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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]

This paper discusses two typical Greek traditions of envisaging punishments for wrongdoings: one is the religious idea of inherited responsibility, and the other is the invention and evolution of the notion of hell. The former idea, sometimes summarized by authorities such as Gustave Glotz, Eric Dodds, and Hugh Lloyd-Jones under the terms inherited guilt, ancestral fault, and responsabilité héréditaire, is one of the major themes running through the writings of authors of both the Archaic and Classical periods, and is found in genres such as elegy, historiography, oratory, and prominently tragedy. As a core idea of Greek literature, it suggests that the descendants of wrongdoers are punished not for their own sins but for those of their ancestors. With the exclusion of ideas of a punishing hell, an afterlife, and the transmigration of souls, the doctrine of inherited responsibility has its own necessity for sustaining belief in the efficacy of divine punishment, given the common human experience that evil generally escapes punishment. Solon is the first Greek author to make such a statement explicitly. The latter tradition has a much longer history, which runs from Homer to Plato. Nonetheless, the descriptions of hell from Homer onwards do not remain consistent and uniform. Its evolution with the gradual incorporation of religious ideas such as afterlife punishment and transmigration of souls witnesses the need for a much more self-sufficient interpretation of cosmic justice than the notion of inherited responsibility. One interesting fact about the two traditions is that both have coexisted in the same period of time in the testimony of contemporary authors and even in the same author, notably Herodotus and Plato. Nonetheless, "with the growing emancipation of the individual from the old family solidarity", the former idea has to give way to the latter. And in turn, the notion of inherited responsibility that gradually becomes unacceptable prompts the maturation of hell by the introduction of new elements from eschatological movements. This paper is divided into five parts. The first part serves as an introduction. The second part discusses the Homeric depiction of the Hades, which represents an early Greek understanding of the life of the dead. The third part is devoted to a detailed analysis of Solon's notion of inherited responsibility and the various factors that contribute to its final explicit articulation. The fourth part focuses on the Orphic ideas of afterlife trial and transmigration of souls and their introduction into what we may call Platonic hell culminant in antiquity, which aims to offer a more self-contained system of justice and punishment. The fifth part is a conclusion. [ABSTRACT FROM AUTHOR]

This article argues that an intentional acrostic spanning the first five lines of Propertius' elegy for Cynthia's birthday (3.10), MANE[T] , contributes significantly to the poignancy and purpose of the poem. MANE can be read as māne , 'in the morning', or manē , 'stay!', both of which emphasize the fleeting nature of dawn—and of Cynthia's youthful beauty. MANET can suggest both '[art] remains' and '[death] awaits'. All four of these meanings work together to capture the tension between human transience and artistic immortality. The theme is further enhanced by a balancing reverse telestich at the poem's end, ROSA RVES ('[a] rose, you will fall to ruin'). [ABSTRACT FROM AUTHOR]

There are nineteen letters and twenty-one poems from Huygens, with eight letters and thirteen poems by Van Schurman; the Latin and Dutch originals of their poems are also included. 2021, 402 pp., $65.95, ISBN 978-1-64959-012-1 Appendix D is a translation of a little-known biography of Van Schurman, embedded in a biography of Jean de Labadie. [Extracted from the article]

This article highlights a technical examination of The Lamentation of Christ (ca. 1460, Mauritshuis) attributed to Rogier van der Weyden and studio, performed during its recent conservation treatment. The goal of the research was to identify and map pigments used for the final paint and underpaint of the figures using information from non‐invasive chemical mapping and analysis of cross sections, to support the existing attribution of the painting. The results from a MA‐XRF scanner and two hyperspectral reflectance imaging cameras (400–1000 nm; 967–1680 nm) along with those from the analysis of recent paint cross sections and those collected in the 1980s allowed for a comprehensive understanding of the pigments used and their distribution. In general, the results show that the artist achieved a wide variety of colored draperies (robes) of the figures using a limited palette. High‐quality ultramarine and coarse azurite were identified in the different blue draperies, while azurite was also found combined with red lake and lead white to produce the lilac and purple‐toned fabrics. The green robe contains another copper pigment, verdigris, combined with lead‐tin yellow. The various red draperies show subtle differences in hue, obtained by varying the layer stratigraphy and proportions of lead white, vermilion, and red lake. The chemical maps also provided new insights into the original appearance and modeling of some of the draperies, including the unusual brown dress that was found to contain (partly faded) red lake. Comparison with previous technical studies shows that the materials and elaborate build‐ups used to paint The Lamentation are consistent with other paintings by Rogier van der Weyden and his workshop. [ABSTRACT FROM AUTHOR]

