Journal articles: 'War poetry'

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Tick, Edward. "War Poetry." Military Behavioral Health 3, no. 2 (April 3, 2015): 92–94. http://dx.doi.org/10.1080/21635781.2015.1032540.

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Tick, Edward. "War Poetry." Military Behavioral Health 3, no. 3 (July 3, 2015): 167–70. http://dx.doi.org/10.1080/21635781.2015.1062282.

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Tick, Edward. "War Poetry." Military Behavioral Health 3, no. 4 (October 2, 2015): 328–30. http://dx.doi.org/10.1080/21635781.2015.1092784.

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Choi, Hie Sup. "Yeats’s War Poetry." Yeats Journal of Korea 49 (April 30, 2016): 255–74. http://dx.doi.org/10.14354/yjk.2016.49.255.

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Patterson, Clare. "Post-War Poetry." Groundings Undergraduate 11 (May 1, 2018): 72–79. http://dx.doi.org/10.36399/groundingsug.11.181.

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The modernist poems “The Waste Land” (1922) and Paris (1919) both respond in oblique ways to the aftermath of the First World War, featuring prominent images of both death and societal decline as well as new growth and restoration. Through close readings which place these two texts within the post-war context and the poetic and literary responses of this period, I examine the ways in which T. S. Eliot and Hope Mirrlees combine emotional and societal responses to the First World War with wider conceptions of civilisation, myth, folklore and cultural history.

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Koethe, John. "Poetry and the War." Antioch Review 62, no. 1 (2004): 88. http://dx.doi.org/10.2307/4614602.

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Thornton, R. K. R., and Tim Kendall. "Modern English War Poetry." Modern Language Review 103, no. 4 (October 1, 2008): 1119. http://dx.doi.org/10.2307/20468059.

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GOLDENSOHN, LORRIE. "DYING IN WAR POETRY." Yale Review 100, no. 2 (2012): 33–57. http://dx.doi.org/10.1353/tyr.2012.0032.

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GOLDENSOHN, LORRIE. "DYING IN WAR POETRY." Yale Review 100, no. 2 (March 3, 2012): 33–57. http://dx.doi.org/10.1111/j.1467-9736.2012.00784.x.

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Einhaus, Ann-Marie. "Women's War Poetry Revisited." Women: A Cultural Review 26, no. 4 (October 2, 2015): 472–75. http://dx.doi.org/10.1080/09574042.2015.1106254.

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Wilkinson, Alan. "The Poetry of War." Theology 89, no. 732 (November 1986): 459–70. http://dx.doi.org/10.1177/0040571x8608900606.

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Simmers, George. "The Poetry of War." English Studies 91, no. 7 (November 2010): 806–7. http://dx.doi.org/10.1080/0013838x.2010.517244.

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El-Amri, Ali. "When poetry inspires war." Lublin Studies in Modern Languages and Literature 39, no. 1 (August 16, 2015): 7. http://dx.doi.org/10.17951/lsmll.2015.39.1.7.

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Muttaleb, Fuad Abdul. "The Anti-War Poetry of Herbert Read: “Kneeshaw Goes to War” as an Example." World Journal of English Language 12, no. 5 (June 16, 2022): 334. http://dx.doi.org/10.5430/wjel.v12n5p334.

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This study aims at investigating the nature of the anti-war poetry of the English poet, Sir Herbert Read (1893 -1968). First, it surveys the different styles that the anti-war poets followed in their criticism of war in an attempt to figure out afterwards the characteristics that distinguish Read’s anti-war poetry from other poetry. It then presents the main features of Read’s anti-war poetry. The study moves on to examine its main objective that lies in analyzing Read’s poem “Kneeshaw Goes to War” (1918) as an example of his own anti-war poetry. This thematic study follows a descriptive and analytical method in carrying out its aim. It starts with an introduction about the different modes of war poetry and literature review, develops into a discussion of Read’s attitude towards the poem’s main subject and comes to an end with the main findings in the conclusion. Read was able to use a realistic approach in his criticism of war in his poem “kneeshaw Goes to War”. In his portrayal of the destructiveness of war, he managed to expressionistically convey his sense of despair that the war had generated in the individual’s personal experience with war. The representation of human experience is thus as important as the anti-war theme itself in the poem.

