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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]

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]

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]

Between the eighteenth and nineteenth centuries, an esthetic revolution awakened a new interest in traditional poetry, which was considered the depositary of the Volksgeist and the most faithful representation of the national character. This paper raises the possibility of using the concept of author function to prove the high coherence with which German Hispanism, and in particular Ferdinand Wolf, considered the people of Spain as the authorial subject of Spanish romances. To do so, I will review the increasing interest in folk poetry since the 1750s contextualizing it within the new processes of the creation of national identities and Europe's special attraction to the Spanish case. Secondly, I will connect this revival to both new esthetic sensibilities that revolutionized the concept of authorship, such as expressive theories, and the creation of a collective subject (das Volk) as the origin of romances. I will analyze this collective subject as a potential author function. Finally, I will compare this against Wolf's thesis on the Spanish Romancero. [ABSTRACT FROM AUTHOR]

The counterfeit works of Rafael Bolívar Coronado (1884–1924) represent a phenomenon with unusual repercussions on critical reception. This author managed to publish more than twelve volumes with false authorship and content, from "crónicas de Indias" to collections of poetry. This article presents a theoretical approach regarding literary falsification in general and highlights the concepts of lightness and multiplicity to propose an interpretation of the Bolívar Coronado case. This paper also deals with the artistic dimension of literary forgeries as creative works that use the same methods and strategies as fiction writing. The set of falsified works by this author can be interpreted as a conceptual proposal that questions the functioning of the literary field of his time. Likewise, his proposal can also be framed within the cultural criticism that the forgery tradition entails: it questions not only the difficult discernment between the concepts of truth and lies, but also the rigidity of some guardians of cultural institutions and the system of legitimation, awards, and literary reviews. [ABSTRACT FROM AUTHOR]

Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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 Hipogrifo: revista de literatura y cultura del siglo de oro is the property of Hipogrifo: revista de literatura y cultura del siglo de oro 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 this paper I take a look at two lyric poems: fragment 31 of Sappho and fragment 130B of Alcaeus. The first-person speakers in these two poems were commonly identified with their authors in antiquity. I argue that this was not the case when the poems were first performed on Lesbos. For the original audience these first-person speakers were general and would not necessarily have been identified with either Sappho or Alcaeus. Other people on Lesbos who performed these poems as songs could identify with them as well. It was only when the poems left the island and were reperformed in cities like Athens that the gap between first-person speaker and performer became so great that the question arose who the first-person speaker might have been. He or she was then identified with Sappho and Alcaeus, and the author, as the autobiographical subject of his or her poetry, was born. [ABSTRACT FROM AUTHOR]

The United States' entry into the First World War prompted progressives to reform veterans' entitlements in the hopes of creating a system insulated from corruption and capable of rehabilitating disabled veterans into productive members of society. The replacement of pensions with medical care for wounded and disabled soldiers through the Reconstruction Hospital System was originally intended as a temporary measure but resulted in establishing the foundations of the modern veterans' health care system. Yet, these reforms would not have been possible without the support from the community of war veterans to which these reforms applied. By examining the communal values expressed in publications produced by and for soldiers, this paper explores the ways in which the Great War's veteran community expressed agency in the process of reforming the US veteran entitlements. [ABSTRACT FROM AUTHOR]

The paper reflects on the history of literary translation and the interliterary relations presented in the monograph by Rudo Brtáň titled Bohuslav Tablic (1769 - 1832). Život a dielo (1974)/Bohuslav Tablic (1769 - 1832). Life and Work (1974). This is the first complex monograph written on B. Tablic in the historiography of Slovak literary history and it is closely related to R. Brtáň's systematic interest in the history of Slovak literature of the national revival period. B. Tablic is reflected on as a pioneer of literary translation in Slovakia and his translations as well as his own literary production are placed in a wider interliterary context. The paper analyzes and assesses Brtáň's approach to the issues of literary historical and translatological reflection of Tablic's translations from German, English and French, it sees his translations and his own production in the Czecho-Slovak context, it maps the range of the authors translated and their links to the literary aesthetical preferences of that time. Brtáň's monograph is seen critically here, especially in contrast with newer literary historical findings and research into the history of literary translation. The paper points out to several historically constrained assessments of Tablic's translations (translations of the works by J. A. Hermes a J. J. Spalding), verifies Brtáň's inaccuracies when identifying the original texts of individual translations and translation adaptations (interconnections between ballads by G. A. Bürger and Tablic's production, the issue of Tablic's mistake about the authorship of the ballad by T. Percy The Hermit of Warkworth), in addition, Brtáň's analyses of his book translations (Anglické múzy v česko-slovenském oděvu/English Muses in Czecho-Slovak Clothing) and the translation of Nicolas Boileau's Umění básnířské /The Art of Poetry are reflected on against a background of recent research into this subject. [ABSTRACT FROM AUTHOR]

