The author analyses the features of English cultural nationalism in the second half of the 18th – first half of the 20th centuries. The author analyses the discourse of cultural nationalism through its representation in the texts of Thomas Gray, Gilbert Keith Chesterton and Ivor Gurney. The novelty of the study lies in the analysis of the history of English cultural nationalism, which in historiography has been studied lesser than the historical, cultural and political experiences of minority nationalisms in Great Britain. Cultural history is perceived as a space for the development and actualization of nationalist ideas. Methodologically, the article is based on the achievements of modern interdisciplinary historiography, including the history of ideas and intellectual history, which allows us to expand our understanding of literary texts of the past, analyzing them not only as literary monuments, but also as moments of social and cultural history. The article shows that 1) English identity was represented and actualised mainly in literature, which turned culture into the main space for the English nationalist imagination – therefore cultural nationalism in English society was more developed than other nationalisms, including ethnic and political, 2) English poets of the 18 – the first half of the 20th centuries played a leading role in the development of nationalism, forming and reproducing narratives that became the basis of the nationalist imagination, 3) the invented cultural tradition of the absence and invisibility of the Englishmen and England as a nation and nation-state played a central role in the actualisation of English identity in the British cultural and political contexts. It is assumed that English nationalism migrated from the political sphere to cultural spaces, since its theorists were unable to realise the English political or cultural project of the nation-state.

In this paper, the poems of American English poet Emily Dickinson and Pakistani Urdu poet Kishwar Naheed in the context of feminism are analyzed. Emily Dickinson was considered as one of the great poet of nineteenth century who broke the traditional style and commanded a singular brilliance of style and integrity of vision while Kishwar Naheed as one of the great poet of twentieth century who wrote about woman rights by defying conventions. This study explores the cultural and social diversity as well as commonalities between two different countries in the context of feminism. This paper discusses the biography of two poets and compares them to analyze the differences and similarities between two totally opposite cultures. The poems “They shut me up like a prose” by Emily Dickinson and “The grass is really like me” that is translated from Urdu to English by Kishwar Naheed are selected. The study explores the elements of interests in the form of resemblance between the biographies of two poets and then the selected poems are discussed in feminist perspective. The study is beneficial for the students and researchers of literature and literary criticism as it provides a lot of knowledge and is advantageous for those who wants to analyze the life and poetry of Emily Dickinson and Kishwar Naheed and who wants to explore them in future.

Abstract Anthropologists have often turned to poetry as a means of accessing emotional registers of which conventional academic prose is unable to avail. In doing so, they have tacitly conflated poetry with lyric poetry, today probably the most widely practiced poetic genre, associated in particular with the expression of inner feelings and subjectival states. Lyric, however, is not the only kind of poetry. Epic is arguably the most ancient form of poetry, extending back beyond the advent of writing and taking as its subject matter not just the actions of gods, rulers, and heroes, but also in some cases the origins of the cosmos. Epic poetry, British poet Alice Oswald has suggested, propels us “beyond the voice, beyond the mind, out in the pure, unsupervised space.” Since the nineteenth century, the epic form has sometimes been appropriated for nationalist political ends, to provide an immemorial ground for a political community often envisioned in narrowly exclusionary terms. Yet epic also provides a potential challenge to such narrowness. Part manifesto and part collage of my own and others' words and images, this essay proposes and enacts a mode that I call “minor epic” as an alternative to both ethnonationalist triumphalism and lyric introspection.

Contemporary British poet Mel Wardle Woodend offers a compelling ecofeminist vision in her poetry, foregrounding the ethical interconnections between humans, animals, and the natural environment. A Doctoral Researcher in Stylistics at Aston University, Wardle Woodend combines scholarly insight with poetic sensibility, exploring how poetry can raise awareness of urgent ecological issues. Her works integrate ethical reflection, emotional depth, and social responsibility, positioning her as an important voice in contemporary ecofeminist discourse. Wardle Woodend’s poetry emphasizes the ethics of care and moral responsibility toward all living beings. In Plight of the Turtles, she contrasts the peaceful existence of sea turtles with the pervasive dangers of environmental pollution, using direct address to encourage responsible behaviour. Her poem Spill depicts the destructive intrusion of pollution into marine life through vivid metaphors. These works cultivate empathy while underscoring human accountability for environmental damage. In Australia, Wardle Woodend connects ecological crisis with broader social and moral responsibility, portraying the suffering of people and animals during catastrophic bushfires and questioning the role of climate change. Deluge addresses flooding in Staffordshire, with the poet highlighting human culpability in environmental disruption. In a Little Corner of Wales illustrates the ethics of care through intimate human–animal interactions, revealing concern for vulnerable wildlife and critiquing government culling policies. Overall, Wardle Woodend’s poetry unites literary craftsmanship with ecological awareness. Through vivid imagery, direct address, and emotional resonance, her works foster empathy and responsibility, demonstrating the transformative potential of ecofeminist poetry. Wardle Woodend’s contribution to contemporary literature is significant, as her poetry promotes ecological consciousness and ethical reflection

