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Journal articles on the topic 'Politically engaged poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 4 February 2022

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1

Burford, James. "Sketching Possibilities: Poetry and Politically-engaged Academic Practice." Art/Research International: A Transdisciplinary Journal 3, no. 1 (2018): 229–46. http://dx.doi.org/10.18432/ari29261.

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In this article I draw together and reflect upon my own experiences of writing poetry as a part of a politically-engaged academic life. My aim is to trace the political possibilities I have found in poetic practices, with the hope that describing and reflecting on my own experiences may illuminate pathways for others to integrate poetry into their academic practice. As I will detail, I have published research poetry and have been a leader of workshops that encourage academics to incorporate poetic and other forms evocative writing into their researcher toolkits. Often participants in these wor

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2

D’Abdon, R. "RESISTANCE POETRY IN POST-APARTHEID SOUTH AFRICA: AN ANALYSIS OF THE POETIC WORKS AND CULTURAL ACTIVISM OF VANONI BILA." Southern African Journal for Folklore Studies 24, no. 1 (2016): 98–121. http://dx.doi.org/10.25159/1016-8427/1675.

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The article explores selected works of Vonani Bila, one of the most influential wordsmiths of post-apartheid South Africa. It outlines the difference between “protest poetry” and “resistance poetry”, and contextualises the contemporary expression(s) of the latter within today’s South Africa’s poetry scene. Focusing on Bila’s “politically engaged” poems and cultural activism, this article maintains that resistance poetry has re-invented itself in the post-94 cultural scenario, and still represents a valid tool in the hands of poets to creatively expose and criticize the enduring contradictions

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3

Fitzpatrick, Katie. "Gender, Body, Poetry." Ethnographic Edge 2, no. 1 (2018): 21. http://dx.doi.org/10.15663/tee.v2i1.36.

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I offer here three poems which engage a feminist approach to gender and the body. They emanate (tangentially) from my ethnographic work in schools and my own embodied experiences as a woman. While I write more conventional academic prose and conduct research in schools on gender and sexuality (Fitzpatrick 2018; Fitzpatrick and Enright 2017; Fitzpatrick and McGlashan in press, 2016; McGlashan and Fitzpatrick 2017, 2018), I offer a poetic exploration of these issues here in an attempt to engage with writing that is both cognitive and sensory (Sparkes and Smith 2014), while evoking emotion, cultu

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Satris, Marthine. "Codex Vitae: The Material Poetics of Randolph Healy's ‘Arbor Vitae’." Irish University Review 46, no. 1 (2016): 132–44. http://dx.doi.org/10.3366/iur.2016.0206.

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Randolph Healy's 1997 poem ‘Arbor Vitae’ connects formally experimental poetry with an Irish tradition of politically engaged literature. Eschewing questions of national boundaries or authenticity, Healy instead develops a poetics and ethics of intersection. His apparently depersonalized poem is composed of essayistic fragments that address the role of the deaf in Irish society. This essay argues that Healy's formal choices refuse the oral basis of the lyric, and instead align his poem with nonverbal forms of communication. This challenge to the authenticity of speech also questions the langua

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Inwood, Heather. "Multimedia Quake Poetry: Convergence Culture after the Sichuan Earthquake." China Quarterly 208 (December 2011): 932–50. http://dx.doi.org/10.1017/s030574101100107x.

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AbstractThis article examines a wave of Chinese poetry sparked by the 2008 Sichuan earthquake. “Quake Poetry” was published online before being re-circulated through digital, print and live media. Multimedia adaptations of one poem are examined to investigate the relationship between the authors of Quake Poetry, the different media platforms, and the people and institutions involved in its proliferation. Media convergence enabled Quake Poetry to fulfil several functions in the aftermath of the earthquake. Most prominently, it served as an emotional outlet for those affected by the quake, while

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6

Yakovenko, Iryna. "Women’s voices of protest: Sonia Sanchez and Nikki Giovanni’s poetry." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 13, no. 23 (2020): 130–39. http://dx.doi.org/10.34079/2226-3055-2020-13-23-130-139.

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The paper explores contemporary African American women’s protest poetry in the light of the liberation movements of the mid-20th century – Black Power, Black Arts Movement, Second Wave Feminism. The research focuses on political, social, cultural and aesthetic aspects of the Black women’s resistance poetry, its spirited dialogue with the feminist struggle, and undertakes its critical interpretation using the methodological tools of Cultural Studies. The poetics and style of protest poetry by Sonia Sanchez and Nikki Giovanni, whose literary works have received little scholarly attention literar

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Vasseur, Álvaro Armando. "Preface to the Sixth Edition of Walt Whitman: Poemas." PMLA/Publications of the Modern Language Association of America 123, no. 2 (2008): 438–51. http://dx.doi.org/10.1632/pmla.2008.123.2.438.

