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This article explores the presence of falconry in the Old English poem "The Battle of Maldon" and the Middle High German work "Kudrun." It discusses the different interpretations of the motif, including its connection to noble lineage, bravery, and disdain for invaders. The comparison with "Kudrun" helps to clarify scholarly debates and presents a more positive view of the young warrior in "The Battle of Maldon." Additionally, the article provides evidence from various sources to support the existence of falconry in early medieval England, highlighting its association with royalty and nobility. It suggests that falconry may have played a significant social role during this time. [Extracted from the article]

War poetry voices the traumatic cultural productions and sensitivity through the formal, aesthetic and creative dimensions of psychical responses. A perpetual trauma is imprinted on the psyche and the cultural memory of the people living through wars. To witness the representative suffering, war poetry needs to be examined from experiential and embodied dimensions of cognitive perception. Mosab Abu Toha is an acclaimed Palestinian poet who represents his affective experiences, to lament over the displacement, loss and cultural clashes he witnesses, in his autobiographical poetry. The research highlights that Abu Toha, in his transitional poetic space of the selected poem, invokes the receptiveness of witnessing through the defamilairized graphic images and syntactic representation which are foregrounded. Further, the prototypical cognitive models in his selected poem are both situational and cultural. The research is significant in examining the embodied and experiential dimensions of language processing in the poetic space to encode the readers' positionalities and the linguistic structures that invoke the specific perspective in readers' imagination. [ABSTRACT FROM AUTHOR]

The First World War blurred the lines between "ordinary" and "literary" writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one's writing practices until they found a journal full of poems after the author's death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war. [ABSTRACT FROM AUTHOR]

During the Holocaust, poets went to extraordinary lengths to write their poems and transmit them. Poems that were written during those years were often buried in the ground, stitched into clothing, smuggled out of prisons, or graffitied onto walls. These object documents carried more than facts about these events; they carried the feeling of living through these events. This research explores the last poems of four Holocaust poets, Władysław Szlengel, Selma Meerbaum-Eisinger, Hannah Szenes, and Abramek Koplowicz, investigating not only the poems but their object-ness and their stories of transference. These poems, like urgent postcards, deliver messages to a family, to a community, to the world. They ask―what does it mean to write a poem as a last will and testament? [ABSTRACT FROM AUTHOR]

Through using different vehicles and implements, poets and authors in the School of Naturalism could reflect life’s events and its circumstances in detail. Among the most significant subjects and topics propounded in this school are war, poverty, prostitution, bloodshed, and murder. Naturalists are poets and authors who reveal life as it is and insist on the ugly faces and aspects of life to indicate how human beings are useless creatures who are surrendered to genetics and the environment. This study uses naturalistic qualities and common themes found in War Poetry to compare the poetry of two renowned poets, Qeysar Aminpour from Iran and Wilfred Owen from England. For this, “A Poem for the War” composed between 1979 and 1984 by Aminpour and “Dulce et Decorum Est” (1920) by Owen are selected among others. The major qualities examined in this article are as follows: the descriptive details of war and its circumstances; the use of simple and colloquial language; cacophony, and harsh and tough language; and the picture of war’s indecencies, ugliness, and terrors. Results reveal that war poetry in England is basically anti-war, although some epic-tone and passionate poems were written by poets such as Robert Brook and Siegfried Sassoon at the beginning of the First World War, however, war poetry in Persian rests on mysticism and it is epic-tone. Nevertheless, in both poetry, war is viewed as cruel, painful, and full of Naturalistic qualities.

Copyright of Journal of Young Intellectuals / Genç Mütefekkirler Dergisi is the property of Journal of Young Intellectuals 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.)

