Poetic Journey Research Articles

Towards Integrated Mixed Methods Autoethnographic Approaches: A Dimensional and Poetic Journey

Towards Integrated Mixed Methods Autoethnographic Approaches: A Dimensional and Poetic Journey

“The Creative Journey is all about Conquering New Frontiers”: In Conversation with Kaiser Haq

In this interview, Bangladeshi Anglophone poet, translator, and critic Kaiser Haq discusses diverse aspects of his writings and concerns. First of all, he talks about his recently published poetry collection, The New Frontier & Other Odds and Ends in Verse and Prose. Then, he dwells upon the charms and challenges of conquering new frontiers during his long poetic journey, his distinguished career as an academician, his role as an essayist and his work as a translator. He gives his opinion about the tradition of Bangladeshi Anglophone poetry and sheds light on his stance as a poet-witness and as a social critic. His representation of aberrant figures, debt to Bengal’s rich folk heritage, transformation of mundane observations to socio-political musings, and exploration of issues like identity and the environment come to the fore in course of the conversation. He spells out his poetic standpoint on issues like tradition and modernity, love and sex, religion and ethnicity, and diversity and unity. He takes pains to explain how his poetry testifies to Bangladesh’s evolution over the years through all the ups and downs. He points out how exposure to other climes and cultures and love for his own country and country people complement each other to create his poetic credo. Later, he elaborates on his attitude to memory and the media. He reveals his perspectives on poetic craftmanship and stylistic innovation. The interview wraps up with an enduring message from Kaiser Haq the poet for his readers.

Performance, Encenação e Paródias: os saberes queer e os modos de uso drag nas narrativas de Márcia Pantera

ABSTRACT Performance, Staging and Parodies: queer knowledges and the ways of drag use in Márcia Pantera’s narratives – The article aims to discuss Márcia Pantera’s narratives, exploring the performance, staging and parodies of gender present in the use of queer knowledge and drag. Using narrative encounters as a methodological ethos, it embraces poetics as a creative possibility for weaving performative research. In its analytical action, the text enunciates the effects of the poetic encounter with Márcia Pantera, who, in narrating her performative experiments, engendered the making of powerful mobilizations and fabulations for thinking about the body surface and its anarchic-performative action. The article concludes its poetic journey by glimpsing the creative action of Márcia Pantera’s performance in the constitution of dissident modes of proliferation of educational affectations.

Nurturing Resilience: The Tapestry of Filipino Values in Communal Strength

This article explores the resilience ingrained in the Filipino community, drawing from the Bahala Na mentality and Bayanihan values. It examines how these cultural elements give rise to a dynamic force within society that goes beyond individual capacities. The narrative centers on a community mental health program in Concepcion, Iloilo, initiated prior to the enactment of the Mental Health Law in the Philippines, tracing its impact over a decade. The article showcases the transformative influence of communal resilience, evident in the increased numbers of patients and the rehabilitation of individuals once considered hopeless. The article artfully weaves together both prose and poetry, capturing the enduring spirit of Concepcion. The conclusion acknowledges the persistent challenges in mental health awareness and suicide prevention. The integrated poetic journey serves to highlight the resilience ingrained in Concepcion, offering a unique perspective in a world often focused on individual achievements. The Filipino experience emerges as a guiding light, exemplifying the profound strength derived from communal bonds in facing life's adversities.

Urdu Ghazal’s Initial and practiced forms in Baluchistan

In Baluchistan, the inception of Urdu poetry was delayed compared to other major literary centers of Urdu. There are several important reasons for this, which, along with the unfamiliarity of this remote region with Urdu as a language, the unavailability of chronological links from a research point of view bears specific importance. According to the known facts, the first voice of Urdu poetry was Mulla Muhammad Hassan Brahui; even after him, this region's poetic journey seems to have been divided into large time gaps. This paper presents an analytical study of Urdu Ghazal, which was created in Baluchistan until the establishment of Pakistan. These initial relics of Urdu Ghazal in Baluchistan are not more than practiced forms, so they mostly fail to present a high specimen of creativity. However, under the influence of this poetic capital, this tradition of Urdu Ghazal got strengthened here in Baluchistan, and afterward, through this route, high and unique features of Urdu Ghazal appeared here, which can be proudly compared to the overall Urdu Ghazal.

