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Copyright of Comparative Literature / Primerjalna Književnost is the property of Slovenian Comparative Literature Association 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.)

AbstractJosep Carner translated Dante’s sonnets for an anthology of poems from Vita Nuova translated into Spanish and Catalan that Lluís Carles Viada i Lluch published together with his own complete translation, La Vida Nueva (1912); and also for ‘Rims de l’hora’, a literary column of the newspaper La Veu de Catalunya (1913–1914). Considering the pieces Carner chose to translate, this article reflects on his interest in Dante’s objective representation of passions and thoughts, and looks for similar uses in one of the modalities of lyrical poetry he put into practice in his book La paraula en el vent (1914). [ABSTRACT FROM AUTHOR]

The article explores the life and works of Thomas Lodge, a prominent figure in the Elizabethan Age. Born into a family with connections to the Tudor court, Lodge's upbringing and education influenced his literary career. Despite facing financial and personal challenges, Lodge produced a diverse body of work, including dramas, poems, and translations. His contributions to literature, such as pioneering the epyllion genre, influenced his contemporaries like William Shakespeare. Lodge's life reflects the complexities of his time, showcasing both his successes and struggles in the literary world. [Extracted from the article]

The article "Introducing Shakespeare and His Contemporaries" explores Shakespeare's place in the early modern literary and theatrical scene, emphasizing the collaborative nature of writing during that period. It discusses the diverse contributions of contemporary poets, dramatists, and pamphleteers, shedding light on their works that influenced Shakespeare. The article also delves into the dramatic genres, language developments, and collaborative efforts among playwrights of the time, highlighting Shakespeare's interactions with his literary peers and the broader community of writers in that era. [Extracted from the article]

This article is the text of a speech that I gave at the AAPT summer 2024 meeting when I received the Lillian McDermott Medal. This plenary speech is very dear to me; it was an opportunity for me to talk about my career and life and share what I've learned. Unfortunately, this will be my final opportunity to share some words with you all. I am gravely ill, as you will read below. I hope you enjoy these words. I have always loved words and ideas, so consider this article as a sonnet from me to you. [ABSTRACT FROM AUTHOR]

This article is a response to a rebuttal of the author's previous work on the subject of Willobie His Avisa. The author argues that there is no substantive evidence to support the claims made in the rebuttal, which suggests that Penelope Rich is the subject of Willobie and Shakespeare's Dark Lady. The author also addresses objections to their own case, including the interpretation of artwork and the identification of certain characters. The article concludes by stating that the writers of the rebuttal have no idea who wrote Willobie, while the author's case is holistic and considers the author's relationship to the subject matter and writing style. [Extracted from the article]

The article examines the relationship between Edward de Vere, the 17th Earl of Oxford, and music, and its potential influence on Shakespeare's works. It discusses de Vere's musical abilities and his connections to composers like William Byrd, suggesting that his knowledge of music strengthens the case for his authorship of the Shakespeare canon. The article also explores Shakespeare's understanding of music, including his use of musical references and his possible collaboration with composer Thomas Weelkes. It concludes by expressing hope that future research will uncover evidence of de Vere's musical compositions. [Extracted from the article]

The article examines the possibility that Thomas Nashe, a writer from the Elizabethan era, was a pseudonym used by the Earl of Oxford. The author presents evidence suggesting linguistic and thematic similarities between Nashe's works and those of Shakespeare, as well as shared enemies and friends. The article also discusses allegorical references in Nashe's play that support the theory. The author argues that understanding Nashe as Oxford provides new insights into his works and highlights references from other writers that suggest they knew Nashe's true identity. The article questions the authenticity of certain documents and explores inconsistencies in Nashe's life that can be explained if he is understood as Oxford. [Extracted from the article]

This article explores the connection between Shakespeare and Italian artist Giulio Romano, suggesting that Shakespeare may have been influenced by Romano's work through Vasari's Lives of the Artists. The author argues that Shakespeare's plays exhibit mannerist characteristics, challenging traditional notions of art and reality. The essay also discusses the neoplatonic themes in Shakespeare's works and their connection to the Palazzo Te in Italy, which features paintings that depict neoplatonic ideas. The text further examines the character of Prospero in "The Tempest" and suggests that his role as an artist reflects Romano's mannerist style. Understanding Prospero's character requires considering his pagan, neoplatonic worldview and his dual nature as both a godlike figure and a flawed human. [Extracted from the article]

