Samples of the phenomenon of innovation in Nigerian Arabic political poetry: صور من ظواهر التجديد في معاني الشعر السياسي العربي في نيجيريا

Nigerian political poetry is currently witnessing a remarkable renewal. Indeed, The political situation in Nigeria has produced brilliant poets who have taken political poetry as one of their most important weapons for them to defend their political and tribal views, this type of poetry has acquired different innovation, this research represents a study of the phenomenon of renewal in Nigerian Arabic poetry, this research comes from the point of view of the researchers' observation that this innovative phenomenon of Nigerian political poetry still lacks what it deserves to be studied. The most important findings of this research are: the current political conditions in Nigeria have imposed a significant renewal in Nigerian political poetry, hence the need for further research in the field.

Wound Building: Dispatches from the Latest Disasters in UK Poetry

Wound Building is a volume of essays, with digressions, on one group of contemporary poets active in a self-organizing political poetry scene in the UK, most of whom have little to no audience outside of the little magazines that they publish and the reading series they put on. The book is a front-line report on the rapid development of this poetry in the period between 2015 and 2020, with a particular focus on the relationship of poetry to violence and its representation. The poets discussed here write violent love poems and violent elegies as well as violent fantasies composed in stabs of violent verse and violet prose. The poems themselves comprise fantasies of killing David Cameron, dreams of being split open along a seam, basement songs, hundreds of pages of notes on working life in a privatized care home in Hove, East Sussex, a four-line slogan about the Cologne groping scandal of New Year 2016, variations on the Refugees Medical Phrasebook, a life wasted in a factory in Guangzhou, an autobiographical sci-fi interbet fever dream, an anarchist elegy, and a refusal to argue. Ultimately, Hayward argues that the lessons this poetry teaches is never to write a “worthy” narrative when a fucked up collage will do. Rather than a cohesive “account” of a “school” of poets, or a “contribution” to the boring tittle-tattle of aesthetic debates over British poetry as an institution, Wound Building is a front-line report on the local disasters of a contemporary UK poetry caught in the grip of the historical cataclysm of capitalist culture. Wound Building is further concerned with aesthetic problems related to Marxism, anarchism, contemporary trans politics, and class, though its “theoretical” preoccupations are subordinated to its desire to provide a ground-level view on the writing itself, its production, its intellectual aporia, and the ways it finds itself outstripped by the ongoing “march of events.” The book will be of interest not only for those concerned with contemporary British political and experimental poetry, but also more generally for anyone who wishes to think carefully about what it means to make art about present-day history and its many horrible enormities. The book’s title is derived from the idea of sublime woundedness that subtends the context of the poets discussed here: the impressions of wounds opening up like LED-lit shopfronts in the night, in a parallel universe in which injury is intoxicatingly impersonal and structural, and which forms the environment in which the poems fight to absolutize the value of every last breath, or face into the reality of extravagantly violent wish fulfillment, or dissolve themselves in a search for new ways of professing love, or transform into a kind of expressionism of vomiting up medical-diagnostic categories found in abstract social labor, or pump their verses full of the convulsive rhythms of surprise and sudden relief, without any guarantee that this is the right thing to do or that anyone will even fucking hear. Wound Building does not historicize this state of affairs as much as it attempts to live alongside the immediacy of this work, in order to see what is still possible for poetry, and criticism, to make and do.

ARABIC: أدب المقــاومة في أقاليم توات جنوب الجزائر

Arabic literature of resistance in general and Algerian in particular in its field championships and the good management of their proud leaders, inflamed many Touwatia feelings and interacted with them positively with many poems and creative texts, describing proud and sometimes inciting callers, and disaffected revenge from the scourge of injustice and occupation crimes at another time. The literature of resistance or political poetry in its broadest and most comprehensive sense is poetry that is organized in a matter of politics or governance, and it is in many forms, including national poetry that praises the glories of the nation, including the liberal poetry that has been associated with the emergence of resistance movements and liberation organizations in the Arab world against modern forms of colonialism, Thus, this type incites and calls for liberation from colonialism and accompanies these movements in its path. This literary paradigm has determined the fact that the poets of Touwat would not separate them from the concerns of their nation and the issues of their religion, the barrier of time and place or the rest of the other barriers, so they recorded their national presence with full pride and pride, and these texts were the best testimony of the impact of all of them on the course of the nation’s events, so they participated in providing them first, history is second to it, which reflects the culture of everyone and their follow-up to all historical events.

Kulturowe czy polityczne wojny domowe? Mit i rewolucja w poezji dwudziestolecia międzywojennego

The article presents the history of the concepts of myth and revolution in political poetry in the 1930s. Under the pressure of politics, these terms lost their meaning assigned by tradition. This observation leads to conclusions of a more general nature: the essence of involvement and the role of literature as an intermediary between politics as a historical source and politics as a paradoxically non-ideological activity. Thus, literature as an institution mediates in immunizing politics, especially radical politics. Becoming a serious element of the order dictated by the cultural canons existing in equilibrium and their reinterpretations.

Mandelstam's Worlds

Rightly appreciated as a ‘poet’s poet’, Mandelstam has been habitually read as a repository of learned allusion. Yet as Seamus Heaney observed, his work is ‘as firmly rooted in both an historical and cultural context as real as Joyce’s Ulysses or Eliot’s Waste Land’. Great lyric poets offer a cross-section of their times, and Mandelstam’s poems represent the worlds of politics, history, art, and ideas about intimacy and creativity. The interconnections between these domains and Mandelstam’s writings are the subject of this book, showing how engaged the poet was with the history, social movements, political ideology, and aesthetics of his time. The importance of the book also lies in showing how literature, no less than history and philosophy, enables readers to confront the huge upheaval in outlook that can be demanded of us; thinking with poetry is to think through the moral compromise and tension felt by individuals in public and private contexts, and to create out of art experience in itself. The book further innovates by integrating a new, comprehensive discussion of the Voronezh Notebooks, one of the supreme achievements of Russian poetry. Mandelstam’s controversial political poetry has been virtually a taboo topic (despite sporadic attempts at assessment). This book considers the full political dimension of works that explore the role of the poet as a figure positioned within society but outside the state, caught between an ideal of creative independence and a devotion to the original, ameliorative ideals of the revolution.

Conclusion

The Conclusion briefly narrates the decline of the model for political poetry explored in this book, with the deaths of Davenant and Cowley, Charles II’s short-lived experiment with prerogative toleration in 1672, and the political divergence of Dryden and Marvell. It then draws together the forms of sovereignty explored in this book. First, it reflects on the case for reading the poets’ views as secularizing, to the limited extent that they emphasize anti-clerical erastianism. And second, it considers the flexible yet absolute form of artificial sovereignty imagined through poetic imagination.