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Copyright of Al-Adab / Al-ādāb 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.)

Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's wellknown poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one of his statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art. [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]

Frangois Cheng (1929- ), elected to the Academie Frangaise in 2002, structurally introduced the lexicological, syntactic, and semiotic form of Tang poetry to the French academia via his academic works. In the late 1980s, Frangois Cheng shifted his focus from academic writing to creative writing, both in French, winning the 1998 Prix Femina for his novel Le Dit de Tianyi (1998) and Prix Roger Caillois for his collection of poems Double chant (2000). Focusing on his less-discussed poetry, which reveals higher congruity of his understanding of Chinese literary classics with creative representation, this paper argues that, as an analyst of Tang poetry, Cheng also acts as a contemporary translator of the classical Chinese aesthetic ideology into French modern verses. His subjective creation of poetry is both transcultural and trans-temporal, ambiguously corresponding to his lingual, racial, cultural, and national belonging, and appropriating a new valid form of French literary style. This ambiguity both transcends national identification and universalizes the international flow of knowledge. Beyond Feng Lan's (2017) recognition of Frangois Cheng as a special representative of Chinese diasporic intellectuals who mediate between institutionalized French discourses and Chinese classical philosophy, a close reading of Cheng's poems in the paper will support an investigation of his successive and transformative production of text. [ABSTRACT FROM AUTHOR]

Ecocriticism is a field that is inherently cross-cultural, and poetry is an art form that creates bonds across cultural communities. This paper focuses on Gary Snyder, a prominent poet in his own right, who is famous for his translation of the works by Chinese poet Han Shan. His attraction to Chinese classical poetry and Eastern civilization offers an alternative to the Western developmental paradigm, and the ecopoetry he espouses is pertinent to today's environmental debates. His references to nature do not function merely as reminders that nature should be respected but as an impetus to reflect on the coexistence of multiple temporalities and agencies. This paper examines Chinese poetry's inspirational effect on Snyder and analyzes his translations of Han Shan's poetry. Snyder's ecocritical insights have had a wide influence, particularly on the work of Hong Kong poet Xi Xi. This circulation of poetry offers a means of bridging Western and Eastern cultures. The mutual enrichment achieved by such cultural translations provides a means of transcending the simplistic dichotomies of the East and West. [ABSTRACT FROM AUTHOR]

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada 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.)

Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground. [ABSTRACT FROM AUTHOR]

E.E. Cummings's concrete poetry raises the canonical problem of poetic untranslatability. It is commonly accepted that a poem is constituted as a unity of form and content, and any change in the form of a poem results in the loss of the poetic value and, eventually, translation failure. Two basic approaches have been proposed regarding the untranslatability of Cummings's concrete poetry: mimicry and equivalence of effect. However, the former is impractical, and the latter is an indirect one. This paper proposes employing Wittgenstein's conception of translation in his later philosophy of language to solve the question of the untranslatability of Cummings's concrete poetry. By analysing three of Cummings's concrete poems 'r-p-o-ph-e-s-s-a-g-r', 'mOOn Over tOwns mOOn', and 'Buffalo Bill's', this study suggests that poetry is translatable in the sense that the same language-game in the source text (ST) can be played in the target text (TT) by reconstruction or invention. [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.)

Holism evolution states that although energy, matter, life, consciousness and the human personality are independent and different substances/levels of evolution, they are holistically and intimately related. This paper presents the findings from teaching chemistry to high school science students and post-graduate university science-education students using poetry constructed from physical science ideas embedded in holism evolution. The research findings are based on observations of student behaviour and their written feedback from being taught chemistry using poems on the periodic table and acids and bases. Both poems demonstrate the holism intimacy between various substances/levels of evolution, with the periodic table poem also presenting groups of chemical elements as representing the characteristics of infant, teenager, adult and old age of matter, presenting a holistic relationship between matter and life. The findings indicate that using holism evolution infused content led to a personally meaningful engagement with chemistry even among students with limited previous interest in the subject. Many post-graduate students expressed new levels of engagement with chemistry as well as new insights to enliven their teaching practice. [ABSTRACT FROM AUTHOR]

