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This paper analyzes some of Anne Bradstreet’s “marriage” poems, in an attempt to show that the shift in her poetic voice, namely the turn to a more secular approach to poetry, makes her relevant today as the first published poet in America and the first American writer who struggled to establish a new literary paradigm in the New World. The poems “Before the Birth of One of Her Children,” “To My Dear and Loving Husband,” “A Letter to Her Husband, Absent Upon Public Employment”, “Another” I and "Another" II represent a shift from the “nostalgia” of English literature and the establishment of a new, feminine poetic voice, preoccupied with the condition of the woman writer and the fate of poetry in the patriarchal seventeenth-century American society [ABSTRACT FROM AUTHOR]

Andrew Young (1885–1971) belongs to the English tradition of the 'parson poet'. Poetry written by serving clergy often provides both a personal perspective on Christianity, free of strict orthodoxy, and a reflection of Christianity's place in the prevailing culture. Most of Young's work consisted of short poems with only occasional Christian reference. Later in life he abandoned short poems and wrote two long works exploring a visionary afterlife. This paper argues that the key to these two long poems, important but neglected examples of mid-twentieth-century Christian literature, is a personal re-imagining of the Trinity. [ABSTRACT FROM AUTHOR]

This article examines Francisco P. Ramírez’s editorial practice of altering reprint poems culled from periodicals, books, and anthologies from across the Hispanophone world and reprinted in Southern California. By isolating El Clamor Público’s poems, mapping their potential citational provenance and place of publication, and comparing reproductions to originals, I show how Ramírez’s reprint practices shaped authorship and genre in his paper. I propose Ramírez’s reprint practices are important examples of the print culture norm of editing reprint poems to centralize the reading public’s interests and experiences. Ramírez’s reprint practices made the poems more understandable to and relevant for a California audience while at the same time facilitating an intellectual and cultural sense of belonging that resists the reproduction of knowledge and aesthetics from a non-California epistemology. [ABSTRACT FROM AUTHOR]

The enthusiasm of Sabine Huynh, a French writer and poet, who translated some of the poems and published them with the Fondation pour la Mémoire de la Shoah[1] in 2020 as I Survivre à Son Histoire i , made me realize that these poems are important communication. At this moment the cold enters my bones from the wind between the cracks that let me peek at the countryside I am leaving forever that cold remains Footnotes 1 Karen Alkalay-Gut, "Survivre à son histoire", Foundation pour la Mémoire de la Shoah. They became teachers of Esperanto in order to escape to Palestine through the international Esperanto conference in Sweden but were sent back to Danzig for their lack of papers. [Extracted from the article]

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

While modern adaptations of Chinese classics have drawn keen scholarly interests lately, the comic adaptation of Chinese traditional poetry remains under-investigated. Extending the previous research on intersemiotic translation and comics, this paper, drawing on the analytical framework of systemic functional semiotics, examines distribution of process types of language in poems in comparison with that in comic images in the exemplary case drawn by Cai Zhizhong, using UAM image as the annotation tool. The comic book formulates a multimodal corpus that consists of 1,097 clauses and 605 images. We have manually analyzed the process type of the poems and their corresponding comic panels. Our quantitative and qualitative results show that there are distinct patterns of process-type distributions between verbal poems and images. Poems have been turned into perceptions, actions, and verbal processes in comic strips, which serve various purposes such as construction of the poet's gaze, relations building, storyline development, dramatization, metaphor visualization, etc. The paper is concluded with discussion on how the intersemiotic translation of poems might produce effects on readers. [ABSTRACT FROM AUTHOR]

In The Waste Land's centenary year, this article considers Dickens's pervasive impact on T. S. Eliot's poem. Echoes and allusions in The Waste Land , as well as direct references in Eliot's letters, range across Dickens's work from Pickwick Papers to Our Mutual Friend. Attention is paid, for example, to precedents for Eliot's "waste land" in Dickens's urban landscapes; a shared interest, in Dombey and "A Game at Chess," in Shakespeare's Cleopatra; images of imprisonment; and the "Problem of Dickensian Allusion" that arises from the sheer extent of the connections that might be made. [ABSTRACT FROM AUTHOR]

