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Copyright of Itinerários - Revista de Literatura is the property of Itinerarios - Revista de Literatura 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 subject of the paper is a detailed interpretation of the first part of Jan Kochanowski's Tren V (Lament V) in the context of Psalm 128 ("Beati omnes, qui timent Domimmf). As we know, the main source of the opening part of this poem is an epic simile from Iliad (XVII, 53-58), where a young warrior Euphorbos is compared to a "slip of an olive tree" as "it blossoms into beauty." Similarly, Psalm 128 proposes the picture of sons growing up like "the olive plants around the table" of a pious man. In Kochanowski's rewriting of the Homeric simile the emphasis is always put on negation of the meanings attributed to the symbol of olive tree, such as peace, wisdom, justice, fertility, abundance, youth. The poet explores the significant absence of the promised blessing for a God-fearing man. [ABSTRACT FROM AUTHOR]

The paper discusses two poetic pieces closely connected to the Battle of Ula, a significant episode of the war with Moscow for Livonia. Capturing Polock by the troops of Ivan the Terrible (February 15th, 1563) and starting the war campaign by the Tsar in January 1564 moved the conflict into the interior of the Grand Duchy of Lithuania. Two great Muscovite armies were to meet near the city of Orsha to move towards Vilnius that was placed 26 miles away from the war theatre. The victory of the Lithuanian troops in the Battle of Ula (January 26th, 1564) and almost complete defeat of one army of Ivan the Terrible moved the immediate threat away and made way for a series of successes of the Polish-Lithuanian armed forces. The above-sketched events make up a background of Jan Kochanowski's trifle III 51 and Maciej Stryjkowski's handwritten poem. Remarks on the epigram Do Lubimira (To Lubimir) lead to explication of the relation between the poem and the Greek basis of the trifle, and disambiguate its dating. While as far as recently rendered available fragments of Stryjkowski's work are concerned, they focus on the piece's description and the shape of the poem about the Battle of Ula. [ABSTRACT FROM AUTHOR]

The paper discusses a recently completed critical edition of Jan Kochanowski's Fraszki (Trifles), which will before long be issued as a subsequent volume of his Dzieła wszystkie (Collected Works). Different aspects of the publication are presented, including facsimile, transcription, and commentary. As a representative sample, a few actual passages from particular trifles are discussed in length. These include the following poems: I 48, I 55, I 78, II 55, III 1, III 39, III 46, III 53, III 63, and III 69. The most remarkable added value of the edition is that it contains countless minute discoveries--individually marginal-- creating much broader, much richer, and much deeper picture of Trifles than the previous editions might suggest. [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]

For the past four decades, biomedical science has transformed clinical outcomes for HIV and AIDS. However, the social, economic and gendered determinants of HIV remain largely intact. The social science and humanities offer concepts and methods for articulating why these remain intractable. I used poetic inquiry – an arts-based, qualitative approach – as I reviewed literature on the "end of AIDS, and post-AIDS". As I did so, I considered what contribution the social sciences and humanities could make in moving us closer to these ideals. Several themes and found poems emerged in this reading: (1) how language oversimplifies complex social realities; (2) the voices of people living with HIV and AIDS must be included; (3) HIV and AIDS intersects with social inequalities; (4) social and structural issues are no barrier to HIV prevention and (5) the need for radical interdisciplinarity. The paper concludes that the end of AIDS requires responses that are integrated, holistic and that radically challenge our silo'd disciplinary boundaries and frames. The social sciences and humanities are key to this charge. [ABSTRACT FROM AUTHOR]

This paper argues that two crucial episodes of Odysseus' life from Homer's Odyssey are resonant with Iliadic scenes highlighting the fail0d leadership of Hector, Agamemnon, and Achilles. These resonances invited ancient audiences of the Homeric poems to see moments of failure in Odysseus' leadership, and to criticize his desire for revenge and military glory at the end of the Odyssey. [ABSTRACT FROM AUTHOR]

This paper reexamines the literary influence of Nicander's Theriaca on the snake episode in Lucan's Bellum civile Book 9. Although often cited as an early zoological source, Nicander's contributions to the aesthetic and thematic aspects of Lucan's epic have gone largely overlooked. While his zoological knowledge drew mostly from intermediary sources such as Aemilius Macer, Lucan's use of venomous serpents as disruptive, destabilizing forces closely follows the poetic innovations of the Theriaca. Contrasting the unknowable, unpredictable threat of venomous creatures with horrifyingly graphic depictions of their bites, both authors construct poetic works that challenge and subvert contemporary literary and intellectual conventions. [ABSTRACT FROM AUTHOR]

