Blue Horse Research Articles

Poems of “Faris” Cycle” in Georgian and European poetry

The literary paradigm of Mickiewicz’s “Faris” is revealed in the examples of Georgian and European poetry. The philosophical idea of “Faris” is as follows, the self-sacrificing rider will ride his horse at full speed. On his way he encounters a lot of obstacles, but he never gives up. The rider joined the eternity and dissolved in it. The thought learned the essence, and finally he found his happiness. In 1828, Mickiewicz wrote “Faris”. The poem “Merani” by the Georgian romantic poet Nikoloz Baratashvili and “Pegasus” by the famous Hungarian poet Sandor Petofi were written directly under the influence of “Faris”. We can also consider “Gallop” by Sully-Prudhomme, “Blue Horse” by Vazha-Pshavela as lyrical examples created on the theme of “Faris”. We can combine the lyrical samples created on the theme of “Faris” under one title and name them the poems of “Faris’s Cycle”. We can consider poem by Goethe “To Coachman Chronos”, which he wrote in 1774, as the literary basis of “Faris” Cycle” poems. We think that such an approach to the matter is a novelty for literary studies.

The Blue Horse of Poetry. Decolonial Poetics, Transsecular Reading, and Ecocritical Affinities in Elicura Chihuailaf

ABSTRACT This article proposes a transsecular reading of the Mapuche poet Elicura Chihuailaf by exploring the transversal elements in his writings and examining how poetics, spirituality, and conceptions of nature are negotiated. To this end, the article focusses on the intercultural dialogue between Mapuche and Western cultures and the hybrid, transcultural moments that this dialogue entails; the essential interconnectedness of spiritual and poetic speech; and the simultaneity of tradition and modernity in contemporary Mapuche literature. The article furthermore argues that there are numerous intersections and points of contact between Mapuche philosophy and current eco-critical and neo-materialist theory. While this does not mean equating them or incorporating the former into the latter, the aim here rather is to draw attention to the significant contribution of Indigenous perspectives to current debates in cultural studies and social sciences about other, sustainable forms of multispecies existence in view of the current global socioecological crisis.

Dams out of the Blue: Mongolia’s Blue Horse Program

Mongolia’s Blue Horse Program risks causing irreversible harm to transboundary rivers and internationally recognised protected areas. With 44 dams are planned on 23 of Mongolia’s 25 rivers the impact will be significant in the water-scarce country.

‘Stepping into the painting’: Franz Marc, Mary Oliver and the ekphrastic process

This article discusses Mary Oliver’s poem, ‘Franz Marc’s Blue Horses’, as an ekphrastic poem. More specifically, the discussion opens with a brief overview aimed at an understanding of ekphrasis to show how its development through the centuries has altered definitions of what constitutes ekphrasis and how these fresh understandings have broadened its possibilities for the modern poet. Siglind Bruhn’s ideas about the three stages of the ekphrastic process are then outlined. They trace the steps a poet has to follow in order to produce an ekphrastic poem; they follow consecutively, with the second depending on the first, and the third depending on the second. Understanding this process enables readers to appreciate the ways in which Oliver adheres to, or diverts from, it in producing her poem about Franz Marc. The discussion turns to Hans Lund’s typology of the various verbal and visual relationships in ekphrasis that are open to the poet. His typology helps readers to consider answers to the following questions: what elements of the artwork does the poet make use of, and which does she exclude? In what ways are these elements deployed in the creation of her verbal text? And in broader terms, what is the nature of visual and verbal relationship in this particular poem? How tentative might that relationship be? After a description of Franz Marc’s painting, The Tower of Blue Horses, as an Expressionist artwork, the discussion moves on to Mary Oliver ’s poem. The text is conceptualised as Oliver ’s ‘script’ as it takes up Stephen Cheeke’s suggestion ‘to imagine what happens next’ after the poet’s initial interface with the stasis of the artwork’s pregnant moment. The article modifies the frequently used metaphor of the painting as a single frame from a film, replacing the solitary frame with the idea of a single scene as more credible metaphorically, the scene itself being divided into several segments reflecting the poem’s structure. Thus, the punctum temporis (or pregnant moment) as a single scene from a film becomes the guiding metaphor of the article. Then, the article argues that Oliver develops her poem as a filmic narrative, offering readers a series of ‘segments’ depicting various aspects of the evolving narrative as she visualises it. These ekphrastic processes are explored in some detail. Reading the poem in a filmic way allows the poet to controvert the implicit stasis of the painting and, through the transmedialisation of the visual to the verbal, to create a dynamic narrative ‘script’, using the poem’s segmented structure, to explore the text’s meaning by offering readers a vivid evocation of her experience of Marc’s painting.

