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Researchers calculated similar patterns and modified styles between an author's works using various approaches to word frequency. With selected bits of a book, statistical tools are highly beneficial for determining the author's period and style of creating songs (word length). This paper examines whether the songs picked by Tamil poets are made and modeled based on the scope of word occurrences computed and identified in the songs, and whether or not the warring distribution fits. Statistical methods help researchers investigate a wide range of topics in the literature. The word frequency can be resurrected as the appropriate spread since the spread's works are equal to the spread of the word frequency. [ABSTRACT FROM AUTHOR]

This introduction to this pluridisciplinary meeting is mainly devoted to celebrate two exceptional pluridisciplinary scientists. Fernand Braudel was simultaneously a historian, geographer, sociologist and economist. The neurophysiologist Jean Delacour was open to other disciplines from philosophy to physics. Braudel's global point of view of history created new fields in human sciences, paving the way for new active research. For instance, the emergence of the very singular development of world-cities remains to be well understood from detailed network analysis in order to find the driving process of such an emergent deep localization. In a similar way, Delacour's physiological evidence for unconscious mind resulting from energy saving during sleep remains to be explored in details both for humans and for animals with expected consequences for managing neural networks as well as for quantum computing, and for poetry. The papers of this meeting are shortly introduced. [ABSTRACT FROM AUTHOR]

Aḥmad b. Mājid is the most renowned author of Arabic navigational literature. Although he is reported to have come from the southern Gulf port of Julfar, the vast majority of his work focuses on navigating the Indian Ocean and the Red Sea, and his compositions contain few details relating to Gulf navigation. The one exception is a short, undated poem describing sailing routes in the Gulf. This paper analyses this unique poem and compares the navigational practices it describes with those in his other navigational works in order better to understand the specific characteristics of Gulf and Indian Ocean navigation in the fifteenth century. [ABSTRACT FROM AUTHOR]

Poetry is a career with no necessary institutional affiliation. Drawing from interview and ethnographic data this paper uses Abbot's work on jursidictions in the field of professions, and Stebbins analysis of the system of relations between amateurs and professionals to provide a better sociological understanding of poets. Seeing poetry as a 'calling' accepts too many of the romantic misrecognitions of the field and does not allow for adequate analysis. In addition, this paper proposes the concept of 'symbiotic careers' to better understand how artistic careers are interwoven with necessary work outside of the arts. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

This paper examines the production and uses of chapbooks within poetry communities. While books are usually longer than chapbooks the key differences between the two are that chapbooks are cheaply produced and distributed hand-to-hand. This paper examines how the meaning of ?cheaply produced? varies according to social and historical contexts, as do the identity and motives of participants in hand-to-hand sales or distribution. My analysis draws from in-depth interviews with poets as well as ethnographic observation of literary events. I explore key constitutive tensions within the field of poetry production and address the ongoing and historical context of chapbook production, distribution and use/consumption. Through teasing out the implications and enmeshments of the field of poetry, the traditions surrounding chapbooks, and the forms and uses of contemporary chapbooks I argue that chapbooks and the practices surrounding them make manifest the tensions of the field of poetry production. I conclude that chapbooks help to support, maintain and enrich the artistic values (symbolic capital) of the poetry field in a way that resists commodification and challenges the values and profit motive of the culture industry and larger fields of power. [ABSTRACT FROM AUTHOR]

In On Hashish, Walter Benjamin writes that he would "like to write something that comes from things the way wine comes from grapes." In this paper, I try a similar project by squeezing things from my past that have been fermented over time with memory. I take as the starting point various objects and spaces from my childhood experiences in and around the atomic city of Oak Ridge, Tennessee, which may or may not be shared by others who encountered atomic Appalachia. I use my own eccentric archive and queer methodologies, including sociological poetry, to theorize perceptions of memory and the atomic spaces of my youth. Stretching beyond my own experience, this paper seeks to add to the growing body of sociological thinking about the connections between materiality and memory by adding the atomic as a dynamic example of matter's vibrancy and effects on individual and collective memories. [ABSTRACT FROM AUTHOR]

