Search

This paper aims at studying Shelley's poems as exemplifying the philosophy of Enlightenment. Shelley's poems on 'Napoleon,' 'Ozymandias' and his 'Poetical Essay' show him as a Romantic writer who strongly believed in European Enlightenment philosophy. His poems are musical treats, highly spontaneous, metaphorical, allusive and romantic in style, but the core content of his poems is the Enlightenment philosophy of his contemporary Eurocentric thought. Shelley was a voracious reader, as exemplified by Mathew Arnold, and absorbed the ideologies of philosophers and thinkers hailing from the middle classes and universities, and his poems reveal the highly volatile period during which Europe shifted from monarchy to democracy through revolutions. [ABSTRACT FROM AUTHOR]

The study of literary texts is one of the earliest disciplines practiced around the globe. Poetry is artistic writing in which words are carefully chosen and arranged for their meaning, sound, and rhythm. Poetry usually has a broad and profound sense that makes it difficult to be interpreted even by humans. The essence of poetry is Rasa, which signifies mood or emotion. In this paper, we propose a poetry classification‐based approach to automatically extract similar poems from a repository. Specifically, we perform a novel Rasa‐based classification of Hindi poetry. For the task, we primarily used lexical features in a bag‐of‐words model trained using the support vector machine classifier. In the model, we employed Hindi WordNet, Latent Semantic Indexing, and Word2Vec‐based neural word embedding. To extract the rich feature vectors, we prepared a repository containing 37 717 poems collected from various sources. We evaluated the performance of the system on a manually constructed dataset containing 945 Hindi poems. Experimental results demonstrated that the proposed model attained satisfactory performance. [ABSTRACT FROM AUTHOR]

Copyright of Journal of the Institute of Croatian History / Radovi Zavoda za Hrvatsku Povijest is the property of Zavod za Hrvatsku Povijest, Filozofski Fakultet 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.)

Within the parameters of the critical theories of Mikhail Bakhtin, this paper critically explores the text of the most controversial long poem in the history of modern Arabic literature (Mudhafar al-Nawwab's masterpiece "Watariyyat Layliyya/Night Strings") in addition to other selected texts in order to illuminate the poet's attitude toward major issues , integral to the contemporary socio-political scene in Iraq and the Arab world , like oppression, displacement, struggle and search for identity in addition to his attempt to revolutionize the consciousness of the Iraqi/Arab people at times of crisis, catastrophe and political turmoil. The paper also examines the hostile attitude of the poet toward the atrocities and brutalization committed by well-established dictatorial regimes in the Arab world in addition to the aggressive/hegemonic policies advocated by imperialistic and repressive agencies in the region. Intervening in narratives of revolution, ideology and resistance, the paper attempts to break new ground in modern Iraqi literature by providing a critical / analytical framework through which the political and radical poetry of Mudhafar al-Nawwab is filtered in terms of thematic structures and poetic techniques in order to open new horizons in trans-cultural studies and pave the way for new research landscape in contemporary Iraqi / Arabic poetry. [ABSTRACT FROM AUTHOR]

Copyright of Colloquia is the property of Institute of Lithuanian Literature & Folklore 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.)

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

This paper seeks to examine poetic-narrative spaces as contact zones, illuminating the Spanish cultural and linguistic element as it manifests in the literary practices of two major Commonwealth poets in English--Rafael Zulueta da Costa and José Garcia Villa. My objective is twofold, namely, to expand upon the Philippine Commonwealth era as a distinct period in Philippine literary culture marked by a contested globalized aesthetics and politics, and to examine the complex Anglo-Hispanic transcultural and translational processes involved in the literary practices of early writers of Philippine poetry in English who were influenced by their historical milieu. [ABSTRACT FROM AUTHOR]

When we consider what constitutes the essence of poetry, we are confronted with a variety of questions none of which may be answered with final satisfaction. One feature that seems to emerge repeatedly through time is the notion of imagination and the term 'poetic imagination' to depict the emotional, imaginative, intellectual and the expressive language used to reflect the writer's consciousness. This paper primarily aims to demonstrate the core finding of my research in the concepts, theories and ideas of poetic imagination. The research characterizes a series of modes of imagination in contemporary poetry. These modes have been drawn from the existing notions and concepts of poetic imagination. The research identifies that imagination in contemporary poetry moves more towards imaging rather than poetic imagination. In other words, imagination shows greater affinity to imaging in contemporary poetry. This paper primarily presents the significant contribution of the overall research which is the conceptualization of a paradigm of various modes of imagination in contemporary poetry, with imaging and poetic imagination as its two ends. Other modes of creative imagination reside between imaging and poetic imagination. [ABSTRACT FROM AUTHOR]