War Poems by Ukrainian writer Alexander Korotko was the first emblem of the new resistance literature that arose in Ukraine in 2022. The reality of the war became a factor of resistance, generating new senses toward the establishment of an innovative political reality in Ukraine. At the same time, Korotko's book is an intensification of Ukrainian resistance to the ideology of new Russian fascism (Rashism). The poet resorts to the construction of metaphors that combine the idealistic and the real, in which there are graphic depictions of reality in all its forms of war and terror. At the same time, the narrative demonstrates the need to sacralize the space-time dimension of Ukrainian reality, outlining the consequences of the war from the perspective of the future. The poetic subject affirms the idea of the victory of humanity; the war becomes a factor in the drastic reformatting of the world and Ukrainian reality and the formation of a new sociocultural and political identity of Ukraine in the paradigm of new humanism, a New Sincerity. The tragic events of Irpin and Mariupol find their poetic configurations and constellations in the book, which maps out the topography of war in Ukraine in 2022. The narrative presents the key concepts of war and how its emotional and intellectual representations are exploited and reinforced in Ukrainian society and media. The perspective of Berlant's methodology regarding the analysis of the poetic narrative constructed in the conditions of military operations has been explained and underlined. [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.)

Through using different vehicles and implements, poets and authors in the School of Naturalism could reflect life's events and its circumstances in detail. Among the most significant subjects and topics propounded in this school are war, poverty, prostitution, bloodshed, and murder. Naturalists are poets and authors who reveal life as it is and insist on the ugly faces and aspects of life to indicate how human beings are useless creatures who are surrendered to genetics and the environment. This study uses naturalistic qualities and common themes found in War Poetry to compare the poetry of two renowned poets, Qeysar Aminpour from Iran and Wilfred Owen from England. For this, "A Poem for the War" composed between 1979 and 1984 by Aminpour and "Dulce et Decorum Est" (1920) by Owen are selected among others. The major qualities examined in this article are as follows: the descriptive details of war and its circumstances; the use of simple and colloquial language; cacophony, and harsh and tough language; and the picture of war's indecencies, ugliness, and terrors. Results reveal that war poetry in England is basically anti-war, although some epic-tone and passionate poems were written by poets such as Robert Brook and Siegfried Sassoon at the beginning of the First World War, however, war poetry in Persian rests on mysticism and it is epic-tone. Nevertheless, in both poetry, war is viewed as cruel, painful, and full of Naturalistic qualities. [ABSTRACT FROM AUTHOR]

Mererid Puw Davies' book, "Poetic Writing and the Vietnam War in West Germany: On Fire," explores the role of poetry in the West German opposition to the Vietnam War. The book argues that poetry was a key form of expression for anti-war sentiments and that it allowed writers to encode contradictions and ambiguities. The book also examines the gendered representations of Vietnam in German anti-war writing and the intermedial relationship between film, photography, and poetry. Overall, the book offers a comprehensive analysis of the significance of poetry in the context of the Vietnam War and its impact on West German culture and politics. [Extracted from the article]

The article "The Image as Biography in Carmen Berenguer" highlights the importance of image in the work of Chilean writer Carmen Berenguer. Her wild hair becomes an iconic symbol of self-representation, and her face reflects proud mestizaje. Berenguer's writing questions the gaze of others, and her poetic work reveals an urban poetics. Additionally, the article addresses topics related to art and culture in Chile, mentioning artists such as Luz Donoso and Víctor Hugo Codocedo, as well as the occupation of public spaces and the importance of poetry in the author's life. The text presents fragments of poetry and personal reflections, addressing themes such as the city, war, and history. Places such as the Mapocho River and the Plaza de Armas are mentioned, as well as cultural elements such as the trauco and Moscow nights. The text describes a city in constant change, with new developments but also persistent problems. Places like Valparaíso and Santiago are mentioned, as well as Plaza Italia and the last coal mine in Lota. [Extracted from the article]

This article explicates the strategies of legitimization through spatial proximization. Although, there is a spike of interest in war poetry in recent years, proximization and legitimization aspects of war poetry still need to be explored. Thus, it is important to investigate war poetry from such perspectives because "poetry occupies a critical place in the war resistance literary tradition" (Metres (2007, p. 5). In this article, we grapple with the ways in which legitimization strategies are operated at the level of spatial proximization. Cap argues that (2013), "spatial proximization always forces the vision of a physically destructive character of the ODCs' impact" (p.74). This article draws attention to rhetorical interplay between legitimization strategies and spatial proximization: one leads to the other. War poetry of Afghanistan uses spatial proximization as an instrument for legitimization purposes. In order to critically analyze the poetics of war, we have adopted Cap's (2012) model of proximization which contains spatial, temporal and axiological proximization. However, we have utilized only spatial proximization aspect of the model because it suits with my study. Our findings show that legitimization strategies are manifested in war poetry of Afghanistan for achieving certain political goals. This study is important because it provides critical insights to the readers concerning the rhetorical and political nature of war poetry. [ABSTRACT FROM AUTHOR]

