Art Of Poetry Research Articles

Two Theories

Two Theories

The use of the arts of tazod (antithesis) and mutabaqa in mukashafatu-l-qulub

This article discusses the art of tazod, its types and places of use. The theoretical ideas cited are analyzed using examples from Abu Hamid al-Ghazali's Mukashafatu-l-qulub and certain conclusions are drawn. The author's speech is relatively less common in quotations from the words of scholars and companions, and in stories and poems. Contradictory art samples that are close in content but different in essence are also relatively less common. The art of poetry, which is called by this word, involves the creation of impressive artistic symbols, plates, using words that are contradictory in terms of meaning in the verse.

Rhetorical Analysis of Abu Al-Taib Al-Mutanabbi Selected Poems: The Case of Metaphor

In order to understand the concept of poetry, a good perception of its metaphor, the structure as well as the affiliation, would be a significant contribution for a better perception of this form of literature. This study aims to acquire an understanding of how Mutannabi describes the way of humanism in his poetry by portraying the concept of metaphors. The analogies from the representation of metaphors in his poetry are entangled with his view in encompassing regular wonders. In other words, the metaphors that he utilises in his poetry are based on the indirect interaction between human and the natural surroundings. The significance of this study is to analyse the deeply the actual meaning in the context of poetry, especially the inability of many students to fail to understand the meaning of metaphors, specifically in Arabic poetry. This study is conducted in hope for a better sensitivity of the reader in exploring and seeing the interconnection between the harmony of life and the art of poetry through its verses. This study utilised a qualitative content analysis framework with literary ecology and literary semiotics strategy. Mutannabi is known for his poetry pieces that are strongly correlated with natural elements, meaning that the verses can be depicted through the form of literary ecology. Hence, this study will present an explanation of how people understand the essence of life through the natural realms that are naturally created by God.

A Forum on Stevens and Lyric Theory Introduction

A Forum on Stevens and Lyric Theory Introduction Henry Weinfield “A MORE SEVERE, // More harassing master would extemporize / Subtler, more urgent proof that the theory / Of poetry is the theory of life,” wrote Wallace Stevens in “An Ordinary Evening in New Haven” (CPP 415). Stevens is himself, of course, that more severe, more harassing master. There are other great twentieth-century poets who are also theorists of poetry, but what makes Stevens so distinctive is that his theory of poetry is not only contained and embodied in his poetry but articulated in it as well. T. S. Eliot (whom Stevens viewed as his main antagonist) was a great poet and a great theorist, but the two activities were separate for him, the one occurring in verse and the other in prose. William Carlos Williams (for whom Stevens had cordial feelings, but who is really his poetic antitype) made “No ideas but in things” his rallying cry (6–17), and one could even say that for him, by contrast, the theory of life is (or should be) the theory of poetry. Stevens, however, insisted that “It Must Be Abstract” (CPP 329). His imperative in both his poetry and his theory of poetry was to push the art of poetry as far as it could go, as far as he could make it go. Language—in its relation to both the heard and the seen—was his material; in this regard he was utterly concrete. He strove to arrive at “the still finer, more implacable chords” and to “make the visible a little hard // To see” (CPP 90, 275). For better or for worse, the theory of poetry was the theory of life for Stevens because what he says of his solitary singer in “The Idea of Order at Key West” was true for him as well: “there never was a world for her / Except the one she sang and, singing, made” (CPP 106). In recent years, after a hiatus in which the New Historicism held sway, there has been a good deal of renewed discussion of lyric theory, as manifested, for example, by the publication (only a year apart) of two anthologies and a work of theory: The Lyric Poem: Formations and Transformations, edited by Marion Thain (2013); The Lyric Theory Reader: A Critical Anthology, edited by Virginia Jackson and Yopie Prins (2014), which takes a critical stance against viewing the lyric as a stable genre; and Jonathan Culler’s Theory of the Lyric (2015), which is at once a work of theory in its own right and an attempt to delineate both the genre of lyric poetry and the various [End Page 195] controversies pertaining to and surrounding it.1 However we understand the category of lyric poetry, even if we take the view that it is meaningless as a category and stands in the way of understanding, it is clear that Stevens, unlike other major twentieth-century poets—unlike Pound and Eliot, for instance—is a poet for whom the theory of poetry is essentially the theory of lyric poetry. For that reason, viewing Stevens in relation to the lyric can serve both to anchor the theoretical discussion and to shed light on Stevens’s work itself. That, in any event, was the idea out of which this forum emerged. It began life as a roundtable at the 2018 MLA Convention in Chicago. The idea for the roundtable came not from me but from one of the Associate Editors of this journal, Natalie Gerber, who, because I had recently published a review essay on Culler’s book (see Weinfield, “A/The”), suggested that I organize the session and in fact helped me to do so. Let me take this opportunity to express my gratitude to her as well as to the participants. The essays gathered here, as well as deepening our understanding of Stevens’s poetry, interact with lyric theory in a variety of ways. Two of the contributors, David Ben-Merre and Zachary Tavlin, focus on what Stevens called, in the poem of that title, “The Creations of Sound.” Ben-Merre’s essay, “Xs and Os: Chiasmus, Apostrophe, and the Lyric Subject in Stevens,” is interested in the...