Visual poetry in Latvian literature is still an extraordinary phenomenon. In this case, by extraordinary is meant its scarce appearance among the corpus of Latvian literary texts - only very few examples of it exist in Latvian literature even in the 21st century, though it has gained a visible presence in other literatures of the world since at least the era of Modernist poetry, and experienced in most cases a turn of critical attitude towards it from disregard or denial to acceptance and consideration. At first evaluated only as a pastime on the margins of serious literature, since Apollinaire it has evolved into a serious genre of poetry and art of its own, and is no longer considered a childish game. Given this situation in contemporary criticism, it is quite a peculiar situation that Latvian literature and literary criticism still does not pay adequate attention to it, thus visual poetry has stayed an outsider genre up to this day. In this paper a concise historical account of Latvian visual poetry will be given and some examples of visual poetry from various decades of Latvian literature will be given, as well as quotations from Latvian literary critics and scholars regarding visual poetry will be provided, in order to illustrate the overall situation in Latvian visual poetry and the possible reasons why it is still being mostly neglected and disregarded both by poets/artists and critics, though there seems to be slight indications of a visual turn. [ABSTRACT FROM AUTHOR]

This paper focuses on the impact created by western poetry criticisms on Tamil criticism of poetry with reference to Ka. Naa. Subramaniam. Starting from M.H. Abrams' views of criticism, this paper moves the various critics such as Arnold, F.R. Leavis and T.S. Eliot. This paper takes the criticism of various periods into consideration. After discussing western poetic criticism, the Tamil poetic criticism was discussed briefly starting from Tolkappiar. Coming across various critics who spoke both good and ill about poetry, this paper gets into Ka. Naa. Subramaniam's views and this paper helps the readers to understand the impact created by poetry criticism of the West on Tamil poetry criticism. [ABSTRACT FROM AUTHOR]

This paper explores a cross-cultural feature of late Renaissance literary theory, namely the conviction that the faculty of imagination possesses remedial and morally restorative capacities when it is involved in the production of poetry. Scholarship investigating the intellectual and cultural history of the imagination in early modernity has focused on the deleterious properties which the faculty was thought to possess - its potential to direct the passions towards vice, its propensity towards blinding the faculties of reason and will, its crucial role in generating melancholy, as well as its capacity to provoke physical deformities. The aim of this paper is to cast further light upon the late Renaissance tradition that endows the imagination with beneficial properties - a feature that transcends both English and French boundaries. Not only does this latter understanding of the imagination imply the emergence of a set of moral prerequisites for the poet, but also features the belief that poetry offers itself as a medium in which the imagination is able to order the passions and submit them to the control of reason. My paper aims to investigate the modulations that this notion undergoes in the English-French dialogue, across the late Renaissance and early seventeenth-century, with an eye for transnational features. [ABSTRACT FROM AUTHOR]

Keamogetsi Molapong's poetry reflects the concerns of a socially engaged writer, artist, and activist who has devoted his life to promoting the arts in Namibia despite the financially precarious nature of such a life. His background is in theater for development, and his literary activities stem partly from involvement in development projects at the grassroots level, including, for example, sanitation programs in northern Namibia, industrial theater work, and voter education campaigns. Many of the projects that he has undertaken have been sponsored by nongovernmental organizations and donor and government agencies. My purpose in this paper is, first, to discuss Molapong's perception of the role of poetry in society and in terms of the benefits he has derived from writing and performing. Second, I analyze his major thematic concerns, particularly the interface between politics and poetry. Third, I shall critique the thought-provoking love poems he has written. The argument of this paper is that the subtle manner in which he plays with words and sounds, in many poems, brings to mind the oral roots of his poetry and makes the point that he retains the popular base of the Namibian struggle for independence that has been all but abandoned by the new political elite that were its leaders. [ABSTRACT FROM AUTHOR]

