Form Of Poetry Research Articles

Haiku Seven Gastronomicity

Haiku is an unrhymed verse form of Japanese origin having three lines containing usually five, seven, and five syllables respectively, a poem in this form usually having a seasonal reference. I have always been searching for new ways to express myself and my recent collection of Haiku in ‘In One Breath’ was published in 2022. I chose to do seven Haiku to capture the various foods I enjoy covering a myriad of cuisines that reflect a very multicultural Singapore with multinational presence. Not that I am numerologist, but the number seven was particularly interesting because it consisted of the union of the physical (number 4) with the spiritual (number 3), and in Pythagorean numerology the number 7 means spirituality. Furthermore, as an early prime number in the series of positive integers, the number seven has also greatly symbolic associations in religion, mythology, superstition, philosophy and now in poetry as it reflects both the physical and spiritual nature of food. Food that unites and reunites relationships, always prepared with love and respect for the origins of the recipe and respect for the consumer as it becomes one with the body that enjoys its nourishment and teases the senses.

Метареализм Алексея Парщикова и Аркадия Драгомощенко: сходство и отличие

The article aims to analyze the similarities and differences between the poetic systems of the major metarealist poets Alexey Parshchikov and Arkady Dragomoshchenko. Both poets left very favo-rable reviews about each other.Despite belonging to the same literary movement, these poets are different, though united by contact communications and typological convergences. A comparative analysis of Parsh-chikov’s and Dragomoshchenko’s poetics reveals the following differences: the verse form; the corporeality of Parshchikov’s poetry, with visualization tending toward tactility (the representation of visual images from the eye to the hand); the cinematographic nature of Parshchikov’s texts; Parshchikov’s humor as a means of reducing pathos; the principle of ‘neutralization of the word with the word’, Dragomoshchenko’s passive return of things to the world; abstract landscape in Dragomoshchenko’s poetry; the similitude of Drago-moshchenko’s lyric poem to the essay; Dragomoshchenko’s alternation of the poetic and prose;baroquepoetic thinking of Dragomoshchenko; Dragomoshchenko’s diffuse complex of Buddhist and Hindu motifs. Thecommonality of the authors’ poetics is created by: metametaphor as a constant; the manifestating nature of poetic works, their metalyricism as dominants; the poet as hearing, not voicing; ideogram; implicit con-nection of phenomena and objects; weighty value of the poem; conceptually complicated syntax; inclination toward emptiness as a space of bliss; portraying the outside as the inside.The power that determines the cor-relation of objects and phenomena and directs them to a metaphysical continuum, close to an incomprehen-sible absence, is also largely due to the corporeality of Parshchikov’s writing. The poets converge each other in terms of typological similarities (V.Zhirmunsky’s term), contact connections, and genetic relationship. Between them was personal sympathy, correspondence, and communication. Among their sources of creati-vity there also were common ones, for example, interest in the ‘American language school’ –strong for Dra-gomoshchenko, moderate for Parshchikov.

ПОЕЗІЯ КИЇВСЬКОГО ПЕРІОДУ ФЕОФАНА ПРОКОПОВИЧА: ІДЕЙНО-ТЕМАТИЧНІ ТА ЖАНРОВІ ЗАСАДИ

This paper explores the specificities of Theophan Prokopovich's poetic legacy during his time in Kyiv, focusing on its ideological, thematic, and genre foundations. The article outlines the chronological boundaries of Prokopovich's Kyiv period, analyzing their connection to the writer's biography, and for the first time, identifies two distinct stages within this period. The first stage is characterized by the author's staunch defense of Ukrainian values and interests. The second stage reflects the evolution of Prokopovich's poetics towards imperial positions under Peter I. The article analyzes the diverse range of poetic genres used by the author. The paper argues that Prokopovich introduced an innovative direction in his poetry, featuring a simple verse form and a clear, comprehensible artistic style devoid of contradictions. The key aspects of the poetic legacy from the Kyiv period include the exploration of various genres and the fluctuating social perspectives of the author, which significantly influenced his poetics. The first stage encompasses the earliest works on Ukrainian themes, artistic-historical descriptions of Rus-Ukraine as the homeland, the author's interpretations of moral and ethical questions, and depictions of the internal emotions and experiences of the lyrical protagonist. The poetry of the second stage is characterized by the variability of Prokopovich's political views following the defeat of Hetman Ivan Mazepa in the Battle of Poltava in 1709. The poetic works introduce ideas that testify to the author's betrayal of Ukrainian interests and his shift towards pro-Russian positions. Special attention is given to these artistically accomplished yet politically treacherous compositions. The article represents an innovative and objective analysis of the texts, their artistic value, and their ideological positions, shedding light on the phenomenon of Prokopovich's poetic legacy during his Kyiv period. The Kyiv texts are characterized by artistic excellence, combining classicistic and baroque styles, achieving perfection and clarity, simplicity, and formalism, as well as exploring various genre varieties. The author's experimental approach with traditional genres and their modernization in response to the challenges of the Baroque era is also discussed.

