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Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's well-known poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one ofhis statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art.

Decentralized from decision-making processes, women have been placed at the periphery. Their silencing has been fundamental and intentional on the part of patriarchal institutions, for the sake of keeping them behind the discursive scene. To this effect, this paper examines the rebirth of women from prior states whereby they used to be denied the right to sprout the wings towards language within a 'logocentric' society. A deep dive into Helen Cixous's "The Laugh of the Medusa" provides grassroots for allowing a woman to transform silence into articulation. The poetry of Anne Sexton is a case study to witness the drastic change from a crippling fear of speaking into an audacity of a number of speakers in "Lullaby", "Music Swims Back to Me" and "The Exorcists" to acquire language with which every female orator will be equipped to conquer the masculinist world without anxiety.

This research paper aimed to study the transformation of Being in Mahmoud Darwish's last poem "The Dice Player" through a Heideggerian framework analysis. It took Heidegger's famous quote "The poets are in the vanguard of a changed conception of Being" as a point of departure in investigating and unveiling the assumed transformation in the Darwishian Being in the poem. By employing a descriptive-interpretative qualitative research method, the paper argued that "The Dice Player" depicted Darwish's implicit and explicit changed conception of his own Being which Heidegger called 'minemess' particularly in relation to his amour propre, his perception of Death and the 'Other'. The findings reveal that the Darwishian changed conception of Being, which was driven by his anxiety and submission to death, gave rise to a new Darwishian Being. The new Darwishian Being developed a different perception of himself ("amour propre"), death and others in "The Dice Player" when compared to his previous poems. Therefore, the paper concluded that Darwish seemingly joined "the vanguard of a changed conception of Being" by showing a transformation in his Being at three different levels.

This paper examined two poems: 'Winter' by Anne Hunter and 'Against Winter' by Charles Simic from a stylistic perspective. It conducted a stylistic analysis to elucidate how the poets' intended meanings are constructed in an effective manner through the principles of 'foregrounding': linguistic deviation, linguistic parallelism, and informality, in ways that reflect these poets' distinctive style. This study argues that informality is complementary to the other principles; that is, while linguistic deviation and parallelism contribute to content, informality contributes to form (how content is delivered). Altogether they create the poet's distinct style. In spite of enormous stylistic analysis studies, there is a dearth of research that has conducted a comparative stylistic analysis of poems sharing the same perspectives. Employing a qualitative approach, the two poems were compared with regard to how each poet described the winter, and thus how linguistic tools were used to construct messages about this season. The analysis enhances students' literary awareness of stylistic analysis as an effective tool to better understand texts and write with their style. The study concluded with important pedagogical implications.

In this paper, we take an ecological view of children's development to argue that preventive interventions should move beyond separating the microsystems of school and home to create new intergenerational spaces for nurturing mental wellbeing. Using the 5A's theory of creativity, we draw upon our experiences of creative writing to explore how intergenerational spaces that facilitate co-creating creative writing between parents and carers and their children as actors develop reflective functioning, secure attachment and promote positive mental health. This original idea is explored further with experts from diverse landscapes of practice through a World Café and focus group discussion. Thematic analysis of these discussions conceptualises intergenerational spaces as complex, contradictory and dynamic: addressing potential barriers to actor participation caused by the microsystems of school and home; creating emotional and physical security; being underpinned by pedagogical freedom and structure; involving the writing of different artefacts for competing audiences. For those, including schools, looking beyond performativity and neoliberalism to promote positive mental health in more holistic ways, this paper offers a useful starting point for thinking about what intergenerational spaces that facilitate co-creating creative writing might look like.

This article adds to the discussion of arts-based approaches to teaching poetry by exploring an example of Poetry on the Wall and its potential for poetry education. Poetry on the Wall intertwines literary and visual elements by materializing and visualizing poetry in a physical environment. The study centers on the poem Reading List created and painted as a wall mural by the artist-poet Vidha Saumya. In relation to Reading List, the produced data encompasses a dialogue between artists, researchers, and educators, as well as the researchers' and educators' embodied engagement with the poem. Theoretically guided by a performative approach, this analysis suggests that the potential of Poetry on the Wall includes inviting, seizing, intensifying, and transforming literary engagements. Poetry on the Wall sets in motion a rethinking of poetry and where it can be found and created, contributing to the movement exploring alternative ways to reinvigorate poetry in education.

Creativity has been identified as an increasingly important graduate attribute for employment in the 21st century. As sites of significant development of disciplinary specialization, universities seem to be the natural place for creativity to be fostered. However, there remain contestations and ambiguities in the ways creativity is theorized, and this translates to difficulties in operationalization, particularly in the higher education context, which attracts significantly less research than the school setting. Here, we report on interviews with physicists, historians, and poets, as both educators and producers of knowledge that progresses their disciplines, to provide elaborations on the nature of creativity. We draw on sociological theory to elucidate the characteristics of creativity as expressed by experts in particular disciplinary fields. We find that whilst perceptions appear common across the disciplines, on further analysis, they tend instead to encapsulate discrete attributes. Further, there are some qualities of creativity that are uniquely emphasized by participants in specific disciplinary fields. We argue that theorizing both the discipline and the nature of creativity together is important in order to understand how creativity might more fruitfully be discussed and fostered in higher education.

