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In this paper, we offer a collective, multi‐vocal reflection on using poetry for research purposes. These were reflections on an online sub‐plenary session organized as a workshop, which was held at the European Group for Organization Studies conference in 2021. During this workshop, the first three authors presented a step‐by‐step method for doing poetic inquiry and invited participants to apply it to their own empirical data or research praxis. The method was created in response to the marginalization of affect and embodiment in mainstream research in organization studies. Poetic inquiry aims to formulate specific practices of "writing differently" that assist researchers in their attempts to analyze and articulate their findings in embodied and affective ways. In this paper, we describe the method and bring together multi‐vocal reflections from the participants and organizers of the workshop on the affects of poetic inquiry and the (ethical) questions that it poses. [ABSTRACT FROM AUTHOR]

What is it to be clear? And will that question have the same answer in science, poetry, and philosophy? This paper offers a taxonomy of clarity, before focusing on two notions that are pertinent to the notions of clarity in science, poetry, and, in particular, philosophy. It argues that "scientific clarity," which is marked by its reliance on technical terms, is, though often appropriate, not the only way in which something can be clear. In particular, poetry entirely eschews technical terms—but can nonetheless be crystal clear. Poetry achieves this clarity by sensitivity to the richness of language: rhythm, ambiguity, and so on. The paper argues that some philosophy uses language in this same way to achieve its philosophical ends. Accordingly, we should allow that this is a legitimate philosophical method and should not judge the clarity of such philosophy by the standards of scientific clarity. [ABSTRACT FROM AUTHOR]

The author reflects on the similarities of an abstract of a scientific paper to a poetry. He says that like a limerick, the best abstracts are quite irreverent. He adds that the quadripartite rules for the abstract, which include the background information and the results, have their parallels in the verse pattern of the quatrain. According to him, adding controls to the abstract would lead to a short, five-member composition that would work like a limerick.

This paper discusses poetry as a site of what Pierre Hadot calls "spiritual exercises," with particular reference to China's greatest poet, Du Fu (712–70 C.E.). While Hadot's work has bridged gaps between (i) philosophy and religion and (ii) theory and practice, this paper suggests that spiritual exercises can also blur the modern separation between form and content. It argues for the possibility of poetry as philosophy; that is, philosophy in a less‐recognized form. If poetry can be spiritual exercise and if spiritual exercise with its goal of self‐transformation is the core of philosophy, then we may be able to treat poetry as one form of philosophy. The paper also demonstrates the relevance of Hadot's work for ancient Chinese and comparative philosophy more broadly. [ABSTRACT FROM AUTHOR]

The article presents several poems by Issac Julien. "Xie Xiao Wen." First Line: On the Night of the Lantern Festival; Last Line: In the sand of the distant North Wales Sea. "Lin Li Sui." First Line: Ten thousand waves; Last Line: Broken in the wild North Wales Sea. "Guo Bing Long." First Line: Ten thousand waves; Last Line: Wailing from the forbidden North Wales Sea.

How do we make sense of our place in the field as researchers and as sexual, spiritual beings? Ethnographic fieldwork is central to several disciplines, including geography. It involves the researcher encountering and gathering stories and meanings through interaction with people's lived experiences in settings that are often not the researcher's own. Although rarely strain‐free, fieldwork is seen as a transformative experience, both from the personal and the academic point of view. This paper, situated at the intersection of geography, queer/ing practices, and ethnographic methodology, explores poetry as a form of self‐care in the field. In recent years, poetry has emerged as a creative and productive mode of representation and (co‐)interpretation of qualitative data. Based on my own spiritual experience(s) while conducting fieldwork in Spain, I consider prayer cards as a poetic form and a means through which issues of self‐care and spiritual self‐preservation are made visible, particularly when experienced within a social environment that is hostile to LGBTQ+ lived experiences of faith. [ABSTRACT FROM AUTHOR]

