Poetry

سفر عارف قزوینی در سال 1306 شمسی به همدان آغاز دوران تبعید او تلقی شد و بسیارانی گمان کردند «شاعر ملی ایران» به دلیل مواضع و مشیِ سیاسی‌اش هدفِ خشمِ شخصِ نخستِ مملکت قرار گرفته، یا دست‌کم به دسایس یکی یا گروهی از ارباب قدرت، در فرجامی نامبارک، نفی بلد شده است؛ اما چنین نبود. تبعید عارف به همدان آن‌چنان گسترده در آثار محققان و نویسندگان و شاعران و روزنامه‌نگاران و دیگر اهالیِ دوات و قلم در قرن اخیر تکرار شد که به باوری همگانی بدل گشت و در همۀ سرگذشت‌نامه‌های او جای گرفت. حضورِ شاعرِ شهیر در همدان و بُریدنش از خویش و بیگانه به قدری غریب می‌نمود که حتی آنان‌که گاه با او دیدارهایی داشتند خیال می‌کردند به‌خلافِ میلِ باطنی‌اش دستی قدرتمند او را در همدان محصور داشته؛ وگرنه چگونه خنیاگرِ پایتخت با آن مایه محبوبیت، خیمه و خرگاه از مرکز برچیده و پوزارکِشان به قلعه‌ای پرت‌افتاده در همدان رخت کشیده است! گروهی از مخالفان رضاشاه نیز با تمسک به این شایعه «دو به دستشان افتاد» تا برگی دیگر به دوسیۀ جناییِ سردارسپه علاوه کنند. کسانی حتی در نوشته‌جات عارف دست برده و با جعل کلماتی کوشیدند او را «تحت مراقبت و زیر نظر و ممنوع‌المراوده با خارج» معرفی کنند.
چرا باید در تهران می‌ماند؟ آن تهران که مژدۀ فتحش را می‌داد «تهرانِ مخوف» شده بود، یارانِ هم‌د‌لش با هفت‌هزار سالگان سر به سر شده بودند، آزادی‌خواهان و مشروطه‌چیانِ دیروز سورچرانان و گردنه‌بگیرهای امروز بودند، اَبَرمردش، کلنل محمدتقی‌خان پسیان، در خراسان به خاک خفت، کابینه‌ای که آرزویش را در دِماغ می‌پرورد «سیاه» از آب درآمد، جمهوریِ موعودش پوست انداخت و سلطنت شد و ایرج‌میرزا «قزوینیِ کودک‌نواز» خواندش، دامنِ شرافتش را آلود و یک‌کلام، کمرش را خُرد کرد. مصائب جسمانی نیز به این زخم‌های روان پیوست: تب و نوبه و سینۀ گرفته‌‌ای که به‌تدریج از ادای کلمات یومیّه نیز عاجزش کرد.

This critical essay describes and demonstrates the uses and unique contributions of performative writing as a form of inquiry into the materialities and mobilities of sociocultural communicative phenom- ena. Embracing an Anzaldu an approach, the author utilizes Mesoamerican Aztec and Chicanx history, iconography, and mythos to argue for an ontological reimaging of where research should begin and end. As a methodological intervention, this article chal- lenges traditional impulses regarding where knowledge generation occurs, which knowledges are valid, and who counts as a valuable knowledge producer. By shifting genres, breaking grammatical rules, and creatively constructing poetics and rhythm (flor y canto), this “flight of the imagination” focuses on what Chicana, Latina, and indi- genous scholars have termed “fleshing the spirit” or “spiriting the flesh.” By embracing the soul work and spirituality of writing, this piece offers an art-based approach to methodological inquiry that functions as a sharp critique of the White capitalist cisheteropatriar- chal structure of higher education that maintains status quo under- standings of knowledge. When rerouting our methodological impulses toward a critical and decolonial telos and embracing the soul and spirit of performative writing, I argue that our first move must be to make an ontological shift in how we see the world and our place in it—we must begin and end with “theories in the flesh.”

