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The article focuses on a high school English teacher Raymond Antrobus and his approach to teaching poetry to his 9th grade students including using poetry to engage marginalized students, incorporating diverse poets, and providing prompts to inspire personal writing.

This paper analyzes a set of poems written on banqueting trenchers aimed at literalizing the considerations of the material text by exploring poems on things. Topics covered include reason for scarcity of research on "non-paper" literature, trenchers as sources of texts and images, trenchers in the Metropolitan Museum of Art and in Ashmolean Museum and impact of material on depth and meaning of content.

An essay is presented which examines the dual nature of the poem "Memorial" by Alice Oswald. Topics include the poem's characteristics in relation to new and ancient war monuments, a description of Memorial's structure as a poem, and the different reviews or reactions to the poem as well as possible reasons why the reactions are such. Also mentioned are The New Republic, book designer Catherine Casalino, and poet Victor Hugo.

The article reports that like several poems by Wallace Stevens, the composition of his wartime poem "Esthétique du Mal" was partly shaped by the dimensions of the legal notepad sheets on which it was drafted. Topics include examines when critics address the genesis of Stevens's poems, they reflexively recall the image of Stevens composing his poems on walks to and from work.

Good for the Soul: John Curtin's Life with Poetry: By Toby Davidson. Although the sources for this argument are less plentiful than those made in relation to Curtin's political career, Davidson traces the importance of poetry at key points of Curtin's life. Davidson shows that poetic allusions were not uncommon in 1940s political rhetoric, that Curtin fostered the publication of poetry, and that many citizens responded to his wartime speeches by sending him their own poems. [Extracted from the article]

Young cautions us not to simplify poetic cognition, and argues that, "metaphors should not be thought of as objects; while metaphors can utilize preexisting structures in the brain ... they are realized as a process and not as an accessing of pre-stored metaphorical relations." We have gone off and explored metaphor and other meaning-making processes in practically everything that is human, but what has gone on in the world of poetry, where many people used to believe metaphor originated? Poetry is language at its most distilled and most powerful Rita Dove (David Streitfeld, Washington Post, "Laureate for a New Age", March 19, 1993). They ask two questions: (a) what make a metaphor good (and not just apt, more commonly associated with comprehensibility), and (b) the more specific question "what discriminates good poetic metaphors from good non-poetic metaphor. [Extracted from the article]

This article traces a relationship between Dickens and the Portuguese Modernist poet Fernando Pessoa, who declared several times his longtime love for Pickwick Papers. While offering an introduction to Pessoa's life and thinking, the question which is posed is what Pessoa gained from Dickens, and here the significance of the different personae whom he created in his poetry needs to be taken into account: the pseudonyms he adopted which were more than that, but were other imagined lives, called "heteronyms." The relation of these to the concept of "Boz" and the other names Dickens adopted, and the concept of the "posthumous" in both Dickens and Pessoa, and the relationship of the real life to the imagined life, are all topics for investigation. They bring out more complexity in Dickens; they illustrate further how much the poet learned from him, and how much Dickens enabled him to survive and produce work which forms a significant contribution to European literature. [ABSTRACT FROM AUTHOR]

The article offers information on the invitation of proposals for the "Modern Language Association Convention" to be held in Philadelphia from January 4–7, 2024, for the topic "Pan-European romanticism." Abstracts are invited on the literature and culture of the Romantic period throughout Europe, with special attention to the poetry, prose, aesthetic, and critical discourse of Romanticism that flourished beyond British, French, and German Romantic movements.

This paper advocates for a reading of John Scottus Eriugena's Carmina that situates his collection of poems within the genre of devotional poetry. Although the Carmina has recently benefited from scholarship on Eriugena's theology, typologies of his poems consistently overlook the significance of their theological themes. Most instead attribute more significance to their political themes, since Charles the Bald commissioned many of Eriugena's poems for special occasions at his royal court. This paper argues that a textual analysis which compares the significance of theological and political themes in the Carmina reveals several reasons why Eriugena's poems should be read as devotional poetry. First, it explains how typologies of Eriugena's poems overlook the significance of their theological themes by overstating the significance of Charles and his royal court. Then, it offers a close reading of three poems in the Carmina to show how Eriugena uses theological themes to frame political ones. [ABSTRACT FROM AUTHOR]

The article discusses a passage B XV 417-28a from Langland's C-Papers by Piers Plowman. Piers Plowman B XV 417 has presented itself to any editors or readers as a crux, either textual or interpretive. As a standalone passage; its point is clear the manuscript variants are minor. In the poem Anima, he discusses the contemporary followers of the apostles. Quotations from the book "Piers Plowman: The B Version" have been used in the article to analyze the passage. The passage doesn't look like ur-B material of revision, rather seems to be a draft of matter perhaps originally intended for the opening of C XVII, but eventually discarded and nor recalled from the ur-B papers, its best material is for use where appropriate.

