Poetic Production Research Articles

Patriotic trends in the poems of Mahmoud Sami Al-Baroudi: A Descriptive and Analytical Study

: The poet Mahmoud Sami Al-Baroudi is considered a pioneer of the modern literary renaissance; where he renewed the style of poetry, relying on the molds of the ancients in style and formulation, pouring meanings from his personal experiences and the issues occurred on his time. Among the manifestations of renewal in his poetic productions are the patriotic poems he composed through which he was able to highlight his Egyptian patriotic sentiment . Since some critics directed the poet into questioning his Egyptian patriotism, and that he did not record in his poetic traces of the issues and topics of his time, this study came with the aim of shedding light on his national trends and the factors affecting his Egyptian patriotism, and the main themes in which he dealt with the issues of his time revealing his patriotism sincere. This study is important because it focuses on patriotic poems that clearly effect on the feelings; Considering that national literature has a significant impact on the formation of a good citizen, The study concluded that the patriotic trend changed in al-Baroudi’s poems according to the different stages he went through in his life, and several factors combined to refine his national personality, which led to the expansion of the circle of patriotic poetry as he invested his poetic output in resisting political corruption, urging Egyptians to renaissance education, establishing the constitution and parliament, praising Egyptian heroes, and fighting against the foreign colonialism, as well as providing guidance to Egypt’s rulers.

Étude du manuscrit français 862 de la BnF (complément d’enquête sur Amadis Jamyn, Jean de Cholières et Catherine de Retz)

xvith century poetic albums are the evidence of the female contribution to the cultural activities related to the «salons», coteries and aristocratic gatherings. In the perspective of literary studies that have been conducted for the past century, this article studies the circle of Catherine de Retz with the analysis of the manuscript Français 862 at the National Library of France. In this volume, many poems by Jean Passerat, Mellin de Saint-Gelais, Philippe Desportes, the Dames Des Roches, the cardinal Du Perron, without counting Amadis Jamyn whose sonnets deal with several muses, have been copied. In this article, love poetry by Jamyn and Jean de Cholières is analysed in relation to the Court (i.e. the secret love affair between king Charles IX and Anne d’Atri d’Aquaviva, also celebrated by Ronsard) and to the Retz «salon». By the close reading of some poems by Jamyn, transcribed in the manuscript Français 862, and other poems (identified or anonymous) that are published in La Guerre des masles contre les femelles (1588) by Cholières, this article suggests new attributions to Jamyn’s poetic production. It also attempts to link the name of the muse Aris, celebrated by Cholières and others, to the Maréchale de Retz.

La race des poètes

With a focus on a “French” corpus ranging from the 1850s to the 1900s, this essay explores different literary theorizations of race through poetry. From Vigny to Lautréamont and Vivien, the ancient syntagm “race of the poets” is often revived to build the mythology of what Verlaine would call the poète maudit. There, such a poetic “race” may remain structurally unrelated to the contemporary conceptualization developed by Gobineau for instance (or, conversely, by Firmin), even with Baudelaire, whose work is otherwise linked to the colonial experience. While the existence of a link between the assertion of racial belonging and poetic production cannot be determined a priori, it sometimes leads to intricate, multifold, and meta-literary statements about ethnicity, nationhood, and creation. Besides Rimbaud’s “Mauvais sang,” we describe such reflexive constructs in Verhaeren’s work and in the volumes published by the Haitian writer Paul Lochard, whose poetry is interpreted anew. (In French)

Writing war, and the politics of poetic conversation

ABSTRACT This article’s premise is that war is ontological devastation, which opens up questions as to how to write about it. The paper contends that even critiques of war, whether critical-geopolitical analyses of global structures or ethnographies of the everyday, center war in ways that underscore erasures of non-war life, and therefore risk participating in that same ontological devastation. Engagement with extra-academic conversational worlds, both their social lives and their intellectual ones, is ethically necessary in writing war. To that end, this article examines poetic production from one front in the US-led “Global War on Terror”: Swat Valley, Pakistan. Poets in Swat have produced an analysis of war as ontological devastation, but also protest their reduction, in the minds of others and themselves, to the violence-stricken present. This intervention is not an intellectual critique alone. Focusing on a new genre of “resistance” poetry, this article shows how poets resist war by maintaining worlds partly beyond it. In this, the critical content and the social lives of poetry are inseparable.

