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Copyright of RumeliDE Journal of Language & Literature Research / RumeliDE Dil ve Edebiyat Araştırmaları Dergisi is the property of RumeliDE Uluslararasi Hakemli Dil & Edebiyat Arastirmalari Dergisi 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 First World War blurred the lines between "ordinary" and "literary" writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one's writing practices until they found a journal full of poems after the author's death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war. [ABSTRACT FROM AUTHOR]

The 195 entries in Antonio Favaro's first catalog of books in the library of Galileo Galilei would seem to be an eclectic collection of literary genres, and indeed, Favaro sorted them accordingly: literary criticism, grammar and rhetoric, Latin classics, Italian classics, various poetic works, drama and fables, novels (romanzi) and fiction, history, and festivals. A closer look at the identities of the authors of the texts and paratexts as well as the content of the books reveals a distinct trend across these categories. Over 60% of the works printed after 1610 contain either a direct or indirect connection to Galileo and his associates, the telescope, the compound microscope, or the discoveries with these instruments. This article aggregates modern scholarship on the literary texts in the library and adds new literary sightings of Galileo while indicating areas open for further scholarly investigation. [ABSTRACT FROM AUTHOR]