Lessons Learned From Experiencing Mavi At Café (Blue Horse Café) During Six Years: A Qualitative Analysis of Factors Contributing to Recovery from the Perspective of Schizophrenia Patients

In recent years, the recovery-oriented approaches (along with experiences and thoughts of patients and patient's relatives) have been taken into account for establishing mental health services and policies. This study aims to identify the factors contributing to recovery, as observed from the perspective of schizophrenia patients working at The Blue Horse Café which was founded by the Federation of Schizophrenia Associations. The sample for the study consisted of 24 patients who worked at The Blue Horse Café. A phenomenological approach was used in the study, whereby interviews with patients were analyzed qualitatively. Certain common factors, which were expressed as having contributed to recovery, were identified from the perspective of schizophrenia patients. These factors are: 1-The fact that the setting is informal and welcoming without being constrictive; 2-Predominance of the human element; 3-Hope and encouragement; 4-Being cared about; 5-Being able to reach someone when in need of support; 6-Friendly sharing; 7-Having a purpose, assuming responsibility, and being motivated; and 8-Giving meaning to life. The findings may serve as a stimulus since schizophrenia patients that contribute to recovery give mental health professionals the opportunity to question there need for a change in their professional roles. Additionally, schizophrenia patients that have experienced The Blue Horse Café draw attention to certain points and these points can serve as a guide, especially for establishing the working METHODS of Community Mental Health Centers.

Square bananas, blue horses: the relative weight of shape and color in concept recognition and representation.

The present study investigates the role that shape and color play in the representation of animate (i.e., animals) and inanimate manipulable entities (i.e., fruits), and how the importance of these features is modulated by different tasks. Across three experiments participants were shown either images of entities (e.g., a sheep or a pineapple) or images of the same entities modified in color (e.g., a blue pineapple) or in shape (e.g., an elongated pineapple). In Experiment 1 we asked participants to categorize the entities as fruit or animal. Results showed that with animals color does not matter, while shape modifications determined a deterioration of the performance – stronger for fruit than for animals. To better understand our findings, in Experiments 2 we asked participants to judge if entities were graspable (manipulation evaluation task). Participants were faster with manipulable entities (fruit) than with animals; moreover alterations in shape affected the response latencies more for animals than for fruit. In Experiment 3 (motion evaluation task), we replicated the disadvantage for shape-altered animals, while with fruits shape and color modifications produced no effect. By contrasting shape- and color- alterations the present findings provide information on shape/color relative weight, suggesting that the action based property of shape is more crucial than color for fruit categorization, while with animals it is critical for both manipulation and motion tasks. This contextual dependency is further revealed by explicit judgments on similarity – between the altered entities and the prototypical ones – provided after the different tasks. These results extend current literature on affordances and biofunctionally embodied understanding, revealing the relative robustness of biofunctional activity compared to intellectual one.

