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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]

This paper establishes a transnational dialogue between different island spaces impacted by mass tourism and highlights poetry's contribution to the political reconfigurations of the Balearic and Caribbean islands. Notwithstanding these island spaces' different historical circumstances, it acknowledges that the tourist industry illustrates crucial historical continuities in each archipelago. The poetics analysed question the pro-growth ideology of the industry, the subservient role of their islands' political classes that disregard human well-being and environmental sustainability, and put the islands' survival at risk. This study identifies resemblances in Caribbean and Balearic island spaces' poetic responses to tourism and recognises local emancipatory alliances that not only bring to the surface shared forms of oppression, but also propose alternatives beyond the (hotel) chains of global capitalism. [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]

Chinese painting poetry is an extraordinary art form, which not only describes the painting contexts but also grasps the sentiment of the painters. In this paper, we propose an automatic poetry generation method Poetry4painting , which enhances the poetry diversity for large-size ancient paintings. The basic framework is based on multiple modern sentences, that are first captioned from the ancient painting and then used to generate a poem using CNN and LSTM. To solve the repeatability issue of this framework, four kinds of data augmentation are employed during online processing, including quantity, shape, surrounding, and object augmentation. In offline training, data augmentation is also used to create an image caption dataset with over 1500 painting images and 7500 captions. Through ablation studies, evaluations of poetry qualities and diversities, and comparisons with other methods, we demonstrate the validity of the proposed method. [Display omitted] • A poetry generation method for ancient paintings with high diversity and conformity. • An enlarged dataset for painting poetry generation that has about 8000 annotations. • A mass of experiments and evaluations demonstrate the validity of the proposed method. [ABSTRACT FROM AUTHOR]

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]

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]

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]

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

This paper gives a translation of an inscription around the base of a bronze sphinx statue fromthe3rdcentury Roman Province of Dacia. The bronze sphinx statue has several striking parallels withthefamous Sphinx of the Naxians from 560 BCE, which is now located in the Archaeological MuseumofDelphi. Presumably, the sphinx cult also spread to Dacia from Naxos. The inscriptionis identifiedashaving been written using an archaic Greek alphabet. However, the Greek alphabet phoneticvaluesrender a text that is non-sensical in the Greek language. Therefore, the meaning of the inscriptionhaspuzzled scholars since the artifact’s discovery in the early 19 th century. The scribe probablyintendedto express something in a language other than Greek using an archaic Greek alphabet. ThearchaicGreek alphabet phonetic values record a short rhythmic poem in the Proto-Hungarianlanguage. Theinscription is unusual in that it contains some archaic letters that are mirrored and needtobereadfrom right to left. [ABSTRACT FROM AUTHOR]

The epic poem Venus and Adonis was the first work of Shakespeare’s to be printed, yet there was no author’s name on the title page. The name William Shakespeare only appeared at the end of a dedication of the poem to Henry Wriothesley, the 3rd Earl of Southampton. A year later, another epic poem was published, the 1600-line Rape of Lucrece. Almost as popular as Venus and Adonis (which was printed nine times in less than a decade), Lucrece went through six printings in a slightly longer time frame. Again here, the author’s name was not on the title page, only appearing in yet another dedication to Southampton. Of interest, never again did “Shakespeare” (whoever he or she was) dedicate anything else to anyone else. Nevertheless, on the strength of these two remarkable dedications, Shakespearean orthodoxy has put forth that Southampton must have been Shakespeare’s “patron” and possibly even the “fair youth” mentioned in Shakespeare’s Sonnets. Yet despite centuries of searching for such a connection, no evidence at all has emerged connecting Will Shakspere of Stratford with Southampton. The fact is, when Venus and Adonis was published in 1593, Southampton was himself only 19 years old, living on a very small income that had to be doled out to him by his guardian, William Cecil (Lord Burghley, Queen Elizabeth’s Master of the Royal Wards). At this point in time, Southampton was clearly in no position to be a patron to anyone. Indeed, how would the Stratford man have even gotten to know him? It would be two more years before Southampton would reach his majority and be able to “sue for livery” – the legal process that required payment to the crown for an heir to obtain any inheritance from his deceased father’s estates. This paper explores the historical circumstances of these major epic poems and what the author’s personal motivation might really have been behind choosing young Southampton as dedicatee. [ABSTRACT FROM AUTHOR]