Phonemic parallelism in diwan min 'ard bilqis

The research aims to study the phenomenon of phonetic parallelism in the poetry of Abdullah Al-Bardouni, who is one of the contemporary Yemeni poets who influenced the poetic and literary movement in the Yemeni cultural scene. The various capabilities of the language, and he employed them to serve the poetic content, and there is no doubt that the phonetic units have the deepest impact in the formation of the poetic language, and a diwan was chosen from the land of Bilqis, as one of his first poetic works in terms of arranging, As for the research method, it is the descriptive analytical method, which is based on tracking poetic texts, observing the phenomenon of phonemic parallelism, its formations in the text, and its impact on the semantic and aesthetic level. And finally, the poet employs rhythmic phenomena at the level of the sentence, and it appears at these levels the poet’s desire to create a musical effect parallel to the external music represented in meter and rhyme. The research assumes a set of results, perhaps the most important of which is that the poet Abdullah Al-Bardouni employed phonetic parallelism in this text in an appropriate poetic manner, using the rhythmic and aesthetic aspect, and this extended to the moral aspect bearing the poetic content, and the literary message through the poetic journey through which he proclaimed. Keywords: parallelism - sounds - poetry - al-Baradouni - Yemen.

Significant Insights and Analysis of Philosophical and Autobiographical Undertones in the Select Poems of Louise Gluck

The 2020 Nobel Prize in Literature was given to American poet Louise Gluck in recognition of her "unmistakable poetic voice that, with austere beauty, makes individual existence universal." This thesis explores Gluck‘s poetic work, particularly her 2014 poem "Faithful and Virtuous Night," using the motivation of the Nobel committee as a guiding premise. Thus, the purpose of the research paper poses certain research question—"How does Louise Gluck‘s poetry make individual existence universal?—is to evaluate the fairness of the Nobel committee's evaluation. The reader becomes familiar with the essence of Gluck‘s poetry by reading scholarly articles about the innovations in her earlier work. An analysis of the aforementioned poem that supports the Nobel committee's claim can be built through careful reading. Some of her best-known works include Ararat (1990), The Wild Iris (1992), Meadowlands (1996), Vita Nova (1999), The Seven Ages (2001), and Averno (2006), in which elements of the lyric and the verse novel are consistently negotiated. The poet's themes, sparse, lyric style, and detached, oracular tone have all been the only things mentioned by critics so far. The collections have never been examined by critics as plotted narratives or verse novels. Books by Gluck contain more than just groups of standalone, lyric poems. The six collections are cohesively linked by a sustained, personal journey about survival, emotional healing, and self-renewal in which Gluck is looking for beauty and meaning in a life without the consolation of absolute truths. Each collection is also bound by a plot that depicts a particular period in the poet's life. Additionally, it is a poetic journey that acts as a metaphorical mirror for the reader's own parallel, personal experiences. As a result, readers may be able to learn from the poet's hard-learned lessons, apply them to their own situations, and perhaps even find emotional healing. This essay aims to demonstrate Gluck‘s methods for dealing with various human concerns while also offering solutions.

Partition and its echoes in Karachi: The political agencies of Fahmida Riaz and Perween Rahman

This article, shaped as a conversation between a scholar and an artist, critically examines the mapping of the lived experience of Karachi after Partition through a discussion of the poetic journey of the feminist activist Fahmida Riaz and urban planner and architect Perween Rahman.1These two activists were directly affected by the Partition, albeit in different ways, and it is through their creative practice that we try to understand the hauntings of the past in the present. This helps us to move beyond linear ways of interpreting the Indian Partition’s many effects on lived experiences of communities in Karachi. While Riaz writes of the death of metaphor and the inability of verse to capture the harsh realities of everyday life in a dystopian city, Rahman gives agency to the disenfranchised and dispossessed within the urban settlements of Karachi’s poor through a participatory model of community-based mapping. What emerges from the dialogue is a recreation of several voices across time and space that carry the echoes of Partition and the conditions that surround us now. It thereby offers a way to re-envision and reclaim an embodied form of mapping through memory and walking across disciplines to engender cultural change.

