National Poetry Research Articles

Learning by Heart as a Pedagogy of Hope: Envisionment-Building through Poetry Memorization and Recitation

ABSTRACT While memorization has been criticized as outdated, recent studies have suggested that memorized poetry constitutes a vital repository which enhances the quality of individuals’ lives. The pedagogical potential of learning poetry by heart, however, has hardly been explored in contemporary settings. This qualitative study focuses on the experiences of seven adolescent student participants in the inaugural National Poetry Recitation Competition held in Singapore in 2023, which involved 169 contestants. Employing an exploratory case study approach, including the analysis of interviews and field notes, this study applies Judith Langer’s concept of “envisionment-building” (2011) as a primary lens through which to interpret the students’ experiences, while elucidating aspects of their experiences in the light of schema theory. Findings indicate that students’ experiences demonstrate evidence of Langer’s first and fourth principles of envisionment-building most strongly, as manifested through the practice of poetry memorization and recitation. This study further proposes a model informed by students’ responses that could guide literature educators to support students in learning poetry by heart as a path towards envisionment-building, contributing to a pedagogy of hope while expanding opportunities to motivate deeper engagement with poetry.

Национальная специфика и классовое искусство: от многообразия к унитаризму

The article highlights one of the key moments in the formation of the North Caucasian peoples’ national literature in the process of their integration into the USSR’s shared cultural space. The author notes that, despite the unity of the socio-social and economic systems of the region, the proximity of their cultures, the systems of verbal creativity of the mountain peoples had their own specific features, manifested not only at the general philosophical and conceptual levels but also in the models of apperception themselves. On the examples of poetic texts by K. Khetagurova, B. Pacheva, K. Mechieva, the essence of the reflex transformation process is considered in sufficient detail and, convincingly, its specific techniques and mechanisms are determined. The departure from the plastic “textured” sensation leads to an organic understanding of ideological and respon-sible symbolism, anticipating the flourishing of national poetry within the boundaries of ethnical-ly authentic apperceptive models. The latter, in turn, received a complete and perfect expression, as in the work of K.Kuliyev, as well as in the poems of his followers, who developed sensitive, materialized ideas on a new, symbolic level of their interpretations.

Формы свободного стиха в творчестве Зарины Кануковой (на материале сборника «Хэку/Родина»)

The article examines the problem of evolution of free verse forms in Adyghe (Kabardian) poetry using the example of creativity of the Kabardian poetess, writer, playwright Zarina Saadulovna Kanukova (1969), in particular, her latest collection of poems "Хэку/Homeland" (2022). Poetic compositions of varying degrees of freedom from rhyme-metric constructions, as well as conventional poems created in strict accordance with the rules of classical syllabo-tonic versification are considered. The research aim is to identify the trends in the development of free verse forms in national poetry in general and in Z. Kanukova's work in particular. The scientific novelty of the work lies in identifying and studying innovative poetic forms for the Adyghe (Kabardian) literature - varieties of free verse; the little-studied problem of transformation of the national verse system is touched upon; the research material presented in the collection "Хэку/Homeland" is introduced into scientific circulation for the first time. The obtained results prove the progressive nature of free verse forms in the stated book and give reason to assume the movement of the entire Adyghe (Kabardian) poetry towards gradual formal emancipation/liberation.

Mikayil Mushfig s Translations From World Literature

The main purpose of the article is to examine the translations of Azerbaijani poet Mikayil Mushfig from world literature. The article provides information about the works of Mikayil Mushfig (1908-1938), one of the outstanding representatives of Azerbaijani poetry, published in periodicals, as well as separately published books. It is noted here that Mikayil Mushfiq was a member of the Union of Writers, a poet, translator, and educator, and worked effectively as an editor of the Azerbaijan State Publishing House. Talented poet, pedagogue and translator Mikayil Mushfig is one of the brightest figures of contemporary Azerbaijani literature. He is an artist with exceptional services in the development of our national poetry. M. Mushfiq gave special importance to the poem form in his creativity, which created unique and original examples of Azerbaijani literature. "Between the Curls", "Epic of Freedom" (1932), "Shepherd", "Afshan", "Mountains" (1933), "Shole", "My Friend", "Desertil" (1934), "Morning", "Broken Saz (Saz is a national instrument)" (1935) etc. are such kinds of the works. The comparative analysis method was used in the writing of the article. Importance of the application: It can be used in courses and seminars in higher education institutions.