Pulling the Moon, and Rituals of Healing

Pulling the Moon, and Rituals of Healing Marcelo Hernandez Castillo (bio) Pulling the Moon I’ve never.I’ve never made love. I’ve never made love to a man. I’ve never made love to a man but I imagine.I imagine pulling the moon.Pulling the moon out of his brow. I imagine pullingthe moon out of his brow and eating it again. Pulling his brow in silence.A kind of silence when the moon goes out. When the moon goes back and forth between us. A kind of silence that goes back and forth. A kind of silence lit for a second.Seeing ourselves for a secondthrough the eyes of a horse. Through the eyes of the blue horse.Seeing through the blue horse that turns its headand speaks to us.Looking through the blue horse that burns slower than my hair.My hair that burns the moon off.My hair with a hand inside it. [End Page 57] Rituals of Healing Ramon, you were sick, but on the pretty side of sick. You weren’t getting better, but at least you were pretty. We know all the sick wear damp socks, we know their clothes are soaked in prayers until the sun performs its ritual of healing— swinging its bare back across the clockwork sky. Yes, the ticking nebula.Yes, the machinery.You are wet and pretty. I will believe in anything you do not and bring it to you. I will drink the blue night gathered in your face and weave your hair from the eyes watching you. The edges of your body touch everything that isn’t your body. You are odorless. Plastic even. Your name is another word for fire. What if we tell himthere’s nothing wrong,that he’s only dying? [End Page 58] Marcelo Hernandez Castillo Marcelo Hernandez Castillo came to the US undocumented and is currently a Canto Mundo fellow and MFA candidate at the University of Michigan. He teaches summers at the Atlantic Center for the Arts, and recent work can be found in Jubilat, the Journal, and Drunken Boat, among others. Copyright © 2014 Middlebury College Publications

Taking a Great Leap Forward on a Blue Horse

The year of the blue horse has begun. In the Chinese zodiac, 2014 is the year of the blue horse. Horse symbolizes success and leaps, and blue symbolizes hope and luck. The color blue is especially meaningful to our journal because it is also the representative color of the Korean Journal of Urology (KJU). Together, we expect that KJU will make successful contributions and bring a hopeful future to the field of urology this year by taking a great, dynamic leap forward on a blue horse. Beginning with the January issue of 2014, the KJU will be an official journal of three societies: the Korean Urological Association, the Korean Endourological Society, and the Korean Society of Pediatric Urology. The Korean Endourological Society has published the Korean Journal of Endourology since 2001 and the Korean Society of Pediatric Urology has published the Korean Journal of Pediatric Urology since 2009. The main reason for merging the journals was the overlap in scope and members among the three societies. Instead of individual publications, the Korean Endourological Society and Korean Society of Pediatric Urology will be authorized to take over editing in the Endourology and Pediatric Urology sections, respectively, within the larger body of KJU. In the long term, the merging of the three individual journals is expected to provide more in-depth knowledge in the sections of Endourology and Pediatric Urology and to improve the overall quality of the journal. The goal of KJU this year is to be a cutting-edge international journal with open access, audio-video contents, and high quality research in the field of urology. First, to accomplish this, we will broaden the article contributors and members of the editorial board to include the Asia-Pacific region and maintain the open access policy to provide widespread dissemination of knowledge. Second, the KJU will promote upload and access of the visual clips to further aid users in delivering both academic knowledge and skills. Video clips related to minimally invasive surgery and advanced surgical technique can be submitted for placement on the journal website. There is also a 'Video Interview with the Author' corner on the journal's homepage where authors give audiovisual presentations of their data. Last, one of the most important aspects of the journal is improving the quality of the journal to solidify its global status as an international journal. For this, the KJU will provide readers with an up-to-date guide to international developments in urology. The impact factor from the Web of Science and impact index from SCImago Journal of the KJU began to increase dramatically beginning in 2011. Huh [1] commented that the KJU has already been established as an international journal, because more than 85% of the citations come from international researchers. In addition, the research and publication ethics should be regarded as an integral part of a qualified journal [2]. The editorial team of KJU screens published and submitted content for originality by using Crosscheck to prevent plagiarism and also checks submitted articles to see whether they meet the criteria of publication ethics. In order to achieve our New Year's pledge of making the KJU an internationally renowned journal, the editorial team of the KJU will work hard by taking in the promising energy of the blue horse. We look forward to making great leaps toward creative academic achievements this year.