Background: Transitions are critical periods that can lead to growth and, or, distress. Transitions are a sociocultural process, yet most approaches to transitions in practice and research do not explore the social or developmental aspects of entering a new training phase. Wenger reminds us that identity development is crucial when newcomers navigate change. In this paper, we use Wenger's modes of identification: engagement, imagination and alignment to explore students' identity development (as a student and professional) during the transition from pre‐clinical to clinical training. Methods: We enrolled nine 2nd‐year medical students who generated 61 entries comprising audio diary (or typed) reflections over 9 months (starting 3 months before clinical clerkships began) and interviewed them twice. We used research poems (transcripts reframed as poetry) to help construct a meaningful, emotive elicitation of our longitudinal data and analysed data using sensitising concepts from Wenger's modes of identification. Results: Students described their transition as a journey filled with positive and negative emotions and uncertainty about their current and future careers. Students navigated the transition using three mechanisms: (1) becoming more engaged through taking charge, (2) shaping their image of self through engagement and finding role models and (3) learning to flexibly adapt to clerkship norms by managing expectations and adopting a journey mindset. Conclusions: We successfully narrated students' identity formation during their transition to clinical training. We learned that students became more engaged over time by learning to take charge. They shaped their image of self by engaging in team activities and reflecting on role models. They learnt to adapt flexibly to clerkship norms by managing expectations and adopting a journey mindset. We suggest that institutions provide a safe opportunity for medical students to reflect, allowing students' transition periods to be lived, reflected on and supported. The authors showcase Wenger's three modes of identification (engagement, imagination, and alignment) as medical students transition to clinical training using longitudinal qualitative methods and research poetry. [ABSTRACT FROM AUTHOR]

There is a long‐standing debate about whether poetry can make a substantive contribution to philosophy with compelling arguments to show that poetry and philosophy involve distinct modes of thought and aims, albeit with similar concerns. This paper argues that reading lyric poetry can play a substantive role in philosophy by helping the philosopher understand how to forge connections with the perspectives of others. The paper takes the view that poetry is not directly philosophical but can play an important role in developing the philosopher's awareness of how perspective shapes beliefs and thought processes. Following Robert Nozick, David Lewis, and Helen Beebee, it argues for the need to broaden our conception of the aims of philosophy beyond aiming for conclusive proof, at the least where philosophical inquiry is focused on questions of value. It then shows how poetry cultivates an intellectual virtue essential to philosophy aimed at uncovering equilibria and collective understanding. [ABSTRACT FROM AUTHOR]

Friendship is a central focus in children's lives and is important for healthy development. During the Covid‐19 pandemic, children experienced restrictions on their interactions with friends. This research heard the voices of 10 children (7–11 years) in England regarding their friendships, drawing on data collected through creative participatory methods including drawings, photography and collages, and accompanying unstructured interviews. Findings provide new insights into how children endeavoured to maintain their friendships through virtual interactions, street/doorstep visits, and artwork, and how friendship disruption affected their well‐being. This paper argues for educators to heed the implications for the period of 'Covid recovery'. [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]

The Tirukkuṟaḷ is a text of Tamil proverbs that circulates widely in South India today. While the first two sections of the text contain practical pieces of ethical advice, the third section contains an extended love poem. This variation in content has resulted in a dichotomous view of the text in which ethics and poetry are viewed as fundamentally distinct. This paper blurs the distinction between ethics and poetry by showing how the poetic form of the Tirukkuṟaḷ's proverbs not only enhances the text's ethical message but also participates in the ethical formation of the text's audience. Building on Geoffrey Galt Harpham's notion of sub‐ethics, I argue that the Tirukkuṟaḷ uses three literary strategies—metaphor, inference, and suspense—to engage the audience in modes of "sub‐ethical" reflection by raising ethical questions and framing ethical choices. [ABSTRACT FROM AUTHOR]

This paper illuminates some of the journey taken by me, the researcher, whilst completing my doctoral research into the lived experience of epiphanies. The research journey is conceptualised as one of the discoveries into the task of qualitative research to "carry forward" the meaning of human experience, that is, considered "more than words can say." Six participants took part in an unstructured interview aimed at exploring how they made sense of their epiphanic experiences. Following the application of an interpretative phenomenological analysis, an arts‐based representation of the research findings, in the form of found poetry, was chosen to supplement the emerging interpretation. Six found poems are dispersed throughout the paper. The aim is to offer the reader the crucial opportunity to simultaneously engage responsively and rationally with an exploration of the value of found poetry. Moreover, this style of presentation may offer the reader more space and time to notice, observe and reflect on the impact of research poetry as they move through the paper. An evaluation of the utility of found poetry is also offered. By providing an insight into the process of constructing found poetry, it is intended that the merits of its integration within qualitative enquiry are highlighted as successfully being able to bring the meaning of exceptional human experience alive to the reader. Furthermore, the experiential knowledge offered here is considered particularly relevant to professionals working in caring or therapeutic roles. [ABSTRACT FROM AUTHOR]