Tshivenḓa poetry thematises varied notions of selfhood and culture, among others. Within this thematisation, longings for the freedom to self-identify and (re)present the self or selves show up as recurrent themes. For analytical convenience, 10 Tshivenḓa poems were purposively selected and analysed in this article. The analysis is based on a predetermined set of themes, namely, the quest for identity and authenticity, notions of being and belonging, and intersections of identity, memory, home and renaissance. The paper deployed a qualitative research approach and was theoretically undergirded by Afrocentricity. The analysis reveals that Tshivenḓa poetry demystifies the metanarratives propounded by colonialists and apartheid exponents to negate African people's selfhood and culture. The analysis further reveals that the indigenes have always had ways to express their selfhood and ideological outlook, including agentively challenging false hegemonic discourses about them. This paper adds to the ongoing discourse on the politics of identity, belonging and discourses focused on how the formerly colonised asserted and still assert their presence and agency during and after decades of marginalisation and repression. It is recommended that aspects of African selfhood and culture captured in Tshivenḓa literature should form part of African indigenous knowledge systems that need to be studied in institutions of basic and higher education. [ABSTRACT FROM AUTHOR]

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

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]

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]

To create a human community with a shared future, cultural exchanges between countries should be strengthened (Xi, 2020, p. 365). Classical Chinese poetry is an important part of the communication of Chinese culture. The most translated Li Bai's poems in Cathay not only promoted better reception of Li Bai's poems in a foreign context, but also injected powerful vitality into the Western literary world. This paper investigated Pound's translation practice of Li Bai's poems in Cathay and specifically interpreted Pound's internal and external motivations in the selection of source text, textual features formed through translation strategies and the reception of English translation of Li Bai's poems by drawing on three main concepts: "field", "capital", and "habitus" in Pierre Bourdieu's sociological theory. It was found that Pound's selection of Li Bai's poems was made under the influence of utilitarian American sinology field and flashy literary field. Pound's habitus with cosmopolitanism and historicism shaped by American sinology and literary fields initiated his translation idea of "translation as creation", which further formed his translation strategies. Finally, Pound, with great social, cultural, and symbolic capitals, promoted better reception of Cathay, especially Li Bai's poems. The findings of research revealed the powerful interpretation of Pierre Bourdieu's sociological theory in translation and communication of literary works, which provided great recommendations for Chinese researchers and policymakers on how to better translate and communicate Chinese literature abroad for international literary exchanges. [ABSTRACT FROM AUTHOR]

Most of the classic texts in Kurdish literature are poems. Knowing the meter of the poems is helpful for correct reading, a better understanding of the meaning, and avoiding ambiguity. This paper presents a rule-based method for the automatic classification of the poem meter for the Central Kurdish language also known as Sorani. The metrical system of Kurdish poetry is divided into three classes quantitative, syllabic, and free verses. As the vowel length is not phonemic in the language, there are uncertainties in syllable weight and meter identification. The proposed method generates all the possible situations and then, by considering all lines of the input poem and the common meter patterns of Kurdish poetry, identifies the most probable meter type and pattern of the input poem. Evaluation of the method on a dataset from VejinBooks Kurdish corpus resulted in 97.3% of precision in meter type and 96.2% of precision in pattern identification. [ABSTRACT FROM AUTHOR]