This article compares the sonnets of Richard Barnfield and William Shakespeare, focusing on their exploration of homoerotic and homosocial themes. Barnfield, a lesser-known poet, published works in the late 16th century that included explicit expressions of same-sex attraction. The analysis highlights the linguistic and stylistic similarities between the two poets, while also noting their differences in language and imagery. By examining Barnfield's contributions, we gain a deeper understanding of the diverse expressions of human relationships in early modern England. [Extracted from the article]

Objective: Love and mysticism are frequent themes of Persian literature that poets have addressed in different literary periods. Sadi is one of the poets whose divan is full of this theme and love and mystical themes along with its edges and the description of the lover and the beloved and their characteristics are abundantly expressed in his sonnets. Gul Mohammad Khan Zeib Magsi is one of the contemporary Baloch poets who has experimented on different subjects in his collection of poems called Khazineh al-Ashar and Zeib Nameh. In this article, the themes of love and mysticism in the poems of Sadi and this great contemporary poet are examined and compared. Zeib Magsi is a poet of the 14th century AH and is very far from Sadi's era. But he took advantage of the poets before him and in the book Khazine al-Ashaar, he wrote his poems with the guarantee of the sonnets of the previous poets. Therefore, the description of love, lover and beloved in his poetry is similar to that of classical poets and does not differ much. Like Sadi, he describes the lover as sad and lamenting, and the lover of his poetry is unfaithful and persevering, and the lover always lives in hijran. True love also has many manifestations in his poems, and in his mystic sonnets, he is the true beloved of God, and through the guidance of an elder, one can reach perfection. The comparison of the use of mystical terms of two poets shows the frequency of the themes of existence, dignity, aging and self-contradiction in Gul Mohammad's poetry, and the frequency of the themes of deterrence, discretion, submission and satisfaction in Sadi's poetry, which itself expresses the dominance of mystical love in Sadi's poetry Research method This research has been done in a descriptive-analytical way, in this way, by reading the poems of Saadi and Gul Mohammad Khan, the things that are related to love and themes related to it have been identified and classified and compared at the end, and the statistical results is provided. Results: According to the examined cases in the divan of Saadi and Zeib Magsi's poems, we find that the main theme of the poems of these two poets is love, its consequences and its sidelines, including true and spiritual love, which forms the form of mysticism, and earthly love and It is virtual. Saadi himself was influenced by previous poets and his ghazal is based on a lover who has existed in Persian ghazal for a long time and has external beauty, cruelty and unfaithfulness. His lover is incomparable but moody and evasive and his lover does not give up easily. This lover is present throughout the Persian romantic ghazal and no transformation can be seen in it. Accordingly, in the poetry of Gul Mohammad Khan Zeib Magsi, who follows the thoughts of prominent poets before him, a lot of attention has been paid to mystical and earthly love. The book Khazineh al-Ashar is based on the sonnets of Iraqi style poets There are common features in Zaib's poetry that raise the theme of love like others. He also has an unfaithful lover and is always in pain. Mystical love is expressed in many of his sonnets. Even though his poems were written in the contemporary period, his language is still related to the Khorasan and Iraqi periods and is consistent with his romantic and mystical themes, therefore, many similarities can be seen in comparison with Saadi's poetry. But it cannot be said that he definitely followed Saadi; Rather, his divan shows that he was familiar with classical poets and used the poetic thought of all of them and developed the themes by paying attention to the themes of the predecessors. Conclusions: The comparison of the poems of these two great poets shows that Saadi describes the lover and the beloved side by side, and as he describes the beauty and behavior of the beloved, he also considers the state of the lover and created a balance, but instead of describing the lover, Zeib Magsi He has connected the topic and expressed his wishes. Both poets have used imaginary images such as similes and metaphors in their descriptions. But apart from mystical love, comparing the most prominent and widely used mystical terms used in the poetry of Saadi and Zeib Magsi, it seems that Gul Mohammad Khan Zeib Magsi pays more attention to mystical elements such as the unity of existence, recourse to the elderly, survival and dignity. but Saadi spoke mostly to his friend and sought his pleasure and was powerless in front of him. In fact, Saadi's poetry has more romantic elements and Gul Mohammad's poetry is more mystical. In Zeib Moghsi's poetry, mysticism is mostly mixed with ethics and religion, and in Saadi's poetry, mysticism is mixed with love, and because of this opinion, we can distinguish between them. [ABSTRACT FROM AUTHOR]

The article focuses on poet, Christina Rossetti's exploration of the relationship between the infinite heaven and the time-bound earth, through the lens of Neo-Platonic ontological philosophy. It examines how Rossetti's devotional prose and poetry, particularly her sonnet cycle Later Life: A Double Sonnet of Sonnets, portray heaven as an unattainable ideal, with the mortal world serving as its symbolic reflection.