This paper argues for engaging in unconventional/artistic representations in psychological research and presents step-by-step instructions to make use of a specific form of artistic representation, namely found poetry. Found poetry is a form of poetic inquiry that has been used in a variety of social science disciplines, primarily to amplify meaning making possibilities in qualitative research and to make research more accessible to the reader in various ways. Accessibility of research to the general public can be greatly enhanced by artful representations, particularly poetry, because of its immense socio-epistemic potential. The paper thus attempts to provide a guide on fashioning a found poem out of qualitative data. There are 5 steps in all, represented by the acronym BEST-M. These steps consist of the following: beginning data analysis, excavating evocative data nuggets, scooping out the data, tying the thread, and member checking. As an exemplar, an interview of a young adult participant and their experience of navigating lockdown imposed during the COVID-19 pandemic is used for demonstrating the implementation of the five steps that the paper puts forward. [ABSTRACT FROM AUTHOR]

This paper analyzes Agi poetry and utilizes the Panayanon concept of power called gahum as its critical framework. Philippine gay literature unfurled after the publication of Ladlad: An Anthology of Philippine Gay Writing (1994) and continues to reach higher grounds. However, gay criticism has been too focused on the discourse of the Manila bakla and not much has been said about indigenous models of queerness in the regions. As agi is an indigenous articulation of homosexuality in Panay in Central Philippines, this paper traces the connection of the agi's attendant performance (kaagian) with the indigenous tradition of babaylanism. By investigating the strong presence of babaylanic imagery in agi poetry, this study attempts to unravel the connection of kaagian with a precolonial form of power called gahum, which is deeply attuned to the animist spatiality of Panay. The babaylan is a shaman, culture bearer, and political leader that embodies physical and spiritual gahum that go beyond the human realm. By exploring the interconnected concepts of kaagian, gahum, and babaylanism, this critical study reveals that agi writers champion the image of the babaylan to subvert colonial-imposed hegemonies and decolonize the agi identity. [ABSTRACT FROM AUTHOR]

This paper discusses one paragraph of the Kitāb al-Barbariyya, a medieval Berber commentary on Abū Ġānim's Mudawwana. The brief note examined is a comment on the answer to a legal question, which mentions the ancient Berber names of a constellation and of a plant, quoting two lines of Arabic poetry. The passage occupies seven lines (f. 126b, ll. 8-14) of the manuscript MS.ARA 1936 found at the Bibliothèque universitaire des langues et civilisations (BULAC) of Paris. The Berber words retrieved from this text are Amanar, the name of the constellation of Orion, and tabduɣt, the name of the cotton plant. Moreover, in this ancient text, the word (a)kermus, which in the contemporary Berber languages applies to some specific plants (figs, prickly pears, dates), and which, in this case, seems to mean simply 'fruit', which supports a possible etymology from the Greek karpós. A list of Arab authors quoted within the Kitāb al-Barbariyya is added at the end of the paper. [ABSTRACT FROM AUTHOR]

Copyright of Armenian Folia Anglistika is the property of Publishing House of Yerevan State University 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 Babylon Center for Humanities 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.)

This paper focuses on Chinese sources suggested for a narrative medicine (NM) program, called AfterWards. Dr Lauren Small established AfterWards in 2014 and has been coordinating it since out of the Pediatrics Department at Johns Hopkins Medicine. In early 2019, she started giving a series of lectures and workshops about AfterWards to Chinese medical educators and clinicians in Beijing and Shanghai. She created an AfterWards Facilitator's Guide based on Western-language sources for workshop participants. She also started to organize with Jiang Yuhong (Peking Union Medical College) a workshop for Chinese colleagues to be held at Johns Hopkins Medicine in October 2019. They invited the author to participate. The idea was hatched then to develop Chinese source materials following the AfterWards structure for an updated Facilitator's Guide that Dr Small had initially written. A typical one-hour AfterWards session consists of a specific five-part structure: a literary text or artwork, an associated theme, discussion topics, a writing exercise, and shared reflection. While the content of the program always changes from session to session, the basic structure remains the same. This paper summarizes the types of Chinese sources and their related narrative-medicine themes that were originally selected for inclusion in the updated AfterWards Facilitator's Guide intended for Chinese colleagues. These sources about coping with sick family members, aging, and illness ranged from the textual (classical Chinese poems on aging and diagnostic forms for training students) and visual (premodern Chinese paintings and murals of medical encounters) to the fictive (novels) and performative (contemporary Asian-American film in English and Chinese-language film and documentaries). [ABSTRACT FROM AUTHOR]

