The Shaping of Gary Snyder's Ecological Consciousness

The proposed scientific work represents the main research results concerning the development of a person’s environmental consciousness at adolescence in the context of the studied system of adolescents’ attitudes to the World. Ecological consciousness is considered as a subjective reflection of the personal, social and natural environment, as a single indivisible human World, which manifests itself in ecologically directed (eco-centric) human behaviour. An individual’s attitudes are understood as active, conscious, integral, selective and based on experience relations of the individual with different aspects of reality, which exist in the form of a single system.The World basic elements are revealed through the development of environmental consciousness at the level of the personal, social and natural spheres of a personality and reflect the system of relations, respectively, to oneself, to others and to the nature. Moreover, the World itself is indivisible and united.Environmental consciousness is described as a complex system, having two subsystems: the structural components of ecological consciousness and an individual’s attitudes to the World. The main structural components of environmental consciousness are cognitive, emotive, value-semantic, consumer-motivational and conative. The elements of an adolescent’s single indivisible World are its personal, social and natural spheres. Within the framework of the personal world, environmental consciousness is determined as attitudes towards oneself, social consciousness means attitudes towards others, and natural consciousness means attitudes towards the nature.Adolescents’ personal sphere is determined by their attitudes to Self, to thoughts, emotions, values ​​and needs, formed in their families and internalized into their inner picture of the World. The development of the environmental consciousness components at the level of the personal sphere is based on the development of reflection, critical thinking, as well as a reassessment of values.Adolescents’ social sphere is expressed through a system of relations and interpersonal interactions. The development of the environmental consciousness components at the social level is based on the formation of their sense of maturity and self-affirmation in a group of peers. Adolescents’ natural sphere of the World is determined by the pragmatism of relations to the animate and inanimate nature, and the development of the environmental consciousness components is based on socially significant activities in relation to the nature.The empirical study of adolescents’ attitudes to people, the nature and themselves has revealed the declining hierarchical sequence of adolescents’ attitudes to the World. In particular, the social world — the world of others and interactions with them — is the most significant for adolescents. The least significant for adolescents is the nature. Adolescents’ attitudes to themselves – their personal world – create intermediate link of the significance hierarchy.

Meeting the Muse:Teaching Contemporary Poetry by Teaching Poetry Writing William Greenway (bio) and Betty Greenway (bio) When William Stafford is asked when he started writing poetry, his response is always, "When did you stop?" Pretty young, by all accounts. In Children's Poetry Preferences: A National Survey of Upper Elementary Grades, Ann Terry has studied not only children's preferences but also their feelings about poetry. She has found, not surprisingly, that student preferences in poetry tend to the rhymed, the repetitive, the metered or rhythmical. Children like haiku and free verse the least. They're attracted to the funny, the upbeat, the playful, and put off somewhat by the serious, the less structured. She has also found that as elementary students get older, their enjoyment of poetry diminishes. Why? Is it because they get other interests, or because they lose their inherent appreciation for language play? Or could it be because, though they are changing, the kind of poetry they are given does not? There seems to be a contradiction here—though they like rhymed verse better, even while liking it, they outgrow it and begin to think poetry is babyish. As children, we do prefer rhyme and strong rhythms, and yet the stereotype of poetry we have as adults is that it's all rills and daffodils, perhaps the very thing that attracted us to it in the first place. At the same time that we seem to prefer rhymed, metered poetry, we are beginning to ridicule it. We may be teaching students the poetry they like as children, but not the poetry they'll like as adults. The causal relationship between student preferences and teaching is also troubling. Do students like rhymed, metered poetry because that is what is most often presented and dislike free verse because it is not given a fair presentation, perhaps because teachers themselves don't feel comfortable with it? While children should be exposed to all kinds of poetry, an exclusive diet of rhymed and metered poetry can instill a mindset that can be dangerous, especially if that kind of poetry doesn't "grow" with the student. We're not suggesting that rhymed poetry not be taught or that free verse be emphasized; we're only suggesting that teachers make a special effort to give free verse, especially contemporary free verse, a chance in the classroom because it may be a more durable poetry to read as students grow, and may better answer their need to write poetry as they mature. There was once an article in the London Times that suggested that cat owners not "pull a face" when opening a can of cat food that smelled especially bad, because that would influence the cat's preference for the food. We're suggesting teachers try not to "pull a face," no matter how slight or even subconscious, when dealing with contemporary free verse. And how nice it would be if they really liked it. In poetry writing workshops that emphasize the writing of free verse, many teachers, even eighty years after Ezra Pound introduced imagistic free verse to the world, are often skeptical that there is anything in it, that it's not an elaborate hoax. It approaches too closely, perhaps, to the poetry in contemporary magazines that no one reads or understands, and is too unlike the comforting nursery rhymes and narrative verse of our childhood. It might seem formless (Robert Frost called it playing tennis with the net down), pointless, and unnecessarily obscure. Perhaps it seems not as teachable as more traditional forms. But it is. We'd like to make a sales pitch on the benefits of teaching free verse writing as a way of developing an appreciation in the student for contemporary poetry. When children are born and start learning to talk, before anyone tells them that language is one thing, and should be used a certain way, children naturally play with it. They think it's fun, amuse themselves, make jokes, are delighted when language seems to make its own jokes, skip rope to it, and generally treat language as the pliable thing it is. They seem to know intuitively the wisdom of Humpty Dumpty...