In this modern era of anxiety and posthumanism alienation is a critical ailment today. Caught in the web of dehumanising forces and pitted against hostile social stigmas, man is besieged with the problems of survival and growth. The more days are advancing, the more people are suffering from social distancing and social estrangement. Alienation results from powerlessness, meaninglessness, normlessness, cultural estrangement, social isolation, and self-estrangement. Alienation study comes from the angles of psychological, sociological, literary, and philosophical aspects. The silence-bound poet Jayanta Mahapatra was caught in the throes of alienation. His alienation from the Hindu culture was caused by his grandfather's acceptance of Christianity. His lingua-alienation was caused by his estrangement from the Oriya language. His alienation from the physical world was the outcome of his betrothal to the muse of poetry. So, this present paper is an attempt to stress how Mahapatra's poetry focuses on the theme of alienation and silence and paves the way for rejuvenation and revitalisation to come into the network of social ecology and human bonding overcoming the tenants of alienated predicament and identity crisis. [ABSTRACT FROM AUTHOR]

Three links between poetry and psychoanalysis are highlighted in this paper. These refer to the presence, in the clinical hour, of (i) poetic sentiment, (ii) poetic speech, and (iii) poetic specimen. Each is elucidated in detail and with the help of socio-clinical vignettes. The aim of the paper is to demonstrate that, through the affirmative holding and partial unmasking of the instinctual-epistemic conflation in verse and free-association, both poetry and psychoanalysis seek to transform the private into shared, the hideous into elegant, and the unfathomable into accessible. [ABSTRACT FROM AUTHOR]

Teaching and learning isiXhosa poetry continues to pose challenges for both teachers and learners in South African basic education. The abstract nature of poetry makes it difficult for both groups to grasp the figurative meanings embedded in each line of the poems. Teachers who rely on rote learning and learners who master cramming find teaching and learning poetry difficult, as these skills offer little or no results in the teaching and learning of poetry. It is against such a backdrop that this paper seeks to investigate the use of augmented reality (AR) in education and how it can assist in the teaching and learning of isiXhosa poetry. The use of AR in language learning has been extensively studied by several scholars. AR is found to enhance learning and decrease learners' cognitive load. In contrast, some scholars argue that it is not ready for total integration into language classes. Despite strides that have been made in the study of augmented reality in language learning and teaching, there is a paucity of extended research on the use of augmented reality in teaching and learning isiXhosa poetry. In this paper, I will review existing data and examine augmented reality activities and technologies that can be used in the teaching and learning of IsiXhosa poetry. This paper will contribute towards improving the teaching and learning of isiXhosa poetry in basic education and assist literature educators in integrating modern technologies in their teaching. [ABSTRACT FROM AUTHOR]

Copyright of Latin American Law Review is the property of Universidad de los Andes and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Focuses on several articles on John Hardyng's poem, 'Chronicle, which have appeared since 1980, describing a positive renaissance in the field. Suggestion from A.S.G. Edwards that the second version of Hardyng's 'Chronicle,' does not exist in anything like a stable form; Importance of the codicology of each manuscript of the second version of the poem.

3 VestAndPage (2013) ' Antarctic dream - Ice as architecture of the human spirit: VestAndPage performative works in Antarctica ', Performance Research: On Ice 18 (6): 71 - 80. doi: 10.1080/13528165.2013.908059 Et Anima Est Sanguis et Sanguis Est Anima: "First let's make poems, with blood": VestAndPage blood writing Image © VestAndPage This piece of rice paper belongs to a series of four pieces of paper I wrote as part of our installation Afterwor(l)ds for the Oostende Triennial. [Extracted from the article]

It is challenging to use unsupervised machine translation models to generate ancient poems. The current method has solved the problems of Under-translation and Over-translation caused by the huge length difference between the translated sentence pairs. However, the above method lacks guidance in generating intermediate vectors, and the denoising ability of the model is very poor. In this paper, we guide vector space distribution during training to improve the quality of the generated ancient poems and the convergence speed of the model. We also introduce the target language information while adding noise, which effectively avoids the recurrence of the Under-translation problem while improving the model's denoising ability. Experiment results on the VP dataset show that our model obtains state-of-the-art results with faster convergence speed. In addition to the BLEU scores, we also made a comparative analysis of ancient poetry sentences generated by different models. The analysis results show that the optimization method proposed in this paper is indeed helpful for generating high-quality ancient poems. [ABSTRACT FROM AUTHOR]