Images of National Poetry in Works of Chinese Composers (the case of art songs by composer Lu Zaiyi)

The article examines the images of national poetry in the works of Chinese composers using the creative work of Lu Zaiyi as an example. He is one of the brightest representatives of the vocal composing art. The author notes that the images of national poetry are vividly embodied through the composer’s style, through special attention to words, as well as through a sensitive combination of vocal and piano parts.

METRO-RHYTHMIC PARAMETERS OF A POETIC TEXT (BASED ON THE MATERIAL OF TEXTS WRITTEN BY SPANISH AND RUSSIAN AUTHORS)

Statement of a problem. The objective of the study is a phased analysis of the formal features of a poetic text using a psycholinguistic approach. The poetic text is considered as a special form of emotionally colored speech. The main goal is to determine the universal and nationally specific features in the metro - rhythmic organization of Spanish and Russian poetic texts. Results: The data on the metro - rhythmic organization of Spanish and Russian poetic texts is presented. Based on the classical meters of Greek and Roman poetry, the ways of the formation of national poetic Russian and Spanish traditions are additionally considered. Along with universal features, national-specific features are highlighted. Approaches to the consideration of poetic meters used in Spanish poetic texts, as well as the transition to syllabo-tonic in Russian versification are described. Conclusion. The main conclusion from the presented study can be considered the identification of nationally specific features, consisting of the use of classical meters in certain poetic genres and the formation of mixed genres. As a linguistically significant conclusion about the preference in the use of meters, the authors put forward the ratio of speech rhythm to the meter in national poetry.

A NATIONAL WORLDVIEW AND TRADITIONS IN KAZAKH POETRY OF THE 1960-1980S

The article states that literature without a national character, without traditions, cannot exist, has a national character - its element, the legitimacy of development. It is possible that each national literary path and history created together with the life of the people, under the influence of various social and political situations, are subjected not only to depressive, but also to periodic obstacles, sometimes progressing, outpacing the pace of development of society. But one thing is obvious, that the historical development of literature occurs spontaneously in the national channel, solely on the basis of national traditions. 60-80-ies Kazakh poetry is a feature of national values, a new attitude to tradition and other decisive relationships. Along with the continuation of the traditions of fine instruments, the issues of his artistic development, making changes worthy of time and enrichment have become relevant. The national worldview in Kazakh poetry is a national poetic tradition. The national poetic tradition is a precious pillar of all creativity. One way or another, the tradition did not develop, did not manifest itself in its specifics due to the differences of the epoch and time, there was no creation of tradition. Although traditions are developing and enriched with innovation, in the 60s the galaxy of poets that entered our literature continued the tradition and acquired a new character in our poetry. This is given a scientifically based maximum assessment. What is the role of lyrics in the national poetry that has become the object of research, and what is its nature, what values sprouted from its soils of that time and spread leaves, and what is its path of growth leading to, answering the questions, in what orientation and at what level, we put forward the significance of our work. Studying the trends of Kazakh poetry of the 60-80s, in order to comprehensively and deeply cover the rich heritage, we decided to limit ourselves to the work of a certain group of poets. Also, based on the works of many scientists, we have shown that Kazakh poetry has a deep source. All these conclusions, balanced thoughts and conclusions that we observe during the study of the national character of the Kazakh poem reflect what has been said.