It may appear that the act of writing is fruitless in the face of the size and open-ended complexity of gathering environmental calamities including global heating, species extinction, and the appearance of plastic in everything. And yet – and yet – poets and others continue to write in ways that allow us to think about the earth's futures and, more specifically, the future of place in catastrophic times. Geo, Eco and Topo – poetics are acts of making – making earth, home, and place. Making earth as homeplace. This paper considers Juliana Spahr's book Well Then There Now as an entry point into thinking and writing about place in a relational way appropriate for a time of emergency. It focuses on the ways writing-as-making (poiesis) can help us to diagnose troubled worlds and prefigure new ones. The paper surveys the connections between geography and poetry, outlines the contributions of eco, geo and topo poetics and explores the hybrid poetics of Well Then There Now before advocating for the affordances of creative writerly approaches for geography more broadly. [ABSTRACT FROM AUTHOR]

This paper stems from the analysis of multiple poetic resources that were available online, as well as the results of methodological discussions with scholars of European Literature. The goal was to retrieve the informational needs of all these different sources in order to build a common data model for European Poetry (EP). Thus, by implementing a reverse engineering method, we have created the Domain Model for EP, which is an important breakthrough for making existent poetry resources interoperable. The lack of a uniform academic approach to analyse and classify poetic manifestations, the divergence of theories when comparing poetry schools from different languages and periods is some of the factors that hinder the modelling process. In this paper, we will present some of the challenges we encountered while conceptualizing the information relevant to poetic analysis and how we have worked around them. Some elements of the ontology will be presented to illustrate our modelling strategies. [ABSTRACT FROM AUTHOR]

The present paper attempts to shed some illuminating light on poetry and its position in the contemporary literary scene, following so many radical changes in the form and content of poetry. Metapoetry has become a recurrent topic that has its own supporters and adversaries. The article shows in the introduction the history of poetry and its long tradition of epics and narrative poetry. Also it shows how poetry in the twentieth century has some parallels with painting, and how the two arts constitute a reciprocal relationship. The main argument of the paper hinges on four writers from different parts of the world who share this interest in metapoetry, and what it can bring to the reader and author alike. The first writer chosen here is Ismail Kadar (Albanian) who is still alive and a French citizen. His poem. ' Poetry' is a typical one that belongs to metapoetry, as Kadare shows his surprise to enter willy-nilly this poetic maze. The second writer is the Chilean poet Pablo Neruda. In 'Ars Poetica' (Art of Poetry). Neruda presents the squalor and bad things of reality as the background for the sublimating role of poetry. British poet and poet Laureate, Ted Hughes's' The Thought Fox' discusses the writer's block. Lebanese Shawqi Beze'a 'The Poet" highlights the daily struggles of the poet in his strenuous efforts of pursuing the most appropriate terms and images in his poem. The conclusion sums up the main arguments of the paper. [ABSTRACT FROM AUTHOR]

Copyright of Misan Journal of Academic 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.)

Diane Seuss's ekphrastic poetry collection Still Life with Two Dead Peacocks and a Girl is a celebration of life and death, imagination and reality, stillness and movement. This paper focuses on the first poem of the collection to investigate the relationship between the poetic persona and the landscape surrounding her. I employ central principles of cognitive linguistics as applied in the field of stylistics to discuss the manifestation of her mind style and examine how she constructs and situates herself in the environment. Drawing on Langacker's notion of construal, I analyze the perspective and the degree of specificity of the descriptions. I also trace the extensive use of the container image schema that underlies the semantics of the poem. The paper demonstrates that despite her assumed idyllic existence, the poetic voice's ornate descriptions of nature conceal a sense of uneasiness and confinement and the highly granular lexical choices and figurative expressions reveal her anthropocentric view of the environment. This gives rise to her feelings of alienation while the presence of the container image schema reinforces her sense of confinement. From an ecostylistic perspective, the analysis demonstrates how an anthropocentric view may manifest itself linguistically, highlighting textual features of anthropocentric narratives. [ABSTRACT FROM AUTHOR]

