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Copyright of Anales de Literatura Hispanoamericana 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.)

Copyright of Al-Adab / Al-ādāb 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 paper analyzes twelve poems by Federico Garcia Lorca that Marina Cvetaeva received from the Russian Hispanist F. Kel'in and translated in 1941. Out of them, five poems were translated into Russian, five into French (these texts were identified and republished only in 2020), and two poems remained untranslated. In this paper, we analyse Cvetaeva's translation process as a reception of texts and compare poetic images from Garcia Lorca's original poems with Marina Cvetaeva's images in translations and her work. It is a well-known fact that Cvetaeva wrote to Kel'in saying she liked Lorca and that the poems were well chosen for her. This statement became the starting point of the work. We demonstrate the typological proximity and similarities of imagery between Garcia Lorca's poems and Cvetaeva's work and trace possible echoes of Cvetaeva's poetry in translations from the Spanish poet. In searching for translation solutions, Cvetaeva activates her vocabulary, as well as metrical, rhetorical, and compositional techniques, and introduces allusions to the works of other Russian authors into the texts. [ABSTRACT FROM AUTHOR]

Edgar Allan Poe's life was plagued by melancholy and disaster, which is evident in all of his writings. Among the many other poets of his generation, his solitude and individuality set him apart from the rest. He gave the Gothic genre a completely new meaning, making it both dark and significant at the same time. First, as an overview is given, of the 19th century, Edgar Allan Poe, and the tragedies that influenced his poetry. This study employs a comprehensive methodology focusing on the close reading of three of Poe's wellknown poems: "The Raven," "A Dream within a Dream," and "Alone." By analyzing how sadness and sorrow are portrayed in these poems, the paper investigates the extent to which these emotions impacted Poe's writing. The analytical approach involves delving into the thematic and stylistic nuances of the selected poems, shedding light on the intricate ways in which Poe articulates his emotions. The purpose of this study is to tackle the sense of gloominess and sadness by employing textual and analytical approaches. The significance of the feelings of loss and sorrow in Poe's writings is addressed, drawing connections to Poe's life story. The findings demonstrate that Poe's writings occasionally converge with personal catastrophes, tragedies from his own life, and stories about death sadness, and grief come together on multiple occasions over the course of his demanding career. Concluding that sadness, sorrow, and everything that comes with it were indeed lurking in every one of his statements, this paper contributes to the existing literature by portraying the semi-autobiographical image of the author within the realm of his poetry. The textual and analytical approaches used in this study provide a nuanced understanding of how personal experiences influenced Poe's poetic expression, enriching our comprehension of the intricate relationship between his life and art. [ABSTRACT FROM AUTHOR]

How to migrate text-to-image models based on pre-trained diffusion models to adapt them to domain generation tasks is a common problem. In particular, the generation task for Chinese landscape paintings with unique characteristics suffers from a scarcity of fine-grained contextual details specific to such artwork. Moreover, the use of substantial amounts of non-landscape painting data during pre-training predisposes the model to be swayed by alternative visual styles, thereby leading to generated images that inadvertently lack the distinctive traits inherent to Chinese paintings. In this paper, we propose a Fine-grained Hierarchical Semantic Adapter for Chinese landscape paintings generation, namely FHS-adapter. The method orchestrates the diffusion process in a batch-wise manner, leveraging external fine-grained multi-perspective information to guide it. It gradually diminishes the influence of other style images embedded in the pre-trained diffusion model, ultimately preserving a greater number of landscape painting elements. The encoder was also replaced with the Taiyi-CLIP encoder, which is adapted for Chinese. We propose T2ICLP, a multimodal dataset containing 10,000 high-quality image-text pairs of Chinese landscape paintings. Unlike previous datasets, this dataset extracts fine-grained textual information from four perspectives, including Meta, Description, Sentiment, Poem. We compared the proposed model with the mainstream diffusion-based T2I models. Through an anonymous user study, our FHS-adapter method performs well in simulating various aspects such as brushwork, e.g.'Gou, Cun, Dian, Ran' means hooking, texturing, dotting, and dyeing, compositional space, elemental proportions, and color usage of different painting genres and artists. Our dataset is available at https://github.com/T2ICLP/t2iclp. [ABSTRACT FROM AUTHOR]

