Journal articles on the topic 'Pushto Poets'

Gnomic poems have often been noted for their unusual metrical style. One aspect of their style that stands out is the hypermetric usage, both because these poems contain a notably high incidence of hypermetric verses and because the verses are frequently categorized as irregular. This paper analyses hypermetric composition in Maxims I, Maxims II, and Solomon and Saturn in detail to illustrate the major stylistic features of gnomic composition. It demonstrates that, contrary to the conclusions of some previous scholars, the hypermetric verses basically follow the form for hypermetric composition that can be found in most conservative poems, but with the inherent flexibility of hypermetric metre pushed to a greater extent than in most narrative poems, making for lines that are longer, heavier, and more complex. This alternate style highlights the importance of each individual aphorism and characterizes the solemnity of the poems as a whole. By composing their poems in accordance with the trends of this specialized style, poets may have been marking their composition as separate from narrative poems and encouraging their audience to consider each individual poem in the larger context of Old English wisdom poetry.

Human and nature had been living side by side and help each other since ancient times. However, the current condition of nature had pushed other humans to be aware that this ‘side by side living’ had not only been advantageous but also exploited. This is recorded by humans through literacy; starting from poems. However, these records did not only contain history but also expressions of poets and authors alike; their perspective of nature they see in their existence and or, perhaps, their hope or view of the future of nature. To find whether a work conveys life through nature or whether it conveys nature from different aspects of life, a study is needed. This writing aims to interpret the nature represented in William Blake’s The Tyger and Gordon J. L. Ramel’s Tiger, Tiger Revisited. The method used is library research and the approach used in intertextuality by focusing on the human-wildlife relationship over the years both poems were written. The results show that these poems are similar in their nature as poems. However, their idea of nature contradicts each other in the use of the figure of speech. Nature had changed drastically over the years these poems are made, and those changes are conveyed within the two poems.

Earlier studies on the Niger Delta poetry of Nigeria and First Nations poetry of Canada have focused primarily on the environmental and minority concerns in the individual literature of these two regions. The environmental concerns in these two literary traditions are a result of the minority status of the regions with hegemonies depriving the indigenous people of control in the ways their landscapes and waterscapes are engaged. This present study takes these issues to a comparative level, investigating how the two marginal groups are reacting to the hegemonies that pushed them to the peripheries and the aesthetics the selected poets employ to combat local and global environmental changes in their collections. Tanure Ojaide’s Niger Delta Blues and Other Poems, and Dumont Marilyn’s The Pemmican Eaters are comparatively explored with the focus of exposing the similarities and differences in the portraitures of their environments. This study finds that the selected poets from both regions depict the primordial symbiotic relationship that existed between humans and non-humans in their environments, especially prior to the commencement of mineral resources exploitation in their regions. Poems from both regions compare the harmonious past with the disharmony of the present to raise global awareness of the problems caused by capitalist agents in the exploitation of the environment. Similarly, oral traditions are depicted as viable aesthetics which promote the harmonious human-environment relationship. The selected collections of poetry have political undertones and represent the people’s collective aspirations, it is against this that they recreate the myths around their activists and heroes to document the history and raise environmental consciousness among the people. The poets of the two literary traditions compared, however, differ in the following areas: the poets of First Nations are more impressionistic in depicting environmental struggles while Niger Delta poets rely on metaphors and images to portray their environmental struggles. The study concludes that the environmental and minority struggles portrayed in the selected collections show the pursuit of environmental justice for their marginalised regions, and by extension, it is a contribution to the global environmental discourse.

Shelley s poetry is rich and varied, harmonious in tone, delicate in feeling and expansive in artistic conception, which pushed the British romantic poetry to the peak. Shelley had a very high talent, received a good education since childhood, coupled with diligent thinking, and has twists and turns of life experience, so his works all reflect the pursuit of the truth of the strong philosophical mood. This article mainly focuses on two of Shelley s poems to analyze the romantic style of his poems from the image and theme. Shelley, as a political poet and lyric poet, expressed his poetic aesthetics very clearly. He endowed poets with a lofty mission, believing that they shoulder the dual mission of social revolution and artistic innovation. Of course, Shelley believes that this dual mission is realized in the poet s creative artistic imagination. Therefore, in Shelley s view, the real imaginary expression of poetry should have a spiritual inspiration and aesthetic influence. It can be said that Shelley s poetry aesthetics not only clearly reflects the characteristics of his changing era, but also illustrates his romantic aesthetic stance. Shelley s aesthetic thoughts of poetry are enlightening for people to better appreciate and understand his poems.

Shāmlu belongs to the few poets of the modern Persian poetry, who can be called neoclassical, namely, those whose work has a distinctive character and who are influential in the history of modern Persian literature. These special characteristics of Shāmlu’s poetic features together with his socio-cultural and political vision as manifested in his poems had excessively allowed for his oeuvre to be popularized, forming a large crowd of admirers who even tried to mythologize his character and art. Shāmlu’s enthusiastic admirers, moreover, insist that his poetry is everlasting and even immortal. This article claims that critics should not function as judges of history, declaring a contemporary work of art as an immortal artefact. To this light, the article will argue that Shamlu’s innovation in poetry is not just linguistic, but rather an element that signifies his intellectual superiority. Moreover, the article examines two characteristics of Shāmlu’s poetry, which could probably endanger the popularity of his poems with future generations. It, therefore, first explores the authoritative position of the poet vis-à-vis his audience; and then examines the special relationship of humans with nature.INTRODUCTIONIn the modern Persian poetry, Ahmad Shāmlu is best seen as a neo-classist whose poetry bears a distinctive structural quality, allowing for the work and at once the poet to emerge as historico-literary markers. The elements that had pushed Shāmlu’s poetry to such literary significance are as follows:- Shāmlu is one of the few poets with a distinctive language of his own. While some scholars find Nimā Yushij as the progenitor of modern Persian poetry, Shāmlu belongs to a minor crowd with a rather personal and particular language and lingual authority. Shāmlu’s take on language, the sort which is regarded as a combination of the 4th and 5th century prose (Barāhani, Qāleb-e sheʻr-e Shāmlu, p. 895) with contemporary features and even slangs and colloquial discourse (Rezvani, pp. 179, 185-187), appears as one of the accepted poetic languages of the modern Persian poetry. Considering the notable number of current modern Persian poets who had borrowed from “linguistically authoritative” poets, one can understand Shāmlu’s

Behçet Necatigil is considered one of the important Turkish authors in the 20th century. He was born in FATİH district in Istanbul in 1916 and died on 13 of December 1979 in Istanbul. The poet Necati started writing while he was very young. He had several important works in his short life that lasted only 63 years. Although he was creative in several and different works in literary types such as Drama, Translation, the art of conversing, and radio drama, the poet Behçet Necatigil who was known by his poetic identity, is considered one of the most important poets in Turkish literature and the successful one among them. The concept of modesty is a synonym to simplicity which includes several meanings such as not to be snobbish, or dictator which is a humane phenomenon in its concept. This concept of modesty is considered one of the positive conducts and one of the most important concepts that society respects and adopts it and eager to have it. In general, everyone aims at being a simple, moderate and not a snobbish person. Regardless of the spiritual and materialistic status of any person, this means that he adopted a lifestyle that is ordinary and simple. The poet Behçet Necatigil is one of the poets who adopted this situation all over their lives and was eager to be a moderate person. Thus, we see this concept clear in his poems. This is the reason that pushes us to write a research paper specifically on the poet Behçet Necatigil. We see that he is a person full of modesty and simplicity. He has largely and successfully used in his poems the concept of modesty as well as its derivatives. Our research paper will focus on this concept, and we will introduce a short summary about the life of the poet and his literary personality as well as his works. Then we sill study the concept of modesty in details. After that, we will expand our research paper to talk about how this concept has been used in the poems written by Behçet Necatigil.

This research aims to review two poems by two of the stalwarts of Arabic and Persian poetry in the modern era, and the extent of influence and effect through comparative literature. It follows the applied analytical approach in light of the cultural and historical relations between the two literatures. Accordingly, he studies each poem, points out the similarities and differences between the two poems, and reveals some of the artistic aesthetics and creativity that characterize each poem. It became clear through the presentation of the two poems that the two poets expressed the past days and the ease and luxury that surrounded them, and the roughness and poverty that accompanied them. Then Shawqi sees the secret of the farmer in movement, moving forward, and leaning on oneself. The people of the country only serve their own people. As for Al-Khalili, he continued his complaints about the people of his time. Humanity has perverted and the mind is shackled in the era of scientific progress. It has become clear that Khalili, despite his knowledge of the Arabic language, and Shawqi being ahead of him in time, may have read Shawqi’s poem or been inspired by its subject, but he did not notice that he took one of the meanings. In addition to this, his treatment is radically different from him. When Shawqi pushes his statue to move, My boyfriend instructs him to hide from sight because the controlling madman might harm him and humanity has gone awry and does not redress injustices or shelter him; The poem is the tragedy of a people abandoned by humanity due to a brutal occupation.

In their refusal to aestheticise Crimean warfare, as most of their fellow poets and newspapermen had done, Sydney Dobell and Alexander Smith, in the co-authored Sonnets on the War (1855) present a harrowing picture of the conflict from myriad viewpoints, all of which deny the patriotism and hawkishness implicit in glamorising armed conflict. This poly-vocalic collection pushes more boundaries than has previously been noticed. The choice of form, itself a commentary – this is not a war fit for epic – the emphasis on women's roles, and the anonymous and ventriloquised voicing announce departures from conventions of martial verse, and also from what we have heretofore understood about these poets’ careers.

In twentieth-century's poetry, the city has become an important and complex theme because when writing about cities, poets tend to re-formulate and re-define their relation with literary and cultural traditions. The city poses a particular challenge for the modern poets because of their commitment to social and cultural traditions they feel that their role has been fused to simply responding to the social, moral, cultural and psychological transformations that the city symbolizes. Is it right to read a poet, or poetry, as an extension of a place? The answer is may or may not be. The question is to answer the unique narrative description of Bombay in Arun Kolatkar’s Kala Ghoda and the city of London in T.S. Eliot’s The Wasteland that defines the city using imagery and symbolism in the best manner. Walking through Bombay and reading Kala Ghoda Poems recreates a city that is constantly shifting and dancing around, full of noises and colours, all the while exposing those lives that are pushed out of an expanding concrete jungle, hidden under bright lights and tall towers—the triumphs of development. Eliot utilises the ‘unreal city’ London as the main setting for The Wasteland and the city comes to embody the title of the poem that id portrayed as ugly, cruel and grey, lacking any real human warmth or meaningful connections. The study will be centred on a reading and analysis of deconstructive poetry to show how postmodernism is hinted at while also demonstrating continuous sociocultural and socioreligious activities through the use of symbolism and imagery. The study will continue with chapters broken down into many aspects, including a comparative analysis of Eliot and Kolatkar's poetry, studying the issue of experimentalism and symbolism as well as imagery employed in Kolatkar's Kala Ghoda and Eliot's Wasteland. The subjectivities and experimentation in Indian English poetry and Western poetry can be understood and explored through a comparison of Arun Kolatkar and T.S. Eliot.

