Ephemeral Echoes is an extension of Ali’s passion for poetry: a manifestation of his philosophy and intellectualism. The Twenty Twenty-One Edition is a florilegium of his poetic discourses, which are culminations of his reflections on (the schema of) existence as personifications of Sounds, where the essence of existence is Flux i.e. Flowing-Sounds. The poems relate to various facets of the human condition i.e. illusion, self, emotionality, rationality, dichotomy, subjectivity, objectivity, singularity, multiplicity, et cetera. The anthology is an invitation to everyone to embark upon a reflective odyssey.
This is a book about contemporary literary and artistic entanglements: word and image, media and materiality, inscription and illustration. It proposes a vulnerable, fugitive mode of reading poetry, which defies disciplinary categorisations, embracing the open-endedness and provisionality of forms. This manifests itself interactively in the six case studies, which have been chosen for their distinctness and diversity across the long twentieth century: the book begins with the early twentieth-century work of writer and artist Djuna Barnes, exploring her re-animation of sculptural and dramatic sources. It then turns to the late modernist artist and poet David Jones considering his use of the graphic and plastic arts in The Anathemata, and next, to the underappreciated mid-century poet F.T. Prince, whose work uncannily re-activates Michelangelo's poetry and sculpture. The second half of the book explores the collaborations of the canonical poet Ted Hughes with the publisher and artist Leonard Baskin during the 1970s; the innovative late twentieth-century poetry of Denise Riley who uses page space and embodied sound as a form of address; and, finally, the contemporary poet Paul Muldoon who has collaborated with photographers and artists, as well as ventriloquising nonhuman phenomena. The resulting unique study offers contemporary writers and readers a new understanding of literary, artistic, and nonhuman practices and shows the cultural importance of engaging with their messy co-dependencies. The book challenges critical methodologies that make a sharp division between the textual work and the extra-literary, and raises urgent questions about the status and autonomy of art and its social role.
of Prose Poems is the fourth book of poetry by Saad Ali. It’s the first installment in his anthology of Prose Poems. The poems, on this occasion, are a homage to the most contentious form of the literary art i.e. prose poem. The ekphrases, on this occasion, are inspired by the paintings of a number of renowned classical, modern, postmodern and contemporary painters such as Michelangelo, Munch, Dali, Dix, Chagall, Luzajic, et cetera. The literary critics profess that what differentiates this form of poetry from verse, rhyme, et cetera is its trademark id est absence of line breaks. Of breaks—there are none here in Ali’s poetic discourses either. Of lines—there is a plethora of them here committed to capturing of all manner of events (from most simple to most complex) in human life. The book, inadvertently, is a tribute to Ali’s hallmark apparatuses i.e. contemplation and satire that take on existence and human condition in a rather direct and concrete fashion here; whereby, reflecting on the instances of fear, nostalgia, remorse, redemption, hate, affection, romance, courage et cetera—in both subjective and objective manner. Besides being a tribute to one of the profoundest human inventions i.e. language (and its subsequent facilitations such as literature, et cetera), this florilegium also is an invitation to all (human beings) for an individual and collective reflection on existence and human condition(s)—in both subjective and objective manner.
Bringing together established Fitzgerald scholars from the United Kingdom, Europe and North America, this collection offers eleven new readings of F. Scott Fitzgerald’s 1934 novel, Tender is the Night. While The Great Gatsby continues to attract more attention than the rest of Fitzgerald’s oeuvre combined, persistent, if infrequent, writings on Tender is the Night from the 1950s onwards indicate that, like Gatsby’s green light, Fitzgerald’s fourth novel continues both to perplex and intrigue. In addition to the inevitable biographical interpretations, the novel has, in myriad readings, been viewed as: a marriage novel, a text of disturbed psychology, a text nostalgically marking the passing of a talent and a time, an outdated “Jazz Age” story, and “the great novel about American history”. This new collection of essays opens criticism of Tender Is the Night to a new generation of scholars providing new ways for readers to appreciate this complex, compelling, and profound work.Contributors include editors of the F. Scott Fitzgerald Review, the general editor of the Cambridge Edition of Writings of F. Scott Fitzgerald, members of the Fitzgerald Society Executive, and the directors of the biennial F. Scott Fitzgerald conference. The book will be published to coincide with the biennial F. Scott Fitzgerald conference in July 2007.
