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This paper advocates for a reading of John Scottus Eriugena's Carmina that situates his collection of poems within the genre of devotional poetry. Although the Carmina has recently benefited from scholarship on Eriugena's theology, typologies of his poems consistently overlook the significance of their theological themes. Most instead attribute more significance to their political themes, since Charles the Bald commissioned many of Eriugena's poems for special occasions at his royal court. This paper argues that a textual analysis which compares the significance of theological and political themes in the Carmina reveals several reasons why Eriugena's poems should be read as devotional poetry. First, it explains how typologies of Eriugena's poems overlook the significance of their theological themes by overstating the significance of Charles and his royal court. Then, it offers a close reading of three poems in the Carmina to show how Eriugena uses theological themes to frame political ones. [ABSTRACT FROM AUTHOR]

This paper will discuss the possibility of attributing authorship to translations by carrying out a comparative stylometric analysis of an author's poems and their translations of other writers' works. The paper puts forward two hypotheses. Firstly, its aim is to test whether an author's poems and translations share stylistic patterns. Secondly, it will test whether these shared patterns can be used to attribute authorship of translations. The complete works of Antonio Colinas and Eloy Sánchez Rosillo, together with their respective translations of Giacomo Leopardi's Cantos, will be used. Based on these texts, we will build computational representations that correspond to the stylistic profiles of each author, using various style cues related to metrics, grammar, and lexicon. These representations will serve as input for the calculation of similarity. Its result will allow us to determine to what extent characteristics of an author's own verses remain in the translated poems and whether there is more closeness between the two translations or between each author's poetry and their translation. [ABSTRACT FROM AUTHOR]

How do we make sense of our place in the field as researchers and as sexual, spiritual beings? Ethnographic fieldwork is central to several disciplines, including geography. It involves the researcher encountering and gathering stories and meanings through interaction with people's lived experiences in settings that are often not the researcher's own. Although rarely strain‐free, fieldwork is seen as a transformative experience, both from the personal and the academic point of view. This paper, situated at the intersection of geography, queer/ing practices, and ethnographic methodology, explores poetry as a form of self‐care in the field. In recent years, poetry has emerged as a creative and productive mode of representation and (co‐)interpretation of qualitative data. Based on my own spiritual experience(s) while conducting fieldwork in Spain, I consider prayer cards as a poetic form and a means through which issues of self‐care and spiritual self‐preservation are made visible, particularly when experienced within a social environment that is hostile to LGBTQ+ lived experiences of faith. [ABSTRACT FROM AUTHOR]

High-stakes assessments continue to command a directing influence on education systems globally. While there is much research detailing the challenges associated with this curricular framework, there is little evidence of a move away from high-stakes assessment frameworks to date. Accordingly, attention is being drawn to spaces and opportunities where meaningful teaching and learning experiences may be fostered within high-stakes systems. This paper explores the case of the Transition Year Programme in Ireland through the lens of the poetry classroom as a case study of striking counter-cultural curriculum innovation set within a high-stakes assessment educational framework. Drawing on the perspectives of poetry teachers, the findings of the study highlight the joy, freedom and gravitational pull experienced by practitioners teaching on this programme. Curriculum and policy-based considerations supporting both the integration of counter-cultural educational innovations across high-stakes educational systems and within high-stakes educational programmes are advanced arising from the findings of this study. [ABSTRACT FROM AUTHOR]

This paper investigates the concept of emotion and its relevance to education via character education through the medium of poetry. The objective is to demonstrate the potential implementation of character education through poetry, and to show the intrinsic link between poetry and virtue, knowledge and reasoning. It is argued that poetry serves as a bridge between emotion and character education. The philosophy of emotions is explored through the works of Aristotle, Karin Bohlin and David Carr. Character education is understood in terms of a Neo-Aristotelian approach, drawing on Kristján Kristjánsson, Bohlin and Carr. My position is that, through exercising the craft of poetry, children and young students are provided with tools for exploring emotions, and for discerning and deliberating about virtues and moral contextual nuances in the broader context of human experience. [ABSTRACT FROM AUTHOR]

