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Tim Cresswell

A poem by Tim Cresswell

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Mohamed Assaf and Kate Clanchy

These poems were not, as their elegiac, melancholic tone seems to imply, written by a 60-something exile remembering his childhood, but by a small Syrian boy with a grubby collar and a large football, named Mohamed Assaf. He is not an easy child: he

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Ronald de Rooy

episode, motif or character. Because of the illustrations’ specific character and their large number (a total of three hundred for only one canticle), Vincenzo Salerno has argued that this edition is a hybrid, halfway between illustrated poem and graphic

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Aimé Césaire

Revisiting the Poetry

Ronnie Scharfman

In July 1989, as part of the celebration of the Bicentennial of the French Revolution, the great Martinican poet, playwright, and essayist Aimé Césaire was a special invitee of the Avignon Theatre Festival. I led a round table with him then in the context of the Institut d'Études Françaises of Bryn Mawr College. In his remarks he also read two unpublished poems. One of them, "Parcours," which I translate here as "Journey," is the subject of this article. This piece constitutes a reading of the poem as the poet's looking back, metaphorically, on his poetic journey, fifty years after the publishing of his epic poem, "Cahier d'un retour au pays natal" in 1939. This theme of looking back becomes a way to meditate on my own intellectual trajectory as a scholar of Césaire's poetry. I conclude with a poem of my own, on "Rereading Césaire Thirty Years On."

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Edward Lear

A Life in Pictures

Marco Graziosi

of the time. The first of these sequences was for Miss Maniac ( Appendix , no. 1*), 20 thirty-four drawings, each illustrating a stanza of an unidentified poem, or one that Lear himself might have written. In these pictures, Lear uses an informal

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Ekaterina Tikhonyuk and Mark McKinney

readers thus also received ample opportunities to engage with the journal in new ways, including a musical experiment of Dmitrii Shostakovich who went so far as to set several poems (readers’ submissions) from Krokodil to music and performed them at the

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Chris Gavaler

principles used to group his collected poems in 1815 (‘poems apparently miscellaneous, may with propriety be arranged’), 48 non sequiturs are truly miscellaneous and their organisation follows no rule. Groensteen terms these ‘amalgams’ and, when the amalgam

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Adapting Brittany

The Ker-Is Legend in Bande Dessinée

Armelle Blin-Rolland

Brittany and adds that the phrase was the title of the 1971 anthology of ‘poèmes de combat’ by poet of decolonisation and UDB co-founder Yann-Ber Piriou. 43 This phrase, which is now part of collective memory, was therefore used as part of a poetic and

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Women's Liberation

Swedish Feminist Comics and Cartoons from the 1970s and 1980s

Anna Nordenstam and Margareta Wallin Wictorin

social articles about the situation of women, men and children in Sweden and elsewhere from a feminist perspective, as well as debates about legislation, cultural items such as poems, reviews of books and plays, and some comics. Interest in comics in

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Maggie Gray, Kees Ribbens, Sebastian Domsch, and Dyfrig Jones

illustrations in books and magazines (see e.g. Linda K. Hughes's analysis of neo-medieval illustrated poems between 1890 and 1910) or the repurposing of images through modified textual commentary (Brian Maidment, ‘The Explicated Image’); and, second, the