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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]

Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground. [ABSTRACT FROM AUTHOR]

E.E. Cummings's concrete poetry raises the canonical problem of poetic untranslatability. It is commonly accepted that a poem is constituted as a unity of form and content, and any change in the form of a poem results in the loss of the poetic value and, eventually, translation failure. Two basic approaches have been proposed regarding the untranslatability of Cummings's concrete poetry: mimicry and equivalence of effect. However, the former is impractical, and the latter is an indirect one. This paper proposes employing Wittgenstein's conception of translation in his later philosophy of language to solve the question of the untranslatability of Cummings's concrete poetry. By analysing three of Cummings's concrete poems 'r-p-o-ph-e-s-s-a-g-r', 'mOOn Over tOwns mOOn', and 'Buffalo Bill's', this study suggests that poetry is translatable in the sense that the same language-game in the source text (ST) can be played in the target text (TT) by reconstruction or invention. [ABSTRACT FROM AUTHOR]

The article discusses the roles of poetry, knowledge, and the quality of writing in Jewish liturgy. It responds to the article “A Heart of Flesh: Beyond ‘Creative Liturgy’” by Catherine Madsen. According to the author, the liturgical effectiveness of Biblical poetry stems not only from its dramatic nature but from its complexity of meaning and from the experiences involved in continually returning to it and discovering new questions and ideas. Details on literary and liturgical criticism and on the writings of poet Emily Dickinson are also presented.

Frangois Cheng (1929- ), elected to the Academie Frangaise in 2002, structurally introduced the lexicological, syntactic, and semiotic form of Tang poetry to the French academia via his academic works. In the late 1980s, Frangois Cheng shifted his focus from academic writing to creative writing, both in French, winning the 1998 Prix Femina for his novel Le Dit de Tianyi (1998) and Prix Roger Caillois for his collection of poems Double chant (2000). Focusing on his less-discussed poetry, which reveals higher congruity of his understanding of Chinese literary classics with creative representation, this paper argues that, as an analyst of Tang poetry, Cheng also acts as a contemporary translator of the classical Chinese aesthetic ideology into French modern verses. His subjective creation of poetry is both transcultural and trans-temporal, ambiguously corresponding to his lingual, racial, cultural, and national belonging, and appropriating a new valid form of French literary style. This ambiguity both transcends national identification and universalizes the international flow of knowledge. Beyond Feng Lan's (2017) recognition of Frangois Cheng as a special representative of Chinese diasporic intellectuals who mediate between institutionalized French discourses and Chinese classical philosophy, a close reading of Cheng's poems in the paper will support an investigation of his successive and transformative production of text. [ABSTRACT FROM AUTHOR]

Ecocriticism is a field that is inherently cross-cultural, and poetry is an art form that creates bonds across cultural communities. This paper focuses on Gary Snyder, a prominent poet in his own right, who is famous for his translation of the works by Chinese poet Han Shan. His attraction to Chinese classical poetry and Eastern civilization offers an alternative to the Western developmental paradigm, and the ecopoetry he espouses is pertinent to today's environmental debates. His references to nature do not function merely as reminders that nature should be respected but as an impetus to reflect on the coexistence of multiple temporalities and agencies. This paper examines Chinese poetry's inspirational effect on Snyder and analyzes his translations of Han Shan's poetry. Snyder's ecocritical insights have had a wide influence, particularly on the work of Hong Kong poet Xi Xi. This circulation of poetry offers a means of bridging Western and Eastern cultures. The mutual enrichment achieved by such cultural translations provides a means of transcending the simplistic dichotomies of the East and West. [ABSTRACT FROM AUTHOR]

This paper analyzes Agi poetry and utilizes the Panayanon concept of power called gahum as its critical framework. Philippine gay literature unfurled after the publication of Ladlad: An Anthology of Philippine Gay Writing (1994) and continues to reach higher grounds. However, gay criticism has been too focused on the discourse of the Manila bakla and not much has been said about indigenous models of queerness in the regions. As agi is an indigenous articulation of homosexuality in Panay in Central Philippines, this paper traces the connection of the agi's attendant performance (kaagian) with the indigenous tradition of babaylanism. By investigating the strong presence of babaylanic imagery in agi poetry, this study attempts to unravel the connection of kaagian with a precolonial form of power called gahum, which is deeply attuned to the animist spatiality of Panay. The babaylan is a shaman, culture bearer, and political leader that embodies physical and spiritual gahum that go beyond the human realm. By exploring the interconnected concepts of kaagian, gahum, and babaylanism, this critical study reveals that agi writers champion the image of the babaylan to subvert colonial-imposed hegemonies and decolonize the agi identity. [ABSTRACT FROM AUTHOR]