This paper provides a reflection about anonymity and authorship in folk poetry in general and in the Greek folk poetry in particular. Anonymity means absence of an author with historical entity and it is a characteristic feature of folk poetry. On the other hand, every text has an author, but the author of folk poetry has a different relationship with his work from the literary author; he is constrained in his task by the traditionality of themes and form, wich are related to the extraliterary fonction of folk poetry. Four interesting cases of Greek folk poetry are analised which have been attributed by the tradition to historically existing authors, and the reasons of such attribution are investigated. [ABSTRACT FROM AUTHOR]

John Donne is acknowledged for his mastery of metaphysical conceits. A metaphysical conceit is a complicated and highly astonishing literary device that creates a far-fetched and odd comparison between a nonphysical feature of a person and a physical entity in the world. It is an extended simile and metaphor to catch the interest and attention of the readers towards the text. Deconstruction is a term coined by the French philosopher Jacques Derrida that refers to an approach to reading a text. One of the philosophical principles of deconstruction is to disperse thoughts of binary oppositions, to break down the old style of a hierarchical model, and rejects the inflexibility of metaphysics. Deconstruction is the process of reversing the hierarchies in order to uncover the whole ideological process of making hierarchies. It believes that a text has multiple meanings. In John Donne's poetic work, this is the only practical and technical way by which his poetry can be understood, as the relations between 'ideas' and 'words' are almost constantly complex and manifold. The paper is an attempt on Donne's metaphysical conceits in his select poems to explore internal contradictions, inconsistencies, and multiple layers of meaning through a deconstructive lens. [ABSTRACT FROM AUTHOR]

Copyright of Journal of Tikrit University for Humanities 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 Madrygal: Revista de Estudios Gallegos is the property of Universidad Complutense de Madrid 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 essay considers considers two pamphlets from the early career of John Taylor the Water Poet, The Pennyles Pilgrimage (1618) and The Praise of Hemp-seed (1620), and explores Taylor's description of writing as a branch of domestic industry whose virtues reside in plainness rather than fineness. Most early modern theorists of poetry privileged ingenium or natural wit, arguing that literary excellence originated in the smooth, spontaneous workings of the imagination. Drawing resourcefully from contemporary theories of authorship, including Ben Jonson's, Taylor proposed instead that literary value depended upon exercitatio , the intellectual and physical labour involved in writing. It is argued that the familiar contemporary figure of the pot-poet enabled Taylor to contribute in important ways to contemporary debates about literary worth. Although pot-poetry was associated with both social roughness and aesthetic worthlessness, this category of literature nevertheless provided Taylor with a vocabulary to describe and enact new strategies of professionalism in print. [ABSTRACT FROM AUTHOR]

This study analyzes the depiction of nature in poetry, especially in Ibn-Khafaja's and Wordsworth's selected poems. This study is based on New Criticism's conceptual, analytical, and theoretical approaches. New Criticism studies the achievement of the works' meanings by studying their "interrelationships of sound, texture, structure, rhetoric, and a host of other literary devices" (Bressler, 2011, p. 57). The significance of the study is to provide a parallel comparative study between these two poets whose religions, traditions, languages, and eras are dissimilar. Ibn-Khafaja recognizes his surrounding nature as the ideal and beautiful place where people feel relaxed, hopeful, and pleased. He states that humankind and nature are originally adapted to each other, and people are always fascinated by the beauty of nature. He sees nature as the typical shelter to stay happy and peaceful. He is fascinated by the images of the mountains, horses, birds, and trees. On the other hand, Wordsworth shows nature as a place of happiness, perfectness, and peace. He accentuates the deep relationship between human beings and nature, and how people admire nature in its beautiful images. Wordsworth presents how the fascinating images of nature can affect man's mood and mind. [ABSTRACT FROM AUTHOR]

