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This paper analyzes a set of poems written on banqueting trenchers aimed at literalizing the considerations of the material text by exploring poems on things. Topics covered include reason for scarcity of research on "non-paper" literature, trenchers as sources of texts and images, trenchers in the Metropolitan Museum of Art and in Ashmolean Museum and impact of material on depth and meaning of content.

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]

Good for the Soul: John Curtin's Life with Poetry: By Toby Davidson. Although the sources for this argument are less plentiful than those made in relation to Curtin's political career, Davidson traces the importance of poetry at key points of Curtin's life. Davidson shows that poetic allusions were not uncommon in 1940s political rhetoric, that Curtin fostered the publication of poetry, and that many citizens responded to his wartime speeches by sending him their own poems. [Extracted from the article]

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]

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]

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]

Sir Orfeo is a retelling of the Orpheus myth that allows the hero to keep his bride. This paper counters readings of the poem as a vindication of married love by focusing on its reception in the shadow of a significant omission: both Virgil and Ovid state that after losing Eurydice, Orpheus gave up loving women; Ovid adds that Orpheus loved boys. The significance of these missing conclusions is explored for readers of the poem from its scribes to their patrons and their patrons' families. The paper shows the usefulness of a reception-oriented approach for queer readings of the text. [ABSTRACT FROM AUTHOR]

This article explores the use of computer-vision technologies in the context of digitally editing and researching letters and literary papers by the British-American poet W. H. Auden. Two documents in the previously inaccessible 'Auden Musulin Papers' contain colourless indented typewriter impressions of poetry. These impressions result from the papers' original use as 'backing sheets', inserted into a typewriter below those sheets of paper on which Auden typed his poetry. Subsequently, these backing sheets were reused in the poet's 'working correspondence' to Welsh-Austrian writer Stella Musulin. While standard image-digitization technologies fail to capture these 3D indented impressions, they can successfully be represented by means of Photometric Stereo, which has been fruitfully employed in the research of 3D cultural-heritage objects. Following a detailed outline of this method, this article demonstrates how Photometric Stereo can help to reconstruct poetry that has survived only in the form of indented impressions. Thus, the case study illustrates how computer vision can contribute to our understanding both of 'poetic' practices of composition and revision as well as of 'material' writing practices. It also has wide-ranging implications for re-conceptualizing sheets of paper as 3D objects in the research of literary documents from the twentieth century. [ABSTRACT FROM AUTHOR]

Museum-based learning activities provide interactive and innovative ways to integrate the arts and humanities into medical education. Like other museum-based activities, the Group Poem supports the development of multiple clinically relevant skills and attributes, such as observation, communication, perspective-taking, empathy, and implicit bias awareness. In this paper, we present a step-by-step guide for educators seeking to design and implement a museum-based Group Poem activity for medical learners. The overall 'task' of the activity is for learners to collectively create a poem that they perform for others, a process that participants find to be engaging and meaningful to their formation as physicians. In this paper, we provide specific directions on pre-selecting the works of art, preparing the supplies, dividing into small groups, providing iterative instructions to learners, managing the timing of the session, and debriefing the activity. Although designed to be experienced in an art museum, we note that the Group Poem activity can also be conducted in the classroom or virtually using photographic or digital reproductions of artwork. [ABSTRACT FROM AUTHOR]

This article traces a relationship between Dickens and the Portuguese Modernist poet Fernando Pessoa, who declared several times his longtime love for Pickwick Papers. While offering an introduction to Pessoa's life and thinking, the question which is posed is what Pessoa gained from Dickens, and here the significance of the different personae whom he created in his poetry needs to be taken into account: the pseudonyms he adopted which were more than that, but were other imagined lives, called "heteronyms." The relation of these to the concept of "Boz" and the other names Dickens adopted, and the concept of the "posthumous" in both Dickens and Pessoa, and the relationship of the real life to the imagined life, are all topics for investigation. They bring out more complexity in Dickens; they illustrate further how much the poet learned from him, and how much Dickens enabled him to survive and produce work which forms a significant contribution to European literature. [ABSTRACT FROM AUTHOR]

The article offers information on the invitation of proposals for the "Modern Language Association Convention" to be held in Philadelphia from January 4–7, 2024, for the topic "Pan-European romanticism." Abstracts are invited on the literature and culture of the Romantic period throughout Europe, with special attention to the poetry, prose, aesthetic, and critical discourse of Romanticism that flourished beyond British, French, and German Romantic movements.

