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The article discusses the intellectual awakening regarding Ukrainian culture following Russia's invasion in 2022, focusing on the need to address historical epistemic injustice. Topics discussed include Ukrainian war poetry translation, memory engagement in contemporary Ukrainian literature, and the influence of key poets like Serhii Zhadan and Marianna Kiianovs'ka.

The article examines the historical significance of Ukrainian literature in nation-building and its contemporary role in Ukraine's resistance against Russia. Topics discussed include the promotion of Ukrainian mass literature in the early Soviet period, the scholarly analysis of Ukrainian war poetry translations, and the need for a more nuanced understanding of Ukraine's literary history.

AbstractIn my article, I aim to address the incongruity of perceptions of the First World War that remain trapped in the mythic glorification of the soldiers who perished. Instead, I will explore this war’s horrors through a critical textual-visual reading of dissenting voices found in selected English and German war poetry and art. By juxtaposing the works of German poet August Stramm and artist Otto Dix with the poems of Wilfred Owen and Arthur Graeme West, as well as the art of John Singer Sargent and Gilbert Rogers, I will highlight how the abject landscape of the Great War—both human and natural—is marked by darker and more complex manifestations of the Gothic and abjection. I intend to demonstrate that the violence and graphic body horror caused by the industrialised nature of this war resulted in a shared bitterness among combatants, whether English or German. Whilst much has been done on the British poetry and art of the Great War, and there has been scholarly work on German poetry and art, I have not found any studies that specifically compare British and German art and poetry. My analysis will explore how my chosen works depict the human and natural landscapes, emphasising Gothic abjection to reveal the inherent ugliness, disillusionment and horror associated with the so-called “War to End All Wars.” [ABSTRACT FROM AUTHOR]

The article discusses the rediscovery of the poetry of Mercedes de Prat, a 20th-century Spanish poet, highlighting her avant-garde stance and focus on female eroticism. Her two collections of poetry have been published in a bilingual edition, shedding light on her work that was previously unrecognized. Prat's diverse interests in music, ceramics, and psychology, along with her feminist inclinations, are also explored, making her a multifaceted and intriguing figure in Spanish and Catalan literary circles. [Extracted from the article]

The article explores the ethical literary criticism approach in analyzing Tennyson's patriotic war poems, focusing on the ethical chronotopes within the texts. It delves into the interplay between the author, the reader, the text, and the real world, emphasizing the fluid nature of ethical elements in literary texts. The study examines specific poems like "Riflemen Form!" and "The Charge of the Light Brigade," highlighting the ethical choices made by Tennyson in shaping the texts and the impact on readers and society. The article underscores the complexity of ethical judgments in literary works and the evolving ethical norms reflected in Tennyson's writings. [Extracted from the article]

This paper explores how the poetry of the late Iraqi poet, Sargūn Būluṣ (1944–2007), responds to the material and epistemic violence inflicted on Iraq and Iraqis in recent decades. While Būluṣ was vehemently against podium poetry, he was never detached from politics. He believed that poetry could shelter the voices of those displaced and wounded by history. By reading several representative poems, this paper identifies the configuration of the aesthetic and the political in his poetic discourse. It explores the following questions: What are the strategies and tropes the poet deploys to mark and mourn the destruction and disintegration of a home/land? How does he do so without eliding the foundational violence of the nation-state or resorting to nationalisms? Which of the many Iraqs, real and imagined, does Būluṣ mourn, and how does he excavate the country's history? [ABSTRACT FROM AUTHOR]

This article explores early expressions of poetic protest voiced by Negev Bedouin against their political disempowerment following the 1948 war, the sternness of the military rule imposed on them by Israel, and the feebleness of those sheikhs who agreed to cooperate with it. To this end, the article examines a poem composed in 1949 by a talented poet of the Tarābīn confederation, the first critical poem from that period available to us. The first part of the article places the poem in its historical and poetic contexts, the second part analyses it through a close reading aimed at understanding the poet’s intention, and between these two parts appears the poem itself, translated into English alongside a phonemic transcription. The article delves into the poem’s unique combination of courage and caution, of subtle scorn and words of praise for the tribal leaders who remained (for a while) in the Western Negev in the year following the war. [ABSTRACT FROM AUTHOR]

