We base this article on these values, but we do not analyze the ‘court metaphor’ conceptually. Instead, we categorize the elements that can be interpreted from the point of view of the ‘court metaphor’ after discovering them, and we find out some statistical data by searching these elements in the Divans of ‘Avnî and Bahâyî. On the other hand, we cannot say that all the groups of metaphors included in these categories, that is, in our article, are directly related to this paradigm. Therefore, in this article, we also discuss the groups of metaphors that are indirectly related to this paradigm along with the elements within the framework of the ‘court metaphor’ as implied by the title. For this purpose, we had made a comprehensive and extensive categorization for the elements included in the ‘court metaphor’ and other related groups of metaphors based on the above-mentioned values. Then we had the following categories: “Banquet/Tavern and Spring”, “War /Beloved the Warrior”, “Heaven”, “Beloved the Ruler” and “Torture and Rival”. In this article, we examine the elements contained in only the first two of these categories. As for the objects of analysis, we choose two Divans of the two poets: ‘Avnî ve Bahâyî. The reason for choosing them is that Bahâyî is a panegyrist who wrote poems in the Sebk-i Hindî style while ‘Avnî is a ruler, that is, the praised one, who wrote poems in the classical style. Moreover, there are two centuries between them. Accordingly, if we find out that they used the elements included in the ‘court metaphor’ and other related groups of metaphors similarly in their Divans, we acquire a supporting data for the Tanpınar’s point which argues that these metaphors are extensive to all Ottoman poetry. In conclusion, we aim to provide a statistical data on how the elements included in the ‘court metaphor’ and other related groups of metaphors are used and what is their frequency in these two Divans. However, this data is of such a nature that it can serve as a statistical basis for further comprehensive conceptual research on the ‘court metaphor’. [ABSTRACT FROM AUTHOR]

Poetry, being a distinct literary art form, fosters meaningful literacy, but few studies focus on enhancing its writing quality. Using a 2 × 2 between-subject design, this study explored the effects of prior knowledge and peer assessment on the quality of English as a foreign language poetry writing. A total of 81 English majors participated in a 7-week online poetry writing task, generating 567 poems on seven themes. Literary experts evaluated the poems across seven aspects. Results revealed that peer assessment enhanced general writing quality, specifically for participants with high prior knowledge. Prior knowledge negatively influenced personal voice and organization, with the low prior knowledge group showing a stronger focus on personal expressions and the flow of the poem. Peer assessment positively influenced the use of poetry schemes, with the assessed group demonstrating better utilization compared to the non-assessed group. The findings guide teaching poetic knowledge, encourage communication among students, and ultimately improve the quality of L2 poetry writing. [ABSTRACT FROM AUTHOR]

Copyright of Studies on Turkish Language & Literature in the Balkans is the property of Studies on Turkish Language & Literature in the Balkans 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.)

Khāqāni's poetry stands out in Persian poetry for its abundance of images, interpretations and concepts which makes his poems difficult to understand and explain. Though, there have been valuable researches explaining the much more complicated aspects of the poems of this renowned Persian poet, there are still a great number of expressions and interpretations in his poems which have not been understood accurately. The hypothesis behind the present study is that part of the difficulty in understanding Khāqāni's poetry is the phenomenon of linguistic interference. As one of the consequences of bilingualism, linguistic interferences refers to the (unconscious) influence of the speaker's mother tongue on her/his second language. It also includes the presence of regional beliefs and cultural characteristics in the speaker's speech and writing in second language. Based on the aforementioned hypothesis, the present study focuses on words, sentences, interpretations and idioms in Khāqāni's poetry which could be understood only by considering their Turkish counterpart. Considering that Khāqāni is from Azerbaijan, and his poetry is written in Persian; there have been many historical discussions about the language of Azerbaijan in his time (12 AD). Away from such considerations, this study solely focuses on his own text to investigate the complications and problems in Khāqāni's poetry, some of which are due to the poet's linguistic interference. [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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 month, I offer a poem (actually a rare twosome) by the gifted poet and plastic surgeon William C. "Bill" Lineaweaver, MD, once of Mississippi who now teaches at Vanderbilt Medical School. Bill writes: "I wrote this poem while visiting a restored Chinese village outside Shanghai. A boat trip on the village's canals passed old compounds once owned by merchant families. I was thinking about our developing plans to sell our old farmhouse in Mississippi, and the images and the poem's voice almost completed themselves before I left the boat. I read a first draft of the poem to friends in Shanghai over drinks and dinner. They gave me a toast of encouragement. Besides the lovely poem, following it is a Chinese translation of the poem by Bill's friend Feng Zhang. (What fun and genius!) Describing the poem and translation, Bill adds: "The style of the poem is a little bit of a parody of pseudo-translations of Chinese poetry composed by such poets as Ezra Pound. The syntax of those efforts is sometimes deliberately odd, perhaps to try to make them exotic. I wondered how my original poem would translate to Chinese, an 'after the American' version of the 'after the Chinese' poems done by English-speaking writers. A poet friend of a friend did the translation. He said it was an interesting exercise." [ABSTRACT FROM AUTHOR]

