Journal articles on the topic 'Poetry Collections History'
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Shahida, Salma, and Shagufta Nasreen. "A-1 A Historical View on the compilation of Poetry in Dewans." Al-Aijaz Research Journal of Islamic Studies & Humanities 4, no. 1 (June 30, 2020): 1–10. http://dx.doi.org/10.53575/a1.v4.01.1-10.
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The process of compiling and collecting poetry, that started during the Umayyad period and reached its climax in the Abbasid era , was a remarkable effort in Arabic literature. It depicts and portrays the true picture of Arabs and Muslims in the pre-Islamic and Islamic periods. These collections are the history of Muslim Nation. The name of Diwan on Poetry was unknown during the first three centuries, but is spread in the fourth century AH. In this period, many Diwans and poetry collections were compiled and prepared. This article illustrates the complete history of the compilation of poetry collection in the form of Diwaan
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Horgan, Alison. "Miscellaneous Spaces of Enlightenment: Dodsley, Percy, and the Midcentury Verse Miscellany." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 197–212. http://dx.doi.org/10.1215/00982601-9273048.
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Using current scholarship on verse miscellanies to contextualize a comparison of Robert Dodsley's Collection of Poems by Several Hands (1748) and Thomas Percy's Reliques of Ancient English Poetry (1765), this article considers how the verse miscellany was used to different purposes by editors in the middle decades of the eighteenth century. It was, variously, a space in which to preserve poetry, to test readers’ appetites for the unfamiliar, and to establish or challenge poetic taste. Most of all, however, the verse miscellany functioned as a virtual space of the Enlightenment that encouraged literary experimentation and innovation. Editors like Dodsley and Percy used paratext not only to justify their specific poetic choices, but also to establish identity of their collection. In Dodsley's case, obvious editorial interventions are absent and the typography is elegant, while for Percy, the paratext is busy and noisy, an alternative space in the miscellany through which the collection's antiquarian character is expressed. Both collections test their reader's willingness to engage with less well-known material. This article suggests that although the two poetic collections seem to have little in common, they are both concerned with ideas of literary preservation and loss, on the one hand, and cultural progress and decline, on the other, that helped to establish the poetic miscellany as a key print genre of the Enlightenment.
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Balmer, Josephine. "The Library versus The Lyre: The Paths of Survival and the Poetry of Textual History." Synthesis: an Anglophone Journal of Comparative Literary Studies, no. 12 (November 8, 2020): 76. http://dx.doi.org/10.12681/syn.25266.
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What is the relationship between poetry and scholarship? What can poetry add to the sum of knowledge that scholarship might not? Conceived as a coda to my 2013 study, Piecing Together the Fragments: Translating Classical Verse, Creating Contemporary Poetry, “The Library versus The Lyre” applies the same methods of critical discussion of, and commentary on, my practice as a poet and classical translator to my latest collection, The Paths of Survival (2017). This collection comprises a poetic sequence which moves backwards in time from the present-day to antiquity as it explores the fragility of the written word; how it is destroyed and how it can endure, often in surprising ways, against all odds. In particular, it focuses on the ten tiny scraps of Aeschylus’s play Myrmidons all that now remains of his tragic masterpiece written in the fifth century BCE— commencing with a tiny scrap preserved in the Sackler Library, Oxford and concluding with the Athenian tragedian himself revising his manuscript on his deathbed in Sicily in 456 BCE. Of all my collections, The Paths of Survival offers the most scholarly concerns, raising most questions about the correlations and disruptions between the poetic and the academic. “The Library versus The Lyre” examines this sometimes distrustful, often productive, relationship between the two fields as it looks forward to a new, mutually sympathetic synthesis. As it concludes: “...without scholarship Myrmidons would be lost. And without poetry it would never have been written.”
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Norova, Nasiba Bakhtiyorovna. "CREATIVE ABILITIES OF THE ARTIST IN THE APPLICATION OF THE ART (ON THE EXAMPLE OF THE LYRICS OF OSMAN KOCHKAR)." Scientific Reports of Bukhara State University 4, no. 5 (October 27, 2020): 214–21. http://dx.doi.org/10.52297/2181-1466/2020/4/5/9.
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Background. The article examines the uniqueness of the lyrics of one of the great representatives of Uzbek poetry Usmon Kochkor and his mastery of the use of art, the poet's skill is illustrated on the basis of examples. In the seventies and years of independence of the last century, new voices, new spirit, new views appeared in Uzbek poetry. Among these young artists was Osman Kochkor, who in his poems searched examples from history, described world events in a unique way, and lived with the thoughts of his contemporaries. He was born in 1953 in Shafirkan district of Bukhara region. He studied at Tashkent State University (now UzNU). Poetic collections, epics, poetic dramas, journalistic articles and translations by Osman Kochkor defined his position as a person and his place as a creator.
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Nwagbara, Uzoechi. "Earth in the Balance The Commodification of the Environment in and." Matatu 40, no. 1 (December 1, 2012): 61–79. http://dx.doi.org/10.1163/18757421-040001005.
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Tanure Ojaide and Niyi Òsundare are among the foremost politically committed Nigerian poets at present. The overriding concern in virtually all their literary works is commenting on the politics of the season. In Òsundare's words, poetry is “man meaning to man.” For Ojaide, a creative writer is not “an airplant” that is not situated in a place. Both writers envision literature should have political message. Thus, in Òsundare's collection (1986) and Tanure Ojaide's (1998) the major aesthetic focus is eco-poetry, which interrogates the politics behind oil exploration in Nigeria as well as its consequences on our environment. Both writers refract this with what Òsundare calls “semantics of terrestiality”: i.e. poetry for the earth. Eco-poetry deals with environmental politics and ecological implications of humankind's activities on the planet. Armed with this poetic commitment, both writers unearth commodification of socio-economic relations, environmental/ecological dissonance, leadership malaise and endangered Nigerian environment mediated through (global) capitalism. Both writers maintain that eco-poetry is a platform for upturning environmental justice; and for decrying man's unbridled materialist pursuits. Thus, the preoccupation of this paper is to explore how both poetry collections: and interrogate the despicable state of Nigeria's environment as a consequence of global capitalism.
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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.
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The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.
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Xu, Sufeng. "The Rhetoric of Legitimation: Prefaces to Women's Poetry Collections from the Song to the Ming." NAN NÜ 8, no. 2 (2006): 255–89. http://dx.doi.org/10.1163/156852606779969798.
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AbstractThis paper investigates the legitimation of women's literary culture in the late Ming by examining the rhetoric in male-authored prefaces to women's poetry collections produced from the Song to the Ming. It aims to show that the very strategy of associating women's poetry with the Shijing was not only a late imperial phenomenon as often assumed, but a general approach in Neo-Confucian scholarship beginning in the Northern Song. Furthermore, this article demonstrates that the late Ming preface-writers often associated folk songs and "licentious songs" (yin shi) with the Shijing to legitimize the unorthodox. It concludes that the anthologizing of women's poetry and the promotion of women's culture in the late Ming functioned more as opportunities or strategies for male literati to negotiate and sustain their unofficial power than as genuine efforts to construct a canon of women poets.
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Tynan, Aidan. "A Season in Hell: Paradox and Violence in the Poetry of Padraic Fiacc." Irish University Review 44, no. 2 (November 2014): 341–56. http://dx.doi.org/10.3366/iur.2014.0128.
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The work of Belfast poet Padraic Fiacc is an important but critically neglected contribution to the canon of Northern Irish poetry. This article explores Fiacc's work, giving particular attention to the collections published during the bloodiest years of the Northern Ireland conflict and to the anthology of poems on the subject of the conflict which he edited and published in 1974 with the Blackstaff Press. Beyond the intrinsic value of Fiacc's poems themselves, his work has the benefit of causing us to reconsider issues of canonicity in the Irish poetic tradition and to revisit some of the assumptions about the relationships between poetry, history, and politics which have become dominant in our understanding of this tradition. Fiacc's poetry, while located in a distinctly Irish cultural context, bears important resemblances to the work of continental figures such as Rimbaud and Celan. In addition, Fiacc's work raises crucial questions about the relationship between violence, poetry, and language at a more general level. The article addresses some of these questions through the insights of philosophers such as Slavoj Žižek, Theodor Adorno, and Walter Benjamin.
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Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.
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The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
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Kheleniuk, Anastasia. "MIRTALA PYLYPENKO’S COLLECTION IN THE MUSEUM OF HISTORY OF THE NATIONAL UNIVERSITY OF OSTROH ACADEMY." Naukovì zapiski Nacìonalʹnogo unìversitetu "Ostrozʹka akademìâ". Serìâ Ìstoričnì nauki 1 (December 17, 2020): 232–39. http://dx.doi.org/10.25264/2409-6806-2020-31-232-239.