Mathematical visual poetry is a poetic genre whereby metaphorical expressions are created using mathematical structures. Within the structure, the poetics are understood by the cross-mapping of numerous conceptual domains including visual, lexical, and mathematical. Here I focus on one particular mathematical visual poetic structure: what I call a Similar Triangles Poem or Proportional Poem. To illustrate the ideas discussed, I present “Pandemic Meditation,” a mathematical visual poem; in particular, I discuss how this mathematical poem uses the mechanisms of poetic metaphor in the context of the embodied mind. The intent of this paper is not to explain “Pandemic Meditation,” for explanations of poetry serve only to kill it. Instead, the intent here is to give the reader the tools to access similar triangles poems in general, and this expression in particular, and to show how it functions within the definitions of poetic metaphor. This paper can be used as a template to study all similar triangles visual poems, and more generally, as a source to study visual poetry. [ABSTRACT FROM AUTHOR]

Postmodern poetry revisits the traditions and subjects myth and history to drastic experimentations. The present paper reacts to Ashbery's postmodern rendition of the myth of Orpheus in his poem ‘Syringa’ (Ashbery, 1985). He dismantles and opposes the myth of Orpheus and Eurydice and disrupts its totalitarian voice. The main concerns of the paper are to investigate what linguistic potentials Ashbery deploys in his experimentation, how these potentials help him appropriate and then subvert the mythical subtext, and what the consequences of this subversion could be. He disturbs the myth of Orpheus by drawing on the potentials of constructed oppositions. These potentials help Ashbery deconstruct the mythical narrative and adapt it to his postmodern tastes. The theoretical framework comprises Leslie Jeffries's notion of constructed opposition. The methodology is analytic and interpretive; it conducts a close reading of the poem which situates the poem at the intersecting nodes of myth, poetry, and language. The poem is argued to have relied heavily on the oppositions that Ashbery sets up between his text and its mythical subtext. The paper concludes negation and shifts of verb-tenses are the main structural triggers of opposition along with semantic triggers. [ABSTRACT FROM AUTHOR]

This paper presents a study on the extent to which creative literature been used as a vessel to carry forward the development of mathematical thought. The role of mathematics as a driving force for literature is highlighted, and while many examples exist that clearly show an attempt to disperse mathematical ideas, with Lewis Carroll, OuLiPo and ancient poetry considered, the argument that the sole purpose of the writings was for the sake of mathematical development is not clear-cut. [ABSTRACT FROM AUTHOR]

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

This paper aims to investigate how a Persian spoken poetry game, called Mosha'ere, can be computerized by using a Persian automatic speech recognition system trained with read speech. To do this, the text and recitation speech of the poetries of the great poets, Hafez and Sa'di, were gathered. A spoken poetry rhyming game called Chakame, was developed. It utilizes a context-dependent tri-phone HMM acoustic modeling trained by Persian read speech with normal speed to recognize beyts, i.e., lines of verses, spoken by a human user. Chakame was evaluated against two kinds of recitation speech: 100 beyts recited formally at the normal rate and another 100 beyts recited emotionally hyperarticulated at a slow rate. About 23% difference in WER shows the impact of the intrinsic features of emotional recitation speech of verses on recognition rate. However, an overall beyt recognition rate of 98.5% was obtained for Chekame. [ABSTRACT FROM AUTHOR]

Zoltán Kodály has composed two choral works to the poems of Ferenc Kölcsey: Huszt and Bordal. Both were composed for male choir. Bordal was composed between 1913 and 1917, followed by Kodály’s Huszt in 1936. In this paper I will present an analysis of the Huszt choral work. [ABSTRACT FROM AUTHOR]

As one of the least common, yet predictable astronomical occurrences, the transits of Venus were to become among the most keenly anticipated events for early modern cosmologists. Basing himself on Johannes Kepler's Tabulae Rudolphinae (1627), former Cambridge student Jeremiah Horrocks (1616–1641) made the first recorded observation of a transit from Much Hoole, Lancashire in 1639. Alongside the description of his observations, Horrocks' Venus in sole visa contains four poems alongside the work's prose descriptions, figures, and tables. His verses call on the long tradition of Latin scientific poetry employed for the predictable purposes of eulogy and homage, but they also serve to justify and clarify the author's position on scientific issues of his time. Despite the long-recognized importance of Horrocks' observations, his hexameter compositions have been largely ignored in later scholarship. In the latest translation of the Venus in sole visa (2012), one poem—the longest and arguably the best—is omitted altogether. This paper offers a study of Horrocks' Latin poetry, his models and engagement with its subject matter. It reveals Horrocks' efforts to promote his predecessors' achievements, his position on questions central to the debates of his time, and the claims for authority he made for the work of others, as well as for his own. The present article also includes a new, modern translation of Horrocks' longest, and recently forgotten poem as an appendix. [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]

