Search

Adam R. Rosenthal's book, "Poetics and the Gift," challenges the Western poetic tradition by reframing it in terms of the concept of the gift. Rosenthal argues that the distinction between poiemata and poiesis must be rethought in relation to the gift in Derrida's philosophy. He explores the relationship between gift and poetry, showing how they both implode and explode. Rosenthal also examines the abandonment of poetry in Derrida's thinking once he begins thinking about the gift. He deconstructs the notion that poetry is only in some poem and argues that the gift's impossibility already determines heliopoetics from its inception. The book explores the fissures and the (im)possibility of the gift, poetry, and the poem itself. It also investigates the economies of the gift of poetry and its potential annihilation as it enters the market. Rosenthal's work is a sophisticated meditation on Derridean philosophy and its implications for literature and poetry. It offers a theory of poetry and a history of poetics that rely on the instability of their ontological status. [Extracted from the article]

Comparative Literature is the study of literary texts which are linguistically different. Comparative Indian literature is advocated by Indian comparatists to understand the unity that runs through the seemingly diversified kinds of literature of modern India. The chief objective of Indian comparative literature is to trace the similarities among the writers of various regional languages, and thereby equate their underlying similarity to Indianness which is an indispensable part of all Indian literature. Tagore and Meera are writers of modern poetry and are influenced by the pattern of Western poetry. Tagore’s Gitanjali and Meera’s Kanavukal+Karpanaikal=Kakitankal are composed in the same genre, prose poems. Also, the dominant idea in the texts, as has been asserted by many critics is love. This research article aims to ascertain the nature of parallel elements in the art of senior poet Tagore from Bengali and the later-day poet Meera from Tamil Nadu. The physical aspect of love that runs through Gitanjali is metaphysical and mystical. Tagore can present both male and female points of view in love. Meera’s Kanavukal+Karpanaikal=Kakitankal seems to glorify physical love. But it also contains much of spiritual elements. Abdul Kather, a Tamil poet and researcher states “Meera’s Kanavukal+Karpanaikal=Kakitankal reveals his devotion for his lady love.” (74). It shows that Meera is worshiping his ladylove as his God. This analysis reveals many parallels between Tagore and Meera. Both Tagore and Meera present the physical love between man and woman, and the sacred love between man and God, While the first category dominates in Meera, the second dominates in Tagore. In both the poems, ‘nayagan-nayagi bhava’ of worshiping God as lover and beloved is seen. It shows their longing for reunion with their Soul. [ABSTRACT FROM AUTHOR]

Many passages in T. S. Eliot's Four Quartets (1943) are frequently described as 'prosaic' and sometimes even directly categorized as 'prose'. In exploring what might thus be called Eliot's mimesis of prose style, I consider what it might mean for the poem's relationship to other forms of discursive writing, chiefly the kind of specialist discourse with which poetry, by the time Four Quartets was first published as a whole, was most frequently in contact: literary criticism. Whereas previous approaches have viewed the poem's discursiveness as a form of exposition, or otherwise as expressing a newly sceptical relationship to poetry, I suggest that these so-called 'antipoetic' passages are actually anticritical, insofar as they serve to radically qualify the claims of academic interpretation, while conversely affording a greater role to an earlier mode of reading displaced by the institutionalisation of literary criticism: judgement. In this way, Four Quartets demands that we temporarily suspend our modern allegiance to interpretation as a means of participating in the Christianized sensus communis that the poem projects for us. In concluding, I ask whether this is a practice of reading that we can ultimately assent to, that is, whether the poem's mysticism is compatible with professionalized literary study. [ABSTRACT FROM AUTHOR]

This essay examines the politics of poetic form in Juan Ramón Jiménez’s Diario de un poeta reciencasado (1917), specifically, the manner in which the work’s heterogeneous composition of prose poems and verse lyrics engenders conflicting ontologies for the lyric subject, marked by both transcendental desire and existential dread. Whereas Juan Ramón’s verse poems follow a symbolist tradition in which the poetic symbol becomes a site of transcendence of the material and temporal world, the prose poem challenges this project by bringing the symbol into contact with the social and the historical. In other words, while the lyric poems of the Diario work to bring about a transcendental union of the lyric voice and the world of atemporal divine essence, the clash between poetry and prose that defines the prose poem dramatizes an irresolvable conflict between transcendental longing and historical rootedness. Finally, this article proposes that this conflict structures not only the Diario’s prose poems, but the entirety of the collection itself, which in turn allows the Diario to be read not as a work of transcendental symbolism, but as an allegory of the divided subject, defined by the irreconcilable forces of transcendental yearning and historical consciousness. [ABSTRACT FROM AUTHOR]