The present essay focuses on the witnessing process of the enlisting poets’ effective responsiveness to the devastations they encountered; the two poets to be studied have been directly or indirectly traumatized by wars. The analytical perspective draws on Dominick LaCapra’s theories on historical trauma. It intends to uncover the traumatic effects of circumstances in post-war poems. The methodological procedure is grounded in the qualitative appraisal of the emotive aspect of the poets’ expressionist representation through critical discourse analysis. Trauma theories influence the research approach in historical and structural science, emphasizing witnessing levels, coined by Dori Laub, as the most significant determinant of the gestalt of interpretations. The poems’ demolished vibe exploits an insight into the amalgamation of historical trauma and its steps towards salvation. The authorial intentionality in war poetry aspires to enlighten human sorrow and redemption by restoring the literary application of the historical, structural, and perpetrator trauma hypothesis. The melioristic agenda for edification via physical and critical phases, such as acting out and working through, coined by LaCapra, foci in the varied poems to be scrutinized, enables the poets’ to maintain their readers’ empathetic identification with their characters’ predicaments in a psychoanalytic context.

The article analyzes the work of algorithmic poetry, Máquina Cóndor (4.0), by Chilean artist Demian Schopf. The work uses a combinatorial system to generate alterations in a Gongorine poem based on data about the stock market and economic wars. It highlights how the author manipulates the particularities of generative literature to expand the fields of action of literature. Additionally, it observes how the machine evidences the presence of the reader and their effect on the contingency of the system that articulates the current reality. The work seeks to question the role of the author-programmer in generative literature and to evidence the relationship between the subject and the capitalist social structure. [Extracted from the article]

Copyright of Journal of Babylon Center for Humanities Studies 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.)

This article examines the influence of Alfred Tennyson's poem "The Lady of Shalott" on Herman Melville's poem "The Portent." The author argues that Melville's poem shows clear signs of being influenced by Tennyson's work, particularly in terms of its syntax and metaphorical logic. The article provides evidence from Melville's personal library and compares the two poems to support this claim. Additionally, the article discusses Melville's interest in English poetry during the Civil War and how he used Tennyson's poetry to shape his own aesthetic beliefs. It also explores the themes of history, poetry, and the Civil War in Melville's work. [Extracted from the article]

Copyright of Critical Literary Studies is the property of University of Kurdistan 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.)

War poetry, beyond its significant self-descriptive component, aims to capture the memory of events, diverse individuals, and comrades, and convey the truth about the war to the broader public. As a result, realistic narrative often prevails over artistic fiction. Truthfulness, historical accuracy, and the clear prioritization in the fight against Russian aggression transform the narratives of war poetry into a crucial elem ent of information warfare. This study explores the role of precedent phenomena as significant transmitters of historical and collective memory within the war poetry of Ukrainian poet Pavlo Vyshebaba. Through a close analysis of Vyshebaba's work, the article examines how references to notable figures and events function not merely as literary devices but as powerful tools for embedding cultural memory and national identity. This exploration situates Vyshebaba's poetry within a broader framework of cultural semiotics, demonstrating how historical allusions foster a shared consciousness, reinforce collective resilience, and contribute to the evolving narrative of Ukrainian identity amidst contemporary challenges. [ABSTRACT FROM AUTHOR]