The article discusses the complexities of saying "no" in William Shakespeare's Sonnets, and how this negativity challenges conventional notions of value in poetry. Topics include the relationship between poetry & value during the decline of the Petrarchan vogue; Shakespeare's critique of the sonnet form through self-reflection & paradox; and implications of quantity in Shakespeare's work, where the sheer volume of sonnets complicates the understanding of failure & success in poetic expression.

This paper is a multifaceted exploration of white subjectivity and the social phenomena of whiteness, about which there is a considerable body of psychoanalytic literature spanning decades. Hazel White's "unwound sonnet late on the tide" explores themes of traumatic legacies, family, shame, and mourning. Critical poetic inquiry is used to consider these themes and make links between the poetics of psychoanalytic processes and the psychoanalysis of poetics. [ABSTRACT FROM AUTHOR]

"Seasons of the Patch: for Kristijonas Donelaitis" is a poetry book by Kerry Shawn Keys that pays homage to the eighteenth-century Lithuanian poet, Kristijonas Donelaitis. The collection consists of over 300 pages of poetry that explore various themes such as nature, history, and the concept of time. Keys draws inspiration from both Western and Eastern literature, resulting in a diverse and thought-provoking collection. The book is divided into two sections, each containing poems of different forms and lengths. Overall, "Seasons of the Patch" offers a unique and expansive exploration of life and the human experience. [Extracted from the article]

This paper undertakes a comparative study of two poets from different cultures and eras: Jamil Buthainah, a late seventh-century Arab Udhri poet, and Sir Philip Sidney, an English Elizabethan poet. Based on Jamil Buthainah's Diwan and Sidney's sonnets in Astrophil and Stella, the analysis focuses on four shared thematic threads: the blamers and slanderers, the portrayal of the beloved, the beloved’s eyes, and the speakers’ idealization of their love objects. Rather than seeking to identify any influence of one poet on the other, as there was none, this study highlights the poets’ similar experiences in love—both were deeply in love but did not marry their beloveds. Additionally, both works exclusively address the theme of the speakers’ thwarted love for their women. This paper aims to explore the similarities and differences in how Jamil Buthainah and Sidney loved and expressed their love, examining where their experiences converge and diverge. The goal is to gain a deeper understanding of the diversity and richness of poetic expression across different ages and cultures. [ABSTRACT FROM AUTHOR]

This article focuses on the translation of Michelangelo Buonarroti’s fifth sonnet by Vyacheslav Ivanov in 1925. The sources used include the translated text and the manuscript of the original text, accompanied by the author’s drawing. Comparative analysis results of Ivanov’s translation and a literal translation by the authors are presented. It emphasizes Michelangelo’s original concept related to deforming the sonnet form (20 lines instead of 14, with two additional tercets added), resonating with the sonnet’s content, specifically describing his physical sufferings and uncomfortable poses while painting the Sistine Chapel ceiling. Attention is given to the author’s drawing, highlighting the division of the lyrical subject and his doubts about the effectiveness of his work. Commentary is provided on Vyacheslav Ivanov’s translation decisions for this sonnet, linked to his poetic and aesthetic principles. A symbolist interpretation of the sonnet’s key antithesis is explored: Michelangelo portrays the lyrical subject as a “Syrian bow” (a phrase denoting a bow that never misses) and a “crooked crossbow”, interpreting his doubts through images of projectile weapons overcoming him. The translator interprets this antithesis through the classical contrast of “poet and crowd”, indicating that the artist fears condemnation and requires protection.