This paper provides a textual analysis of Walt Whitman's "Song of Myself", revealing its significance as a national poem. The paper argues that Whitman's "Song of Myself" breaks literary and political limits, challenging the sovereignty of the nation. By examining "Song of Myself" in the six different editions of Whitman's Leaves of Grass, this paper will further analyze Whitman's style and his speaker as representations of the limitations and sovereignty of literary tradition and the politics of his nation. By "politics," I refer to the religious, political, and social doctrines that shape the nation. By "literary," I mean the traditional literary style of writing, such as the poem's form, scope, and subject. [ABSTRACT FROM AUTHOR]

In the Netherlands, the poet Herman Gorter (1864–1927) is mostly known as the author of the neo-romantic poem May and the "sensitivistic" Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an "open letter" to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and "bourgeois", unconnected with what was happening in the real (material-political) world. He wanted to put his poetry on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan (11,000 lines of verse, published in 1916), two terms are rather prominent, namely heelal ("universe") and kristal ("crystal"). These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek (who studied the universe) and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter's secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter's work and the main objective of this paper is to demonstrate her influence on Gorter's Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter's Pan, highlighting important connections with Ada Prins' research into liquid crystal chemistry. [ABSTRACT FROM AUTHOR]

In many of the oldest known sites of the Pāṇḍya country located not far from the Kāverī River in Tamil Nadu, a dual Hindu obedience, Vaiṣṇava and Śaiva, was developed concomitantly.1 Alongside these Bhakti deities, others are present in these places of communication with the sacred. As stone figures attached to the site and texts evoking the place are the two means used to give form to their deities, one would expect these two mediums to interact, but it is often difficult to correlate them in the Tamil country of the first millennium. This paper aims at exploring such possible relationships at Tiruveḷḷaṟai, the earliest remains of which date to the 8th c. The site has unique archaeological features, such as a svastika-shaped well and the earliest known depictions of some of Kṛṣṇa's feats; it inspired hymns of the Tamil Vaiṣṇava devotional corpus, the Divyaprabandham, and offers numerous inscriptions. The link between Śiva, Viṣṇu and local goddesses proves to be as remarkable here as that between texts and archaeology. [ABSTRACT FROM AUTHOR]

The current paper explores the potential of the areas between mathematics and poetry. We will first recall some definitions and results that are needed to construct solutions of the Yang–Baxter equation. A new duality principle is presented and Boolean coalgebras are introduced. A section on poetry dedicated to the Yang–Baxter equation is presented, and a discussion on a poem related to a mathematical formula follows. The final section presents our conclusions and further information on these topics. [ABSTRACT FROM AUTHOR]

Browning's and Serembe's love poems will be analyzed in this research paper in order to illustrate how they reflected their efforts to present the idea of love in their poetry. In the 'By the Fire-Side', one of the major poems of Robert Browning during the thesaurus of the British Victorian period and Zef Serembe's 'Song for Longing', considered by many to rank among the best love poems of Rilindja (Renaissance) poets in the nineteenth century Albania. The two poets, do not consider the idea of love in the abstract term. They include love by referring to the specific details, Browning, to his love relationship with a famous poetess Elizabeth Barrett, their elopement and union in Italy, and Serembe to his love for a girl from his native village, who immigrated to Brazil and subsequently died. In these poems, both poets explore the intimate atmosphere they tried to establish for their beloved women, by describing the places that witnessed the birth and growth of their love. 'By the Fire-Side' and 'Song for Longing' comprise a common element; they are personal love poems that describe their ideal love, personal feelings, and passion of their love. While Robert Browning in his poem writes about a peaceful and satisfied married life, full of sweet memories and images of his wife, Zef Serembe's poem is a picture of his sentiment, primarily of solitude and disillusionment. The comparative and descriptive research methods have been helpful while conducting this research paper. [ABSTRACT FROM AUTHOR]