This article examines the concept of "joining" in the works of Margaret Cavendish, Duchess of Newcastle. Cavendish believed in combining her texts into bound volumes, creating composite collections that required readers to engage with different disciplines and genres. The article discusses the presence of these bound collections, known as Sammelbände, in various European libraries, including the Antwerp Public Library, the Bibliothèque Mazarine in Paris, and the Cambridge University Library. The author suggests that further study of these collections would be valuable. The article also explores Cavendish's philosophy of joining and its relationship to her atomic philosophy, highlighting the importance of interdisciplinary reading practices. [Extracted from the article]

This study examines the themes of displacement and home from post-colonial and psychological perspectives in two poems; “At the Border” by Choman Hardy (1974) and “Home” by Warsan Shire (1988). Both poems illustrate the harrowing experiences of refugees, emphasizing the emotional and psychological ramifications of compelled travel. This research employs a comparative analysis that merges post-colonial theory with psychological insights on trauma and identity, investigating how Hardy and Shire employ literary techniques, narrative voices, and symbolic representations to convey the intricacies of exile, belonging, and selfhood. The results indicate that both poets utilize vivid imagery and fractured structures to depict the dissolution of home and identity within the framework of post-colonial displacement. Hardy’s depiction of borderland pain underscores the political aspects of migration, illustrating the colonial legacy that influences the refugee experience, whereas Shire’s art accentuates the psychological anguish and communal longing for home. The study illustrates how both works contest Western notions of home and identity, providing a critical examination of the lasting psychological effects of colonialism on displaced individuals.

This article explores the presence of falconry in the Old English poem "The Battle of Maldon" and the Middle High German work "Kudrun." It discusses the different interpretations of the motif, including its connection to noble lineage, bravery, and disdain for invaders. The comparison with "Kudrun" helps to clarify scholarly debates and presents a more positive view of the young warrior in "The Battle of Maldon." Additionally, the article provides evidence from various sources to support the existence of falconry in early medieval England, highlighting its association with royalty and nobility. It suggests that falconry may have played a significant social role during this time. [Extracted from the article]

The article discusses the role of poetry in Security Studies, highlighting how poetry can offer nuanced insights into complex issues like conflict and peace. By incorporating poetry into research, scholars can better understand people's experiences with insecurity and violence, challenging traditional academic writing that tends to depoliticize these experiences. The article showcases poems from various scholars, including marginalized voices, exploring themes of in/security, trauma, resistance, and decolonial imaginations. Through poetry, scholars can reimagine security beyond traditional frameworks, offering new perspectives on contemporary forms of security, violent politics, and racism. [Extracted from the article]

War poetry voices the traumatic cultural productions and sensitivity through the formal, aesthetic and creative dimensions of psychical responses. A perpetual trauma is imprinted on the psyche and the cultural memory of the people living through wars. To witness the representative suffering, war poetry needs to be examined from experiential and embodied dimensions of cognitive perception. Mosab Abu Toha is an acclaimed Palestinian poet who represents his affective experiences, to lament over the displacement, loss and cultural clashes he witnesses, in his autobiographical poetry. The research highlights that Abu Toha, in his transitional poetic space of the selected poem, invokes the receptiveness of witnessing through the defamilairized graphic images and syntactic representation which are foregrounded. Further, the prototypical cognitive models in his selected poem are both situational and cultural. The research is significant in examining the embodied and experiential dimensions of language processing in the poetic space to encode the readers' positionalities and the linguistic structures that invoke the specific perspective in readers' imagination. [ABSTRACT FROM AUTHOR]