The purpose of the paper is to study the images of the platonic and courtly in the protagonist’s personal relations with God in J. Donne’s “Holy Sonnets” in the context of the connection with the Petrarchan tradition. In order to accomplish this, a complex approach including elements of biographical, genealogical, typological, hermeneutic, comparative, and structural-semiotic methods of literary analysis has been used. The views of literary critics on the sources of the “Holy Sonnets” (Christian meditative practices, Bible books, traditions of English religious lyrics) have been reviewed, their connection with the Petrarchan poetic tradition has been pointed out and, in this context, one of the possible interpretations of J. Donne’s sonnet sequence has been proposed. It has been shown that three poems of the sequence – XIV, XVII and XIX – are especially important and conceptual for understanding the evolution of the protagonist’s relations with God in the “Holy Sonnets”. In the first of them, feeling his own weakness and impossibility to overcome the devil, J. Donne’s persona begs the Lord to win back his heart from the enemy, using a broad palette of military metaphors typical to the Petrarchan lyrics. However, the Lord, who in sonnets I – XIII is depicted in a Petrarchan manner as distant and completely deaf to the protagonist’s pleas, remains indifferent. In sonnet XVII, which looks similar to the lyrical texts of the “Canzoniere” dedicated to Laura’s death, a notable change in the relationship between the characters takes place. As in the Italian humanist’s poems, the life path of J. Donne’s persona finally turns to heaven after the death of his beloved, and he begins to feel that the loss of earthly love is compensated by the gaining of the Divine one. However, his further relations with God, once again, seem to be built according to the Petrarchan model, most fully described in the last text of the sequence. The sonnet XIX demonstrates all the complexity of the relationship between a human being and the Lord. J. Donne’s persona is constantly dominated by conflicting feelings and emotions, which generally correlates with Petrarchan understanding of the ambivalence of love, best shown by F. Petrarch in the sonnets CXXXII and CXXXIV. Moreover, the poetic vocabulary used by J. Donne in this poem indicates the specific character of his persona’s relations with God, which are supposed to have signs of courtly love, courtly bowing-service. It has been summed up that the protagonist’s relations with the Lord in the “Holy Sonnets” might be interpreted as generally built on the same principles that are immanent in the concept of love in the poetry of Petrarchism. The persona of the English poet, as well as the traditional hero of Petrarchan texts, also suffers from unrequited feelings, longs for reciprocity with all his heart, and, in addition, speaks in the specific metaphorical language. Even if the linguistic practice utilized by the author cannot be considered exclusively Petrarchan, since a similar rhetorical code, in which the experience of spiritual communication with the Lord was described with the help of erotic images, was widely used by the Christian mystics, the sonnet poetic structure is canonical for Petrarchan lyrical discourse and require following the established rules not only in terms of form, but also in terms of content.

This article discusses contemporary literary texts that feature the Dark Lady from Shakespeare’s sonnets as a Black woman from the past inhabiting the present: Zadie Smith’s White Teeth (2000), Bernadine Evaristo’s Soul Tourists (2005), and Caroline Randall Williams’s Lucy Negro, Redux (2019). The analysis draws on recent approaches to temporality that offer a critique of linear concepts of time and their function for discourses of progress and modernity as well as ‘race’. Through the figure of the Dark Lady, Smith, Evaristo, and Williams address Black history and project anachronic relations between the early modern era and the present moment, as well as between Shakespeare and the contemporary Black woman writer. [ABSTRACT FROM AUTHOR]

In this essay, I argue that Raphael's double portrait of Agostino Beazzano and Andrea Navagero formed the painter's fullest response—made in purely pictorial terms—to Renaissance prosody as it was then being developed by his friends, especially the portraits' sitters and Pietro Bembo. The drafts of Raphael's own sonnets on drawings made while he was painting the Stanza della Segnatura are visualizations of the intellectual labor his poetic compositions entailed. A close looking at their placement across the paper on these "ekphrastic sheets" (to use Francesco Di Teodoro's term) as well as changes in the sonnets' texts offer tools for understanding the double portrait of Raphael's poet-friends. Raphael's often dismissed efforts at poetry made on these study drawings thus blossomed half a decade later in the contribution to Renaissance literary theory he made as a painter. [ABSTRACT FROM AUTHOR]

This article situates John Keats's 1817 sonnet 'On Seeing the Elgin Marbles' within the context of 1816–1819's climate catastrophe and subsistence crisis. Countering received readings of Keats's sonnet as about artistic vocation; I argue that it is more about the opportunity cost of expending public funds on ancient art during a climate-exacerbated economic crisis. This reading emerges by placing the poem in dialogue with a political cartoon by George Cruikshank, 'The Elgin Marbles! or John Bull buying stones at the time his numerous family want bread!!' that critiques the British Government's purchase of the Parthenon sculptures in these terms. I contend that both sonnet and cartoon stage the purchase of the sculptures not in terms of their artistic merits, but instead in terms of the opportunity cost of public relief and the potential 'waste' status of art in the face of a depressed labour market and skyrocketing grain prices. [ABSTRACT FROM AUTHOR]

Keats's 1816 competition sonnet 'On the Grasshopper and Cricket' is easily dismissed as juvenilia, but when read with an eye to his interest in Greek mythology, the poem rewards further attention. In particular, the myth of Tithonus, who gained eternal life without eternal youth and was transformed into either a grasshopper or cricket, situates Keats's immortal 'poetry of earth' in an ambivalent context that, in turn, makes sense of otherwise curiously neutral language. This ambivalent framing also encourages a new reading of the poem as a product of 1816, 'the year without a summer', building a case for the sonnet as an example of what Nikki Hessell has called Keats's 'botany of absence' in the 1817 Poems volume more broadly. [ABSTRACT FROM AUTHOR]

The article focuses on Philip Larkin's use of the curtal sonnet form in his poem "The Mower," exploring its structure and thematic implications. Topics include the poem's adaptation of G. M. Hopkins' curtal sonnet form, its thematic division between the hedgehog's death and the poet's moral reflections, and the comparison of Larkin's approach to Hopkins' original curtal sonnet style.