Context The arts and humanities are gradually gaining a foothold in health professions education as a means of supporting the development of future clinicians who are compassionate, critical and reflexive thinkers, while also strengthening clinical skills and practices that emphasise patient-centredness, collaboration and interprofessional practices. Assignments that tap into trainee creativity are increasingly used both to prepare learners for the demands of clinical work and to understand the personal and professional challenges learners face in these contexts. Health professions educators need methods for interpreting these creations in order to understand each learner's expressions. This paper describes two theoretical frameworks that can be used to understand trainees' unique learning experiences as they are expressed in arts- and humanities-based creations. Methods The authors introduce the philosophical underpinnings and interpretation procedures of two theoretical frameworks that enable educators to 'hear' and 'see' the multilayered expressions embedded within arts- and humanities-based student creations: Gilligan's Listening Guide and Kress and van Leeuwen's approach to visual rhetoric. To illustrate how these frameworks can be used, the authors apply them to two creative summaries that learners made as part of a humanities-informed, interprofessional education intervention that took place in a non-acute-care teaching hospital. The interpretations of two creative summaries, a poem and a pair of paintings, highlight how applying these theoretical frameworks can offer important insights into learners' experiences. Conclusions This cross-cutting edge paper describes how the Listening Guide and visual rhetoric can help health professions educators listen to and read the arts- and humanities-based creative expressions made by learners. Insights gained from these interpretations can advance the understanding of students' personal experiences in different learning environments and can inform curriculum development. [ABSTRACT FROM AUTHOR]

The Middle High German (MHG) prosodic foot is uncontroversially considered to be trochaic, a fact which has traditionally led scholars to assume a preference for trochaic metre in poetry of the MHG Classical Period. However, given the trend elsewhere in mediaeval Europe (even in trochaic languages) to emulate French lyrics and compose verse in iambic metre, the uncritical assumption of a trochaic metre in all MHG poetry seems inadequate. A close examination of Parzival, an early thirteenth-century grail romance by Wolfram von Eschenbach, suggests that the traditional analysis is not only insufficient but counter to the linguistic evidence. This paper argues for the first time that Parzival was in fact composed in iambic tetrameter, based on a close analysis of the rhythmic alternations within lines and the quantity and foot structure of line-final syllables. Halle & Keyser's (1966) principles for iambic metre were used to produce a taxonomy of possible line structures in Parzival and the dominance of the wswswsws pattern, beginning on a weak beat and ending on a strong, offers convincing evidence in favour of iambic metre. The remaining lines can be neatly categorised as iambic by allowing feminine rhyme (with an extrametrical schwa syllable) or the construction of monosyllabic feet from a single heavy syllable. This analysis is further corroborated by the consistently iambic structure of line-final feet, as well as the foot structures avoided by the poet, identified according to the weight of the final, penultimate and antepenultimate syllables. The present analysis has the advantage of explaining the various patterns of alternating prominence in the metre of Parzival much more consistently than the complex system advocated by the traditional literary view. [ABSTRACT FROM AUTHOR]

This paper means to explore the relationship between Novalis's youthful engagement with the work of Fichte (with a nod to Kant's theory of practical postulates), on the one hand, and his late poetic work, the Hymnen an die Nacht, on the other. Against the grain of those who see in Hardenberg's development a promising young philosopher‐in‐the‐making who broke with philosophy in favor of mystical poetry, the present article hopes to show that Novalis's emerging views on such topics as reason, freedom, love, and the given (or Gegebenheit) in the Fichte‐Studien give rise to, or find themselves more adequately expressed in, the mature products of his late lyrical imagination. [ABSTRACT FROM AUTHOR]

In his Defence of Poesie Philip Sidney borrowed the vocabulary of anatomization to remark of poetry that 'all his kinds are not only in their united forms but in their severed dissections fully commendable', analysing the features of verse as though he were considering a man's 'parts, kinds, or species'. It is argued here that printed anatomies proved useful to early modern literary theorists not because they recognised how poetry's diverse parts added up to a systematic and relational whole, but rather because they provided a rich spatial vocabulary, encompassing height and depth, to describe afresh the experience of being immersed in a poem. Printed anatomies were experimenting at this time with how best to realise three‐dimensional structures on flat pieces of paper in order to capture life‐like human presence. When the printed book closely approximates the occasion of the anatomy itself, the anatomical subject comes surprisingly and vividly alive. Early modern poets were devoting themselves with increasing commitment in the 1590s and early 1600s to theorizing this same illusion: that poetry can step out of the confines of print and paper, and into the world. [ABSTRACT FROM AUTHOR]