The Death of Sitting Bear: New and Selected Poems by N. Scott Momaday

Reviewed by: The Death of Sitting Bear: New and Selected Poems by N. Scott Momaday Sean Teuton (bio) The Death of Sitting Bear: New and Selected Poems by N. Scott Momaday HarperCollins, 2020 N. SCOTT MOMADAY'S The Death of Sitting Bear welcomes readers on a poetic journey. His preface to this large collection of 217 poems shares the Kiowa author's early experience of the sanctity of words that "give life to my mind" (xiii). In a brief statement on his poetics, Momaday describes a dream in which a recitation of Beowulf "transport[s]" an ancient child (xiii); the author clarifies that he wishes similarly to transport readers and invites us to accompany him on his poetic quest. The poet gently invites us into his world, where we witness all the color, sound, and texture of a mythic place. In "Song of Longing," the poet begins: "Will you come to me now / You must know that in the firelight / I wait for you with longing" (57). While Momaday's words entice and enrapture us, he honors various traditional poetic forms. At this collection's center lie "one hundred haiku . . . to nourish the mind" (118). In his "Visitation at Amherst," Momaday honors the form of his "muse" with this Dickinsonian quatrain: "She must have mused for centuries. / Celestial buttons at her eyes, / Until no mould could crust her soul, / Whirling in the wind of words" (66). Momaday alters Dickinson's typically alternating lines of tetrameter and trimeter iambics to maintain iambic tetrameter throughout. In "The Whale in Amber," he employs a sestina but without its characteristic three-line envoy: "A broken beach lies there beyond / the rutted road. The wood / inclines landward to the sky. / Now is the quick quality / of regenerated blood, / the present that does not die" (47). In rhyming second and fifth, third and sixth lines with "wood" and "blood," "sky" and "die," the poet invites us to connect these otherwise disparate words. The rhyme, along with the repeated enjambment and alliteration of a "broken beach," "rutted road," and "quick quality" employ sound to communicate death's abrupt completion to each human's mystifying life record. Elsewhere Momaday delights in repeating entire phrases, such as in the poem, "There Came a Ghost," in which the spectral figure appears "illuminated within / As by the moon." Seven and ten lines later he returns, "And illuminated as by the moon. / . . . Illuminated by the moon" (145). Momaday embraces form, but ultimately the linguistic frolic of a child at play—Momaday's most sacred poetic voice. [End Page 133] This voice reaches ancient cave drawings and hunting chants in a world resplendent with light, texture, and sound. In "The Spheres," Momaday consecrates form, the ancient, and the world in a single poem. The poet muses on Aristotle's vision of the universe, where spheres operate in synchronous motion set to music and we, the dead, cannot fathom their brilliance: "One by one we enter that eternity, remembering / The chimes of mere mortality, and / fire, then embers, then ash" (141). Elsewhere Momaday seeks to recall a crystalline image of an arctic dawn, a beloved Russian linguist, a cathedral in the Pyrenees, a Siberian hunter. Indigenous readers will appreciate the poet's search for the marrow of life, a life's journey that leads him well beyond his Kiowa ancestral home at Rainy Mountain, beyond Canyon de Chelly in Navajo country, and into a new world of humanity's beliefs and wonder. To begin the book's title poem, "The Death of Sitting Bear," the speaker contemplates a photograph of a revered Kiowa warrior, Sitting Bear, who sat for his portrait while captured and confined at Fort Sill in 1870. Momaday comments on his ancestor: "The cultural principles by which he lived without compromise—bravery, steadfastness, generosity, and truth—have different meanings . . . in our time . . . . I believe, so does the concept of death" (122–123). The poet then hears Sitting Bear, in first person, tell of the ancient Kiowa migration: "In me a memory of the ancestral north" (125). As Momaday shares this tribal epic, Sitting Bear laments the tragic loss of his son and his carrying the boy's bones home: "I placed...

Newman’s Poetry: The Heart of a Victorian Renaissance Project

This paper examines the poetry of John Henry Newman (1801–1890) in the context of the revival movement in the Victorian era. Although poetry does not make up the bulk of his writings, it can still be a vehicle for a return to distant literary sources in the interests of revival. This is particularly true of the poetic dream in The Dream of Gerontius, which borrows characteristics from both the anonymous Old English poem The Dream of the Rood and Dante’s Divine Comedy. This creative recourse to old literary and aesthetic sources as an inspiration is marked by porosity, hybridity, and subversion when the mutation of the character takes place in a gradual process from de-personification to kenosis. The poetic journey as well as the passage from life to death are addressed in renewed forms, figures and motifs.