The Mermaid’s Thesaurus, and: Don Quixote, and: Spun off Lilacs

The Mermaid’s Thesaurus, and: Don Quixote, and: Spun off Lilacs Kallima Hamilton (bio) The Mermaid’s Thesaurus It’s unbecoming to glean from all the boys who wallow in pirate gold. When I’m doused, dizzy with spume and stuttering angel-mouthed uncertainties, it behooves me to have a compendium of fossilized words. Words that can tell the time underwater, blindly, at random. Huge attempts to ferry down, fall in love, paint the town red, but all I do is float like kelp. Got to be some help out there, juke-joints other than this kingdom beyond sound alone. Trade all my emerald fish scales for a limber pair of gams. Etymology’s a gorgeous wench on these jagged rocks. She’ll make you forget hausfraus steadily weaving, weaving. Siren songs waft in the mesmerizing eyes of beluga whales while blonde fish-bottomed girls blow deathly come-hithers. Metaphysical, I arrive at absurd conclusions, whisper flamboyant syllables as if they were real swan tears, synonyms for something salted with fire. [End Page 75] Don Quixote Another flea-bag motel but he’s happy as a sheik because Sancho’s out for nachos and a Coke and there’s not a windmill in sight. Yellow-tipped red tulips on the windowsill give rise to some speculation, white knights backing down and dove-slick peace wafting like skunk perfume up the canyon. He watches My Favorite Martian on the antique tv whose rabbit ears (he’s sure) are extraterrestrial antennae. Cockroach angels scurry with garbled messages of chivalry and dulcet dreams. No arguing with sundown, those pink-squeezed rainbows raining crazy ideas about Eastside damsels, wet-sand castles. Sweet lies hurting no one where a bare light bulb slowly illuminates love-drunk shadows on the wall. [End Page 76] Spun off Lilacs Was it a blue horse or a green horse? Chagall. Green horse, violin. No woman lounging. On a dream hammock, arms akimbo in a silk red dress. Barefoot, under a purple sky. Something whispered, an outline of possibility like invisible hummingbirds inside the horse’s mouth. Maybe it was a mule. Long ears. Smiling. And you noticing lilacs in hot bloom against the white houses. Scent of anise. Feel of wild fennel. When I scoop down in the water fountain I cup up a handful of love. It is blue. No. It is clear translucent beaming free. Liquid. Your eyes, pooled with the juice of moon glyphs. Look—how quickly reality shifts, a dazzle. My legs a part of the earth, a gypsy skirt twirling to the fiery heat of this bold magnetic violin that is not there, only hinted at in a stroking curve, my heart a marionette of improvised certainty. [End Page 77] Kallima Hamilton Kallima Hamilton works as a literacy tutor and esl instructor in Haslett, Michigan. Her poetry has appeared in the Mudlark, Wallace Stevens Journal, and Shenandoah. She is the author of Outside the Lava Fields (Aldrich P). Copyright © 2013 University of Nebraska Press

Making Theatre with Horses

For the last three years, we at Caravan Farm Theatre have been engaged in a theatrical experiment that utilizes horses as staging devices to explore the themes of progress, power and poetry contained in three full length narratives: Linz Kenyon’s The IOU Land, Shakespeare’s Macbeth and a musical comedy by Peter Anderson, The Blue Horse.

BOOK REVIEWS

Abstract Abstract U.S. GOVERNMENT ON THE WEB: GETTING THE INFORMATION YOU NEED. By Peter Hernon, John A. Shuler, and Robert E. Dugan. Englewood, CO: Libraries Unlimited, 1999. Reviewed by Lawrence Jenkins. ENCYCLOPEDIA OF SMOKING AND TOBACCO. By Arlene B. Hirschfelder. Phoenix: The Oryx Press, 1999. Reviewed by Michael D. Rusk. DOZENS OF COUSINS: BLUE GENES, HORSE THIEVES AND OTHER RELATIVE SURPRISES. By Lois Horowitz. Berkeley, CA: Ten Speed Press, 1999. Reviewed by Lawrence Jenkins.