This research paper delves into a stylistic analysis of Robert Browning's seminal poems, "My Last Duchess" and "Porphyria's Lover." Both works are exemplary of Browning's mastery of the dramatic monologue, offering rich grounds for exploring his stylistic techniques and thematic preoccupations. The analysis of Robert Browning's poems “My Last Duchess” & “Porphyria’s Lover” utilizes graphological, phonological, morphological, and lexico-syntactic features, this study aims to uncover how Browning crafts his narrators' voices and conveys their psychological complexities. The analysis will also consider the poems' use of imagery, irony, and narrative structure, highlighting how these elements contribute to the overall effect and meaning. "My Last Duchess" presents a portrait of a possessive and controlling Duke, whose speech reveals his authoritarian nature and moral ambiguity. In contrast, "Porphyria's Lover" explores themes of love, obsession, and madness through the perspective of a narrator who oscillates between tenderness and violence. By comparing and contrasting these two poems, the paper will illustrate Browning's nuanced portrayal of power dynamics and human emotions. Ultimately, this stylistic analysis will demonstrate how Browning's innovative use of the dramatic monologue form not only engages readers but also invites them to question the reliability and motivations of his speakers. [ABSTRACT FROM AUTHOR]

In this paper, attempt is made to delineate the English teachers’ experiment of teaching romantic poetry and students’ experience of learning. It focuses on the two famous short lyrical poems of the romantic period: William Wordsworth’s I Wandered Lonely as a Cloud (1804) and Lord Byron’s She Walks in Beauty (1815). These lyrical poems are written in iambic tetrameter. The former celebrates the beauty of the nature, while the latter celebrates the beauty of the unknown maid. The linguistic and literary peculiarities in both the contemporary poems are explored. The advanced learners of the literature are necessarily expected to know these linguistic and literary subtleties for better appreciation of these poems. The analyses of the selected poems are presented in the paper. These analyses are based on the framework of Leech (1969) in which he considers criticism and stylistics as complementary and necessary for literary analysis. The paper concludes that both Wordsworth and Byron succeeded in representing their perceptual experiences through I Wandered Lonely as a Cloud and She Walks in Beauty, respectively. We observed their unique style in their poetry despite of the numerous similarities. It is to be noted that a creator of the text (a poet), the process of creation (creativity, imagination, etc.), its representation in a form of the text (a product), and the (linguistic and/or non-linguistic) context are most prominent aspects in poetic composition. [ABSTRACT FROM AUTHOR]

Copyright of Estudios de Literatura Colombiana is the property of Universidad de Antioquia, Facultad de Comunicaciones 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 Tropelías: Revista de Teoría de la Literatura y Literatura Comparada is the property of Prensas Universitarias de Zaragoza 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 paper, which is part of the field of studies on Roman dialectal and regional phraseology, analyzes the idiomatic expression tre ppigne e 'na tenaja and its variant tre ppinze e 'na tenaja. This phraseological unit is documented in the 19th century: it is found in a roman poem of G.G. Belli (L'arma de Papa Grigorio, 1836). The aim is to reconstruct the history of this phraseologism and relate it to other expressions of the same semantic area. [ABSTRACT FROM AUTHOR]

Copyright of Scripta is the property of Scripta 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.)