The article examines the frequency of different types of attributes in the poetic texts of the English poet Ted Hughes and the American poet Sylvia Plath. The choice of an attribute is always based on the author’s preferences in the manner and character of writing and the study of attributes is important for the study of individual style. The purpose of the work is to conduct a comparative analysis of the attributive types characteristic of the poets' early lyrics. The research involves the collection of poems by Ted Hughes «The Hawk in the Rain» and the collection «The Colossus and Other Poems» by Sylvia Plath. These poetry collections of poets were created and published by them at about the same time, while each of the young poets already had a bright poetic voice. In this regard, it is interesting to trace the similarities and differences in the attributive structure implemented by the authors. The novelty of the research lies in the fact that for the first time statistical procedures such as calculating the coefficient of variation and the exponential function are involved in the analysis of the authors' works. The results of the analysis make it possible to come to the conclusions about the similarities and differences in attributive schemes implemented in the works of poets, to identify their individual features.

The article examines the frequency of different types of attributes in the poetic texts of the English poet Ted Hughes and the American poet Sylvia Plath. The choice of an attribute is always based on the author’s preferences in the manner and character of writing and the study of attributes is important for the study of individual style. The purpose of the work is to conduct a comparative analysis of the attributive types characteristic of the poets' early lyrics. The research involves the collection of poems by Ted Hughes «The Hawk in the Rain» and the collection «The Colossus and Other Poems» by Sylvia Plath. These poetry collections of poets were created and published by them at about the same time, while each of the young poets already had a bright poetic voice. In this regard, it is interesting to trace the similarities and differences in the attributive structure implemented by the authors. The novelty of the research lies in the fact that for the first time statistical procedures such as calculating the coefficient of variation and the exponential function are involved in the analysis of the authors' works. The results of the analysis make it possible to come to the conclusions about the similarities and differences in attributive schemes implemented in the works of poets, to identify their individual features.

The paper analyses the main features of Peter I’s image representation in the poem “The Northern Star” (1718) by Aaron Hill, a prominent English poet, playwright and critic of the first half of the 18 th century. The paper considers this problem in the context of general trends in the reception of the Russian monarch’s image in the early Enlightenment literature (in the works of D. Defoe, R. Steele, M. Stringer and others) and in connection with the imagological content of the “Petrine text” in English literature. We study the stable motifs and themes of the poem from the functional point of view together with the elements of imagery that contribute to the creation of Peter the Great image as an enlightened monarch, military leader and civilizator of the “barbaric” Russia and a defender of the Christian world. The paper also considers the artistic means of Peter I’s image deification (the poem’s allusive plane, historical parallels, etc.). The positive reception of the czar’s image in “The Northern Star”, and in English literature of the first decades of the 18 th century in general, affected the hetero-image of Russia valorization and inclusion of new imagemes in its structure, in particular those associated with the country’s messianic role. On the other hand, the reception of Peter I was concerned with myth-making, which resulted in the emergence of a reduced and schematic image of the monarch and a simplified conception of Russian history.