This research focuses on criticism and praise in Arabic literature, history and poetry towards those in charge of the scientific movement in the Medieval Era. The research method was theoretical and qualitative. Many poets and scholars praised the rulers and sultans who established mosques and other educational institutions (madrasa-s) based on endowments, which had a role in sciences, intellectual and religious renaissance. They were subject to criticism or praise for their work or the educational role they followed. The topics of praise to the ulama centered on, their diligence and dissemination of science, as well as of their behavior and moral manners. On the other hand, the criticism of poetry centered on the mistakes of some scholars, their scientific stances in religious matters and criticizing scholars of the sultans for their attitudes in serving the rulers. Poets were also interested in criticizing scholars (ulama) who moved away from the path of morality, virtue, and shari'a, and who lead the teaching without qualification or mismanagement of the educational process; and therefore do not preserve the rules of morality in lessons, education or discussions, and their lack of good morals towards students.

This paper displays the ideological positioning as found in Rudyard Kipling's poem If. It is a poem published in 1910. It presents the embedded ideologies and shows how the poet used the available linguistic resources to achieve his goal. The models of analysis adopted are Critical Stylistics as proposed by Lesley Jeffries (2010) and Stylistic Analysis as submitted by McIntyre (2010). The paper aims at identifying the poet's beliefs to show that success is the outcome of self-control and a real sense of the values of things. It is a try to discover how the poet used various linguistic choices to build a message telling us how to deal with life confidently and identify a line of ideological positioning through Critical Stylistic strategies. The paper presents a theoretical background of the term stylistics and critical stylistics, explaining the adopted models; Analyzing the poem stylistically with a focus on critical stylistic regarding two tools: Representing and Negating for their dominant use in the poem and their effectiveness in interpreting the hidden ideologies. Stylistic devices are used because they steer the text to enable the writer to reach the intended goal. In conclusion, the paper displays that the poet uses the stylistic tools in a brilliant way that leads All, not only his son, to follow and consider it a moral lesson of life.

Drawn from an ethnographic study of spoken word poetry in Australia, this article offers case studies of two youth poets and follows their journeys with spoken word over three years as they performed in community-based slams, engaged with the New South Wales English Extension 2 curriculum, and served as mentor poets in culturally and linguistically diverse schools. Situated in western Sydney, this article considers how spoken word poetry can be integrated into the secondary English curriculum in order to enhance critical literacy and promote social justice pedagogy. As the first study that explores the intersection of spoken word poetry with high-stakes assessment, it offers insight into how social justice shapes young people's creative practices that interrogate and celebrate their intersectional identities.

Social injustice has become one of the social vices that bedevil Nigerian society. The level of social injustice currently prevailing in Nigeria is alarming, and the poor citizens are beginning to feel the impact in the level of discontent among the citizenry, as demonstrated by various uprisings against the state. The poems of Victor Ngiri's "One Nigeria" and Ikenna Omeje's "The Shadows of Ethnicism and Tribalism" are aimed at capturing these scenarios. A thematic analysis technique is employed to explore the central idea of the poems, while a Marxist theoretical framework is employed in the analysis of data. The findings drawn from the study show that modern poets have been able to use the tool of poetry to satirize the evils of social injustice prevalent in Nigerian society. Furthermore, the poets identify ethnicism and tribalism as one of the major causes of social injustice in Nigeria. Consequently, the poets advocate that for African society to be better than what it is, people should emulate the past African heroes, preach the gospel of altruism, and lend peace a voice.

This article adopts Geertz's view of cultural analysis and embodiment theory, creating a theoretical lens to explore how participatory drama can support students in their understanding of the culture connoted in Tang poetry -- a significant cultural heritage of China. A case study was conducted on fourth-grade (10-11 years old) primary school students in Shanghai. The findings show that participatory drama can help students perceive poetic images with their physical senses, awaken the cultural experience connoted by the body to locate meaning, and reflect on the poet's spiritual world through their bodily experience.

In the present research we look into the mechanisms which facilitate integrated functioning of speech and music components within a song. To understand the underlying mechanisms of such interaction we investigate poems set to music, analyzing the components of both speech and music intonation. The study is performed within the scope of Speech Energetic Theory and employs its idea of the emotional-and-pragmatic potential, which is believed to precisely convey the idea of a poem and therefore further facilitate successful speech-music interaction within a song. During the experiment the levels of emotional-and-pragmatic potential in poems and songs were firstly determined perceptively by the informants and afterwards verified instrumentally by using specifically developed formula for the evaluation of emotional-and-pragmatic potential. The values of the intonation components were obtained with the help of PRAAT software. Overall, the results demonstrated that that speech and music profoundly correlate on the prosodic level, possessing some common auditive and acoustic features.