ВАСИЛЬ ГОЛОБОРОДЬКО – МАЙСТЕР НЕКЛАСИЧНИХ ВІРШОВИХ ФОРМ: ВІРШОЗНАВЧИЙ АСПЕКТ

The article explores the creative work of Vasyl Holoborodko, particularly his book of poems "An Apple of Good News". This topic has not been extensively researched in Ukrainian literary studies, although Holoborodko's work has been studied in other aspects, such as folklore, in Yulia Shutenko's dissertation. This article specifically focuses on the analysis of non-classical verse forms in the author's poetry. According to one accepted classification, non-classical verse is divided into dactylic, taktovyk's, and accentual verse, depending on the change in the number of intrastressed syllable intervals. These forms have different productivity in Ukrainian poetry in general and in the work of Vasyl Holoborodko in particular. The polymetric superform of the non-classical verse is the vers libre, and Vasyl Holoborodko is the most productive author of this form among his contemporaries. This is related to the feature of his work as folklore trend. Among the examples of poetry presented in the article, there are samples that refer to the folklore sources of his poetry, spoken folk verse, which is the source for non-classical verse forms, and particularly vers libre. Additionally, there are interesting examples of dactylic, taktovyk's, and accentual verse, which are analyzed in detail in the article, including the poems "Spring", "Mother was cleaning potatoes", "Linen Birds", and "Hungry tongues tied in a knot...". The analysis of these pieces of poetry allows us to trace the tendencies of his creative work, such as a tendency toward irregularity, a slight predominance of taktovyk verses in non-vers libre verses, folklore as a leading principle both in vers libre and in the rest of the poems, and the alternation of expressive and meditative motifs in poetic creation, the reproduction of conversational speech and folk verse rhythms in the poetry, the transmission of unique features of the Ukrainian language and authentic imagery. The article is a part of an author's larger study of non-classical verse in Ukrainian poetry of the second half of the 20th century.

Rude Railing Rhymers: Reading Close Rhyme in Skeltonic Verse and Hip-Hop

AbstractAt the turn of the sixteenth century, John Skelton left a strange legacy to the English literary canon: a verse form characterized solely by short lines and long rhyme sequences. This formal innovation, a species of close rhyme now called “the Skeltonic,” has puzzled Skelton's interlocutors for centuries, leaving him a liminal figure within literary history. But if Skelton was an anomaly, the Skeltonic does not stand alone within the English-language literary canon. American hip-hop, one of the most formally innovative, commercially successful, and contentious poetic forms of our day, foregrounds a style and ethos that in many ways picks up where Skelton left off. Hip-hop, like the Skeltonic, requires the explanatory force of its own context, and yet its remarkable, persistent, historically dissonant commitment to rhyme suggests a striking formal parallel with Skelton's verse, one that offers transhistorical insight into the performative poetics and paradoxical politics of close rhyme.

Breton Literature between the 16th and 17th Centuries: The Work of Artisans

While sources remaining from the early days of the Middle Breton period are extremely rare, texts from the 16th and 17th centuries were rediscovered and republished in the 19th century and the beginning of the 20th century, and these have been the main focus of philological analyses. The few scholars and academics who studied these works highlighted their complex verse form. There was hardly any interest in the content of other texts. In recent years however, approaches to comprehending these texts have changed completely and the knowledge we have about them has been renewed considerably. To appreciate this literature, we first need to understand its nature and consider the form it takes. We then need to examine the context in which it was produced. In other words, we must try to understand why these works were written as they were.

