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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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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

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Tim Cresswell

A poem by Tim Cresswell

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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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Raphaël Baroni

poem. Therefore, more than in any other narrative medium, comics are designed to promote travel back and forth between the panels and throughout the book. So, we should consider types of fixed sjuzhet as qualities inherent to movies or to most verbal

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Michael Schuldiner

mind at some point and the sheets remained whole, each sheet presenting a sequence of nine images. Accompanying the etchings is a poem in a surrealist style comparable to that of, for example, André Breton. This article will focus on the etchings. When

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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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Aftandil Erkinov

For centuries poetry was the most important arts genre in Central Asia. In order to be recognised as a member of the educated classes, it was obligatory to learn hundreds of poems. Even the Soviet regime (1922-1991) exploited the Uzbek people's love of poetry for its own political ends - the propagation of communist ideology. However, linked to the processes of globalisation, interest in poetry has diminished considerably in Uzbekistan over the past several years. People have become less attracted to the romance of poetry than to actual business, benefits and material values. To modern Uzbek society, poems come only in the form of lyrics for popular music. Globalisation has made poetry a minor genre among the Uzbek arts. To be a poet had been a respected profession for centuries. Now it has lost its prestige, as former poets turn to other occupations.

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Claire G. Davey, Frank G. Karioris, and Craig Owen

Steven Angelides. The Fear of Child Sexuality: Young People, Sex and Agency (Chicago: The University of Chicago Press, 2019), 272 pp. ISBN: 978-0-226-64863-7. Paperback, $30.00.

Stephan Torre. Red Obsidian: New & Selected Poems (Regina, Canada: University of Regina Press, 2021), 152 pp. ISBN 978-088-977775-0. Paperback, $19.95.

James W. Messerschmidt. Hegemonic Masculinity: Formulation, Reformulation, and Amplification (London: Rowman & Littlefield, 2018), 181 pp. ISBN: 978-1-5381-1404-9. Paperback $32.00.