Search

The article focuses on a high school English teacher Raymond Antrobus and his approach to teaching poetry to his 9th grade students including using poetry to engage marginalized students, incorporating diverse poets, and providing prompts to inspire personal writing.

The struggle with becoming a tree in Sylvia Plath’s poems reveals her struggle to create a subjectivity for herself as a female poet in a patriarchal world. Becoming a tree epitomizes the tradition in which Plath strives to create her poetic subjectivity: the opposition between the male Romantic poet and the feminine nature that inspires him, the prototype of which is Ovid’s myth of Daphne becoming the tree muse for Apollo. Plath internalizes the death of the body imposed on the woman in the formula and creates out of the negativity within her. Instead of treating nature as an object in order to become a poet, she accepts that she is both the articulate poet and the nature that can never be fully expressed. Torn between the one who expresses and the one who is expressed, the bodies of trees in her poems painfully shine with layers of darkness. The trees represent a female subjectivity that closely communicates with the darkness, which is fairly dangerous for a formed subjectivity. This paper analyzes the complex layers of the question of becoming a tree imposed on the female body. It then discusses how Plath responds to this burden by creating a subjectivity expressed by black trees that intimately identify with the flourishing death and articulate the darkness within themselves as a landscape. [ABSTRACT FROM AUTHOR]

The present paper offers a new approach to the poetry of the Egyptian Sufi poet 'Umar Ibn al-Fāriḍ (576-632AH/1181-1235AD). This approach is based on the text of Ibn al-Fāriḍ's Great Sufi Poem, al-Tā'iyyat al-kubrā, in which the poet expresses in full his spiritual experience. First, the basic hermeneutical question is discussed, e.g., what is the way of approaching a literary text in order to understand the experience of the poet' Also, it deals with a Sufi text, its context and the relationship between text and experience. To what extent does the author express his inner world verbally? In the end, there is a distance between the interior experience of a Sufi and his verbal expression. Eventually, this method is applied to the poetry of Ibn al-Fāriḍ. He describes his Sufi experience as a journey through three steps: from separation (farq) to unity (ittiḥād) to universal union (gam'). On such a partition, ten basic units are highlighted, forming the structure of his Sufi poem. [ABSTRACT FROM AUTHOR]

Copyright of Humanities & Educational Sciences Journal is the property of Humanities & Educational Sciences Journal and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

The activity of self-translation may be seen as a mise-en-scène of the hybrid auctorial self, as well as an ideal stage for a reconstruction of meanings, through a second original. As a (re)creative paradigm, self-translation echoes the concept of poiesis as a 'bringing into appearance', according to Heidegger's interpretation, namely as a crystallisation of the refracted facets of language and self. In this connection, the genetic approach may represent a tool to access the aesthetic world of the writer (the poietes) and to explore his (re)creative process. This paper discusses the case-study of the distinguished Taiwanese poet Yu Guangzhong (1928–2017), and his self-translated poetry collected in Shouye ren 守夜人/The Night Watchman. Through a comparative reading of three selected bilingual poems with their manuscript versions, this paper aims to investigate Yu's poetics of self-translation, while observing through the multi-layered spectrum of a linguistic and cultural rendering. [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]

This paper is written in a personal capacity and mainly takes the form of a poem - in five sections - composed as a response to some of the ideas in the article by Hannu Heikkinen and colleagues in this same issue of "Educational Action Research": 'Action research as narrative: five principles for validation'. The poem takes its title and structure from that article: its coming-into-being as a piece of work is described in the short introduction. As the introduction mentions, the author-poet has discussed, in previous papers, some of the connections and disconnections between the practices of educational research and poetry. The present paper offers actual work-in-practice that illustrates how these have been played out in one context - which was as poet-in-residence at a conference on inter-professional learning and practice in healthcare. The author is very keen to tempt others into dialogue on these issues. [ABSTRACT FROM AUTHOR]

Copyright of Phainomena is the property of Phenomenological Society of Ljubljana and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The article focuses on Della Cruscanism, a circle of European late-eighteenth century sentimental poets and Newspaper Poetics. Topics include Della Cruscanism began when a group of English and Italian friends living in Florence, Italy published privately a collection of poetry called The Florence Miscellany, and Della Cruscan poetry, was to become a common feature of all of the most widely read newspapers of the late eighteenth century.