Swahili Poetic Tradition: Main Stages of Development (on Example of Tendi and Mashairi Genres)

The stages of development of the main traditional Swahili poetic genres of tendi and mashairi, starting from the period of their formation and ending with the current state are discussed in the article. On the example of the most significant works of classics and modernity, the formal and stylistic features of the studied genres are analyzed, the question is raised about their continuity and innovative techniques in the context of non-literary factors. The conclusion is made about the development of genres within the framework of a change in the types of artistic consciousness, which manifests itself as the East African society establishes and develops — from awareness of one’s own national identity to an ever-greater inclusion in the global literary process. The last stage of the destruction of tradition, the rejection of the traditional form for today, was expressed in the phenomenon of the transformation of the form of the Old Swahili verse, which is demonstrated in the article on the example of the most prominent representatives of the so-called modernist poetry in Swahili. It is concluded in the article on the role of the author, whose figure manifests itself in different ways at each of the stages of development of Swahili poetry: from controversial authorship at the stage of formation of literature to pronounced features that characterize the specific unique authorial style at the later stages of the development of the studied poetry.

Introduction: Poetry and the Victorian Visual Imagination

Introduction:Poetry and the Victorian Visual Imagination Jill R. Ehnenn (bio) and Heather Bozant Witcher (bio) What might it mean to "see" poetry of the nineteenth century? Certainly, it might mean an act of generic visibility: reorienting conceptions of the Victorian age as equivalent to the rise of the novel to reconsider the centrality of poetry (an act of scholarly recovery that has been in process for at least the past decade). It might also gesture toward the visual possibilities of poetic language—the transportive effects of the imagination—and the interrelation of media, sensory modes (words, ideas, tastes, sounds, sights, spectacles), and the embodied experience that Victorian poetry is uniquely primed to explore. And, of course, it also conjures up the optical technologies that allowed for mechanical "seeing"—photographic and engraved images, the magic lantern, kaleidoscope, stereoscope, and others—alongside the so-called Golden Age of illustration, a moment in which literature—and particularly poetry and periodicals—is richly illustrated to join word and image. What might such thinking about the visual vis-à-vis Victorian poetry bring to the discipline of Victorian studies—indeed, English studies in general—especially now? Since the 1990s, the field of Victorian studies has emphasized the impact of visual culture on historical and literary contexts. As Kate Flint asserts in her The Victorians and the Visual Imagination (2000), the visual is a dominant mode of the Victorian period. Jonathan Crary questioned subjectivity by foregrounding the role of the nineteenth-century observer in his Techniques of the Observer: On Vision and Modernity in the Nineteenth Century (1990). By tracing optical devices as "sites of both knowledge and power that operate directly on the body of the individual," Crary used optical experience and visual culture to reconsider what we mean by realism in the nineteenth century.1 Jonathan Potter furthers Crary's argument, showcasing the continual negotiation of Victorian subjectivities by focusing on the mediation of perceptual experience in his Discourses of Vision in Nineteenth-Century Britain (2018). Yet, these conversations about individual subjectivities and the intersections between the visual and verbal environs have largely explored genres other than poetry. This special issue, therefore, centers on the affordances of poetry as a [End Page 429] site of visual imagination. How might looking at the intersections of the Victorian visual imagination and the field of nineteenth-century poetry provide new insights into continued conversations surrounding both poetics and visual culture? What, then, might it mean to "look" differently at Victorian poetry? In the essays that follow, the contributors offer unique methodologies, case studies, and discussions about how new ways of looking provoke affective representations of others and one's own identity. But perhaps more broadly, these new considerations of poetry and the visual imagination offer disruptions to the so-called natural or normal order. When thinking specifically of the possibilities of Victorian poetry, Isobel Armstrong and Joseph Bristow both point to the genre's experimental and social nature.2 This experimentalism is extended with what Margaret Stetz terms "genre crossing" in her argument of genre at the fin de siècle, that in the 1890s, "everyone—reviewers, bookbuyers, other publishers, and authors—[were encouraged] to think beyond the law of genre and to experiment with writing that crossed boundaries."3 Even earlier, Elizabeth Barrett Browning, for instance, famously argued for a new poetic form when writing Aurora Leigh: not only an amalgamation of verse forms but "one that would adapt established styles to contemporary needs."4 Victorian poetry, therefore, is marked by its experimental nature and its publicly oriented focus on "contemporary needs." Indeed, one might argue that this public focus is further solidified with poetry's natural integration with visual culture and its situation within lived experience and sociality. Looking inward and outward, prompted by new modalities (and new combinations) in the visual and written arts, the Victorians, it seems, were natural disrupters. And what better time to be reconsidering the possibilities of disruption than in 2022, following a pandemic, an ongoing climate crisis, and the global rise of authoritarianism leading to the January 6 uprising, its aftermath, and the repeal of Roe v. Wade? In the Oxford English Dictionary, "disrupt," as a verb, is defined...