This research attempts to analyze Arabic heritage elements employed in Muhammad al‐Thubayti's poetry as his poetry highlights modern issues. Heritage becomes a cornerstone in al‐Thubayti's poetry for it produces new meanings and contexts. It is used in visionary and creative ways enabling him to shape his poetic experiences. Heritage is no longer sacred or static, but it is manipulated in a way that serves the poet's messages. Thus, this paper shows how al‐Thubayti explores the present frustrations and failures at individual and national levels by employing heritage and symbols balancing between his belonging to this heritage and his creative and experimental poetic experience. Through the intelligent adaptation of heritage, he makes connections between the past and modern life to reveal the dilemmas of the present and the glory of the past. The research's main contribution is to shed a new light into the race, milieu, and experience of al‐Thubayti's poetry through utilizing Arabic heritage. This research examines four poems taken from al‐Thubayti's diwan (poetry collection), Tahjit hulman, tahjit wahman [I Spell out a Dream, I Spell out an Illusion]. As a theoretical framework, the analysis of the poems is based on historical theory and formalism. [ABSTRACT FROM AUTHOR]

Empathy is an important aspect of therapeutic relationships in health and social care settings. Health educators can foster empathy development in learners through creative writing activities. Drawing on the humanities, specifically poetry, this paper offers strategies for educators to support empathy development in learners, with a focus on service user poetry and associated creative writing activities. We discuss how poetry can enable alternative perspectives about care to emerge thereby challenging previously held assumptions about mental and physical states. Using poetry can enable a rehearsal of empathy by bringing experiences to the learner in a safe and facilitated environment. Through creative writing activities, we believe that students can learn to better understand and empathise with others, as well as explore their own feelings and experiences related to caregiving, to support self-care. [ABSTRACT FROM AUTHOR]

In many parts of the developed and developing world, traditional children’s rhymes are under threat. The disappearance of these traditional rhymes could impact children’s phonological development (Di Liberto et al., 2023, Harper, 2011), awareness of their natural environment, and their appreciation (and later composition) of poetry by older speakers. While rhymes in literate societies are often documented and can thus can be retrieved, this is not the case for the Mahrah and other exclusively oral societies. In this paper, we examine traditional children’s rhymes in Mehri, an endangered Modern South Arabian language (MSAL), focusing on rhymes and riddles and the significance of their impending loss within al-Mahrah governorate in Yemen. We conclude by suggesting ways in which the Mehri community, in collaboration with native-speaker and non-native-speaker researchers, can revitalize this genre of poetry. [ABSTRACT FROM AUTHOR]

In this paper I propose a new date for the Trapezuntine poems in ms. Panagiou Taphou 370 (commonly attributed to Stephen Sgouropoulos) and identify references to historical events that took place in Trebizond during the first thirty years of the fifteenth century. [ABSTRACT FROM AUTHOR]

This study conducts a stylo-linguistic analysis of Niyi Osundare's poem "The Rainsong," examining the language, form, and structure used to convey meaning and impact. Through a detailed analysis of graphological, phonological, syntactic, and lexico-semantic features, the study reveals the poet's deliberate choices in crafting a powerful and impactful work of poetry. It highlights the use of repetition, personification, imagery, and defamiliarization to create a sense of urgency, hope, and optimism, demonstrating how the poet's use of language and form shapes our understanding of the world. Employing Halliday's Systemic Functional Language as its theoretical underpinning and adopting the methodology of close reading and text analysis, this study contributes to the field of literary analysis. It demonstrates the value of stylolinguistic analysis in uncovering the intricacies of poetic language and informing teaching and learning practices to better appreciate the complexities of poetry. [ABSTRACT FROM AUTHOR]

On a three stage “ladder,” from humanism to scepticism to pessimism, Ecclesiastes has traditionally been regarded as the last of those three. Many recent studies, however, have challenged this assessment, replacing humanism with optimism and presenting a stark choice between the two extremes of optimism and pessimism. In this paper it is argued that a middle way can be found, using the language of “realism.” How to define “a realist” and what this means for understanding Qoheleth is explored. Examples of Qoheleth’s pragmatic advice, experiential starting point, and continual balancing of life’s options are aired, and key indicators of his realism are found. These are demonstrated first, in his use and placement of the three major poems in the book, second, in his choice of phrases around “knowledge,” and third, in his use of exemplifying stories that ground his more abstract musings in a concrete reality. [ABSTRACT FROM AUTHOR]