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Álvaro Armando Vasseur's 1912 selection and translation of Walt Whitman's poetry, titled simply Walt Whitman: Poemas, was an extremely influential text for hispanophone readers—the first substantial collection of Whitman poems in Spanish. Scholars have identified Vasseur's translation as instrumental in accelerating Latin American poetry's shedding of its modernista tendencies in favor of franker, often more explicitly socially and politically engaged verse. Republished frequently throughout the period of extraordinary historical and aesthetic change bounded by 1912 and 1951, Poemas played a c

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Grant, Beata. "Thirty Years of Dream-Wandering: Zhang Ruzhao (1900-1969) and the Making of a Buddhist Laywoman." Nan Nü 19, no. 1 (2017): 28–63. http://dx.doi.org/10.1163/15685268-00191p02.

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Zhang Ruzhao (1900-69), also known as Zhang Shenghui, was ordained as a Buddhist nun, with the title Tiantai Master Benkong. In early life, Zhang established a reputation as a poet, and was actively engaged in many of the political and feminist movements of the 1920s. Disillusioned both politically and personally, she turned to Buddhism and reinvented herself as China’s premier female lay Buddhist scholar, writer and educator during the 1930s and 40s. From 1949, she took ordination as a Buddhist nun and was officially designated a lineage holder in the Tiantai lineage. She was persecuted sever

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9

Jamieson, Daryl. "Field Recording and the Re-enchantment of the World: An Intercultural and Interdisciplinary Approach." Journal of Aesthetics and Art Criticism 79, no. 2 (2021): 213–26. http://dx.doi.org/10.1093/jaac/kpab001.

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Abstract Nonfictional field recording is a genre of music (sound art) which offers a glimpse of art beyond our late-capitalist age. The ongoing ecocide which we, in a state of abject detachment, are witnessing and abetting calls out for artists to reconnect and reengage with the nonhuman world that has been deemed valueless by our civilization. Countering the disenchantment of nature wrought by scientism, human-centrism, and above all capitalism necessitates a dissolving of the barriers we set up between ourselves and our environment, a task which can be only accomplished via religion or art:

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10

Melo, Luís Carlos Alves de. "A poesia intimista-militante guineense: elos entre a literatura e o engajamento político." Scriptorium 4, no. 2 (2019): 148. http://dx.doi.org/10.15448/2526-8848.2018.2.32320.

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O presente artigo tem como objetivo central promover uma reflexão sobre a poesia engajada produzida na Guiné-Bissau desde os movimentos de libertação nacional até os dias atuais, desaguando no que conhecemos como literatura intimista-militante, como meio hábil para se demonstrar os elos de aproximação entre literatura e política. A literatura guineense é, sem sombra de dúvidas, exemplo de como esses dois elementos são parte de um mesmo contexto e de como podemos estar diante de obras poéticas que se transfiguram em verdadeiros manifestos políticos, assim como discursos políticos que podem ser

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Faulkner, Sandra L. "Poetry is Politics." International Review of Qualitative Research 10, no. 1 (2017): 89–96. http://dx.doi.org/10.1525/irqr.2017.10.1.89.

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Through an autoethnographic poetry manifesto, the author makes the case for poetry as political, poetry as feminist practice, poetry as social research and autoethnography, poetry as the personal that becomes the universal, and poetry as visionary activism. The use of personal poetry engages the political power of poetry to present embodied, nuanced, and myriad scenes of marginalized and stigmatized identities.

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Reisner, Philipp. "Cold War and New Sacred Poetry." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (2020): 101–18. http://dx.doi.org/10.47060/jaaas.v1i1.83.

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Contrary to what one might expect, many poets who engage with the Cold War adopt not primarily a political but rather a religious voice. Indeed, poets such as Li-Young Lee, Suji Kwock Kim, and Kathleen Ossip examine the Cold War in light of theological questions. Their poems bear witness not to personal suffering inflicted by political and societal circumstances but instead to human resilience bolstered by faith in the face of traumatic experience. Their writings are not best captured by the frequently invoked "Poetry of Witness," understood as witness to injustice, but rather "new sacred poet

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Grądziel-Wójcik, Joanna. "„Wszystkie twoje, nasze, wasze dzienne sprawy […] to są sprawy polityczne”. O zaangażowaniu we współczesnej poezji kobiet na przykładzie wierszy pogrudniowych." Poznańskie Studia Slawistyczne, no. 17 (November 6, 2019): 59–73. http://dx.doi.org/10.14746/pss.2019.17.4.

