Search Results (26)

Between December 1773 and May 1775, several port cities and towns across the American seaboard participated in a “tea party” as an act of political defiance toward the recent onslaught of taxation laws implemented by the British government on American colonists. Indeed, on 19 October 1774, in Annapolis, Maryland, taxpayer Anthony Stewart was coerced by the Sons of Liberty to burn his ship to the water line to prove his patriotism to the American cause, despite his Loyalist leanings. The circumstances that led to the Patriots targeting tea as their symbol for destruction, the Bostonian group to attire themselves as Mohawks and throw boxes overboard, the multiple threats made to Customs officials and Loyalists alike, speak to the American Revolution borne of a relationship between the mechanisms of hydrocolonialism (concentrated at the Custom House and at major trade docks) and countersurveillance systems implemented by the Sons and Liberty (represented by a number of different groups) and enforced by emerging poetic forms rising with the times of revolution. This is most demonstrated in the “poet of the American Revolution,” Philip Morin Freneau, and his poetic responses to the events leading up to and during the American Revolution. Taking the example of the Annapolis Tea Party and Freneau’s poetry under the consideration of hydrocolonialism among other critical interventions, this essay will consider the push and pull of imperial surveillance and patriotic countersurveillance at the breaking point of the American Revolution, when riots between colonists over goods and taxes spoke to larger socioeconomic systems of control that remain ever present in American cultural values. Full article

Poetry reading remains a largely underexplored area in phonetic research. While previous studies have highlighted its potential and challenges, experimental research in the Spanish context is still limited. This study aims to examine the evolution of Spanish poetry reading over time, focusing on its main prosodic features. Applying the VIP-VSP phonetic model to 40 poetry recordings, we analyzed the organizational and prosodic indices that characterize poetry reading. Mean speech rate, plenus (the ratio of speaking time to pausing), and pitch span emerged as key parameters for capturing change. The results identified two distinct historical phases—first and second radio-television—showing significant effects on speech rate, plenus, and pitch span: speech rate and pitch span increased over time, while plenus decreased. Gender also played a key role, with female voices exhibiting significantly higher values in both pitch span and plenus. Variability and recurring strategies were observed within and across authors. This study confirms that poetry reading has evolved along a ‘stylistic-chronological’ trajectory, while also reflecting gender-based distinctions. These findings underscore the need for interdisciplinary analytical approaches and diversified classification groupings to fully capture the complexity of this mode of speech. Full article

This article explores the literary significance of the bell as an important image in the poetry of Taixu 太虛 (1890–1947), a renowned modern Chinese Buddhist reformer and poet–monk. While the bell has long-held symbolic meaning in Buddhist ritual and Chinese literary traditions, its role in poetry has often been overlooked in favor of material culture studies. This article addresses that discrepancy by examining how Taixu inherited and reinterpreted classical bell imagery to articulate his personal emotions and religious philosophy. Following close analysis of more than sixty of his poems, it argues that Taixu used the bell not merely as a traditional image but also as a vehicle for expressing two core Buddhist concepts: mental purification and transcendence of the mundane. The article also highlights his creative pairing of the bell with other classical Chinese images—such as sunsets, moonlight, mountains, and forests—to form complex imagery groups. Taixu’s skillful execution of this technique exemplifies the considerable literary talent and spiritual insight that enabled him to blend Buddhist doctrine with poetic expression to remarkable effect. Overall, his poetic corpus may be considered as both a continuation and a transformation of classical Chinese poetry traditions, affirming his identity as a modern poet–monk who possessed profound esthetic and philosophical vision. Full article

Background: In 2021, Taiwan’s healthcare workers faced significant stress due to the coronavirus disease 2019 (COVID-19) pandemic. This study aims to enhance healthcare workers’ self-awareness of their stress and improve their work efficiency by using symphonic poetry to inspire resilience. Methods: This qualitative study involved in-depth interviews with a panel of physicians, nurses, and specialist nurses. The interviews were conducted using ATLAS—ti 7.5 qualitative analysis software for content analysis. Participants must have attended the “Meeting Mahler, Meeting Myself” concert organized by the medical center. The concert was based on the poetry from the fifth movement of Mahler’s Symphony No. 2, “Resurrection”, and included symphonic poetry and a manual. The manual combined pictures and a complementary interview guide to facilitate participants sharing their pandemic experiences and health. Results: A total of 19 healthcare workers participated in the interviews. All participants had attended the institute’s symphonic poetry concert “Meeting Mahler, Meeting Myself”. The average age of the participants was 44.1 ± 11.4 years, and their average working experience was 19.1 ± 13.1 years. The group included nine physicians (47.4%), eight nurses (42.1%), and two specialist nurses (10.5%). The results were categorized into three major themes: “Pandemic-Induced Physical and Mental Exhaustion”, “Symphonic Poetry as a Tool for Building Resilience”, and “Enhancing Mental Toughness to Overcome Adversity”. Conclusions: Healthcare workers experienced stress and exhaustion during the pandemic. Symphonic poetry can serve as a supportive tool to inspire resilience and enhance mental toughness among healthcare professionals facing pandemic-related challenges. Full article

