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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]

Purpose — The purpose of this paper is to describe linkages between the techniques of poetical expression and the language used by scholars to communicate management practice. Design/methodology/approach — The approach is to consider the stylistic perspective of the language used for management theorising or research, viewing the documents produced by management researchers as communicating devices and cultural products which contribute to the creation or construction of the reality that they seek to describe and analyse. Findings — The paper uncovers the poetic aspects buried — often deeply — in the language of management studies through which the concepts of, and ideas about, management are expressed. Originality/value — The links between ways of saying usually considered to be in opposition are made known, and enjoyed. [ABSTRACT FROM AUTHOR]

In the bustling field of language revitalisation, an Oceanic language isolate in Aotearoa New Zealand, is being given niu life. Fäeag Rotuạm ta, which has the United Nations endangerment status of vulnerable, is the language of approximately 15,000 Rotuman Islanders. In response to these deficit narratives of "endangerment" and "vulnerability", Rotuman Islanders, particularly in the diaspora, have gathered to act on their deep and innate cultural connections to Fäeag Rotuạm ta. Equally in resistance and pride, these acts have resulted in remarkable community-based language revitalisation initiatives. Language revitalisation can also be manifested in creative writing output. Pasifika creative literature since the 1950s has produced novels, short stories and poems that have spoken to and against societal angst. In this creative paper, I present and discuss three poems that respond to the decline in Fäeag Rotuạm ta language use. [ABSTRACT FROM AUTHOR]

Purpose — The purpose of this paper is to offer a meditation on what is especial, and especially difficult, about poetry in its guise as inspiration for, or expression of, efforts and accomplishments in other human and social disciplines such as teaching or research or leadership. At the time of writing, the author — an educational researcher, policy adviser and poet — has been invited to act as poet-in-residence at a conference on interprofessional learning and practice in spring 2006; she is taking the opportunity of this paper to think out loud about the possible responsibilities and rewards of such a role; about what kinds of relationship between poetry and these other modes of being-in-the-world are feasible; and about what kinds of integrity, intrinsic to poetry, need to be made room for in such relationships. Responding to some persuasive ideas of Abbs (academic and poet) and Heaney (poet and literary critic) about the tasks of the poet and the value of poetry respectively, the author argues that poetry is characterised above all by its "gratuitousness" — a notion which is expounded in the paper — and that therefore the straightforward application of poetry to non-poetic contexts and purposes, as a sort of superior didactic instrument, is worth questioning. Design/methodology/approach — The paper makes some recommendations for relating the practice of poetry to the practice of professionalism in whatever sphere without detriment to the essential tasks of poetry. Findings — The paper concludes that the especial gift of poetry, as "something made in language", is to enlarge our imaginations; that a poet's paradoxical responsibility is therefore to do the ungovernable work of the imagination; and that it is the quality of silences (as well as of words) in poetry which give such work its force and meaning. Originality/value — Whilst acknowledging that poetry may often be used as an expression of efforts and accomplishments in other human and social disciplines, the paper takes poetry seriously as an aesthetic and ethical practice in its own right. [ABSTRACT FROM AUTHOR]

Copyright of Annals for Istrian & Mediterranean Studies / Annales: Series Historia et Sociologia is the property of Historical Society of Southern Primorska of Koper 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 poet speaks in a particular way that can "bring things to nearness". This particular way of bringing things to nearness may have some useful implications for understanding human well-being. Sometimes I have noticed that, when I read a poem that really "speaks to me", the poetic language puts me in touch with well-being in a very palpable way, and this has brought me to wonder about this question: What is it that is taking place in a much loved poem that can bring me close to a felt sense of well-being? This paper will draw upon some philosophical insights from the writings of Heidegger and Gendlin to explore what poetry opens up and holds in order to speak of well-being. What is it about poetry that is adequate to hold the deepest roots of hearing with the fullness of what is speaking? Heidegger's later ideas about the essence of language and its non-representational power held within the unity of "the fourfold" may be helpful here. And what is it about poetry that can open up worlds, open us to sensation, and carry us beyond the literal words into the experience of well-being? Gendlin's ideas concerning "thinking beyond patterns" and "carrying forward" may illuminate how poetry holds open what other language cuts off for us. The paper will conclude by pointing to poetry as a crucial form of adequate human discourse that is up to the task of understanding well-being and is therefore highly relevant to health and social care. [ABSTRACT FROM AUTHOR]

The author discusses a study on the use of poetry in capturing grief and connecting people to the world, which references a research paper by Katrin Kerber et al., published within the issue. Topics discussed include the definition of poetry, a comparison between poetry and music, and the method used in the study.

