scholarly journals ON THE COLLECTION OF POEMS FOR CHILDREN “WINNER” BY DZHAMINAT KERIMOVA: POETICAL MEANS AND DEVICES

2020 ◽  
pp. 51-55
Author(s):  
Inna Khumkerkhanovna Alhlavova
Keyword(s):  
Poetry Collection ◽  
Children's Poetry

The article on the materials of the children's poetry collection "Winner" analyzes works for children of Dzhaminat Kerimova, examines their artistic and ideological-themed originality, genre-style features.

The Meaning of Children's Poetry: A Cognitive Approach

2013 ◽  
Vol 6 (2) ◽  
pp. 127-142 ◽  
Author(s):  
Karen Coats
Keyword(s):  
Crucial Role ◽  
The Body ◽  
Critical Discourse ◽  
Holding Environment ◽  
Cognitive Poetics ◽  
Cognitive Approach ◽  
Communal Life ◽  
Clear Sense ◽  
Critical Attention ◽  
Children's Poetry

Critical attention to children's poetry has been hampered by the lack of a clear sense of what a children's poem is and how children's poetry should be valued. Often, it is seen as a lesser genre in comparison to poetry written for adults. This essay explores the premises and contradictions that inform existing critical discourse on children's poetry and asserts that a more effective way of viewing children's poetry can be achieved through cognitive poetics rather than through comparisons with adult poetry. Arguing that children's poetry preserves the rhythms and pleasures of the body in language and facilitates emotional and physical attunement with others, the essay examines the crucial role children's poetry plays in creating a holding environment in language to help children manage their sensory environments, map and regulate their neurological functions, contain their existential anxieties, and participate in communal life.

Ahiolohiya poetychnoyi zbirky Lazarya Baranovycha Żywoty świętych (1670)

2020 ◽  
pp. 249-258
Author(s):  
Olena Ruda
Keyword(s):  
Family Life ◽  
18Th Century ◽  
The Given ◽  
The Ideal ◽  
Poetry Collection

The purpose of the article is the analysis of hagiology in Lazar Baranovych’s poetry collection entitled Żywoty świętych (1670). This includes the fulfi lment of such tasks: 1) To enumerate the saints mentioned in the poetry collection; 2) To determine to which church/epoch/place of worship or order of sainthood they belong; 3) To determine how full the saints’ details of biography are refl ected in the poetry collection mentioned above; 4) To understand Lazar Baranovych’s view on the topic of diff erent kinds of sainthood clearly; 5) To measure the actuality of his views given the context of the 18th century Ukraine. The results of the research are shared in the given article, showing how exactly Lazar Baranovych defi ned for himself the concept of the sainthood at the fi rst place. They also tell us about his views on the call for monkhood and family life and help us to reconstruct the images of the ideal spiritual shepherd, female Christian etc.

Event, Trauma, and Ethics in Wing Tek Lum’s The Nanjing Massacre

MELUS ◽  
2021 ◽  
Vol 46 (1) ◽  
pp. 126-149
Author(s):  
Richard C Sha
Keyword(s):  
Traumatic Event ◽  
Ethical Implications ◽  
Nanjing Massacre ◽  
Poetry Collection

Abstract Wing Tek Lum’s 2012 poetry collection The Nanjing Massacre raises vital questions about trauma. How do we know when a traumatic event begins? What cognitive options are open to victims of trauma? What are the ethical implications of our theories of trauma? I thus situate this volume between Bessel van der Kolk’s and Jacques Lacan’s theories of trauma because these poems challenge their key assumptions. Lum turns to poetry to think through how trauma begins and ends, the degree to which healing the gap between body and mind is part of the “cure” or part of the disease, and how much cognitive stretching is possible in trauma’s wake.

The sequence form of accounting for atrocity

2021 ◽  
pp. 175069802110179
Author(s):  
Meredith Kimenyi Shepard
Keyword(s):  
Original Work ◽  
Alternative Form ◽  
Mass Violence ◽  
Mass Atrocity ◽  
New Form ◽  
Poetry Collection

Discussions of aesthetic representations of mass atrocity have tended to focus on a particular form—the atrocity allegory—that figures a collective horror through the narrative of an individual protagonist. This essay outlines some of the limits of the atrocity allegory and then examines an alternative form of denoting collective horror, the sequence, through two examples of sequential representation of the genocide against the Tutsi in Rwanda: Juliane Okot Bitek’s poetry collection 100 Days and Wangechi Mutu’s photography essay #100Days. I argue that the sequence offers a radically different method of conceptualizing mass violence than the atrocity allegory by forcing the audience to confront multiple, intimate portraits of loss in quick succession. Unlike the allegory, the sequence does not require the audience to extrapolate from the singular to the collective, as the plurality of sequencing performs that link between individual and collective on its own. I furthermore suggest that the atrocity sequence inspires collaboration and activism by inviting audiences to continue the sequence in a new form where the original work ends, a continuation made possible by the sequence form’s resistance to closure.

The Fractured “I”: An Autoethnographic Account of a Part-Time Doctoral Student’s Experience With Scholarly Identity Formation

2020 ◽  
pp. 107780042091889
Author(s):  
Erin Leach
Keyword(s):  
Identity Formation ◽  
Lived Experience ◽  
Doctoral Students ◽  
Full Time ◽  
Doctoral Socialization ◽  
Scholarly Identity ◽  
Part Time ◽  
The University ◽  
Affective Dimensions ◽  
Poetry Collection

This autoethnographic poetry collection provides an entry into the socialization of part-time doctoral students by centering the lived experience of the author, a part-time doctoral student employed full-time at the university where she studies. In the writing of this poetry collection, the author sought to enter into conversation with the doctoral socialization literature and to uncover the various parts of her fractured identity. Through an examination of her own fractured identity, the author engages with the places where scholarly identity formation is stalled in part-time doctoral students especially in comparison with their full-time peers and considers affective dimensions of the work of scholarly identity formation.

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