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

High-stakes assessments continue to command a directing influence on education systems globally. While there is much research detailing the challenges associated with this curricular framework, there is little evidence of a move away from high-stakes assessment frameworks to date. Accordingly, attention is being drawn to spaces and opportunities where meaningful teaching and learning experiences may be fostered within high-stakes systems. This paper explores the case of the Transition Year Programme in Ireland through the lens of the poetry classroom as a case study of striking counter-cultural curriculum innovation set within a high-stakes assessment educational framework. Drawing on the perspectives of poetry teachers, the findings of the study highlight the joy, freedom and gravitational pull experienced by practitioners teaching on this programme. Curriculum and policy-based considerations supporting both the integration of counter-cultural educational innovations across high-stakes educational systems and within high-stakes educational programmes are advanced arising from the findings of this study. [ABSTRACT FROM AUTHOR]

This paper investigates the concept of emotion and its relevance to education via character education through the medium of poetry. The objective is to demonstrate the potential implementation of character education through poetry, and to show the intrinsic link between poetry and virtue, knowledge and reasoning. It is argued that poetry serves as a bridge between emotion and character education. The philosophy of emotions is explored through the works of Aristotle, Karin Bohlin and David Carr. Character education is understood in terms of a Neo-Aristotelian approach, drawing on Kristján Kristjánsson, Bohlin and Carr. My position is that, through exercising the craft of poetry, children and young students are provided with tools for exploring emotions, and for discerning and deliberating about virtues and moral contextual nuances in the broader context of human experience. [ABSTRACT FROM AUTHOR]

As digital photography proliferates in the contemporary world, theorists and creative writers continue to debate what photographs signify and how the poetic ekphrasis of photographs should be understood. This has become a pressing issue in an age when new technologies allow the easy manipulation of digital images – which, depending on the context in which they are viewed, are increasingly being characterised as creative, imaginative, unreliable or deceptive. Yet nineteenth- and early to mid-twentieth-century theorists tended to assume that photographs had a direct, if complex, relationship to observable, external reality, something reiterated by Susan Sontag as late as 1977. This paper discusses how ekphrastic poems by Thomas Hardy and Philip Larkin enshrine assumptions about photography that are now shifting, and how contemporary ekphrastic poems about photographs increasingly challenge, sometimes subversively, photography's link to the 'real'. Such poetry continues to emphasise the way photographs connote a 'chasm' or 'thickening' of time but are more troubled than earlier authors by the idea that photographs may not represent anything clear or knowable. Eve Joseph's and Leslie Scalapino's poetry demonstrates ways in which photographs tend to juxtapose a sense of transience with a new sense of photography's sometimes obdurate problematics. [ABSTRACT FROM AUTHOR]

Classical Chinese poetry has been increasingly popular in recent years, and modeling its topic is quite a promising area of research. Chinese poems have the characteristic of short in length, but traditional topic models perform poorly when faced with short texts due to the text sparsity. Therefore, topic model should be improved to satisfy the scenario of classical Chinese poems. In this paper, a relational background knowledge boosting based topic model (RBKBTM) was proposed to overcome the text sparsity of Chinese poems. We incorporated background information into the model, which expanded the text content from the semantic perspective. The background knowledge was combined using word embedding and TextRank and was then fed into the core computing process. Subsequently, a new sampling formula was derived. Our proposed model was tested on three different tasks using three different datasets. The results demonstrate that the incorporated background knowledge can effectively overcomes text sparsity, improving the performance and effectiveness of the topic model. [ABSTRACT FROM AUTHOR]

This paper attempts to identify and analyse the use of Arabic metaphors and similes in Al-'ashriyyah, dealing with religious and social issues. The paper therefore deals with how particular metaphors and similes were employed. The study employs analytical research method. It is established in the paper that many of the metaphors and similes used have religious connotation, and they are strongly connected with particular situations. Quranic themes such as believers, unbelievers; youthful and old age; vicinity and the present of the messengers of death; good deeds and provisions for afterlife are dominant in the work. Flowery words, appropriate similes and metaphors applicable to these themes were supplied. This paper concludes that the authors employed linguistic strategies to achieve both aesthetics and communicative effects that evoke the emotion of the readers. The semantically motivated diction and rhetorical devices used are consistent with natural deposition of the authors as poets. [ABSTRACT FROM AUTHOR]