Purpose – A satire on conference paper presentations. Design/methodology/approach – A poetic critique of conference presenters and their occasional failure to engage with their audience. Findings – What may be fascinating and of assumed and obvious importance to a research presenter may be quite obscure to their audience, who nonetheless participate in the ritual of conference attendance and polite "listening". Research limitations/implications – The reader may discover even more meaning in this poem than its original author envisaged. Originality/value – A poignant reminder of the perils of many conference presentations. [ABSTRACT FROM AUTHOR]

This paper highlights the limitations of narrative logic in mental health care, and in particular of "narrative vigilance"—the tendency to watch over experience via narrativisation, and to tether the concrete particulars of experience to the hypothetical structure of a narrative signification. Narrative logic is grounded in hypotaxis—the syntactic structuring whereby a discourse is characterised by different levels of subordination using linking words that connect, especially in terms of temporal and explanatory consequentiality. I offer an alternative approach based on parataxis—the practice of placing phrases or parts of speech next to each other without subordinating conjunctions. Sentences are juxtaposed without a clear connection; the contrast may generate novel and unexpected combinations between these dissimilar fragments. After distinguishing between parataxis and psychopathological phenomena like disturbances of association, I take inspiration from the work and life of a poet, Johann Christian Friedrich Hölderlin (1770–1843), considered among the greatest. He suffered for half his life from a severe form of mental illness that would perhaps, today, be diagnosed as schizophrenia. In the poems written during his illness, hypotaxis and narrative vigilance seem to blur, and parataxis takes centre stage. The fading of narrative structure in no way coincides with the absence of meaningfulness. Rather, meaningfulness is left to parataxis itself, that is, to the recombining power of words, sentences, and images. Parataxis itself can provide meaningfulness or, at least, provide the soil in which it can germinate. The void of narration opens the door for the fullness of "emergent" connections. In the final part of the paper, with the help of Freud's ideas on the relationship between "analysis" and "synthesis" in psychoanalytic treatment, some implications are derived about the relevance of parataxis to the logics of discovery in psychotherapeutic care, especially that of persons with severe mental conditions. [ABSTRACT FROM AUTHOR]

Copyright of Aurora: Papeles del Seminario María Zambrano is the property of Seminario Maria Zambrano 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 Papers of the Bibliographical Society of Canada / Cahiers de la Société Bibliographique du Canada is the property of Bibliographical Society of Canada 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 Al-Adab / Al-ādāb 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.)

Copyright of Impossibilia: Revista Internacional de Estudios Literarios is the property of Impossibilia: Revista Internacional de Estudios Literarios 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 examines Slovak poems by a wide range of authors published in the last third of the 20th century and linked by taking as its theme erotic social interactions in urban public transport. The analysis is conceptually related to Bakhtin's chronotope of the journey and the topos of the encounter and to existing research on poetry with the motifs of accidental male-female encounters in the urban environment and especially in the context of public transport (Walter Benjamin, Alejandro Hermida de Blas, Josef Hrdlička, Pavol Minár). The essay also makes connections with related topoi and paradigmatic texts. The core of the paper focuses on encounters that are motivated erotically on the part of the subject and notices their various forms and distinctive features. It explores both the sensual side of the erotic theme and its reflexive overlaps that are typical of these poems. The encounter at the place of transit acts in the poetry as an opportunity for the subject to observe and gain knowledge and self-knowledge. [ABSTRACT FROM AUTHOR]

Two major poets of the Russian Neo-Avant-Garde—Gennady Aygi and Elizaveta Mnatsakanova—created textual works that transgressed the limits of language and the borders between the arts. Each pursued their own method of the visualization and musicalization of verbal matter, yet both share a particular musical sensibility, which guarantees the integrity of the linguistic structure of their verse, despite the fragmentation and logical incoherence of its elements. The atonal (serial) musical tradition has a special significance for these experimental poetics of minimalism. Mnatsakanova, herself a musicologist, who was friends with Dmitri Shostakovich, not only used the techniques of contemporary music composition in her visual and sound poetry, but also collaborated with electronic musicians in her recorded poetry performances. Aygi experimented with language, not only crossing the boundaries between music and poetry, but also between sound and silence. For him, music was a way of expressing pre-verbal subjectivity and reproducing signs of meaning that are hidden from ordinary perception. In his poems, Aygi brought together Chuvash folk music with experimental techniques of minimalism, correlating his own work with such Soviet unofficial composers as Andrey Volkonsky and Sofia Gubaidulina. This paper will address the issues of transmutation between verbal, visual, and sound art in poetic minimalism of the Soviet-era underground. [ABSTRACT FROM AUTHOR]

