In lieu of an abstract, here is a brief excerpt of the content:Contemporary IlluminationsReading Donne's "A Nocturnall upon S. Lucies Day through Three Twenty-First-Century PoemsTheresa M. DipasqualeIn his contribution to the 2017 volume John Donne and Contemporary Poetry, edited by Judith Scherer Herz, Jonathan F. S. Post explores "a nearly endless landscape of comparisons and contrasts" that unfolds between Stephen Edgar's 2008 poem "Nocturnal" and Donne's "A nocturnall upon S. Lucies day, Being the shortest day."1 Post's essay (...) illuminates what Calvin Bedient, in the same volume, calls the "great glacier-gloom" of Donne's "Nocturnall," its devastated "solemnity."2 In doing so, Post renders largely moot many questions that have preoccupied critics of Donne's poem: whether or how this poem reflects Donne's experience; whether the woman lamented by the speaker is a fiction or a historical person lamented by the poet; and if the latter, whether the poem mourns the 1617 death of John Donne's wife, Anne More Donne; the 1627 death of Donne's patroness Lucy, Countess of Bedford; or the Countess' near-fatal illness in 1612–13.3 These biographical and historical questions are not without value, but they draw the critic's attention away from more compelling questions regarding the "I" of the poem—a persona who claims not to be a person at all, but an inscription, a grave, "A quintessence" derived or "expresse[d]/... even from nothingnesse."4In this article, I widen and intensify the pool of light cast on Donne's "Nocturnall" by Post's presentist and intertextual analysis of Edgar's poem, examining three of the many other twenty-first-century poems that tap into Donne's poem, allude to it, quote it, adopt its structure, or respond to the anguish it expresses.5 Each of the three I discuss is [End Page 1] luminous in its own right but also a potent critical response to Donne's five-stanza poem. Each teaches something different about Donne's lyric. The poets whose work I consider—Liz Lochhead, Jay Wright, and Meena Alexander—all address twenty-first-century concerns; they grapple with questions and sorrows beyond the scope of Donne's conscious imagining yet latent in his poem. Each picks up where critics leave off when they "assume," as Alison R. Rieke notes, "that the speaker... is a husband or lover, possibly Donne, who experiences grief upon his wife's or mistress' death."6 Each takes up the challenge that Donne's persona issues when it denies that it is either "a man" (30) or any other living thing.In the first stanza of "A Nocturnall upon S. Lucies Day," this anti-persona observes that "all" other things around it are "Dead and enterr'd" and "yet" that "all these seeme to laugh, / Compar'd with mee, who am their Epitaph" (8–9). If it is an incised text rather than a human being, the poem's "mee" can no more speak than laugh; it is as silent as the grave it marks or as the dead flesh interred there. Indeed, it goes on to claim that it is "every dead thing" and that love's alchemical "art" has "expresse[d] / A quintessence even from" this mass of nonliving objects, this "nothingnesse" (12, 14–15). Struggling to define its anti-essential essence, it declares itself a mass burial site: "I, by loves limbecke, am the grave / Of all, that's nothing" (21–22). An epitaph, dead things, nothingness, a grave: all these are silent. And yet, in Donne's poem, they strenuously assert their nonbeing; they pulse with a paradoxically audible sense of self. After "Compar'd with mee" in the final line of the opening stanza, the reader encounters sixteen additional instances of the first-person singular in the poem's forty-five lines: "my" appears once, "mee" five times, and "I" eleven times. And the "I" issues a directive to readers: commanding, in the opening line of stanza 2, "Study me then, you who shall lovers bee" (10). But those who obey this order, making themselves students of the poem's inscribed nothingness, find themselves dismissed in the poem's final stanza. Having insisted that its "Sunne" will never "renew... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Poems Ancient and Contemporary HELAINE L. SMITH On the cover of Like: Poems by A. E. Stallings is a double photograph of a double image: two ancient carved heads, in profile and facing each other, of the pole horses of a quadriga, a four-horse chariot, dated about 570 BC, and currently in the collection of The Acropolis Museum. The marble horse in profile on the right side of (...) the cover, looking to the left, has a longer neck and face, and is undamaged except for a hairline crack at the neck. Its counterpart has a broader cheek, with light chipping above the nostril and an ear broken off. But they so mirror each other, they are so “like,” that at first glance one might suppose the photographs to be the right and left sides of the same horse. The bottom half of the cover of Like is an exact replica of the top, but the tinting is different, the heads in the top band cream-colored, in the arion 27.1 spring/summer 2019 Like: Poems by A. E. Stallings was published in 2018 by Farrar, Straus and Giroux, New York. Stallings’s earlier books of poetry include Archaic Smile (1999), Hapax (2006), Olives (2012), and a verse translation of Lucretius’ The Nature of Things (2007). bottom a delicate ochre or sand. There is, then, on the very cover of Like a promise of complex correspondence and subtle variation within the volume itself. Stallings’s title suggests poetry as the art of locating and articulating likeness or as the act of finding one thing in another. And in Stallings’s delicate, robust, witty, and humane use of the past, “like” also and most significantly means that they—the figures of ancient myth—and we are alike in our shared experience and shared humanity. Stallings sometimes presents classical and mythological references glancingly, and that is part of the delight—catching the joke in Hermes’ epithet, “lord of florists,”1 finding in “The Rosehead Nail” that the local blacksmith in Monteagle, Tennessee, “was a god / Before... the tasks / That had been craft were jobbed out to machine.” Likeness is, of course, the mode of Homeric simile, and in “Selvage” Stallings turns the simile of Odyssey 22.468–73, in which Homer compares the hanged maids to thrushes caught in a net, into a different but contextually relevant parallel: “they hang... From the warp like a dozen ancient loom weights,” a likeness that evolves from Stallings’s double entendre in line seven describing the maids as “spinsters of their own doom,” an allusion both to the task, properly theirs, of weaving and to their disclosure to their lovers of Penelope’s secret unravelling. Stallings can expand as well as adapt Homeric similes. At Iliad 2.87–2.90 Homer likens the Achaians’ assembly at Agamemnon’s command to arm and attack Troy to bees leaving the hive: Like the swarm of clustering bees that issue forever in fresh bursts from the hollow in the stone, and hang like bunched grapes as they hover beneath the flowers in springtime fluttering in swarms together this way and that way so the many nations of men from the ships and the shelters along the front of the deep sea beach marched in order by companies to the assembly2 178 poems ancient and contemporary Homer finds likeness in the orderly setting forth—of bees, of men—to do what is required. This, on the other hand, is what Stallings does: Colony Collapse Disorder (Iliad, 2.87–2.90) Just as a swarm pours from a hollow rock In one long beeline for the wild thyme, Alighting in clusters on this purple and that, But is stricken with a mass amnesia That disorients the compass of the sun, And they forget the steps to traditional dances, And each helicopters into a different dimness Taking their saddlebags of sweetness with them, And the hive goes dark, the queen is left to starve, And the drones humbug the whimper of the world, And the palace falls to ruins, broken into By vandals who would loot the golden stores Left in the brittle wax hexameters, Just so... And “so” her... (shrink)

