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The article analyzes the relationship between exile and identity in Uruguayan poet Cristina Peri Rossi. Her poetry collection "Estado de exilio" is examined, and four moments in her journey are identified: pain, castration, integration, and love. Psychoanalysis is used to interpret these stages, highlighting how exile breaks the rigid structures of the subject. The importance of language and writing as ways to overcome the pain of exile is mentioned. The article concludes by emphasizing the possibility of reinventing identity through exile. [Extracted from the article]

This article discusses the work of poet Sarah Piatt and her engagement with various Victorian poets, including Elizabeth Barrett Browning, Robert Browning, Dante Gabriel Rossetti, and Algernon Charles Swinburne. The author focuses on Piatt's poems that draw on the myth of Persephone and explores how they reflect debates between realism and idealism in the 19th century. The article also discusses the cultural and historical context surrounding the myth of Persephone and its relevance to Victorian writers. Additionally, the article analyzes Piatt's poem "A Daffodil" and its intertextual connections, suggesting multiple interpretations and highlighting the complexities of the myth and human experience. [Extracted from the article]

This article examines the use of white space in W.B. Yeats's poem "Among School Children" and its significance in conveying meaning. The author argues that the white space between stanzas invites readers to infer moments of contemplation and allusion to Yeats's personal life. The poem reflects Yeats's feelings of inadequacy and alienation as a schoolchild, as well as his reflections on his love for Maud Gonne. The white space serves as a transition between different thoughts and emotions in the poem. Additionally, the text discusses the philosophical themes in the poem, where Yeats questions the ability of ancient philosophers to prevent aging and death, and instead finds hope in memory and art. Yeats believed in the timeless nature of beauty and the enduring spirit of the soul. The poem uses white space between stanzas to signify transitions in thought and contemplation of the impermanence of human experience. [Extracted from the article]

This paper assesses the relationship between the so-called "curses" on the Woman in Gen 3:16 in terms of themes (garden, tree, creation, marriage, procreation, and so on) and concludes that the late poetic text of the Song aims at a deliberate corrective to the negative view of gender relations in Genesis. The use of mashal, "to rule over" in Gen 3 is reassessed from the perspective of its use of the native genre designation of mashal in Wisdom Literature. There, it refers to similarities between two compared items. The direct reversal of God's speech to the humans in Gen 3, where the woman will be ruled over by her man but still desire him, appears in the Song in the speeches of the Beloved: there she states categorically that the man is her beloved and belongs to her, while she belongs to him. The tactic of defamiliarization (a Russian literary concept) is used to juxtapose radically different views and destabilizes the notion of only one meaning for the words under consideration. In effect, reading two opposing themes together forges a new, more inclusive understanding of both. This paper concludes with a dramatic new rendering of the Song, "The Song I Sing Complete" with speech and motifs reassigned to the woman's voice, foregrounding her remarks within the genre of love poetry, drawing on tropes found in lyrical poetry and the myth of Israel's neighbors in Mesopotamia and Egypt. [ABSTRACT FROM AUTHOR]

The significance of the concept of 'testimony' permeates Islamic jurisprudence and it is invoked in Arabic literary texts as well. Truthfulness and lying (kaḏib) were a preoccupation of many Arabic literary critics and authors in assessing literary works, while the notion of 'testimony' could be used figuratively in poetic texts. On the other hand, Islamic law emphasises the crucial role of trustworthy testimony in legal proceedings and has developed a sophisticated system of ascertaining the integrity of witnesses. Within this context Muslim jurists sometimes explicitly discuss poets and poetry, not surprisingly in view of the fact that the Quran characterises poets as mendacious, and some ḥadīṯs also denounce poetry. Certain literary genres in particular (especially hiğāʾ and ġazal) could be interpreted by jurists as cases of calumny that substantiate legal charges of false testimony (qaḏf). Offering a copious source of intertextual references at the interface of law and literature, legal discussions of the problem of potential qaḏf in poetry are the focus of this paper and can help clarify the peculiar ways in which premodern Muslim jurists would view and assess literary texts. [ABSTRACT FROM AUTHOR]