Since its emergence in 1970 up to the present time with its different versions, metrical theory has been used and applied to different texts in different languages. However, Bruce Hayes's parametric metrical theory has been proved to be universal through its application to the word and phrasal levels of many languages. By the metrical grids and a number of principles and parameters of this theory, the rhythmic pattern of stressed syllables, feet, words, and phrases can be demonstrated. The present study aims at answering the question of whether the parametric metrical theory can be applied to show the rhythmic structure of haiku poems. A haiku is a poem that descends from the Japanese poetry with three lines in 5-7-5- syllables respectively and mostly talks about a moment in nature. Many of the English poets started to write poems in a traditional haiku form. Some others, however, made some modifications with different numbers of lines and/or syllables. This study analyzes four haiku poems according to the parametric metrical theory, two of which are written by the American poet Ezra Pound in a modified haiku form, and the other two are written by the Canadian American poet Bruce Ross in the traditional form. To sum up, the theory proved its applicability in showing how the horizontal rhythm of the haiku lines can be demonstrated through the metrical grids via the stress alternation in each line and by the application of some metrical rules.

Modernizing the Mikado: Japan, Japanism and the Limitations of the Avant-garde

B o o k R e v i e w s Sustainable Poetry: Four American Ecopoets. By Leonard M. Scigaj. Lexington: University Press of Kentucky, 1999. 336 pages, $34.95. Reviewed by John P. O’Grady Allegheny College Here is an unusual book of literary criticism. It urges readers to distinguish between two kinds of poetry in order to set the stage for an epic intellectual and aesthetic battle. On the one side, we have “ecopoetry,” a form that Leonard Scigaj believes sustains the environment. Such poetry, according to the dust jacket, is characterized by its insistence that “the interests of humans be balanced with the needs of nature.” Scigaj’s ecopoets are A. R. Ammons, Wendell Berry, W. S. Merwin, and Gary Snyder. These are the good guys. On the other side is “unsustainable poetry,” or, as Scigaj likes to call it, “establish' ment poetry.” This form ofverse “systematically naturalizes nature into reliably benign, National Park landscapes and regularly sanitizes the text by systemat­ ically editing out specific social and economic concerns, while restricting interest to aesthetics and language theory” (79). Representative figures in this camp are Jorie Graham and Robert Hass. Call them the bad guys. Sustainable Poetry then reads like an ecocritical psychomachia. Sort of. As much as a brawling Roberta Lavadour. THE ART OF ANGLING. 1999. Photograph of “Artist’s Book.” 5" x 6". Courtesy of the artist. The cover is composed of hand­ made paper and the book contains an extended passage from Izaak Walton’s The Compleat Angler (1678). B o o k R e v ie w s 3 0 5 knock-down, drag-out between the forces of good and evil can drive the plot in medieval allegories and Hollywood movies, it is a risky strategy for literary criticism, especially when Robert Hass (or his writing) is cast as a villain. Don’t get me wrong; there is much to admire about Sustainable Poetry, not the least of which are its author’s erudition and passion for his subject. This book makes a valiant attempt to press further into the philosophical territory opened up by David Abram in The Spell of the Sensuous (1996). Scigaj has ren­ dered ecocriticism a noble service by immersing himself in the philosophy of phenomenology to see what it might offer environmental literary studies. After all, the dirty little secret is that ecocriticism, since its inception, has been want­ ing a sound philosophical base from which it might offer a genuine critique rather than merely pan through literary texts for ideological gold. The first two chapters of Sustainable Poetry are a well-researched, albeit densely written, endeavor to establish a philosophically informed ecocriticism. Unfortunately, when Scigaj resorts to dubious coinages such as “référance”— a cognitive process he says “turns the reader’s gaze toward an apprehension of the cyclic processes of wild nature after a self-reflexive recognition of the limits (the sous rature) of language”— to explain how ecopoetry works, I for one am at a loss to gauge the success of his project (38). I need a field guide so I can identify this “référance” when I encounter it in a poem, if not out there in nature itself; this book does not provide it. And when I read a sentence like “For ecopoets language is an instrument that the poet continually refurbishes to articulate his originary experience in nature,” I begin to wonder if anything is being said at all (29). The analyses that follow— contained in long chapters devoted to the work of each of the four ecopoets— add little to the theorizing that precedes them. Scigaj’s prose, despite his effort to read these authors through the freshground lens of “sustainability,” only darkens and obscures what others agree is some of the clearest and most accessible poetry written by Americans in the last fifty years. Ezra Pound once quipped that poetry ought to be at least as well written as prose; the same could be said of literary criticism. If, however, the reader already has a fondness for any of these ecopoets, some delight is to be had in revisiting their words through Scigaj’s book, as when...