Rabindranath Tagore (1861--1941) is primarily known worldwide as the first Asian poet to receive the Nobel Prize in literature, in 1913. He lived and died in colonial India as a British subject. However, any engagement with studies of Tagore would reveal that, despite his outstanding achievements in creative writing and music, he deserves to be remembered as the only poet of international standing who not only founded a self-funded university, but also designed a curriculum which radicalized traditional institutionalized education in colonial India. This essay endeavours to explore Tagore's re-imagining of the process of institutionalized instruction and the objectives of education. Undoubtedly, the concepts and models of the teaching-learning process outlined by Tagore bear the stamp of a poet-philosopher who tried to distance himself from the public educational sector, epitomized in colonial times as the formidable University of Calcutta, under British administration. Historically, Tagore's Visva-Bharati University at Santiniketan, obviously a private sector enterprise, is regarded as a unique experiment in inclusive education that debunks rote learning and fragmented knowledge, though its viability in the 21st century is open to debate.

Literary works, apart from being written with an artistic purpose, contribute to the transfer of some universal values to the reader. Thus, "values" continue to exist as they are transferred from generation to generation, similar to a context where the curriculum of a teaching process may work in the same way. The act of transferring universal values not only makes the existing work constant but also the value attempted to be taught in the same manner. The effective involvement of such works, which contain important information and the characteristics of the society of that period, has an important effect on the learning and teaching process of values. "Sebistân-i Hayâl" is an advising work with a mixture of verse and prose written by Persian poet Fettâhî (d. 852/1448-49 or 853/1449-50) from which modern readers can also benefit. The text tries to convey universal values via using Islamic elements as a concrete base. Since "Sebistân-i Hayâl" is written in the style of riddle, the advice that adorns the morality inside the text is difficult to understand. For this reason, according to the current information, "Sebistân-i Hayâl" was expounded by Sürûrî in the 16th century and by Dervîs Muhammed Sifâyî in the 17th century. In this study, sample texts selected from "Serh-i Sebistân-i Hayâl," written by Dervîs Muhammed Sifâyî, are examined in terms of basic "values" (p. 6); "justice," "friendship," "honesty," "self-control," "patience," "respect," "love," "responsibility," "benevolence" that takes place in the Secondary Education Turkish Language and Literature Course Curriculum (9-12 Grades). As it is stated in the curriculum (MEB, 2019, p. 6), these values will come to life in teaching and learning process, not only by themselves, but also by the sub-values they are related to and also with other basic values as well.

Shamlu belongs to the few poets of the modern Persian poetry, who can be called neoclassical, namely, those whose work has a distinctive character and who are influential in the history of modern Persian literature. These special characteristics of Shamlu's poetic features together with his socio-cultural and political vision as manifested in his poems had excessively allowed for his oeuvre to be popularized, forming a large crowd of admirers who even tried to mythologize his character and art. Shamlu's enthusiastic admirers, moreover, insist that his poetry is everlasting and even immortal. This article claims that critics should not function as judges of history, declaring a contemporary work of art as an immortal artefact. To this light, the article will argue that Shamlu's innovation in poetry is not just linguistic, but rather an element that signifies his intellectual superiority. Moreover, the article examines two characteristics of Shamlu's poetry, which could probably endanger the popularity of his poems with future generations. It, therefore, first explores the authoritative position of the poet vis-à-vis his audience; and then examines the special relationship of humans with nature.

This paper explores students' engagement in reading poems, examining data on their self-perceptions of their confidence and competence in reading poems before, during, and after using the "I Notice" methodology as adapted from The Academy of American Poets' unit plan, "Noticing Poetry" (Slaby, 2017). The data was collected over the course of a month from January 9 through January 30, 2018 and involved five classes of one hundred general English tenth grade students across three teachers' classrooms at Shanghai American School's Puxi High School Campus. Data indicates that the "I Notice" method and the "Noticing Poetry" unit and its activities increased student engagement in reading poems and fostered greater student self-efficacy as readers of poetry.

This research focuses on the use of lexical cohesion in collection of poems Hujan Bulan Juni. The object of this research is the lexical cohesion includes repetition, synonymy, hyponymy, and collocation. This research approach uses qualitative descriptive. The data in this study are linguistic data in the form of lingual units contained in an array and verse containing repetition, synonymy, hyponymy, and collocation in a collection of poems Hujan Bulan Juni. The data collection technique used in this research is direct technique by studying documentation. Analysis of the data in this study was carried out using the distributive method. The findings that there are lexical cohesion which includes: (1) repetition; (2) synonymy, (3) hyponymy; and (4) collocation. The most dominant lexical cohesion in the poems is repetition. Collection of poems Hujan Bulan Juni can be used as teaching material in junior high school because (1) the language is easy to understand; (2) psychologically according to the level of student development; and (3) in terms of culture reflecting the daily culture of the Indonesian nation.

Deconstruction, as a critical theory, maintains that language is a system of signs and, more precisely, a system of oppositions, differences and contradictions. Accordingly, the theory is operative in the sense that meanings are ultimately, unstable, and that a text, any text, contradicts, dismantles and even destroys itself. Hence, literary texts do not work as they appear to be working. They, in fact, 'subvert' and/or 'betray' themselves. Literary men cannot, therefore, control their works because any work, according to Derrida, the exponent of this theory, tries to defer or suppress its meaning which is ultimately shown as being unstable. Poetry is a unique act and Dickinson's poetry reveals its gaps, inherent oppositions, and subversions. It is in the light of the theory of deconstruction that this paper tries to show that Dickinson's poems 'I'm wife', 'This is my Letter to the World' and 'Hope is the Thing with Feathers' unmask their contradictions and enact the instability and indeterminacy of their meanings. Eventually, the newly established meanings of these pieces can hardly be sure of themselves and/or of being decidable.