In this paper, we are interested in pointing out the importance of Pythagoreanism as a possible philosophical path to sustain Western thought, according to María Zambrano’s criteria. In her El hombre y lo divino, Zambrano questions the decisions that philosophy has adopted in its origin and proposes an integrative reason that is capable of including the feeling and the becoming of life in consideration of thought. From this perspective, we will point out the original contribution of Pythagoreanism, its dependence on the “sacred core,” and its expression through alternative forms of language that reflect perceived but not generated harmonies. We will highlight the Orphic basis of thought since its fundamental notions serve the meanings Zambrano prioritizes. We will also point out the consonances between Pythagoreanism and poetic reason, on which the author proposes a different way of thinking from current European systems. [ABSTRACT FROM AUTHOR]

In a personal paper about the author's animus, Watsky explores his fascination with Louise Glück, after attempting to solicit first her poetry for Jung Journal and then an interview about her voice in her poetry shortly after her death. He realized he had projected his anima onto a complete stranger known only through her writing. Suspicious of his motives, he proceeds to read her entire oeuvre during a two-week period, exploring their intersections and their divergences. Watsky then narrates a previous projection onto the writer Joanna Field who turned out to be the Freudian analyst Marion Milner. After reading all of her work and convinced that she had been influenced by Jung, he sought her out in Hamstead, England. [ABSTRACT FROM AUTHOR]

Romantic-period studies have been keenly sensitive to the notion of mobility across borders, both in literal and figurative terms, investigating it in relation to issues of personal and national identity. This essay discusses Byron's various forms of border-crossing with specific reference to his Italian years, starting with the most immediate loco-geographic meaning of the term, that is, Byron's traversing the many frontiers that marked the Italian territory, partitioned in a plurality of states. The focus is on Byron's experience of the technologies of control which were set into place in the early nineteenth century, testified by his traveling papers and registered, often with a touch of humor, in his correspondence. Byron's musings on the practices and implications of the documentary control of mobility and identity spilled over, in a more serious key, into the concerns of his poetic output, notably in the lines of his 1819 lyric "To the Po." Translating the notion of borders and border-crossing onto the page, here Byron resisted the crystallizing of identity at work in the biopolitical domain by making the fluidity of the history-laden river Po the locus of his rebirth as transnational subject. [ABSTRACT FROM AUTHOR]

Although as a response to the New Cross and Grenfell Tower fires Jay Bernard's collection Surge (2019) engages with the themes of loss and mourning, no critical attempt has been made to approach this complex sequence of poems from the perspective of the poetic elegy. This paper argues that reading Surge as a neo-elegy sheds light on Bernard's intervention in current discourses on the grievability of Black lives in order to carry out their work of mournful protest. I intend to show the ways in which Surge endorses and enhances the ethico-political purpose and innovative expansiveness – regarding time, voice, and place – that characterize the contemporary Black elegy to address the past and ongoing struggles of the Black British community. Even if rooted in British postcolonial history, Bernard's project in Surge resonates with the concerns of the Black Lives Matter global movement and the body of Black elegiac poetry developing around it. [ABSTRACT FROM AUTHOR]

Integrating literacy practices in science classrooms can help students read complex scientific text, write arguments as part of shared cross-disciplinary practices, and engage with content. In the Linking Science, Mathematics, and Literacy for All Learners program, middle school science, mathematics, ELA, and special education teachers have been implementing multimodal STEM text sets that include a range of texts and scaffolds that support instruction and students' content learning. One of these strategies combines reading and writing in unique and creative ways: poetry writing! Blackout and found poems are accessible approaches to help students focus on key words and ideas in a complex text, pull out those words to work with them, and then reconstruct them into a poem. This approach can be used in a variety of ways, and in some of the examples provided, students include an altered page from a scientific article on which they find their words, black out the rest of the text, and then illustrate the entire document to help show their message [ABSTRACT FROM AUTHOR]

Copyright of eHumanista is the property of Professor Antonio Cortijo-Ocana 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.)

