Version Of Book Research Articles

Biopolitics and Inscriptions: Raúl Zurita's Poetry as a <i>communitas</i> of Pain

This article analyzes part of the poetic work of Raúl Zurita, expressed both in some of his poetry books and in his "inscriptions" or material inscriptions and in his corporal self-mutilations to determine the functions that his art fulfills in the face of neoliberal biopolitical practices (Foucault, Agamben, Calveiro) and as a bet for a communitas of pain (Diéguez). It explains the meaning and function of books such as Purgatorio (1982), Canto a su amor desaparecido (1985) and zurita/in memoriam (2007), or interventions such as her verse "ni pena ni miedo" in the Atacama Desert, her presence in memorials or her intervention "El mar del dolor"; all as differentiated forms of resistance from art, against strategies of power that tried to "let die" part of the society in the context of the military dictatorship in Chile (1973-1990) and also in other contexts of human rights violations.

교양교육에서 AI 창작품을 활용한 융복합 시 교육 실제

This study aims to explore and argue the significance of using AI and new me dia to promote new reading and creative expression among liberal arts education learners. After exposing liberal arts education learners to the AI poetry book “Why Write Poetry” and the AI poetry drama “Paphos,” this study was designed to create “video poems” using new media based on the above experiences. This is because it is assumed that through AI creations, liberal arts education learners will approach works using AI with interest, and furthermore, they will continue to ‘write’ their thoughts and imagination as an opportunity to explore ‘me’ by analyzing the mean ing and expression inherent in AI creations. More specifically, this study asked learners who read AI creations to create poetry texts based on their impressions and to write and revise video poetry plans using new media. We chose video poetry production using new media for the following reasons. The learners were exposed to A.I. poetry and poetry theater, and understood the im ages in poetic texts and stage performances. However, it is not possible to produce enough poetry texts and poetry plays for learners to gain educational efficacy im mediately based on the contents of the class. Therefore, this study introduced a new creative method that incorporates video. Since learners have had many opportuni ties to encounter video texts through social media and online, the teaching method of creating video poems using new media is a new writing method designed in line with the modern IT era that allows learners to take a break from traditional literary writing and gain a sense of accomplishment. To summarize the results of this class In this study, liberal arts education learn-ers were asked to write an essay through the production and presentation of video poems using A.I. creations, and analyzing their essays, many changes occurred, unlike before when they were not interested in poetry or poetry plays. Furthermore, the learners were able to share the video poems with their fellow learners’ inner concerns, and sincerely acquire interest and enjoyment in the medium and genre of literature. Ultimately, through the above liberal arts education, learners were able to break away from their self-centered perspective, understand the feelings of others, and develop a mutual respectful attitude through other people’s writings and videos. The educational process designed in this study is a method designed to empa thize and communicate with each other’s inner ‘subjectr’ and ‘valuesr’ despite the fact that the learners are from various majors. In particular, what is expected from this study is that it can help the development of liberal arts education by realizing creative, fusion and convergent educational theories and analyses in response to the future society that has already arrived, and realizing them in university education classes.

Influence of Using Online Oxford Dictionary Toward Pronunciation and Vocabulary Mastery

In order to clearly express the ideas, students need to master pronunciation and have vast vocabulary. Media and strategy are essential matter to achieve well-acquired vocabulary and good pronunciation. Online dictionary such as Oxford Advanced Learners’ Dictionary (later abbreviated as OALD) is one of the media to aid students in improving pronunciation and vocabulary. Students used to utilize the book version of OALD, yet, nowadays they prefer to use the online form through internet networking. Thus, this research aims to determine the influence of using online Oxford Dictionary on students’ pronunciation and vocabulary at the fourth students of English Department of State Islamic Institute of Kediri (IAIN Kediri). 30 students of English Education study program were chosen as the subject of this qualitative study. This research used questionnaire and interview to collect the data related to an alternative reference in technology for learning vocabulary and pronunciation especially online Oxford Dictionary. The results of the questionnaire were processed descriptively. The research results showed that the online Oxford Dictionary influence students’ pronunciation and vocabulary enrichment. It is recommended to solve the problem of pronunciation and vocabulary mastery.

