Selection Of Poems Research Articles

The black sun that lights the underworld. On I. Ermakova’s The Copper Mirror [Mednoe zerkalo

The article offers a detailed review of The Copper Mirror [Mednoe zerkalo], a collection of selected works from several decades by the contemporary poet I. Ermakova. Following the book’s structure that draws on the titles of Ermakova’s earlier collections (The Provinces [Provintsiya], The Vineyard [Vinogradnik], and A Lullaby for Odysseus [Kolybelnaya dlya Odisseya]), the critic traces a plot that guides the reader on a journey from the post-Soviet Russian provinces of the 1990s into the present day. Although the most up-to-date poems in the book date from 2020 (including the opening verse ‘I started a bonfire, fed the flame…’ [‘Ya razvyol kostyor, nakormil plamya…’], which seems to hold the key to the book’s meaning and objective), the meticulous selection of poems and their arrangement reveal a book that is undeniably modern in its response to the latest topics and challenges. In addition to the commentary on the book’s inner theme and Ermakova’s ‘manifesto’ poems, the review considers the critical reception of her works and cites the best articles about the poet, including the preface to The Copper Mirror by the critics and philologists A. Skvortsov and A. Salomatin.

‘Women Bleed in Private’ / Miscarriage Goes Public: A Relational Response to Social Silence over Miscarriage in Sarah Ruhl’s Writings

This article discusses Sarah Ruhl’s miscarriage experience in her autobiographical work Smile (2022) and in a selection of poems from 44 Poems for You (2020). The discussion considers Ruhl’s account as quest narratives in which she voices what she considers a tragic event in her life to underline the need to overcome the usual social silence that reigns over miscarriage. Ruhl’s prose and lyrical approaches to her miscarriage are both physical and emotional, but also social, cultural and political. Her accounts help to destigmatize this loss and to hold control over her own experience in ways that transcend the social constructions of how to experience miscarriage. As argued, Ruhl’s approach is that of a communicative dyadic body that informs us on the signals of miscarriage, of her personal experience, and what she did to get pregnant again and reconcile with this loss. Beyond the medical usefulness of her work, through her writings, Ruhl invites readers to question the social and cultural assumptions surrounding miscarriage. And in doing so, she helps women who have experienced miscarriage to regain confidence in their own bodies and the strength to revisit and fight against the common conception and representation of miscarriage as merely a physical and emotional wasteland.

Writing war: Owen, Spender, poetic forms and concerns for a world in turmoil

There is a significant shift in the literary treatment of war between the trench poets and the subsequent generation of British poets, an understandable one given their very different experience and investment in the war itself. This paper discusses a selection of poems from Wilfred Owen’s (1893–1918) and from Stephen Spender’s (1909–1995) oeuvres as products of their different historical moments in order to reflect upon crucial transformations in poetic forms—especially the elegy—and concerns in the interwar period, a time open to the violent and chaotic experiences that a turbulent history was producing.

Amazwi Amasha: New Approaches to Sustainable Poetry Teaching and Learning

At many South African schools poetry is considered to be a “problem genre”, with both teachers and learners viewing it as “difficult” and as a genre that lowers schools’ pass rates in the National Senior Certificate (NSC) (Matric) examination. For this reason, schools tend to shy away from prescribing poetry at the Further Education and Training (FET) level (that is, in Grades 10-12). This article argues that the poems that are prescribed for English First Additional Language (EFAL) classes are difficult for learners to relate to because of having been written in contexts that are temporally and geographically distant from the learners’ life-worlds. In addition, many learners may not understand the particular variety of English that is used in canonical poetry. A new teaching anthology, entitled Amazwi Amasha (New Voices), containing South African post-1994 poetry, is in the process of being compiled to address the problem of learners’ alienation from their prescribed poems. This anthology forms the topic of this article. The theory and methodology underpinning the selection of poems and the design of learning activities to accompany each poem are described, along with the selection of themes that are relevant to young South Africans. The argument concludes that a more multimodal, interactive approach to teaching and learning poetry can help tap into the resources of this capacious and fascinating genre.

