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In this article, I examine the role of conversations with the dead in the darkened solitude of grief in the poetry of Elizabeth Singer Rowe and Thomas Gray. Close reading reveals how grieving in darkness is often paralleled with a feeling of separation from a light‐filled system of nature, and how these poets used this separation to produce an alternate darkened landscape filled with echoes of mourners and the dead. I explore some of the ways Rowe and Gray question the substantiality of poetic language in the mourning process through images of darkness and echoes in desolate landscapes. By studying the echoes in their works, I argue that Rowe's and Gray's mourning poetry attempts to speak with the dead, and that by using echoed language, invocations of light and darkness, and depopulated landscapes, both poets produce a poetry that compensates for their grieving loss by creating a fantasy of company. [ABSTRACT FROM AUTHOR]

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Copyright of Adab Al-Kufa is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

This article explores the possibility of cultivating a just habitus through intercultural wisdom of women in religious education. Drawing insights from different cultural and feminist perspectives, it highlights the transformative power of the intercultural wisdom of women. Black womanist voices emphasise creating safe spaces for communal lamentation and mutual support. White feminist perspectives stress the importance of confronting privilege and actively engaging in solidarity with women of colour. Asian feminist viewpoints underscore the interconnectedness and interdependence among culturally different people. These perspectives intersect to form a vibrant tapestry of intercultural wisdom of women, offering valuable lessons for religious education. The intercultural wisdom of women can help religious education become a transformative space for people to cultivate a just habitus. [ABSTRACT FROM AUTHOR]

Elegiac poems by Australian late modernist poet Martin Johnston (1947–90) expose key anxieties about lyric poetry after American mid-century late modernism. Johnston, like other of his contemporaries, experimented with elegy in order to rethink the lyric in ways conscious of innovative mid-century and post-1960s developments from American poetry. Johnston’s discomfort with elegy and the elegiac tradition, and his subsequent effort to expand upon the concept of the dead poet since romanticism using social poetics, illuminate wider tendencies in late modernist poetics shared with other Australian peers. This essay insists that the late modernist question of social poetics can be studied via the tentative process the antipodean poet Johnston adopts in his complex relationship to elegiac lyric. [ABSTRACT FROM AUTHOR]

This article will explore the role of what Ricoeur calls 'archaism' in his work on the third aporia of time in Time and Narrative. Presented in some detail in the conclusion of the third volume, the concept remains undeveloped. In this article we will identify the three characteristics, two forms and three dispositional states (praise, lamentation and hope) that help us to understand it, specifically in the Augustinian context. We have two main goals. We need to see whether there is a problem of origins in the Aristotelian cosmological conception of time as movement and succession and in the Augustinian psychological conception of time in respect of past, present and future against the limit of the Eternal. [ABSTRACT FROM AUTHOR]

Throughout the interpretive history of Lamentations, significant attention has been devoted to the relationship between the gendered voices in the book. Previous scholarship has traditionally construed the male figure of chapter 3 as the solution to the female figure's problems in the first two chapters. Yet more recent work has centered the female figure as a corrective to the male voice typically privileged by previous interpreters. I build on this recent scholarship by reconsidering these gendered voices alongside some of their earliest readers. I show how early Jewish readers conceived of the relationship between these voices in ways that do not match modern assumptions about ancient conceptions of gender. In fact, I show that the early Jewish reuse of Lamentations conceives of a relationship where women, not men, provide a key to the suffering, breaking through the impasse produced by the destruction of the temple. [ABSTRACT FROM AUTHOR]

The article discusses the various interpretations and attempts to identify the narrative context of the Old English poem known as The Wife's Lament. Scholars have used Old Norse and Middle High German sources to understand the nature of the poem's speaker and the narrative it alludes to. The article proposes that the Middle High German epic of Kudrun can provide insight into the predicament of the speaker in The Wife's Lament. The plot of Kudrun shares similarities with the legends of banished wives mentioned in the poem, and reading The Wife's Lament in the context of Kudrun can help make sense of its puzzling aspects. The article encourages scholars to consider Middle High German poetry as a comparative perspective for understanding Old English poetry. [Extracted from the article]