Exploring Objective Interpretation: The Poetry of Mala Abdul Karim Mudarris in Nami's Tafsir

In this scholarly exploration, we delve into the distinguished Kurdish scholar Mala Abdulkarim Mudarris, known as "Nami," and his unique contribution to Kurdish literature. Despite his significant poetic accomplishments, Nami never compiled a dedicated collection of his works, making his extensive contributions particularly noteworthy. As the first Kurdish scholar to author a poetry book titled 'Bade w Arwzi Al Zaman,' Nami holds a prominent place in literary history. His multifaceted prowess as a writer and poet is evident in his dedication to both his sacred faith and the nuanced interpretation of the Quran. This discourse unfolds in two chapters, first introducing Mudarris and Nami's exegesis, and then exploring the intricate interplay of poetry within Nami's commentary. Through this endeavor, the study enriches Kurdish literature, enhances Quranic understanding, and establishes a profound link between Islamic faith and the cultural tapestry of Kurdistan.

Prophetic Literary Ethics in the Book of Poetry When Grass Meets God by Ahmadun Yosi Herfanda

Ahmadun Yosi Herfanda is a widely recognized Sufistic-religious poet, known for his poetry book When Grass Meets God. The book is divided into two parts: The First Kiss for God and the influential Prayer of Grass. This compilation showcases the significance of prophetic literary ethics in Herfanda's creations. This study aims to uncover the prophetic literary ethics within When Grass Meets God, employing a semiotic approach guided by Paul Recoeur's hermeneutics. The research primarily relies on the poems within the book as data sources. To identify instances of prophetic literary ethics, the study analyzes words, phrases, and sentences that exemplify these principles. The analytical method employed is hermeneutic reading. The book reveals three distinct forms of prophetic literary ethics. Firstly, the poems embody an epistemology of transcendental structuralism, presenting the ethical principles of prophetic literature. Secondly, poems serve as a means of worship, embodying the ethical principles of prophetic literature. Lastly, they establish inter-conscious relationships, further reflecting these ethical principles.

Seeking Reconciliation through Historical Truth: Frank X Walker’s Turn Me Loose: The Unghosting of Medgar Evers

Abstract: In this article, I explore how Frank X Walker’s Turn Me Loose: The Unghosting of Medgar Evers (2013), his thirteenth book and fourth collection of historical poetry, reckons with the past. By conducting extensive archival research, tapping into collective memory, and imagining how real people from history—especially the widow and the assassin of Medgar Evers—might have felt, Walker helps his readers and country begin to heal. Walker’s creative process includes rigorously asking what if Byron De La Beckwith, the white supremacist who murdered Medgar Evers, had found a way through life without hate? And through the perspective of Myrlie Evers, Medgar’s widow, Walker wonders what if she could embrace forgiveness? By uncovering Medgar Evers, whose life has often been overlooked, Walker restores this heroic man to the spotlight, thus contributing to his explicit goal of racial reconciliation.

UNITY OF MIDDLE-AGE ARAB FRAME STORIES "KALILAH AND DIMNAH", "THE BOOK OF SINDIBAD"

The present article studies frame story organization principles into a thematic and idea unity on the example of middle-age Arabic versions of Ancient Indian books. Such an examination is based on the importance of study of “Kalilah and Dimnah” and “The Book of Sindibad” for the description of how frame collections were initially formed and for the analysis of frame construction. Both of the books adapt thematical contents, structure and tale order, which are very close to their Indian original sources, to national peculiarities and the goals provided by the authors. “Kalilah and Dimnah” is characterized by the absence of polytheistic beliefs, presence of secular didacticism and humoristic functioning of animal characters. The creator of “The Book of Sindibad” asserts his authorship, thus aiming at perpetuating not only the wisdom source, but also his own name. A distinctive feature of the Arab books is the formation of a clearly distinguished author`s frame that includes the foreword (as in “Kalilah and Dimnah” and “The Book of Sindibad”) and the afterword (as in “The Book of Sindibad”). These structural elements serve for the purpose of quite an effective means to directly orient the reader to the book`s message. Narration becomes more consecutive and connected while simplifying the mechanism to change from one tale to another, while simplifying the multilayer tale structure with the help of making the third- or forth-layer tales into separate chapters and making them reflect the general frame message. Genre unity is acquired through applying a single parable basis to all of the stories.

Verb Conjugation Suffixes in Esad Naib’s “Zamanin Eli” Poetry Book

Verb Conjugation Suffixes in Esad Naib’s “Zamanin Eli” Poetry Book

Verb Conjugation Suffixes in Esad Naib’s “Zamanin Eli” Poetry Book

Verb Conjugation Suffixes in Esad Naib’s “Zamanin Eli” Poetry Book

Pamiątki po Wisławie Szymborskiej w zbiorach Biblioteki Naukowej PAU i PAN w Krakowie

