Tender A Night Dream, September 2013

Text and the Material World, 2017

Stalinism in Kazakhstan: History, Memory, and Representation, ed. by Zhulduzbek Abylkhozhin, Mikhail Akulov, Alexandra Tsay, 2021

Stalinism in Kazakhstan: History, Memory, and Representation (Lanham: Lexington, 2021) is a multi-disciplinary collection of essays from Central Asian authors. The volume is devoted to violence and socio-economic transformation during the Stalinist repressions in Kazakhstan and explores collective trauma, selective memory, and representations in contemporary art and literature.

Remembering the Crusades: Myth, Image, and Identity. Ed. Nicholas Paul and Suzanne Yeager. , 2012

Ygdrasil, A Journal of the Poetic Arts, 2019

Table Of Contents INTRODUCTION Klaus J. Gerken WINDOWS CONTENTS GEORGE GUIDA The Return of Rose Romano Michael Ceraolo from Euclid Creek Book Four Bob Ezergailis 5 poems Julian O'Dea 3 poems POST SCRIPTUM Klaus J. Gerken THE ROSE

Canadian Slavonic Papers / Revue Canadienne des Slavistes, 2013

In Serhiy Zhadan’s recent novel Voroshylovhrad (2010), memory and emptiness form a duality of being and non-being, as represented by remembering and forgetting. This framework is proposed here as a metaphor for understanding some of the challenges facing Ukraine today. Using the concept of post-socialist memory as an entry point, this article positions Voroshylovhrad at the productive intersection of memory and literature, offers interpretations for several crucial scenes of the narrative, and contends that the novel recalibrates common paradigms of separation from a traumatic past. Finally, an argument is put forth that the book’s textual voids cast the reader as a key agent of recollection. This analysis of literary mechanisms involved in the memory-emptiness dichotomy contributes to an on-going exploration of strategies contemporary Ukrainian writers employ to engage in cultural and historical discourses, as well as to the studies of memory and literature in the post-Soviet regions of the world.

Journal of Literature and Trauma Studies, 2014

Odysseus, in the Odyssey, struggles not to forget Ithaca, the birthplace to which he strives to return. His encounters with the Lotus, Cirque, the Sirens and Calypso were rites of passage in this struggle. In Homer, forgetting is that of home and homeland. As forgetting takes hold, personality risks disintegration. In this sense, the Homeric Epic

An exploration of the state of the art—poetry—vis-à-vis the encroaching darkness of satanic power in these times. The value of witness to the Kingdom of Christ in the power of His Spirit through poetry.

International journal of humanities and social sciences, 2017

War and its ugly consequences have always been and are still a rich source of inspiration for poets. They try to convey their message about peace, equality, and justice in a realistic and chilling way and they try to bring to light the gruesome experience of war, they do not glorify war. Thousands of young men left their homes with the conviction that war was honorable and glorious. However, those very few who survived the war, returned changed, wiser, and more cynical, they experienced the horrors of the war first hand. Many turned to writing or became artists, trying to escape from the trauma of war. The name 'war poetry' might be misleading somewhat, because it is actually the anti-war poetry, it is an attack against the whole ideology of nobleness of war. Those anti-war poets try to depict the sick-of-war people in the truest way. In their lines of verse, they bring out the damages caused by war. War reaches many fields of life of which humanity is the most prominent and most sensitive; for instance, human costs have always been the largest. The researchers aim at showing the ugliness of war in the perspectives of the English poet Wilfred Owen in his "Strange Meeting" and the Kurdish poet Sherko Bekas in his "Goristani Chrakan" (Graveyard of Lamps). The authors first try to pinpoint the imaginary journey the narrator starts into the tunnel of death in "Strange Meeting" where he meets the enemy he had killed the day before. Next they accompany the second narrator in his journey to the underworld where he depicts the dead in, according to Sharifi (rudaw.net), a "panorama of humanity" in "Goristani Chrakan" where he escorts a female spirit and victim of a notorious genocide. In the last section, the authors identify the points of similarity and difference between the two masterpieces.

A study of three Byzantine authors on dreams and visions - Gregory the Great, John Moschus and Maximus the confessor.