Munawwar Hashmi: An Active Poet of affluent Era

Munawwar Hashmi is a versatile literary personality of this age. He is well known as a poet, writer, critic, researcher, and expert of Iqbal doctrine. He is considered among famous lyric writers who contributed to developing this art of poetry throughout his life. In his lyrics, there are thought-provoking ideas, depth, and a new paradigm shift about the art of lyric. The poetry of Munawwar Hashmi reflects passions and feelings naturally. He has translated feelings and emotions in a quiet natural way. His art is a combination of individual and collective vision. In this article, an effort has been made to highlight the structure and characteristics of the poetry of Munawwar Hashmi.

THE COMMENTARY OF NESATI’S ODE WITH “EVEN” REDIF IN TERMS OF SEMANTIC STRATA

Ponte Academic JournalDec 2021, Volume 77, Issue 12 THE COMMENTARY OF NESATI'S ODE WITH "EVEN" REDIF IN TERMS OF SEMANTIC STRATAAuthor(s): Mehmet OzdemirJ. Ponte - Dec 2021 - Volume 77 - Issue 12 doi: 10.21506/j.ponte.2021.12.2 Abstract:As a work of art, poetry is a world of meaning that the artist creates with words to express feelings and thoughts. This world of meaning consists of two basic strata, which are the words and sounds that make up the poem as the first stratum, and the second is the meaning stratum where the message the poet wants to convey to the recipient through words. Although both strata are important for the art of poetry, the main purpose of the poet is to establish the meaning world of poetry, namely, the irreal stratum, through the word stratum. This irreal stratum is enriched by the elements such as the knowledge, culture, interpretation of the realm of existence, artistic ability, emotional intensity, etc. of the poet. The reflection of these elements on the poem enriches the semantic world of the poem creating rich connotations in the mind of the reader. The more a poem connotates elements in the mind of the reader through the semantic strata in the irreal stratum, the more valuable it becomes artistically. In this context, it is a necessity to discuss and analyze the semantic strata especially in odes to uncover the artistic value of classical Turkish poetry. Based on this idea, Nesati’s ode with “even” redif will be analyzed, and the semantic strata in the irreal stratum will be discussed. Download full text:Check if you have access through your login credentials or your institution Username Password