Analysis Figuratife Language Used In Dylan Thomas’s Selected Poems

This research was created to determine figurative language according to theory (Keraf, 2007) in several selected poems by Dylan Thomas. This research includes qualitative research with an object approach through qualitative methods to analyze 3 poems by Dyland Thomas namely, Do Not Go Gantle Into That Good Night, Love in The Asylum, and Clown in The Moon. The techniques used in data analysis are reading, finding, understanding, identifying and making conclusions from each poem by Dyland Thomas which is analyzed. The results of this research show that figurative language in this selected poem is eleven repetitions, four symbols, four similes, two hyperboles, one personification, and one oxymoron. So, it can be concluded that this selection of poems by Dyland Thomas is dominated by Repetition.

La traducció de la poesia catalana a la Xina: dues antologies publicades

The translation of Catalan poetry into Chinese began during the1990s, after the event known as Reform and Opening Up. Until 2023, two anthologies of Catalan poetry had been published in China: Antologia de la poesia catalana contemporània (1991), translated by Wang Yangle, and Semàntica i nutrició (2018), a work by Gemma Gorga translated by Jesús Sayols. This article focuses on the two versions and analyzes a series of issues related to them: the origins and causes of their publication, their aims and their characteristics in the selection of poems. It has been discovered that the translation activities of Catalan poetry into Chinese have been influenced by multiple factors, related both to literary systems and to sociohistorical and sociocultural circumstances.

“A so-and-so master…”. The presence of Norwid in late lyrics by Tadeusz Różewicz

At the beginning of the 1990s,Tadeusz Różewicz prepared his own selection of poems by Norwid. Although this personal anthology was never published, a trace of it lingers in the form of the essay “To, co zostało z nienapisanej książki o Norwidzie” [What remains of the book on Norwid I never wrote], and more deeply – in the shape of numerous references to Norwid’s poetry and biography in Różewicz’s lyricism from the last quarter of his literary career. This article attempts to reconstruct Różewicz’s dialogue with his nineteenth-century precursor, which he initiatedlate in his life. Analysis incorporates several aspects of Harold Bloom’s theory of literary influence,indicating shared elements and polemical issues. Interpretations revolve primarily around works from those poetry books by Różewicz that contain particularly clear references to Norwid: Płaskorzeźba, Szara strefa, Nożyk profesora, Zawsze fragment. Recykling, and Wyjście. Conclusions drawn from a number of detailed, comparatist readings make it possible to establish thematic similarities (e.g. existential lack and incompleteness affecting both the lyrical subject and the poems’ protagonists, a predilection for developing figures who are misunderstood, inconspicuous, and hollowed out, etc.) andformal preferences (e.g. the use of ellipsis,terse and precise imagery, and consideration for the poem’s visual dimension). However, Różewicz also identifies in Norwid’s poetry certain things that repel him, e.g. lofty poetics, self-restraint with regard to sensuality, and the tendency to obscure the literal character of evil with symbolic images.

An Ecocritical Study of Gary Snyder’s Translation of Han Shan Poetry

Gary Snyder, a contemporary American ecological poet, is deeply influenced by East-West ecological wisdom, forming his own unique ecological philosophy. Gary Snyder’s ecological philosophy influences his selection of poems to translate and translation methods in his English translation of Han Shan poetry. In turn, Gary Snyder’s translation also promotes the formation of his ecological philosophy to a certain extent. Faced with the increasingly serious ecological crisis, this study attempts to examine Gary Snyder’s translation of Han Shan poetry from the ecocritical perspective, exploring its ecological connotations and values from three aspects: translation selection, translation methods, and translation impact. The ecocritical study in this article aims to insert an ecological dimension to the study on English translation of poetry, and give advice to the strategy “Chinese Culture Going Global”, especially “Chinese Ecological Culture Going Global”.