Blue Horses Rush In: Poems and Stories by Luci Tapahonso, and: a snake in her mouth: poems 1974–96 by nila northSun

Blue Horses Rush In: Poems and Stories by Luci Tapahonso, and: a snake in her mouth: poems 1974–96 by nila northSun

Blue Horses Rush in: Poems and Stories

Blue Horses Rush In takes its title from a poem about the birth of her granddaughter Chamisa, whose heart pounded quickly and we recognized / the sound of horses running: / the thundering of hooves on the desert floor. Through such personal insights, this collection follows the cycle of a woman's life and underlines woman's life and underlines what it means to be Navajo in the late twentieth century. The book marks a major accomplishment in American literature for its successful blending of Navajo cultural values and forms with the English language while at the same time retaining the Navajo character. Here, Luci Tapahonso walks slowly through an ancient Hohokam village, recalling stories passed down from generation to generation. Later in the book, she may be telling a funny story about a friend, then, within a few pages, describing family rituals like roasting green chiles or baking bread in an outside oven. Throughout, Tapahonso shares with readers her belief in the power of pollen and prayer feathers and sacred songs.

Interview with Marita Conlon-McKenna

Interview with Marita Conlon-McKenna Louisa Smith (bio) In December of 1993 on a visit to Ireland I asked Finian O’Shea to list some of the New Irish Writers for children. At the top of his list was Marita Conlon-McKenna, a writer I had never heard of. I should have because by that time she had won the International Reading Association Award for her book Under the Hawthorn Tree (1990), a story about three children surviving the Irish potato famine after the disappearance of their parents and the death of their baby sister. The story was continued in her book Wildflower Girl (1991), which saw the youngest child in the family, Peggy, emigrating to Boston where at age fourteen she went into service. The third book of this trilogy, Fields of Home (1996), follows the family’s fortunes in both Ireland and America. By the time I actually met Marita Conlon-McKenna in 1995 at the Children’s Literature New England Institute held in Dublin, I had read her remarkable book about travelers, The Blue Horse (1992, winner of the Bisto Book of the Year Award) and had taught her book, Under the Hawthorn Tree, in a graduate course at Mankato State University. When I returned to interview her in December 1996, O’Brien Press had published six of her books, including Safe Harbour (1995), a book about Sophie and Hugh being sent from their home in London to their grandfather’s house in Ireland during World War II. The year 1997 marks the one hundred-and-fiftieth anniversary of the Great Famine, the impact of which was felt on the United States as well as on Ireland. Conlon-McKenna’s books about the experience make it accessible to children in both countries. One understands the horror in Ireland, the danger of crossing to America, the treatment of the Irish immigrants, and the living conditions for those left in an Ireland still controlled by the British. As Celia Keenan writes of Conlon-McKenna’s books, “There is an underlying sense of resilience, of self-reliance, and of enterprise in the poorest of people” (The Big Guide to Irish Children’s Books 72). Conlon-McKenna’s book, The Blue Horse, vividly presents the life of a young girl who is part of a traveler family. When their home is destroyed by fire, their only recourse is to accept council housing and give up part of the traveler life. Access to information about traveler life is limited, and I had wondered how Conlon-McKenna had researched this. In her acknowledgments, she thanks those who took the trouble to talk with her. During my visit, one of those persons [End Page 379] dropped by and I could witness the friendship between them. Afterwards Marita explained how this book about a people who have few books written about them opened the understanding between traveler children and other children in the schools. Q I first asked Marita if she could walk us through her writing process. C-McK The writing process will come first of all with an idea. The idea sometimes will have been there for many years. I call my ideas seeds. I’m a great seed gatherer; I’ve become a gardener, I’m afraid. A seed could be something I’ve read about, something I’ve heard about, something someone has told me about their own life. Q Do you write your ideas down or keep a journal? C-McK I have seeds sitting there for many years, and sometimes I write them down. I met a little girl two years ago, a little girl called Elona and someday there will be a book with Elona in it because this little girl was very lonely; she was stuck in a class and she was an outsider. So ideas come from all over. The way it usually works is that usually I start getting pictures and the characters really give pictures. All my books are character driven and the characters start giving me pictures. Something’s happening, something they’re doing, something they’re feeling and that is usually so strong that my first instinct is to write that; that...