This article tests the textual differences between those of Baudelaire's poems that are typically considered 'Parisian' or 'foreign'. It argues that 'La Belle Dorothée' is not only a poem about an African gaze on France, or indeed only a poem set in Africa, but that it can also be shown to represent an allegory for a Parisian view of self. The more overtly Parisian 'À une passante', for its part, glances at more than a poet struck down in Paris by the shock of Modernity; it also gazes inter alia on African beauty, Sara Baartman, aka the Hottentot Venus. [ABSTRACT FROM AUTHOR]

The Ravenna Journal (written 4 January – 27 February 1821) documents a critical and complex period of Byron's life. In light of the codependent and fluid relationship between Byron's poetry and prose, this essay explores the literary value and poetics of the Journal and its function as a testing ground for Byron's experimentation with style, tone, and language. I also place the Journal within Byronic self-representation and the era's strong autobiographical impulse and suggest that the diary does not only reflect on the poetry/politics dilemma but reveals versions of Byron's selfhood in a kaleidoscopic mode, one which resembles the make-up of Don Juan. In this way, the narrated self emerges as a refracted identity and an aggregate of moods and contradictions which, however, interrelate and are given shape and purpose through the regularity and conventions of the journal. Despite the limitations and challenges it poses to the reader due to its mediated and excised form, the essay argues that the Ravenna Journal enhances our understanding of the Byronic self and enriches our appreciation of the literary artistry of Byron's prose. [ABSTRACT FROM AUTHOR]

The prose poems in Judith Gautier's Livre de Jade (1867) are almost always explored through a comparison with the classical Chinese poetry from which the author drew inspiration. This article seeks other ways of approaching the volume; therefore, we trace the history of Gautier's inscription in the prose poem tradition and resort to the author's production as an art critic to analyze what is in the anthology beyond its source of inspiration. [ABSTRACT FROM AUTHOR]

In The Ice is Melting, Leigh Lyndon, Psy.D., uses three personal vignettes to illustrate various uses of an object, the process of internalizing an other, and how addiction can be used to circumvent the need for an other. Using auto theoretical prose poetry to pull the reader into her experiences, she allows the reader, thusly, to encounter - rather than be told – her ideas about the ways in which bodies are inscribed not only by our earliest relationships but by the social as well. She describes in detail several ways that she attempted to manage her anxiety about having to be in these different relationships (to self, to the other, to culture). By using auto-theory, Lyndon is implicitly asking the reader to attend to their own sources of understanding and is troubling our ideas of what it is "to know." [ABSTRACT FROM AUTHOR]

This article combines a craft-focused approach with a stylistics perspective to consider the ways in which flash fiction may be said to operate as a unique literary form. In the opening section flash fiction is defined in relation to what are usually seen as its two closest literary companions: prose poetry and the short story. This is followed by an introduction to the linguistic phenomenon known as deixis, and to related concepts from the field of Narratology. These ideas are subsequently illustrated and explored through the close analysis of several short texts and used to uncover what might be considered the defining features of the form. The earlier taxonomic approach of William Nelles is also evaluated in the light of more recent creative practice. The article concludes by arguing that the mobilisation of a story world is a necessary requirement for a text to be classified as flash fiction, by highlighting the importance of deft manipulation of deictic elements, and finally by suggesting that the unique communicative context evoked by flash fiction has significant implications for its interpretation. [ABSTRACT FROM AUTHOR]

The article inquires whether a mid-18th-century chapbook of prose history held by the Folger Shakespeare Library was a source for the play "Titus Andronicus" by William Shakespeare and George Peele. It considers the argument raised by Marco Mincoff that the prose history was dependent on the Titus ballad, which was dependent upon the play. It discusses similarities and differences between the ballad and play, including the marriage of Lavinia, slaughter, throat-cutting, and pie-baking.