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Special attention in this article is paid to the analysis of art collection of the Ukrainian artist from abroad Mirtala Pylypenko at the Museum of Ostroh Academy. In 1997 the Museum of history of the Ostroh Academy was founded. A great contribution to its development process was made by Ukrainians from abroad. They supported the museum, sent interesting exhibits, and joined in museum projects. Nowadays the museum has valuable art collections, among which sculptures of the well-known Ukrainian artist Mirtala Pylypenko. Mirtala Pylypenko was born in Ukraine. During World War II she emigrated, and since 1947 she has been living and working in the USA. She graduated from the Boston Museum’s Art School and Tufts University in Boston. Mirtala’s sculptures are not just artworks, but a profound philosophical and original vision of the world. She showed her talent not only in sculpture and art photography, but also in poetry – her poetic collections “Verses”, “Rainbow Bridge”, “Road to Oneself” have been published in various languages. Mirtala received acclaim in the US and Europe in the 1970s – 1980s. Since the early 1990s her works have been known in Ukraine, where the artist held a series of solo exhibits and presentations. Mirtala presented one collection of her works to the National University of Ostroh Academy. Now it is one of the most valuable collections in the university museum. As a sculptor with a long exhibiting career, Mirtala has combined images of her sculptures with her poems, creating a single whole, which is greater than its parts. Mirtala’s collection of sculptures is monumental, philosophic and gracious. However, at the same time, it is sunny and brings back the life-asserting symbols of eternal space and time. The artist has spent most of her life across the ocean (in the USA), but her soul remains tied to Ukraine. Mirtala Pylypenko is an extraordinary figure in the Ukrainian art. And now, many generations of university students have an opportunity to get acquainted with her unique talent. It is important that sooner or later, Ukraine reveals its artists. Therefore, the museum tries to return and represent the Ukrainian diaspora art and history in museum collections in order to create a single Ukrainian cultural space.
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Samardžija, Snežana. "But, here comes Ljutica Bogdan: History and tradition in interpretations of a biography." Kultura, no. 174-175 (2022): 51–75. http://dx.doi.org/10.5937/kultura2275051s.
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Among the songs from Vuk's collections, Ljutica Bogdan is best known as an opponent of Kraljević Marko. However, multiple lyrical-epic adaptations of international motives are connected to his name and family relations. In addition, older generations of scholars of Serbian oral poetry have sought to recognize the historical background from which Bogdan's character developed. On this occasion, a review of such approaches was presented. After the literary-historical synthesis, poems about Ljutica Bogdan were analyzed (older records, Vuk's corpus, material printed during the 19th century). The types of characterizations, conditioned by the poetics of the genre and the archaic layers of the Serbian tradition, which could give impulses for the construction of this poetic biography, are pointed out in this paper.
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Cooke, Stuart. "Unsettling sight: Judith Wright's journey into history and ecology on Mt Tamborine." Queensland Review 22, no. 2 (December 2015): 191–201. http://dx.doi.org/10.1017/qre.2015.22.
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AbstractMt Tamborine is a crucial location for Judith Wright's poetry, and for the development of her thought. She wrote the majority of her poetry collections while living on the mountain from 1948–75; it was there that she came face to face with the complexities of Australian ecologies and colonial histories. While her earlier poems from this period reflect a concerted, anti-colonial desire to separate the world of Tamborine from her European inheritance and perspective, by the early 1970s her work becomes preoccupied with symbiotic relationships between her body, her house and garden, and the surrounding landscape. This turn reflects broader shifts in thought in the mid-twentieth century, where notions of separation and precision were being problematised by the emerging field of quantum mechanics.
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Wolwacz, Andrea Ferras. "TOM PAULIN'S POETRY OF TROUBLES." Organon 34, no. 67 (December 9, 2019): 1–23. http://dx.doi.org/10.22456/2238-8915.96943.
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This paper is part of my PhD thesis. It examines contemporary Northern Irish Literature written in English with the help of the theoretical approach of Irish Studies. It aims to introduce and make a critique of poetry written by Tom Paulin, a contemporary British poet who is regarded one of the major Protestant Irish writers to emerge from Ulster province. The thread pursued in this analysis relates to an investigation of how ideological discourses and the issues of identity are represented in the poet’s work. The author’s critical evaluation of existing ideologies and identities and his attempt to respond to them will also be analyzed. Four poems from three different collections are investigate. Paulin’s poems function as testimonies, denouncement and criticism of the Irish history.
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Bolsukhin, Leonid Yu, and Oxana V. Zamiatina. "Golubchik-Gostov’s True Life." Studies in Theory of Literary Plot and Narratology 16, no. 2 (2021): 129–75. http://dx.doi.org/10.25205/2410-7883-2021-2-129-175.
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The article describes how the authorship of two poetry collections “Fol’kloristy” (1922) and “Temy” (1924), published in Petrograd-Leningrad in the early 1920s under the pseudonym Golubchik-Gostov, was established. The authors of the article managed to find the descend-ants of the poet Lev Mikhailovich Goldyonov, who was published under this pseudonym. And he left no other traces of his literary activity. The article presents the memoirs of Maria А. Khorosheva, Goldyonov’s grand-niece, which briefly tells about the history of the poet and his family. The photographs of the poet, his family members, and a number of documents are presented as illustrative material. In addition, the article attempts to recon-struct initially the poet’s biography, to recreate Lev M. Goldyonov’s social circle in Petro-grad-Leningrad, at the same time the article provides biographical and historical-literary comments on a number of poems in the collections. Let us explore the Goldyonov’s relation-ship with Leonida Matveevna Kimstach (according to oral testimony of relatives, a close Goldyonov’s friend), to whom a number of poems from the collection “Temy” are dedicated. For the first time, the article examines the poetic’s peculiarities of Golubchik-Gostov’s collections, the connection of Goldyonov’s poems with the literary context contemporary to him, a version of the origin of the poetic pseudonym is proposed. The article establishes that the strategy of Goldyonov’s literary self-presentation is an example of a marginal implementation of the experience of avant-garde poetry and the means of its promotion. The article makes an attempt at the true scale and creative legacy of the forgotten poet. The authors of the article present only the initial results of the archival research undertaken.
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Qin, Cai, and Cheng Ta Seah. "Chinese Ethnic Minorities and their Oral Poetry: A Perspective from Ethnopoetics." Advances in Language and Literary Studies 12, no. 5 (October 31, 2021): 6. http://dx.doi.org/10.7575/aiac.alls.v.12n.5.p.6.
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Ethnopoetics involves in the conducting of translation experiments on oral poems of native ethnic groups, converting its relevant oral texts into written forms. The theory of ethnographic poetry begins in the 1970s and was translated and introduced to China in the early 21st century. However, most ethnic minorities in China do not have textual writings. Their oral creations from primitive society to modern society such as epics, long poems, narrative poems, ballads, and folk songs are mostly in form of oral poetry. The collection and translation of oral poems of ethnic minorities in China began in the late 1950s, that demarcated the beginning of ethnopoetics in China. In this article, the reasons behind the collection and translation of Chinese ethnic minority oral poems will be analysed. The restoration process of ethnopoetics and the connections between the collections and the translations, and the issues on whether translation is consistent to Chinese ethnic minority oral poems will also be further elaborated. The history of Chinese ethnic minorities oral poetry traces back to a long history and consists of a variety of themes and contents. Therefore, the restoration process of ethnopoetic research on the relationship between oral culture and written culture not only have gained the attention from the Chinese academic community, but also shown strong interests by the Western academic research community and worldwide.
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Potts, Kate. "'I am haunted by this history but I also haunt it back': two poetry collections." Soundings 74, no. 74 (March 1, 2020): 112–17. http://dx.doi.org/10.3898/soun.74.rev.2020.
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This article explores what it's like to live through the unravelling of a political settlement, and reflects on its complicated relationship to resistance. To do so, it discusses two young people who live thousands of miles apart and looks at some of the threads which bind them together. Kamal lives in Cairo, and was an activist in the Egyptian revolution. He now lives with the despair of a crushed generation. Kyle, from Greater Manchester, has a suffered from a lack of social care support - directly related to austerity - that caused him to become homeless as a teenager. Each life has been irrevocably marked by the impossibility of sustaining the settlement that existed before the financial crisis. Each young man lives under a government that has no intention of addressing their needs. Each continues, despite everything, to believe in politics. The new landscape of political struggle contains both emancipatory and deeply revanchist possibilities. Understanding its contours will help us to find within it the people, communities and the stories that give cause for optimism.
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Paschalis, Mihalis. "Theoi and Theodotos: Thematic Collections and Generation of Meaning in Cavafy's Poetry." Journal of Modern Greek Studies 17, no. 2 (1999): 403–12. http://dx.doi.org/10.1353/mgs.1999.0032.
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Khaninova, Rimma M., and Wurisigala. "Калмыцкая и тувинская поэзия в антологии «Современная литература народов России. Поэзия»." Монголоведение (Монгол судлал) 12, no. 1 (July 31, 2020): 55–71. http://dx.doi.org/10.22162/2500-1523-2020-1-55-71.
