Kala Ghoda - MA dissertation Poetics of the urban (original) (raw)
Related papers
Poetry of place: A review essay
2009
Abstract Our Terry Hermsen's Poetry of Place: Helping Students Write Their Worlds is a remarkable book—one of the most engaging and hopeful books about teaching poetry that I know. Hermsen offers: thoughtful discussions of practice informed by theory as well as theory informed by practice; a well-conceived and carefully conducted research project; creative lessons for enthusing lively encounters in classrooms; and, engaging poetry by both well-known writers and student writers. He offers an abundance of gifts, all in one book.
Place Space and Thirdspace in Selected Poems by Jawdat Haydar
BAU Journal - Society, Culture and Human Behavior, 2021
The spatial turn of the 20 th century reshaped the examination of space in literary research, with works by De Certeau and Soja being some of the most prominent in that area. Numerous pieces of writing were revisited following the spatial turn, and Mahjar poetry was part of that reexamination. Indeed, Mahjar poetry is rife with spatial imagery, and Jawdat Haydar's poems, four of which are the subject of this paper's analysis, are no exception. This paper argues that the representations of Lebanon and Baalbeck in Haydar's poetry are self-conscious reconstructions created thanks to the speaker's emotions, thoughts, and descriptions. By adopting Michel de Certeau's theory on place and space and Edward Soja's First and ThirdSpace, this paper examines the role of space in four of Haydar's poems: "Lebanon" and "Baalbeck and the Ruins" from Voices and "Lebanon 1983" and "The Temple in Baalbeck" from Echoes. Indeed, in the poems of the first collection Voices, the speaker simply presents a static portrayal of the subject of description, whether it is Lebanon or Baalbeck. This depiction, however, becomes much more mobile in Echoes, where the speaker vitalizes the scenery and invites the reader to take part in these reconstructions. Thus, the shift from Voices to Echoes presents a transition from a static subject of description to a much more dynamic one, which clearly shows the speaker's active involvement in the production of the spatial imagery of his country and homeland.
Modern Language Studies, 2005
Reviewed work(s): Source: Modern Language Studies, Vol. 35, No. 1 (Spring, 2005), pp. 94-98 Published by: Modern Language Studies Stable URL: http://www.jstor.org/stable/30039815 . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact support@jstor.org.
THE EMBODIMENT OF THE SOUL IN THE POEMS
REMIE – Multidisciplinary Journal of Educational Research , 2021
The first part of the poem contains a set of chapters that neither enters nor glorifies, which is very important for each poet and named after mysticism. In Nizami Ganjavi, these chapters are entitled «Night Recognition and Recognition of the Soul,» «The First Lonely Hearts», «The First Harvest's Fruit», «The Second Late Night's Night,» These chapters, in their essence, define the essence of the poems, and describe the events of the ascent, hiking and departure as in the charter. While Amir Khusrav Delhi called «The First Privilege of Employment,» «The Second Privilege and the Sabbath», «The Haram Visit of the Third Sacred Heart», these three chapters in Navoi follow the Nizami's mentor, went a new way. All three poets will talk about humor in these chapters, and the wonders of the soul. But this notion is not interpreted in the same way in all three poets; Therefore, we will make a comparative analysis of these chapters. The three wonders in Matla 'al-Anwar and the three marvels on Hayrat ul-Abror are of great importance in understanding the essence of these two poems. Amir Khusrav named the epic poem «The source of light» («Light springs»), referring to the divine gift of the soul or the phenomenon of revelation from the source of divine light (remember that poetry is a continuation of prophecy. And Alisher Navoi called the work "Admiration of Abror", referring to the ethics, beliefs and beliefs of a person striving for perfection. Abror is a pure man who has taken the second stage of the staircase. This lover of theology took note of his fascination with the world of enlightenment. Accordingly, I think we have a chance to look at the chapters of «seclusion» and «wonder» and to understand the true meaning of the poet's viewpoint. In Matla 'al-Anwar we mentioned the first secular slavery. What dose it mean? Employment («tabbud») means understanding of Islam, recognizing and recognizing the essence and greatness of Allah, His creation, and the reality of slavery. In the chapter, he talks about how the tax can be retarded in isolation, reflection, self-awareness, sleeping and talking to the soul. Amir husrav begins the chapter with the bytes: Sufii gardun chu ba xilvat nishast, Kard falak subhai parvin ba dast, Turrai zulmat zi nasimi bahor. Mushkfishon shud chu labi ro'zador... Chashmai hur burd zi har xona tob, Toxtan ovard ba har dida xob... 1 (When the Sufi sat quietly, he caught the glory of the stars.