The article suggests that the reference made by philologist F. J. Furnivall of the presence of Geoffrey Chaucer's poem "Truth" in the MS 11409 manuscript in the library catalogue of Sir Thomas Phillipps was an error and that the copy of the prose "Retraction," in which Chaucer revokes the works he has composed, also disappeared from MS 11409. Details concerning the provenance, structure and Chaucerian contents of the original Phillipps MS 11409 are provided.

The article explores mislineations in the A-text, the first of three authorial versions, of William Langland's poem "Piers Plowman," which was laid out as prose. It discusses linebreaks where neither of the authoritative editions of the A-text by George Kane and A. V. C. Schmidt gives the correct lineation, including a hortatory passage on civic leaders, a line describing to a group of prospective pilgrims how to reach the Truth's court, and a line where a dreamer is encountering hunger.

The term 'musicalization' comes from Aldous Huxley's novel Point Counter Point where it denotes the use of music-derived models in fiction. The oeuvre of Russian writer Daniil Kharms (1905–1942) provides telling examples of such an approach to constructing both prose and poetry, as in his works, the conventional features of art prose and art poetry are, as a rule, considerably reduced. Kharms's pieces, typically, consist of discrete 'incidents', which can be compared to musical motifs or themes; their organization into finished works is often based upon principles that have their recognizable counterparts in art music of different epochs. Some of Kharms's texts quoted and commented on in the article show affinities with compositional ideas by major twentieth-century composers such as Alban Berg, Witold Lutosławski, Morton Feldman, Gérard Grisey, and Sofia Gubaydulina. [ABSTRACT FROM AUTHOR]

In 1930, Pedro S. Zulen's literary works were published posthumously, gathered under the title El olmo incierto de la nevada. Poemas. In this volume, his widow, Dora Mayer de Zulen, gathered his prose texts and poems. The title of the first edition underlines the dichotomy between the two parts of the book, but "El olmo in- cierto de la nevada" has become, as a part of it, the name of all the poems. "El olmo incierto de la nevada" corresponds to a poetic prose of high depth that, under the artifice of the window and the winter, deals with the adventure of the self-absorbed dreamer and thus vertebrates a reflection on the becoming of the individual and the temporal contingency. Under this approach, the connections with the poems of the section "Ramas caídas" are not long in coming, since the temporal contingency is taken to the love scenario. Therefore, the relationship of the "elm" and the "branches" is undeniable, so that the poems are the development of an inquiry abour time and love. [ABSTRACT FROM AUTHOR]

This essay argues that the seventeenth-century British writer, Lucy Hutchinson, experiments with the form and content of her early prose and late poetry in ways that reveal the everyday dimensions of warfare, as it was experienced on the ground and in the periodical news of the period. During the mid-1640s, in the midst of the civil wars, Hutchinson produced an untitled manuscript, an episodic narrative of local war that overlaps with print journalism. After the Restoration, she produced a series of manuscript poems that combine Parliamentary elegies for soldiers with the genres of aubade and nocturne to criticize a public violence now concentrated in the monarchal state. As Hutchinson shifts from composing a kind of war correspondence that supports the war effort to a species of war elegy critical of state hostilities, she frames armed conflict not as an exceptional event but as a form of business as usual: it depends on and reshapes the infrastructures, spaces, emotions, and habits of quotidian life and becomes, in its turn, a normalized version of that life. Across different contexts and genres, then, she helps reveal the key role of the ordinary in war alongside the ways war itself becomes ordinary, part of the real and journalistic everyday. [C.G.] [ABSTRACT FROM AUTHOR]

Death and finality permeate the whole corpus of Juan Ramón Jiménez. However, the treatment of the topic shifts towards the end of his life. This article compares the styles and approaches to death in Juan Ramón Jiménez's Espacio and Dios deseado y deseante using Edward Said and Theodor Adorno's writings on 'late style'. Espacio is 'late' in its fragmentation and rupture with the poet's earlier poetics. However, the poetry of Dios deseado y deseante nuances what had been put forth in Espacio, while offering a contrasting view of death, finality and spirituality that responds to questions that Espacio opened. [ABSTRACT FROM AUTHOR]