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The article discusses the dialogue of ethnocultures within the anthology titled ‘Contemporary Literature of Russia’s Peoples. Poetry’. The case study of contemporary Russia’s literary processes through works of Kalmyk and Tuvan poetry makes it possible — to a certain degree — to identify its present-day state, examines the existing literary contacts and interrelations, including by means of Russian-language literary translations of compositions by national poets, reveals the translation problem faced by national literatures of our country. Goals. The article presents poetic collections of Kalmyk and Tuvan poets, reveals ethnic worldviews of the Turko-Mongolic peoples through the use of Russian translations. The novelty of the work lies in the fact that this is the first study of Kalmyk and Tuvan poetic lyrics in the format of a modern anthology of literature of Russia’s peoples as a presentation of ethnic poetry for a wide range of Russian-speaking readers. Materials and 57 Фольклористика и литературоведение Methods. The comparative method delineates specific features of Kalmyk and Tuvan poetic works, identifies mental and individual vectors of authors. In terms of gender, the anthology contains works by Kalmyk men poets only. Kalmyk poetry is represented by 5 authors, Tuvan poetry — by 3 authors. The distinctive line is the age. The selected works include none by representatives of senior or junior generations which evidently attests to the fact, on the one hand, there is a problem of generational change and, on the other hand, the compilers faced quite a challenge when it actually came to select authors to be introduced in such anthologies. In genre perspective, both the sections seem to have little to do with the traditional poetic structures and patterns; so, there are some borrowed genres of ballad and poetic legend without any mention of post-modernist experiments. Still, the thematic landscape is traditional enough: motherland, genealogies, national history, nature of ancestral lands, love, and family. The Tuvan poems by E. Mizhit are published in the author’s translations (a bilingual poet), works by the other poets — in V. Kulle’s translations. Results. The study of modern Kalmyk and Tuvan poetry in this book in a comparative aspect reveals similarities and differences in cultures of the Turko-Mongolic peoples, artistic pictures of the world inherent to related ethnic groups.
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Bedoya, Luis Iván. "30 años de poesía colombiana: 9 metáforas y bibliografías." Estudios de Literatura Colombiana, no. 12 (November 8, 2011): 115–50. http://dx.doi.org/10.17533/udea.elc.10541.
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Resumen: La nota preliminar de esta copiosa y metódica compilación de Luis Iván Bedoya dice: “Este trabajo registra el resultado de la de revisión de la poesía colombiana de los poetas colombianos nacidos a lo largo de 30 años, entre 1942 y 1972, en cuanto al acervo bibliográfico encontrado y la determinación de nueve metáforas que concentran sus valores temáticos y expresivos. Los poemarios revisados, un poco más de 300, están integrados por libros de poesía, antologías y reuniones de obras de 60 poetas. Éstas han aparecido, también, durante 30 años así: las últimas en el 2002 y las primeras en 1972.” Esta selección contextualiza el trabajo estético de cada poeta “en torno a una metáfora que aglutina una o varias de sus obras, o a la elaboración cabal de poemas en torno a metáforas consolidadas por sus contemporáneos o antecesores”. Descriptores: Poesía colombiana; Bibliografía; Metáfora. Abstract: The preliminary notes of this copious and methodic compilation of Luis Ivan Bedoya says: “This work registers the result of a revision of the Colombian poetry and Colombian poets born around 30 years, between 1942 y 1972, in the concern of their bibliographic heap found and the determination of nine metaphors that form their thematic and expressive value. The collections of poems revised, a bit more than 300, are integrated by books of poetry, anthologies and collections of works of 60 poets. Those works have also appeared during 30 years as follows: the later in 2002 and the former in 1972.” The Bedoya’s selection is methodic because he has selected the writings based on a central question: the aesthetic work of each poet “around a metaphor that agglutinates one or various works or the exact elaboration of the poems around metaphors consolidated by their contemporary and predecessors”. Key words: Colombian Poetry; Bibliography; Metaphor.
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Ūsaitytė, Jurgita. "Personal Collections of Texts from the Second Half of the 19th Century along with Their Historical Context." Tautosakos darbai 55 (June 25, 2018): 107–33. http://dx.doi.org/10.51554/td.2018.28501.
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The subject of the article comprises Lithuanian collections of texts from the second half of the 19th century, compiled by individuals of peasant origins and preserved at the Lithuanian Folklore Archives. The research involves over 40 of such collections, in which part or majority of the inscriptions consist of poetic pieces: personal poetic compositions or folksongs chiefly selected from printed sources of the time. The analysis in the article focuses on the contents of these texts, describing various components of their repertoire, attempting at establishing and identifying the sources, from which the individual texts could have originated. Analysis of these collections takes into account the social and cultural context in Lithuania of the 19th century, chiefly defined by the imperial policy of the tsarist Russia, essentially aiming at strengthening the loyalty of the Lithuanian population to the official government, and the movement of national revival, striving to enhance the Lithuanian national self-consciousness. The author assumes the main motive behind the compilation of the personal collections of texts to be the issue of problematic availability of the Lithuanian press, partly caused by the four decades-long ban of printing in Latin alphabet, which had fatal harmful consequences to the development of the Lithuanian national culture. The author of the article concludes that majority of the collections in question probably comprised texts published by the illegal Lithuanian press of the time: newspapers, calendars, books of religious literature or popular fiction, folklore publications, or manuscripts by other people. However, the possibility of some texts finding their way into these collections directly from oral tradition is also valid. Analysis of the poetic repertoire of the personal collections enables asserting that their compilers / owners equally appreciated rather diverse written pieces – both literary compositions (mainly individual poetry) and folksongs. Such stratification of individual poetry and traditional songs derived from the interest in Lithuanian folklore, which was particularly characteristic to the culture of the national revival, and from the fact that in publications of the second half of the 19th century both individual poems and folksongs appeared as poetic compositions of the same nature.According to the scarce personal data occurring in the manuscripts and mostly representing provenance, the author of the article attempts drawing a broad-brush portrait of the compiler of the textual collection. This must have been a rather young male of peasant origins, who has graduated from primary school (either illegal or official one) and attended gymnasium or seminary; literate in Lithuanian, Polish and Russian; open to the ideas of the national revival and interested in the available written sources of religious or secular kind.The manuscripts compiled for individual purposes discussed in this article emerge as an important source for the analysis of relationship between individual creativity and writing in general with folklore. The Lithuanian collections of texts from the second half of the 19th century have captured a moment in the confluence of written and oral tradition, which rather than being identified with merging of these cultural systems should be perceived as a certain stage of adapting individual literary creativity to the folklore communication. We should regard these compilations of textual materials as belonging to the written culture rather than folklore as oral tradition.The author also investigates the issue of traditionalism, of historical continuity in relation to these collections of texts picked out and copied from miscellaneous sources. The Lithuanian personal collections of texts from the second half of the 19th century functioning in the peasant society should be related to the earlier traditional collections of texts in Latin, Polish, and old Slavonic languages from the 17th – beginning of the 19th century Lithuania. The Lithuanian data thus becomes part of the wider European historical and cultural context. Personal collections of texts as a rather peculiar genre relate to the commonplace books thriving in the Renaissance period, which served in the humanist educational system as means for disciplined reading. The article presents a retrospective survey of subsequent changes in content and form experienced by these extract books / collections of texts on their way from the academic discourse to the private everyday sphere.
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Bak, D. P. "Arseny Tarkosvky’s <i>small cycles</i>: The artistic history and principles of text preparation." Voprosy literatury, no. 5 (November 29, 2021): 151–65. http://dx.doi.org/10.31425/0042-8795-2021-5-151-165.
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The article analyses the publication problem of A. Tarkovsky’s so-called ‘small cycles’ — poems sharing a common storyline and theme, which were not, however, published as poetic cycles in Tarkovsky’s lifetime, even though he had planned them as such and leſt respective handwritten collections. According to the critic, Tarkovsky created these poetic compilations irrespective of the actual possibility (or impossibility) of their publication. His entire experience of ‘living in literature,’ long years of failed attempts to publish abook of original poetry, the type of forbidding censorship policy prevailing at the time — everything indicated that one should better give up attempts toget published in the heavily supervised literary sector. Bak concludes that a publisher of Tarkovsky’s works should focus on reconstruction of the corpus that was not meant for censors, as the two compilations of his lyric oeuvre— the one prepared for publication and the other preserved in manuscripts only— exist in a sort of ‘alternative complementation,’ as if in parallel to each other, and should both be considered for preparation of scholarly publications.
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Duffill, M. B. "Hausa Poems as Sources for Social and Economic History." History in Africa 13 (1986): 35–88. http://dx.doi.org/10.2307/3171536.