This study investigates the efficacy of advanced large language models, specifically GPT-4o, Claude-3.5 Sonnet, and GPT-3.5 Turbo, in detecting software vulnerabilities. Our experiment utilized vulnerable and secure code samples from the NIST Software Assurance Reference Dataset (SARD), focusing on C++, Java, and Python. We employed three distinct prompting techniques as follows: Concise, Tip Setting, and Step-by-Step. The results demonstrate that GPT-4o and Claude-3.5 Sonnet significantly outperform GPT-3.5 Turbo in vulnerability detection. GPT-4o showed the highest improvement with the Step-by-Step prompt, achieving an F1 score of 0.9072. Claude-3.5 Sonnet exhibited consistent high performance across all prompt types, with its Step-by-Step prompt yielding the best overall results (F1 score: 0.8933, AUC: 0.74). In contrast, GPT-3.5 Turbo showed minimal performance changes across prompts, with the Tip Setting prompt performing best (AUC: 0.65, F1 score: 0.6772), yet significantly lower than the other models. Our findings highlight the potential of advanced models in enhancing software security and underscore the importance of prompt engineering in optimizing their performance. [ABSTRACT FROM AUTHOR]

During the early months of the COVID pandemic in 2020, writers turned to the practice of sonnet-writing to connect with others, stem isolation, and take stock of the multiple crises presented by the pandemic and its complex social contexts. This essay examines two collaboratively written pandemic sonnet projects, The Poetry Society of New York’s May Day 2020 crown and Cindy Tran’s Sonnet Crown for NYC, along with the pandemic eco-sonnets of Craig Santos Perez. These pandemic sonnets articulate our complexly connected identities while highlighting the pandemic sonnet’s capacities for meditating on and interrogating our expanding webs of connection. As collaborative writing projects and works of occasional poetry, these pandemic sonnet projects reposition the sonnet in contemporary American poetics as a social and socially-embedded practice, linking contemporary sonnet practice to the highly social poetic exchanges associated with the sonnet from its earliest roots. [ABSTRACT FROM AUTHOR]

When Keats told friends he had 'given up' his epic project, 'Hyperion', in September 1819, he expressed dissatisfaction with its artful 'Miltonic inversions'. While sailing to Italy in the autumn of 1820 and in the months before he died, however, Keats told Joseph Severn about an epic he wanted to write—on Sabrina, the river goddess in Milton's Comus. This essay offers the first critical investigation of Keats's projected poem. I pursue Keats's unwritten epic, using Severn's accounts, a selection of Keats's letters and poems, and the source text to reveal what may have interested him about Milton's rendering of Sabrina's story and what it can tell us. Far from putting Milton behind him, Keats continued to draw inspiration from his poetry, returning to a work he had previously dismissed and finding fresh pleasure in a masque that Milton had composed in his mid-twenties, long before Paradise Lost. I suggest that in Sabrina, the tutelary spirit of the Severn, Keats found a figure of transformation, survival, and healing—a young goddess whose liminal existence on the Welsh border and whose partially told story appealed to his imagination and his belief in poetry's enduring power to transcend mortal limits. [ABSTRACT FROM AUTHOR]

This article re-evaluates the merits of Shakespeare's Sonnet 145 and explores its critical legacy over the past half-century. While the sonnet has typically been seen as inferior due to its use of tetrameter rather than pentameter, one article from 1971 made a case for it being the first poem Shakespeare ever wrote. Rather than prompt critical debate, the theory presented in the article gained nearly universal acceptance and has been amplified ever since. The problem I identify is that the theory itself has been adopted without due scrutiny, and that when we approach Sonnet 145 from the standpoint that it is neither inferior nor juvenilia, we can then see how the supposed aberrations are potentially deliberate choices made by Shakespeare to underscore the poem's content. [ABSTRACT FROM AUTHOR]

This article discusses the potential impact of artificial intelligence (AI) on authorship, pedagogy, and the future of the profession. Scholars were invited to submit speculative pieces on the subject, exploring topics such as the role of large language models (LLMs) in shaping our understanding of authorship, the capabilities of AI in creative writing, and the influence of AI on literary criticism and pedagogy. The essays also consider the challenges and opportunities presented by AI in fields like linguistics, translation studies, and higher education. The authors hope that these discussions will offer readers new perspectives on the intersection of AI and the humanities. Additionally, the article highlights the recent academic work of an individual in the field of literature and language, including their published essays in various scholarly journals and their role as an associate editor at Poetics Today. This information may be useful for library patrons conducting research in these specific areas. [Extracted from the article]