Cin the shadow-imagination: a brief literary history of Syrian poetry of witness

ABSTRACT This article argues that when poetic practice in Syria turned to a register of modernity, many of its idioms darkened to a poetics of trauma and catastrophe. By highlighting a Syrian manifesto for the poetics of catastrophe and taking two poets who stylistically stand at polar opposites, I aim to show the diversity of forms in which Syrian witness poetry came into being and set it in a larger framework of efforts to anthologise and globalise twentieth century poetry from sites of violent political conflict. In doing so, I also trace the literary historical trajectories that informed its making in Syria and continued to steer its course well after 2011. Aside from original poetry, the ecosystem of the culture of catastrophe includes critical discourse, novels, cinema, media products, and literary translation. I will address some, not all, of the elements in this repertoire as they relate to poetic production.

Algumas notas de investigação em torno da poesia de Maria de São José Salazar

The barefoot Carmelite Maria de São José Salazar, a beloved disciple and faithful follower of Saint Theresa of Jesus, was the author of a remarkable literary production, practically all of it written in Lisbon, at the convent of Saint Albert. This article focuses particularly on his poetic production and on those poems that show similarities with the poetic production of Saint John of the Cross.

Modern Visual Poetry and Ecology: Towards Establishing “Eco-Visual Poetry” As A New Poetic Genre

In no other age in the history of literature did poetry witness this great change as much as it does in ours. Poetry moves indiscriminately towards visuality, fragmentation, and digitalization. This change has led to the appearance of modern visual poetry as an individual poetic production with specific characteristics and techniques after years of being a mere experimental poetic activity. Modern visual poetry is the mirror of the contemporary society which has declared the death of postmodernism and the appearance of new era of fragmentation, chaos, hyper-reality and techno culture. The new era is always concerned with ecology as one of the most important issues. That is why, the present paper aims at presenting a new subclass of visual poetry that is eco-visual poetry. The paper discusses eco-visual poetry as a new born genre of poetry that is associated with visuality, ecology, and literature. Thus, it defines eco-visual poetry as a new genre of poetry

The Semiotic and the Symbolic: The Rejuvenative Effect of Writing in Mary Steele’s “Sonnet, 1795”

This paper aims to examine the eighteenth-century British poet, Mary Steele’s “Sonnet, 1795” in terms of the recuperative power of the act of writing and the relationship between the semiotic and the symbolic. The study suggests that the sonnet serves as the poetic testament to the symbolic and the real life of the historical author who aims to manage her emotional suffering and mental agony via the therapeutic act of writing. The female author has a confrontation with what is to be repressed on the symbolic through the poetic production on the semiotic that bears a witness to her traumatic experiences and physical losses. Through negation and sublimation, the author attains to order her chaotic cognitive and affective states and develop an awareness about the subconsciousness and what psychologically ails her. Therefore, she does not intend to improve her poetic abilities and self-actualize as an aspiring author being in search of a feminine sublime, but rather seeks refuge against the symbolic and applies poetry as a therapeutic device and a way of escaping from the reality. Within this context, there is a correlation between the symbolic and the semiotic, between the authorial interest in poetry and the inner motives of the female poet. Against this background, the study employs the theory of Julia Kristeva regarding the liaison between the literary creation and the literary figure, the redemptive power the poetics offers for the authorial persona and the renewing effect of the poetic production.

Lenguaje político y giro panhispánico en el primer manifiesto del movimiento Poesía ante la incertidumbre

Political Language and Reflections on the Concept of Canon from a Transatlantic Perspective in the First Manifesto of the Movement POESÍA ANTE LA INCERTIDUMBRE. In this article I intend to examine the strengths of Panhispanic or Transatlantic Studies, which represent an appropriate line of research into and analysis of the current circumstances of literature written in Spanish, from a vantage point capable of observing the plurality of changes in the Hispanic-American poetics of twenty-first century works. First of all, I define what is traditionally understood as a literary canon and outline the theoretical support on which I rely to argue my point of view. Secondly, I add the notes of the critics who propose a Transatlantic literary analysis, that is, the ideas of Panhispanism, as a way of analyzing current poetic productions, which I exemplify with the Poetry Facing Uncertainty movement. Keywords: canon, Hispanic American – Transatlantic literature, Panhispanic studies, Spanish poetry, Poetry Facing Uncertainty