1 8 0 Y P O E T R Y I N R E V I E W S T E P H E N Y E N S E R Some contrivances can be light, tentative, airy, and immediate enough that they hardly seem contrivances. Think not of Joseph Cornell’s boxes themselves but of those boxes as rendered by Octavio Paz’s ‘‘Objetos y Apariciones’’ – or indeed by Elizabeth Bishop in her wizard translation of Paz’s eulogy. Consider the last stanzas, their ‘‘monuments to every moment’’: A comb is a harp strummed by the glance of a little girl born dumb. The reflector of the inner eye scatters the spectacle: God all alone above an extinct world. The apparitions are manifest, their bodies weigh less than light, lasting as long as this phrase lasts. Fa r - Fe t c h e d , by Devin Johnston (Farrar, Straus and Giroux, 77 pages, $23.00) 1 8 1 R Joseph Cornell: inside your boxes my words become visible for a moment. Much of the e√ect is sonic: comb – strummed – dumb; or sonic and semantic at once: manifest – less – light – lasting – long – lasts. And much of it is the work simply of connotation: glance – inner eye – spectacle – light – visible. These lines might seem as much the product of whim and accident as of purpose and intent. And maybe they are. The kind of verse I have in mind gives the illusion of accommodating accidents and hints, guesses, innuendoes and echoes, hints and intimations. Its implications call their own existence into doubt, they are so subtly present. If they were material, its stanzas might be gossamer and bits of lichen, thread, and thistledown stuck together with hummingbird spittle. The bougainvillea bract that seems a dwarf moth suspended in still air and turning as on angels’ breaths hangs from such a wisp of web as might be used in these ghosts of nests. Words can make such things, perhaps. Mallarmé thought so. Others besides Mallarmé and Bishop have given us examples: Wallace Stevens in certain moods, James Merrill in his symbolist mode, Ezra Pound here and there, and Pound’s protégé Basil Bunting – and others back at least as far as the troubadours, writers of trobar clus and trobar ric (‘‘closed’’ and ‘‘rich’’ poetry), verses so oblique and recherché that their readers had to be connoisseurs. Devin Johnston composes poems in that tradition – or that vein. Not always, but often enough to be identified as a descendant of William of Aquitaine, the Troubadour, and none of Johnston’s work is untouched by the mode. In fact, his ‘‘New Song,’’ one of the poems in Far-Fetched, his fourth slim volume of verse, derives from William’s poem beginning ‘‘Ab la douzor del temps novel,’’ and while his version is not as arcane as some troubadour verse, its opening stanza insinuates a relationship: As sweetness flows through these new days the woods leaf out, and songbirds phrase in neumes of roosted melody incipits to a new song. That love should find lubricity and quicken, having slept so long. 1 8 2 Y E N S E R Y Johnston’s logophilia, evident here in ‘‘neumes’’ and ‘‘incipits’’ and the etymology of ‘‘lubricity’’ (which looks back to ‘‘flows’’ in the first line), comports with trobar ric and to some degree undercuts with a nice irony the poem’s concluding stanza: I hate the elevated talk that disregards both root and stalk and sets insipid pride above vicissitudes of love and strife. Let others claim a higher love: we’ve got the bread, we’ve got the knife. At the same time that he disavows ‘‘elevated talk,’’ his sly reference back to the ‘‘root’’ of ‘‘lubricity’’ and his witty echo of ‘‘incipits’’ in ‘‘insipid’’ and ‘‘vicissitudes’’ prove his fondness for heightened speech and refined style, as does the paradox itself. This ‘‘New Song’’ is in more than one sense an old song. So it is that we get a rendition of Horace (‘‘Sailing under Storm’’ is a seductively homespun translation of Odes, I.14, ‘‘O navis, referent in mare’’), and ‘‘Two from Catullus’’ (one stems from number 7, ‘‘Quaeris, quot...

