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This paper will discuss the possibility of attributing authorship to translations by carrying out a comparative stylometric analysis of an author's poems and their translations of other writers' works. The paper puts forward two hypotheses. Firstly, its aim is to test whether an author's poems and translations share stylistic patterns. Secondly, it will test whether these shared patterns can be used to attribute authorship of translations. The complete works of Antonio Colinas and Eloy Sánchez Rosillo, together with their respective translations of Giacomo Leopardi's Cantos, will be used. Based on these texts, we will build computational representations that correspond to the stylistic profiles of each author, using various style cues related to metrics, grammar, and lexicon. These representations will serve as input for the calculation of similarity. Its result will allow us to determine to what extent characteristics of an author's own verses remain in the translated poems and whether there is more closeness between the two translations or between each author's poetry and their translation. [ABSTRACT FROM AUTHOR]

Between the eighteenth and nineteenth centuries, an esthetic revolution awakened a new interest in traditional poetry, which was considered the depositary of the Volksgeist and the most faithful representation of the national character. This paper raises the possibility of using the concept of author function to prove the high coherence with which German Hispanism, and in particular Ferdinand Wolf, considered the people of Spain as the authorial subject of Spanish romances. To do so, I will review the increasing interest in folk poetry since the 1750s contextualizing it within the new processes of the creation of national identities and Europe's special attraction to the Spanish case. Secondly, I will connect this revival to both new esthetic sensibilities that revolutionized the concept of authorship, such as expressive theories, and the creation of a collective subject (das Volk) as the origin of romances. I will analyze this collective subject as a potential author function. Finally, I will compare this against Wolf's thesis on the Spanish Romancero. [ABSTRACT FROM AUTHOR]

The counterfeit works of Rafael Bolívar Coronado (1884–1924) represent a phenomenon with unusual repercussions on critical reception. This author managed to publish more than twelve volumes with false authorship and content, from "crónicas de Indias" to collections of poetry. This article presents a theoretical approach regarding literary falsification in general and highlights the concepts of lightness and multiplicity to propose an interpretation of the Bolívar Coronado case. This paper also deals with the artistic dimension of literary forgeries as creative works that use the same methods and strategies as fiction writing. The set of falsified works by this author can be interpreted as a conceptual proposal that questions the functioning of the literary field of his time. Likewise, his proposal can also be framed within the cultural criticism that the forgery tradition entails: it questions not only the difficult discernment between the concepts of truth and lies, but also the rigidity of some guardians of cultural institutions and the system of legitimation, awards, and literary reviews. [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]

The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb's life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar's theological writings from the vantage point of Arabia's oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb's appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic. [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]

The United States' entry into the First World War prompted progressives to reform veterans' entitlements in the hopes of creating a system insulated from corruption and capable of rehabilitating disabled veterans into productive members of society. The replacement of pensions with medical care for wounded and disabled soldiers through the Reconstruction Hospital System was originally intended as a temporary measure but resulted in establishing the foundations of the modern veterans' health care system. Yet, these reforms would not have been possible without the support from the community of war veterans to which these reforms applied. By examining the communal values expressed in publications produced by and for soldiers, this paper explores the ways in which the Great War's veteran community expressed agency in the process of reforming the US veteran entitlements. [ABSTRACT FROM AUTHOR]

The article discusses how unsolved problems about the extant copies of Chaucer's poems reflect uncertainty between author and reader. It mentions that an earlier paper considered the unique manuscript of the revised Prologue to the Legend of Good Women, which was written before his death in 1400. It reveals that using standard techniques of linguistic analysis, it proposes that language underlies the extant copy of the poem and that Chaucer's authorship of the whole is indisputable.

