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The Torch magazine's Spring 2024 issue focuses on literature, music, poetry, technology, and labor unions. The issue explores the enduring popularity of Jane Austen's novels and the impact of Hip-Hop music in the Broadway musical Hamilton. It also discusses the musicality of poetry, the development and potential of Artificial Intelligence, and the history of labor unions in the United States. The magazine welcomes contributions from its members and provides instructions for submitting articles on its website. [Extracted from the article]

Using the work of Louise Rosenblatt and her transactional theory of reading, this article examines the experiential nature of literature. Challenging notions of literature that rely solely on fixed categories, the writings of Louise Rosenblatt emphasize the dynamic nature of the literary work. A poem, a novel, or a play, Rosenblatt argues, is not an object but a lived event requiring the reader's active participation. By exploring the concept of literary transaction, this study contributes to a deeper understanding of the evolving role of the reader in producing and shaping the literary work. An analysis of the reader's engagement with the potentialities of the text reveals the literary work as an interactive process of assembling and sharing meanings. [ABSTRACT FROM AUTHOR]

Wittgenstein reflects on memory, saying that photograph is not reliable, and the memory-image cannot convince us either, since "memory does not show us the past, any more than our senses show us the present," and "memory is itself conditioned by the specificity of context." Reading closely the conceptual artist Joseph Kosuth's large art exhibition, called "The Play of the Unsayable," Marjorie Perloff relates Wittgenstein's theory of language game to Kosuth's art text of Abridged in Ghent, and argues that the language game initiated by a sentence like "I see us still, sitting at the table" is charged with possibilities for "philosophy" as a "form of poetic composition." Wittgenstein's Ladder is an apt figure for Marjorie Perloff's radical aesthetic which is ethical as well, doing the right thing for the individual poets, moving up the ladder which Gertrude Stein called "beginning again and again," but with changes with repetition in a spiral way. Later in her preface of Unoriginal Genius: Poetry by Other Means in the New Century (2010), Marjorie provides her rationale to update her earlier work, Radical Artifice: Writing Poetry in the Age of Media (1991) in terms of a "new citational and often constrained-bound poetry" in an environment of "hyper-information." Since Unoriginal Genius (2010), Perloff traces her poetics of "unoriginal genius" from a Benjamian Arcades Project, made up of creative citations, discussing the processes of choice, framing, and reconfiguration. It is my contention that Marjorie Perloff as the critic par excellence has been dedicating her own Arcades Project to explore the intriguing development in contemporary poetry, creatively embracing the "unoriginal" writing of uncreative poets [ABSTRACT FROM AUTHOR]

This interview covers extensive topics about poetry and poetics, ranging from the language of poetry to the principles of formalism, from performance poetry to visual poetry, from digital humanities to cognitive poetics in the age of data, from the problems of "theory" to the conditions of humanities in American universities, and above all from Marjorie Perloff's own insightful understanding of the essence of poetry to her endorsement of the ethical literary criticism initiated by Nie Zhenzao. According to Marjorie Perloff, poetry is "the art of relationship" as well as "the discourse that could only be Re-read, because you notice other things when you read it again." In this interview, Marjorie Perloff cited modern and contemporary poets like Ezra Pound, Alan Ginsburg, Charles Bernstein, and the philosopher Ludwig Wittgenstein to demonstrate her opinions on poetry and poetics. [ABSTRACT FROM AUTHOR]

The purpose of the work is to analyze the early texts of Timur Kibirov and determine his involvement in the group "Moscow romantic conceptualism" (B. Groys). The article shows that personal friendship with D. A. Prigov, L. Rubinstein, D. Novikov, M. Eisenberg and other conceptualists and soc-artists does not make Kibirov a conceptualist in the exact sense of the word. It is demonstrated that already in the early poems Kibirov overcomes the limited framework of conceptual art, following the path of perception of the tradition of Russian classical literature, inheriting its best examples. During the analysis, the sentimental components of Kibirov's early poetry are shown using the example of the poem "A Message to L. S. Rubinstein" (1989). [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 essay discusses two approaches I use to teach Anne Finch's—and others'—poetry. Drawing on certain habits of early modern manuscript culture, I make visible to my students ways that reading and writing are socially embedded practices, which may variously involve exchange, reciprocity, or censorship. By adapting the "quaint" habits of manuscript culture practiced by Finch and many others to specific assignments, I encourage students to experience poetry as living, sociable occasions of reading and writing. To augment my students' engagement with early modern poetry I connect it to frameworks from their twenty-first-century reading and writing worlds. These exercises in "early modern social media" provide students with an intimate structure for studying a poem that resonates with many of their interests in creative writing and with their participation, mutatis mutandis, in one or more kinds of twentyfirst-century social media. [ABSTRACT FROM AUTHOR]