This paper comments on a recent article "Revolutionary poetry and liquid crystal chemistry: Herman Gorter, Ada Prins and the interface between literature and science" by Hub Zwart (Foundations of Chemistry, published online: 10 July 2020), in which the author explores the influence of the liquid crystal research of Ada Prins on the epic poem Pan written by her long-time lover Herman Gorter. The present paper reviews the basic science of liquid crystals and explains the connections between the work of Prins and its influence on the poem. Other examples of the use of "liquid crystal" as a literary device are identified from renaissance poetry, and the uses of the metaphor in these poems are analysed from a scientific perspective. From these examples it is suggested that creative concepts from poetry may contain elements of substance that appear in hitherto unrecognised scientific realities. [ABSTRACT FROM AUTHOR]

In a doctoral course on Narrative Inquiry, graduate students participated in an activity creating dimensional research poetry. The resulting poems, which were shaped like spheres or orbs and/or flowers, were made up of lines of narrative interview transcripts and researchers' reflections, either computer printed or handwritten on strips of construction paper. In this article, a review of dimensional poetry, including concrete poetry and three-dimensional poetry, is provided. Examples of flowers in poetry from descriptive to symbolic of resistance against poverty, class, war, and race are presented throughout. The instructor and a student in the course who also served as the photographer reflect on the experience. [ABSTRACT FROM AUTHOR]

Any form of poetry is based on imagination and our introspection of what we see in reality. Poetry is a vision that reflects our visualization of reality. Poetry is an art of self-interrogation and it is indeed pictorial in its origin because without visualizing it, we cannot compose poetry. Every word which we choose to compose it is symbolic of the picture which we have visualized in our minds. Herein, imagination acts like mute poetry which enables the poetess to shape it into words. Through this paper, I am willing to understand the power of pictorial poetry which can help us to selfinterrogate and enhance our mind's quantum to integrate the inner world and outer world via using the lens of Zen psychoanalysis which emphasizes on integrating the self and the other. This associative narrative between the self and the other can help in resolving conflicts happening across the world. Thus, pictorial poetry becomes a visual lyric of transformation which helps in selfinterrogation. [ABSTRACT FROM AUTHOR]

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.)

Copyright of European Journal of Psychotherapy & Counselling is the property of Routledge 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.)

In the 1970s, Samuel Beckett wrote a set of short poems, called mirlitonnades. Explicitly conceived as minor or 'throwaway' poetry, the drafts of the mirlitonnades are jotted down on 'throwaway' material and everyday objects, such as envelopes, letters, a piece from a box of cigars, pages torn from notebooks and coloured notepads. This essay tries to map the genesis of these poems in order to understand the 'throwaway' gesture of the draft material. It foregrounds the 'everyday' materiality of the mirlitonnades manuscripts and argues that the use of these scraps of paper bears a relation to the content of the poems, in which 'death' is the most 'everyday' element. It is so omnipresent that it emanates from and takes shape in the most everyday objects. [ABSTRACT FROM AUTHOR]

The article focuses on Della Cruscanism, a circle of European late-eighteenth century sentimental poets and Newspaper Poetics. Topics include Della Cruscanism began when a group of English and Italian friends living in Florence, Italy published privately a collection of poetry called The Florence Miscellany, and Della Cruscan poetry, was to become a common feature of all of the most widely read newspapers of the late eighteenth century.

The article presents a list of books related to 19th century literature. They include "Empire of Letters: Letter Manuals and Transatlantic Correspondence, 1688-1820," by Eve Tavor Bannet, "The Sagebrush Anthology: Literature from the Silver Age of the Old West," edited by Lawrence I. Berkove and "Victorian Poetry and the Culture of the Heart," by Kirstie Blair.

Purpose — The purpose of this paper is to describe linkages between the techniques of poetical expression and the language used by scholars to communicate management practice. Design/methodology/approach — The approach is to consider the stylistic perspective of the language used for management theorising or research, viewing the documents produced by management researchers as communicating devices and cultural products which contribute to the creation or construction of the reality that they seek to describe and analyse. Findings — The paper uncovers the poetic aspects buried — often deeply — in the language of management studies through which the concepts of, and ideas about, management are expressed. Originality/value — The links between ways of saying usually considered to be in opposition are made known, and enjoyed. [ABSTRACT FROM AUTHOR]

Comments on several poems about medical humanities. "The Paper Bag," by Paul Marshall Wortman; "Between the Panes," by Christopher Hummel; "Guillain Barré," by Michael Rowe; "Dental Care at St. Louis University," by Mary Kennan Herbert.