This article examines the relationship between power distance and intercultural pragmatics in translation. It discusses how power distance can vary across cultures and influence translation practices, using case studies in advertising, audio-visual translation, storytelling, poetry, and stage translation. The studies emphasize the significance of considering power distance dynamics in translation and its impact on cross-cultural communication. The article also highlights the role of multimodality and images in conveying power distance perspectives. Additionally, the text introduces a special issue of the TTMC journal that focuses on the translation of different texts and the representation of power distance in these translations. The articles in the special issue analyze various genres and explore how power dynamics between characters are depicted in different languages. The research underscores the importance of considering power distance and cultural variations in translation, as these factors can influence the interpretation and comprehension of texts. The text also acknowledges the contributions of multiple individuals involved in producing the special issue. [Extracted from the article]

The study analyzes three Greek versions of two of W. B. Yeats' poems, 'When You Are Old' and 'No Second Troy', both related to the theme of unrequited love, merging feelings of bitterness and love. It examines how power distance manifests itself in the three versions of the poems. The study designed a questionnaire to evaluate potential variation in the type and intensity of feelings shaped in the three Greek versions of the two poems. Findings show that there is variation in the interpersonal distance between the poet and the beloved: some translators seem to emphasize bitterness and empathy on the part of the disappointed poet, while others assume more equal power distribution between the poet and the beloved [ABSTRACT FROM AUTHOR]

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]

Copyright of Environmental & Social Management Journal / Revista de Gestão Social e Ambiental is the property of Environmental & Social Management 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.)

This document titled "Abstracts, Keywords and Biographies" provides summaries and biographies of various articles related to Ibn ʿArabī and his works. The first article, written by Pablo Beneito and Stephen Hirtenstein, analyzes the structure and ordering of Ibn ʿArabī's Fihrist, focusing on the use of the alpha-numeric abjad system. The second article, by Faris Abdel-hadi, examines the twelfth poem from Ibn ʿArabī's Tarjumān al-ashwāq, exploring the use of the Trinity as a poetic conceit. The third article, by Peter Coates, delves into the metaphysics of self-knowledge in the writings of Ibn ʿArabī, Rudolph Otto, and Friedrich Nietzsche. The fourth article, by Mohammed Rustom, discusses Ibn ʿArabī's views on translation and how it relates to embodying his principles. [Extracted from the article]

This article provides a detailed analysis of poem 12 from Ibn 'Arabī's Tarjumān al-ashwāq. The poem explores the theme of romantic fidelity and the possibility of loving multiple beloveds. It is analyzed from three perspectives: as an Arabic love ghazal, as a theological exploration of Trinitarian beliefs, and as a gnostic commentary using symbolism. The article examines the poem's literary dimensions, its main dedicatee, and the different types of beloveds portrayed. It also discusses the use of Greek concepts, Jāhilī tropes, and Christian monasticism in Ibn 'Arabī's poetry. The text delves into the symbolism of the sun, gazelles, and statues in the poem, as well as their connection to beautiful women. It explores the cultural and aesthetic significance of these metaphors and their associations with pre-Islamic and Christian traditions. The article concludes by highlighting the complex themes and interpretations present in the poem, shedding light on Ibn 'Arabī's poetic techniques and philosophical ideas. [Extracted from the article]

When classical Arabic and Turkish poetry is viewed from a broad perspective, these two important representatives of Muslim literature in the East share many similarities in terms of poetic meter and verse forms, literary genres, and themes. This research focuses on the theme of "concealment and disclosure of love," which is one of the most common subjects on which Arab and Turkish poets write. We aim to shed light on classic Arabic and Turkish poets and the similarities between their poetry in this work. According to the narratives, the lover (poet) hides his love because he fears being condemned. However, the fire of love that burns in his heart causes him all kinds of problems, and the secret of love that he hides becomes apparent, sometimes through tears, sometimes through heartache, and sometimes through physical weakness and yellowness of the face (fever). Despite the fear of being exposed, this state of the lover who betrays himself has been the subject of many poems, and the signs by which poets reveal their secret state of love have been compared to a whistleblower in both literary traditions. [ABSTRACT FROM AUTHOR]

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.