The study highlights Wilfred Owen’s anger over the Loss of Young Soldiers' Lives in the Poem “Anthem for Doomed Youth”. The objectives of the study are to show the anger of Wilfred Owen over the loss of young soldiers' lives, to show the physical and psychological state of the soldiers after the war, and to highlight the language of war poetry emphasizes some topics, such as suffering and death, violence, terror by the army, and hopelessness presented by the poet. The paper used a descriptive and analytical methodology to comprehend Owen's message about his refusal to funeral young soldiers in war. According to the study's conclusion, greater consideration must be given to those who defend their country, and their sacrifice when they pass away in war has to be recognized and appreciated. Consideration must be taken of the psychological state of those soldiers.

During the Holocaust, poets went to extraordinary lengths to write their poems and transmit them. Poems that were written during those years were often buried in the ground, stitched into clothing, smuggled out of prisons, or graffitied onto walls. These object documents carried more than facts about these events; they carried the feeling of living through these events. This research explores the last poems of four Holocaust poets, Władysław Szlengel, Selma Meerbaum-Eisinger, Hannah Szenes, and Abramek Koplowicz, investigating not only the poems but their object-ness and their stories of transference. These poems, like urgent postcards, deliver messages to a family, to a community, to the world. They ask―what does it mean to write a poem as a last will and testament?

The article features poet Alfred Tennyson. Topics mentioned include the analysis of Tennyson's relation to British imperialism and tradition of war poetry, his concept of an ideal womanhood, and Tennyson's way of conceptualizing the effect of naturalness and all social connection ordered through art.

This article explores the impact of the Great War on composer Vaughan Williams and focuses on two of his works, the Pastoral Symphony and Sancta Civitas. It discusses the influence of modernism on his music and the presence of romantic elements in his compositions. The article also provides insight into the composer's personal experiences during the war and his efforts to revive his career afterwards. Additionally, it discusses the musical relationship between composers Holst and Vaughan Williams in the early 1920s, highlighting their exploration of Christian themes in their choral works. The article explores the concept of modernism and Neo-Romanticism in music, emphasizing the diverse range of musical expressions in Vaughan Williams's work. It specifically examines the structure and themes present in the oratorio Sancta Civitas, highlighting the use of tonal stability and instability, as well as the representation of grief and mourning in the music. The article concludes by discussing the reception of Sancta Civitas in the early 20th century and its reflection of Vaughan Williams's belief in a better world. [Extracted from the article]

The present situation urgently calls for the multifaceted studies of Russophone literature against war. The authors of the following essays develop their inquiry through the following questions: How does the relationship with the notion of the enemy shape the war poetry of Boris Slutskii and Ian Satunovskii? To what extent can the war poetry of the latter be seen as a matrix of his biographic narrative construction, especially considering that Satunovskii's lyrical subject is shattered, stuttering, de-language/d? How does today's popular poetry of protest differ from today's avant-garde poetics? What are the differences between their means of expression, address, and foci? All of these studies seek to explore the anti-war position in modernist poetry that has been developed through drastically different means, yet the general purpose is aptly formulated by one of our authors as "to bear witness and respond to the ongoing atrocities and destruction." [ABSTRACT FROM AUTHOR]

The article provides a comparative analysis of how two key poets, Boris Slutskii and Ian Satunovskii, responded to World War II, in which they both fought, in the poems written at the front or shortly thereafter. Via Lydia Ginzburg's notion of the deductive and inductive modes in lyric poetry, the article reveals how Slutskii and Satunovskii approach the figure of the enemy and shuttle between particulars and the universal in their verse. Dissimilar in their life choices (official for Slutskii and underground for Satunovskii), they share an aesthetic kinship, with Slutskii pressing harder toward generalizations, often radically revisionist, and Satunovskii insisting on the particulars and aphoristic fragmentariness. Both poets resist the grandiose and odic in figuring out how to navigate between the collective, personal, and intimate in confronting the catastrophe. [ABSTRACT FROM AUTHOR]