Despite being a popular classic of German humorous twentieth‐century literature, Joachim Ringelnatz's work has received little scholarly attention. The following study questions the widely accepted stereotypical views that led to the scholarly marginalization of his work—namely the belief that his grotesque, humorous poetry is trivial and non‐reactive to the pressing issues of its time. By demonstrating Ringelnatz's inclination towards the Rabelaisian chronotope as a specific literary time‐space reconstructed by Mikhail Bakhtin in Forms of Time and of the Chronotope in the Novel, this paper argues that Ringelnatz's humorous poetry is neither historically irrelevant nor socially non‐reactive, because his adaptation of the Rabelaisian method confronts the traumatizing situatedness within the "painful time" of postwar Germany. Relating to Rabelais, Ringelnatz not only processes, but also recontextualizes the collective experience of postwar trauma, offering a "corrective" in the form of a "generative" (contra‐annihilative), "bodily‐oriented" time. [ABSTRACT FROM AUTHOR]

This paper contributes to the debate about the creative (re)turn to geography through the lens of poetry. In considering the potentialities and limitations of geopoetics, I explore three issues in particular: evaluation of the poetic creative moment; poetry as a means of expressing an embodied, affective geopolitics; and the limitations involved in this particular creative move as a means of empathetic, passionate storytelling. The paper highlights the ambivalences and complexities of using poetry as a creative literary form of geographical world-writing. [ABSTRACT FROM AUTHOR]

The aim of this afterword is - interrogatively - to complement and compliment the preceding papers by raising some general questions concerning the relationship between poetry and forgiveness, and to do so through reflection on the work of two authors who wrote well before the period explored by the essays in the collection, yet whose influence extends significantly into it. The paper will reflect, in particular, on the way in which Dante's Purgatorio and Shakespeare's The Tempest foreground the question of forgiveness by calling for the prayers of their audience in ways that coincide with these texts' self-conscious presentation of themselves as literary artifacts. By focusing specifically on the opening of Purgatorio XI and the Epilogue of The Tempest and by suggesting an inextricable connection in these texts between meaning and the recognition of one's shortcomings, I aim to point to the value that certain perspectives on the relationship between poetry and forgiveness might have for our understanding of the meaning of poetry and of the nature of our relationship with it. [ABSTRACT FROM AUTHOR]

Around ad 653, Eugenius II, bishop of Toledo, composed a first‐person poetic epitaph for the deceased Visigothic king Chindasuinth (r. 642–53) in which the monarch is made to speak with self‐deprecating candour. This paper offers a reassessment of the poem's language and rhetorical strategy by situating it within contemporary discourses surrounding royal admonition and penance. Rather than interpreting Eugenius's composition as an act of defamation, as the majority of critics have done, it reads the poem as a dignifying literary expression of atonement. This reading corresponds with other specimens of Eugenius's poetry and evidence from a developing literary culture at Chindasuinth's court. [ABSTRACT FROM AUTHOR]

Of all the poets in the English speaking world, Yeats is probably the most indebted to philosophy and much has been said about the momentous impact Plato and the Neo-Platonists had on his work. This paper examines another philosophical legacy which is directly relevant to the theme of the conference since many Pre-Socratic philosophers wrote their philosophical aphorisms in verse: they lived at a time when the distinction between philosophy and literature had not yet come about. During that fascinating period of ur-philosophy, both the Italian and the Ionian schools produced thinkers who couched down revelations in dactylic hexameters, the meter used for prophecy at Delphi as well as Homer's epic metre. Indeed, the two philosophers who are most relevant to Yeats's work, i.e., Empedocles and Heraclitus were often compared to soothsayers, especially Heraclitus, aptly named 'the obscure' and whose nominal fragments were famously cryptic throughout Antiquity. Yeats's wife, Georgie Hyde-Lees, had an extremely good knowledge of early Greek philosophy, and it comes as no surprise that frequent allusions to the Pre-Socratic philosophers appear in Yeats's later poetry and esoteric treatise, A Vision, in fact in all the works that were written after his marriage. Regarding subject-matter, the Pre-Socratic schools assert an influence over Yeats's poetry as he moves away from transcendental Platonism and in this paper I will attempt to trace their impact. But I should also like to point out that they affect Yeats's style as he started writing extremely short aphoristic verse containing the same sort of lapidary and obscure paradoxes as can be found in Pre-Socratic fragments. Famous statements like 'Fair and foul are near of kin' vividly recall the epigrams of Heraclitus. So great is Yeats's mastery of style in service to philosophy that his work often begs comparison with pre-Socratic writings and their unique blend of poetry, knowledge and myth. [ABSTRACT FROM AUTHOR]