In César Moro's poetry, we can identify a consistent endeavor towards cosmic communion and the revival of the mythical vision that typified the rituals and relationships with nature of the ancient Amerindian cultures of Peru. This article elucidates these tendencies in the oeuvre of the Peruvian surrealist poet, specifically through the analysis of selected prose poems. These poems are primarily from the collection titled Cartas (1939), and 'Biografía peruana', a part of the book Los anteojos de azufre (1958). The personal appropriation of the surrealist proposition carried out by Moro, along with its mythical, imaginative, and emotional connections to the Andean territories, will be highlighted. The ecopoetic and hermeneutics approach of Moro's work exhibit the possibilities and limits of the avant-garde and modern proposals to link the human being with the cosmic totality. [ABSTRACT FROM AUTHOR]

This essay explores the far-reaching influence on antebellum American literature of the January 1845 publication of Robert Chambers's anonymous Vestiges of the Natural History of Creation , the first fully articulated exposition of evolutionary theory to appear in English. In Explanations , published in New York in 1846, Chambers replied forcefully to his scientific and theological critics and then correctly claimed that his work represented nothing less than a complete conceptual revolution, not only in science but in our understanding of the nature and purpose of existence itself. Focusing on Poe, Whitman, and Thoreau, this essay argues that Vestiges provided not only essential subject matter for these writers, but also provoked each to develop a productive set of heuristics, or open-ended methods of problem-solving. The revolutionary moment sparked by Vestiges led each to engage in a rethinking of the nature and purpose of literature and to develop stylistic innovations that came to change the direction of American literature itself. [ABSTRACT FROM AUTHOR]

The article analyses Izabela Morska's collection of poems 1983. Maszynopisy published in 2023. At first the author analyses the idea of "regained" poems (all written between 1980-1985 and never published until now) and the "regained decade" in the history of Polish feminine poetry. Morska was a female dissident, a phenomenon quite suppressed in the history of the Solidarity movement. She also participated in an unofficial literary life with other girls who were also poets, andb sometimes her lovers. The beginning of the article analyses this topic according to Morska's introductory essay. The author offers in the article the idea of "spiral regaining" Morska's youth (alluding to the title of her first published book, Death and Spiral). As for female writers who were Morska's peers, the author mentions Anna Janko and most of all Eda Ostrowska. Subsequently three main topics are studied. 1) The idea of a "national hero" and dissident who could never be a woman. Morska was aware of her exclusion as a woman from the dominant dissident movement and also from literary life, and these two overlapped. Especially the long poem King of Rats IV is a point in case. 2) The negative motherhood appears in the poems, but also in the cycle of "poems in prose" and is compared to Morska's gothic novel Alma (written in 1986 and published in 2003). The author suggests in the article that some of these poems in prose constitute "Pre-Alma". 3) Rape as a metaphor or, rather, symbolization, and its place in the attempt to create a personal and strongly feminine mythology. For Morska, rape might signify sexual harassment (and as such is a recurring theme in Death and Spiral, Absolute Amnesia, Alma...), but also metaphorically any kind of movement, including birth and death leading to rebirth, marked with violence. Symbolization is defined in the article according to Jean Laplanche and Marguerite Sechehaye. [ABSTRACT FROM AUTHOR]

Nima Youshij's position as the father of modern Persian poetry is widely recognized nowadays, but in the past decades, there have been long debates on the issue of the modernization of Persian poetry and its leadership. One of these controversies concerns the claim that Nima fabricated the dates of his poems. The claim was made during Nima's lifetime and has been raised again in recent years and caused considerable debate. Poets and critics from two opposing fronts have made this claim: first, those who were more radical than Nima in breaking away from tradition and considered Nima a reformer rather than a revolutionary poet, and secondly those who considered Nima too radical and were in favor of a more conservative or moderate type of modernism. In this article, we examine the history of this controversy and assess the robustness of the evidence presented to support it. Through this analysis, an intriguing observation is made concerning the dating of Nima's poems. It is revealed that Nima sometimes initially composed his poems in prose, dating them at the end, and subsequently transformed them into verse while retaining the original date. This practice has likely led some researchers to suspect Nima of falsifying the date of the poem "Qorab" (The Raven). Ultimately, the article concludes that the allegations of fabrication in the dating of Nima's poems do not have substantial implications for the history of modern Persian poetry. [ABSTRACT FROM AUTHOR]