Birthdays are good moments for Janus-faced self-reflection: where have we been and where might we go? This essay undertakes such a reflective enterprise from the outsider perspective of a scholar trained in classics. It apprises a critique of German studies not in the mode of maudlin navel-gazing or in bitter lamentation of the decline of the humanities but in the hope that it is possible to sketch out and to build a more epistemically capacious field. Running a micro-experiment to demonstrate the narrow range of topics that have been thought proper to New German Critique, this essay enjoins those of us who study Europe's past, both recent and distant, to imagine our relationships to our objects of study beyond that of haunting and of debt owed to tradition. With such flexing of the imagination, this essay makes suggestions for how disciplinary overhaul and an explicitly decolonial reckoning can offer hope of another fifty years of vibrant intellectual life in the pages of NGC. [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]

James Macpherson's The Poems of Ossian establishes an elegiac bardic voice that emerges out of the Ossian poems and was especially inspirational for Romantic writers. Fragments of Ancient Poetry (1760) contains not only an epic bardic voice, but, more importantly, the echoing melancholic voice of the elegy. My reading of The Poems of Ossian as a polyphonic text in which the elegiac voices join the songs of the epic bard helps us to reimagine texts influenced by Ossian, and thus Romanticism itself, as a kind of resonant echo chamber in which elegiac mourners emerge and simultaneously speak to the past and to the future. I bring these readings to bear on a text directly responding to Anne Bannerman's sonnet "From Ossian" (1807). By reading Ossian's elegiac voice in the context of works which participate in the burgeoning Romantic tradition, I uncover an alternate literary history which embraces necessary fragmentation, a chorus of voices both alive and dead, a prophetic voice shrouded in uncertainty, and an ambivalent relationship with gender as integral to Romanticism writ large. Interpreting the powerfully hybrid elegiac voices in Ossian identifies a new lineage in Romanticism in which the elegy emerges as a dominant form. [ABSTRACT FROM AUTHOR]

The purpose of the work is to highlight the intermedial manifestations of the genre migration from literature to music based on the materials of piano compositions of the Ukrainian authors. Research methodology is based on the principles of comparative studies. In particular, intermedial approach to the study of inter-art language codes in musical compositions with the genre titles connected with the literature interaction has been used. Genological, system-analytical, generalised-typological, and comparative methods have been applied to draw parallels, to find similarities and differences between literary genre connotations and piano interpretations of a ballad, elegy, impromptu, fairy tale, legend, and poem. Scientific novelty of the research lies in an attempt of intermedial analysis of piano compositions with the existing in literature genre definitions by means of semantic-semiotic interferences. The concepts of the "genre migration" have been introduced to the comparative sphere of literary and musical genre halos, sometimes supplemented with programme guidelines, including reliance on specific folklore sources. Conclusions. Migration of the literary genres to the sphere of music is one of the dimensions of intermediality caused by paratexts of inter-artistic dialogues and polylogues in semiotics and semantic plane, as well as in composition-structural aspect. Despite the fact that these interferences are quite conditional, genre paradigm borrowings are the evidence of the direct mutual influence of literature and music, especially on the examples of the genres of ballad and elegy, which represent the genres of the double music-poetic genesis. Comparison with the genre primary basis-"paragon", paratextual combination of musical genres with the literary ones (etude-legend, sonata-ballad) or with the programme title allow to claim the individualisation of the composer's interpretation at different levels of the artistic organisation of a piano script. To sum it up, using literary genre models enriched figurative-semantic, stylistic, and spiritually-cognitive resources of Ukrainian piano music. [ABSTRACT FROM AUTHOR]

This essay asks whether poetry can articulate the experience of maternal loss, paying particular attention to questions of form. Focusing on two British poetry collections, Rebecca Goss's Her Birth (2013) and Karen McCarthy Woolf's An Aviary of Small Birds (2014), I argue that the contemporary elegy is currently being reshaped to explore the grief of losing a baby, and to bear witness to a life briefly lived. Drawing on Caroline Levine's emphasis on the affordances of form, the essay first examines these elegies' aural qualities thorugh the motif of the echo. Next I attend to the shaping of the poems, and how their word placement gives weight to the experience of baby loss. Finally, I consider how the modes of address at the end of the two collections negotiate the possibility of moving forward. [ABSTRACT FROM AUTHOR]

"The Poetry of Loss: Romantic and Contemporary Elegies" by Judith Harris explores the intersection of literature and psychoanalysis in the context of mourning. The book challenges Freud's theory of bereavement and introduces the concept of "continuing bonds," which suggests that maintaining an inner representation of the deceased is normal. Harris examines the elegiac poetry of various poets, including Wordsworth, Keats, Kenyon, Plath, and Hirsch, to explore the themes of loss, grief, and hope. The book also discusses the therapeutic benefits of writing and how it can help individuals navigate the process of healing from grief. [Extracted from the article]