The Mouseiad and Other Mock Epics [Myszeis

<i>The Mouseiad and Other Mock Epics</i> [Myszeis

Libel in the Provinces: Disinformation and ‘Disreputation’ in Early Modern England

Abstract By the early modern period, libelling a private individual had been legally redefined and was being tried at the court of Star Chamber, alongside cases relating to the monarch or government. This brought the ruination of individual reputations by spreading false rumours into the same realm as the circulation of nationally significant false news. Private libels typically took the form of verses, impersonations, mock ceremonies or visual symbols that were read, sung, posted, and published; they exploited the defamatory potential of fictional reconstructions of local disputes in order to exacerbate conflicts within provincial communities. This chapter argues that private libels provide evidence for a novel multimedia practice of circulating disinformation that blended fact and fiction amongst the social networks of early modern England. It examines two cases, one centred upon a libellous verse and the other on mock proclamations, to establish the significance of literary and performance techniques in libellous disinformation. The chapter also explores the significance of ‘disreputation’ for the categories of private and public. It argues that private libels were a crucial feature of the social backdrop to established forms of oral, print and manuscript communication, which impacted upon common perceptions of trustworthiness of information and public official figures.

The Genre of the Graṙaǰk‘ in Armenian Manuscripts

This article presents the main characteristics and peculiarities of an Armenian medieval literary genre, the graṙaǰk‘, which is found in Armenian manuscripts. Occurring in either prose or verse form, this genre has a number of stable features: they are short works, with a specific set of themes, addressees, and particularities in their usage of certain common words and phrases. Graṙaǰk‘s were aimed to be placed before (and attached to) pastoral decrees or letters (kondaks), addressed to the Catholicos, a priest, a scribe, a philosopher, a layman, or others. The genre of graṙaǰk‘ has a number of further commonalities with another medieval literary genre – the colophon.

Terms Educators in The Qoran

This study aims to determine the terms educators contained in the Qoran. The results of this study is expected to add new perspectives and knowledge insights about educators contained in the Koran. This type of research includes library research, with using the thematic method (mauḍū'ī), which is to collect verses from the Qoran about educator terms. The approach used in this research is the science of tafsir, which is trying to see the term educator in the Koran which is interpreted by commentator. While the data collection technique uses the documentation technique from primary data sources in the form of Qoranic verses, plus secondary data sources in the form of tafsir books, and other supporting books related to with the object of research. The collected research data is then analyzed using the content analysis method through several methods step that is; maudhu’i (verse on the term educator), tahlili (verse analysis), muqaran (comparing the meaning of verse), and interpretation (make conclusion meaning of the verse). The results of this study indicate that there are terms educators in the Koran, namely: Murabbi, Mu'allim, Mudarris, Muzakki, Mursyid, Mudabbir, Mutli, Muwa’izd and Da'i.

SADNESS AND GRIEF IN THE MEMORIAL SONGS OF THE KAZAKH PEOPLE

The article describes in detail the identity and the motive of Kazakh mourning called ‘zhoqtau’. The factual data and justifications on the utterance, publication of lamentations are given. Specific ideas about the history of the origin, the motive of singing, the essence and content of each lamentation are presented. We stopped at the originality of this type of oral writing, which is transmitted in verse form with a sad motive. It provides concrete examples and facts about the virtues and moral actions of the deceased person. Great importance is attached to the content and artistry of lamentations. The specifics of zhoqtau pronunciation are also described. Deep meaningful descriptions are given about the unique qualities of the deceased, about the good that he did for his child, about the morality that he left to posterity. The song of crying reveals the human sides that distinguish the deceased from others. It is a symbol of respect for the deceased. Its purpose is to show the people the good deeds and works of the deceased, regardless of his age. The importance of mourning is to perpetuate the memory of him, to leave his works and traces that he left as a legacy to the next generations.

