Poetic Narrative Research Articles

Большой потенциал маленького стихотворения И. Бродского («Еврейское кладбище около Ленинграда…»)

The article is devoted to the analysis of J. Brodsky’s poem “The Jewish cemetery near Leningrad...” (1958), well-known, but previously little subjected to detailed philological analysis. The research is undertaken in order to identify the features of the ideological position of the poem’s persona and to trace the universal intentions in the interpretation of the theme of the people proposed by the poet, to comprehend the role of the national theme in the formation of the poetic world of both early and late Brodsky. The researchers explicate intertextual subtexts in the poem “The Jewish cemetery near Leningrad...” and identify constants of a special – “Brodskian” – worldview. It is shown that the semantic content of the poetic narrative in “The Jewish cemetery...” rises above the personal memories of the persona (the author’s alter ego) and turns out to be addressed not so much to the national constants of the tragic fate of the Jewish people, as to the fate and history of all mankind. The national is subordinated to the universal, the subjective and the particular is subordinated to the objective and the general. The research is novel in that it is the first to emphasize the national aspects of the theme of the people, to trace the conditions for the emergence of the motifs of death, time and immortality that are recurrent for Brodsky. As a result, it has been shown that the impulse of the persona’s philosophical mood in the early analyzed poem is correlated with a deep comprehension of the philosophical problems of the poet’s later works, represented by him in the individual style of the so-called “big poems”.

“The Most Distinctively Canadian City” Representations of the City in Montreal Guidebooks, 1876–1892

This article explores three guidebooks written in Montreal between 1876 and 1892. They are all similarly constructed and were subsequently reprinted, the latter testifying of their relative success. Most importantly, they allow a glimpse into the ways in which Anglo Montrealers wished their city to be perceived around the world. As such, I argue that they illustrated understandings of history, of urbanization, of the Dominion, and of Montreal that were characteristic of post-Confederation industrial Canadian elites. Following the lines of the framework of identity construction in a settler-colonial setting, I look at these guides as a window into the perceptions and expectations of this “adolescent” Canadian collectivity. Furthermore, I demonstrate that these guidebook writers wished to imbue the materiality of the city with historical significance. In doing so, they instilled a sense of progress and modernity to the landscape, while symbolically laying claim to distinct urban places. In fact, these guidebooks also enlighten us on the means we use to provide a sense of self, whether individual or collective, to the city. Borrowing from historical geography theorist Brian Osborne, this paper shows how the Canadianness that these booklets promoted relied on interconnections based on social mores, values, and ideas. Places are also conceptualized as the repository for meta-narratives of the nation. By situating these subplots in space, they cultivate an awareness—an “a-where-ness”—of the collective identity. Indeed, the narrative poetics of the guidebooks were grounded in a place whose inhabitants and visitors dove into the story mid-stream, providing social continuity.

The Image of Writers and the Author's Position in the Novel-essay by K. Yskak «The Illusion of the Past Days»

It is known that one of the genres of Kazakh literature, essays, appeared infrequently in the literature of the Soviet era. During the period of independence, within the framework of this genre, events and scenes in the Soviet space were described in detail, by the authors. Writers have used the rational side of the essay genre as a powerful way to analyze an idea in the context of artistic reality. The article analyzes a novel-essay «Kelmes kunder elesi» («The illusion of the past days»), from two books, which is the result of the relationship between the novel and the essay by the outstanding writer Kalihan Iskak. He defines the features and poetic structure of the essay novel based on native literary criticism. The essay novel analyzes how the author writes very eloquently and with a peculiar style about the events he witnessed, as well as about his views and thoughts. Memoirs of Kalikhan Iskak about himself, about his time, about his contemporaries, about the environment in which he grew up, as well as the memories of the inhabitants of his native land, which were collected to create a wonderful piece of art, served as the basis for writing the article. It is argued that the novel-essay of the writer is distinguished by artistic language, poetic narration and a peculiar style. It is analyzed that the novel-essay is a valuable world telling about the tastes of childhood, unforgettable events, ghosts of the days of the people's life, reflecting the abundance of biographical facts and the breadth of the author's ideological channel, enriching Kazakh literature in artistic, genre, thematic, source studies, cognitive terms. The concluding part says that the novel-essay of Kalikhan Yskak «Kelmes kunder elesi» («The illusion of the past days») is a valuable work that has enriched Kazakh literature in artistic, genre, thematic, documentary and cognitive terms.