Trauma needs containment and recognition in order to be handled, and this project enabled the soldier to do both through the use of writing and poetry. This paper is based on the qualitative findings of an 18-month long poetry therapy group conducted in a veteran's center, and follows the progress of the veterans as they learned to use writing and poetry to focus on the present and reconnect to a broad spectrum of emotions they had been trained to suppress. The paper describes the theory behind the exercises and their impact on the veterans. [ABSTRACT FROM AUTHOR]

Digital archiving has opened up new pathways for research in the humanities, especially involving work from the pre-digital era, such as the poetry of Emily Dickinson. This paper utilizes the robust Emily Dickinson Lexicon hosted by Brigham Young University, harnessing digital tools to investigate Dickinson's bold, surprising use of language. This paper also discusses Michel Foucault's "What Is An Author?" in addressing Dickinson's unique journey to authorship. An in-depth look into Dickinson's enigmatic persona and surprising use of language reveals insights pertaining not only to the genre, medium, culture, and reader--but also about the author herself. The Emily Dickinson Lexicon creates countless learning opportunities for scholars and interested minds alike to identify and study Dickinson's radical vocabulary, and the subsequent discussions her words inspired. Such discussions are what preserve Dickinson's author status, though few of her poems were published in her lifetime. The Lexicon allows for new ways to frame and investigate important questions regarding Dickinson and female authorship in nineteenth-century America. What, after all, is an author? What constitutes publication? [ABSTRACT FROM AUTHOR]

Critical interest in literary genius did not escalate in the early Romantic period as a response to the Augustan investment in the rules of art; nor did the terms of the debates originate with Edward Young or Joseph Addison. More accurately, Addison’s Spectator papers of 1711 and 1712 popularized such notions as ‘natural genius’ and ‘the spirit of imitation’ (as distinct from ‘servile imitation’), and thereby punctuated a critical tradition that has been obscured by recent emphases on the doctrine of ‘original genius’ outlined in Young’s Conjectures on Original Composition (1759) and on proprietary models of authorship associated with developments in copyright law. As a case in point, this essay critiques the Wartonian version of English literary history, in which Joseph Warton and other critics of the 1750s and beyond narrowly depicted Alexander Pope in particular as a writer of correctness rather than imagination, a poet lacking poetry. For Percival Stockdale, William Hazlitt and others, Pope remained an eminent model of modern genius well into the following century. [ABSTRACT FROM AUTHOR]

A mathematical poem attempts to distill a mathematical concept and present it in a literary or visually compelling way. This paper presents an outline of my own personal method of composing such poetry. The outline is elucidated via an extended meditation on the composition of one particular poem. [ABSTRACT FROM AUTHOR]

Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is "man meaning to man." For Ojaide, a creative writer is not "an airplant" that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection The Eye of the Earth (1986) and Tanure Ojaide's Delta Blues & Home Songs (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls "semantics of terrestiality": i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: The Eye of the Earth and Delta Blues & Home Song interrogate the despicable state of Nigeria's environment as a consequence of global capitalism. [ABSTRACT FROM AUTHOR]

Literary Translation is an activity not to be considered an impossible task or looked down upon as less creative than writing poetry or fiction. If one were to embark upon this task by reading books on theories, it is bound to be a despairing exercise. Nobody seems to have done that. This literary/imaginative endeavor was started by many without knowledge of any theory or theories. In Telugu, literary creation began with the rendering of Sanskrit texts like The Ramayana and The Mahabharata. The bare essentials that go to make a successful practitioner, to begin with, are the love of literature and familiarity with the two languages, the language of the source text and the language into which it is rendered. Translation, generally, has come to be considered as a highly complex process, inaccessible and beyond the ken of understanding of enthusiasts, thanks to the ever expanding theories. Against this scenario, an interaction with actual practitioners would help the aspirants and enthusiasts sharpen their skills while leading to gain insights into the art and craft of this imaginative/literary exercise, call it rendering, transcreation, translation or what you will. This paper is based on such useful interaction with practicing translators, creative writers and academics and hopefully provides insights into the much-needed activity of literary translation. [ABSTRACT FROM AUTHOR]

Senghor's importance within francophone writing remains uncontested. However, his writing has most often been seen as committed in nature. This view is strengthened by Senghor's assertion that there is no concept of art for art's sake in African writing. However, by emphasising the political dimension of Senghor's writing, at the expense of the personal, Senghor is denied an equal status with poets within the Western canon. This paper argues that Senghor's poetry should also be viewed as a personal document, which charts the emergence of the poetic identity itself. The early poems discussed provide a poignant sense of 'culture shock', made all the stronger because they were written at an early stage in the poet's career. They also show an experimentation which belies the view that his writing consists of pre-planned political statements. [ABSTRACT FROM AUTHOR]