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In his foreword to Neil Skinner's first volume of translations of Frank Edgar's collection of Hausa folk stories, M.G. Smith made the following observations on the historical and sociological value of the collection:“…to students of Hausa culture and history, [Edgar's collection] provides a comprehensive body of diverse materials, much of which being explicitly fictive, is of great ethnographic significance as a projection of Hausa attitudes and practice on to other planes. Together these texts, descriptive and narrative, supply rich first-hand materials on Hausa institutions, inter-ethnic relations and social stratification, supplementing such standard sources as the Kano Chronicle and other Emirate histories, and presenting with insight and economy the characteristic failings, virtues and orientations of Hausa differentiated by rank, sex, age and circumstance. Directly, and in narrative obliquely, the texts also present many insights into Hausa values, beliefs and social orientations. As documents that transmit the flavour of Hausa life and the background of individual experience, they have few rivals.”It seems appropriate to refer to Smith's observations at the start of this examination of three Hausa poems since, in my opinion very similar observations could be made about the materials in several collections of Hausa prose and poetry made by a number of German scholars in the late nineteenth and early twentieth centuries, from one of which the three poems discussed in this paper originate.
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Nikèeviæ-Batriæeviæ, Aleksandra, and Marija Kneževiæ. "The Woman Artist in Edna St. Vincent Millay’s Poetry." Armenian Folia Anglistika 5, no. 1-2 (6) (October 15, 2009): 220–25. http://dx.doi.org/10.46991/afa/2009.5.1-2.220.
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Edna Millay, a legendary personality, a virtuous and independent woman built her world referring to the complicated issues that have troubled the humanity in the course of the entire history – woman-man relations, sympathy towards the one next to you, devotion towards one’s homeland, etc. These notions underwent transformations and turned into a lyrical world with a universal value consistent with emotions. As Daniel Mark Epstein claims this woman-artist revolts against patterns, hypocrisy, fake eloquence and sentimentalism declaring a violent war against traditional forms of poetry. Through the analysis of several poems selected from the best collections of Edna Millay, the article reveals the hidden world of the woman-artist, her struggle and world vision.
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Burger, Bibi. "grond/Santekraam en bientang: Gesitueer in globale swart seeroetes." Tydskrif vir Letterkunde 59, no. 1 (April 8, 2022): 62–74. http://dx.doi.org/10.17159/tl.v59i1.8964.
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The Afrikaans poetry collections grond/Santekraam (2011) by Ronelda S. Kamfer and bientang (2020) by Jolyn Phillips both centralise the ocean and both deal with attempts at recovering repressed black histories. Apart from figuring as a source of spiritual fulfilment and connected to figures in the collection’s livelihoods, the ocean is represented in these collections as the bringer of European colonisers and of slaves to South Africa. In this article I contend that references to slavery and colonialism and the use of words in languages brought to South Africa through slave networks position these collections as products of the transnational Black Atlantic tradition, as theorised by Paul Gilroy. The fact that the narratives of both collections take place in the Overstrand region, near the meeting place of the Atlantic and Indian Oceans, gives an indication of how Gilroy’s theory needs to be adapted to be applicable to Afrikaans literature: as many English-language South African theorists have argued, oceanic literary studies in South Africa should pay as much attention to routes in the Indian Ocean as to Atlantic routes. The emphasis in both collections on not only a history of slavery, but also one of the displacement of and violence against the people already inhabiting the area when colonisers alighted, further serves to indicate what an Afrikaans black aquatic literature looks like. When taking into account these differences between Afrikaans and other versions of black aquatic art, reading grond/Santekraam and bientang as part of a global black aesthetics allows the researcher to identify the ways in which these collections are characterised by a hermeneutics of suspicion (an interpretation of contemporary life that recognises the ways in which it is structured and functions in anti-black ways) and a hermeneutics of memory (an interpretation of this anti-black contemporary as a continuation of the history of the dehumanisation of black people).
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Dowling, Gregory. "‘Why Not Wax as Well as Wane?’ A Review of Michael O’Neill’s Last Two Poetry Collections." Byron Journal 48, no. 2 (December 1, 2020): 157–65. http://dx.doi.org/10.3828/bj.2020.21.
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This review of Michael O’Neill’s last two poetry collections, Return of the Gift and Crash & Burn, explores the way the poet recounts the painful experiences of his fatal cancer and its treatment. The review considers the way literature proves a source of consolation, as do the support and love of friends and family. The two collections also contain moving reminiscences of previous travels to favourite places like Venice and Malta. The review concludes by considering O’Neill’s translation from Il Purgatorio, in which he continues the translation of Canto 28 left unfinished by Shelley; this translation is therefore a way of engaging with two poets who have meant a great deal to O’Neill, as well as with the ancient classics, since Canto 28 is the moment when Dante takes leave of his guide and mentor, Virgil.
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Lāms, Edgars. "Andreja Papārdes dzeja 20. gadsimta sākuma laikmeta un latviešu dzejas kontekstā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 56–63. http://dx.doi.org/10.37384/aplkp.2020.25.056.
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Andrejs Papārde’s real name is Miķelis Valters (1874–1968), he was born and raised in Liepāja in a family of dock workers. Valters is a versatile personality – a Doctor of Juridical Science, a social worker, a politician and a diplomat with outstanding accomplishments in Latvian history. Valters was also an art theorist and poet. He signed his literary works with a pseudonym Andrejs Papārde. In literature, Papārde announces himself in the 1890s with works of short prose and reflections, later also with poetry. In book shape, his poetry is published after the 1905 Russian Revolution. He has three collections of poems published. The first collection of poems “Tantris” was published in 1908 in Helsingfors. The collection consists of little poems in short verses, without titles, but listed with roman numerals from one to eighty-nine. The poems are written in free verse, without rhymes, and they are characterized by allegoric expression and symbolic characters. The poetry is allegorically symbolic, with no specific place and time. The inflecting sound of verses is dominated by a pessimistic and depressive feel. The common gloomy atmosphere of the poems in the collections is formed by the imagery of pessimistic expressions, the dominance of the black colour and a severely dramatic sense of the world of the main character. The scenes with depressive characters capture the horror of a global apocalypse as well as the fear of an individual threat. The atmosphere of misery and hopelessness is created by grim stylistics and negative semantic characters. The very few characters of positive expression cannot dispel the overall dreary and sorrowful mood. Andrejs Papārde’s second poem collection “Ēnas uz akmeņiem” comes out in 1910 in Riga. The collection consists of seventy poems numbered with Arabic numerals. Interestingly, the pages are not numbered, thus only the number of a poem can be indicated in the references. All of the poems are of small scale, ranging from five to twelve lines, most of them are poems of six to eight short lines. All of the poems from the collection are without titles, written in free verse and without rhymes. The form of the poems is almost compressed to a maximum. The free verse and the intelligent dimension of the poems allow perceiving Papārde’s poetry similarly to Japanese haiku or tanka. Verses filled with depressive feelings in a way persist in his second collection of poems, however this time in not so unvaryingly dull manner and not so fatally obedient. More often, but not entirely levelled, optimistic tunes are played. The night continues to reign, there is still a lot of black colour, but more often there are mentionings of mornings. Notably, for expressing optimistic feelings, verbs are used in the future tense. Papārde’s second poem collection “Ēnas zem akmeņiem” ends on an optimistic tune, but that is certainly not a naive optimism of non-existing problems. Papārde’s third poem collection “Mūžība” subtitled “Mana dziesma” was published in 1914 in Helsingfors. Unlike in the previous collections, in this one, all of the poems have titles, and they are no longer numbered. The author consistently keeps writing in a rhymeless free verse. Almost like with inertia, there is still skepticism and disappointment. But there is much more confidence than before, the willingness to withstand difficulties, hard times, and there is hope for the tomorrow, for the “Easter morning”, for a new day. In this poem collection, Papārde and the main character slowly turn into an ambassador of light and an admirer of the sun, thus joining the many sun worshipers and the light announcers in Latvian literature. The character system close to romanticism, individual sovereign subjectivity, intimate sounding verses, dynamic use of abstractions and symbols are all associated with the 20th-century romanticism, or in other words, the neo-romanticism. The dominance of the pessimistic atmosphere differentiates this poetry as a depressive neo-romanticism or so-called catastrophic romanticism poetry.
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Li, Xiaorong. "Imperial Authority, Locality, and Gender: The Political Dynamics of Poetry Anthology Compilation in Qing and Early Republican China (1767–1919)." NAN NÜ 23, no. 1 (August 16, 2021): 35–78. http://dx.doi.org/10.1163/15685268-02310012.
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Abstract This article examines two groups of poetry anthologies created in honor of specific locales. The first group, from the late eighteenth to mid-nineteenth century, contains works predominately by men hailing from a specific locale. The second group, from the nineteenth to early twentieth century, comprises poetry anthologies exclusively devoted to women also from specific localities. By tracing connections among the various anthologies, this article aims to identify the defining cultural and political factors in their creation and to reveal the political dynamics of literary production on various levels: 1) the prestigious or canonical collections which acted as models or even counter-models; 2) the continuum and tension between “our dynasty” (the empire) and “our locality”; 3) the promotion of female authors at both the dynastic and local levels; 4) the participation by some early-twentieth century anthologists in the National Learning Movement. These findings demonstrate the importance of studying the creation of poetry anthologies in China’s recent past toward understanding the politics of literary production or cultural initiatives.