This paper seeks to explore the themes of love, sex, and the body in The Bell Jar and My Story, two much-read autobiographical texts by Sylvia Plath and Kamala Das respectively, which reveal the writers’ feminist “self.” These books were published in the mid-twentieth century when women started fighting for their individual freedom by interrogating patriarchal hegemony responsible for delimiting women’s familial, social, economic, educational, industrial, and political rights. Both Plath and Das possess unconventional approaches towards love, sex, and the body. Their texts come out as threats to the patriarchal practice which pushes women to “stay at home, cook meals, clean house and bear children” (Lamb 1). For these poets, the woman’s body, which patriarchy mostly considers an object of sexual pleasure, is a significant tool for transgressing the dictums of patriarchy. The present study, therefore, aims at showing the themes of love, sex, and the body in the above mentioned texts as a means for the poets to interrogate patriarchal restraints and to create a new identity with self-esteem and self-worth. In this way, they refuse to accept the hegemonic role of oppression and assert their gender identity.

Abstract Many scholars have read Edgar Allan Poe as uniquely enmeshed in an interdisciplinary and intermediary web connecting the visual and practical arts. Poe’s prose is intrinsically multimodal and multisensory, a transgression of disciplinary boundaries that leads to a horrific affect. This article examines three of Poe’s short stories with attention to the figure of the artist, architect, and author within his fiction, arguing that these characters can be read as exemplars of Poe’s aesthetic philosophy laid out in “The Philosophy of Composition.” Poe pushes and explores the limits of disciplinary boundaries by showing the various conjunctions and conflations inherent to artistic practice. In his stories, Poe explores what distinguishes literature from other creative endeavors. It is his fascination with the porous nature of artistic boundaries that drives both the form and content of his tales—and it is this very liminality, this porousness, that makes them truly the harbingers of horror as a genre.

In this article, a student curriculum team, their advisor, and an author describe how reading poetry about love liberated them and deepened their personal relationships. As part of a cypher community, they pushed the boundaries of their school’s curriculum and discussed various forms of love while writing lessons based on Yolanda Sealey-Ruiz’s Love from the Vortex & Other Poems (Kaleidoscope Vibrations, 2020) during the COVID-19 pandemic.

This quasi-experimental study examined the impact of interactions with native French language Facebook posts on beginning French language learners’ attitudes towards the target language and culture. Participants in this study were recruited from two sections of FRE 1120, Elementary French Language and Civilization I at the University of Central Florida. Native French language Facebook posts were ‘pushed’ to participants’ personal Facebook News Feeds over the course of four weeks, with posts pushed on weekdays only. Dörnyei and Clément’s (2001) Language Orientation Questionnaire was used to measure participants’ attitudes towards the target language and culture. Data were analysed using a split-plot ANOVA. A total of twenty-six participants completed the study, with fourteen participants in the control group and twelve participants in the treatment group. Both sections of FRE 1120 were conducted in a face-to-face modality and were taught by the same instructor. Results indicated that participants’ attitudes towards the target language and culture were not significantly impacted by interaction with native French language Facebook posts. Opportunities for future research include increasing the size of the sample, increasing the length of the study, and selecting participants who are more advanced in their mastery of the target language.

Brenda Hillman has published chapbooks with Penumbra Press, a+bend press, and EmPress; she is the author of nine full-length collections from Wesleyan University Press, the most recent of which are Practical Water (2009), winner of the Los Angeles Times Book Award, and Seasonal Works with Letters on Fire (2013), which received the International Griffin Poetry Prize for 2014. With Patricia Dienstfrey, she edited The Grand Permission: New Writings on Poetics and Motherhood (Wesleyan, 2003), and has co-translated Poems from Above the Hill by Ashur Etwebi and Instances by Jeongrye Choi. Hillman teaches at St. Mary’s College where she is the Olivia C. Filippi Professor of Poetry; she is an activist for social and environmental justice. Hillman’s poems that draw on elements of found texts and document, personal meditation, observation, and literary theory. Often described as “sensuous” and “luminescent,” her work investigates and pushes at the possibilities of form and voice, while remaining grounded in topics such as geology, the environment, politics, family, and spirituality.

The article suggests a detailed analysis of the most significant and complicated work in O. Mandelstam’s late poetry — The Poem of an Unknown Soldier (1937) which is being examined in the context of the poet’s whole literary heritage. Radical metaphorism, which was previously characteristic of the poet, is pushed here to the extreme; poetics of reminiscences and subtexts appears to be the basis for the composition of this long poem. A detailed examination of the poem’s world, explanation and sometimes deciphering of its poetic images obviously demonstrate the arrival of new poetics, the basis of which in the work is the “Heraclitean metaphor” (O. Mandelstam’s term), revealing fluidity, internal dynamics of images that create a horrible picture of the war as an ultimate disaster and of an individual (the poet) as its antipode and victim. The poet’s thought is directed to the picture of an eternal, immortal military formation where in the roar of the military roll call, voices of fallen soldiers merge with those of Shakespeare and Cervantes, and where the poet’s voice is heard among others — standing here, calling his “unreliable” year of birth and seing the whole path of human history caught in the fire of the Apocalypse.

The article suggests a detailed analysis of the most significant and complicated work in O. Mandelstam’s late poetry — The Poem of an Unknown Soldier (1937) which is being examined in the context of the poet’s whole literary heritage. Radical metaphorism, which was previously characteristic of the poet, is pushed here to the extreme; poetics of reminiscences and subtexts appears to be the basis for the composition of this long poem. A detailed examination of the poem’s world, explanation and sometimes deciphering of its poetic images obviously demonstrate the arrival of new poetics, the basis of which in the work is the “Heraclitean metaphor” (O. Mandelstam’s term), revealing fluidity, internal dynamics of images that create a horrible picture of the war as an ultimate disaster and of an individual (the poet) as its antipode and victim. The poet’s thought is directed to the picture of an eternal, immortal military formation where in the roar of the military roll call, voices of fallen soldiers merge with those of Shakespeare and Cervantes, and where the poet’s voice is heard among others — standing here, calling his “unreliable” year of birth and seing the whole path of human history caught in the fire of the Apocalypse.

Literary critics' engagement with copyright law has often emphasized ontological questions about the relation between idealized texts and their material embodiments. This essay turns toward a different set of questions—about the role of texts in the communication of knowledge. Developing an alternative intellectual genealogy of copyright law grounded in the eighteenth-century contest between innatism and empiricism, I argue that jurists like William Blackstone and poets like Edward Young drew on Locke's theories of ideas to articulate a new understanding of writing as uncommunicative expression. Innatists understood texts as tools that could enable transparent communication through a shared stock of innate ideas, but by denying the existence of innate ideas empiricists called the possibility of communication into question. And in their arguments for perpetual copyright protection, eighteenth-century jurists and pamphleteers pushed empiricism to its extreme, linking literary and economic value to the least communicative aspects of a text.

The article analyzes the only known poetic cycle by Vasyl Haiduchok, published in the Skrynia maga-zine. The text is focused on the problem of silence, which is fundamental for Ukrainian underground poetry, in spite of being understood in different axiological and semantic planes. The article discovers how the concept of silence interacts with the Christian symbols, concepts of time and death, and traditional Ukrainian images. Being connected with the internal emigration as a constructive strategy of the author who resists the invasion of the aggressive Soviet language, the concept of unvoiced is also substantial for surrealistic and hermeticism poetics. Moreover, Vasyl Haiduchok and other Ukrainian poets of the late 60s and 70s were forced to silence in an act of cultural and ideological abuse of the totalitarian system. After the arrests of the Lviv intellectuals and the confiscation of the entire print run of the Skrynia in 1972, Vasyl Haiduchok never went back to creative writing and died in poverty. The aim of the article is to return his voice to the Ukrainian literature discourse. To discover the philosophical particularities of the cycle we compare it with the texts of other poets of the Skrynia magazine. We draw a parallel between the artistic destiny of Haiduchok and Chubai. Censorship and political persecution pushed both of the writers not only into the underground but also into complete silence. While the poetry by Chubai is scientifically analyzed in modern journals, the cycle by Haiduchok is almost unknown even among philologists.

Abstract: This article offers a comparative reading of two 20th century poems, each preoccupied with Jewish catastrophe: Ḥayyim Naḥman Bialik's "Beʿir haharegah" ("In the City of Slaughter"), and "Engführung" ("The Straitening"), written by poet and Holocaust survivor Paul Celan. Drawing on some of the recent developments in affect theory, the article asserts that these two modern accounts of Jewish ḥurban share a fundamental characteristic that speaks to the mechanism of poetic reenactment: an experiential reconstruction of the walk to and within the sites of destruction, which turns the readers of the poems into active participants in this experience. Such performative reading, which exceeds the rigid confines of mere representation, pushes constantly toward active and visceral interaction between reader and text, in the course of which questions of memory, belonging, and collective and subjective identity, are raised and reexamined. The artistic experience of destruction thus acquires constructive power, as literature becomes an active agent of memory, freeing the historical event from its rigid facticity and transforming it into an ongoing occurrence, taking place here and now, over and over again.

One of the outcomes of the non-stop race in the field of technology and especially the military technology, was the invention, or more accurately progression, that was achieved in the military industry in the modern age. The horror of the large range of losses in the battlefields through the military combats especially in the 20 years Vietnam War pushed the decision-makers in the US towards ways of reducing human losses in their abroad wars and this resulted in a great expansion of what the English called ‘unmanned aerial vehicle’. The American university lecturer and poet Andrea Brady (b.1974), is one of the people of letters who reacted to this development that caused an international horror and global aerial control over almost all the aerial spaces in the world by the grand powers, through a 59 poems volume titled The Blue Split Compartments (2021). The present study is an attempt to analyze and evaluate the range of her assessment of the human, physical, and psychological damages that this new technology produces. It also seeks to navigate in the different poetic techniques and styles used in composing the poems where sad and catastrophic scenes and scenarios are disclosed in order to show the possible effects that those poems create in their readers and listeners. Such poetic techniques aim to stress the poetic quality of the military language especially the language used around drone warfare.

Abstract Although she was a laboring-class writer who worked in factories all her life, the factory odes of Ellen Johnston, the self-titled “Factory Girl,” have received little consideration as political poems. Yet in “Address to the Factory of Messrs. J. & W. I. Scott & Co.,” Johnston self-consciously manipulates the power dynamics between speaking subject and addressed other through imitation of lyric forms such as panegyric and elegy. Rereading Johnston’s use of rhetorical apostrophe in a poem to, and about, a Scottish textiles factory as politically strategic pushes back against the selection bias in recovery work and canon diversification efforts that predetermines the interpretive frames applied to minoritized writers.

Edgar Allan Poe’s “The System of Doctor Tarr and Professor Fether” has generally been read as a comedy or commentary on issues of mental illness in antebellum America. Recent scholarly appraisals have further noted the story’s rebellious contexts and connections to antebellum slavery debates. This essay pushes beyond those boundaries and offers a transatlantic reading in which cunning “lunatics” and a clueless narrator formulate a critique of Anglo-American colonial responses to the Irish. Published in 1845 and coincident with the beginnings of Ireland’s Great Famine, “The System” engages with antebellum America’s response to mass Irish migration: mass institutionalization. The famished Irish entering America during this period swiftly became the single largest population in a rapidly expanding mental asylum system. Justifying this institutionalization were Anglo-American cultural and colonial assumptions premised on reason as a dividing line between fit Anglo-Saxons and incurably “insane” Irish. In this essay I use theoretical conceptions of Irish oral identity or orality to recast Poe’s oral tropes—singing, eating, drinking, and speaking—and read his lunatics as Irish subjects. Irish orality is posited within the first-person narrator’s clueless and unreasoned narrative, which testifies both to colonial agency and the fallacious limits of colonizing reason.