Copyright of Revista Alea: Estudos Neolatinos is the property of Programa da Pos-Graduacao em Letras Neolatinas Fac de Letras - UFRJ 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 explores certain aspects of the interconnectedness of perceptual and non-perceptual features with respect to how a work's authorship affects the concept of authenticity. In order to do so, I progressively restrict the focus of the discussion from theorisations about the ontology of the artwork to the field of literature, then to the genre of lyrical poetry, and finally to a case study which concerns the critical reception of Oscar Wilde's collection Poems. I begin by reviewing the distinction between the concepts of »perceptual« and »non-perceptual« properties of the artwork with reference to the theories of Dutton and Wimsatt, arguing that the concept of »style« (which, in turn, consists of both properly stylistic and axiological dimensions) functions as a connection of the two fields, so that normally (in spite of extreme cases such as Van Meegeren's forgeries) one does expect to see perceivable signs of that which authenticates the artwork (its authorship) within the perceptual properties of the work itself, so that a neat division between the two is not feasible. Then I consider Dutton's distinction between »nominal« and »expressive« authenticity and argue that the latter entails a concept of »appropriateness« that will be looked for in the work itself. When considering literature in general, I draw a distinction between the concepts of »text« and »work«, arguing that where the former is an object definable by its formal features (in the case of literature »perceptual« does not equate »sensory«) the latter entails a notion of »agency« on the author's part; this agency may or may not coincide with the author's intention, and may also comprise theories which attempt to explain the production of artworks in terms of unconscious revelation, symbolic self-placement etc. In contrast to theorisations such as Currie's, I argue that the opposition between work and text should not be framed in terms of reciprocal extension, but rather as pertaining to the divide between considering the object of interpretation as an »object« (the text) or as an »action« (the work). When considering the genre of lyrical poetry, I show how notions related to the concept of authenticity have a specifically rhetorical dimension, that is, one which can be seen in the textual manifestation of the artwork itself. I take into consideration the notion of »utterance«, and review Beardsley's and Ohmann's uses of speech-act theory, in particular their argument that one must always postulate the presence of a fictional utterer even when none is explicitly present in the work and that this necessarily severs the author from any views, notions, feelings contained in the artwork; I argue that, the defensibility of these theorisations aside, the specificity of lyrical poetry in this respect is precisely that its utterances have no (explicit) fictional utterer and that, since to consider the work as action entails the postulation of a subject who utters the work's utterances, lyrical poetry is, similarly to essays and unlike dramatic poetry, likely to be read as an authorial utterance. Wilde's Poems and its reviews constitute a case in the expectations connected to lyrical poetry, and in how such expectations may frame a work's reception. I show that for many critics at the time, Poems was unsatisfactory both from the point of view of nominal authenticity and from that of expressive authenticity. As for the former, the critics pointed out the derivativeness of Wilde's poems, stopping short of accusing them of plagiarism; I argue that »derivativeness« pertains to nominal authenticity just as much as plagiarism, but differs from it in that it considers the artwork in terms not purely textual. As for the latter, I show that Wilde's Poems, by propounding irreconcilably contradictory views of the political situations it deals with, was felt by reviewers to be »insincere« - therefore expressively »inauthentic«; this shows how to consider a work as an action on the part of the author tends to entail the (normative) expectation that the work have something to say and that it be coherent in saying it. The case of the collection and its reviews ultimately shows how ostensibly »non-perceptual« elements of an artwork connected to authorship (on which the concept of authenticity is based) do have a perceptual dimension in the way in which an »appropriate« relationship between the author and the work is expected to be perceivable within the artwork's formal/aesthetic properties. In sum, the paper shows that the concept of authenticity includes properties both perceptual (pertaining to the work as object) and non-perceptual (pertaining to the work as action), that the author is likely to be taken as the utterer whenever the utterances contained in the work are not explicitly dramatised and that there is a specific set of expectations as to the rhetorical features of an artwork which constitute an »appropriate« relationship between it and its author. [ABSTRACT FROM AUTHOR]

The article discusses how unsolved problems about the extant copies of Chaucer's poems reflect uncertainty between author and reader. It mentions that an earlier paper considered the unique manuscript of the revised Prologue to the Legend of Good Women, which was written before his death in 1400. It reveals that using standard techniques of linguistic analysis, it proposes that language underlies the extant copy of the poem and that Chaucer's authorship of the whole is indisputable.