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Eckhardt, Joshua M. "O’Callaghan, Michelle, ed. Verse Miscellanies Online: Printed Poetry Collections of the Sixteenth and Seventeenth Centuries." Renaissance and Reformation 43, no. 1 (April 30, 2020): 187–90. http://dx.doi.org/10.33137/rr.v43i1.34092.
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Lovering Rounds, Anne. "Anthology and Absence: The Post-9/11 Anthologizing Impulse." Text Matters, no. 5 (November 17, 2015): 41–50. http://dx.doi.org/10.1515/texmat-2015-0004.
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The decade after the attacks of 9/11 and the fall of the World Trade Center saw a proliferation of New York-themed literary anthologies from a wide range of publishers. With titles like Poetry After 9/11, Manhattan Sonnet, Poems of New York, Writing New York, and I Speak of the City, these texts variously reflect upon their own post-9/11 plurivocality as preservative, regenerative, and reconstructive. However, the work of such anthologies is more complex than filling with plurivocality the physical and emotional hole of Ground Zero. These regional collections operate on the dilemma of all anthologies: that between collecting and editing. Every anthology, and every anthologist, negotiates the relationship between what is present and what is missing. In light of some of the emerging and established scholarship on the history of the English-language anthology, this article reads closely the declarative paratexts and the silent but equally powerful canonical choices of several different post-9/11 poetry anthologies. In so doing, the article comes to suggest the ways the anthology’s necessary formal incorporation of absence and presence, rather than its plurivocality alone, connects collections of New York’s literature to the fraught discourse of memorialization and rebuilding at the site of the World Trade Center.
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Abraham, Obakachi A. "A Comparative Study of Environmental Struggles in the Poetry of Tanure Ojaide and Marilyn Dumont of First Nations (Canada)." International Journal of Literature, Language and Linguistics 6, no. 1 (January 11, 2023): 1–14. http://dx.doi.org/10.52589/ijlll-dm16c8xp.
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Earlier studies on the Niger Delta poetry of Nigeria and First Nations poetry of Canada have focused primarily on the environmental and minority concerns in the individual literature of these two regions. The environmental concerns in these two literary traditions are a result of the minority status of the regions with hegemonies depriving the indigenous people of control in the ways their landscapes and waterscapes are engaged. This present study takes these issues to a comparative level, investigating how the two marginal groups are reacting to the hegemonies that pushed them to the peripheries and the aesthetics the selected poets employ to combat local and global environmental changes in their collections. Tanure Ojaide’s Niger Delta Blues and Other Poems, and Dumont Marilyn’s The Pemmican Eaters are comparatively explored with the focus of exposing the similarities and differences in the portraitures of their environments. This study finds that the selected poets from both regions depict the primordial symbiotic relationship that existed between humans and non-humans in their environments, especially prior to the commencement of mineral resources exploitation in their regions. Poems from both regions compare the harmonious past with the disharmony of the present to raise global awareness of the problems caused by capitalist agents in the exploitation of the environment. Similarly, oral traditions are depicted as viable aesthetics which promote the harmonious human-environment relationship. The selected collections of poetry have political undertones and represent the people’s collective aspirations, it is against this that they recreate the myths around their activists and heroes to document the history and raise environmental consciousness among the people. The poets of the two literary traditions compared, however, differ in the following areas: the poets of First Nations are more impressionistic in depicting environmental struggles while Niger Delta poets rely on metaphors and images to portray their environmental struggles. The study concludes that the environmental and minority struggles portrayed in the selected collections show the pursuit of environmental justice for their marginalised regions, and by extension, it is a contribution to the global environmental discourse.
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Dominguez, Patricia Buck, and Joe A. Hewitt. "A Public Good: Documenting the American South and Slave Narratives." RBM: A Journal of Rare Books, Manuscripts, and Cultural Heritage 8, no. 2 (September 1, 2007): 106–24. http://dx.doi.org/10.5860/rbm.8.2.285.
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Documenting the American South (DAS) is an electronic publishing program of the University of North Carolina Library that provides public access to primary source materials related to Southern history, literature, and culture from the colonial period through the first decades of the twentieth century.1 It includes mainly nineteenth- and early twentieth-century published texts, with large numbers of autobiographies, biographies, essays, travel accounts, poetry, diaries, letters, and memoirs. It also offers a few titles published in the seventeenth and eighteenth centuries, and some manuscripts, images, and audio files. DAS currently includes ten thematic collections.2 The American South has a unique cultural . . .
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Semenova, Elizaveta P. "Bibliography of A.I. Solzhenitsyn: the History, Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 67, no. 1 (April 22, 2018): 69–74. http://dx.doi.org/10.25281/0869-608x-2018-67-1-69-74.
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The article describes the history of creation of Biobibliographic Index “Alexander Isayevich Solzhenitsyn. Materials for Biobibliography” dedicated to A.I. Solzhenitsyn – the outstanding Russian writer, Nobel Laureate and public figure – from the bibliographic chapter planned in the 1960-ies to the Index in two volumes, being prepared for publication in 2018.The Index contains the list of all works by A.I. Solzhenitsyn from 1962 to 2017: released both as separate editions and published in the periodical press, as well as the literature about his life and creative activity. The first section includes the book editions and works by the writer published in journals, newspapers and non-author’s collections. They are grouped by genre principle — prose, drama, poetry. The bibliographic records are arranged in chronological order (by date of publication). The second section “Literature on A.I. Solzhenitsyn’s Life and Works” includes a variety of publications, devoted to the writer entirely or partially. The key to the disclosure of the substantive content of each entry is a classified index, where the heading titles reflect the landmarks of A.I. Solzhenitsyn’s life and creative heritage, identified in the process of the compilers’ acquaintance with the critical literature de visu. This index helps the user to navigate in the extensive corpus of literature devoted to the writer and in selection of materials on the subject of interest.The author considers the problems encountered by the compilers, as well as the ways of their solution and defines this publication as the first experience in Russia in preparing a large-scale bibliographic collection dedicated to A.I. Solzhenitsyn.
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Inyabri, Idom T. "The Poetics of Place and Belonging in Joe Ushie’s Poetry." Matatu 52, no. 2 (October 20, 2022): 294–312. http://dx.doi.org/10.1163/18757421-05202006.
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Abstract Joe Ushie’s poetry is highly expressive of a poet persona’s place consciousness. In this paper I interrogate selected poems that articulate a sense of place and belonging in his four collections of poems: Popular Stand and Other Poems (1992), Lambs at the Shrine (1995), Hill Songs (2000), and A Reign of Locust (2004). Utilising the theoretical provisions of postcolonial ecocriticism, I see his imagery as a creative strategy to express his belongingness, foreground a marginalised cultural space, and draw attention to the vagaries of a once idyllic environment in the throes of vain postcolonial politics, commercial greed, and poverty. Thus, while remaining close to the poet’s indigenous imagination, I conclude that Ushie’s aesthetics of place and belonging is anchored firmly in the environmentalist ethics of pursuit for a healthy environment.
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Martínez Serrano, Leonor María. "A fragment of the world, a piece of human consciousness: Tim Bowling’s "The Bone Sharps" (2007) and "The Tinsmith" (2012)." Journal of English Studies 15 (November 28, 2017): 135. http://dx.doi.org/10.18172/jes.3058.
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Canadian novelist, poet and essayist Tim Bowling is one of the most prestigious authors in 21st-century Canadian letters. A prolific and versatile author, he has published twelve poetry collections, four novels, a memoir and a work of creative non-fiction so far. This paper looks at two of his novels, "The Bone Sharps" (2007) and "The Tinsmith" (2012), tools of knowledge that explore not just human consciousness as the lens through which we make sense of reality, including our selves, but also history, memory and identity, epistemology and ethics. A fragment of the world and a piece of human consciousness: this is what both novels are.
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Korobkova, O. A. "The inspiration of careful planning." Voprosy literatury, no. 5 (October 31, 2022): 238–53. http://dx.doi.org/10.31425/0042-8795-2022-5-238-253.
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O. Korobkova offers a brief description of meetings organised by the Rybinsk-based Poetic Translation Club, illustrated with short interviews of the translators E. Matveev, P. Efimova, V. El, A. Koryakov, and S. Mokeev. In her talks with the club members, Korobkova finds out about the history of the artistic society and their preferred authors for translation. Demonstrating a broad scope of interest, Rybinsk-based translators tackle a variety of authors from internationally renowned anglophone poets like M. Strand and H. Graham to the Norwegians H. Børli and R. Jacobsen and the Bulgarian B. Khristov. The club members also discuss challenges faced during translation and poetic collections published by the club: the Rybinsk-based society has so far produced over fifty books of collected poetic works translated from English, Norwegian, Polish, and Bulgarian. The article also exhibits selected translations by members of the club and proves that the meaning of a literary map is not limited to prose and poetry written in a particular region but also includes educational efforts, thus artistic and translation societies of the kind we find in Rybinsk make a valuable contribution to the development of a regional culture as well as artistic translation in general.