This paper discusses one paragraph of the Kitāb al-Barbariyya, a medieval Berber commentary on Abū Ġānim's Mudawwana. The brief note examined is a comment on the answer to a legal question, which mentions the ancient Berber names of a constellation and of a plant, quoting two lines of Arabic poetry. The passage occupies seven lines (f. 126b, ll. 8-14) of the manuscript MS.ARA 1936 found at the Bibliothèque universitaire des langues et civilisations (BULAC) of Paris. The Berber words retrieved from this text are Amanar, the name of the constellation of Orion, and tabduɣt, the name of the cotton plant. Moreover, in this ancient text, the word (a)kermus, which in the contemporary Berber languages applies to some specific plants (figs, prickly pears, dates), and which, in this case, seems to mean simply 'fruit', which supports a possible etymology from the Greek karpós. A list of Arab authors quoted within the Kitāb al-Barbariyya is added at the end of the paper. [ABSTRACT FROM AUTHOR]

Copyright of Gdansk Journal of East Asian Studies / Gdanskie Studia Azji Wschodniej is the property of Jagiellonian University Press 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 Armenian Folia Anglistika is the property of Publishing House of Yerevan State University 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 Journal of Babylon Center for Humanities Studies 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.)

Being an interdisciplinary field of study in the humanities, literature serves as a vehicle to varieties of philosophical thought. The purpose of this paper is to examine the theme of absurdity and the meaninglessness of life that manifests in the poems of Eshetu Chole. The article particularly deals with selected poems that correspond to the twentieth century absurd philosophical thoughts typically advocated by Albert Camus in his essay The Myth of Sisyphus. Although the notion of the absurd seems to be fading as a result of contemporary technological advancement, human beings cannot completely and permanently be deceived from the feeling of the absurd. The thematic analysis thus, significantly explored the fundamental absurd nature of human existence and sparks how individuals, once they are conscious of the absurd, should respond to it in day to day life. To achieve this, through an examination of the central point of the poems, the paper illuminates typical absurd characteristics of human nature squarely facing a life of infirmity, ignorance, helplessness, hopelessness, nostalgia, and the futility of searching for meaning in an ignorant world. [ABSTRACT FROM AUTHOR]

This paper argues for engaging in unconventional/artistic representations in psychological research and presents step-by-step instructions to make use of a specific form of artistic representation, namely found poetry. Found poetry is a form of poetic inquiry that has been used in a variety of social science disciplines, primarily to amplify meaning making possibilities in qualitative research and to make research more accessible to the reader in various ways. Accessibility of research to the general public can be greatly enhanced by artful representations, particularly poetry, because of its immense socio-epistemic potential. The paper thus attempts to provide a guide on fashioning a found poem out of qualitative data. There are 5 steps in all, represented by the acronym BEST-M. These steps consist of the following: beginning data analysis, excavating evocative data nuggets, scooping out the data, tying the thread, and member checking. As an exemplar, an interview of a young adult participant and their experience of navigating lockdown imposed during the COVID-19 pandemic is used for demonstrating the implementation of the five steps that the paper puts forward. [ABSTRACT FROM AUTHOR]

Poetry is a part of literary work which the expressions of the content are made by an aesthetic of diction language of the poets, having much meaning and understanding itself. Every poem is formed with different rhyme, tone, and meaning. The goal of this research was to find out more about types of figurative meanings found in Scott’s classic poetry series. The method which was used in this paper consisted of three steps, they were data source, data collection, and data analysis. The result of this analysis showed that there were nine types of figurative meaning that were found in Scott’s classic poetry series; metaphor, simile, personification, apostrophe, metonymy, synecdoche, symbols, paradox, and hyperbole. Figurative meaning which was mostly found in this data source was Personification [ABSTRACT FROM AUTHOR]

The article presents a list of books related to English literature received by the journal. These books include "Recovering Christina Resetti: Female Community and Incarnational Poetics," "Reading Women: Literary Figures and Cultural Icons from the Victorian Age to the Present," and "The Holy Grail: Imagination and Belief."

In difficult times, people turn to poetry, reading, and writing for solace and peace. In emotionally intense and traumatic times, people use poetry to process and understand the lived eyepieces. The havoc wreaked by the COVID-19 pandemic has affected the emotional and psychological well-being of individuals all across the world. Poetry has emerged as a savior in these difficult times. A phenomenon, "lockdown poems", came into existence as individuals all across the globe processed and shared their lived experiences of isolation, pain, and suffering through poems. In the present paper, students of a management program process and share their experiences of the COVID-19 pandemic, the subsequent lockdowns, and their community work experience. Poetry as a therapeutic and hope-building tool is discussed in the paper along with the original poems written by the students. [ABSTRACT FROM AUTHOR]

