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This article examines five poems of different African American poets from 1900 to 1999. Its main objective is to explore how each poet tackles African Americans' – and sometimes other minorities'- marginalization and persecution in the US, highlighting the eco-injustice practices conducted by the white authority. It also traces the established bond between African Americans and nature in the twentieth century through an ecocritical analysis of the selected poems. The article includes an examination of the reaction of African American schools developing from racial romanticism to resistance. To achieve this, the article identifies the differences between two basic terms that are usually used interchangeably: ecojustice and environmental justice. Then it identifies and illustrates four types of ecopoetry: nature poetry, environmental poetry, ecological poetry, reclamation ecopoetics/ecojustice poetry.

Louise Erdrich is one of the prominent writers in contemporary American literature. She devotes her oeuvre to promote her indigenous Americans' culture, advocate their rights and speak out how they are still suffering in the reservations made by the Federal government. In The Round House, Erdrich attracts attention to the short comings of the Federal legal system which unfortunately has some loophole allowing non-indigenous perpetrators to commit crimes with impunity. She illustrates how such criminal acts aggravate the native community's- particularly women's- sense of insecurity and deepen their intergenerational trauma. The article will discuss the different traumas resulting from the sexual assault Geraldine Coutts goes through at the hands of white racist, Lark. It will also identify and explain the psychological consequences on the raped wife, Geraldine, Bazil Coutts, her husband, and Joe, their son. It will probe into each one's reaction to their traumas: the wife's PTSD, Bazil's resilient response and Joe's violent response. It will further explain how the son's revengeful act helps the whole family to restore peace according to Indigenous worldview. Psychological and social trauma theories, Posttraumatic Stress Disorder and the indigenous philosophy of justice will function as theoretical basis for the interdisciplinary analysis in the article.

Performance poetry, as a literary term, is known in the Western literature, although some critics may not consider it literary in the first place. This article assumes the applicability of this term to new attempts of some Egyptian youth whose poems share the common features of performance poetry in English literature. Their poetic works are passionate, rhythmic, using aural and visual effects in the background, and dialects in addition to the poet's presentation of the poem face to face with the audience. Regarding the content, their verse has preceded and accompanied the political turmoil Egypt witnessed before, during, and after 25 January Revolution. For this reason, this poetic pattern loudly reflects the concerns, demands, and aspirations of the rebellious generation of youth and the whole Egyptian society. It can be considered the manifestation of the new challenging spirit of the youth in Egypt. The aim of the research is to highlight the similarities between the Anglo-American performance poetry and the literary works of two Egyptian young poets: Hisham al-Gakh and Amr Qatamish. As an interdisciplinary study, literary criticism, cultural criticism including socio-political analysis will be utilized to elucidate how performance poetry represents a new trend of resisting corruption and injustice, as well as a revolution against conventional poetic forms.

Rita Dove is one of the most prominent African American poets. Her genuine works have attracted critics and readers' attention since the 1980s. Throughout her long career life, Dove's poetry covers a wide spectrum of topics pertaining to her attitude as a global citizen. This article particularly studies a selection of poems tackling the theme of oppression. It will explain how Dove employs nature in these poems to depict oppression from an ecopoetic lens. It will also identify how the poet utilizes both abstract and concrete as well as natural and unnatural ecopoetics to convey how black slaves and subjugated Haitian migrants experienced oppression in the selected poems. The article will rely on Tom Bristow and Sarah Nolan's definitions of ecopoetics and unnatural ecopoetics respectively to illustrate the inseparability between nature, man and culture.

Sayed Hegab is a prolific Egyptian song writer. He was called the king of TV and cinema trailers because he cooperated with prominent composers and singers to make more than 140 TV and cinema trailers. This article focuses on al-Ayyam (or Days) as one of the most successful Egyptian TV series. Although it was produced in 1979, this autobiographic drama represented Hegab's first initiative in revolutionizing dramatic lyrics industry. In his introductory and final trailers and dramatic lyrics, The article recognizes the spatio-temporal relationship in the trailers and lyrics in the series. It also elucidates how Hegab uses various chronotopes to highlight this relationship and reinforce the drama themes and protagonist's psychological status. The article takes Bakhtin's concept of the chronotope as a focal point to analyze these dramatic lyrics. It also refers to other writers such as Joy Ladin who furthered the application of the Bakhtinian concept to poetry.