Covid Looming between Poetic Lines, behind Ambulance Windows and in the Margins of Screens

This article analyses a selection of poems written during the 2020 pandemic and which all look at the Covid from a distance: the virus is represented (and circulated) by passing ambulances whose swiftness and opaque windows block all visual access to the suffering patient that lies inside. In these poems, the ambulance is therefore much more than a mere emergency vehicle: it tends to become a “vehicle” in the metaphorization of vulnerable existence as an urgent race. In other poems, the virus is evoked, glimpsed at, on a TV or phone screen, within the limits of the transiently shiny rectangles. In both situations, the presence of the virus is hence merely evoked or only metonymically suggested, and yet it is blaring, for it is everywhere in everyone’s mind. A selection of poems by various poets – Simon Armitage, Deborah Harvey, Keith Hutson, Greg Rappleye, Jacqueline Saphra, Alan Shapiro and David Tait – hence reveals how spectators of passing ambulances or of news feeds turn out to be at once drawn and deterred, their eyes both allured and frustrated. Standing safely at a politically imposed distance, these unusual spectators of unusual performances, imagine, fear, hope or despair, in any case somehow empathise.Poets here studied have managed to spectacularize an impossible spectacle—to embrace the imposed distance and seize the ambiguous tensions there at stake.

‘No more myself but a colander’: Dimensions of death and vitality in Alice Oswald’s Falling Awake

Winner of multiple prestigious awards, contemporary English poet Alice Oswald is considered one of the leading voices in modern poetry. In her seventh poetry collection, Falling Awake, Oswald has crafted a poetic image of death that diverges from the traditional conceptions of death as morbid and a source of anxiety. This article examines Oswald’s depiction of death in Falling Awake within the framework of German-American philosophy academic Peter Koestenbaum’s theory of the two dimensions of death. In her exploration of the physical and metaphysical dimensions of death, the ‘death of another’ and the ‘death of myself’, Oswald actively investigates their roles as agents of erosion and their relationship with life and vitality. This essay analyses a selection of poems from Falling Awake in accordance with Koestenbaum’s dimensions of death, arguing that in her illustration of death, Oswald conceptualises it as a reminder to sustain life and vitality, and as a process in the cycle of life that fosters the disintegration and diversification of the individual, thereby enabling the emergence of new life forms and the enhancement of the vitality of the macrocosm.

Inhabiting the Hyphen: (Re)Negotiating Arab-American Identity in Poems by Lisa Suhair Majaj, Laila Halaby and Suheir Hammad

Like the many “ethnic” literatures in the United States, Arab-American literature is often caught up in attempts to define the “migrant subjectivities” of its authors. Focusing on a selection of poems by Arab-American women writers, this article looks into how such writers negotiate their hyphenated being, and how they view identity not as a fixed category, but rather as an interplay between its performance and its perception. This essay analyses how these writers express their own sense of being in order to highlight, destabilize, and/or reconcile the often “assumed” paradox inherent within their double identity, especially after the rise of anti-Arab sentiment following the events of 9/11. This article, thus, focuses on a reading of a selection of poems by Lisa Suhair Majaj, Laila Halaby, and Suheir Hammad in search of the poetics of subjectivity their work performs.