In this paper I propose to examine several poems by Elizabeth Bishop through the prism of the concept of letter delineated in "Lituraterre", where Lacan explores the connection between the literal and the littoral in order to draw a key distinction between signifiers which are the semblances involved in ordinary communication, and the letter as a precipitate resulting from their breakdown. Insofar as the letter causes "writing effects that are structured around moments of vacillation of semblances" (M-H Roche), such effects may be traced in poems where Bishop focuses on how meaning is set adrift by eliding, displacing or transforming graphemes and phonemes. Her observation that "the names of seashore towns run out to sea" points to the littoral/liminal space of the poetic signifier that straddles enjoyment and meaning. I analyze Bishop's painterly treatment of mist through the prism of Lacan's discussion of Japanese calligraphy where the unary brush stroke, which "is the means to clear original Chaos" (E. Laurent), operates as the equivalent of the median void, often represented by fog in Chinese painting, i.e., as an avatar of the littoral that separates knowledge from enjoyment. I conclude with a reading of a poem where the semiosis of mortality hinges on the (dis-)appearance of certain phonemes, inviting us to question the literal/literary destiny of letters when they turn into Joycean litter, and prompting us to revisit Lacan's familiar aphorism that "a letter always reaches its destination". [ABSTRACT FROM AUTHOR]

This issue of Transcultural Psychiatry presents selected papers from the McGill Advanced Study Institute on "Cultural Poetics of Illness and Healing." The meeting addressed the cognitive science of language, metaphor, and poiesis from embodied and enactivist perspectives; how cultural affordances, background knowledge, discourse, and practices enable and constrain poiesis; the cognitive and social poetics of symptom and illness experience; and the politics and practice of poetics in healing ritual, psychotherapy, and recovery. This introductory essay outlines an approach to illness experience and its transformation in healing practices that emphasizes embodied processes of metaphor as well as the social processes of self-construal and positioning through material and discursive engagements with the cultural affordances that constitute our local worlds. The approach has implications for theory building, training, and clinical practice in psychiatry. [ABSTRACT FROM AUTHOR]

Copyright of Annual Review of the Faculty of Philosophy / Godisnjak Filozofskog Fakulteta is the property of Faculty of Philosophy, University of Novi Sad 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 examines the poetry of the two Palestinian American poets, Naomi Shihab Nye and Hala Alyan within the concept of the “thirdspace” of resistance literature. With this premise in mind, the study uses Edward Soja’s concept of “thirdspace” (1998) to examine the poetry of Naomi Shihab Nye and Hala Alyan as an articulation of “resistance poetry” exemplified in Ghassan Kanafani’s book entitled Resistance Literature in Occupied Palestine 1948-1966 (1966). The poem itself, as a form, is an imagined geography constructed by the poet’s personal and collective memories that build up his/her spaces of resistance poetry. In these artistic cartographies, memories traverse from contested lands and geographies to a “thirdspace” that recreates a timeline of stories and narratives that unfold the poems’ resistance manifesto. To foreshadow these imagined memories, the poem functions as: first, a documented tool of resistance to forgetfulness; second, an artistic device for articulating memory; third, a “thirdspace” where contested geographies of resistance and resilience dissolve to re-visioning history that curates hybridized literary spaces of prose poetry and cartographies of memory. [ABSTRACT FROM AUTHOR]

