Nature Of Poetry Research Articles

The Landscape of Longing and Belonging

The article examines Kola Sami literature, focusing on the autobiographical nature poetry written by the Skolt Sami author Askold Bazhanov (1934–2012) in the 1970s–2000s. The focus is on landscape and temporality in the contexts of Sami and Soviet literature, especially the literatures of small northern peoples. What characterises Bazhanov’s nature-centred texts in general is the complex way in which temporality and human and non-human existence are manifested in the northern landscape described. As a case study, the article examines nostalgic discourses, which in Bazhanov’s texts are associated with longing for the childhood landscape in Sami villages that were submerged in the 1960s. These discourses are often combined with romanticised idyllic depictions of reindeer herder life, which I analyse as arctic pastorals. In Bazhanov’s nature poetry, the temporality of the landscape, particularly the Sami history conveyed within the landscape that is described as strongly local, is an important means by which the identity and agency of the poems’ speakers are constructed and reinforced.

Alice Oswald's Poetical Cartography of the River Dart

In this paper I want to define and describe Alice Oswald’s «echolocating poetics». First, I will explore how Oswald’s polemic relationship with the label of «nature poet» points towards an original poetical proposal that tries to separate itself from some of the characteristics of the traditional nature poetry. Then, by analysing Oswald’s poem «Owl», I will propose a characterisation of Oswald’s echolocating poetics which is based on a vindication of the sense of hearing and a subsequent critique to the pre-eminence of the eye and the ensuing act of looking as privileged ways through which human knows and places itself into the natural world. Finally, the reading of Dart (2002) will present Oswald’s critique to the cartographical reason that, for her, is associated with the so criticised privilege of sight. The ear-based concept of echolocation is there the tool that Oswald uses to draw a contrapuntal map of the river Dart that defies the (anthropocentric) epistemological assumptions that are hidden under the human device of the map.

The Representation of Nature in Ibn-Khafaja’s and Wordsworth’s Poetry: A Comparative Stylistic Study of Selected Poems

This study analyzes the depiction of nature in poetry, especially in Ibn-Khafaja’s and Wordsworth’s selected poems. This study is based on New Criticism's conceptual, analytical, and theoretical approaches. New Criticism studies the achievement of the works’ meanings by studying their “interrelationships of sound, texture, structure, rhetoric, and a host of other literary devices” (Bressler, 2011, p. 57). The significance of the study is to provide a parallel comparative study between these two poets whose religions, traditions, languages, and eras are dissimilar. Ibn-Khafaja recognizes his surrounding nature as the ideal and beautiful place where people feel relaxed, hopeful, and pleased. He states that humankind and nature are originally adapted to each other, and people are always fascinated by the beauty of nature. He sees nature as the typical shelter to stay happy and peaceful. He is fascinated by the images of the mountains, horses, birds, and trees. On the other hand, Wordsworth shows nature as a place of happiness, perfectness, and peace. He accentuates the deep relationship between human beings and nature, and how people admire nature in its beautiful images. Wordsworth presents how the fascinating images of nature can affect man’s mood and mind.

A Critical Analysis of Imagery in My Heart Leaps Up: Illuminating Wordsworth's Nature Poetry in the Context of Ecocriticism

This paper presents a critical analysis of the imagery used in William Wordsworth's poem My Heart Leaps Up, examining its role in the context of Ecocriticism. By offering a close reading of the poem and drawing on various eco-critical perspectives, the researcher explores the relationship between the poem's imagery and concepts such as biocentrism, anthropocentrism, eco-feminism, and deep ecology. Additionally, the researcher compares My Heart Leaps Up with other nature poems by Wordsworth and other Romantic poets, which helps us to identify particular stylistic and thematic features of the poem. This study aims to demonstrate how the use of imagery in My Heart Leaps Up connects to contemporary discourses on climate change and the anthropogenic epoch. This paper highlights the significance of My Heart Leaps Up within the broader context of Wordsworth's poetry and offers new theoretical and argumentative extensions to the reading of his nature poetry. Overall, this research contributes to our understanding of how language and imagery can be used to convey the beauty and importance of the natural world and our role in it.