This article, titled "The Shakespearean Interplay with Marlowe" by Tony Hosking, explores the literary relationship between William Shakespeare and Christopher Marlowe. Hosking argues that there was a reciprocal influence between the two playwrights, with both borrowing from each other throughout their careers. He also suggests that Marlowe is the Rival Poet in Shakespeare's Sonnets, contrary to other scholars who propose Robert Devereux, Earl of Essex. The article provides examples of parallels and allusions between their works, highlighting the interplay and admiration between the two poets. [Extracted from the article]

William Wordsworth writes frequently about stones, rocks, megaliths. He ponders the stories that stones can tell in 'Michael' ('There is a straggling heap of unhewn stones'), and poets who 'in their elegies and songs / Lamenting the departed call the groves ... And senseless rocks' in 'The Ruined Cottage' (later The Excursion, Book I). He writes of casual inscriptions in 'Poems on the Naming of Places', the ancient stone circle Long Meg and her Daughters in his Guide to the Lakes, and of course ponders Stonehenge in 'Salisbury Plain'. In her influential, if flawed, book Romantic Things: A Tree, a Rock, a Cloud (2012), Mary Jacobus makes a case for a number of objects, attributes, and activities that preoccupy Romantic poetry (particularly the poetry of Wordsworth) and which can change our perception of the world. This has since become a major area of interest in contemporary philosophy, notably in cultural environmentalism and in object-oriented ontology (OOO), both of which have swiftly generated a significant and wide-ranging bibliography. Although it would be a major undertaking to approach the entire corpus of Tolkien's work in this way, several important points can be made to form an introduction to such an approach by building on Jacobus's work and bringing it up to date with more contemporary thinking. This paper will therefore investigate one aspect - stones and rocks in The Lord of the Rings - arguing that Tolkien engages with a theme in Romantic poetry that, once neglected, now appears to be central to their conception of the natural world and the place of humans within it. From the enigmatic stone ruins that litter Middleearth to the new brick-built mill in Hobbiton, from the natural wonder of the bejewelled Glittering Caves to animate (and inanimate) beings such as trolls, to magical artefacts such as the palantíri and Silmarils, Tolkien develops a poetics of minerality that forms a bedrock to his work, part of the same stratum as Romanticism. [ABSTRACT FROM AUTHOR]

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]

We are accustomed to hearing the Adagietto from Mahler's Fifth Symphony played as an elegy, appropriate for state funerals and the like. But Wilhelm Mengelberg, once Mahler's assistant, claimed that the movement was composed as a love letter to Alma, and his performance offers an almost-too-explicit scenario of love making. In this article, I will return to Mengelberg's argument for this interpretation, then examine the ways his performance decisions produce simulations of erotic interactions. But his reading raises questions concerning historical performance practices: how prevalent were Mengelberg's tempo fluctuations and portamenti in the early twentieth century? To what extent should these practices inform our readings of other repertories of the time? And why might later conductors have chosen the elegaic mode, despite the fact that they thereby obscure what might be an important trace of Mahler's erotic sensibilities? [ABSTRACT FROM AUTHOR]

Mahler's use of the contralto voice in his Second and Third Symphonies and in Das Lied von der Erde is commonly observed but little examined. The contralto sound in the "Urlicht" movement of the Second Symphony and the "Midnight Song" of the Third remains to be thought through; so does the return of the contralto a decade later in Das Lied. Why this voice? What expressive and cultural force does it bear? And why does Mahler in the Third Symphony and again in Das Lied explicitly assign a female voice to a male narrator? The starting point for answers to these questions is the unique status of the contralto voice in Mahler's musical world. Between roughly the 1820s and the 1920s, this rarest of all voice types enjoyed a transcendental mystique. Traces of its elevation, linked to its rarity, persist into the present, as does the descriptive language that the voice attracts. The transcendental character of the contralto, however, did not lead from the earth but to it. This is the case even in the "Urlicht" movement, which might seem to go the other way. And "lead" is a key term: the voice belongs to an unforeseen guide who leads the listener to a more acute sense of earthly existence. Mahler's model here was almost surely the contralto role of Erda--a guide who loses her own way--in Wagner's Ring cycle. But Mahler changes the contralto's gender, or, more exactly, makes the contralto guide a hybrid being who belongs to no gender, much like the angels in Rainer Maria Rilke's near-contemporaneous Duino Elegies of 1912--22. [ABSTRACT FROM AUTHOR]

