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Religion Around Emily Dickinson begins with a seeming paradox posed by Dickinson's posthumously published works: while her poems and letters contain many explicitly religious themes and concepts, throughout her life she resisted joining her local church and rarely attended services. Prompted by this paradox, W. Clark Gilpin proposes, first, that understanding the religious aspect of the surrounding culture enhances our appreciation of Emily Dickinson's poetry and, second, that her poetry casts light on features of religion in nineteenth-century America that might otherwise escape our attention. Religion, especially Protestant Christianity, was \"around\" Emily Dickinson not only in explicitly religious practices, literature, architecture, and ideas but also as an embedded influence on normative patterns of social organization in the era, including gender roles, education, and ideals of personal intimacy and fulfillment. Through her poetry, Dickinson imaginatively reshaped this richly textured religious inheritance to create her own personal perspective on what it might mean to be religious in the nineteenth century. The artistry of her poetry and the profundity of her thought have meant that this personal perspective proved to be far more than \"merely\" personal. Instead, Dickinson's creative engagement with the religion around her has stimulated and challenged successive generations of readers in the United States and around the world.

This article delves into the concept of tawajjuh through a poem and a prayer ascribed to the Arabic letter rāʾ, which expresses key themes in the Akbarian tradition. Using the hermeneutical approach of Ibn ʿArabī to interpret word polysemy in the texts, the article sheds light on the science of letters and key metaphysical ideas cultivated in this tradition. The letter rāʾ represents various aspects of cosmic duality and hence a strong desire for intimacy. The Arabic word tawajjuh, meaning the projection of spiritual energy, orientation, or attentiveness, refers to turning to face God. There is contemplation and continuous turning, like the phases of the moon facing the sun.

This article delves into the concept of tawajjuh through a poem and a prayer ascribed to the Arabic letter rāʾ, which expresses key themes in the Akbarian tradition. Using the hermeneutical approach of Ibn ʿArabī to interpret word polysemy in the texts, the article sheds light on the science of letters and key metaphysical ideas cultivated in this tradition. The letter rāʾ represents various aspects of cosmic duality and hence a strong desire for intimacy. The Arabic word tawajjuh, meaning the projection of spiritual energy, orientation, or attentiveness, refers to turning to face God. There is contemplation and continuous turning, like the phases of the moon facing the sun.

Dohās, vajragīti, and caryāgīti are key terms associated with the poetic writings of the Mahāsiddhas. This study focuses on Apabhraṃśa dohās, their commentaries, Tibetan translations, and collections containing them, shedding light on previously neglected aspects of this text type. By investigating the historical and original contexts of these three terms and comparing them to their later applications in traditional contexts and academia, this paper argues against the prevailing notion that they are genetically distinct and that this text type is primarily defined by orality and spontaneity. Consequently, it challenges the romanticized myth of certain origin narratives, such as student–teacher encounters. Instead, this brief presentation demonstrates that the often-repeated stereotypical definitions of these terms should be largely rejected, as they are merely different labels for the same text type with blurred and ill-defined subcategories. The analysis of primary sources reveals that various facets, e.g., compilation (an important but neglected aspect), go beyond the strongly emphasized oral component of this text type, thereby leading to the inaccurate definitions of the terms. In conclusion, intertextuality, compilation, and assigned authorship are crucial yet overlooked elements in defining the text type and understanding its function.

This study analyzes a poem by the Twelver Shiʿi jurist Ḥusayn b. ʿAbd al-Ṣamad al-ʿĀmilī (d. 984/1576) that has recently been discovered in a multiple-text manuscript in Iran. It is argued here that the poem dates from 961–63/1554–56 and expresses the author’s disappointment and frustrations with patrons or intermediaries in his efforts to procure a position shortly after he arrived in Safavid territory.

The Cairo Genizah collections provide scholars with a profound insight into Jewish culture, history, and the deeply intertwined relationships between Jews, Muslims, and Christians. Among these treasures are often overlooked Arabic poetic fragments from the eleventh to fifteenth centuries, which illuminate the shared Abrahamic legacy. This paper explores mainly two unpublished poetic fragments written in Judaeo-Arabic (Arabic in Hebrew script), analyzing how they reflect a shared Jewish–Muslim cultural memory and history, particularly through the reverence for Abraham, Isaac, Jacob, and other key figures central to both traditions across the medieval Mediterranean and Middle East. By situating these poetic voices within broader historical and cultural contexts, this study underscores the role of poetry in reflecting sociocultural and historical dimensions while fostering cross-cultural and religious coexistence. It demonstrates how poetry acts as a bridge between religion, history, and culture by revealing the shared Abrahamic heritage of Jews and Muslims within two Arabic poetic fragments from the Cairo Genizah.

It is easy to underestimate Ruth. The story is short and sweet, in elementary Hebrew, about a loyal and obedient daughter-in-law, or so we have been led to believe. The book and its eponymous character are surprisingly complex. Although Ruth is an exemplar of Hebrew narrative, it contains two poetic insertions in the first chapter. Literal translations lose the poetry, and poetic translations are less faithful to the original language. Ruth has been chosen for road-testing a range of hermeneutical approaches, and here is one more. This paper approaches these poetic insertions and, indeed, the book of Ruth, as poetry and explores a new method for examining and interpreting Hebrew poetic texts, namely, exegetical poetry. I pay particular attention to poetic devices—parsing for parallelism, alliteration, and other poetic elements—and explore their significance. As I translate and exegete, I compose poetry reflecting the form, content, and theological themes of the Hebrew poetry through the use of similar English devices, imagery, and mood. The result is an amalgam of showing through exegetical poetry and telling through prose commentary, enriching our understanding of the characterization of Ruth and Naomi, and the relationship between these poetic insertions and the broader narrative.

The classic modern framework for biblical Hebrew poetry is based upon intertwined conceptions of parallelism and meter. This framework provides certain assumptions for how biblical lines work, as well as (often implicit) strategies for how biblical poems should be read as poems. These assumptions and strategies are apparent in modern analyses of Psalm 29, especially in the kinds of proposals consistently made for altering the Masoretic Text to make it more “regular”, even in the absence of textual evidence. My recent book on biblical poetry (Unparalleled Poetry: A Cognitive Approach to the Free-Rhythm Verse of the Hebrew Bible, 2023) has challenged these assumptions and strategies, proposing a new framework for biblical poetry that is theoretically grounded in cognitive research and based upon the textual data of the biblical poems. Preferring the term “conformation” to parallelism, I propose that the versification system of biblical poetry is constrained by Gestalt perceptual processing and that the listening or reading strategies demanded by this versification system require part–whole processing of lines into line groupings, line groupings into figures, and figures into the whole poem, as the poem aurally unfolds. In this article, I demonstrate that these part–whole strategies of reading biblical poems make sense of the textual shapes of Psalm 29 and lead to an artful experience of the poem.