Social responsibility can be defined as a personal investment in the well-being of others. In my opinion the social responsibility is linked with the social inclusion issue. So the social responsibility culture means the society of tolerant citizens. The paper is analyze of poems by Kholoud Charaf, who is a poet, art critic and social activist from Al-Mjemr in the south of Syria. Charaf becomes a quest writer in Krakow City of Refuge in March 2018 as part of the International Cities of Refuge Network (ICORN). Her poems are a kind of the bridge between Polish and Syrian culture. Her socially involved poems are a transcultural way of interpreting and analyzing as well as translating the relations between two different cultures. They are a very important voice against discrimination. [ABSTRACT FROM AUTHOR]

This paper presents the results of a personal introspection on the subject of intentionally taking oneself out of a comfort-zone in the classroom with the goal of continuous teaching improvement. Specifically, this paper discusses one civil engineering educator's implementation of reading engineering poetry in the classroom throughout a course to both reinforce learned concepts for his students and at the same time to go "out on a limb" beyond his comfort zone in an effort to capture and channel feelings of excitement and apprehension. The hypothesis associated with this study is that by intentionally taking one's self out of a comfort zone in front of students, the instructor will ultimately be more comfortable in the classroom. Secondly, it is also suggested that the students associated with the course appreciated and respected the instructor's attempt at using a non-traditional method of engineering instruction. Finally, an attempt will be made to determine if the use of poetry actually assisted students with reinforcement of learned civil engineering concepts. It is anticipated that this paper will be of interest to any civil engineering educator with the willingness to go out on a limb. [ABSTRACT FROM AUTHOR]

This paper focuses on works that are deemed as post colonial testimony of a Third World poet signifying the instability and displacement of his culture. Specifically, poems of Jose Gallardo, a verbal artist from the province of Pampanga in the Philippines, will be presented to serve as a base for discussing the "comic turn" in his literary discourse emerging from the "experience of social marginality." How the writer appropriated his creative talent in subverting the "high" colonial culture of the early writers in Pampanga will be demonstrated, using as reference points post-colonial thoughts of Homi Bhaba. Thus, the mockery of mimicry in the context of the subjugated people whose literature has been imposed upon them by their Spanish and American colonizers will be exemplified in Gallardo's works. His modified literary form, his uncouth language, his reversal to folk elements, and his code-mixing technique--all these provided him the terrain for asserting his ethnicity and selfhood. To be discussed are Johnny at Chandu, a mock Kuriru (corrido or song), which is an attempt to ridicule the early Kapampangan literary forms derived from Spanish medieval literature; his kapusungan (humorous crude language) poems that appeal to the sensibility of those who belong to his social class (the poor); and "Bangungut" ("Nightmare"), a poem depicting the language crisis in his province. This cultural study underscores the resulting cultural alienation of a colonized people represented by a poet whose voice reverberates the "continued agony rather than [the] total disappearance of [their] pre-existing culture" (Fanon 1970). [ABSTRACT FROM AUTHOR]

This paper analyzes the problem of visual representation of "moon landscapes" in the poetic heritage of the French poet-symbolist Paul Verlaine. The appeal of poets and other artists of XIX century to the nocturne demonstrated new possibilities of the author's statement in the text characterized as synthetic, as a text in which different languages of art are intertwined. It declared a polycode method of representation, in which the symbolism of twilight and melancholic existence fixed the new metaphysics of the night. The poet's concept of the night is associated with sadness and lovesickness, with a "dream of nothingness" and metamorphoses of nature. New artistic tools of poetic language allowed the poet to integrate the visual experience into the verbal landscapes, which brings a special iconographic status to the poet's "moon landscapes". Paul Verlaine, in his poetic nocturnes, reveals the polyvalent connections between word and painting as well as word and music at all levels of his poetic text. This process of production of new meanings creates a poetic language of special pictorial and musical expressiveness. [ABSTRACT FROM AUTHOR]

The conference paper titled "Poetry Power: Supporting Face-to-Face and Written Communication Through Poetry Writing" is presented. The paper will be presented at the 12th Biennial Conference of the International Society for Augmentative and Alternative Communication scheduled in Dusseldorf, Germany on July 29 to August 5, 2006. It discusses the use of poetry writing to support both emergent writers and beginning conventional writers among augmentative and alternative communication device users.