Daniel Cook's book, "Reading Swift's Poetry," explores Jonathan Swift's use of poetic borrowing and repurposing throughout his literary career. Cook examines Swift's intertextuality and his construction of "The Author" as well as his use of unconventional elements in his poetry. The book analyzes Swift's early poems, his appropriation of other writers' material, his non-love poems, his poetry of insult, and his late works. Cook argues that critics have focused too much on the overall intertextual effects of Swift's texts, and instead suggests a closer examination of the local effects of Swift's borrowings. [Extracted from the article]

This paper deals with several well-known topics in a slightly different way: Petko Slaveykov’s articles on women’s question, his criticism of European fashion, and his love poems and their relations with his personal life. He was a great advocate of the emancipation of women, not without some restrictions typical for his time. His writings demonstrate different images of the author that were determined by the genres, patterns used by him, and the trends in society and literature; they also evolved with the age of the author. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages 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 Arbitrium is the property of De Gruyter 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.)

Whether the focus is on world peace or personal relationships, what the world needs now is true love, kindness, and forgiveness. The following poems, and associated commentary, should demonstrate why this is so. [ABSTRACT FROM AUTHOR]

This article examines the dislike of poetry and its implications for teaching poetry in the classroom. It suggests that rather than dismissing or defending this hatred, it can be used as a starting point for engaging with poetry and developing strategies for interpretation and analysis. The author shares successful teaching strategies that emphasize transparency and confronting the challenges of poetry. The article also discusses the genre of lyric poetry, its historical development, and its dominance in the literary world. It explores the influence of New Criticism on the study of poetry and suggests that analyzing poetry from different perspectives can lead to a deeper understanding and appreciation of the art form. The text concludes by discussing a specific poem as an example of how poetry can provoke both frustration and admiration, emphasizing the importance of engaging students in discussions and encouraging exploration of different interpretations. The author's approach to teaching poetry involves acknowledging the dislike of poetry while also recognizing its significance in personal lives. Students are encouraged to explore their own relationship with poetry and incorporate personal feelings and critical analysis in their study. The text also discusses the challenges facing the humanities and the potential for poetry to thrive in the era of artificial intelligence. It mentions the role of writing textbooks in helping students develop their own arguments and engage in critical analysis. The Favorite Poem Project is highlighted as a way to build communities around poetry. The text concludes by acknowledging that personal enjoyment is not the only path to understanding and analysis, and it quotes the idea of striving to perfect contempt for poetry in order to deepen understanding and potentially develop a love for it [Extracted from the article]

"Poems of Widowhood: A Bilingual Edition of the 1538 'Rime'" is a translation and edition of the poetry of Vittoria Colonna, a prominent sixteenth-century Italian poet. The book includes a collection of Colonna's amorous and spiritual verse, with approximately 90% of the poems being amorous. The translator, Ramie Targoff, follows the principle of "single-text editing" to provide a faithful reproduction of the historical artifact. The translations are rendered in unrhymed iambic pentameter, capturing the poetic quality of the original Italian verse. This edition is a valuable contribution to the study of Colonna's work and Italian literary history. [Extracted from the article]

From pre-Islamic times onwards, the themes of love and the beauty of women occupied a prominent place in Arabic poetry. This article seeks to describe the image of the woman in the poetry of the prominent Abbasid-era poet, al-Sharīf al-Raḍī. It begins with a discussion of love poetry in Arabic in general, from pre-Islamic times until the era of al-Raḍī in the 4th/10th century. Attention is given to the various techniques employed by poets to describe and praise the beloved as well as to the developments witnessed by this genre, especially during the Umayyad and early Abassid eras. Following a biographical sketch of al-Sharīf al-Raḍī, the article proceeds to discuss his relationship to women, in all its different manifestations, with particular attention to his Hijāziyyāt, poems of passion and longing. The article concludes with the opinions of both medieval and modern critics of al-Raḍī's poetry. Al-Raḍī is seen as an accomplished poet who successfully combined the beauty of the nomadic world with the refinement of civilization. [ABSTRACT FROM AUTHOR]