This article calls for a revaluation of Thomas Hardy's Poems of 1912–13 , viewing them as in dialogue with William Wordsworth's Lucy poems and Percy Bysshe Shelley's Jane poems. Though Poems of 1912–13 has been favored with a great deal of criticism that aims to come to terms with its manifold influences, the Romantic influence upon Hardy's collection has been overlooked. This article considers how Hardy brings Wordsworth and Shelley's sequences into conversation with his elegies to argue that Hardy reimagines both poets' sequences to create his poetry of mourning. [ABSTRACT FROM AUTHOR]

The article reconsiders a magic chant interpretation in the Old Man's Lament in the poem "Beowulf," wherein an anonymous father is depicted mourning for his deceased child. It discusses the sorrow in the lyric of the poem and argues that the elegy sang by the father alludes to a ritual practice with Odinic associations and is a magic chant intended to restore life to the dead. It analyzes the context of Old Man's Lament and relates it to Germanic mythology and its use of Old Norse language.

Emma Donoghue's Hood is an Irish tale of closeted lesbian love in which the narrator cannot mourn the death of her partner publicly because of the compulsory social invisibility of their relationship. While in her monograph Frames of War: When is Life Grievable? Judith Butler correlates the (un)grievability of certain lives (their ability to be grieved over) with ethical frames of perception, this paper focuses on the invisibilisation of public mourning. Since the term "mourning" is often used to evoke public displays and rituals of grief, I propose to confront Butler's concept of "(un)grievability" with what I call "(un)mournability," in order to investigate the three metaphors of (in)visibility that shape the aesthetics of Donoghue's contemporary narrative elegy. The images of the closet, the hood, and the invisible ink, which are instrumental to Donoghue's narrative strategies of linguistic invisibility, map out the evolving representation of lesbian invisibility in the novel. [ABSTRACT FROM AUTHOR]

The epitaph for Margarita (CIL 6.29896) consists of six elegiac couplets in Latin engraved on a small marble plaque in commemoration of a domestic dog. It was discovered in Rome and likely made in the second century CE. In this paper I examine its allusions to Augustan elegy and verse epitaphs for humans, arguing that it humorously applies eroticizing and literary language to a dog. I then consider Margarita’s status as an import from Gaul, arguing that the epitaph fits into a broader tendency of Augustan elegy to use foreign luxuries to eroticize and naturalize Roman imperialism. [ABSTRACT FROM AUTHOR]

The article examines English poet Philip Larkin's suppressed Betjeman period and admiration for English poet John Betjeman. It explores the influence of Betjeman on Larkin's Brunette Coleman persona and poetry writing as reflected by the sentimental and comedic features, elegiac tone and nostalgia in the poetry collection "Sugar and Spice" and the empathetic quality in the novel "Trouble at Willow Gables." The difference between Larkin and Betjeman when it comes to church going is discussed.

The article proposes that the final simile in the poem "The Scholarly-Gypsy" by Matthew Arnold referred to English poet Alfred Tennyson. Topics discussed include medical metaphor in the poem as criticism of Tennyson's elegy "In Memoriam," intellectual curiosity of the scholarly-gypsy versus Tennyson's intellectual throne, Arnold's diagnosis of modern life disease and parody of the content of "In Memoriam," references to merchants' bales in both poems, and epic heroism of the scholarly-gypsy.

In 1591, Margaret Russell, Countess of Cumberland, wrote an autobiographical letter to her friend and one-time household chaplain, John Layfield, in which she places her grief at the recent death of her five-year-old son within a narrative of her life. Through this letter, she engages in the Renaissance consolatio tradition and other contemporary forms of lament modeled on Christian scripture. She draws upon classical philosophical works such as Boethius' The Consolation of Philosophy along with other philosophical work as she constructs her narrative. She places her suffering within seventeenth-century providentialism, including reference to a dream that presaged the death of her child. The letter critiques, and ultimately discards, the comforts of the consolatio tradition and even her sense of the providential as means to relieve grief, ultimately rejecting these for an affective plea to the divine. Russell creates a powerful autobiographical narrative of suffering that exposes the limitations of contemporary philosophical and providential discourse in relieving the mental distress experienced by seventeenth-century individuals. An edition of Russell's letter is included. [J.M.] [ABSTRACT FROM AUTHOR]