This paper discusses a poetic output of a research project at the intersection of linguistic ethnography (LE) and poetic inquiry (PI) which explores the barriers experienced by refugee and asylum seekers, seeking access to Higher Education. The research draws on Jan Blommaert's applied ethnopoetics (AEP) work to reconstruct silenced voices (Blommaert, 2006). AEP as a 'means of recognition' of marginalised voices is explored. The paper goes on to explore the transformative possibilities for knowledge production offered by combining AEP with PI. This innovative approach and output are presented as act of resistance to normative expectations within academia which freeze conditions for voice (Blommaert, 2008). Questions are then offered to consider how we might advance the approach and its emancipatory potential further. [ABSTRACT FROM AUTHOR]

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]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This paper critically examines the formation of the Punjabi poetic tradition known as the kafi in the works of Shah Hussain, Bulleh Shah and Piro Preman, and presents an analysis of the genre as a vernacular medium. By situating the poems in the pre-modern Indian historical context, the article is an attempt to analyze the origin and the evolution of the poetic form known as the kafi. Drawing from scholars who propose a diverse and multifaceted outlook on the formation of Punjabi literary traditions, I review the genre from a framework known as a critical aesthetics of assimilation. In addition, this paper points out the structural and thematic changes introduced by the nineteenth-century poetess Piro Preman in the work called Āik Sau Sath Kāfīaṅ. I argue that the evolution of the kafi from Shah Hussain to Piro Preman’s compositions attests to the resilience and dynamism of the Punjabi poetic form. [ABSTRACT FROM AUTHOR]

Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's wellknown poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one of his statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art. [ABSTRACT FROM AUTHOR]

This paper looks at the role of fathers in the family. Structured around three poems, it emphasises the need for a triangular structure in the mind, enabling the child (and any individual) to look at 'reality', internal and thus external too, from a third position. The Oedipal situation, what Hanna Segal called 'the core complex', lies deep within the mind of any individual, and continues to have vital relevance in the lives of modern families. Clinical material is included in the paper to illustrate the points made. [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]

How to migrate text-to-image models based on pre-trained diffusion models to adapt them to domain generation tasks is a common problem. In particular, the generation task for Chinese landscape paintings with unique characteristics suffers from a scarcity of fine-grained contextual details specific to such artwork. Moreover, the use of substantial amounts of non-landscape painting data during pre-training predisposes the model to be swayed by alternative visual styles, thereby leading to generated images that inadvertently lack the distinctive traits inherent to Chinese paintings. In this paper, we propose a Fine-grained Hierarchical Semantic Adapter for Chinese landscape paintings generation, namely FHS-adapter. The method orchestrates the diffusion process in a batch-wise manner, leveraging external fine-grained multi-perspective information to guide it. It gradually diminishes the influence of other style images embedded in the pre-trained diffusion model, ultimately preserving a greater number of landscape painting elements. The encoder was also replaced with the Taiyi-CLIP encoder, which is adapted for Chinese. We propose T2ICLP, a multimodal dataset containing 10,000 high-quality image-text pairs of Chinese landscape paintings. Unlike previous datasets, this dataset extracts fine-grained textual information from four perspectives, including Meta, Description, Sentiment, Poem. We compared the proposed model with the mainstream diffusion-based T2I models. Through an anonymous user study, our FHS-adapter method performs well in simulating various aspects such as brushwork, e.g.'Gou, Cun, Dian, Ran' means hooking, texturing, dotting, and dyeing, compositional space, elemental proportions, and color usage of different painting genres and artists. Our dataset is available at https://github.com/T2ICLP/t2iclp. [ABSTRACT FROM AUTHOR]

This research paper delves into a stylistic analysis of Robert Browning's seminal poems, "My Last Duchess" and "Porphyria's Lover." Both works are exemplary of Browning's mastery of the dramatic monologue, offering rich grounds for exploring his stylistic techniques and thematic preoccupations. The analysis of Robert Browning's poems “My Last Duchess” & “Porphyria’s Lover” utilizes graphological, phonological, morphological, and lexico-syntactic features, this study aims to uncover how Browning crafts his narrators' voices and conveys their psychological complexities. The analysis will also consider the poems' use of imagery, irony, and narrative structure, highlighting how these elements contribute to the overall effect and meaning. "My Last Duchess" presents a portrait of a possessive and controlling Duke, whose speech reveals his authoritarian nature and moral ambiguity. In contrast, "Porphyria's Lover" explores themes of love, obsession, and madness through the perspective of a narrator who oscillates between tenderness and violence. By comparing and contrasting these two poems, the paper will illustrate Browning's nuanced portrayal of power dynamics and human emotions. Ultimately, this stylistic analysis will demonstrate how Browning's innovative use of the dramatic monologue form not only engages readers but also invites them to question the reliability and motivations of his speakers. [ABSTRACT FROM AUTHOR]