How to migrate text-to-image models based on pre-trained diffusion models to adapt them to domain generation tasks is a common problem. In particular, the generation task for Chinese landscape paintings with unique characteristics suffers from a scarcity of fine-grained contextual details specific to such artwork. Moreover, the use of substantial amounts of non-landscape painting data during pre-training predisposes the model to be swayed by alternative visual styles, thereby leading to generated images that inadvertently lack the distinctive traits inherent to Chinese paintings. In this paper, we propose a Fine-grained Hierarchical Semantic Adapter for Chinese landscape paintings generation, namely FHS-adapter. The method orchestrates the diffusion process in a batch-wise manner, leveraging external fine-grained multi-perspective information to guide it. It gradually diminishes the influence of other style images embedded in the pre-trained diffusion model, ultimately preserving a greater number of landscape painting elements. The encoder was also replaced with the Taiyi-CLIP encoder, which is adapted for Chinese. We propose T2ICLP, a multimodal dataset containing 10,000 high-quality image-text pairs of Chinese landscape paintings. Unlike previous datasets, this dataset extracts fine-grained textual information from four perspectives, including Meta, Description, Sentiment, Poem. We compared the proposed model with the mainstream diffusion-based T2I models. Through an anonymous user study, our FHS-adapter method performs well in simulating various aspects such as brushwork, e.g.'Gou, Cun, Dian, Ran' means hooking, texturing, dotting, and dyeing, compositional space, elemental proportions, and color usage of different painting genres and artists. Our dataset is available at https://github.com/T2ICLP/t2iclp. [ABSTRACT FROM AUTHOR]

This paper approaches the poetry of Colombian poet Piedad Bonnett (born in Amalfi, 1951) from the figurations of impermanence, viewing it as semiotic mediation towards the profound structures of the lyrical universe. Based on the distinction made by Christine Buci-Glucksmann (2006) between a melancholic and a positive ephemeral, the study intends to highlight the predominance of textual signs that convey a painful vision of impermanence in Bonnett’s poetry. This involves the meditation on the temporality of existence from an allegorization of the fleeting, on the one hand, and a certain corporealist intuition of time, on the other. The analysis ends by examining the conditioning factors that can justify such an approach towards the transitory. [ABSTRACT FROM AUTHOR]

For the past four decades, biomedical science has transformed clinical outcomes for HIV and AIDS. However, the social, economic and gendered determinants of HIV remain largely intact. The social science and humanities offer concepts and methods for articulating why these remain intractable. I used poetic inquiry – an arts-based, qualitative approach – as I reviewed literature on the "end of AIDS, and post-AIDS". As I did so, I considered what contribution the social sciences and humanities could make in moving us closer to these ideals. Several themes and found poems emerged in this reading: (1) how language oversimplifies complex social realities; (2) the voices of people living with HIV and AIDS must be included; (3) HIV and AIDS intersects with social inequalities; (4) social and structural issues are no barrier to HIV prevention and (5) the need for radical interdisciplinarity. The paper concludes that the end of AIDS requires responses that are integrated, holistic and that radically challenge our silo'd disciplinary boundaries and frames. The social sciences and humanities are key to this charge. [ABSTRACT FROM AUTHOR]

This paper argues that two crucial episodes of Odysseus' life from Homer's Odyssey are resonant with Iliadic scenes highlighting the fail0d leadership of Hector, Agamemnon, and Achilles. These resonances invited ancient audiences of the Homeric poems to see moments of failure in Odysseus' leadership, and to criticize his desire for revenge and military glory at the end of the Odyssey. [ABSTRACT FROM AUTHOR]