Self-Determination Theory, and: Propaganda Ghazal

Self-Determination Theory, and: Propaganda Ghazal Leslie Sainz (bio) Self-Determination Theory “There is something in this native land business and you cannot get away from it.” —Gertrude Stein I sit in the living room,in the living roommy mother chokeson something cold and sharp.I launch an investigation:She is wearing a blue cotton shirt.Her shoulders are showing.The television is hush.I conclude she is strugglingwith a unique idea.One she should keep.Just like that, sparks. Reds,whites. It is the saviormother calls U.S.!U.S. placeshis arms around her abdomenand applies sudden upwardpressure. She heaves.The volumeof the not-news channelrises, and the sound alertsmy father in the kitchen.To enter the living room,my father muststep over the bodies ofother Spanish-speaking men.He does so with ease.I weep in the living room,in the living room [End Page 161] my father watches U.S.grope my mother,and though he is a jealous man,he says nothingbecause he, too,accepts no other touch. [End Page 162] Propaganda Ghazal Father repeats a Yanquis saying about history, its wrong side.In fear of comeuppance, I eat so much I can only sleep on my side. For years I thought our guts looked like unupholstered chairs.That this unlearning would be a larger spectacle, a bright side. AMERICAWake-Up the bazooka blasts are cartoon tomatoes.I line up the lies like handholding children—side by side by side. FIDEL CASTRO is a threat to the peace of the Western Hemisphere!For an eye-catching poster, use the color wheel’s opposite sides. I didn’t fuck the woman with the Che Guevara print above herbed. Instead, I let her pin new atrocities to my damp, right side. [End Page 163] Leslie Sainz Leslie Sainz is a first generation Cuban-American, born and raised in Miami, Florida. The recipient of a 2021 National Endowment for the Arts Poetry Fellowship, she received her MFA in poetry from the University of Wisconsin–Madison. Her work has appeared in Kenyon Review Online, AGNI, jubilat, Narrative, Black Warrior Review, and others. A two-time National Poetry Series finalist, she’s received scholarships, fellowships, and honors from CantoMundo, The Miami Writers Institute, the Adroit Journal, and The Stadler Center for Poetry & Literary Arts at Bucknell University. Copyright © 2021 Middlebury college

THE CINEMA OF POETRY: EDIP CANSEVER’S POETRY CONVERGING TO THE FILMIC IMAGE THROUGH OBJECTIVE CORRELATIVE

The term of objective correlative conceptualized by T.S. Eliot could be described as the way of expression of the poet’s passion, thought, and emotion throughout the objects. The concept is beyond metaphor for many theorists. A single item handled by a poet can absorb the poem's whole sensation and show us a rich analytical field letting to connotational and semiological readings. The break out from the linear, classic, rhymed, or dramatic did not only cause a change in the poetry but also in the cinema of the 20th century, generating the modern face of cinema. The imaginary intensity in the poems of Edip Cansever, who is the authentic figure of the Second New generation in Turkish poetry, creates a relationship allowing for affinities and comparisons with the cinematic image approaching the poem. What makes poetry art is that it irrationally reaches self-meaning. It is both a system of rules and a system for violation of these rules. It looks like a kind of disruption, suspension, or a disproportionate growth in which all the meaning load has concentrated upon a single object. There is an equivalent of objective correlative in cinema: "To tell about something with something else". The place where the meaning is loaded is also the place where it is objectified. It is the place to begin reading, thinking, and analyzing. It has now been an object which gains motion to image both in cinema and poetry. The expressions in the poems of Edip Cansever, which are approaching cinematic images through objective correlative correspond to the cinema of poetry and the poetry of cinema. Therefore, the language of poetry and cinema will become rich due to reciprocal interaction and become open to new meanings. Although structuralism and philosophy are more dominant in the article, literature and cinema history researches are also included as supportive areas.

The Inheritance of Balo-Balo Art at the Cahaya Rembulan Musik Studio in Tegal City

The aim of this study is to analyze the inheritance of the balo-balo art performance and the inheritance of socio-cultural values carried out by the balo-balo art community. The method used is qualitative with ethnomusicology and anthropology approaches. The data collection techniques was conducted through observation, interviews, and documentation studies. The analysis process consists of data collection, data reduction, and data clarification. The results of the study on the inheritance of the balo-balo art include inheritance of the form of balo-balo art performance which was an effort to keep traditional arts. The inheritance was carried out at the Cahaya Rembulan Musik Studio by doing exercises, preparations, and balo-balo art performance. Balo-balo art poetry is in the form of wangsalan (poem) which contains of advice about God Almighty. The inheritance of socio-cultural values contain religious values which these values are contained in the lyrics and educational values that are inherited through training in balo-balo art which are expected to introduce traditional arts, especially balo-balo art to the Tegal City community.

