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This present article is an account of the sense of place in the poetry of Seamus Heaney and John Montague. Each poet is approached through poems representative of a rural imaginary of boglands, potato drills, and bodies of water. The line of argument is sensitive to the numinous meanings Heaney and Montague imbue their natural worlds with, and the analysis focuses upon their rootedness and reliance on place for poetic inspiration. In Heaney's account, this is demonstrated with a nuanced and deliberative approach to poems that excavate the historical layerings of the bog while also tying this back to agricultural labor. This yields the source of Heaney's craft of writing, just as Montague constructs a sort of ars poetica through images of water. This is a brief and comprehensive analysis of both poets and the importance of regionalism in late twentieth-century Irish or Northern Irish poetry. [ABSTRACT FROM AUTHOR]

In his own poetry, Tycho Brahe took inspiration from ancient Roman poetry by appropriating ancient theology: the god Apollo and the Muse of Astronomy, Urania. In so doing, he framed himself as being in a unique position to reveal the secrets of the cosmos. This study offers the first comprehensive analysis in English of Tycho's Elegy to Urania, and traces sources that have not previously been identified. The first 52 lines of his deeply personal Elegy are presented here in English for the first time. This study also looks at Scottish epigrams in praise of Tycho, and a brief look at how other poets and astronomers (notably Corbinianus Thomas) employed Urania for their own purposes. [ABSTRACT FROM AUTHOR]

PharmEvo, a socially responsible pharmaceutical company, has been publishing Thematic Calendars for the past 25 years. The 2024 calendar focuses on the twelve languages spoken in Pakistan and was formally launched in various cities across the country. These calendars aim to promote literary activities and enhance the well-being of society. The launch events were attended by literary figures, poets, and healthcare professionals. The calendar showcases the linguistic heritage of Pakistan and celebrates its diversity. The meetings included poetry recitals and speeches by prominent individuals in the literary and medical fields. [Extracted from the article]

We explore the value of the subjunctive mood as a template for understanding ethical action and the theological ontology that undergirds it. We do this by examining the use of a strange but very precisely used word in the writing of a theologian and minister and poet, Samuel Taylor Coleridge: "silly." We do so in the name of exploring the value of contingency, accidentality and abjection to a general theory of ecological thought. [ABSTRACT FROM AUTHOR]

Bedouin poetry has yet to be explored in the context of memory studies, let alone the poetry of the Negev Bedouin. This article, based on a corpus of hundreds of poems documented between the mid-1940s and late-1980s, reviews excerpts from ten political verses composed by Negev Bedouin poets. These verses attest to the power of Bedouin poetry to evoke -- at times in just a word or two -- a wide range of meanings, a historical depth that may be submersed in a few expressions, and the ways in which these expressions activate memories of the past to communicate something of significance about the present. [ABSTRACT FROM AUTHOR]

Interview with Peruvian poet Ethel Barja Cuyutupa and selection of her poetry. She shares her thoughts on poetic inspiration, creative processes, translation for connection, violence against women, and poetry as a means of creating and understanding realities. [ABSTRACT FROM AUTHOR]

American Performance poetry influenced the way in which the practice developed in other countries. Contemporary African, Japanese, and Arab poets started to write more and more for the stage. Eastern Europe seems to have been highly influenced by this practice. In this paper, I will try to investigate how American Performance poetry managed to influence the Romanian Spoken Word scene. [ABSTRACT FROM AUTHOR]

Orlando Ochoa and León Ozuna write to each other and reflect on the details of their friendship, love, loneliness, and sex across distance. This epistolary/poetic exchange is an answer to the question of how Ochoa and Ozuna--Mexican poets and lovers from the Rio Grande Valley of South Texas--keep alive in the world. [ABSTRACT FROM AUTHOR]

The article focuses on the intersection of poetry and theology, emphasizing the significance of poetry in conveying spiritual truths and exploring the connections between contemporary poems and their literary predecessors. Topics include the use of poetry to engage with the affective and relational aspects of human experience, the author's inspiration from 17th-century metaphysical poets, and the value of understanding poetry as a spiritual discipline for Christians.

The main purpose of this article is to draw the attention of its readers to Charlotte Mew, a poet who is not well-known but whose work should be of great interest to mental health clinicians. She lived most of her life in the shadow of mental illness. Her poetry provides penetrating insights into her experiences of this in herself and in members of her family. [ABSTRACT FROM AUTHOR]

John McCrae (1872-1918) was a Canadian physician, poet, and soldier who fought and died in the First World War. He penned perhaps his most memorable and lasting poem, "In Flanders Fields," shortly after the death of a comrade at the Second Battle of Ypres in 1915. The poem gained almost instant popularity, being used for recruiting efforts and victory bond sales throughout the remainder of the war, and solidified forever the symbol of the poppy as a memorial token for the service members who had perished. His death towards the end of the war, like that of so many others in the perilous years between 1914 and 1918, cut short the trajectory of what had already amounted to a brilliant career. As a close friend of such titans of medicine as William Osler and Harvey Cushing, as well as acquainted with the likes of Rudyard Kipling, it is not difficult to imagine the impact that his passing had upon the future of medicine and literature. [ABSTRACT FROM AUTHOR]

The poem "The Poets of Myanmar" by Paul F. Cummins is presented. First Line: With the farming of a verse, Last Line: By writing poetry.