This paper reexamines the literary influence of Nicander's Theriaca on the snake episode in Lucan's Bellum civile Book 9. Although often cited as an early zoological source, Nicander's contributions to the aesthetic and thematic aspects of Lucan's epic have gone largely overlooked. While his zoological knowledge drew mostly from intermediary sources such as Aemilius Macer, Lucan's use of venomous serpents as disruptive, destabilizing forces closely follows the poetic innovations of the Theriaca. Contrasting the unknowable, unpredictable threat of venomous creatures with horrifyingly graphic depictions of their bites, both authors construct poetic works that challenge and subvert contemporary literary and intellectual conventions. [ABSTRACT FROM AUTHOR]

Three links between poetry and psychoanalysis are highlighted in this paper. These refer to the presence, in the clinical hour, of (i) poetic sentiment, (ii) poetic speech, and (iii) poetic specimen. Each is elucidated in detail and with the help of socio-clinical vignettes. The aim of the paper is to demonstrate that, through the affirmative holding and partial unmasking of the instinctual-epistemic conflation in verse and free-association, both poetry and psychoanalysis seek to transform the private into shared, the hideous into elegant, and the unfathomable into accessible. [ABSTRACT FROM AUTHOR]

In difficult times, people turn to poetry, reading, and writing for solace and peace. In emotionally intense and traumatic times, people use poetry to process and understand the lived eyepieces. The havoc wreaked by the COVID-19 pandemic has affected the emotional and psychological well-being of individuals all across the world. Poetry has emerged as a savior in these difficult times. A phenomenon, "lockdown poems", came into existence as individuals all across the globe processed and shared their lived experiences of isolation, pain, and suffering through poems. In the present paper, students of a management program process and share their experiences of the COVID-19 pandemic, the subsequent lockdowns, and their community work experience. Poetry as a therapeutic and hope-building tool is discussed in the paper along with the original poems written by the students. [ABSTRACT FROM AUTHOR]

In a personal paper about the author's animus, Watsky explores his fascination with Louise Glück, after attempting to solicit first her poetry for Jung Journal and then an interview about her voice in her poetry shortly after her death. He realized he had projected his anima onto a complete stranger known only through her writing. Suspicious of his motives, he proceeds to read her entire oeuvre during a two-week period, exploring their intersections and their divergences. Watsky then narrates a previous projection onto the writer Joanna Field who turned out to be the Freudian analyst Marion Milner. After reading all of her work and convinced that she had been influenced by Jung, he sought her out in Hamstead, England. [ABSTRACT FROM AUTHOR]

Romantic-period studies have been keenly sensitive to the notion of mobility across borders, both in literal and figurative terms, investigating it in relation to issues of personal and national identity. This essay discusses Byron's various forms of border-crossing with specific reference to his Italian years, starting with the most immediate loco-geographic meaning of the term, that is, Byron's traversing the many frontiers that marked the Italian territory, partitioned in a plurality of states. The focus is on Byron's experience of the technologies of control which were set into place in the early nineteenth century, testified by his traveling papers and registered, often with a touch of humor, in his correspondence. Byron's musings on the practices and implications of the documentary control of mobility and identity spilled over, in a more serious key, into the concerns of his poetic output, notably in the lines of his 1819 lyric "To the Po." Translating the notion of borders and border-crossing onto the page, here Byron resisted the crystallizing of identity at work in the biopolitical domain by making the fluidity of the history-laden river Po the locus of his rebirth as transnational subject. [ABSTRACT FROM AUTHOR]

Between the eighteenth and nineteenth centuries, an esthetic revolution awakened a new interest in traditional poetry, which was considered the depositary of the Volksgeist and the most faithful representation of the national character. This paper raises the possibility of using the concept of author function to prove the high coherence with which German Hispanism, and in particular Ferdinand Wolf, considered the people of Spain as the authorial subject of Spanish romances. To do so, I will review the increasing interest in folk poetry since the 1750s contextualizing it within the new processes of the creation of national identities and Europe's special attraction to the Spanish case. Secondly, I will connect this revival to both new esthetic sensibilities that revolutionized the concept of authorship, such as expressive theories, and the creation of a collective subject (das Volk) as the origin of romances. I will analyze this collective subject as a potential author function. Finally, I will compare this against Wolf's thesis on the Spanish Romancero. [ABSTRACT FROM AUTHOR]