Poetic devices implicitly work towards inducing the reader to associate intended and expressed meaning to the sounds of the poem. In turn, sounds may be organized a priori into categories and assigned presumed meaning as suggested by traditional literary studies. To compute the degree of harmony and disharmony, I have automatically extracted the sound grids of all the sonnets by William Shakespeare and have combined them with the themes expressed by their contents. In a first experiment, sounds have been associated with lexically and semantically based sentiment analysis, obtaining an 80% of agreement. In a second experiment, sentiment analysis has been substituted by Appraisal Theory, thus obtaining a more fine-grained interpretation that combines dis-harmony with irony. The computation for Francis Webb is based on his most popular 100 poems and combines automatic semantically and lexically based sentiment analysis with sound grids. The results produce visual maps that clearly separate poems into three clusters: negative harmony, positive harmony and disharmony, where the latter instantiates the need by the poet to encompass the opposites in a desperate attempt to reconcile them. Shakespeare and Webb have been chosen to prove the applicability of the method proposed in general contexts of poetry, exhibiting the widest possible gap at all linguistic and poetic levels. [ABSTRACT FROM AUTHOR]

The academic field of literary criticism or literary theory has long taken advantage of the covert connection between literature and psychoanalysis, as this study did when it employed a psychoanalytic technique to analyze a literary work. Psychoanalysis is one of the contentious and unappreciated literary criticism philosophies among many readers (Hossain, 2017, p. 41). The persona or the character of the literary work is one of the literary methods. This study seeks to identify the late persona in D.H. Lawrence's final three collections of poetry, which were composed near the time of the author's death due to extremely poor health. The study of a writer's unintended message is referred to as psychoanalytical critique. The investigation's main point of interest is the author's biographical background. The main goal is to look at the unconscious components of a literary work in the context of the author's upbringing. It is a technique for correctly and critically understanding the literary material. Additionally, it is a type of psychoanalytic reading. We can understand literary texts better by using psychoanalytical thinking. We can swiftly master the subject matter thanks to the manipulation of the literary text and the sharper picture it produces. Psychoanalytical critique is one of the most fundamental reading strategies for comprehending the psyche (Ahmed, 2021, p. 2). [ABSTRACT FROM AUTHOR]

This paper gives an overview of innovations in English-language haiku over the past decade or so, focusing on American haiku in particular. These are described through discussion of examples drawn from contemporary journals and anthologies, and are seen to involve the freer use of metaphor and opaque language than is found in normative haiku. Broader contextual factors are also taken into account: most notably, the renewed awareness of modern Japanese haiku that has been enabled by recent works of criticism and translation. While haiku in English still occurs mostly within selfcontained communities of writers and publishers, recent developments suggest possibilities for recognition of the genre in a wider field of poetry and literary criticism. [ABSTRACT FROM AUTHOR]

There is no doubt that some scholars have attempted to situate J. P. Clark Bekederemo's poem "The Casualties" within the framework of the Nigerian Civil War. However, very little attention seems to have been given to the prophetic and contemporaneous implications of the creative work. This paper is an effort at bridging the gap, by conceptualizing the visionary content of the poem, and locating it in the present-day socio-political context of Nigeria. While using the critical tool of New Historicism as a basis for the analytical procedure, the paper observes that the various issues that culminated in the national crisis are still prevalent, and concludes that unless urgent and proactive steps are taken towards addressing them, a repeat of the bloody incident of 6[sup th] July 1967-15[sup th] January 1971 may be inevitable. [ABSTRACT FROM AUTHOR]

This paper examines the works of Catalan poet Gabriel Ferrater (1922-1972) in relation to the economy of dilapidation that traverses his poetry, which is mostly devoted to his experiences of love and sex. I analyze the poetization of these experiences as an attempt to find a nonideological space that escaped the reality of Francoism, or, in Freudian terms, as an embrace of the pleasure principle against the reality principle that structured Ferrater's historical situation. I relate these poetics, and politics, of "pleasure against ideology" to the Barcelona School, particularly to Jaime Gil de Biedma and Carlos Barral. But the facts that, unlike these two poets, Ferrater wrote in Catalan and his family went bankrupt after the Civil War make his "dilapidating enterprise" more distressing but also more significant. Finally, I interpret Ferrater's abandonment of poetry in the late 1960s as a sign that the pursuit of pleasure had lost its subversive content and was now channeled into mass consumerism. [ABSTRACT FROM AUTHOR]

