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Excepting the first half of Athēnaiōn Politeia, whose authorship remains controversial, there are no works of historical inquiry in the Aristotelian corpus. This contributes to the impression that Aristotle's political theory abstracts from history. This judgment is reinforced by statements in the Poetics diminishing history and historians in favor of poetry and the poets. I offer a more nuanced interpretation, relying principally on an intertextual reading of the Athēnaiōn Politeia and Book Five of the Politics. Both texts direct the reader's attention to history, though in dramatically different ways. I argue that Aristotle's uses of history are essential to his conversational engagements with the narratives that human beings construct in order to make sense of their experiences and to clarify options for choice. Read in a dialogic spirit, these texts underscore the possibilities and hazards of civic agency and preserve the importance of history, as well as poetry, for Aristotle's political theory. ; Exceptuada la primera mitad de la Athēnaiōn Politeia, cuya autoría sigue siendo discutida, no hay obras de investigación histórica en el corpus aristotélico. Esto fortalece la impresión de que la teoría política aristotélica se abstrae de la historia. Esta opinión es reforzada por las afirmaciones contenidas en la Poética, que atenúan la importancia de la historia y los historiadores en favor de la poesía y los poetas. Esta contribución ofrece una interpretación más matizada, que se apoya sobre todo en una lectura intertextual de la Athēnaiōn Politeia y el libro 5 de la Política. Ambos textos dirigen la atención del lector hacia la historia, pero en una manera completamente diferente. En este artículo argumento que los usos que hace Aristóteles de la historia son fundamentales para sus intercambios dialógicos con las narraciones que los seres humanos construyen para dar sentido a sus experiencias y aclarar sus opciones a la hora de elegir. Si se leen en este espíritu dialógico, estos textos resaltan las posibilidades y los riesgos de la acción política y salvaguardan la importancia tanto de la historia como de la poesía para la teoría política aristotélica.

In the following work we will try to test an archiphilological reading of the work of the Argentinian poet Arturo Carrera, more precisely, of the beginning of its writing. This reading will confront us with at least two concerns. First, how it is possible to see the power of the file in your poetic work. The second, which traditions and dimensions are activated in the work from that perspective, taking as its starting point the Cosmological Mémological Map of Simetry (1973), Oro (1975) and My Father (1985), beyond his barrock filiations. Between the two questions, we will see whether it is possible to set up a method of reading a particular historical route that operates with the temporary flashing or golden urchins that the poetry leaves to the eye, in order to be activated again at a different time and place of work. Faculty of Humanities and Education Sciences ; In the following paper we will test an archifilological reading of the work of the Argentine poet Arturo Carrera, more precisely, of the beginnings of his writing. This reading will confront us with at least two concerns. First, in what way it is possible to see the power of file appear in his poetic work. The second, what traditions and what dimensions are activated in the work from that perspective, taking as starting point the cosmological map Momento de Simetría (1973), Oro (1975) and Mi padre (1985), beyond its baroque filiations. Both questions will help us see if it is possible to configure a reading method for the assembly of a particular historical tour that operates with the temporary flashes or golden urchins that the poetry leaves in sight, to be activated again in another time and place of work. ; In the following work we will try to test an archiphilological reading of the work of the Argentinian poet Arturo Carrera, more precisely, of the beginning of its writing. This reading will confront us with at least two concerns. First, how it is possible to see the power of the file in your poetic work. The second, which traditions and ...

Aisling Gheár - A Terrible Beauty was a poetic cliche in the Gaelic tradition by the time that Burke was composing his treatise on the Sublime and Beautiful. This article briefly summarises the Gaelic political and cultural background to Burke's life and details how the genre of politcal poetry known as the Aisling Gheár might be seen to have influenced Burke's Enquiry. The article is particularly interested in Burke's focus on the effects of the Sublime and Beautiful on the psyche of the listener and the witness, and it draws on recently developing field of Cognitive Science's exploration of Affect to discuss this aspect of Burke's work.