Two tablets from the the Michael C. Carlos Museum at Emory University contain excerpts of literary texts celebrating Šulgi: an excerpt of the praise poem Šulgi A, with two previously unknown lines, and a manuscript from a new hymn to Šulgi, paralleling Ni 13227. [ABSTRACT FROM AUTHOR]

This article stems from a workshop presented at the 15th TQR conference on poetry in teaching and learning qualitative research. Over the last few decades, scholars have argued for the use of poetry and other arts-based techniques in qualitative research. Most of the research, however, focuses on using poetry for data analysis and representation. In this article, we shift the conversation to the use of poetry for teaching and learning qualitative research. Starting with a poem in three voices of educator, student, and researcher, we provide an overview of poetry use in qualitative inquiry. We then offer brief overviews of poetic forms such as found poetry, identity poems, haikus, and free verse poetry. Subsequently, we share examples of how we have used these poetic forms in our own teaching and learning of qualitative research. In sharing the reasoning, guidelines, and examples of poetry use in the qualitative research classroom, we invite others wanting to implement poetry in their work to try one or more of the practices. [ABSTRACT FROM AUTHOR]

This article looks at the affordances of multimodal poetry and how multimodality crosses and broadens poetry's conventional generic boundaries by discussing the aesthetic and political functions of multimodality in Jay Bernard's Surge (2019) and Koleka Putuma's Collective Amnesia (2017). Both works are examined as postcolonial engagements with, and attempts at writing back to, the (trans)national histories explored in these volumes and are compared to one another in their capacity as multimodal poetry volumes. The article demonstrates the versatile ways in which nonlyric modes can be used either to lend poetry a sense of authority or to question the notion of authority. [ABSTRACT FROM AUTHOR]

Interdisciplinary is proposed to address a technologic knowledge-based society. This research employs quantitative methodology to analyze the perception of an integrated interdisciplinary practice involving engraving and poetry among 63 teachers in initial training. The goal is to identify correlations between age, gender, and the three dimensions of interdisciplinary. We infer a moderate positive correlation between age and the perception of skills, and a weak correlation with the perception of knowledge and interdisciplinary attitude dimensions, yielding results. This research aligns with the stance in favor of interdisciplinary education, advocating for its importance from pre-university to university levels, as a preparation for students to tackle complexity. [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 article stems from dialogues in the context of the 15th TQR conference themed "Qualitative Inquiry: Access Denied?" where a workshop on Poetry in the Teaching and Learning Qualitative Research has resulted in participants creating a poem conference organizer encouraged to share with the readers of TQR. In this article, I provide an overview of the background and rationale for the workshop, the activities leading to the participants writing the poem, and a reflection on how the participant-created poem connected with the conference theme and the potentials of utilizing artistic practices in teaching and learning qualitative inquiry. [ABSTRACT FROM AUTHOR]

The aim of the study is cognitive stylistics analysis of the metaphor and the conceptual blending in Ted Hughes' poem The Hawk in The Rain. This research seeks to examine how Hughes uses the tools of metaphor and conceptual blending in the creation of the poem and how the knowledge of cognitive processes helps in understanding the poet's style and the workings behind it. The focus of the research lies in the analysis of essential metaphors and blending patterns that reveal the reinforcement of primary senses and the construction of the multifaceted poet's mental worlds. The conclusion successfully conveys how Hughes' metaphors do not only portray nature but also require the readers to ponder on the subject. Future research should compare the text with other Hughes' poems or other contemporary poets in order to draw additional conclusions on how cognitive stylistics can be used in contemporary poetry. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Humanities & Educational Sciences Journal is the property of Humanities & Educational Sciences Journal 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 Poem as Icon: A Study in Aesthetic Cognition" by Margaret Freeman explores the cognitive and aesthetic aspects of poetry. The book challenges the use of the term 'cognitive' in relation to aesthetics, arguing that beauty is not solely a cognitive experience. Freeman delves into the depths of poetic experience, emphasizing the importance of emotions and sensations. The book examines the concept of 'icon' in poetry, discussing its semiotic, religious, and linguistic meanings. It also explores the role of metaphor, schema, and affect in creating poetic iconicity. Overall, the book offers a fresh perspective on the functionality of poetry and the arts. [Extracted from the article]