Paper derives from larger project to reconceive the notion of "senses of place" in contemporary poetry:
“The Sticky Temptation of Poetry.” Journal of Literary Theory 9.2 (2015): 212–229
Journal of Literary Theory, 2015
Sometime around 1900, a fundamental shift occurred in the way animals were represented in works of Western literature, art, and philosophy. Authors began to write about animals in a way that was unheard-of or even unimaginable in previous epochs. Traditionally, animals had fulfilled a symbolic, allegorical, or satirical function. But in the period around the turn of the twentieth century these animals begin, as it were, to »misbehave« or to »resist« the metaphorical values attributed to them. There is a conspicuous abundance of animals in the literature of this period, and this animal presence is frequently characterised by a profound and troubling ambiguity, which is often more or less explicitly linked to the problem of writing, representation, and language – specifically poetic or metaphorical language.Taking the Austrian literary scholar Oskar Walzel’s 1918 essay »Neue Dichtung vom Tiere« as its starting point, this essay explores the historical and philosophicalbackground of this paradigm shift as well as its implications for the study of animals in literature more generally. Zoopoetics is both an object of study in its own right and a specific methodological and disciplinary problem for literary animal studies: what can the study of animals can contribute to literary studies and vice versa? What can literary animal studies tell us about literature that conventional literary studies might otherwise be blind to? Although animals abound in the literature of almost every geographical area and historical period, traditional literary criticism has been marked by the tendency to disregard this ubiquitous animal presence in literary texts, or else a single-minded determination to read animals exclusively as metaphors and symbols for something else, in short as »animal imagery«, which, as Margot Norris writes, »presupposes the use of the concrete to express the abstract, and indeed, it seem[s] that nowhere in literature [are] animals to be allowed to be themselves« (Norris 1985, 17). But what does it mean for literary theory and criticism to allow animals to »be themselves«? Is it possible to resist the tendency to press animals »into symbolic service« (ibid.) as metaphors and allegories for the human, whilst also avoiding a naïve literalism with respect to the literary animal?The pervasive uneasiness regarding the metaphorical conception of the animal within recent scholarship in animal studies stems from a more general suspicion that such a conception serves ultimately to assimilate the animal to a fundamentally logocentric discourse and hence to reduce »animal problems to a principle that functions within the legibility of the animal: from animal to aniword« (Burt 2006, 166). The question of the animal thus turns out to have been thequestion of language all along. Conversely, however, we might also posit that thequestion of language has itself also always been the question of the animal. Whatwould it mean for literary studies if we were to take the implications of thisinvolution seriously? How can we be attentive to the specific way animals operatein literary texts as »functions of their literariness« (McHugh 2009, 490)? In otherwords, not merely as one trope in an author’s poetic arsenal that could easily bereplaced by any other, but rather as a specific problem to and for language andrepresentation as such.
Identity & Digression: Notes on Apposition in Lyric Poetry
Writer's Chronicle, 2020
This craft essay traces the role of the appositive in contemporary American poetry, looking specifically at work by Ashbery, Ammons, Rich, and Tate, and argues that apposition's unique mixture of renaming and syntactic parallelism constructs a lyrical state of mind, one that both narrows in on vital particulars and opens up a poem up to radical inclusivity.