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An important, though underestimated theme in Polish poetry written by women is the thread of poetry engaged in social and political matters, thematizing the connection between literature and civic life. Poetesses are often accused of not rooting their works in history and of unwillingness to bring up current topics. Yet the problem is not the lack of interest in history and its political and social dimension, but the distinct way of its conceptualization, the relationship between the individual – though not always revealing its sex – subjective “I” in relation to history and challenges of its

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14

Ben-Dror, Elad. "The Poetry a Reflection to Hamas’s Perceptions in Its Formative Years: 1987-1993." Journal for Interdisciplinary Middle Eastern Studies 7, no. 1 (2021): 5–34. http://dx.doi.org/10.26351/jimes/7-1/6.

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The article is a study of Hamas poetry during the period from the founding of the organization (1987) until the signing of the Oslo Accords (1993). Poetry is one of the media that Hamas employs to transmit political, social, and religious messages that fit with its worldview of Islam cum Palestinian nationalism. In its formative years, dozens of Hamas poets used this special channel to give voice to the organization’s fundamental ideas. The article looks at 11 poets who were affiliated with Hamas leadership circles and who were intensively engaged in writing poetry during those years. It descr

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15

Fitzpatrick, Esther, and Mohamed Alansari. "Creating a Warmth Against the Chill: Poetry for the Doctoral Body." Art/Research International: A Transdisciplinary Journal 3, no. 1 (2018): 208–28. http://dx.doi.org/10.18432/ari29368.

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Using a series of poetry conversations, the authors give voice to their experiences of the doctoral process to illuminate the emotional and affective-political experience, and engage with the neo-liberal powers of the doctoral journey. They write poems to remember the body, and bring justice to the many bodies that have experienced the chill inside the “ivory tower.”

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BAZIN, VICTORIA. "Marianne Moore, Kenneth Burke and the Poetics of Literary Labour." Journal of American Studies 35, no. 3 (2001): 433–52. http://dx.doi.org/10.1017/s0021875801006715.

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Writing to Morton Zabel in 1932, Marianne Moore praised Zabel’s review of Emily Dickinson for Poetry magazine but also took the opportunity to remind her addressee that ‘‘Emily Dickinson cared about events that mattered to the nation.’’ In his review, Zabel had repeatedly insisted upon Dickinson’s ‘‘fast seclusion’’ from her community, locked as she was within an ‘‘asylum of the spirit.’’ This emphasis upon ‘‘isolation’’ and ‘‘introspection’’ represented the woman poet as being oddly detached from the ‘‘real’’ and implicitly masculine world of political and social change, a critical strategy M

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17

Gvili, Gal. "Pan-Asian Poetics: Tagore and the Interpersonal in May Fourth New Poetry." Journal of Asian Studies 77, no. 1 (2018): 181–203. http://dx.doi.org/10.1017/s0021911817001309.

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Rabindranath Tagore's visit to China in 1924 was a milestone in the May Fourth Movement's envisioning of modern literature as a vehicle for social transformation. Moving beyond interpretations of the visit as a political failure, this article locates the reception of Tagore's ideal of Eastern spirituality within the larger climate of literary production, specifically in new poetry. Through close reading of poems by Xu Zhimo and Bing Xin, this article argues that Tagore's ideas were fundamental for the development of poetry as an interpersonal medium that both portrays and effects social bonds.

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18

WORKING, LAUREN. "LOCATING COLONIZATION AT THE JACOBEAN INNS OF COURT." Historical Journal 61, no. 1 (2017): 29–51. http://dx.doi.org/10.1017/s0018246x16000595.

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AbstractBeyond charters, printed propaganda, and cosmographies, aspiring statesmen in Jacobean England engaged with Native Americans in commonplace books, poetry, court masques, and political debate. Rather than representing a remote ‘other’, this article contends that barristers and students of the law were fascinated by the perceived savagery of indigenous peoples because it allowed them to explore, interrogate, and define their own civility. The result was a cross-over between developing English articulations of their own behaviour and political responsibilities, and a rising enthusiasm for

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19

Beckett, Joshua. "A Poet’s Prophetic Vocation: The Historical, Dramatic, and Literary Trajectories of Dante Alighieri’s Ecclesial Criticism." Christianity & Literature 66, no. 4 (2017): 573–90. http://dx.doi.org/10.1177/0148333117697454.

