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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 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]

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]

This study aims to investigate the prominent linguistic features in the poetry collection I Feel Different by the poet Ismail Al-Saudi. It seeks to highlight the role of language and grammar in constructing literary texts and uncovering their aesthetic and intended meanings. The study is divided into four main themes: the empty exception and its significance in the poetry collection, prohibition and command and their significance in the poetry collection, interrogation and its significance in the poetry collection, and justification and its significance in the poetry collection. The introduction provides an overview of the importance of language and its role in literary text interpretation. The study employs both descriptive and analytical approaches to explore the linguistic features. It begins by presenting an overview of the linguistic features as mentioned in language and grammar books. Subsequently, the analytical study reveals the purposes and full meanings of these linguistic features in the poetic verses. [ABSTRACT FROM AUTHOR]

This article reads Love Again (1992), the last poem written by contemporary Palestinian poet Walid Saif based on Heidegger's concept of the Dasein as detailed in Being and Time and his concept of art as detailed in "The Origin of the Work of Art" as well as in other of his works. In Love Again "togetherness," which is the essence of the Dasein, dissolves completely into the kind of being of "the Others". Heidegger's definition of "the truth of being" has the tendency of combining two contesting groups of theories: the first is a modernist group that advocates an intrinsic/textual approach to read literary texts in light of new criticism and other formalist schools. The second is a group that advocates a contextual/extrinsic/political approach to read literary texts like new historicism, postcolonialism and others. A Heideggerian reading of Saif's poem debunks the modernist claim that a detachable aesthetic experience can safeguard the poem's "historical permanence" and transcend its political context. Unlike formalists of his time, Heidegger was not concerned with the tension that emerged between the above two groups since he took both the extrinsic and intrinsic elements of a literary work as indispensable elements towards exploring the literary work. Furthermore, the above tension does not seem to be part of Heidegger's consciousness. [ABSTRACT FROM AUTHOR]

This comparative study highlights many romantic affinities in some poems by modern and classic English and Arabic poets. These romantic poets represent spring similarly as a source of pleasure, peace, and comfort. They see spring as their place of sharing compassion, love, and happiness. The study is mainly based on the Parallelism theory of the American School of Comparative Literature which focuses on the parallel themes, linguistic devices, and images of different authors whose social, historical, traditional, and linguistic aspects are different (Bressler, 2011, p. 42). It also adopts the New Criticism's methodology of analyzing poetic metaphors, symbols, structures, and similes. Their romantic compositions connect spring spiritually, aesthetically, and invisibly with these poets' souls. They glorify and adopt spring and its influence on them as a symbol of pleasure and comfort. [ABSTRACT FROM AUTHOR]

Mindfulness-based approach has been widely used in English language learning. It is highly promoted to stimulate and build peace of mind, well-being, and creativity. In EFL poetry writing, a mindfulness-based approach stimulates novelty, new perspective, context awareness, and productivity. The process of how the mindfulness-based approach is implemented is gained through the narrative inquiry of the learning. This study aims to identify the voice of identity revealed through mindfulness-based poetry writing. The researchers focused on the voice of identity because it is a crucial aspect of poetry that can help the reader to understand and feel the message of the poetry. Study data were collected from three respondents that were selected using purposive sampling. Those respondents were the 6th-semester students who were taking Poetry Course. The researchers used mindful journals and interviews to collect the study data and analyzed them using cross-case analysis. The results showed that through narrative inquiry, language learning through poetry writing could be understood as a series of experiences, the journeys of feelings and emotions. From the narratives' data, the poets' voice is revealed. The poetry reveals some voices, such as trauma, sadness, loneliness, and self-validation. Besides, this study also found that mindfulness has a significant role in helping students to frame their voices. Thus, considering the study's results, it is recommended that students find a way to improve their mindfulness, and teachers should find a teaching strategy to support it. [ABSTRACT FROM AUTHOR]

This study examines the representation of rain and spring images in poetry, basically in Ibn-Zaydoon's and Wordsworth’s selected poems. This study relies on the analytical and theoretical aspects of Parallelism theory of the American School of Comparative Literature. It focuses on studying “the idea of similarities in humanity’s social and historical evolution, which means harmony in the process of literary development” (Enani, 2005, p. 42). The study is also based on the analytical approaches of Russian Formalism that focuses on studying “Similes, metaphors, structures, ironies, rhymes, and symbols” (Bressler, 2011, p. 49). The significance of the study is to introduce a comparative study between two poets whose languages, religions, and traditions are different. Ibn-Zaydoon and Wordsworth represent nature as the perfect place for pleasure, peace, and tranquility. These two poets glorify spring and rain specifically and their psychological influences on humankind. [ABSTRACT FROM AUTHOR]