The paper seeks to explore the condition of a so called mad poet John Clare, (1793-1864) who occupies a marginal place in the history of English literature despite the fact that he was a noted figure in the literary canon when his first book of poems was published. Clare was noted for his rural poetry but strangely enough he gradually went out of fashion. In an age which apotheosized poets and identified them as immensely powerful entities, Clare suffered in silence for twenty seven years in an asylum where he ultimately met with his death. During his confinement he wrote more than 300 poems which survive as glimpses of his traumatic life. Pain sharpened his voice and refined his vision although most of his poems remained unpublished until his death. Modern critics are trying to analyse the asylum poems of Clare which hardly appear as works of a mind out of control. In their structural integrity and coherence of thought they leave us in doubt about notions of sanity and insanity. [ABSTRACT FROM AUTHOR]

Dennis Cooley has attempted to unsettle several complex issues relating to post modernity, intertextuality, mingling of genres, decentering authority etal. His poetry is rich in complexity and in dealing with the problems of the text. He has published three books of poetry. Leaving (Turnstone 1980), Fielding (Thistledown 1983) and Bloody Jack (Turnstone 1985). His poetry reveals his interest in formal departures from the tyranny of orthodox running rhythm, and the left hand margin. From Leaving to Bloody Jack, Cooley has decentred authority from its traditional formal and ideological strongholds including the author, and placed it in the mind and heart of the reader. In his books of poetry, especially Bloody Jack, Cooley tends to deal with flexibility, knowledge and tolerance and seeks to voice the sparsely populated and neglected space of the Canadian prairie. This paper is an attempt to read Dennis Cooley's Bloody Jack from the semiotic perspective of his use of colour as sign-code in it and the other related issues that it voices. [ABSTRACT FROM AUTHOR]

John Ashbery (1927- ) takes the postmodernist polysemy of meaning in interpreting a work of art and the polyphony of styles in composing as his forte. He questions the various linguistic codes and makes us aware of the artificiality of the language. All political, ethical and aesthetic imperatives are rhetorical constructs. The writer uses language to persuade the reader to accept the formulated truth and he intervenes in the process of perception by his/her politics of representation. Though his iconoclastic approach towards writing and individuality of style has kept him aloof from mainstream academic syllabi, yet he has now become a prominent figure in Contemporary American Literature. It is interesting to note how Ashbery's poetry revives the Romantic sensibility while applying the digitalized methods and the postmodern syndromes of immediacy, indeterminacy, disjunctive syntax, open-ended and multiplicity of interpretations. This paper explores the aesthetics of John Ashbery's poetry. [ABSTRACT FROM AUTHOR]

This paper is meant to approach poetry in translation in the light of translation criticism. The evaluation in this case has to be undertaken by a translation critic, that is, by a person with a degree of specialization in translation studies, according to some "objective criteria" that lie at the basis of translation criticism. The principles for evaluating literary translation, in general, and translated poetry in particular, raise translation standards, and, consequently, support and promote an increasing interest in better translations. The paper is divided into three sections: (a) translation criticism: an essential link between translation theory and its practice; (b)subjective translation judgement(s) versus objective translation criticism; (c) case study: "săpânţa în primul gând" by Laurian Stănchescu [ABSTRACT FROM AUTHOR]

This paper reconsiders the poetry of Okot p'Bitek in light of both his formal legal education and the principles of traditional Acholi law. Okot claims in Artist, the Ruler that traditional African poets actually create and proclaim law at a fundamental level in society. Okot himself, as a poet in the "traditional" mode, can thus be understood as performing a similar function, particularly in his poems Song of Lawino and Song of Ocol, which can be read in terms of the reconciliatory procedures of traditional justice and, jointly, as an expression of the contemporary value (and possible complications) of traditional law as a response to the legal norms inherited from the British colonial legal system. Given recent debates about the efficacy ot traditional justice in promoting reconciliation in Northern Uganda, a "legal" reading of Okot's poetry demonstrates the continuing relevance of his perspectives with regard to traditional art and culture. [ABSTRACT FROM AUTHOR]

