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The importance of two elements, the definition of Poetry and Comparative Albanian Literature and the historical role it has with regard to the Human Sciences and the position of theory in this essentially literary and culturally discipline, are the focus of the huge debate across academics. The present essay accords briefly with the first element, providing metaphorical elements of focus rather than a finished portrait of one of the contemporary poets in Albanian literature, Fatmir Terziu; then, it takes up the significant moments of the theoretical debate in Poetry and Comparative Literature between Literary Studies on the one hand and Translation and Cultural Studies on the other. Specifically apparently takes my mind, where I want to officiate more is a kind of phrase that used a comparison, literary figures and in particular metaphor, of speech, expression, grammatical formation, seeing it in detail to Terziu's poems as in Albanian and in English. Subject to which I will refer is the metaphorical process that features the poetry of Fatmir Terziu in the current approach Albanian into English. Through the comparative scholarly research extending from the 1990's to through first decade of the 21st century, I describe the shifts of focus in literary studies that emerged in the 1990s, and which resulted in the creation of a new, more politicised Cultural Studies and new configurations of main vs. subsidiary between Comparative Literature and the disciplines contiguous to it: Translation and Cultural studies. With these realignments, I argue, Comparative Literature has been faced with the challenge to restructure itself and its agenda. In this, I finally maintain, it gives 21st-century lessons to the other Human Sciences on the commensurability of angst, survival, and regeneration.Keywords: essay, comparative literature, Fatmir Terziu, The church of the eyes, Delirium, Advert for the Fatherland, poetry, etc.

For last 2 decades Swat has witnessed changes in almost every aspect of culture, space, and ecology. Among these changes, the environmental crisis remains a major issue addressed by different media outlets and academic and nonacademic organizations. Along with popular narratives and discourses the poets also have their take on the environmental crisis of Swat though mostly ignored in research of cultural and environmental studies. This paper aims to investigate themes of Pashto poetry in context with the environmental crisis. The main purpose of this paper is to investigate how Pashto poetry is situating the environmental crisis of Swat and how poetry works for the preservation of the environment. Findings are based on published sources of poetry, interviews, and informal discussions by using the vignette method for collection of data. The framework of social poetics is used to theorize the environmental crisis and how poets take on the crises. The findings suggest that the poetic expressions point out development and militancy as instruments of environmental crisis in Swat. The paper further argues that different objects and elements in flora and fauna are romanticized and instrumentalized as symbols of beauty and love in Pashto poetry which works in the preservation of the ecological system of Swat. Moreover, poetry also produces themes of peace, condemnation of violence and unplanned development, resilience and hope to heal the wounded ecology of Swat.

The Complete Poetry of Du Fu presents a complete scholarly translation of Chinese literature alongside the original text in a critical edition. The English translation is more scholarly than vernacular Chinese translations, and it is compelled to address problems that even the best traditional commentaries overlook.The main body of the text is a facing page translation and critical edition of the earliest Song editions and other sources. For convenience the translations are arranged following the sequence in Qiu Zhao'an's Du shi xiangzhu (although Qiu's text is not followed). Basic footnotes are included when the translation needs clarification or supplement. Endnotes provide sources, textual notes, and a limited discussion of problem passages. A supplement references commonly used allusions, their sources, and where they can be found in the translation.Scholars know that there is scarcely a Du Fu poem whose interpretation is uncontested. The scholar may use this as a baseline to agree or disagree. Other readers can feel confident that this is a credible reading of the text within the tradition. A reader with a basic understanding of the language of Chinese poetry can use this to facilitate reading Du Fu, which can present problems for even the most learned reader.