FOR US RAISED IN the tradition of English poetry, especially that of the Romantics and Victorians, poetry is words moving across and down the page in precise line formation, all in well measured feet, falling to recurrent echoing sounds. Such poetry, composed in the head, after much magic inspiration, is set down by hand on paper, and directed at the eye that reads it. Perhaps, more than ever before, it has become a phenomenon determined by punctuation and stress, so that a passage that was prose before, by careful typographical re-arrangement and manipulation of stops and points of stress, emerges a glorious poem. A recent famous case that immediately comes to mind is that of the veteran Scottish poet Hugh MacDiarmid creating his poem Perfect by uncannily chopping up a prose passage from the collection of short stories The Blue Bed by the comparatively unknown Glyn Jones. In case you think I am teasing, let me quote the piece that for over twenty years has been praised by professors and critics as the perfect Imagist poem Ezra Pound and others did not write but which in fact is a prose passage taken word for word from a short story:

In the last years of the 20th century, David W. Orr (1994) wrote that “all education is environmental”. A decade earlier, Hans Jonas (1984) had called upon humanity to embrace its ethical responsibility to safeguard the planet for future generations. Maxine Greene (1997) emphasized the notion of teaching as possibility and the role of teachers to “confront the dread and keep alive the sense of a possible happiness”. Nel Noddings (2016) advocated for a pedagogy of care and trust. Gregory Cajete (1994), Cajete (2015)) and Melissa Nelson (2008) highlighted the interconnectedness of Indigenous knowledge and environmental stewardship. Gert Biesta (2021) pointed to the “missing dimension” in education, stressing that the essential question is “what learners will do with what they have learned”. These foundational ideas align with a growing movement in the philosophy of education that seeks to "ecologize" its principles by re-examining fundamental assumptions about the relationship between philosophy, education, and the environment. (Affifi et al. 2017, Humphreys and Blenkinsop 2017, Stratford 2019, Fang et al. 2023). In Bulgarian high schools, students from 8th to 12th grade take weekly philosophy and civic education classes, which contribute to the development of their thinking skills, help them understand their personal experiences, and build them as individuals (Vardjiiska 2011). These classes can become an exciting adventure that provides the opportunity to implement new teaching and learning techniques (Gerdjikov 2019). The Bulgarian curricula recommend establishing interdisciplinary connections, but it is essential for the teacher to consciously and consistently strive to implement them. Philosophy and civic education classes can be a place to discuss connections between disciplines and especially their real-world interactions. Because the most effective way of explaining the value of philosophy is to show that it could be useful outside the classroom (Elchinov and Nikolova 2017). This study explores why philosophy teachers should integrate discussions on urgent environmental themes into their curricula and how they can effectively do so to stimulate students’ ecological consciousness. The author suggests that philosophy and civic education classrooms have the potential to become spaces for critical reflection on socio-ecological challenges. The hypothesis is that even a short, adaptable five-lesson model can empower philosophy teachers in Bulgarian high schools to begin integrating environmental themes into their practice, positioning them as catalysts for socio-ecological transformation in education. This approach advocates for a bottom-up systemic change, equipping educators with the tools to enhance students’ ecological awareness and their ability to critically analyze global environmental challenges. Such skills are essential for future citizens of our planet tasked with ensuring sustainable living conditions on Earth and safeguarding the continuity of civilization. As James Lovelock (2019) envisioned: "We can do something to save ourselves by learning to think". Drawing on interdisciplinary perspectives, this research presents a five-lesson model designed to foster philosophical inquiry and environmental awareness. The model incorporates discussions, project-based learning, and critical engagement with ecological issues. Additionally, it involves the use of Large Language Models (LLMs) by the students to stimulate their curiosity, test ethical scenarios, and support interdisciplinary exploration, while also encouraging reflection on potential biases in AI-generated narratives about environmental problems, their causes, consequences, and solutions (Van Der Ven et al. 2025). The suggested educational programming draws inspiration also from the ideas and outcomes of effective practices (Stevenson et al. 2013) аnd benefits from the expertise of philosophy educators in high-schools. Teacher agency is discussed, as well as the cultures, structures and relationships that shape the particular ‘ecologies’ within which teachers work (Priestley et al. 2018). By bridging traditional philosophy and ethics with educational practice, this research explores the intersection of philosophical education and ecology, underscoring the critical role of teacher agency in addressing urgent environmental issues. The suggested five-lesson model aims to foster ecological consciousness in philosophy classes and to promote 21st century education with Earth in mind.