Within the Hebrew-Jewish tradition, there were strict prohibitions against certain practices and rites that were commonly observed by other Semitic peoples. These included Blood rites and rituals, which are recorded throughout Jewish history. The act of consuming blood was among the sins believed to have contributed to the destruction of Jerusalem. In fact, in one instance Moses took the blood from a sacrifice and threw it upon the people proclaiming, „Behold the blood of the covenant.‟ This idea of using a blood rite to cleanse a place where violence had occurred can be seen in various phases of Jewish History and Old Testament age. Unfortunately, these instances also seem to establish a foundation for violence and a warrior mentality among adherents which has been justified in many Biblical Versus and Books like of Judges and Deuteronomy. Biblical war often refers to "Yahweh war" meaning the war of God of Israel. In the Hebrew Bible, God may be referred to as the "man of war". The War laws are developed considerably later in Rabbinic interpretation. A great collection of War poetry is found in Hebrew scripture and much of it consists of hymns of praise and thanks for God‟s protection of Israel and victory over Israel‟s enemies. Book of Psalm contains fragments of a series of war songs or pieces of war poetry. The main focus of the article is to explore the instances of blood rituals, violence mentality, war appreciation poetry and war practices beginning from the era of ancient Hebrews in Palestine, its historical evolution untill the age of Old Testament and its contemporary relevance. [ABSTRACT FROM AUTHOR]

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. [ABSTRACT FROM AUTHOR]

During the Holocaust, poets went to extraordinary lengths to write their poems and transmit them. Poems that were written during those years were often buried in the ground, stitched into clothing, smuggled out of prisons, or graffitied onto walls. These object documents carried more than facts about these events; they carried the feeling of living through these events. This research explores the last poems of four Holocaust poets, Władysław Szlengel, Selma Meerbaum-Eisinger, Hannah Szenes, and Abramek Koplowicz, investigating not only the poems but their object-ness and their stories of transference. These poems, like urgent postcards, deliver messages to a family, to a community, to the world. They ask―what does it mean to write a poem as a last will and testament? [ABSTRACT FROM AUTHOR]

Siman Kri’ah — a Hebrew literary journal and an affiliated publishing house established in 1972 — challenged the radical changes in Israeli space in the aftermath of the 1967 War. The occupation of the West Bank, Gaza Strip, and Golan Heights resulted in contradictions that challenged the Zionist axiom of spatial separation between Jews and non-Jews in an unprecedented way, and a sharp spatial contradiction developed between the axiom of separation and the occupation of territories populated exclusively (at the time) with Palestinians. The movement of Israelis beyond the Green Line, and especially the establishment of Jewish settlements in occupied territories, alongside the integration of the Palestinian residents of the Occupied Territories into the Israeli economy challenged the axiom of separation and fostered a change in the class structure in Israel. In “Kaḥ,” (Take), the first poetry book published by Siman Kri’ah, the acclaimed Hebrew poet Meir Wieseltier dealt with these dramatic changes through avant-gardist and violent poetry that sought to update the figure of “The Watchman unto the House of Israel,” a figure that for generations was fundamental to the conception of Hebrew Literature as a national literature. Wieseltier’s poems reasserted the sovereignty of the “The Watchman unto the House of Israel” by reconfiguring its gaze, such that it addresses the spatial contradictions that informed post-1967 Israel. Key to the poet’s strategy in this volume is the poem “If There Will Be No Jerusalem,” in which he harshly censures the genre of Jerusalem songs celebrating the victory in the war. In contradistinction, the poem puts forward an alternative historical narrative, in which the 1967 war ended with a defeat, voiding the occupation and thus the spatial contradiction created in its wake. [ABSTRACT FROM AUTHOR]

Copyright of Humanities & Educational Sciences Journal is the property of Humanities & Educational Sciences Journal 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 Journal of Young Intellectuals / Genç Mütefekkirler Dergisi is the property of Journal of Young Intellectuals 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.)