Copyright of Arte, Individuo y Sociedad 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.)

The general opinion is that Mustazad entered the field of literature as a form of poetry from the beginning, a form that did not receive much attention until the constitutional period. Today, this causes some difficulties in defining and classifying its types. A review of literature shows that the name of Mustazad was not mentioned in any of the literary texts until the 9th century. But after this date, the term Mustazad was introduced only in books related to rhetoric and other literary arrays, and some writers started dividing it. It is placed as a poetic array in the book Dorra Najafi (1330 AH) for the first time next to forms such as ode, sonnet, etc. After this book, the term Mustazad enters the realm of poetic forms. Most of the writers who started writing rhetorical books after Najafgholi Mirza followed the path, which has continued until today. In the present study, we intend to prove the truth of the claim that Mustazad has been transformed from a literary array to a poetic form by examining ancient and contemporary sources as much as possible. We also try to show the course of this evolution. [ABSTRACT FROM AUTHOR]

Jayanta Mahapatra's conception of poetry is the record of an evolving consciousness with different traces of distress, guilts, frustrations, contradictions and false starts. He puts emphasis on memory as a source of writing poems simultaneously identifying himself with other Indian English poets in quest for roots in his writings. He views poetry as an expression of inner world and problems about the relationship between self and reality. His poetry depicts what he observes around him. He is more focussed on ensuring the continued existence of man and his unrelenting struggles for survival in society. Mahapatra's poems create layers of meaning through irony and empathy, and carry a rich repertoire of memories, myths and metaphors from especially his own State, Odisha creating the poetic artefacts as they capture the lived experience in revelatory terms. He has richly used suggestive and startling imagery with the sole intention of exploring social realities and projecting Indian sensibility by all means in his poetic realm. [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]

This research uses poetry as a form of data to explore a sense of ‘belonging’ for staff working in higher education. Poetic content analysis was explored as a research method and using poetry in this way has allowed for a nuanced exploration of questions of belonging in the context of individual intersectional identities. Following an analysis of eighteen poems submitted by staff working in higher education four major categories emerged: ‘Community’, ‘Exclusion’, ‘Transformation’, and ‘Self’. These emergent narratives led to several recommendations that institutions and individuals might consider implementing to create a more positive sense of belonging for all staff working in higher education. These recommendations and emergent narratives are centred around a willingness for higher education as a sector to better recognise and nurture the deep-rooted commitment that is shared by many staff to the potential of higher education both now and in the future. [ABSTRACT FROM AUTHOR]

Bertolt Brecht's poem "A Worker's Speech to a Doctor" is frequently cited as a means to raise awareness among health workers of the health effects of living and working conditions. Less cited is his Call to Arms trilogy of poems, which calls for class-based action to transform the capitalist economic system that sickens and kills so many. In this article, we show how "A Worker's Speech to a Doctor," with its plea for empathy for the ill, contrasts with the more activist and often militant tone of the Call to Arms trilogy: "Call to a Sick Communist," "The Sick Communist's Answer to the Comrades," and "Call to the Doctors and Nurses." We also show that, while "A Worker's Speech to a Doctor" has been applied in the training of health workers, its accusatorial tone towards health workers' complicity in the system the poem is critiquing risks alienating such workers. In contrast, the Call to Arms trilogy seeks common ground, inviting these same workers into the broader political and social fight against injustice. While we contend that the description of the sick worker as a "Communist" risks estranging these health workers, our analysis of the Call to Arms poems nevertheless indicates that their use can contribute to moving health workers' educational discourse beyond a laudable but fleeting elicitation of empathy for the ill towards a structural critique and deeper systemic understanding in order to prompt action by health workers to reform or even replace the capitalist economic system that sickens and kills so many. [ABSTRACT FROM AUTHOR]