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 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]

This paper highlights the limitations of narrative logic in mental health care, and in particular of "narrative vigilance"—the tendency to watch over experience via narrativisation, and to tether the concrete particulars of experience to the hypothetical structure of a narrative signification. Narrative logic is grounded in hypotaxis—the syntactic structuring whereby a discourse is characterised by different levels of subordination using linking words that connect, especially in terms of temporal and explanatory consequentiality. I offer an alternative approach based on parataxis—the practice of placing phrases or parts of speech next to each other without subordinating conjunctions. Sentences are juxtaposed without a clear connection; the contrast may generate novel and unexpected combinations between these dissimilar fragments. After distinguishing between parataxis and psychopathological phenomena like disturbances of association, I take inspiration from the work and life of a poet, Johann Christian Friedrich Hölderlin (1770–1843), considered among the greatest. He suffered for half his life from a severe form of mental illness that would perhaps, today, be diagnosed as schizophrenia. In the poems written during his illness, hypotaxis and narrative vigilance seem to blur, and parataxis takes centre stage. The fading of narrative structure in no way coincides with the absence of meaningfulness. Rather, meaningfulness is left to parataxis itself, that is, to the recombining power of words, sentences, and images. Parataxis itself can provide meaningfulness or, at least, provide the soil in which it can germinate. The void of narration opens the door for the fullness of "emergent" connections. In the final part of the paper, with the help of Freud's ideas on the relationship between "analysis" and "synthesis" in psychoanalytic treatment, some implications are derived about the relevance of parataxis to the logics of discovery in psychotherapeutic care, especially that of persons with severe mental conditions. [ABSTRACT FROM AUTHOR]

In this paper, we offer a collective, multi‐vocal reflection on using poetry for research purposes. These were reflections on an online sub‐plenary session organized as a workshop, which was held at the European Group for Organization Studies conference in 2021. During this workshop, the first three authors presented a step‐by‐step method for doing poetic inquiry and invited participants to apply it to their own empirical data or research praxis. The method was created in response to the marginalization of affect and embodiment in mainstream research in organization studies. Poetic inquiry aims to formulate specific practices of "writing differently" that assist researchers in their attempts to analyze and articulate their findings in embodied and affective ways. In this paper, we describe the method and bring together multi‐vocal reflections from the participants and organizers of the workshop on the affects of poetic inquiry and the (ethical) questions that it poses. [ABSTRACT FROM AUTHOR]

This paper examines the work of a group of Railwaymen Poets, whose verse has been collected as part of the Piston, Pen and Press project. It explores their writings both as part of an emerging theme of accident and loss poetry surrounding the railways in Victorian culture but also more specifically as interrelated texts produced by workers sharing common experiences. Whilst many wrote about all manner of subjects, not just the railway accident, public fascination with accident reporting allowed them to both pursue their literary endeavours and also to use poetry as a form of catharsis. Their poetry, this paper argues, should be read as a collective expression of emotion around the dangerous and loss-ridden nature of their work. [ABSTRACT FROM AUTHOR]

This paper advocates for a renewed focus into the experiential domain of religious and spiritual expression in research on physical and mental health. Most studies, up to now, have investigated risk or protection associated with behavioral measures of religiousness, whether public behaviors such as religious attendance or private behaviors such as personal prayer. Religious attitudes, beliefs, and identity have been studied, as well, as have religious self-rating scales of various types, but, relatively less emphasized have been subjective experiences, such as feelings of transcendence or unitive connection with the divine. There is good reason to believe that such experiences may impact on well-being, based both on previous studies and on theory and clinical observation. This paper suggests that although researching the domain of such seemingly ineffable experiences may present certain conceptual and methodological challenges, these would be worth facing in order to gain deeper insight into the human spiritual dimension and into connections among body, mind, and spirit. [ABSTRACT FROM AUTHOR]

This paper considers the concept of 'religion' in Katherine Philips's poems to her close women friends – Mary Aubrey ('Rosania') and Anne Owen ('Lucasia') – in the early 1650s, poems that find Philips adding a religious dimension to her more usual language of Platonic friendship. The paper argues that she does so in response to the religious conflict that embroiled her and her husband amidst Parliament's efforts to propagate the gospel in Wales. The paper adds new historical information about the effects of the Propagation on Philips and about the marriage of Mary Aubrey, an event that Philips characterized as 'apostasy'. If the Propagation set Philips to thinking about friendship between women as an alternative to sectarian conflict, Aubrey's 'apostasy' obliged her to think in more nuanced ways about ecclesial power. Philips thus contributes to the archive of ecclesiological imagination that emerged from the 1650s. [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 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]