Sigurd Burckhardt has rendered a service in providing the occasion for a thematic presentation of the principles underlying the interpretations of Shakespearean drama by Jaffa and me, to which he has taken such exception. The issue does not primarily concern literary criticism but rather has to do with the relation of art to political philosophy and, in turn, with their relation to life. Burckhardt, however, has not joined the debate on the level of the issues. He does not argue against the substance of our interpretations, and does not say wherein and why they are in error. Characteristic of his method is his offer of three statements "admittedly out of context" from my article for which he then proposes the following test: "Choose," he says, "a jury of widely read, intelligent men, show them these statements (with the information that they are meant to describe two main characters in a play known to all of them), and then make them guess who is being talked about." Burckhardt thinks he is "safe in claiming that there will not be a single correct identification." The moment seems somewhat inappropriately chosen for suggesting the method of a quiz program for deciding a matter of validity. But seriously, does any scholar, however he may wish for public acceptance, make this his standard? Agreement may produce peace, but it can never by itself be a criterion of truth. In presenting my conclusions, I have a right to ask that they be tested in the light of my evidence and my arguments. In the court of scholarly judgment it is a weak argument that rests on the number of witnesses who can be summoned to support an opinion.

The article discusses Sergey Zavyalov?s cycle of poems ?Christmas Lent? as a
polyphonic text - evidence of the besieged Leningrad in the context of
philosophical reflections on whether poetry is possible after Auschwitz. The
story of the victim, as well as the weather forecast and news report from
the front, become the main document of the tragedy of human existence in
the era of the collapse of humanism.

The article offers an insight into the connection of the writer Zemgaliešu Biruta with revolutionary activity and references to this activity in different sources. Around the year 1905 Zemgaliešu Biruta was among the enthusiasts of the revolution. Her contribution was a translation of the essay of the Austrian social theorist and juridical expert Anton Menger "Anarchism" from German to Latvian. There are three main motifs in her creative work. One of them is her poetry texts inspired by the spirit of the time and marked by revolutionary enthusiasm. Her poetry embodies the spirit of protest, dissatisfaction with the ruling order, and an inclination to break free. The woman is frequently in the centre of the poetry: she is the one who expresses the spirit of protest; she is a passionate and brave fighter. Although there is no particular record of Zemgaliešu Biruta as a revolutionary who had been assigned to carry out secret tasks, there is a reason to believe that she had a close connection with the events of 1905–1906. It is known that the writer and the revolutionaries had strong ties: she helped to spread flyers and revolutionary literature, took part in secret gatherings and debates, she also left the territory of Latvia together with the revolutionaries when the government reaction against revolution took place. Zemgaliešu Biruta's enigmatic course of life and her tragic demise is closely connected with the revolutionary atmosphere and events of the age: her contact with the revolutionaries served as a reason for her arrest. In a flat in Lielā Ņevas Street where Zemgaliešu Biruta also used to live, an explosive was found which was intended for the assassination of the governor general. Even though the real role of Zemgaliešu Biruta in revolutionary activity during the time of 1905–1906 cannot be fully established, and no direct written records have been preserved about her contribution to the revolutionary activities, the recollections book of the writer Jānis Akuraters "Dienu atspīdumi" ("Reflections of the Days") allows me to draw a conclusion that she was one of the rare Latvian women revolutionaries of the time who had a deeper conviction about different ideas to transform the society, etc.

The article is devoted to the study of the genre of literary epitaph in Tabasaran poetry. In the water part, which has a theoretical character, the difference between the cemetery and literary epitaph is shown, the constitutional signs of two genre varieties are revealed, the degree of mastering of the genre in the literatures of the peoples of Dagestan is stated.
In the main part of the work, the thematic, structural and compositional analysis, as well as the analysis of the subjective organization of the texts of the Tabasaran literary epitaph were carried out on the material of the poetic texts of poets G. Hajiyev and R. Ramazanov. The author comes to the conclusion that the literary epitaph in Tabasaran poetry has an edifying and satirical character; it condemns the actions and qualities of people who contradict the national ideal of a woman, mother, highlander — adultery, violence against people, selfishness and indifference, depravity and perseverance in committing sins. Also in the epitaphs, the problems of retribution for earthly life, gratitude are raised.