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Ben-Merre, David, and Robert Scholes. "War Poems from 1914." PMLA/Publications of the Modern Language Association of America 124, no. 5 (October 2009): 1747–60. http://dx.doi.org/10.1632/pmla.2009.124.5.1747.

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In October 1912 the first issue of Harriet Monroe's new journal, Poetry: A magazine of verse, appeared. The last has yet to come. In an era when little magazines came and went like mayflies, Poetry came and has refused to go. The journal had it all—in its early years it was at the forefront of debates about imagism, vers libre, and other issues concerning the “proper” form and content for poetry. Monroe, its editor, is still insufficiently appreciated as a major figure in literary modernism. We hope to change that. Supported by a grant from the National Endowment for the Humanities, the Modernist Journals Project (MJP) has completed a digital edition of the first eleven years of this distinguished journal, using original copies provided by the University of Chicago Library, supplemented in some instances by copies from the University of Wisconsin, Madison, and the University of Tulsa's McFarlin Library. Those of us working on this edition have discovered many interesting things, including the first publication of Joyce Kilmer's “Trees,” which Cleanth Brooks and Robert Penn Warren later used as the primary example of bad poetry in their New Critical textbook, Understanding Poetry (274–78).

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Schormová, Františka. "Tractors and Translators: Langston Hughes in Cold War Czechoslovakia." PMLA/Publications of the Modern Language Association of America 138, no. 3 (May 2023): 519–33. http://dx.doi.org/10.1632/s0030812923000445.

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AbstractThe poet Langston Hughes was central to mid-century transnational exchanges and Cold War translation. This essay examines the poet's centrality through a new lens, presenting a case study on Czech translations of Hughes's poetry between 1950 and 1963 that draws on archival materials, especially the correspondence between Hughes and one of his Czech translators, Jiří Valja; paratexts; and analysis of translations. The essay shows how Hughes's poetry was translated into Czech against the backdrop of Cold War publishing politics and aesthetic norms, how the translations of Hughes's work operated in these contexts, and how Cold War translation emerged as a specific site of inquiry with its own challenges, contacts, and practices.

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Jadwe, Majeed U., and Omar Sadoon Ayed. "Poetry v/s Power: A Reading of 100 Poets Against the War." Scholedge International Journal of Multidisciplinary & Allied Studies ISSN 2394-336X 4, no. 10 (November 29, 2017): 97. http://dx.doi.org/10.19085/journal.sijmas041001.

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This essay critically examines the invocation of poetry as a strategy of ethical resistance against the war on Iraq in the chapbook anthology 100 Poets Against the War, which was assembled in a matter of few weeks before the war. . This textual tactics figures prominently among other resistance tactics employed by the poets in the 100 poems included in this anthology. Considerable number of poems turns to the invocation of poetry, the act of poetry making, and the power of the poem as a means to initiate an inquiry into the injustice of the war and the ethical responsibility of poetry to counter this injustice. Although 100 Poets Against the War emerges with one powerful collective voice which transcends cultural and racial barriers, this thematic strand of poetry invocation to counter the war on Iraq remains quite recognizable and, in a sense, foregrounds this collective voice.

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박상도. "War Poetry of the Sino-Japanese War period." Journal of the society of Japanese Language and Literature, Japanology ll, no. 64 (February 2014): 233–54. http://dx.doi.org/10.21792/trijpn.2014..64.013.

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Abdulrahman, Salih A. "The Conception of Trauma in Depicting the Battlefields In Wilfred Owen’s War Poetry." Academic Journal of Nawroz University 8, no. 4 (December 28, 2019): 362. http://dx.doi.org/10.25007/ajnu.v8n4a482.

