Contemporary Poetry Research Articles

The Creativity Literary of Gongora

يعد (غونغورا Gongora) واحدا من رموز الفن الادبي الاسباني ونموذجاً (لجيل شعراء 1927 في اسبانيا), خلال مسيرته الادبية كتب عدة اشعار ومسرحيات ذات مواضيع تقليدية شعبية مكوناً في ذلك لوحة عن شخصيته الطيبة والغامضة يمتاز بأسلوب التصنع والبديع في الاعمال الادبية وهذا واضح في عمله الموسوم (اسطورة بوليفيمو وكالاتيا la Fabula de Polifemo y Galatea)، وكذلك في عمله الموسوم (الخلوات las soledades)، الذي يصل فيها إلى قمة غموضه الشديد في (أسلوب الباروكو) .ان ذلك الغموض كان أسلوبا فنياً خاصاً بقصائد تلك المرحلة. كان ذا أسلوب فني وأحاسيس وذكاء حاد في الكتابة، الامر الذي جعل البعض من أصدقائه ان يطلبوا منه أن يبدل أو يلغي بعض التراكيب اللغوية في أعماله وذلك لأسلوبه الادبي الغامض لقد كان غونغور واحدا من الشعراء الاسبان الذين اسهموا بشكل كبير في "الكولتيرانيسمو: وهو تيار أدبي ظهر في عصر البارّوك الإسبانيّ ويستخدم الألفاظ النقيلة والاستعارات الخالصة والتلميح عبر الأساطير القديمة. ويعرف هذا التيار الجمالي أيضاً باسم "غونغوريسمو" نسبة إلى غونغور الذي يعد واحدا من مؤسسي هذا التيار الادبي. ينقسم البحث على فصلين الاول يتناول السيرة الذاتية للشاعر واسلوبه الادبي واعماله البارزة ,اما الفصل الثاني يعرض ال "غونغوريسمو" والبناء الادبي لقصائده الشعرية الغنائية

Case For Chapbooks

Collecting contemporary poetry is often a low priority for libraries, but interest in poetry is rising, and many library patrons have the potential to become poetry readers. Building a collection of poetry chapbooks can maximize the impact of a renewed poetry collecting effort because the poetry chapbook is an accessible, high-interest, and often low-cost form that captures the cutting edge of the poetic field. I introduce the poetry chapbook and its creative and social functions and describe various avenues for building a chapbook collection, including acquisition strategies, examples of digital initiatives such as participatory chapbook repository projects, and notes on promoting engagement. The community-building potential and links to higher-level goals such as diverse collecting, local interest, and cultural preservation allow chapbook collections to add unique value to a variety of public, academic, special, and school library contexts.

At the boundary. Tatiana Repina

The article analyzes the motifs, imagery, and plot structure of three poetic collections authored by Tatiana Repina, one of the remarkable poets of ‘the thirty-year-old generation:’ Monograph. Written by a Single Person [Monografiya. Pishet odin chelovek] (2013), Without Chapters [Bez glav] (2014), and Air Density [Plotnost vozdukha] (2018). In her detailed study of the plot structure and distinctive characteristics of Repina’s poetics, Kadochnikova emphasizes the concept of boundaries as being of principal importance for understanding Repina’s poetics. The concept is revealed through the problem of a geographical identity and the lyrical heroine’s gender ambivalence, the ‘childlike/adultlike’ dichotomy, and the motif of puppetry and theatricality. A selection exemplifying the ‘local’ (Izhevsk-based) text serves the critic as a starting point for interpretation of Repina’s lyrical poetry, which Kadochnikova expands to include poems devoted to St. Petersburg, the image of the ‘generation of the 1990s,’ and problems of contemporary poetry at large. The resulting study uses Repina’s works to address the issue of boundaries in modern poetry.

“HOW CAN IT (NOT) DELIGHT?” – THE BLIGHTS AND DELIGHTS OF POLISH POETRY. A SMALL STUDY OF CONTEMPORARY CASES AND RECOGNITIONS

The article is an attempt at presenting a small panorama of reflections on the category of delight-enchantment as a poetic impulse and as a theme in selected Polish poems from the turn of the 20th century to the year 2022. It starts from a discussion of the need for delight in contemporary literature. Apart from exemplifications, illustrations and observations on the subject of poetic enchantment in contemporary Polish poetry and the paths leading to it, the author proposes here to examine various poetics and conditions enabling delight to appear or to be absent in contemporary poetry.