Recent advances in cultural analytics and large-scale computational studies of art, literature and film often show that long-term change in the features of artistic works happens gradually. These findings suggest that conservative forces that shape creative domains might be underestimated. To this end, we provide the first large-scale formal evidence of the association between poetic meter and semantics in 18-19th century European literatures, using Czech, German and Russian collections with additional data from English poetry and early modern Dutch songs. Our study traces this association through a series of unsupervised classifications using the abstracted semantic features of poems that are inferred for individual texts with the aid of topic modeling. Topics alone enable recognition of the meters in each observed language, as may be seen from the same-meter samples clustering together (median Adjusted Rand Index between 0.48 and 1 across traditions). In addition, this study shows that the strength of the association between form and meaning tends to decrease over time. This may reflect a shift in aesthetic conventions between the 18th and 19th centuries as individual innovation was increasingly favored in literature. Despite this decline, it remains possible to recognize semantics of the meters from past or future, which suggests the continuity in meter-meaning relationships while also revealing the historical variability of conditions across languages. This paper argues that distinct metrical forms, which are often copied in a language over centuries, also maintain long-term semantic inertia in poetry. Our findings highlight the role of the formal features of cultural items in influencing the pace and shape of cultural evolution. [ABSTRACT FROM AUTHOR]

This paper addresses the methodological question of how researchers can meaningfully and ethically include non-human beings not only as research subjects or informants, but as active participants in the research process. Following a review of relevant existing more-than-human and multispecies methodologies, we recognise that non-human beings are already part of academia, yet their capacity to actively shape research remains largely unaccounted for. We engage Springgay and Truman's (2018) practice of 'walking-with' as a methodological approach for bringing non-human beings into the research process, developing what we call 'a practical poetry of paces' as a contribution to this work. We illustrate its application in two different 'fieldwalks' - with a donkey in North Kenya and a dog on Canvey Island in the UK - focusing on the absences that can thus be made present, as well as the types of relational engagement this mode of conducting research engenders. We conclude with ethical considerations about the impossibility of dismantling power relations between human and non-human beings and its implications for the ethicality of conducting research with non-human collaborators. [ABSTRACT FROM AUTHOR]

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

The paper examines the contribution of Bhoja, an 11th-century theoretician of Sanskrit literature, to the theory of kāvyapāka--the maturity or ripeness of poetry. The concept relies on comparison between a poem and a fruit as they likewise must come to fruition to reach perfection--the state when they are most pleasing to their recipients. The theory is mentioned in numerous important Sanskrit works on poetics. However, different theoreticians perceive the state of perfection in poetry somewhat differently. Bhoja provides yet one more view on this matter. Although he relies on his predecessors, and in some points agrees with them, he also offers fresh perspectives on the subject. The paper focuses on the analyses of relevant passages from Bhoja's works, Sarasvatīkaṇṭhābharaṇa and Śṛṅgāraprakāśa, concerning the subject of kāvyapāka, and compares them with the views of other theoreticians as summarized in the first part of the study. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyse the new perspectives on the locus amoenus put forward by contemporary women poets in Ireland, in particular those by the female authors included in the anthology Our Shared Japan, edited by Irene De Angelis and Joseph Woods (2007). This paper argues that these writers provide alternatives to traditional pastoralism that trigger new reflections on women’s identities and subjectivities. As Donna L. Potts asserts, some constitutive aspects of the pastoral tradition are “the relationship between nature and human nature, and between the present and the mythicised past, the motif of transformation, etc.” (9). These aspects will be scrutinised in the context of travel to the new, exotic space of Japan. The alterity that the poetic voices meet with in their travel provides them with new perceptions of themselves and their affective life in relation to the environment. This renegotiation of identity is mostly made through the body, which becomes a tool for knowledge and communication. The heterotopia (Foucault) of the trip, therefore, provides the perfect space for the poetic subjects to interact, change and reflect about their identity, their sense of belonging or alienation and the impact of travel on their emotional life. [ABSTRACT FROM AUTHOR]