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]

This paper offers a new reading of the Tithonus/Dawn couple in Sappho's Tithonus poem. It identifies three elements lurking beside the Tithonus/Dawn couple: eros, chronos , and gêras. It suggests that eros, chronos , and gêras haunt this heterosexual couple, altering the power dynamics between them, just like the third element looming beside the couple in the queer couple theory of Lee Edelman (2004) and Brilmyer et al. (2019). In Sappho's representation of Tithonus and Dawn, these three elements entangle themselves with the couple at different stages through integration, destabilization, and conjunction, thus establishing alternative models to the heterosexual couple norm. [ABSTRACT FROM AUTHOR]

In the GDR, literature and poetry played a prominent role. They were considered to have great potential to educate the people, but at the same time were feared to be dangerous for the well-being of the state. As of the 1960s, the state had established a comprehensive system to develop, support and instruct but also control the writing of aspirational young and amateur writers. In this, they were supported by mass organizations such as the Free Federation of German Trade Unions (FDGB) or the Free German Youth (FDJ). For this work ‚at the grassroots' the institutions at the district level of the GDR were eminently important. This paper takes the district of Gera as an example. It outlines the specific institutions and structures which were installed in this district. Considering political contexts and aesthetic manifestations of anthologies published in Gera, we will analyse cultural-political conflicts and aspects of literary and societal developments of the GDR. [ABSTRACT FROM AUTHOR]

This essay argues that "The lamentacion of a Gentilwoman vpon the death of her late deceased frend William Gruffith Gent." in The Gorgeous Gallery of Gallant Inventions (1578), attributed to Isabella Whitney, is a witty reimagining of one of the most popular Renaissance literary genres: the epitaph. The poet's grief revolves around the personal consequences of her secret lover's death, handling stock phrases and situational irony to strangely moving effect. While the poem's first-person speaker invokes the epitaph only to repudiate it, the three quatrains framing the text (written in the third person and therefore generally attributed to the volume's editor Thomas Proctor), pins down the mourning presence with the epitaphic "here." This paper suggests single authorship of the doubled text by showing how the poem posits personal lament as the site of interment located by the spatial demonstrative "here," to fashion a poetics of closure in which the voice of the languishing female poet becomes, through linguistic and textual splitting, a living epitaph for the dead beloved. [ABSTRACT FROM AUTHOR]

This article presents an argument about the reasons for the exclusion of Spanish women and their literary production in relation with the rest of the Group of '27 literary canon. In order to evidence the marginalization of these authors and demonstrate their absence in the cultural Spanish landscape, the article begins with an explanation of the historical and sociopolitical context of Spain during the early decades of the 20th century. Afterward, this paper presents a conceptualization of literary canon as a starting point to approach the polemic associated with the --commonly referred to as-- Generation of '27 as well as the configuration of poetry as a characteristic genre in comparison to the other literary work, and the role that critics and history played in the conformation of the canon of the '27 movement. Finally, it is concluded that women were not part of the modernization attempts in Spain at the beginning of the 20th century for different reasons: relegation of them to the domestic sphere, the high representation of men in the Group of '27, the significant role of anthologies and magazines in shaping the canon, and the repression caused by the dictatorship of the Franco regime. [ABSTRACT FROM AUTHOR]

This paper establishes a transnational dialogue between different island spaces impacted by mass tourism and highlights poetry's contribution to the political reconfigurations of the Balearic and Caribbean islands. Notwithstanding these island spaces' different historical circumstances, it acknowledges that the tourist industry illustrates crucial historical continuities in each archipelago. The poetics analysed question the pro-growth ideology of the industry, the subservient role of their islands' political classes that disregard human well-being and environmental sustainability, and put the islands' survival at risk. This study identifies resemblances in Caribbean and Balearic island spaces' poetic responses to tourism and recognises local emancipatory alliances that not only bring to the surface shared forms of oppression, but also propose alternatives beyond the (hotel) chains of global capitalism. [ABSTRACT FROM AUTHOR]

STEM subjects (science, technology, engineering, and mathematics) are a valuable part of a student's education. However, not all students find STEM subjects engaging on their own. This paper investigates the relationship between science and poetry and how these seemingly disparate subjects can be used in tandem to better understand and explore each other. This sitespecific case study offers a glimpse into how a single alternative classroom located in the state of Georgia linked scientific and poetic inquiry to increase student understanding and enjoyment of science and writing. Results show that science and poetry work synergistically to foster an environment of active learning across multiple age groups. [ABSTRACT FROM AUTHOR]