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Like many other forms of artistic production, poetry is often seen as a solitary pursuit made possible by ineffable 'talent' or 'genius'. While Becker has shown that art is a collective production (1982), and Bourdieu has lead us to examine artistic creation as happening within a field of cultural production in relation to larger fields of power (1993), this paper draws from that work to further explore the role of public gatherings within contemporary poetry communities.Drawing from extensive ethnographic and interview data gathered in contemporary poetry scenes of Paris, New York, and Toronto we explore the roles that poetry readings play in contemporary poetry communities in order to better understand how public and social gatherings contribute to artistic economies and careers. In doing so, we examine the variation in how poetry readings are used by poets at varying stages of career, and the variety of needs that poetry readings meet for poets within their own specific and local poetry economies. While differences exist between the different locations for our research, there are also interesting similarities that we posit lead to a stronger understanding of how these kinds of public gatherings fit into other fields of artistic production. [ABSTRACT FROM AUTHOR]

This paper draws from interview and ethonographic data gathered in poetry communities in both New York City and Toronto, Canada. It argues that poets are reliant on propinquity for their careers and communities, but that the necessity of propinquity varies with poets' level of establishment in the field. In addition, it is argued that propinquity allows for 'happenstance' meetings that allow for the business relations of poetry to be softened and veiled so as not to violate the value of art being 'for art's sake'. While poets' communities are indeed related to shared occupation, and while shared location also plays a role, the quality of relations made possible through propinquity is show to be more salient that any material or historical aspects of place that ground community. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

The article discusses the role of poetry in understanding organizational life. The authors focused on the works of the poet Robert Frost to further research the idea that work can be liberating to a person but, at the same time, culturally stifling. Frost's works also show how work can be used to work for and against personal fulfillment, highlighting his own experiences that can be applied to general work experiences.

The "Poems of 1912-13" are elegies that Thomas Hardy composed after the abrupt death of his long-estranged wife, Emma. The series depicts the psychological impact of Emma's death on Hardy, suggested by both his mental images of and real visit to the landscape in Cornwall, England. The landscapes in the poems are not simply beautiful scenery; they also embody the author's subconscious attachments to his wife and to nature. They present a distinct image of the poet and his afflicted conscience. After Emma had died, Hardy kept her memory alive by roaming about in the real and imaginary land they once had travelled. The poet-narrator thus becomes a flâneur, like Charles Baudelaire in Walter Benjamin's meditation on nineteenth-century Paris, who is an emblematic figure of modernity. Georg Lukács's concept of "soul" is introduced to reveal the meaning of the flaneurs' inner and outer quest. This paper highlights the roles that flaneurs play in Hardy's poems as observers a participants, and creators of the landscape. [ABSTRACT FROM AUTHOR]

Focusing on the formal and semantic allusive process in some of Li Shangyin's (ca. 812-858) allusive poems, this paper demonstrates how the (inter-)textual space functions "as a principle of organization for making signs out of linguistic items" (Michael Riffaterre). [ABSTRACT FROM AUTHOR]

The poetry slam environment is the location of a joining of the political and the personal. In this paper, the author explores the personal and political expression of identity in slam poetry competitions and slam poetry. Issues of identity and performance are explored. The slam location is posited as site of political and personal musing. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

The article focuses on the various ways in which illusio is produced and maintained in separate fields of cultural production of poetry by looking at differences in academic institutions in New York and Toronto. Illusio is the animating force that makes things meaningful and turns options into generative oppositions. New York has more academic resources that are tailored explicitly to poets as compared to Toronto. It has been discovered that New York academic contexts provide greater access to social capital, whereas, Toronto, with its emphasis on standard literary study programs provides poets with cultural capital.