The counterfeit works of Rafael Bolívar Coronado (1884–1924) represent a phenomenon with unusual repercussions on critical reception. This author managed to publish more than twelve volumes with false authorship and content, from "crónicas de Indias" to collections of poetry. This article presents a theoretical approach regarding literary falsification in general and highlights the concepts of lightness and multiplicity to propose an interpretation of the Bolívar Coronado case. This paper also deals with the artistic dimension of literary forgeries as creative works that use the same methods and strategies as fiction writing. The set of falsified works by this author can be interpreted as a conceptual proposal that questions the functioning of the literary field of his time. Likewise, his proposal can also be framed within the cultural criticism that the forgery tradition entails: it questions not only the difficult discernment between the concepts of truth and lies, but also the rigidity of some guardians of cultural institutions and the system of legitimation, awards, and literary reviews. [ABSTRACT FROM AUTHOR]

The aim of this paper is to study the poetic language of the Cantares de Dzitbalché. Despite its importance in the literary field, the texts contained in this Maya manuscript have received little interest from the rhetorical point of view. However, the use of parallelisms and other figures of semantic deepening make this work a masterful example of Maya poetry. Likewise, it is possible to observe in the texts an influence of the Hispanic tradition at the morphosyntactic and thematic level, which will also be analyzed and discussed throughout the work. [ABSTRACT FROM AUTHOR]

The folkloric elements in Nikolai Nekrasov's "V derevne" ("In the Village," 1854) go beyond metric and stylistic affinities, and include, among others, the crows that flock as if from around the world; the well, the name Kasyanovna; and the final image of the black net. The paper will describe the dynamics of these elements' interaction within the text, suggesting that in the poem, the lyric author's engagement with the two genres of folk poetry, namely, the epic and the lament (plach, prichitanie), brings about a transformative experience for the lyric hero. [ABSTRACT FROM AUTHOR]

This paper argues that Nikolai Nekrasov's "V derevne" explores the limits of the Romantic view of lyricism as a socially isolated endeavor and attempts instead to use the lyric form to express social relationships. It contends that the poem works to conceptualize a social whole in which peasant and non-peasant are directly connected. Tragedy emerges as the mode of this connection: the lyric hero of the poem's first monologue and the lamenting peasant in the poem's second part each turn inward to bemoan circumstances which they feel they cannot change, including, in the case of the lyric hero, their own individual moods. This is the essence of Nekrasov's tragic pathos. As a folkloric omen, the poem's central image of gathering crows introduces a supernatural element to the poem which, rather than distinguishing a space separate from socio-economic realities, renders what might otherwise be considered natural an intentional effect. The poem's allusions through the crow omen to supernatural forces points to the actual social forces that structure the poem's world. The mysteriousness of these forces is thematized as a shared alienation, which is experienced even by the peasant in her presumably collective sphere as her mourning becomes a more modern sense of melancholia. Representing a collective experience of shared isolation, the poem attempts to embody the social totality which no single individual can grasp, in this way drawing on tragedy to offer a new form of lyric which does not ignore social divisions but rather expresses them. [ABSTRACT FROM AUTHOR]

This paper argues that Nikolai Nekrasov's poem is closely related to a topical discussion on the representation of peasants in literary texts that was unfolding in the criticism of 1850s. Critics such as Pavel Annenkov, who published his articles in The Contemporary edited by Nekrasov, insisted that the modern literature created by the westernized elites was incapable of correctly describing the social and psychological circumstances of the life of common people. His opponent Stepan Dudyshkin, to whom Nekrasov dedicated the first edition of his poem, replied that the whole idea of a perfectly correct representation of human life in a work of art is an illusion created by German philosophers, while a poet should rather influence the reader and evoke strong feelings. Analyzing the poem by Nekrasov, I demonstrate that he closely follows the advice of Dudyshkin, showing that such feelings as pity and sympathy can overcome social and cultural borders between the characters of his poem. [ABSTRACT FROM AUTHOR]