Nuevas cartas náukcas by the Venezuelan poet Adalber Salas Hernández (Pretextos, 2022) is a colleckon of prose poems related to the ocean. The author approaches this olen-wrimen-about topic experimentally, by blending fact and fickon, original and modified citakons, languages, and registers. In this arkcle, I focus on what I idenkfy as an archaeological impulse that runs through Nuevas cartas náuDcas. First, I analyze a seleckon of poems in which Salas draws the reader’s amenkon to material arkfacts, olen displayed in specific sites of colleckon and exhibikon. I then show how, parallel to these instances of display, Salas connects his museum objects to the marine oral tradikons that also populate the book, and I contrast his treatment of ankque documents and relics with his approach toward photographic images. Throughout, I argue that the presence of material objects throughout the book allows us to inscribe Nuevas cartas náuDcas within the “blue humanikes”: an interdisciplinary field of inquiry into the cultural, social, and polikcal dimensions of human interackons with the ocean. [ABSTRACT FROM AUTHOR]

This article sheds light on prose poetry and its presence at the global level, as a modern literary genre that combines the characteristics of prose literature and poetry. The study aims to explain the literary genre that intersects with both sides of the concept of Arabic prose poetry and the most important features that distinguish it from other literary genres. It also aims to identify the conditions that support its birth and determine the starting point for this genre towards universality and excellence. Using inductive, descriptive and analytical methods, one of the most prominent findings is the birth of a new literary genre that combines the characteristics of poetry and prose is expected to gain its legitimacy and prove its existence, especially in the Arab literary arena. [ABSTRACT FROM AUTHOR]

This article addresses a little-known episode in the surrealist movement: the adventurous (if not hindered) integration of surrealism into Iberian literature and art, particularly J.V. Foix's intervention through critical (in La Publicitat) and poetical writing (Gertrudis, 1927, and KRTU, 1932), and his collaboration with Salvador Dalí and Joan Miró. Foix accomplished the dynamic process of transforming and reconfiguring the meaning and function of surrealist aesthetics in Catalonia in a complex network and context. Reading Foix not only as a philological issue, but also against an international background, and from the fragmentary writing perspective, will enrich traditional approaches and provide an insight into Catalan surrealism. [ABSTRACT FROM AUTHOR]

Copyright of Alsun Beni-suef International Journal of Linguistics, Translation & Literature / Mağallaẗ Kulliyyaẗ Alsun Banī Swaīf Al-Dawliyyaẗ Li Luġawīyāt wa Al-Tarğamaẗ wa Al-Adab is the property of Beni Suef University 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 argues that the quasi-magical powers of the spoken word in Marcel Proust's novel bring the work's aesthetics closer to the traditions of lyric poetry than of prose. It explores the connection between the narrator's vocation as a 'calling' (with poetic moments in the text 'speaking' to the narrator) and the resurrective potential of the voice to conjure or 'call forth'. Emphasizing the association of spoken language with life and written language with death, it shows how Proust's understanding of the printed text is indebted to Mallarmé's conception of the interplay between textual sound and blank space on the page. In this way, it outlines how the notion of the printed voice might come to compete with what critics have seen as the primacy of the written word in Proust. This perspective offers alternative ways to conceive of both the work we are reading and the work the narrator will one day produce. [ABSTRACT FROM AUTHOR]

Published a year before the landmark London International Surrealist Exhibition of 1936, Hugh Sykes Davies's prose poem Petron continues to resist both aesthetic and political categorisation. This essay clarifies Petron's contribution to the Surrealist movement in England by reading its densely allusive text as one which limns Surrealist technique and Marxist theory within a specifically English rural setting. Identifying the wanderings of its hero, Petron, as a Surrealist riff on the popular communist hikes or 'Red Rambles' of the 1930s, the essay shows how Petron combines radical politics and Surrealist method in its phantasmagoric representation of a fenced, enclosed, degraded, and often inaccessible English landscape. [ABSTRACT FROM AUTHOR]