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The paper examines the poetry of Wilfred Owen as a representative of a group of poets who write poetry out of the trenches during and after World War I. Their poetry is generally known as war poetry or trench poetry. It is mostly characterized by the processing of traumatic experience through visual imagery to invoke the readers’ sense of realization to the horrors of war. Some of these poets, including Owen himself, were hospitalized due to shell shock or traumatic symptoms that affected them physically and psychologically. Such traumatic experience changes the poet’s view of war and marks him a witness to its horrors. Owen, one of the greatest of these poets, tries to put the reader in the mid of the battlefield through an extensive use of images, condensed language, and paradoxical statements to show the ugly face of war and warn the people at home of its horrors and urges them not to believe the old lie of the glories of war.

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Croitoru, Corina. "„Generația războiului” – poezia traumei, trauma poeziei." Numéro spécial 23, no. 2 (December 15, 2023): 199–206. http://dx.doi.org/10.4467/20843917rc.23.021.18515.

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“The War Generation” – the Poetry of Trauma, the Trauma of Poetry The article discusses the poetry of the Romanian War Generation, proposing to reread the ‘transitive’ poetry of ‘Albatross’ group (Geo Dumitrescu, Dimitrie Stelaru, Ion Caraion et al.), in order to show how this literature develops the traumatic experience of the Second World War. The analysis focuses on the stylistic consequences of thematising the war, given the obvious distortion of poetic language in accordance with the deformed world it tries to codify. Therefore the approach is less interested in the capacity of poetry to represent, on aesthetic criteria, a resistance knot against terror, and more interested in poetry’s capacity of reinventing itself on ethic bases, as an insurgent response to the violence of History.

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Dong, Yinan. "A Psychoanalytical Approach to Wilfred Owen’s War Poetry." International Journal of Education and Humanities 14, no. 1 (May 14, 2024): 264–69. http://dx.doi.org/10.54097/vzbkym98.

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Wilfred Owen, honored as the most important poet during WWI, is determined to reveal the truth about the war from a soldier’s point of view. “Dulce et Decorum Est” and “Hymn for Doomed Youth” are his most prestigious works, a strong testimony to his innovative spirit and his coordinated verse. His war poetry has been discussed by many scholars both abroad and at home through different points of view: stylistics, literary devices, themes, Owen’s ideas about war, or the differences between Owen’s war poetry and others’. Most people have focused on the mental traumas of soldiers caused by war, but only a few people utilize psychoanalytical theories to analyze his poems. This paper is thus a psychoanalytic approach to Owen’s war poetry, drawing on Freud's war thought and Fromm’s theory of alienation of human nature, with a focus on further exploration of themes in Owen’s writing. The conclusion is that Owen’s war poetry is intended to convey the idea that the essence of war is the instinct of destruction masked by idealistic motives or the instincts of love, to shed light on the alienation caused by war and to represent a glimmer of hope for war by declaring violence to be a choice despite instincts. Through analysis, this paper intends to make a better understanding of Owen’s war poetry.

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Oostdijk, Diederik. "?Someplace Called Poetry? Karl Shapiro, Poetry Magazine and Post-War American Poetry." English Studies 81, no. 4 (August 1, 2000): 346–57. http://dx.doi.org/10.1076/0013-838x(200007)81:4;1-f;ft346.

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Marcellin, Leigh-Anne Urbanowicz. "Emily Dickinson's Civil War Poetry." Emily Dickinson Journal 5, no. 2 (1996): 107–12. http://dx.doi.org/10.1353/edj.0.0139.

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Drinkwater, J. F. "Re-Dating Ausonius' War Poetry." American Journal of Philology 120, no. 3 (1999): 443–52. http://dx.doi.org/10.1353/ajp.1999.0033.

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Guest, Harry. "Essay Review : War and poetry." Journal of European Studies 27, no. 2 (June 1997): 207–12. http://dx.doi.org/10.1177/004724419702700206.