Keepsakes of Wisława Szymborska in the Scientific Library of the PAAS and the PAS in Cracow collection As the year 2023 was announced the Year of Wisława Szymborska due to the 100th anniversary of her birth, it is a great opportunity to present the Scientific Library of the PAAS and the PAS in Krakow. They have been gathered in the period from 1953 to 2011 and were not collected in a planned manner: they come from separate donations, legacies or purchases. These are poetry books published during Szymborska’s life (7), Italian issues in Pietro Marchesani’s translation with original collages or watercolours by Alina Kalczyńska, donated by her or a painter Leszek Dutka (5). The manuscripts collection contains 5 letters of the Poet to Witold Zechenter from the period 1970 1976 and her dedications in the books she gave to him in the period from 1953 to 1976 (9); these and numerous other dedications were cut out by Zechenter from books and kept as loose cards. Two dedications have been decorated with cutouts. Also the bookplates collection of the Library Printing Room contains 7 bookplates produced for Wisława Szymborska by respected Polish artists: Zbigniew Osenkowski, Roman Mucha, Czesław Woś, Helena Sawicka and Leszek Frey-Witkowski as well as two etching matrices of Stanisław Dawski’s works. Despite varying provenance and incompleteness, the keepsakes of Wisława Szymborska constitute an interesting collection for researchers and enthusiasts of her work. keepsakes of Wisława Szymborska constitute an interesting collection for researchers and enthusiasts of her work.

Imaginaries from the poetry book Cipango by Thomas Harris. Wastelands, repression, and violence on Orompello Street in Concepción

This study seeks to present the imaginaries of Orompello Street in Concepción, Chile, described in the poetry book Cipango (1992) by Thomas Harris. To do this, a qualitative interpretive analysis of the collection of poems was carried out through reading cards. It was compared with the historical events that occurred in the place and a semi-structured interview with the author to delve into certain meanings present in the text. The results showed that the urban space and the living present in the story make up a heterotopia transformed into dystopia, located in a timeless context, the product of primordial violence that dates back to the time of the discovery of America and that is reproduced not only by the dictatorship of Pinochet but also by the State in democracy. The inhabitants of this place are immersed in a marginal atmosphere of repression and devastation, transforming the place into a wasteland. These characteristics and events make Orompello Street an uninhabitable place but full of meaning.

In Conversation with Olivier Marboeuf

Olivier Marboeuf is a writer, performer, independent curator and film producer of Caribbean origin. He founded the independent art centre Espace Khiasma, which he ran from 2004 to 2018, in Les Lilas on the outskirts of Paris. At Khiasma, he developed a program addressing minority representation through exhibitions, screenings, debates, performances and collaborative projects across the North-East of Paris. He is an educator and has taught visual arts in several European Fine Art schools. He is a member of the cinema and performance collective ‘The Living and The Dead Ensemble’ and recently presented, as an artist, the first part of his sonic collective project ‘The Museum of Breath’ in the context of the Berlin Biennale 12. He currently produces films within Spectre Productions, a production company he founded in 2013 in Rennes (France). In 2022, Marboeuf published the collection of essays, “Suites décoloniales: s’enfuir de la plantation” (Decolonial Suites: Fleeing from the Plantation) as well as the poetry book “Les matières de la nuit” (Matters of the Night) (both published by Éditions du commun, Rennes, France). In 2023, two new books will be published: L’emeutier et la sorcière’ (The Rioter and the Witch) in French and Vers un cinéma déparlant (une hypothèse caraïbe) (Towards a De-speaking Cinema: A Caribbean Hypothesis) in French, English, German and Spanish. Many of his texts are available to read on his blog, Toujours Debout.

Al-Fārābī’s Poetics Reconsidered

The primary goal of this paper is to read al-Fārābī’s Kitāb al-shiʿr [Book of poetry] between the lines. Though it touches upon his other treatises on poetry and poetics, i.e., Risāla fī qawānīn ṣināʿat al-shuʿarāʾ [Essay on the rules of the art of the poets] and Qawl al-Fārābī fī al-tanāsub wa-l-taʾlīf [al-Fārābī’s saying on harmony and composition), it does so only in passing. Emphasizing the primacy of mimesis (muḥākat) in al-Fārābī’s discussion of poetics, this paper demonstrates how poeticity (shiʿriyya), according to al-Fārābī, goes beyond being a mere “textual” or “oral” quality to even encompass various human actions and activities. In doing so, it also underscores how al-Fārābī’s definition(s) of mimesis is not reducible to comparison, simile, metaphoror even the extended metaphor.