Russian rock poets focus on Dostoevsky’s novel Crime and Punishment and its characters: the old woman pawnbroker, Svidrigailov and Raskolnikov. The hero of rock poetry lives in the initially given anti-space, where the state is a well-organized structure that exists due to the suppression of personality. The classic interpretation of the novel’s idea - the fall and subsequent resurrection of the human soul - is impossible for the rock poet, who is painfully focused on the root cause of social injustice, symbolically embodied in the ‘eternal’ image of the old woman pawnbroker. The emphasized motive of her immortality makes the conflict of personality and the existing system tragically insoluble. The ‘self’ of the lyrical hero coincides with the consciousness of Raskolnikov. The main character of the novel turns out to be only ‘one of many’, any of those who decide to challenge the system - and lose. The moral meaning of the novel is reinterpreted: it only maintains the existing order, showing the impossibility of struggle, because the crime turns against the rebel himself, who is not able to withstand the torment of conscience. There is a redistribution of the ‘weight’ between the characters. The heightened experience of the meaningless struggle with the existing world order and social injustice pushes rock poets to Dostoevsky’s anti-heroes, in particular to Svidrigailov, who becomes an independent tragic figure. He, like everyone, is sinful, in his extreme cynicism he is even deprived of the opportunity to deceive himself - and the last thing remaining for him is bitter irony of himself, life and even the existential problem of human afterlife. At the same time, Sonya Marmeladova - the moral antipode of Raskolnikov - is mentioned in the texts only once, since she is not included in the conflict of personality and society, but acts as its victim, like Raskolnikov himself (therefore, this place in the system of characters is already occupied by a hero, whose nature is identical to that of the rock poet, more expressive, and similar to the demonic images of gloomy, gothic romanticism).

In the centuries-old history of the development of mankind, the culture of space and time of the East was understood and comprehended in different ways. Contemplating and feeling the East, adopting the ideas and provisions of the Holy Scriptures of the Koran, as the great and immutable truths of mankind, Bunin creates his own interpretation of what he saw, where the value orientations of the East become the main object of his attention. This article highlights the important components of the metaphysics of Bunin's literary text, analyzes the specifics of the embodiment of Qur'anic motifs in the writer's work, emphasizes the importance of I. Bunin's use of the codes and ciphers of the Holy Book of Muslims, clarifies the features of the embodiment of the semantic contents of the Qur'an in the writer's poetic heritage. The article deals with verses that are directly consonant with the theme of Qur'anic surahs and verses, reveals the exact adherence of verses to the Qur'anic meaning and reveals their additional meanings, analyzes poems that are an original continuation of the subject matter of the source. Structurally, all the "eastern" texts of Bunin are presented in the figurative and linguistic elements of his poetics, the construction of the stanza, a special syntax, repetitions, pauses give them a special solemnity and majesty. Poetically penetrating the world of important Muslim shrines, Bunin pushes the boundaries of space and time, creating in his poems a synthesis of East-West culture.

From the Problems of a Democratic Aesthetic to the Aesthetics of a Problematic Democracy In analyses of poems from the 18th, 20th and 21st century, this article juxtaposes different degrees of trust in a democratic political order and the role of poetry in it. Philip Freneau, who supported a radical interpretation of the American Revolution as initiating a new and better social order, searched for a democratic poetics commensurate with the value placed on common people. For Muriel Rukeyser and even more so, Langston Hughes in the 1930s, democracy felt threatened not only by fascism abroad but by racism and exploitation at home. In 2014, Claudia Rankines Citizen: An American Lyric registers, like Rukeyser and Hughes, the difficulties in constructing a consensual reality and pushes this notion much further; surprisingly, perhaps, her work continues to see art as important to alert us to this difficulty of modern democracies and divers societies.

This paper applies theory concepts by G. Voissset and Massimo Cacciari, but also the contribution of poets like Horatio, Fernando Pessoa and Édouard Glissant. It is an analysis of the tragedy Les portugais infortunez, by Nicolas-Chrétien Des Croix, edited in Rouen (1608). The shipwreck of Manuel de Sousa Sepulveda with his wife and children but also 600 people in Galion S. João in 1552, in South Africa (Terra do Natal), account edited in 1554 and compiled by Bernardo Gomes de Brito (Tragic history of the sea, T.I., 1735) which source is Historiarum indicarum(B. XVI) by father G. Maffei (Florence, 1588) is the theme of this tragic play. After six months of pilgrimage in Africa (300 leagues) the Portuguese are welcome in Inhaca island by a good king. But their imprudence pushes them to Manhiça, another island where they are disarmed and denuded till their death by exhaustion and hunger the majority of them. Finally, they leave the Elephant island to arrive to Mozambique island. From the image of island refuge (Inhaca, Elephant, Mozambique) it succeeds the xenophobia, suspicion and expiatory sacrifice. The image of archipelago is ambiguous: the wrecked persons are ambitious but also annunciators of the Gospel.

Purpose: The fourth industrial revolution has pushed companies, and even seaports, to adapt the way they operate, to remain competitive in the marketplace. Thus, ports are going from analog to digital, and are on their way to achieving the status of smart ports. So, the purpose of this paper is to analyse what is already known about smart ports.Design/methodology/approach: A systematic literature review was conducted to identify the contributions of Industry 4.0 in seaport logistics (using the PRISMA method), based on studies present in the SCOPUS and Web of Science databases, both at the bibliometric and content level.Findings: Through this method it was possible to identify the most used technology of industry 4.o in the smart ports context, the benefits, and challenges of the digital transformations in seaports, and also the world’s smartest port cities. Curiously, from the universe of studies found, few articles are concerned about the impacts of smart ports on the human factor and on the cities and municipalities where the port is located.Originality: This study presents contributions both at the theoretical level (which increases knowledge about the reality of some of the ports considered smart), and at the practical level (which aims to help/encourage other ports to start/continue to become increasingly smart.

The 2017 general elections in Kosovo are the first to be considered for the high use of Facebook by political parties. Kosovo has nearly 1 million Facebook users, and this is one reason that has pushed all political parties, without distinction, to include Facebook in their electoral strategies. The paper analyses the use of Facebook by political parties in the 2017 general election and deals with the adaptation of Kosovar political parties with this new form of political communication and their popularity on Facebook. Data were collected during the campaign using the software R. In the fourth age of political communication, the web 2.0 has changed political campaigns and the flow of information now is more dynamic than in the past. The paper presents the flow of information/messages through Facebook, with politicians connecting directly with citizens, bypassing traditional media. Through a quantitative content analysis of the seven parties’ Facebook pages, it is analysed how they used Facebook as a campaigning tool and based on the findings, the mobilisation function was the dominant one.

Introduction. With arthroscopic techniques being used, the importanceof knot tying has been examined. Previous literaturehas examined the use of reversing half-hitches on alternatingposts (RHAPs) on knot security. Separately, there has been researchregarding different suture materials commonly used inthe operating room. The specific aim of this study was to validatethe effect of different stacked half-hitch configuration anddifferent braided suture materials on arthroscopic knot integrity. Methods. Three different suture materials tied withfive different RHAPs in arthroscopic knots were compared.A single load-to-failure test was performed andthe mean ultimate clinical failure load was obtained. Results. Significant knot holding strength improvement wasfound when one half-hitch was reversed as compared to baselineknot. When two of the half-hitches were reversed, therewas a greater improvement with all knots having a mean ultimateclinical failure load greater than 150 newtons (N). Comparisonof the suture materials demonstrated a higher meanultimate clinical failure load when Force Fiber® was used andat least one half-hitch was reversed. Knots tied with eitherForce Fiber® or Orthocord® showed 0% chance of knot slippagewhile knots tied with FiberWire® or braided fishing linehad about 10 and 30% knot slippage chances, respectively. Conclusion. A significant effect was observed in regards to bothstacked half-hitch configuration and suture materials used onknot loop and knot security. Caution should be used with tyingthree RHAPs in arthroscopic surgery, particularly witha standard knot pusher and arthroscopic cannulas. The findingsof this study indicated the importance of three RHAPsin performing arthroscopic knot tying and provided evidenceregarding discrepancies of maximum clinical failure loads observedbetween orthopaedic surgeons, thereby leading to bettersurgical outcomes in the future. KS J Med 2017;10(2):35-39.

The article presents little-known documents and evidences, concerning the early biography of Olga Nikolaevna Chyumina (1858 –1909) — a poet, a writer, a translator — including ego-documents. The author of the article observes the peculiarities of her relations with modernist writers and her literary position, expressed largely in opposition to modernists. Despite the fact that nowadays Chyumina is almost forgotten, at the turn of the 20th century she was a famous writer who achieved both the attention of critics and high fees. The article examines the beginning of her creative career, the relationship with the critic V.P. Burenin, the first publications dedicated to the memory of General M.D. Skobelev. The author quotes from letters stored in archives, in which Chyumina writes about herself and subjects the role and place of women in literature to reflection. Chyumina wrote from a male person before women writers of the modern era began to resort to this technique. Critics have noted this feature, at the same time in the reviews she was advised not to raise serious topics, which corresponds to the traditional attitude towards women writers. In the second book of poems, Chyumina seems to have found exactly her voice, but the rapid development of new trends pushed this figure into the background.

Harlem Renaissance poet and gardener Anne Spencer drew inspiration from both her garden and reading. In a poem entitled “Taboo,” Spencer described reading “garden and seed catalogs, Browning, Housman, Whitman […] oh anything…” and, in doing so, asserted the significance of her catalogs alongside literary works as inspiration for her poetry. The poem as a whole describes how Black women evade the Jim Crow South through covert activities like reading which for Spencer, importantly included garden and seed catalogs. Where Spencer’s poetry and garden have been the subject of academic research, her catalogs have yet to receive the same scholarly attention. This paper argues that by placing garden and seed catalogs in the same category of taboo reading as canonical poets and conventional forms of journalism, Spencer aligns the botanical with the literary as a form of resistance. The seed catalogs Spencer engaged with reveal a long history of racism in the cultivation and naming of garden plants. This paper examines the history of seed catalogs, showing how the naming of plants is a continuation of the racist logic of possession, reflected in the naming of plants by stripping the plant of its previous context and replacing it with the names of colonial scientists and racial slurs. Spencer’s poetic insistence on dispossession, the literal and metaphorical disembodiment and ejection from property, pushes against conceptions of ownership over the natural world in that it subverts the racist logic of possession. I contend that Anne Spencer actively intertwined histories by drawing on catalogs, poetry, and gardening to create new ecologies in the spaces between reading and writing, lyrical and material. The new ecology of Spencer’s garden far exceeds a place where plants are grown but rather becomes a space that blooms through the material, the lyrical, and social spaces, leaving behind instead a living archive of rebellion.

BACKGROUND: The laparoscopic access, with its classically known benefits, pushed implementation in other components, better ergonomy and aesthetic aspect. AIM: To minimize the number and diameter of traditional portals using miniport and flexible liver retractor on bariatric surgery. METHOD: This prospective study was used in patients with less than 45 kg/m2, with peripheral fat, normal umbilicus implantation, without previous abdominoplasties. Were used one 30o optical device with 5 mm in diameter, four accesses (one mini of 3 mm to the left hand of the surgeon, one of 5 mm to the right hand alternating with optics, one of 12 mm for umbilical for surgical maneuvers as dissection, clipping, in/out of gauze, and one portal of 5 mm for the assistant surgeon), resulting in a total of 25 mm linear incision; additionally, one flexible liver retractor (covered with a nelaton probe to protect the liver parenchyma, anchored in the right diaphragmatic pillar and going out through the surgeon left portal) to visualize the esophagogastric angle. RESULTS: In selected patients (48 operations), gastric bypass was performed at a similar time to the procedures with larger diameters (5 or 6 portals and 10 mm optics, with sum of linear incision of 42 mm) including oversuture line on excluded stomach, gastric tube and mesenteric closing. The non sutured portal of 3 mm and the two of 5 mm with subdermal sutures, were hardly visible in the folds of the skin; the one of 12 mm was buried inside the umbilicus or in the abdominoplasty incision. CONCLUSION: Minimizing portals is safe, effective, good ergonomic alternative with satisfactory aesthetic profile without need for specific instruments, new learning curve and limited movement of the instruments, as required by the single port.