The aim of this paper is to analyse the new perspectives on the locus amoenus put forward by contemporary women poets in Ireland, in particular those by the female authors included in the anthology Our Shared Japan, edited by Irene De Angelis and Joseph Woods (2007). This paper argues that these writers provide alternatives to traditional pastoralism that trigger new reflections on women’s identities and subjectivities. As Donna L. Potts asserts, some constitutive aspects of the pastoral tradition are “the relationship between nature and human nature, and between the present and the mythicised past, the motif of transformation, etc.” (9). These aspects will be scrutinised in the context of travel to the new, exotic space of Japan. The alterity that the poetic voices meet with in their travel provides them with new perceptions of themselves and their affective life in relation to the environment. This renegotiation of identity is mostly made through the body, which becomes a tool for knowledge and communication. The heterotopia (Foucault) of the trip, therefore, provides the perfect space for the poetic subjects to interact, change and reflect about their identity, their sense of belonging or alienation and the impact of travel on their emotional life. [ABSTRACT FROM AUTHOR]

This paper examines the endings of the so-called fitts in Sir Gawain and the Green Knight. For the first time in the criticism of this renowned fourteenth-century alliterative romance of the Matter of Britain attention is called to a remarkable number of lexical and thematic features shared by the concluding sections of the poem's four compositional divisions. It is argued that the parallel fitt-endings serve to underline the units of Gawain as an orally delivered Arthurian narrative of the kind that was used as a form of entertainment at medieval round tables and generally at court. The rationale behind the parallel fitt-endings is discussed in terms of paratextuality, with emphasis on such typical paratextual effects as pointing to the genre and the mode of the text in question. Paratexts peculiar to medieval literature and to Middle English alliterative romance are pointed out. [ABSTRACT FROM AUTHOR]

This paper studies Naiṣadha in Our Language (Bhāṣānaiṣadhacampu), a 16th-century Maṇipravāḷam retelling of the Nala and Damayantī tale from Kerala. It focuses on two main aspects of this text, both illustrated by different expressive modes: one 'high,' pulling towards the polished, dense literature of the Sanskrit style, and the other 'low,' pulling towards the performative, the local, and the colloquial. The first is exemplified by reading several verses where Damayantī is struggling to formulate an answer to Nala. Here, I discuss a heightened interest in the depiction of the individual, encapsulated in his or her relationship with and separation from other individuals. The second is illustrated by long prose sections describing men on their way to the wedding. Here, I discuss several allusions to Kerala's contemporary society and literature, and the expressive possibilities of Maṇipravāḷam prose. The association with Śrīharṣa's canonical Sanskrit Naiṣadhacaritam serves as a roadmap to some of the intriguing literary selections of this text. [ABSTRACT FROM AUTHOR]

This paper discusses the innovative use of AI computer algorithms in the creation of tanka, a form of Japanese poetry. From the recent forays into computer-generated poetry in Japan, I look at two computer programs in particular: the instant tanka generator "Inu-zaru," created by Sasaki Arara, and the "gūzen tanka" Twitter bot by programmer Inaniwa. These programs engender new paradoxical models of technology-mediated authorship and reading, whereby human agency is at once subtracted from the composition process while also being presupposed as a necessary component in the participant reader. Such forms of reading and writing shed new light on theoretical matters such as the death of the author even as they pose intractable questions concerning international copyright conventions. [ABSTRACT FROM AUTHOR]