«Родной край» А. И. Софронова и «Речка» А. Е. Кулаковского: художественные переводы в становлении якутской поэзии

The aim of the research is to trace the process of creating new original, independent works by conducting a comparative analysis of the poetic structure of the works by the first Yakut poets – A. E. Kulakovsky’s “River” and A. I. Sofronov’s “Native Land” written based on the works by N. G. Tsyganov and N. I. Nemirovich-Danchenko. The paper examines the poetic structure of the Yakut texts – the type of the author’s narrative, subject organization, graphic and rhythmic-syntactic structure, composition, narrative-speech and motif-figurative system – in comparison with the original Russian texts. The research is novel in that it is the first in Yakut literary studies to consider the famous works by the first Yakut poets not from the perspective of their equivalence (in terms of fidelity/infidelity, translatability/non-translatability) to the source text, but from the position of creative rendering of someone else’s foreign-language text in accordance with one’s own artistic experience, worldview and national poetic traditions. As a result of a bi-directional comparative analysis of the poetic texts by the Yakut poets A. E. Kulakovsky and A. I. Sofronov (the literary translation / the source text; Kulakovsky’s “River” / Sofronov’s “Native Land”), it was found that according to the nature of the author’s narrative, subject organization, spatial-temporal coordinates, rhythmic-syntactic structure, plot-compositional structure, narrative-speech structure, these works are original, author’s works included in the treasury of national poetry.

Ashkenazi Literary Diaspora in The Argentina Of the Junta Military: The Poetic Legacy of Juan Gelman, Tamara Kamenszain, Alicia Borinsky, And Alicia Kozameh

The following research intends to trace the tradition that was forged by the Ashkenazi literary Diaspora via a comprehensive examination of the work of four Argentinean Jewish poets of Eastern-European Ashkenazi descent [1]. All of whom were forced to leave Argentina and live in exile either in Mexico or the United States. During the period of Argentina’s last dictatorship (1976-1983) [2]. The nation was suspended within a dimension of viselike terror vis-à-vis countless encounters with the notorious Junta Military. The most notable manifestation of the Junta’s savagery was the alarming state of disquiet and subsequent “disappearance” of approximately 13,000 individuals perceived as a threat to the established order. A large percentage of the vanished faction were of Jewish origin as it is a prevailing anti-Semitic truism that Jews are viewed as intellectuals, and, as such, harbor Socialist leanings. Among these individuals are the four following poets, whose works were extensively awarded and honored: Alicia Borinsky [3]. Guggenheim Fellowship and Latino Literature Prize, Juan Gelman Juan Rulfo Award and Cervantes Prize, Tamara Kamenszain [4]. Guggenheim Fellowship and Pablo Neruda Presidential Medal, and Alicia Kozameh Argentine National Poetry Prize. The most obvious link between these four extraordinary individuals and writers is that they were all forced into exile either in Mexico or the United States, however, one cannot overlook other existing similarities, such as they are all Jewish, all individuals of Eastern-European Ashkenazi descent, and heirs to a body of work created by writers that were part of the Diaspora.

<span>Some characteristics of poetic genres in poetry section of Dong Thap Literature And Arts Newspaper</span>

Understanding the characteristics of poetic genres showcased in the poetry column of Dong Thap Literature and Arts Newspaper helps us gain insight into the newspaper's position amidst the changing modern life. The poetry compositions in this newspaper not only inherit various forms of national poetry but also demonstrate innovation and creativity by incorporating traditional poetic structures. This is evident in the portrayal of emotions that resonate with the intricate and multidimensional mood swings of contemporary individuals, while reflecting aspects of social life and local cultural values. These elements contribute to the distinct and diverse features of Dong Thap Literature and Arts Newspaper.

A Ticket To Kalamazoo!

James Carter, an award-winning children's poet, non-fiction writer, musician and an ambassador for National Poetry Day shares his writing journey.