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In his political writings, correspondence, and epic poetry, Dante Alighieri often assumed a prophetic posture. His self-understood vocation found primary expression in his direct, forceful criticism of the medieval Catholic Church, although the post hoc predictions and scriptural mimesis in which Dante engaged throughout his Commedia also funded his incisive ecclesial critique. This article discerns three trajectories of a Dantean prophetic vocation, which converge at key moments during the Commedia (particularly at Inferno XIX) to forge Dante, in all his rich complexity, into a prophet for hi

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20

Wright, Joanne H. "Political Writings." Canadian Journal of Political Science 39, no. 3 (2006): 722–24. http://dx.doi.org/10.1017/s0008423906389974.

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Political Writings, Margaret Cavendish (Susan James, ed.), New York: Cambridge University Press, 2003, pp. xxxix, 298.The publication of Margaret Cavendish's Political Writings is part of a recent effort to make Cavendish's seventeenth-century works more accessible to students and scholars alike. Political Writings is a particularly significant addition to this effort in that it contains two of Cavendish's most explicitly political texts, A Description of a New World called the Blazing World (1666), Cavendish's best-known endeavour in utopian fiction, along with the first modern edition of Ora

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21

ALPERS, PAUL. "““The Philoctetes Problem”” and the Poetics of Pastoral." Representations 86, no. 1 (2004): 4–19. http://dx.doi.org/10.1525/rep.2004.86.1.4.

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ABSTRACT ““The Philoctetes problem,”” so named by Susan Stewart, concerns the limits of human expression: how can individual suffering be expressed in isolation from human listeners? This essay argues that the conventions and usages of pastoral poetry engage this problem and that because of the self-consciousness of pastoral, its poetics are pertinent to the expression of isolated suffering in other modes of poetry.

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Eades, Michael, Kathryn Lord, and Claudia Cooper. "‘Festival in a Box’: Development and qualitative evaluation of an outreach programme to engage socially isolated people with dementia." Dementia 17, no. 7 (2016): 896–908. http://dx.doi.org/10.1177/1471301216658158.

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We co-designed and piloted ‘Festival in a Box’, an outreach programme to enable socially isolated people with dementia to engage with and enjoy cultural activities in their homes. It comprised 3–4 weekly home visits, each led by a professional artist to create art works using materials brought in ‘the box’. Activities included music, poetry, pottery, crafts and photography. We qualitatively interviewed 13 participants (6 people with dementia, 4 artists, 3 befrienders). Six participants with dementia completed, enjoyed and engaged with the planned visits. Main themes were: engagement, reflectio

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23

Parker. "“It’s Just a Matter of Form”: Edna St. Vincent Millay’s Experiments with Masculinity." Humanities 8, no. 4 (2019): 177. http://dx.doi.org/10.3390/h8040177.

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Edna St. Vincent Millay occupies an uncomfortable position in relation to modernism. In the majority of criticism, her work is considered the antithesis to modernist experimentation: as representative of the ‘rearguard’ that rejected vers libre in favour of fixed poetic forms. Indeed, most critics concur that whilst Millay’s subject matter may have been modern and daring—voicing women’s sexual independence, for instance—her form was decidedly traditional. Millay also troubles notions of modernist impersonality by writing seemingly autobiographical lyrics that showcase feminine emotions. In thi

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Pinto, Samantha, and Jewel Pereyra. "The Wake and the Work of Culture: Memorialization Practices in Post-Katrina Black Feminist Poetics." MELUS 44, no. 3 (2019): 1–20. http://dx.doi.org/10.1093/melus/mlz033.

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Abstract Hurricane Katrina has come to represent a nexus of natural, infrastructural, and ethical failures that forced a moment and perhaps an era of public reckoning with the ongoing processes of black disenfranchisement from US state protections and rights. Poetry about Katrina both promises and is asked bear witness to this spectacular, violent show of force and to manage public and political appetites for recognition and remembrance through its ability to merge the material and the abstract in linguistic form. This cultural imperative stands as both opportunity and limit for black artists

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Nwakanma, Obi. "Okigbo Agonistes: Postcolonial Subjectivity in "Limits" and "Distances"." Matatu 33, no. 1 (2006): 327–38. http://dx.doi.org/10.1163/18757421-033001037.

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Among Africa's leading twentieth-century poets, Christopher Okigbo occupies a most interesting space. Born to Igbo Roman Catholic parents in Eastern Nigeria, Okigbo studied the Classics and began to write poetry as a means of re-identification with his primal world. Yet both his life and his poetry staked a claim to a universalist impulse, and, as a colonial subject interpreting the postcolonial moment, Okigbo rejected a narrow, essentialist categorization of either himself or his poetry. He rejected the Africa Prize in 1966, claiming that "there is no such thing as African poetry, there is on

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Mohammad, Ghada A., and Wafaa A. Abdulaali. "Mahmoud Darwish and Tanure Ojaide." Ars & Humanitas 14, no. 1 (2020): 41–53. http://dx.doi.org/10.4312/ars.14.1.41-53.