This essay argues that "The lamentacion of a Gentilwoman vpon the death of her late deceased frend William Gruffith Gent." in The Gorgeous Gallery of Gallant Inventions (1578), attributed to Isabella Whitney, is a witty reimagining of one of the most popular Renaissance literary genres: the epitaph. The poet's grief revolves around the personal consequences of her secret lover's death, handling stock phrases and situational irony to strangely moving effect. While the poem's first-person speaker invokes the epitaph only to repudiate it, the three quatrains framing the text (written in the third person and therefore generally attributed to the volume's editor Thomas Proctor), pins down the mourning presence with the epitaphic "here." This paper suggests single authorship of the doubled text by showing how the poem posits personal lament as the site of interment located by the spatial demonstrative "here," to fashion a poetics of closure in which the voice of the languishing female poet becomes, through linguistic and textual splitting, a living epitaph for the dead beloved. [ABSTRACT FROM AUTHOR]

The paper reflects on the absurd humour contained in Kafka's novel The Trial in two selected works of Russian literature. Using the example of two texts representing different genres (a short story and a poem) by Daniil Kharms and Vladimir Yermolayev, it shows how these two authors were inspired by this aspect of Kafka's work: in the case of Vladimir Yermolayev, the source of inspiration is completely unquestionable and is already referred to by the direct allusion in the title. The entire poem is then constructed as a lawsuit that originates, unfolds and concludes within the lyrical subject, which is the metaphorical Kafka himself. For Daniil Charms, the source of inspiration is unacknowledged, though obvious: Charms was inspired by one particular passage of Kafka's novel, which he altered in accordance with his poetics. [ABSTRACT FROM AUTHOR]

In the paper that follows I intend to shed new light on the relationships shared by Luis Vélez de Guevara's El Águila del Agua and Quevedo's comedy Pero Vázquez de Escamilla. Both dramatic poems, as documented by Plata, share the subtitle Representación española and the presence of Pero Vázquez Escamilla. In the scholar's opinion, the authors would have agreed to write two pieces in parallel on the same material. The viability of the hypothesis lies mainly in the intertextualitty of Quevedo's jácaras, which were reworked and reused by many playwrights in the 17th century, who also, on different occasions, gave continuity to the protagonists of his poetic jácaras. Our interpretation is also reinforced by the composition of El Diablo Cojuelo, a story full of stylistic uses reminiscent of Quevedo, a reference for Vélez. Everything mentioned above --with the coda of the dates ofcomposition-- leads us to conclude that Vélez de Guevara revives the literary delinquent later, inserting the character in a new fiction inspired by the extraordinary events that Quevedo had attributed to the valiente in his comedy. [ABSTRACT FROM AUTHOR]

In this paper I focus on three mythological fables published in the Portuguese anthology A fénix renascida (1716-1728) that reflect the appropriation of Luis de Góngora's epilio, either through paraphrase or burlesque parody, questioning the uses of poetry, between erudition and vulgarisation.. I give mainly attention to Jacinto Freire de Andrade's «Fábula de Polifemo e Galatea» in order to understand a fundamental issue in these «burlas»: the satire of the literary institution. In the wake of the Gongorianpolemic, the mockery surrounding don Luis 'poem attacks the context ofthe professionalization of poetry in the Siglo de Oro. Through Andrade's poem, it becomes clear that the setting of Góngora's poem and, especially, the song ofthe cyclops, point towards the vicissitudes of poetry's craft, especially the poetry of praise, where «commission» goes hand in hand with conceptismo. [ABSTRACT FROM AUTHOR]

