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Relevant bibliographies by topics / English language Alliteration. English poetry

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Academic literature on the topic 'English language Alliteration. English poetry'

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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Journal articles on the topic "English language Alliteration. English poetry"

1

Sutton, Peter. "Alliteration in Modern and Middle English: “Piers Plowman”." Armenian Folia Anglistika 10, no. 1-2 (12) (October 15, 2014): 54–62. http://dx.doi.org/10.46991/afa/2014.10.1-2.054.

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William Langland’s 8000-line fourteenth-century poem Piers Plowman uses an alliterative rhyme scheme inherited from Old English in which, instead of a rhyme at the end of a line, at least three out of the four stressed syllables in each line begin with the same sound, and this is combined with a caesura at the mid-point of the line. Examples show that Langland does not obey the rules exactly, but he is nevertheless thought to be at the forefront of a revival of alliterative verse. Further examples demonstrate that alliteration was never entirely replaced by end-rhyme and remains a feature of presentday vernacular English and poetry, even though the rhyme scheme is obsolete. It is deeply embedded in the structure and psyche of the English language.

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STANLEY, E. G. "LATE MIDDLE ENGLISH ALLITERATIVE POETRY." Notes and Queries 37, no. 3 (September 1, 1990): 261—b—261. http://dx.doi.org/10.1093/nq/37-3-261b.

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Roper, Jonathan. "Synonymy and rank in alliterative poetry." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 82–93. http://dx.doi.org/10.12697/sss.2012.1-2.05.

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This paper addresses the high sonic demands of alliterative metres, and the consequences of these demands for sense: the semantic stretching of common words and the deployment of uncommon (archaic, 'poetic') words. The notion of alliterative rank is discussed as an indicator of such consequences (examples are given from English and Estonian verse) and the range of onsets found for synonyms of key notions in verse traditions is remarked upon.

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Boffey, J. "The Lost Tradition: Essays on Middle English Alliterative Poetry." Notes and Queries 49, no. 1 (March 1, 2002): 124–25. http://dx.doi.org/10.1093/nq/49.1.124-a.

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Boffey, Julia. "The Lost Tradition: Essays on Middle English Alliterative Poetry." Notes and Queries 49, no. 1 (March 1, 2002): 124–25. http://dx.doi.org/10.1093/nq/490124a.

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Mueller, Alex. "Thorlac Turville-Petre. Description and Narrative in Middle English Alliterative Poetry." Review of English Studies 70, no. 296 (April 21, 2019): 754–56. http://dx.doi.org/10.1093/res/hgz034.

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Kaplan, Jeff. "Dancing with the Dragon: Orality and (body) language(s) in a live performance of Beowulf." Nordic Theatre Studies 28, no. 2 (February 21, 2017): 36. http://dx.doi.org/10.7146/nts.v28i2.25534.

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This paper theorizes on the function of language and embodiment in northern European storytelling through a self-reflex analysis of the author’s experience performing Beowulf in its original dialect, as a solo, while dancing. Beowulf is Min Nama involved memorizing approximately 80 minutes of the medieval Beowulf epic in its original West Anglo-Saxon dialect (lines 2200—2766, Beowulf’s encounter with the dragon). Grappling with bardic verse for recitation in experimental live performance uncovered new facets in ancient performance texts. Working with the Beowulf poem for stage revealed the mnemonic quality of alliteration, the pervasive use of rhythmic patterns to signal shifts in ideas (a strategy similar to West African dance), and perhaps “deep rhythms” present in medieval northern Europe. As impetus for choreography, the verse contains rhythmic information, corresponding to musical/dance concepts such as pick-ups, counterpoint, and syncopation. Beowulf is Min Nama also required a theory of dialect for Old English, which the author based on modern Swedish, medieval Frisian, and modern Frisian — especially the voices of Frisian poets Tsjêbbe Hettinga and Albertina Soepboer. The project thus provides an entrée into the nexus between ancient and modern storytelling, and concludes that contemporary Frisian poetry represents a direct inheritor to ancient solo performance forms.

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Duggan, Hoyt N. "Final "-e" and the Rhythmic Structure of the B-Verse in Middle English Alliterative Poetry." Modern Philology 86, no. 2 (November 1988): 119–45. http://dx.doi.org/10.1086/391689.

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Neidorf, Leonard. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter." English Studies 100, no. 1 (November 27, 2018): 108–9. http://dx.doi.org/10.1080/0013838x.2018.1545415.