This research paper discussed the historical overviews of Prose Poetry in Oman, also deals with Issa’s poetic experience, specifically his two recent poetry collections “Strangers as We Came”, and “Blue Lightning in a Distant Sky”. This article aims to highlight the Omani poetic experience in the prose poem. It also points toward addressing the experience of one of the most important early pioneers of the prose poem in Oman; “Sama Issa”. He is the poet Samaa Issa as a representative of the experience of Omani poets and one of the founders since more than 40 years ago. He is also considered one of the most prominent contemporary poets who represent the prose poets in Oman. Current paper covered several topics: An introduction to the Omani prose poem, and Sama Issa as an example of the prose poem in Oman and one of its early pioneers. It also discussed; Reading in the Sama Issa’s collection “Strangers as We Came”, which includes: (The cover and Title, the poetic self, and cultural intertextuality). In addition to a reading in his second collection “Blue Lightning in a Distant Sky”, which includes: (A return to the self, Place and Memory, Poetic Ambiguity, Inspiration from the Words of Ancient Omani culture, and the structure of the poem in the sky of Issa). The paper includes a written testimony by the poet Sama Issa, in which he talks about his poetic experience. The study concluded that the poetic experience of the prose poem in Oman extended and developed through the pioneer poets, as well as the poets of the new generation, on both the quantitative and artistic levels. The study also highlighted an aspect of Sama Issa’s poetry as a model for the Omani prose poem. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Bede, reflecting on the success of the Canterbury school set up by Theodore of Tarsus remarked: "some of their students still alive today are as proficient in Latin and Greek as in their native tongue" [trans. Colgrave and Mynors 1969, 335]. By the time we get to the court of Alfred two hundred years later, there had been a famous decline in learning from which Greek, as a language, had not yet recovered. However, there remained a strong interest in Greek as a sacred language in liturgies, prayers and magical charms, and later in hermeneutic poetry. Theodore's influence was not limited to Greek Language, he also brought knowledge of Maximus the Confessor and Pseudo-Dionysius. The influence of Greek mystical theology would find fuller expression in the translations associated with the court of King Alfred via contact with the Carolingian court, but the seeds for this reception in England may already have been sown. This paper will outline the evidence for the use of Greek language in a variety of contexts, including a charm for the staunching of blood, and it will examine the extent of the influence of Greek patristic thinking in Old English texts including both clerical prose and secular poetry. [ABSTRACT FROM AUTHOR]

The purpose of the following article is to establish that the educational proposal that Gabriela Mistral put forward through various poems and prose should, from now on, be understood as praxis, since many of the proposals she made, when analyzed as a whole, allow us to propose a socio-historical Mistralian pedagogy, which is based on the rescue and respect for the cultural elements of the other and which has orality and mythology as central components of a Mistralian ethos. On the other hand, it is also observed that her educational praxis is framed within four dimensions: ethical, political, aesthetic, and pedagogical. The working methodology was based on the analysis of prose and poems, using as a selection criterion everything that was related to pedagogy, but also that the approach represented in his prose or poem was related to her educational experience. [ABSTRACT FROM AUTHOR]

Free verse and prose rhythms, by definition, do not have metrical organizing schemes, but does this mean that rhythm in free verse or prose poems is like speech or prose rhythm? Taking up these questions debated since the advent of modernist free verse more than one hundred years ago, this essay draws on recent critical literary and linguistic findings to formulate a new method for scanning and comparing rhythm in English-language free verse and prose genres. The comparison of six texts suggests that in poetic free verse or prose texts rhythm constructs information-rich, multilevel, context-specific semantic systems in a way that does not occur in the nonpoetic texts. These results contest persisting prosodic theories that free verse and prose poetry are largely written in prose, and suggest that rhythm is a more important generic marker of the poetic function than lineation is. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Arts for Linguistic & Literary Studies is the property of Thamar University and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article examines Elmer Diktonius's avant-gardist poetry, prose, and literary criticism, published between 1921 and 1951. Diktonius often entangles Swedish and Finnish in his writing, inducing a disorienting effect that contributes to his avant-garde agenda and separates him from the literary establishment of his day. Looking at his Swedish-language poetry and personal letters illustrates a viscous material poetics fashioned by the author's soldering of languages, genres, rhythms, and sounds. Considering the skillful ways Diktonius processed language reveals how the author challenged literary categories separating poetry from prose and epistle from art. [ABSTRACT FROM AUTHOR]