Copyright of Journal of College of Education / Wasit is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The present paper proposes to take a new look at the imperial Mughal court's pattern of patronage of arts and letters as a vital and indispensable component of the imperial state machinery on the one hand and an instrument of historical change on the other. It focuses on, and draws from, Čahār čaman, a mid-17th-c. work by Chandar Bhan Brahman, one of the prominent figures among poets, writers, scribes and secretaries in Mughal service; a person involved in the never-ending, and aesthetically intricate, ceremonial exchange of goods, honors, acts of refined praise and proofs of recognition that not only made up the rich and variegated courtly milieu of the period but also gave form and actively shaped the ethos of the Mughal state's pattern of self-representation--all in the service of legitimating the imperial power and its expanding claim over increasingly vaster stretches of the Indian subcontinent and its regional rulers and their riches. The same was done in the garb of sophisticated aesthetics of imperial power that demanded rulers, princes, prominent chiefs and officers, executive clerks, accountants and administrative professionals to communicate and ever prove anew their status and position in the language and manners recognized as aesthetically pleasing and in the form requiring literary, if not poetical, skills and competence based on knowledge of recognized expressive forms and appropriate genres as well as individual talent and personal ambition.1 [ABSTRACT FROM AUTHOR]

This paper aims at investigating dramatic monologue in Frank Bidart‟s poems. It discusses the way Bidart was affected by certain poets in terms of the implication of the dramatic monologue device and the power that affected his implementation and his application of this particular genre. Bidart proposes that a poet has a lot of inner consciousness. He receives various voices so he can visualize how to begin from varied places and keep a certain distance from the voice that expresses out of its sense, agony, or annoyance. Bidart has to examine the reasons for definite feelings at a particular point in time because one‟s emotional state should not be considered for granted. However, a poet should keep some distance from the characters in the poem as well as keep a sort of skepticism concerning oneself. This study suggests that Bidart‟s dramatic monologue is a contemporary genre that is significantly established at the last stage of his script with the release of his poetic work “Half Light”. The study analyzed two poems of Bidart‟s work including Old and Young, and Thirst. Results of the study showed that Bidart‟s poetic forms and themes relate to many issues including the point of time in which the poet published his poems, the setting and situations, and the poet‟s psychological state of mind. [ABSTRACT FROM AUTHOR]

This paper offers an extended introduction to the Kavikaṇṭhapāśa (or "Leash for Poets"), an anonymous text on the metaphysical qualities of poetry. By way of an annotated translation of key passages, the essay argues that the Kavikaṇṭhapāśa was likely composed sometime in the twelfth or thirteenth century, and that it is closely connected to the earliest Tamil pāṭṭiyal s. This suggests that it is one of the earliest witnesses to the metaphysical analysis of poetry in the Deccan and southern India. [ABSTRACT FROM AUTHOR]

Engaging the methodology of poetic inquiry, this paper explores both the teaching and learning of poetry. Through a combination of interpretation and reflection, the reader embarks on a journey from the author's childhood experiences with poetry to the experiences of her students in an ELA class. Pinar's method of currere provides a lens to explore the ideas of understanding through unlearning. Weaving original, found, and fusion poetry into a conversation with relevant literature, the author hopes to inspire other teachers to approach poetry in their lives and their classrooms with a sense of wonder and curiosity. [ABSTRACT FROM AUTHOR]