Sprehod Irene Novak Popov po narečni beneški poeziji

The article focuses on studies of contemporary poetry from Beneška Slovenija/Slavia Friulana (Venetian Slovenia) by the literary historian Irena Novak Popov. Considering Venetian-Slovenian works as a subsystem within Slovenian literature, Irena Novak Popov recognises its distinct literary form and acknowledges its unique development, which is tied to a specific historical and social framework. She explores this subsystem as a distinct artistic and cultural phenomenon in relation to the mainstream system of Slovenian literature and strives to make the literature of the western edge of the ethnic Slovenian territory more visible in public literary discourse, establishing it as the subject of expert analysis. Through analyses of the individual poetics of a number of authors (Marina Cernetig, Viljem Černo, Aldo Klodič, Gabriella Tomasetig, Andreina Trusgnach and others), she suggests some peculiar components of Venetian-Slovenian writing. The present article highlights the special attitude of Venetian-Slovenian authors towards the local language and their heterogenous presentation of spatial reality.

Новые технологии и прагматические техники в современной поэзии

The paper examines the linguistic and communication changes taking place in poetic dis­course under the influence of new media. The digital interface (blogs, social networks, applica­tions) affects the transformation of all the parameters of communication, due to the dominance of information channels and codes. The interaction of poetic language with colloquial speech and the influence of digital technologies lead to the creation of new strategies of subjectivation and addressing in contemporary poetry, as well as to an increase in the role of poetic pragmat­ics. In addition, the process of meaning formation in contemporary poetry involves the mech­anism of transcoding, i. e. the transfer of a message from one format to another, which can take place during the conversion from a paper (or analogue) format to a digital one. Transcoding involves a change in the form and content of the message, as well as other communication parameters. The paper classifies and explores in detail the pragmatic parameters that undergo transcoding under the influence of digital technologies, acting as new pragmatic techniques of poetic utterance.

The Representation of Sexual Abuse in Contemporary Poetry: A Psychotherapist's Composition

The Representation of Sexual Abuse in Contemporary Poetry: A Psychotherapist's Composition

Suspended time: pandemic and contemporary poetry

Resumo A relação entre tempo e poesia é a questão impulsionadora do presente texto, a fim de analisar especificamente como a pandemia de COVID-19 se efetiva em um “tempo suspenso” e de que forma isso reverbera na poesia contemporânea. Com esse objetivo, selecionamos alguns fragmentos da tese de Alice Sant’Anna (2020), Dobra, em uma leitura que evidencia esses ecos pandêmicos. Com base nas noções de poesia, tempo e pandemia discutidas por pensadores como Jean-Luc Nancy (2005) e Giorgio Agamben (2016; 2020), verificamos como a poesia contemporânea potencializa os diálogos entre literatura e sociedade, pois, por meio da vivência do isolamento social, se constroem os sentidos sobre estado de exceção, tempo bloqueado e poesia. Ainda, para aprofundar a discussão no contexto brasileiro, elencamos os apontamos de Eurídice Figueiredo (2022). Pela nossa leitura, podemos observar como se expressam as questões sobre isolamento social, pandemia, medo, contaminação, doença, vida, morte e tempo na poesia de Alice Sant’Anna.

KONCEPT NAIVNE PESME – LICA MODERNOSTI DUŠANA RADOVIĆA I MILOVANA DANOJLIĆA

The aim of the paper is to trace the historical development of the perception of children and childhood, as a relevant age important for human development, in contemporary poetry for children, primarily illuminating the child-adult relationship. An overview of the different stages in the understanding of this relationship and the nature of children’s literature is given, and a special emphasis is placed on the forms of modernity in the poetic texts of Dušan Radović and Milovan Danojlić and their concept of a naive poem.