Copyright of Journal of Abant Social Sciences / Abant Sosyal Bilimler Dergisi is the property of Journal of Abant Social Sciences 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 deals with three Neo-Latin poems written by Bohemian authors – the Rector of a school in Beroun Iosias Gigenius, the lawyer Ioannes Heller and the young Moravian nobleman Zdeněk Brtnický of Waldstein – to celebrate the recapture of Győr in 1598 which had been conquered by the Turks four years before. The poems can all be regarded as highly stylised poetic works in which their authors celebrated the glorious victory of the Christian armies over the Turks, usually with the use of classicising panegyrics on Rudolph II and Adolph von Schwarzenberg (the main credit for the victory being given to God). Despite being concerned with the same topic and sharing identical aims, the poems differ from each other in various aspects, the most evident of which is their length. Basic information about all three authors is provided in the study and the poems are analysed and compared: both the literary and ideological aspects are discussed. Special attention is paid to the different roles attributed to particular characters and to the use of classicising motifs, especially in the most extensive poem by Waldstein. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Latin American & Caribbean Anthropology is the property of Wiley-Blackwell 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 sheds light on some outstanding topics that deal with modern literary themes like alienation and despair by showing their negative effects on modern individual's life. The definition of alienation, its types, and an analysis of the self and soul are done according to different philosophers who Eliot is influenced by. The paper also portrays the impact of the two world wars and how their related economic, social, and political events have worsened the physical and spiritual alienation. In their poetry, T. S. Eliot and Adonis accentuate this adversity throughout their quest for a meaningful existence. According to Eliot, returning to religion is a necessity for overriding the crisis of spiritual alienation and loss. On the other hand, writing poetry is Adonis' technique to surpass internal despair where realms of divine imagination are weaved to soothe the sense of isolation. The study also delineates how both poets have used symbolic and figurative language to present the bitter reality. Although Eliot uses an impersonal way for portraying alienation, Adonis tends to be biographical in depicting this trauma. [ABSTRACT FROM AUTHOR]

OpenAI is a research organization founded by, among others, Elon Musk, and supported by Microsoft. In November 2022, it released ChatGPT, an incredibly sophisticated chatbot, that is, a computer system with which humans can converse. The capability of this chatbot is astonishing: as well as conversing with human interlocutors, it can answer questions about history, explain almost anything you might think to ask it, and write poetry. This level of achievement has provoked interest in questions about whether a chatbot might have something similar to human intelligence and even whether one could be conscious. Given that the function of a chatbot is to process linguistic input and produce linguistic output, we consider that the most interesting question in this direction is whether a sophisticated chatbot might have inner speech. That is: might it talk to itself, internally? We explored this via a conversation with 'Playground', a chatbot which is very similar to ChatGPT but more flexible in certain respects. We put to it questions which, plausibly, can only be answered if one first produces some inner speech. Here, we present our findings and discuss their philosophical significance. [ABSTRACT FROM AUTHOR]

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]

This article, titled "The Shakespearean Interplay with Marlowe" by Tony Hosking, explores the literary relationship between William Shakespeare and Christopher Marlowe. Hosking argues that there was a reciprocal influence between the two playwrights, with both borrowing from each other throughout their careers. He also suggests that Marlowe is the Rival Poet in Shakespeare's Sonnets, contrary to other scholars who propose Robert Devereux, Earl of Essex. The article provides examples of parallels and allusions between their works, highlighting the interplay and admiration between the two poets. [Extracted from the article]

Introduction: This study investigates how seventh-grade students experience online collaborative writing, its support in writing poems, and how collaboratively and individually written poems differ. Methods: The educational design research method was used in this mixedmethods study, which was conducted in natural classroom settings to investigate students' individual and collaborative poetry writing. Results: The quantitative analysis of questionnaires and qualitative thematic analysis of postexperimental interviews show that the students enjoyed collaborative writing more and found it more accessible than individual writing. They experienced that it supported them in writing better poems and increased their writing confidence. They also appreciated the support of teamwork, although individual writing gave them more liberty to explore various aspects of poetry and express their feelings. Discussion: From a pedagogical point of view, the students need to be provided with opportunities for collaborative poetry writing to make the writing process easier and more enjoyable. Online collaborative writing supports the process of poetry writing. [ABSTRACT FROM AUTHOR]

