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

Author: Grafiati

Published: 4 June 2021

Last updated: 12 February 2022

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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replaced by end-rhyme and remains a feature of presentday vernacular English and poetry, even though the rhyme scheme is obsolete.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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Griffith, Mark. "Extra alliteration on stressed syllables in Old English poetry: types, uses and evolution." Anglo-Saxon England 47 (December 2018): 69–176. http://dx.doi.org/10.1017/s0263675119000024.

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AbstractThe article assesses the rhetorical uses of the main kinds of non-functional alliteration that are attested in Old English poetry, and gives complete lists of their incidence in all of the poems. Two main general types are isolated. Supererogatory alliteration does not depart from the known alliterative rules, and is deployed ornamentally with some freedom by at least some of the poets. Five sub-types are examined in turn: double alliteration in the a-verse, consonant cluster alliteration, alliteration which is continued across lines, patterned alternation of alliteration across lines, and enjambed alliteration (where the last stress of a line initiates the alliteration of the next). Secondly, licentious alliteration draws a line‘s final stress into alliteration in its own line. Four sub-types are considered: crossed, postponed, and transverse alliteration, and double alliteration in the b-verse. Whilst crossed alliteration appears quite freely, the primary alliteration of a line on the final stress is shown to be avoided almost completely. Most of the unusual uses of extra alliteration congregate in non-traditional or late poetry.

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12

Gvozdetskaya, Natal'ya Yu. "BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 226–39. http://dx.doi.org/10.28995/2686-7249-2020-9-226-239.

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The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.

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13

Hoover, David L. "Evidence for primacy of alliteration in Old English metre." Anglo-Saxon England 14 (December 1985): 75–96. http://dx.doi.org/10.1017/s0263675100001289.

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The study of Old English metre has a long and illustrious history, yet it seems fair to say that the work of many respected scholars over the past hundred years has not produced unanimity. One reason for this is that objective and unequivocal evidence about the metre of Old English poetry is very difficult to discover. That is, before evidence is considered, or even collected, a substantial amount of interpretation and analysis has usually taken place. In the following pages, however, I shall present some previously unnoticed and quite unequivocal evidence about Old English metre that does not depend upon any particular metrical theory or upon unsupported assumptions, but rather upon the uncontroversial and universally accepted fact that Old English poetry requires a minimum of two alliterating stresses, one in each verse (or half-line), and allows two alliterations on the same sound only in the a verse.

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14

Lindstromberg, Seth. "Surplus interword phonological similarity in English multiword units." Corpus Linguistics and Linguistic Theory 16, no. 1 (May 27, 2020): 95–118. http://dx.doi.org/10.1515/cllt-2017-0013.

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AbstractPrevious studies found that English figurative idioms alliterate at above chance levels. To permit estimation of amounts of surplus alliteration Gries (2011) calculated baseline levels using an analytic method. This article reports a follow-on investigation covering types of multiword unit (MWU) and types of interword, intraMWU phonological similarity (PhS) considered neither by Gries nor by an even earlier study. In contrast to Gries (2011), baseline levels of PhS were estimated using a stochastic method. In samples of figurative idioms upward departures from baseline levels – expressed as standardized effect sizes – ranged from small to medium for assonance, up to large for alliteration, and even larger for rhyme and alliteration-with-assonance. For samples of (relatively) non-idiomatic MWUs upward departures from baselines were generally small or, in the case of academic collocations, downward. The practicality of the stochastic method is discussed, as are a possible role of interword PhS in the conventionalization of word strings and possible roles of interword, intra-idiom PhS in oral communication. Overall, the findings are problematic for a non-usage-based theory but compatible with a cognitive linguistic theory in which motivation can operate entirely within the phonological pole of a MWU.

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15

Feulner, Anna Helene. "Geoffrey Russom. 2017. The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter. Cambridge Studies in Medieval Literature 98. Cambridge: Cambridge University Press, xi + 319 pp., 42 tables, £ 67.99." Anglia 138, no. 4 (November 11, 2020): 699–705. http://dx.doi.org/10.1515/ang-2020-0054.

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16

Russom, Geoffrey. "Alliteration and Sound Change in Early English (review)." Language 81, no. 3 (2005): 745–48. http://dx.doi.org/10.1353/lan.2005.0150.

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17

Anikina, Tatiana Vyacheslavovna. "Phonostylistic peculiarities of English-language and Russian-language online advertising." Филология: научные исследования, no. 1 (January 2021): 41–56. http://dx.doi.org/10.7256/2454-0749.2021.1.34885.