Denise Levertov’s Mexican sojourn: poets of the north, materials of the south

In what ways might poets or poems of the North encounter the South? Are such encounters necessarily exploitative? These are broad questions, having to do with the nature of poetry’s material, and with modes of its appropriation. In this essay, I tackle them by looking at a two-year period in the life and career of the poet Denise Levertov, who moved from the USA to Mexico in 1956, before returning to New York in the winter of 1958. Whilst in Mexico, Levertov composed a number of poems in which she responded to the places and people she encountered, to the land and landscapes, and to local arts and other cultural artefacts. I look closely at three of these poems – considered in light of Levertov’s correspondence with William Carlos Williams and Robert Duncan, her relations with other of her American peers, including Allen Ginsberg, and her engagement with Spanish-language poets such as Pedro Salinas and Federico García Lorca – and track the ways in which Levertov’s practice was affected by her Mexican sojourn. In so doing, I test certain ideas and presumptions about the nature of literary materials and their portability and acquisition.

Being and Greenness: Phenomenology of the Poetic Persona and Nature in Dylan Thomas’s Green Poems

Ecopoetry, a relatively recent approach in ecocriticism, refers to nature poems which are closely linked to environmental issues. Deliberating nature in poetry is indeed not something new, yet, what is new in ecopoetry, which is a characteristic that discerns it from, especially Romantic poetry, is that it delineates the relationship between the human and non-human worlds. In other words, ecopoetry stands out from both contemporary nature poetry and Romanticist poetry. It is characterized by the eco-centric view it provides, which axiomatically brings with it the principle of reciprocity, interrelationship, and egalitarianism. In this perspective one might argue that the majority of Dylan Thomas’s (1914-1953) nature poems could be rendered ecopoems as they see nature and natural phenomena as components of a unified and closely connected whole. In these poems Dylan Thomas’s poetic eye adopts an eco-centric verb tense and functions as a camera which record the harmonised movements of the poetic persona and the natural phenomena manifesting the intentionality of the eye of the ecopoet. Through this particular vision Dylan Thomas generates a place out of space in which both human and the other-than-human are deployed, thereby creating a specific subject-object relationship according to which the existence of the human and the non-human are interrelated. This study focuses on the ontological relationship between the poetic persona and nature and analyses the subject-object relationship in Thomas’s “Poem in October”, “The Force That Through the Green Fuse Drives the Flower”, and “Fern Hill” through the lens of phenomenology and object-oriented ontology.

Examining the Progress of 'Modernization of Poetry' in Taiwan during the 1950s and 1960s through the Literary Trajectories and Transformations of Ye Shan