Concerned with meaning-making and uncovering what the experience is like, hermeneutic phenomenology offers a way to understand shared, interconnected and embodied human existence. Poetry and poetic inquiry provide a powerful way to present nuanced, rich understandings, allowing space for play and ambiguity, revealing fresh and surprising ways of thinking about phenomena. Hermeneutic phenomenology often turns to the poetic for a suitably evocative language capable of bringing forth the richness and nearness of lived experience. Poetic inquiry, in turn, draws its nourishment from the foundational roots of hermeneutic phenomenology; however, this is often less obvious to the neophyte researcher. The paper provides an introduction to phenomenology and hermeneutics, showing how these qualitative approaches lend themselves to each other, and makes explicit a philosophical foundation for poetic inquiry. Whilst methodological frameworks provide vital scaffolding for researchers, they can become rigid; poetry can help researchers flex outside and around more established ways of thinking and writing. Together, hermeneutic phenomenology and poetic inquiry unsettle and disrupt familiar ways of doing, being and seeing our world, allowing the unexpected to emerge and bringing forth new potential understandings. [ABSTRACT FROM AUTHOR]

This paper examines the use of alliteration in Welile Shasha's poetry in Zihlabana nje Ziyalamba. This aspect is chosen as Shasha uses it very intensively in his poetry. Alliteration is discussed as demonstrated by the use of assonance and consonance in the poetry. To be considered then is the repetition of vowel and consonant sounds. The subheadings of this discourse are introduction, theoretical framework, research methodology, assonance and consonance. The concept of alliteration is defined as part of the introductory section of the study. A concluding remark, which provides the summary of the research, evaluation and recommendation for further study, will be included towards the end of the discourse. The theoretical framework that underpins this study is that of literary stylistics. The study uses the qualitative research methodology of data collection and analysis. [ABSTRACT FROM AUTHOR]

This article examines Magorovy labutí písně ('Magor's swan songs'), a collection of poems by political prisoner Ivan M. Jirous, and an important example of Czech prison poetry from the second half of the 20th century. It was during his imprisonment in Litoměřice, Ostrov, and Valdice (1981-1985) that Jirous wrote the poems, which were smuggled out as motáky (clandestine notes written on rolls of paper) by his friend and fellow prisoner Jiří Gruntorád. The article first characterises the situation of Jirous and the Czech underground during the 1970s and 1980s. It then proceeds to analyse how Magorovy labutí písně represents a form of literary creation whose aesthetic specificity arises from the situation of extreme hardship -- the 'state of emergency' -- in which it was written. This specificity can be found in the authentic and even documentary aspect in which the poems reflect the time and place of the prison, as well as the broader, timeless, and more spatially expansive awareness of life that the poems express. What is essential here is not the contingent aspects of the writing, the fleeting influence of inspiration, but more broadly the conscious use of specific means and methods of poetic composition. It is thus a form of literary expression that confronts the characteristic aspects of prison time and spatial confinement by consciously exceeding the limits of the walls, reaching out into the diverse and varying temporal planes and shifting reality of the surrounding world -- an experience that is only intensified by its juxtaposition to the daily life of the prisoner from which these dimensions have been brutally stripped. This context-based interpretive analysis demonstrates, in conclusion, that the prison poetry in question here aims to define the effects of confinement and the prison environment by means of a complex gesture, one that is unified by a range of interrelated poetic devices: aural (sound and metre), figural, metaphorical, compositional, stylistic, etc. Prison poetry thus facilitates the survival of its creators and fellow (not only political) prisoners -- referred to colloquially as 'muklové' (an acronym for muži určení k likvidaci, or 'men destined for liquidation') -- not only in the physical sense, but above all spiritually, as integral, unbroken personalities. [ABSTRACT FROM AUTHOR]