“The Real Work”: Gary Snyder’s Early Poetic Journey From “Cold Mountain Poems” to “Riprap”

“The Real Work”: Gary Snyder’s Early Poetic Journey From “Cold Mountain Poems” to “Riprap”

On Facing Latin/South American Coloniality: The Travesía de Amereida and the Geo-Poetic Turn at the Valparaíso School

This article traces the aesthetics, fundaments, and poietic practices developed by the members of the School of Architecture and Design of the Catholic University of Valparaíso during the 1960s, which enabled them to elaborate a geo-poetic perspective linked to the land, or “Interior Sea”, of Latin/South America. In order to unpack this perspective, we present how their poetic exploration of ontological and epistemological questions about Latin/South America led to their performance of the Travesía de Amereida (1965), a radical poetic journey oriented around crossing and being crossed by the continental interior lands, and to the subsequent invention of the epic poem Amereida (1967). By examining the different Acts performed during the Travesía and analysing excerpts from the poem, we establish how the School situated actions together with the tropes of the unknown, or not-knowing, and the Interior Sea, as original ways to critically confront and question the coloniality imposed upon and still present in the continent. Concomitantly, we stress how this geo-poetic perspective grounded within the School generated a radical turn and delinking of the academicist episteme in design, which provides stimulating perspectives not only for design studies developed in the region but also for the field of cultural studies.

Enchanted Ground: André Breton, Modernism, and the Surrealist Appraisal of Fin-de-Siècle Painting par Gavin Parkinson

Reviewed by: Enchanted Ground: André Breton, Modernism, and the Surrealist Appraisal of Fin-de-Siècle Painting par Gavin Parkinson Catherine Gaughan Parkinson, Gavin. Enchanted Ground: André Breton, Modernism, and the Surrealist Appraisal of Fin-de-Siècle Painting. Bloomsbury, 2021 ISBN 978-1-5013-7564-4. Pp. 352. Focusing primarily on the canonical figures of late nineteenth-century French painting as they appear within the discourse of Surrealism, this work highlights many recognized artists from Gauguin and Man Ray to Max Ernst, as well as lesser-known figures like Odilon Redon and Charles Filiger. It in turn offers new perspectives on Surrealism through the lens of art history, literary theory, and social and intellectual history. Well-researched and beautifully arranged, this volume serves as a poetic journey navigating the twists and turns of Surrealism, which have had a substantial impact on the way we understand modernist painting today. From magic art, folklore and occultism, realism and abstraction, among others, the book spans the gamut of Breton’s connection to the larger world of modernist art in all its guises. In line with this expansive scope, each chapter includes wide-ranging theoretical discussions, particularly “Painting as Propaganda and Prophecy: René Magritte and Pierre-Auguste Renoir” and “Between Dog and Wolf: Georges Seurat, Brassaï, and the City of Light.” The author also traces the resistance and disenchantment with Surrealism through art, poetry, and theory. The numerous illustrations—paintings, posters, sculptures, and photographs, including a stunning color spread—contribute to a deeper understanding of how the artwork of this period inspired and continues to inspire new ways to challenge depictions of the concrete world. This book is a unique opportunity to engage with contemporary scholarship as it weaves through the vast and complex works of those artists who challenged representations oftentimes overlooked in previous collections while investigating Breton’s attempt to restore himself as both a considerable writer on modern art and a critic of modernism. An original and thought-provoking conclusion, the Epilogue sheds light on the tenuous relationship between Antonin Artaud and Surrealism and is followed by a fascinating coda on André Breton, underlining the contributions of his writings, which have not been fully articulated up until this point. Rich in content and visual examples, Enchanted Ground is a stand-alone study of modernism but also a source for innumerable references in the field. It will appeal not only to French modern art history enthusiasts, but also to those who enjoy delving deeper into cultural studies and literary theory, with an appreciation for the many colorful characters who have helped shape the world as we experience it today. [End Page 233] Catherine Gaughan Ryerson University (ON, Canada) Copyright © 2022 American Association of Teachers of French