Zero carbon emissions will dominate the future of internal combustion engines (ICEs). Existing technology has pushed the performance of ICEs operating on traditional working principles to almost reach their limit. The new generation of ICEs needs to explore new efficient combustion modes. For new combustion modes to simplify the emission after treatment, the opposed-piston, two-stroke (OP2S) diesel engine is a powertrain with great potential value. Combined with dual-fuel technology, the OP2S diesel engine can effectively reduce carbon emissions to achieve clean combustion. Hence, methanol/diesel dual fuel was burnt in the OP2S engine to create a clean combustion mode for future demands. In the present work, a 1D simulation model of an OP2S diesel engine was established and verified. We investigated the influence of port height to stroke ratio (HSR) on power and emission performances of the OP2S diesel engine under different methanol ratios. The results show that the methanol ratio extremely influences the indicated power (IP) with the HSR of intake ports increasing. The IP decreases by about 1.8–2.0% for every 5% increase in methanol. Correspondingly, the methanol ratio extremely influences the indicated thermal efficiency (ITE), with the HSR of exhaust ports increasing. The ITE increases by about 2.1–3.1% for every 5% increase in methanol. The increasing methanol ratio reduces the HSR of ports for the optimal IP and ITE. To balance power performance and emission performance, the methanol ratio should be kept to 10–15%.

This chapter examines the Medea of Roman painting. In some senses, this constitutes a crazy editorial decision: gems and sculpture, sarcophagi in particular, are a crucial part of the visual culture that pulls and pushes against text and theatre. But in other senses, a two-dimensional focus offers peculiar challenges that situate Medea firmly within the domestic sphere, in cubicula and peristyles; and yet also beyond this sphere. Unlike freestanding sculpture, which actively intervenes in the viewer's space, painting affords access to a parallel universe. Its figures are not cold to the touch like Pygmalion's statue. They are intangible, exciting different desires from those elicited by stone, desires which invite viewers to leave their world behind them; or at least to pause and take stock. In these ways, painting provides a commentary on everyday life—closer to performances on stage than to installation.Ancient writers, Ovid included, recognised this analogy between painting and theatre. In defending his work against charges of immorality, the exiled poet cites the genre of the mime, asking whether it is the stage that makes its adulterous content permissible and reminding Augustus that his poems had often ‘detained his eyes’, accompanied by dancing. He continues:scilicet in domibus nostris ut prisca uirorumartificis fulgent corpora picta manu,sic quae concubitus uarios uenerisque figurasexprimat, est aliquo parua tabella loco,utque sedet uultu fassus Telamonius iram,inque oculis facinus barbara mater habet,sic madidos siccat digitis Venus uda capillos,et modo maternis tecta uidetur aquis.

This study seeks to clarify the mutual and interrelated relationship between the semantics, change and development of words, and to clarify the psychological factor that surrounds the human being in his different attitudes and linguistic contexts in life, which pushes him to express his opinions in specific linguistic or non-linguistic patterns, by clarifying the psychological dimension in the transformation of semantics in the structure of the Emirati literary text in the light of the poem (The Story of Moses) by the poet Karim Maatouk; Text context. The study adopts the descriptive analytical approach that describes and interprets linguistic phenomena. The study revealed some results, the most important of which are: The poem (The Story of Moses) by the Emirati poet Karim Matouk carries many psychological connotations that fall under the social, cultural, national, religious and other semantic fields, and the words in the text have acquired new psychological connotations different from their lexical meanings, which indicates the impact of the context in giving the word its psychological connotation, and the psychological significance of the words had a role in revealing the poet's feelings and emotions in the text; He lives between the beautiful memories of the past and the challenges of the bitter present, and one of the socio-psychological issues conveyed by the poet is the desire for male offspring, through the story of Laila with her husband, and he transferred this psychological experience to us by creating a psychological environment derived from linguistic words.

James W. Underhill. Voice and Versification in Translating Poems. University of Ottawa Press, 2016. xiii, 333 p. After its very strong stance in the 19th century, the versification part of translation scholarship was gradually declining during the 20th century, substituted by the innovative searches for semasiology, culture and society in text. The studies of structural and cognitive approaches to writing, its postcolonial identity or gender-based essence uncovered a lot of issues of the informational essence of texts, but overshadowed the meaning of their formal structures. The book ‘Voice and Versification in Translating Poems’ welcomes us to the reconsideration of what formal structures in poetry can mean. James William Underhill, a native of Scotland and a graduate of Hull University, got Master’s and PhD degrees from Université de Paris VIII (1994 and 1999 respectively). He has translated from French, German and Czech into English, and now, he is full professor of poetics and translation at the English Department of Rouen University as well as the director of the Rouen Ethnolinguistics Project. His scholarly activities focused on the subject of metaphor, versification, cultural linguistics and translation. He also authored ‘Humboldt, Worldview, and Language’ (Edinburgh University Press, 2009), ‘Creating Worldviews: Ideology, Metaphor and Language’ (Edinburgh University Press, 2011), and ‘Ethnolinguistics and Cultural Concepts: Truth, Love, Hate and War’ (Cambridge University Press, 2012). the belief of the impossibility of translating poems, poems are translated and sometimes translated quite successfully. In contemporary literary criticism, one observes the contradiction that despiteJames W. Underhill investigates this fascinating observable fact by deploying the theory of voice. The first part of the book, ‘Versification’, is more theoretical as the researcher is to summarizes the existing views and introduce fundamental terms and guidelines. The book is strongly influenced by the French theoretician Henri Meschonnic, but other academic traditions of researching verse are also present. This part includes four chapters where the author discusses recent scholarship in the subject-matter (‘Form’), theories of verse structure (‘Comparative Versification’), rhythm and stress systems (‘Meter and Language’), and the issues of patterning and repetition (‘Beyond Metrics’). The author shapes the key principle of his views that ‘[v]oice represents the lyrical subject of the poem, the “I” that creates it, but that is also created in and by the poem’ (p. 44). This stipulation drives him to the analysis of five facets in poetry translation: 1) the voice of a language; 2) the voice of an era; 3) the voice of a literary movement or context of influence; 4) the voice of a poet; 5) the voice of the particular poem. Part 2, ‘Form and Meaning in Poetry Translation’, offers more theorizing on how we can (or should) translate form. The triple typology of main approaches – (translating form blindly; translating a poem with a poem; translating form meaningfully) – sounds like a truism. The generic approach might be more beneficial, as the variety of terms applied in poetry translation and applicable to the idea of the book – (poetic transfusion, adaptation, version, variant) – would widen and deepen the range of questions trying to disclose the magic of transformations while rendering poetry of a source author and culture to the target reader as an individual and a community. The experience of a reader (individual and cultural personality) could be a verifying criterion for translating strategies shaped the translator’s experience. In Part 3, ‘Case Studies’, the author explores the English translations of Charles Baudelaire’s poetry and the French and German translations of Emily Dickinson’s poems. All translations theoreticians and practitioners will agree with the researcher’s statement that “[t]ranslating that simplicity is inevitably arduous” (p. 187). Balancing between slavery-like formalist operations and free transcreations, translators experiment on strategies of how to reproduce the original author’s voice and versification successfully enough. The longing categorically pushes us to the necessity of understanding what is in language but communication, how a nation’s emotionality is built linguistically, and why a language applies certain meters for specific emotional articulation. ‘Glossary’ (p. 297-319), compiled on the basis of theoretical reflections in the main text on the book, is of significant practical value. This could really become a good sample to follow in any academic book. This book takes us closer to the questions ‘How can a form mean something?’ and ‘How can we verify this meaning?’, though further research merged in ethnolingual, ethnopoetic and ethnomusical studies still promises to be extremely rich.

The following article presents a linguistic and stylistic analysis of A. S. Pushkin’s poem The hermit Fathers and the immaculate wives... in comparison with the Greek text of the prayer of St. Ephrem the Syrian and its Church Slavonic translation, which was the source of the Poet’s poem. The similarities of the text content and the existing differences are shown. The outstanding role of Pushkin’s text, which essentially performs the ‘transliterating’ function of transmitting Church Slavonic literature to the system of Russian verbal culture, is acknowledged. For Alexander Pushkin, the Church Slavonic language was very important as a source (or one of the sources) of formation of the Russian literary language. The poet introduced many Church Slavonic words into Russian literary speech, for which he was often criticized. Indeed, from the point of view of a native speaker of an exquisite literary language, many lexical introductions of Church Slavonisms to the text of Eugene Onegin were a stylistic challenge. Russian lexical field was regularly expanded by the poet by the means of the Church Slavonic dictionary. This is clearly confirmed by works where the Church Slavonic words fit the theme logically, without causing complaints from adherents of literary norms, but also serve the purpose of lexical enrichment of the Russian language. The analyzed poem is among such works. A comparison of the two texts (the Church Slavonic translation of the prayer of St. Ephrem the Syrian and the poem of Alexander Pushkin) shows a very important difference between them. There is humility as the highest Christian virtue and Evangelical hope in Ephrem the Syrian’s work. And there is Evangelical love as a goal and the most cherished, necessary value for a person who has fallen, but lives in hope, in A. S. Pushkin. Each of these ascetics (St. Ephrem the Syrian and Alexander Pushkin) has his own vision of the outcome of earthly life. For all its signs of Lenten prayer, the poet’s requests have a different sound. More general, more generalized. The text goes beyond the category of calendar-timed (within the Church year) prayers, it pushes the boundaries of its use. This is its further development, its further life. And this is quite natural. Having left the liturgical, prayerful, more secluded and more strict sphere for the sphere of literature (resp. in the sphere of public perception and worldview, addressed to contemporaries who are not always aware of the significance of the presence of God in their lives), the text has already changed, it has spread out. A shift in internal emphasis changes its content. It is a fundamentally independent work.

The following article presents a linguistic and stylistic analysis of A. S. Pushkin’s poem The hermit Fathers and the immaculate wives... in comparison with the Greek text of the prayer of St. Ephrem the Syrian and its Church Slavonic translation, which was the source of the Poet’s poem. The similarities of the text content and the existing differences are shown. The outstanding role of Pushkin’s text, which essentially performs the ‘transliterating’ function of transmitting Church Slavonic literature to the system of Russian verbal culture, is acknowledged. For Alexander Pushkin, the Church Slavonic language was very important as a source (or one of the sources) of formation of the Russian literary language. The poet introduced many Church Slavonic words into Russian literary speech, for which he was often criticized. Indeed, from the point of view of a native speaker of an exquisite literary language, many lexical introductions of Church Slavonisms to the text of Eugene Onegin were a stylistic challenge. Russian lexical field was regularly expanded by the poet by the means of the Church Slavonic dictionary. This is clearly confirmed by works where the Church Slavonic words fit the theme logically, without causing complaints from adherents of literary norms, but also serve the purpose of lexical enrichment of the Russian language. The analyzed poem is among such works. A comparison of the two texts (the Church Slavonic translation of the prayer of St. Ephrem the Syrian and the poem of Alexander Pushkin) shows a very important difference between them. There is humility as the highest Christian virtue and Evangelical hope in Ephrem the Syrian’s work. And there is Evangelical love as a goal and the most cherished, necessary value for a person who has fallen, but lives in hope, in A. S. Pushkin. Each of these ascetics (St. Ephrem the Syrian and Alexander Pushkin) has his own vision of the outcome of earthly life. For all its signs of Lenten prayer, the poet’s requests have a different sound. More general, more generalized. The text goes beyond the category of calendar-timed (within the Church year) prayers, it pushes the boundaries of its use. This is its further development, its further life. And this is quite natural. Having left the liturgical, prayerful, more secluded and more strict sphere for the sphere of literature (resp. in the sphere of public perception and worldview, addressed to contemporaries who are not always aware of the significance of the presence of God in their lives), the text has already changed, it has spread out. A shift in internal emphasis changes its content. It is a fundamentally independent work.