This study aims to analyze the use of dramatic monologue in constructing female identity in the poems "Xantippe" by Amy Levy and "Faded" by Augusta Webster. In this sense, this study has dual layers, which aim to complicate the general realisation of the dramatic monologue by focusing on the women poets' monologues having an important place in the tradition of form, and to foreground Victorian women poets' construction of feminine identity by using the dramatic monologue. The analysis of poems displays that women poets, Augusta Webster and Amy Levy challenged Victorian female identity, which imprisoned women in the Victorian ideal female image, and represented women's identity as free from male identity by violating Victorian gender norms. Thanks to dramatic monologues that provide a large horizon of female characters, from the mythological wife to the old spinster, Levy and Webster question, protest, revise, and criticise societal perception of women and cultural expectations from women. In this way, the analysis of Webster's and Levy's dramatic monologues as a medium for constructing female identity allows us to discover the worlds of women under the social pressure of their age, as well. Moreover, while they are exemplifying the new image of women, they are touching on a common issue of all Victorian suppressed women. [ABSTRACT FROM AUTHOR]

At 28' duration and scored for a massive orchestra of eighty-nine players, Siddhartha (1976) eclipses all other works in Claude Vivier's catalogue in dramatic scope and sonic grandeur. The composition dates from soon after Vivier returned to Canada following his studies with Karlheinz Stockhausen in Cologne from 1972-74, which left a lasting impact on the young composer. Siddhartha showcases the extent of that influence in its diligent use of "formula technique" and its unconventional distribution of the orchestra into smaller groups on stage. In this article, I outline how the work's principal melody transforms across contrasting spatial domains: in "acoustic space," expressed in physical location on stage, and in "metaphorical space," expressed in pitches-in-register. Using Hesse's novel as a hermeneutic model, I then consider alternate poetic readings of the work vis-à-vis its interaction of spatial properties in the large-scale form. Ultimately, I argue that Siddhartha is a deeply personal piece that communicates, through the medium of musical structure, feelings of alienation and connection during an unsettled time in Vivier's life. [ABSTRACT FROM AUTHOR]

The present work is inspired by previous contributions to the development of the Hindi public and print spheres in the 19th century (Dalmia 1997; Orsini 2002; Stark 2007). It aims at extending and integrating previously elaborated presentations by focusing on the patronage provided by colonial institutions to the development of Hindi literary studies in the 1870s and 1880s. The study also considers the role played by Indian sampradāys in enacting the religious and intellectual processes underwriting the expansion of this field. By moving in this direction, the article mainly builds on the investigation of some biographies (jīvnī) of the North Indian devotional poets penned by Bhārtendu Hariścandra in the 1870s. Further, it explores the relationship between these biographies and the anthologies published in the mid-1870s by the Naval Kishor Press. The final section of the contribution provides an introductory analysis of the type of patronage extended to Hariścandra and his works by the Khadgavilas Press in the 1880s. The aim is to draw a comparison between the policies of some earlier private publishing enterprises and those pursued by the new, Hindu-oriented publishing enterprises. [ABSTRACT FROM AUTHOR]

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

This paper examines the ingenious hidden allusions and double meanings that Jonson embedded throughout his famous tribute ‘To the Memory of my Beloved the Author Mr William Shakespeare’, shedding new light on misunderstood phrases such as ‘Small Latine and lesse Greeke’, ‘Sweet Swan of Avon’, ‘my gentle Shakespeare’ and ‘Shine forth, thou starre of Poets’, which reveal by number, pun, innuendo and learned literary allusion, that Jonson was alive to the fact that “William Shakespeare” was the pseudonym of one of the Age’s most revered literary patrons and concealed poets – Edward de Vere 17th Earl of Oxford. [ABSTRACT FROM AUTHOR]

In early modern Italy, lyric poets of spiritual verse experimented with engaging and depicting the divine Word in novel ways. They aestheticized bodies, including that of Christ, and they imagined eroticized encounters between themselves and the Word made flesh. This article examines the sensual spiritual poetry of three early modern Italian women who, between 1530 and 1630, dedicated themselves to crafting and reinvigorating the poetic word and to expressing and (re)presenting the divine Word. Exploring the introspective and subjective spiritual lyrics of Vittoria Colonna (1492–1547), Laura Battiferri (1523–1589), and Francesca Turini Bufalini (1553–1641) in the context of the Italian literary Renaissance and Counter-Reformation, it aims to highlight and to elucidate the conflation of the sacred and the erotic in their verse. In so doing, this article reveals how these early modern female poets deployed the sensual strategically in their verse to elevate the erotic and how they raised the Italian religious lyric to new literary heights by spiritualizing the dominant poetic idiom. [ABSTRACT FROM AUTHOR]