The biography of some writers appears to us as a chronicle of great political and state events. This becomes particularly noticeable when this or that episode of the creator's life relates to the struggle for a great humani­tarian idea or to save the country and involves self-sacrificial action. Literary history is well acquainted with the life of English poet George Byron. It is also known that he directly participated in the Italian people's struggle against Austrian rule, then the poet went to Greece to participate in the Greek people's national liberation struggle, where he became ill and died. The life of Hungarian poet Sandor Petofi remains a symbol of heroism and self-sacrifice. He was one of the leaders of the national liberation strugg­le directed against Austrian rule and died on the battlefield, so that his com­rades could not even find his body. In both the first and second cases, the biographers of these poets speci­fically note these episodes of their lives and give very high praise to their decisions. We think it is also admirable that our romantic poet Alexandre Chav­cha­vadze participated in the national liberation struggle in his youth, regardless of how his life continued afterward, how faithful he remained to his youthful aspirations. Unfortunately, today's Georgian reader somehow passes indifferently by this episode of the poet's life, as if it was an ordinary story - an eighteen-year-old young man from the highest aristocratic family fleeing from home and joining the rebellious Mtiulian units. Geronti Qiqodze wrote: "Alexandre fled from his father and sided with the rebellious Mtiulians, who were led by Prince Pharnaoz." However, we do not know what the researcher meant by "fleeing from his father" - should these words be understood literally or does it mean leaving home without permission; was this protest momentary or was there some internal confron­tation between father and son, between Garsevan and Alexandre Chavcha­vadze; was fleeing to Mtiulians caused by patriotic feeling or did youthful romanticism predominate more in Alexandre's decision. It should also be said that this incident did not pass without a trace in Alexandre Chavchavadze's life. The young poet was properly punished for his actions. His creative work was often inspired precisely by this episode. Many of the poet's poems directly echo his romantic step. It is true that years later, in a report sent to the emperor, the poet "repented" this youthful step: "I left my parents and fled... This was, I think, in 1803, under the bad influence of some misguided youth I sided with Prince Pharnaoz who was in Mtiuleti at that time," however, the poet's sub­sequent life and especially his creative work can be considered precisely as an echo and a kind of justification of that "wrong step." This is precisely what we will try to prove in this article. For this pur­pose, let us study more deeply Alexandre Chavchavadze's life itself, this episode of his biography, as well as the entire history of Garsevan Chavcha­vadze's diplomatic service, his role in Georgian-Russian relations and possible participation in the entire process shrouded in secrecy until the day of the abolition of the monarchy in Georgia. The reader will undoubtedly be interested in Alexandre Chavchavadze's personal relationship with the princes of the Kingdom of Kartli-Kakheti as well as the causes and goals of the Mtiulian rebellion.

ABSTRACT This article argues that Agha Shahid Ali’s poem “The Country without a Post Office” (1990) uses the epistolary—as both form and content—to tell the silenced stories of Kashmiris and of the devastation wrought on the Valley since the advent of Indian colonialism. The article argues first that the poem draws on epistolary tropes in Urdu poet Mirza Ghalib’s (1797–1868) poetry to link the material devastation of Kashmir to the epistemic erasure of its history; second, that the poem translates epistolary metaphors from Urdu poet Faiz Ahmed Faiz’s (1911–1984) prison poems to give voice to the Kashmiri imprisoned by the state; and finally, that the poem uses British poet Gerard Manley Hopkins’s poetry to make poetry rather than prayer a means of redemption for Kashmiris. The voicing of the poem in public draws on an oral tradition of reciting Urdu poetry and makes the poem as recited text an alternative public sphere for talking about the destruction of Kashmir in contradistinction to the silences of the Indian state.

This paper maps English poetry from Bihar highlighting twenty-two poets who have made Bihar speak its rich tradition of quest and cultural ethos. Though this poetry has its roots in local soil, it transcends the local boundaries and becomes universal by virtue of its fusion of cultural rootedness, philosophical questionings and modern poetic expressions. Thematically and technically, this poetry is rich enough to quench the thirst of readers across the globe by its universal concerns of life, death, love, society and spirituality. Babu Avadh Biahri Lall, R. K. Singh, Prabhat Kumar Singh, Pashupati Jha, Punita Jha, C. L. Khatri, Kalpna Singh-Chitnis, Binod Mishra, Tabish Khair, Sumirasko, Bhaskarananda Jha and Abhay Kumar are some of the significant English poets who have touched almost every aspect of life—be it social, political or religious or cultural.