The essay examines the fourteenth-century Yiddish poem ›Yosef Ha-Tsadik‹ about Joseph and Potipharʼs wife. The poem, presented here in a new critical edition, is primarily based on Hebrew and Aramaic midrashic and liturgical sources but also incorporates elements derived from German courtly love poetry, mainly to express Potipharʼs wifeʼs advances toward Joseph. It can thus be read as a Jewish dialogue with Christian secular literary traditions. Drawing on a comparison with the Jewish pretexts – some of which are presented here for the first time in German translations – and a number of examples from Minnesang, the study analyzes the strategies of both participation in and (ironic) distancing from the Christian courtly discourse. [ABSTRACT FROM AUTHOR]

Copyright of Antik Tanulmanyok is the property of Akademiai Kiado 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 discusses the work of poet Teresa Williams, highlighting her ability to create contemplative and evocative poems that explore themes of lightness and depth. Williams draws inspiration from emotional pain, beauty, and the music of language to create transformative and healing poetry. The article analyzes five of her poems, which touch on themes of exile, winter, and the power of art and music. Williams' work is praised for its ability to transmute light and create a sense of awe and wonder. [Extracted from the article]

Love, corporality, and eroticism, oscillating in their ethical and aesthetic configuration between tradition and modernity, are present throughout the seven decades of poetic production of the Catalan poet Ana María Martínez Sagi (1907-2000). It is so in her pre-war work, Caminos (1929) and Inquietud (1932) and, more prominently, in her work of exile and return to the homeland, on which this paper focuses on. Although Sagi's love poetry demonstrates her complex and contradictory debt to both the Castilian love tradition and modern poetics, it is through her approach to eroticism, the corporality and the subject's identity from where she definitively distances herself from them. She approaches heterodox spaces that destabilize that normative framework in which the critics of her time placed her. In her aesthetics, in her heritage, and worldview, Sagi demonstrates great modernity and relevance as a renovator, since the 1930s, of an alternative intimacy: profoundly queer. [ABSTRACT FROM AUTHOR]

The protocol of lyric reading is well-known: there is a speaker of the poem, who should not be confused with the poet; the dramatic situation of the speech act must be gleaned as context for interpretation and analysis; the poem itself should be the focus of interpretation, without considering the biography or intentions of the poet; historical context is only relevant insofar as it is "in" the poem itself. The most obvious interlocutor for the "Ode to the West Wind" is Coleridge's "France: an Ode", which Shelley thought "the finest modern ode."[22] It's also clear, as many have pointed out, that Shelley's poem is in conversation with Wordsworth's Intimations Ode. Hereafter cited parenthetically by page number and abbreviated I PU i . 20 See I. J. Kapstein, "The Symbolism of the Wind and the Leaves in Shelley's 'Ode to the West Wind,'" I PMLA i 51.4 (1936): 1069-79; Eben Bass, "The Fourth Element in 'Ode to the West Wind,'" I Papers on Language and Literature i , 3 (1967): 327-38; and James Rieger, I The Mutiny Within: The Heresies of Percy Bysshe Shelley i (New York: G. Brazillier, 1967), 169-71. 21 H. Buxton Forman, "How Shelley Approached the Ode to the West Wind", I Bulletin and Review of the Keats-Shelley Memorial Rome i 1.2 (1913): 9. 22 Abrams, "Structure and Style", 201. As Wolfson pointed out in her classic reading of Shelley's "Social Form", Shelley is "aware of the agency of readers (and by extension, publishers, booksellers) over his texts", and "is constantly investigating the project of communicating with other minds in poetic form."[80] In Wolfson's reading, Shelley's acute awareness of the fact that "The Mask of Anarchy" would not be published turns the poem's radical politics into a quasi-masturbatory aesthetic performance. [Extracted from the article]