Persian poets since Rūdakī have drawn on the letter symbolism of the Perso-Arabic alphabet. Visually, its characters have attracted poets who find the likeness of the beloved in their shapes. Spiritually, it enjoys a special status as the language of the Koran and therefore, in the eyes of some, God. Classical Persian lyric poetry combined these aesthetic and religious connotations, and as one of the foremost voices in that tradition, Ḥāfiẓ was no exception. But a review of the extant literature shows that, as a trope, letter symbolism has been largely overlooked when compared with wine, the moth, or the candle. Through a comprehensive study of the let-ters' use in Ḥāfiẓ's dīvān, this article argues that, by playing with particular letters' connotations, or punning on their physical shapes and homographs, Ḥāfiẓ invokes disparate meanings, only to then reveal their underlying unity, in the process affirming the affinity between love and language, the beloved and the divine.

Chinese writing occupies a privileged position in current academic discussions of world literature. While China as defined within world literature serves as a test-case for questions of nativist and universalist values, in the process it finds itself defined as a nation par excellence. Arguing that such definition constitutes a kind of twenty-first century
chinoiserie, I proceed to question the place of China in the literary theories that inform the discussions of world literature, pinpointing part of this chinoiserie on confusion about the role and performance of translation. I then offer a tactical approach to how China and Chinese literature can be re-translated and re-theorized, pointing a way forward from its current confinement within the chinoiserie described.

Starting from Edgar Allan Poe’s assertion that there is no such thing as a
long poem, several modernist poets discovered the lyrical potential of a new poetical
form in which extension is possible if one follows an analogous principal to that
in music: base the poem not on narration, but on a concert of images or emotions
that pursue a new language, a language we could say begins with Mallarmé and
resolves itself in modern poems of very diverse natures, such as T. S. Eliot’s The Waste
Land and Four Quartets, and Ode marítima by Fernando Pessoa’s heteronym Álvaro
de Campos.
The purpose of this reflection is to compare the way Eliot and Pessoa, representing
differing contemporary literary traditions, created, each in his own way, the
modernist long poem. The result, I hope, may enhance our understanding of this
poetic manifestation, not as a national but as a cosmopolitan phenomenon, which
may explain its success throughout the last century.
keywords: Álvaro de Campos, T. S. Eliot, Modernist Long Poem

This essay is a survey of the figure Fortune in sixteenth- and seventeenth-century English poetry. It argues that poetry reveals the work of figuration within the construction of gendered and racial difference. First, it looks at some early verses by Thomas More where poetic ambiguity is used to imitate the contingency associated with the pagan goddess. It then identifies, in an overlooked variant spelling of Thomas Wyatt’s lyric ‘They fle from me that sometim did me seke’, an association between Fortune and the poet’s mistress, which is reworked by numerous later poets. It reads the ‘dark mistress’ of Shakespeare’s Sonnets as a refiguration of Fortune: not an anti-Petrarchan conception, as is often assumed, but one inspired by the psychological technique of ‘blackening’ proposed in Petrarch’s De remediis fortunae (Remedies for Fortune). Following recent work in critical race theory, it argues that this refiguration reflects anxieties about and aesthetic fascination with the Atlantic slave trade. It discusses the career of the Elizabethan super-tune “Fortune my foe,” from an exchange of verses between Walter Ralegh and Elizabeth I to its dismissal as misogynistic in a 1668 play by Margaret Cavendish. Finally, it discusses an argument in the poetry of Katherine Philips that a virtuous woman can capture Fortune, observing that this triumph over Fortune mirrors the exploitation of slave labour in England’s Caribbean colonies.

John Skelton is a central literary figure and the leading poet during the first thirty years of Tudor rule. Nevertheless, he remains challenging and even contradictory for modern audiences.