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Cornelius, Ian. "Thorlac Turville-Petre. 2018. Description and Narrative in Middle English Alliterative Poetry. Exeter Medieval Texts and Studies. Liverpool: Liverpool University Press, viii + 222 pp., £ 85.00." Anglia 137, no. 3 (September 13, 2019): 488–95. http://dx.doi.org/10.1515/ang-2019-0043.

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Dissertations / Theses on the topic "English language Alliteration. English poetry"

1

Piper, Susan Nicole Whyte Alyson Isabel. "Poetry centers for the purpose of lowering inhibitions of English language learners in the constructivist English language arts classroom." Auburn, Ala, 2009. http://hdl.handle.net/10415/1833.

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O'Neill, Helen Josephine. "Once preferred, now peripheral : the place of poetry in the teaching of English in the New Zealand curriculum for year 9, 10 and 11 students : a thesis submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in English, The University of Canterbury, Christchurch, New Zealand /." Thesis, University of Canterbury. Culture, Literature and Society, 2006. http://hdl.handle.net/10092/950.

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A poet is somebody who feels, and who expresses his (or her) feeling through words. This may sound easy. It isn't ... . It's the most wonderful life on earth. Or so I feel. e. e. cummings: 'A Poet's Advice'. (1-3, 27-28) Fifty years ago poetry was a key element in the English programme in most secondary schools. Today it is marginalised, with many teachers avoiding teaching poetry as far as possible. The consequence is a cycle of disadvantage whereby many students, never having studied, let alone attempted to write a poem in school, leave without having encountered literature at its most intense and concentrated. Since the study of poetry can also be avoided almost entirely in university English departments, such students will, in their turn, when they themselves become educators of the next generation, similarly avoid teaching poetry. This thesis investigates the pedagogical and curricular contexts within which English has been taught in New Zealand since 1945, and within which poetry has become increasingly marginal. Surveys of and interviews with students past and present, teachers and teacher-educators enable me to identify a range of reasons why this has happened, and a cycle of deprivation has developed. The thesis also identifies, however, ways in which the cycle of deprivation can be broken, and the teaching of poetry made central to the teaching of written, oral and visual language in accordance with the principles of the current New Zealand curriculum for the teaching of English.

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To, On-nie Annie. "The teaching of poetry writing in a school using Chinese as a medium of instruction the learning experience of secondary one students /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38713469.

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Hung, Yat-fung Lucretia. "Introducing poetry into the junior form English classroom a case study in a Hong Kong Chinese medium-of-instruction school /." Click to view the E-thesis via HKUTO, 2007. http://sunzi.lib.hku.hk/hkuto/record/B38709363.

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Gardner, Calum. "Roland Barthes and English-language avant-garde poetry, 1970-1990." Thesis, Cardiff University, 2016. http://orca.cf.ac.uk/94082/.

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This thesis looks at the engagement of English-language poets with the writing of Roland Barthes, and considers how a reading of Barthes may help understanding of a range of challenging experimental work. The introduction to the thesis lays a groundwork of how Barthes has been read in English since the first widely available translations of his work appeared in the 1960s, and thus establishes the intellectual context in which poets have written since. Beginning in the first chapter with Veronica Forrest-Thomson, the first of these poets to have looked at Barthes in detail, it looks both at poetry and of poets’ writings in the fields of criticism and poetics. From Forrest-Thomson the thesis moves in the second chapter to North America and considers the place of Barthes, particularly his Writing Degree Zero, in the intellectual context out of which emerged what has come to be known as ‘language writing’, combining a survey of this writing with close readings of the work of Ron Silliman, Ray DiPalma, Lyn Hejinian, Bernadette Mayer, and others. In the third chapter, the investigation of this diffuse tendency in poetry is followed through various strands, focussing in particular on periodicals and archival material. Finally, the fourth chapter looks at Anne Carson, Deborah Levy, and Kristjana Gunnars, and considers Barthes’ relevance to their texts’ thinking about writing. The intersection of theory and the emotional life is explored using the theoretical lens of Chris Kraus’ experimental fiction, particularly her notion of a ‘lonely girl phenomenology’. Barthes has had a diverse range of effects on poets’ thinking about writing and their writing practices, and our understanding of Barthes as a writer, what we mean by the ‘Barthesian’, and individual notions of his such as the ‘death of the author’ and his work on the possibilities of the fragment, have changed over time. The thesis considers the potential of Barthes’ writing to help us think about literature and its future utility for poetry studies.