African Literatures as World Literature ed. by Alexander Fyfe and Madhu Krishnan

Reviewed by: African Literatures as World Literature ed. by Alexander Fyfe and Madhu Krishnan Tanure Ojaide African Literatures as World Literature ED. ALEXANDER FYFE & MADHU KRISHNAN New York. Bloomsbury Academic. 2022. 268 pages. AFRICAN LITERATURES as World Literature is in the Literatures as World Literature series, described as "a novel approach to world literature by analyzing specific constellations—according to language, nation, form, or theme." However, "African literatures" are not united by language, nationality, form, or theme! The first book in the series dealing with the literatures of a continent unified by culture, one would expect the series editor to add "culture" to the defining "constellations" of world literature. In the introductory chapter, Alexander Fyfe and Madhu Krishnan, the editors, lay the theoretical groundwork and issues that undergird the rest of the book. They assert that "world literature, specifically, bifurcates around two interrelated modes: the affirmative and the critical." They go on to define world literature as a "practice … intricately bound not only to the circuits of production, circulation and consecration through which 'a literature' as such is produced but also through its inextricable ties with the external world." The editors emphasize works written in African languages, "cross-border and global dialogue," and transnational literary collaborations. Bhakti Shringarpure's "'African Borders Are Unnatural': Nairobi and the Rise of a World Literature" uses Nairobi as a case study of African literature engaging with migration, mobility, nomadism, exile, and itinerancy. The author discusses how Binyavanga Wainaina and Joy Mboya deploy cosmopolitan experiences of Nairobi in their respective novels. These writers and the literary magazines such as Jalada and Lolwe move the literary conversation beyond the local and national to "a more cosmopolitan, border-defying and transnational agenda." Billy Kahora rejects Shringarpure's argument about Nairobi, the headquarters of "humanitarian consciousness," as inspiring literary creativity and observes that "more often than not, the African novel is now written in the West." Sarah Arens's chapter discusses the francophone Alain Mabanckou's and Koli Jean Bofane's novels set in the two Congo nations, respectively, that "present different visions of African intellectual and literary engagements with the world," which make African literature in French a type of world literature. Another chapter discusses "Kaisa," a narrative Swahili poem set in Angoche in northern Mozambique as world literature. Similarly, early Sesotho, isiXhosa, and isiZulu writings are discussed. Clarissa Vierke and Chapane Mutiua seem to strain to describe these works in indigenous South African languages as "world literature." The ninth chapter, again on Kenyan and Swahili literatures, emphasizes the aesthetics of book production. Lola Shoneyin's chapter on the Aké Festival focuses on the "African world stage" and the Ake Review. She is more "concerned about what Africans think about the works of other Africans than what Western readers think of books authored by Africans." I find Doseline Kiguru's "Contemporary African Literature and Celebrity Capital" very detailed and exhilarating in its analysis of "celebrity capital." Penny Cart-wright discusses two of Binyavanga Wainaina's works as "reversing the global media lens." The last chapter discusses precolonial Fante treatises and essays as literature rather than history. The essays disproportionately represent African literature with eight chapters covering "world literature" issues in Eastern and [End Page 76] South African literatures, two dealing with West African productions, and one with the two Congo nations. There is no single chapter touching on the literature(s) of the Maghreb or North Africa. There are two essays on Nairobi alone, and, adding the essays on Wainaina and Swahili, about five chapters on Kenyan literary productions! This overemphasis on Eastern African literary representations in this book is not borne out by the reality of available literary productions in Africa. In many of the chapters that relate to Kenya and "engaging the world," Wainaina is focused on, and it becomes a form of overkill. There is the impression that world literature has only to do with fiction, as the notion of the novel as the "currency" of world literature is promoted. I believe poetry and drama can also be parts of world literature. "Kaisa," itself a poetic narrative, is the only poetry discussed. There are plays such as Wole Soyinka's Death and the King...