Visions and Revisions: The Multiple Lives of Mina Loy’s Lunar Baedeker

The editors of Mina Loy’s four collections of poems—Lunar Baedecker (1923), Lunar Baedeker and Time-Tables (1958), The Last Lunar Baedeker (1982), and The Lost Lunar Baedeker (1996)—all opted for a range of titles based on the same lunar imagery. However, the teleological and linear perspective on Loy’s Lunar Baedeker, leading from the original volume of Lunar Baedecker to the variation of Lunar Baedeker and Time-Tables, then to a final “last” version and finally to an ultimate “lost” version, should be reconsidered. While each collection offers a valuable insight into Loy’s work, none amounts to a stable, definitive text. Rather, they should be regarded as different versions of Loy’s poetic vision. Multiple layers of text are thus displayed, characterized by constant alteration and instability. This article argues that the notions of vision and reframing can be metaphorically applied to the multiple versions of Loy’s Lunar Baedeker, first through her own constant revisions and rewritings of her work, and then through the editorial process and critical approaches that reframed her poems and their reception over the years. I suggest that, despite various editorial attempts at containing and fixing her poems within the scope of a final collection, her poetry books are elusive and constantly evolving. The analysis of the multiple forms of Loy’s Lunar Baedeker, from her manuscripts in the archives of the Mina Loy Papers to her printed collections, and to recent digital versions of her poems, allows for a fruitful reframing of her work.

Using visual storytelling to share aggregate findings with families participating in clinical genomics research

PurposeSharing aggregate results with research participants is a widely agreed-upon ethical obligation; yet, there is little research on communicating study results to diverse populations enrolled in genomics research. This article describes the cocreation of a visual narrative to explain research findings to families enrolled in a clinical genomics research study. MethodsThe design process involved researchers, clinicians, study participants, a physician illustrator, and a health communications expert. Drawing on themes identified in interviews with participating families, the team developed a story and comic about a fictional family participating in genomic research in the hopes of finding an explanation for their child’s condition. ResultsDesign adjustments to improve the clarity and relatability of the story and accompanying images were prompted by feedback from study participants, who showed a high degree of interest in and support for the project. Spanish and English versions of the final comic book were distributed to study participants, and the feedback received was positive. ConclusionOur project highlights the feasibility of using visual storytelling to convey genomic research findings to socioeconomically diverse participants. A participatory design process enhances the relevance and relatability of results sharing materials and demonstrates respect for those who contribute to clinical genomics research.

Joy and Sorrow; Sorrow and Joy

This book, my second published book is dedicated to my son, Frank Daly who died an untimely death in November of 2021 and the first two poems are about him. This is a book of poetry written over about 59 years of my life and also it includes popular sayings, many from a very wise Salvadoran grandmother who lived in the mining town of El Mochito in Honduras for many years. The poems are written about family, philosophical topics, and with musings principally about mining and surveying, mineral exploration and Latin America and it was published in January of 2024 and is about 16,000 words long. This book was published by Friesen Press as it was my first book From the Erzgebirge to Potosi about the history of geology and mining in the last 500 years and also the close connection between mining, geology and society especially of the Renaissance and the Industrial Revolution.

Interseksionele feminisme in Afrikaanse poësie: Lynthia Julius se Uit die kroes

In the current transnational discourse on fourth-wave feminism, "intersectional feminism" is a fundamental concept. The representation of marginalised voices of especially Black women from underrepresented contexts, such as the Global South, is emphasised in an attempt to decolonise the formal domains of literature, academia and the media. Historically, there is a gap in the representation of diverse Black female voices in South African literatures. However, there has recently been an increase in the publication of the literary texts by previously marginalised voices, especially in Afrikaans poetry. Diverse perspectives are shared regarding the complexities of the intersection of identity categories including race, gender, culture, identity, class, language and socioeconomic status in South African society, and how it affects the previously marginalised. A voice that represents intersectional feminist issues in the South African and Afrikaans contexts can be found in Lynthia Julius's debut poetry book, Uit die kroes (From the kroes, 2020). In this article, the significance of Julius's unique, intersectional feminist viewpoint, with stories and perspectives from the Northern Cape, is investigated. The focus is specifically on how Julius represents a 'triple marginalised' voice in the South African and Afrikaans contexts with regard to her gender, race and language. Furthermore, I will discuss how the uniqueness of her collection of poems and Northern Cape Afrikaans, that have rarely been provided with a platform in the Afrikaans literary canon, contribute to giving a voice to the historic 'voiceless'. The importance of Julius's voice and how it highlights the heterogeneity of previously marginalised groups in South Africa, are also explored. In conclusion it is argued that the publication of poets with diverse intersectional feminist perspectives, such as Julius, can be deemed a positive step in the direction of the decolonising process of the Afrikaans literature and feminism.