This article stems from dialogues in the context of the 15th TQR conference themed "Qualitative Inquiry: Access Denied?" where a workshop on Poetry in the Teaching and Learning Qualitative Research has resulted in participants creating a poem conference organizer encouraged to share with the readers of TQR. In this article, I provide an overview of the background and rationale for the workshop, the activities leading to the participants writing the poem, and a reflection on how the participant-created poem connected with the conference theme and the potentials of utilizing artistic practices in teaching and learning qualitative inquiry. [ABSTRACT FROM AUTHOR]

The essay provides a new reading of the debut collection of poems by the experimental poet and conceptual artist Nóra Ružičková (b. 1977). After outlining the way the feminist thought entered Slovak academic and literary discourse in the 1990s, the article conducts a Lacanian reading of chosen elements of the poet's first collection of poems Mikronauti ([Micronauts] 1998). The essay starts from a reading of several of Ružičková's poems published in the Slovak (and Czech) feminist periodical Aspekt (1993 -- 2004) in 1997 and then moves on to discussing the way the collection was read through the prism of feminist theory (Hélène Cixous and her concept of écriture féminine). The article then provides a close reading of a poem addressing the issue of women's writing. The last section of the essay discusses the research of the body and the subject with regards to interiority and exteriority and the visual means of expression in Lacan (topology) and Ružičková who also illustrated her collection of poems. In its concluding remarks, the essay proposes to conceptualise Ružičková's writing as research-based poetry. [ABSTRACT FROM AUTHOR]

The article focuses on the second book of poetry by Katarína Kucbelová (b. 1979) Šport ([Sport] 2006). The collection portrays the world as an ongoing process which transforms everything -- living and inanimate, abstract and concrete. The processual character of the world in Sport focuses specifically on the body. The reading outlined in the article handles processuality in connection with themes, motifs, and philosophy of life, deriving the essential points of thinking about corporeality from phenomenology. Since Kucbelová's poetry often refers to the principles of visual and conceptual art, a similar interpretive procedure can be applied to the reading of her writing: her poems connote various spheres of life and in the creative process, she combines these into a more or less unified thought world. Interpretive directions thus variously rely on the idea of processuality and develop it: these encompass such areas as conceptual art, phenomenology, meditation, biology, or somatic aesthetics. Broadly, these insights can be applied to the author's first three books of poetry, which can be laboriously described as a processual trilogy, since they all manifest an approach to various spheres of life as processes. [ABSTRACT FROM AUTHOR]

Integrating literacy practices in science classrooms can help students read complex scientific text, write arguments as part of shared cross-disciplinary practices, and engage with content. In the Linking Science, Mathematics, and Literacy for All Learners program, middle school science, mathematics, ELA, and special education teachers have been implementing multimodal STEM text sets that include a range of texts and scaffolds that support instruction and students' content learning. One of these strategies combines reading and writing in unique and creative ways: poetry writing! Blackout and found poems are accessible approaches to help students focus on key words and ideas in a complex text, pull out those words to work with them, and then reconstruct them into a poem. This approach can be used in a variety of ways, and in some of the examples provided, students include an altered page from a scientific article on which they find their words, black out the rest of the text, and then illustrate the entire document to help show their message [ABSTRACT FROM AUTHOR]

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.)

This research is about the analysis of different types of sound devices used in writing poetry. This aims to provide teachers with additional concrete knowledge of a method to analyze poetry in order to choose and make appropriate teaching materials for the Filipino subject. The researcher used a qualitative method and selected three poems that won the Palanca Award in three periods. To compare the use of different types of sound devices in local poems compared to foreign poems, the researcher chose three poems from each local and foreign poem that won different types of awards. It was discovered in the study that in the three local and foreign poems used in the analysis, the use of assonance is more dominant, and consonance is the one with the least use. The study revealed that there is no difference in the style of the writers in choosing and using different types of sound devices in writing poetry. Students and teachers, especially those who teach Filipino, should have sufficient knowledge of different types of sound devices. In this way, the analysis of a poem becomes easy. [ABSTRACT FROM AUTHOR]