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Hawkins, Emma B. "Gender, Power, and Language in Anglo-Saxon Poetry." Thesis, University of North Texas, 1995. https://digital.library.unt.edu/ark:/67531/metadc278983/.

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Many Old English poems reflect the Anglo-Saxon writers's interest in who could exercise power and how language could be used to signal a position of power or powerlessness. In previous Old English studies, the prevailing critical attitude has been to associate the exercise of power with sex—the distinction between males and females based upon biological and physiological differences—or with sex-oriented social roles or sphere of operation. Scholarship of the last twenty years has just begun to explore the connection between power and gender-coded traits, attributes which initially were tied to the heroic code and were primarily male-oriented. By the eighth and ninth centuries, the period in which most of the extant Old English poetry was probably composed, these qualities had become disassociated from biological sex but retained their gender affiliations. A re-examination of "The Dream of the Rood," "The Wanderer," "The Husband's Message," "The Wife's Lament," "Wulf and Eadwacer" and Beowulf confirms that the poets used gender-coded language to indicate which poetic characters, female as well as male, held positions of power and powerlessness. A status of power or powerlessness was signalled by the exercise of particular gendered traits that were open for assumption by men and women. Powerful individuals were depicted with masculine-coded language affiliated with honor, mastery, aggression, victory, bravery, independence, martial prowess, assertiveness, physical strength, verbal acuteness, firmness or hardness, and respect from others. Conversely, the powerless were described with non-masculine or feminine-coded language suggesting dishonor, subservience, passivity, defeat, cowardice, dependence, defenselessness, lack of volition, softness or indecisiveness, and lack of respect from others. Once attained, neither status was permanent; women and men trafficked back and forth between the two. Depending upon the circumstances, members of both sexes could experience reversals of fortunes which would necessitate moving from one category to the other, on more than one occasion in a lifetime.

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Kuehnova, Sarka. "John Milton's Paradise Lost : language, ambiguity and the ineffable." Thesis, University of Oxford, 2000. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.365537.

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Alwazzan, Aminah. "The Strong Voices of Black Women and Men in the Selected Poetry of Langston Hughes." DigitalCommons@Robert W. Woodruff Library, Atlanta University Center, 2019. http://digitalcommons.auctr.edu/cauetds/161.

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This thesis discusses Langston Hughes’ poetry and details the African-American experience in a discriminatory society which was an essential theme of the Harlem Renaissance. The Harlem Renaissance was a cultural and artistic movement which enriched American life. Hughes’ body of work covers the entire range of the human experience, especially the experience of ordinary people. He believed that the role of the artist was to cover and illuminate every aspect of people’s lives. Part of this expansive philosophy towards art included giving a voice to African-American women and men who experienced both racist and patriarchal oppression.

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McGrane, Paul Steven. "The genesis of Clough's poetry." Thesis, University of Oxford, 2008. http://ora.ox.ac.uk/objects/uuid:18be6cf8-b6fd-469e-8c88-5a1ae59b56ac.

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This thesis examines the early poetry of Clough, written between 1830 and 1841, in the light of the information about his personal and intellectual life provided by published and unpublished manuscripts, essays, letters and diaries. More specifically, it sets out to determine the degree to which the seeds (thematic and formal) of Clough’s more mature work can be discerned in the earlier. Chapter One discusses the influence of Clough’s childhood reading, and particularly the heroic ideal as encouraged by his mother. It traces the way this developed, particularly under the historical ideas of Thomas Arnold and the Liberal Anglicans, and the fatalistic moral problems this created. Chapter Three considers Clough’s responses to the Oxford Movement. It teases out those elements that attracted Clough and those he came to reject, particularly in the light of Tractarian ideas about reserve, in relation to poetry, truth and personal behaviour. Chapters Two and Four provide chronological, text-by-text accounts of the Rugby and Balliol poems respectively, offering judgments about influences, dates and sources, and interpretations in the light of Chapters One and Three respectively. Chapter Two argues that much of the Rugby poetry reflects an escapist lament for the past and a failure of will to restore it. Chapter Three argues that Clough’s engagement with Tractarian ideas about reserved truth provides the key context for many of these poems. Chapter Five traces the way in which Clough’s early poetics, derived from Wordsworth via Thomas Arnold, were gradually replaced by his more mature, ambiguous approach which also emerged from his encounters with Tractarian reserve. Two appendices collect ten poems and poetic fragments omitted from Mulhauser’s standard edition; three additional variant texts for poems included by Mulhauser; and four previously unpublished letters to Clough from his friend WilliamTylden.