Интерфейсы новейшей поэзии: смена коммуникативного хода и множественная адресация

The characteristic feature of contemporary poetry is an increased attention to the prag­matics of the message. The Internet influences the activation of the communication function, and metalinguistic reflection in poetry manifests itself through the violation of grammatical norms, the graphic highlighting of pragmatic markers, and the representation of computer interface elements such as messengers, social networks, etc. At the same time, the media inter­face creates a multiplicity of addressing and influences the strategies of indirect subjectivation that manifest themselves as a result of several shifts (deictic, functional, etc.), allowing us to deal with the updating of the communication parameters of a poetic utterance. This modifica­tion involves bringing the communication channel to the fore, as well as explicating the turn-taking indices in its non-conventional function. Thus, at the present stage, the poetic message is supplemented by new (linguistic and media) means, including interfaces, pseudo-dialogue models characteristic of online correspondence, conversational patterns, and discourse mark­ers used in online communication. The article analyzes the peculiarities of the functioning of pragmatic markers as indicators of subjectivity and addressing on the Internet.

Constructing a Poetics of Connections: From Network to Relation in Pandemic Poetry Performances from South Africa

This essay analyses the impact of the COVID-19 pandemic on poetic production in South Africa to theorize connection as a dominant motif in contemporary poetry. In South Africa, poets compensate for the lack of state or market support for the arts through community organizations and collaborations. Under lockdowns, in-person events like open mics were replaced by digital programmes hosted on corporate-owned public platforms like Facebook Live, as artists sought to transmute social capital into material support. Performance poetry, in particular, exploded in popularity, offering comfort and connection amidst isolation. With the turn to the digital, spaces for community formation increasingly reflect the neoliberal logic of the network. The South African literary organization Hear My Voice raised a “Poetry Relief Fund” to pay honoraria for weekly poetry performances on Facebook Live. At the same time, poet and playwright Siphokazi Jonas reconceived her politically urgent poem-play #WeAreDyingHere as an international call to arms, reaching new audiences around the world. These events, alongside international festivals like Zukiswa Wanner’s Afrolit Sans Frontières, created new possibilities for understanding connection within the creative economy. But what kind of community is instantiated through those platforms? Who, specifically, is supported, and under which terms? And how does poetry itself mediate those relationships? I analyse both individual poems and the media platforms in which they are embedded to argue that, if relationality and networks represent two different models of sociality, connection offers a paradigm that acknowledges the ascendance of network modes of production without acceding to their logics.

Entangled Memories: representations of Crimea in literature, poetry and art

The United Nations' cultural agency, UNESCO, has recently added the Historic Centre of Odesa (Ukraine) to its World Heritage List. Odesa is part of the Crimean Peninsula and it is a legendary port that has left its mark on the cinema, literature and the arts. Crimea has always attracted a large number of cultural figures including Alexandr Pushkin, Maxim Gorky, Anna Akhmatova, Ivan Bunin, Marina Tsvetaeva, Isaac Babel, Boris Pasternak, etc. Like the Russian-born Anton Chekhov, Ukrainian authors who have written about the peninsula were, historically, not native Crimeans. Crimea is not only the focus of geopolitical conflict, but also the source of artistic and literary inspiration. In this article, I analyze some perspectives on Crimea, starting with Ivan K. Aivazovsky’s paintings (1817-1900), and some selected texts from those of the above-mentioned authors. For a current view on Crimea, I shall also consider some aspects of Ilya Kaminsky’s contemporary poetry.