The article is devoted to the phenomenon of Orthodox church samizdat in the second half of the 20th century. The term Orthodox samizdat used in this article refers to a set of texts reproduced in an artisanal way and distributed in church goers circle without the sanction of the church or secular authorities. In the conditions of Soviet reality, the church circles were a deep periphery of public life and was formed from the marginalized or those pushed out by the Soviet authorities to the social margins. The specific position of church people in the USSR determined the repertoire of samizdat texts and their ideological orientation. The source base for this article was formed by a large library of church samizdat left after the death of Elizabeth Feodorovna Zakharova, an active parishioner of the Vvedensky Cathedral in Cheboksary. Zakharova was a typical representative of the church goers. The article reviews the genres of works that were available as the samizdat in Zakharova’s library: liturgical texts, artisan copies of pre-revolutionary publications, spiritual verses, thematic collections, folklore, apologetic literature, eschatologicaland conspiralogical texts, etc. One of the peculiarities of the existence of Orthodox samizdat in Chuvashia was that many texts circulated in translations into the Chuvash language. Among the features of Cheboksary samizdat is the replication of the prosaic translation of John Milton’s poems “Paradise Lost” and “Paradise Regained”. Church samizdat performed a number of important functions in church circles: it solved the problem of demand for liturgical and doctrinal literature in deficit conditions, shared uncensored texts, rallied church people and could besource of additional income. In general, church samizdat was an important part of the culture of the church circle during the Soviet era. The spelling and punctuation features of the original unpublished sources are preserved in the article when cited.

Realizando un recorrido por sus ensayos y su propia obra literaria, en este artículo se analiza y establece el contexto básico que lleva a Jorge Eduardo Eielson a la comprensión del legado. Para ello se hace una breve exposición de aspectos legales del patrimonio y la intuición poética del mismo a través de las ideas de otros escritores y artistas. Esta conciencia a su vez se contrapone con la posición tomada por Eielson en los años 80 a favor de una posición curatorial frente al patrimonio mueble. Adicionalmente, se hace evidente el entendimiento que el artista establecía con el pasado prehispánico. Para ello desde un enfoque multidisciplinario se analiza la iconografía y la arquitectura andina sobre las que el poeta escribía en sus ensayos; de este modo en el artículo se establece la intuición que Eielson había desarrollado desde su exilio, como una inversión de la monumentalidad italiana que se recrea en su poesía escrita en ese país. Es decir, a través de su acercamiento al pasado prehispánico, desconocido y/o despreciado, durante su vida en Lima, el artista realiza una revalorización espectacular desde el exilio. Palabras clave.-Patrimonio inmueble, arte prehispánico, poesía peruana. ABSTRACTThrough a journey of his essays and his own literary work, this article analyzes and establishes the basic context that pushed Jorge Eduardo Eielson to understand the pre-Hispanic legacy. For this purpose, it presents the heritage’s legal aspects and his poetic intuition through the ideas of other writers and artists. This conscience acts in counterpoint to the position taken by Jorge Eduardo Eielson in the 1980s in favor of a curatorial position vis-à-vis heritage assets. In addition, the article makes the artist’s understanding of the Pre-Hispanic past evident. Through a multidisciplinary approach, the Andean iconography and architecture about which the poet wrote about in his essay is analyzed. In such a way, the article establishes the intuition that Jorge Eduardo Eielson had developed from his exile, as an inversion of Italian monumentality and which is recreated in the poetry he wrote in that country. That is, through his approach to the Pre-Hispanic past, unknown and/or unappreciated, during his life in Lima, the artist puts forward a spectacular revaluation from exile. Keywords.-Property heritage, pre-Hispanic art, Peruvian poetry.

Who was Clara?By Kaj ThaningIn this essay the author describes his search for Clara Bolton and her acquaintance with among others Benjamin Disraeli and the priest, Alexander d’Arblay, a son of the author, Fanny Burney. He gives a detailed account of Clara Bolton and leaves no doubt about the deep impression she made on Grundtvig, even though he met her and spoke to her only once in his life at a dinner party in London on June 24th 1830. Kaj Thaning has dedicated his essay to Dr. Oscar Wood, Christ Church College, Oxford, and explains why: “Just 30 years ago, while one of my daughters was working for Dr. Oscar Wood, she asked him who “Mrs. Bolton” was. Grundtvig speaks of her in a letter to his wife dated June 25th 1830. Through the Disraeli biographer, Robert Blake, Dr. Wood discovered her identity, so I managed to add a footnote to my thesis (p. 256). She was called Clara! The Disraeli archives, once preserved in Disraeli’s home at Hughenden Manor but now in the British Museum, contain a bundle of letters which Dr. Wood very kindly copied for me. The letters fall into three groups, the middle one being from June 1832, when Clara Bolton was campaigning, in vain, for Disraeli’s election to parliament. Her husband was the Disraeli family doctor, and through him she wrote her first letter to Benjamin Disraeli, asking for his father’s support for her good friend, Alexander d’Arblay, a theology graduate, in his application for a position. This led to the young Disraeli asking her to write to him at his home at Bradenham. There are therefore a group of letters from before June 1832. Similarly there are a number of letters from a later date, the last being from November 1832”.The essay is divided into three sections: 1) Clara Bolton and Disraeli, 2) The break between them, 3) Clara Bolton and Alexander d’Arblay. The purpose of the first two sections is to show that the nature of Clara Bolton’s acquaintance with Disraeli was otherwise than has been previously assumed. She was not his lover, but his political champion. The last section explains the nature of her friendship with Alex d’Arblay. Here she was apparently the object of his love, but she returned it merely as friendship in her attempt to help him to an appointment and to a suitable lifelong partner. He did acquire a new position but died shortly after. There is a similarity in her importance for both Grundtvig and d’Arblay in that they were both clergymen and poets. Disraeli and Grundtvig were also both writers and politicians.At the age of 35 Clara Bolton died, on June 29th 1839 in a hotel in Le Havre, according to the present representative of the Danish Institute in Rouen, Bent Jørgensen. She was the daughter of Michael Peter Verbecke and Clarissa de Brabandes, names pointing to a Flemish background. On the basis of archive studies Dr. Michael Hebbert has informed the author that Clara’s father was a merchant living in Bread Street, London, between 1804 and 1807. In 1806 a brother was born. After 1807 the family disappears from the archives, and Clara’s letters reveal nothing about her family. Likewise the circumstances of her death are unknown.The light here shed on Clara Bolton’s life and personality is achieved through comprehensive quotations from her letters: these are to be found in the Danish text, reproduced in English.Previous conceptions of Clara’s relationship to Disraeli have derived from his business manager, Philip Rose, who preserved the correspondence between them and added a commentary in 1885, after Disraeli’s death. He it is who introduces the rumour that she may have been Disraeli’s mistress. Dr. Wood, however, doubts that so intimate a relationship existed between them, and there is much in the letters that directly tells against it. The correspondence is an open one, open both to her husband and to Disraeli’s family. As a 17-year-old Philip Rose was a neighbour of Disraeli’s family at Bradenham and a friend of Disraeli’s younger brother, Ralph, who occasionally brought her letters to Bradenham. It would have been easy for him to spin some yarn about the correspondence. In her letters Clara strongly advocates to Disraeli that he should marry her friend, Margaret Trotter. After the break between Disraeli and Clara it was public knowledge that Lady Henrietta Sykes became his mistress, from 1833 to 1836. Her letters to him are of a quite different character, being extremely passionate. Yet Philip Rose’s line is followed by the most recent biographers of Disraeli: the American, Professor B. R. Jerman in The Young Disraeli (1960), the English scholar Robert Blake, in Disraeli (1963) and Sarah Bradford in Disraeli (1983). They all state that Clara Bolton was thought to be Disraeli’s mistress, also by members of his own family. Blake believes that the originator of this view was Ralph Disraeli. It is accepted that Clara Bolton 7 Grundtvig Studier 1985 was strongly attracted to Disraeli, to his manner, his talents, his writing, and not least to his eloquence during the 1832 election campaign. But nothing in her letters points to a passionate love affair.A comparison can be made with Henrietta Sykes’ letters, which openly burn with love. Blake writes of Clara Bolton’s letters (p. 75): “There is not the unequivocal eroticism that one finds in the letters from Henrietta Sykes.” In closing one of her letters Clara writes that her husband, George Buckley Bolton, is waiting impatiently for her to finish the letter so that he can take it with him.She wants Disraeli married, but not to anybody: “You must have a brilliant star like your own self”. She writes of Margaret Trotter: “When you see M. T. you will feel so inspired you will write and take her for your heroine... ” (in his novels). And in her last letter to Disraeli (November 18th 1832) she says: “... no one thing could reconcile me more to this world of ill nature than to see her your wife”. The letter also mentions a clash she has had with a group of Disraeli’s opponents. It shows her temperament and her supreme skill, both of which command the respect of men. No such bluestockings existed in Denmark at the time; she must have impressed Grundtvig.Robert Blake accepts that some uncertainty may exist in the evaluation of letters which are 150 years old, but he finds that they “do in some indefinable way give the impression of brassiness and a certain vulgarity”. Thaning has told Blake his view of her importance for Grundtvig, and this must have modified Blake’s portrait. He writes at least: “... she was evidently not stupid, and she moved in circles which had some claim to being both intellectual and cosmopolitan.”He writes of the inspiration which Grundtvig owed to her, and he concludes: “There must have been more to her than one would deduce by reading her letters and the letters about her in Disraeli’s papers.” - She spoke several languages, and moved in the company of nobles and ambassadors, politicians and literary figures, including John Russell, W.J.Fox, Eliza Flower, and Sarah Adams.However, from the spring of 1833 onwards it is Henrietta Sykes who portrays Clara Bolton in the Disraeli biographies, and naturally it is a negative portrait. The essay reproduces in English a quarrel between them when Sir Francis Sykes was visiting Clara, and Lady Sykes found him there. Henrietta Sykes regards the result as a victory for herself, but Clara’s tears are more likely to have been shed through bitterness over Disraeli, who had promised her everlasting friendship and “unspeakable obligation”. One notes that he did not promise her love. Yet despite the quarrel they all three dine together the same evening, they travel to Paris together shortly afterwards, and Disraeli comes to London to see the them off. The trip however was far from idyllic. The baron and Clara teased Henrietta. Later still she rented a house in fashionable Southend and invited Disraeli down. Sir Francis, however, insisted that the Boltons should be invited too. The essay includes Blake’s depiction of “the curious household” in Southend, (p. 31).In 1834 Clara Bolton left England and took up residence at a hotel in the Hague. A Rotterdam clergyman approached Disraeli’s vicar and he turned to Disraeli’s sister for information about the mysterious lady, who unaccompanied had settled in the Hague, joined the church and paid great attention to the clergy. She herself had said that she was financing her own Sunday School in London and another one together with the Disraeli family. In her reply Sarah Disraeli puts a distance between the family and Clara, who admittedly had visited Bradenham five years before, but who had since had no connection with the family. Sarah is completely loyal to her brother, who has long since dropped Clara. By the time the curious clergyman had received this reply, Clara had left the Hague and arrived at Dover, where she once again met Alexander d’Arblay.Alex was born in 1794, the son of a French general who died in 1818, and Fanny Burney. She was an industrious correspondent; as late as 1984 the 12th and final volume of her Journals and Letters was published. Jens Peter .gidius, a research scholar at Odense University, has brought to Dr Thaning’s notice a book about Fanny Burney by Joyce Hemlow, the main editor of the letters. In both the book and the notes there is interesting information about Clara Bolton.In the 12th volume a note (p. 852) reproduces a letter characterising her — in a different light from the Disraeli biographers. Thaning reproduces the note (pp. 38-39). The letter is written by Fanny Burney’s half-sister, Sarah Harriet Burney, and contains probably the only portrait of her outside the Disraeli biographies.It is now easier to understand how she captivated Grundtvig: “very handsome, immoderately clever, an astrologer, even, that draws out... Nativities” — “... besides poetry-mad... very entertaining, and has something of the look of a handsome witch. Lady Combermere calls her The Sybil”. The characterisation is not the letter-writer’s but that of her former pupil, Harriet Crewe, born in 1808, four years after Clara Bolton. A certain distance is to be seen in the way she calls Clara “poetry-mad”, and says that she has “conceived a fancy for Alex d’Arblay”.Thaning quotes from a letter by Clara to Alex, who apparently had proposed to her, but in vain (see his letter to her and the reply, pp. 42-43). Instead she pointed to her friend Mary Ann Smith as a possible wife. This is the last letter known in Clara’s handwriting and contradicts talk of her “vulgarity”. However, having become engaged to Mary Ann Alex no longer wrote to her and also broke off the correspondence with his mother, who had no idea where he had gone. His cousin wrote to her mother that she was afraid that he had “some Chére Amie”. “The charges are unjust,” says Thaning. “It was a lost friend who pushed him off. This seems to be borne out by a poem which has survived (quoted here on p. 45), and which includes the lines: “But oh young love’s impassioned dream /N o more in a worn out breast may glow / Nor an unpolluted stream / From a turgid fountain flow.””Alex d’Arblay died in loneliness and desperation shortly afterwards. Dr. Thaning ends his summary: “I can find no other explanation for Alexander d’Arblay’s fate than his infatuation with Clara Bolton. In fact it can be compared to Grundtvig’s. For Alex the meeting ended with “the pure stream” no longer flowing from its source. For Grundtvig, on the other hand the meeting inspired the lines in The Little Ladies: Clara’s breath opened the mouth, The rock split and the stream flowed out.”