The Sunni revivalist Muḥammad Ibn ʿAbd al-Wahhāb (d. 1792) has been subjected to rigorous scrutiny by a number of scholars. Much remains unknown about Ibn ʿAbd al-Wahhāb's life and work, however, not least the rationale behind his idiosyncratic style of authorship. Examining the scholar's theological writings from the vantage point of Arabia's oral vernacular and popular religious traditions casts new light on the particularities of Ibn ʿAbd al-Wahhāb's appeal. That appeal, this paper argues, is rooted in phenomena that were seemingly peripheral or even anathema to his puritanical religious mission, namely, poetry and magic. [ABSTRACT FROM AUTHOR]

This paper discusses the innovative use of AI computer algorithms in the creation of tanka, a form of Japanese poetry. From the recent forays into computer-generated poetry in Japan, I look at two computer programs in particular: the instant tanka generator "Inu-zaru," created by Sasaki Arara, and the "gūzen tanka" Twitter bot by programmer Inaniwa. These programs engender new paradoxical models of technology-mediated authorship and reading, whereby human agency is at once subtracted from the composition process while also being presupposed as a necessary component in the participant reader. Such forms of reading and writing shed new light on theoretical matters such as the death of the author even as they pose intractable questions concerning international copyright conventions. [ABSTRACT FROM AUTHOR]

Jose Garcia Villa is best known as a modernist Filipino poet who migrated to America in the 1930s. Much critical discussion of Villa in Philippine literary studies has emphasised his narrow concern with aestheticism and his rejection of contemporary demands to politicise artistic production. This paper returns to Villa's first short story collection Footnote of Youth (1933) and argues for a reconsideration of the politics of Villa's modernist aesthetics. In particular, I wish to concentrate on a series of short stories at the end of the collection that present revisionary 'shadow biographies' of revolutionary hero Jose Rizal, whose own life story and novels have attained, in Carol Hau 's words, the status of 'master-narratives' of the Philippine nation, with Rizal himself portrayed as the 'First Filipino'. Apart from engaging in translation across language in a multilingual environment, the short stories are translations in a larger sense. They re-present elements of longer narratives such as biography and indeed the 'biographisation of the social' deployed by the colonial and bourgeois national states in a consciously fragmentary form. Furthermore, they map such biographies onto the lives of ordinary Filipinos in a manner that destabilises them: on a rational level, the claims of filiation made in these stories are preposterous, yet the narrative and literary economies of the texts encourage readerly identification with their subaltern protagonists. In exploring the space of contradiction that Villa's stories occupy, and the manner in which their formal qualities enable a reappraisal of this space, this paper also to makes a larger argument concerning the frequently neglected centrality of the short story and life-writing in exploring national imaginaries under late colonialism, and encourages reflection on the manner in which biographisation is an unacknowledged subtext in contemporary postcolonial literary studies. [ABSTRACT FROM AUTHOR]

The line is arguably the most defining feature of poetic structure. Discussions of prosody are prone to the limitations of convention, though the poet may strive for more freedom in the line. This paper begins by noting an example of a radical use of page space from Mallarmé and goes on to describe recent innovations and experiments with line breaks in work by Australian and New Zealand poets, and to summarise the functions of the line breaks used. These explorations of form show that the poetic line is neither static nor redundant in contemporary practice, and suggest the need for poets to reappraise the possibilities made available to them by the work of their peers. [ABSTRACT FROM PUBLISHER]

Copyright of Oficina do Historiador is the property of EDIPUCRS - Editora Universitaria da PUCRS 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 article reflects on the remarkable career of one of the founders and first coeditors of Social Work with Groups. Catherine (Katy) Papell made outstanding contributions to social work—especially to social work with groups for which she was a passionate advocate. In addition to editing this journal, she was a group worker, educator, activist, historian, writer/theorist, mentor, and role model. In the process she became a beloved friend to many and will be greatly missed. [ABSTRACT FROM PUBLISHER]

A mathematical poem attempts to distill a mathematical concept and present it in a literary or visually compelling way. This paper presents an outline of my own personal method of composing such poetry. The outline is elucidated via an extended meditation on the composition of one particular poem. [ABSTRACT FROM AUTHOR]

Medieval authorship is characterized by parameters fundamentally different from early modern or modern parameters. On the basis of the popular matter of Alexander, this article investigates into the different ideas that individual authors connected with their writing activity, into how they thought about themselves and what image they created of themselves, and into what traditions they positioned themselves in. This paper considers the Latin text of Archipresbyter Leo of Naples and that of Walter of Châtillon, as well as Lamprecht's and Rudolf von Ems's Middle High German Alexander verses. [ABSTRACT FROM AUTHOR]

Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is "man meaning to man." For Ojaide, a creative writer is not "an airplant" that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection The Eye of the Earth (1986) and Tanure Ojaide's Delta Blues & Home Songs (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls "semantics of terrestiality": i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: The Eye of the Earth and Delta Blues & Home Song interrogate the despicable state of Nigeria's environment as a consequence of global capitalism. [ABSTRACT FROM AUTHOR]

Copyright of EurAmerica is the property of EurAmerica 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 highlight some characteristic features in the use of poetical figures and puns in three corpora of Byzantine begging poems (Theodoros Prodromos, Manganeios Prodromos and Ptochoprodromos, mid-12th century) and to examine whether their analysis would shed light on the question of the authorship of these texts. At the beginning the two types of parallelism (antithesis) are presented--binary and triple--, characteristic not only for begging poetry but for the Byzantine "political verse", a fifteen-syllable accentual iambic verse in general. The paper continues with the analysis of the differences and similarities in the use of figures among the three collections. In Manganeios Prodromos the very frequent occurrences of paronomasia, figura etymologica and other (pseudo)etymological puns can be observed. Many similarities in the use of figures can be found between the poems of Ptochoprodromika and Manganeios Prodromos. On the other hand, Theodoros Prodromos' literary techniques are more varied and often without parallels in the other two collections. The paper also briefly discusses some hitherto unrecognized lexical and motific parallels between Manganeios Prodromos and the Ptochoprodromika collection. [ABSTRACT FROM AUTHOR]

Trauma needs containment and recognition in order to be handled, and this project enabled the soldier to do both through the use of writing and poetry. This paper is based on the qualitative findings of an 18-month long poetry therapy group conducted in a veteran's center, and follows the progress of the veterans as they learned to use writing and poetry to focus on the present and reconnect to a broad spectrum of emotions they had been trained to suppress. The paper describes the theory behind the exercises and their impact on the veterans. [ABSTRACT FROM AUTHOR]

This paper examines the processes of creative writing, exploring in particular how intuition and analysis, unconscious and conscious, work together, and how the social and the personal are involved in these processes. The author discusses her experience of writing a sustained narrative poem with lyrical elements, and then as a teacher-educator discusses the implications for our understanding of the creative processes and classroom practice. Following the work of Csikszentmihalyi and colleagues (1994, 1996), the paper traces how not only personal but also social, cultural and disciplinary factors are at play in the development of the work. The first of these is the domain of knowledge and practice that has preceded the creative writer and must be mastered before s/he is in a position to innovate on the established norms. Next comes the "problematic" or dissonance, which arouses the psychic energy that engages both the conscious, analytical activities of the mind and its intuitive, even unconscious sphere. (Intuition is taken to refer to those more diffuse mental activities that are a-logical, non-analytical, associative, aesthetic and metaphoric.) As the work develops, the various processes are described and shown to be recursive: incubation (during which ideas churn around below the threshold of consciousness), insight (the "eureka" moment, when the pieces of the puzzle fall together), followed by evaluation of the idea (for its appropriateness and elegance, given the problematics) and the elaboration of the idea into a more fully worked out poem. After drafting, the field of experts is engaged - those who act as gatekeepers to determine whether the creative idea, product or process will be accepted into the domain. The paper concludes by arguing for the value of creative writing in English classrooms. [ABSTRACT FROM AUTHOR]

Senghor's importance within francophone writing remains uncontested. However, his writing has most often been seen as committed in nature. This view is strengthened by Senghor's assertion that there is no concept of art for art's sake in African writing. However, by emphasising the political dimension of Senghor's writing, at the expense of the personal, Senghor is denied an equal status with poets within the Western canon. This paper argues that Senghor's poetry should also be viewed as a personal document, which charts the emergence of the poetic identity itself. The early poems discussed provide a poignant sense of 'culture shock', made all the stronger because they were written at an early stage in the poet's career. They also show an experimentation which belies the view that his writing consists of pre-planned political statements. [ABSTRACT FROM AUTHOR]