The Palestinian poet, Mahmoud Darwish, is a master of weaving various intellectual sources and different types of religious, artistic, historical, and mythical figures into his poetry. Like any exceptional piece of art, his poetry triggers an immediate response. It blends the aesthetic with the informative to create a vivid world deeply rooted in global heritage and local folklore. This paper investigates the translation strategies of mythical intertextuality in Darwish's poem "Mural." The current paper is a product-oriented descriptive translation study that uses a contrastive analysis of three published translations to analyse the translation strategies. The mythical intertextuality is located in the source text then each example is mapped to its counterparts in the target texts. This study aims to identify the strategies used in translating the Arabic mythical intertextuality into English, find the impediments hindering the translation process, and reach a generalisation about the translators' norms and patterns of translation. The study concludes that regardless of the strategy applied to translate mythical intertextuality, what truly affects the process and product of translation is the translator's cultural accumulative knowledge, i.e. the translator's cultural infrastructure. This knowledge, which enables the translator to perform his vital role as an informed reader, facilitates the task of rendering the mythical intertextuality, which can be studied as a representative of all types of intertextuality, with all its cultural aspects, connections and background. [ABSTRACT FROM AUTHOR]

AI-generated art, text, and audio have emerged in the last year as potentially disruptive technologies: can students now simply plagiarize entire papers whole cloth from an internet chat tool? Is the digital art on display created by a human, or an amalgamation of digital repositories which create art in many styles in seconds? Is the audio or video clip on the screen legitimate, or a forgery produced from a provided bank of samples? Shown in this negative light, the technological advancements in AI are anathema to the traditional spirit of learning and collaboration which is key in the literature classroom. This guide attempts to invert the potentially nefarious uses of AI in education by using its inherently accessible nature to benefit students who might learn best in a visual or creative mode in the study of poetics. By experimenting with free-to-use AI art generation tools, students will come to better understand not only the function and form of poetry, but also poetic paraphrase and figurative language. [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 explores the evolution of Girolamo de Rada's poems, specifically focusing on Songs before Millosao. By scrutinizing De Rada's original manuscripts and comparing them to the early published versions of his poems, we delve into his creative process and examine the modification of verses, characters, and themes over time. This study also investigates the presence and progression of political and patriotic elements in De Rada's work, providing valuable insights into the cultural and historical influences on his poetry. Central to this paper1 findings are the transformation of his protagonists, shedding light on the author's evolving perspectives. The analysis highlights De Rada's continuous endeavor to refine his works, making them more enjoyable, refined, and valuable to his readers. Through the close examination of De Rada's manuscripts and early publications, this study offers a deeper understanding of the author's early concepts and the subsequent evolution of his poetic work. Ultimately, this research contributes to the ongoing scholarly conversation about De Rada's significant role in the Albanian literary renaissance and his unique portrayal of the nation's historical and cultural identity. [ABSTRACT FROM AUTHOR]

Mary Leapor (1722-46) is one of the many under-studied women poets of the eighteenth-century. She is often described as a laboring-class poet which, while historically accurate, implies her immediate marginalization as an writer by her class and gender. Her focus of enquiry explores a new female authorial interiority, embracing her own volition, personality, and aesthetic sensibility through the act of writing itself. This nascent individualism, arising from the examination of feeling, lies at the heart of her work and heralds the social protest that will erupt later in the century. This paper hopes to offer a broader perspective on Leapor's work through close readings of a selection of her poems and analysis of the ideas this precocious, self-educated woman was exploring in her work. [ABSTRACT FROM AUTHOR]

Copyright of Studii de Ştiintă şi Cultură is the property of Studii de Stiinta si Cultura 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 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]