Dimitris Stamatopoulos, ed. Imagined Empires: Tracing Imperial Nationalism in Eastern and Southeastern Europe

Dimitris Stamatopoulos, ed. <i>Imagined Empires: Tracing Imperial Nationalism in Eastern and Southeastern Europe</i>

Obscenity

Obscenity Editorial note: From Invocación a las mayorías silenciosas (Invocation to the silent majorities) (Letraversal, 2022). Translated by Lawrence Schimel (bio) Click for larger view View full resolution I'm terrified of my migrant parents,always with their eyes set on flight. Is that how you solve everything, Papá?Are you going to once more do what he tells you, Mamá? I'm more terrified by the wound of birth,I hide it in the oriental part of the HERE.What was so bad so as to abandon the THEREwhere one finds oneself at just twenty?How did they do it to reconstruct (themselves),to recompose (themselves),to resist? How to raise an offspring who curses a place thatshe has never visited,who dreams in a language she doesn't know,who lives in another one which will always be foreign to her? What is so good to justify staying?What European dream is beingthe Chinese woman who sells beer,the Chinese man of the village,the Chinese girl of El Hormiguero,the Chinese kid of Física o Química,the China girl of China boy? That is not my dream. My dream is to be the blood that flows from the migratory wound,the Valencian queen of the gunpowder blessed by my ancestors. My dream is that they don't separate me from my fatherand from my motherinto one line for foreignersand another for Europeans,that we embarkthrough the same gate,that we fly togetherto whereverpassports arean obscenity. Translation from the Spanish [End Page 8] Paloma Chen Paloma Chen (b. 1997, Alicante) investigated the Chinese diaspora in Spain in Crecer en 'un chino' and has contributed to El Salto, El País, and La Marea. She won the 2020 Viva #LdeLírica National Poetry Prize and has recited in such festivals as Irreconciliables in Málaga and in spaces such as the Fórum Social Europeu das Migrações and the Asia Europe Peoples' Forum. Lawrence Schimel Lawrence Schimel is a bilingual author and literary translator based in Madrid, working in and between English and Spanish. His translations have won a PEN Translates Award from English PEN (three times) and the Cliff Becker Book Translation Award. Copyright © 2023 World Literature Today and the Board of Regents of the University of Oklahoma

Метрико-рифмовочная система адыгского стиха: проблемы становления и развития

The article examines the metric-rhyming system of the Adyghe (Kabardian, Circassian, Ady-gheyan) literary verse. Metrics and rhyme, as well as the versification system, haven’t become the subject of special study to this day, which is the reason this stated topic is addressed. The primary attention, on one hand, is focused on the specifics of the syllabic-tonic meters (trochee, iambic, dactyl, amphibrach, anapest) development and the features of their functioning in different genres and genre forms, but on the other hand, the evolution of rhyme in national poetry is traced. The scientific novelty of the work lies in the first attempts to make a comprehensive study of the met-rical-rhyming system of the Adyghe verse at all stages of its development. Based on the results obtained, it is established that in the written poetry of the Circassians during the initial period of evolution, the “double rhyme” was applied; to date, all syllabi-tonic poetic meters in their multi-footed variations have been widely developed.

Metrics of the Adyghe verse

The article examines the insufficiently studied aspects of the Adyghe versification system based on one of its areas, and a significant component of the verse – its metrics. It presents a comprehensive analysis of the metric system of the Adyghe (Kabardian, Circassian, Adygheyan) literary verse. Our research focuses on the specifics of the development of syllabic-tonic meters (trochee, iambic, dactyl, amphibrach, anapest) and the features of their functioning in different genres and genre forms of national poetry. The relevance of the stated problem is due to the fact that the system of Adyghe versification in general and the metrics of national verse in particular have not become the subject of scientific consideration over the past decades. Meanwhile, significant changes took place that determined further trends in the evolution of genres, genre forms and the poetics of verse. During the indicated period, innovative methods and forms of organizing a poetic text have been mastered, requiring scientific understanding in the context of modern poetry and the use of new methodological tools for analyzing poetry. The scientific novelty of the work lies in the fact that for the first time it has made an attempt to comprehensively study the metrics of verse at all stages of the evolution of Adyghe literature. The results obtained can be used in special university courses and special seminars on the history of Adyghe (Adygheyan, Kabardian, Circassian, Circassian abroad) literature, in particular - a comprehensive examination of the system of Adyghe versification, as well as in research into the field of national philology and for writing graduation papers and doing other kind of research work.