This article follows a story played out by children at a Sámi early childhood centre in north Sweden. It does so by reflecting on the children's story as a form of Critical Indigenous Philosophy. In particular it explores what it could mean for a child to be a philosopher in a Sámi context by developing the concept of "jurddavázzi," or thought herder, in conversation with Wittgenstein's method of 'leading', and Cavell's of 'shepherding', 'words back from their metaphysical to their everyday use'. The children's play story--involving themes of death, struggles with natural surroundings, and interconnectivity through seeing life in nature--is read in relation to questions about traditional stories raised in the poetry of the Sámi poet, artist and philosopher, Nils-Aslak Valkeapää, or Áillohaš. The article ends by discussing how the children's invitation to follow their story can be seen as a decolonizing pedagogical gesture of the child that requires a particular kind of philosophical listening by the teacher or adult. The article is in its style an attempt to demonstrate a form of philosophical storytelling the children are engaged in.

Purpose: The purposes of this study is to expand on previous work in English language arts (ELA) disciplinary literacy and to unpack literary text reading processes across three different participant groups. Design/methodology/approach: The authors recruited literary scholars and first-year college students to read literary texts aloud and voice their thoughts. Transcripts were collaboratively coded and analyzed using a priori and emergent coding. Findings: This study presents the findings in two ways. First, this study grouped the codes into four categories, namely, background knowledge, comprehension, disciplinary knowledge and building an interpretation. This described the differences in frequencies among the participants' strategy use. Next, to more fully describe how participants read literary texts, this study presents the data using three processes, namely, generating, weaving and curating. These findings indicate a continuum of strategies and processes used by participants. Practical implications: The study suggests using the ELA heuristic for instruction, which includes moving students beyond generating and weaving by asking them to do their own interpretive work of curation. This potential roadmap for instruction avoids a deficit mindset for students by recommending low-stakes opportunities that meet students where they are as they build their capacity for interpretive moves. Originality/value: The findings help the field to gain an understanding of what novices and experts do when they read literary text, including both strategies and processes. This study also provide an ELA heuristic that has instructional implications. This study adds to the body of knowledge for disciplinary literacy in ELA in both theoretical and practical ways.

This paper considers Daljit Nagra's engagement with concepts of canon and tradition in "British Museum" (2017). Throughout the collection, Nagra provides readers with a multifaceted insight into the ways in which a plurality of 'cultures' and 'traditions' -- literary, historical, political, religious -- inform contemporary notions of Britishness and shape his work as a writer living with the legacies of literary heritage. "British Museum," this paper argues, explores how Nagra's work relates to canons of English Literature, and how he makes sense of his own position. The discussion is framed by a consideration of what happens when we review canons of culture and their place within an increasingly diverse society. Underlying the inevitable conflicts and dislocation involved in (re-)defining traditions and cultural canons, this paper considers the ways in which Nagra identifies, through plurality, a fundamental desire for the meaningful connection of canonical culture with the diverse 21st century world.

The seventeenth and early eighteenth centuries experienced major educational movements, including orthodox religious formalism and rationalistic formalism of the Enlightenment. Toward the end of the latter century, however, naturalist and individualist views of education began to counter formalism, inspired by poets and philosophers like William Wordsworth and Jean Jacques Rousseau. This article focuses on Wordsworth's poetry to show how his philosophy of moral and spiritual development of the individual helped to establish faith in Nature as a basis of moral guidance of education. Wordsworth believed that education is a process of natural growth of the student, and the teacher, like a gardener, should be a watchful guide on the side, not a sage on the stage. The child, engaged in real life situations and exposed to good role models, comes to understand the need for sharing, kindness, honesty, diligence, loyalty, courage, and other virtues. The article concludes by showing the value of the above philosophy for our time. In the 21st century, the business world of global capitalism threatens to reduce humanity to mere products or commodities and knowledge has become a mere market entity. Under these circumstances, William naturalistic philosophy of education can strengthen education against the capitalist threat.

Despite claims that Creative Writing and Composition don't speak to one another, this article finds that composition does borrow fictional craft elements and artistic tools. Moreover, these devices and tools show up in composition pedagogy in two ways: explicitly or implicitly. Many of the tools found come from fiction writers and poets, while some are from creative non-fiction writers. The article searches through 17 years of journal articles to show how artistic tools are discussed, used, and how teachers adopt or theorize them for writing students. What the essay proposes is a greater independence of the student writer as a harvester and user of rhetorical tools and to have students go past mere techniques into a more conscious use of the tools available to them outside of what the teachers offer, since there could be, and surely are, more options for analytical and artistic creation and criticism.