My analysis in this paper centers on Miguel de Unamuno's multifaceted engagement (commentary, translation, poetic response) with Antero de Quental's metaphysically-inclined sonnets. Like Unamuno, I focus on the sonnets "Redenção" and "Na mão de Deus." I first demonstrate how Unamuno unsuccessfully attempts to reconcile Quental's poetic descriptions of death as liberation, and of the individual's reabsorption in death into the universal consciousness, with his agonized faith in a personal God and his New Testament-derived belief in humanity's redemption from sin and salvation by Jesus Christ. I then argue that while Unamuno may have misinterpreted Quental, his misreading was nonetheless productive in that it furnished him with an Iberian exemplar of the sentimientotrágico de la vida – though I contend that Unamuno's elevation of Quental to the status of tragic exemplar is nonetheless misplaced [ABSTRACT FROM AUTHOR]

This article considers Tyehimba Jess's representation of the lives of several historical African American musicians from the post-emancipation period in his 2016 collection Olio. Reading Olio in the context of African American musical traditions, it considers how Jess's syncopated sonnet forms appropriate and contest historical instances of white supremacy to undermine the dehumanizing logics of plantocracy. At the same time, it explores how the collection's threedimensional forms materialize feelings of constraint to reveal the embeddedness of antiblackness in American popular culture, and the fragility of liberty into the twentieth century and beyond. While Olio reifies the tension between freedom and bondage in the post-bellum nation, this paper argues that Jess's archival recuperation of elided historical figures and innovative configuration of sonnet form demonstrate an ethos of creativity, as it envisions alternative forms of community and autonomy through poetry and music. [ABSTRACT FROM AUTHOR]

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

Whereas previous criticism of Shakespeare's Sonnets has shown how the early sonnets associate the fairness of an elite young man with the dynastic legitimacy and aesthetic refinement that would come to signify the superiority of racial whiteness, this essay considers certain later sonnets that compromise and threaten to revoke whiteness as a mark of racial privilege. Darkening the friend's complexion, these poems—numbers 27–28, 33–35, 43, 58, 93, and 119–20—materialize him as a nocturnal shadow; stain his lovely face with black clouds, smoke, mud, wrinkles, and ink; and associate his sexual estrangement from the speaker with the torments of blackest hell. By darkening the promiscuous aristocratic friend, these later sonnets suggest that racial fairness is not simply an ontological fact—a stable epidermal sign of aristocratic lineage—but a fluctuating sign contingent on interpersonal value judgments, or an "affective epistemology." [ABSTRACT FROM AUTHOR]

This article reassesses Ben Jonson's relationship to the Roman-Catholic priest and missionary Thomas Wright (c. 1561–1623). Wright plays two roles in critical accounts of Jonson's life and works: first as the spiritual mentor who probably worked Jonson's conversion in 1598, second as the dedicatee of one of Jonson's only six extant sonnets. My article applies literary analysis to the sonnet Jonson wrote for Wright in order to show that it signals negative feelings for the priest. This recognition is important to Jonson studies for two reasons. It contributes the first extended literary analysis of an artful poem by Jonson. In addition, it raises questions about the tendency of much recent scholarship to explain various aspects of Jonson's life and works by reference to his religion. In contrast to this recent religious turn stands an older narrative about Jonson as a secular individualist largely indifferent to the supernatural. By revealing Jonson to be struggling against a figure central to his spiritual biography, I suggest a middle ground between these two narratives in which the secularizing aspects of Jonson's thought are enmeshed with, rather than opposed to, the religious aspects emphasized by recent scholarship. [ABSTRACT FROM AUTHOR]

This essay considers John Donne's influence in English puritan and nonconformist circles between 1650 and 1700, focusing especially on John Bunyan. Scholars in recent years have largely passed over Donne's readers in these circles; now is a good time to bring them back into focus. Puritans writing during the latter half of the seventeenth century show familiarity with Donne's sermons, letters, and poetry, especially his Holy Sonnets. Based on the ways Bunyan and others engaged with Donne's works, it appears that Donne could provide devotional resources to puritan readers in times of spiritual, emotional, or physical loss or struggle, and his metaphysical poetics are visible in Bunyan in particular and puritan meditation more diffusely. This study deepens scholarly understanding of literary and intellectual history by exploring continuities between authors often framed as standing not only on opposite sides of political and cultural divides, but also on different sides of a literary and epistemic revolution. [K.C.] [ABSTRACT FROM AUTHOR]