Although Robert Zemeckis's film Beowulf (2007) is a re-writing of the Old English epic Beowulf with a shifting of perspective, certain details in the film can only be understood by referring to the poem. That is, a better understanding of the film is tied closely to an awareness of certain narrative elements in the epic. The emphasis on Beowulf in the poem shifts to the Mother in the film. This shift obviously leads to a recontextualization of the narrative elements of the former text. In the epic, Grendel is left without a father; however, in the film, he is fathered by Hrothgar but this biological fathering does not lead to linguistic castration. In their case, things are reversed: rather than the infant being castrated by the Law/language, the biological father is led to a psychic regression due to the son. This appears to be a dramatization of the conflicts between the (m)Other and the shared Other/the representative of the paternal metaphor: that is, Hrothgar. This time, the (m)Other conquers the representative of the paternal metaphor and annuls his masculinity, which radically changes the way in which we evaluate the course of events in the film. These departures make more sense if they are analyzed against the background of Lacanian epistemology. This paper aims to explore the film's departures from the poem by approaching it from a Lacanian perspective. [ABSTRACT FROM AUTHOR]

Poetic language is often defined by its apparent violations of ordinary language rules because of its usage of 'unacceptable' or at least very unusual constructions, under the label of 'poetic licence'. This is also true for Emily Dickinson's language, characterised as obscure, elliptical or ambiguous. The present paper is an attempt to show how the 'poetic forms' are nothing but an extreme exploitation of everyday language resources which can sometimes appear to be ambiguous or obscure only as a side effect of their extra-contextualisation. The case in point is the analysis of Dickinson's use of personal pronouns, which is not agrammatical, but resorts to the pragmatic and topicality conditions overruling the semantic rules of gender agreement, thus building her view and feeling of herself as a woman and a poet. [ABSTRACT FROM AUTHOR]

The present paper addresses the issue of bilingual literature and studies the relations between the majority language and the minority language within the poetry of minority authors. We examined the contemporary phenomenon of producing poetry in the majority (Italian) language by two authors of the Slovenian origin living in the Friuli Venezia Giulia region in Italy (Antonella Bukovaz, Elena Cerkvenič). In this regard we found out that the linguistic shift from the minority (Slovenian) language to the majority (Italian) language does not inevitably lead to the breakage of the links with the collective memory of the Slovenian minority in Italy and thus does not induce a change in the manner of the literalization of the living space of the Slovenian minority in Friuli Venezia Giulia. [ABSTRACT FROM AUTHOR]

This paper presents an analysis of the occurrences of the nickname ... ("Scourge of Homer") in Greek and Latin literature. In the singular form, the term occurs exclusively in reference to Zoilus of Amphipolis, Homeric critic of the 4th century BC and author of Against Homer's Poetry (...). An apparent exception is the use of the nickname referring to Zenodotus of Ephesus, which seems to be due to a scholiast's misunderstanding of Luc. pro Im. 24. The term occurs in the plural form three times. Among these three occurrences, one (Eust. Od. 1.301.29--31 Stallbaum) can be perhaps compared to a fragment of Zoilus' Homeric exegesis (schol. Hdn. vel ex. Il. 1.129a A), and as a result, it is possible to suggest that when Eustathius mentioned the anonymous .... he had Zoilus in mind as well. [ABSTRACT FROM AUTHOR]

This paper examines ways of seeing the world differently through the eyes of an a/r/tographer (artist, researcher, teacher). It addresses how I see the world phenomenologically, pedagogically, poetically, and artistically (as a photographer), and how my seeing the world through these varied-yet-connected lenses influences my way of being in the world. The structure of the paper echoes this way of seeing through the various lenses of research, reflection, poetry, and photography. [ABSTRACT FROM AUTHOR]

This article describes the uses of literature in The Labor Advocate: A Weekly Labor Reform Newspaper (Toronto, 1890-91). As editor of the Advocate, Thomas Phillips Thompson aimed to increase awareness of the means and consequences of industrial capitalism, and thus enhance the possibility of social justice for the working class. He did so in a mixed format periodical that included poetry, short fiction, and serialized novels as well as editorials, biographies, obituaries, reports, letters, and columns. Over forty-four issues, Thompson experimented with literary expression to attract readers and foster the democratic reform of social organization. Analysis of the Advocate points to the importance of communication strategies in both the early history of the Canadian labour press and the longer history of labour in transnational contexts. [ABSTRACT FROM AUTHOR]