In this dissertation I examine the roots of one of twentieth-century Latin America's most crucial literary exchanges, namely, that between the Chilean poet Pablo Neruda and his Mexican counterpart Octavio Paz. Specifically, I focus on their initial point of contact in 1937, when the much younger Paz sent his recently published poem Ra�z del hombre to his idol Neruda, then living in Paris where he was organizing the Congress of Antifascist Writers in the context of the Spanish Civil War. While Neruda never elaborated on his appreciation for Ra�z del hombre beyond the cryptic detail in his memoir of having identified in it "un germen verdadero," it is understood that he invited Paz to the Congress based on his positive reading. Therefore, and in light of the gaping hole in the Neruda-Paz scholarship whereby no systematic examination of this first point of contact exists, I offer a speculative "Nerudian reading" of Ra�z del hombre to understand why such an ostensibly apolitical erotic poem appealed to a poet who, at the time, was undergoing a dramatic transformation toward an aesthetic of revolutionary commitment. Arguing for a generous conception of poetic influence based on Harold Bloom's paradigm whereby a successor might exert power over his predecessor, I suggest that Neruda registers the influence of Ra�z del hombre—and betrays a certain anxiety toward that influence—in "Oda de invierno al R�o Mapocho" (1938), his first socially engaged poem in a Latin American setting. In that poem, Neruda returns to the aesthetic of natural eroticism that he had cultivated in Residencia en la tierra in order to locate the potential for revolutionary salvation in the topography of Latin America. At the poem's conclusion, the speaker exhorts Chile's Mapocho River: "que una gota de tu espuma negra / salte del l�gamo a la flor del fuego / y precipite la semilla del hombre!" With the slight change from "ra�z del hombre" to "semilla del hombre," in my opinion, Neruda offers at once a tacit confirmation of his positive reading of Paz's work, and a rhetorical exercise of power to reclaim for himself the residenciario poetics that his successor had made his own in his emergence as a formidable newcomer to the world of Hispanic poetry. In Chapter I, I offer an extended introduction to the dynamics surrounding Neruda and Paz's initial encounter, primarily in the form of an analysis of Paz's importance in the early years of Neruda's transformation from trench warfare poet in the Spanish Civil War to committed Latin Americanist poet par excellence. To strengthen my argument regarding Paz's contributions in Neruda's trajectory, I introduce a reading of Harold Bloom's theory of poetic influence. I also discuss how Paz's emergence as a strong poet in the context of Neruda's ascendant celebrity in the Spanish-speaking world likely induced a certain anxiety in the Chilean. The chapter concludes with a comparative analysis of Paz's �No pasar�n! and Neruda's "Galope muerto."In Chapter II, I offer a Nerudian reading of Ra�z del hombre in order to identify the implicit radicalism of Paz's poem, the raison d'�tre of which critics tend to elevate as an eroticism stripped of political meaning. To do so I read the poem's celebration of love as the root of man in a context of ruins as a metaphor for the revolutionary solidarity required in the struggle against fascism. In Chapter III, I explore the centrality of "Oda de invierno al R�o Mapocho" within both Neruda's late-1930s transformation and his broader poetic trajectory. Arguing that the poem offers a commentary on the debate du jour regarding pure versus committed poetry, I discuss how the poet engages not only with Paz, but also with the voices of Francisco de Quevedo and Rainer Maria Rilke. In this way I demonstrate how Paz's treatment in Ra�z del hombre of those poets' respective and optimistic understandings of death inspired Neruda's hopeful vision for a revolutionary future in Latin America as well as his commitment to an aesthetic of engagement. Following a brief Conclusion, I end my dissertation with an English translation of Ra�z del hombre as it appears in its entirety in Paz's 1999 Obras completas.

This paper is an analysis of three Nigerian ethnic groups, their kinship structures, and their efforts at industrialization. We argue that in Nigeria, kinship and historical development have necessitated alternative approaches to industrialization, which do not comply with the Western model of urbanization and the transition to - nuclear families. The Yoruba, Igbo, and Ibibio ethnic groups are each reviewed in turn with regards to their kinship patterns, the resources available to them, and their traditional occupations, which are considered the determining factors in their orientation to industry. The Yoruba, who have a tradition of non-industrial urban residence, are the most industrialized, as industries are predominantly urban based. The Igbo, are taken to be less industrial than the Yoruba, as they have refined their indigenous craft skills into smallscale service industrie's. Finally, the lbibio, are considered the least industrial as they have continued their primary occupation of farming in government run plantations. In assessing Nigeria's industrialization process, we introduce the concept of "ethnic industrialization" which suggests that the various ethnic groups of Nigeria direct their industrializing activities to certain types of industry in accord with their own social, cultural, and historical development.

