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This paper examines a transatlantic identity in the poetry and fiction of Sylvia Plath through the lens of her experiences of pregnancy and childbirth in England. Although the influence that her transatlantic movements had on her writing has attracted scholarly attention in the past 20 years, the cross-cultural dimensions of her poetic representation of maternity and motherhood have been largely ignored. Through a close reading of 'You're', 'A Life', 'Morning Song', 'Candles', and sections of The Bell Jar, I will argue that the depiction of maternal experiences is crucial to understand Plath's problematisation of the issue of identity, and especially to understand it in terms of post-war nationalist discourse rooted in the fear of the contaminated 'other'. In those works written during and after her first pregnancy in London, the female and maternal subjects are frequently displaced from their native land and situated on boundaries between two different societies and cultures. Focusing on the dual (or multiple) view of society and culture surrounding maternity that was fostered through her transatlantic movements, this paper will illuminate how Plath redefines motherhood as a ground on which one's national identity and the matter of belonging are to be radically questioned. [ABSTRACT FROM AUTHOR]

There has been little research into poetry classification and the potential to access poems by form and genre. The categories listed in the Library of Congress Genre/Form Terms (LCGFT), Wikipedia, Amazon.com, and the poetry-sharing platform, PoetrySoup, were compared through a systematic mapping process. It was found that LCGFT coverage is more extensive for poetry than fiction, but all four sources' coverage is limited. Beyond a small core of well-established forms and genres, poetry is classified in many less well-known ways, with many categories based on form, as well as a wide range of other characteristics, including some very specific ones. [ABSTRACT FROM AUTHOR]

In Prismatik's Scarlet Portrait Parlor (2020) poetry and code uncannily appear one and the same. This results in a work that is both familiar and strange, and this, along with Scarlet Portrait Parlor 's brevity, simplicity of construction, and immediate recognizability as a work of literature (a sonnet) that is also executable source code producing a work of electronic literature, has the potential to intrigue students and textual scholars unfamiliar with and perhaps resistant to Critical Code Studies (CCS). A study of Prismatik's work also has the potential to refine some simplistic judgements in CCS scholarship about the efficacy of code that emulates natural, human language. This case study aims to elaborate the value of Scarlet Portrait Parlor as a rich example of how poetry, programming, and interactive fiction can be intertwined if not blurred in a single text and to act as a catalyst for generative discussions about the overlapping and intertwining of natural languages, programming languages, creative writing, and coding. This case study aims to elaborate the value of Scarlet Portrait Parlor as a rich example of how poetry, programming, and interactive fiction can be intertwined if not blurred in a single text. [ABSTRACT FROM AUTHOR]

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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.)

Mary Shelley loved Italy, the country where she resided for more than five years - from 30 March 1818 to 25 July 1823 - after fleeing England with her husband, who left unpaid debts behind him. Tuscany is where the couple lived longest, and the region figures prominently in Mary's writings. Referring, occasionally, to the author's letters and journals, and Percy Bysshe Shelley's poetry and letters, my article intends to explore the various forms such a presence assumes in a selection of works, notably the novel Valperga (1823), the narrative essay "Recollections of Italy" (1824), and the story "A Tale of the Passions" (1823). From this survey, it will emerge how Tuscany is present with its landscape and topography, climate, language, literature, history, traditions, and the daily life of the common people. [ABSTRACT FROM AUTHOR]

The article discusses , Merrill's poetry as a response to the problem of reconciling his public face with his sexual identity and poetic vocation, and to his enduring commitment to closed forms in an era dominated by open forms. To show how this problem first arises in Merrill's work, I need to begin with his early novel, The Seraglio, which was begun in Italy, heavily revised afterward.

Copyright of Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes 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 Cahiers de la Nouvelle: Journal of the Short Story in English is the property of Presses Universitaires de Rennes 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 maps out the affinities between Ahmed Ali’s Twilight in Delhi (1940) and Naguib Mahfouz’s Palace Walk (1956). It traces the central mood of nostalgia for a lost past in the two novels and demonstrates how this ambivalent mood plays out in three respects: in the characters’ leisure activities, marked by their indolence and retrospective yearning; in the exaggerated assertion of patriarchal self-importance, compensating for a loss of actual political significance; and in the fraught relationship with the British. These three issues coalesce in the male protagonists’ amorous exploits, which link with the production of traditional poetry and song, serial adultery and the cultural clash between British and vernacular culture. In the final section, I discuss the two novels from the perspective of literary history and propose that they may be typical of a genre of the Muslim novel on its emergence from colonialism. [ABSTRACT FROM AUTHOR]