Representing Absence: Contemporary Ekphrasis in “Apesh-t”

Traditionally, ekphrasis has been defined as the description and analysis of works of art in poetry, and so it has been understood as the verbalization of visual images (Sager Eidt). The article examines the concept in the light of contemporary definitions that include non-verbal media as targets (Cariboni Killander, Lutas and Strukelj; Sager Eidt; Bruhn; Pethö) in order to analyze its applicability to music videos. It concentrates in particular on “Apesh-t,” a video for a track by Beyoncé and Jay-Z from the album Everything Is Love (2018). The video is filmed in different interiors of the Louvre, where the singers appear, together with an ensemble of dancers, in front of selected artworks. The discussion focuses on an analysis of a single shot which presents an ekphrastic re-configuration of one particular work of European art, Jacques-Louis David’s Portrait of Madame Récamier (1800). The author argues that the use of ekphrasis in the video—through elaboration (close-ups and editing) and repurposing of the source material (painting)—plays an important role in the construction of the theme of “absence”: invoking not only what is represented, but what is not represented in David’s painting. It also foregrounds the potential of ekphrasis as a tool of political and cultural resistance, in the way it intervenes in the representation of the “other” in art and in the museum space.

“Didong” Art as Health Promotion to Improve Natural Disaster Awareness

Didong is one of the cultural arts originating from the Gayo tribe of Bener Meriah, Takengon and Gayo Lues Regencies in Aceh Province, Indonesia. Furthermore, it is an art that combines movement, vocals and artistic literature to educate the public about government programs, such as health-care sector in the context of health promotion. The Bener Meriah regency experienced an earthquake in 2013, which result in the death of 14 people and 100 were injured. Therefore, this study aims to determine the didong art as a medium for health promotion, and the sample used were purposive sampling, which include the recitation group of 69 people. Also, a pre-experimental design with one shot case study was used. Furthermore, data was collection techniques include questionnaires, observation and interviews, and it was analyzed using percentage descriptive method to describe all varriables The community watched the didong art performance via video for 20 minutes, and subsequently an assessment was performed on the community. Based on the results, 85% of community groups stated that the didong art was used as a tool in health promotion in relation to the effect of natural disasters on public health. The art's unique local wisdom makes it easier for the community to understand the contents of didong art poetry, which contains messages regarding the impact of natural disaster in public health. In addition, the poetry was translated into Indonesia for easy understanding by people other than the Gayo tribe. Therefore, in order to determine the level of effectiveness in the use of didong art as promotion medium for public awareness about the effect of natural disaster, this research needs to be continued.

A Word Is Worth a Thousand Pictures: A Discourse on the Role of Poetry in Our Times

Abstract Poetry has always come in many forms and shapes and served different purposes. A radical and, quite possibly, irreversible shift occurred in the second half of the Nineteenth Century when the art of poetry began to de-pragmatize and to concern itself mainly with the creation of messages whose cognitive and emotional powers were rooted in the material ingredients and the orchestration of its linguistic medium. The message could only surface if the readers contributed to its manifestation. Examples focusing on both the dictatorial power of language and the role of the reader are drawn from Guido Cavalcanti, Dante Alighieri, Gabriele D'Annunzio, Emily Dickinson, Ezra Pound, Antonella Anedda, Giuseppe Ungaretti, Wallace Stevens, and Amelia Rosselli.