<p>"楊牧（1940-2020），花蓮人，本名王靖獻，早年筆名葉珊，為「戰間世代」詩人。高中時期（1955）即參與由陳錦標主編的《海鷗》詩刊，借《東台日報》副刊發行，這應是葉珊最早的文學起點。1958年，北上。因而認識，如吳望堯、余光中、夏菁、葉維廉、周夢蝶、瘂弦、洛夫、商禽等「現代派」詩人群，彼此形成一個有力的文化圈網絡，而共同參與「詩現代化」的進程。1959年，葉珊進入東海大學就讀。學院中的文學陶養讓他對英國浪漫派詩人濟慈（John Keats，1795-1821）醉心，同時受業於徐復觀、接受中國古典文學及思想的薰陶，因此游藝於東／西方文學之中。1964年，他至美國求學，期間師事陳世驤而受中國文學「抒情傳統」的啟發，擺盪在臺美兩地及「他者」與「自我」之間，重新在中國／西方的文學傳統中，鍛鑄現代詩的新精神及新方法。同時，他也檢視反思臺灣詩壇「虛無」的詩風，重建一條自己的詩路。因此，葉珊一九六〇年代後期，開始轉變並省思自己詩的寫作，其中不單是美學風格的變化，更是臺灣詩壇「詩現代化」及文學史敘事的問題。此一歷程，顯映臺灣一九五〇、六〇年代「現代詩」的發展進程，它是如何演變與實踐？何以它促使了1964年本土詩社「笠」成立，繼之1972-73年，引來沸沸揚揚的「現代詩」論戰？此一反思，可以更精確爬梳，戰後臺灣「現代詩」早期的發展過程，避免統稱式的論述框架，而能進入並貼近文學史的敘事脈絡中。</p> <p> </p><p>"Yang Mu (1940-2020), born in Hualien and originally named Wang Jing-xian, initially wrote under the pseudonym Ye Shan. He was a poet of the “Interwar Generation.” During his high school years in 1955, he participated in the poetry journal “Haiou,” which was edited by Chen Jinbiao and published as a supplement to the “Dong Tai Daily.” This was likely Yang Mu’s earliest involvement in literature. In 1958, he moved to northern Taiwan and consequently came to know “modernist” poets such as Wu Wangyao, Yu Guangzhong, Xia Jing, Ye Weilian, Zhou Mengdie, Yaxian, Luo Fu, and Shang Qin. Together, they formed a powerful cultural network and collectively engaging in the process of “modernizing poetry.” In 1959, Yang Mu enrolled at Tunghai University, where he received literary cultivation. He had a particular affinity for the English Romantic poet John Keats (1795-1821) and was influenced by Chinese classical literature and thought under the guidance of Xu Fuguan. Consequently, he straddled Eastern and Western literature. In 1964, he went to the United States for further studies. During his time there, he studied under Chen Shihuang and was inspired by the Chinese literary “lyric tradition,” oscillating between Taiwan and the United States, and the dynamics of “self” and “other.” This allowed him to forge a new spirit and new approach to modern poetry within the Chinese and Western literary traditions. Simultaneously, he reflected on and reevaluated the “nihilistic” poetic style prevalent in the Taiwanese poetry scene, carving out his unique poetic path. As a result, in the late 1960s, Yang Mu began to transform and critically examine his poetic writing. This transformation encompassed not only changes in aesthetic style but also questions regarding the “modernization of poetry” in the Taiwanese poetry scene and the narrative of literary history. This process illustrates the developmental journey of “modern poetry” in Taiwan in the 1950s and 1960s, how it evolved and was practiced, and how it led to the establishment of the native poetry society “Li” in 1964 and the subsequent intense “modern poetry” debates in 1972-73. This reflection allows for a more precise delineation of the early development of “modern poetry” in post-war Taiwan, avoiding broad strokes in discourse and bringing us closer to the narrative context of literary history.</p> <p> </p>

Tension in Modernist Art and Lyric Poetry at the Beginning of the 20th Century in Estonian Culture: Ernst Enno and Others

The Young Estonia group (1905–1919) was at the centre of Estonian literature at the beginning of the 20th century, when Estonian poetry was both experimental and imitative. Gustav Suits was officially the creator of modern Estonian poetry. At the same time there were poets who wrote original poems that did not imitate previous work. Juhan Liiv was one of these, and Villem Grünthal Ridala and Ernst Enno continue in the same vein. Enno’s nature poetry is pantheistic and symbolic, emotional and sensitive to nature, at times suggesting transcendental cognition. He was interested in Oriental religion, which influenced his poetry to become less rational and more mystical. Ridala and Enno also used visual effects, and their texts have been set to music as well as becoming part of the visual arts in films and serials. The paper analyses the verbal texts of Enno and Ridala, and the interaction between visual and verbal texts.

Nature's Poetry Unveiled: Exploring the Symbolism and Design Philosophy of Chinese and Persian Gardens through Metaphor and Art