Shainool Jiwa’s The Rise of a Muslim Empire is a two-volume historical work on the legacy of the Fatimid Empire. The first volume surveys the religious and sociopolitical underpinnings of Fatimid rule from its North African establishment in 909 to its transition to Egypt in 969. Jiwa’s second vol- ume focuses on the pinnacle of Fatimid society up until its decline from 969-1171. This review pertains to the first of the two volumes. Working within this phase, Jiwa details the reigns of the first four Imams: ‘Abd Allāh al-Mahdī, Abū’l-Qāsim Muḥammad, Ismāʿīl al-Manṣūr, and al-Muʿizz li- Dīn Allāh. The second book, which is titled The Fatimid Rule from Egypt, discusses the latter ten Imams (4). The first chapter covers the origins of the Fatimids in respect to both religious and geographical contexts. Jiwa starts by providing the historical background of Ismaili Shiism. Here, everything from the succession crisis of 632 CE to the emergence of the different strands of Shiism are discussed. Jiwa describes the Ismaili sect as having held Ismāʿīl, the eldest son of Jaʿfar al-Ṣādiq, to have been the chosen successor of his father, therefore mak- ing him Imam. Ismāʿīl’s ephemeral mortality caused for the Imamate to then pass over to his young son, Muḥammad b. Ismāʿīl, eponym of the sect (10). The Twelvers are described as having believed in the Imamate of Jaʿfar’s youngest son, Mūsā, whose lineage gives root to the Imams of Twelver Shiism. Jiwa characterizes Ismaili beliefs as having rested on dawr al-satr (period of concealment) and daʿwa (religio-political mission) (11). The dawr al-satr refers to the Imams going into hiding with only their most trusted followers knowing their true identities. Subsequently, these follow- ers promoted the recognition of these hidden Imams, which in large part refers to daʿwa (the act of inviting). Jiwa explains that during dawr al-satr (765–909 CE) Ismaili doctrine had spread as far as from Yemen to Ifriqiya (modern-day Tunisia and eastern Algeria) (12), with its most prominent adherents being the Kutama Berbers of North Africa. Under the teachings of Abū ‘Abd Allāh al-Shīʿī, a pronounced Ismaili dāʿī (inviter), the Kutama had aspired to establish the dawlat al-ḥaqq (the righteous state) (16). This aspiration materialized under the allegiance of ‘Abd Allāh al-Mahdī who had been pronounced as Imam by his predecessor and later recognized as the mahdī (messianic figure) (20). This belief, nonetheless, was not accepted by all Ismailis, particularly those following Ḥamdān Qarmaṭ, who later came to be known as the Qaramiṭa (21). Sa- lamiyya (a town located in Syria), the town where ‘Abd Allāh al-Mahdī had resided, became unsafe due to Abbasid persecution, causing the Imam to migrate to various locations and eventually Sijilmasa (22). Meanwhile, the Kutama had grown to such a force that they had been able to seize control over Qayrawān of North Africa under the leadership of al-Shīʿī (22). When al-Mahdī was later arrested in Sijilmasa and the news spread to the Kuta- ma, a campaign of soldiers marched to secure his release and bring him to Qayrawān. Having accomplished this, the Fatimid State came into fruition (22). Jiwa provides sources detailing the events which led up to the Fatim- id establishment, including eyewitness accounts from Jaʿfar al-Ḥājib’s Sīrat Jaʿfar al-Ḥājib, secondary sources such as Aḥmad b. Ibrāhīm al-Naysābūrī’s Istitār al-Imām (‘The Concealment of the Imam’), and other historical works such as the influential Iftitāh al-daʿwa wa-ibtidāʿ al-dawla (‘Com- mencement of the Mission and the Beginnings of the State’) authored by Abū Ḥanīfa al-Nuʿmān (29-30). These references help readers pinpoint who was instrumental in recording Fatimid history. In chapter two, Jiwa discusses the establishment of the Fatimid state, giving details of its institutions, processes, and hallmark locations. Al-Mah- dī is seen to have incorporated officials who had previously served the Aghlabids (the previous rulers of Qayrawān). In addition, institutions such as maẓālim (oppressive acts) courts are discussed as having been estab- lished to provide redress for ordinary civilians against abuses of power (35). During this time of development, dissension amongst the Kutama is seen to have imploded on the basis of marginalized sentiments. Once having been one of the most loyal dāʿīs to al-Mahdī, al-Shīʿī had led a rebellion against his former Imam on charges of being a false mahdī. Ultimately this campaign was pacified, resulting in the execution of al Shīʿī. This chapter also reveals new characters who later became prominent figures in Fatimid history. The heir apparent or Prince Abū’l-Qāsim Muḥammad, the eldest son of al-Mahdī, already took up much of his father’s duties while his own son, Ismāʿīl or al-Manṣūr bi’llāh (‘the One Who is Victorious by God’) was entrusted by the sitting Imam, al-Mahdī (his grandfather), as his most faithful confidant (39). The port city of al-Mahdiyya which had been con- structed by the Fatimids in 916 is described as having been unique in its architectural design and strategic in its location. Al-Mahdiyya served as the new Mediterranean capital and had secured the Fatimids a booming com mercial fabric. Similarly, the city of Palermo in Sicily had been occupied by the Fatimids and had also brought a great deal of cultural exchange and goods. Jiwa brings out images of palaces and charts out maps of the port city to provide visual comprehension of the architecture. Chapter three surveys the reign of al-Manṣūr, discussing his ascension to power under fraught circumstances and his construction of a new city. This chapter focuses attention on the reconstruction of Palermo in vivid archaeological detail. Readers are informed of the Khariji rebellion from Ifrīqiya spearheaded by Abū Yazīd al-Nukkarī. The Kharijis are described to have been insurmountable by the Fatimids, pushing their Empire as far back as to the Mediterranean coast of al-Mahdiyya (60). It was not until al-Ḥasan b. ‘Alī al-Kalbī, the governor of Tunis, and his army pushed back against the Kharijis that the North African coastland would be recaptured (61). Despite this, the Kharijis were too difficult to overcome and remained at conflict with the Fatimids up until the death of Abū’l-Qāsim. Fearful that news of Abū’l-Qāsim’s death would puncture the morale of the Fatimid war effort, al-Manṣūr had managed to keep the news of his father’s passing silent. After an eventful encounter, al-Manṣūr would eventually go on to defeat Abū Yazīd’s army and restore Fatimid rule. Following this victory, al-Manṣūr began taking restorative measures to recover the now war-torn society. Socially considerate policies such as charity stipends, the appoint- ment of a Sunni-based Maliki judge, and omission of taxes were all strides in this effort. But the most significant of his developments was the con- struction of a new capital called Manṣūriyya. Much of this city’s structural inspiration came from the North African ancient ruins al-Manṣūr had been enchanted by (68). Jiwa’s training as a historian is evident in how she cites primary sources every chance she gets, from sermons to testimonies. Clos- ing this chapter, Jiwa provides an anecdote recorded by al-Nuʿmān which romantically relays the moment al-Manṣūr knew that his son, al-Muʿizz li-Dīn Allāh, was ready to ascend to power (77). Jiwa’s anecdotes connect the reader to the ethos of Fatimid personalities. Chapter four delves into the reign of al-Manṣūr’s heir, al-Muʿizz (953- 75), who came into conflict with both the Umayyads and the Byzantines during his reign and would later live out his final days in his new capital, al-Qāhira al-Muʿizziya (‘the Victorious City of al-Muʿizz’)—modern-day Cairo (78). Beyond the royal family, Jiwa presents key stalwarts that the Em- pire was indebted to. Once servant to al-Mahdī, Jawhar, who was of Slavic origin, had risen through the ranks (serving both as scribe and commander in battle), eventually being entrusted with many honorable state positions. This chapter is the longest one of the book and attempts to accomplish many things. Along with discussing the battles which ensued during this juncture, Jiwa also fleshes out the theology of Ismaili beliefs. Al-Nuʿmān is said to have written extensively on the topic—including his text written between 958 and 960, Daʿā’im al-Islām (‘Pillars of Islam’), which delineates such fundamental concepts to Ismaili theology as walāya (allegiance and obedience), īmān (faith), ẓāhir (exoteric), and bāṭin (esoteric) (88-89). The early Fatimid age is described as having been a milieu of knowledge seek- ing, with debates and lectures taking place on a frequent basis. Through the majālis (teaching sessions) program, the Ismaili doctrine would proliferate to the broader society. Jiwa’s text is filled with firsthand accounts which describe Fatimid institutions, ceremonies, and events, providing vivid pic- tures of what is being described (e.g., al-Nuʿmān’s description of the grand circumcision ceremony hosted in 962 and Ibn Haytham’s description of the diversity of attendees and tailoring of lessons in the majālis by teach- ers such as Aflaḥ b. Hārūn al-Mālūsī, 95). The tension between the Uma- yyads in Spain and the Fatimids is also presented in this chapter, depicted as stemming from their varying loyalties in the rivalry between ‘Alī b. Abī Ṭālib and Muʿāwiya. The coastal regions of the Mediterranean and North Africa would see many conflicts between the Fatimids and Umayyads; the Umayyads and the Byzantines worked together to suppress their Fatimid adversary, with the Byzantines launching campaigns on the parts of the Empire closest to Sicily while the Umayyads attacked the most western part. After briefly losing parts of their North African territories, the Fatimids eventually reasserted their control over the Maghrib, leaving the Umayyads no choice but to resort to a peace treaty (103). The Ismaili daʿwā reached far and wide, with its message gaining adherents from the Gulf of Yemen to as far as Sind. Jiwa also describes the Kalbid dynasty of Fatimid Sicily, which had come under the governorship of al-Ḥasan al-Kalbī. During this period (960-65), Sicily had been the site of intense warfare between the Fatimids and the Byzantines, with two distinct battles resulting in the most pivotal outcomes for the region, namely the Pit and the Straits (119). Like the Umayyads, the Byzantines would also later come to negotiate terms of peace with the Fatimids in 958 (116). Chapter five speaks to the venture the Fatimids made into Egypt in 966. Here, readers are presented with the terms acknowledged by local nobles such as Sharīf Abū Jaʿfar Muslim al-Ḥusaynī and the Fatimids, the founding of the new capital (al-Qāhira), and the relocation of al-Muʿizz along with a significant portion of the Manṣūriyyan population in 972. The chapter serves as both a close to the book and a cliffhanger for the second volume of the series (which turns to Fatimid rule in Egypt under the son of al-Muʿizz, Niẓār b. al-Muʿizz). Capturing the cohesive religious fabric of Fatimid rule, Jiwa notes that al-Muʿizz pledged to maintain Sunni religious life while ruling over Egypt (126); she describes pillars of Sunni Islam that can serve as points of contrast to the Ismaili tradition (127). Individuals who can justly be seen as archetypes of the Fatimid intel- ligentsia are referenced both biographically and through their works. Jiwa introduces her readers to eminent characters including missionaries like Abū Yaʿqūb al-Sijistānī of Khurāsān (d. after 971); writers and thinkers who composed the Fatimid ideology such as Qāḍī al-Nuʿmān; poets who gave inspiration such as Muḥammad b. Hānī; and generals who rendered their lives for the Fatimid Empire such as al-Ḥasan b. ‘Ali al-Kalbī. Although some readers may be frustrated by the detail of jumping back and forth across names, dates, and events, those who are able to follow the work the- matically will certainly find this work to be nothing short of informative. Jiwa impressively condenses a rich and fluid history into few pages while including the most essential elements, people, and institutions making up this period. Readers are provided with visual aids (maps, family tree charts, and city maps) to help identify and locations and structures which would otherwise come off as abstract and jargon-heavy. In addition, she includes colorful images of important monuments such as mosques, coins, and ar- tifacts. Ameen OmarMA, Islamic Studies & HistoryThe George Washington University