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]

American Performance poetry influenced the way in which the practice developed in other countries. Contemporary African, Japanese, and Arab poets started to write more and more for the stage. Eastern Europe seems to have been highly influenced by this practice. In this paper, I will try to investigate how American Performance poetry managed to influence the Romanian Spoken Word scene. [ABSTRACT FROM AUTHOR]

This paper illuminates a method of representation of research methodologies and philosophical positioning expressed through the use of poetics, allowing for a more playful space for critical reflection in qualitative research. Methodologies and ontological and epistemological positioning can take on many forms within the research process and can pose a conundrum for the novice researcher. During my exploration for a suitable methodology whilst I undertook a Professional Doctorate in Health and Wellbeing there emerged a selection of poems debating the merits, in addition to the limitations, of the potential options available; all dependent on the philosophical stance I chose to embrace. Within this process, I was encouraged to use this art-based method of poetic expression within the doctoral trajectory which continued throughout the journey to facilitate reflexivity. [ABSTRACT FROM AUTHOR]

Virtual Poetry and nursing have much to say about humanity during and after the global lockdown. Whereas nurses have worked on the front lines to treat infected patients both physically and mentally, poets have played a tremendous role in relieving students of negative energy, motivating them to pursue their dreams and hopes. Building on Thematic Analysis and the Reflective Learning Approach, this paper examines the relationship between virtual poetry and nursing education. One focus group from Agadir city had to study English at ISPITS institute for 14 h, using Google Meet and, at a later stage, they were entailed to evaluate their learning experiences with the Online English Class. The results unveiled that the Moroccan student nurses share a great concern for humanity and that virtual poetry could be used as an instructional medium in shaping their personality traits and reinvigorating their academic goals about the nursing practice. [ABSTRACT FROM AUTHOR]

Friendship is a central focus in children's lives and is important for healthy development. During the Covid‐19 pandemic, children experienced restrictions on their interactions with friends. This research heard the voices of 10 children (7–11 years) in England regarding their friendships, drawing on data collected through creative participatory methods including drawings, photography and collages, and accompanying unstructured interviews. Findings provide new insights into how children endeavoured to maintain their friendships through virtual interactions, street/doorstep visits, and artwork, and how friendship disruption affected their well‐being. This paper argues for educators to heed the implications for the period of 'Covid recovery'. [ABSTRACT FROM AUTHOR]

Andrew Young (1885–1971) belongs to the English tradition of the 'parson poet'. Poetry written by serving clergy often provides both a personal perspective on Christianity, free of strict orthodoxy, and a reflection of Christianity's place in the prevailing culture. Most of Young's work consisted of short poems with only occasional Christian reference. Later in life he abandoned short poems and wrote two long works exploring a visionary afterlife. This paper argues that the key to these two long poems, important but neglected examples of mid-twentieth-century Christian literature, is a personal re-imagining of the Trinity. [ABSTRACT FROM AUTHOR]

Chinese painting poetry is an extraordinary art form, which not only describes the painting contexts but also grasps the sentiment of the painters. In this paper, we propose an automatic poetry generation method Poetry4painting , which enhances the poetry diversity for large-size ancient paintings. The basic framework is based on multiple modern sentences, that are first captioned from the ancient painting and then used to generate a poem using CNN and LSTM. To solve the repeatability issue of this framework, four kinds of data augmentation are employed during online processing, including quantity, shape, surrounding, and object augmentation. In offline training, data augmentation is also used to create an image caption dataset with over 1500 painting images and 7500 captions. Through ablation studies, evaluations of poetry qualities and diversities, and comparisons with other methods, we demonstrate the validity of the proposed method. [Display omitted] • A poetry generation method for ancient paintings with high diversity and conformity. • An enlarged dataset for painting poetry generation that has about 8000 annotations. • A mass of experiments and evaluations demonstrate the validity of the proposed method. [ABSTRACT FROM AUTHOR]

This paper deconstructs the ways the image of Fāṭima Zarrīn-Tāj Baraghānī, known as Tahirih Qurrat al-ʿAyn (d. 1852), has been distorted in academic works and in anti-Bahā'ī polemics. The misrepresentations of Tahirih in these works range from disconnecting her from the source of her inspiration, to accusations of immorality, to denying her knowledge, to denying her poetry, to depicting her as a militant figure. It is suggested that misogyny, religious prejudice, selective as well as uncritical use of primary sources, and agenda driven scholarship explain the misrepresentations. [ABSTRACT FROM AUTHOR]