Why does anyone write poetry? Lisel Mueller (1924-2020) was a poet, author, and translator with a long and much-decorated career. She and her family fled Nazi Germany in the 1930s and emigrated to the United States, where she would establish herself as a writer. The poem "When I Am Asked" describes the beginning of her journey into poetry, undertaken during a period of grief after the death of her mother. Her writing would come to include nine collections of poetry and myriad accolades, including the 1981 National Book Award and the 1997 Pulitzer Prize for Poetry. Though her ouvre is filled with evocative works, this piece stands out as particularly relevant to physicians and other writers who find solace by expressing themselves through the art of poetry. [ABSTRACT FROM AUTHOR]

The article aims to analyse the quantitative and qualitative aspects of the implementation of elements of Christian concepts “God” and “Soul” in the language of poetry by Viktor Boiko – Ukrainian artist of the late twentieth – early twenty-first century. A comprehensive qualitative analysis is employed to study the peculiarities of verbalization of numerous semantic planes of the mentioned concepts in the works by Viktor Boiko. It has been found that in the Ukrainian language space elements of the Christian conceptsphere are realised in biblical, folklore and linguistic interpretation, in semiotic and verbal planes, in synchronic and diachronic aspects and are accordingly reflected in the language of Ukrainian writers. It has been concluded that the elements of the concepts of “God” and “Soul” are a part of the linguistic picture of the world of any ethnic group, which manifests the language of poets who show their attitude to a higher power as a protector and interlocutor. That is why Viktor Boiko, as a Ukrainian poet, syncretically combining patriotism and lyrics, politics and everyday motives, satire and good humour in his works, looking for certain trends in the universe, turns to Christian concepts within the framework of “quiet poetry”. [ABSTRACT FROM AUTHOR]

This document is an inventory of African literary journals and little magazines, providing information on their publishing history, editors, and content summaries. It lists a total of 90 African-published magazines, with 46 still in publication today. The document acknowledges the important role that small magazines played in the development of African writing and recognizes the challenges they face. It also includes links to websites and profiles for most of the journals. The document highlights the oldest surviving journal on African literature, African Literature Today, as well as other notable magazines such as Agbowó, Ake Review, Black Orpheus, and The Bloody Horse. It provides a comprehensive list of various literary magazines from Africa, each with its own unique characteristics and contributions to African literature and culture. The document also mentions Saraba Magazine, a Nigerian literary magazine that aims to provide a platform for emerging voices and promote African literature. Overall, this document serves as a valuable resource for library patrons conducting research on African literature. [Extracted from the article]

In his own poetry, Tycho Brahe took inspiration from ancient Roman poetry by appropriating ancient theology: the god Apollo and the Muse of Astronomy, Urania. In so doing, he framed himself as being in a unique position to reveal the secrets of the cosmos. This study offers the first comprehensive analysis in English of Tycho's Elegy to Urania, and traces sources that have not previously been identified. The first 52 lines of his deeply personal Elegy are presented here in English for the first time. This study also looks at Scottish epigrams in praise of Tycho, and a brief look at how other poets and astronomers (notably Corbinianus Thomas) employed Urania for their own purposes. [ABSTRACT FROM AUTHOR]

"Annabel Lee" is Poe's final poem, and although it was intended for publication, it appeared in print only after his death. It was, however, distributed during his lifetime in the form of five manuscripts, all of which survive to this day as cherished relics of the author. The speculative date assigned to each of these manuscripts, and consequently the sequence of revisions, has traditionally been based on when Poe gave them away over the course of the last five or six months of his life. This approach has historically granted the Thompson copy, which Poe had with him in Richmond, the high status of the final and thus the definitive authorized version. Two minor verbal changes have generally been accepted as of little consequence, but many commentators have lamented that the final line of the Thompson version changes "In her tomb by the sounding sea" to "In her tomb by the side of the sea." Looking carefully at the circumstances surrounding the creation and distribution of these manuscripts, as well as the texts themselves, suggests a radically different opinion of the sequence of revisions and a reconsideration of some importance in the matter of textual criticism of these texts for one of Poe's most studied and popular poems. [ABSTRACT FROM AUTHOR]