Purpose — The purpose of this paper is to reveal links between managers developing their reflective practice and the emergence of poetic expression in their writing. Design/methodology/approach — The author runs the Master's year of a university program that helps business leaders', managers, professionals and consultants develop their abilities for leading and managing major change projects using action research. She reflects back over the 12 years of the program and recognizes a link between the development of reflective practice and the emergence of poetry and, increasingly, poetic expression. Findings — At the same time as participants' actions are involving them in dynamically complex issues, working beyond events and into the forces that shape change, it is possible to reflect on what they are learning and how they might express it. As they slow down their thinking, become more reflective and inquire into the assumptions on which their actions are based, and then attempt to articulate this, they begin to experience the resounding of their own voices. For many, poetry emerges — in the margins — at the edge of what can be said in words. Practical implications — A major implication for universities and researchers is the realization that a shift from the non-participating "researcher" to the participating "I" is much more than grammatical. Each constitutes a different socially constructed world, uses a different language and is borne on a different voice. Originality/value — There is everyday, practical value in realizing that reflective practice and poetic expression are linked, and that expressing our "selves" in texts that are vital breathes life into our words and our actions in the world. [ABSTRACT FROM AUTHOR]

During the third to sixth century, a theory about miraculous aspects of the Quran, named the Sarfah Theory, was proposed. Seyed Morteza was one of the eminent fans of this theory. Although he had been attracted to this theory by complying with the Mu'tazilli System, he played the most significant role in developing this theory by his independent compilation named "Almouzeh-The Explanation". His scientific domination over literature, poetry, language, jurisprudence and rules, prevents us from neglecting his theory, and ignore his reasons and challenges about Sarfah theory. The issue that someone like Seyed Morteza claims that the text of Quran is devoid of miracles and its miracles are outside of its text, needs to be precisely investigated. However, his exposition of Sarfah cannot be accepted, but as it seems a new exposition of this theory can be provided and generally a good advocation of Seyed Morteza's theory can be presented. In this paper, we accompany Seyed Morteza and claim that the thaumaturgy of Quran has aspects outside of its text. But we also declare that this miracle is associated with the way of getting through Quran. This exposition of Sarfah would be that: God has denied the Quranic revelation gift for anyone but Prophet Muhammad. [ABSTRACT FROM AUTHOR]

Copyright of Renaissance & Reformation / Renaissance et Réforme is the property of Iter, Inc. 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.)

Poetic signification and communication is not an article in which I wish to bring to attention some definitions of what we call poetry and poetics, even if in order to make myself better understood I appeal to some definitions, especially from philosophy, then from the literary theory and semiotics. This paper demonstrates that as long as the poem is closely related to culture, as long as it generates visions and different ways to discover existence, the world as a whole, as long as the code artistic transmitter, thecreator, the poet communicates manifestations of the spirit then it is language; a different language from the common one, primarily because the transmitter is expresses himself on purpose through codes and special images, sometimes abstract, metaphorical images that may not be available to any reader;a language of Ludens, of poetic enigmas ... The poetic texts and messages,the same as the usual referential messages carry with them an information transfer, only that in the (aesthetic) poetic text a complex system of relationships takes shape. Starting from some major theorists of the poetic art we find out that semiotics helps us to look at a poetic text in structural terms, that poetry and the spite of low redundancy produces a series of messages much more fertile - as I. Lotman states - than any other communication form ... [ABSTRACT FROM AUTHOR]

The main theme of this article is that "Josh" has lived up to his name & indeed a poet of hope & optimism rather than a poet of lamentation & pessimism. The diction of his works is full of life and aesthetic beauty. The paper offered some glimpses from his works to prove this contention. [ABSTRACT FROM AUTHOR]