Shainool Jiwa’s The Rise of a Muslim Empire is a two-volume historical work on the legacy of the Fatimid Empire. The first volume surveys the religious and sociopolitical underpinnings of Fatimid rule from its North African establishment in 909 to its transition to Egypt in 969. Jiwa’s second vol- ume focuses on the pinnacle of Fatimid society up until its decline from 969-1171. This review pertains to the first of the two volumes. Working within this phase, Jiwa details the reigns of the first four Imams: ‘Abd Allāh al-Mahdī, Abū’l-Qāsim Muḥammad, Ismāʿīl al-Manṣūr, and al-Muʿizz li- Dīn Allāh. The second book, which is titled The Fatimid Rule from Egypt, discusses the latter ten Imams (4). The first chapter covers the origins of the Fatimids in respect to both religious and geographical contexts. Jiwa starts by providing the historical background of Ismaili Shiism. Here, everything from the succession crisis of 632 CE to the emergence of the different strands of Shiism are discussed. Jiwa describes the Ismaili sect as having held Ismāʿīl, the eldest son of Jaʿfar al-Ṣādiq, to have been the chosen successor of his father, therefore mak- ing him Imam. Ismāʿīl’s ephemeral mortality caused for the Imamate to then pass over to his young son, Muḥammad b. Ismāʿīl, eponym of the sect (10). The Twelvers are described as having believed in the Imamate of Jaʿfar’s youngest son, Mūsā, whose lineage gives root to the Imams of Twelver Shiism. Jiwa characterizes Ismaili beliefs as having rested on dawr al-satr (period of concealment) and daʿwa (religio-political mission) (11). The dawr al-satr refers to the Imams going into hiding with only their most trusted followers knowing their true identities. Subsequently, these follow- ers promoted the recognition of these hidden Imams, which in large part refers to daʿwa (the act of inviting). Jiwa explains that during dawr al-satr (765–909 CE) Ismaili doctrine had spread as far as from Yemen to Ifriqiya (modern-day Tunisia and eastern Algeria) (12), with its most prominent adherents being the Kutama Berbers of North Africa. Under the teachings of Abū ‘Abd Allāh al-Shīʿī, a pronounced Ismaili dāʿī (inviter), the Kutama had aspired to establish the dawlat al-ḥaqq (the righteous state) (16). This aspiration materialized under the allegiance of ‘Abd Allāh al-Mahdī who had been pronounced as Imam by his predecessor and later recognized as the mahdī (messianic figure) (20). This belief, nonetheless, was not accepted by all Ismailis, particularly those following Ḥamdān Qarmaṭ, who later came to be known as the Qaramiṭa (21). Sa- lamiyya (a town located in Syria), the town where ‘Abd Allāh al-Mahdī had resided, became unsafe due to Abbasid persecution, causing the Imam to migrate to various locations and eventually Sijilmasa (22). Meanwhile, the Kutama had grown to such a force that they had been able to seize control over Qayrawān of North Africa under the leadership of al-Shīʿī (22). When al-Mahdī was later arrested in Sijilmasa and the news spread to the Kuta- ma, a campaign of soldiers marched to secure his release and bring him to Qayrawān. Having accomplished this, the Fatimid State came into fruition (22). Jiwa provides sources detailing the events which led up to the Fatim- id establishment, including eyewitness accounts from Jaʿfar al-Ḥājib’s Sīrat Jaʿfar al-Ḥājib, secondary sources such as Aḥmad b. Ibrāhīm al-Naysābūrī’s Istitār al-Imām (‘The Concealment of the Imam’), and other historical works such as the influential Iftitāh al-daʿwa wa-ibtidāʿ al-dawla (‘Com- mencement of the Mission and the Beginnings of the State’) authored by Abū Ḥanīfa al-Nuʿmān (29-30). These references help readers pinpoint who was instrumental in recording Fatimid history. In chapter two, Jiwa discusses the establishment of the Fatimid state, giving details of its institutions, processes, and hallmark locations. Al-Mah- dī is seen to have incorporated officials who had previously served the Aghlabids (the previous rulers of Qayrawān). In addition, institutions such as maẓālim (oppressive acts) courts are discussed as having been estab- lished to provide redress for ordinary civilians against abuses of power (35). During this time of development, dissension amongst the Kutama is seen to have imploded on the basis of marginalized sentiments. Once having been one of the most loyal dāʿīs to al-Mahdī, al-Shīʿī had led a rebellion against his former Imam on charges of being a false mahdī. Ultimately this campaign was pacified, resulting in the execution of al Shīʿī. This chapter also reveals new characters who later became prominent figures in Fatimid history. The heir apparent or Prince Abū’l-Qāsim Muḥammad, the eldest son of al-Mahdī, already took up much of his father’s duties while his own son, Ismāʿīl or al-Manṣūr bi’llāh (‘the One Who is Victorious by God’) was entrusted by the sitting Imam, al-Mahdī (his grandfather), as his most faithful confidant (39). The port city of al-Mahdiyya which had been con- structed by the Fatimids in 916 is described as having been unique in its architectural design and strategic in its location. Al-Mahdiyya served as the new Mediterranean capital and had secured the Fatimids a booming com mercial fabric. Similarly, the city of Palermo in Sicily had been occupied by the Fatimids and had also brought a great deal of cultural exchange and goods. Jiwa brings out images of palaces and charts out maps of the port city to provide visual comprehension of the architecture. Chapter three surveys the reign of al-Manṣūr, discussing his ascension to power under fraught circumstances and his construction of a new city. This chapter focuses attention on the reconstruction of Palermo in vivid archaeological detail. Readers are informed of the Khariji rebellion from Ifrīqiya spearheaded by Abū Yazīd al-Nukkarī. The Kharijis are described to have been insurmountable by the Fatimids, pushing their Empire as far back as to the Mediterranean coast of al-Mahdiyya (60). It was not until al-Ḥasan b. ‘Alī al-Kalbī, the governor of Tunis, and his army pushed back against the Kharijis that the North African coastland would be recaptured (61). Despite this, the Kharijis were too difficult to overcome and remained at conflict with the Fatimids up until the death of Abū’l-Qāsim. Fearful that news of Abū’l-Qāsim’s death would puncture the morale of the Fatimid war effort, al-Manṣūr had managed to keep the news of his father’s passing silent. After an eventful encounter, al-Manṣūr would eventually go on to defeat Abū Yazīd’s army and restore Fatimid rule. Following this victory, al-Manṣūr began taking restorative measures to recover the now war-torn society. Socially considerate policies such as charity stipends, the appoint- ment of a Sunni-based Maliki judge, and omission of taxes were all strides in this effort. But the most significant of his developments was the con- struction of a new capital called Manṣūriyya. Much of this city’s structural inspiration came from the North African ancient ruins al-Manṣūr had been enchanted by (68). Jiwa’s training as a historian is evident in how she cites primary sources every chance she gets, from sermons to testimonies. Clos- ing this chapter, Jiwa provides an anecdote recorded by al-Nuʿmān which romantically relays the moment al-Manṣūr knew that his son, al-Muʿizz li-Dīn Allāh, was ready to ascend to power (77). Jiwa’s anecdotes connect the reader to the ethos of Fatimid personalities. Chapter four delves into the reign of al-Manṣūr’s heir, al-Muʿizz (953- 75), who came into conflict with both the Umayyads and the Byzantines during his reign and would later live out his final days in his new capital, al-Qāhira al-Muʿizziya (‘the Victorious City of al-Muʿizz’)—modern-day Cairo (78). Beyond the royal family, Jiwa presents key stalwarts that the Em- pire was indebted to. Once servant to al-Mahdī, Jawhar, who was of Slavic origin, had risen through the ranks (serving both as scribe and commander in battle), eventually being entrusted with many honorable state positions. This chapter is the longest one of the book and attempts to accomplish many things. Along with discussing the battles which ensued during this juncture, Jiwa also fleshes out the theology of Ismaili beliefs. Al-Nuʿmān is said to have written extensively on the topic—including his text written between 958 and 960, Daʿā’im al-Islām (‘Pillars of Islam’), which delineates such fundamental concepts to Ismaili theology as walāya (allegiance and obedience), īmān (faith), ẓāhir (exoteric), and bāṭin (esoteric) (88-89). The early Fatimid age is described as having been a milieu of knowledge seek- ing, with debates and lectures taking place on a frequent basis. Through the majālis (teaching sessions) program, the Ismaili doctrine would proliferate to the broader society. Jiwa’s text is filled with firsthand accounts which describe Fatimid institutions, ceremonies, and events, providing vivid pic- tures of what is being described (e.g., al-Nuʿmān’s description of the grand circumcision ceremony hosted in 962 and Ibn Haytham’s description of the diversity of attendees and tailoring of lessons in the majālis by teach- ers such as Aflaḥ b. Hārūn al-Mālūsī, 95). The tension between the Uma- yyads in Spain and the Fatimids is also presented in this chapter, depicted as stemming from their varying loyalties in the rivalry between ‘Alī b. Abī Ṭālib and Muʿāwiya. The coastal regions of the Mediterranean and North Africa would see many conflicts between the Fatimids and Umayyads; the Umayyads and the Byzantines worked together to suppress their Fatimid adversary, with the Byzantines launching campaigns on the parts of the Empire closest to Sicily while the Umayyads attacked the most western part. After briefly losing parts of their North African territories, the Fatimids eventually reasserted their control over the Maghrib, leaving the Umayyads no choice but to resort to a peace treaty (103). The Ismaili daʿwā reached far and wide, with its message gaining adherents from the Gulf of Yemen to as far as Sind. Jiwa also describes the Kalbid dynasty of Fatimid Sicily, which had come under the governorship of al-Ḥasan al-Kalbī. During this period (960-65), Sicily had been the site of intense warfare between the Fatimids and the Byzantines, with two distinct battles resulting in the most pivotal outcomes for the region, namely the Pit and the Straits (119). Like the Umayyads, the Byzantines would also later come to negotiate terms of peace with the Fatimids in 958 (116). Chapter five speaks to the venture the Fatimids made into Egypt in 966. Here, readers are presented with the terms acknowledged by local nobles such as Sharīf Abū Jaʿfar Muslim al-Ḥusaynī and the Fatimids, the founding of the new capital (al-Qāhira), and the relocation of al-Muʿizz along with a significant portion of the Manṣūriyyan population in 972. The chapter serves as both a close to the book and a cliffhanger for the second volume of the series (which turns to Fatimid rule in Egypt under the son of al-Muʿizz, Niẓār b. al-Muʿizz). Capturing the cohesive religious fabric of Fatimid rule, Jiwa notes that al-Muʿizz pledged to maintain Sunni religious life while ruling over Egypt (126); she describes pillars of Sunni Islam that can serve as points of contrast to the Ismaili tradition (127). Individuals who can justly be seen as archetypes of the Fatimid intel- ligentsia are referenced both biographically and through their works. Jiwa introduces her readers to eminent characters including missionaries like Abū Yaʿqūb al-Sijistānī of Khurāsān (d. after 971); writers and thinkers who composed the Fatimid ideology such as Qāḍī al-Nuʿmān; poets who gave inspiration such as Muḥammad b. Hānī; and generals who rendered their lives for the Fatimid Empire such as al-Ḥasan b. ‘Ali al-Kalbī. Although some readers may be frustrated by the detail of jumping back and forth across names, dates, and events, those who are able to follow the work the- matically will certainly find this work to be nothing short of informative. Jiwa impressively condenses a rich and fluid history into few pages while including the most essential elements, people, and institutions making up this period. Readers are provided with visual aids (maps, family tree charts, and city maps) to help identify and locations and structures which would otherwise come off as abstract and jargon-heavy. In addition, she includes colorful images of important monuments such as mosques, coins, and ar- tifacts. Ameen OmarMA, Islamic Studies & HistoryThe George Washington University