A co-design project, consisting of individual and collective design activities, was organized with clients of a mental health service, in order to explore its potential to support people with psychosis. The group met for approximately two hours, weekly, for six months, participating in design activities and collectively deciding on the project purpose and outcome – a boardgame. The experience of one group participant (Anthony) is explored, selected as the first case study within an Interpretative Phenomenological Analytical (IPA) framework. Following IPA's ideographic focus, Anthony's case was purposefully selected, as it portrayed a detailed picture, informing theoretical reflection on designing as therapeutic. The paper includes Anthony's first-hand account, combined with an analysis of data from three semi-structured interviews, photographic evidence and a reflective diary kept by the lead researcher. Results suggest that, for Anthony, design activity: a) helps developing a sense of agency b) is experienced as grounding in reality c) contributes to the development of inter-personal relationships, and d) has a different sense of rhythm than artistic practice. These results are contextualized within literature on the lived experience of psychosis and suggest that designing can be beneficial for people with psychosis, providing the backdrop for further research and practice. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi 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 splitting of words into stressed and unstressed syllables is the foundation for the scansion of poetry, a process that aims at determining the metrical pattern of a line of verse within a poem. Intricate language rules and their exceptions, as well as poetic licenses exerted by the authors, make calculating these patterns a nontrivial task. Some rhetorical devices shrink the metrical length, while others might extend it. This opens the door for interpretation and further complicates the creation of automated scansion algorithms useful for automatically analyzing corpora on a distant reading fashion. In this paper, we compare the automated metrical pattern identification systems available for Spanish, English, and German, against fine-tuned monolingual and multilingual language models trained on the same task. Despite being initially conceived as models suitable for semantic tasks, our results suggest that transformers-based models retain enough structural information to perform reasonably well for Spanish on a monolingual setting, and outperforms both for English and German when using a model trained on the three languages, showing evidence of the benefits of cross-lingual transfer between the languages. [ABSTRACT FROM AUTHOR]

Nietzsche's interest in tragedy continues throughout his work. And yet scholarship on Nietzsche's account of tragedy has focused almost exclusively on his first book, The Birth of Tragedy – a work which is in many ways discontinuous with his more mature philosophical views. In this paper, I aim to illuminate Nietzsche's post-Birth of Tragedy views on tragedy by setting them in the context of a particular historical conversation. Ever since Plato banished the tragic poets from the kallipolis, various philosophers have attempted to respond to his challenge to offer a 'defense of poetry'. What Nietzsche offers, I argue, is a distinctive form of response to Plato's challenge. I show how Nietzsche takes seriously Plato's worries, and even ends up in partial agreement with him: tragedy is not (unqualifiedly) valuable; it can be spiritually dangerous. Key to Nietzsche's account is a distinction he draws between two types of tragic audience. For the 'lower types', tragedy is – as Plato feared – dangerous. For the 'higher types', however, tragedy can act as a regenerative force. Finally, I discuss a distinctive form of value that tragedy makes available to a modern audience: tragedy can act as a stimulus towards the process of the revaluation of values. [ABSTRACT FROM AUTHOR]

The paper explores the interrelations between Pindar, Heraclitus and the Hippocratic author with regard to ideas of the body, the soul and dreams. I shall consider Pindar's fr.131b as an overlooked testimony of the poet's interest in a non-Homeric conceptualization of the soul. I will suggest reading Heraclitus' fragments B26 and B21 together and offer a new interpretation of the latter. Furthermore, I will compare Pindar's fr. 131b with the Hippocratic On Regimen (4. 86, 87) and Pindar's fr. 133 with On Regimen (4. 92) respectively, in order to highlight unnoticed similarities. [ABSTRACT FROM AUTHOR]

The versification of Nigerian Civil War poetry which started during and immediately after the civil war in 1970 has continued to resonate in the writings of the Niger Delta poets even in the present twenty first century. In Nigeria as a whole, the pioneers in war poetry include Wole Soyinka, J. P. Clark, Christopher Okigbo and Essie Enekwe. Like the above poets, the poets from the Niger Delta area of Nigeria have also continued to vent their anger on the devastating effects of the war on the people of that region. These poets have shown their sense of history through the documentation of the harrowing and bitter experiences of the casualties of the war which has been aptly described as the ugliest episode in the history of postcolonial Nigeria. Not only that, its literature has been portrayed as the most recurring theme in Nigerian literature. This paper attempts to re-affirm that even in the new millennium, Niger Delta poets have, unabatedly, reminded us of the genocide, rape and torture that greeted the war. The paper also attempts to show that the present prevailing scenarios in that part of the country today, which have resulted into kidnapping, banditry, rape, protests, and all sorts, are echoes of an impending civil war, if not nipped in the bud. The poems of a selected Niger Delta poets: Ebi Yeibo, Hope Eghagha, Ekanpou Enewaridideke and others who write between the year 2000 and the present are used to justify the above. The paper argues that reference to the war and its antecedents is still part of the thematic directions of Nigerian, albeit Niger Delta poetry in the twenty first century. [ABSTRACT FROM AUTHOR]