The paper aims at illustrating the possible interconnection between Ṛgvedic poetry and the bovine environment in relation to which the proto-Vedic clan-based society ensured its own subsistence. Given that the protection of livestock was one of the functions attributed to chieftainship, especially during the phase of clan mobility (yóga), and that the figure of the proto-Vedic kaví, the so-called =sage poet,' is correlated to the milieu of the lordship, it is most likely that the bovine imagery and rhetorical devices, particularly connected to sonority, stemmed precisely from that environment where the human and animal dimensions were symbiotically associated to ensure clan's prosperity. Therefore, Ṛgvedic poetical expressions are not only the artful means to mark the liturgical language, but also a direct output of the expertise of the warrior-cowherd, identified especially with the mythological figure of Indra, who could, by way of sonorous enchanting of both, the livestock and the enemies, yoke the former and keep away the latter, guaranteeing subsistence to his own clan. [ABSTRACT FROM AUTHOR]

This paper aims to investigate the equivalent of Epicurus' πρόληψις, the second criterion of the Epicurean Canonic (DL X 31 = fr. 35 Usener), in Lucretius' De rerum natura (DRN). Taking stock of the several occurrences of the Latin terms notitia and notities in the six books of the poem, I show that Lucretius' view about preconception remains faithful to Epicurus' πρόληψις, and that the poet does not endorse a less empiricist position than his Master because of some influence of the Stoic ἔννοια. To this end, I will also briefly address an important case in which πρόληψις, albeit not clearly mentioned, plays an essential role, namely the prolepsis of the deity (DRN V 1169–1182). Finally, I explain how Lucretius can be of some help in grasping the controversial relationship between the criterion of πρόληψις and that of ἐπιβολὴ τῆς διανοίας (animi inectus/iactus), showing in which way the poet seems to consider the latter as a criterion of truth in its own right. [ABSTRACT FROM AUTHOR]

The paper offers a new reading of the argument against poetry in Plato's Republic 10. I argue that Socrates' corruption charges rely on the tripartite theory of the soul, and that metaphysical doctrines play a role only in the first charge, which demonstrates that the poets are not qualified to teach by reducing tragic poetry to mimetic skill. This accusation clears the way for two corruption charges: the strengthening of appetite, and the softening of spirit (i.e., 'the greatest charge'). The former focuses on the dangerous association between the poets and the largest appetitive class in the city (hoi polloi), while the latter focuses on the corruption of the educated elite (hoi epieikeis). [ABSTRACT FROM AUTHOR]

Copyright of Journal of Faculty of Letters / Edebiyat Fakultesi Dergisi is the property of Hacettepe University Faculty of Letters and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

A recurring subject of manhua (comics) in Republican-era China was the pipa player, a woman whose genealogy can be traced back to the disgraced and displaced subject of Bai Juyi's ninth-century poem Pipa xing (Song of the pipa). This paper traces this woman's development from her conception in Pipa xing and follows her as she is re-imagined by modern poets and manhua artists into a variety of figures, from scorned politicians to modern feminine archetypes. This paper argues that these artists leverage her precarity and anachronism to portray contemporary political turmoil and national insecurity, as they look back at China's imperial past and towards its uncertain future. And instead of reifying the distinction between the prosody of classical and New Poetry, this paper finds classical poetics not only in poems themselves, but also in tropes and images that reveal how poets and poetry reckoned with the rise of new media. [ABSTRACT FROM AUTHOR]

This paper aims to advance scholarly understanding of the intellectual significance of Ovid's Fasti during the European Renaissance by examining a number of early modern poetic calendars modelled on the Ovidian poem. Recent studies of Ovid's Fasti have noted that the poem's propensity to contest the meaning of a particular occasion facilitates a sustained examination of the relationship between the past and present of Rome, through which the poet disrupts the reorganization of the Roman calendar by Augustus. This paper suggests that a similarly politically charged operation underpins a number of Renaissance fasti poems. Using these poems' remembrance of the Sack of Rome (1527) as a case study, this article argues, firstly, that the genre's commemorative function is mobilized competitively by its early modern authors to reflect on the history and status of Rome, particularly the city's role as the caput mundi since antiquity. Secondly, it will be shown that in the second half of the sixteenth century the genre of calendrical poetry — and Ovid's Fasti in particular — became an important medium through which Renaissance humanists critiqued the nature of power at a time when political and ecclesiastical schisms hardened across Europe. [ABSTRACT FROM AUTHOR]