We who sit conspicuously at the juncture of the seas of knowledge production must make self-conscious choices about our scholarly motivations and register. As Hadia Mubarak, Halla Attallah, Rahel Fischbach, and Yasmin Amin each rightfully point out, given the polyvocality of the Qur an and the exegetical depth of the tradition, much ground remains to be covered. We occupy the juncture of the two seas of knowledge production: the secularized academy and the devotional scholarly sphere. [Extracted from the article]

Truman Capote (1924–1984) was a fascinating, entertaining, and much ballyhooed American character who came of age in the mid-Twentieth Century. Some would say he led a tragic life. Often described as a notable novelist, he was more generally a polymath dabbling in nonfiction between his parties. He also was a screenwriter, playwright, actor, and short-story writer. His literary classics include the novella Breakfast at Tiffany’s (1958, movie 1961) and true crime nonfiction “novel” (as Capote described it) In Cold Blood (1965, movie 1967). These two efforts became his most famous. But what about his poetry? Was this one of his creative passions? [ABSTRACT FROM AUTHOR]

Dr. Oliver Wendell Holmes Sr. was a 19th century elite physician, curmudgeon, essayist, and poet. His works were numerous, insightful, entertaining, and characteristic of the pre- Civil War, Civil War, and Gilded age eras. Many of his shorter poems are taught in high school as examples of late 19th century works, as they are relatively easy to memorize and understand. Holmes and the Fireside Poets (Emerson, Longfellow, and Lowell, among others) created works that, in their time, were read aloud by fathers and mothers to their family because the poems often centered around values, morals, and historic events. "Old Ironsides" is characteristic of the type of work for which the Fireside Poets became famous. It is an entertaining poem to read, study, and hear, particularly when linking it to the oldest ship in the world, still afloat and sailing around Boston Bay. [ABSTRACT FROM AUTHOR]

This paper examines the significance of soundscapes in the Tamil American poet Divya Victor's reconstruction of the archive of anti-South Asian violence in her acclaimed poetry collection Curb (Nightboat Books, 2021). Being a continuation of the poet's investigation of the limits of conceptual and "documental" poetics (Michael Leong), advanced in her Natural Subjects, UNSUB and Kith, Curb appropriates public and personal records to critique discrimination against the South Asian community in America's post-9/11 political landscape. Victor's poetics enact extreme witnessing, reestablishing the archive's unheard durations that her modality of the lyric upholds, and recovering locutions of the Indian diaspora eroded or erased by anti-immigrant and anti-Asian racism. Tracing the dynamics of location and locution at the sites of violent events as well as their barely audible frequencies registered in the sequence "Frequency (Alka's Testimony)," I argue that the archive's duration in Curb is extended by forms of "sonic agency" (Brandon LaBelle). I further show how, through the poetic work of hearing and sounding (including such techniques as echolocation and ventriloquy), Victor creates a simultaneously critical and lyrical space akin to auditory experience where the text's multiple durational vectors throw into sharp relief the lives "curbed," diminished, or destroyed by wounding, fear, and trauma, testifying to the extremity of the very act of witnessing. Finally, focusing on opacity as a fundamental quality of the archive, I also turn to Carolyn Chen's concrète sound compositions and Amarnath Ravva's assemblages that traverse Curb, accompanying the poet in collaborative hearing of the archive's spatial, temporal, and sonic dynamics. [ABSTRACT FROM AUTHOR]

The article focuses on Phillis Wheatley, the first African American poet to publish a complete book of poetry. It mentions she was kidnapped and sold into slavery, but her poetry and narrative demonstrate her resistance to the "Sambo" slave personality type and her advocacy for slave rights and freedoms, challenging stereotypes and contributing to the abolitionist movement.