Surfacing Anger and Anxiety in Graduate Research Writing: A Prose Poetic Journey

Research writing evokes feelings of anger and anxiety even among graduate students. Feelings are an inseparable part of the human lived experience and are important to learning and decision making. Research anxiety is powerful but not impossible to overcome. Various affective, cognitive, linguistic, and pedagogical mitigating strategies can be employed. By simply acknowledging its existence, we lead our students in the direction of doing just that...towards a transformational mindset to overcome research anxiety. Written qualitatively in the hermeneutic strand, this paper explores the lived experience and collective portrayals of the phenomenon of graduate research writing anxiety using prose poetry. The main forms of poetry qualitative researchers create vary from data poems or transcription poems, research poems, and autoethnographic poetry. Autoethnographic poetry is created by the author through self-reflection and writing to explore anecdotal and personal experiences and connect this autobiographical story to wider cultural, political, and social meanings and understandings. In this paper, the author writes from an emic perspective utilizing intertextual chaining to create an autoethnographic research prose poetry. The paper describes in rich detail, the dominant feelings about research writing anxiety and anger that surfaced from participants’ narratives of their shared experience of research writing anxiety. Prose poetry is written in paragraphs rather than verse but contains the elements of poetry, such as poetic meter, language play, and a focus on images rather than narrative, plot, and character.

Transforming Data into Poems: Poetic Inquiry Practices for Social and Human Sciences

This article argues that poetry is an act of meditation, improvisation and exploration, and urgency is what guides the writer into (and through) the poetic journey. In the light of this, this article illustrates the features of a workshop that was designed to guide social and human scientists in the delicate process of turning raw data into poems. One of the chief objectives of the decolonial project is to bridge the gap between Westernised academia (“The Ivory Tower”) and communities where research is conducted, and this article aims to show how poetic inquiry is a fitting research methodology that can serve this purpose. Through a description of the workshop process and specific poems that emerged from it, it suggests that poetic inquiry is an innovative and effective research methodology for social and human scientists engaged in the transformation of conventional knowledge production.

The Moroccan Poetic Journey between History and Significance

This article aims to investigate the impact of authorship on nomads that were not limited to the scattered nomads but rather exceeded them to poetic systems. The different poems have implications, and they differ in artistic value, such as the journey of Al-Abdari and the El-kafife Al-Zerhouni. The issues that the poetic trip has touched are numerous.

Towards a Chinese Theology of Displacement: The Poetic Journey of a Chinese Migrant

Abstract While poetry was used as a rich vehicle to express one’s identity, freedom and communal belonging in the “poetry fever” (shige re, 诗歌热) of the 1980s in Mainland China, its connection with Christian theology has been long neglected despite the rapid increase in Chinese conversion to Christianity amongst the post-1989 generation. Using both autoethnographic and phenomenological methodology, this paper explores the relationship between the two using the author’s own poetry writings as a case study. From the vantage point of a Chinese Christian, poet and migrant to Australia, this paper is an inter-disciplinary study that journeys with the poetic voice from the themes of lament to search and then return, followed by some theological reflections. It argues that the dualistic thinking of poetry and theology can move into non-dualist responses so that the two can meet and become fused on the epistemological path towards God. This path parallels with that of the Israelites in exile, and ultimately Jesus’ journey in the gospel. It aims to provide a trajectory to develop further a poetic Chinese theology of displacement.

Poetic Journey from Chaucer to Mukunda Chakrabarti

Poetic Journey from Chaucer to Mukunda Chakrabarti

Postproduction, Archive, and Memory in the Work of César Schofield Cardoso

The author proposes an analysis of the ways in which the memory and heritage of colonialism are broken down and critically appraised through artistic speech and the device of a poetic journey in the audiovisual installations of the Cape Verdean artist César Schofield Cardoso. Her starting points are two of Cardoso’s key works: Repúblika (2014), created for the commemoration of the fortieth anniversary of the death of Amílcar Cabral, and Ferrugem (Rust), exhibited at the Tarrafal labor camp in 2017. She explores how these pieces act as political gestures of decolonization through art and reviews their relevance within the artistic landscape of Cape Verde.

The fascinating and terrifying worlds beneath our feet

Huw Lewis-Jones relishes a scientific and poetic journey underground. Huw Lewis-Jones relishes a scientific and poetic journey underground.