The Transition from ‘Mythos’ to ‘Logos’: The Case of Heraclitus

In its origin and early formation, philosophy was closely related with mythical disclosure of the world and the transcendent. During this early period of Greek history (sixth century B.C.) poets and sages filled the shoes of the theologians. With the arrival of the new thinkers, the poets lost their monopoly in all areas. Thus, their poetic narration about the gods and their teachings about conventional values were placed under heavy pressure and criticism. As a result, mythical meaning, with its revered symbols and rituals gradually began to lose its validity as an authentic cultural force. To be sure, despite their differences, one should not overlook the fact that the boundaries between the poets and philosopher were not clearly differentiated. In this paper, I shall first show the continuity and discontinuity between the old and the new traditions and will point out how philosophy originated against the background of mythic culture. Second, I shall try to show Heraclitus’s role in the process of this transition. Third, I shall explore Heraclitus’s doctrine of the logos and demonstrate that his teachings constitute both a critique and an appropriation of mythical culture. I am convinced that his work is best approached if studied in the context of the struggle between the old and the new “scientific” tradition. In this connection, I shall advance the thesis that Heraclitus was one of the chief architects of the new school and yet, at the same time its strongest critic. Thus, we find in his work, mythic/ scientific “ways” sometimes clash and at times form unity. Heraclitus resembles Jean-Jacques Rousseau in one respect: on the one hand, he was one of the leading champions of the new age; and on the other hand, he was pretty much a child of the old culture. Thus, some of his teachings evolved from and were directed against both the old and new traditions. Heraclitus advocated rationalism and was the first one to warn against it. Keywords: Logos, I – It, I -- Thou, transcendent, immanent, flux, the one, ordained, identity of opposites

“Because I Do not Hope to Turn”: Anglo-Catholic Doctrines in Eliot’s Ash-Wednesday

This essay aims to examine the centrality of the Anglo-Catholic doctrines in Eliot’s poem, Ash-Wednesday, as a part of the Anglo-faith which Eliot embraced as his way of life. The poem, as Ronald Schuchard notes in his book, Eliot’s Dark Angel: Intersections of Life and Art, could also be seen as a poem of Eliot’s journey towards penance. The poetic persona offers a prayer to a Lady of Silences—a venerated figure similar to Mary—before he begins his journey. In this way, the title itself has the Anglo-Catholic significance in that Ash Wednesday refers to a period in which people undergo their penance and wait for the Easter. Thus, Anglo-Catholic element plays a crucial role in the poetic narrative. In this way, Ash-Wednesday can be read as an Anglo-Catholic poem in a way different from other poems such as “Journey of the Magi” and Four Quartets, in which Anglo-Catholic or Christian theme appear only occasionally, often, indirectly.

Between comings and goings, the house

The present work, based on the Theory of the Imaginary, tries to find the imagery itinerary of José Luís Peixoto in the Return home, starting from the discussions about the myth of return - resonated since the Odyssey - and the Poetics of space, by Bachelard (2008), since these two images (return/home) are intertwined throughout the poetic narrative, which Added to these two founding elements of the text, it is observed how time in the closed space of the house unlocked, in the subject, feelings of fear and uncertainty in the face of the present. In this sense, it was found that the image of the house, in the aforementioned book, still recovers the symbolic of a protective space, updated in the experience of social isolation. The same update movement happens in the recovery of the Homeric myth, from which one can think of how the subjects found the need to return to the family environment because of the pandemic, at the same time that the For the realization of this article, we resort to the theoretical-methodological postulates of Bachelard (2008), Durand (1993), Mello (2002) and other authors.

STYLISTIC ORGANIZATION OF THE LEXICAL AND SYNTACTIC SPACEOF THE POETIC WORKS BY ANATOLIY PERERVA

The author of the proposed material emphasizes that the linguistic and stylistic organization of the artistic text has been of interest to linguists for a long time. However, the peculiarities of a poetic narrative expressive means functioning have not been deeply investigated so far. Therefore, the study of language units that testify to the stylistic potential in the poetic scope of Anatoliy Pererva is relevant since the writer’s linguistic world was not an object of a separate scientific analysis. The purpose of the investigation is to characterize the peculiarities of the representation of stylistic means of lexical and syntactic nature in the poetic works by Anatoliy Pererva based on the material of his collection “Nebesna yasnist”. The realization of the defined goal involves the analysis of lexical and grammatical means of organizing the writer’s poetic narrative, the consideration of syntactic methods of his poetic language expressiveness, and the clarification of the stylistic potential of the revealed artistic and expressive means in the formation of the linguistic fabric of the poetic text. Therefore, the object of research is the language of Anatoliy Pererva's poetic collection “Nebesna yasnist”. The subject of the study is linguistic and artistic expressive and pictorial means of organizing the language fabric of a poetic work, which have a lexical and syntactic origin. The researcher states that stylistic component of a lexical and grammatical and syntactic nature are an organic part of the writer's poetic language space. And in particular, those based on the repetition of components (polyptoton, adnomination, prosapodosis, antanaclasis, homeoteleuton, anaphora, epiphora,), opposition (antithesis, oxymoron), and accumulation (gradation). The scientist concludes that the mentioned figurative and expressive means have a powerful stylistic potential and contribute to the reproduction of the main motives of the considered collection (the rapidity of life, thoughts about the end of the earthly journey, love for mother and faith in God).