Walking Miracles, a dance/theater project, was created from the stories of six adult survivors of child sexual abuse and completed due to the conscientious work of many collaborators. A psychotherapy group of fourteen sessions was audiotaped and attended by the six survivors, three dancer/choreographers, and one psychotherapist. Our goals were to provide positive psychotherapeutic experiences for the survivors and the foundation for a dance/theater piece that would then be presented to the public at the conclusion of the group sessions. Our hope was that audiences would gain a deeper empathetic understanding of child sexual abuse and would become stronger allies for the survivors and stronger advocates for child abuse prevention. Empathetic abilities were critical for this project—in the psychotherapy process, in the care taken to protect the trust and confidentiality of the survivors, and in the creation of the script, choreography, music, and poetry. I will examine the nature of empathy and the processes for creating specific movements from such dark experiences. How does one approach a work about issues so intensely personal? What care do we need to provide for the participants during the progression of the work? What are the ethical aspects of such projects that use the personal narratives of hidden communities? Full article

The classic modern framework for biblical Hebrew poetry is based upon intertwined conceptions of parallelism and meter. This framework provides certain assumptions for how biblical lines work, as well as (often implicit) strategies for how biblical poems should be read as poems. These assumptions and strategies are apparent in modern analyses of Psalm 29, especially in the kinds of proposals consistently made for altering the Masoretic Text to make it more “regular”, even in the absence of textual evidence. My recent book on biblical poetry (Unparalleled Poetry: A Cognitive Approach to the Free-Rhythm Verse of the Hebrew Bible, 2023) has challenged these assumptions and strategies, proposing a new framework for biblical poetry that is theoretically grounded in cognitive research and based upon the textual data of the biblical poems. Preferring the term “conformation” to parallelism, I propose that the versification system of biblical poetry is constrained by Gestalt perceptual processing and that the listening or reading strategies demanded by this versification system require part–whole processing of lines into line groupings, line groupings into figures, and figures into the whole poem, as the poem aurally unfolds. In this article, I demonstrate that these part–whole strategies of reading biblical poems make sense of the textual shapes of Psalm 29 and lead to an artful experience of the poem. Full article

The rapid advancement of digital technology has necessitated a reevaluation of traditional educational methodologies, particularly in literature and visual arts. This study investigates the application of metaverse technology to integrate contemporary poetry and visual arts, aiming to enhance university-level education. The purpose is to develop a convergent teaching method that leverages the immersive and interactive capabilities of the metaverse. The research involves a joint exhibition project with students from Sangmyung University and international participants, incorporating a metaverse-based educational program. A sample of 85 students participated in the program, and their experiences were evaluated through surveys and focus group interviews (FGIs). The findings reveal significant correlations between content satisfaction and method satisfaction, underscoring the importance of engaging and interactive methods. The study also identifies technical challenges and provides insights for optimizing digital platforms for educational purposes. The implications suggest that integrating metaverse technology in arts education can significantly enhance creativity, critical thinking, and interdisciplinary skills, offering a sustainable and innovative approach to modern education. Based on these implications, this paper proposes methods for incorporating the insights gained from case analyses and implications into the design of educational programs. It is anticipated that this approach will contribute to enhancing the quality of convergence education in higher education institutions. Furthermore, it is expected that this program will serve as a starting point for the systematic implementation of integrated education and the use of digital platforms, thereby helping to reduce disparities in integrated education between countries. Full article