The Heideggerian concept of "authentic language" and "inauthentic language" along with 'inadequacy', 'indeterminacy', fragmentation' and 'silence' in the language of modern poetry, leads us to the crises of language. Martin Heidegger, the Existentialist philosopher, claims that poetry is the essence of language and language is the essence of being. While truth is the essence of the work of art, poetry as a creative work of art must deal with truth. The truth, which modern poetry deals with, is the isolation of man and the crises of identity that shows itself in the language. Thus "Absentist Poetry"claims that poetry, language and being, the three pillars of our existence are in crisis. Absentist language in the poetry of W.S. Graham is an answer to one of the most important struggles of poetry, the question of marginalization of modern poetry by the domination of fiction in the twentieth century. It also sheds light on the inadequacies of language and consequently, deals with the problem of identity in modern life. This paper attempts to introduce Absentist language, as a reason for the crises of identity of the modern man on one side and the marginalization of modern poetry on the other side [ABSTRACT FROM AUTHOR]

The broad and dominant discipline of phenomenology has produced many studies of imagination. Phenomenological studies examine imagination as a dimension of language and explore the creative role of imagination in the creation of new meanings in language. This exploration has many implications in poetry where language is used creatively and new meanings emerge from the creative and unexpected use of language by the poet. This paper aims to describe a phenomenological account of imagination in poetry by introducing the concepts that appear most relevant to imagination in poetry within the domain of phenomenological studies. In order to do this, the study focuses on the main tenets of phenomenological studies relevant to imagination in poetry, namely the concepts of 'metaphor' and 'intentionality'. The discussion highlights the level of creativity of imagination in poetry in comparison with the reduction of imagining to perceiving in language. Likewise, the poetic image in poetry is also introduced as an image which is not a resume of the old meanings of perception. Phenomenology of imagination in poetic creation takes us beyond the pervious analyses of the characteristics of imagination as a creative faculty and helps to establish a link between creativity, meaning and imagination. [ABSTRACT FROM AUTHOR]

The article focuses on André Du Bouchet's work concerning his poetry, his use of the page in the book "Mallarme," and his understanding of language in France. His texts operate in a poetic and "material" space influenced by Stephane Mallarme. Moreover, the difficulty reading du Bouchet takes roots in the discrete and in-coherent nature of how meaning rejoins reading in the very physical present of the text read.

The aim of the present paper is to analyse the structure of the Estonian accentual-syllabic hexameter of the second half of the 19th century and the beginning of the 20th century. The material includes Jaan Bergmann's translation of the first song of "The Odyssey", Friedrich Kuhlbars' stichic hexameters and elegiac distichs, Villem Ridala's elegiac distichs and some other attempts of dactylic hexameters in the earlier Estonian poetry. The analysis aims to provide a thorough description of the prosodical, metrical and rhythmical structure of hexameter. It reveals that the prosody of hexameter is not necessarily in correspondence with the prosody of natural language. Yet the prosodical shifts in the given material are rather superficial, allowing for the variation of the number of syllables. The Estonian accentual-syllabic hexameter is prevailingly dactylic and thus the rhythmics is considerably different from that of ancient hexameter, yielding to the natural rhythmic impulse of the Estonian language. Such tendency characterizes the location of word-ends, as well the secondary rhythmics of hexameter, i.e. the proportion of contracted feet. [ABSTRACT FROM AUTHOR]

This paper looks at the established theory that the verb toru in Old Japanese exhibits anomalous spelling. A careful examination of poems in Kojiki (Kurano (1958)), Nihon shoki (Ienaga et al. (1967)), and Man'yôshû (Gomi et al. (1957)) shows that there originally were two different verbs which later merged into one, toru. These two verbs had different meanings. Twor- meant 'hold support', but tor- meant 'take, pick up, capture'. Another important distinction between these verbs was aspect. [ABSTRACT FROM AUTHOR]

This article examines the stylistic implications of transitivity in selected poems by J.P. Clark, a foremost Nigerian poet. Transitivity is engaged from the perspective of Halliday's ideational meta-function of language use, with attention paid to the participants and the processes. Twelve randomly selected poems from Clark's (2010) Full Tide are analyzed. It is observed that, in some of these poems, there is deliberate foregrounding of the sequence or location of lexical forms, especially those pertaining to participants and processes. This foregrounding is established in what manifests as a negative shift in lexico-semantic forms that suggests degenerative essence. The placement of words as well as the sequence of these words evokes a secondary reading beyond what the text ordinarily expresses. [ABSTRACT FROM AUTHOR]