“Bound by a Shared Affect”

Abstract In this article, the author presents a theoretically oriented framework for teaching poetry that accounts for the role of affect. The author calls this framework reading for affective uncertainty, meaning an approach to affect and meaning that recognizes affects associated with the reading event as integral parts of the reading without expecting meaning to be inherent to texts and simply in need of interpretation, which is often a focus in teaching. Central to this framework are the notion of a poem as an object and Sara Ahmed's argument in The Cultural Politics of Emotion (2004), that objects do not cause emotions, but emotions are produced in circulation with objects. As concrete examples, the author discusses Evelyn Reilly's Echolocation (2018) and Wendy Trevino's Cruel Fiction (2018), two recent poetry books that consider relations between the human and the nonhuman and the notions of race and borders, respectively. These works generate uncertainty as to how to relate to others and thus serve as examples of the way in which reading for affective uncertainty works in acknowledging that poems can be viewed as ordinary objects that participate in generating emotion.

R. Tagore’s lyrics in composers’ interpretations: an attempt at comparative analysis

Statement of the problem. After receiving the Nobel Prize in 1912 Rabindranath Tagore faced enormous popularity among Western composers. Their attention was mainly drawn to his two collections of poems – “Gitanjali” and “The Gardener”, which were translations from Bengali made by Tagore himself and published in 1912 and 1913 respectively. Interestingly, these poetry books were soon translated into a number of European languages, among which – French, Spanish, German and Italian. These translations were used by hundreds of composers who represented different national schools. In some cases, a number of different composers chose the same poem, which gives us an opportunity to compare their ways to interpret Tagore’s text. This make it possible to better understand both, the individual vectors of composer creativity, and the possible common or different tendencies in the interpretation of the poetic primary source. In this paper, we analyse and compare three songs, written by Franco Alfano, Karol Szymanowski and Alexander von Zemlinsky to the text of the poem № 7 “Mother, the young prince…” from Tagore’s “The Gardener”. Objectives, methods, and novelty of the research. The purpose of the article is to determine the peculiarities of musical interpretations of R. Tagore’s poem by named authors focusing on the compositional, intonation and figurative-emotional aspects, for which the methods of comparative, semantic, genre and stylistic, structural and compositional analysis are involved. Attempts to make such a comparison have not been made previously. Results and conclusion. The first song from “Three Poems by Tagore” (“Tre poemi di Tagore”) by F. Alfano, the second and third numbers of “Four Songs” op. 41 by K. Szymanowski and the second part of the “Lyric Symphony” op. 18 by A. Zemlinsky were compared. It was found that all compositions show bright stylistic differences (late romantic, impressionistic, expressionistic musical complexes), along with conceptual ones, taking into account genre conditions (chamber-vocal and vocal-symphonic models). There are certain common features between the tempo solutions by F. Alfano and A. Zemlinsky, however, these solutions are aimed at different interpretations of the poetical text. The two-stage dramaturgical development laid down in R. Tagore’s text is shown most clearly in K. Szymanowski’s cycle, where the plot of the poem is embodied in two songs instead of one, with obvious tempo contrast between them. While in the impressionistic song by F. Alfano, the image of a young girl captivated by her own feelings in a state of awe-inspiring anticipation appears before us, K. Szymanowski’s music written in line with expressionist tendencies, emphasizes mournful and tragic moods and sounds almost “otherworldly”. In A. Zemlinsky’s late romantic genre concept, R. Tagore’s poem becomes the basis of a vocal-symphonic scherzo with a tragic and philosophical undertone. Taking into account these differences, we will also note an interesting common typological tendency, which is visible in a kind of “portrait of a girl with a necklace”: a departure from the usual romantic musical oriental complex, despite the “exoticism” of R. Tagore’s works.

Pisanie szeptem? O najnowszej polskiej poezji lesbijskiej

This article is an attempt to reconstruct the history of Polish lesbian poetry since the 1990s. The author analyzes the work of poets who introduced themes of female non-heteronormativity into Polish poetry at the turn of the millennium. The poems of Ewa Sonnenberg, Inga Iwasiów and Izabela Filipiak (Morska), being examples of different ways of writing about the lesbian experience, became a contribution to the reflection on queer representation in culture and literature in recent years. In the context of the interdisciplinarity of lesbian poetry, the article tries to outline its presence in independent literary life, citing examples of films, zines and slam poetry. It also points out recent books of poetry and female authors who have become representatives of recent Polish lesbian poetry. Keywords: poetry, Polish poetry, contemporary Polish poetry, lesbian poetry, queer literature, queer, non-heteronormativity, feminism, female non-heteronormativity