Threesome, and: Divorce Apparition along the Road to Emmaus

Threesome, and: Divorce Apparition along the Road to Emmaus Thomas Dooley (bio) Keywords Thomas Dooley, church, wreath, service, love, divorce THREESOME It is writtenfor where two or three gathera church appearswhere our communionbecomes hot at the vergesof what we touchall night on the edgeof charismatic and from abovewe are joineda wreath of lighthow our bodiesspell the three letters of one godif you run two fingersover the relief of our namewe translate an ecstasyreached through serviceso let us snuff the bright wicksas if by dutywe become custodiansof one body [End Page 175] DIVORCE APPARITION ALONG THE ROAD TO EMMAUS On that very dayhe would leave me for good,my love drew nearand walked with me. Beside the sea,outside a stony gate,he gave the impressionhe was going on farther and without me. But I said, stay.It is nearly night,our rooms will bruise with bluefrom the sea, so he took me inside broke inside meand I broke on him, his chestblessed with opal.I climbed off to lift the towel from its hookto clean him, anoint himas I went to lifta last relic to be boxed and moved out. I stood dressed,looked to him asleep in our messof sheets and I could seeI was made known to myself [End Page 176] in the breaking of our life.No longer thinned blue in these roomsfor I had bones and flesh.It is written, suffer to rise, so clothed, I walked out the doorto the sea. I ate baked fishand bread to prove by hungerI was not ghost but man. [End Page 177] Thomas Dooley thomas dooley is the author of Trespass (National Poetry Series) and the forthcoming collection, The Perpendiculars. He is on faculty at the Sanford Institute for Empathy and Compassion at UCSD. Copyright © 2023 The Massachusetts Review, Inc

5 Questions for Alexandra Lytton Regalado

5 Questions for Alexandra Lytton Regalado Michelle Johnson (bio) and Alexandra Lytton Regalado (bio) Click for larger view View full resolution Beacon Press published Alexandra Lytton Regalado's second collection, Relinquenda, winner of the National Poetry Series, in 2022; it was a Featured Fall Book at Poetry.org and was reviewed in the New York Times, Harvard Review Online, and Harriet Books at the Poetry Foundation. Her first collection, Matria (2017), won the Black Lawrence Prize and was listed as one of the Favorite Poetry Collections of 2017 at Literary Hub. Q Who are some of the most exciting voices in poetry that you are reading? A These days I've been rereading the work of Diana Khoi Nguyen. I was transfixed by her Ghost Of; her lyric voice, stripped-down language, and her focus on history, memory, and identity are so powerful, combined with the interplay of altered photographic images. I've been lured to read everything related to grief, remembrance, and absence, and her poetry about silences and voids is so on target. From El Salvador, I have been reading and translating the work of Jorge Galán, Elena Salamanca, Lauri García Dueñas, and Vladimir Amaya. I'm a fan of their work, and I feel they perfectly represent Salvadoran voices of today. Also, I just read Luis Borja's book UMIT (which means "bone" in Nahua Pipil and focuses on the 1932 massacre of thirty-five thousand Pipil), and I am so moved by his earnest voice, the incantatory use of anaphora, and his beautiful, shattering images. He died in 2019, and it's a huge loss for the literature of El Salvador. Q You have served on the board of directors of the Museum of Art of El Salvador and work as an advocate for Salvadoran artists. Who should we be viewing? A There are way too many artists for me to name—I'd give more than a handful of recommendations—but a good place to start is the website of the Museum of Art of El Salvador (www.museumarte.org) and also a literary and arts site that I co-edit called La Piscucha Magazine—where we work to promote the work of artists and writers from El Salvador and those living in the diaspora. The website is bilingual and has links to artists' websites, too (www.lapiscuchamagazine.com). Issue number two is forthcoming! But I do want to highlight the work of one artist. The image on the cover of my book Relinquenda is by Salvadoran artist Verónica Vides from her series Mimetizada. She's been living in Patagonia since 2011, and much of her work focuses on the environment. In her series Mimetizada, human figures are outfitted with costumes made from local flora, and they seem to camouflage with their surroundings; to me, her work speaks to us as immigrants and our need to fit in, our feelings of invisibility, our need for a safe retreat. Her work speaks to me of hermitage, of solitude, and adaptability. She also makes these gorgeous metal sculpture installations in the shapes of mangroves, seeds, insects, and other forms that make me reconsider the idea of home, invasive species, reinvention, and hybridity. You can see more of her work, including her video art, at her website (www.veronicavides.com). Her video series La Barrida of herself and civil war ex-combatants sweeping dirt roads and the plaza of a church in ruins reflects on how difficult, absurd it is to try to "clean up" the events of our country's history, and how those futile actions actually kick up more dust. Q What cultural offerings or trends have recently captured your attention? A Well, for some time now I've been obsessed with books and shows about survival and wilderness, shipwrecks, mountain climbing, or the experiences of people [End Page 8] who live in solitary outposts like lighthouses. I've been reading about the history of hermits and recluses. As I said earlier, I've been focusing a lot on grief and loss, but I'm also drawn to extreme experiences that bring out our true human essence—focusing on self vs self...