In this paper I have analysed the artistic manifestations of the ego-forming strategies of Sándor/ Sarolta Vay (1859-1918), guided by the patterns of norm-following and norm-rejecting gender performativity and also by stepping outside of these patterns. Sándor Vay was born a woman but lived as a man, constructing his writer ego as a male author as well. This construction could be one form of queer masculinity based on corporeality. The first part of this paper demonstrates Vay's career; the second analyses Vay's poems published under a female name and those published later under a male name, investigating the strategies of textual creation of sexuality and gender. [ABSTRACT FROM AUTHOR]

The genre of metapoetry thematizes the fictional elements -- the inspiration of a poet, his poetic process, meta-poetic metaphors, the role of the poet in society, and intertextual references -- partaking in the making of poetry explicitly or implicitly carried through a poem within a poem technique. This paper presents Eva Müller-Zettlemann's theoretical pronunciation of meta-poetic elements, i. e., poetic inspiration, poetic process, and meta-poetic metaphors, at play in the metalyrics of Taufiq Rafat from his anthologies Arrival of the Monsoon: Collected Poems 1947-78 (1985) and Half Moon: Poems 1979- 1983 (2008). Rafat's inspiration is the South-Asian terra firma and lived experience that makes him infuse the regional sensibility through a poetic process of perceiving and penning down immediately. His metapoetic metaphor involves the invention of an image of cultural genesis that informs the process of poetic creativity. Moreover, the study also considers the explicit expression of the role of the poet in society and the functions of poetry in Rafat's poems, otherwise a prose phenomenon. Thus, the paper analyzes the conscious expression of the construction of South-Asian singularity inspired by the cultural kernel in content and form in Rafat's metalyrics. [ABSTRACT FROM AUTHOR]

The present paper represents an attempt to focus upon analyzing and describing the major features of Arab American poetry written by prominent Arab poets who had arrived in America on behalf of millions of immigrants during the 19th century. Some of who wrote in English and Arabic like Ameen Rihani (1876-1940); Khalil Gibran (1883-1931) and Mikhail Naimy (1889-1988). Others wrote in Arabic like Elia Abumadi (1890-1957). Most of their poems in Mahjar (place of emigration) reveal nostalgia, their love to their countries and their ancestors and issues relating to Arab countries. The paper analyzes some of their poems based on linguistic, grammatical, lexical and rhetorical levels. [ABSTRACT FROM AUTHOR]

This paper aims to examine the renowned Early Islamic elegy, the ʿAyniyyah of the Mukhaḍram poet Abū Dhuʾayb al-Hudhalī in two respects. First, it examines the poem as an entirely unconventional example of a Classical Arabic elegiac poem (rithāʾ) in terms of its thematic structure of introductory lament to the poet's dead sons followed by three panels: the onager, the oryx and knightly combat. It concludes that the tragic endings of all three panels constitute a dramatic inversion of the triumphal outcomes of such thematic panels in the pre-Islamic qaṣīdah in a manner that reflects al-Jāḥiẓ's structural insights into the semantic functions of the animal panels in both elegy and qaṣīdah. Second, the paper explores the allegorical aspect of the thematic sections of the poem, the elegiac lament and the three tragic panels, in order to argue that they are a key to understanding the allegorical dimensions of such panels in the Early Arabic qaṣīdah tradition. The paper next explores Arabic critical terminology for the Western term "allegory," such as tamthīl, umthūlah and majāz , only to conclude that none of them are adequate. Building especially on ʿAbd al-Qāhir al-Jurjānī's proper understanding of majāz , the paper finally proposes a new etymologically and semantically sound neologism as an Arabic critical term for allegory: umjūzah. [ABSTRACT FROM AUTHOR]