Literature that is being composed from or about the politico-geographical category of Northeast India focuses on violence and ethnic movements in major ways (Hazarika, 1996; Barpujari, 1998; Baruah, 2005; Paula, 2008). While Weberian understanding of indigenous cosmology has led to archiving, documenting and research on ethnic epistemologies from Northeast India, in the absence of indigenous literary theories, literature from this region faces the challenges of homogenisation or becoming case studies for ethnographic documentation and anthropological inquiry (Karlsson & Subba, 2006; Subba, 2009; Lepcha et al, 2020 in the context of Sikkim). This paper intends to propose a theory of reading that upholds the role and participation of the poet(ess) as a shaman- a transforming agent and a transformed individual herself. This theory is being named Yemapoetics, deriving its epistemic framework from the figure of shamaness or Yema in the Limboo healing tradition in Sikkim. Yemapoetics is an attempt to propose a new indigenous paradigm for indigenous literary expression around the world. This theory identifies stages of poetic composition as well as reception, ranging from purification, possession, and communication to catharsis. An indigenous literary theory like this will provide contexts for locating the poet(ess), examining her/his role as a community healer who connects the modern, urban psyche of individuals with communal, archetypal symbols. This enables a process of retracing and remembering through the poetic act that is essential to healing and recovery. Just as Limboo cosmology recognises women as first humans to be created, this paper argues that women’s psychospiritual agency should be at the centre of poetic theories to accord validity and applicability of feminist spirituality to indigenous literary theorisation. For this purpose, an illustration of the proposed theory will be made with reference to select indigenous poets from Sikkim. [ABSTRACT FROM AUTHOR]

This paper aims to shed light on the characteristics of Heidegger's later thinking on language, which we can illuminate by examining his interpretation of Hölderlin's poetry. Poetic language differs from everyday language, such as statements (Aussagen). It speaks of imageless thinking. With the help of a priori understanding of its beingness (Seiendheit), we routinely state a being (Seiende) as something. However, the appearing of a being or an appearing being cannot be determined through a statement of "S is p." An appearing being indeed does exist; however, it disappears once the beingness of a being is given. Hölderlin's "The Rhine" is a poem that says the appearing of a being. In this regard, the poem is a language of the ineffable, which cannot be said in ordinary language. Therefore, the interpretation of Hölderlin's poetry presented by Heidegger is an elucidation of a language of the ineffable. It is the task of this paper to uncover this fact. [ABSTRACT FROM AUTHOR]

The aim of this paper is to examine Edward Thomas's literary representations of his walks and bicycle rides from the perspective of the development of the genre of the travel book in Britain. The paper provides a brief outline of the history of the synergy and friction of travel books with the genres of the novel and the autobiography, and the ways in which the developing naturalist and pedestrian discourses influenced travel books and travel accounts. A key argument constructed and developed in the second part of the paper is that the combination of Thomas's dissatisfaction with the loose collage-like nebulousness of his early travel accounts from Beautiful Wales (1905) to The South Country (1909) and his wide knowledge of 19th-century British travel writers resulted in two 'conventional' travel books The Icknield Way (1913) and In Pursuit of Spring (1914), in which Thomas relied on such standard generic features as the diary format and the central role of the narrative persona. [ABSTRACT FROM AUTHOR]

Copyright of Adab Al-Kufa 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 explores placemaking as an interdisciplinary concept between the field of digital humanities and human geography. Literary placemaking techniques are used in a critical analysis to unpack methods of meaning making and uncover paths for future development of literary interfaces. [ABSTRACT FROM AUTHOR]

This paper explores "hegemonic national integration" and "Francophonecentric national governance" in The Cameroons (TC) poetic scape. The former refers to La Republique du Cameroun (LRC)-British Southern Cameroons (BSC) or Southern Cameroons (SC) interconnectedness dominated by Francophones. The latter is governance that promotes a Francophone cultural superiority that refuses to see the Cameroonian world through Southern Cameroon!ans' eyes. Cameroonians live in a time of enormous fragmenting "Francophonizing" and "Anglophonizing" processes. To flesh this argument out, this paper borrows critical perspectives from Ben ha bib's "democratic iterations" and "deliberative democracy" and Rosenau's "six-governance typology' as requisites for good governance. It contends that "hegemonic national integration" and "Francophonecentric national governance" are pervasive features of Bill Ndi's poetry. Indeed, SC literature of the anti-Francophoncentrism kind such as Nkengasong's Across the Mongolo, Besong's Disgrace, Nyamnjoh's Souls Forgotten, etc., has not been recognized. For demonstrative purposes, focus will be on Ndi's Worth their Weight in Thorns, a glaring example of such works. TC in which the poems are set is ruled by a power-drunk elite and characterized by socioeconomic and politico-cultural marginalization which is symptomatic of "hegemonic national (dis)integration" and "Francophonecentric national governance". In TC, national integration and governance have become a kind of postcolonial re-racialization because the disparities between the wealthy/powerful Francophones and the poor/powerless Southern Cameroonians possess something akin to the racial character being witnessed in the USA. Consequently, reading Ndi's collection from this perspective reveals the ongoing rivalry between the dominant LRC and the dominated SC as a stellar representation of a master-servant relationship. [ABSTRACT FROM AUTHOR]