In this paper, attempt is made to delineate the English teachers’ experiment of teaching romantic poetry and students’ experience of learning. It focuses on the two famous short lyrical poems of the romantic period: William Wordsworth’s I Wandered Lonely as a Cloud (1804) and Lord Byron’s She Walks in Beauty (1815). These lyrical poems are written in iambic tetrameter. The former celebrates the beauty of the nature, while the latter celebrates the beauty of the unknown maid. The linguistic and literary peculiarities in both the contemporary poems are explored. The advanced learners of the literature are necessarily expected to know these linguistic and literary subtleties for better appreciation of these poems. The analyses of the selected poems are presented in the paper. These analyses are based on the framework of Leech (1969) in which he considers criticism and stylistics as complementary and necessary for literary analysis. The paper concludes that both Wordsworth and Byron succeeded in representing their perceptual experiences through I Wandered Lonely as a Cloud and She Walks in Beauty, respectively. We observed their unique style in their poetry despite of the numerous similarities. It is to be noted that a creator of the text (a poet), the process of creation (creativity, imagination, etc.), its representation in a form of the text (a product), and the (linguistic and/or non-linguistic) context are most prominent aspects in poetic composition. [ABSTRACT FROM AUTHOR]

Copyright of Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Enhancing course design and pedagogy to encourage engagement and creativity is fundamental in doctoral education. Using poetry is an innovative way to enrich nursing education through aesthetic knowing. The authors in this paper aim to describe an educational exercise utilizing the Cut-Up Method to create haiku poems. PhD nursing students used the Cut-Up Method to produce haiku poems describing the meaning of nursing science. Themes from the haiku poems include relationship building, caring and caring relationships, and the evolution of nursing. Learning activities promote aesthetic knowing to facilitate engagement, creativity, and collaboration. The Cut-Up Method and haikus are creative ways of developing aesthetic knowing. [ABSTRACT FROM AUTHOR]

This paper aims to uncover the underlying metaphorical expressions regarding the importance of love to human life in English and Vietnamese poetry based on Conceptual Metaphor Theory, which suggests that metaphor is based on human thought as well as on language. For metaphor identification, the authors use a five-step procedure based on Pragglejaz Group's method for metaphorical expressions and a self-proposed three-step procedure for conceptual metaphors. The findings reveal that love is metaphorically expressed to have a considerable influence on both the physical and mental aspects of human life. This paper is also a comparative investigation showing both similarities and differences in the love-life metaphorical expressions between the two languages. The similarities are explained by the same grounding of metaphor-embodiment and the universality of conceptual metaphors. The differences are attributed to cultural distinction. [ABSTRACT FROM AUTHOR]

Purpose – A satire on conference paper presentations. Design/methodology/approach – A poetic critique of conference presenters and their occasional failure to engage with their audience. Findings – What may be fascinating and of assumed and obvious importance to a research presenter may be quite obscure to their audience, who nonetheless participate in the ritual of conference attendance and polite "listening". Research limitations/implications – The reader may discover even more meaning in this poem than its original author envisaged. Originality/value – A poignant reminder of the perils of many conference presentations. [ABSTRACT FROM AUTHOR]

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]

Copyright of Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

The aim of this paper is to offer a few examples of perusing feminist agency through an analysis of the poems of Pakistan's pre-eminent women's activist writer, Kishwar Naheed. Some images of women'soppression and their acts of resistance in Naheed's poetry are highlighted and represented from feminist perspective while using Scott's theory of "Everyday Resistance." This paper also aims to inspect some practical and symbolictactics of resistance the female elocutionists in the selected poems of Kishwar Naheed follow to conquer the male centric authority over their subjectivity and to extend a selfappreciation identity and freedom. While speaking out against patriarchal norms, Naheed manages to challenge the negative stereotypes of women tooin the poems. In her poems, female speakers become their own liberators and they crave and strive to break the rules and shed the shackles which imprison them while rejecting all male-chauvinistic social orders. This paper follows the development and change of the female speakers and shows how they move from being passive recipients of exploitive patriarchal actions to being active agents of resistance. For this purpose, the translated version of Naheed's poetry by Rukhsana Ahmad and Mahwash Shoaib is used. The scope of existing studies of Naheed's poetry is limited to the exploration of the objectification of women in her poems, but there is gap in criticism regarding how the women in Naheed's poetry struggle to liberate themselves from the shackles of patriarchal society. This paper might help the future researchers in understanding Kishwar Naheed's poetry in a better way and also help them in exploring various dimensions of feminism. [ABSTRACT FROM AUTHOR]