This paper examines the poetry of the Andalusī woman poet Ḥafṣah bint al-Ḥājj (d. 589/1191) in the context of a rich body of anecdotes surrounding that poetry as preserved in Nafḥ al-ṭīb , which al-Maqqarī (d. 1041/1632) wrote to preserve the cultural memory of al-Andalus. Known as the preeminent woman poet of Granada in the twelfth century, she lived most of her life under Almohad rule and had a connection to their court. Although literature surrounding Ḥafṣah is generally limited compared to major male poets, this paper will show that a close analysis of al-Maqqarī's section on Ḥafṣah reveals the poet's voice and agency. This paper argues that al-Maqqarī's framing of Ḥafṣah in his landmark work elevates rather than marginalizes the poet and her status as a cultural figure in al-Andalus. [ABSTRACT FROM AUTHOR]

Copyright of Alustath is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This 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]

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]

The paper tries to display the links between a catalogue of metaphors contained in Maciej Kazimierz Sarbiewski's handbook entitled Characteres lyrici, seu Horatius et Pindarus and Giambattista Marino's Canzone delle stelle. Based upon his college lectures (Połock 1626/1627), Sarbiewski's work offers practical rules for the composition of lyrical poetry and some theoretical considerations. Among many "ornaments related to the lyrical invention", a very important stylistic device mentioned by the Jesuit poet and theorist is a "definition by accumulation" (definitio conglobata), that is, a series of extended metaphors or other figurative expressions, for example periphrasis, metonymy or allegory. This rhetorical strategy serves as a useful instrument in reintegrating the art of invention with amplification aimed particularly at the accumulation of different words or figures. As the "ornament of the lyric invention", the definition described by the author appears no to be restricted only to effective searching for ideas and concepts; it is also a valuable tool for achieving unusual power of expression and for exercising composition and style. Sarbiewski quotes an example concerning the stars, taken, as he says, from „a contemporary Etrurian poet". In his commentary to the edition of Characteres lyrici, Stanisław Skimina identified this poet as Dante, which was subsequently taken for granted by many scholars. Recently, the poet in question has been proved to be Giambattista Marino, famous for his style characterized by many extravagant conceits, excessive figures, and other complicated rhetorical patterns. The authors analyze Sarbiewski's catalogue in the context of Canzone delle stelle, dealing with the way the Polish poet understands and changes the original. While translating Marino's poem into Latin and listing metaphorical "definitions" of stars, he retained freedom of creative interpretation. For this reason, in his catalogue one may find far-reaching textual changes, for example misreading of words, omission of some figures or simplification of meanings. [ABSTRACT FROM AUTHOR]

The Dutch-Flemish literary project De eenzame uitvaart (The lonely funeral) consists of city-based groups of poets who write poems and perform them at funerals of fellow citizens who died lonely and often anonymously. At first sight, this project could be considered as a revival of the genre of occasional poetry and, more generally, as an exponent of the 'revenge' of the lyric in the twenty-first century. This revenge, a term borrowed from Thomas Vaessens, implies that contemporary poetry no longer functions as a marginal and elitist genre but has reconquered its popular status and societal value – in short, its heteronomous function. This paper aims to question this idea of the lyric's revenge by analysing the ambitions (as expressed by the initiators of the project) and a selection of poems of De eenzame uitvaart. It contends that the project is founded on a firm belief in the potency of the lyric and its specific language but that this belief is often contradicted by the hesitant rhetoric of the actual poems. This discrepancy between great ambitions and hesitant practice is interpreted as a symptom of the contemporary status of the lyric, which takes revenge yet only reluctantly. [ABSTRACT FROM AUTHOR]

This paper examines the manner in which the concept of alienation appears in Ileana Mălăncioiu's poetry. The essay is organized in three parts. In the first part, we examined some of the avatars of the stranger, as they appear in the poet's early poems and, then, in her transitional poems, the final stage of the '60s writer's creation. The second part of our essay describes the mechanisms of alienation. In the final part of this paper, we will also analyze the alternatives that the poet finds to alienation. We must specify that alienation is not a theme of Ileana Mălăncioiu's poetry as much as the search for saving solutions is. [ABSTRACT FROM AUTHOR]