This paper explores how the interactive whiteboard (IWB) might be harnessed to support student learning through classroom dialogue. This powerful and increasingly prevalent technology opens up opportunities for learners to generate, modify, and evaluate new ideas, through multimodal interaction along with talk. Its use can thereby support rich new forms of dialogue that highlight differences between perspectives, and make ideas and reasoning processes more explicit. The emerging account builds upon Bahktin's conception of dialogue and Wegerif's notion of technology 'opening up a dialogic space for reflection', but foregrounds the role of mediating artefacts. Classroom dialogue in the context of IWB use is construed as being facilitated by teachers and learners constructing digitally represented knowledge artefacts together. These visible, dynamic, and constantly evolving resources constitute interim records of activity and act as supportive devices for learners' emerging thinking, rather than finished products of dialogue. This primarily theoretical account is illustrated with examples from case studies of UK classroom practice. Analysing lessons in sequence has illuminated how teachers can exploit the IWB through cumulative interaction with a succession of linked digital resources, and through archiving and revisiting earlier artefacts. The tool thereby helps to support the progression of dialogue over time, across settings and even across learner groups. In sum, the article reframes the notion of dialogue for this new context in which students are actively creating and directly manipulating digital artefacts, and offers some practical examples. [ABSTRACT FROM AUTHOR]

This brief communication delineates 10 outstanding characteristics of poetry. These include poetry's expression of preverbal experience, blending of primary and secondary processes, musical use of words, enhancement of mentalization, reduction of mental pain, cathexis of links and bonds, manifestation of culture, synthesis of neurophysiology, acceptance of the oedipal situation, and its location in the transitional realm. The paper then moves on to deconstruct the form of its message thus far and in the process sheds further light on the “work” of writing poetry. Copyright © 2008 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

This paper explores how we sometimes manage, and often fail, to communicate the 'feel' of live experience. Since poetry makes a craft and vocation of this pursuit, the writings of poets are brought to bear on the process. I introduce the idea of containing forms, using the term containment in its everyday sense. My argument, however, owes much to Winnicott, Stern and Bion, Winnicott's transitional object exemplifying an early containing structure, and Stern's 'attunement' suggesting ways that later containing structures might arise out of mother-infant dialogue. Bion's more specific notions of containment and transformation are not explored. Following Langer, I suggest that feeling is better communicated through presentational rather than discursive symbols, such forms being concrete, sensory, and isomorphic in some way to that which is being shared. With such presentational symbols, resonance and dialogue between forms are more important than explanatory meaning and some implications of this for therapeutic discourse are discussed. [ABSTRACT FROM AUTHOR]

Yoko Tawada's theory of translation positions the translator at a significant distance, both spatially and temporally, from the original text and its context. This essay offers a "Tawadian" translation of Paul Celan's poem "Psalm," particularly the neologisms in the final stanza, into Chinese characters. In particular, the translation of "Purpurwort" as "yurusu," a character that consists of the signs for "purple" and "word" but has the meaning of "forgiveness, amnesty, pardon," brings forth the idea of "forgiveness" that may appear irrelevant to the original text. Drawing from Derrida's interpretation of The Merchant of Venice in "What is a 'Relevant' Translation?" this paper relates "impossible translation" to "impossible forgiveness," arguing that an "irrelevant" translation could shed a new light on the concept of forgiveness, and in doing so offers a dialogical response to Celan's original text. [ABSTRACT FROM AUTHOR]

This overview article covers the field of metrics as a branch of linguistics, focusing on the generative tradition. A brief outline of the basic ideas of foundational papers by Halle & Keyser and Kiparsky is followed by a discussion of three theoretical issues: the nature of representations; gradience and variation; and the interface of metrics with phonology. The last section covers theoretical approaches to typology. [ABSTRACT FROM AUTHOR]

This paper aims to contribute to the broader discussion of strategies of identification and of Romanness by exploring the changing meaning of Roman, barbarian, and Frankish identity in the writings of Venantius Fortunatus. A close examination of the cultural, ethnic and political nuances of these terms in Fortunatus's works highlights the ways he used the resources available to him within his social context to promote Roman identity as still prestigious and as compatible with a barbarian-ruled society. [ABSTRACT FROM AUTHOR]

ABSTRACT In order to grasp the distinctive character of the object imitated in tragedies, Aristotle's Poetics introduces a new notion of action ( praxis), which does not refer to individual ethical deeds as in the Ethics. Rather, it signifies a whole with a beginning, a middle, and an end, whose constitutive components are events ( pragmata). This paper argues that the notion of agents undergoes a parallel transformation in the treatise on poetry. It no longer refers exclusively to the authors of ethical deeds, but to the characters who enact the entire dramatic action ( prattontes). Their nature can be understood in terms of a potential story whose logos (account, articulation) is a muthos (story, narrative). On this ground, the suggestion is made that the Poetics provides the elements of a narrative conception of human identity. [ABSTRACT FROM AUTHOR]