This article presents an argument about the reasons for the exclusion of Spanish women and their literary production in relation with the rest of the Group of '27 literary canon. In order to evidence the marginalization of these authors and demonstrate their absence in the cultural Spanish landscape, the article begins with an explanation of the historical and sociopolitical context of Spain during the early decades of the 20th century. Afterward, this paper presents a conceptualization of literary canon as a starting point to approach the polemic associated with the --commonly referred to as-- Generation of '27 as well as the configuration of poetry as a characteristic genre in comparison to the other literary work, and the role that critics and history played in the conformation of the canon of the '27 movement. Finally, it is concluded that women were not part of the modernization attempts in Spain at the beginning of the 20th century for different reasons: relegation of them to the domestic sphere, the high representation of men in the Group of '27, the significant role of anthologies and magazines in shaping the canon, and the repression caused by the dictatorship of the Franco regime. [ABSTRACT FROM AUTHOR]

The aim of this paper is to explore the connection between Ricoeur's account of the linguistic imagination and his preference for understanding revelation as a matter of the world of the text rather than of religious experience. To understand revelation as poetic is not to violate the purity and alterity of the phenomena but to remain open to the poetic richness of the world of the text, which creates new meaning and enables new ways of being. To make this argument, I will follow Ricoeur's method of detour-- return. The first detour--return will traverse Ricoeur's account of the productive imagination and consider how the notion of the "world of the text" can enrich our understanding of revelation as the revelation of a new world that we can inhabit. In the second detour--return, I will consider the role of critical distanciation in the preservation of discernment. An important part of this argument will be an examination of Ricoeur's account of the human being as a mixture of finite and infinite. I argue that this implies that human finitude is not utterly opposed to divine infinitude and that, by extension, human understanding is not always and only a contamination or limitation of the divine excess. In the final detour--return, I will follow Ricoeur's recommendation that a phenomenology of religion take the hermeneutical path of examining the texts in which religious phenomena come to expression. I will examine select passages from the Rig Veda to consider the possibilities for understanding revelation as a theo-poeisis -- viz., a divine creativity in which we participate. Ultimately, I hope to show that revelation involves the creation of a new world and the regeneration of human capability such that we can inhabit that world. [ABSTRACT FROM AUTHOR]

The paper’s aim is to relate some Portuguese-language contemporary poetry to the most relevant technological phenomenon in the last decades, the computer and digital revolution. Three hypotheses to proceed with such approach are proposed: a) the machine as a poetry-generator, executing the poet’s developed project, as in the work of Antero de Alda and André Vallias; b) the incorporation of tech universe in socalled traditional poetry, such as in the exploitation of barcodes in Manuel de Freitas’ Isilda ou a nudez dos códigos de barra, or the appropriation of advertisement and joke in a visual poem by Patricia Lino, or the cloning of e-mail format in Fabiano Calixto’s correspondence poems; and c) the usage of video platforms and social networks as a means of broadcasting and distributing poetry, especially YouTube, in which formats as videopoem and battle rap registers have become common. [ABSTRACT FROM AUTHOR]

The article addresses what gets lost in the literary translation process. Although "meaning" is ill-defined at best, it refers to how a message loses meaning in translations. Nuskha Hai Wafa", by Faiz Ahmed Faiz, one of Pakistan's best-ever classic anthologies, is selected as the Source Text (ST) and Target Text (TT) "The Way It Was Once "by Shoaib Hashmi (1999) is selected. The research investigates how translation exploits languages in relationships to handle potentially difficult conflictive situations in cross-cultural differences. Research has suggested that meaning loss in literary translation is the untranslatability of culturally particular vocabulary because language and culture are inextricably interwoven, cultural values and social standards are important considerations when translating poetry. Urdu and English have fundamentally different coding and writing systems, translating between the two languages inevitably results in meaning loss. However, this loss can be mitigated using various translation techniques, methods, and strategies. During the process of comparative analysis following questions have been tried to sort out: how do cultural disparities resist the process of poetic translation? how is meaning lots in the process of poetic translation? What strategies are used to translate the poetic expressions from Urdu to English? What causes loss of meaning in transmitting culturally specific items from one language to another? In this paper, the translator focused on the Urdu cultural domain of poetry concerning the loss of meaning. The research results verified the hypothesis that despite different tactics and strategies, the unavailability of culturally specific equivalent expressions causes hurdles in the process of translation, which causes the loss of meaning either due to omission, reduction, or addition. [ABSTRACT FROM AUTHOR]