Идея этнопоэтики в современных исследованиях

<p>In recent decades, ethnopoetics has become one of the new philological disciplines. Its idea first appeared in the treatise of Nicolas Boileau “The Art of Poetry” (1674), in which the classicist theorist formulated the requirement of local and historical color in art. His rule was followed by many poets, playwrights and novelists of Modern history. In Anglo-American criticism, the term ethnopoetics was introduced in 1968. Jerome Rotenberg, who, along with Dennis Tedlock and Dell Himes, founded the principles and methods of studying American Indian poetry. In the 2000s. this concept has entered encyclopedic dictionaries in English and other European languages, but this word is still not in Russian terminological dictionaries. So far, the concept of poetics, which restricts the semantics of words forming a term, has received recognition. Already in the process of formation of ethnopoetics, its subject was expanded at the expense of middle Eastern and Jewish folklore, and later the oral creativity of other peoples. The word formation model (ἔθνος/ ethnos + ποιητική/poetics) cancels limited interpretations of the term. In modern usage, the term ethnopoetics is used in a wide range of meanings that have not yet been marked by lexicographers, but convey the full semantics of the words forming the term. The idea of ethnopoetics gave rise to not one, but several of its concepts. The author of the article develops his earlier understanding of ethnopoetics as a discipline that should study the national identity of the oral and written text, describe in the categories of poetics the specific things that make national literature national. It is characterized by concepts and conceptospheres, they form the mentality, reveal the cultural code of national literatures. The analysis of ethnopoetics opens up great opportunities in the comparative analysis of thesauri of different authors and their works.</p>

Homer and Traditional Poetics

AbstractAlthough Homer refers to the art of poetry in terms closely similar to those used by oral traditional poets interviewed by Parry and Lord, his own poems do not follow the poetics of a point-by-point narrative succession that they themselves proclaim. This is not yet to say that in ancient Greece there were no epic poems for which such traditional poetics would effectively account. The poems of the Epic Cycle, whose incompatibility with the narrative strategies of the Homeric epics was highlighted as early as Aristotle, are one such example. The fact that, although he repeatedly refers to the practice of traditional poetry, Homer is silent on the matter of his own poetic practice which differs markedly from it, raises the question of whether the Iliad and the Odyssey can be considered traditional poems in the proper sense of the word.

Archive Needs Poetry1

No Echo It is sometimes said that poets are narcissistic. But often, it is forgotten that Narcissus is as narcissistic as he is deaf to Echo’s call. Echo is particularly interesting for the art of poetry, as she frets and wastes away, leaving only the trace of her voice, which gradually fades out before disappearing completely. Nothing can give us back a lost voice. In some cases, no one realised how important it was to record a voice reading a poem. Time does not always keep its archives up ...

“詩-圖”學視野下的清代“秋林讀書圖”及其題詩———以翁方綱與同人對“漁洋讀書圖”的題詠爲中心

LANGUAGE NOTE | Document text in Chinese; abstract also in English.
 翁氏和友人、門生關於王士禛“秋林讀書圖”的題詠對該畫題在乾嘉時代文人畫壇的日漸流行和進入詩歌的頻繁題詠潮流中起了一定的帶動作用。作爲一個畫題，“秋林讀書圖”發源於元代畫家，屬於在後世漸盛的“讀書圖”系列畫題中較早出現的，在明清時代比較盛行。因具有濃鬱的士人情調，它成爲文人創作和題詠的對象。“讀書圖”系列畫題具有較强的交際性和私屬性特點，翁氏及其門生、友人對漁洋“秋林讀書圖”的幾十年間的題詠活動體現了這一點。這些題畫詩對於我們認識王士禛與翁方綱的詩學關係、學緣和翁方綱所在的乾嘉時代學風，以及圖畫與詩歌關係的某些面向，都具有重要意義。翁方綱在題寫、欣賞“漁洋秋林讀書圖”過程中，體悟到的詩學旨趣及詩—畫藝術本體論（“詩髓”説）富有理論價值，值得重新認識。
 The inscriptions on Wang Shizhen’s (1634-1711) “Reading in the Autumn Groves” by the disciples and friends of Weng Fanggang (1733-1818) boosted the increasing popularity of these kinds of paintings and inscription of poetry on paintings in the Qianlong and Jiaqing eras (1736-1820). The title “Reading in the Autumn Groves” was first created by Yuan-dynasty painters, appeared in a “Reading” series of painting titles that became increasingly popular, and contributed to the formation of a new vogue in the Ming and Qing dynasties. Because of its rich intellectual appeal, it won the favor of the literati and became an object of literary creation and inscription. The series of “Reading” painting titles are strong in both communicative and private features, which is reflected the decades of similar works by Weng Fanggang, his disciples and friends, who inscribed on Wang Shizhen’s paintings under the title “Reading in the Autumn Groves.” These inscription poems are of great significance in our understanding of the relationship between Wang’s and Weng’s poetics, their academic backgrounds, and the scholarship styles of the Qian-Jia era in which Weng mainly lived, as well as some aspects of the relationship between painting and poetry. In the process of inscribing and appreciating these paintings titled “Reading in the Autumn Groves,” Weng Fanggang gained enlightenment in poetics and the ontology of the art of poetry and painting from a cross-disciplinary perspective (called “Marrow of Poetry” theory). These have rich theoretical value and are worth re-consideration.