E.E. Cummings's concrete poetry raises the canonical problem of poetic untranslatability. It is commonly accepted that a poem is constituted as a unity of form and content, and any change in the form of a poem results in the loss of the poetic value and, eventually, translation failure. Two basic approaches have been proposed regarding the untranslatability of Cummings's concrete poetry: mimicry and equivalence of effect. However, the former is impractical, and the latter is an indirect one. This paper proposes employing Wittgenstein's conception of translation in his later philosophy of language to solve the question of the untranslatability of Cummings's concrete poetry. By analysing three of Cummings's concrete poems 'r-p-o-ph-e-s-s-a-g-r', 'mOOn Over tOwns mOOn', and 'Buffalo Bill's', this study suggests that poetry is translatable in the sense that the same language-game in the source text (ST) can be played in the target text (TT) by reconstruction or invention. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb 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.)

Frangois Cheng (1929- ), elected to the Academie Frangaise in 2002, structurally introduced the lexicological, syntactic, and semiotic form of Tang poetry to the French academia via his academic works. In the late 1980s, Frangois Cheng shifted his focus from academic writing to creative writing, both in French, winning the 1998 Prix Femina for his novel Le Dit de Tianyi (1998) and Prix Roger Caillois for his collection of poems Double chant (2000). Focusing on his less-discussed poetry, which reveals higher congruity of his understanding of Chinese literary classics with creative representation, this paper argues that, as an analyst of Tang poetry, Cheng also acts as a contemporary translator of the classical Chinese aesthetic ideology into French modern verses. His subjective creation of poetry is both transcultural and trans-temporal, ambiguously corresponding to his lingual, racial, cultural, and national belonging, and appropriating a new valid form of French literary style. This ambiguity both transcends national identification and universalizes the international flow of knowledge. Beyond Feng Lan's (2017) recognition of Frangois Cheng as a special representative of Chinese diasporic intellectuals who mediate between institutionalized French discourses and Chinese classical philosophy, a close reading of Cheng's poems in the paper will support an investigation of his successive and transformative production of text. [ABSTRACT FROM AUTHOR]

Ecocriticism is a field that is inherently cross-cultural, and poetry is an art form that creates bonds across cultural communities. This paper focuses on Gary Snyder, a prominent poet in his own right, who is famous for his translation of the works by Chinese poet Han Shan. His attraction to Chinese classical poetry and Eastern civilization offers an alternative to the Western developmental paradigm, and the ecopoetry he espouses is pertinent to today's environmental debates. His references to nature do not function merely as reminders that nature should be respected but as an impetus to reflect on the coexistence of multiple temporalities and agencies. This paper examines Chinese poetry's inspirational effect on Snyder and analyzes his translations of Han Shan's poetry. Snyder's ecocritical insights have had a wide influence, particularly on the work of Hong Kong poet Xi Xi. This circulation of poetry offers a means of bridging Western and Eastern cultures. The mutual enrichment achieved by such cultural translations provides a means of transcending the simplistic dichotomies of the East and West. [ABSTRACT FROM AUTHOR]