Wordsworth stands as a supreme poet in nature. He is a devotee and worshiper of nature. His affection for nature is more evident than any other poet who writes about nature. Wordsworth has an original and full-fledged philosophy about nature. In his poetics works, there are three notable aspects of nature that are identifiable. One of the facts is that Wordsworth believes that nature is a living person. He believes that nature has a divine spirit and it is available in all objects of nature. This divine spirit is known as mystical pantheism and illustrated in The Prelude. Wordsworth also believes that there is joy in the company of nature. Nature has healing attributes and heals hearts struck by sorrow. Wordsworth also emphasizes the influence of nature on morality. He depicts nature as a great teacher because of the great morals taught to man. He believed that there is consciousness between man and nature. In his writings, there is an inclination towards nature. There is no writing that does not have significance to nature. His writings warns the readers about the neglect of nature, but the people do not take her writings seriously. The writings foresee a harsh environment that makes the life of man difficult. Many years after his writing, people face numerous environmental challenges that make life very difficult.

While conventional critics seek the comic aspect of parody, modernist critics credit parody with questioning mainstream literary trends and subverting literary production. For instance, Mikhail Bakhtin believes in parody's power to create "a decrowning double" by turning the official worldview up-side-down. For experimental poets like John Donne, parody transcends mere comical imitation into a serious practice. Donne, having lived in the heyday of the Renaissance with its overemphasis on decorum and courtly love, sought refuge in parody to resist and disturb existing norms of versification and offer an alternative worldview. This paper examines John Donne's parody poem "The Bait" in the light of Bakhtin's concept of parody as a decrowning double. The analysis shows that not only had Donne resorted to parody to criticize the society, but he also employed it to undermine established rules of poetry. The study concludes that Donne used parody to create an important platform to liberate poetry from dominant modes of versification, invite readers, often by means of defamiliarisation, to reconsider their stance and literary taste, and promote experimental styles; thus, Donne transcends the norms of prevalent courtly love poetry once and for all.

The paper studies a genesis of the ship image in the Russian literature and folklore, an idea of "other kingdom" in the Russian literature poetics of the 19-20 centuries. An emphasis is put on the issues related to the metaphor of a ship, a boat in the artistic world of Lermontov, Turgenev, Dostoevsky and in the poetry of the early 20th century. A paradigm "the Moon -- boat" is studied in detail. The image of a boat, which regularly appears in Russian literature, various word-painters' art works, is associated with semantics of funeral ceremonial boat typical for different folk genres. Addressing to riddles about death, to Russian epic tradition, to plots dedicated to Razin demonstrates complexity and significance of the symbol of a boat/ferry/ship for the national culture. This symbol encapsulates the supreme idea of death as cosmic regeneration, character's initiation, which appeared highly sought by Russian literature, both realistic prose and avantgarde and modernism poetry.

Although Khayyam is one of the Persian poets whose school of thought and poems are studied the most, there is hardly a research in which his intellectual system is explained and made clear via a linguistic framework. In this paper one of the most debatable matters which is "Obligation" versus "Free Will" is dealt with by using Hasan's (1989) linguistics and verbal art model. This model provides touchstones for clarifying the concepts which are foregrounded by the poet. In this study other than qualitative analysis of 33 Khayyam's quatrains which are selected based on their contents they convey, quantitative analysis method of frequency calculation is used as well. The results approve this hypothesis that the notion of "obligation" is foregrounded by linguistic tools against "Free will" as background.

Amongst a group of poet-scholar friends, all of us students of the American poet Robert Bly, we often speak of our "gratitude to old teachers," the title from one of Bly's (1999) poems. We cherish a meditative awareness of deeply rooted presences holding us up, buoying us as we stride across "Water that once could take no human weight" that now "holds up our feet / And goes on ahead of us." What is this mystery? Through the love and support of "old teachers," we are held, led, and supported, into an unknown future that, without their guidance, we might never have reached. Many of Bly's students (myself included) refer to how meeting him "changed" or even "saved" their lives. Similarly, I could say this of meeting and studying with Canadian curriculum scholar and poet Carl Leggo. Practicing gratitude to old teachers fosters vital pedagogic engagement and personal connection in a world often fraught with isolation and despair. Reflecting on how these poetic influences have inspired and guided my own personal and professional life, this essay ruminates on grateful legacies within literary and curriculum studies, and beyond.

This essay explores the existential difficulties involved in being a non-indigenous scholar of philosophy and early childhood education in an indigenous context. It begins by recalling an encounter with young Sámi children that happened while doing research at an early childhood centre in northern Scandinavia. This is read alongside the poetry of the Sámi writer Nils Aslak Valkeapää, a personal documentary text by Sámi author Elin Anna Labba, and Wittgensteinian philosophy. These texts are read as a philosophical exercise of the imagination through which the scholar's words, thoughts, and assumptions are reworked in a decolonising process. This process involves the scholar in a lived philosophy of avoiding deflection of what Cora Diamond has called "difficulties of reality" and considerations of the role of imagination in ethics. In doing so the essay reimagines the notion of hybrid cultures and identities through Wittgenstein's invitation to imagine forms of life. The essay concludes by suggesting that by thinking of scholarship in this way hope and meaning can emerge out of the silences in the encounters between the non-indigenous scholars and the indigenous children.