On Some Thematic Connections in the Works of J.Byron and H.Javid Summary This article is devoted to a relevant topic. In recent years, more and more works have appeared related to the comparative analysis of poets and writers from different nationalities. The significance of these works increases all the more if philologists try to find thematic parallels in the artists of the word who lived and worked in different eras. In this article, we are dealing with just such a topic. Using the example of two works The works of English (George Byron) and Azerbaijani (Huseyn Javid) poets were to be compared and compared. It is well known that they lived at different times (the beginning of the 19th and 20th centuries, respectively), but experienced the same dramas in life. Hence the similarity of some motives, which become the main object of research. The article focuses on several points: a) an appeal to mythological origins; b) reliance on biblical commandments in Byron's dramas and Javid's Muslim religion; c) the search for parallels in the widespread theme of Satanism (or diaboliad) in world philology. Some interesting thematic junctions have been discovered along the way. Keywords: Byron, Javid, biblical motifs, the hero's problem, divine powers, supernatural elements

The English poet John Milton portrayed truth as a powerful warrior capable of defeating falsehood in open combat. The spread of false information online suggests otherwise. Here, we test the persuasive power and transmission potential of true versus false messages in a controlled experimental setting, free from the effects of social media algorithms and bot amplification. Across four experiments (combined N = 4,607), we tested how perceived veracity affects message persuasion and shareability, using messages generated by both humans and large language models. Experiments 1 and 2 (persuasion game) involved participants creating and evaluating persuasive messages; Experiments 3 and 4 (attention game) focused on messages optimized to capture attention. Our findings consistently show that messages created with the intention of being truthful were more persuasive and more likely to be shared than those designed to be false. While perceived message truth was the main driver of persuasion, message transmission was primarily driven by positive emotion and social engagement, indicating that social connection is prioritized during information sharing. These results suggest that truth holds a competitive edge in the marketplace of ideas. (PsycInfo Database Record (c) 2025 APA, all rights reserved).

ABSTRACT The prominent English poet, playwright, and novelist John Masefield has hardly figured at all in discussions of literary influences on Eugene O’Neill’s writing, and yet many points of crossover can be analyzed. Moreover, the very pattern of Masefield’s life and early career can be mapped onto O’Neill’s, suggesting that O’Neill (a decade younger) might have articulated his aesthetic choices in terms of what he knew about this experimental writer. Masefield became famous with his explorations of maritime life, notably in his most famous poem, “Sea-Fever,” which O’Neill respectfully parodied, but he also explored folk tragedy in plays like The Tragedy of Nan, which might have influenced O’Neill’s early naturalism. The impact of Masefield’s thematic novels and his full-length verse plays can also be discerned. Masefield’s twisted version of Francis Thompson’s “The Hound of Heaven,” which O’Neill was known to recite at length, can be seen as an influence on The Emperor Jones.

This study is dedicated to the analysis of the formation and understanding of the dynamic development of the image of the English poet John Milton in Russian lyrical and lyric-epic poetry. The material for this investigation consists of lyrical and lyric-epic works by Russian writers from the 18th and 19th centuries that reference Milton. Employing hermeneutic, historical-cultural, and comparative methods, the article identifies three distinct trajectories in the interpretation of Milton's image within Russian poetry during this period. The first trajectory, situated within the framework of Classicism, involves the incorporation of Milton's name into the canon of classical literature and the use of his image as an argument for shaping a unique, distinctive identity in Russian poetry. The second trajectory (within the realms of Sentimentalism and Romanticism) leads to the creation of the image of a solitary, tragically misunderstood genius — a blind seer; moreover, authors of the Sentimentalist era appreciate the contrasts present in Milton's stylistic poetics, while poets of the Romantic tradition perceive him as a quintessential figure of their age. The third trajectory (beginning in the early 19th century, primarily within Romanticism and Realism) is characterized by an ironic, diminutive, and distancing interpretation of Milton's poetics.

ABSTRACT The British poet Stephen Spender (1909–1995) is perhaps best known today as the chronicler of the 1930s ‘Auden Group’, a cosmopolitan public intellectual, and cultural activist. Throughout his life, Spender was also an avid autobiographer, whose work served as a medium for staging his identity as a writer and negotiating the relationship between art, politics, and ideology. This article demonstrates how Spender's literary autobiography, World Within World (1951), and his published journals bear testimony to the writer's struggle to come to terms with the responsibility of the artist in times of crisis. It also highlights the strategies Spender employs in his texts, making use of the autobiographical mode and its affordances, to construct a carefully curated image of the author in which this struggle—and the sense of ambivalence arising from it—feature as markers of authenticity. Drawing on Michael Benton's idea of ‘biomythography’ (Benton 2009, Literary Biography: An Introduction. Chichester: Wiley-Blackwell), I introduce the concept of the ‘autobiomyth’ to capture the strategic modes of autobiographical self-presentation that help build and sustain Spender's authorial persona. These autobiomyths, I argue, revolve around the themes of ambivalence, transnational interconnectedness, and universalism, and inscribe them at the heart of the writer's ethos.