Inspired by an inquiry from a Navajo friend about why I had not published on a particular poem by Rex Lee Jim, this paper engages that question through three interconnected themes. First, there will be an analysis of the poem by Jim where I translate the poem but also place it within the context of Navajo concerns with k'é (reciprocity, generosity). Second, I turn to thinking through some of the issues brought out in the translation of the Navajo word ajik'eed as 'one fucks.' This leads to questions about the ways that indigenous languages and their speakers are imagined and represented. Finally, I take up the foregoing issues as I reflect on my own translation practices. [ABSTRACT FROM AUTHOR]

In this paper, we present a user-centered design study on poetry visualization. We develop a rule-based solution to address the conflicting needs for maintaining the flexibility of visualizing a large set of poetic variables and for reducing the tedium and cognitive load in interacting with the visual mapping control panel. We adopt Munzner's nested design model to maintain high-level interactions with the end users in a closed loop. In addition, we examine three design options for alleviating the difficulty in visualizing poems latitudinally. We present several example uses of poetry visualization in scholarly research on poetry. [ABSTRACT FROM AUTHOR]

Evidence suggests ( Ofsted, 2007) that the role of the Subject Leader is crucial in how well poetry is taught in schools. This paper attempts to provide some insights on 'what it is like' to coordinate poetry teaching in a primary school. Some of the data confirm elements of the findings from earlier research on the state of poetry in schools, particularly concerning space in the curriculum, teacher subject knowledge and personal interest in poetry. However, we attempt to show that, much to the surprise of some of the Subject Leaders, where poetry teaching in the participants' schools was perceived to be successful it was often nourished by the combined enthusiasm and 'zeal' of the teachers and children experiencing poetry together, which in turn was maintained by an empowering synergy of professional/personal pleasure and engagement with poetic texts experienced by some of the teachers while in school. [ABSTRACT FROM AUTHOR]

'Leave' is an attempt to find a creative catharsis for confusion and melancholia engendered by the Brexit vote in 2016. The poem is from the first person perspective of a leave voter, an effort to understand the 'other'. 'A poem for Grenfell Tower' is an outpouring of emotion free‐written from a place of rage and despair on the day after the horrific fire in 2017. [ABSTRACT FROM AUTHOR]

This paper examines how Heidegger's view that language is poetry might provide a helpful way of understanding the nature of religious language. Poetry, according to Heidegger, is language in its purest form, in that it both reveals Being, whilst also showing the difference between word and thing. In poetry, Heidegger suggests, we come closest to the essence of language itself and encounter its strangeness and impermeability, and its revelatory character. What would be the implications for viewing religious language in this way? Through examining Heidegger's view that poetry is the purest form of language, I suggest that it would also be possible to view religious language as poetry in this way, in that it also shows the transcendence of what cannot be brought to presence in language, except as concealed. Such a view of religious language does not regard it as a problematic type of language, deserving special treatment, but rather suggests that in religious language the inarticulable relationship between word and world is revealed. [ABSTRACT FROM AUTHOR]

Stories and poetry have long been considered a resource for the language and literacy development of bilingual children, particularly if they can work with texts in both mother tongue and English. This paper demonstrates that bilingual learning is also beneficial for second and third-generation children whose English is often stronger than their mother tongue. Presenting data from an action research project in East London primary schools, we show how children investigated metaphor and cultural content in a Bengali lullaby, clarifying concepts through dialogue with their parents. Comparison with a lullaby in English from North America generated additional ideas concerning different cultural values. The learning process enabled children to use their bilingual skills and draw on different aspects of their bicultural identities. Finally, we explain how bilingual poetry can be used to stimulate learning in a multilingual classroom context, through the example of a whole-class lesson based around Bengali and English lullabies. [ABSTRACT FROM AUTHOR]

This paper examines how the recent, controversial collection of Ingeborg Bachmann's draft poems, Ich weiß keine bessere Welt (2000), casts new light on the genesis of the acclaimed Todesarten prose. Identifying the poetological interest of the texts, the article seeks to expand the predominantly biographical response to the collection and clarify how the experience of crisis provoked a move towards prose forms during the 1960s. The article focuses on the problem of the aesthetic representation of crisis through examination of references to Richard Wagner's Tristan und Isolde in the draft poems and in Malina, the novel published later. It explores how, in the poems, the musical motifs and allusions enable primary engagement with aspects of experience conventionally excluded from the public sphere and how the same intertextual references are developed into a sophisticated aesthetic strategy in the novel's central dream chapter, whilst retaining the crucial concern with problems of expression. Drawing on the work of Friedrich Nietzsche, Arnold Schönberg and Theodor W. Adorno, ultimately the paper illuminates the beginnings of a textuality that arises out of personal crisis but develops into a metonymic mode using dream narrative and musical counterpoint to enable oblique expression of gendered cultural critique. [ABSTRACT FROM AUTHOR]