This paper stems from a main goal, which is to find out the significance of the verbs associated with the words of oppositeness, which refer to the annexation and separation in the poetry of Abi Tammam Al-Ta’i, by analyzing these verbs, standing on, and studying them in a careful and contemplative study. To reveal its significance, and the reason why Abu Tammam used them in his poetry, combining through in this regard, the two contradicted words, depending highly on his broad culture, his mastery of the language, his ability, and the privacy of his use and choice, as well as his philosophy that he functioned in his poetry, because he is considered one of the best poets at his time, and his poems are still repeated by tongues till now, all this pushed us to study these verbs in his poetry.

Abstract This article examines the evolution of PN Review, a leading Manchester-based poetry magazine, in relation to second-wave feminism in the 1970s and 1980s. Largely funded by the Arts Council of Great Britain, the magazine was initially not a welcoming place for female poets and contributors. Women’s poetry was often disparaged, and few women contributed to the magazine. From the early 1980s, however, PN Review started to include more women voices—a transition led by the founding editor Michael Schmidt, who was eager to include forgotten and neglected female poets on his list. This essay argues that changes in public funding, and increased market opportunities for women authors and feminist ideas, forced the magazine to evolve and adapt quickly. Women were taking a more visible role in the publishing world, as the success of the feminist press Virago (created in 1973) shows. Women poets were becoming more vocal, and openly denounced their marginalization in the poetry scene. The funding cuts decided by Margaret Thatcher’s government led to profound changes as Arts Council ‘clients’ competed fiercely to survive in a tough landscape. Changing priorities at the Arts Council—including the need for more diversity in publishing—also had an impact on grant holders. PN Review therefore offers a good example of a literary institution that was directly pushed towards gender diversity through external pressures from the Arts Council of Great Britain and the market.

Abstract In this article, I first examine the use of the word orgia in the context of Optatian’s, Avienus’ and Claudian’s poetry. I then evaluate the references to the cult of Eleusis occurring in the proemium of the first book of Claudian’s Rape of Proserpina. By these two test cases, I try to survey the way in which the vocabulary of the mystery cults is used by Latin poets writing in the 4th century AD, a time punctuated by events which had progressively pushed the mystery cults to the margins of the Empire. In these texts, which might possibly mirror contemporary religious issues—although they are, first and foremost, literary projects shaped by their own models and narrative mechanisms—the mystery ceremony is sometimes likened to a theatrical performance; the emphasis is placed on the collective sensory experience, on the occult nature of these practices, as well as on their etiological aspects and symbolic meaning.

LANGUAGE NOTE | Document text in Chinese; abstract also in English. 《讀甘蔗生遣興詩次韻而和之》七十六首是王夫之四十四歲隱居衡陽時，偶然讀到友人金堡舊年之《遣興詩》次韻而作。其後又有《廣遣興》詩五十八首。兩組詩最明顯的寫作特色在於幾乎句句用事，涵蓋了經史諸子和道家丹術、通俗文學等各個領域，而用事手法又極拗峭，其用意頗不易曉。其中尤爲突出的是大量的禪語和禪典的運用，是爲他生平詩作用禪最爲密集者。因此兩組詩初看之下，似乎顛覆了王夫之一貫堅持的詩以道情、情景交融之核心主張。但如果仔細尋繹其中用事和構象的邏輯規律，便會發現這套規律其實是船山詩學主要的創作觀念———例如“以神理相取”、“取勢”、“蟬聯暗換”等等———在實踐中的運作。更重要的是，這兩組詩在詩學創作方面有明顯的自我指涉和內省意義，與王夫之的詩選評論也存在著確切的關聯。因此，對於全面瞭解船山詩學體系，特別是其理論和實踐之間的關係，“遣興詩”和“廣遣興”是至關重要的環節。本文將以探討船山詩學的理論和實踐之間的關聯爲目標，取《讀甘蔗生遣興詩次韻而和之》爲“遣興詩”與“廣遣興詩”的代表作，作深入解讀，重點關注統一其命意和寫法層面的邏輯規律。然後，與船山詩學創作觀念相印證，作爲他日全面深入考察之基礎。 The rich extensive scholarship produced over the last few decades on Wang Fuzhi’s poetic theory has neglected to take into account an essential component-his own poetry. In a set of seventy-six poems titled “Letting out What Stirred Me” and a further fifty-eight titled “Letting out What Stirred Me-Broadened,” written in the years 1662-1663 in Hengyang, Wang Fuzhi asks the questions of life and death in a sweeping representation of the patterns that underlie the changing universe. The two sets of poems are the first culmination of Wang’s thoughts and practice in poetry before the age of fifty, containing many self-reflective lines about the role of the poet and the use of language in poetry. The process that he identifies at the start as the “work of Creation” shares the same mechanism as the process by which the poet weaves his web of images. The world thus created is a visionary one in which changes in human life, history, and culture are reorganized through concrete images from the natural world, cognized through the poet’s senses in the time and space of specific poems. The poems are also a remarkable play of words that pushes the limits of polysemy and poetic grammar. Through an analysis of the first set of “Letting out What Stirred Me” poems, I demonstrate that on the one hand, Wang’s early poetry affirms the core ideas in outlined in his later theoretical works, while on the other, exceeds their scope in the world and poetic vision that it presents. In doing so, I propose a roadmap to rethink Wang’s poetic thought in the light of his own compositional practices.

Abstract Objective Groshong valved catheters require retrograde tunneling and a port chamber needs to be attached to the catheter after trimming. During this process, working space constraints are generally faced by operators. We describe a novel technique to improve the comfort of the operator while working in a constrained space. Materials and Method The port catheter with the distal valve is retrogradely tunneled and trimmed. Thread from absorbable surgical suture is used to anchor the catheter lock. Anchored catheter lock is comfortably pushed over the catheter into the subcutaneous tunnel without it being migrated proximally. Once the port chamber is attached to the catheter, the catheter lock is retrieved back and moved to the locking position. We retrospectively analyzed implantable ports for smoothness of curves and outcomes in terms of catheter days. Results Technical success was achieved in all patients. There were no periprocedural complications. Clinical success was achieved in 27/29 cases. Early port removal was done due to infection in one patient and for nonhealing of the wound in one patient. Conclusion The catheter lock anchor is a safe and useful technique for the placement of valved ports. A satisfactory catheter-nut angle can be achieved with this technique.

Amaç: Bu çalışma, farklı apikal çaplara sahip ProTaper Next, HyFlex Electric Discharge Machining, Reciproc ve Reciproc Blue nikel-titanyum (NiTi) eğelerin apikal transportasyonu ve kanal düzleştirmesini karşılaştırmayı amaçlamıştır. Gereç ve Yöntemler: Kırk sekiz mandibular molar insan dişi çalışmaya dahil edildi. Dişler NiTi eğe tiplerine göre (n = 12) dört gruba ayrıldı. Image J yazılımı ile üst üste çakıştırılmış ilk ve son radyografik görüntüler kullanarak bukkolingual ve meziodistal yönlerde apikal transportasyonu ve kanal düzleştirmeyi karşılaştırmak için dijital radyografik yöntem kullanıldı. Analizlerde Bonferroni düzeltmeli Kruskal-Wallis testi ve Wilcoxon testi kullanıldı; P değeri %5 olarak belirlendi. Bulgular: Hem apikal transportasyon hem de kanal düzeltme için eğeler arasında istatistiksel olarak önemli farklılıklar bulundu. Eğe çapının #40'a çıkarılması apikal transportasyon ve kanal düzleşmesini arttırdı (P <0.05). Sonuç: ProTaper Next, HyFlex Electric Discharge Machining ve Reciproc Blue eğeleri benzer sonuçlar verdi. Daha büyük bir enstrüman kullanmak apikal transportasyonu ve kanal düzleşmesini arttırdı.