The research tagged with (The Other Satire in Women's Poetry in the Abbasid Era), as the Abbasid Era is one of the richest literary eras that witnessed prosperity in the literary arena in both poetry and prose, and in light of this prosperity and development, women had an active contribution to literary life in general and poetry in particular. The woman excelled in saying poetry with different purposes, such as flirting, lamentation, praise, satire and others. As for the other in all its forms, it formed a prominent presence in Arab poetry in general and women’s poetry in the Abbasid era in particular, and despite the fact that (the other) was studied by a number of poets, it was not studied by the poetic woman, and thus we sought to see the manifestations of this matter in women’s poetry It is hoped that we will add a new special experience that contributes to revealing the impact of the emigrant other in the poetry of the Abbasid Arab woman. [ABSTRACT FROM AUTHOR]

The poetic atomism of Lucretius seems an obvious point of convergence between Margaret Cavendish and Lucy Hutchinson, but this convergence is complicated both by their later disavowals of atomism and by scholarship that casts doubt on even their early interest in Lucretius. In this essay, I argue that in their lyrics, Margaret Cavendish and Lucy Hutchinson engage Lucretius in a hybrid and nondogmatic way that is less focused on atomism's physical system (that is, on the mechanics of atomist physics) than on using ideas from De rerum natura about poetry and mortality to think about memory, memorialization, and afterlives—of bodies, reputations, and texts. Both Cavendish and Hutchinson engage the issues of materiality and mortality at the heart of Lucretian thought as a way of conceptualizing the capacity of lyric poetry to depict the experience of change and loss at the heart of mortal life, the experience of both being and loving what Hutchinson in her elegies calls "transeant Things." Hutchinson's appreciation for and dwelling with "transeant Things" carves out a space within her elegies for an affirmation of both erotic love and also of lyric poetry. [J.H.] [ABSTRACT FROM AUTHOR]

This article contributes to two well-worn areas of debate in classical Latin philology, relating to Ovid's Heroides. The first is the question of the authenticity (and, to a lesser extent the correct position) of the letter placed 15th in almost every collection—the so-called Epistula Sapphus (henceforth ES). The secondary question, although perhaps now less fervently debated, is the authenticity of the 'Double Heroides ', placed by those who accept them as letters 16–21. I employ a variety of methods drawn from the domain of computational stylometry to consider the poetics and the lexico-grammatical features of these elegiac poems in the broader context of a corpus of 'shorter' (from 20 to 546 lines) elegiac works from five authors (266 poems in all) representing most of classical elegy. Based on a variety of techniques, every measure gives clear indication that the poetic style of the Heroides is genuinely Ovidian, but distinctive; they can be accurately isolated from Ovid more broadly. The Single and Double Heroides split into two clear groups, with the ES grouped consistently with the single letters. Furthermore, by comparing the style of the letters with the 'early' (although there are complications in this label) works of the Amores and the late works of the Ex Ponto , the evidence supports sequential composition—meaning that the ES is correctly placed—and, further, supports the growing consensus that the double letters were composed significantly later, in exile. [ABSTRACT FROM AUTHOR]

There is no doubt that one of the greatest realities in the world is death. Although death is a journey to a different world for the deceased, it is the embodiment of sadness and grief for those who love it. The laments and words spoken after the deceased have taken their place in our written and oral literature. Among these literary works, elegies also have an important place. Although the love for the deceased and the respect shown to him are expressed through dirges, degrading and insulting expressions are also included in the dirges for the people who caused the death of the loved one. The more the deceased is loved and respected by the society, the more the poets attached importance to writing an elegy to the deceased. One of these laments is the Karbala Lamentations. As a result of the Karbala incident, where Hussein and his relatives were martyred, in classical Turkish literature, on the one hand, the deep sadness caused by this event was told, on the other hand, the poets gave information about the names of the people who took action in this sad event and the activities they had done. The main purpose of our study will be to reveal what activities the people who were involved in the martyrdom of Hüseyin, politically or militarily, were involved in the Karbala elegies and with what expressions they were mentioned in the poems [ABSTRACT FROM AUTHOR]

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Copyright of Auster is the property of Universidad Nacional de La Plata 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.)

Cook finds Swift using his poetry as a frame within which he can meditate on the relationships between literary forebears and on the experience of reading them in the present; for Cook, Swift's intertextuality is not so much a feature of his poetry as its constitutional principle. Where Hone is compelled by the traffic poems have with the world, and vice versa, Cook is slightly more concerned to adumbrate a coherent and internally consistent poetic logic driving the evolution of Swift's work from within. [Extracted from the article]