The Art of Poetry in Narratology of Contemporary Hollywood Movies

The Art of Poetry , a master piece written by the ancient Greek literary theorist Aristotle, has being exerted a profound influence on modern narratology and has made a valuable reference for later film narratology. This paper mainly analyzes the influences of the tragedy theory from Aristotle’s The Art of Poetry on plot integrity and reversal in film narrotology. The paper also illustrates the arrangement and function of the turning point in classical three-act structure movies in order to discuss the general rules pursued in film narrotology. In addition, through analysis on the classical Hollywood movies，it is believed that the reasonable narration in a movie should be of important meaning for conveying aesthetics concepts to its audience.

Meditation: Temporary Worker Temporarily Employed

Other| March 01 2020 Meditation: Temporary Worker Temporarily Employed Rosa Maria Arenas Rosa Maria Arenas ROSA MARIA ARENAS is a writer, artist, singer/songwriter and raconteur. Her poems have appeared in many literary journals, most notably: Kenyon Review, 5 A.M., the minnesota review, 13th Moon, The Americas Review, River Styx, and in the teaching guide book, Teaching the Art of Poetry: The Moves. She is currently working on a book of poems and short fiction on the subject of office work/life/drama! The writing will be accompanied by selected reproductions from her mini-graphic journal project: The Yellow Stickee Diary of a Mad Secretary (a series of drawings on post-it notes created while working a series of temp jobs). Search for other works by this author on: This Site Google Labor (2020) 17 (1): 5–9. https://doi.org/10.1215/15476715-7962744 Cite Icon Cite Share Icon Share Facebook Twitter Email Permissions Search Site Citation Rosa Maria Arenas; Meditation: Temporary Worker Temporarily Employed. Labor 1 March 2020; 17 (1): 5–9. doi: https://doi.org/10.1215/15476715-7962744 Download citation file: Zotero Reference Manager EasyBib Bookends Mendeley Papers EndNote RefWorks BibTex toolbar search Search nav search search input Search input auto suggest search filter Books & JournalsAll JournalsLabor Search Advanced Search The text of this article is only available as a PDF. Copyright © 2020 Rosa Maria Arenas2020 Article PDF first page preview Close Modal You do not currently have access to this content.

The Horatian Tradition in Medieval Rhetoric: From the Twelfth-Century “Materia” Commentary to Landino 1482

Horace's Art of Poetry supplied the medieval schools with the only available classical doctrines on fiction and poetry before Aristotle's Poetics became widely studied in the fifteenth century. Horace exercized both practical and theoretical influence on literary exegesis, and shaped medieval and early Renaissance doctrines of composition by discussing the very nature of fiction, narrative techniques, authorial roles, description of character and tone, including performance and reading of a text. The anonymous commentators as well as the Dante commentator Francesco da Buti (1395) were deeply influenced by the twelfth-century “Materia” Commentary, but also by the Arabic notion of an independent art of poetics, and remained in lively dialogue with the teaching of Ciceronian rhetoric of invention, disposition, elocution, and delivery.