It is through the use of literary devices that author is able to express her thoughts with heightened artistry and an increased emotional effect. These literary devices play a crucial part in the formation of the profundity and resonance of literary works. The significance of these creative tools in the field of literature is investigated in this research project in depth. This study investigates how numerous literary devices, such as metaphors, symbolism, allegory, and foreshadowing, contribute to the depth and enduring impressions of literary masterpieces through an exhaustive investigation of a variety of literary works. The research investigates the various ways in which literary elements might act as bridges to connect the emotions of the reader with the aims of the author. These tactics allow for a more profound grasp of difficult concepts and issues by drawing on potent imagery and stimulating the reader's imagination. In addition, the study explores the manner in which literary devices inspire resonance within the readers, thereby creating a relationship that is long-lasting between the readers and the text. The research reveals the complex impact that different literary devices have on a variety of literary genres by drawing on theoretical frameworks and conducting in-depth textual analysis. In works ranging from literary classics to cutting-edge poetry, this research analyses the recurring motifs and stylistic devices that compel the reader to experience a range of feelings, stimulate in-depth thought, and make an indelible mark on their psyche. The results of this study show that literary devices are not only decorative touches; rather, they are essential instruments that authors make use of when creating works of art that stand the test of time. These tactics create a strong relationship between the author's vision and the reader's sense by improving the texture of the language and deepening the layers of meaning in the text. The final section of the research investigates the repercussions of this impact, illuminating the everlasting significance of literary techniques in moulding the literary landscape and promoting a deeper comprehension of human experiences by means of the written word. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta 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.)

Digital archiving has opened up new pathways for research in the humanities, especially involving work from the pre-digital era, such as the poetry of Emily Dickinson. This paper utilizes the robust Emily Dickinson Lexicon hosted by Brigham Young University, harnessing digital tools to investigate Dickinson's bold, surprising use of language. This paper also discusses Michel Foucault's "What Is An Author?" in addressing Dickinson's unique journey to authorship. An in-depth look into Dickinson's enigmatic persona and surprising use of language reveals insights pertaining not only to the genre, medium, culture, and reader--but also about the author herself. The Emily Dickinson Lexicon creates countless learning opportunities for scholars and interested minds alike to identify and study Dickinson's radical vocabulary, and the subsequent discussions her words inspired. Such discussions are what preserve Dickinson's author status, though few of her poems were published in her lifetime. The Lexicon allows for new ways to frame and investigate important questions regarding Dickinson and female authorship in nineteenth-century America. What, after all, is an author? What constitutes publication? [ABSTRACT FROM AUTHOR]

The article lists the attributions of authorship of anonymous, pseudonymous, or incompletely signed letters, poems, articles, reviews, obituaries, drawings, and staff notes appearing in the Gentleman's Magazine during the years 1824–1826.

Although there is a rich, original archive of Phillis Wheatley's poetry about children, Wheatley's role in writing the culture of American childhood has not been widely noted. Conversely, while little can be archivally reconstructed about Wheatley's young life, popular biographies of the poet have, since the nineteenth century, placed emphasis on her childhood precocity. This essay intervenes in the first problem and deconstructs the latter, arguing that Wheatley was a major architect of American childhood who carved political interventions in childhood's pliant terms, and who pressed audaciously on its hardening racial boundaries. Placing Wheatley at the center of the early American epistemic, pedagogical, and political struggle over childhood's meaning, this essay traces the dominant racial politics of childhood that came to diminish Wheatley—as either a childlike poet or an exceptional child—in dialogue with Wheatley's own invocations of childhood, family, knowledge, and freedom in her personal writings and published work. Reading Wheatley's elegies to deceased white children beside the poem in which she casts herself—"young in life"—this essay argues that Wheatley drafted early lines in modern American childhood's recognizable form, while expanding beyond the American imagination of childhood's cognitive, social, and racial limits. [ABSTRACT FROM AUTHOR]

The article presents the highlights of the Doig Country: Imagining Montana and the West" symposium held at Montana State University (MSU) in the fall of 2017. Topics included author Ivan Doig's storytelling, the influence of Doig's poetry and writings about Montana and the West, and resilience. Presenters included MSU's Allison Wynhoff Olsen, Kirk Branch, and Jan Zauha.

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An interview with Dr. Tiffanie Tate Moore, author of "FloweTry: A collection of 108 poetic flows on Life, Love, and Liturgical issues" is presented. Topics discussed include influence of Dr. Moore's life journey on the poems and influence of poems on her life, numbers of poem in her book, and poem that inspired the most joyful memories in her life.