Abstract“Poems That Kill” examines the connection between poetry and revolution in Amiri Baraka’s “Black Art” (1965) and in general. The article tracks how Baraka uses poetry to start or advance a revolution in his own life, in the lives of his contemporaries, in poetry, in our present moment, and in the future. The article also discusses poetic address (how poems address readers), sincerity, ambiguity, and hate speech.

Bishop was both fully at home in, and fully estranged from, Nova Scotia and Brazil. In Nova Scotia, after Bishop’s father had died, her mother went insane; Bishop lived there with her grandparents from the age of three to the age of six. She then left to be raised by an aunt in Massachusetts, but spent summers in Nova Scotia till she was thirteen. Subsequent adult visits north produced poems like “Cape Breton,” “At the Fishhouses,” and “The Moose”; and Bishop (...) responded eagerly to other poets, like John Brinnin and Mark Strand, who knew that landscape. Nova Scotia represented a harsh pastoral to which, though she was rooted in it, she could not return. Brazil, on the other hand, was a place of adult choice, where she bought and restored a beautiful eighteenth-century house in Ouro Prêto. It was yet another pastoral, harsh in a different, tropical way—a pastoral exotic enough to interest her noticing eye but one barred to her by language and culture . Foreign abroad, foreign at home, Bishop appointed herself a poet of foreignness, which is, far more than “travel,” her subject. Three of her books have geographical names—“North and South,” “Questions of Travel,” and “Geography III”—and she feels a geographer’s compulsions precisely because she is a foreigner, not a native. Her early metaphor for a poem is a map, and she scrutinized that metaphor, we may imagine, because even as a child she had had to become acquainted through maps with the different territories she lived in and traveled back and forth between. In the poem “Crusoe in England,” Bishop’s Robinson Crusoe, shipwrecked on his island, has nightmares of having to explore more and more new islands and of being required to be their geographer: I’d have nightmares of other islands stretching away from min, infinities of islands, islands spawning islands, ………………………………………… knowing that I had to live on each and every one, eventually, for ages, registering their flora, their fauna, their geography.This recurrent anxiety marks the end of one of Bishop’s earlier dreams—that one could go home, or find a place that felt like home. In “A Cold Spring,” a book recording chiefly some unhappy years preceding her move to Brazil, there had yet survived the dream of going home, in a poem using the Prodigal Son as surrogate. He deludes himself, by drinking, that he can be happy away, but finally his evening horrors in exile determine him to return: Carrying a bucket along a slimy board, he felt the bats’ uncertain staggering flight, his shuddering insights, beyond his control, touching him. But it took him a long time finally to make his mind up to go home. [“The Prodigal Son”] Helen Vendler is Kenan Professor of English at Harvard University. She has written books on Yeats, Stevens, Herbert, and Keats, and is now working on a study of Shakespeare’s sonnets. She has recently edited the Harvard Book of Contemporary American Poetry. (shrink)

Poetry is the most complex and intricate of human language used across all languages and cultures. Its relation to the worlds of human experience has perplexed writers and readers for centuries, as has the question of evaluation and judgment: what makes a poem "work" and endure. The Poem as Icon focuses on the art of poetry to explore its nature and function: not interpretation but experience; not what poetry means but what it does. Using both historic and (...) class='Hi'>contemporary approaches of embodied cognition from various disciplines, Margaret Freeman argues that a poem's success lies in its ability to become an icon of the felt "being" of reality. Freeman explains how the features of semblance, metaphor, schema, and affect work to make a poem an icon, with detailed examples from various poets. By analyzing the ways poetry provides insights into the workings of human cognition, Freeman claims that taste, beauty, and pleasure in the arts are simply products of the aesthetic faculty, and not the aesthetic faculty itself. The aesthetic faculty, she argues, should be understood as the science of human perception, and therefore constitutive of the cognitive processes of attention, imagination, memory, discrimination, expertise, and judgment. (shrink)

A contemporary of Giordano Bruno and Galileo, Tommaso Campanella was a controversial philosopher, theologian, astrologer, and poet who was persecuted during the Inquisition and spent much of his adult life imprisoned because of his heterodox views. He is best known today for two works: _The City of the Sun_, a dialogue inspired by Plato’s _Republic_, in which he prophesies a vision of a unified, peaceful world governed by a theocratic monarchy; and his well-meaning _Defense of Galileo_, which may have (...) done Galileo more harm than good because of Campanella’s previous conviction for heresy. But Campanella’s philosophical poems are where his most forceful and undiluted ideas reside. His poetry is where his faith in observable and experimental sciences, his astrological and occult wisdom, his ideas about deism, his anti-Aristotelianism, and his calls for religious and secular reform most put him at odds with both civil and church authorities. For this volume, Sherry Roush has selected Campanella’s best and most idiosyncratic poems, which are masterpieces of sixteenth-century Italian lyrics, displaying a questing mind of great, if unorthodox, brilliance, and showing Campanella’s passionate belief in the intrinsic harmony between the sacred and secular. (shrink)