КОНТИНГЕНТНОСТЬ СОБЫТИЯ В ИСТОРИИ И ХУДОЖЕСТВЕННОМ НАРРАТИВЕ: ЗАМЕТКИ ОБ ИСТОРИЗМЕ "ВОЙНЫ И МИРА" Л.Н. ТОЛСТОГО

The article analyses special features in the functioning of the category “Event” in Leo Tolstoy’s novel “War and Peace”. Eventivity is considered both at the level of “mental” (related to the personal experiences of the characters) and “historical”: in both cases the narrator uses the concepts of “chance”, “causality” and “necessity”, the meaning of which varies depending on the context and, importantly, are realised in the poetics of the novel narrative. In order to analyze the paradoxical nature of the event in War and Peace, the concept of “contingency” is used to take into account the complex relationship between “freedom” and “necessity” in the structure of the novel.

The Narrative Poetics of Working-Class Fiction from Raymond Williams to Douglas Stuart

The Narrative Poetics of Working-Class Fiction from Raymond Williams to Douglas Stuart

The poetic narrative and the imagined contrast In the novel (Under the Sky of Copenhagen) by Hawra Al-Nadawi

لقد تميز الإبداع في العراق بمجال الرواية بنشاط حثيث في السنوات الأخيرة نهض به روائيون بعضهم تعود به الكتابة في المجال الإبداعي إلى مرحلة السبعينيات وحتى الستينيات من القرن المنصرم ، وتزامنت هذه الحركة الإبداعية مع حركة نقدية أصبح ينهض بأعبائها النقاد في الصحف والمجلات ولا سيما من الجامعيين المختصين في سبيل إرساء تقاليد في النقد تخص الأدب السردي في العراق . ولئن انصرف هذا الجهد إلى أعمال آلة النقد في بعض النصوص من ناحية ، والتوثيق للحركة الإبداعية في العراق في سبيل إرساء منظومة ثقافية إبداعية وفكرية متماسكة ومتجانسة من ناحية ثانية، فإن الرواية ما تزال بحاجة إلى المزيد من البحث في أشكالها ومضامينها بوصفها سمة إبداعية من سمات هذا العصر . لقد اخترنا أن نخص رواية حديثة العهد بالصدور نسبياً تحمل عنوان ( تحت سماء كوبنهاغن ) ، بدراسة للوقوف من زاوية حضارية على مكونات السّرد والمتخيل النقيض، ولا سيما قضية( الهوية والانتماء) من خلال القص وأساليب الكتابة فيها . وإن كانت هذه القضية قديمة في الطرح فإنها فيما نزعم تستحق إعادة البحث ؛ لأن وقعها ازداد تعاظماً في العقدين الأخرين من القرن العشرين والمرحلة اللاحقة. إن الذي حفزنا على دراسة هذه الرواية من هذه الزاوية هو عنوانها أولاً، وإلحاح الكاتبة في أكثر من موضع فيها على أن كتابتها تشهد على عصرها وزمانها أصدق شهادة ، وتهدف إلى النبش في خفايا الزمن للبوح بأسراره ، وهذا الوقت الذي نقصده هو هذا الزمان الذي انماز بأحداث عالمية كبيرة وانطوى على تحولات اجتماعية عميقة أدت إلى ظهور موجة من الإبداع، ولا سيما في مجال الرواية على غرار هذه الرواية .

When dreams turn archaeological: The poetic dreamscapes of Anna Jacobson

This paper explores the dream-inspired poetry and video poetry of award-winning Brisbane poet Anna Jacobson. Jacobson’s surreal poetic narratives draw on memory, dreams, desires and destiny, using simple language and vivid imagery to evoke strong emotional responses. Her manner of exploring dreams in a number of poetic and narrative forms allows whimsical, gentle but also vigorous creative work of personal resilience and understanding. Her work is framed also by explorations of her Jewish culture and family and driven by unbridled imagination. In particular, the paper investigates Jacobson’s process of interweaving visions and memories for the purpose of tracing personal histories lost through periods of mental illness, exploring how she mines dreams for the purpose of writing and healing. It questions how her poetic process allows her to reclaim agency through unpacking experiences she wants to recover or further understand. Distilled from a series of interviews with the poet, the paper explores Jacobson’s interest in working at the cusp of different media and how this blend of the word and the visual image is particularly apt for dream exploration.

