Notable critics, including Sunday Anozie and Robert Morsberger, have branded Christopher Okigbo's Labyrinths as allusions to the Nigerian crisis of 1965, as well as Igbo traditional religion, the historical and personal idiosyncrasies, and as a literary work from Theocritus and Vergil to Howl. This article veers from such imputations into a hitherto less trodden ground. It subjects the mind of the persona in Labyrinths -from 'Heavensgate' to 'Limits' and 'Silences', and from 'Distances' to 'Path of Thunder' to behavioural patterns. The article concludes that the behavioural patterns not only define how the mind works imaginatively, but that the very imagination wrought in obscurities methodically defines madness.

Social character is the key for someone to interact with the surrounding community. Interaction and socialization need to be introduced early by parents. If the results turned in reverse, then there must be other ways to be learned and practiced in family life. This study aims to cultivate social characters to children in the Juvenile Rehabilitation Institution through poetry learning. Changes continue to occur in handling and coaching juvenile delinquency in Indonesia. Regulations for the management of coaching continue to be carried out from Law No. 3 of 1997 concerning the Law on Juvenile Justice, then it was changed to Act No. 11 of 2012 concerning the System of Juvenile Criminal Justice. Characteristics of this relatively new law contain the main mechanisms of protecting children, who have problems with the law and following the Convention on the Rights of the Child. Education in the Juvenile Rehabilitation Institution has been carried out with all the limitations and can bring changes in the correctional behavior of children to be better that makes education restore the child's identity. Education held at this institution is expected to be able to achieve the ideals of children to be more beneficial after completing a kind of inclusive education. By applying a pragmatic approach, the study expects that there will be a change in children since they can learn the contents of poems, and at the same time, they are able to express their feeling by writing poems as well. From the process of learning, social characters in children such as honesty, openness, tolerance, cooperation, will be growing step by step.

Physics has been thought to truly represent reality since at least Galileo, and the foundations of physics are always established using philosophical ideas. In particular, the elegant naming of physical entities is usually very influential in the acceptance of physical theories. We here demonstrate (using current developments in thermodynamics as an example) that both the epistemology and the ontology of physics ultimately rest on poetic language. What we understand depends essentially on the language we use. We wish to establish our knowledge securely, but strictly speaking this is impossible using only analytic language. Knowledge of the meanings of things must use a natural language designed to express meaning, that is, poetic language. Although the world is really there, and although we can indeed know it truly, this knowledge is never either complete or certain but ultimately must rest on intuition. Reading a recently discovered artefact with a palaeo-Hebrew inscription as from the first century, we demonstrate from it that this ontological understanding long predates the Hellenic period. Poetic language is primary, both logically and temporally.

It is shown how the secondary structure of proteins, musical forms and verses of poems are approximately ruled by universal laws relying on graph coverings. In this direction, one explores the group structure of a variant of the SARS-Cov-2 spike protein and the group structure of apolipoprotein-H, passing from the primary code with amino acids to the secondary structures organizing the foldings. Then one look at the musical forms employed in the classical and contemporary periods. Finally, one investigates in much detail the group structure of a small poem in prose by Charles Baudelaire and that of the Bateau Ivre by Arthur Rimbaud.

We present set-theoretical solutions of the Yang-Baxter equation in BCK–algebras. Some solutions in BCK−algebras are not solutions in other structures (such as MV −algebras). Related to our investigations we also consider some new structures: Boolean coalgebras and a unified braid condition – quantum Yang-Baxter equation. Finally, we will see how poetry has accompanied the development / history of the Yang–Baxter equation.

Classical Arabic poetry is a form of Arabic literature, and almost every piece of Arabic poetry follows one of the 16 meters. The rhythmic framework of the poems or the verses is called meters. The deep learning (DL) model was implemented using TensorFlow in this work using a large dataset of Arabic poetry. The character level encoding was used to convert text to integers for classifying the full-verse and half-verse data. The study evaluates the data without removing diacritics from the text. The train-test-split method with a 70-15-15 split was employed for classification. 15% of the total data was considered unseen test data for all models. The work was conducted with multiple deep learning models, including the Long Short-Term Memory (LSTM), Gated Recurrent Units (GRU), and Bidirectional LSTM (Bi-LSTM). The Bi-LSTM model shows the best accuracy of all the models specified, with 97.53% for full-verse and 95.23% for half-verse without removing diacritic data.

The aim of this study is to analyse the names given to streets, monuments, spots of interest, et cetera in a street guide of an imaginary city called The Manada, whose map is constructed as a painting. For this analysis, we start from the 257 entries of the Street Guide, select their possible antecedents in literature and contextualize this street guide with respect to these antecedents. Our methodology is focused on two specific aspects of the Street guide: (1) to detect the semantic fields that emerge (with a methodology inverse to the creative one, that is, asking ourselves what key questions would result in the names of the streets) and (2) to detect the literary devices that are put into practice in the names of the places on the map, in order to determine how the relationship with the viewer-reader is established from a connotative level. The main findings of this study demonstrate that this is a unique piece, a new format both pictorial and literary, and that it has transcendence in the theme it deals with: the concealment of systemic violence. Comments about feminism, apotropaic devices and surrealism end our text.

We consider a multitude of topics in mathematics where unification constructions play an important role: the Yang–Baxter equation and its modified version, Euler’s formula for dual numbers, means and their inequalities, topics in differential geometry, etc. It is interesting to observe that the idea of unification (unity and union) is also present in poetry. Moreover, Euler’s identity is a source of inspiration for the post-modern poets.

We assume that poetic devices have an implicit goal: producing an overall sound scheme that will induce the reader to associate intended and expressed meaning to the sound of the poem. Sounds may be organized into categories and assigned presumed meaning as suggested by traditional literary studies. In my work, I have extracted automatically the sound grids of all the sonnets by William Shakespeare and have combined them with the themes expressed by their contents. In a first experiment I have computed lexically and semantically based sentiment analysis obtaining an 80% of agreement. In a second experiment sentiment analysis has been substituted by Appraisal Theory thus obtaining a more fine-grained interpretation which in some cases contradicts the first one. The computation for the second poet - regarded by many critics the best of last century - includes both vowels and consonants. In addition, it combines automatic semantically and lexically based sentiment analysis with sound grids. The results produce visual maps that clearly separate poems into three clusters: negative harmony, positive harmony and disharmony where the latter instantiates the need by the poet to encompass the opposites in a desperate attempt to reconcile them.