The paper's goal is the understanding of the ̔ fear of the other̕ within the Contemporary Indian Literature context and, in particular, through dalit women literature. I have selected four hindi dalit poems because they represent dalit women’s voice and they capture their agonies, pains and the dominant caste males vs females’ fear, the so called ̔fear of the other̕. It becomes inscribed into dalit women’s minds, as evidenced by many contemporary poems, so much so that women can (...) be said to experience an ̔enviroment of fear̕ enveloping their lives. For this reason, the paper is divided into four main parts: first, an introduction on dalit women issue; second, a brief analysis of the dalit women’s fear; third, how Hindi language can affect the society an and fourth, an analysis of poems written by eminent dalit poetesses together with the picture of dalit women arised from this literature. Finally, it is taken into consideration the translation from dalit women’s poems in Hindi into another language as a case study for a worldwide spread and awareness on the issue. Dalit Women. (shrink)

This paper introduces the Generalized Argumentation Theory which takes argumentation as a locally rational socio-cultural interaction governed by social norms and carried out through discourse between the members of a socio-cultural community in order to reason things out. Then we bring in the basic structure of generalized argumentation and the localized procedure of Generalized Argumentation Theory for studying the argumentative rules. On the basis of above introduction, we use the localized procedure to analyze a case of political argumentation by reciting (...) poems in ancient China. By doing so, it’s indicated that political argumentation by reciting poems, in essence, takes cultural principle of Li of the Spring and Autumn Period as argumentative rules and uses poems to express ideas, in virtue of which arguments are accepted as locally rational by the politicians at that time. At last, the Little Red Book quotation fight, a similar political activity, is discussed briefly to show the significance that ancient Chinese political argumentation has on contemporary argumentation. (shrink)

Speaking of T. S. Eliot’s The Waste Land, F. R. Leavis says, “The unity the poem aims at is that of an inclusive consciousness: the organization it achieves as a work of art is of the kind that … may, by analogy, be called musical.” Speaking of the same poem, Karl Shapiro says, “That it is lacking in unity is obvious. Any part of The Waste Land can be switched with any other part without changing the sense of (...) the poem.”. (shrink)

The questions ‘What is man?’ and ‘What is Europe?’ were among the main interests of Thomas Mann. In dozens of his essays and speeches as well as in some of his major novels Mann searched for the essence of European culture. In this paper we discuss Mann’s ideas about humanism, which he considered to be the core of the European identity. In both Mann’s novels and his essays he investigates the opposition between Enlightenment values and Romantic thinking. Mann believed in (...) the necessity of a fusion of these two, a synthesis in which a belief in reason, morality and the possibility of progress go hand in hand with an awareness of the dark and tragic side of the human condition. ‘Dostoevsky in moderation’, as one of his essays is titled. This synthesis, which he named a ‘humanism of the homo Dei’, is Mann’s proposal for a renewed European identity. Mann’s ideas about a revived humanism as the foundation for the European identity are both interesting in the context of his literary oeuvre as well as inspiring in the light of our contemporary debates on European and Western values and identity. (shrink)

These are indeed "poems from a gentle heart," one which can say, "To be alive today I'm glad." --D. S.

In order to answer our question, "What is the object of the poem?" we must consider two stages of the coming to be of the poem. This is what unqualified organicists forget. The first stage discloses what is called by A. C. Bradley the "subject matter of the poem." It shows the subject matter to consist of the objects of non-aesthetic experience, with whatever structure they may inherently possess as appropriate to their natures, which the poet employs (...) in the making of his poem. These objects can be classified by the philosopher of culture into four main categories: the cognitive, the aesthetic, the moral, and the religious. The reason for including aesthetic objects as possible stuff which makes up the subject matter of the poem is the fact that the artist sometime uses finished poems in the same way in which he uses the rest of his experience, as when a Shakespeare, a Goethe, or a Marlowe employs old poetry to make new. (shrink)