“Conservative” Verse by V. V. Nabokov: Specifics of Constructing Verse Vertical

The article deals with the problem of experimenting by V. V. Nabokov the poet. The novelty and relevance of the study are due to the fact that the poet’s work, taken in the most complete volume to date (578 works, 18470 lines), is not the material of a traditional level-by-level poetic description, but a correlation analysis that takes into account the parameters of the formation of the verse vertical (poetic meter, strophic structure, clause, rhyme). The proposed method made it possible to reconsider the established idea of the conservatism of Nabokov the poet and to identify specific strategies for constructing a poetic vertical. It is proved that Nabokov cannot be called a poet who revived the metrical preferences of Pushkin’s time: the proportions of two-syllables, the variety of non-classical meters testify to his closeness to the authors of the first half of the 20th century. It has been established that the specificity of Nabokov’s experiments is determined by the use of the principles of organization of the verse vertical, which consists in the violation of rhythmic inertia due to various interruptions in rhythm — a change in poetic meter, the order of alternation of clauses, rhymes. The identification of these principles made it possible to formulate a hypothesis about the commonality of the construction of Nabokov’s poetic narrative with the prose narrative, in which the violation of the established convention, according to the general opinion of literary critics, is one of the main features.

Intercultural and Intertextual Crossings in Sarah Howe’s Loop of Jade (2015)

This article explores the notion of intercultural and intertextual crossing (in the combined senses of migration and intersection) in Sarah Howe’s poetry collection Loop of Jade (2015). Born in Hong Kong to a Chinese mother and British father, Howe grew up in the UK. Loop of Jade explores the experience of cultural hybridity and deracination through an intertextual poetics predicated on artifice and irony, going against the grain of a simple, unmediated confessional poetic narrative “of the origins.” After the actual experience of return paradoxically leads to a crisis of identification, intertextuality becomes an alternative route allowing Howe to approach her origins obliquely. A Borgesian epigraph – a surprising abecedary of apparently arbitrary categories of animals given in a “certain Chinese encyclopedia” – becomes a structuring device for the whole collection, announcing its project to reflect on real or imaginary cultural differences. Working through various constructions and misconceptions of Asia in the Western imagination, the poems ultimately develop a complex sense of belonging. This article argues that Howe uses a multiplicity of intertexts to create what Homi Bhabha calls an “in-between,” interstitial subjectivity, which reflects on its intercultural plurality and fragmentation, and explores the degree to which modern identity is shaped by cultural differences. It also explores the political dimensions of Howe’s use of intertextuality, denouncing China’s history of repression and censorship, as well as the violence against women and the anxiety of miscegenation in traditional culture. Finally, I also show that Howe ambivalently engages with the legacy of modernist poetry, particularly with Ezra Pound’s appropriation of Chinese culture and writing system.

The phantom of the days that has not come

It is known that one of the genres of Kazakh literature, essays, appeared infrequently in the literature of the Soviet era. During the period of independence, within the framework of this genre, events and scenes in the Soviet space were described in detail, by the authors. Writers have used the rational side of the essay genre as a powerful way to analyze an idea in the context of artistic reality. The article analyzes a novel-essay from two books, which is the result of the relationship between the novel and the essay by the outstanding writer Kalikhan Yskak. He defines the features and poetic structure of the essay novel based on native literary criticism. The essay novel analyzes how the author writes very eloquently and with a peculiar style about the events he witnessed, as well as about his views and thoughts. Memoirs of Kalikhan Yskak about himself, about his time, about his contemporaries, about the environment in which he grew up, as well as the memories of the inhabitants of his native land, which were collected to create a wonderful piece of art, served as the basis for writing the article. It is argued that the novel-essay of the writer is distinguished by artistic language, poetic narration and a peculiar style. The concluding part says that the novel-essay of Kalikhan Yskak “The Ghost of the Days that Has Not Come” is a valuable work that has enriched Kazakh literature in artistic, genre, thematic, documentary and cognitive terms