This paper analyzes some of Anne Bradstreet’s “marriage” poems, in an attempt to show that the shift in her poetic voice, namely the turn to a more secular approach to poetry, makes her relevant today as the first published poet in America and the first American writer who struggled to establish a new literary paradigm in the New World. The poems “Before the Birth of One of Her Children,” “To My Dear and Loving Husband,” “A Letter to Her Husband, Absent Upon Public Employment”, “Another” I and "Another" II represent a shift from the “nostalgia” of English literature and the establishment of a new, feminine poetic voice, preoccupied with the condition of the woman writer and the fate of poetry in the patriarchal seventeenth-century American society [ABSTRACT FROM AUTHOR]

This paper aims to uncover the underlying metaphorical expressions regarding the importance of love to human life in English and Vietnamese poetry based on Conceptual Metaphor Theory, which suggests that metaphor is based on human thought as well as on language. For metaphor identification, the authors use a five-step procedure based on Pragglejaz Group's method for metaphorical expressions and a self-proposed three-step procedure for conceptual metaphors. The findings reveal that love is metaphorically expressed to have a considerable influence on both the physical and mental aspects of human life. This paper is also a comparative investigation showing both similarities and differences in the love-life metaphorical expressions between the two languages. The similarities are explained by the same grounding of metaphor-embodiment and the universality of conceptual metaphors. The differences are attributed to cultural distinction. [ABSTRACT FROM AUTHOR]

This article is an a/r/tographic (artist/researcher/teacher) study through autobiographical close readings of several poems as a means to understand death within what the author calls eternal poetic time. Moving beyond the author's childhood's static image of death, the paper suggests that the ephemeral nature of life is not something to fear, but makes living more beautiful and eternal through the making and sharing of poetry and art. This paper is the first part of a three-paper study, which includes original poetry by the author. [ABSTRACT FROM AUTHOR]

3 VestAndPage (2013) ' Antarctic dream - Ice as architecture of the human spirit: VestAndPage performative works in Antarctica ', Performance Research: On Ice 18 (6): 71 - 80. doi: 10.1080/13528165.2013.908059 Et Anima Est Sanguis et Sanguis Est Anima: "First let's make poems, with blood": VestAndPage blood writing Image © VestAndPage This piece of rice paper belongs to a series of four pieces of paper I wrote as part of our installation Afterwor(l)ds for the Oostende Triennial. [Extracted from the article]

The article discusses a passage B XV 417-28a from Langland's C-Papers by Piers Plowman. Piers Plowman B XV 417 has presented itself to any editors or readers as a crux, either textual or interpretive. As a standalone passage; its point is clear the manuscript variants are minor. In the poem Anima, he discusses the contemporary followers of the apostles. Quotations from the book "Piers Plowman: The B Version" have been used in the article to analyze the passage. The passage doesn't look like ur-B material of revision, rather seems to be a draft of matter perhaps originally intended for the opening of C XVII, but eventually discarded and nor recalled from the ur-B papers, its best material is for use where appropriate.

This issue of Transcultural Psychiatry presents selected papers from the McGill Advanced Study Institute on "Cultural Poetics of Illness and Healing." The meeting addressed the cognitive science of language, metaphor, and poiesis from embodied and enactivist perspectives; how cultural affordances, background knowledge, discourse, and practices enable and constrain poiesis; the cognitive and social poetics of symptom and illness experience; and the politics and practice of poetics in healing ritual, psychotherapy, and recovery. This introductory essay outlines an approach to illness experience and its transformation in healing practices that emphasizes embodied processes of metaphor as well as the social processes of self-construal and positioning through material and discursive engagements with the cultural affordances that constitute our local worlds. The approach has implications for theory building, training, and clinical practice in psychiatry. [ABSTRACT FROM AUTHOR]

This paper aims to explore the Parthian theme in Horace's poems throughout its development. First, it delves into the works featuring the ethnonym Parthus , which, unlike the synonymous Medus , notably aligns with the events contemporaneous to the poet. It becomes evident that Horace's early works reflect the Parthian invasion of 41/40 B.C. and the anxiety surrounding the possibility of a recurrence. However, this apprehension is gradually replaced by verses celebrating victory over the Parthians and their apprehension of Roman power. Ultimately, these poems demonstrate their acknowledgment of Roman authority and the compromise established during the age of Augustus. Horace himself never forgets the threat posed by the Parthians, yet there is no compelling reason to consider him an advocate for a conquest war against their eastern neighbors. He appeared content with the diplomatic compromise that had been achieved. [ABSTRACT FROM AUTHOR]