Philosopher Byung-Chul Han’s In the Swarm (2017. Translated by Erik Butler. Cambridge, MA: The MIT Press) foretells of a near-future in which ‘the mounting narcissification of perception is making the gaze, the other, disappear’ (24). Asking the rhetorical question, ‘If poets are in the business of cultivating “voice” then, logically enough, to which ends?’ this paper intends to argue that poetry can be an ethical cry seeking a fraternity of others in a ‘post-truth’ era, which Han imagines to belong to the newly emerging Homo digitalis (11). Finally, this paper speculates that the creative producer must turn, politically, to face ourselves within our others, as distanced and as near as a mirror’s reflection. Making-sacred in the marketplace-real, by these means can we hope to shelter together, a fraternity gathered against what Han characterises as a fast-approaching shitstorm (2). [ABSTRACT FROM AUTHOR]

Jean-Luc Nancy’s The Inoperative Community (1986) and subsequent critical responses to it [Rorty, Richard. Contingency, Irony, Solidarity. Cambridge: Cambridge University Press, 1989; Agamben, Giorgio. The Coming Community. Minneapolis: University of Minnesota Press, 1993; Blanchot, Maurice. The Unavowable Community. Barrytown, NY: Station Hill Press, 1998; Esposito, Roberto. Communitas: The Origin and Destiny of Community. Stanford, CA: Stanford University Press, 1998; Miller, Joseph Hillis. The Conflagration of Community: Fiction Before and After Auschwitz. Chicago: Chicago University Press, 2011; Miller, Joseph Hillis. Communities in Fiction. New York: Fordham University Press, 2014] create a philosophical framework which can be applied to unearth communities of culture which go beyond geographical, physical or temporal contact. This paper defends this cultural framework’s usefulness to ascertain points of contact for contemporary poetry in English on both sides of the Atlantic, thus responding to Nancy’s denunciation of the “dissolution, the dislocation, or the conflagration of the community” in modern thought. The fate of poetic production across the Atlantic seems to be divergent; while in Europe poetry is a liminal activity, it remains a vibrant activity both in the USA and Canada. Younger British poets continue to write lyrical and experiential poems, often within received forms. It contrasts with the overabundance of new, radical ideas about poetry put forward by American and Canadian poets: from experimental, technology mediated or intermedial poetry to conceptualism, poets beyond the Atlantic try to self-impose limits to poetic diction in order to supersede Romantic poetics. Comparing both poetics proves most fruitful when they are analysed against an unworked (Nancy’s désoeuvrée, often also translated as inoperative) transatlantic community of practice: there are formal influences between European movements such as French Oulipo in the 1960s or Fluxus in the 1970s with current poetry in the States and Canada; conversely, poetry in Europe has been permeable to high Modernism and post-modern aesthetics from across the Atlantic. As the paper demonstrates, this comparative approach provides a more inclusive vantage point that insists on the fluidity of our contemporary global culture and allows for the establishment of connections hitherto unnoticed in current poetry, thus countering claims of its stagnancy, commoditisation and complacency. [ABSTRACT FROM AUTHOR]

This paper argues that the contrast between ostensible closure and foreseeable continuation is a crucial feature of Ovid's first exilic book. More broadly, the exiled poet's longing for the end of his punishment is more and more challenged by the emperor's alleged unwillingness to recall him--which forces Ovid's Tomitan carmen to keep on going, thus making it ultimately incomplete. [ABSTRACT FROM AUTHOR]

Nostalgia and Alienation are defined as the feeling that one has when he finds himself alone without connection with the people around him. He considers himself as a stranger in the society where he lives. This is due to leaving the people and homelands. This is what happened to Arab-American poets, (Emigrant poets) who leave their homelands and people. The current paper presents Arab-American poets' longing, deep love, nostalgia and feeling of homesickness for their beloved countries in East. It also shows their adherence and alienation to their homelands by remembering the years and times they lived there. It emphasizes literary criticism of describing, analyzing and evaluating some of Arab-American poems. [ABSTRACT FROM AUTHOR]