Eugene Lee-Hamilton’s Sonnets of the Wingless Hours: Baudelaire, Neurasthenia, and Poetic Recovery

This essay examines Eugene Lee-Hamilton's Sonnets of the Wingless Hours (1894) in the context of Charles Baudelaire's influence on the late-nineteenth-century English autobiographical sonnet sequence. Reading the sequence in the context of disability studies, we see that the poetics of illness that characterize Baudelaire's Les Fleurs du Mal (1857) shaped Lee-Hamilton's poetic account of his neurasthenic paralysis. Neurasthenia enabled Lee-Hamilton's transition from failed diplomat to successful literary figure, but the recovery that was taking place as he constructed Sonnets of the Wingless Hours also signaled the end of his poetic inspiration. This tension between the ailing body and the creative spirit sheds light not only on the psychology of the neurasthenic poet but also on the ways in which societal assumptions about the body affect both poetic production and reader response.

The Poetics of Early Chinese Thought: How the Shijing Shaped the Chinese Philosophical Tradition by Michael Hunter

Reviewed by: The Poetics of Early Chinese Thought: How the Shijing Shaped the Chinese Philosophical Tradition by Michael Hunter Giusi Tamburello Michael Hunter. The Poetics of Early Chinese Thought: How the Shijing Shaped the Chinese Philosophical Tradition. New York: Columbia UP, 2021. Pp. 240. US$145.00 hardcover, US$35.00 paperback, US$34.99 ebook. At times, by a fortuitous concatenation of circumstances, one happens to chance upon a text and become utterly absorbed by it. This is what happened to me while reading Michael Hunter’s volume The Poetics of Early Chinese Thought: How the Shijing Shaped the Chinese Philosophical Tradition. For someone like me, engaged in research on Modern and Contemporary Chinese poetry, the Shijing 詩經 (Classic of Poetry) represents “the” Chinese collection of poetry, the one from which Chinese poetry springs. Western sinologists and scholars, such as James Legge in the nineteenth century, Marcel Granet, Arthur Waley, Bernard Karlgren, and Ezra Pound in the twentieth century, have long been publishing seminal works about Chinese classical poetry, delving into the complexity of the study of the Shijing. This substantial body of academic work conveys the impression that this collection of poems belongs to another ‘level of knowledge,’ one that stands out from the rest and appears somehow to be ‘out of reach.’ Composed between the eleventh and sixth centuries BC, the three hundred-plus poems collected in the Shijing are written in ancient Chinese, and modern readers may have difficulties interpreting the work today. Furthermore, having become a fundamental part of the training of imperial officials who had to learn the Five Classics (Wu Jing 五經)-including, as Hunter also mentions, the Changes (Yi 易), Documents (Shu 書), Annals (Chunqiu 春 秋), and Ritual (Li 禮) classics (3)-the [End Page 559] Shijing plays a key role in the Chinese literary canon. Thanks to its prominent position in Chinese culture, it enjoys great cultural prestige. On popular websites too, the Shijing (in English, the Wikipedia entry is Classic of Poetry) is included among the “Five Classics,” or is considered one of the “Six Classics” when Music (Yue 乐) is included, or again one of the “Five Classics” (on Baidu 百度, the Chinese website similar to Wikipedia, we find 成为《六经》及《五经》之一). By referring to them, Wikipedia and Baidu also indicate how the “Classics” were the basis for the knowledge of the learned and cultured elite. It is interesting, at this point, to notice that the Shijing is generally recognized as belonging to the Chinese literary canon. Thus, to engage with a critical volume discussing the Shijing means that the potential reader will also be approaching the volume with reverential respect. The very title of Michael Hunter’s volume triggers this same sentiment as we find in it two key elements that introduce the complexity of the work: “poetics” and “philosophical tradition.” Through his analysis, Hunter brings to light the intimate connection that exists between the first Chinese poetic productions, as they are represented in the Shijing, and the development of Chinese philosophical thought. The interdisciplinary approach that Hunter applies to his research enhances the way poetics and philosophy resonate with each other. Indeed, his point of view stems from the observation that the position of the Shijing is in some respects puzzling: even though so many elements from the Shijing can be detected in the works of poets and philosophers who have shaped Chinese civilization, it has become increasingly marginalized. Therefore, we must reread the canonical texts of Chinese philosophical thought in search of traces of the Shijing that can contribute to its contextualization from a more contemporary point of view. The path Hunter follows is indicated by the titles of the five chapters that follow the introduction: “Reading the Shi,” “A Poetry of Return,” “Shi Poetics beyond the Shi,” “The Shi and the Verses of Chu (Chuci 楚辭),” and “The Shi versus the Masters.” Together, they describe the progressive shifting of the analysis from the poetic corpus of the Shijing and its characteristics to its reverberation on the cultural environment. Through this process, the reader is offered the means to follow the development of Hunter’s idea of classical Chinese philosophical thought that has been modelled on literary assumptions rooted in the world vision of ancient Chinese...