Symbolism had been a powerful literary movement that dominated French poetry in the second half of the 19th century. Symbolism was the poetry of disgusted and sometimes disillusioned idealists, who sought in poetry an escape from the ugliness, hypocrisy, and rapacity of 19th century industrialized society. To these poets, the newly triumphant bourgeois class lacked culture and taste and seemed to care only for useful inventions, facts, or material products and wealth. In contrast to this materialist, utilitarian, and practical view of the world, symbolist poetry emphasized an ideal world beyond the material, and sought an ideal language to express that world. Symbols are essentially words, which are not merely connotative but also evocative and emotive. In addition to their meaning, they also call up or evoke before the mind's eye a host of associations connected with them, and are rich in emotional significance. A symbol can be used to convey "pure sensation" or the poet's apprehension of transcendental mystery. It is by the use of symbols that the poet enriches the texture of his verse and reveals the full significance and deeper meaning of a particular situation, events and happenings. On the surface there, might be merely a plain and simple narration or description, and the poem may be enjoyed as such, but a careful reading reveals the hidden and deeper meaning. Present paper is an effort to examine the way how T.S. Eliot uses his symbols in his legendry poem 'The Waste Land.' [ABSTRACT FROM AUTHOR]

Examining selected poems from Mariella Mehr's volumes Nachrichten aus dem Exil (1998) and Widerwelten (2001), this article explores the ways that the Swiss writer Mehr refigures the notion of Heimat and its relationship to language. Tracing three key sources that supply the vocabulary and concepts within Mehr's lyrical treatment of Heimat—her own life experiences of persecution and rootlessness in postwar Switzerland, received notions of Heimat from Germanic culture, as well as the minority Yenish culture from which Mehr was forcibly estranged—this paper argues that Mehr turns to poetry to decouple Heimat from a geographically fixed, exclusionary concept, expanding it to capture complex intercultural experiences. Moreover, I attempt to unravel the paradox latent in Mehr's work, wherein the poetic subject's predominantly unsatisfied struggle for home must be reconciled with Mehr's own assertion of language's decisive role in achieving Heimat. [ABSTRACT FROM AUTHOR]

This article reports that a large amount of recent scholarly and critical writing on the various relationships between economics and literature in the late seventeenth and early eighteenth centuries has been based on the notion that financial innovations in the late seventeenth century precipitated anxiety about the form and nature of linguistic exchanges such as the writing and reading of poetry. It is opined that large literature surrounding eighteenth-century poetry and economics is founded on a false premise about the nature of language, literary language in particular, in relation to economy, and that it is precisely the way in which this premise is exposed as false in the Epistle to Bathurst that makes it such a good poem.

Poetry of the Weird is a small subgenre that is frequently overlooked as a source for pedagogy, particularly for teaching about poetic language and imagery. The "Weird" differentiates itself from the supernatural by refusing to coalesce into definition and meaning; instead, the Weird embraces the unknowable and oneiric. Instructors can use this aspect of Weird poetry to illuminate issues of tropology and form in poetry as well as to engage students with questions about the poet's motivation. This article explicates poems by James Tate, Mary Oliver, and Charles Simic to demonstrate the mechanics of the Weird, suggests several ways to approach teaching, and concludes with brief recommendations for future reading. [ABSTRACT FROM AUTHOR]

Generally, art is said to be subjective and each person's approach to and perception of it is a valid one although it may be different. Many poetic features belong not only to the science of language but also to the whole theory of signs, that is, to general semiotics. At the same time, poetry has some distinctive features that differentiate it from other forms of discourse. This statement, however, is valid not only for verbal art but also for all varieties of language since language shares many properties with some other systems of signs or even with all of them. [ABSTRACT FROM AUTHOR]

The author reflects on the gap between words and reality based on ideas derived from the 2013 Poetry as Social Action symposium. He raises arguments against the assertion that poetry makes nothing happen. He emphasized the need for language to exist in the real world to allow actual communication. He suggests the appropriation of unintentionally impaired speech in poetry to effect social change.