This paper delves into the symbolism and design philosophy of Chinese and Persian gardens, revealing the profound depths of their metaphorical and artistic expressions. As landscape architecture, gardens act as conduits for cultural transmission, embodying an understanding of the cosmic order and reflecting the passage of history. Focusing on pre-modern Chinese and Persian gardens, this study explores their design philosophy and characteristics. Chinese gardens prioritise the harmonious coexistence of humanity and nature, exemplified through a deep reverence for the natural world. Meticulous treatment of the landscape seamlessly integrates gardens with their surroundings, drawing inspiration from elements found in Chinese landscape painting. Persian gardens, on the other hand, showcase the distinctive Chahar Bagh layout, providing glimpses into an ideal cosmic order. Influenced by the beauty of Persian poetry, these gardens take on the essence of living poems, evoking a sense of tranquillity and allegorical meaning. Waterways, pavilions, and lush vegetation create captivating oases within the arid landscape, inviting relaxation. By analysing the architecture, symbolism, and design philosophy of both Chinese and Persian gardens, this study uncovers the remarkable similarities and differences that exist between them. However, these gardens extend beyond their physical manifestations, beckoning visitors to engage with metaphorical realms. The integration of poetry, painting, and various art forms enriches the multidimensional experience, eliciting profound sentiments and unlocking the transformative power of nature's poetry. Ultimately, Chinese and Persian gardens embody the very essence of nature's poetry, serving as bridges between built environments, humanity, and the natural world. Through the harmonious fusion of art, design, and the intricate relationship between humans and nature, these gardens inspire awe and reveal the timeless beauty that resides within nature's realms.

ЖАНР NATURE WRITING У НОВІТНІЙ НІМЕЦЬКІЙ ЛІТЕРАТУРІ: УЛЬРІКЕ ДРЕСНЕР, МАРІОН ПОШМАН

Ecocriticism theory has been applied to analyze the artistic features of Nature Writing, an Anglophone genre recently fi rmly established in German-language literature. The study is based on theoretical and fi ctional texts of writers Ulrike Draesner and Marion Poschmann, recognized with the German Award in Nature Writing. The issue of translating the notion of “Nature Writing” and the use of adequate names for this type of literature (“nature writing”, “green literature”, and “language landscapes”) has been considered. Poetical properties of the genre have been identifi ed, and national diff erences between the writings in Anglophone countries and Germany have been highlighted in view of said properties. With reference to literary traditions of writing about nature, the conventions of German Nature Writing have been established, and its correspondence with the well-established Anglophone theory has been determined. The German writer Ulrike Draesner has been introduced as an author and thinker, actively participating in the theoretical discourse on ecology. Her work is a creative manifestation of the “writing according to nature” programme justifi ed in her poetological lectures. It implies “reading from the book of nature”, which is not open but actively constituting itself to promote the reading of the non-linguistic, alive element, skilfully expressed by the author on the level of language. Marion Poschmann, a poet, novelist, and essay writer, understands writing as “poetry of nature” and aims to achieve such a level of impact on the reader that they change their attitude towards the environment and rethink their role in it. According to the artist, specifi c for “nature writing” is the requirement of a high artistic level as we aim to combine observation and concentration in artistic expression. A study of German-language Nature Writing highlights the immediate relevance of a number of environmental issues that this literary genre addresses. Key words: Nature Writing, writing according to nature, poetry of nature, ecocriticism, linguistic experiments, Ulrike Draesner, Marion Poschmann.

Shakespeare’s Bookish Rulers: Philosophy and Nature Poetry in the Henry VI Trilogy and The Tempest

Shakespeare’s early Henry VI trilogy and late The Tempest both feature reclusive, bookish rulers who are deposed because their rivals perceive an opportunity in the rulers’ trustingness and lack of interest in political affairs. Furthermore, the deposed rulers also share an interest in Platonic philosophies of the Renaissance; they differ, however, in their respective preferences for particular Platonist authors and writings. Henry VI is devoted to Boethius’s The Consolation of Philosophy. While Prospero, the protagonist of The Tempest, may have focused on Boethius and similar authors when he was in Milan, by the time we meet him on his island, he prefers Neoplatonic magic, bequeathed to the Renaissance by Ficino. While the two stories are not often read together, I argue that doing so yields a fascinating contrast in the modes of existence dictated by different streams of Renaissance philosophical thought. While Henry VI’s credulity and Boethianism lead him to express a preference for a contemplative life and to adopt an attitude of extreme passivity and surrender, Prospero’s suspicion and powerful use of magic associate him with the active life. The ultimate expressions of Henry’s preference for the contemplative life and of Prospero’s association with the active life both involve nature poetry. Henry expresses yearning for the peaceful lifestyle of a shepherd in a pastoral lyric he delivers in 3 Henry VI, while Prospero celebrates human labor and achievement in a georgic masque which he produces.