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Darwish, the spokesman of Palestine, and Ojaide, the voice of Nigeria, are endowed with a faculty for articulating a message, a vision or an opinion for their nations. They are intellectuals essentially tied to the needs of their communities. Both poets belong to countries that witnessed different types of political, economic, and social turmoil. They inspire the oppressed nations to persist in their struggles against the regimes which deprive them of their right to live happily and peacefully. Darwish experienced many displacements that turned him into an embodiment of exile, in both existent

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Borowski, Paweł, and Henry Stead. "“Ovid’s Old Age”." Clotho 2, no. 2 (2020): 5–38. http://dx.doi.org/10.4312/clotho.2.2.5-38.

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“Ovid’s Old Age” is a sung poem written by the Polish poet and musician Jacek Kaczmarski (1957–2004) which engages with the myth of Ovid’s exile. Kaczmarski’s works were heavily influenced both by classical culture and his experience of political emigration during the communist era. He was famed as an unofficial bard of the opposition movement, but is as yet little known to classical reception scholars. This paper presents Kaczmarski’s creative engagement with Ovid as both a deeply personal reflection on the nature of exile and at the same time a universal commentary on poetry under authoritar

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Milne, Drew. "Cheerful History: the Political Theatre of John McGrath." New Theatre Quarterly 18, no. 4 (2002): 313–24. http://dx.doi.org/10.1017/s0266464x02000428.

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In this essay, Drew Milne suggests affinities between the dramatization of history in the work of John McGrath and Karl Marx. He shows how both Marx and McGrath refused to mourn the histories of Germany and Scotland as tragedies, but that differences emerge in the politics of McGrath's radical populism – differences apparent in McGrath's use of music, historical quotation, and direct address. McGrath's layered theatricality engages audience sympathies in ways that emphasize awkward parallels between modern and pre-modern Scotland, and this can lead to unreconciled tensions between nationalism

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Alwaqaa, Mujahid Ahmed Mohammed. "City Literature in Abdu al-Aziz al-Makkali’s Poetry." International Journal of Comparative Literature and Translation Studies 9, no. 3 (2021): 22. http://dx.doi.org/10.7575/aiac.ijclts.v.9n.3p.22.

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World literature teems with the portrayal of famous cities throughout the world. This kind of literature is unanimously known as city literature. It does not merely describe and portray places, objects, and landscapes for their own sake, it, however, gives readers a revisionist perspective to look afresh and introspectively into self, history, and culture. This paper aims to shed light on a city that witnessed great changes throughout its history. It is called Sana’a, the capital of Yemen, and it is one of such world-famous and ancient cities about which interesting and rich literature has bee

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Greenaway, Vicky. "Unity and/or Disunity in Dante Gabriel Rossetti's Poetry: Proto-Aestheticism, Cultural Politics, and Italian Nationalism at the Victorian Mid-Century." Victoriographies 10, no. 1 (2020): 52–70. http://dx.doi.org/10.3366/vic.2020.0366.

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Revisiting the issue of Rossetti's response to politics, I argue that Rossetti's early work on Italian topics should be placed within the Risorgimento tradition of cultural nationalism that preceded and then ran alongside the political movement for Italian unification. Recent work by scholars such as Christopher Kierstead, Stefano Evangelisto, and Matthew Potolsky on cosmopolitan political discourse within Aestheticism and Decadence has shown that the age of ‘Art for Art's Sake’ does not turn away from politics, but rather re-defines its parameters. By re-situating Rossetti's writing on Italy

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Wijnands, Clim. "Reflections of the Hidden Duchess and the Moon King: The Tabula Scalata and the Engaged Beholder in Sixteenth-Century Italy." Ikonotheka, no. 29 (September 16, 2020): 79–101. http://dx.doi.org/10.31338/10.31338/2657-6015ik.29.2.

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A tabula scalata consists of triangular slats painted on two sides and attached to a panel, creating a “double image”. Sometimes, a mirror was placed at straight angles of the upper frame, allowing the beholder to see both painted sides at the same time – but only when standing in the right position. This contribution analyses how these scarcely studied devices relied on the beholder’s active participation to convey intertwined layers of artistic, scientific, political, and poetic meanings. To do so, it discusses two sixteenth-century case studies. The first is a lost painting created in Frenc

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Cooke, Roderick. "A paradox in the Dreyfus Affair: The curious case of Saint-Georges de Bouhélier." French Cultural Studies 30, no. 1 (2019): 3–16. http://dx.doi.org/10.1177/0957155818810680.