Âşıks, renowned for their adeptness at improvisational poetry, are viewed as the inheritors of certain shamanic functions within historical contexts. Originally, shamans assumed diverse roles encompassing poetry, medicine, and priesthood before social and religious transformations prompted a gradual shift of the poetic responsibilities, first to individuals termed ozan (bards) and later to âşık, beginning from the 15th to 16th centuries. Âşıks share parallels with shamans in their upbringing, developmental stages toward âşıklık (bardhood), and esteemed societal positions. Their reverence for deceased masters becomes evident in their artistic presentations, wherein they express homage to the memories, and consequently the spirits, of their masters by reciting the works of esteemed âşık masters, notably Köroğlu, during their performances. This practice, referred to as “usta malı söylemek” (the performance of the masters’ poems and folk songs) within the Turkish âşık tradition, represents an endeavor to establish a connection with the spirits of ancestors. The resemblance between the tradition of âşıks evolving within the master–apprentice dynamic and shamans invoking the spirits of departed ancestors, embarking on celestial and subterranean journeys empowered by them, and the âşıks’ homage to their masters’ spirits through recitations of their works, thereby sensing their masters’ influence by engaging with them, is striking. This study explores the extent to which contemporary âşıks consciously embrace this resemblance. To this end, a sample group of 34 âşıks residing in diverse regions of Türkiye was interviewed, and the acquired data were analyzed using the document analysis method. Accordingly, all the âşıks who participated in the study were nurtured within the tradition of the master–apprentice relationship akin to shamans. They diligently sought to evoke the spirits of their masters during their performances by reciting masters’ poems and songs, reminiscent of shamans invoking the spirits of deceased shaman ancestors through prayers resembling divine verses. Furthermore, while variations specific to different regions and age groups existed among these âşıks, it was observed that consciously reciting the poems of their masters elevated the masters’ spirits. Simultaneously, they harbored concerns about the potential harm that neglecting this practice might inflict upon the tradition, themselves, and their surroundings. Full article

This study investigated co-constructed research poetry as a way to understand the lived experiences of people affected by rarer dementia and as a means to use poetry to convey those experiences to healthcare professionals. Using mixed methods, 71 people living with rarer dementia and care-partners (stakeholders) contributed to co-constructing 27 poems with professional poets; stakeholders’ verbatim words were analysed with descriptive qualitative analysis. Stakeholders were also surveyed and interviewed about their participation. Healthcare professionals (n = 93) were surveyed to elicit their responses to learning through poetry and its acceptability as a learning tool. Poems conveyed a shared narrative of different aspects of lived experience, often owing to atypical symptoms, misunderstandings by professionals, lack of support pathways, and a continuous struggle to adapt. Stakeholder surveys indicated it was a valuable experience to both co-create and respond to the poems, whilst group interviews revealed people’s experiences of the research poetry were characterised by reflection on lived experience, curiosity and exploration. Healthcare professionals’ responses reinforced poetry’s capacity to stimulate cognitive and affective learning specific to rare dementia support and prompt both empathy and critical thinking in practice. As the largest poetry-based study that we are aware of, this novel accessible approach of creating group poems yielded substantial information about the experiences and needs of those affected by rarer dementia and how poetry can contribute to healthcare education and training. Full article

My recent research on an early female bhakti saint brought to the fore differences between her perspective as represented in poetry attributed to her and her medieval biographer’s representation of her concerns. Through that study, the widespread academic use in recent scholarship of traditional biographies to interpret female bhakti saints became especially visible and problematic to me. In this experimental essay, I consider what patterns we might find if we prioritize the poetry attributed to influential female bhakti saints, navigating the significant issues of subjectivity, voice, and utterance to discern the contours of their devotional subjectivity as an authoritative nexus for conceptualizing and expressing individual and group devotion. In contrast to scholarly assurances that female bhakti saints are internally steadfast or that they are mainly troubled by external situations, I argue that their devotional subjectivity voices their realization that diverse embodied experiences of contestation are generative for a shared sense of devotion. Full article

Although emotions occupy an important place in Alevism, their representation in Alevi history and the present has not yet been sufficiently researched. This study addresses this desideratum and discusses the representation and codification of emotions on the basis of central representatives of Alevi poetry. The focus of this study is the conjunction of constitutive teachings with basic emotions. In the poems, religious beliefs that are considered constitutive are explicitly linked to emotions such as love, grief and anger. In this way, central beliefs become emotionally charged and correspondingly more accentuated. At the same time, the poems convey an emotional expectation to the target audience: various rhetorical stylistic devices are used to convey to the addressees how they should react emotionally to certain ideas, memories and beliefs. In this way, these emotions fulfil the function of feeling rules that must be observed in order to be part of the collective. The analysis of Alevi poetry suggests that emotions have been an important factor in the history of Alevism for social order, group formation and religio-cultural demarcation. Full article