War Poems by Ukrainian writer Alexander Korotko was the first emblem of the new resistance literature that arose in Ukraine in 2022. The reality of the war became a factor of resistance, generating new senses toward the establishment of an innovative political reality in Ukraine. At the same time, Korotko's book is an intensification of Ukrainian resistance to the ideology of new Russian fascism (Rashism). The poet resorts to the construction of metaphors that combine the idealistic and the real, in which there are graphic depictions of reality in all its forms of war and terror. At the same time, the narrative demonstrates the need to sacralize the space-time dimension of Ukrainian reality, outlining the consequences of the war from the perspective of the future. The poetic subject affirms the idea of the victory of humanity; the war becomes a factor in the drastic reformatting of the world and Ukrainian reality and the formation of a new sociocultural and political identity of Ukraine in the paradigm of new humanism, a New Sincerity. The tragic events of Irpin and Mariupol find their poetic configurations and constellations in the book, which maps out the topography of war in Ukraine in 2022. The narrative presents the key concepts of war and how its emotional and intellectual representations are exploited and reinforced in Ukrainian society and media. The perspective of Berlant's methodology regarding the analysis of the poetic narrative constructed in the conditions of military operations has been explained and underlined. [ABSTRACT FROM AUTHOR]

Through using different vehicles and implements, poets and authors in the School of Naturalism could reflect life’s events and its circumstances in detail. Among the most significant subjects and topics propounded in this school are war, poverty, prostitution, bloodshed, and murder. Naturalists are poets and authors who reveal life as it is and insist on the ugly faces and aspects of life to indicate how human beings are useless creatures who are surrendered to genetics and the environment. This study uses naturalistic qualities and common themes found in War Poetry to compare the poetry of two renowned poets, Qeysar Aminpour from Iran and Wilfred Owen from England. For this, “A Poem for the War” composed between 1979 and 1984 by Aminpour and “Dulce et Decorum Est” (1920) by Owen are selected among others. The major qualities examined in this article are as follows: the descriptive details of war and its circumstances; the use of simple and colloquial language; cacophony, and harsh and tough language; and the picture of war’s indecencies, ugliness, and terrors. Results reveal that war poetry in England is basically anti-war, although some epic-tone and passionate poems were written by poets such as Robert Brook and Siegfried Sassoon at the beginning of the First World War, however, war poetry in Persian rests on mysticism and it is epic-tone. Nevertheless, in both poetry, war is viewed as cruel, painful, and full of Naturalistic qualities.

Mererid Puw Davies' book, "Poetic Writing and the Vietnam War in West Germany: On Fire," explores the role of poetry in the West German opposition to the Vietnam War. The book argues that poetry was a key form of expression for anti-war sentiments and that it allowed writers to encode contradictions and ambiguities. The book also examines the gendered representations of Vietnam in German anti-war writing and the intermedial relationship between film, photography, and poetry. Overall, the book offers a comprehensive analysis of the significance of poetry in the context of the Vietnam War and its impact on West German culture and politics. [Extracted from the article]

The study highlights Wilfred Owen’s anger over the Loss of Young Soldiers' Lives in the Poem “Anthem for Doomed Youth”. The objectives of the study are to show the anger of Wilfred Owen over the loss of young soldiers' lives, to show the physical and psychological state of the soldiers after the war, and to highlight the language of war poetry emphasizes some topics, such as suffering and death, violence, terror by the army, and hopelessness presented by the poet. The paper used a descriptive and analytical methodology to comprehend Owen's message about his refusal to funeral young soldiers in war. According to the study's conclusion, greater consideration must be given to those who defend their country, and their sacrifice when they pass away in war has to be recognized and appreciated. Consideration must be taken of the psychological state of those soldiers.

The author Norman Nicholson is an exemplary writer of rural modernity, acutely conscious of the need for rural areas to remain 'living and organic communities', as he puts it in his topographic book Greater Lakeland (1969). Here I argue that his position in his lifetime home of Millom, an industrial town on the periphery of the tourist Lake District, gives his writing a unique, revisionary perspective on both modern/ist and war poetry: he is a non-combatant rural poet who focuses not on contested ground overseas, but on the rural and wartime industry on the north-western English coast. Born in 1914, his life was profoundly shaped by war, and while not often considered in these terms, he was inspired by modernist poetry, particularly that of his editor at Faber & Faber, T. S. Eliot. Reading Nicholson's early writings 'on the perimeter and fringe of war' ('Waiting for Spring, 1943') during the Second World War, engaging with his editing, periodical contributions, and early poetry up to and including his debut collection Five Rivers (1944), enables us to see the multiple ways that the traces of war in his poetry have previously gone unrecognised, displaced, by the widely-theorised struggle of both combatants and civilians to articulate the experience of war, into dates, locations, events and depictions of the body. I conclude by examining Nicholson's response to war after the Second World War, and commenting on the implications for more general theories of wartime. [ABSTRACT FROM AUTHOR]