Ecopoetics, a subgenre of the ecocritical movement, focuses on human beings' impact on nonhuman world and various ecological concerns. It draws people's attention to the deep link that exists between man and nature. Poets like A K Ramanujan, Nissim Ezekiel, and T Vasudeva Reddy have brought out the interrelationship between human and nonhuman realms in their own distinct way in their works. This paper analyzes selected works of the abovementioned Indian poets to highlight the presence of various ecopoetic elements in the same. [ABSTRACT FROM AUTHOR]

Space has various meanings; while sometimes it can be expansive, at others it can be condensed into a particular frame. When power comes into question, space is internalized and subsequently challenged. The spaces of Seamus Heaney's writings are an extension of the wide expanse of the space of Ireland in general. The geographical spaces project fault lines distributed across religious, political and social grounds, and Heaney's poetry broadens this view of the Northern and Southern Ireland, trying to reestablish the lost Irish identity, entangled within the complexities of history and culture. Through the recollections of childhood, Heaney dwells on the rural landscape forming an essential part of nativity arising from the regionalism in question. This paper explores the relationship between the social and spatial aspects of Ireland as seen in Heaney's writing space. It is interpreted through Edward Soja's concept of Thirdspace that encompasses the socio-spatial and the spatial-temporal. [ABSTRACT FROM AUTHOR]

As a world-renown American critic and theorist in poetry, Marjorie Perloff (1931-2024), with her in-depth exploration into western avant-garde poetry and poetics and her theoretical and methodological reconstruction by means of dialog with the 20th-century American critical theories, made great and unique achievements, which can be labelled as "the third path" in poetry criticism in terms of its transcending New Criticism and Cultural Criticism in the 20th and early 21st centuries. Since her first visit to China in 2007 and her co-founding of the Chinese/American Association for Poetry and Poetics in 2008, Perloff's critical theories and ideas have been translated or introduced into China. This paper presents an examination of Perloff's "third path" of poetry criticism, and its introduction to and influence upon China's poetry creation and criticism. [ABSTRACT FROM AUTHOR]

The struggle with becoming a tree in Sylvia Plath’s poems reveals her struggle to create a subjectivity for herself as a female poet in a patriarchal world. Becoming a tree epitomizes the tradition in which Plath strives to create her poetic subjectivity: the opposition between the male Romantic poet and the feminine nature that inspires him, the prototype of which is Ovid’s myth of Daphne becoming the tree muse for Apollo. Plath internalizes the death of the body imposed on the woman in the formula and creates out of the negativity within her. Instead of treating nature as an object in order to become a poet, she accepts that she is both the articulate poet and the nature that can never be fully expressed. Torn between the one who expresses and the one who is expressed, the bodies of trees in her poems painfully shine with layers of darkness. The trees represent a female subjectivity that closely communicates with the darkness, which is fairly dangerous for a formed subjectivity. This paper analyzes the complex layers of the question of becoming a tree imposed on the female body. It then discusses how Plath responds to this burden by creating a subjectivity expressed by black trees that intimately identify with the flourishing death and articulate the darkness within themselves as a landscape. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

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]

In 1896 William Osler wrote in his pamphlet, John Keats, The Apothecary Poet, 'All lovers of poetry cherish Keats' memory for the splendour of the verse with which he has enriched our literature'. Later T. Wilson Parry stated, 'To me Keats is and ever will be the doctors' poet'. The abiding question underlying this paper is why Keats appeals to so many members of the medical profession and why so few now read the other medical poets. The paper sets out to address this question. It concludes that the reason why Keats is particularly admired by the medical profession is not just because of his early tragic death nor his training in medicine but because his poetry embodies negative capability and an ability to bear the knowledge that pain and pleasure, love and hate, loveliness and ugliness are intertwined. The entwining of Keats's whole life experience (including his medical knowledge) in his emotionally truthful poetry makes his work directly accessible and recognizable to those engaged in a profession which binds them close to the painful, insistent and contradictory realities of human life. [ABSTRACT FROM AUTHOR]