Sara Teasdale is an American lyric poet who produced collections of poetry in romance, melancholy and unrequited love. However, she left a mark in World War II poetry. Her famous poem ―There Will Come Soft Rains‖ is her most famous work in that genre. It is popular to this day because of Ray Bradbury, the famous science fiction writer. It inspired a short story of his, making Sara Teasdale's poem the groundwork of a totally different genre. This paper will explore the poem, the short story and how both are linked together through themes of war, destruction and the power of nature. [ABSTRACT FROM AUTHOR]

Buddhist fund-raising poetry lays at the intersection of literary arts, religious meaning making, and economic exchange. A twelfth-century woodblock print of Venerable Miaozhan's Gāthā 妙湛和尚偈頌 contains 180 previously lost poems by the Chan master Miaozhan Sihui 妙湛思慧 (1071–1145). Neither Venerable Miaozhan's Gāthā nor Miaozhan himself have previously been studied, likely because this rare text was in private collections until recently. Unusually, most of his poems are about fund-raising. This article introduces the text of Venerable Miaozhan's Gāthā and its author, as well as the social networks encoded in his poems. Then, I focus on verses about fund-raising, economic exchange, and the role of tea in donations. Socioeconomic changes after war, the economic practices of monastery estates, and fund-raising instructions in ritual handbooks all provide contexts that partially explain Miaozhan's fund-raising poetry. I interpret Miaozhan's fund-raising poems as a religioliterary technology that circulated into the world where it could participate in the fashioning of religious meaning amid economic relationships between the monastery and its patrons. [ABSTRACT FROM AUTHOR]

By creating and perversely analyzing a poem entitled "We scream and create so that the darkness does not prevail," the author enters a personal journey as a "wordsmith" and observes her experience and understanding of the world affected by the war in Ukraine. The poem uses images and narrative techniques to trigger complex emotional states in the reader, encouraging them to confront violence, resistance, struggle, and conflict in the context of the war in Ukraine. [ABSTRACT FROM AUTHOR]

The article informs about Jahan Ramazani's book "Poetry in a Global Age," emphasizing its significant contribution in calling for the study of poetry within a world literature model that respects linguistic specificity. Topic include the critique, however, raises questions about the book's applicability from a Central European perspective, where English's cultural influence has been less decisive, and suggests a need for a more nuanced consideration of global perspectives in poetry studies.

Turning to the First World War patriotic narrative of "for ever England," epitomised by Rupert Brooke and his writing as the point of departure, this paper investigates 21st century commemorative women's poetry written during the First World War centenary years and its subversive interaction with this traditional war narrative. This article argues that while the public discourse on war memory often turned to the idea of a "shared past" between the UK and former colonies, thus "sanitising" the history of colonial violence (as argued by Santanu Das), poems by Yrsa Daley-Ward, Malika Booker, Imtiaz Dharker, and Jenny Lewis written for commemorative anthologies effectively de-colonise the narrative(s) of the First World War by opening up the space for new voices and construing the image of England beyond "for ever England" in its relation to other spaces and other wars. [ABSTRACT FROM AUTHOR]

The Arab society led a nomadic life shaped by the desert climate during the Age of Ignorance, under the dominance of tribalism and factionalism. The life style lived was also reflected in the poetry, and tribal-oriented poems, in which desert depictions were dominant, were written. The widespread religious belief of the time was paganism, and the prevalence of customs and traditions that triggered moral deterioration were influential in the understanding of poetry of the period. With the advent of Islam, significant changes have occurred in the way of life of the society. Tribalism and factionalism, perverted customs and traditions were put to an end. With the some restrictions brought by Islam, the poems dealing with subjects such as pleasure, entertainment and alcohol have decreased. The wars that already existed between the tribes increased as a result of the policy of conquest, and the topics that the poets dealt with were mostly aimed at accelerating the spread of the new religion.While it is expected that the poetry of the Umayyad period, which is the subject of our study, will be complementary to the Sadru'l-Islam period, the opposite picture has been encountered. While it is expected that the poetry of the Umayyad period, which is the subject of our study, will be complementary to the Sadru’l-Islam period, the opposite picture has been encountered. The first political turmoil that started during the reign of Hz. Osman led to major events later on. The developments have also affected poetry, and new types of poetry have been added to the ongoing poetry genres since ignorance. In our study, the political, social and religious structure of the Umayyad period will be mentioned, and information will be given about the poetry types of the period by establishing a connection through the effect of this structure on poetry types. Then, information will be given about the biographies and works of the poets of the period and the evaluation of the period will be made. [ABSTRACT FROM AUTHOR]