This document includes the first English translation of Georg Trakl’s recently discovered poem “Hölderlin,” along with two commentaries on it. Moore’s commentary highlights the significance of this poem for continental philosophy (especially Heidegger and Derrida) by focusing on the German word for madness, Wahnsinn, which Trakl (mis)spells with three n’s. Moore argues that this word resists the sense of gentle gathering that Heidegger locates in Trakl’s poetry and therefore in Hölderlin and his madness. Trakl is, rather, a precursor (...) to Paul Celan. Moore’s commentary concludes with a new translation of Celan’s own poetic response to Hölderlin, titled “Tübingen, Jänner.” Weichselbaum’s commentary discusses the background for the genesis and discovery of Trakl’s “Hölderlin.” Weichselbaum compares this poem with other moments in which Trakl alludes to Hölderlin. (shrink)

Ever since Plato's condemnation of the poets who did not deserve a place in his ideal city poetry has, in areas of the Western world, drawn suspicion as for its ability to convey the "truth." Philosophy, then, was thought to be a better candidate assuming that the truth in question could only be "discursive" as opposed to "poetic." In the West, the tension between poetry and philosophy reached a quasi-chiasmatic peak with modernism, a period during which the poem asserted (...) in the most radical way its own mode of thinking. Alain Badiou in his Que pense le poème? qualifies the singularity of poetic thought in terms of "musical silence." Yet, in spite of the depth and beauty of the image, the poem falls short of being considered as philosophical thought proper. By moving away from a conception of philosophy centred on logos as method, the poem may conceivably reveal a profoundly philosophical nature. Such is the case with the poetic prose of French contemporary writer Christian Bobin. Starting from Badiou's conception of "musical silence" in poetry this essay reflects on the extent to which emptitude at work in Bobin amounts to a uniquely philosophical mode of thinking. (shrink)

This essay reconsiders the haphazard arrangement of Donne's first printed collection of poems in relation to an elegy written for Donne by one Thomas Browne, published for the first and only time in that same volume. The earliest recorded response we have to Donne's verse considered as a complete body of work, Browne's elegy thematizes the readerly tendency to interpret this textual body in the light of "subjective" notions of "proper" desire. Through a close reading of Browne's poem, in (...) which I contextualize his key image of the bad reader as a "circumciser" within the theological and medical discourses of the period, I argue that Browne's response to Donne's text is at once instructively prescient -- providing a useful allegory of reading for the contemporary critic -- and also helpful in situating Donne at the cusp of a historical transformation between "medieval" and "early modern" conceptions of the sexual and the spiritual.IThe structural organization of John Donne's first printed book of poetry makes no obvious sense. Published posthumously in 1633, the collection eschews even the basic generic distinctions so familiar to Donne's modern audience: "Songs and Sonnets," "Satires," "Verse Letters," and "Divine Poems" . Several readers over the years have commented upon the disorderly configuration of Donne's 1633 text; and most recently, Leah Marcus has provided a detailed analysis of the collection in Unediting The Renaissance, itself an ambitious attempt to combine the traditional skills of textual bibliography with the insights of poststructuralist theory. Among other things, Marcus asserts that the very layout and internal composition of Donne's first collection constitute graphic evidence for the ultimate impossibility of "fixing" him within any reductively binary scheme. Indeed, for Marcus, the version of Donne projected by the 1633 Poems confirms not only her deconstructivist principles but also her aesthetic taste more generally. In her words, the collection is a striking melange of sacred and secular that refuses to separate John Donne from Jack. Verse epistles . . . jostle up against scurrilous amatory verses and evocations of human decay in a rough gallimaufry of mingled passions that projects a John Donne very like the Donne most of us value, a Donne for whom the sacred and secular are so closely entwined as to be inseparable.This reading would probably not be considered controversial in most quarters, and I too am in agreement with the main points of Marcus's argument, insofar as they go. However, I want to pause for a moment over one of the more undeveloped aspects of Marcus's interpretation, encoded in her use of the phrase "most of us." As the context makes clear, by "most of us" Marcus means a rather small band of nonreligious or liberal, professionalized, twentieth-century readers. Of course, Marcus is perfectly justified in assuming that her audience will be drawn from exactly this narrow demographic , but at the same time it must also be admitted that "most of us" therefore only refers to the tiniest portion of Donne's actual historical readership. Given that Marcus is performing an analysis of Donne's 1633 Poems, then, one obvious question emerges from her account: How might readers in 1633 have responded to the collection's juxtaposition of the religious with the secular? What might its disorganization have signified for them?One possible answer to this question has been suggested by Arthur F. Marotti, perhaps the most influential of Donne's textualist critics. In Manuscript, Print, and the English Renaissance Lyric, Marotti suggests, against Marcus, that Donne's first editors deliberately delay the readerly encounter with Donne's more earthly lyrics by burying them toward the back of the book. In other words, according to Marotti, the appearance of random disorganization that Marcus values is actually an intentional blind -- the result of a conscious attempt to "protect the reputation of Dean Donne from moral taint."However, this ingenious theory is not without flaws. For example, we are required to accept Marotti's contention. (shrink)