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Stuhr, Tracy Jill. "Re-sounding natures : voicing the non-human in Medieval English poetry." Diss., University of Iowa, 2013. https://ir.uiowa.edu/etd/1911.

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This dissertation examines how the non-human (the natural, not the other-worldly) world and its creatures were voiced in several late medieval English texts: Sir Gawain and the Green Knight, Chaucer's Nun's Priest's Tale and Manciple's Tale, and the Towneley Second Shepherds' Play. The dissertation is organized into three chapters which severally allocate voicing the non-human to three different (although conceivably overlapping) modes of representation - acoustic, formal, and performative. Underpinning this project is the objective to place these texts in a historicized ecocritical context. In the first chapter I analyze the figurative (and formative) sounds the natural world "speaks" as it advances a crescendo of insistent clamor in Sir Gawain and the Green Knight. I argue that this poem exploits the common (and serviceable) conviction of the analogous equivalency of the two categories woman and nature - in order to register the anxieties engendered by the encroachments of women and the natural world in post-plague England. The second chapter addresses how the voices of domestication and its discontents unfold in the use Chaucer makes of the protean genres of fable and exemplum, proverbs, and the deployment of similes in two of his bird tales. I rely on current theorizing of interspecies and intra-species domestication to identify and extract the discontents I have found to be inhering in its processes: savagery/violence, hybridity, uninvited and unintended transformations, and theft. The third chapter considers how human and non-human voices confoundingly yet steadily implicated and entangled in one another - performatively discover homes amid multiple ranges, including silence, volume, laughter, and music. This chapter represents the effort to subtend and complicate existing understandings of this popular late medieval pageant by thinking in terms of ranges, variations, and multivalent characterizations, rather than slots, hierarchies, stabilities, and characters who have become little more than canned effigies. In conclusion, I argue that late medieval poetic texts show a remarkable diversity in the ways and means their authors chose to variously voice the non-human, and that the particular forms this voicing took shaped, even as it was shaped, by the non-human world around them. This diversity and variation enables a more complex understanding of the different avenues and directions this voicing afforded to succeeding generations.

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Books on the topic "English language Alliteration. English poetry"

1

Cable, Thomas. The English alliterative tradition. Philadelphia: University of Pennsylvania Press, 1991.

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Nagy, Michael S. The alliterative tradition in early Middle English poetry: Political complaint and social analysis in "The song of the husbandman" and beyond. Lewiston, N.Y: Edwin Mellen Press, 2011.

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Hunting the letter: Middle English alliterative verse and the formulaic theory. Frankfurt am Main: P. Lang, 1999.

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Stabreim und Bedeutungsgewichtung im Beowulf-Epos. Frankfurt am Main: Lang, 1991.

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Wilhelm, Busch. Mac and Mauris in Old English rhymed and alliterative verse. 2nd ed. Binghampton: CEMERS, SUNY, 1992.

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Signes and sothe: Language in the Piers Plowman tradition. Cambridge: D.S. Brewer, 1994.

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Alliteration and sound change in early English. Cambridge, UK: Cambridge University Press, 2003.

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ill, Gray Sara, ed. If you were alliteration. Minneapolis, Minn: Picture Window Books, 2008.

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Cleary, Brian P. Chips and cheese and Nana's knees: What is alliteration? Minneapolis: Lerner Publishing Group, 2015.

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The lost tradition: Essays on Middle English alliterative poetry. Dublin: Four Courts Press, 2000.

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Book chapters on the topic "English language Alliteration. English poetry"

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Dance, Richard. "The Old English Language and the Alliterative Tradition." In A Companion to Medieval Poetry, 34–50. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch2.

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Fujiwara, Yasuaki. "Prosodic constraints on Old English alliteration." In Noam Chomsky and Language Descriptions, 111–24. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/daslu.2.08fuj.

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Williams, Fionnuala Carson. "Alliteration in English-Language Versions of Current Widespread European Idioms and Proverbs." In Alliteration in Culture, 34–44. London: Palgrave Macmillan UK, 2011. http://dx.doi.org/10.1057/9780230305878_3.

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Blakesley, Jacob S. D. "English-Language Poet-Translators." In A Sociological Approach to Poetry Translation, 49–87. New York : Routledge, 2018. | Series: Routledge advances in translation and interpreting studies ; 37: Routledge, 2018. http://dx.doi.org/10.4324/9780429462511-3.

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Thorne, Sara. "The language of literature — poetry." In Mastering Advanced English Language, 307–25. London: Macmillan Education UK, 1997. http://dx.doi.org/10.1007/978-1-349-13645-2_14.