The rhetorical and emotional verve of 'The Windhover' reflect not the moment of stasis of Christ's cross but the energy of Trinitarian interrelation in creation. Readings of the sonnet usually foreground the second divine person. Countering such a perspective, this essay rehearses the Scholastic theology and the Scholastically based faith that the poet took for granted in the original moment of experience and in the moment of composition, and so reads the sonnet in a more fully Trinitarian way. For Hopkins the energetic dynamic of love and relation within the Trinity is that into which he is drawn via the creation made through Christ, the Word (John 1:3, Col. 1:16), and as used here the energy of the sonnet form is his response to this. The Athanasian Creed and the 'Veni Creator Spiritus' are identified as neglected Trinitarian intertexts. Hopkins believed, in Ignatian terms, that Christ 'labours for me in all things created on the face of the earth'; and so, in the poem, Christ works dynamically through the Holy Spirit, 'the fire' (l. 10) who is Love itself, the vector of bird–poet interrelation, engaging him with the windhover and awakening his delight. The sonnet is the poet's open acknowledgement of the love of the Triune tri-personal God which greets him every moment in the humblest glories of creation. [ABSTRACT FROM AUTHOR]

Being vivacious and colourful members of the medieval and Renaissance courts, jesters served for a variety of recreational purposes in addition to having the oblique subaltern voices in the administration of the kingdoms. Despite their ostentatious clothing and jaunty manners, which they manifested while delivering jokes and tricks, their contribution to the royal administration had to be indirect and clever. Indeed, these men of great observation and acute cunning used their humour in order to voice what cannot be expressed by the others. In their peculiar kind of way that was also associated with their divergent nature, jesters were inclined to act as the advocates of truth which had to be suppressed or ignored at times in face of royal hegemony. As a rather skilled playwright, who was also familiar with the conventions of the court manners, Shakespeare spared an exceptionally subtle role for the character of the jester in his plays. This role reveals itself through witty jokes of criticism masked by the jolly words of a fool. Nevertheless, Shakespeare ascribes a markedly grim condition for his late jester Yorick who has to deliver his criticism through his deceased body, a skull per se. Deriving mobility from the Derridean sense of decentralizing the meaning, the article employs a deconstructionist reading of Hamlet through the absence of a jester to exhibit how the lack of a critical perspective may yield catastrophic dim-sightedness. [ABSTRACT FROM AUTHOR]

This text explores the significance of shipping containers in global trade and their impact on various aspects of society. It discusses how containers can be repurposed for different uses, such as food stalls, schools, and housing. The text also examines how poets use shipping containers as metaphors in their work, reflecting on ideas of form, technology, and globalization. Additionally, it explores the role of containers in rebuilding efforts after natural disasters. Overall, the text presents a nuanced perspective on the cultural and economic implications of shipping containers. [Extracted from the article]

"The Poem as Icon: A Study in Aesthetic Cognition" by Margaret Freeman explores the cognitive and aesthetic aspects of poetry. The book challenges the use of the term 'cognitive' in relation to aesthetics, arguing that beauty is not solely a cognitive experience. Freeman delves into the depths of poetic experience, emphasizing the importance of emotions and sensations. The book examines the concept of 'icon' in poetry, discussing its semiotic, religious, and linguistic meanings. It also explores the role of metaphor, schema, and affect in creating poetic iconicity. Overall, the book offers a fresh perspective on the functionality of poetry and the arts. [Extracted from the article]

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This article examines the social impact of Amanda Gorman's poem "The Hill We Climb" and the concept of lyric poetry as a social force. The authors analyze the formal qualities of lyric poetry and argue that Gorman's poem has sparked discussions about language, unity, justice, and the role of poetry in society. They suggest that lyric poetry has the potential to generate social change and offer a framework for understanding how poems like Gorman's can inspire and move us. The article also explores the power of lyrics in creating a sense of community and shared values among readers, and discusses the potential of incorporating lyricism into curriculum to form educational communities and promote critical thinking. The authors emphasize the importance of allowing students to engage with lyric texts in their original form, without stripping them of their unique qualities. [Extracted from the article]