Forms of Poetic Attention

Forms of Poetic Attention

T@pped into the W3rldWideWeb: C0nfigur-ing [Net(I)Ana(S)

The purpose of this paper is to explore the ways in which loneliness has become the epitome of contemporary human condition for the Millennial generation, together with its impact on the psychological and emotional side of human expression and the urban landscape, as expressed through art and the virtual. Modern megacities are shaping and configuring what we nowadays understand as art. In the case of Alt [C]Lit poets, whether it is New York City or Los Angeles, the US urban landscape has a great influence on how these young authors have configured their poetic production: their experiences and referents belong to these cities. In this paper, I would like to discuss how spaces, especially urban spaces, have generated physical isolation and have transitioned into a mental landscape, to which the virtual contributes to increase anxious alienation that manifests itself through the body and the configuration of human subjectivities. Therefore, I will analyze hypermodern identity/ies that result from the urban landscape of megalopolises, the manner in which the virtual has generated online communities and has contributed to (hyper)sexualization, and the way in which Zafra’s concept of netianas can be applied in order to analyze the paradoxical position of loneliness and early-adulthood through the Alt [C]Lit poetry and other related-literary and visual production.

Rhythmus (Rhythm)

The lexeme Rhythmus has a long history of its own. In the context of Goethe’s thought, it needs to be approached via both his theoretical discussions of the term and his handling of rhythm in his literary work. Goethe conceives of rhythm in terms of its materiality, and its major philosophical opportunity is the intense connection that it offers between subject and object. Goethe’s attitude to meter—that is, rhythm organized for the purposes of poetic production—was ambivalent: although he mastered any number of different verse forms, he remained suspicious of poetic rhythms that were too metronomic. The creative tension of rhythm is an implicit theme in various works and is explored through two examples in this entry: the poem “Der Musensohn” (1774/1800; The Son of the Muses) and the character Mignon from the novel Wilhelm Meisters Lehrjahre (1795–1796; Wilhelm Meister’s Apprenticeship).

Joseph Tusiani: A Man for All Seasons

Joseph Tusiani: A Man for All Seasons

الاغتراب والاستلاب فی دیوان (الناس فی بلادی) لصلاح عبدالصبور دراسة سیمیائیة

الملخص تتناول هذه الدراسة ظاهرة الاغتراب وتمثلاتها في أعمال صلاح عبد الصبور، وترصد ارتدادات الحداثة في إنتاجه الشعري بخاصة. کما تناقش الدراسة حالة التماهي التي عاشها الشاعر مع رموز الوجودية وأعمالهم وذلک عبر مقتطفات من ديوان (الناس في بلادي) وتحليل ثلاث قصائد مثلت رؤية الشاعر في ديوانه الذي شکل منعطفا في تاريخ الشعر الحديث وعلامة فارقة أسست لحرکة الشعر الحر ووضعت عبد الصبور في مصاف رواد الحداثة. وقد استخدمت المنهج الوصفي التحليلي في تتبع الدوال والبنى والتراکيب التي وظفها الشاعر بأساليب متعددة لبسط دلالات الاغتراب وبيان نظرته للکون والحياة والإنسان. تجيب الدراسة کذلک على سؤال ما إذا کان اغتراب شاعرنا يعبر عن بعد ذاتي أصيل أفرزته ظروف موضوعية، أم أن الأمر کان يمثل حالة استلاب عاشها الشاعر وآخرون من معاصريه استجابة لتيار حداثي طغى على ذلک العهد وما تزال آثاره ماثلة حتى يومنا هذا. Abstract This study deals with the phenomenon of alienation and its representations in the works of Salah Abdel Saboor, and monitors the reversals of modernity in his poetic production in particular. The study also discusses the state of identification experienced by the poet with the symbols of existentialism and their works through excerpts from his collection (People in My Country) and analysis of some poems that represented the poet's vision in his collection, which marked a turning point in the history of modern poetry and a milestone that established the free poetry movement and put Abdul Saboor in the ranks of the pioneers of modernity. The researcher used the descriptive analytical approach to track the functions, structures and compositions used by the poet in various ways to present the connotations of alienation and to show his view of the universe, life and man. The study also answers the question of whether the alienation of our poet expresses an authentic subjective dimension produced by objective circumstances, or whether it was a state of identity crisis experienced by the poet and other contemporaries in response to a modernist current which dominated that era the effects of which are still present today.