This essay argues that the seventeenth-century British writer, Lucy Hutchinson, experiments with the form and content of her early prose and late poetry in ways that reveal the everyday dimensions of warfare, as it was experienced on the ground and in the periodical news of the period. During the mid-1640s, in the midst of the civil wars, Hutchinson produced an untitled manuscript, an episodic narrative of local war that overlaps with print journalism. After the Restoration, she produced a series of manuscript poems that combine Parliamentary elegies for soldiers with the genres of aubade and nocturne to criticize a public violence now concentrated in the monarchal state. As Hutchinson shifts from composing a kind of war correspondence that supports the war effort to a species of war elegy critical of state hostilities, she frames armed conflict not as an exceptional event but as a form of business as usual: it depends on and reshapes the infrastructures, spaces, emotions, and habits of quotidian life and becomes, in its turn, a normalized version of that life. Across different contexts and genres, then, she helps reveal the key role of the ordinary in war alongside the ways war itself becomes ordinary, part of the real and journalistic everyday. [C.G.] [ABSTRACT FROM AUTHOR]

The article analyzes the coverage of the Bicentenary of Independence by the UOL portal, with special attention to the news about the heart of King Pedro I, provisionally transferred to Brazil for the celebrations, and reflects on the temporal dynamics surrounding journalism and ephemera. The lukewarm treatment given to the presence of Pedro I's body on Brazilian soil contrasts with the way in which the Emperor's body and the Sesquicentennial itself were treated at the time, as can be seen, albeit briefly, in the coverage given to it in the early 1970s by Jornal do Brasil, then one of the most important print media in the country. Along the way, we observed that the action involving the spoils of King Pedro I did not acquire the character of an elegy in 2022, but more of a kind of parody, wrapped in a significant daze. [ABSTRACT FROM AUTHOR]

This paper explores Fadwā Ṭūqān's and Maḥmūd Darwīsh's poetry written in the wake of the 1967 June War, the Israeli siege of Beirut in 1982, and the Second Intifāḍah (uprising) in 2002. Specifically, the article investigates how the poets mobilize the Arabic elegiac (rithāʾ) genre, as well as pre-Islamic and early Islamic poetic traditions, in order to contemplate the future and foster a mode of proleptic mourning. This paper asserts that these two Palestinian poets utilize the longstanding elegiac form in Arabic literary heritage to not only summon and lament past events and atrocities, but to conjecture about the insecurity that they anticipate in the years to come. The poems render both hopeful and pessimistic sentiments and premonitions, demonstrating how the ongoing Israeli occupation and the Palestinians' resultant losses over time have precipitated increasingly sobering and distressing speculations about the perpetuation of Palestinians' grief in the future. [ABSTRACT FROM AUTHOR]

This essay offers a discussion of Batia Baum's translation of Katzenelson's elegy into French. Opening with a presentation of the Maison de la culture yiddish -- Bibliothèque Medem and Baum's achievements as a translator from Yiddish, the article highlights the significance of the poem written in France during the German occupation and published in Paris shortly after WW2. In an illustrative analysis, challenges of the text are addressed and Baum's choices are presented. [ABSTRACT FROM AUTHOR]

"Elegies of Chu: An Anthology of Early Chinese Poetry" is a translation and analysis of the Chuci, a collection of poetic texts from the ancient state of Chu in China. The translator, Nicholas Morrow Williams, offers new insights into the Chuci and presents the poetry in clear and concise arguments. Williams prioritizes semantic accuracy in his translation, particularly in translating plant names, and provides a glossary for readers to navigate the text. He also deviates from previous editions of the Chuci by reorganizing the sequence of selections. Overall, Williams approaches the materials with modesty and caution, emphasizing the importance of reading the poems in relation to one another and being mindful of the complexities of the traditional materials. [Extracted from the article]

"The Dead Wrestler Elegies: Championship Edition" by Todd Kaneko is a poetry collection that explores the world of professional wrestling as a means for the author to make sense of his own life. The collection pays tribute to deceased wrestlers and delves into the complex relationships between the author, his deceased father, and absent mother. The poetry reflects on themes of death, vulnerability, and the inevitability of mortality, while also highlighting the power dynamics between men and women in the wrestling world. Despite its focus on wrestling, the collection offers a deeply personal and emotional exploration of love, loss, and grief that can resonate with readers beyond the realm of professional wrestling. [Extracted from the article]

The article discusses J.D. Vance, Ohio Senator his shift from criticizing to supporting former U.S. President Donald Trump, his role at a vice-presidential contenders' event, and his strategic positioning within Trump's political circle.