In folk and classical Turkish poetry, love has been the subject of koşma, ghazals and many other poems; Thousands of poems have been written on this subject. In these poems, which are generally written by male poets, it is seen that even if love is a reality, one falls in love with love itself. Although their number is small, women poets in Folk and Divan poetry addressed love and lover with a woman's sensibility and sensitivity. Döne Sultan, Yeter Ana, Âşık Sarıcakiz in folk poetry; Leylâ Hanım and Zübeyde Fıtnat Hanım are among them in divan poetry. One of these poets is Fıtnat Hanım (1830-1909), from Hazinedar Oğulları the Aybastı district of the province of Ordu. Fıtnat Hanım started poetry with the encouragement of Süleyman Nazif and they had a love affair with Ahmet Mithat Efendi that remained in the letters. Fıtnat Hanım, who is legendary for her beauty, has a small divan where a few of her poems have survived. In her poems, a woman expressed love with her grace and elegance; She talked about "mey, sagar, peymane and mahbub". While addressing the lover as "dilber, âfet, meh, rose-cheek", it is striking that he was under the influence of Classical Divan Poetry. In this study, the view of women poets on love in folk and divan poetry, and Ordulu Fıtnat Hanım and her poems, which have almost never been emphasized, have been examined in the context of the understanding of love. [ABSTRACT FROM AUTHOR]

"Is That True? Shakespearean Explorations" by Warren Hope is a collection of writings that covers half a century of original research and scholarship on the Shakespeare authorship question. Hope argues that Edward de Vere, 17th Earl of Oxford, was the true author behind the name "Shakespeare," dismissing the traditional attribution to Shakspere of Stratford. The collection includes articles, reviews, and obituaries, and explores various topics such as the inspiration behind Shakespearean characters, the context of other writers of the time, and the Sonnets. While appreciating others' insights and scholarship, Hope also criticizes Stratfordian misrepresentations and academic jargon. The book is seen as a valuable contribution to the growing Oxfordian scholarly literature. [Extracted from the article]

On the surface, "Properzia Rossi" (1828) may be a poem about unrequited love, but more importantly it works to raise the status of women's work through the reciprocal relationship established between the sister arts of poetry and sculpture. This article aims to further the discussion surrounding Hemans's ekphrastic poetry by analysing the paratextual framing of "Properzia Rossi", and interrogate how this prefatory content contributes to the treatment of female passion, creativity, and the sister arts within the poem itself. Aside from the biographical headnote, in which Hemans describes a painting of Properzia De'Rossi by Louis Ducis as the source behind her work, it is also important to consider how the poem is framed within the collection, Records of Woman (1828). The opening epigraph for the collection is a quotation from Wordsworth's "Laodamia" (1815): a poem that questions the value of excess emotion. This article, therefore, adopts a new approach to "Properzia Rossi" by considering it as Hemans's response to the discussion of female passion in "Laodamia". For Hemans, the process of artistic creation is an outlet for emotion, whilst the resulting art object becomes a means of eliciting an emotional response from the beholder. [ABSTRACT FROM AUTHOR]

Four poems by the mathematician Felix Hausdorff are presented in English translation, together with their German originals and commentary about Hausdorff's multidisciplinary achievements. [ABSTRACT FROM AUTHOR]

The article focuses on the problem of courtly love poetry, highlighting how its restraint conveys the existential terror and compensatory joy of the Middle Ages. It explores the concept of "tone" in poetry and its role in conveying social reality and historical experience, it also investigates into contemporary American poets who use a flat and recessive tone to challenge traditional notions of lyric poetry and mentions views of medievalist Hugo Kuhn.

Copyright of Philologist / Filolog: Journal of Language, Literary & Cultural Studies is the property of University of Banja Luka, Faculty of Philology / Univerzitet u Banjoj Luci, Filoloski Fakultet 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.)