December Moth outside a care home window

"December Moth outside a care home window." The Keats-Shelley Review, 37(1), pp. 55–56 Additional informationNotes on contributorsSusan HollandSusan E. Holland was born in Stoke-on-Trent in 1952, and now lives in Kintyre, Argyll. Her most recent success is winning the Keats-Shelley Prize 2022. Other successes have included the 2015 Troubadour competition, longlisting in the National Poetry Competition in 2012 and 2018, shortlisting in the first Montreal International, several Bridport poetry competitions, and finalist for the Flambard Prize 2015. Susan has had poems placed in the PoetrySpace competition (judged by Gill McEvoy) and Ambit competition (judged by Liz Berry). Her poems have been published in Poetry News, The Spectator, Obsessed with Pipework.

Changing of aesthetic ideal and mission of master in national poetry (On the basis of early lyrics of sixtiers)

Changing of aesthetic ideal and mission of master in national poetry (On the basis of early lyrics of sixtiers)

Moldovan-Ukrainian musical relations in the context of the cultural polylogue of the “Ukrainian Musical Encyclopedia”

Th e article presents the concept of the study of Ukrainian-foreign musical relations in the “Ukrainian Music Encyclopedia”, which is published by the Musicology and Ethnomusicology Department of the M. Rylsky Instiitute, on the example of Moldovan-Ukrainian musical connections. The directions, on which facts were systematized, are investigated. One of the components of the rich and long-lasting Moldovan-Ukrainian musical relationship is composer creativity, aimed at enriching both our cultures. It should be emphasized that the creative relations of figures of both cultures at all times were exclusively friendly and based on partnership. Of course, the creative dialogue of artists — both direct and indirect — began long before its formalizing in 1937 by launching the branch of the Union of Moldovan Composers within the Odessa organization of the Union of Composers of Ukraine. In the last century, the relations were concentrated mainly on the educational and pedagogical sphere and connected with the names of S. Vorobkevych, G. Muzychenko (Muzychescu), and M. Kazanli. One of the aspects of mediated creative dialogue is the appeal to Ukrainian composers concerning the Moldovan theme. In the XIX century, it was manifested in Th e Memoirs of the land of Moldova, op. 85, J. Rukgaber, 48 folk Romanian songs by K. Mikuli. The same aspect is deepened by an appeal to national poetry, for instance, in the romances by S. Vorobkevych, E. Mandychevsky, based on the poems of V. Alecsandri, A. Vlahutse, M. Eminescu, G. Cosbuc, etc