A new translation of Parmenides' poem, preceded by a long introduction. M. Beaufret's attitude towards, and interpretation of, the Parmenidean fragments have been influenced heavily by Heidegger, as has, in some cases, his choice of readings. The Greek is included, however, on pages facing the translation, and departures from the standard text of Kranz are noted.--V. C. C.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Partial Truth (Poems 2015–19) by Christopher NorrisNiall GildeaNorris, Christopher. A Partial Truth (Poems 2015–19). The Seventh Quarry Press, 2019. 133pp.“No interval but some event takes place.”(Norris, “Freeze-Frame,” A Partial Truth)A Partial Truth, a collection of thirty-seven pieces, is the seventh volume of poetry by philosopher and literary theorist Christopher Norris. Nobody familiar with Norris’s distinguished career will be surprised to learn that his recent turn to versification (...) is not a repudiation of intellectual and rhetorical seriousness, but a re-emphasis of the same using resources not typically found in academic prose. Norris, an interdisciplinarian long before that term became a slogan, has in his work clocked up considerable epistemological mileage across diverse terrain, his critical friendship with deconstruction leading him to important interventions in analytic and Continental philosophy, institutional critique, philosophy of science and mathematics, legal studies, music, politics and, after all, creative criticism.Creative criticism is a relatively embryonic genre, until recently typified generally by a prose that owes a debt to Jacques Derrida’s Cir-confession, Glas and La carte postale. This is a style that foregrounds the philosophical unsaid – the repressed autobiographical, desirous, and otherwise messy constituents of that canon. It does so in part by jettisoning the academic politesse, and let’s say timidity, which help maintain such statutes of limitation. In a more specific way, creative criticism may be understood as a Romantic development set in train by the “Yale School” of deconstruction and its fellow travelers, straining in their own ways against the subordinate role of the reader and critic instituted by the likes of Matthew Arnold and T. S. Eliot.In the foreword to his 2017 volume The Winnowing Fan, Norris at once compliments this “strong” critical rebelliousness (xii), and critiques its ecstatic, quasi-apocalyptic hubris, provisionally aligning his own creative criticism with the “poetic diction” (xxi) of eighteenth-century figures such as Dryden and Pope. It is an analogy with caveats – not least Norris’s stated allergy to the “air of arrogance” (Tempus-Fugitives ix) of [End Page 122] their heavily end-stopped tendentiousness – but one which schematizes a poetics that both carries a definite argument and could not make this argument otherwise than in a manner reliant on verse’s formal properties.Note, however, the fact that Norris takes his distance from both strong criticism and those eighteenth-century essayists on the grounds of their shared self-assurance. A steadier presiding influence is William Empson, whose enmity towards Eliotic New Criticism, which “fixes a prescriptive gulf between poetry and other kinds of discourse,” makes him a political forebear, dissenting from modern forms of literary historical doctrinalism, specifically “that whole anti-rationalist complex of ideas that made the discontinuity between poetic and non-poetic language into a shibboleth of aesthetic, ethical, and (though rarely advertised as such) socio-political principle” (Tempus-Fugitives xix–xx). Norris is no straightforward disciple of Empson – who regarded Derrida, and the other “horrible Frenchmen” Norris used to invite him to read, as “so very disgusting, in a simple moral or social way, that I cannot stomach them” (qtd. in Haffenden 52). And yet, one constant quality of both Norris’s verse and prose criticism is a welcome sobriety of explication when it comes to the more recondite or outright flamboyant enclaves of modern European thought.A Partial Truth, and Norris’s books of verse generally, are explicit in outlining the ways in which his poetry functions as a reaction to the diaristic, mumbling slackness of much contemporary poetry; but does his turn to verse also indicate some reaction to contemporary theory? A Partial Truth’s “Foreword,” with modesty, states that “[i]f these poems have any distinctive merit then it lies in the treatment of interesting ideas in a way that deploys certain formal means to draw out complexities and further implications that would lie beyond the reach of a prose rendition” (14). We will specify some of the relations between form and discursive complexity presently, but for now, it is worth suggesting that Norris’s commitment to verse forms of historically recognizable kinds forecloses from him the mealy-mouthed, argumentatively fugitive character of... (shrink)