The tradition of minstrel, which was based on the kam-shamans and underwent a socio-cultural change process from the acceptance of Islam to the 16th century, left its place to the tradition of "minstrel" after this process. This tradition, which raised many powerful names, brought an important lover like Erkiletli Âşık Hasan to our literature and culture in Anatolia at the end of the eighteenth century and the beginning of the nineteenth century. The fact that the poems of the minstrel, who performed in the oral culture environment, were taken away by an officer during the wars, limited the comments about his place in the tradition. Despite the fact that he defeated one of the powerful names of the period, Develili Seyrani, by quarreling with him and became his master, the name and poems of the minstrel did not become widespread for this reason. So much so that although he is the performer of the song "Erkilet Güzeli", which is frequently heard in electronic cultural environments and sung by many artists, this song has been recorded anonymously. In this article, the place of Âşık Hasan, whose name is not heard and mentioned much, but who is accepted as one of the master minstrels of his time, in the tradition and his influence on the Kayseri minstrel tradition are emphasized. Other minstrels and classical period poets that he influenced and were influenced by were determined. In this direction, the issues affecting the love of Erkiletli Âşık Hasan and the socio-cultural environments he was in were discussed. [ABSTRACT FROM AUTHOR]

In this study, the concept of resistance in the Ashurai poems of Yazd is investigated using descriptive-analytical and testimonial methods with the aim of interpreting the content of the Ashurai poems in the context of epics and mysticism. In the Ashurai poems of Yazd, the aesthetic and artistic aspects are so intertwined with the content of the poems and the beliefs of the composers that it is considered a turning point in the expansion of the expression of the concepts of resistance and the spread of this type of message. The ritual poet of Yazd clearly states the thoughts and concepts that exist in the culture and school of martyrdom by mixing both the Persian literary language and the common language of the people and also using local literature. The achievement of this process has caused that beyond the thematic commonalities of Ashura poems, the concept of resistance in the two axes of epic and mysticism have become the adornment of these types of poems and a new chapter in the fabric of this category of poems has emerged by using these two elements. Thus, the Ashurai poems teach mankind different values and anthropological lessons using an aura of epic and mysticism through the window of emotions and sorrow. It is obvious that the connection of Ashura's emotion, mysticism, and epic with resistance thoughts has led to the enrichment and elevation of ritual poetry, the explanation of Ashura's philosophy, the literature of the front and war, and the expansion of Persian poetry. [ABSTRACT FROM AUTHOR]

In this article, I investigate how Shadi Angelina Bazeghi writes about the Iran-Iraq War in her poetry collection Flowmatic (2020). Bazeghi assembles several different kinds of texts in Flowmatic, and one of these texts is a testimony by an Iranian soldier-engineer who worked as a programmer setting up at system to identify the bodies and body parts of fallen Iranian soldiers. Both the words of the soldier's testimony and the act of programming and data processing have found their way into the poem; as appropriated text and as the poem's overarching aesthetic mode. Using the soldier's witness account as a prism, I will look at three aspects of the poetry collection: 1) how the testimony is appropriated, 2) how Bazeghi is witnessing though appropriation, and 3) how she writes about war from a feminine point of view. I argue that Bazeghi through the evasive aesthetics and the heightened appropriation in Flowmatic challenges how women can witness and write about war. [ABSTRACT FROM AUTHOR]