Rogarou Genealogies in Cherie Dimaline’s Empire of Wild

Cherie Dimaline’s Empire of Wild critiques colonialism and celebrates Georgian Bay, Ontario, Métis identity through a narrative that uses the figure of the Rogarou as the Métis trickster and template for addressing these realities. Subtexts alluding to related stories in prairie sources edited by Maria Campbell; allusions to a French-Catholic local legend referred to as “the wolf of Lafontaine”; and the relevance of Anishinaabe cosmologies, traditional teachings, and other-than-human beings also dramatize, deepen, and support the reader’s understanding of Métis resistance and resurgence. Dimaline’s poetic narrative reflects Leanne Simpson’s approach to decolonial love and connects the novel’s themes and subtexts.

MUSLIM FEMINISTIC NARRATIVE IN POETRY: A LITERARY ANALYSIS OF FAHMIDA RIAZ'S POEMS

Background and Purpose: Fahmida Riaz was able to articulate precise feminist politics through her voice because she was audible to many women in the Pakistani context. The current study investigates how her writings about the female body were not merely a tool to celebrate or raise the sexual distance, but also influenced a political intervention and shifted the dominant patriarchal structures present in literary as well as other social and political levels. The purpose of the research is to shed light on how a specific poet's voice was able to reach a large audience of women and articulate explicitly feminist politics in Pakistan.
 
 Methodology: The Feminist Discourse Analysis (FCDA), another dimension of CDA, is employed in the analysis. The application of the FCDA model is adapted to examine how textual representations of gendered practices produce and sustain one gender power and dominance over the other. For the study, an operational method based on four models has been developed: the Fairclough Model, the Porreca Model (Porreca, 1984), Halliday's Transitivity Model (1985), and the FCDA (Lazar, 2005).
 
 Findings: The findings clearly demonstrated how power abuse and gender domination are explicitly present in women's literature. The analysis discusses in detail how gender is constructed in these poems, and how this construction gave women a new perspective on life and defined how they are exploited in the name of social and religious cultures.
 
 Contributions: With the rise of religious extremism in Pakistan, the male-dominated patriarchal narrative is receiving renewed attention. However, based on the findings obtained, greater attention should be paid to the female narrative and the discourse produced by female writers. A similar analysis can be performed on the writings of Kishwar Naheed, another feminist writer, to gain a better understanding of the poetics of Muslim Feminist Narrative.
 
 Keywords: Feminist politics, feminist critical discourse analysis, Porreca Model, Halliday’s transitivity model.
 
 Cite as: Basra, Z., Alvi, U. F., & Nadeem, M. (2022). Muslim feministic narrative in poetry: A literary analysis of Fehmida Riaz’s poems. Journal of Nusantara Studies, 7(2), 424-443. http://dx.doi.org/10.24200/jonus.vol7iss2pp424-443

On a Dentist Chair: Colonial Patriarchal Violence and Everyday Forms of Sexual Harassment

This article is a poetic narrative in the spirit of resistance. It is based on an experience of sexual harassment I had at a dentist’s office in Antigua, Guatemala while conducting ethnographic research. I share an autoethnography, which is analyzed through feminist and historical lenses to highlight how the colonial patriarchal system and its coloniality of power continue to provide fertile ground for everyday forms of sexual harassment in Guatemala. In addition, I explore how power relations are malleable, dynamic, and even unpredictable depending on the bodies we inhabit as researchers. This is an invitation to look within and expand our discussions about the implications of experiencing sexual harassment while conducting research whether we are “in” or “out” of the field. Acknowledging these complexities is crucial to our searches for decolonial practices within the field of ethnography and within the process of academic knowledge production.