Among the wide variety of Persian manuscript categories, there is a distinctive genre that includes recipes on materials and technics of manuscript production. And within this genre, we come across distinctly interesting works that adopt charming romantic poetry to record subjects that are rather dull, dry, and unattractive to the general audience! One of such historical sources is a sixteenth century manuscript entitled Rose Garden of Purity (Golzār-e Ṣafā) by ʿAlī Ṣayrafī, preserved in Paris Central Library. The subject of this research is the manuscript's impressive Preface in which the poet expresses his sincere devotion to his Creator, and begs for forgiveness - all in melodious poetic language, using technical manuscript terms, colors and pigments as symbols and metaphors. The essay provides an opening remark entitled 'Manuscripts on Manuscript Production' followed by and introduction to the manuscript of 'Golzār-e Ṣafā (Rose Garden of Purity). The little knowledge extracted about ʿAlī Ṣayrafī from the manuscript is shared under 'The Author-cum-Poet.' 'Preface with 12 Couplets' is the focal point of the essay; there the 12 couplets (24 hemistiches) are presented in the original language (Farsi/Persian) along with an English translation that is published here for the first time. A detailed analysis of technical terms used in the Preface, and an elaboration of their symbolic significance, is presented under 'Expression of Devotion in Technical Manuscript Vocabulary.'. [ABSTRACT FROM AUTHOR]

The paper offers a new reading of the argument against poetry in Plato's Republic 10. I argue that Socrates' corruption charges rely on the tripartite theory of the soul, and that metaphysical doctrines play a role only in the first charge, which demonstrates that the poets are not qualified to teach by reducing tragic poetry to mimetic skill. This accusation clears the way for two corruption charges: the strengthening of appetite, and the softening of spirit (i.e., 'the greatest charge'). The former focuses on the dangerous association between the poets and the largest appetitive class in the city (hoi polloi), while the latter focuses on the corruption of the educated elite (hoi epieikeis). [ABSTRACT FROM AUTHOR]

This paper explores the role of reflective practice in the medical field and investigates the factors that influence reflective writing. While reflective practice is widely acknowledged as crucial in medical education, there is a need to expand its conceptual boundaries and move beyond mere pedagogical exercises. The paper argues for the inclusion of creative writing, specifically poetry, as a form of reflective practice that allows medical students to effectively process their emotions and develop a more compassionate approach to patient care. By engaging in poetic expression, students can navigate ethical dilemmas, reflect on personal challenges, and cultivate empathy and appreciation for diverse perspectives. [ABSTRACT FROM AUTHOR]

This article deals with the interaction of Oromo's oral literature with written poetry. The main objective is to indicate the way different types of oral literature elements are adapted to written poetry. Data were collected through qualitative methods such as document analysis, interviews, and group discussions and were analyzed qualitatively. Types of Oromo oral literature like a proverb, oral narrative, oral poetry, and riddles are adapted into written poetry by different authors. The interaction forms a bridge between the oral literary culture and written literature enabling both to complimentarily develop Oromo literature. As Richard M. Dorson states, "Oral literature can and frequently does enter into written literature. A new generation of African novelists... strews the proverbs of their native languages throughout their fiction" (2). The intermixing of African orality and written literary works makes literature closer to culture and societal life. These connections sustain the life of oral literature in written literature, on the one hand, and enable written literature to aesthetically communicate the culture, history, norms, and beliefs of a group of people who share it. [ABSTRACT FROM AUTHOR]

Teaching poetry in Senior High School English poses challenges due to its abstract nature. This study explores strategies and issues teachers encounter using Boholano poems through a descriptive qualitative approach. While contextualization in teaching exists, it's limited to two materials, hindering comprehensive engagement. Students, especially those with reading difficulties, face difficulty deciphering poetic language, impacting their learning. Collaborative and reflective strategies are crucial in enhancing student engagement and understanding. Recommendations include diversifying materials and providing support for learners with reading difficulties. A developed pedagogical framework emphasizes the importance of relevant professional development for teachers. This study underscores the need for engaging students in group work and reflection to foster critical thinking and analysis in learning Boholano poems. Future research could focus on expanding contextualization efforts and exploring innovative teaching approaches to further enhance student learning outcomes in poetry instruction. [ABSTRACT FROM AUTHOR]