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Sinitsyn, A. Yu. "Japanese Collections by Anna E. Gluskina in the Museum of Anthropology and Ethnography." Vestnik NSU. Series: History and Philology 21, no. 10 (November 30, 2022): 63–73. http://dx.doi.org/10.25205/1818-7919-2022-21-10-63-73.
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Anna Evgenievna Gluskina (1904–1994) is known as an outstanding translator of Japanese poetry, teacher and educator, expert on Japanese culture, author of numerous academic articles and monographs. There are many well-known publications devoted to her life, her research and poetic work. However, her activities as a museum Japanologist, as well as her contribution to the formation and description of the Japanese collection of the Museum of Anthropology and Ethnography RAS (MAE), are still little known and underestimated. Meanwhile, Anna Evgenievna's debut as a professional Japanologist is connected with her work at the MAE; she spent almost 9 years of her life in the museum (1925–1933). During her academic trip to Japan in 1928, she acquired over 700 pieces that characterize various aspects of traditional Japanese culture, for the museum: Shinto cult objects, a variety of theatrical accessories including marionette puppets and kageboshi shadow theatre items, numerous traditional agricultural implements and fishing gear, peasants’ costumes and agricultural instruments as well as about 400 photographs and negatives. All these items were organized into 7 material and 6 photographic collections; the descriptions were made by Anna Evgenievna at a very high professional level and are distinguished by great accuracy; each item is provided with a detailed attribution and ethnic designation supplied with its Japanese character writing and indication of the circumstances of their acquisition. By the early 1930s, Anna Evgenievna had fully established herself not only as a professional Japanologist, but ethnographer and museum researcher, too; however, the dramatic circumstances intervening into the life of the MAE in 1933 had interrupted her activities in this field.
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Foster, J. Ashley, Sarah M. Horowitz, and Laurie Allen. "Changing the Subject: Archives, Technology, and Radical Counter-Narratives of Peace." Radical Teacher 105 (July 7, 2016): 11–22. http://dx.doi.org/10.5195/rt.2016.280.
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This article argues that performing the recovery of pacifist art and actions through archival research of the modernist era encourages students to engage in radical ethical inquiry. Based on four sections of a writing class at Haverford College, this article walks the reader through the construction of a student digital humanities and special collections exhibition, Testimonies in Art & Action: Igniting Pacifism in the Face of Total War, which ran from October 6 to December 11, 2015 in Haverford College’s Magill Library. The exhibition placed archival materials in conversation with the major modernist pacifist documentary projects of Langston Hughes’s Spanish Civil War poetry and dispatches, Muriel Rukeyser’s “Mediterranean,” Pablo Picasso’s Guernica, and Virginia Woolf’s Three Guineas. This undertaking was driven by the questions, “How does one respond ethically to total war?” and “How can archival and special collections research do the works of peace?” Built around the work of these classes and materials from Haverford’s Quaker & Special Collections, Testimonies in Art & Action allowed students to deeply interrogate a variety of pacifisms and become producers of a critical discourse that challenges the status quo position that violence is perpetually necessary and the most important aspect of world history.
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T’Sjoen, Yves. "‘Koloniseren is een smaak die je moet leren’ – Hugo Claus en Het leven en de werken van Leopold II (1970)." Tydskrif vir Letterkunde 46, no. 1 (November 9, 2017): 151–66. http://dx.doi.org/10.17159/2309-9070/tvl.v.46i1.3473.
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The première of Claus’ play Het leven en de werken van Leopold II (The Life and Works of Leopold II), in November 1970 (by the company Nederlandse Comedie), was directed by the author himself. After a second and again rather unsuccessful run (1972–1973, Arena, director: J. Tummers) it disappeared from the stage for nearly thirty years: there was no other production of Claus’ play in the Low Countries until the autumn of 2002 (KVS, director: R. Ruëll). Undoubtedly Het leven en de werken van Leopold II is one of the lesser-known plays by the Flemish author Hugo Claus (1929–2008). While writing it, at the end of the sixties, Claus was simultaneously working on two poetry collections. Van horen zeggen contains accessible poems, sometimes rather anecdotal, with many references to the contemporary political situation. These poems show a clear affinity with the neo-realistic poetry that was dominant in Dutch-language literature in the sixties. Also in 1970, on the same day as Van horen zeggen, Claus published Heer Everzwijn (Lord Wild Boar), manneristic poetry showing another poeta faber. Given Claus’ interest in the history of the Congo Free State (see also the novel De geruchten [The rumours]) and the way he caricatures King Leopold II and his government in Het leven en de werken, it is worth investigating the political and social perspectives articulated in both his drama and his poetry. What are the similarities between the poet and the playwright? How can we explain his interest in the way Leopold mistreated the people of the Congo? In this essay I present the ideological and social points of view adopted by Claus in a broad literary and political context, studying his play on Leopold’s atrocities in what would later (in 1908) become a Belgian colony, alongside the poetry he produced in the same period.
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Pei, Jiang. "On Translations and Translators of I. A. Krylov’s Fables in China." Izvestiia Rossiiskoi akademii nauk. Seriia literatury i iazyka 81, no. 1 (2022): 90. http://dx.doi.org/10.31857/s160578800018926-4.
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The article gives a overview of translations of I.A. Krylov’s fables in China. The first of them appeared more than 120 years ago, but the real acquaintance of Chinese readers with his work took place in the 1950s because of the translations of Meng Hai and Wu Yan. From the late 1970s to the present, the number of translations and editions of Krylov’s fables has been constantly increasing. Now in China there are more than 300 separate editions of his selected fables and 33 complete collections. At various times, at least 64 translators worked on translations of Krylov’s fables into Chinese, and 15 of them translated all nine books of the collection of his fables (these are Wu Yan, He Shiying, Feng Jia, Gu Yu, Xin Weiai, Han Guiliang, He Maozheng, Pei Jiaqin, Qu Hong, Yue Yan, Shi Guoxiong, Ding Lu, Zhu Xiansheng, Qiu Jingjuan and Yang Jianfeng). Some translations are made in prose, but some in poetry. The article summarizes the history of translations of Krylov’s fables in China and provides information about the most important translations and translators.
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Buivytė, Giedrė. "Shifting Emotional Expression in Lithuanian Love Songs." Tautosakos darbai 63 (July 20, 2022): 105–22. http://dx.doi.org/10.51554/td.22.63.05.
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The article focuses on social and cultural background of the shifts taking place in the stylistics and contents of Lithuanian love songs. Applying theoretical assumptions from the field of history of emotions, the author analyzes shifting expression of emotions in folksongs on the topic of love. The subject of the article embraces love songs that spread from the 19th to the first half of the 20th century and were shaped not only by the folklore tradition, but also by Lithuanian and foreign poetry of the time, and by popular romances. These compositions differ in terms of poetic quality, displaying both the traditional folksong elements and changing attitudes by the singers and people that are depicted in the songs, as well as a new vocabulary of emotional expression. Applying insights by Peter N. and Carol Z. Stearns (1985) regarding the society’s standards on the expression of emotions, and the concept of emotive, or emotional statement, introduced by W. Reddy (2001), the author regards the shifting expression of emotions in love songs as a reflection of emotionality spreading in written culture (primarily poetry) of the 19th century. Utterances of love-related emotions are essentially perceived as manifestations of the changing poetic vocabulary. The first chapter discusses social and cultural conditions of the changing folksongs, concentrating mostly on the notion of love and its significance in traditional Lithuanian peasant family, and the spread of literacy in the 19th century. The growth of written culture is considered a factor in introducing tropes and prototypes of emotional language that express the notion of romantic love into the sphere of folksong. The second chapter analyzes the relationship between love songs and individual poetry. Various collections of Lithuanian folksongs published in the 19th century, as well as their publications in the press testify to the process of interaction between written and oral culture gaining momentum at that time. This process was further stimulated by the increase of Lithuanian poetry composed by representatives of Lithuanian intelligentsia and literati with roots among the small noblemen and peasants; their compositions were significantly influenced by foreign poetry. Romantic lyrics also grew popular among the peasants. The third chapter explores the distinction between classical folksongs that encode communication of the young people in symbols and draw on the ritual code, and the new love songs that preserve traditional images but lose their symbolic meaning and ritual orientation. The author concludes that these new love songs employ a predominantly poetic vocabulary of emotional expression typical to written culture, their folkloric formulas mixing with new phrases yet unpolished by the tradition and straightforwardly naming certain emotions; a direct relation between “I” and “you” becomes more prominent too. She discusses samples of folksongs that directly name love and openly depict such related emotions as worry, sorrow, or anger, and loveʼs parallel with death.