Appeared in the Anti-Jacobin; or Weekly examiner, Nov. 20, 1797-July 9, 1798. The plates are small reproductions, re-etched & copied from caricatures of Gillray pub. from 1793 to 1798. ; Mode of access: Internet.

La oratoria martiana es objeto de estudio en la educación superior cubana con el propósito de destacar los principios éticos que el tribuno enarbola, pero se obvia la valoración de la poesía en la que estos se sustentan. Demostramos en este trabajo cómo ambos aspectos se relacionan a través del análisis de algunos de sus discursos políticos más importantes. ; The martial oratory is the subject of study in Cuban higher education with the purpose of highlighting the ethical principles that the tribune raises, but the appreciation of the poetry in which these are sustained is ignored. We demonstrate in this work how both aspects are related through the analysis of some of their most important political discourses. ; O oratório marcial é objeto de estudo no ensino superior cubano com o objetivo de ressaltar os princípios éticos que o tribuno suscita, mas a valorização da poesia em que se sustentam é ignorada. Demonstramos neste trabalho como ambos os aspectos são relacionados através da análise de alguns dos seus discursos políticos mais importantes.

This thesis was completed as an option for requirements of the degree of Master's in Liberal Studies and focuses on the use of the satire genre by Salvadoran poet and activist Roque Dalton, to denounce the injustices done to the Salvadoran people by the corrupt military governments in pre Civil War El Salvador. ; The following is a study that focuses on how Salvadoran writer Roque Dalton used satire throughout his work to denounce the injustices committed by the military governments that ran the country from the 1930s through the 1970s. The way this is accomplished is by first writing a brief history of El Salvador and a brief biography of Roque Dalton, followed by a brief history of the satiric genre, starting from the Roman Classical period ending with how satire came about in Latin America. Finally, I dedicate a chapter to analyzing three of Roque Dalton's poems, giving examples of the instances when he used satire to condemn the many atrocities done to the Salvadoran people. ; Fernando Guerrero Ph.D, Associate Professor, Modern Languages, Thesis Supervisor Sonia Assa, Ph.D, Associate Professor, Modern Languages, Thesis Reader Carol Quirke, Ph.D, MALS Graduate Director

This paper describes the meaning of children's poetry by Abinaya Ghina Jamela. The intended meaning is lexical meaning, referential meaning, grammatical meaning, and classical meaning. This poem is sourced from the book Sehimpun Poetry Recipe for Making Jagat Raya. The poem chosen to be analyzed is the poem in which there is a Mother or Mother diction. Your poetry is taken to show your role in the process of writing children's poetry. The chosen poem is When I read a book. The method used is descriptive with Content Analysis and Library Study techniques. The results of the analysis note that the mother in the poem is interpreted as a person who is Merciful, Attention, Calm, Understanding, Helper, Hero, Smart, Clever to Explain Something, Good Listener, Joyful and Joyful, Smart Cooking, Skilled, Sources of Science, Inspirational, Special, Good Friends, Democracy (not curbing and giving trust), and Mother who also likes to nag. Based on the study of Semantic meaning in poetry when I read the book, there are more types of words used are nouns, namely 23 words, 16 verbs, and 2 adjectives, and the use of particle words totaling 6 words, 5 pronouns and 1 onomatopoeia and there are 19 lexical meanings, 18 referential meanings, 6 grammatical meanings, and 3 words meaning kias. Overall, the poem entitled When I Read a Book means the importance of reading books and inspiring figures of mothers for children. This paper can be used as consideration for parents providing guidance on writing poetry and literacy in the family environment. Keywords: Meaning, Poetry, Mother, and Child

This study aims to describe the inner structure, especially the theme, meaning, and atmosphere contained in the poetry anthology Ayat-Ayat Api by Sapardi Djoko Damono. The poetry anthology of Ayat-Ayat Api is a collection of selected poems in which there are poems set in the events of the New Order era. The method used by the author in this study is a qualitative descriptive method. The data collection technique used was literature, reading, taking notes, and document analysis in the form of the poetry book itself entitled Ayat-Ayat Api by Sapardi Djoko Damono which was published in 2017 by PT Gramedia Pustaka Utama Jakarta. The book has a thickness of 88 pages which is divided into three parts, namely Verse Zero, Verse Watches, and Ayat Api. Data taken from the poetry anthology Ayat-Ayat Api in the form of words, sentences, and poetry quotes that are the keywords of the poem. The results showed that the ten poems analyzed had various themes, meanings, and different atmospheres, including: 1) humanity, 2) social criticism, 3) hope, 4) anxiety, 5) death, 6) divinity, and 7) populist and democracy.