This article presents the contribution of Mykolas Firkovičius (1924-2000) to the revival and continuation of the Karaim language through three strands of his activities: religion, poetry and the language itself. Mykolas Firkovičius was a native speaker of Karaim, Karaim community leader in Lithuania for many years and officially served a senior priest in 1993-2000. Among other works, he published texts in Karaim, sources, poetry compilations, prayerbooks, textbooks, and wrote himself in Karaim. He was a man that profoundly helped his nation to continue its cultural and linguistic life after disastrous times that interrupted Karaim legacy, changed and transformed it. He provided plenty of material to be used by those who want to survive as Karaims, to still speak the language, and to stay strong rooted in the traditions. [ABSTRACT FROM AUTHOR]

This research examines and analyzes the emergence of literary rhetoric in Āshūrāī poetry in order to educate the audience. The study is descriptive-analytical and employs a reference method based on library data. Based on the results of the research, the Āshūrāī poet, in addition to observing literary rhetoric, takes step towards the rhetoric of edification. The rhetoric of Āshūrā poetry, with the help of three literary branches, follows two lofty goals; it observes simultaneous attention to speech and the audience and aims to spread Āshūrāī culture. The rhetorical components of the poem, using various tools and techniques, become the communication bridge between the speech and the audience and provide a platform for forming the heroic and revolutionary spirit of the audience. In this manner, the world of imagination and the dynamics of Āshūrāī poetry progresses towards a philosophy of Āshūrā at a larger scale, and rhetorical layers aligned with literary rhetoric create a vibrant spirit in the audience. [ABSTRACT FROM AUTHOR]

In Shāhnama, valor is a fundamental and extensive concept, interlinked with other notions such as wisdom, nobility, warriorship, courage, and reputation. This article aims to examine how the concept of valor is linguistically and visually expressed in Shāhnama; what conceptual metaphors has Ferdowsi employed to elucidate the concept of valor in his poetry, and what techniques has the miniature artist utilized to visualize these metaphors? Has the artist merely adhered to the text or employed creative approaches to convey this concept? To answer these questions, the research adopts George Lakoff and Mark Johnson's conceptual metaphor theory as its theoretical framework. The miniatures are selected from the Houghton (Tahmāsebi) Shāhnama, and their analysis is conducted using Kress and van Leeuwen's social semiotic approach to visual analysis. The findings indicate that, in addition to employing conventional elements such as the appearance of actors, composition, information value, framing, and salience, the miniature artist has utilized elements of performance like participant presence, scene requirements, and vector types to create action. Furthermore, relational elements such as point of view, distance, and contact have been used to depict conceptual metaphors of valor. In some of these images, the artist has been innovative in representing these metaphors, sometimes aligning with the overall narrative and sometimes diverging from it. Techniques such as salience, composition, and framing have been employed to augment and intensify the meaning of heroic metaphors in the miniatures. [ABSTRACT FROM AUTHOR]

Nimā Yushij's comprehensive look at poetry and the understanding that any change in poetry must be fundamental and general, prompted all elements in Nimā's "free verse" to undergo a fundamental transformation. Compared to classical poetry, one of the elements that underwent significant change in Nimā's free verse poetry was "language". The issue of language in Nimā's poetry has been the concern of his supporters and the excuse for his opponents since the beginning. Mahdi Akhavān-Sāles was an advocate of Nimā who sought to resolve the complexities and difficulties of his language and wrote the first independent book about the language of Nimā's poetry. This research initially deals with the opinions of Nimā's supporters and opponents regarding the language of his poetry. Then Akhavān's ideas in his book (Atā va laqāye Nimā Yushij) are analyzed using the "critical analysis" method. The study clarifies that Akhavān has tried to defend Nimā's style by finding analogies from the classic poetry for Nimā's language deviations in order to prove that Nimā has used most of the permissions and facilities available to his predecessors. Despite some mistakes, he has also pointed out some subtle points in his discussions, which were later expanded and completed by later researchers. [ABSTRACT FROM AUTHOR]

In 1961, Jane Jacobs's The Death and Life of American Cities placed the urban street at the center of "an immense laboratory of trial and error, failure and success, in city building and design" (Jacobs 6). This laboratory, however, was under attack from urban planners like Lewis Mumford and Le Corbusier, who would attempt to replace Jacobs's public street with the cookie-cutter monotony of the master-planned community. Five years later, Elizabeth Bishop's poem "Under the Window: Ouro Prêto" portrayed Brazil's disorderly streets as captivating scenes of public life, one viewed from a tourist's privileged position looking down on it through the poem's titular window. Robert Pinsky would render a street from his New Jersey childhood in much less sentimental terms in his poem "The Street" twenty years later, wherein an unnamed man in "pyjamas" on "The Street" finds public humiliation, outed as a cuckold on the Rockwell Avenue of Pinsky's childhood. With their descriptions of exotic streetscapes, both Bishop and Pinsky's poems reinforce the point that public streets can serve as nodes for healthy communities as Jane Jacobs argued, but they also argue that streets thus conceived are under threat from car-centered development and Foucault's skepticism of surveillance. [ABSTRACT FROM AUTHOR]