Through using different vehicles and implements, poets and authors in the School of Naturalism could reflect life's events and its circumstances in detail. Among the most significant subjects and topics propounded in this school are war, poverty, prostitution, bloodshed, and murder. Naturalists are poets and authors who reveal life as it is and insist on the ugly faces and aspects of life to indicate how human beings are useless creatures who are surrendered to genetics and the environment. This study uses naturalistic qualities and common themes found in War Poetry to compare the poetry of two renowned poets, Qeysar Aminpour from Iran and Wilfred Owen from England. For this, "A Poem for the War" composed between 1979 and 1984 by Aminpour and "Dulce et Decorum Est" (1920) by Owen are selected among others. The major qualities examined in this article are as follows: the descriptive details of war and its circumstances; the use of simple and colloquial language; cacophony, and harsh and tough language; and the picture of war's indecencies, ugliness, and terrors. Results reveal that war poetry in England is basically anti-war, although some epic-tone and passionate poems were written by poets such as Robert Brook and Siegfried Sassoon at the beginning of the First World War, however, war poetry in Persian rests on mysticism and it is epic-tone. Nevertheless, in both poetry, war is viewed as cruel, painful, and full of Naturalistic qualities. [ABSTRACT FROM AUTHOR]

The article "The Image as Biography in Carmen Berenguer" highlights the importance of image in the work of Chilean writer Carmen Berenguer. Her wild hair becomes an iconic symbol of self-representation, and her face reflects proud mestizaje. Berenguer's writing questions the gaze of others, and her poetic work reveals an urban poetics. Additionally, the article addresses topics related to art and culture in Chile, mentioning artists such as Luz Donoso and Víctor Hugo Codocedo, as well as the occupation of public spaces and the importance of poetry in the author's life. The text presents fragments of poetry and personal reflections, addressing themes such as the city, war, and history. Places such as the Mapocho River and the Plaza de Armas are mentioned, as well as cultural elements such as the trauco and Moscow nights. The text describes a city in constant change, with new developments but also persistent problems. Places like Valparaíso and Santiago are mentioned, as well as Plaza Italia and the last coal mine in Lota. [Extracted from the article]

The article provides an overview of a forum called "Poetry in Times of War" held at the University of Lisbon in February 2023. The forum aimed to share and discuss war and peace poetry from Slavonic poets, with translations into Portuguese and English. It emphasizes the ability of poetry to console, reflect, and inspire during times of war. The article features the works of Ukrainian poet Serhiy Zhadan, known for his vivid and powerful language, as well as Bulgarian poet Dimcho Debelyanov, who expresses sympathy for war victims. Additionally, the text explores the works of Croatian poet Vesna Parun, Russian poet Marina Bogdanova, and Slovenian poet Janez Menart, each offering unique perspectives on the impact of war on individuals and society. [Extracted from the article]

The article discusses a forum at the University of Lisbon called "Poetry in Times of War," where Slavonic language and Portuguese lecturers presented poems about war and peace from various Slavonic poets. The article emphasizes the power of poetry to console, reflect, and inspire during times of war, drawing on the experiences of poets in Nazi concentration camps. It also examines the works of Ukrainian poet Serhiy Zhadan, Bulgarian poet Dimcho Debelyanov, Croatian poet Vesna Parun, Russian poet Marina Bogdanova, and Slovenian poet Janez Menart, each exploring the theme of war in their own unique way. These poets use their words to shed light on the impact of war and the need for change. [Extracted from the article]