This book aims to provide an authoritative guide to this complex poet and his works, setting him in his historical, religious, and social contexts. Beginning with an exploration of his life and career, it goes on to cover all the major aspects of his poetry, from the literary traditions in which he wrote and the form of his compositions to the manuscript contexts and later reception. Contributors: Tom Betteridge, Julia Boffey, John Burrow, David Carlson, Helen Cooper, Elisabeth Dutton, A.S.G. Edwards, Jane Griffiths, Nadine Kuipers, Carol Meale, John Scattergood, Sebastian Sobecki, Greg Waite

In 1850, after five years of planning, Liszt began composing music for his Italian opera, _Sardanapalo_, after Byron. It was central to his ambition to attain status as a European composer, but he abandoned the project halfway through. La Mara (1911), Humphrey Searle (1954) and others declared the manuscript fragmentary and partially illegible, but in 2016 this verdict was categorically overturned when work began on an edition of what Liszt notated: almost the entirety of Act 1. This article draws on an array of sources – published and unpublished – significantly to update our knowledge of the circumstances surrounding Liszt’s composition and abandonment of _Sardanapalo_. In light of his inconsistently Italianate music and idiosyncratic treatment of the libretto, it also reinterprets Liszt’s mid-century aesthetic orientation, as a confidant of Wagner and would-be pillar of Franz Brendel’s future neudeutsche Schule. By contextualizing key aspects of the uncovered musical score and libretto within Liszt’s mid-century writings on aesthetics, it posits character, declamatory melody and the visuality of the stage as (initially) critical criteria in the communication of a literary narrative, and suggests that Liszt’s impulse towards symphonic poetry may first have been kindled within the aesthetic potential of opera.

In order to accept this Student Recruiter agreement with the College of Mental Health Counselling, you must believe in and agree with the value of learning about counselling through the online course described at www.ctihalifax.com, and you must act in good faith accepting that the College will remunerate you as per the terms of this agreement in #5 below. Because a Student Recruiter must communicate the following, therefore completing the below steps is considered a Skill Test in order to qualify. When the College receives full tuition from your first referral, you will be considered a Student Recruiter.

In recent years, Black poets and other poets of color have increasingly won many of the most prestigious prizes and awards within the majority and historically white field of US poetry. This article traces the interventions (writing, activism, and institution building) that have resulted in this "change." Rather than understanding the racial politics of poetry as an endlessly revolving door of scandals, or simply as a contest over prizes and economies of prestige, this article attends to the relationship between the world of poetry and the history of social movements, an exchange often mediated through the work of writers’ collectives. In particular, this article delineates how the interventions of Black poets and other poets of color (both individually and collectively) have shifted the world of poetry, while at the same time mirroring, connecting with, and speaking back to broader movements that seek to transform the world writ large.

Prólogo de Carlos Blanco Pérez ❖ Muerte, mortalidad e inmortalidad derraman su esencia en el crisol de la mundana vida humana; horrores que nos arrojan a soñar, leer y escribir. Los libros filosóficos, literarios y poéticos aparentan ser creaciones estáticas que rescatan vivencias delicadas. Sin embargo, esas obras viven, poseen vida propia, y en cada hoja y cada palabra hay tiernos gestos de almas que desean ser acariciadas por ojos hambrientos de letras. Según nos revela Carlos Blanco, el libro del escritor malagueño es «un despliegue de sensibilidad, un canto al hermanamiento entre filosofía y poesía que lo convierte en un intento inspirador de fusionar el pensamiento con el arte». El subtítulo Crisálidas de cristal, que designa la forma larval del pensamiento joven del autor, sugiere una frágil metamorfosis respecto a los presagios confesados en su primera obra. En cada página, «uno tiene la sensación de que está leyendo un poema, rítmico, cadencioso, aderezado con palabras de hermosura diáfana que envuelven al lector en una crisálida de pureza y dulzura».