Mimetic-Pragmatic Analysis of U.B. Aparece’s Three Select Poems

The realm of literary studies extends far beyond mere academic exploration; it serves as a multifaceted conduit that not only instructs and entertains but also provides a platform for individuals to express their thoughts and emotions through critical analysis. In this qualitative study, we delve into the intricate world of mimetic and pragmatic transactions within a selection of poems authored by Ulysses B. Aparece, specifically "Calling," "Hermit," and "Ritual."These poetic creations shed light on the inherent mimetic textualities found within persona-vision-addressee imaginary transactions and reader-response dynamics. This exploration reveals the immediate and profound interaction occurring between the text and the reader, enriching the understanding of the intricate dance between mimesis and pragmatics within our lived realities. The findings of this study are not only captivating but also offer profound insights. In "Calling," the symbolic use of water represents the rejuvenating power of nature, while "Hermit" artfully weaves the persona's narrative back to their ancestral origins through familiar landscapes. "Ritual" uncovers forgotten wisdom and practices within alternative medicine. On a pragmatic level, the poems demonstrate how skepticism can be effectively countered by the genuineness of "Calling," how a steadfast comprehension of one's roots can pave the way for success, as illustrated in "Hermit," and how doubts and uncertainties can dissipate in the light of newfound understanding, as exemplified by "Ritual."The significance of this study lies in its contribution to the understanding of how literature, through these poems, enriches our comprehension of the world and ourselves. It invites both readers and scholars to explore the rich tapestry of literary texts and to embrace the transformative power they wield in enhancing our knowledge and insight.

The ‘Making’ of Chinese Zen Poetry: Sam Hamill's The Poetry of Zen

The appreciation of Zen Buddhism in the mid-twentieth century led to a new exploration and tradition of Zen poetry translation. Many translators influenced by the American ‘Zen Boom’ were drawn to Chinese Zen poems during this time. However, translating Zen poetry is a complex art, and often shaped by the translator's personal experiences and qualities. Diverse perspectives exist on what constitutes Zen poetry, and selections for Zen anthologies hinge on the editor's perception. This paper centres on Sam Hamill's work in The Poetry of Zen, 2004, examining his selection and interpretation of classical Chinese Zen poems. It highlights the intricate relationship between translated texts, their cultural and historical contexts, and the translator, while elucidating how the Zen interpretation of classical Chinese poetry contributed to the establishment of the tradition of Zen poetry translation.

Physically Exiled, Spiritually Returning: A Comparative Reading of Beckett’s Murphy and a Selection of Poems by Darwish

This article explores a selection of Mahmoud Darwish’s poetry and Samuel Beckett’s Murphy (1938) as postcolonial texts which are rich with postcolonial undertones. Beckett and Darwish articulate a counter-discursive rhetoric that undermines any hierarchically installed oppressive structures. Although political classifications and restrictions limit many neutral inquiries of such texts and hinder objective scholarship on Irish and Palestinian literature, many academic studies on Irish and Palestinian forms of literature have emerged. Counteracting hubristic structures, this paper tackles works from Ireland and Palestine as predominantly imbued with postcolonial implications. The research brings these authors from far-flung parts of the world to address postcolonial manifestations in Ireland and Palestine. Despite their convergences and divergences, texts from both perspectives must be used to critique structures and forces of colonialism in order to further contextualize them within the postcolonial realm. Reading Beckett alongside Darwish helped to solidify the idea that colonialism employs the same discourse regardless of place or time. It also demonstrates that oppressed people tend to employ comparable dissent mechanisms. Much like the speakers of Darwish’s Unfortunately, It Was Paradise, Leaves of Olives, “Mural,” and “My Mother” are always caught up in subordinate power relations, the eponymous protagonist of Murphy is degraded as an inferior other; one who is disenfranchised and excluded both inside and outside Ireland. Both authors refute stereotypes and stigmatization and offer a dissenting paradigm blurring power-based divisions to the status quo that renders the Palestinians and Irish as inferior to others.

Grasping extinction: the natural history museum as haptic space in the work of Clarke, Robinson and Jamie

ABSTRACT This article examines depictions of natural history museums in a selection of poems and essays drawn from Gillian Clarke’s Zoology (2017), Jane Robinson’s Journey to the Sleeping Whale (2018) and Kathleen Jamie’s Sightlines (2012). These texts present the museum as a place in which we confront extinction through conflicting emotions: a space of care and protection, built on acts of violence. My analysis explores how physical prehension, real or imagined, contributes to mental prehension, and thus helps us to grasp the sixth mass extinction. I examine how metonymical relations connect museums to damaged environments, including zones, like the ocean, that are perceived as sacrifice zones in the making. I contrast Clarke’s sequence of poems ‘Behind Glass’, where ekphrasis connects the beauty of endangered specimens with protected landscapes, to Robinson’s ‘Memories of Flight at the Life Museum’ and Jamie’s ‘Voyager, Chief’ and ‘The Hvalsalen’, which emphasise the collection’s dependence on the depletion of lands and oceans. This leads me to outline two textual approaches to the natural history museum: the first reads the specimen as a synecdoche for endangered, yet protected environments, while the second connects the collection, metonymically and metaphorically, to anthropogenic extinction and sacrifice zones.