While modern adaptations of Chinese classics have drawn keen scholarly interests lately, the comic adaptation of Chinese traditional poetry remains under-investigated. Extending the previous research on intersemiotic translation and comics, this paper, drawing on the analytical framework of systemic functional semiotics, examines distribution of process types of language in poems in comparison with that in comic images in the exemplary case drawn by Cai Zhizhong, using UAM image as the annotation tool. The comic book formulates a multimodal corpus that consists of 1,097 clauses and 605 images. We have manually analyzed the process type of the poems and their corresponding comic panels. Our quantitative and qualitative results show that there are distinct patterns of process-type distributions between verbal poems and images. Poems have been turned into perceptions, actions, and verbal processes in comic strips, which serve various purposes such as construction of the poet's gaze, relations building, storyline development, dramatization, metaphor visualization, etc. The paper is concluded with discussion on how the intersemiotic translation of poems might produce effects on readers. [ABSTRACT FROM AUTHOR]

Diane Seuss's ekphrastic poetry collection Still Life with Two Dead Peacocks and a Girl is a celebration of life and death, imagination and reality, stillness and movement. This paper focuses on the first poem of the collection to investigate the relationship between the poetic persona and the landscape surrounding her. I employ central principles of cognitive linguistics as applied in the field of stylistics to discuss the manifestation of her mind style and examine how she constructs and situates herself in the environment. Drawing on Langacker's notion of construal, I analyze the perspective and the degree of specificity of the descriptions. I also trace the extensive use of the container image schema that underlies the semantics of the poem. The paper demonstrates that despite her assumed idyllic existence, the poetic voice's ornate descriptions of nature conceal a sense of uneasiness and confinement and the highly granular lexical choices and figurative expressions reveal her anthropocentric view of the environment. This gives rise to her feelings of alienation while the presence of the container image schema reinforces her sense of confinement. From an ecostylistic perspective, the analysis demonstrates how an anthropocentric view may manifest itself linguistically, highlighting textual features of anthropocentric narratives. [ABSTRACT FROM AUTHOR]

In this paper I propose to examine several poems by Elizabeth Bishop through the prism of the concept of letter delineated in "Lituraterre", where Lacan explores the connection between the literal and the littoral in order to draw a key distinction between signifiers which are the semblances involved in ordinary communication, and the letter as a precipitate resulting from their breakdown. Insofar as the letter causes "writing effects that are structured around moments of vacillation of semblances" (M-H Roche), such effects may be traced in poems where Bishop focuses on how meaning is set adrift by eliding, displacing or transforming graphemes and phonemes. Her observation that "the names of seashore towns run out to sea" points to the littoral/liminal space of the poetic signifier that straddles enjoyment and meaning. I analyze Bishop's painterly treatment of mist through the prism of Lacan's discussion of Japanese calligraphy where the unary brush stroke, which "is the means to clear original Chaos" (E. Laurent), operates as the equivalent of the median void, often represented by fog in Chinese painting, i.e., as an avatar of the littoral that separates knowledge from enjoyment. I conclude with a reading of a poem where the semiosis of mortality hinges on the (dis-)appearance of certain phonemes, inviting us to question the literal/literary destiny of letters when they turn into Joycean litter, and prompting us to revisit Lacan's familiar aphorism that "a letter always reaches its destination". [ABSTRACT FROM AUTHOR]

This paper examines the poetry of the two Palestinian American poets, Naomi Shihab Nye and Hala Alyan within the concept of the “thirdspace” of resistance literature. With this premise in mind, the study uses Edward Soja’s concept of “thirdspace” (1998) to examine the poetry of Naomi Shihab Nye and Hala Alyan as an articulation of “resistance poetry” exemplified in Ghassan Kanafani’s book entitled Resistance Literature in Occupied Palestine 1948-1966 (1966). The poem itself, as a form, is an imagined geography constructed by the poet’s personal and collective memories that build up his/her spaces of resistance poetry. In these artistic cartographies, memories traverse from contested lands and geographies to a “thirdspace” that recreates a timeline of stories and narratives that unfold the poems’ resistance manifesto. To foreshadow these imagined memories, the poem functions as: first, a documented tool of resistance to forgetfulness; second, an artistic device for articulating memory; third, a “thirdspace” where contested geographies of resistance and resilience dissolve to re-visioning history that curates hybridized literary spaces of prose poetry and cartographies of memory. [ABSTRACT FROM AUTHOR]