Previous studies on J.P. Clark-Bekederemo's poetry have concentrated on literary and some linguistic features, highlighting the relation of theme and figuration in the works. However, such studies have not paid attention to the discourse and pragmatic aspects of the texts, which are crucial for a thorough description and interpretation of the writer's idiolect. This study, therefore, examines aspects of textual cohesion in the poems, using the methods and insights of discourse analysis. With Halliday and Hasan's (1976) cohesive devices viz: ellipsis, references, and conjunction, as the analytical platform, the study shows some linguistic strategies used by the poet to achieve inter-sentence connection in the poetry. It also shows the network of interdependencies among linguistic and non-linguistic features, which give the poetry a thoroughly cohesive structure. The aim is to demonstrate that cohesive ties have the potentials to combine with other elements of language to unify different parts of a text. The study enriches our perspectives not only on the language of J. P. Clark-Bekederemo's poetry, but also on the language of poetic discourse in general. [ABSTRACT FROM AUTHOR]

In "Why lam a Net Artist," long-time "media poetry" practitioner Jim Andrews reflects on the consequences of computation on language, the fundamental virtues of networked digital computing as a poetic medium, and computing's facilitation of combinatory operations that drive poetic work into emergent territories. [ABSTRACT FROM AUTHOR]

Roman Jakobson, who had left Russia in 1920 and in 1941 took refuge in the USA from the Nazis, was one of the main figures in post war linguistics and structuralism. Two aspects of his work are examined in this article. Firstly, Jakobson purifies his linguistic theory of pragmatic references. Secondly, he develops his own diplomatic mission of mediating between East and West. In this article, I argue that these two aspects did not develop independently from one another. Instead I claim that his theory is designed to slip through the Iron Curtain, while at the same time providing the means to analyse ways of acting politically by using language. This argument is unfolded in two steps, each consisting of two parts. First, I compare the theory of pronominal expressions as developed by Emil Benveniste to Jakobson’s theory of shifters. While Benveniste focuses on the relation of language and its subject using language, Jakobson introduces a model of communication to allow maximal formalisation of language. According to this even the category of person can be freed from its reference to a subject which would be understood as having a place in space and time. Then, Jakobson’s theory of shifters is studied in relation to his analyses of poetry. For this, two examples are chosen: Jakobson’s text on two poems by Russian poet Alexandr Blok, and his text on a poem by Bertold Brecht. In both texts, the theory of shifters—and the alleged purification from pragmatic aspects of language use ensuing from this theory—is challenged by the simple fact that they focus on the pronoun of the first person plural. According to Jakobson, the category of number does not belong to the shifters. Rather, number quantifies participants of the related event. The pronoun ‘we’ is at the same time a shifter and a non-shifter, as it refers to the speech event and the related event. Thus the pronoun ‘we’ opens up the possibility to include or exclude the participants of a communicative situation, and thereby enables the speaker to act socially or even politically by using language. The article concludes by coming back to the historical situation in which Jakobson developed his analyses of poetry. Analysing poetry seems to have been a passe-partout for him, a seemingly harmless subject that allowed him to get a foot in the door of remote and secluded lecture halls. [ABSTRACT FROM AUTHOR]

This article examines the text-metrical ("poetic") organization of epistemic stance-taking in discourse, focusing on epistemic stance in a form of argumentation, Tibetan Buddhist 'debate' (rtsod pa) at Sera Monastery in India. Emergent text-metrical structures in discourse are shown to reflexively map utterance-level propositional stance into larger-scale, fractionally congruent models of interactional stance. In charting the movement from epistemic stance to interactional stance by way of poetic structure, the article argues for and clarifies the place of poetics in the study of stance. [ABSTRACT FROM AUTHOR]

This article is concerned with understanding and analyzing the role of the individual in Navajo poetry performances, in particular, three performances of putatively the same poem by the Navajo poet Laura Tohe. One performance is the written orthographic poem, and the other two are oral performances that have been recorded and analyzed. It is argued that a focus on the individual performer and on multiple performances can provide insight into the relationship between social constructions of self and identity within the constraints and opportunities particular media and contexts provide. It also reveals the importance of studying individual creativity in language and culture research. [ABSTRACT FROM AUTHOR]

The article focuses on the "Linguistic Atlas" and the dialect of the Gawain poems. It focuses on the dialectical characteristics of "Sir Gawain and the Green Knight" and the linguistic data of poems included. It also discusses the issues involving the possibility that the texts represent a commixture of languages which may be dialectally distinct and the possibility of scribal layering. This article is also, in part, the result of research into the meter of alliterative verse. It presents words from the original manuscript and their construction and meanings.