The Forms of Michael Field, by LeeAnne M. Richardson

Reviewed by: The Forms of Michael Field by LeeAnne M. Richardson Carolyn Dever (bio) The Forms of Michael Field, by LeeAnne M. Richardson; pp. xi + 282. Cham, Switzerland: Palgrave Macmillan, 2021, $139.99, $109.00 ebook. In The Forms of Michael Field, LeeAnne M. Richardson situates Michael Field—the composite identity of late-Victorian poets and lovers Katharine Bradley and Edith Cooper—at the juncture of new theories of the lyric and of literary form. In their published poetry and verse drama, Michael Field are formally innovative and experimental, as Richardson and previous critics have argued. In this splendid book, Richardson takes this contention in important new directions by centering the poets' authorial signature, "Michael Field," as a formal challenge in its own right, both reflecting and overdetermining their formal experimentations: "scholarship has not fully accounted for the inextricably linked nature of their corporate identity and their literary forms" (2). The poets deploy "Michael Field" as a challenge to ideas of authorship and the lyric "I," and as a manifestation of their larger poetic project on par with their remaking of familiar lyric forms including sonnets, songs, and masques. As Richardson writes, Michael Field's "formal innovations originate in their engagement with and modifications, reinterpretations, and adaptations of their larger social world. For these reasons, a study of Michael Field is necessarily a study of a wide array of literary and social forms at the turn of the twentieth century" (4). For critics, the "Michael Field" proposition requires an unusual flexibility, precisely because Michael Field admit no neat pretense of separation between the literary and the social, notwithstanding the poets' continuous engagement with Aestheticist tenets. Michael Field thus engender (pun intended) a formal challenge to critical praxis as well. For to study Michael Field, Richardson contends, is to study the institutions of authorship [End Page 468] and literature as linked, formal phenomena, the poets rewriting the profile of authorship in the world as they reshape the lyric modes at the heart of their project. Richardson's organization reflects this interdependency, opening with an important consideration of "the significance of the Michael Field persona as a mode of selffashioning and a means of negotiating alternatives to traditional gender norms" and "relat[ing] Michael Field's self-authoring to their authorship, demonstrating how their conscious negotiations of self and form provides them personal and literary authority." Subsequent chapters address how Michael Field manage the commingling of personal and literary authority through negotiations of form across lyric modes. Richardson focuses on two dramatic verse forms, verse tragedy and masque, and on three lyric forms: the song, sonnet, and devotional poem. The chapters proceed chronologically as a means of examining Michael Field's "evolving experiments in adapting traditional forms to contemporary concerns." "Each poetic genre they appropriate," Richardson argues, "explores another way to represent poetic voice and identity, both of which provide ways for Bradley and Cooper to express their aesthetic, engage with modernity, and intervene in the world" (20). Richardson's taxonomy here follows Ana Parejo Vadillo's work in considering Michael Field's verse dramas—of which they published dozens—alongside Michael Field's more canonical lyric work. I appreciate this intervention on many levels, including the elevation by both Richardson and Vadillo of verse drama as a significant, underappreciated literary form in the period, as a majority of Michael Field's published work, and as the heart of Michael Field's own conception of their poetic project. "With their verse dramas, sonnets, and neo-renaissance songs," Richardson writes, "Michael Field is participating in a culture-wide appropriation of old forms for new uses" (17). Richardson situates Michael Field's early, acclaimed tragedy Callirrhoë (1884), the first work they published under what would then become their permanent nom du plume, as their aesthetic manifesto, "one that establishes the themes, forms, concerns, and beliefs that inform the rest of their writing lives together," specifically through the embrace of Dionysian inspiration (60). She further argues that, in composing Callirrhoë as a hybrid of forms—closet drama, verse tragedy, and lyric poems—Michael Field offer "lyric irruptions into the blank verse form" that allow them "to explore subjectivity, divinity, and imagination against a background of...