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Horobin, Simon. "Middle English Language and Poetry." In A Companion to Medieval Poetry, 181–95. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch10.

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Jeffries, Lesley. "Twentieth-Century Poetry in English." In The Language of Twentieth-Century Poetry, 4–21. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-23000-6_2.

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Graham, Peter W. "Byron, Orwell, politics and the English language." In Byron: The Poetry of Politics and the Politics of Poetry, 69–79. Burlington, VT : Ashgate, [2016] | Series: Publications of the: Routledge, 2016. http://dx.doi.org/10.4324/9781315570686-7.

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Lester, G. A. "Old English Poetic Diction." In The Language of Old and Middle English Poetry, 47–66. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_4.

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Lester, G. A. "Middle English Poetic Diction." In The Language of Old and Middle English Poetry, 88–106. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_6.

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Conference papers on the topic "English language Alliteration. English poetry"

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Anduganova, Marianna Iurevna. "Expressive-visual possibilities of alliteration and compatibility with other euphonic means in English-language paremia." In II International Scientific and Practical Conference. TSNS Interaktiv Plus, 2017. http://dx.doi.org/10.21661/r-464989.

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Kaplan Karabina, Sema. "Implementıng Poetry As An Extracurrıcular Actıvıty In Teaching English As A Foreign Language." In International Academic Conference on Teaching, Learning and Education. Global, 2019. http://dx.doi.org/10.33422/tleconf.2019.09.573.

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Lu, Jie. "The Inevitability and Roots of Variation in Literature Translation ——from the English Version of Xue Tao’s Poetry by Genevieve Wimsatt." In Annual International Conference on Language, Literature & Linguistics (L3 2016). Global Science & Technology Forum ( GSTF ), 2016. http://dx.doi.org/10.5176/2251-3566_l316.5.

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Hock, Hans Henrich. "Foreigners, Brahmins, Poets, or What? The Sociolinguistics of the Sanskrit “Renaissance”." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.2-3.

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A puzzle in the sociolinguistic history of Sanskrit is that texts with authenticated dates first appear in the 2nd century CE, after five centuries of exclusively Prakrit inscriptions. Various hypotheses have tried to account for this fact. Senart (1886) proposed that Sanskrit gained wider currency through Buddhists and Jains. Franke (1902) claimed that Sanskrit died out in India and was artificially reintroduced. Lévi (1902) argued for usurpation of Sanskrit by the Kshatrapas, foreign rulers who employed brahmins in administrative positions. Pisani (1955) instead viewed the “Sanskrit Renaissance” as the brahmins’ attempt to combat these foreign invaders. Ostler (2005) attributed the victory of Sanskrit to its ‘cultivated, self-conscious charm’; his acknowledgment of prior Sanskrit use by brahmins and kshatriyas suggests that he did not consider the victory a sudden event. The hypothesis that the early-CE public appearance of Sanskrit was a sudden event is revived by Pollock (1996, 2006). He argues that Sanskrit was originally confined to ‘sacerdotal’ contexts; that it never was a natural spoken language, as shown by its inability to communicate childhood experiences; and that ‘the epigraphic record (thin though admittedly it is) suggests … that [tribal chiefs] help[ed] create’ a new political civilization, the “Sanskrit Cosmopolis”, ‘by employing Sanskrit in a hitherto unprecedented way’. Crucial in his argument is the claim that kāvya literature was a foundational characteristic of this new civilization and that kāvya has no significant antecedents. I show that Pollock’s arguments are problematic. He ignores evidence for a continuous non-sacerdotal use of Sanskrit, as in the epics and fables. The employment of nursery words like tāta ‘daddy’/tata ‘sonny’ (also used as general terms of endearment), or ambā/ambikā ‘mommy; mother’ attest to Sanskrit’s ability to communicate childhood experiences. Kāvya, the foundation of Pollock’s “Sanskrit Cosmopolis”, has antecedents in earlier Sanskrit (and Pali). Most important, Pollock fails to show how his powerful political-poetic kāvya tradition could have arisen ex nihilo. To produce their poetry, the poets would have had to draw on a living, spoken language with all its different uses, and that language must have been current in a larger linguistic community beyond the poets, whether that community was restricted to brahmins (as commonly assumed) or also included kshatriyas (as suggested by Ostler). I conclude by considering implications for the “Sanskritization” of Southeast Asia and the possible parallel of modern “Indian English” literature.

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