Arts-based Education in Outdoor Learning is a compendium of artistic endeavour created for the purposes of learning. The contents stem mainly from teaching BA undergraduate Outdoor students at the University of Central Lancashire in Preston, UK, showcased here to promote critical discussion on Outdoor issues and foster pedagogical progress wherever that may be found. This introduction outlines the structure of the book, which also illuminates the plan of teaching that has brought about such a vibrant collection of chapters. The ethos of my educational mission has been for students to become philosophical about things, ‘having ideas’ with a view to making a comment about some state of affairs in the Outdoors. With a nugget of an idea latched on to, fuelled with some passion, the next step was to transform that idea into some physical presence through an artistic medium; shape it. Thereafter, the academic task was to polish and present the artwork with a supporting chapter, in order to communicate their idea to the world; share it. The creation of art in this context was always a means to an educational end, the artworks being an impressive by-product from this experience – but now the artworks are leading the show, representing the style of education we enjoyed. It seems worth mentioning at the outset, that all the Outdoor students I have taught are not artists, they are climbers, canoeists and mountaineers. They never came to university to do or study art and nor did I teach them as such. If I have done anything, it was to free up the possibility of thinking slightly differently about topics they chose, and then equip them with some basic artistic tools to play with those ideas. As a result, I discovered a huge increase in student confidence and a palpable increase in enjoyment of learning, as much for me as their teacher as for them. In effect, what I did was invite into my classroom a raft of untapped talent in thinking and learning that suddenly had a place in their university degrees.

This article compares the poetry of two prominent modern writers: Polish-Jewish poetess Zuzanna Ginczanka (Sara Ginzburg, 1917-1945), and Ukrainian Lemko poet Bohdan-Ihor Antonych (1909-1937). They are believed (by Yaroslav Polishchuk et al.) to have certain poetic, stylistic, thematic, and literary similarities. The main discourses of their poetic imaginum mundi are studied with the use of a simple formula that includes five components. Tracing the interplay of nature, childhood, religion, and civilization in the development of an image of a holistic personality in their poetry, I analyze their common and differing ideas, images, motifs, and themes. The article also outlines the underlying similarities of both poets, i. e., their otherness, and their references to childhood as a certain place in their poetry.

I have held this book back many years.  It is now time for it to see the light of day (being part of the larger work, A Great And Terrible Love:  A Visionary Journey from Woodstock’s Sorceries to God’s Paradise).  With the gained perspective of years it needed some adding to.

Of course for a Poet to stand among the people of Israel—that Israel which cleaves to its King, Messiah, as well the children of that apostate Jewry who spurned Him—and speak truly to both camps without fear of man, this must needs be—simultaneously—an act of war and of love.  The prophetic office in Israel closed when the last prophet, John son of Zebedee (Matthew 10:2), finished writing the apocalyptic vision and prophecy given him around 95 CE—the culmination of all Old and New Covenant prophecy—so what I write is not “immediate” prophecy given me, yet as a student of prophecies the prophetic word of those who came before us is in my mouth.  Paul the apostle of Messiah put it like this, “For who hath known the mind of the Lord, that he may instruct him?  But we have the mind of Christ” (1 Corinthians 2:16), and John was instructed by the angel, “the testimony of Jesus is the spirit of prophecy” (Revelation 19:10).  The word of our prophets is precious to us who heed them.

I say this is war because of the tearing down of spiritual/intellectual strong holds many have invested their lives building and defending.  To err in this area of theology and vision allows actual blood to be spilled, much blood, precious blood.  We Jews know this first hand, the Arabs also.  But the Christian—and some of the Jewish—West do not; it mostly just sits in its easy chairs in front of the TV and drinks in the fruit of its unseeing.  A storm coming will turn these chairs over.