Since Saeed Nafisi's research until now, various collections of Rudaki's poems (Divan-e Rudaki) have been published. The authors of these collections have endeavored to provide a more accurate correction and explanation of Rudaki's verses. The disappearance of Rudaki's Divan and the scattering of his poems in various versions have made the compilation of all versions and providing texts containing Rudaki's poems a challenging task for editors. Consequently, correcting Rudaki's compositions to achieve a revised and refined text has also faced difficulties. Sometimes, despite the existence of versions, editors have incorrectly incorporated deviations into the text of their books deviations that are unsupported by any version. In such cases, editors have either followed Nafisi's corrections and his alternative versions or they have been indifferent to the old and challenging versions, neglecting the distortions and alterations introduced by copyists. Careful consideration of the aforementioned issues, and taking into account the recurring mistakes in Rudaki's collections raises the question of which verses the editors of Rudaki's Divan have included in their books with disregard for the accuracy of versions. In the present study, an attempt has been made to propose corrections for some of Rudaki's verses with precision in manuscript versions, including the vocabulary versions of Asadi Tusi (Lughat-e Furs) and the historical version of Sistan. [ABSTRACT FROM AUTHOR]

To correct and complete Sana`i’s works, it is necessary to refer to secondary sources, including Persian dictionaries. In this study, verses attributed to Sana`i in thirteen early Persian dictionaries are reviewed and his nineteen newly found verses are introduced. The method of this research is citation analysis, where, first, the verses attributed to Sana`i are extracted by the library method and based on some Persian dictionaries, and next, by applying the method of citation analysis, the status of each of the attributions is determined. His nineteen verses not available in his edited works are mentioned here. The cases where other verses are mistakenly attributed to Sana`i are introduced in brief. For critical editing and completing Sana`i’s works, it is necessary to resort to his poetic evidence in Persian dictionaries. By assessing thirteen Persian dictionaries from the 7th to the 13th century AH, a total of 1515 verses, are attributed to Sana`i is found, among which, his nineteen verses are absent in his printed works. The attribution of poetic evidence in Persian dictionaries is sometimes incorrect and a verse is mistakenly attributed to another poet. As in these thirteen dictionaries, thirty-one verses and one stanza are wrongly attributed to Sana`i. This mistake occurred mostly in the Suzani Samarqandi poems and Nezami Ganjavi's Haft-Peykar. In Persian dictionaries, among the works of Sana`i, the verses of Hadiqat al-Haqiqah and his Divan are cited the most. Sana`i’s printed works do not represent all his poems. [ABSTRACT FROM AUTHOR]

The article presents the discussion on design of the summer issue of Logos, which aims to cater to its interdisciplinary readership by including a variety of pieces. Topics include emergence of artificial intelligence, the theology of the body, and timeless works such as Dante's poetry; and blending the profitable with the pleasant.

The article explores the use of poetry in preaching within the English Reformed tradition, emphasizing the value of incorporating poetic language into sermons. It discusses how preachers such as Thomas Adams, Richard Baxter, and John Bunyan used poetry to engage their audience and illuminate Scripture. The text also highlights the belief of Puritan ministers that poetry could effectively convey religious truths and inspire spiritual experiences. It concludes by suggesting that preachers today can learn from the English Reformed practice of combining plain speech with poetic language to effectively communicate the message of the Scriptures. [Extracted from the article]

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]

Using case study methodology, this article analyzes the collaborative writing of three adolescent girls, one Latina and two Black, composing a group poem in an after-school spoken word poetry team. Drawing from literature on distributed cognition and embodiment, we found that participants utilized a system of writing techniques "on the page," as well as a variety of embodied and social practices "off the page" in their team meetings to collaboratively compose this poem. We argue that focusing on the intersection of distributed cognition and embodiment in collaborative writing allows writing researchers to more fully attend to the collaborative sociality of all writing and allows teachers to support youth writers in recognizing and gaining collaborative writing skills for professional and creative writing contexts. [ABSTRACT FROM AUTHOR]