This paper shall make a modest attempt to focus on the poetic vision of Jayanta Mahapatra, the legendary Indian English poet vis-vis his obsession to depict the socio-cultural milieu of his native land Odisha. His whole repertoire of poetry revolves around a golden quadrangle of Cuttack, Puri, Konark and Bhubaneswar with nostalgic description of past glorious legacy and painful narration of the present decadence. With Introvert and withdrawn syndromes explicitly visible in his personality, Jayanta Mahapatra is a keen observer of society in its myriad manifestations. It may be the emotionally shocking revelation of the Fisher man willing to push his daughter into prostitution or the waiting by the widows to be cremated at Puri or of lost chivalry of Kalinga (Odia) soldiers who valiantly fought in Historic Kalinga war to turn ruthless king Ashok into a spiritual person embracing Buddhism. The shocking depiction of his grandfather Chintamani Mahapatra's helplessness during the great Famine of 1866 to embrace Christianity speaks volumes about his regret to spurn Hinduism and switch over to Christianity under duress. His recurrent images 'rain', 'door', 'sleep', 'silence', 'mouth', 'dream,' 'memory' etc. obviously refer to his unhappiness with the present decadent culture. The entire spectrum of Mahapatra's poetry resonates with the native syndrome and the juxtaposition of lost legacy and prevalent decadence. [ABSTRACT FROM AUTHOR]

The present paper offers a new approach to the poetry of the Egyptian Sufi poet 'Umar Ibn al-Fāriḍ (576-632AH/1181-1235AD). This approach is based on the text of Ibn al-Fāriḍ's Great Sufi Poem, al-Tā'iyyat al-kubrā, in which the poet expresses in full his spiritual experience. First, the basic hermeneutical question is discussed, e.g., what is the way of approaching a literary text in order to understand the experience of the poet' Also, it deals with a Sufi text, its context and the relationship between text and experience. To what extent does the author express his inner world verbally? In the end, there is a distance between the interior experience of a Sufi and his verbal expression. Eventually, this method is applied to the poetry of Ibn al-Fāriḍ. He describes his Sufi experience as a journey through three steps: from separation (farq) to unity (ittiḥād) to universal union (gam'). On such a partition, ten basic units are highlighted, forming the structure of his Sufi poem. [ABSTRACT FROM AUTHOR]

Copyright of Humanities & Educational Sciences Journal is the property of Humanities & Educational Sciences Journal 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 argues that Nikolai Nekrasov's "V derevne" explores the limits of the Romantic view of lyricism as a socially isolated endeavor and attempts instead to use the lyric form to express social relationships. It contends that the poem works to conceptualize a social whole in which peasant and non-peasant are directly connected. Tragedy emerges as the mode of this connection: the lyric hero of the poem's first monologue and the lamenting peasant in the poem's second part each turn inward to bemoan circumstances which they feel they cannot change, including, in the case of the lyric hero, their own individual moods. This is the essence of Nekrasov's tragic pathos. As a folkloric omen, the poem's central image of gathering crows introduces a supernatural element to the poem which, rather than distinguishing a space separate from socio-economic realities, renders what might otherwise be considered natural an intentional effect. The poem's allusions through the crow omen to supernatural forces points to the actual social forces that structure the poem's world. The mysteriousness of these forces is thematized as a shared alienation, which is experienced even by the peasant in her presumably collective sphere as her mourning becomes a more modern sense of melancholia. Representing a collective experience of shared isolation, the poem attempts to embody the social totality which no single individual can grasp, in this way drawing on tragedy to offer a new form of lyric which does not ignore social divisions but rather expresses them. [ABSTRACT FROM AUTHOR]

The folkloric elements in Nikolai Nekrasov's "V derevne" ("In the Village," 1854) go beyond metric and stylistic affinities, and include, among others, the crows that flock as if from around the world; the well, the name Kasyanovna; and the final image of the black net. The paper will describe the dynamics of these elements' interaction within the text, suggesting that in the poem, the lyric author's engagement with the two genres of folk poetry, namely, the epic and the lament (plach, prichitanie), brings about a transformative experience for the lyric hero. [ABSTRACT FROM AUTHOR]

This paper argues that Nikolai Nekrasov's poem is closely related to a topical discussion on the representation of peasants in literary texts that was unfolding in the criticism of 1850s. Critics such as Pavel Annenkov, who published his articles in The Contemporary edited by Nekrasov, insisted that the modern literature created by the westernized elites was incapable of correctly describing the social and psychological circumstances of the life of common people. His opponent Stepan Dudyshkin, to whom Nekrasov dedicated the first edition of his poem, replied that the whole idea of a perfectly correct representation of human life in a work of art is an illusion created by German philosophers, while a poet should rather influence the reader and evoke strong feelings. Analyzing the poem by Nekrasov, I demonstrate that he closely follows the advice of Dudyshkin, showing that such feelings as pity and sympathy can overcome social and cultural borders between the characters of his poem. [ABSTRACT FROM AUTHOR]