Introduction

Introduction Jim Hicks BACK IN 2012, THE FAULKNER estate attempted to sue Sony Pictures Classics over the use of what a CNN article called “one of the most-quoted lines in American literature.” The verdict was, unsurprisingly, that size matters. After all, the quote in question—actually two lines, and cited incorrectly in the Woody Allen script—consists of only nine words from a novel. You have to hope that the fig leaf of fair use still covers that. Plus, as I always say, plagiarism is the sincerest form of flattery. That the film paraphrased rather than quoted isn’t surprising; after all, Obama was similarly sloppy just a few years before. What both Woody and Barack did get right is more revealing: from Faulkner’s bon mot, everyone apparently remembers the clever repetition and apparent paradox—that the word “past” is “not even past.” Though I’m not a linguist, I suspect the reason we remember Faulkner’s words stems from the signal, not the signification: this use of the word “past,” to my ear, echoes its history as a variant of the participle “passed,” for which it is a near-homonym. In other words, one layer under Faulkner’s sentence lies a more active observation, that the past hasn’t yet passed— that it still haunts us, in the present. The presence of pastness is this issue’s guiding spirit. Reflecting on her country’s years of military dictatorship, an Argentine friend once told me that the so-called disappeared haven’t been the biggest problem for fans of the junta. It’s the ones they didn’t kill—the reappeared—that the militant right really worries about. So perhaps we shouldn’t be overly surprised, then, that Nixon apparently did try to have Daniel Ellsberg killed—though that is by no means the central revelation, nor the “Nixon Doctrine” that the Ellsberg piece in this issue names. The US war in Vietnam still haunts the poets John Balaban and Bob Dow as well; here be contributions that invite readers to [End Page 204] walk in their shoes. Two poems by Matt Donovan tread different, though not unrelated, paths of violence, and Dianne Seuss adds three others, weaving together personal history and craft meditation. Two stories in translation—from Simone Baldelli, translated by Oonagh Stransky and Enrica Maria Ferrara, and from Katrin Schmidt, in the English of Sue Vickerman—show how apparently distant conflict may erupt or return to the surface, a somewhat separate form of haunting. The legendary French editor and novelist Philippe Sollers, as rendered by Armine Kotin Mortimer, retraces here the history of the Louvre under its original director, Dominique Vivant. In his speculative fable, Len Berkman listens to the voice of a teenage Cordelia; elsewhere, in a work of speculative fiction, Jessi Lewis explores a very different form of female subjugation. Both Carol Moldaw, in a narrative poem, and Anamyn Turowski, in a poetic narrative, explore instances where what is past continues to return, overwhelming our present. All of which is not to say that action in the present won’t be the past/not past for each of our tomorrows. Surely Damali Abrams’s healing and reparative art is present action. Elsewhere, Ah Zi offers a truly chilling tale of digital surveillance and punishment, where a single message may have unending repercussions. Finally, in a meditation equal parts hope and fear, Eduardo Halfon reflects on why, and whether, fatherhood in the Abrahamic tradition begins with a knife. In our Summer issue, surely any or all of these, and others as well, will keep you glued to your perch. Definitely not dead. Not yet. Not even sleeping. [End Page 205] Copyright © 2022 The Massachusetts Review, Inc

현대 중국 몽골족 전통가요의 가사 분석

This study sorted out the trend and theme classification of the modernization of Mongolian traditional music in Inner Mongolia, China, and investigated the literary characteristics of the modernization of Mongolian traditional music through the analysis of the lyrics of the selected representative songs of each theme. For this reason, this study refers to the academic literature related to Mongolian music at home and abroad, as well as the works collection of in the modernization of Mongolian traditional music such as “Inner Mongolia folk songs and folk songs” and “grassland new songs”. Based on the classification theme, literature and popularity of songs, this study selects 12 representative songs from more than 400 songs included in the works collection, and analyzes their lyrics. The results can be summarized as follows: first, from the lyrics of modernization of Mongolian traditional music, we can see the distinctive “aesthetic characteristics of socialist realism”, namely “people’s nature”, “party spirit” and “class nature”. Second, In the songs of the modernization of Mongolian traditional music, it is found that the “beauty of artistic conception” of national aesthetics is the unity of emotion and scenery, content and form, subjective and objective, which injects emotion into things through metaphor and personification, and then turns into poetic images. Third, in the modern songs of Mongolian traditional music, we can see the “national religious consciousness” of “life and female worship” left over from the ancient national belief Shamanism. Fourth, in the songs of the modernization of Mongolian traditional music, we can feel the strong “symbolism of national culture” of national culture through the cultural symbols containing the inner world of poetic narrator and the connotation of national culture. On the other hand it can also be seen from the development process of the modernization of Mongolian traditional music for more than 70 years that the literary and artistic policies and economic policies in different periods have had a great impact on its development, which also proves the importance of a country’s social politics and economy to the development of culture and art. It is true that art in any country can not completely get rid of the influence of politics, but the Complex spiritual labor like art should not be defined and controlled by politics, and its pure spiritual world should always belong to the human individual itself.