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Begnal, Michael S. "Poetry and the War(s)." American Literary History 31, no. 3 (2019): 540–49. http://dx.doi.org/10.1093/alh/ajz022.

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Abstract Three new critical monographs remind us that, when it comes to war, poets have always been political. In their respective recent volumes, Tim Dayton, Rachel Galvin, and Adam Gilbert are concerned with the ways in which poets respond not only to war itself but also the ideology and propaganda that supports it, how their work resists or sometimes replicates these scripts, and the strategies they use to construct the poetic authority to address it. These critical texts, read together, reveal that resistance to hegemonic narratives is more complicated than simply writing an antiwar poem, that subverting the narratives of war requires some knowledge of how their sociopolitical and economic algorithms function to begin with. Dayton’s study offers a model of resistance to such narratives through its revealing juxtaposition of anachronistic or propagandistic poetic rhetoric with the true nature of and motives for the US’ participation in World War I. Galvin argues for the sociopolitical validity of the work of canonical modernist poets more recently disparaged as overly absorbed in aesthetic concerns. For Gilbert, poetry is an overlooked reservoir of knowledge bearing witness to the experience of US soldiers in the American War in Vietnam.

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Karolak, Sylwia. "„To nie jest poezja w całym słowa tego znaczeniu”. Pieśni żałobne getta Izabeli Gelbard." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 113–28. http://dx.doi.org/10.14746/pspsl.2018.32.6.

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The main purpose of this article is to analyse the reception of Izabela Glebard’s (Czajka-Stachowicz’s) works, with particular emphasis on her only book of poety Pieśni żałobne getta . At first Gelbard intentionally chooses poetry, but after the experience of World War II, she leaves it completely and repleces by prose. The root cause of this state of affairs is the war trauma. Very important is also the critical attitude of the writer to her poems. These works have not been appreciated by literary critics who treat them as a document and testimony rather than a valuable poetry. It seems that the Gelbard poems, like all her works, are waiting for a new, contextual reading.

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Richardson, John. "The Private Sublime in Public Discourse: War Poetry of the American Revolution." Eighteenth-Century Life 44, no. 3 (September 1, 2020): 140–59. http://dx.doi.org/10.1215/00982601-8718699.

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This essay examines how poetry of the American Revolution contributed to the broader tradition of Anglophone war poetry through the “private sublime,” which would start as a minor and relatively unknown development, but eventually become one of the primary modes of depicting war, both in the later eighteenth century and the present day. It focuses specifically on two poets who formulated the private sublime: Freneau in the 1781 British Prison-Ship and Ann Eliza Bleecker in the poems that she wrote after her daughter’s death in 1777. While Freneau’s poetry emphasizes terror and beauty, Bleecker fashions a private sublime by aligning her own suffering with that of war combatants. This essay then turns briefly to Charlotte Smith, who depicts distant war via her own intense and highly aestheticized emotions. As Smith demonstrates, then, the private sublime emerged in the poetry of authors with direct experience of war in America, but was later adapted by a wide range of authors who experienced war at a far greater distance.

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Reisner, Philipp. "Cold War and New Sacred Poetry." JAAAS: Journal of the Austrian Association for American Studies 1, no. 1 (August 31, 2020): 101–18. http://dx.doi.org/10.47060/jaaas.v1i1.83.

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Contrary to what one might expect, many poets who engage with the Cold War adopt not primarily a political but rather a religious voice. Indeed, poets such as Li-Young Lee, Suji Kwock Kim, and Kathleen Ossip examine the Cold War in light of theological questions. Their poems bear witness not to personal suffering inflicted by political and societal circumstances but instead to human resilience bolstered by faith in the face of traumatic experience. Their writings are not best captured by the frequently invoked "Poetry of Witness," understood as witness to injustice, but rather "new sacred poetry": colored by individual experience of trauma, their poetry serves as a vehicle for expressing spiritual and mystical experience. They thereby innovate not only poetry but also contemporary theology. The Cold War becomes the backdrop for the struggle between faith and suffering brought about by political, societal, and personal circumstances.