Eighteenth-Century Women’s Poetry and the Feminine Accomplishment

Abstract This essay posits that the production and reception of eighteenth-century women’s poetry was shaped by a pervasive cultural paradigm: the concept of the ‘feminine accomplishment’. As the aspirational middling sort began to demarcate certain pastimes as signifiers of polite femininity, poetry was increasingly promoted alongside dancing, drawing, and singing as a genteel accomplishment for young women. However, this association was never secure: poetry always occupied an ambiguous position within accomplishment discourse, and the implications of its inclusion (or exclusion) were regularly contested. In the first investigation of this phenomenon, this essay draws upon early eighteenth-century conduct literature and biographical accounts to explore how women’s poetry was encouraged by some as an intellectually stimulating recreation (and a source of familial and national pride)—but was disparaged by others as a pretentious, frivolous, and potentially dangerous ornamentation. The experiences of women writers including Jane Brereton, Laetitia Pilkington, and Martha Fowke reveal that, although an aura of accomplished amateurism could authorize their poetic production (in both manuscript and print), it could also lead to their compositions being patronized and dismissed. The liminal nature of poetry’s ‘accomplished’ status would make women’s verse composition a locus for broader contemporary debates surrounding gender, class, education, and the professionalization of writing.

Amiri Baraka's "In Memory of Radio": Marxist Dialectics

The paper discusses the dialectics of Baraka's Marxism in relation to "In Memory of Radio," one of his best poems written during his Beat period and published in 1962. Though much of his poetry written during this period is judged by critics as having nothing to do with Marxism and thus no attempt is to be made to discuss his poetic production in the light of this literary theory, other literary critics prove that the seeds of establishing himself as a Marxist poet can find its roots in his Beat poetry prior to his transition to other two phases, namely the phase of Black nationalism and the phase of Marxist-Leninism.

Poetry as a way to express emotions in mental health

ABSTRACT Poetic depiction of problems and complex thoughts is an innovative approach that facilitates introspective thinking and the building of self-identity. This study aimed at providing nursing students with in-depth knowledge about mental health through free poetic production. A qualitative, descriptive research approach, of sociopoetic inspiration involving 96 undergraduate nursing students, was conducted. All ethical recommendations were considered. Four categories emerged: “Hybrid emotions, feelings and sensations”; “Associations”; “Doubts and questions”; and “Reflections”. Students’ poetic writings were analysed and the results highlighted the students’ perception of the dynamics between brain and heart symbolizing reason and emotion. Poetic writing enhances creativity and fosters introspection, acting as an important facilitator of the complexity of mental health-related issues and contributing to improve therapeutic communication skills. Importantly, the search and development of new pedagogical approaches can help to deal with the emotional stressors linked to the novelty of mental health education.

Memorie letterarie nel Convivio di Dante

Abstract Focusing on book 4 of Dante’s Convivio (The Banquet), this article analyzes the complexity of the unfinished poetic and philosophical treatise that the poet wrote at the beginning of his exile. The relevance of the Convivio within Dante’s overall production can be attributed to the presence of numerous themes dear to the poet, which sometimes emerge only in nuce and sometimes already in a mature form in the treatise. Nonetheless, Dante took many of these subjects and linguistic experimentations and elaborated on them in his later works. In particular, book 4 functions as a precedent for some of the choices, themes, and styles subsequently developed in the Commedia. However, when the inspiration for the Convivio as a vehicle for both poetic and prose production is supplanted by the larger and even more ambitious project of his Commedia, Dante abandoned the treatise and left its linguistic mission unfinished.