Odder by Katherine Applegate

Reviewed by: Odder by Katherine Applegate Kara Forde Applegate, Katherine Odder; illus. by Charles Santoso. Feiwel & Friends, 2022 [288p] Trade ed. ISBN 9781250147424 $16.99 E-book ed. ISBN 9781250147431 $9.99 Reviewed from digital galleys R* Gr. 2-4 Raised in the Monterey Bay Aquarium but now free to frolic in the bay, sea otter #156 is affectionately known by her friends as "Odder" for her bold and playful disposition. She's also a bit reckless, and when she and her friend Kairi swim too far out into the bay, both otters are attacked by a great white shark and must be rescued by the nearby aquarists––Odder for her shark bites and Kairi for suffering from the "shaking sickness" that plagues the otter population. Odder's injuries might mean a permanent stay at the aquarium, a fate she finds terribly depressing, but her role may be more important than she realizes, especially for Kairi's recovery. Applegate's third-person narrative delivers exuberant verse, with candid parentheticals, persistent alliteration, echoic expressions, and just enough satisfying rhyme within the free verse form. Changes in perspective situate young readers in the aquatic world, first through the heightened senses of the hungry shark in the opening pages, then through Odder's adult experiences in the wild, followed by a flashback to her formative days in the aquarium. Nonfiction fans will appreciate how closely this book is based on real events, with facts about sea animals and ecological conservation interwoven in the story, reinforced by a glossary, an extensive author's note, a selected bibliography, and suggested online resources (the live sea otter camera is sure to be a draw). Soft, black-and-white illustrations dot Odder's story, enhancing readers' emotional connections to a captivating tale about life's existential balance between survival and play. Copyright © 2022 The Board of Trustees of the University of Illinois

Jalan Menuju Taqwa Perspektif Syaikh ‘Abdul Qadir Al-Jailani (Analisis Penafsiran Ayat-ayat Taqwa dalam Tafsir al-Jailani)

The Path to Taqwa from the Shaykh 'Abdul Qadir Al-Jailani’s Perspective: Analysis of the Interpretation of Taqwa Verses in Tafsir al-JailaniThis research focuses on the study of the interpretation of the verses of taqwa in the interpretation of al-Jailani as the culmination of various rituals required by Allah, this research includes descriptive qualitative research, which provides a systematic, careful and accurate description of the interpretation of Shaykh 'Abdul Qadir al-Jailani about the verses of piety. This study uses two data, namely primary data in the form of verses of the Qur'an, namely verses containing taqwa words while secondary data in the form of interpretation of ideas, ideas, other written materials that are related to this research The results of this study show that the terminology of taqwa with its various kinds is repeated 242 times in the Quran. The essence of taqwa according to Shaikh 'Abdul Qadir al-Jailani is obedience built solely to Allah, obeying his commands not violating them, remembering them instead of forgetting them, being grateful for them instead of incarnating them. The devout are those who obey God's commands and spare their souls from all forms of obedience that can hinder true purity and access to closeness to the Creator. The way to attain devotion according to Shaikh Abdul Qadir Jailani is to abstain from the deeds that deeds that deeds that are deeds that deeds of Allah's servants and their rights, escape from obedience, which include great sins and minor sins and then preoccupied oneself with forsaking the sins of the heart which is the mother of various sins and the essence from which it gives birth to sins in the limbs. The sins of the heart such as riya', nifaq, ujub, takabbur, ambition, gluttony, fear of beings, hoping for them, expecting office and position, accentuating themselves to others. The privileges of a devout person according to him are: (1) getting blessings and happiness, (2) getting solutions to the problems he faces and sustenance from God, (3) getting love and protection from God, (4) getting Lessons from God and (5). Get God's forgiveness and heaven

Форма хокку в удмуртской поэзии

Japanese forms of verse are beginning to occupy an important place in the Udmurt poetry of recent times. In the 1990s, the dialogue of cultures was directed mainly to the West. In the new millennium, the internal mechanisms of culture begin to actualize the classical East. There comes a time of worldview and understanding of what is happening, haiku is becoming one of the popular genres. The purpose of the study is to identify national features of the haiku genre in the Udmurt lyrics. The object of analysis is the poems of A. Leontiev, S. Matveev and Alexei Arzamazov, written in the form of a Japanese three-line poem. The method of analysis is comparative studies. The results of the study are as follows. Udmurt poets, writing in the form of haiku, strive to see the big world in a small detail, to show the eternal in a moment. The autumn landscape becomes attractive in that it conveys “light sadness” (sabi). Thus, the poets do not copy the Japanese canons, but bring a national flavor. The unexpectedness of the finale (koan) in Udmurt haiku is usually achieved by the fact that the poet passes from one spatial dimension to another.