This paper examines the poetry of the two Palestinian American poets, Naomi Shihab Nye and Hala Alyan within the concept of the “thirdspace” of resistance literature. With this premise in mind, the study uses Edward Soja’s concept of “thirdspace” (1998) to examine the poetry of Naomi Shihab Nye and Hala Alyan as an articulation of “resistance poetry” exemplified in Ghassan Kanafani’s book entitled Resistance Literature in Occupied Palestine 1948-1966 (1966). The poem itself, as a form, is an imagined geography constructed by the poet’s personal and collective memories that build up his/her spaces of resistance poetry. In these artistic cartographies, memories traverse from contested lands and geographies to a “thirdspace” that recreates a timeline of stories and narratives that unfold the poems’ resistance manifesto. To foreshadow these imagined memories, the poem functions as: first, a documented tool of resistance to forgetfulness; second, an artistic device for articulating memory; third, a “thirdspace” where contested geographies of resistance and resilience dissolve to re-visioning history that curates hybridized literary spaces of prose poetry and cartographies of memory. [ABSTRACT FROM AUTHOR]

This prose poem aims to capture the social and commercial mood in the Midlands region of the UK during the turbulent 1980s. It relays the experiences of South Asian corner shop owners and how they managed their spiritual and professional lives in a political context where race-rioting and hostility towards immigrants was commonplace. As this creative piece foregrounds the liberatory potential of postcolonial poetic-based autoethnography, it advances Sherry and Schouten's researcher-poet stance which emphasises how conventional prose cannot fully represent our perception and understanding of, in this case, complex race relations and vexed confrontations between British imperialist ideologies and the postcolonial subjects resisting colonial supremacy and social exclusion. This contribution advances 'postcolonial poetic-based autoethnography' as an alternative form of ethnographic research which gives legitimacy to Othered life histories and personal narratives as well as directing attention to historically constituted subjectivities, cultural meanings, ambivalent interactions, and social and racial dynamics. [ABSTRACT FROM AUTHOR]

Copyright of Italian Studies is the property of Taylor & Francis Ltd and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Writing / Xiezuo is the property of Writing Magazine Agency, Wuhan University 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.)

Uses of "poetry" and "prose" as literary categories have shifted dramatically over the last two or three centuries: a dichotomy emerged between these two that had not existed before, at least not in quite the same way. Attention to this shift has focused primarily on the rise of prose fiction, especially the novel, leading many to overemphasize the role prose genres played in this paradigm shift. In fact, an emergent poetry‐prose dichotomy enabled and was enabled by a wide range of discourses about art, culture, politics, and ethics as well as sciences. Exploring a range of such discourses, this essay argues that the modern poetry‐prose dichotomy facilitated several key debates focused less on prose and more on poetry's cultural value, ultimately enabling some of poetry's defenders to project their anxieties about Western cultural decline on the perceived deteriorating status of what's classed as "poetry." [ABSTRACT FROM AUTHOR]

This article examines Tristan Tzara's innovative art critical writing of the 1940s and shows how the poet's engagement with European avant-garde painting developed ideas that shaped Paris Dada during the 1920s. Focusing on essays about Joan Miró and Paul Klee, it is argued that Tzara employed an unorthodox language for writing about art and promoted a distinctive style of art critical prose poetry. His approach to art criticism is shown to raise specific issues about attention by problematizing how audiences might have regard to words, sounds, and pictures simultaneously. Taking his cue from the distinctive ontologies he finds in works by Miró and Klee, Tzara uses language to perform with painting rather than conveying ideas about it. In a distinctive linguistic performance that borders on music, Tzara's art critical prose poems are seen to mobilize elements of language and visual art in non-hierarchical, undirected ways, thereby prompting a complex phenomenological exercise in attention. Cet article examine les essais critiques sur l'art que Tristan Tzara a écrit pendant les années quarante et montre comment l'engagement du poète avec la peinture d'avant-garde européenne lui a fourni l'occasion de développer des idées qui ont façonné les débuts de Paris Dada. En se concentrant sur des essais sur Joan Miró et Paul Klee, il est soutenu que Tzara a créé un langage peu orthodoxe pour écrire sur l'art et a promu un style distinctif de poésie en prose critique. Cette façon d'aborder la peinture soulève des questions spécifiques sur l'attention en problématisant la manière dont le lecteur pourrait considérer simultanément les mots, les sons et les images. S'inspirant des ontologies distinctives qu'il trouve dans les œuvres de Miró et de Klee, Tzara utilise le langage pour jouer avec la peinture plutôt que de transmettre des idées à son sujet. Dans une performance linguistique distinctive qui frôle la musique, les poèmes en prose critique de Tzara mobilisent des éléments du langage et de l'art visuel de manière non hiérarchique et non dirigée, provoquant ainsi un exercice phénoménologique complexe de l'attention. [ABSTRACT FROM AUTHOR]