This essay explores the relationship between a human body and a particular geographic place: a former Danish gravel pit that was recently turned into a recreational area. Through a sensory-based, auto-ethnographic approach inspired by a/r/tographic fieldwork and living inquiry, the author experiments with how she can craft connections between her moving body and the former pit; understood not as a landscape, but as Land. The essay intertwines the author’s personal experiences with the history, geology and ecology of Danish industrial landscapes around the city of Roskilde, where the she lives. Following theories of Jean-Luc Nancy (The ground of the image. Fordham University Press, 2005) and Timothy Morton (Hyperobjects: Philosophy and ecology after the end of the world, University of Minnesota Press, 2013 and Dark ecology: For a logic of future coexistence, Columbia University Press, 2016), the discussion connects anthropocene understandings of ´deep time´ with concrete sensory experiences. By relating to temporality formats that are not limited by human senses and the human lifespan, new directions are given to aesthetic relationships between human and more-than-human forms of being. Structurally, the text alternates between short auto-ethnographic narratives, text-based studies, photos and a short film. In the concluding section, it offers four “propositions” developed by the author. The propositions serve for working pedagogically with ecological awareness in sustainability art education by crafting different ways of embracing and being embraced by a place or a site.KeywordsLandEcological awarenessSensory experienceAesthetic educationIndustrial landscape

This research determines and measures factors affecting the consumption of organic products among older adolescents in Lithuania. Previous studies discuss factors were grouped into personal and functional factors according to their impact on the attitude of ecologically conscious older adolescents. Personal factors are explained as the user's personal experience, internal qualities, and personality traits. The study showed that consumers' positive attitude towards organic products is shaped by consumers' personal motivation and available ecological knowledge. Consumers' ecological knowledge is also considered to be one of the essential factors in shaping the positive attitude of ecologically conscious consumers towards organic products. As society faces ecological challenges and searches for solutions to the problem, environmental friendliness and ecologically conscious consumers are increasingly emphasized. Consumers are encouraged to change their attitude towards organic products and to change their purchasing behaviour. However, it is noticeable that emphasizing ecological problems and increasing the assortment of organic products does not encourage consumers to change their consumption habits and purchasing behaviour, therefore, in order to understand what motivates consumers to use organic products, researchers began to analyse the factors that determine the consumption of organic products. Based on recent literature review in this area, three main factors were identified for detailed analysis in this research, which includes ecological awareness, ecological concern, and social norms of older adolescence in Lithuania. Based on the literature review discussion, this research formulates the following objectives and hypotheses for empirical analysis. Using a survey research methodology, data were collected from adolescence across Lithuania and 421 samples were finalized for analysis upon data cleaning and validation. Data was analysed using SPSS software for descriptive analysis and hypothesis testing. Result reveal that both ecological awareness and ecological concerns of older adolescents in Lithuania are strong predictors of their intention to purchase organic products. While personal norms though had some association in descriptive analysis with purchase behaviour, did not show statistical significance in impacting organic products purchase intention. Therefore, the concept of ecologically conscious adolescents consists of the consumer's ecological awareness, whereby the consumer evaluates his/her needs, behaviour and its impact on the environment when purchasing products. Based on this finding it can be stated that there is an influence of the attitudes of ecologically conscious consumers on their intention to buy organic products. Therefore, future researchers may focus more on understanding factors that contribute and promote the development of ecologically conscious consumers in the country. Also it is possible to look into consumer attitudes, how they are formed and what factors lead to the formation of positive consumer attitudes.