Undermining the narrow critical approaches which neglect the potential intersection between modernism and postcolonialism, this paper explores the attempt by contemporary Arab poets to engage Western modernist heritage in order to articulate domestic narratives integral to the geopolitics of the Arab region in the postcolonial era. In an attempt to redefine tradition and deviate from fossilised inherited legacies and tyrannical regimes, postcolonial Arab writers, led by the Iraqi poet, Abdul-Wahhab Al-Bayati, pursue solace and redemption in Western modernism, developing Western forms into a poetics of resistance and protest. Through textual apprenticeship, assimilated from Western literature and culture, they combine modernism and postcolonialism into a nexus incorporating Western techniques while emphasising variants and displacements between their nationalist perspective and that of their Western forebears. Convinced of the role played by the West in the shaping of modern Arabic cultural traditions, Al-Bayati reconstructs colonial modernism as a narrative of liberation, engaging in dialogues with Western pioneering writers and masterpieces. Transforming Western modernist strategies into a revolutionary construct, Al-Bayati aims to challenge internal oppression and external hegemony. Through tran-cultural entanglement and textual appropriation of Western narratives he provides diversity and insight into postcolonial Arabic poetry, intensifying the awareness of other traditions and reconstructing his own heritage. [ABSTRACT FROM AUTHOR]

While recent studies of Victorian literary criticism have investigated poetry's place in the periodical press, little attention has been paid to the history of poetry published in large-circulation general newspapers. this essay discusses poetry published in The London Times during the 1860s, examining the literal place of poetry within the newspaper, its themes and formal characteristics, and its relation to authorship. I suggest that reading these poems in relation to their original material context raises theoretical questions about the history of reading, intertextuality, and poetry's function in the public sphere. [ABSTRACT FROM AUTHOR]

Remi Raji, one of the loudest and most eloquent political poets in Nigeria today, sees his craft as a means of conveying serious social message to his land. Raji's consummate political theme, which is powered by what he calls "the nationalist imagination," is skillfully explored in his latest volume of poetry, "Lovesong for My Wasteland" (2005), more than in any of his previous collections. Following the tradition of the social commitments of African literature and evolving orature-based aesthetics that marries choreography to poetry (choreopoetry), Raji traces the history of Nigeria, in the symbolic forty-five verses of the volume, exposing the leadership failures and plunder of yesterday and today, and presenting a hope that is predicated on the people's collective stand to build their ravaged land. The business of this paper is therefore the exploration of Raji's political theme in his latest poetic effort to raise his society's consciousness to the collapse of national psyche and to redirect their attention toward a better tomorrow for which they have to work. [ABSTRACT FROM AUTHOR]

What is the use of writing poems against war if they reenact rather than alter the binaries and brutalities of the war imagination they claim to protest? Why does so much contemporary war poetry only compound war's depleting effect instead of offering us energy for resistance? In "The Life of Poetry" (1949), Muriel Rukeyser defines poetry as a vital but underused national resource for a culture dominated by war. As a creative transfer of energy, poetry complicates and resists habits of imagination that sustain war. Using Rukeyser's analysis to contrast a representative poem from the volume "Poets Against the War" (2003) to several poems by Forche, Celan, James Wright, Blake,Yeats, Oppen, and Levertov, this paper discusses ways in which poetry about war and wartime can provide useful, life-giving energy without replicating the very violences it claims to oppose. [ABSTRACT FROM AUTHOR]

This paper examines traditional and innovating elements in a praise performance organized by a hereditary bard in 2002 for a twenty-year-old from a prominent family in Segu (Mali). It shows the importance of a detailed knowledge of the youth's network of social relationships for understanding the oral text. Special attention is given to the circumstances that led to the composition of a praise song for so young a person (a most unusual event), to its implicit and explicit views on familial and other interpersonal relationships, and to the articulation of images and references drawn from the older oral literature, including the Segu epic, with ones grounded in twentieth-century social experience. [ABSTRACT FROM AUTHOR]

This paper treats a topos found in Greek poetry from the archaic to the Hellenistic period, involving a confrontation between antagonistic and contrasting species of birds. Tracing the continuities and distinctions among the uses of the conceit in Hesiod, Pindar, and Callimachus, I argue that on each occasion it serves poets as a means of articulating their literary personae and the ethical, stylistic, and generic choices shaping their compositions. Not just a means of poetic polemic, self-definition, and self-positioning, the avian terms used within the conceit also come to figure in the literary critical vocabulary of the late fifth century and its redeployment in Hellenistic times. [ABSTRACT FROM AUTHOR]