Reflecting on a day of dangerous bushfire conditions in NSW, I recount my leadership responsibilities as a principal, highlighting the shaping force of my English teaching past in my response to certain managerial demands that I faced. I illustrate how the sense of ethical responsibility and a commitment to openness that came to define my understanding of subject English, and my programming practices and advocacy, remains with me, mediating my work and subjectivity as a school leader. I outline how, on this day, it was necessary to recognise what poet Wallace Stevens calls a 'supreme fiction' in my engagement with aspects of policy and governmentality. I contend that key aspects of English as a form of 'knowing' have much to contribute to the efficacy of school leaders.

What do we see when we observe an excellent English lesson? What's going on in the room? Perhaps what stands out is a collaborative making of meanings inspired by stimulating texts. Perhaps what's most important is an ever-deepening knowledge about, and facility with, the many ways that language works. Maybe what we're seeing is a carefully sequenced preparation for future hurdles to be negotiated. Or a blend of all three. And perhaps, as this story suggests, there is more. Perhaps every English lesson is affected in all kinds of subtle and sometimes invisible ways by unconscious fears and desires and by half-remembered histories, the territory towards which a story -- more easily than a piece of non-fiction -- can gesture.

In the fifteen years since the 9/11 terrorist attacks in America, countless literary and artistic works have responded to the incident. This paper examines Amiri Baraka's literary response to this violent event through his most famous poem entitled "Somebody blew up America," which defies American orthodox responses to the attacks. The mainstream reading of the poem swings toward its poetical and political qualities; however, nobody has engaged in a postcolonial reading of the poem so far. Hence, this paper intends to highlight its postcolonial and decolonizing characteristics. Baraka's political poem is significant in terms of its educational role because, as a discovery poem, it attempts to foster private, domestic, and international awareness of both oppressors/ colonizers and the oppressed/ colonized to help them bring about a social change and become new humans carrying ideas of equality, justice, and respect for humanity. The question this paper raises is as follows: What colonial characteristics could be found in Baraka's poem? Drawing upon Césaire, Memmi, and Fanon, it applies postcolonial and decolonization concepts such as dehumanization, "thingification," Manichaeism, and reverse Manichaeism to the poem. The paper concludes that both international and domestic terrorism are rooted in America's and Europe's racist, colonial, capitalist, and imperialist involvements.

Eliot's poem "The Waste Land" is a pilgrimage in quest of an answer to the problem of desire--universal as well as personal--especially deviant sexuality, immoral behavior and their consequences. The traditional tags on the poem such as "a poem about Europe" and a poem about the "disillusionment of a generation" serve only to blinker the reader against its universal and spiritual dimensions. From the epigraph to the very concluding line of the poem, through numerous references and allusions to literary masterpieces and religious texts ranging over history, Eliot addresses the question of desire--craving--in view of the essentials of Christianity, Hinduism and Buddhism. Thrashing out the problem in the light of St. Augustine's "Confessions" on burning and Buddha's "Fire Sermon" on its remedy, Eliot preaches "Datta," "Dayadhvam" and "Damyata" as the key virtues for the attainment of "Shantih" or "the peace that passeth understanding." Thus the poem becomes a pilgrimage of Eliot across the spiritual landscape of the world.

Mira Bai, a saint-poet of North India is an important figure in medieval Hindi literature. Her "bhajan"-s (songs) profoundly represent the transforming of consciousness working through conceptual metaphors which fall in the realm of religious poetry wherein target domains are generally abstract. Since, the working of the mind is more powerful than anything else, consciousness has become the central issue in modern philosophy of mind and metaphysics. Can we try to gauge abstract ideas and consciousness? What do we need to make such ideas explicit? What happens when the line between the abstract and the real becomes blur or transparent, especially with respect to spiritual experience? It is here that metaphors step in providing us glimpses into representational relation between mental processes, state of mind and the material world. Therefore, this present paper attempts to study conceptual metaphors which are replete in Mira Bai's poetry conforming to her spiritual journey. The paper is divided into three sections viz. Mira Bai, Understanding Conceptual Metaphor, and A Study of Mira Bai's Selected Poetry.

The rich cultural connotations behind puns and the distinctive features of the puns' form, sound and meanings pose great challenges to the translator. Furthermore, given puns' non-negligible effects in Persian literary texts, it has been the aim of the present study to analyze and measure how puns in Sa'di's Ghazals have actually been treated in two available English versions. For the purpose of carrying out a meaningful analysis of translated puns, Delabastita's (1996) proposed model was considered as the main theoretical framework of the study. The data were compiled from a corpus comprising 92 ghazals along with their two target versions. Following an exact contrastive analysis of data based on Delabastita's classification and considering the results from the two selected statistical systems of traditional and SPSS in the study, it concluded that the two Iranian translators have applied eight different strategies included in Delabastita's (1996) model. These strategies arranged in descending order based on their total frequencies were Pun>RRD (Related Rhetorical Device); Pun>Non-Punning expressions (both senses); Non-Punning expressions> Pun; Pun>Non-Punning expressions (one sense); Zero>Pun; ST Pun=TT Pun; Pun>Zero and Pun>Pun. Finally, the applicability and feasibility of Delabastita's (1996) model to English translation of puns created in Sa'di's Ghazals were proved.