The article examines the recurring themes in Latina poetry to illustrate the existence of a united Latina feminist identity. Latina literature depicts common, or shared, struggles of cultural and gender identity. There is a strong powerful connection between poetry and politics in the literature. There is diversity among Latinas, and this diversity has allowed for a variety of distinct life experiences. This diversity includes differences in class, nationality, generation, birthplace and sexual orientation. Thus poetry holds an important place in the history of Latina discourse.

ABSTRACT: Human beings are animals. To some this seems revolting or impossible. However, there are increasing numbers of people who can accept the fact that our species evolved from great-ape ancestors. It is time for us to take the next step and recognize that our animal nature can be an inspiration for writing poetry, philosophy and public sociologies that reveal our human condition better than do many earlier world views. We gain deeper and more accurate understandings of many human issues when we see our behavior and society in light of our animal heritage. This article presents poetry written by Walt Whitman, W. H. Auden and the author to show some of the ways we could expand our understanding of the animal that is Homo sapiens so we can be proud of our animal status and perhaps begin to do better poetry, philosophy and sociology. [ABSTRACT FROM AUTHOR]

This study aims to describe the effectiveness of the demonstration method in improving poetry learning in class X SMA Negeri Sawa, Lilialy District, Buru Regency. This research is descriptive quantitative. The design or model used is experimental research, Pre-Experimental type. The population of this study were all students of class X SMA Negeri Sawa with 77 people who were divided into three classes. The sample of this research was 26 people. Sampling was done by purposive (purposive sample). In this study only one class was sampled. The results showed that the demonstration method was effectively applied in improving poetry reading in class X SMA Negeri Sawa. This can be seen in the value obtained by students before being given treatment which is 5.38 and has increased after being given treatment in the form of a demonstration method, namely 7.07. The effectiveness of this method is also known based on the results of the t test calculation. The comparison of the results of the pre-test and post-test ability shows that the t value is 32.05> the t table value of 2.06. In accordance with the results of this study, the following suggestions are proposed: (1) Teachers should maintain their teaching methods, including in choosing teaching methods in reading poetry, namely demonstration methods so that the results can be better. (2) Schools should complete learning facilities including the provision of literature books, so that students' interest is increasingly motivated towards existing literature works. [ABSTRACT FROM AUTHOR]

The authors of the article talk about the phenomenon of Internet poetry from the perspective of a new communication model, in which a broadcast channel of the Online Network affects the distribution of all other elements, including the sender, the destination user and the text. Poems by Stefania Danilova, the Runet star, served as material for analysis, proving that the cyber space can generate not only informational "junk", but also create highly artistic content that "stabilizes" the linguistic taste of the era (V. G. Kostomarov). Danilova is the youngest member of the Union of Writers of Russia, the poet, the Kulturträger, creator of the World Poetry Day international project and author of numerous poetry collections, each of which was a milestone in the literary life of Russia. Two "official" books ("Веснадцать" and "Неудержимолость") by the poet were issued on the basis of the poems already published online (the Runet Stars series). Her poetic Universe is distinguished by the archetypicity, culturogenity, intertextuality, and availability of the viewable mythotectonics. The text will remain "opaque" for the unprepared reader, since it is rich in elements that require deployment of: allusions, reminiscences, intertextual insertions, indicating the author's wide area of thought. The results of the literary analysis of Danilova's several poetry collections led us to conclusion that, today, the Internet serves not only as the "meeting place" for the addresser with the addressee, but also the reservoir of high style and poetic culture. This means that in cyberspace, there are "keepers" of the era's linguistic taste and the literary language is still seeking for regulatory coordinates in the world that has changed. [ABSTRACT FROM AUTHOR]