The article highlights the importance of poems written in Chile during the dictatorship and the democratic recovery, which reference the Holocaust. The author, David Preiss, explores the relationship between poetry and the memory of the Holocaust, emphasizing its importance as a tool for memory and cultural reparation. The article mentions Pope Paul VI's 1965 Declaration Nostra Aetate, which addresses the Church's relations with non-Christian religions in a context of growing religious intolerance and antisemitism. [Extracted from the article]

In the past, most people thought that Liangfu Yin(梁甫吟) was written by Zhuge Liang, and regarded it as a funeral song. Through the textual research on the origin, author and creation time of Liangfu Yin(梁 甫吟), it can be found that it was not Zhuge Liang's poem. Moreover, the poem contains a strong criticism of the evil acts of Dong Zhuo's persecution of Huangfu Song, Zhu Jun and Lu Zhi in the late Fastern Han Dynasty. Accordingly, it can be judged that the poem was written between 191 and April 192. [ABSTRACT FROM AUTHOR]

Among the Abinger Papers in the Bodleian Library is a document, MS. Abinger c. 73, fols. 99–104, the testimony of one William Tyler, a draper's assistant from Marlow, Buckinghamshire who wrote poems and saw the Shelleys plain. Jane, Lady Shelley (the wife of the Shelleys' only surviving son, Sir Percy Florence) gathered as many reminiscences of her father-in-law as she could. Tyler's is by far the longest. (Appended to this essay is a transcription of his testimony reproduced in full for the first time). Tyler has been virtually erased from the literary and biographical records of the Shelleys, save for one footnote. Edward Dowden made use of his testimony for The Life of Percy Bysshe Shelley (1886), but whilst some of Tyler's words are artfully deployed to bolster the memories of another, others are cut from the record altogether. This essay tells the remarkable story of Tyler, a man unknown to fame, who deserves to be remembered. For one, he provides the only surviving verbatim record of the contents of a journal kept by Mary Shelley which covered the events of May 1815 to June 1816. Who was William Tyler and how did he come to turn those lost pages? [ABSTRACT FROM AUTHOR]

Beckett's poetic sequence " mirlitonnades " both thematizes and tests the possibilities of human voice. The title invokes a mirliton, a kazoo or a toy instrument that produces a buzzing timbral sound, something the poem emulates through various kinds of sound patterning, phonetic assonances, and resonances. Shaping a soundscape full of timbral and vibrational registers with no significant metrical or prosodic purpose, Beckett situates his poetic speaker in the valley between sound and sense, partly mocking the annexation of sound by meaning and expression. Timbral poetics is thus defined here as the production of a distinct noise or resonance in poetry that resists all signification. [ABSTRACT FROM AUTHOR]

Books on poetry methods in the Republic of China are divided into two types. The first type is teaching materials or course notes compiled by school teachers to guide students in writing poetry. It is represented by university lecture notes such as Huang Jie' s Rhythm of Poetry, Feng Zhen' s Examples of Seven Character Quatrains Methods, and Xu Qian' s Poetics. They specialize in teaching knowledge and techniques of different poetic styles, with characteristics of specialization, specialization, and systematicity. The second type is poetry enlightenment reading materials compiled for poetry writing enthusiasts in society. It is represented by Zhang Tinghua' s Preliminary Study of Poetry, Liu Tieleng's Hundred Methods of Poetry Writing. They mainly teach the basic knowledge and skills of poetry writing, presenting characteristics of foundation, enlightenment, and popularization. The former belongs to a part of university literature education and reveals the teaching situation of old-style poetry writing in the Chinese Department. The latter belongs to a part of social education and reveals the teaching methods of old-style poetry writing in the society of the Republic of China.They find it difficult to ignore the New Poetry Movement, accuse the abuse of new poetry in the preface, regret the loss of elegance and grace, and create a special chapter in the main text to comment on new-poetry. This forced books on poetry methods to engage in dialogue with new poetry when teaching classical poetry. [ABSTRACT FROM AUTHOR]

Whether creativity can be taught or not has remained an unresolved and recurring topic of debate in creative writing. Writing that is creative and imaginative is distinguished from translation, which is more derivative. However, both activities are creative in their own unique ways. With the intent of fostering creativity in creative writing, I wish to explore the following questions in this paper: Where does translation's creativity come from? Can creativity be facilitated by the opposing forces of derivation and deviation in translation? If so, how exactly? How can a creative pedagogy be based on such disparate elements? In this essay, I argue that the contradictory characteristic of translation being both derivative and derived is consistent with a certain aspect of creativity, making it useful for creative writing. Then, I will propose a translation-based creative pedagogy while examining works from my poetry project that incorporate the practice of translation. [ABSTRACT FROM AUTHOR]