Copyright of Etudes Romanes de Brno is the property of Masaryk University, Faculty of Arts 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 paper analyzes Agi poetry and utilizes the Panayanon concept of power called gahum as its critical framework. Philippine gay literature unfurled after the publication of Ladlad: An Anthology of Philippine Gay Writing (1994) and continues to reach higher grounds. However, gay criticism has been too focused on the discourse of the Manila bakla and not much has been said about indigenous models of queerness in the regions. As agi is an indigenous articulation of homosexuality in Panay in Central Philippines, this paper traces the connection of the agi's attendant performance (kaagian) with the indigenous tradition of babaylanism. By investigating the strong presence of babaylanic imagery in agi poetry, this study attempts to unravel the connection of kaagian with a precolonial form of power called gahum, which is deeply attuned to the animist spatiality of Panay. The babaylan is a shaman, culture bearer, and political leader that embodies physical and spiritual gahum that go beyond the human realm. By exploring the interconnected concepts of kaagian, gahum, and babaylanism, this critical study reveals that agi writers champion the image of the babaylan to subvert colonial-imposed hegemonies and decolonize the agi identity. [ABSTRACT FROM AUTHOR]

This paper discusses one paragraph of the Kitāb al-Barbariyya, a medieval Berber commentary on Abū Ġānim's Mudawwana. The brief note examined is a comment on the answer to a legal question, which mentions the ancient Berber names of a constellation and of a plant, quoting two lines of Arabic poetry. The passage occupies seven lines (f. 126b, ll. 8-14) of the manuscript MS.ARA 1936 found at the Bibliothèque universitaire des langues et civilisations (BULAC) of Paris. The Berber words retrieved from this text are Amanar, the name of the constellation of Orion, and tabduɣt, the name of the cotton plant. Moreover, in this ancient text, the word (a)kermus, which in the contemporary Berber languages applies to some specific plants (figs, prickly pears, dates), and which, in this case, seems to mean simply 'fruit', which supports a possible etymology from the Greek karpós. A list of Arab authors quoted within the Kitāb al-Barbariyya is added at the end of the paper. [ABSTRACT FROM AUTHOR]

Copyright of Armenian Folia Anglistika is the property of Publishing House of Yerevan State University 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 Journal of Babylon Center for Humanities Studies 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 paper argues for engaging in unconventional/artistic representations in psychological research and presents step-by-step instructions to make use of a specific form of artistic representation, namely found poetry. Found poetry is a form of poetic inquiry that has been used in a variety of social science disciplines, primarily to amplify meaning making possibilities in qualitative research and to make research more accessible to the reader in various ways. Accessibility of research to the general public can be greatly enhanced by artful representations, particularly poetry, because of its immense socio-epistemic potential. The paper thus attempts to provide a guide on fashioning a found poem out of qualitative data. There are 5 steps in all, represented by the acronym BEST-M. These steps consist of the following: beginning data analysis, excavating evocative data nuggets, scooping out the data, tying the thread, and member checking. As an exemplar, an interview of a young adult participant and their experience of navigating lockdown imposed during the COVID-19 pandemic is used for demonstrating the implementation of the five steps that the paper puts forward. [ABSTRACT FROM AUTHOR]

The article presents a list of books related to English literature received by the journal. These books include "Recovering Christina Resetti: Female Community and Incarnational Poetics," "Reading Women: Literary Figures and Cultural Icons from the Victorian Age to the Present," and "The Holy Grail: Imagination and Belief."

The present paper offers a new approach to the poetry of the Egyptian Sufi poet 'Umar Ibn al-Fāriḍ (576-632AH/1181-1235AD). This approach is based on the text of Ibn al-Fāriḍ's Great Sufi Poem, al-Tā'iyyat al-kubrā, in which the poet expresses in full his spiritual experience. First, the basic hermeneutical question is discussed, e.g., what is the way of approaching a literary text in order to understand the experience of the poet' Also, it deals with a Sufi text, its context and the relationship between text and experience. To what extent does the author express his inner world verbally? In the end, there is a distance between the interior experience of a Sufi and his verbal expression. Eventually, this method is applied to the poetry of Ibn al-Fāriḍ. He describes his Sufi experience as a journey through three steps: from separation (farq) to unity (ittiḥād) to universal union (gam'). On such a partition, ten basic units are highlighted, forming the structure of his Sufi poem. [ABSTRACT FROM AUTHOR]

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.)