Despite its apparent oblivion, Destierro (1930) has been considered by its author and by critics as a collection of poems that represented an inflexion point in the poetry of Jaime Torres Bodet. This paper analyzes Destierro (1930) through one of its main topics: the experience of dreaming. As it will be pointed out, rather than being lost in unconsciousness, dream is represented as a journey of a lucid sensibility looking for a new poetic expression that might communicate the spirit of modern life. [ABSTRACT FROM AUTHOR]

One of the arguments to be able to speak of a post-secular context is the maintenance of secular religiosity in its aesthetic manifestations. Like other cultural phenomena, Western spirituality has been transformed by digitization, transhumanism, and the acceleration of transnational exchanges. If Néstor García Canclini speaks of "hybrid cultures", I think that the term "hybrid spiritualities" should be used, within these, hybrid neomysticisms can be appreciated in contemporary poetry. In fact, I consider that the syncretism of this poetry is proof of its redefinition as a new mysticism. Although there are different types of hybridization, in this paper I am going to deal with cross-cultural hybridity. For this, he established a classification divided into four types: 1. Transcultural hybridity for reasons of migration and reminiscences of religious origin; 2. Transcultural and transtemporal hybridity: the rescue of lost systems; 3. Cross-cultural hybridity from non-native traditions; 4. Multi-cross-cultural hybridity. Each of these has been studied, respectively, in poets from up to six Spanish-speaking countries: David Rosenmann-Taub (Chile); Jorge Eduardo Eielson (Peru) and Eduardo Scala (Spain); Elsa Cross (Mexico) and Vicente Gerbasi (Venezuela); Gloria Gervitz (Mexico) and Ernesto Cardenal (Nicaragua). In this way, it is expected to demonstrate the initial hypothesis and present a method for the analysis of hybrid neomysticisms of a transcultural type in Hispanic poetry of our time, a method that can be improved in the following works, as well as refuted or sophisticated by the academic community. [ABSTRACT FROM AUTHOR]

This paper establishes a transnational dialogue between different island spaces impacted by mass tourism and highlights poetry's contribution to the political reconfigurations of the Balearic and Caribbean islands. Notwithstanding these island spaces' different historical circumstances, it acknowledges that the tourist industry illustrates crucial historical continuities in each archipelago. The poetics analysed question the pro-growth ideology of the industry, the subservient role of their islands' political classes that disregard human well-being and environmental sustainability, and put the islands' survival at risk. This study identifies resemblances in Caribbean and Balearic island spaces' poetic responses to tourism and recognises local emancipatory alliances that not only bring to the surface shared forms of oppression, but also propose alternatives beyond the (hotel) chains of global capitalism. [ABSTRACT FROM AUTHOR]

This paper explores the role of reflective practice in the medical field and investigates the factors that influence reflective writing. While reflective practice is widely acknowledged as crucial in medical education, there is a need to expand its conceptual boundaries and move beyond mere pedagogical exercises. The paper argues for the inclusion of creative writing, specifically poetry, as a form of reflective practice that allows medical students to effectively process their emotions and develop a more compassionate approach to patient care. By engaging in poetic expression, students can navigate ethical dilemmas, reflect on personal challenges, and cultivate empathy and appreciation for diverse perspectives. [ABSTRACT FROM AUTHOR]