To sum up, it is stated that expressions of personal emotions increasingly become established in the new love songs. Although such expressions are frequently artistically rough and unpolished, they testify to the necessity of mastering new means of poetic expression, acutely felt by the newly literate people. Moreover, the songs also expand the semantic field of love, associating this feeling with intense emotions, overwhelming anxiety and longing, while the absence of love is conceptualized as a failing health and lost inner peace. Obviously, the stylized and frequently sentimental poetic vocabulary of emotional expression, characteristic to individual poetry affected by foreign literature and romances, presented new possibilities to discuss emotions in folksongs. These practices should be regarded mainly as “legitimization” of a new emotionally expressive rhetoric in the sphere of folkloric communication rather than a direct testimony to the experienced feelings.
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Jackson, Virginia, and Yopie Prins. "LYRICAL STUDIES." Victorian Literature and Culture 27, no. 2 (September 1999): 521–30. http://dx.doi.org/10.1017/s1060150399272178.
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THE VICTORIAN POETESS has become as important a figure in the late twentieth century as she was in the late nineteenth — perhaps because she seems now, as then, to have lapsed into the obscurity of literary history. In recent years feminist critics have been interested in reclaiming a tradition of nineteenth-century popular poetesses whose verse circulated broadly on both sides of the Atlantic. A spate of new anthologies, annotated editions, and critical collections (as well as texts now available on-line) has reintroduced supposedly lost women poets into the canon of Victorian poetry. Indeed, this recovery is often predicated on a rhetoric of loss, as if only by losing women poets we can rediscover and read them anew. Thus in recent advertisements for such anthologies, we read that Victorian Women Poets (edited by Angela Leighton and Margaret Reynolds in 1995) “aims to recover the lost map of Victorian women’s poetry,” and British Women Poets of the 19th Century (edited by Margaret Higonnet in 1996) “restores the voices and reputations of these ‘lost’ artists”; likewise, the compendious Nineteenth-Century Women Poets (edited by Isobel Armstrong and Joseph Bristow with Cath Sharrock in 1996) “rediscovers rich and diverse female traditions.”
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Golovashchuk, Antonina. "Her main love is books." Вісник Книжкової палати, no. 2 (February 26, 2020): 48–52. http://dx.doi.org/10.36273/2076-9555.2020.2(283).48-52.
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The article covers the life and career of Olga Strashenko — a librarian by profession, a literary critic, a writer and a translator, and is timed to mark the 70th anniversary of her birth. The library activity of Olga Strashchenko is traced, which besides accumulation of funds, attached great importance to cultural and mass, information activity with readers, because the library is a unique means of public communication. The study mentions interesting reader's collections, the guests of which were quite often known Ukrainian writers: Valery Shevchuk, Vladimir Yavorivsky, Raisa Ivanchenko, Boris Mozolevsky, Vladimir Kolomiets, Oksana Ivanenko, Anna Chubach, Vladimir Zabashtansky. The formation of Olga Strashchenko as a writer that covered her work in the second half of the XX — the beginning of the XXI century is considered. Various works of the writer have been analyzed: poetry, dramaturgy, historical novels and short stories, translations and more. The study makes it possible to represent the first poetry collections of the librarian like "Embroidered Mother" (1990), "Monument on the Hinges" (1991). The article presents the analysis of dramatic works and historical prose of the writer, which testifies to her desire to cover the past and present Ukrainian reality more and more extensively. Particular attention in the work is paid to the translation activity, because it was extremely reasoning and fruitful. A special place among the translations of the writer was occupied by translations of ancient lyrics. The value of Olga Strashenko's legacy and the importance of her artistic word are revealed, as the writer's works give an opportunity to study history, national and world culture, to trace the literary-artistic and cultural-spiritual changes that took place in Ukrainian society.
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Warscheid, Ismail. "L’Islam saharien précolonial : portrait d’un champ de recherche." Studia Islamica 113, no. 2 (December 5, 2018): 244–65. http://dx.doi.org/10.1163/19585705-12341379.
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Abstract From the 15th century onwards, a network of Muslim scholarly communities developed in the western and central parts of the Sahara, covering present‐day southern Algeria, Mali, Mauritania, Morocco, and Niger. The massive diffusion of Islamic literate culture led to the constitution of a rich tradition of scholarship that materialized in various types of texts: doctrinal treatises, biographical dictionaries, chronicles, commentaries, poetry, and, most important, comprehensive fatwa collections. In the last decades, increasing academic attention has been given to this astonishing cultural heritage of the people of the great desert. This article intends to give a short survey of works and research orientations, focusing on projects of identification and edition of Arabic manuscripts and on the mobilization of Muslim scholarly writing as a source for social and cultural history.
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Pritula, Anton. "Reading and Writing on Reading and Writing: Short Poetry on Flyleaves in a Manuscript of the Metrical Grammar (DCA 00065)." Scrinium 17, no. 1 (April 21, 2021): 255–73. http://dx.doi.org/10.1163/18177565-00160a09.
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Abstract The short pieces discussed in the paper were added between larger texts and on the flyleaves by the scribe himself. Thematically, the poems may be divided in two blocks: the first one contains poems on reading, studying grammar, and on the scribal activities, whereas the second one comprises poetry ascribed to Bar ʿEbrōyō on different topics. The manuscript under discussion – Bar ʿEbrōyō’s (1226–1286) Metrical Grammar (DCA 00065) – was written in 1552 by ʿAbdīšōʿ of Gāzartā, an East Syrian patriarch (1555–1570), poet and copyist. These small pieces forming short verse collections illustrate the complex processes that took place in the manuscript circulation and literary life during the Early Ottoman period. All the short poems were never published or studied before, and for that reason they are placed here in the Appendix in both Syriac original and English translation.
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Zvonska, Lesia. "UKRAINIAN TRANSLATIONS OF ANCIENT GREEK LITERATURE: ACHIEVEMENTS AND PROSPECTS." Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, no. 30 (2021): 17–20. http://dx.doi.org/10.17721/1728-2659.2021.30.5.
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The article presents the history of Ukrainian translations of ancient Greek literature and describes the translation work of Ukrainian classical philologists, poets and prose writers. The reception of literary works of antiquity is represented by texts of different styles, poetic schools and Ukrainian language of different periods, which demonstrate the glorious tradition of domestic translation studies. It is noted that Ukrainian translations have a long history (from the first translation in 1788 and the first textbook in 1809); they were published in separate periodicals, collections, almanacs, as well as complete books and in textbooks and anthologies. Ukrainian translations of literature in the ancient Greek language of the аrchaic, сlassical and Hellenistic periods are analyzed. Translations of poetry (epic, elegy, iambic, monodic and choral lyrics, tragedy, comedy, folk lyrics, mimiyamb, epilium, bucolic, idyll, epigram) and prose (fable, historiography, philosophy, rhetoric, fiction, ancient novel, New Testament and Septuagint, early Christian patristic) are described. Significant in the history of translations are the achievements of the brilliant connoisseur of antiquity I. Franko. The high level of linguistic and stylistic assimilation of ancient Greek prose and poetic texts is demonstrated by the creative style of such outstanding translators as Borys Ten, V.Svidzinsky, M. Bilyk, G. Kochur, A. Smotrych, V. Derzhavуn, V. Samonenko, P. Striltsiv, A. Tsisyk, Y.Mushak, A. Biletsky, V. Maslyuk, J. Kobiv, Y. Tsymbalyuk, L. Pavlenko.The glorious traditions are continued by well-known antiquaries, writers and poets, among whom A. Sodomora has a prominent place. At the level of world biblical studies there are four translations of the Holy Scripture in Ukrainian (P. Kulish, I. Pulyuy, I. Nechuy-Levytsky, I. Ogienko, I. Khomenko, R. Turkonyuk). Іt is summarized that despite numerous Ukrainian translations of various genres of ancient Greek literature there is a need to create a corpus of translations of ancient Greek historiography, rhetoric, philosophy, natural science texts, Greek patristic.
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Лобкова, Г. В. "Collections of Folk Songs and Instrumental Tunes by Nikolay Solovyov: On Manuscript Attribution." OPERA MUSICOLOGICA, no. 1 (March 15, 2021): 26–56. http://dx.doi.org/10.26156/om.2021.13.1.002.