The general opinion is that Mustazad entered the field of literature as a form of poetry from the beginning, a form that did not receive much attention until the constitutional period. Today, this causes some difficulties in defining and classifying its types. A review of literature shows that the name of Mustazad was not mentioned in any of the literary texts until the 9th century. But after this date, the term Mustazad was introduced only in books related to rhetoric and other literary arrays, and some writers started dividing it. It is placed as a poetic array in the book Dorra Najafi (1330 AH) for the first time next to forms such as ode, sonnet, etc. After this book, the term Mustazad enters the realm of poetic forms. Most of the writers who started writing rhetorical books after Najafgholi Mirza followed the path, which has continued until today. In the present study, we intend to prove the truth of the claim that Mustazad has been transformed from a literary array to a poetic form by examining ancient and contemporary sources as much as possible. We also try to show the course of this evolution. [ABSTRACT FROM AUTHOR]

Manuscript RB II 2534 from the Real Biblioteca de Madrid contains an unpublished poem by Guillaume des Autelz, addressed and dedicated in 1559 to Antoine Perrenot de Granvelle, bishop of Arras. This study aims to provide the edition of this poem and to contextualize it in the literary trajectory of this poet of the Pléiade. We will observe the evolution that characterizes Des Autelz's trajectory and how, through his relationship with Granvelle, the poet tries to obtain a certain recognition from the Habsburgs. [ABSTRACT FROM AUTHOR]

In this paper, a double-layered structure to form an N-Well meander-line structure by added shielding grounded conductor to improve the quality factor on-chip resistors in high frequency operation is presented. An additionally added shielding ground conductor is applied to the proposed structure to reduce the induced capacitance coupling. and substrate losses for further improvement of the Q factor were also presented. Sonnet EM simulation result validated that double-layered structure via the shielding ground conductor was effective to improve their quality factors by 37.8% from 1.209 to –0.752 and reducing capacitance coupling effect by 57.92% from 55.23fF to 23.24fF during operating frequency at 10 GHz compared with conventional N-Well meander-line resistors. A novel structure in the design of a double-layered on-chip resistor with a shielding grounded conductor showed that capacitance coupling of parasitic effect was reduced; therefore, a low Q factor in high-frequency operations was obtained. [ABSTRACT FROM AUTHOR]

The paper analyses the presence of the motifs of the body, senses and emotions, the degree of representation, functions, and meanings of somaticisms, the ways of aestheticisation of the body and the contradiction or integration of the motifs of the body and the soul in the poetic cycle Ukojenie tôní (Soothing the shadows, 1845) by Samo Vozár (1823 - 1850), a Slovak Romantic poet. Vozár's sonnets provide ample material for exploring the somatisms involved in the creation of the image (representation, personification) of death, but also of love (both maternal and filial). Corporeal motifs are tied to the object of the lyrical statement (the dead mother) and to the subject of the lyrical statement (her son). Stylistically neutral forms of somatisms prevail. These are used both in the primary sense (naming the parts of the body) and in the figurative one - in the depiction of other phenomena of the external and internal world. They "make visible" the affective experience of the lyrical subject, abstract phenomena connected with the inner experience (the soul), which is manifested in a higher representation of somatisms, which are conventionally considered as carriers, manifestations of mental, emotional movement such as the heart, tears, or blood. [ABSTRACT FROM AUTHOR]

The writings of William Wordsworth evince a deeply ecological consciousness, a firm belief in the underlying connectedness of all living and non-living entities accounting for their continued existence. Such a consciousness becomes particularly evident in The River Duddon, A Series of Sonnets from 1820 as the poetic account of the river's flow from its source in the mountains to its estuary between Morecambe Bay and the North Lonsdale coast. For not only does it constitute a core element of the Lake District, which Wordsworth deemed the best example of a region of eco-friendly and hence socially unified communities; it is also depicted, as will be elaborated in this paper, as an ecosystem consisting in a complex web of symbiotic interactions between the fluvial, vegetal, animal and human.Instead of focusing on verbal representations of such more-than-human interrelations through semiotic processes that appropriate their otherness and render them intelligible in solely human terms, however, this paper argues that Wordsworth's "speaking monument" (Wordsworth 1954: 247, iii, l. 3) rather enacts these ecosystemic interactions on a vocal, aural, and rhythmical level. It thereby foregrounds the materiality and corporeality of poetic speech that precedes as well as grounds meaning and so connects the human to the river ecosystem in a pre-reflexive and somatic way. In this context, it will be pointed out how not only the speaker and other human characters participate in the Duddon's web of reciprocal relations through rhythmical synchronisation and sonic attunement, but also how the reader becomes an active part in them through their vocal performance of the sonnets. The river's autopoietic structure illustrated through the metaphor of the hydrological cycle, it will thus be shown, is thereby continued through the sonnet cycle as a direct organic product and hence integral component of the ecosystem that, by repeatedly giving rise to various idiosyncratic readings, will poetically contribute to the Duddon's continued existence. [ABSTRACT FROM AUTHOR]