Blue Horses Rush In

Blue Horses Rush In

Germans and Jews

ion as a turning away from the real world. After corresponding with Worringer, Kandinsky announced, There are two poles: the Great Abstraction and the Great Realism, and these two poles open two roads which finally lead to one goal.6 In his book, The Spiritual in Art, Kandinsky notes, There is no salvation through a single artist.' His language, his conviction, is religious. In the Guggenheim show, Emil Nolde's paintings dominated the middle ramp, their religious vision a matter of instant, insistent emotional empathy. On another tier, Franz Marc's red and blue horses sported sensuous curves which kept the painting in constant motion. Marc chose his colors for their symbolic properties. Blue is the masculine principle. Red is matter, brutal and heavy, he wrote in his journal in 1911. At the time, Marc found animals less unfeeling than people. Between 1911 and 1914, while painting a unique group of animal paintings, Marc wrote a series of aphorisms concerning his interest in truth. In the first of these aphorisms, he states: Everything has appearance and essence, shell and kernel, mask and truth. What does it say against the inward determination of things that we finger the shell without reaching the kernel, that we live with appearance instead of perceiving the essence, that the mask of things so blinds us that we cannot find the truth.8 Essence, the truth, the interior world beyond the false outward show, this quest for inner meaning is a German obsession, but not an exclusively German one. Franz Marc and Franz Kafka, the German painter and the Jewish Czech writer, share this same intense preoccupation with the hidden, the inner truth, with the notion that there must, needs be one truth. All German expressionist works are concerned with presenting ideas and feelings about the world behind appearances. Some of the most powerful paintings at the Guggenheim were Emil Nolde's landscapes. In watercolor after watercolor, Nolde painted landscape as a statement of his inner mood and carried the viewer away with him. The inner world, the other side, the ideal as opposed to the real, this dichotomy dogs German civilization, while at the same time this inner preoccupation is the source of its towering cultural achievements. Jews and Germans have much in common. They are energetic, able, industrious and thoroughly detested by everyone else. In the end, the reason for this is religious. In the case of the Jews, this is clear.9 In the case of the Germans, Franz Kafka is supposed to have told a boy in Prague in 1921, before This content downloaded from 157.55.39.147 on Wed, 21 Sep 2016 05:45:58 UTC All use subject to http://about.jstor.org/terms

If a Red Horse is Red, is a Blue Horse Blue?

If a Red Horse is Red, is a Blue Horse Blue?

T'ang Pottery for the British Museum

A REMARKABLE example of T'ang pottery, well known to collectors and students, from the collection of the late Mr. George Eumorfopoulos, has been given to the British Museum by his widow to mark his long and close friendship for that institution, of which he was a generous benefactor. The gift is a pottery model of a saddled horse. It stands just under a foot high, and is an outstanding example of the technical skill and artistic feeling of the Chinese under the T'ang dynasty. This period (A.D. 618–905) was one of the most remarkable in the history of the Chinese Empire. A consolidation and expansion of the imperial power after a time of stress, combined with a revival in the spirit of Buddhism, inspired from its sources in India by the pilgrimages of Chinese priests, to give birth to a remarkable achievement in all forms of the plastic arts, but more notably as exemplified in pottery figures from tomb burials and in the paintings such as those collected in large numbers by Sir Aurel Stein and those who, after him, visited the Buddhist cave shrines of Tun-Huang. The piece of pottery which has now been given to the British Museum was for long highly prized by its former owner and was his favourite specimen. It is known as the ‘Blue Horse’ on account of the extensive splashing of blue on its glaze, which makes it unique among figures from the tomb burials which are the main source of our knowledge of this type of art in the period.