The manifestations of nature in Andalusian poetry (Abu Jaafar ibn al-Abar model-433 e)

The poetry of nature is one of the most important literary arts, as nature wasand still is the first inspiration for poets and creative individuals . The poetobserves all that is around him of the beauty and gorgeous nature to bereflected in his poetry. A poet is a creative artist who depicts what he or shesees through words and feelings . In this research, I aimed at themanifestations of nature in Andalusian poetry (Abu Jaafar bn al-Abar, model433 e), until we show flashes of poetry of nature among the Arabs in variousages: Jahili, Islamic, Umayyad and Abbasid until the Andalusian era, fromwhich I chose a poet namely ibn Al-Abar as a sample. The reason I chosehim is because I found the opportunity to introduce the nature of Arabic poetryin Andalusia in specific and wanted to shed light on this scene.

Witnessing, Trans-“Species” Trauma Testimony, and Sticky Wounds in Contemporary Australian Poetry

Literary trauma theory has traditionally been a humanist concern, and the concept of witnessing, so central to the theorization of trauma, has focused on human experience and relationships. This article stages an interdisciplinary intervention by conceptualizing trans-“species” trauma testimony as a literary encounter involving a double-layered witnessing; the human artist witnessing nonhuman animals’ witnessing to the failings and crises brought about by human society. Focusing on a selection of contemporary Australian poems, a view emerges of poetic witnessing and testimony that exceeds and complicates the sub-genre lenses of old such as “nature poetry,” “ecopoetry,” and “protest poetry.” I propose a new conceptual category that testifies to traumatic structures and consequences of human practices. I explore how this testimony proceeds through a two-way channel of witnessing in which nonhuman animals are active witnessing agents and not merely witnessed by humans. I concentrate on witnessing as primarily experiential, as a corporal, affective operation in which the senses figure centrally. I argue that when poets witness nonhuman animal experience in poetry, testimony advances as an ethical engagement in an act of solidarity and advocacy. Poetry offers productive potential in this respect due to its affinity for engagement with the senses, its capacity to communicate heightened affect, and its scope for expression, articulation, and evocations of meaning outside of conventional sense-making and the limits of rational understanding.

Магия слова Оскара Лёрке: в поиске аутентичности художественного высказывания

The research is devoted to the problem of artistic language, in particular, the German-language lyric poetry of the XX century. The object of the study is just one segment of the cultural space, i.e. “magical” nature poetry, which most vividly reflects the process of changing cultural paradigms and artistic orientations. The aim of the study is to identify the features and the moral-aesthetic orientation of the creative work of Oskar Loerke, the founder of magical nature poetry. The research is novel in that it is the first to analyse the artistic language of Loerke’s lyric poetry in the aspect of the author’s artistic activity theory. It is the first time that Loerke’s magical nature poetry is being considered as one of the ways to solve the poet’s creative task, i.e. the search for a new authentic artistic language in the epoch of cultural crisis. The relevance of the poet’s use of the magic word is substantiated, the basic principle of artistic space organisation based on dialogue is revealed. The researcher considers the poet’s belief in the extraordinary power of the word to be the main feature of Loerke’s lyric poetry, which brings his notion of the word closer to magic. However, the poet recognises the independence of the object to which the word is directed, its ability to exist, thus creating a dialogue situation. Dialogue becomes a key principle in the organisation of Loerke’s poetic world. As a result, it has been proved that by turning to the magic of the word, the poet solves the problem of the authenticity of a statement at the level of the organisation of the artistic image, creating the situation of experiencing a creative act – the making of a work.