This paper is focused on the growth of Russophone poetry after the beginning of the second phase of Russia's invasion of Ukraine in 2022 (the first phase started in 2014). There have been many poetic publications by both those who support the war (in Russia) and those who oppose the war and the political repression of the current Kremlin regime; authors of the latter kind can live in Russia and in other countries. Speaking of the anti-war poetry, I write of the convergence of two movements that previously used to exist separately: poetry addressed to the widest audience (poetry-1) and aimed at analyzing language and ideology and addressed to the audience aware of complex forms of postmodern culture (poetry-2). Today the authors of these movements are developing tools not only to counter militaristic propaganda, but also to question the cultural and social conventions of contemporary Russia. [ABSTRACT FROM AUTHOR]

In this essay, I show how Gloria Anzaldúa transforms the Roman Catholic concepts of Holy Communion and the veneration of relics as part of the Chicana lesbian aesthetic that characterizes her decolonial project. Reading two poems from her watershed 1987 book Borderlands/La Frontera: The New Mestiza, (hereafter Borderlands) “The Cannibal’s Canción” and “Holy Relics,” along with an extended metaphorical conceit about corn within the book’s final prose chapter, “La conciencia de la mestiza/ Towards a New Consciousness,” I show how Anzaldúa critiques the colonial logic of gendered exploitation by repurposing Roman Catholic concepts into stylistic devices that imagine a queer Chicana erotic of mutual consumption. Specifically, this paper considers the way Anzaldúa engages with Catholic rituals that rely on dismemberment, redistribution, and consumption of human bodies for worship and veneration to reexamine Anzaldúa’s transformation of Catholicism through her poetics. By incorporating some context about how she understands the moon goddess, Coyolxauhqui, I show how Anzaldúa understands dismemberment and reconstitution as a healing, reparative project, and I then connect this notion of dismemberment with the Catholic rituals of Holy Communion and veneration of relics to suggest that Anzaldúa was able to find continuity within as well as more obvious points of departure from Catholic ritual. [ABSTRACT FROM AUTHOR]

A co-design project, consisting of individual and collective design activities, was organized with clients of a mental health service, in order to explore its potential to support people with psychosis. The group met for approximately two hours, weekly, for six months, participating in design activities and collectively deciding on the project purpose and outcome – a boardgame. The experience of one group participant (Anthony) is explored, selected as the first case study within an Interpretative Phenomenological Analytical (IPA) framework. Following IPA's ideographic focus, Anthony's case was purposefully selected, as it portrayed a detailed picture, informing theoretical reflection on designing as therapeutic. The paper includes Anthony's first-hand account, combined with an analysis of data from three semi-structured interviews, photographic evidence and a reflective diary kept by the lead researcher. Results suggest that, for Anthony, design activity: a) helps developing a sense of agency b) is experienced as grounding in reality c) contributes to the development of inter-personal relationships, and d) has a different sense of rhythm than artistic practice. These results are contextualized within literature on the lived experience of psychosis and suggest that designing can be beneficial for people with psychosis, providing the backdrop for further research and practice. [ABSTRACT FROM AUTHOR]

The splitting of words into stressed and unstressed syllables is the foundation for the scansion of poetry, a process that aims at determining the metrical pattern of a line of verse within a poem. Intricate language rules and their exceptions, as well as poetic licenses exerted by the authors, make calculating these patterns a nontrivial task. Some rhetorical devices shrink the metrical length, while others might extend it. This opens the door for interpretation and further complicates the creation of automated scansion algorithms useful for automatically analyzing corpora on a distant reading fashion. In this paper, we compare the automated metrical pattern identification systems available for Spanish, English, and German, against fine-tuned monolingual and multilingual language models trained on the same task. Despite being initially conceived as models suitable for semantic tasks, our results suggest that transformers-based models retain enough structural information to perform reasonably well for Spanish on a monolingual setting, and outperforms both for English and German when using a model trained on the three languages, showing evidence of the benefits of cross-lingual transfer between the languages. [ABSTRACT FROM AUTHOR]