Abstract William Shakespeare ascended to the status of English national poet over the course of the eighteenth century. His literary work entered the cultural imagination not only through theatrical performances and printed texts, but the playwright's corpus was also represented visually — in painted and printed media, and as or on material culture objects. Privileging Shakespearean themed printed fans and snuff boxes, this article probes the capability of Shakespeare's works (as their decoration) to act as emotive and expressive mechanisms in gendered social exchanges. It evaluates the way in which the ornamentation of these gestural objects informed extra‐linguistic forms of communication, mediating and shaping contemporary users' engagement with and experience of the playwright and his corpus.

The English national poet William Shakespeare wrote 154 sonnets, which are commonly divided into three categories: the “Fair Youth Sonnets” (126 sonnets), the “Dark Lady Sonnets” (26 sonnets), and the “Greek Sonnet.”(02 sonnets). The current study aims to conduct a critical discourse analysis of the symbolic language employed in Shakespeare’s Dark Lady Sonnets. A content analysis method was adopted to examine the data. The study's population includes the 26 sonnets, known as “Dark Lady Sonnets”. Using a purposive sampling technique, the researchers selected six sonnets (127, 128, 129, 130, 131 and 132) from the Dark Lady collection as the sample for data analysis. The findings reveal that Shakespeare effectively utilized symbolic discourse throughout these selected sonnets. This study offers valuable insights and is expected to serve as a useful resource for future researchers and literary scholars.

In 1919, British poet Max Plowman, a World War I veteran who had become a conscientious objector, wrote that it was a “fallacy that peace is merely whatever war is not” and argued, “If we are going to end war we must have a new idea of peace.” What was needed, according to Plowman, was a “creative peace.” The interest of his comments lies not only in their insistence on what others have called a “positive peace” but also in their emphasis on the crucial interrelation of creativity and art, on the one hand, and positive and productive conceptions of peace, on the other. Strikingly, contemporary peace studies scholar and conflict-resolution specialist John Paul Lederach speaks similarly to the centrality of creativity to peacebuilding, going so far as to employ the language of the “aesthetics of peacebuilding.” As I reflect on what a “creative peace” – and a “creative pacifism” – look like, it becomes increasingly evident to me – and here I am drawing on the work of Jane Goldman and others on Bloomsbury and peace – that these are inextricably bound with what we might call “peace time” (a term linked to one of Goldman’s article titles). “Peace time” is not the same as peacetime as generally conceived – that is, as simply the absence of ongoing military conflict. Instead, it is a way of existing in and relating to time that gives creativity and peace room to flourish and fosters connection(s), countering other relationships to time that drive distraction, atomization, competition, and, ultimately, violence. Following on the notion that creativity and creative representations are central to peace and pacifism, I will look to Virginia Woolf’s Three Guineas, “Thoughts on Peace in an Air Raid,” and Mrs. Dalloway and Pat Barker’s Regeneration trilogy to explore how these texts theorize and enact “peace time.”

Christopher Marlowe (1564-1593) was an English playwright, poet, and translator of the Elizabethan period, considered one of the precursors of Shakespeare. His style is characterized by heightened poetic language, the use of blank verse, and bold themes exploring power, desire, and transgression. Marlowe wrote plays such as Doctor Faustus and Tamburlaine, as well as poetry that reflects bothsensibility and provocation.

Christopher Marlowe (1564-1593) was an English playwright, poet, and translator of the Elizabethan period, considered one of the precursors of Shakespeare. His style is characterized by heightened poetic language, the use of blank verse, and bold themes exploring power, desire, and transgression. Marlowe wrote plays such as Doctor Faustus and Tamburlaine, as well as poetry that reflects bothsensibility and provocation.