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During the brief flourishing of his literary movement, ‘le naturisme’, in the late 1890s, the young poet Saint-Georges de Bouhélier (1876–1947) became an active and engaged Dreyfusard, despite harbouring anti-Semitic thoughts and being an aggressive nationalist and revanchist. This article explains the ostensible paradox by tracing Bouhélier’s Dreyfusard engagement back through his evolving aesthetic doctrines of the preceding years. His conception of poetry, in which the poet was both a privileged interpreter of the hidden grandeur of common folk and a humble servant of their collective tradi

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Dr. Sanjay Kumar Dutta. "The Meeting of a Saint and a Poet: W.B. Yeats and Purohit Swami." Creative Launcher 6, no. 1 (2021): 174–80. http://dx.doi.org/10.53032/tcl.2021.6.1.20.

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A literary artist seldom works in a vacuum, in isolation; rather, he draws materials of his art from the social, cultural, political and philosophical currents of his milieu, and eventually contributes his interpretation of these ideas to society. Yeats is not an exception; but his critical sensibility looked far towards Indian ideas. He found Indian ideas of art, philosophy, and religion inspiring and stimulating to such an extent that a vital part of career was engaged in assimilating as well as reproducing them through his own art. Though Yeats’ critics and biographers have already noted th

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T’Sjoen, Yves. "Breyten Breytenbach in een zijspiegel: Het vizier van H.C. ten Berge Transnationale laterale beweging en particuliere “hetero-images” van een literaire actor/ Breyten Breytenbach Through H.C. ten Berge’s Looking-Glass: Transnational Lateral Movement and Particular “Hetero-Images” of a Writer." Werkwinkel 10, no. 1 (2015): 33–50. http://dx.doi.org/10.1515/werk-2015-0003.

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Abstract At the end of the 1960s and in the beginning of the 1970s the South African poet Breyten Breytenbach had poetry and drawings published in the leading literary magazine Raster. The editor in charge at the time, H.C. ten Berge, gave the experimental writer and socially engaged Sestiger (the literary modernizing movement in South Africa in the sixties) pride of place in the line-ups of the Dutch modernist periodical. In the seventies, Ten Berge contributed to Vingermaan (1980), a collection of poems by Dutch writers (Lucebert, Kopland, Kouwenaar, Schierbeek) in support of the anti-aparth

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Adam, Barbara. "Four meditations on time and future relations." Time & Society 27, no. 3 (2018): 384–88. http://dx.doi.org/10.1177/0961463x18789222.

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In four short meditations, approaches to time and the future are explored through both a time and futures lens. A compressed poetic form of expression is used to distil the essence of the processes involved. The shapes emerge in the writing and once discernable they begin to guide the choice of words. Theory becomes a playful activity that draws on a deep and extensive pool of time theory. The first meditation expresses the difficulty for conventional social science to engage with the future. The second depicts temporal relations of modernity that encompass features shared by humanity across t

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Niżyńska, Joanna. "The Impossibility of Shrugging One's Shoulders: O'Harists, O'Hara, and Post-1989 Polish Poetry." Slavic Review 66, no. 3 (2007): 463–83. http://dx.doi.org/10.2307/20060297.

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In this article, Joanna Niżyńska explores the modes used by poets of the bruLion generation (whose debuts coincided with the end of communism) to import Frank O'Hara's poetics into Polish literature and the significance of their doing so. By employing Harold Bloom's concepts of the “anxiety of influence,” “kenosis,” and “daemonization,” Niżyńska analyzes the intergenerational impulses manifested in O'Harism in relation to the Romantic paradigm in Poland's poetic tradition. Niżyńska claims that in turning to O'Hara, such poets as Marcin Świetlicki, Jacek Podsiadło, and Miłosz Biedrzycki engaged

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Evans, Rosalind. "The Two Faces of Empowerment in Conflict." Research in Comparative and International Education 3, no. 1 (2008): 50–64. http://dx.doi.org/10.2304/rcie.2008.3.1.50.

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This article problematises Bush & Saltarelli's call for a new and comprehensive peacebuilding education which empowers children through demonstrating that alternatives to conflict exist, that they have choices and the capacity to change their own and their society's situation. It does so by exploring the various possibilities for empowerment available to young Bhutanese refugees living in Nepal, which are advanced by agencies administering services in the refugee camps and promoted by refugee political groups. Fieldwork demonstrates that some children simultaneously engage in humanitarian

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Carolin, Andy. "Breyten Breytenbach, A Monologue in Two Voices/Sandra Saayman." Tydskrif vir Letterkunde 53, no. 1 (2016): 277–79. http://dx.doi.org/10.17159/2309-9070/tvl.v.53i1.1201.