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

Literary critics have generally cast Derek Mahon as a humanist in dialogue with existentialist themes, or as a poet of exile, while highlighting the qualities of irony and skepticism that permeate his work. This paper is receptive to such readings, but proposes an alternative emphasis, situating Mahon as an anti-capitalist writer, his poetic ventures often serving to critique and counteract what he called “the bedlam of acquisitive force / That rules us, and would rule the universe” (2018a: 59). This discussion surveys Mahon’s long-standing respect for a variety of anti-capitalist poets and thinkers, from Brecht and Pasolini to Naomi Klein; sheds light on his penetrating investigations of warfare and ecological despoliation as offshoots of imperial and capitalist expansion; and explores his advocacy of poetry as a corrective to what he viewed as the glib commercialism and intellectual complacencies accompanying market-driven globalization, or in his words, “the explosive growth of high finance / directing thought” (2020h: 67). Over the course of this paper, my objective is to present a “new” Mahon: a poet whose self-described “left-wingery” informed, and found expression in, his work and practice (2017d: 82). [ABSTRACT FROM AUTHOR]

Emily Dickinson, the famous 19th-century American poet with a passion for books, botany, and gardens, spent most of her life secluded in her bedroom, where she wrote some 1,800 poems, published only posthumously. Within four walls, the poet built an imaginary bridge between the real and the unreal. One of the most important characteristics relating to the poet is the unwitting creation of an immanent authorial mythology. This article is an analysis-reflection on the poet's work, her artistic expression, and autofiction. The aim is to highlight the concept of boundary and medial state of the lyrical persona. A linguistic analysis of lexical and semantic syntagms of the poet's works is carried out. The conceptual images of poetics, conveying the receptive potential of the poet's worldview, are determined. Consideration of the use of stylistic forms of the poetic narrative was revealed as a priority for media-oriented analysis. [ABSTRACT FROM AUTHOR]

It was common practice in literate and learned circles at the late 8th-century Carolingian court to give one another personal nicknames. Although this would suggest a world of intimacy and private confidences, these nicknames are also used in the literary and artistic productions of the time. Most notably, Charlemagne himself is called 'David', in remembrance of the Old Testament king. While this phenomenon is treated in broad terms in most studies on Carolingian history and culture, as an expression of idealised kingship, the nature of its application and significance in individual instances in literature addressed to Charlemagne has been less well defined. In this article, therefore, I revisit and nuance the idée reçue of Charlemagne as David, the ideal, divinely chosen ruler, the epitome of scholarly learning and wisdom – in short, the image of the king which was actively promoted on the political stage. I consider, as case studies, uses of the David name in the Latin poetry of Alcuin, Angilbert, Modoin, and Theodulf of Orléans. Through close reading of these texts and consideration of the rhetorical strategies of the poet, performance context and audience, as well as the intellectual milieu of the Carolingian court, it is shown that the selected authors make use of David in a consistent and recurrent pattern, which reflects a vision of the king that is unified and unique to the context of a court circle of poets and their literary pursuits. Contribution: This article aimed to contribute to the field of Latin literary studies through analysis of how the name David, when used for Charlemagne, is treated in poems written at and for the court. This image of the king, which is used in a closed context of the poets in question and their audience, has further implications for the status and goals of the poets at court, as well as the influence which Charlemagne had over the literary revival of the period. [ABSTRACT FROM AUTHOR]

Deviation in the literary parlance occurs when a speaker or writer deviates from the normal rules and standards of a language. By breaking the rule of language, poets create art from the language that a language group is familiar with. Previous studies on written Igbo poetry (WIP) focused mainly on its content, with little attention paid to the language of the modern Igbo poets (MIP). Consequently, there is a dearth of research on how deviation occurs in African literatures. Therefore, through the lenses of Shklovsky's defamiliarization theory, this study examines WIP, with a view to describing the techniques used by MIP in achieving deviation, for the purpose of defamiliarizing language in their works. Data consists of seventeen poems randomly selected from eight Igbo poetic texts, written between 1975, when WIP debuted, to 2015, a period that marks the fourth decade of its existence. The poems studied were subjected to a qualitative analysis that focuses on the use of language to achieve deviation. Findings showed that four types of deviation feature in WIP scene: Syntactic, lexical, phonological, and graphological. Syntactic deviation is achieved through the use of end-weight, focusing, and topicalization. Lexical deviation is the achieved through the use of coinages, lexical borrowing and dialectal deviation. Only apocope phonological deviation feature in WIP, while graphological deviation was applied to ease pronunciation with a view to achieve rhythmic effect. [ABSTRACT FROM AUTHOR]

In this paper, using a hermeneutic approach, I discuss G. G. Byron's use of language in describing the socio-political and geographical issues of the countries he visited during his travels in Europe, primarily with regard to Albania. I show that in Childe Harold's Pilgrimage, Byron depicted Albanian scenery in an attempt to create homophily. I also analyse the Albanian reception of the English poet's vision. I justify the relevance of incorporating Byron's position on Albania into the consciousness of the Albanian people, as well as supplementing the Albanian language with the oriental vocabulary he used. [ABSTRACT FROM AUTHOR]

Following the publication, in 2018, of a consistent part of Sylvia Plath's correspondence, scholars interested in her complex biographical and literary story found new opportunities to read the American poet in a new light. I shall explore the letters she sent to her psychiatrist, Dr. Ruth Beuscher, while also critically observing their relevance in understanding Plath's oeuvre. [ABSTRACT FROM AUTHOR]