Maurice Blanchot, in his essay on Hülderlin, calls our age “an empty time.” Martin Heidegger, paraphrasing Hülderlin's monumental elegy “Bread and Wine,” speaks of our “destitution.” In Hülderlin's language, we are experiencing the absence of the “gods who have fled.” The Western world, according to these authors, finds itself in a crisis of alienation: the old beliefs, values, and worldviews that used to anchor us in the world have been long rent asunder, and we cast about in vain for a (...) ground that isn't there. Yet, as Heidegger writes, our time is “no longer able even to experience its own…. (shrink)

This study was a Persian-English comparative translation investigation on the selected poems of Forough- Farrokhzad, an influential contemporary Iranian poet. Two English translations were analyzed: one by a native Persian speaker, Sholeh Wolpé, an Iranian poet and translator, and the other by a non-native Persian speaker, Jascha Kessler, an American poet, writer and translator. The translations were reviewed according to Vinay and Darbelnet’s(1995) model which identifies two general translation strategies: direct and oblique, resembling literal versus free classifications, respectively, along (...) with their supplementary proce- dures in order to investigate the frequency of the application of each procedure by the two translators. After situating every line of the poems in the related categories, the number of times each procedure was em- ployed was examined. The findings indicated that both translators used the oblique strategy more than the direct one. The non-native translator, however, used the oblique strategy considerably more frequently com- pared to the native translator. Finally, new procedures called complementary procedures were proposed by the researchers to be added to Vinay and Darbelnet’s (1995) model in order to fill the gaps in the application of strategies and procedures to the poems of Forough Farrokhzad and probably other poems. (shrink)

Abstract:Trains, a representation of Western technology and civilization, entered China in the early twentieth century. Han Bo poeticizes this train-induced Chinese modernity and its ongoing processes by mobilizing female images and characters on, of, or around the train, itself a complex of technocultural material forces entering into the vision of the modern Chinese people both individually and collectively. This essay analyzes such a train of train images in two poems by Han Bo, “Modern Sexual Equipmentality” and “Mass-Murdering Equipmentality,” while providing (...) a brief contextual and conceptual framework for understanding some of the literary and philosophical aspects of contemporary Chinese poetry with some focus on their gender dynamics. (shrink)

The macaronic poem beginning “Syng y wold, butt, alas!” given the title On the Times by Thomas Wright, has not attracted much notice, but those who have chosen to comment on it do not seem seriously to have questioned Wright's dating of 1388. In what follows I hope to show that this date is wrong and that On the Times was probably written some eight years earlier. Though such redating is hardly likely to enhance the poem's literary reputation, (...) which is deservedly modest, the historical importance of its satire on contemporary abuses is considerably increased once we accept that it was composed on the eve of the Peasants' Revolt. (shrink)