“He’d seen it in the words of Owen and Brooke”: The Influence of Great War Poetry on Post-Millennium Soldier Poets

To this day, the term “soldier poetry” is still predominantly associated in popu- lar perception with the 1914–1918 trench poets, such as Wilfred Owen, Siegfried Sassoon, or Isaac Rosenberg. And yet, the dawn of the new millennium, marked by the rise of the global War on Terror, saw a significant revival of the genre in Britain. One of the most noteworthy indicators of this is John Jeffcock’s anthology Heroes (2011), which has col- lected a hundred poems written by British soldiers who fought in recent conflicts – Iraq and Afghanistan in particular. While these poems are framed within the shifting military, socio-demographical, and political dimensions of war in our time, they simultaneously exhibit strong roots within the context of a specific literary tradition that originated in the First World War. This article sets out to analyse a selection of poems from Heroes, focus- ing on the way these poets construct a network of intertextual citations, borrowings, and allusions to connect their texts – quite deliberately – with the much acclaimed generation of poets form the Great War. The article argues that, by doing so, the poets facilitate the transposition of a set of broader myths and emotions that are typically associated with the Great War onto the new (con)text, thereby adding new literary, cultural, and social meanings to the texts.

Reflections

This selection of poems represents a dialogue with the creative works and life of L.M. Montgomery.

A Comparative Analysis of the Selected Romantic Poems of Ahmed Faraz and E. E. Cummings

The works of several romantic poets, writers, essayists, and novelists such as John Keats, John Donne, Jaun Elia, Parveen Shakir, etc. have contributed a treasure that has enhanced the literature of both America and South Asia. The purpose of this research was to identify the ways in which the romantic poetry by Ahmad Faraz and E.E. Cummings were similar to one another and the ways in which they differed from one another. For this analysis, just a select a few poems were chosen for the aim of conducting the comparative study. The textual study of the chosen poems demonstrated that both poets had a comparable vision of the romantic spirit and perception of ideal beauty, despite the fact that their modes of expression were different. The analysis of a selection of poems written by E.E. Cummings and Ahmad Faraz led to the deduction that, despite the fact that the perspectives from which the two poets express themselves were distinct from one another, their work as a whole centres on the romantic spirit and employs a wide variety of literary strategies in order to describe beautiful things. The research has due to the fact that it only looked at a small selection of poems, but the door is still open for additional research on this topic.

Singing from the Margins: Anne Brontë’s Surprising Poetic Afterlife

Anne Brontë was the only hymn-writer in her family, and her hymns have had a successful afterlife in multiple hymnals from 1858 to 1997. Her hymns have been used by a variety of religious denominations and sects, in numerous countries, among various groups of people, from children to university students to the sick and suffering. Although Charlotte Brontë’s selection of poems for the 1850 reissue of The Tenant of Wildfell Hall was responsible for the publication of five of Anne’s seven published hymns, it was Anne’s own sensitivity to hymnody as a means of exploring religious faith that ensured her successful afterlife as a hymn writer. 1 Various digital and Internet resources such as Google Books, www.hymnary.org, and YouTube have made it possible to discover more about Anne as a hymn-writer, including the fact that her hymn ‘Believe not those who say’ has appeared in over sixty hymnals. This article provides an overview of the afterlife of Anne Brontë’s hymns with the hope of prompting further investigation into this topic. 2

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

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