This study investigated co-constructed research poetry as a way to understand the lived experiences of people affected by rarer dementia and as a means to use poetry to convey those experiences to healthcare professionals. Using mixed methods, 71 people living with rarer dementia and care-partners (stakeholders) contributed to co-constructing 27 poems with professional poets; stakeholders' verbatim words were analysed with descriptive qualitative analysis. Stakeholders were also surveyed and interviewed about their participation. Healthcare professionals (n = 93) were surveyed to elicit their responses to learning through poetry and its acceptability as a learning tool. Poems conveyed a shared narrative of different aspects of lived experience, often owing to atypical symptoms, misunderstandings by professionals, lack of support pathways, and a continuous struggle to adapt. Stakeholder surveys indicated it was a valuable experience to both co-create and respond to the poems, whilst group interviews revealed people's experiences of the research poetry were characterised by reflection on lived experience, curiosity and exploration. Healthcare professionals' responses reinforced poetry's capacity to stimulate cognitive and affective learning specific to rare dementia support and prompt both empathy and critical thinking in practice. As the largest poetry-based study that we are aware of, this novel accessible approach of creating group poems yielded substantial information about the experiences and needs of those affected by rarer dementia and how poetry can contribute to healthcare education and training. [ABSTRACT FROM AUTHOR]

There has been little research into poetry classification and the potential to access poems by form and genre. The categories listed in the Library of Congress Genre/Form Terms (LCGFT), Wikipedia, Amazon.com, and the poetry-sharing platform, PoetrySoup, were compared through a systematic mapping process. It was found that LCGFT coverage is more extensive for poetry than fiction, but all four sources' coverage is limited. Beyond a small core of well-established forms and genres, poetry is classified in many less well-known ways, with many categories based on form, as well as a wide range of other characteristics, including some very specific ones. [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]

The Homeric plant moly is a mysterious herb mentioned in Book 10 of the Odyssey. In the early 1980s, a pharmacological thesis to identify the plant was put forward for the first time, regarding the snowdrop (Galanthus nivalis L.) as candidate species. The proposal was inspired by the snowdrop's acetylcholinesterase (AChE)-inhibiting properties and its alleged morphological reminiscence to other plants called moly by ancient Greek herbalists. Here, we draw from a compilation of literature from various disciplines, together with an understanding of the Homeric epic as a repository of information based on oral traditions, to (i) show that the assimilation of Homer's moly to Galanthus nivalis is, at the very least, questionable and (ii) frame and support a new synthesis of the pharmacological thesis. We suggest that the uncertainty that revolves around the identity of Homer's moly can be tied to an unnamed phylogenetic clade of closely related Mediterranean native species with AChE-inhibiting properties. Further, we speculate that Homer's moly might represent an early record of an ethnobotanical complex, a sort of cultural taxon resulting from the cognitive crossbreeding of closely related taxonomic species that could have been interchangeably used due to their rough resemblance and common AChE-inhibiting properties. Such cultural taxon would have referred to the phytonym moly by the centuries-old oral traditions that ultimately crystallized in the poem. We also venture that sea daffodils (Pancratium spp.) could have greatly contributed to shaping the botanical archetype in the myth as we know it today. [ABSTRACT FROM AUTHOR]

Revealing the association between natural elements and "religion, culture, or art" through text mining of poetry provides a new perspective for in-depth interpretation of Associative Cultural Landscape. Taking Tianmu Mountain, an important spot on the Road of Tang Poetry in Eastern Zhejiang, as an example, this study focuses on 444 poems written by 269 poets from the Eastern Han Dynasty to the Qing Dynasty in the Tianmu Mountain region. Text mining methods, such as text segmentation and social network analysis, are employed to conduct frequency statistics and association analysis of Landscape Terms in the poetry. The findings are as follows: (1) The descriptions in the poems bear witness to the beautiful and diverse Natural Landscape, the abundant Humanistic Landscape, and the unique Folk Landscape of Tianmu Mountain. These collectively reflect Tianmu Mountain with its religious features of cultivating both Buddhism and Taoism, cultural features of accumulating abundance and influence, as well as artistic features of blending picturesque charm and poetic grace. (2) The Cultural Landscape of Tianmu Mountain described in poetry across different dynasties exhibits characteristics of four relationships: "Group Relationship, Hierarchical Relationship, Interactive Relationship, and Cognitive Relationship." It reveals the close association between natural elements in the Tianmu Mountain and "religion, culture, or art." The research has constructed a theoretical model for interpreting the Multi-relationship within Associative Cultural Landscape, as well as provide the support of theories and methods for understanding the characteristics and interpreting the association of global Associative Cultural Landscape. It offers crucial scientific foundations for their overall conservation and sustainable utilization. [ABSTRACT FROM AUTHOR]