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Modern advertising became a part of communicative culture. Therefore, the language of advertising draws attention of scholars from different fields. However, the task of determining and studying linguistic means that encourage attention of customers remains relevant. This article examines the phonostylistic means that allow creating a certain emotional background after reading an advertisement. The research materials contains advertising texts and slogans from various websites and social media (such as Vkontakte, Instagram, Facebook). Methodology implies the selection of practical material, identification of the basis phonostylistic means used in English-language and Russian-language advertising texts, comparison of such means in both languages. The conducted research demonstrates that alliteration, assonance, annomination, wordplay, and rhyme are most frequently used means in the English-language and Russian-language online advertising. The English-language online advertising most often employs alliteration, while the Russian-language online advertising most frequently uses phonostylistic means. Such pattern is associated with the number of vowels and consonants in the alphabets of these two languages. The application of phonostylistic means makes the text lean, melodiousness, and expressivity. Advertising agencies focus on audio and stylistic presentation of advertising text for impacting the audience.

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18

Griffith, Mark. "Eric Weiskott, English Alliterative Verse: Poetic Tradition and Literary History." Notes and Queries 65, no. 4 (October 20, 2018): 572–73. http://dx.doi.org/10.1093/notesj/gjy172.

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19

Dowker, Ann, and Giuliana Pinto. "Phonological devices in poems by English and Italian children." Journal of Child Language 20, no. 3 (October 1993): 697–706. http://dx.doi.org/10.1017/s0305000900008540.

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ABSTRACTPoems were elicited from 133 English children between two and six and 171 Italian children between three and seven, using a similar technique, and the results were compared. Both groups produced large numbers of poems. There were great similarities and some differences. The majority of poems in both samples contained phonological devices (mostly rhyme and alliteration) and the proportion was higher (87%) in the Italian sample than in the English sample (59%). The proportion of poems that contained rhyme was close to 45% in each sample, with no consistent age difference in either sample. About one-third of Italian poems and just over a fifth of English poems contained alliteration. The frequency of alliteration declined with age in the English sample but not in the Italian sample. Possible reasons for the differences between the samples are considered. It is argued that the similarities are more important, and their theoretical implications are discussed.

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20

Alexander, M. J. "Old English Poetry into Modern English Verse." Translation and Literature 3, no. 3 (May 1994): 69–75. http://dx.doi.org/10.3366/tal.1994.3.3.69.

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21

HARBUS, ANTONINA. "A cognitive approach to alliteration and conceptualization in medieval English literature." English Language and Linguistics 21, no. 2 (July 2017): 203–19. http://dx.doi.org/10.1017/s1360674317000089.

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This article investigates alliteration in Old and Middle English poetry as a particular type of discourse-structuring device. It explores the use of this device in the context of a mainly anonymous and oral-formulaic tradition, and – in Construction Grammar terms – as a type of fragment chunker for both local conceptualization at the phrasal level and also one that permits (even encourages) a counterpoint conceptualization across syntactic structures, with an impact on literary meaning. The discussion will encompass the metrical aspects of this device, its role in the proliferation of poetic-only terms for key concepts that recur in extant verse texts, and implications for our understanding of medieval mental grammars.

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22

Bueno Alonso, Jorge Luis. "“Scealcas of sceaðum scirmæled swyrd”: Analysing Judith’s Language and style in translation through a key sample case (161b-166a) and a twin coda (23 & 230)." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 213. http://dx.doi.org/10.14198/raei.2013.26.15.

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Among the extant texts from the Old English poetic corpus that have survived up till now –Beowulf aside–, Judith constitutes a poem in which the poet “wrinkles up” the text outstandingly in order to, as Griffith (1997: 85) stated, show a new purpose for commonplace aspects of Old English poetic style. By considering a key sample case (lines 161b-166a) and a further two specific examples (lines 23 & 230), the aim of this article is to revise and analyze how Judith’s poetic and textual wrinkles –especially those affecting language and style, so important to explain the poem’s singular status– have been dealt with in several translations into English that cover a wide array of translation types: pioneer/philological [Cook 1889, through Barber 2008, and Gordon 1926], classic/academic [Hamer 1970 & Bradley 1982], recent/updated both complete [North, Allard and Gillies 2011 & Treharne 2010] and fragmentary [Constantine 2011]. I will always offer my own solutions to the problems raised by the text as presented in my alliterative verse translation into Spanish (Bueno & Torrado 2012).