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Cuthbertson, G. "The New Oxford Book of War Poetry * Poetry of the First World War: An Anthology." English 64, no. 245 (April 7, 2015): 157–59. http://dx.doi.org/10.1093/english/efv003.

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Ribeiro S. C. Thomaz, Julia. "The Case for Reading War Poetry as Ephemera." Genealogy 8, no. 2 (May 10, 2024): 55. http://dx.doi.org/10.3390/genealogy8020055.

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The First World War blurred the lines between “ordinary” and “literary” writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one’s writing practices until they found a journal full of poems after the author’s death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war.

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Bartel, Roland, and Diana Grandberry. "The Power of Brevity in War Poetry." English Journal 86, no. 5 (September 1, 1997): 72–75. http://dx.doi.org/10.58680/ej19973416.

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Argues that the poetry of war is often compressed and powerful and that students of writing and literature can learn from these poets that restraint creates resonance. Discusses war poems with emphatic conclusions; war poems that are short and direct; and teaching the dynamics of brevity through a variety of activities using war poems and war quotations.

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Machulin, L. "National archetypes as a modus of resistance poetry in Russian-Ukrainian war." Culture of Ukraine, no. 77 (September 28, 2022): 19–27. http://dx.doi.org/10.31516/2410-5325.077.02.

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The purpose of the article is to reveal the types of national archetypes of resistance poetry created during the full-scale invasion 2022 of Russian-Ukrainian war. Poetry of the resistance of the first months of the full-scale invasion 2022 of Russian-Ukrainian war reflects the emotional upheaval of the nation, the conscious and unconscious perception of tragic events. This socio-cultural and spiritual phenome-non contributes to the worldview transformation of society, therefore the emergence foundations of war poetry of the highest quality deserve profound research. The methodology. Research with a use of the cultural-historical method based on the systematization and generalization of the researched material reveals national archetypes of war poetry. The results. The surge of poetic creativity in the genre of war poetry is explained, firstly, by the suffering during the first months of the war due to the internal conflict of the personality (“This cannot be for real!”) and the conflict returned from the outside (“This is unforgivable!”) Secondly, psychological traumas (losses of family and friends, homes, forced displacement, etc.) prompt the search for rescue beacons. Through the representation of the author’s worldview on tragic events, the individual, transformed at the level of artistic experience, becomes collective. The scientific novelty of the research lies in the fact that for the first time an analysis of the poetry of resistance of the first months of the full-scale invasion 2022 of Russian-Ukrainian war was carried out. Conclusions. The appeal to national archetypes became a modus of resistance poetry as a result of rethinking during the period of upheaval of the cultural paradigm and the search for ways of national identification.

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Mondal, Triasha. "War Poetry: Lameting Through Wilfred Owen." International Journal for Research in Applied Science and Engineering Technology 10, no. 9 (September 30, 2022): 150–61. http://dx.doi.org/10.22214/ijraset.2022.46366.

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Abstract: This study provides a prismatic view of the First World War and the jarring piece of literature salvaged from the time, by the incandescent bard, Wilfred Edward Salter Owen. This study offers a close analysis of three of Owen’s poignant poems; Dulce et Decorum Est, Strange Meeting, and Futility—with every aspect of literary technique, it deploys. It will contain annals of close and comprehensive verbatim analysis, which would help understand the aspects of war in its cognitive, affective, existential, and political stridency. This study has put much weight on the unsullied reasons that might have fanned the embers of the Great War, the emotional and moral compulsion of the combatants, and the tumultuous impact on the lives of the common people. Owen; through an impressive panoply of poetry, grieves the sheer wastage of life war brings about in its trail. The smarting lassitude and inanition at the war front and the unremitting helplessness of the people in ruins. He claims, that even though a country wins, it still loses.