Multilingualism in Estonian Poetry

Apart from Estonian, some other languages – from local dialects to major languages such as German and Russian – have usually also been spoken on the territory of Estonia. As a result, the literary culture of the local (small) language evolved in close contact with some foreign literatures and cultures. However, there is still no thorough analysis of how the historical change in the linguistic situation manifests itself in Estonian literature. Our article aims to draw attention to the multilingual nature of the Estonian literary field by giving a historical survey of the relations, contacts, and intertwining of the languages used in Estonian poetry from the 17th century to the present. To reflect the multiple facets of multilingualism revealed in poetry we mainly use a four-level approach partly based on Jaan Undusk’s typology of Estonian–German cultural contacts, adding the literary field as the level covering whatever is left. Thus, we treat multilingualism as a phenomenon observable within a language, text, author, and literary field. In terms of this study, intralinguistic multilingualism means language mixing in otherwise monolingual poetry, while intratextual multilingualism refers to abrupt transitions from one language to another (code-switching) within a text, and author multilingualism assumes a multilingual poet. Apart from the phenomena just mentioned, multilingualism within literature covers literary subfields in different language variants (for example literature created in South Estonian or Russian, but on Estonian territory). First, we will survey multilingualism in Estonia poetry before the Republic of Estonian was established in 1918, concluding that because German was the major cultural language up to the beginning of the 20th century, all poets, whatever their ethnicity, must have been fluent in two (or more) languages. The second period analysed spans the 20th century. The local Estonian poetry of the Soviet period stands out, with a few exceptions, for consistent use of Estonian, while some expatriate poets would also use English or Swedish. Third, we analyse contemporary poetry, where multilingualism is manifested not only by the use of local minority languages but also through intertwinings with English, Chinese or Japanese, thus giving evidence of an open society. Based on the picture emerging from the article we can say that apart from a historical overview, the multilingualism of Estonian poetry also needs closer poetic analysis.

Лирика Амабль Тастю в типологическом аспекте

The aim of the study is to provide a typological description of the lyric poetry of A. Tastu. The genre-thematic aspect, which is given predominant attention in the article, is not accidental because it allows us to judge the innovation or traditionality of the texts, the degree of the author’s involvement in the contemporary literary process. Transitional stages between significant literary phenomena (precisely the period during which A. Tastu was forming and beginning to create) are of special interest to the researcher as they allow to observe the disappearance, transformation, or preservation of old traditions. The stages provide insight into the types of artists in demand during that time, as well as an understanding of their value. Figures representing transitional periods generally do not enjoy much popularity, as the audiences tend to favour those who embody completed and cohesive periods. The scientific novelty of the work lies in the systematic consideration of the lyrical works of this remarkable French poetess in a typological aspect for the first time, ultimately allowing for the understanding of the role and significance of A. Tastu in her contemporary poetry. The obtained results suggest that the lyrical legacy of the French poetess includes works related not only to the phenomena being contemporary for the author (romantic texts), but also those connected with preceding epochs, spanning various stages such as the poetry of the 18th century, the First Empire, and the early Restoration period. Tastu’s universalism turns her work into a unique anthology of lyrical traditions spanning over a century.

Making the voice matter in English Studies Teaching

Abstract This introduction frames the guest edition of the journal on ‘Oracy and English Studies’. The pieces in this special forum explore how a renewed focus on speaking can re-imagine what it means to ‘do English’. We are two university-level teachers, one from Classics, one from English, eager to explore the potential of this idea. We have brought together a series of short provocations from leading UK-based practitioners both within and beyond the subject area: including a speech-writer, university teachers of Shakespeare and contemporary poetry, charity leaders, and political communication specialists. Their pieces reflect on classroom practices including reading aloud and vocalization, impersonation, the analysis of political speeches and argumentation, or getting students to interrogate their attitudes to their own voices. In each case, our contributors have been asked to respond to the concept from educational theory known as ‘oracy’ (simply put, ‘listening and speaking skills’). English studies clearly need to grapple with this suddenly ubiquitous concept. Not just for its political resonances, but because it is rich in implications for teachers of English at all levels, and deserves greater recognition and interrogation beyond the world of education.

Verbal Art in the Heat of the Sinai: Harwerre’s Inscription (IS 90)