Essays on the Awareness of Loss in Contemporary Albanian Literature: Voices that Come fom the Abyss is the first scholarly monograph on the concept of loss in Albanian poetry and life writing of the twentieth and twenty-first centuries. It represents the first academic contribution to an international audience dedicated to three women writers that personified loss in communist Albania and two eminent poets who wrote representative and outstanding poetry on the meaning of loss in Albanian literature. Through the work of these three politically persecuted women writers and two modern poets, this book analyzes loss in relation to pain, grief, memory, death, freedom, and love inquiring on the meeting point between life writing and poetry, and the point where they part ways. The book explores the work of: Musine Kokalari, the first Albanian woman writer and political dissident; Bedi Pipa, the first woman known to have authored a diary in Albanian literature; Drita Çomo, author of a diary and poetry written in secret in political exile under communism; Fatos Arapi the Albanian poet who has been awarded the most important international literary prize to date and who has elaborated on the ethical implications of freedom, grief and death in relation to (personal) loss; Ali Podrimja a cornerstone of contemporary Albanian poetry, author of a volume that marked a definite turn to modernity in Albanian poetry in the Republic of Kosova and to date one of the best volumes of poetry written in the history of Albanian literature Lum Lumi, where he explores the depth of grief, pain, loss and love. The works of these five authors bring forth the necessity to re-visit the history of Albanian literature and promote interdisciplinary and comparative studies beyond Albanian literature. Shatro studies the unique traits of their life writing, the specific link between different literary genres and the exceptional capacity of poetry to carry loss to the point of articulating the unsaid, thus giving a voice to silence. She argues that through diary, memoir, epistolary and poetry, all five authors provide different views of loss and its challenging ethical implications in relation to death, memory, and freedom.
This book offers an impressive collection of contributions on the epistemology of international biolaw and its applications, both in the legal and ethical fields. Bringing together works by some of the world’s most prominent experts on biolaw and bioethics, it constitutes a paradigmatic text in its field. In addition to exploring various ideologies and philosophies, including European, American and Mediterranean biolaw traditions, it addresses controversial topics straight from today’s headlines, such as genetic editing, the dual-use dilemma, and neurocognitive enhancement. The book encourages readers to think objectively and impartially in order to resolve the ethical and juridical dilemmas that stem from biotechnological empowerment and biomedical techniques. Accordingly, it offers a valuable resource for courses on biolaw, law, bioethics, and biomedical research, as well as courses that discuss law and the biosciences at different professional levels, e.g. in the courts, biomedical industry, pharmacological companies and the public space in general.
"In this book, scholar Thorpe Running shows that a skeptical approach to both language and poetry places eight poets from three countries in Latin America within a strain of poetry prefigured by Stephane Mallarme." "Octavio Paz, Jorge Luis Borges, Roberto Juarroz, Alejandra Pizarnik, Alberto Girri, Juan Luis Martinez, Gonzalo Millan, and David Huerta span three different generations. In addition to their age and geographical differences, their poetry bears no obvious similarities. All eight, however, are poetas pensantes, or thinking poets, and underlying the work of these probing writers is the disturbing question: Does language do what it is supposed to do? The answer is negative for all these poets who see their poems as being made up of words that don't work."--BOOK JACKET.Title Summary field provided by Blackwell North America, Inc. All Rights Reserved
This volume, the ninth in the series of The Variorum Edition of the Poetry of John Donne, presents newly edited critical texts of 25 love lyrics. Based on an exhaustive study of the manuscripts and printed editions in which these poems have appeared, Volume 4.2 details the genealogical history of each poem, accompanied by a thorough prose discussion, as well as a General Textual Introduction of the Songs and Sonets collectively. The volume also presents a comprehensive digest of the commentary on these Songs and Sonets from Donne's time through 1999. Arranged chronologically within sections, the material for each poem is organized under various headings that complement the volume's companions, Volume 4.1 and Volume 4.3.