Nietzsche's interest in tragedy continues throughout his work. And yet scholarship on Nietzsche's account of tragedy has focused almost exclusively on his first book, The Birth of Tragedy – a work which is in many ways discontinuous with his more mature philosophical views. In this paper, I aim to illuminate Nietzsche's post-Birth of Tragedy views on tragedy by setting them in the context of a particular historical conversation. Ever since Plato banished the tragic poets from the kallipolis, various philosophers have attempted to respond to his challenge to offer a 'defense of poetry'. What Nietzsche offers, I argue, is a distinctive form of response to Plato's challenge. I show how Nietzsche takes seriously Plato's worries, and even ends up in partial agreement with him: tragedy is not (unqualifiedly) valuable; it can be spiritually dangerous. Key to Nietzsche's account is a distinction he draws between two types of tragic audience. For the 'lower types', tragedy is – as Plato feared – dangerous. For the 'higher types', however, tragedy can act as a regenerative force. Finally, I discuss a distinctive form of value that tragedy makes available to a modern audience: tragedy can act as a stimulus towards the process of the revaluation of values. [ABSTRACT FROM AUTHOR]

Since the time of the Eastern Han (25-220), the composition of "Nines," suites of nine poems written in the Chuci style, has been perceived as a practice to transmit the paradigmatic poet Qu Yuan's texts and intention. The actual practice of composition, however, invites the negotiation, if not tension, between two voices: the actual author's and that of Qu Yuan's texts. This paper examines Lu Yun's (262-303) "Jiumin" (Nine sufferings), a rewriting of Qu Yuan's "Jiuzhang" (Nine declarations), in light of Lu Yun's private letters clarifying his principles of rewriting. I argue that, despite Lu Yun's claimed fidelity to Qu Yuan, the suite is largely a private projection of Lu's own literary criticism and family experience, a projection giving rise to an anachronistic persona of Qu Yuan in the poems. Through a close reading of the "Jiumin" and Lu's literary criticism, the paper sheds light on the authorial role in rewriting canonical texts and its cultural significance. [ABSTRACT FROM AUTHOR]

This paper discusses poetry as a site of what Pierre Hadot calls "spiritual exercises," with particular reference to China's greatest poet, Du Fu (712–70 C.E.). While Hadot's work has bridged gaps between (i) philosophy and religion and (ii) theory and practice, this paper suggests that spiritual exercises can also blur the modern separation between form and content. It argues for the possibility of poetry as philosophy; that is, philosophy in a less‐recognized form. If poetry can be spiritual exercise and if spiritual exercise with its goal of self‐transformation is the core of philosophy, then we may be able to treat poetry as one form of philosophy. The paper also demonstrates the relevance of Hadot's work for ancient Chinese and comparative philosophy more broadly. [ABSTRACT FROM AUTHOR]

This paper looks at the role of fathers in the family. Structured around three poems, it emphasises the need for a triangular structure in the mind, enabling the child (and any individual) to look at 'reality', internal and thus external too, from a third position. The Oedipal situation, what Hanna Segal called 'the core complex', lies deep within the mind of any individual, and continues to have vital relevance in the lives of modern families. Clinical material is included in the paper to illustrate the points made. [ABSTRACT FROM AUTHOR]

This paper stems from the analysis of multiple poetic resources that were available online, as well as the results of methodological discussions with scholars of European Literature. The goal was to retrieve the informational needs of all these different sources in order to build a common data model for European Poetry (EP). Thus, by implementing a reverse engineering method, we have created the Domain Model for EP, which is an important breakthrough for making existent poetry resources interoperable. The lack of a uniform academic approach to analyse and classify poetic manifestations, the divergence of theories when comparing poetry schools from different languages and periods is some of the factors that hinder the modelling process. In this paper, we will present some of the challenges we encountered while conceptualizing the information relevant to poetic analysis and how we have worked around them. Some elements of the ontology will be presented to illustrate our modelling strategies. [ABSTRACT FROM AUTHOR]

It may appear that the act of writing is fruitless in the face of the size and open-ended complexity of gathering environmental calamities including global heating, species extinction, and the appearance of plastic in everything. And yet – and yet – poets and others continue to write in ways that allow us to think about the earth's futures and, more specifically, the future of place in catastrophic times. Geo, Eco and Topo – poetics are acts of making – making earth, home, and place. Making earth as homeplace. This paper considers Juliana Spahr's book Well Then There Now as an entry point into thinking and writing about place in a relational way appropriate for a time of emergency. It focuses on the ways writing-as-making (poiesis) can help us to diagnose troubled worlds and prefigure new ones. The paper surveys the connections between geography and poetry, outlines the contributions of eco, geo and topo poetics and explores the hybrid poetics of Well Then There Now before advocating for the affordances of creative writerly approaches for geography more broadly. [ABSTRACT FROM AUTHOR]