Looking through the eyes of Persian culture, we see that man is not all noetic; he is not driven by intellect or consistent in his use of reason. On the contrary, he is most moved by emotion. A perfect example: Persian philosophy is most commonly uttered in both poetry and prose. This is, I believe, where the brilliance of Persians rests, in the beauty of its language and the expression of its culture. The endurance of Iranian literature and language over two and a half millennia is remarkable and thus deserving of both thorough research and an in-depth study. Here, I attempt to demonstrate the influence of ?afi?, one of the greatest classical poets of Persia who ever lived, on the thoughts, poetic language, and philosophy of the gifted nineteenth-century Persian poet Mu?ammad Taqi Bahar, otherwise known as "Malik al-Shu'ara." I will accomplish this feat through close readings of the parts of ?afi?'s poems and juxtapose them with Bahar's poems. My contention here, is to demonstrate any direct or indirect influence ?afi? had on Bahar, and to also measure the extent of ?afi?'s reception during Bahar's period. With some modifications, the translations of ?afi?'s "ghazals" used herein follow those of Peter Avery, while other translations throughout the book are my own, unless otherwise stated.

This paper aims at exploring the exilic experience of the Iraqi poet, Adnan Al-Sayegh whose involuntarily departure from his homeland, Iraq, in the early 1990s made him suffer a strong sense of estrangement, nostalgia, self-fragmentation and disconnection. The paper is divided into three sections and a conclusion. Section one sheds light on the circumstances that forced Al-Sayegh into self-exile. Investigating these circumstances necessarily entails a discussion of the concept of exile, its nature and consequences, which is the subject of section two. Section three examines a number of poems that typically translates Al-Sayegh's deep sense of dislocation and disaffection in his new host lands. The conclusion argues that exile as a physical, geographical, and psychological state of being is a "basic condition," in Al-Sayegh's poetry and life.

This paper is going to argue that the selected poems of renowned Indian poet Kamala Das are inclined to relocate both feminine and masculine identity through the politicized representation of body. Kamala Das' representation of body in her poems has always been viewed as a medium of re-historicizing the pain, sufferings, and psychological trauma that a woman goes through in a patriarchal society. Though apparently female body seems to be submissive under patriarchal dominance but this paper reveals how female body in Das' poems acts as a powerful agent over the male body. The objective of this paper is to analyze and evaluate Kamala Das' representation of body to understand the gender reality in a patriarchal society, to question the existing discourse of sexed/gendered identity, to find a new way of viewing to both female and male body. Echoing Beauvoir, Judith Butler and Hall, this paper is going to analyze how Kamala Das represents body as an important factor in her poems to fight back the normative concept of identity based on patriarchal sex and/or gender stereotypes.

The present study aimed to investigate the frequency of the use of two semantic adjustment strategies; namely, expansion and reduction, in the two English translations of book one of "Masnavi." For this purpose, 300 lines of "Masnavi" by Rumi (2014) along its two corresponding English translations by Nicholson (2004) and Whinfield (2001) were critically analyzed based on Nida and Taber's (2003) theoretical framework. Based on the outcomes of the present study, both translators applied the expansion strategy more than the reduction because poems in "Masnavi" were so condensed and the writer of "Masnavi" applied classic words which were not understandable to the target language readers. Therefore, both translators used expansion strategy to explicate what was implied in the source text and to make a natural and a comprehensible translation to the target text readers.

The present paper deals with the diaries of Alexander Blok dated 1901-1921 reflecting the process of the writer's self-identification. During 20 years under the influence of various social and cultural situations Blok's "Self-Conception" is undergoing significant changes. The vector of these changes shows the complicated evolution of the Author's "Self." So purpose of the work is to explore the development of Bloks self-identification. The base of the author's personal identity in the text is comprised of such conceptual dominants as "Beautiful Lady," "Art" ("Creativeness"), "Intelligentsia," where the first dominant, being the base of the creative life strategy, performs a hyperonymic function which also defines the attitude towards the others. The model of the author's identity is defined by the following divergent communicative vectors: 1) Self/She, Self/Others as a marker of the positional social abstraction of Blok (individual => group => ontological oppositions); 2) Self/Alter Ego as a marker of reflective autocommunication; 3) Self/We as a marker of group selfcategorization. This work represents not only an analysis of the Bloks creation, but also reflects the realities of the contemporary state of literary art and its influence on the poet.