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In A Monologue in Two Voices, Sandra Saayman argues that Breyten Breytenbach’s poetry and prose should be read alongside his paintings and drawings. The book focuses particularly on the literary and visual texts that Breytenbach produced during and about his imprisonment in the 1970s and 1980s. Saayman considers not only representations of the personal experiences of the author/artist but she also identifies instances in which Breytenbach engages with broader political issues including the death of Steve Biko, progressive Afrikaner identities, and postapartheid nationalism. Much of the book’s

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Kamionowski, Jerzy. "“By [some] other means”: Talking (about) Racism and Race through Visual Arts in Claudia Rankine’s Citizen. An American Lyric." Text Matters, no. 10 (November 24, 2020): 392–407. http://dx.doi.org/10.18778/2083-2931.10.21.

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Claudia Rankine’s Citizen. An American Lyric is a perplexing work of literature both because of its original presentation of the issue of racism in the US today and the original formal ways through which its message is communicated. It is formally innovative and technically experimental in an unusual “average reader”-friendly manner, situating itself a world apart from postmodern “poetics of interruption and illegibility” (Davidson 602). Paradoxically, being almost a poem with a purpose, it expands existing categories. Its sociological orientation and emphasis on poetic language’s capacity to

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BUSCH, ALLISON. "“Unhitching the Oxcart of Delhi”: a Mughal-Period Hindi account of Political Insurgency." Journal of the Royal Asiatic Society 28, no. 3 (2018): 415–39. http://dx.doi.org/10.1017/s1356186317000712.

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AbstractThis article is part of a larger effort to broaden the source-base for understanding Mughal-period India by engaging with the Hindi literary archive. I analyze the vignettes of Aurangzeb and other Mughal figures that are available in Lāl Kavi's Chatraprakāś (Light of Chatrasal, c. 1710), a Brajbhasha (classical Hindi) historical poem commissioned by the Bundela ruler Chatrasal (1649–1731). Written shortly after Aurangzeb's death, the Chatraprakāś is in part a retrospective on Aurangzeb's reign. It is also a valuable source of regional history that gives voice to how the Mughal Empire w

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OKOH, MARY ENWELIM-NKEM. "Revamping the Environment for National Development: A Lexico-Semantic Reading of Niyi Osundare’s The Eye of the Earth." International Journal of Language and Literary Studies 3, no. 2 (2021): 242–53. http://dx.doi.org/10.36892/ijlls.v3i2.556.

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Environmental poetry is relatively young in the literature of the Nigerian literary writers and critics. Literary scholars of an earlier generation before Osundare – Soyinka, Okigbo, and Okara have dwelt more on the themes and language of cultural heritage, cultural conflicts, colonial and post-colonial political, socio-economic and religious issues. They barely scratched around the themes of environment and ecology. More so, their language may be adjudged obscure and esoteric. Therefore, the present study engages in the exploration of Osundare’s innovative and full-scale venture into pivotal

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Brearton, Fran. "Yeats, Dates, and Kipling: 1912, 1914, 1916." Modernist Cultures 13, no. 3 (2018): 305–22. http://dx.doi.org/10.3366/mod.2018.0214.

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This article proposes that W. B. Yeats's ‘Easter 1916’, intertextually linked to ‘September 1913’ and ‘Nineteen Hundred and Nineteen’, is also a subtle response to the political and sectarian quarrels of 1912–1914 as manifest in Rudyard Kipling's poems ‘Ulster (1912)’ and ‘The Covenant’. It examines the ways in which Kipling, and those in Ireland who reacted negatively to him, drew on the Easter sacrificial rhetoric later to be associated with the 1916 Rising, and illustrates how Yeats's poetry during and after the Rising may be read as implicitly engaged in a quarrel with Kipling's aesthetic.

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Kavoori, Anandam. "Re-making the World." Journal of Autoethnography 2, no. 3 (2021): 290–92. http://dx.doi.org/10.1525/joae.2021.2.3.290.

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This collection of autoethnographic eco-poetry offers a pedagogical vision for environmental education in an age of Climate Change (and its denial). The poems reflect on the author’s 10+ years of teaching environmental storytelling. Differing in tone and thematic and emotive imprint (ruminative, conciliatory, angry, deliberative), these autoethnographic eco-poems offer entry points for the reader/educator to engage with the coming crises of Climate Change in their own lives and work. The poems reflect on the complex, contested, and incomplete journey of the author in seeking, implementing, and

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Duarte, Bruno C. "Rhythm and Structure: Brecht’s Antigone in performance." Performance Philosophy 2, no. 2 (2017): 222. http://dx.doi.org/10.21476/pp.2017.2295.

