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.
Anna Herman Translates the Sonnets
Adriana X. Jacobs
primarily to sonnets, it has also been ascribed to odes and other poems, a possible indication of how the Hebrew sonnet became a model for excellence in Hebrew poetry. For scholars like Dvora Bregman, Immanuel of Rome’s early fourteenth-century sonnets mark
Terry Gifford, Anna Stenning, David Arnold, Pippa Marland, A.D. Harvey, Christopher North, Michael Conley, Mohammad Shafiqul Islam, and Kate Wise
Special Issue Poetry Walking Early from Relleu By Terry Gifford for Gill It is of such sweat that love poems are made. —Federico García Lorca Pure white above the before dawn yellow of the nun’s long legs, but stained, as with sweat from a long
Amanda Bonnick, Yousif M. Qasmiyeh, and Theophilus Kwek
memories he has had to denounce them as what we could call ‘over-memories’. At times, it becomes clear that what is in front of us are episodes of something that may resemble a sketchbook but with an intensity that can only be located in poetry. In these
Girls Cultivating Disruption
Crystal Leigh Endsley
” ( Gonick 2006: 2 ) and thus resist the normalized oppression they experience. The spoken word poetry (SPW) examined here was produced at the introductory workshop hosted at a Catholic high school in New Orleans, Louisiana, as part of a global series that
Strauss's Critique of Heidegger and the Fate of the 'Quarrel between Philosophy and Poetry'
Strauss's critique of Heidegger's philosophy aims at a recovery of political philosophy, which he saw as threatened by Heidegger's radical historicism; for Strauss, philosophy as a whole could not survive without political philosophy, and his return to the classical tradition of political philosophy, while inspired by the work of Heidegger, was directed against what he saw as the nihilism that was its consequence. Here I wish to examine a dimension of Strauss's critique which, though hinted at, remains neglected or unexplored by Strauss: that is, how the critique of Heideggarian historicism should naturally link with Strauss's frequent attention to the issue of the ancient 'quarrel between philosophy and poetry'. It has often been observed by other commentators that through Heidegger's work, philosophy appears liable to be supplanted by contemporary literature, whether poetry or philosophy. As some of Strauss's explicit statements extend his definition of what falls under the category of 'poetry' in the modern age to contemporary novels and poetry, this aspect of Heidegger should have commanded more of his attention. Endurance of the quarrel between philosophy and poetry becomes through the prism of Strauss's work the confrontation of political philosophy with literature, particularly the novel form. It was not so much the rise of modern, non-teleological natural science that threatened the endurance and dignity of philosophy, then, but the rise of modern literature; the critique of historicism, when viewed in the light of the enduring 'quarrel', should lead one to a consideration of a crucial issue which remained oddly neglected, or was only hinted at, by Strauss.
The Woman Veteran in Iulia Drunina's Postwar Poetry
Adrienne M. Harris
The article uses Soviet poet Iuliia Drunina's deeply personal and o en autobiographical poetry as a lens through which to view the woman veteran's experience, especially during the time of the state-promoted cult of World War II and the erosion of the cult during perestroika. Gender and World War II remain consistent themes in Drunina's poetry, but in her oeuvre, one finds an evolution in how the poet-veteran relates to the war. From 1942 on, Drunina consciously assumed the role of the voice for women soldiers, but as the war receded into the past and the number of veterans dwindled, Drunina began to write more frequently on behalf of veterans of both sexes. This article details numerous war and gender-related themes: gendered otherness during the war, demobilization, stereotypes of women soldiers, the sacred nature of the war, the duty to remember, front-line friendship, and the persistence of the war in veterans' lives.
Martyrdom as Generative Sacrifice in the Nepal People's War
In Nepal, war is a sacrifice. The warrior maintains a direct and unique relationship with the divine, since in warfare he makes a sacrificial gift of his own person, the bali dân—a gift that results in a 'noble death'. The warrior can offer the sacrifice or be offered in sacrifice. In Maoist ideology, death loses its character of reciprocity since the inter-changeability of victims who die honorably on either side of the battle has been eliminated. The asymmetry of death, the one-sided sacrificial nature of the war, is one of the features that distinguishes the People's War from those that preceded it. Through Maoist poetry and Maoist warriors' diaries, this article explores the shift introduced by the People's War from the figure of the 'hero', traditionally attached to the warlike realm, to the new figure of the 'martyr', and shows the apocalyptic nature of the Maoist cultural production.
Elie Wiesel has claimed that testimony is the generic legacy of the Holocaust. Other critics have pointed out that testimony, in the sense of first-person literary accounts of events to which the author was eye-witness, also characterized earlier historical calamities, in particular the First World War. That war produced testimony in the form of lyric poetry, in which the reader recognized the author as a witness and assumed a close fit to the poem’s speaking subject. Yet it is not poetic but prose testimony that is typical of Holocaust eyewitness, while Holocaust poetry is considered a separate and self-contained genre. In this essay, I will explore the reasons why this should be so, and whether there is a closer link than at first appears between the construction of the first-person narrator of a prose testimony, such as Wiesel’s Night (1958), and the lyric ‘I’ of some Holocaust poetry.
Mohamed Assaf and Kate Clanchy
child: he does poetry with me every week, partly in the hope of improving his behavior. So these poems are also not composed in an elegant study, but at the backs of crowded classrooms. The central three poems in this sequence were scribbled on a piece