Clackamas Chinook Performance Art: Verse Form Interpretations by Victoria Howard (review)

Reviewed by: Clackamas Chinook Performance Art: Verse Form Interpretations by Victoria Howard David G. Lewis (bio) Clackamas Chinook Performance Art: Verse Form Interpretations by Victoria Howard, transcription by Melville Jacobs, edited by Catharine Mason University of Nebraska Press, 2021 TRIBAL SCHOLARS SEEKING TO study and recover their language today require a significant knowledge of anthropology and linguistics. Anthropologists and other scholars in the earliest years of tribal studies did not make this task easy, depositing research records in exclusive archives in faraway places that are nearly unreachable by tribal people. In addition, anthropological notation was and is quite difficult to decipher. Today, researchers work to make early anthropological research available to tribal and other scholars, which aids numerous projects to revive, restore, and recover tribal languages. Clackamas Chinook Performance Art, produced by Catharine Mason, fits within this more progressive latter philosophy. Mason has deftly produced an approachable text of Clackamas Chinook oral histories that makes sense of the complex linguistics of the original Melville Jacobs notations. Melville Jacobs, an anthropologist with the University of Washington, had a notable career working with tribes in Oregon and finding key speakers of the remaining tribal languages to help collect and decipher thousands of pages of oral histories. The Jacobs Collection was kept by the university for almost fifty years, however, allowing only privileged access, which did not at all help tribes or tribal scholars. Mason and her many contemporaries have now accessed the collection and are producing accessible texts that tribal communities can easily access. The first similar project in recent memory was Henry Zenk's My Life by Louis Kenoyer: Reminiscences of a Grand Ronde Reservation Childhood (2017). In this work, Zenk and Jedd Schrock translated thousands of untranslated pages of Tualatin Kalapuyan oral histories and produced a text of the life story of Kenoyer. Mason similarly has reinterpreted numerous Clackamas oral histories previously translated by Jacobs in Clackamas Chinook Texts and other manuscripts, a corpus that was reanalyzed by Dell Hymes and other scholars. Mason listened to descendants of Victoria Howard and to the wishes of the Grand Ronde Tribe and did not include myth texts, which were of a sensitive nature, rather focusing on mainly oral histories of more recent events. The rule that Mason chose to follow is in response to generations of critiques [End Page 142] by tribes that their most sensitive oral histories have been collected, misinterpreted, and misused by generations of scholars. Many scholars working on oral histories did not listen to or ask tribes about the meaning of their oral histories and created their own interpretations. They did so at a time when tribes were working to recover from debilitating American colonization and assimilation agendas. In this early period, few tribal scholars had a chance to work to recover their oral histories, and yet interpretations were being produced regardless. But as Mason points out, scholars must work with tribes to understand oral histories because tribes understand their culture most completely, and such studies will aid Tribes and Native scholars who are working on cultural recovery. Mason's interpretative framework follows that of her college mentor, Dell Hymes. Hymes practiced verse form patterning, suggesting that oral histories produced by a master storyteller are a true literary art form. Mason identifies Victoria Howard as a master storyteller and notes that Howard voiced the texts in a true artistic literary style through performance and was able to deftly adapt her style to the needs of Jacobs when eliciting the texts. Mason notes that Hymes identified the grouping of the text units in threes and fives, suggesting again a truly unique Native literary presentation style that may be present in other texts not yet studied. Most of the texts—some twenty-six oral histories—appear with little critical analysis, besides short introductions. The style presented is clean and easy to read with line numbering. Both the Clackamas Chinook, mixed with occasional Chinuk Wawa words, and an English translation are presented for each story. For Clackamas learners the format of presentation may limit learning because each oral history is presented in uninterrupted fashion over several pages. A preferable format would be with Clackamas on the recto page and English on...

Principles of Good Governance in Quranic’s Perspective

The purpose of this study is to find out how the Quran perspectives in explaining the principles of good governance. The methodology used in this research is library research through a qualitative approach , namely research that processes thinking deductively and inductively. The source of this research data consists of a primary data source in the form of Verses of the Qur'an which is used as a reference with the explanation of several mufasir, and a secondary data source consisting of relevant previous scientific research works in the form of books, journals and other scientific works. The metode of the Interpretation of Al-Quran used as a method of analysis in this study is the method of tafsir al-maudhu'i. In conclusion, some contextual principles in good governance are contained in several verses in the Qur'an, both on Transparency, Accountability, Responsibility, Independentity, and Fairness. The important point of this research is that in offering a solution to a problem, Al-Quran always provides perspective not only materially but also a spiritual perspective.

Review Essay: Am I Blue?: Black Music &amp; White Male Self-Construction

Review Essay: <i>Am I Blue?: Black Music &amp; White Male Self-Construction</i>