Depiction of European nature by an Egyptian poet: An aesthetic analysis of Ali Mahmoud Taha's poetry

This study analyses the depiction of European nature by an Egyptian poet, Ali Mahmoud Taha. Taha spent a considerable period of his life travelling across the cities and provinces of Europe, noting in particular, the manifestations of nature so different from his own country. These manifestations, being part of his poetic experience, find detailed reflections in his poetry, at times approaching the abstract. This study applied aesthetic thematic analysis to describe the European nature not as an abstract one, but rather as a concrete entity in the poet’s feelings and expression. The analysis reveals that Taha's exploration of beauty in his poetry originated during his visit to Europe as a tourist in 1938. During this time, Taha developed a profound fascination with the picturesque landscapes of Europe, which he skillfully conveyed through his poetic expressions. His appreciation for nature in its most positive form was evident, as he focused on highlighting its inherent beauty rather than exposing any ugliness it might possess. Moreover, Taha's nature poetry prominently featured women, with love being intricately intertwined with the sensory experience of nature and shared moments with his companions. This research aims to pave the way for further literary and critical investigations into the influence of Arab poets on the Western manifestations, exploring every intricate detail and dimension. Additionally, it seeks to derive poetic connotations and their associations with novel contributions in the realm of Arabic literature.

The Descriptive Styles About Spring between Abu Tammam and Matsuo Basho

Abu Tammam is considered a great Arab poet of his time. Abu Tammam created various poems from different topics such as spinning, praise, satire, and some of his poems include nature poetry about spring. On the other hand, Matsuo Basho was one of the most famous Japanese poets, but the greatest in writing haiku, and of most of his poetry about nature and its phenomena. Based on this, the researchers view that they should to be studied and analyzed the issue, and then compare the two poems of both poets. The study aims to show their creativity in formulating the two poems, and to reveal the aspects of agreements and disagreement between their vision, using the descriptive analytical method before resorting to the American School approach in comparative study, where the study attempts to highlight on the similiarites and differences between the two studied poems. The study found that both poems are full of descriptive styles by the presence of plants and rain. However, the use of descriptive styles in the two poems differs from one poet to another. Where Matsuo Basho deals in his poetry with styles that refer to the signs of nature from the names of animals such as birdds, sparrows, butterflies, mice and bats, and these nouns were not found in Abu Tamam’s poem. While the names of the cosmic such as the sun, the moon and the earth combined more for description or similes and metaphor in Abu Tamam poem. These differences are due to the difference in culture, language, and geographical condition between the two studied literatures: Arabs and Japan.

Wordsworth's View of Nature: Return to nature and Find Psychological Well-being

In modern society, people are suffering from more and more stress, which leads to various mental diseases. However, William Wordsworth, as a famous British romantic poet in the 19th century, had his own methods to release pressure and maintain mental health. His nature poetry is fresh and moving, delicate and beautiful, describing all kinds of beautiful natural scenery. By eulogizing the beauty of nature, we can feel the inspiration of nature to human beings, and express the poet's symbiosis with nature and his love for nature. This paper will mainly analyze the view of nature in Wordsworth's famous work “I Wandered Lonely As a Cloud”, and explore the practical methods to find psychological well-being for modern people.

Review of: "Mimicking Humanity: The Use of Anthropomorphism in Ted Hughes' Nature Poetry"

Review of: "Mimicking Humanity: The Use of Anthropomorphism in Ted Hughes' Nature Poetry"

The Selected Letters of John Berryman ed. by Philip Coleman and Calista McRae

<i>The Selected Letters of John Berryman</i> ed. by Philip Coleman and Calista McRae

Imdad Imam Asar And Classical Criticism Of Ghazal

Imdad Imam Asar wrote his book "Kashif Ul Haqaiq", in his book "Kashif Ul Haqaiq" Imdad Imam Asar has made Urdu poetry a subject like Hali, but his discussions are different from Hali. According to Imam Asar, the importance of natural poetry is unquestionable. Imdad Imam Asar says that natural language should be used in poetry. There should be moderation and proportion. Similes and metaphors should also be natural, exaggeration should be avoided. The description of various historical events and customs should be authentic. Scales of practical criticism have been formulated, mentioning all genres He has written a critical preface with explanations on Musnawi, Mursiyyah, Qaseedah, Vasukht, Qatah, Rabai, Masdus, and Ghazal.