João Delgado’s poetry first appeared as an anthology of translated poetry in He’arat Shulaym Issue 1, published in November 2001 in Jerusalem by the artist collective Sala-Manca. The entire issue was devoted to João Delgado. Delgado was a Portuguese-Argentinean poet, born in Lisbon circa 1920 (or not), who left Portugal as a political refugee for Buenos Aires. He disappeared in 1976 during the military dictatorship in Argentina (1976–1983). Since 1976, there has been no trace of his fate, although new fragments of his work are constantly being discovered, translated, and published by the Sala-Manca group. There is no evidence of any originals of his work. Literary critics in Israel praised Delgado’s poetry and art and even identified previously unknown relationships to poets and artists from the European avantgarde. In Sala-Manca’s artistic work, dating back two decades, João Delgado and his heteronyms would have a central role and focus, blurring the boundaries of the group, blurring the fictional with the “real”, and proposing a subjectivity that embraces multiplicity and dispersion. Translating his poetry into Hebrew, a foreign language (to Delgado), and bringing it into print for the first time in neither its original language nor the cultural context in which it was created may be seen as a kind of de-contextualization of the poet’s poetry, since Delgado always kept himself and his oeuvre connected to the immediate surroundings where it was produced. On the other hand, perhaps it is actually this possibility—to “become only in translation”—that is one of the outstanding characteristics of Delgado’s poetry, emblematic of its linguistic and conceptual elasticity. This paper examines João Delgado’s poetic work in relation to Sala-Manca’s artistic work and the way in which both Sala-Manca and Delgado create a “system of life” by being heteronyms of one another, allowing for a multiplicity of identities, and stressing the relation to Others. Full article

Within the ancient corpus we find depictions of people seeking refuge and protection: in works of fiction, drama and poetry; on wall paintings and vases, they cluster at protective altars and cling to statues of gods who seemingly look on. Yet the ancient evidence does not lend itself easily to exploring attitudes to refugees or asylum seekers. Hence, the question that begins this investigation is, representation of whom? Through a focus on the Greco-Roman material of the Mediterranean region, drawing on select representations, such as the tragedies Medea and Suppliant Women, the historical failed plea of the Plataeans and pictorial imagery of supplication, the goal of the exploration below is not to shape into existence an ancient refugee or asylum seeker experience. Rather, it is to highlight the multiplicity of experiences within narratives of victimhood and the confines of such labels as refugee and asylum seeker. The absence of ancient representations of a generic figure or group of the ‘displaced’, broadly defined, precludes any exceptionalising or homogenising of people in such contexts. Remaining depictions are of named, recognisable protagonists, whose stories are known. There is no ‘mass’ of refuge seekers, to whom a single set of rules could apply across time and space. Given these diverse stories of negotiation for refuge, another aim is to illustrate the ways such experience does not come to define the entirety of who a person is or encompass the complete life and its many layers. This paper addresses the challenges of representation that are exposed by, among others, thinkers such as Hannah Arendt, Liisa Malkki and Gerawork Gizaw. Full article

The New American Poetry anthology delineated “schools” of North American poetry which have become seminal: The Black Mountain School (Charles Olson, Robert Creeley, Denise Levertov), the New York School (John Ashbery, Barbara Guest, Frank O’Hara), the San Francisco Renaissance (Robert Duncan, Robin Blaser, Jack Spicer), and the Beats (Allen Ginsberg, Gary Snyder, Michael McClure). The word seminal is used in a traditional way, from the root: “of seed or semen … full of possibilities”, but here also because the work is dominated by men and the omission of poets like Diane di Prima and Joanne Kyger seems especially egregious now. As compared to the whiteness of academic verse of the time, the New American Poetry was radical and more diverse, but could be seen as quite inadequate in those aspects from a contemporary perspective. Of course culture must always be judged in proper context, including its era and the anthology has had a powerful impact on the poetry of the continent from which it came. This paper posits that The New American Poetry, had it looked even slightly off the shore of North America, could have included the Neo-Barroco school of Latin American poetry. The affinities are almost endless and the limited scope of even the most radical poets of the post-war generation is exposed. Full article

One of the characteristic features of the Russian Avant-garde is the close connection between painting and poetry. Futurist poets (Vladimir Maiakovskii, Aleksei Kruchenykh) were educated as artists, their books were illustrated by the famous painters of their time (Mikhail Larionov, Nataliia Goncharova). Some of the Futurists designed their own books and did all kinds of typographical experiments. One of the most productive writers, designers, editors and publishers of such books was Aleksei Kruchenykh (1886–1968), who only recently has been given honour where it is due. One of his admirers is the Neo-avant-garde poet-artist Sergei Sigei (1947–2014), who was the first to publish some of Kruchenykh’s hitherto unpublished works and in many respects repeated, changed, and further developed his forerunner’s experiments with typographical signs and book production. Some of Sigei’s unique handmade books are dedicated to Kruchenykh. Sigei, the leader of the group of the ‘transfurists’ (Ry Nikonova, Boris Konstriktor, A. Nik, Vladimir Erl’) may be considered the main representative of the Russian Neo-avant-garde. Full article