In the seventeenth century British literary arena appears a unique school of poetry called "metaphysical school". The most remarkable characteristic of the metaphysical poetry is the original and arresting conceits. John Donne is the forefather and the most representative of the school. Through analyzing the sources of conceits in John Donne's poems, this paper attempts to clarify the using of conceits in John Donne's representative poems, and then summarize the features and unique functions of conceits. It is hoped that it can help readers to have a better understanding of the poet's poetry, and grasp his thoughts. [ABSTRACT FROM AUTHOR]

Copyright of Journal of College of Education / Wasit is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Journal of Tikrit University for Humanities is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper seeks to shed fresh light on the aesthetic and stylistic affiliations of Lycophron's Alexandra, approaching the poem from two distinct but complementary angles. First, it explores what can be gained by reading Lycophron's poem against the backdrop of Callimachus' poetry. It contends that the Alexandra presents a radical and polemical departure from the Alexandrian's poetic programme, pointedly appropriating key Callimachean images while also countering Callimachus' apparent dismissal of the 'noisy' tragic genre. Previous scholarship has noted links between the openings of the Aetia and of the Alexandra, but this article demonstrates that this relationship is only one part of a larger aesthetic divide between the two poets: by embracing the raucous acoustics of tragedy, Lycophron's poem offers a self-conscious and agonistic departure from Callimachus' aesthetic preferences. Second, this article considers another way of conceiving the aesthetics of the poem beyond a Callimachean frame, highlighting how Lycophron pointedly engages with and evokes earlier Aristotelian literary criticism concerning the 'frigid' style: the Alexandra constructs its own independent literary history centred around the alleged name of its author, 'Lycophron'. The article proposes that this traditional attribution is best understood as a pen name that signposts the poem's stylistic affiliations, aligning it not so much with the Ptolemaic playwright Lycophron of Chalcis but rather with Lycophron the sophist and a larger rhetorical tradition of stylistic frigidity. Ultimately, through these two approaches, the article highlights further aspects of the Alexandra's aesthetic diversity. [ABSTRACT FROM AUTHOR]

Icelandic poets in the 16th and 17th century had great interest in formal features such as rhyme, kennings, and periphrasis. Rímur poets made use of Eddic diction and imagery but the use of kennings was not limited to rímur; it can also be found in other kinds of poetry. Baroque delight in periphrasis and metrical complexity ensured a favorable reception for the renewed interest in dróttkvætt measure, with its aurally intriguing rhymes and complex kennings. The paper discusses the use of kennings and the connection between kennings, riddles and metaphors and also between kennings and Eddic and classical myths. [ABSTRACT FROM AUTHOR]

In this paper the author explores the poems of Jen Walls. Jen is an international poet, author, and literary reviewer. She has got several poems and books published. Her body of works appears globally in various renowned international literary publications including Contemporary Vibes, PoetCrit, Bhakti Blossoms, Contemporary Literary Review India, Core Realm of Cosmic Peace & Harmony, and The Year of the Poet. Jen Walls was awarded the 2016 Distinguished Poet Award from Writers International Network (WIN-Canada). She currently resides in Saint Paul, Minnesota, USA. [ABSTRACT FROM AUTHOR]

Anna Terék is one of the most interesting Hungarian poets of the young generation. The study is focused on Terék's third poetry book, Halott nők (Dead Women) (2017). The book is a poetry cycle that shows stories/voices of five women. Violence, physical as well as psychological and symbolic, becomes destructive to the identity of the individual but also to the identity of the community. At the same time, it demands an effort of expression. The paper analyses these issues. The study describes the speech / narrative forms and their functions, and it examines the system of metaphors and the specific poetic language. The poems are closely related to the Yugoslav Wars. The study refers to this historical background but also shows the poems' universal dimension, which makes it possible to speak about them in terms of the life stories of today. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Kirkuk University Humanity Studies is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)