This paper considers the worldly and unworldly in the famous Somali poem Jacayl Dhiig Ma Lagu Qoray by Maxamed Ibraahim Warsame ‘Hadraawi.’ The poem alternates between worldly and unwordly perspectives, each of which is a side in a dialectic questioning the nature of love. These different perspectives are reflected in references to time, people and landscape. A comparison is drawn with the way in which such references are presented in the poem Beledweyne, a more conventional love poem by Hadraawi, suggesting an intertextual relationship between the two poems. [ABSTRACT FROM AUTHOR]

The work of Ayin Hillel (Hillel Omer, 1926-1990) projects strong ecological awareness and passionate dedication to the Land of Israel and its natural environment. This paper highlights the environmental themes in Hillel's poetry and essays, reflecting on the manner in which the personal and the ideological were meshed together in his poetics. It discusses Hillel's distaste for labeling and the tension between his propensity for fast movement through and intense association with and absorption of landforms on the one hand, and the less enthusiastic, at times apathetic tendencies of the reader/audience, whose collaborative role in the creative process is a fundamental expectation of Hillel the writer. The paper also points to the conflicted symbiosis between the natural world, struggling to come to terms with man's primacy, and man, accepting injury and loss of humanity as the price of existence within the natural world, as a major theme in Hillel's environmental work. [ABSTRACT FROM AUTHOR]

A text linguistic analysis of the narrative structure of Catullus 63 attempts, in the first half of this paper, to provide a better insight into the extraordinary nature of this poem as a narrative. On the basis of this analysis it is observed that the 'narrative event structure' is in fact subservient to what is called the 'thematic structure' of the poem, in which the devices of contrast and repetition play an essential role. The second half of the article elaborates on the all-pervasive use of repetition in the poem and the implications of this observation for its interpretation, leading up to the conclusion that in Catullus 63 repetition is a theme (or aim) in itself. [ABSTRACT FROM AUTHOR]

After a brief critique, in a first part (pp. 507-510), of previous scholars' biographical approach to the politics of translating Virgil, this paper proceeds to offer an alternative approach by looking at the "linguistic ideology" underpinning translations (especially of the Aeneid) (parts II and III [pp. 510-512 and 512-517]). What emerges is a contradictory tension between the idea of a single, unifying national vernacular and competing varieties or kinds of English. Inherent to this tension is the question of whose English (and consequently who) was to be included in the constituency of the "our" in "our English tongue"-a recurring phrase in translators' comments on their work. In a fourth and final part (pp. 517-527), these linguistic--and political--stakes are shown to have accrued around a critique, by George Puttenham in The Arte of English Poesie (1589), of Richard Stanyhurst's translation of the opening lines of the Aeneid. Specifically, this critique is taken up in the following decade (the 1590s), and the politics of its hierarchical and exclusive linguistic ideology opposed, on the one hand, by Richard Carew, in an important essay on the English language, and, on the other, by William Shakespeare, in two of his early plays, most importantly, The Merry Wives of Windsor, a play unique in the Shakespearean canon for its focus on "our English tongue," a focus which is here precisely placed in its intertextual relation to contemporary debate surrounding Richard Stanyhurst's translation of Virgil's Aeneid. [ABSTRACT FROM AUTHOR]

The article critiques the war poem "The Closing Album" written by Louis MacNeice during his travel to Ireland in 1939, and explores his literary and political attitude towards Ireland.

The canonization of Li Bai and Du Fu's poetry occurred over a period that spanned centuries and dynasties. The treatment of Li Bai and Du Fu's works differed through the ages. Among anthologies from the Tang and the Five Dynasties that remain to our disposition today, only three contain poems by Li Bai, and only one includes some by Du Fu. Tang compilers had a poor opinion of the two poets. Their criticism contrasts substantially with the praise that was offered by Han Yu and other poets. During the Song and Yuan dynasties, scholars held Li Bai and Du Fu in high regard, yet their poems were often omitted by compilers. The main reason for this exclusion was that both poets' complete works had long been considered unworthy and set aside. Compilers respected the skills of the two poets, but they did not truly appreciate their work. During the Ming dynasty, anthologies would comment on the two poets as important figures of literary history. Compilers praised their art as being of the highest quality. By then, both poets were highly respected, and their poems had officially already been made into classics. In the process of becoming classics, works of art can be seen as enduring, and as cumulating value through different periods of time. Times keep on changing, yet the significance of Li Bai and Du Fu's poetry became all the more obvious as centuries passed. [ABSTRACT FROM AUTHOR]