I do not know how many of my own family have perished because of the blind and blinding rabbinate, and when I say “perished” I mean in the prophesied Gehenna of eternal Hell, so this is no idle theology with me, and I mean it to be war, that the falsity plaguing my people may be challenged on the world stage, what I call, “Apocalypse Field, global arena of consciousness”.  Will my opponents resort to the old tricks of murder, slander, and lies?  What do I care, for I am given a heart and tongue to speak by Him who is Lord of poets, and there could be no power against me were it not given from above, so I will bear this testimony and love not my life even if it be unto the death.  I mean to cut down the lies and hatred that have cost the eternal lives of so many Jews I cannot count them.

What I say is in accord with both the Old Covenant (Tanakh) and the New Covenant Scripture (B’rit Chadashah), despite the opposition of some, both Christians and Jews.  These things impact the wider world also, as Gentile believers in Yeshua (Jesus) our Messiah are grafted into the spiritual faith of Israel, from which flows the river of eternal life to all nations—the ancient promise to Abraham fulfilled.

Mark you, the poet’s pen is not filled with lifeless ink.  It is a sword of the Spirit of YHWH, and His vessel.  It is among the foremost weapons of the Apocalypse—if so be it have the wind of Heaven filling its sails, and speeding its missiles, even as Heaven’s power sped David’s stone into the brain of the giant.

The original intention of Charles de Foucauld was to prepare the arrival of the missionaries in the Hoggar, by composing a Tuareg lexicon and grammar. Then the collection of poems became for him a goal in itself. The six thousand verses he has collected are one of the few documents that allow us to hear the voice of the Tuaregs of the pre-colonial era.

The early Middle Ages provided twentieth-century poets with the material to reimagine and rework local, religious, and national identities in their writing. Poet of the Medieval Modern focuses on a key figure within this tradition, the Anglo-Welsh poet and artist David Jones (1895–1974), and represents the first extended study of the influence of early medieval culture and history from England on Jones and his novel-length late modernist poem The Anathemata (1952). Drawing on unpublished archival material including manuscripts, sketches, correspondence, and, most significantly, the marginalia from David Jones’s Library, Poet of the Medieval Modern reads with Jones in order to trouble the distinction we make between poetry and scholarship. Placing this underappreciated figure firmly at the centre of new developments in modernist and medieval studies, Poet of the Medieval Modern argues that Jones uses the textual and material culture of the early Middle Ages—including Old English prose and poetry, Anglo-Latin hagiography, early medieval stone sculpture, manuscripts, and historiography—to re-envision British Catholic identity in the twentieth-century long poem. At a time when the Middle Ages are increasingly weaponized in far-right and nationalist political discourse, the book offers a timely discussion of how the early medieval past has been resourced to both shore up and challenge English hegemonies across modern British culture.

W.H. Auden’s “New Year Letter” (or The Double Man as it was titled in the U.S.) was published in 1941 to generally negative reviews. Reviewers judged the poem’s neoclassical form to be too abstract and even a “renunciation of modernism”. But the poem’s conceptual ambition, its subtleties of poetic voice, constant shifting of styles and tonal registers, and the texture of the world mapped by the poem all seem to belie its neoclassical formal surface. “New Year Letter” is most striking in its dialectical flow of ideas and the relationship this flow forges with its potential readers. With the dialectical complexity, tonal variation, and stylistic discontinuities in “New Year Letter”, Auden imposes on his readers a new reading regime. The demanding new reading regime and the challenging stylistic features of his poem represent Auden’s bequest to contemporary poets in the face of modern catastrophe.

A jegyzetek a fordító, Fórizs László, és a szerkesztő, Szamanéra Gambhíró megjegyzései.
Kiadta: Aruna Publications, Aruna Ratanagiri Buddhist Monastery, Harnham Hall Cottages, Harnham, Belsay, Northumberland, NE20 0HF UK
© 2012Harnham Buddhist Monastery Trust
Ez a Mű a Creative Commons Nevezd meg! – Ne add el! – Ne változtasd! 3.0 Unported Licenc feltételeinek megfelelően szabadon felhasználható. (http://creativecommons.org/licenses/by-nc-nd/3.0/deed.hu)