American Haiku, Eastern Philosophies, and Modernist Poetics traces the genesis and development of haiku in Japan as it transformed over the years and eventually made its way to the Western world. Yoshinobu Hakutani analyzes the prominent Eastern philosophies expressed through haiku, such as Confucianism and Zen, and the aesthetic principles of yugen, sabi, and wabi. Hakutani discusses several reinventions of haiku, from Matsuo Basho’s transformation of the classic haiku, to Masaoka Shiki’s modernist perspectives expressing subjective thoughts and feelings, and eventually to Yone Noguchi’s introduction of haiku to the Western world through W. B. Yeats and Ezra Pound. Hakutani argues that the adoption and transformation of haiku is one of the most popular East-West artistic, cultural, and literary exchanges to have taken place in modern and postmodern times.

238 CLA JOURNAL Book Reviews Zheng, John, ed. African American Haiku: Cultural Visions. Jackson: University Press of Mississippi, 2016. 192pp. ISBN: 978-1496803030. $65.00 Hardcover. In the canon of African American literature, perhaps no form other than the novel is more studied and revered than African American poetry. The dynamic and varied poetry of Langston Hughes, Amiri Baraka, Sonia Sanchez, and Lucille Clifton are frequently anthologized, however, the haiku is one particular poetic form that is relatively understudied. African American Haiku: Cultural Visions, edited by John Zheng, brings together a diverse collection of previously-published essays on several African American writers who were most prolific and enamored with this form: Richard Wright, James Emanuel, Etheridge Knight, Sonia Sanchez, and Lenard D. Moore. In his introduction, Zheng acknowledges that this collection is not comprehensive in its scope, but is one of the first volumes devoted to an exploration of the unique contributions these poets have made to reimagining the Japanese poetic form. African American Haiku: Cultural Visions organizes each article in groups based on the author, and Zheng smartly places the more historical articles on each author first, allowing a reader who is unfamiliar with the authors to gain important cultural and literary context. Though the organization aims to introduce the reader to each author’s larger literary legacies and their reasons for embracing and reinventing the haiku form, some of the articles tread similar ground, especially in terms of biographical information.However,the efficacy of the authors’arguments and explorations is not diminished by these redundancies. For example, in the opening section on Richard Wright, both John Zheng’s “The Japanese Influence on Richard Wright’s Haiku” and Sachi Nakachi’s “Richard Wright’s Haiku, or the Poetry of Double Voice” spend the first several pages noting similar biographical information. While Zheng argues for an understanding of Wright’s haikus as “a universal search for an expression of oneness with nature,” Nakachi takes an entirely different approach, instead arguing that Wright’s fascination with haiku is “steeped in emotion and thought” and that Wright “encod[es] his social criticism between the lines,” providing a particularly illuminative discussion of the imagery of lynching in Wright’s haikus (18, 25, 33). As the collection progresses, the articles move from an exploration of each individual author’s fascination with haiku to an understanding of how all of these authors have created their own unique forms inspired by and borrowing from Japanese literature and Eastern philosophy. Yoshinobu Hakutani’s “James Emanuel’s Jazz Haiku and African American Individualism” lays the groundwork for a discussion of the confluence of haiku with African American jazz and blues—a theme revisited throughout the collection—arguing that James Emanuel, as a foundational figure in the creation of the jazz haiku form, translates both the haiku’s and jazz’s emphasis on the “effac[ing] of identity” into an exploration CLA JOURNAL 239 Book Reviews of human desire, a nontraditional subject for haiku (36). Following Hakutani’s article is Virginia Whatley Smith’s “Afro-Asian Syncretism in James Emanuel’s Postmodernist Jazz Haiku”; and, though her article in its opening paragraphs seems to be a reiteration of Hakutani’s, in her recognition of Emanuel as creator of the jazz haiku, she broadens her argument, asking her readers to understand Emanuel’s influence in a larger context of “Afro-Orientalism,” a confluence of cultural literary influences that create an elevated, cross-cultural art form (85). A particularly compelling argument presented in the volume is Claude Wilkinson’s “‘No Square Poet’s Job’: Improvisation in Etheridge Knight’s Haiku,” in which he continues the thematic exploration of jazz and blues influences in Etheridge Knight’s prison haikus and argues that Knight, through a reimagining of his incarcerated environment with natural imagery and metaphors, reinvents the haiku form’s emphasis on an understanding of oneness with nature and thus develops a“populist aesthetic”that made the haiku accessible to a broader audience (92). Wilkinson’s discussion of Knight’s work is so engaging that it does leave the reader questioning why Knight is the only author included in the volume who has only one article examining his work, especially considering the...