News and Comments

News and Comments Bart Eeckhout, Glen MacLeod, and John N. Serio The eighth John N. Serio Award for the Best Article Published in The Wallace Stevens Journal was awarded to Sarah Kennedy for her contribution entitled “‘We reason of these things with later reason’: Plain Sense and the Poetics of Relief in Eliot and Stevens” (Spring 2018). The award was judged by a committee of three Editorial Board Members (Charles Altieri, Lisa Goldfarb, and Juliette Utard). It was officially presented at the 2020 MLA Convention in Seattle. Please join us in congratulating the author. ________ The Wallace Stevens Room, a “mini-museum” devoted to the poet’s life and work, was opened in Brunswick, Maine, in early 2020. An initiative of the Stevens biographer Alison Johnson, the room contains various pieces of the poet’s furniture, some objets d’art from China, Japanese woodcuts, and several post-impressionist paintings that Stevens obtained from Paris, including the portrait of Anatole Vital to which he alludes at the end of “The Latest Freed Man.” The museum hosts live music and readings of Stevens’s work on Saturdays and Sundays. For more information on how to visit, please consult the museum’s website at www.wallacestevensroom.org. ________ At the 2020 MLA Convention in Seattle, the Wallace Stevens Society teamed up with the Kelly Writers House to organize a roundtable in which four contemporary poets discussed Stevens’s poetics, recollected when they first encountered his work, and considered his significance and legacy. The poets were Kate Colby, Mónica de la Torre, Aldon Lynn Nielsen, and Tyrone Williams. Al Filreis organized the roundtable and served as chair. A video recording can be enjoyed on YouTube at https://www.youtube.com/watch?v=FA0_Imf7n88. [End Page 305] ________ The 2019 Wallace Stevens Award of the Academy of American Poets, a $100,000 lifetime achievement award “for outstanding and proven mastery in the art of poetry,” went to Rita Dove. ________ Due to the outbreak of the Covid-19 pandemic in early 2020, all annual events that serve to honor the memory of Wallace Stevens in the Hartford area (the Annual Wallace Stevens Poetry Program mounted every spring at the University of Connecticut, the Rose Garden Reading held in early summer at Elizabeth Park, and the Annual Wallace Stevens Birthday Bash organized during the fall at the Hartford Public Library) have been canceled. ________ In the course of the past year, the community of Stevens readers mourned the demise of several respected scholars: Chris Beyers, Harold Bloom, and Barbara Milberg Fisher. In the following sections, we would like to take a moment to honor the memory of each of them. ________ Chris Beyers, Professor of English at Assumption College, died suddenly on October 7, 2019. On that occasion, John N. Serio recollected his collaboration with Chris in a letter to Paul Shields of Assumption College: Although I did not know Chris personally, we met several times at conferences and I worked with him when I was editor of The Wallace Stevens Journal, in which he published several articles. More recently, we worked together on the corrected edition of The Collected Poems of Wallace Stevens. At conferences, he was always energetic and enthusiastic, stimulating his audience with novel interpretations of Stevens’s work. His scholarly articles, equally original, offered new inroads into Stevens’s challenging poetry and added significantly to our understanding of Stevens’s poetic achievement. [End Page 306] Chris and I worked amicably and efficiently on our corrected edition. Over the years, he had amassed an invaluable trove of information from his extensive, first-hand research on the original layout, spelling, and wording of the poems. He had also gathered important information about the poems not only from Stevens’s letters but also from letters to Stevens from his various editors and publishers. His research helped resolve many issues. All told, we discovered over 100 errors in the original publication of The Collected Poems and made another 100 changes in layout, titles, spelling, and punctuation. We truly worked as a team, and it was both enjoyable and rewarding. ________ One week after Chris Beyers’s demise, on October 14, 2019, perhaps the most famous...