To the extent that one subscribes to the proposition, by now a virtual principle of criticism , that literary texts constitute sites for the negotiation, often vigorous, of power relations within a society, the reader of Catullus can hardly avoid some consideration of the poet's attitude toward contemporary political matters. It is a subject on which two principal lines of thought can be traced. Mommsen argued that Catullus responded to the enormities that followed the reinvigoration of the First Triumvirate (...) at the conference of Luca in 56 by occupying a thoroughly optimate position. Wilamowitz, on the other hand, insisted that Catullus' lyrics reflect only moments of the author's individual experience, amongst which expressions of personal distaste for certain public figures naturally appear but nothing which can appropriately be taken as indications of a political stance. The approach of Wilamowitz has proved more influential, followed in spirit if not in specifics by numerous commentators. To the degree that Catullus has been assimilated to the Augustan elegists, whose poems have been deemed by a scholar of the stature of Veyne to be anti-political in nature, it has been all the easier to reject the idea that Catullus adopts a political position, an assessment strongly maintained in a recent study by Paul Allen Miller, for whom the rejection of all political engagement is the sine qua non of true lyric poetry. Mommsen's optimate Catullus has lately found his champion, however, in a careful article by H. P. Syndikus. Although Miller and Syndikus, like Wilamowitz and Mommsen, draw diametrically opposed conclusions concerning politics in Catullus' poetry, they are agreed nevertheless that politics can be regarded as a relatively straightforward term: it refers to statecraft, matters of government, and party strife. Other readers, however, have been more self-conscious in their theoretical concerns, a salutary consequence of which has been a shift by some to a less narrow conception of the field of reference appropriate to discussions of ‘the political’ in Latin literature. (shrink)

The article discusses the notion of metrical dualism as a phenomenon of the reader’s perception of verse. The author analyzes the prosody and metrics of Marina Tsvetayeva’s poems “Неподражаемо лжет жизнь” (“How perfectly deceitful life is ….”, 1922). However, the aim of this study is not to interpret the metre of Tsvetayeva’s verse, but rather to obtain a model of reading verse and thus show how the reader’s perception of metre changes. Thus, the author consciously has not considered the metric (...) or the logaoedic interpretations of this poem, while approaching the text from the point of view of the reader’s perception which is always aimed at the revealing of symmetric structures. This approach makes it possible to take into account such aspects as the variety of metric interpretations, the dynamic development of verse metre, the internal and external metrical boundaries in text, etc. The analysis of Tsvetayeva’s verse reveals the interaction of two rhythmic patterns in the text, which is connected to the general meaning of the poem that tells the reader about the deceitfulness of life. (shrink)

This paper analyzes how space is metaphorized in some Chan poems, and it investigates how space metaphor contributes to Chan culture. It concentrates onorientational metaphors, metaphor associated with an upward or/and a downward orientation. Orientational metaphors tend to be grounded in dichotomized thought, e.g., “GOOD IS UP” vs. “BAD IS DOWN”, “DIVINE IS UP” vs. “MORTAL IS DOWN”, etc. This paper will demonstrate that in some Chan poems, orientational metaphors do not function this way. Instead, what is foregrounded is the (...) kind of spatial relationship created by opposite orientations, namely, the broad, ever-extending space. To demonstrate how this metaphorical understanding of space is achieved, this paper addresses three particular space-related issues: (1) how certain entities representing dimensional space serve to function as a cognitive metaphor that is common in Chan poetry as a genre; (2) how up-down orientations can interact and form a metaphorical pattern in a text; and (3) how spatial image schemas (e.g., VERTICALITY, NEAR-FAR, PATH, CENTER-PERIPHERY, CONTAINER, etc.) can be identified, interact with one another, and underpin the pattern of metaphor communicating the idea of that broad, ever-extending, imaginal space. All in all, this study aims to demonstrate how space metaphor, as a signifying force, functions in Chan poems and how suchmetaphor represents Chinese Chan culture. (shrink)

In my article I analyze one fragment (B1) of the poem On Nature of Parmenides, which introduces the entire work. I describe the journey of the young man,from darkness to light, as a mystic way to the Truth (Aletheia), the way of gnosis.

This article offers a pragmatic and relational analysis of the controversial heuristic of cultural resistance and presents some of the problems that affect the production and distribution of the poetic discourses of resistance and emancipation. To that end, it focuses on the incorporation of the historicity and the historic contingency of conflict as key elements of the subjectification constituted by the poem of resistance as “poem for the political”. It also explores the applicability of certain notions common to (...) the contemporary critical tradition, as developed by scholars such as Badiou, Mouffe, Rancière, Bal and Žižek. (shrink)