The article discusses the gap between language and experience in the works of modern Arab poets. The author explores the aims of modernist Arab poets. One of these aims is to demonstrate how their poetic works unremittingly endeavor to eradicate or conceal the gap between language and the reality it purports to embody. He seeks to delineate a poet's conception of the poetic quandary which confronts every modernist poet or author. Moreover, the author explains the notion of silence as a powerful tool which best articulates the intensity of the personal emotions.

This article focuses on the writing of poet Walt Whitman. In a notebook entitled "Words," Whitman writes the word "absences," tags a dash onto the end of it, and then adds the parenthetical phrase, "his mind was full of absences." This page is certainly no more odd than many others in the poet's writings on language. There is something peculiarly significant about the juxtaposition of absence and apostle, a fortuitous placement that offers a unique opportunity for understanding how Whitman himself envisioned the relationship between the scene of writing and the scene of reading.

This article analyzes language and a poetics of collage in Catalina Cariaga's book of poetry, "Cultural Evidence." Cariaga is allegedly often referred to as a language poet because of her language-centered poetics and experimentation with poetic form. Rather than a retreat into what might seem to be a self-indulgent language game, the poetry of Cariaga is resolutely situated in the social, historical, and political. Cariaga's interrogation of language and form shares with many Filipino American poets an investigation of colonized subjectivity in relation to cultural imperialism, particularly the imposition of Spanish and English on the Filipinos. Part of the investigation allegedly entails the poets' exploration of the possibilities of using the colonizers' language to tell another tale. While the book of poetry engages similar issues, its experimental poetics reveals a new phase in the development of Filipino American poetry in both its thematic concerns and technical strategies, especially in its use of language to subvert the ways in which knowledge of the racialized and gendered Other are produced through a binary scheme of representation. Like many Filipino American poets such as Gemino Abad, Michael Melo, Fatima Lim-Wilson, Jessica Hagedorn, and Virginia Cerenio, Cariaga allegedly undermines English as the institutionalized instrument of colonization and as the model of official language of the dominant culture to which Filipinos and Filipino Americans must conform in their process of assimilation.

Discusses the freedom of poetry to celebrate the poetic composition of a world knowable only as language. Varieties of poetic utterance and discursive form; Poetry's function as the preserve of language's exploration of its own parameters and qualities; Ways in which the poetry of language celebrates the variety of modes and forms in which the fundamental linguistic apprehension of the world takes place.

The purpose of this article is to show that changes in sociology in the last two decades raise rather insistently the question of what poetry can mean for the sociologist at a deeper level. It will be suggested that even the more full bodied language sociologists now use, while being more poetic in a general sense, paradoxically all more leaves the poem itself as something clearly different. This difference is found in the resonance poetry characteristically, has a resonance itself characterized by meaningfulness and capable of giving the poem endurance. The language of ordinary society, on the other hand, continually gets locked into the extra linguistic matters of institution, interaction and convention. There are implications in this for both sociological language and sociology generally. Clearly, there has been a considerable change in sociology in the last twenty years and everybody is conscious of a deep realignment in the discipline in the last two decades.

Discusses the relation between language and poetry. Application of the theory of signs of philosopher Charles Peirce to linguistics and poetics; Information on the linguistic implementation of poetic function; Relation between diacritic signs and the implementation of rules for the examination of poetic function.

This article seeks to examine how the Kashmiri-American poet Agha Shahid Ali explores and rethinks ideas of "home" and travel in his poetry. Ali's poetry is a layered affective terrain in which his complex, entangled emotions surrounding home, exile, nostalgia, displacement, and travel play out. I argue that Ali's verse, through multiple journeys ranging over locations, languages, cultures, and literary terrain, interrogates and collapses the boundaries between the "home" and the world. I read his poetry as voicing the "disturbed" and displaced home of Kashmir, while simultaneously distilling a "re-homing" desire. Such an impulse reconfigures and reimagines the home through the inhabiting and repeated "homing" of multiple, "foreign" locations. Poetic travel across geographic and literary terrain, in Ali's oeuvre, thus speaks to the fraught and complex nature of the "home" in postcolonial and diasporic contexts, while remapping the home through the "re-homing" of the "foreign". Arguing that "travel" is a means of negotiating and rethinking the "home" in Ali's poetry, the article examines the intermeshed and dialogic relationship between home and travel that imbues his verse. Focusing particularly on poetic experimentation as a mode of travel, it aims to show how such literary travel makes new homes, while remembering and articulating Ali's lost homes. [ABSTRACT FROM AUTHOR]