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В статье представлено рукописное наследие Николая Феопемптовича Соловьёва (1846–1916), композитора, профессора Санкт-Петербургской консерватории, включающее 162 записи народных песен и инструментальных мелодий. До настоящего времени считалось, что поэтические тексты и напевы русских народных песен (117 образцов) в двух записных книжках из фондов Научно-исследовательского отдела рукописей Научной музыкальной библиотеки (НИОР НМБ) Санкт-Петербургской государственной консерватории имени Н. А. Римского-Корсакова относятся к автографам известного композитора А. Н. Серова. В статье находит подтверждение тот факт, что данные записные книжки принадлежат Н. Ф. Соловьёву. Публикация четырех песен из рукописи в издании П. В. Шейна «Великорус в своих песнях, обрядах, обычаях, верованиях, сказках, легендах и т. п.» свидетельствует, что песни были записаны Соловьёвым в Санкт-Петербурге от уроженки села Байдики Тульской губернии крестьянки Марьи Гавриловны Бабановой (Бабковой) в 1860-е годы. Изучение третьей записной книжки из фондов Кабинета рукописей Российского института истории искусств позволило сделать вывод о том, что содержащиеся в ней нотации песен и наигрышей (37 мелодий) были сделаны Соловьёвым в августе 1873 года во время специальной поездки по Полтавской губернии с целью сбора материалов для оперы «Кузнец Вакула». Требует дальнейшего исследования беловая рукопись с поэтическими текстами и напевами восьми русских песен, которая хранится в НИОР НМБ среди материалов, принадлежащих Н. Ф. Соловьёву, поскольку почерк не обнаруживает сходства с автографами композитора. The handwritten legacy of Nikolay Feopemptovich Solovyov (1846–1916), composer, professor of the St. Petersburg Conservatoire, includes 162 recordings of folk songs and instrumental melodies. To date, it was believed that the poetry lyrics and melodies of Russian folk songs (117 samples) in two notebooks of the Research Department of Manuscripts of the Scientific Music Library of the Saint Petersburg Rimsky-Korsakov State Conservatory belong to autographs of the famous Russian composer Alexander Serov. The article provides evidence of ownership of this collection by Nikolay Solovyov. One confirmation is the publication of four songs from the manuscript (including two with melodies) in Pavel Schein’s edition of “Velikorus in his songs, rites, customs, beliefs, fairy tales, legends, etc.” It turns out that the songs were recorded by Nikolay Solovyov in St. Petersburg from peasant Marya Gavrilovna Babanova (Babkova) from the village of Baidiki, Tula Province. Study of the third notebook from the funds of the Manuscript Cabinet of the Russian Institute of Art History concluded that its notation of songs and instrumental music (37 melodies) were made by Nikolay Solovyov in August 1873 during a special trip to Poltava Province to collect materials for the opera “Kuznets Vakula”. Another manuscript with poetry texts and melodies of eight Russian songs, which is stored in Research Department of Manuscripts of the Scientific Music Library among materials belonging to Nikolay Solovyov, requires further research, because the handwriting does not detect similarities to the composer’s autographs.
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Makarova, E. A. "The Book Publishing in the Pre-revolutionary Irkutsk: On the “Cultural Nest” Problem." Studies in Theory of Literary Plot and Narratology, no. 1 (2019): 50–62. http://dx.doi.org/10.25205/2410-7883-2019-1-50-62.
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The paper focuses on the literary and publishing situation in Irkutsk in the second half of the 19th – early 20th centuries viewed as the combination of factors that gave grounds for N. K. Piksanov to introduce the concept of “cultural nest” into the academic parlance. The concept conjugates three stable elements: “a certain group of actors, constant activity and disciples.” The Irkutsk literary and art collections are analyzed from an interdisciplinary perspective that allows direct transfer of research methods from one academic field to another. In this case, historical and literary criticism aims at identifying sociocultural “era slices” in historical, cultural, and publishing context, which makes it possible to relate the development paradigm of almanac literature to the dynamics of social development and processes in related areas of book culture. The literary history of Irkutsk, as well as of the entire Siberian region, begins with the publication of N. S. Shchukin’s Siberian Tales, compiled and published by in 1862. In the mid-1870s, the controversy around the local press, closely monitored in the metropolitan media, resulted in the scholarly and literary collection of the “Sibir’” newspaper published in St. Petersburg in 1876. In fact, the first Siberian literary anthology was the collection of poems Siberian Motifs, published by a famous Irkutsk activist and philanthropist I. M. Sibiryakov. The most successful and longlasting publishing project of the last decades of the 19th century was Siberian Collections, published as a scholarly and literary supplements to Yadrintsev’s newspaper “Vostochnoe Obozrenie” in 1885 in St. Petersburg, and later, from 1888 to 1906 in Irkutsk. In the early 20th century, the first purely commercial book publishing enterprise in Irkutsk was “Irisy” Publishing House founded by the Stozhs. The most successful literary projects were the collections Baikal in Poetry and Prose. Part 1 and Siberian Poets and Their Works, edited by a well-known journalist, literary critic, Marxist and publisher N. Chuzhak-Nasimovich. Among other Irkutsk editions of the first decades of the 20th century the most typical were the student collections The First Snowdrop and Northern Dawns, as well as the anthology Irkutsk Evenings, published by a group of poets led by Konstantin Zhuravsky, who also edited the collection. As a result, the proposed interdisciplinary approach made it possible to correlate the development paradigm of almanac literature with the dynamics of social development and the processes occurring in related areas of the book culture in the pre-revolutionary Irkutsk.
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McIlfatrick-Ksenofontov, Miriam. "Eccentric Sonnets: Ciaran Carson’s poetics in The Twelfth of Never." Interlitteraria 23, no. 2 (January 3, 2019): 383–98. http://dx.doi.org/10.12697/il.2018.23.2.13.
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The dialogic nature of language use and the impossibility of an uninfluenced work of literature complicate the notion of poet-as-originator. Yet originality persists as a sought-after quality in literature for both writers and readers. The article focuses on the Northern Irish poet, writer, and translator Ciaran Carson, known for his fascination with language as a medium and his linguistic experimentalism. In 1998, Carson published two collections of poetry: The Alexandrine Plan, translations of sonnets by Mallarmé, Baudelaire and Rimbaud, and The Twelfth of Never, a sequence of his own sonnets – both in rhyming alexandrines, suggestive of simultaneous composition. In its borrowed form, The Twelfth of Never offers a kaleidoscopic montage of motifs and discourses from Irish history, literature, folklore, music, and myth, and flits to and fro between Ireland, France, and Japan, evoking a never-land in which “everything is metaphor and simile”.
The article adopts a neuro-anthropological view of human culture as distributed cognition and of art as a way of knowing and self-reflectively putting the world together for both artist and audience. The analysis of Carson’s poems seeks to explicate how recognisable characters, emblems, and rhetoric appear in and are altered by unfamiliar guises and settings; how cultural symbols and literary forms are interrupted in the act of representing; and how the dreamlike quality of the collection depends on the looping and metamorphosing of motifs, images and voices from one poem to another. I suggest that this does not generate a chaotic textual product but amounts to an engaging reflection on the nature of originality in the making and making sense of poetry.
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Rogerson, Ian. "A Breath of Freedom: The Open-Air Anthologies of E.V. Lucas and Francis Meynell." Bulletin of the John Rylands Library 89, no. 2 (March 2013): 177–202. http://dx.doi.org/10.7227/bjrl.89.2.9.
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Edward Verrall Lucas (1868-1938) and Francis Meynell (1891-1975) were men of letters in the old-fashioned sense. They were indefatigable both in creating text and bringing like matter together in new and meaningful forms. Lucas was a journalist, anthologist and publisher. Meynell was a printer, anthologist and publisher, and also a poet of considerable sensitivity and charm. Lucas did not write much poetry but was passionate about its merits, and sought, through his collections, to bring children into contact with the best of verse. Today, the significant contributions that these men made to publishing in Britain are in danger of becoming forgotten, relegated to the minor byways of publishing history. This article examines the origins and connections between two hugely successful anthologies that were inspired by a growing public interest in, and engagement with, the English countryside.
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Dudley, Rachel. "The Role of Feminist Health Humanities Scholarship and Black Women’s Artistry in Re-Shaping the Origin Narrative of Modern, U.S. Gynecology." Humanities 10, no. 1 (March 23, 2021): 58. http://dx.doi.org/10.3390/h10010058.
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Between 1845–1849, twelve enslaved women in Montgomery, Alabama lived through prolonged, gynecologic experimentation at the hands of Dr. James Marion Sims. What happened, in his 16-bed backyard hospital, often begins the origin narrative of modern U.S. gynecology and how it developed into a discrete and international, Western, scientific field of medicine. Sims autobiography references three of these women, by their first names only: Anarcha, Lucy and Betsey. The research questions here are: what more can be known about these women’s lives, their possible social networks and their cultural legacies? Further, what changes if the origin narrative of modern, U.S. gynecology begins with feminist health humanities scholarship and in the pages of black women’s artistry? I discuss original research findings, involving the following primary source: an 1841 property deed, mentioning the first names of 7 other enslaved people owned by Sims. I, then, examine cotemporary U.S. feminist scholarly writing and artistic cultural representations, centering the lives of the women as important historical figures. Last, I conceptualize the notion of poetic ancestral witnessing within the work of the following three, twenty-first century, African American, poets: Bettina Judd, Dominique Christina and Kwoya Fagin Maples. These women published poetry collections on this history, between 2014 and 2018.