Anandvardhana identified rasa as the goal of poetry, with dhvani as its means. Dhvani means 'sound', 'echo', 'reverberation'. Anandavardhana was clearly indebted to earlier grammarians, especially Bhartrhari, who first espoused sphota theory which describes the 'bursting' of meaning upon the hearing of an utterance. Unlike his predecessors, Anandvardhana was interested only in the aesthetic value of words within the poetic context. Dhvani theory describes the significant range of a word or an utterance, and Anandvardhana understood it as a step beyond both literal and metaphorical meanings. Mary Ann Selby interprets dhvani in the following manner: Dhvani theory is a system of meaning in which the signifier is fixed, but its corresponding signifieds are theoretically infinite. Included in the resonant potential of an utterance is its lexicality that is full lexical range, and its associative elements, those things that cannot be expressed by mere lexicality. Additionally, these elements encompass the associations a reader may have with an utterance (that sometimes seem to border on synaesthesia), and can even include its opposite meaning.i This paper aims to study how meaning at the level of abidha, lakshana, vyanjana and ultimately rasa is conveyed through language in poetry as viewed by ancients with special emphasis on the dhvani theory propounded by Anandvardhana. Examples are cited from Gathasaptasati (a Prakrit text, and William Faulkner's As I Lay Dying, and Shakespearean plays. It will lend new and meaningful dimensions and enrich our understanding of Indian culture in particular and of stylistics as a whole. [ABSTRACT FROM AUTHOR]

The remaining anthologies from centuries are literary and valuable sources that preserve the works of poets and writers. One of the most important historical periods in writing anthologies and memoirs is the Safavid era. During this period, several changes appeared that made the anthologies like poetry and prose literary collections. Compared to previous anthology books, this work has an advantage in development. One of its most important signs of progress is the critical approach used in mentioning and recording poems and verses. That progress was the result of the prevailing literary criticism in the Safavid era. Besides the criticism attitude, another aspect of the past anthology works is the poets' historical and biographical considerations. These items contain valuable information about the state of poetry and literature of that period and provide researchers with information about the literature before the Safavid period. One example of such an approach in Persian anthology is the valuable collection of Latayef al-Khayal, which, in addition to biographical considerations, has the changes mentioned in the tradition of compiling Persian literary collections and is one of the most outstanding anthologies of the Safavid era which in both terms of the number of the poets and verses has a special place among the others. One of the main characteristics of this work is mentioning the new poets, whose names have not been in any previous similar ones. Another point to consider in this anthology is the inclusion and expression of literary arts and the criticism of verses shown with abbreviation signs. These signs, which criticize the poems in different views, have been compiled in seven subjects and show the prosodic problems of poems. They also critically mention the differences, in terms of rhythm or rhyme in the initiating verses, by which the author could cover the weakness in the meaning of a hemistich or difficult points in composing it. The poems' problems have not gone away from Mohammad Saleh Razavi's eye, and he has shown all of them in the verses with abbreviations. On the other hand, if a poem has reached maturity and perfection, he has elaborately helped the literary specialists to identify it. In the present study, while introducing the anthology and its collector's date, Latayef al-Khayal manuscripts, emendating methods, and content are introduced. Then the critical signs, rhyming, and rhythm techniques have seen throughout Latayef al-Khayal are examined. In continue, the abbreviated and conventional symbols focused on criticizing the poems have been mentioned. Then the meters and the rhymes of the poetries are analytically discussed in detail. [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]

Jayanta Mahaptra has made a significant contribution in enriching the Indian Poetry in English with an innovative use of Indian themes and contemporary idiom in his poetry. Originally hailing from Orissa and spending his whole life in and around a typically rich mythological background of Cuttack, he steps beyond the physical confines of regions in his treatment of people's pleasure and pain in his poetry which is deeply tinged with an unusual awareness of the surrounding social and cultural realities. This portrayal of human situation forms an integral part of his poetry thus taking into account almost all the prevailing grievances of humans in general- and of Indians in particular- such as poverty, corruption, crime, lack of communal harmony, social unrest, grass-roots level realities of common man along with his symbolic competence. The present paper attempts to throw light on Mahapatra as a poet of universal socio-cultural concerns. [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]