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Brecht’s adaptation of Sophocles’ Antigone in 1948 was openly a political gesture that aspired to the complete rationalization of Greek Tragedy. From the beginning, Brecht made it his task to wrench ancient tragic poetry out of its “ideological haze”, and proceeded to dismantle and eliminate what he named the “element of fate”, the crucial substance of tragic myth itself. However, his encounter with Hölderlin's unorthodox translation of Antigone, the main source for his appropriation and rewriting of the play, led him to engage in a radical experiment in theatrical practice. From the isolated

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Rubin-Detlev, Kelsey. "An Ancient in Catherinian Russia: Classical Reception, Sensibility, and Nobility in Princess Ekaterina Urusova's Poetry of the 1770s." Slavic Review 80, no. 1 (2021): 90–111. http://dx.doi.org/10.1017/slr.2021.31.

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This article argues for the importance of Princess E.S. Urusova's four poems published between 1772 and 1777 to scholarly discussions of both classical reception and noble culture. Urusova engages more intensively than any other Russian writer of the period with the European Quarrel of the Ancients and the Moderns, formulating thereby unique responses to major literary and political concerns of the 1770s. In the literary sphere, the Quarrel allows Urusova to conceptualize with exceptional perspicacity the multifaceted cultural environment of the time: contributing to Russia's claim to be the d

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Phạm, Quỳnh N. "Enduring Bonds." Alternatives: Global, Local, Political 38, no. 1 (2012): 29–48. http://dx.doi.org/10.1177/0304375412465676.

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This essay questions assumptions about agency expressed in prevailing concepts of freedom understood as autonomy. It also turns to contexts of bondedness, where one endures and negotiates one’s embeddedness in relations of power and thick webs of sociality, to explore alternative modes of agency, of response-ability. The theoretical analysis engages two sites of communal agency, particularly women’s: first, I draw from Saba Mahmood’s study of the women’s mosque movement in contemporary Egypt; and second, I look closely at Hồ Xuân Hương folk poetry in eighteenth-century Confucian-dominated Việt

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Davis, Clark. "Very, Garrison, Thoreau." Nineteenth-Century Literature 74, no. 3 (2019): 332–59. http://dx.doi.org/10.1525/ncl.2019.74.3.332.

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Clark Davis, “Very, Garrison, Thoreau: Variations on the Antebellum Passive” (pp. 332–359) This essay contends that the poetry of Jones Very, often considered predominately “mystical,” was deeply engaged in political debates of the era. Not only did Very often write poems with an avowedly public purpose, but his seemingly otherworldly, spiritual sonnets sometimes participated in antebellum political debates. The sonnet “The Hand and Foot” (1839), for instance, describes a mode of Christian passivity and quietism that echoes the contemporaneous call for passive “non-resistance” to slavery found

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Birns, Nicholas. "Introduction to John Kinsella's PINK LAKE." Thesis Eleven 155, no. 1 (2019): 3–7. http://dx.doi.org/10.1177/0725513619892170.

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John Kinsella’s fiction emphasizes similar themes of environmental activism, political protest, and critique of Australian society, as does his widely acclaimed poetry. As in his verse, his orientation as a fiction writer is both local and global, regional and cosmopolitan. But in his fiction Kinsella engages in a double interrogation of both mainstream society and his own posture in opposition to it. In the novella Pink Lake a film director is interviewed by an uncomprehending journalist and driven to desperation by the philistinism of Australian society. But his own arrogance, unexamined whi

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Jędrzejko, Paweł. "The Times They Are A-Changin’." Review of International American Studies 12, no. 2 (2019): 5–24. http://dx.doi.org/10.31261/rias.8007.

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The article, whose central premise is to address the ellusive issue of the Zeitgeist of the "long 1968," revolves around the appeal of the singer-songwriter activism and the international, cross-cultural popularity of protest songs that defy political borders and linguistic divides. The argument opens with reference to Bob Dylan's famous song "The Times They Are A-Changing," whose evergreen topicality resulted not only in the emergence of its numerous official and unofficial covers and reinterpretations, but also generated translations into all major languages of the world, and which has provi

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Mtenje, Asante Lucy. "“Sex, Pleasures, Dangers, Love and Lies!”." Matatu 49, no. 1 (2017): 156–81. http://dx.doi.org/10.1163/18757421-04901009.

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This essay examines how contemporary Malawian female poets writing in the post-dictatorship era engage with aspects that inflect female sexuality such as eroticism, sexual desire, marriage, sexual violence, and HIV/AIDS through their poetry and how they represent these aspects against normative expectations of gender and sexuality. I am interested in how these poets depict the complex mediation of female sexualities by the state, the family, religious, and cultural bodies and how, in turn, they represent sexuality as simultaneously a domain of restriction, repression, and danger as well as a d

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