Summary Study of Harwerre’s inscription at Serabit el-Khadim (IS 90; year 6 of Amenemhat III). Part 1 offers a philological discussion and new translation of this difficult text. Part 2 shows how the textual composition is patterned throughout on all hierarchical levels. (A proposal for calibration in prosodically patterned Middle Kingdom texts is outlined, differing from both Fechtian “metrics” and Fosterian “thought couplets.”) The patterning extends to deep rhythmical levels, supporting the hypothesis that the text could have been recited on occasions. The overall form of the composition, at once bipartite and concentric, foregrounds the turn to success brought about by the king’s “might” (bȝw). Superimposed on this, a concentric framing, rhythmical patterning, and phonetic echoes concur in celebrating “Hathor” (ḥwt-ḥr) as lady of the “beautiful skin” (ỉnm nfr). Part 3 relates the textual composition to its contexts: the stela on which it is inscribed, the place where that stela stands, and the time of Amenemhat III. This is tightly integrated with the other pictorial and written elements on the stela whose two faces mediate between the powers in the sanctuary (eastern face) and the incoming visitor (western face). On the western face, the turn to success through the king is set in the exact middle lines 13–14 of the 26-line long textual inscription, meeting the incoming visitor at roughly eye’s height. Echoes of Harwerre’s text in neighboring inscriptions of the immediately following years attest to the local reception of an out-of-the-ordinary text and monument. The product of a composer versed in the patterns of contemporary poetry, the text is a token of a productive reception of such during the reign of Amenemhat III.

Translingualism: A Poetics of Language Mixing and Estrangement

Abstract This essay attempts to think through what a “translingual” poetics might be like for contemporary poetry. Its first section discusses the term translingual as it is used in some areas of applied linguistics. The second section constructs an imaginary scenario where a poem employs more than one language and examines the relations between them. The third section asks whether the term translingual poetry might be used to refer not just to language-mixing but rather to a special way of handling even a single language. The fourth section tries to think of “translingual poetry” as one where the poet assumes the linguistic strategies of the language learner. The essay also revisits the argument by the Russian Formalist critics that the language of poetry resembles a foreign language.

Über lyrische Sprache, Gedenken und historische Erfahrung: Paul Celan, gelesen mit José F.A. Oliver

Paul Celan is a central figure in the work of José F.A. Oliver, a multilingual poet who emerged from the context of the so-called migration literature. This article shows the extent to which Celan stands for Oliver’s development into a self-reflexive poet who examines the possibilities of contemporary poetry and memory within the poem itself. For Oliver, the poem results from a process of condensation, a reflective and inward movement. At the same time, however, his “extensive” poetry integrates various places and languages. Celan’s role within this field of tension—in fernlautmetz (2000) and fahrtenschreiber (2010), for instance—exceeds that of an intertextual reference. This idiosyncratic reception goes far beyond quotation and points back to an openness inherent in Celan’s work itself. The extent to which historical experience and memory are transferable in the poem is an issue that Oliver also tackles on a meta-lyrical level. 1

Forms of Sequentiality in Contemporary English Poetry: Simon Armitage and Glyn Maxwell

This article discusses the sequential devices which structure lyric poems. The sequentiality of poems is usually given little systematic attention to in poetry analysis. The main focus tends to be on speaker, imagery, theme and prosody. But a central aspect of the meaning of any poem is the manner in which the progression of the poetic utterance is organised. One such device, widely used in traditional and contemporary poetry, is the schema of the narrative. This article briefly sketches a theoretical approach to the description of the sequential extension of poetic texts and applies it to examples from the work of two prominent contemporary English poets, Simon Armitage, the present poet laureate, and Glyn Maxwell.

Research on the development model of fusion of poetry communication and literary creation based on information fusion technology under the perspective of national fusion

Abstract Under the perspective of national integration, the fusion development of poetry communication and literary creation is flourishing. Through analyzing the characteristics of contemporary poetry dissemination and creation, this paper proposes an innovative model for the fusion development of poetry dissemination and literary creation based on information fusion technology. For poetry dissemination of multi-source information data, random set theory is used for representation, information fusion is performed on the representation results of random sets based on D-S evidence theory, and uncertainty is measured by introducing trust functions and multiple basic probability distribution functions synthesized into one basic trust function through orthogonal sum according to synthesis rules. From the viewpoint of dissemination information sources, news and information websites, video websites, podcasts or audiobooks are called the most important information sources for poetry dissemination, with a combined weight of more than 95%. In the case of poetry literature creation under the integration development mode, the periodicity of the works has significantly improved, with an improvement interval of (18.3% and 27.6%). The dissemination degree also increased effectiveness, with a maximum of 30.7% and a minimum of 21.5%. The development model based on information fusion can open up a new path for the fusion development of contemporary poetry communication and literary creation.