This article explicates the strategies of legitimization through spatial proximization. Although, there is a spike of interest in war poetry in recent years, proximization and legitimization aspects of war poetry still need to be explored. Thus, it is important to investigate war poetry from such perspectives because "poetry occupies a critical place in the war resistance literary tradition" (Metres (2007, p. 5). In this article, we grapple with the ways in which legitimization strategies are operated at the level of spatial proximization. Cap argues that (2013), "spatial proximization always forces the vision of a physically destructive character of the ODCs' impact" (p.74). This article draws attention to rhetorical interplay between legitimization strategies and spatial proximization: one leads to the other. War poetry of Afghanistan uses spatial proximization as an instrument for legitimization purposes. In order to critically analyze the poetics of war, we have adopted Cap's (2012) model of proximization which contains spatial, temporal and axiological proximization. However, we have utilized only spatial proximization aspect of the model because it suits with my study. Our findings show that legitimization strategies are manifested in war poetry of Afghanistan for achieving certain political goals. This study is important because it provides critical insights to the readers concerning the rhetorical and political nature of war poetry. [ABSTRACT FROM AUTHOR]

The article features poet Alfred Tennyson. Topics mentioned include the analysis of Tennyson's relation to British imperialism and tradition of war poetry, his concept of an ideal womanhood, and Tennyson's way of conceptualizing the effect of naturalness and all social connection ordered through art.

The article provides a comparative analysis of how two key poets, Boris Slutskii and Ian Satunovskii, responded to World War II, in which they both fought, in the poems written at the front or shortly thereafter. Via Lydia Ginzburg's notion of the deductive and inductive modes in lyric poetry, the article reveals how Slutskii and Satunovskii approach the figure of the enemy and shuttle between particulars and the universal in their verse. Dissimilar in their life choices (official for Slutskii and underground for Satunovskii), they share an aesthetic kinship, with Slutskii pressing harder toward generalizations, often radically revisionist, and Satunovskii insisting on the particulars and aphoristic fragmentariness. Both poets resist the grandiose and odic in figuring out how to navigate between the collective, personal, and intimate in confronting the catastrophe. [ABSTRACT FROM AUTHOR]

The present situation urgently calls for the multifaceted studies of Russophone literature against war. The authors of the following essays develop their inquiry through the following questions: How does the relationship with the notion of the enemy shape the war poetry of Boris Slutskii and Ian Satunovskii? To what extent can the war poetry of the latter be seen as a matrix of his biographic narrative construction, especially considering that Satunovskii's lyrical subject is shattered, stuttering, de-language/d? How does today's popular poetry of protest differ from today's avant-garde poetics? What are the differences between their means of expression, address, and foci? All of these studies seek to explore the anti-war position in modernist poetry that has been developed through drastically different means, yet the general purpose is aptly formulated by one of our authors as "to bear witness and respond to the ongoing atrocities and destruction." [ABSTRACT FROM AUTHOR]

This article explores the impact of the Great War on composer Vaughan Williams and focuses on two of his works, the Pastoral Symphony and Sancta Civitas. It discusses the influence of modernism on his music and the presence of romantic elements in his compositions. The article also provides insight into the composer's personal experiences during the war and his efforts to revive his career afterwards. Additionally, it discusses the musical relationship between composers Holst and Vaughan Williams in the early 1920s, highlighting their exploration of Christian themes in their choral works. The article explores the concept of modernism and Neo-Romanticism in music, emphasizing the diverse range of musical expressions in Vaughan Williams's work. It specifically examines the structure and themes present in the oratorio Sancta Civitas, highlighting the use of tonal stability and instability, as well as the representation of grief and mourning in the music. The article concludes by discussing the reception of Sancta Civitas in the early 20th century and its reflection of Vaughan Williams's belief in a better world. [Extracted from the article]