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The First World War blurred the lines between “ordinary” and “literary” writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one’s writing practices until they found a journal full of poems after the author’s death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war.

To explore the relationship between memory and early school performance, we used graph theory to investigate memory reports from 76 children aged 6–8 years. The reports comprised autobiographical memories of events days to years past, and memories of novel images reported immediately after encoding. We also measured intelligence quotient (IQ) and theory of mind (ToM). Reading and Mathematics were assessed before classes began (December 2013), around the time of report collection (June 2014), and at the end of the academic year (December 2014). IQ and ToM correlated positively with word diversity and word-to-word connectivity, and negatively with word recurrence. Connectivity correlated positively with Reading in June 2014 as well as December 2014, even after adjusting for IQ and ToM. To our knowledge, this is the first study demonstrating a link between the structure of children's memories and their cognitive or academic performance.

The COVID-19 pandemic changed people's lives all over the world. While anxiety and stress decreased sleep quality for most people, an increase in total sleep time was also observed in certain cohorts. Dream recall frequency also increased, especially for nightmares. However, to date, there are no consistent reports focusing on pandemic-related changes in lucid dreaming, a state during which dreamers become conscious of being in a dream as it unfolds. Here we investigated lucid dreaming recall frequency and other sleep variables in 1,857 Brazilian subjects, using an online questionnaire. Firstly, we found that most participants (64.78%) maintained their lucid dream recall frequency during the pandemic, but a considerable fraction (22.62%) informed that lucid dreams became more frequent, whereas a smaller subset (12.60%) reported a decrease in these events during the pandemic. Secondly, the number of participants reporting lucid dreams at least once per week increased during the pandemic. Using a mixed logistic regression model, we confirmed that the pandemic significantly enhanced the recall frequency of lucid dreams (p = 0.002). Such increase in lucid dreaming during the pandemic was significantly associated with an enhancement in both dream and nightmare recall frequencies, as well as with sleep quality and symptoms of REM sleep behavior disorder. Pandemic-related increases in stress, anxiety, sleep fragmentation, and sleep extension, which enhance REM sleep awakening, may be associated with the increase in the occurrence of lucid dreams, dreams in general, and nightmares.

We tested the role of sex, size, and mass of the lizards Phyllopezus pollicaris, Gymnodactylus geckoides, Hemidactylus agrius, Lygodactylus klugei, and Hemidactylus brasilianus on the rates of pentastomid infection in the Brazilian Caatinga. We collected 355 individuals of these five species, of which four (prevalence of infection: P. pollicaris 15.9 %, G. geckoides 1.4 %, H. agrius 28.57 %, and H. brasilianus 4.16 %) were infected by Raillietiella mottae. Parasite abundance was influenced by host body size and mass only in P. pollicaris. Host sex did not influence the abundance of parasites in any species. Hemidactylus agrius, G. geckoides, and H. brasilianus are three new host records for pentastomids.

For the last century, historians of the conflict have not systematically used the poetry of the First World War as a source. Whether reduced to a canon established a posteriori or excluded from literary periodisation altogether, this corpus needs to be considered from a transdisciplinary perspective and be used as a document about the experience of war itself, and not just about the conflict’s remembrance. The present article aims to present the French and British landscape of research about the poetry of the Great War and to establish a theoretical framework combining literary history, anthropology, literary criticism, and linguistics, which will allow for the usage of poetry as a historical source. Finally, the article will discuss two digital humanities projects which draw upon the Centenary to contribute to the establishment of a relation between History and Poetics in the context of the sources available to the cultural historian looking at how individuals internalised a culture shared by all those who experienced the war and at how the poetic gesture shaped the experience of war itself.

For over a century, historians and literary critics appear to have been at odds regarding the poetry of the First World War. This schism owes itself to processes of canonization which restrict (in Britain) or completely ignore (in France) the full extent and diversity of wartime poetic practices. Investigating a new corpus of French poets of the First World War, and considering poetry as a social and cultural category and as a wartime practice whose functions go beyond literary value, this article argues that war poets can be read as ethnographers of wartime culture. In proposing this analogy, it aims to present the ethnographic conventions as a common ground where History and Poetics can establish a dialogue. For scholars aiming to investigate how cultural production shapes experiences of armed conflict, this ensures poets are seen as the producers of interpretive knowledge of war and poems as more than either transparent documents or hermetic lyrical creations. [ABSTRACT FROM AUTHOR]