This paper analyses Mahmud Darwish's works, one of the greatest poests of the Palestinian resistance. The resistance is against the Israeli violation of the Palestinians' human rights, as well as the resistance against the Israeli military occupation of the West Bank and Gaza. Israel has attempted, through all means, to erase the Palestinians from historical memory. Israel has expelled many Palestinians from their villages, and has also massacred many others. After the expulsions and massacres Israelis occupied the Palestinian villages, and changed their names by using Hebrew ones. This way the Israeli "official" maps do not show either the names or the Palestinian villages, but the Hebrew names that have substituted the original ones. Israeli Jews have settled in these places with new names. Palestinians have resisted and have attempted to return to their villages, and those who have been successful are present in the absence. This means that they are present in blood and flesh, but Israel do not recognise them nor give them any rights, and considere them to be legally absent. It is in these themes that Mahmud Darwish's woks, both poetry and prose, are so important for the Palestinian resistance, as well as to re-write the Palestinian history. ; Este artículo analiza la obra de Mahmud Darwish (1941-2008), uno de los grandes poetas de la resistencia palestina contra la violación de los derechos humanos por Israel en Palestina, así como la ocupación militar israelí de Cisjordania y Gaza. Israel ha intentado por todos los medios borrar a los palestinos de la memoria histórica y ha expulsado a muchos de sus aldeas. También ha masacrado a muchos más. Luego de las masacres ocupa las villas palestinas, a las que les cambia el nombre por uno en hebreo. De esta manera los mapas "oficiales" de Israel ya no muestran ni los nombres, ni las aldeas palestinas, sino los nombres hebreos que los han sustituido. En estos lugares con nuevos nombres se han asentado poblaciones judías israelíes. Los palestinos han resistido y han intentado regresar a sus villas, pero aquellos que lo logran aparecen presentes en la ausencia. Esto quiere decir que están presentes de cuerpo y alma, pero Israel no los reconoce, no les da derechos y los considera legalmente ausentes. Es en estos temas que destaca la obra de Mahmud Darwish, como escritor de la resistencia palestina y para re-escribir la historia de Palestina.

The Yoruba of southwestern Nigeria are exceptional for the copresence among them of three religious traditions: Islam, Christianity, and the indigenous orisa religion. In this comparative study, at once historical and anthropological, Peel explores the intertwined character of the three religions and the dense imbrication of religion in all aspects of Yoruba history up to the present. For over 400 years, the Yoruba have straddled two geocultural spheres: one reaching north over the Sahara to the world of Islam, the other linking them to the Euro-American world via the Atlantic. These two external spheres were the source of contrasting cultural influences, notably those emanating from the world religions. However, the Yoruba not only imported Islam and Christianity but also exported their own orisa religion to the New World. Before the voluntary modern diaspora that has brought many Yoruba to Europe and the Americas, tens of thousands were sold as slaves in the New World, bringing with them the worship of the orisa. Peel offers deep insight into important contemporary themes such as religious conversion, new religious movements, relations between world religions, the conditions of religious violence, the transnational flows of contemporary religion, and the interplay between tradition and the demands of an ever-changing present. In the process, he makes a major theoretical contribution to the anthropology of world religions. "A rigorous analysis of the social character of religion in light of historical changes and enduring cultural practices... lucid and probing, a work of real skill and erudition, and a critical standard of scholarship." -LAMIN SANNEH, Yale Divinity School "[This book] is a revivifying shot in the arm for comparatism and an invitation to think afresh about the relations between Christianity, Islam and orisa religion both within Nigeria and in the wider world." -KARIN BARBER, University of Birmingham "This great book restores value and merit both to comparative methodology and the historical approach, while uncompromisingly affirming the centrality of religion to all aspects of society." -TOYIN FALOLA, University of Texas at Austin J.D.Y. PEEL (1941–2015) died shortly before this book went to press. He was Professor Emeritus of Anthropology and Sociology at the School of Oriental and African Studies, University of London. This is his last major work.