For over a century, historians and literary critics appear to have been at odds regarding the poetry of the First World War. This schism owes itself to processes of canonization which restrict (in Britain) or completely ignore (in France) the full extent and diversity of wartime poetic practices. Investigating a new corpus of French poets of the First World War, and considering poetry as a social and cultural category and as a wartime practice whose functions go beyond literary value, this article argues that war poets can be read as ethnographers of wartime culture. In proposing this analogy, it aims to present the ethnographic conventions as a common ground where History and Poetics can establish a dialogue. For scholars aiming to investigate how cultural production shapes experiences of armed conflict, this ensures poets are seen as the producers of interpretive knowledge of war and poems as more than either transparent documents or hermetic lyrical creations. [ABSTRACT FROM AUTHOR]

Copyright of Larq Journal for Philosophy, Linguistics & Social Sciences 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.)

War poetry of the 20th century in many cases implies a voice for peace. Gheysar Aminpour (1959-2007) and Wilfred Owen (1893-1918), famous war poets of this century, were selected for this comparative study, which using a descriptive analytical method focuses on the existence or non-existence of the voice of peace in the two poets' war poetry based on American School of comparative literature. To this end, ninety-five war poems of each poet were initially reviewed. Then, thirteen poems of each poet were chosen. Finally, four poems with the highest degree of relevance to the voice of peace were selected. The findings show that both poets call for peace in different ways. That is, lyric speakers in Aminpour directly call for peace while those of Owen, through depicting the calamities and horrors of war, indirectly address the unconscious of the readers. The findings of the research can be used in comparative studies with emphasis on hidden themes in war prose and poetry that should be unearthed. [ABSTRACT FROM AUTHOR]

Poetry and History: the Literary Beginnings of Ignác Cornova This text considers the early creative output of Ignác Cornova, in particular his lesserknown odes and his war poetry. It draws on contemporary research of the latter third of the 18th century focussing on the dynamic social change of the period, the transformation of the media, the emergence of a modern ‘public’, and changing perceptions of artistic as opposed to educational output. One of the difficulties of conceptualizing this period is the existence of two opposing trends – the older ‘Baroque’ tradition and the more ‘modern’ currents of the future national movement. Our text largely obviates this dichotomy by proposing a framework in which Cornova’s oeuvre is seen as evidence of an idiosyncratic cultural situation with its own features and markers. The aim of our study is to place Cornova’s early works within the literary context of his time – a context hard to appreciate today. We are not looking for the ‘future’ Cornova in those beginnings, nor the ‘embryos’ of his later development. Rather, we hope to rehabilitate the literary context in the Czech lands in the 1770s and 1780s as it veered between late Baroque odes, war reportage, and enlightenment patriotism. Alongside Cornova we consider now forgotten figures such as Vojtěch Koťara, Michael Denis, Johann Joseph Eberle and Václav Thám. The result is not a group biography, but rather a problem analysis of one segment of a period that defies unequivocal definition.

The article explores the haunting voices in Thomas Hardy's Boer War poetry. It examines Hardy's interrogation of military campaign through voices in the departure of troops at the outbreak of the Boer War, the influence of the Crimean War in his poetry, depiction of the scenes of London, England and the death of the drummer boy, and the use of dactylic sound and sense of the word drearily to counter the seductive sound of patriotic and warlike poetry.

Copyright of Journal of Language & Literature Studies is the property of Turkiye Dil ve Edebiyat Dernegi 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 Knjiženstvo is the property of University of Belgrade, Faculty of Philology 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.)