In recent papers (Seiden, 2004a, 2004b) parallels have been examined between poetry and psychoanalysis in the way language is used to create, extend, transform, and give voice to meaning. What follows is a presentation of work with a child therapy patient which made use of these parallels in employing collaborative poetry as a means to a psychoanalytic end. The parallels suggest several lessons for psychoanalysts. One among them is that interpretation may be less important that we have been taught to think for the working through that is essential in enduring change. A second, as Winnicott (1971a) famously pointed out, is that joy in the process is an important part of the child therapy experience. Copyright © 2007 John Wiley & Sons, Ltd. [ABSTRACT FROM AUTHOR]

Giuliano Dati's poem Gli stazoni & perdonanze che sono la Quaresima e l’Octava della Pasqua di Resurrexo in Roma che sono a cinquantaquattro chiese (1492–1493) is a guide to the stations and indulgences of Rome. The first part of the paper examines relics and guides and their role in lay piety. The second part looks at the way in which the Confraternity of the Gonfalone used some of the key Holy Week stations, and subsequently abandoned them in 1490 for the Colosseum where it performed its Easter plays, composed by the same Giuliano Dati and others. [ABSTRACT FROM AUTHOR]

This article is written in a personal capacity; it is based on a presentation entitled 'If the child is father to the man, can the researcher be mother to the poet?' given as part of the ECER symposium, 'Telling stories: truth and fiction in educational research' hosted by David Bridges, at the European Conference on Educational Research, University of Edinburgh, 23 September 2000. It is meant as a stimulus to discussion about the relationship between poetry as a species of 'creative' writing, and research writing--how and why they might be complementarities as well as opposites. Rather than attempting a theoretical paper, the author uses excerpts from her own poetry--and those of the prize-winning poet, Jane Draycott, with whom she recently co-authored a book, and whose ideas have contributed to this article--to explore these ideas. [ABSTRACT FROM AUTHOR]

The child welfare system is characterized by fixed power structures, coercion and hierarchies that privilege the perspectives of a select few. These oppressive aspects of the system quelch youth voice and others' voices, especially those with lived experience, frequently omitting them from case‐ and system‐level decisions. Acknowledging the empowering potential of creative and arts‐based research, this study used poetic inquiry with youth in or formerly in foster care, parent partners and professionals working in child welfare, inviting them to reimagine how the system could support youth in foster care towards thriving. Through seven poetry focus groups, 41 participants wrote individual and relational poems. Analyses focused on how symbols were used and their suggestions for revisioning child welfare. Seven themes identified the types of symbols used in poems: 1) Nature/Natural Phenomena, 2) Human Body/Senses, 3) Actions, 4) Physical Objects, 5) Paperwork, Cases, Bureaucracy, 6) Connectedness/Family and 7) Strong Emotions. Beyond demonstrating a novel arts‐based method, findings offer a new, creative space for understanding the foster care system. Symbols were powerful and cut across life experiences and identities. A key implication pointed to using symbolic language to aid the work of revisioning child welfare towards humanistic and embodied approaches, social justice and well‐being. [ABSTRACT FROM AUTHOR]

In the Pearl and Lesser article [1], a poem under Section 3 was formatted incorrectly. REFERENCE 1 D. K. Pearl and L. M. Lesser, Statistical edutainment that lines up and fits, Teach Stat 43 (1) (2021), 45 - 51. [Extracted from the article]

Information about several papers discussed at a symposium on integration of arts into the leadership studies is presented. Topics discussed includes art-based initiatives taken for preparing future leaders, usage of poetry and metaphor for enabling leaders to make ethical decisions and role played by arts in teaching a leader about careful observation. The symposium featured several associate professors including Steven Taylor, William Van Buskirk and Michael London.