The central questions addressed in this article are: 1) Can writing poetry be both a process, and a product of research? and 2) How can writing poetry be therapeutic to the writer and reader? The author has developed his own theories of poetry as research and poetry as therapy by action research into his writing. He argues that in thinking about the process of writing verse, he has come to see that some poetry is a form of research, and way of knowing. He has observed and recorded ways in which writing has been therapeutic for both the writer and for the reader or listener. The article develops and supports the notion of poetry as research by referring to a growing literature on poetic enquiry. The author then analyses and illustrates how poetry can be therapeutic to the writer and to readers. In a similar way, the article draws on a different literature on poetry as therapy to support his argument. [ABSTRACT FROM PUBLISHER]

Critical interest in literary genius did not escalate in the early Romantic period as a response to the Augustan investment in the rules of art; nor did the terms of the debates originate with Edward Young or Joseph Addison. More accurately, Addison’s Spectator papers of 1711 and 1712 popularized such notions as ‘natural genius’ and ‘the spirit of imitation’ (as distinct from ‘servile imitation’), and thereby punctuated a critical tradition that has been obscured by recent emphases on the doctrine of ‘original genius’ outlined in Young’s Conjectures on Original Composition (1759) and on proprietary models of authorship associated with developments in copyright law. As a case in point, this essay critiques the Wartonian version of English literary history, in which Joseph Warton and other critics of the 1750s and beyond narrowly depicted Alexander Pope in particular as a writer of correctness rather than imagination, a poet lacking poetry. For Percival Stockdale, William Hazlitt and others, Pope remained an eminent model of modern genius well into the following century. [ABSTRACT FROM AUTHOR]

Through a focus on 'Moi, Eugénie Grandet', one of the last exhibitions Louise Bourgeois worked on before her death in 2010, this article explores the artist's writings, both public and private, and her interactions with writers, to assess the potentially literary nature of her written and visual works. Arguing that Bourgeois's dialogues with Honoré de Balzac's novel Eugénie Grandet is a contemporary and feminist response to a longstanding tradition of pictorial appropriations of Balzac's work—from Paul Cézanne's 'Frenhofer, c'est moi!' to Pablo Picasso's illustrations for the centenary edition of Balzac's The Unknown Masterpiece—this article brings to light a literary intertext to Bourgeois's visual works and contends that it is a crucial aspect of her œuvre. Reckoning with a growing critical interest in the artist's archives and a rising number of edited volumes devoted to her writings, this article considers existing claims that identify Bourgeois as a writer and a poet. Aligning with Roland Barthes's definition of the literary text as a 'new cloth woven with old quotations' and the figure of active reader developed in Barthes's own dialogues with Balzac, this article contends that Bourgeois's literariness is found in simultaneous writing, reading and visual practices and in the ambivalence—between dependency and resistance—towards the words they rely on. Ultimately, this exploration of Bourgeois's words participates in a wider debate on the status of artists' writings, first articulated in Linda Goddard's 2012 special issue of this journal, where they are defined through their 'heightened awareness of the inescapable tensions and crossovers between practice and discourse' and the way they 'bear the trace of this consciousness'. [ABSTRACT FROM AUTHOR]

This paper examines two passages from Homer's Odyssey: on the one hand, verses XIV. 207-208 are analyzed grammatical and contextually; on the other and, it is pondered the ambiguity of verses XIII. 380-381, in relation with the same verses in II rhapsody, in order to demonstrate the rhetoric ability of Homer to say different things using the same words. [ABSTRACT FROM AUTHOR]

Literary Translation is an activity not to be considered an impossible task or looked down upon as less creative than writing poetry or fiction. If one were to embark upon this task by reading books on theories, it is bound to be a despairing exercise. Nobody seems to have done that. This literary/imaginative endeavor was started by many without knowledge of any theory or theories. In Telugu, literary creation began with the rendering of Sanskrit texts like The Ramayana and The Mahabharata. The bare essentials that go to make a successful practitioner, to begin with, are the love of literature and familiarity with the two languages, the language of the source text and the language into which it is rendered. Translation, generally, has come to be considered as a highly complex process, inaccessible and beyond the ken of understanding of enthusiasts, thanks to the ever expanding theories. Against this scenario, an interaction with actual practitioners would help the aspirants and enthusiasts sharpen their skills while leading to gain insights into the art and craft of this imaginative/literary exercise, call it rendering, transcreation, translation or what you will. This paper is based on such useful interaction with practicing translators, creative writers and academics and hopefully provides insights into the much-needed activity of literary translation. [ABSTRACT FROM AUTHOR]