Holism evolution states that although energy, matter, life, consciousness and the human personality are independent and different substances/levels of evolution, they are holistically and intimately related. This paper presents the findings from teaching chemistry to high school science students and post-graduate university science-education students using poetry constructed from physical science ideas embedded in holism evolution. The research findings are based on observations of student behaviour and their written feedback from being taught chemistry using poems on the periodic table and acids and bases. Both poems demonstrate the holism intimacy between various substances/levels of evolution, with the periodic table poem also presenting groups of chemical elements as representing the characteristics of infant, teenager, adult and old age of matter, presenting a holistic relationship between matter and life. The findings indicate that using holism evolution infused content led to a personally meaningful engagement with chemistry even among students with limited previous interest in the subject. Many post-graduate students expressed new levels of engagement with chemistry as well as new insights to enliven their teaching practice. [ABSTRACT FROM AUTHOR]

The article addresses what gets lost in the literary translation process. Although "meaning" is ill-defined at best, it refers to how a message loses meaning in translations. Nuskha Hai Wafa", by Faiz Ahmed Faiz, one of Pakistan's best-ever classic anthologies, is selected as the Source Text (ST) and Target Text (TT) "The Way It Was Once "by Shoaib Hashmi (1999) is selected. The research investigates how translation exploits languages in relationships to handle potentially difficult conflictive situations in cross-cultural differences. Research has suggested that meaning loss in literary translation is the untranslatability of culturally particular vocabulary because language and culture are inextricably interwoven, cultural values and social standards are important considerations when translating poetry. Urdu and English have fundamentally different coding and writing systems, translating between the two languages inevitably results in meaning loss. However, this loss can be mitigated using various translation techniques, methods, and strategies. During the process of comparative analysis following questions have been tried to sort out: how do cultural disparities resist the process of poetic translation? how is meaning lots in the process of poetic translation? What strategies are used to translate the poetic expressions from Urdu to English? What causes loss of meaning in transmitting culturally specific items from one language to another? In this paper, the translator focused on the Urdu cultural domain of poetry concerning the loss of meaning. The research results verified the hypothesis that despite different tactics and strategies, the unavailability of culturally specific equivalent expressions causes hurdles in the process of translation, which causes the loss of meaning either due to omission, reduction, or addition. [ABSTRACT FROM AUTHOR]

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AI-generated art, text, and audio have emerged in the last year as potentially disruptive technologies: can students now simply plagiarize entire papers whole cloth from an internet chat tool? Is the digital art on display created by a human, or an amalgamation of digital repositories which create art in many styles in seconds? Is the audio or video clip on the screen legitimate, or a forgery produced from a provided bank of samples? Shown in this negative light, the technological advancements in AI are anathema to the traditional spirit of learning and collaboration which is key in the literature classroom. This guide attempts to invert the potentially nefarious uses of AI in education by using its inherently accessible nature to benefit students who might learn best in a visual or creative mode in the study of poetics. By experimenting with free-to-use AI art generation tools, students will come to better understand not only the function and form of poetry, but also poetic paraphrase and figurative language. [ABSTRACT FROM AUTHOR]

This paper focuses on Chinese sources suggested for a narrative medicine (NM) program, called AfterWards. Dr Lauren Small established AfterWards in 2014 and has been coordinating it since out of the Pediatrics Department at Johns Hopkins Medicine. In early 2019, she started giving a series of lectures and workshops about AfterWards to Chinese medical educators and clinicians in Beijing and Shanghai. She created an AfterWards Facilitator's Guide based on Western-language sources for workshop participants. She also started to organize with Jiang Yuhong (Peking Union Medical College) a workshop for Chinese colleagues to be held at Johns Hopkins Medicine in October 2019. They invited the author to participate. The idea was hatched then to develop Chinese source materials following the AfterWards structure for an updated Facilitator's Guide that Dr Small had initially written. A typical one-hour AfterWards session consists of a specific five-part structure: a literary text or artwork, an associated theme, discussion topics, a writing exercise, and shared reflection. While the content of the program always changes from session to session, the basic structure remains the same. This paper summarizes the types of Chinese sources and their related narrative-medicine themes that were originally selected for inclusion in the updated AfterWards Facilitator's Guide intended for Chinese colleagues. These sources about coping with sick family members, aging, and illness ranged from the textual (classical Chinese poems on aging and diagnostic forms for training students) and visual (premodern Chinese paintings and murals of medical encounters) to the fictive (novels) and performative (contemporary Asian-American film in English and Chinese-language film and documentaries). [ABSTRACT FROM AUTHOR]