After many years at the University of the South Pacific (where this paper was written), William Clarke is currently a Visiting Fellow in Resource Management in the Asia-Pacific Project at the Research School of Pacific and Asian Studies, The Australian National University, Canberra. Following a brief review of the place of oral poetry and song in Pacific Island societies, aspects of contemporary life are examined through the words of present-day Pacific poets. Topics examined include tourism, land issues, cultural identity and authenticity, the place of women in Pacific societies, corruption, environmental issues, population growth and urbanisation. A central theme of the discussion is that the poetic voice can heighten our attention towards and understandings of people’s lives and feelings. [ABSTRACT FROM AUTHOR]

Abstract: Although the Particular Baptist poet Anne Steele (1718‐1778) is little known today, this article argues that her poems on time and death offer valuable insights into wider religio‐poetical representations of time in the mid‐eighteenth century. Her verse both responds to and departs from the conventions of graveyard poetry as exemplified by Edward Young's Night Thoughts (1742‐6), demonstrating close engagement with this popular subgenre as well as an intelligent critique of its devotional poetics. As such, Steele's writing foregrounds yet also problematises emerging distinctions between writing and religion, and thus argues for new methodologies in religious and literary history. [ABSTRACT FROM AUTHOR]

This paper explores certain distinctions between narrative and poetry as metaphors for the consciously authored life. It is suggested that such phenomena as ‘self’, ‘authorship’, ‘knowledge’ and ‘time’ are experienced differently within the narrative discourse and the discourse associated with poetry. Five aspects of ‘poetic’ knowledge are explored: form (or containment); aesthetic knowing; non-identity with self (participatory creation), nothingness (and not knowing); and radiance. Two examples from couple therapy are then given to illustrate these aspects and the interface between this way of knowing and the lived life. [ABSTRACT FROM AUTHOR]

This paper describes a secular therapeutic approach thought appropriate for depression in the year 1411, as presented in a contemporary English poem. This has major parallels with modem Cognitive-Behavioural techniques. [ABSTRACT FROM AUTHOR]

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The richness of Jacobite poetic culture is well known, but the substantial body of Jacobite verse written in Latin — which remained an important European language into the eighteenth century — has received patchy attention. During the first phase of Jacobitism (1688–1702), Jacobites wrote Latin poems in England, France, Scotland, and Ireland to express their disappointments and hopes. Poems were composed in modes of satire and panegyric/lament and, in many genres, from epigram to epic. They circulated domestically and internationally and through consumption were a feature of political culture for both Jacobites, who embraced them, and Williamites, who defined themselves against them. [ABSTRACT FROM AUTHOR]

Robert Armin is well known as the last of Shakespeare's great stage clowns, the actor who inspired the creation of characters like Touchstone, Feste and Lavatch in Shakespeare's plays. He is less known as a pamphleteer, poet and playwright, despite the fact that he seems to have been quite productive in his time. This paper analyses in particular one of his most neglected works, entitled The Italian Taylor and His Boy (1609) in relation to its source, a novella of the collection 'Le Piacevoli Notti' [The Pleasant Nights'] (two volumes, 1550-1553) by the Italian author Giovan Francesco Straparola. First, I give reasons for Armin's choice, arguing that the story of Maestro Lattanzio and Dionigi might have attracted the actor's attention for its points in common with his own life. Then, I show how Armin does not produce a mere 'translation' of Straparola, as has sometimes been implied, but he improves the source in many ways: changing the finale and adding to the text a captivating dramatic quality, refined imagery, learned allusions and references to his own background. Finally, I consider the literary and intellectual context that influenced the writing of the poem. [ABSTRACT FROM AUTHOR]

It was in 2015 that the Blair edition featuring Blake's design first appeared in the Serbian language. Simultaneously, it was the first time in Serbia that Blake was approached solely as an artist, and not as a poet, i. e. not as the author of The Marriage of Heaven and Hell (1793) or Songs of Innocence and of Experience (1789)—works he was mainly recognised for there. The aim of this article is to bring the figure of William Blake the designer closer to the Serbian reader, and to set it apart from the previously dominant figure of Blake the poet, when it comes to his reception in that country. Our conclusions point towards Blake the designer acting as a constructive reader, deconstructing the meaning of Blair's poem which he designed, confirming the notion by Morris Eaves (1980) that Blake was his own sole audience. We also tend to examine the hitherto neglected relationships that exist between English Graveyard Poetry and the so‐called "Serbian Graveyard Poetry". [ABSTRACT FROM AUTHOR]

Although perlocution has received more interest lately, it remains the great unthought of Austin's theory. The privilege he gives to illocution over perlocution, rather than being a necessity of his linguistic theory, is a contestable philosophical claim that leads him, I argue, to exclude from his consideration poetic and other 'parasitical' uses of language. Cavell's reconceptualisation of perlocutions as 'passionate utterances', however, provides a more fruitful theoretical framework to approach poetic phenomena. Reading Austin through a Cavellian lens offers keys to make space for the parasitic uses Austin rejected and for poetry within a philosophy of language. [ABSTRACT FROM AUTHOR]