Perché il teatro occupa una posizione centrale nella civiltà letteraria inglese? Come nasce il romanzo e quali forme specifiche assume nell’isola? Come evolve la poesia inglese da quando gli elisabettiani importano il sonetto dall’Italia? Il volume fornisce una risposta a queste e altre domande, proponendosi come utile avviamento all’analisi del testo letterario inglese e offrendo una panoramica dello sviluppo dei principali generi: poesia, romanzo e teatro. Ogni capitolo è corredato di numerosi esempi distribuiti su un arco temporale che va dal Cinquecento al secondo Novecento. Insieme al tradizionale manuale di storia letteraria, questa guida presenta gli strumenti critico-metodologici indispensabili e le coordinate essenziali per lo studio della letteratura inglese.

The American painter Cy Twombly is an artist who is greatly interested in poetry and especially in Mallarmé. This article examines the relationship between the poet and the painter. Using an interdisciplinary approach it tries to show how both of them use a similar technique which allows them to produce works which lie half-way between both arts.

Eighteenth-century Britain saw the emergence of a new poetic genre, the “work” poem which took various forms of labor as its subject and was often written by laborers themselves. Several of these working class poets found their lives transformed due to the success of their verse (Stephen Duck most famously), but most faded into literary obscurity. However, a substantial body of “work” poems was produced by a diverse group of poets throughout the century, each manifesting divergent concerns and attitudes about the experience of work. This chapter assesses the formal connections uniting this poetic genre, particularly the frequent use of such literary devices as ironic distancing, litotes, and mock-georgic description. Instead of solely classifying “work” poems on the basis of their subject matter, this chapter demonstrates that such poetry (indeed the genre itself) lends itself to sophisticated literary techniques often associated with other poetic genres. In this fashion the full measure of eighteenth-century working class poetry can be evaluated more fairly, particularly by analyzing the formation of a new genre designed expressly by the poets themselves. The chapter ultimately seeks to demonstrate the connectedness, rather than the alienation, of working class poetry to the eighteenth-century British poetic tradition.

La première pièce de Joanna Laurens, The Three Birds, (2000) propose une révision dramatique du mythe grec de Philomèle qui s’inscrit en contrepoint de la fable telle qu’elle est relatée dans les Métamorphoses d’Ovide. Le rapport à la langue et à la figure du barbare, paradigme de l’Autre, engage une réflexion sur la question des minorités, la voix de l’étranger et l’idée d’une réversibilité des postures. Barbarismes, irrégularités syntaxiques, « babélisation » font ici violence au langage ainsi qu’aux différentes langues parlées dans la pièce qui s’altèrent et se barbarisent à l’image des personnages, incarnant ainsi dans la chair du verbe la mutilation de la langue qui fait la matière cruelle du mythe. Au cœur de la pièce, elle-même réécriture d’une autre pièce – celle, perdue, du Térée de Sophocle – on retrouve en effet l’écriture d’une autre scène – celle, tabou, du viol et de l’amputation de la langue de Philomèle – qui, à défaut de pouvoir se dire, vient s’écrire sur la tapisserie que brode la jeune fille à l’attention de sa sœur pour révéler le crime étouffé par les mensonges en cascades de Térée en même temps qu’elle se reflète dans la trituration du langage. Cet article s’intéressera donc aux enjeux de la réécriture en tant que mise en place d’une alternative fondamentale à partir d’une perspective neuve – celle du barbare amoureux, ou plutôt de la barbarie de l’amour impossible – qui se reflète dans le motif intradiégétique de l’activité de tissage en tant qu’écriture de « l’Autre » (réécriture par l’Autre, la femme, de l’autre scène ou de l’autre pièce, qui ne peut être dite). Avec la duplicité intrinsèque du langage et l’exploration de son potentiel de transformation, nous verrons dès lors comment l’altérité se donne plutôt à voir comme altération, voire aliénation, jusqu’au creux de la langue où elle prend naissance pour la faire délirer (Deleuze). Le langage de la pièce reflète ainsi la façon dont l’humain vient faire trace dans la langue du barbare et montre comment, par-delà l’humanisation du Thrace, la barbarie vient à son tour réinvestir l’humain et marquer de son empreinte l’acte et le langage d’amour devenus viols. En déroulant à l’extrême le fil ténu qui sépare humanité et barbarie, les expérimentations poétiques de Laurens, où le langage et « l’autre » du langage se rencontrent dans leurs contradictions-mêmes, permettent ainsi de renouveler le sens du mythe grec autant que le langage dramatique sur la scène théâtrale à l’aube du vingt-et-unième siècle.