Introduction: As a result of the revolution and the war, Persian poetry underwent changes that mainly occurred in the field of meaning and themes. However, also in the field of images, the poetry of these poets has differences compared to the poetry before the revolution. In this research, the authors investigate the influence of the Islamic Revolution and war on the change of the network of images in Nimai's poetry by examining the imagery of Nimai's poetry after the revolution and its constituent elements. Methodology: The current research was done with a descriptive-analytical approach and library method. In this method, the researcher, in addition to familiarizing himself with the research problem, describes and explains the reasons for how and why the situation of the problem and its dimensions. Discussion: In Nimai's poems of revolution poets, since message delivery is the priority, the use of imagery is more limited. On the other hand, the imagery used in Nimai's poem of the Revolution is more at the service of thought than it wants to be considered an independent thing that creativity revolves around. One of the obvious characteristics in the depictions of revolution and war literature is its simplicity and transparency. The requirement of the principles of rhetoric was that in these poems, images and artistic structures are used so that their meaning can be understood quickly and easily; Because the audience of this type of poetry were ordinary people. Also, another feature of Nimai's poetry has a faint presence in the new poems of the poets of the revolution, and that is poetic ambiguity and the possibility of multiple meanings in the poem. One of the other basic features in Nimai's poem of the revolution is the lack of elements of romantic imagery in it. It seems that the socialpolitical excitements and the war-torn atmosphere of those years in those years did not allow romance. In their imagery, poets of the revolution use new issues and themes in the content of their imageries, which has a significant frequency in their images. These new elements include the following: 1. Elements related to light and illumination: The event of the revolution in the eyes of the poets was like the sunrise and the morning that happened after a cold night; 2. Elements related to growth: In the opinion of the revolutionary poets, the Islamic Revolution was a harbinger of growth and a season of prosperity. 3. The everyday issues of the lower classes: In the depictions of these poets, we see elements that exist in the lives of the deprived classes of the society. 4. Religious elements: Religious elements play a significant role in the images of poets of the revolution. 5. War: the revolutionary poets' addressing of war introduced new themes and images into Persian poetry. Another issue that should be paid attention to when examining poetic images is the issue of color and the poet's use of this element. In the reviewed collections, there is a perfect harmony between the frequency of the colors used and the elements of illustration that we have already mentioned. Conclusion: Imagery, as one of the most important elements of poetry in Nimai's poetry of the revolution, has had different appearances than before. The poet uses poetic and rhetorical artistic device forms in a way that is familiar to the audience. Images, along with the literary and aesthetic aspect, mainly serve ideological ideas and thoughts. The image-creating elements in these poems have often undergone changes under the influence of the atmosphere of the same era. Finally, it should be said that the influence of the Islamic revolution on Nimai's poetry can be traced in addition to changing the topics and themes of the poems in the field of Imagery, and this issue indicates that the revolutions and socio-political events that cause changes in the styles and types of poetry, only affect the content field of the poems. They do not change, but they also make fundamental changes in the images and the chain of images. [ABSTRACT FROM AUTHOR]

The article reflects on the evolution of the periodical from its inception in 1989 to its 2023 status as a leading journal, highlighting its growth from a modest publication to a prominent international platform for exploring the intersections of war, literature, and the arts. Topics include the journal's early expansion, its pivotal role in hosting conferences and lectures, and its impact on the literary and artistic community.

Copyright of Art Inquiry is the property of Lodz Scientific Society / Lodzkie Towarzystwo Naukowe 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 19th-century Swahili poet Muyaka bin Haji al-Ghassaniy composed several poems in opposition to the Omani Empire’s invasion of his native Mombasa. In this paper, I focus on one such poem, “Ngoma ya Kizungup’ia”, which has not been studied as comprehensively as many others. I unpack the cultural, choreographic, and poetic significance of the kiumbizi dance form, which serves as one of its central tropes. In light of Muyaka’s poetic invocation of this dance and the historical, political and performative context of 19th-century Swahili war poetry, I apply the rhetorical and literary framework of Signifyin(g) to gain a deeper understanding of the political intentions and poetic execution of Muyaka’s resistance poetry, as distinguished contextually and ideologically from his earlier war dialogue poems. Finally, I reflect on my own experience translating the poem into English using methods of creative transposition, and conclude that the inextricability of the poem's hermeneutic and poetic values renders it especially difficult to translate. [ABSTRACT FROM AUTHOR]

Copyright of Lituanistica is the property of Lithuanian Academy of Sciences Publishers 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.)

A literary criticism recounts the author's participation in the Museum of Motherhood Annual Conference, highlighting diverse presentations on motherhood, matriarchy, and reproductive landscapes. Topics include discussions on motherhood in Second Wave feminism, performances exploring matrescence, and presentations on breastfeeding as a form of cultural transgression during lockdown.