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The material is an attempt at representing a method that leads towards the termination of the didactic-moralizing dominant that has long ruled over Macedonian children’s poetry. Literature or more specifically, poetic craziness in Macedonian children’s poetry is not the only way to achieve the above-mentioned, but is certainly provocative for the researcher, specifically because of possibilities that allow a connection with certain contemporary, ruling and dominant theories of literature.
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Space ownership is a key-concept in the writings of the Beat women. Anne Waldman, for example, portrays the complicated relationship she has with the city of New York through mappings and descriptions of various locations, which she experienced or marked her imagination. I have labeled these special locations ‘meta-manifest places’ by which I mean places that writers may use to raise awareness of social, political and/or environmental problems manifested through protests and riots, usually linked to a certain space. The space and the crisis attached to it will always remain in the reader’s mind as interconnected. How does Anne Waldman make use of ‘meta-manifest places’ to reflect the urban crises in the mid-twentieth century American metropolis?
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From the beginnings of his poetic career onwards, well into posterity, Larkin has been known as a “less deceived” poet, combining avant la lettre Lyotard’s postmodern incredulity toward grand narratives with a special, often puzzling pattern of conflicting trends. One of these trends is to counter incredulity with memorable expressions of longing for the togetherness and the communion that certain spaces are associated with. These spaces, and the cartographies that encompass them, are also defining features of identity construction both for the poet himself and for Britain in a postwar, less “heroic” age. The present article examines the literary cartography that some of Larkin’s poems seen as identity narratives contribute to, the mapping of places and spaces, as well as the perspective from which these are perceived and fashioned. In so doing, there will be unexpected transcendent flashes of a solitary, “more deceived” Larkin’s search for a sense of community with people, places and space, with the ordinary coexisting with the eternal and the infinite.
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