Research on the public sphere tends to characterize counterpublics as spaces for marginalized groups to freely express counterdiscourses, yet few studies examine precisely how and why individuals navigate between 'enclaves' and wider forums. This qualitative study aims to shed light on these processes by assessing the role of racial context in structuring discourse in predominately black and predominately white poetry venues. Since the mid 1980s, spoken word poetry has emerged as a popular form of cultural (and often political) expression, primarily due to the wide diffusion of 'poetry slams' and 'open-mics'. Through in-depth interviews with poets and participant observation at performances, I show that racial context structured public discourse through the mechanism of double consciousness. Perceptions of white attitudes compelled some poets to engage in audience segregation by limiting certain discourses to predominately black (or racially mixed) settings while others consciously challenged white expectations through intentional subversion. Significantly, very few African-Americans expressed discomfort with critiquing whites and racism in predominately white settings. Blacks most often explained self censorship in wider forums as an effort to maintain positive group representations of African-Americans â?”not as the product of being unable to critique dominant discourses. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

Rap music and spoken word poetry are close relatives in the oral tradition. Both originated as marginalized art forms which became increasingly popular, and focus on the linguistic strategies such as verbal slippage, wordplay, rhythm, and rhyme; attract similar audiences; and have comparable histories. Despite these similarities, they employ different strategies for constructing and policing the boundaries of their respective communities. The artists rely on different rhetorical strategies to construct discursive, spatial, and relational boundaries. Throughout three months of ethnographic research, I analyze the construction of community in rap music and spoken word poetry. I find that the claims of the artists are often conflicting, contradictory, and competing. While vernacular performance is vital for both genres, there are different emphases. Rap music and slam poetry attract slightly different audiences, and utilize different strategies for interacting with the audience. I argue that these constructions are mediated by both the social and physical place of the artists, as well as their performances. ..PAT.-Unpublished Manuscript [ABSTRACT FROM AUTHOR]

The article presents abstracts concerning art and poetry depicting the images of time, including the article "A Clockwork Postmodern" by Steven Taylor, "Timeless Classics: Musings on Freewill and Management," by Sally Riad, and "On the Hill in Sefad," by Jacob Eisenberg.

While popular notions of feminism make it appear focused on transforming relations between men and women, concerted feminist attention has also been given to women's relationships with one another. The theme of dissatisfaction with friendship with other women features prominently in feminist cultural production, but has been given scant attention by women's movement scholars. I argue that this is likely the case for several reasons: ambivalence on the part of movement scholars about emotions that don't appear to have a positive effect on mobilization, aversion to stories that make activists look emotionally "unhealthy" rather than rational, and avoidance of the complex intimacy among women portrayed in these stories. Queering the feminist record on friendship, as I do here, involves allowing for melancholy without fashioning it as resource, complicating gendered assumptions that women are "good" at friendship, and analyzing the feminist acknowledgement of a culture of intimacy among women friends that is experienced as both damaging and gratifying. Drawing on dominant themes from photography and poetry, memoir and fiction, I analyze the problem of withheld recognition from other women, the collective nature of friendship conflict, and the treatment of surviving friendship drama as a badge of honor or feminist rite of passage. Such exploration queers understandings of both the women's movement and women's friendship. [ABSTRACT FROM AUTHOR]

Bourdieu describes two paths to becoming effective public intellectuals in modern France: The path of those who, like Emile Zola, accidentally become "too famous" and that of those who, like Jean-Paul Sartre, are on the brink of reaching the highest levels of intellectual achievement. I show that the Sartre path is superior to the Zola path in the U.S. with insights from Goffmanian dramaturgy, political process theory, and eventful sociology. I distinguish between a) "frontstage" and "backstage" activities in the careers of two Vietnam-era poets that exemplify these paths and b) favorable and unfavorable political conjunctures. Frontstage activities are blatantly political, work immediately, and target political elites and the media. In contrast, backstage activities are less obviously political, have delayed impact, and address other intellectuals. I find that the "Zola effect" disposes intellectuals to ever increasing amounts of frontstage activity while the "Sartre effect" makes their action repertoire flexible. I also find that the same level of frontstage activity requires more backstage support in unfavorable conjunctures. Therefore, the Zola path eventually self-destructs in settings, like the U.S., where intellectuals cannot take political opportunities for granted. Whether or not one takes the Zola or Sartre paths depends on one's field trajectory -- the sequence and timing of the positions one occupies in the field. [ABSTRACT FROM AUTHOR]