This paper comments on a recent article "Revolutionary poetry and liquid crystal chemistry: Herman Gorter, Ada Prins and the interface between literature and science" by Hub Zwart (Foundations of Chemistry, published online: 10 July 2020), in which the author explores the influence of the liquid crystal research of Ada Prins on the epic poem Pan written by her long-time lover Herman Gorter. The present paper reviews the basic science of liquid crystals and explains the connections between the work of Prins and its influence on the poem. Other examples of the use of "liquid crystal" as a literary device are identified from renaissance poetry, and the uses of the metaphor in these poems are analysed from a scientific perspective. From these examples it is suggested that creative concepts from poetry may contain elements of substance that appear in hitherto unrecognised scientific realities. [ABSTRACT FROM AUTHOR]

Integrating literacy practices in science classrooms can help students read complex scientific text, write arguments as part of shared cross-disciplinary practices, and engage with content. In the Linking Science, Mathematics, and Literacy for All Learners program, middle school science, mathematics, ELA, and special education teachers have been implementing multimodal STEM text sets that include a range of texts and scaffolds that support instruction and students' content learning. One of these strategies combines reading and writing in unique and creative ways: poetry writing! Blackout and found poems are accessible approaches to help students focus on key words and ideas in a complex text, pull out those words to work with them, and then reconstruct them into a poem. This approach can be used in a variety of ways, and in some of the examples provided, students include an altered page from a scientific article on which they find their words, black out the rest of the text, and then illustrate the entire document to help show their message [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.)

This paper seeks to describe and provide context for the translator John Anster's rendering of a couplet from the Prelude in Goethe's Faust. Anster's translation of a portion of Goethe's drama was published in 1820, making him the first English translator of a number of large extracts from the text. The couplet is of interest because it has become notable in English and is often used to inspire and motivate readers. Yet when we compare Anster's version to the original German, we see a very free rendering, one that brings up intriguing questions about the nature of translating poetry. We also see that Anster has been frequently criticized for straying too far from Goethe's lines. A close comparison of Anster's translation to Goethe's passage containing the couplet serves to illuminate how Anster's rendering diverges from the original. Lawrence Venuti's theoretical approach that describes a type of translation he calls "the poet's version" (2011) provides a useful framework for understanding some of the issues raised by this particular translation. By delving into Anster's rendering of this memorable quotation, we gain insight into the early history of translating Faust into English, the phenomenon of rendering poetry into another language, and the life of this particular couplet long after Anster's time. [ABSTRACT FROM AUTHOR]

The literary work I La Galigo is an ancient book in the form of poetry that contains the myth of the creation of the Buginese civilization which was crowned by UNESCO as World Memory. Literary reading of I La Galigo is done while singing Laoang or Selleang songs. In fact, its existence is increasingly disappearing in the life of the Buginese Society today. I La Galigo then returned and attracted international attention after director Robert Wilson presented it in the form of a play written by Rhoda Grauer. By presenting a story about the process of the formation of the world as well as the long and spiritual journey of Sawerigading, the theater I La Galigo directed by Robert Wilson is considered capable of giving a stronger impression to the audience. This paper aims to 1) explore the theater of I La Galigo by Robert Wilson from the study of Linguistics, and 2) reveal the change of literary works of I La Galigo into theater performances and the process of transferring written literary works called I La Galigo into script theater performances. This study uses a qualitative method with data obtained from the literature study. It focuses on looking at the adaptation in the literary work of I La Galigo into a theatrical performance and the process of changing a written literary work, namely I La Galigo into a script for a theatrical performance by using dramaturgy theory and discourse transfer method. [ABSTRACT FROM AUTHOR]

Copyright of Hypnos is the property of Hypnos / Instituto Hypnos 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]