Drawing on the reception of Noh drama by Ezra Pound and William Butler Yeats, the article analyses both the literary and cultural ‘translations’ of this form of Japanese theatre in their works, focusing on Yeats’s play At the Hawk’s Well (1917). I conceptualize ‘cultural translation’ as the staging of relations that mark a residual cultural difference. Referred to as ‘foreignizing’ in translation theory, this method enables what Erika Fischer-Lichte has termed a ‘liminal experience’ for the audience –– an effect Yeats intended for the performance of his play. It evokes situations in which opposites collapse and new ways of acting or new combinations of symbols can be tried out. Yeats’s play will be used to sketch how an analysis of relations could serve as a general model for the study of cultural transfer as cultural translation in general. Keywords: cultural translation, translation theory, performance, William Butler Yeats, Itō Michio, Ezra Pound, At the Hawk’s Well

This book traces an American literary history of transpacific alliances which spans the 20th century. Increasing material and economic ties between the U.S. and East Asia at the end of the 19th century facilitated an imagined spiritual and aesthetic accord that bridged the Pacific, and this study reads the expression and repercussions of these links in American Orientalist and Asian American poetry. After considering both the transcendence and constraints of a structure of alliance between East and West in the introductory chapter, the first half of the study examines two key American instigators of Orientalist poetics, Ezra Pound and Gary Snyder, who imagined an identity between Eastern philosophy and idealized notions of America. Their literary alliances imposed a singular burden on Asian American poets, and the second half of the study considers a range of formal negotiations with this legacy in the poetry of Lawson Fusao Inada, Theresa Hak Kyung Cha, and Myung Mi Kim. In examining avant‐garde Asian American poetry against an American Orientalist past, this book reads the intersection of modernist and minority poetics.

Today it is told that future teachers of biology must be oriented on forming pupils’ social activity, responsibility and ecological consciousness, readiness to take part in solving problems of environment protection and society development, recognition of the importance of the stable development for future generations. The special place in the process of professional training of future teachers is occupied by the methodical competence, so the quality of learning-methodological textbooks. The problem of the educational process optimization remains in the center of modern teachers’ attention. Taking into account this fact, there were analyzed textbooks on the method of teaching natural science of the beginning of XX century (1902–1914). Let’s note that they contain texts and extra-texts components, blocks of questions, differentiated tasks for the individual and group work, complex of stimulating steps for the self-development of professional skills, formation of practical abilities and so on, topical also for today.We determined certain peculiarities as a result of the analysis. The content of the textbook, edited in 1902, was structured according to seasons and natural phenomena. For example, the topic of components of inanimate nature (soil, loam, sand, stones, gravel, gneiss) was studied in the section “Autumn”. This topic was considered in the separated section, named “Mineralogy” in the methodical textbook of 1907year. The edition of 1914 contains the separate section that deals with the laboratory method, the content of practical activities and lessons that provide laboratory works was elucidated.Let’s note that the special attention was paid to the role of nature in the human life by all three authors.We consider the analyzed textbooks as a valuable contribution to the educational sphere and important element in the process of professional training of future teachers of biology