According to the classical Arabic sources ‘Ulayya bt. al-Mahdī b. al-Mansūr was a female poet and musician who lived during the Abbasid period. Not much information has survived about ‘Ulayya, who belonged to the Abbasid dynasty. However, some details of her life can be found in classical sources and some of her poems have survived thanks to these works. ‘Ulayya was the daughter of the Abbasid Caliph Mahdī-Billāh, and the half-sister of his successor, Hārūn al-Rashīd. It is said that Hārūn al-Rashīd was particularly interested in her education and encouraged his sister. ‘Ulayya bt. al-Mahdī was an artist known in Arabic literature mostly for her love poems and the songs she composed for them. In classical sources, it was claimed that ‘Ulayya was a very talented artist and even managed to surpass her brother Ibrāhīm b. al-Mahdī, who was a musician like her. ‘Ulayya bt. al-Mahdī’s importance stems from the fact that she was a woman who dealt with poetic themes usually associated with male poets, such as love and wine. The methodology adopted in this study aims to prove the theories on ‘Ulayya’s love poems through her verses. In the first chapter of this article on ‘Ulayya’s life, we have generally relied on the narrations of classical sources, but we have pointed out some contradictions in these works. The ancient literary historians who introduced ‘Ulayya to us claim that she was an extremely pious woman. However, an examination of her love poetry reveals that she composed love poems for people to whom she was not married. This contradicts the portrayed lifestyle of ‘Ulayya, who was supposed to be a very pious woman. ‘Ulayya once stated that her poems were essentially absurd words. This suggests that these poems were composed with literary concerns and did not reflect reality. However, there is also evidence to suggest that these love poems may be related to reality to a certain extent. For example, upon learning that ‘Ulayya was having an affair with palace attendants, Hārūn al-Rashīd forbade his sister from seeing them. Later, to alleviate ‘Ulayya’s sorrow over this prohibition, he presented her with the attendant she liked. In her poems, ‘Ulayya sometimes expresses her thoughts on the phenomenon of love. She thinks that love is essentially an irrational act, argues that love requires monogamy, glorifies unattainable loves, and believes that love is unsolvable. This article aims to reveal the life and love poetry of this extraordinary female poet in classical Arabic literature. It is believed that the examination of ‘Ulayya’s poetic productivity and the introduction of her poetry to the modern world will enable a better understanding of the traces left by the ancient Arab woman in the history of literature. In this context, ‘Ulayya in particular is an ideal example because of the subjects she dealt with in her poetry. A scholarly study of ‘Ulayya’s poetic legacy is intended to contribute to a better understanding of the feminine aspect of classical Arabic poetry. [ABSTRACT FROM AUTHOR]

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Copyright of Journal of College of Languages 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 study describes the similarities and differences in the poetry of Secret Love and a Love Letter for Miss Silent by Ahmadun Yosi Herfanda. The purpose of this research is to compare the poetry of Secret Love and Love Letters for Miss Silent by Ahmadun Yosi Herfanda. This study uses a content analysis method whose data sources are obtained from the poems Secret of Love and Love Letters for Puan Sunyi using a comparative literature approach that focuses on the theory put forward by Remak. The results of this study indicate that the theme in the secret love poem is a description of the wealth of love which not everyone can interpret according to the rules of true love. The message that the author wants to convey through the secret love poem is the true essence of love. Meanwhile, the love letter Poetry for Silent Puan has the theme of missing someone who was once present in her life. The message that the author wants to convey in the love letter poem to Miss Silent is that longing makes people anxious. The similarities between the secret love poem and the love letter to Miss Silent by Ahmadun Yosi Herfanda are that both of these poems are of a new type, included in the ranks of poetry of romance and elegy (sadness). In addition, both of these poems are poetry expressions of protest by a poet explaining his true feelings, with expressions of advice and sadness. The difference between secret love poems and love letters for silent ladies lies in their meaning and message. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Cultural Studies / Kültür Araştırmaları Dergisi is the property of Journal of Cultural Studies / Kultur Arastirmalari Dergisi 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.)