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Merilă, Isabela. "A QUESTION OF METHOD: READING WAR POETRY AT UNDERGRADUATE LEVEL." International Multidisciplinary Scientific Conference on the Dialogue between Sciences & Arts, Religion & Education 3, no. 1 (August 25, 2019): 331–38. http://dx.doi.org/10.26520/mcdsare.2019.3.331-338.

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Barskova, Polina. "Introduction." Slavic Review 82, no. 3 (2023): 636–39. http://dx.doi.org/10.1017/slr.2023.283.

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The present situation urgently calls for the multifaceted studies of Russophone literature against war. The authors of the following essays develop their inquiry through the following questions: How does the relationship with the notion of the enemy shape the war poetry of Boris Slutskii and Ian Satunovskii? To what extent can the war poetry of the latter be seen as a matrix of his biographic narrative construction, especially considering that Satunovskii's lyrical subject is shattered, stuttering, de-language/d? How does today's popular poetry of protest differ from today's avant-garde poetics? What are the differences between their means of expression, address, and foci? All of these studies seek to explore the anti-war position in modernist poetry that has been developed through drastically different means, yet the general purpose is aptly formulated by one of our authors as “to bear witness and respond to the ongoing atrocities and destruction.”

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Stryk, Lucien, and Susan Azar Porterfield. "The War Poetry of Lucien Stryk." Journal of the Midwest Modern Language Association 33, no. 3 (2000): 152. http://dx.doi.org/10.2307/1315349.

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김연규. "Wilfred Owen’s War Poetry and Heroism." Jungang Journal of English Language and Literature 55, no. 1 (March 2013): 135–62. http://dx.doi.org/10.18853/jjell.2013.55.1.007.

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Sloane, David. "The Poetry in War and Peace." Slavic and East European Journal 40, no. 1 (1996): 63. http://dx.doi.org/10.2307/308497.

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Rubinshtein, Natalya. "Russian poetry after the Cold War." Index on Censorship 20, no. 1 (January 1991): 15–16. http://dx.doi.org/10.1080/03064229108535003.

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Miller, A. "TIM KENDALL. Modern English War Poetry." Review of English Studies 58, no. 236 (July 16, 2007): 595–96. http://dx.doi.org/10.1093/res/hgm036.

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Gana, N. "War, Poetry, Mourning: Darwish, Adonis, Iraq." Public Culture 22, no. 1 (January 1, 2010): 33–65. http://dx.doi.org/10.1215/08992363-2009-015.

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Norris, Margot. "Teaching World War I Poetry--Comparatively." College Literature 32, no. 3 (2005): 136–53. http://dx.doi.org/10.1353/lit.2005.0044.

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Schweik, Susan. "Writing War Poetry like a Woman." Critical Inquiry 13, no. 3 (April 1987): 532–56. http://dx.doi.org/10.1086/448407.

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Dracos-Tice, Jennifer Hyde. "Poetry: Tenth Grade, Tug-of-War." English Journal 113, no. 3 (January 1, 2024): 93. http://dx.doi.org/10.58680/ej2024113393.

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Kukulin, Ilya. "Writing within the Pain: Russophone Anti-War Poetry Of 2022." Slavic Review 82, no. 3 (2023): 657–67. http://dx.doi.org/10.1017/slr.2023.289.

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This paper is focused on the growth of Russophone poetry after the beginning of the second phase of Russia's invasion of Ukraine in 2022 (the first phase started in 2014). There have been many poetic publications by both those who support the war (in Russia) and those who oppose the war and the political repression of the current Kremlin regime; authors of the latter kind can live in Russia and in other countries. Speaking of the anti-war poetry, I write of the convergence of two movements that previously used to exist separately: poetry addressed to the widest audience (poetry-1) and aimed at analyzing language and ideology and addressed to the audience aware of complex forms of postmodern culture (poetry-2). Today the authors of these movements are developing tools not only to counter militaristic propaganda, but also to question the cultural and social conventions of contemporary Russia.