During the summer of 2021, I experimented with a new way of getting children excited about mathematics: math poetry. "Math" can be a trigger word for some children and many adults. I wanted to find a way to make learning math fun -- without the students knowing they're doing math. In this paper I describe some activities I used with students ranging from grades K-12 to the college level and share several poem examples, from students in grades two through eight. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb 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 Studia Universitatis Babes-Bolyai, Philologia is the property of Babes-Bolyai University, Cluj-Napoca, Romania 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 uses visual network analysis (VNA) to do an exploratory data analysis of instapoetry, focusing on the use and co-occurrences of hashtags connected to Scandinavian instapoetry. The goal was to reveal and explore some of the networked patterns and processes connected to the production and distribution of instapoetry, by using digital methods. Through descriptive measurements of metadata of instapoetry and a visual network analysis, this paper has been able to identify characterizations of such patterns. Findings reveal that the Scandinavian instapoetry community is small and Norwegian dominant, with an established use of semantically close words related to poetry being used as tags to organize and make the poetry findable. In addition, the hashtags also reveal larger popular themes and topics. Reoccurring themes are emotions, interpersonal relations, and mental health. While they at one scale state something about the content of the poems, some of these tags bring instapoetry into other communities and interest spheres on Instagram, with prominent examples being interest spaces of specific mental illnesses, but also, by way of one high-visibility instapoet, into the interest sphere of nature photography and Norwegian tourism promotion. [ABSTRACT FROM AUTHOR]

Set within the frame of World Literature, and dwelling on the multifaceted concept of networking, this paper aims to provide a temporal pattern concerning the transfer/import of postwar North American poetic trends within the Romanian poetry of the 1980s. By relating the aestheticized model of Romanian (neo)modernism to the more direct, biographical discourse of the Beat poetry, the influence of which emerged upfront in Romanian poetry starting from the late 1970s, as well to the Confessional model the paper explores overlapping temporalities within the two literary systems, whereby the paradigms of (neo)modernism and postmodernism, respectively, clashed, due to the homogenizing effect of the communist context. Along these lines, I outline the notion of diachrony in synchrony of the Romanian poetry of the early 1980s, when several poetic patterns pertaining to different stages of North American poetry exerted a simultaneous influence during a very short time interval. The attempts made by Romanian poets to synchronize with, or borrow from Anglo-American literature, also involved relaying certain attitudes, views, and values – both aesthetic and largely ideological – that were specific to the source culture. Set within the frame of World Literature, and dwelling on the multifaceted concept of networking, this paper aims to provide a temporal pattern concerning the transfer/import of postwar North American poetic trends within the Romanian poetry of the 1980s. By relating the aestheticized model of Romanian (neo)modernism to the more direct, biographical discourse of the Beat poetry, the influence of which emerged upfront in Romanian poetry starting from the late 1970s, as well to the Confessional model the paper explores overlapping temporalities within the two literary systems, whereby the paradigms of (neo)modernism and postmodernism, respectively, clashed, due to the homogenizing effect of the communist context. Along these lines, I outline the notion of diachrony in synchrony of the Romanian poetry of the early 1980s, when several poetic patterns pertaining to different stages of North American poetry exerted a simultaneous influence during a very short time interval. The attempts made by Romanian poets to synchronize with, or borrow from Anglo-American literature, also involved relaying certain attitudes, views, and values – both aesthetic and largely ideological – that were specific to the source culture. [ABSTRACT FROM AUTHOR]

This paper is about poetry and pilgrimage in Tembilahan, Indragiri Hilir, where Abdurrahman Siddiq, a prominent alim who lived in the late nineteenth and early twentieth century, is buried. In addition to his treatises on theology, mysticism, and ethics, Abdurrahman Siddiq is also renowned for his contribution to Islamic literature in Sumatra. He is a famous Islamic scholar and is respected in Indragiri Hilir for his spiritual messages delivered in the form of sya'ir (poetry). Malay Muslims have preserved the saint's legacy through the act of pilgrimage and various cultural events and festivals. This paper argues that the recitation of Abdurrahman Siddiq's poems during the pilgrimage to Tembilahan and Islamic festivals shows how Malay Muslims honor their respected saint. [ABSTRACT FROM AUTHOR]

This paper presents the study of the author's style of A.S. Pushkin based on the comparison of his poetic texts with the texts of contemporary poets. The purpose of this study is to determine the features of the author's style of A.S. Pushkin using machine learning methods. This paper describes the construction of several classifications based on different groups of features, as well as the classification based on a combined set of features from different groups. The quality of all constructed classifications is also analyzed; special attention is paid to the interpretation of the neural network solution and the identification of features of the author's style. [ABSTRACT FROM AUTHOR]