Copyright of Estudios de Cultura Maya 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.)

Holism evolution states that although energy, matter, life, consciousness and the human personality are independent and different substances/levels of evolution, they are holistically and intimately related. This paper presents the findings from teaching chemistry to high school science students and post-graduate university science-education students using poetry constructed from physical science ideas embedded in holism evolution. The research findings are based on observations of student behaviour and their written feedback from being taught chemistry using poems on the periodic table and acids and bases. Both poems demonstrate the holism intimacy between various substances/levels of evolution, with the periodic table poem also presenting groups of chemical elements as representing the characteristics of infant, teenager, adult and old age of matter, presenting a holistic relationship between matter and life. The findings indicate that using holism evolution infused content led to a personally meaningful engagement with chemistry even among students with limited previous interest in the subject. Many post-graduate students expressed new levels of engagement with chemistry as well as new insights to enliven their teaching practice. [ABSTRACT FROM AUTHOR]

Copyright of Cuadernos del CILHA is the property of Universidad Nacional de Cuyo 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 Recial is the property of Universidad Nacional de Cordoba, Centro de Investigaciones, Facultad de Filosofia y Humanidades 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 paper reflects on the absurd humour contained in Kafka's novel The Trial in two selected works of Russian literature. Using the example of two texts representing different genres (a short story and a poem) by Daniil Kharms and Vladimir Yermolayev, it shows how these two authors were inspired by this aspect of Kafka's work: in the case of Vladimir Yermolayev, the source of inspiration is completely unquestionable and is already referred to by the direct allusion in the title. The entire poem is then constructed as a lawsuit that originates, unfolds and concludes within the lyrical subject, which is the metaphorical Kafka himself. For Daniil Charms, the source of inspiration is unacknowledged, though obvious: Charms was inspired by one particular passage of Kafka's novel, which he altered in accordance with his poetics. [ABSTRACT FROM AUTHOR]

Copyright of Confluenze. Rivista di Studi Iberoamericani is the property of Universita di Bologna, Dipartimento di Lingue, Letterature e Culture Moderne 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.)

AI-generated art, text, and audio have emerged in the last year as potentially disruptive technologies: can students now simply plagiarize entire papers whole cloth from an internet chat tool? Is the digital art on display created by a human, or an amalgamation of digital repositories which create art in many styles in seconds? Is the audio or video clip on the screen legitimate, or a forgery produced from a provided bank of samples? Shown in this negative light, the technological advancements in AI are anathema to the traditional spirit of learning and collaboration which is key in the literature classroom. This guide attempts to invert the potentially nefarious uses of AI in education by using its inherently accessible nature to benefit students who might learn best in a visual or creative mode in the study of poetics. By experimenting with free-to-use AI art generation tools, students will come to better understand not only the function and form of poetry, but also poetic paraphrase and figurative language. [ABSTRACT FROM AUTHOR]

Copyright of Literatura Mexicana 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.)

The aim of the paper is to analyze Enfants du lichen, a book of poems by Maya Cousineau Mollen, an Innu poet born in 1975, in order to see if the labyrinth can be considered as a figure of the postcolonial Native American experience. Although the word « labyrinth » does not make its explicit emergence in the poems, their lexical field evokes a whole imagination which makes it emerge implicitly and allows us to believe that the figure of the labyrinth corresponds to the situation of the former colonized. Our contribution is divided into three parts. The first characterizes the postcolonial Native American experience, as described in the poems, and explains why it may be seen as a labyrinth. The second shows the exploration of the paths of possible escape and the last focuses on the exit, the « passage from darkness to light », which can be read as a new era in the life of Canadian Native Americans. [ABSTRACT FROM AUTHOR]