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Joanna Laurens’ first play The Three Birds (2000) is a retelling of the Greek myth of Philomela in which language undergoes a poetic treatment unprecedented on the contemporary British stage. Mirroring and enacting the characters’ evolution from innocence to barbarism, language is distorted and altered to an extreme through a creative process involving word coinage (i.e. barbarisms), syntactic irregularities, and ‘babelisation,’ thus bringing out and performing the violence of the myth. Departing from Ovid’s poem which is itself a reworking of the original fable, as well as from the feminist takes on the story during the second half of the twentieth century, Laurens’ dramatic writing offers a new approach to the language and figure of the Barbarian, a traditional paradigm of the Other. She addresses such issues as the oppression of minorities, the voice of the stranger, and the reversibility of ethical positions by providing a reflection on the intrinsic duplicity of language itself and by exploring its potential for ‘metamorphosis’ and manipulation, thus presenting otherness as alienation. At the core of the play, which is a rewriting of another (lost) tragedy – that of Sophocles’ Tereus –, are Tereus’ lies, which are a rewriting of another (taboo) story – that of Philomela’s rape and amputated tongue. Although it can’t be verbally expressed by the young woman, this traumatic episode is nonetheless revealed through a tapestry she weaves for her sister Procné to denounce the crime of the lying husband, the needlework compensating her lost voice. This article thus looks at the issues at stake in Laurens’ rewriting, which can be read as the Other of the Greek myth and its famous feminist interpretations. Not only does her play propose an alternative which stems from an unusual, profoundly humane perspective – the suffering of a man whose love is thwarted – but this reversal is also mirrored in the intradiegetic motif of the tapestry as a writing of the Other (the scene behind the scenes, unheard of) by the Other (the abused, silenced woman). I propose to study how the Other comes to be inscribed at the core of language where it takes shape, rendering it delirious (Deleuze), as humanity can be traced in the Barbarian and barbarism can in turn affect humanity beyond the figure of the Thracian. As the act and language of love are turned into linguistic abuse and physical rape, Laurens’ formal experimentations, where language and the Other of language meet at the crossroad of their own contradictions, allow for a renewal in the meaning of the Greek myth as well as in the dramatic language on the British stage at the start of the twenty-first century.

OS SONETOS COMPLETOS DE ANTERO DE QUENTAL
PREFÁCIO: J. P. Oliveira Martins
NOTA PRÉVIA , TRANSCRIÇÕES E POSFÁCIO: Patricio Ferrari
CAPA: João Botelho
REVISÃO: Susana Tavares Pedro
Impresso na Guide para a Guimarães em Novembro de 2010
Lisboa: Guimarães [Babel], 2010. ISBN: 978-972-665-651-7

This is a short poem by Muḥammad ibn ʿAlī al-Ṣabbān (d. 1206/1791) translated from the original Arabic into English verse. The poem is a concise, technical list of the ten essentials aspects of any science. It is intended to help students memorize the outline of the topic, while a teacher's additional commentary would be needed to really understand the content and meaning of the ten essentials.

We are pleased to announce that submissions are now open for LEA 11 (2022).
CfP: Conflict and contrast in language and literature

LEA also accepts contributions that are not related to the topic proposed in the CfP: for more information, please visit our website:
https://oajournals.fupress.net/index.php/bsfm-lea