Fernando Palenzuela (Güira de Melena, Cuba, 1938) published his first poems and essays in the supplement Lunes de Revolución in 1960 under the nom de plume Fernando Pazos. This interview explores aspects of his life such as his adherence to surrealism in the 1950s; the displacements of his exile in Spain, France, Germany, and the United States; the foundation in Miami of the cultural review Alacrán azul (1970–1971); his friendship with writers José Álvarez Baragaño, José Antonio Arcocha, Lydia Cabrera, and Lorenzo García Vega; and his visit to the Island during the Mariel boatlift in 1980 to reunite with his eldest son. Palenzuela's reflections on poetic creation contribute to the analysis of his work in the Cuban literary context and to future critical approaches to his books Amuletos del sueño (1972), La voz por enterrar (2005), Esfera inacabada (2009)— Sphère inachevèe (2010), in its French version—and the bilingual edition Un sans un/Uno sin uno (2016). [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]

Copyright of Perinola is the property of Servicio de Publicaciones de la Universidad de Navarra, S.A. 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 article focuses on the interpretation of the Bible emphasizing its poetic character. Topics include Michael Edwards's book "The Bible and Poetry" which recognizes of the importance of style in Biblical texts, his stress on the unity of style and content, and his assertion that the Bible is essentially and constantly poetic inviting readers to perceive a deeper kind of reality.

This autoethnography seeks to open up for re-interpretation and debate three topics that feature within social work practice, research, and education: firstly the value and use of metaphor in understanding practice, secondly approaches to social work reflective writing, and thirdly the issue of poverty and its significance and impact in child and family social work. Metaphors can be valuable in framing understanding of issues within social work practice and advocating for change. Three metaphors have been particularly used in understanding the relationship between social work practice and poverty: The Invisibility of Poverty, The Elephant in the Room, and The Wallpaper of Practice. The three Parts of this autoethnography each adopt a different approach to autoethnographic writing and addresses and unsettles one of these metaphors. The first part adopts a narrative-reflective-analytical approach conventional to reflective writing in social work. The second and third parts adopt poetic and post-humanist approaches, respectively. It is proposed that adopting autoethnography as a methodology challenges the uncritical application of metaphor to situated practice and thereby prevents interpretive foreclosure. 'Writing against' objectified social work knowledge may assist in opening up practice to more challenging critical reflection and re-interpretation. Juxtaposing these three parts demonstrates the potential of non-conventional autoethnographic approaches to provide opportunities for deeper reflection on the experiences of doing social work within the context of poverty than conventional approaches to reflective writing. Furthermore, they indicate a need to reconsider how well these metaphors reflect social work practice experience with poverty. [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]

Copyright of Nova Tellus is the property of Instituto de Investigaciones Filologicas - UNAM 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 New Perspectives in Translation Studies is the property of New Perspectives in Translation Studies Editorial Office and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

In the structurally and thematically elaborate novel Memories of the Future (2019), Siri Hustvedt foregrounds the relationship between poetry and the novel. Two poets stand out as especially important to matters of plot, theme, and narrative: the modernist avant-garde poet Elsa von Freytag-Loringhoven and the New York School poet John Ashbery. These poets belong to different, but similarly pivotal moments in the evolution of American literature, one being a prescient—now recognized as iconic—modernist and the other an established, leading postmodernist. Despite their many differences, their output within poetry and the arts point to a collage aesthetics that provides a new way of probing the relationship between poetry and prose, as well as to a focus on the Bakhtinian notions of dialogism, polyphony, and voice, which inform the novel's structure and themes. [ABSTRACT FROM AUTHOR]