Shahnameh as one of the most important literary works that reflects the pure thoughts of the past Iranians, plays a key role in preserving the Iranian cultural heritage and national identity. Mythology helps us to understand the civilizations included the cultures. For example, the image of the women in the literary works is different from their modern popular image that ignores the real position of the women. Abu ?l-Qasim Ferdowsi, the highly revered Persian poet, is one of the literary figures who considered the role of women in his literary masterpiece in spite of the prevailing attitudes towards the women in his era. Some studies, due to the lack of understanding the Ferdowsi's poems, have claimed that he is a misogynist poet. However, Ferdowsi has equally ranked men and women in his long epic. For example, there are a number of chaste and compassionate mothers in Shahnameh, who play a vital role in shaping the epic character of the heroes. Or, the women who fall in love and relinquish all her possessions for the sake of fruition, such as Manijeh and Katayun who leave the king's court for the sake of love. Ferdowsi's imagery of women is not a descriptive account of their charming superficial beauties, but it reflects the wisdom, bravery, and belligerency of these women.

In contemporary literary studies one can clearly observe the process of different interpretation of former approaches to literary works and artistic legacy of some outstanding authors. The attention of scientists is focused on such categories that can contribute to the reconstruction of a complete picture of the writing career of an individual author or a specific period in the literary development of the country. One of these categories is an artistic thinking. Analysis of the artistic thinking allows us to study the works of the poet as a living dynamic system, paying attention to both the specific elements and their relationships. By selecting the concept "artistic thinking" out of other synonyms and categorizing it, we show absolutely different possibilities for the analysis of such difficult to interpret phenomena as cognitive processes and their reflection in pieces of writing. Such processes can't be found in rationally oriented epic genres. We offer a kind of "matrix" of studying systematic artistic thinking that can be applied in the analysis of poetic worlds of different authors. This approach is seen to be productive and is recommended to be used by other literary critics as a possible way to get objective results while studying lyrics and lyrical systems.

In this scientific paper for the first time were investigated the innovative approach of the local literary heritage of Ganja on the basis of various historic sources as manuscripts and archive materials. Have been researched the comparative materials of such poems as "Treasury of mysteries" and "Iskandername". Also were systematic investigated the importance of these poems of great poet and thinker Nizami Ganjavi in research of historical past of Azerbaijan. In academic paper based on such sources as manuscripts have been researched problems on investigation of basic characteristics of cultural heritage of the ancient East, also some features of formation and historical development of legal culture in society from the point of ethnographic-literary point of view. For the first time by author were researched the problem of similar socio-cultural features in these poems on the real samples from the different manuscripts and archive sources. Dialogue culture between Eastern and Western civilizations and multiculturalism values were investigated on the basis of comparative study of these literary samples. Have been proved, that Nizami Ganjavi told about the importance of protection of dialogue culture between nations as the main element of the peace.

The novel "Humboldt's Gift" reveals the dilemma of two intelligentsia in the modern society where consumerism and materialism further aggravates the alienation among people and the culture is degraded into a capital form and is commercialized, so the dignity and even the survival of poets are threatened by this material-centered society. The thesis intends to discuss the destructive force of culture commercialization on the life of writers through Humboldt's failure life, and further analyze 3 stages Citrine takes to overcome his life crisis and be a defender of humanism in the absurd world.

Native American storytelling has become a very vital issue in education. It preserves Native American history for the next generation and teaches them important lessons about the Native American culture. It also conveys moral meanings, knowledge and social values of the Native American people to the universe. More importantly, Native American storytelling teaches people not to be isolated, and the key issues discussed in this paper are borrowed from the selected poems of Native American Luci Tapahonso: "The Holy Twins" and "Remember the Things that you told."

In evaluating some of Heaney's prose writings about the art of poetry -- what I have called his 'Poetics' -- the paper explores how those ideas could enhance the teaching of poetry in the upper post-primary schools. The paper is divided into four closely interconnected sections. The first section evaluates Heaney's thoughts about the potential centrality of poetry in the English curriculum. In the second section, Heaney's thoughts about the conflict between 'poetry's self-delighting inventiveness' and 'the pressures of reality' are considered, with some complementary attention to a few of Heaney's own Troubles poems. The third section, in evaluating Heaney's critiques of some individual poets, registers some of his valuable specific, as well as more general, pedagogical insights. Finally, his prose thoughts about the wellsprings of poetic creativity are examined, together with a brief critique of his poem 'The Play Way', which is focused on teaching creative writing in a post-primary classroom.

This article reports on part of an ethnographic research project undertaken over a period of 20 months in Leeds, UK, with a youth spoken word (YSW) poetry organisation. The research focused on the fluid practices in which the youth engage that span spoken, written, visual, gestural, digital, musical and spatial modes, and across times and places. Given its inherent fluidities, YSW is a particularly interesting practice for studying semiosis. Among other aspects, the research focused on the trajectories of poems written and performed by youth and the semiotic transformations they undergo across time and space. The article explores how resemiotisation sheds light on the complexities of the transformations that one particular poem undergoes as it travels. It focuses on a poem titled 'To Him', written and performed by a 17-year old poet. The main arguments put forward are that: (1) translanguaging is a more comprehensive term than others for describing how the poet engages her communicative repertoire; (2) resemiotisation is both a lens for conceptualising translanguaging, and an indispensable analytical process in the case of the data studied for understanding the complexities of the poet's meaning-making practices. Looking beyond our own discipline and making use of musical annotation, we contend that focusing solely on spoken and written language would be insufficient to gauge the complexity of the meaning-making process undertaken by the young poet.