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Aparicio, Yvette. "Digging Up the Past and Surviving El Salvador’s Phantoms: Salvadoran-American Post-Conflict Traumatic Memory and Reconciliation." Revista Canadiense de Estudios Hispánicos 44, no. 1 (May 23, 2021): 149–68. http://dx.doi.org/10.18192/rceh.v44i1.5906.

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This article focuses on Salvadoran-American poetry that explores Salvadorans’ national traumas of war and displacement. In these poems, war trauma evolves into a post-conflict, post-migration trauma that calls for reconciliation with war memories as well as with a violent, unstable present. This study focuses on the poetry of Jorge Argueta (1961), William Archila (1968), and Javier Zamora (1990), three poets born in El Salvador and immigrants to the US. Studies of trauma and reconciliation in post-conflict societies frame the analysis of poetry that digs up and reconstitutes the dead for a Salvadoran diaspora still un-reconciled with its trauma.

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Friese, Elizabeth E. G., and Jenna Nixon. "Poetry and World War II: Creating Community through Content-Area Writing." Voices from the Middle 16, no. 3 (March 1, 2009): 23–30. http://dx.doi.org/10.58680/vm20097002.

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Two educators and a classroom of fifth grade students integrated poetry writing into social studies curriculum focusing on World War II. Several strategies and approaches to writing poetry are highlighted including list poems, writing from photographs and artifacts, and two voice poems. The study culminated in a poetry reading and the creation of a class poetry anthology. Through poetry, students were able to demonstrate historical understandings while engaging with difficult issues through writing, sharing, conferencing, and performance.

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Woldan, Alois. "Andere Stimmen – Protest gegen Krieg und Gewalt in der polnischen und ukrainischen Dichtung über den Ersten Weltkrieg." Przegląd Humanistyczny 63, no. 1 (464) (September 17, 2019): 7–25. http://dx.doi.org/10.5604/01.3001.0013.4970.

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Polish and Ukrainian poetry on World War I have much in common: they were written mainly by soldier-poets, young men fighting in the Polish Legions or the Ukrainian Sich Riflemen. This poetry is, first of all, a patriotic legitimation of the war as a way of regaining political independence. Heroism and suffering for the fatherland are dominating issues. Nevertheless, besides this pathetic gesture, we can find voices that point out the horror of war and question it at all. Such criticisms is expressed by certain motives, which appear in both the Legions’ and the Sich Riflemens’ poetry, like: fratricide, lists from soldiers to their families at home, devastation of nature and culture, autumn and death, as well as pacifist notions. These voices do not form any dominant discourse in the poetry on World War I, but they are not to be ignored, as they mark a common place in the Polish and Ukrainian literature at this time, which has not been researched until now.

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Deair, Raghad Shakir. "Fadwa Tuqan's Anti-War Poetry: A Cry against Zionism." Galore International Journal of Applied Sciences and Humanities 6, no. 1 (May 10, 2022): 44–52. http://dx.doi.org/10.52403/gijash.20220107.

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Modern Palestinian resistance poetry has, since the late 19th century, been an expression of the national culture of the Palestinian people and their historic self-determination and homeland battle. This study explores Palestinian poetry of Resistance written for the ten years after the June 1967 War that triple the territory of the State of Israel. The popular Palestinian poet, Fadwa Tuqan, has been translated into English, with commentaries on Palestinian history before 1967 and on the occupation of Palestine after 1977. Her poetry is a mirror to the historical struggle against Zionism. Through this study of the historical context of Palestinian resistance Fadwa Tuqan's poetry, readers can gain a deeper understanding of the ties between Palestinian national culture and their struggle for homeland. Keywords: resistance poetry, diaspora, Fadwa Tuqan, exile, attachment to the land, loss and hope.

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Journal articles on the topic 'War poetry'

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