Among the key themes of contemporary Macao poetry, chance and luck loom large, along with their figuration in Macao life through sites such as casinos and temples, through personae such as those of the gambler, the beggar, the prostitute. Macao as dot-on-the-map is likewise conceived as a site for all kinds of portal semiotics, as paradigm for cultural crossing and cultural shift. Macao may be regarded as a work enduring (in Brechtian terms) because it is unfinished. While this is a formula that could be notionally applied to any city, this view seems particularly apt given both the extraordinary pace of change in post-handover Macao (i.e. since 1999), and the present bubble-bursting effect of the 2008 "financial tsunami". Relating Augé's conception of "non-places" to Eco's notion of open (as opposed to closed) text, this paper observes that consciousness of place in contemporary Macao poetry appears to be dominated by two kinds of space, glossed here as "Macao space" and "anywhere space". Macao space is uniquely of an historical moment and place, something culturally positioned; in anywhere space (e.g. inside of a casino or an airport) subjects are hailed by consumption-oriented reifications of putative universal value. The contemporary Macao poetry typically values Macao space and sees it as under threat from the "non-negotiable" space of culture that could be anywhere. Interested in the paradoxes, ironies and hypocrisies inherent in the present-day culture, politics and international position of Macao, the new Macao poetry reveals a place-based poetics deeply concerned with Macao identity, its evolution and potentials. [ABSTRACT FROM AUTHOR]

Intense sensations of not-belonging mark the poetry of the Argentine writer Alejandra Pizarnik (1936-1972). Her early poems propose a poetic subject who is existentially 'exiled' yet engaged in creating a literary genealogy based on Romanticism and Surrealism. Her poems written in Paris examine the split subject of writing, alongside the possibilities of aesthetic rebellion in language. This paper interrogates the political potential of such a notion of poetic belonging, within the dual context of exile in Argentine literature and the perceived split in Argentine poetics of the 1960s between socially and aesthetically committed writing. [ABSTRACT FROM AUTHOR]

Most criticism of the Tale of Beryn deals principally with the 'continuities' between the text and Chaucer's work. Contrary to this position, the present paper concentrates on the points at which Beryn departs from Chaucer, signalling how the later poet engages with and even challenges his predecessor in productive ways. In particular it focuses on the different attitudes to adolescence put forward by the two poets. It is found that the later writer exploits latent discrepancies in Chaucer's text to initiate a debate on youth, sensing a greater level of danger in adolescence than his forebear. [ABSTRACT FROM AUTHOR]

The article presents several evidences concerning the origins of "Vigil Strange I Kept on the Field One Night," by Walt Whitman. The paper outlines various evidences presented by several Whitman scholars regarding the poem. Among the suggested origin of the poem includes the circumstance suggesting the death of Whitman's soldier friend, as relayed to the poet by a mutual friend named Arthur.

This article focuses on poet Arthur Hugh Clough. At one recent meeting of the Victorian Interdisciplinary Studies Association of the Western U.S. conference on The Victorian World, there were a surprising four papers on Clough, enough to create an entire Clough panel. This was one of the younger panels at the conference — a number of the presenters were graduate students or recent PhDs. Scholars are studying Clough's experimentation with style, his attempt to adapt Greek and Latin forms to the English hexameter, and his innovative use of genre. The current work on Clough suggests that a reinvigorated formalist criticism is emerging within Victorian poetry studies.

Thea article reviews two papers on the poetics of English poet Edmund Spenser by Professor Clark Hulse and Professor Andrew Weiner.

The article informs that hitorian T.S. Eliot's was a mind passionately longing for unity but penetratingly perceptive to plurality and difference. His literary theory, no less than his poetry, is greatly motivated by this productive but often very taxing tension. This paper studies a tension between historicist pluralism and essentialism on the nature of poetry and criticism. Recognition of the very different and changing forms of poetry and criticism is balanced against the equally recognized need for some sort of unity or structuring order and focus in these fields.