Copyright of Nueva Revista de Filología Hispánica is the property of El Colegio de Mexico AC 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 essay embraces the idea that Carlo Levi was a poet even before he was a painter or a prose writer. His masterpiece (Cristo si è fermato a Eboli), infact, could be read as an expandend prose poem by the archaic appearance. During the last two years of confinement in Lucania (from 1935 to 1936), Levi composed some poems in his notebook, later collected under the title Eterne lontananze. They represent some precious evidences of a real descent into an underworld out of history: warm testimonials that will be amplified, but also filtered in the Cristo, written after ten years. By commenting a selection of these poems, it's possible to point out themes, symbols, perspectives by which the author observed that reality, dominated by death and painted with black color, still putting trust in poetry as synonymous with freedom. [ABSTRACT FROM AUTHOR]

This is an analysis of some selected poems by Halina Poświatowska using the approach and conceptual tools of somapoetics. The discussion focuses in turn on the manifestations of the (sick) body in Poświatowska's poems and poetic prose (especially when its connected with special sound effects), the verbalization of sensory experience (primarily with regard to the sense of touch) and the role of the sick woman's body in her poetic world (including direct references to the sick body in the act of writing). The critical strategy employed in this article is intended to complement the legacy readings of Poświatowska's work with a functional, somapoetic interpretation that would give full scope to her narrative of the ailing body. [ABSTRACT FROM AUTHOR]

In this study, we examine the book written by Reyhan Keleş, which is about the mi'raj (works dealing with the ascension of the Prophet Muhammad (PBUH) to the heavens). Mi'rajiyyas are among the religious genres within the scope of Turkish Islamic literature. Although Turkish Islamic literature is a vast field of study, the author restricts her study to diwan poetry (Ottoman Poetry) and eulogy poetry. The subject of mi'raj (ascension) has been written in several types of poetry and even prose works, and the author's focus and investigation on it both as a religious-literary genre and eulogy poetry enables a thorough investigation of the entire topic. The number of its pages adds up to 725, therefore it is rather a comprehensive work, which offers the interested researchers a significant contribution. [ABSTRACT FROM AUTHOR]

Jamaica Kincaid's first book and first short story collection At the Bottom of the River (1983) is a work which offers the reader a pithy and lyrical style by which the author reflects the merging of the real and imaginary world of a young Antiguan girl growing into adulthood. The curt stories in the collection are inter-related since they relate to some slices of the life of an unnamed female narrator who is the main character in all the stories. The aim of this article is to depict the most significant features which are believed to prove that the work can bear the epithet 'prose poem'. During the study on this research paper, it has been observed that the work can also be considered to be a type of 'poetic prose'. Yet, considering that both 'prose poem' and 'poetic prose' are close to each other in the sense that both of them are the genres "jumping the fence" -- a phrase used, here, metaphorically and in the context of genres free from the restraints of poetry and prose--; in other words, both genres exceed the boundaries of both poetry and prose, they are hybrid genres and therefore, it has been seen no drawbacks of analyzing Kincaid's collection in the perspective of 'prose poem'. Briefly, the aim of this study is to reveal the poetic features in the work written in prose, through which one would be able to define it as a 'prose poem'. When the images, metaphors, similes and symbols are explored in the stories in the collection, it has been observed that although these figures of speech have different functions, they mainly serve to illustrate the main character's quest for identity and her depiction of her self which she gains at the end. For this reason, the study concurrently highlights the theme of search for an identity which is revealed in Kincaid's book by means of the use of the figures of speech such as images and symbols. [ABSTRACT FROM AUTHOR]