Struggle, personal sacrifice and death play significant roles in Palestinian poetry – a poetry of national struggle whose poets are driven to defend the existence of people and land by way of a fighting poetry which serves as a resistance to occupation. This article traces the evolution of the motifs of resistance and death in the poetry of Palestinian Mahmoud Darwish. It distinguishes between two main types of death in Darwish's poetry; these are collective death, which the author expresses by way of his people's experiences with death, and individual death, as reflected in the poet's own experience with death. The articleexplores each of these types and analyses their conceptual evolution. It shows how the changes which occurred in this motif are reflected in the poetic forms used by Darwish. In this paper we aim to show that Darwish's view of death is multi-faceted and takes into account chronological and geographical, as well as personal aspects. His attitude towards death is complex and is not limited to the ideological aspect. The paper provides a comprehensive investigation into this multiplicity in Darwish's poetry

To Arms! Songs of the Great War by Laura E. Richards The Page Company, Boston, Mass., 1918. "First Impression, December, 1917." The Colonial Press, C.H. Simonds Co., Boston, U.S.A. ; https://digitalcommons.usm.maine.edu/me_collection/1149/thumbnail.jpg

The essay provides a review of a small but remarkable book
on the work of two important Native American and Siberian poets,
Meditations after the Bear Feast by Navarre Scott Momaday and Yuri
Vella, published in 2016 by Shanti Arts in Brunswick, Maine. Their
poetic dialogue revolves around the well-known role of the bear as
a sociocultural keystone species in the boreal forest zone of Eurasia
and North America. The essay analyzes the understanding of dialogicity
as shaping the intersubjectivity of the poets emerging from
human relationships with the environment. It tries to unpack the
complex and prophetic bear dream in one of Vella's poems in which
he links indigenous ontologies with urgent sociopolitical problems.

The First World War blurred the lines between "ordinary" and "literary" writing practices. Many sources corroborate this: necrologies written about poets who died in the act of writing not a poem but rather a letter, or introductions to poetry collections where bereaved families and friends admit they had no knowledge of their loved one's writing practices until they found a journal full of poems after the author's death, which they only published as a posthumous tribute. This article uses examples of French poetry of the Great War to explore this permeability between what is considered war poetry and what is considered war ephemera. The main question it addresses is what changes when we look at the war poems that were initially ephemera or ordinary writing. Whose stories get told when poetry is studied not as literature to be judged as accomplished or failed art but as a way of writing to make sense of the world? It argues that when we choose to read poems as ephemera and from the point of view of a larger anthropology of writing practices, diverse histories emerge and communities who write poetry not only as an artistic pursuit but also as a means of organizing experience and leaving traces behind reclaim ownership over their own narratives. This can challenge the false equivalence between the cultural history of warfare and an intellectual history of the elites at war and includes poetry within paradigmatic shifts that place objects at the centre of mediations of the experience of war.

This article examines and theorises the emergence of an aesthetic of Dalit poetry that it terms 'traumatic materialism'. It resists the tendency to treat Dalit poetry as social documentary, and instead unravels an aesthetic that builds on the realist mode but moves beyond it. Studying two main themes in Dalit poems, corporeal trauma and labour, the article proposes that traumatic materialism forces us to move beyond the realist mode of recording the eye-witnessing of corporeal pain in everyday Dalit lives to 'bearing witness' to something unspeakable and not quite visible, which is the pain's subtext.

During the First World War, Dardanelles witnessed one of the fiercest clashes in history between the British and the Turkish forces. This eight-month-war caused the settlement of British army that included Australian and New Zealand Army Corps known as Anzacs on particularly the Gallipoli Peninsula. The Australian and New Zealander soldiers and officers constantly kept diaries and wrote letters that in a sense recorded history from the personal perspective contributing to history with individual observation. If Anzac diaries kept during the Gallipoli clashes in 1915 function as secondary historical sources, they also do function as reminiscences of military officers who found consolation in expressing themselves lyrically during harsh conflicts. Some Anzac officers quote poems in their diaries and some write their own poetry to cope with the violence of war using the aestheticism of poetry. Their poems, on the other hand, remain not only as the lyrical reflections of a deadly reality but also as even more painful portrayals of war. This paper aims to read poems either quoted or written in the diaries of Anzac soldiers and officers in order to analyse the emotional effects of war on individuals. The poems will be analysed through the perspective of cultural landscape and question the influence of landscape on the perception of war in the minds of the Anzacs. From the new historicist perspective, the diaries bearing poetry will be read not as the sources of historical information but as the texts that use history as the material for poetry. The paper will also question whether or not the individual observations change the perception of official history that does not become the main impulse behind the writing of poetry but turns merely into one of its sources.