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23

Dongill Lee. "A Study on the Correlation between Alliteration and Variation in Old English Poetry." Medieval and Early Modern English Studies 25, no. 1 (February 2017): 21–48. http://dx.doi.org/10.17054/memes.2017.25.1.21.

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24

Thornton, R. K. R., and Tim Kendall. "Modern English War Poetry." Modern Language Review 103, no. 4 (October 1, 2008): 1119. http://dx.doi.org/10.2307/20468059.

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25

Goddard, Horace I., and John Haynes. "African Poetry and the English Language." Canadian Journal of African Studies / Revue Canadienne des Études Africaines 24, no. 1 (1990): 117. http://dx.doi.org/10.2307/485608.

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26

Dorsey, David, and John Haynes. "African Poetry and the English Language." World Literature Today 62, no. 3 (1988): 497. http://dx.doi.org/10.2307/40144449.

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27

Кузуб, Алёна Владимировна. "J. BRODSKY’S ENGLISH POETRY IN ENGLISH CRITICS." Tomsk state pedagogical university bulletin, no. 5(211) (September 7, 2020): 181–91. http://dx.doi.org/10.23951/1609-624x-2020-5-181-191.

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Введение. Рассматриваются высказывания в адрес оригинальной англоязычной поэзии И. Бродского, сделанные англоязычными критиками, поэтами и переводчиками. Все высказывания разделены на группы согласно географической, лингвистической и профессиональной принадлежности их авторов. Большинство характеристик в адрес английских стихов Бродского носят ситуативный, несистемный характер, представляя собой разрозненные высказывания. Объединяет их то, что многие даже самые ярые сторонники английской поэзии Бродского вынуждены отмечать некоторые шероховатости использования им языка, стилистические несуразицы и излишнюю «русскость» английских стихов поэта. Цель статьи – систематизация и критическая оценка подобных высказываний, носящих ситуативный и несистемный характер. Материал и методы. В качестве материала исследования выступили высказывания зарубежных исследователей и поэтов, касающиеся оригинального англоязычного поэтического творчества Бродского, встречающиеся в многочисленных интервью и книгах, посвященных жизни и творчеству поэта. Предметом исследования становится рецепция англоязычных стихотворений Бродского носителями языка. Были использованы методы фронтального анализа и контент-анализа, сравнительный метод. Результаты и обсуждение. Английские стихотворения Бродского до сих пор являются малоизученными, исследователи обходят стороной этот важный пласт творчества поэта, который, однако, может помочь достроить картину эстетического мышления автора до ее логической завершенности. В то время как исследователи традиционно концентрируются на русской поэзии, англоязычной прозе и (авто)переводах Бродского, в фокус данной статьи попадает англоязычная оригинальная поэзия автора – феномен, нуждающийся в более глубоком осмыслении. В работе классифицируются причины обращения Бродского к английскому языку, которые можно разделить на три группы: эстетические, утилитарные, лингвистические. Отношение Бродского к своим английским стихотворениям было непростым. Создание оригинальных поэтических текстов на английском для него было сродни так называемой игре в стихосложение с использованием иного лингвистического инструментария. Он видел в английском стихосложении возможность рифмовать краткосложные лексемы английского языка в различных комбинациях, использовать невозможные в русском языке ритмико-синтаксические структуры, экспериментировать с просодией. Одна из самых больших претензий к английским поэтическим текстам Бродского – некорректное использование им английских идиоматических единиц. По мнению даже большинства доброжелательных критиков, английская идиоматика стихов Бродского бывала проблематична. Многие отмечают взаимопроникаемость и взаимообусловленность русского и английского языков в поэтическом творчестве Бродского. Некоторые находят подобное явление неприемлемым, другие считают это уникальным стилем поэтики двуязычного автора. Заключение. Сделан вывод о том, что Бродский являлся носителем двух национально-языковых культур и литератур: русской и английской. При всем разночтении мнений критиков и поэтов, подавляющее большинство из них касаются исключительно лингвистического уровня оригинальных англоязычных стихотворений Бродского, ни один из критиков или высказывающихся по этому вопросу поэтов не обращается к эстетическому уровню анализа английских стихов автора. Будущее исследование предполагает ответить на вопрос: остается ли мироощущение Бродского русским и в его английской поэзии или оно меняется вслед за языком? Introduction. The article focuses on different statements concerning Joseph Brodsky’s original English poetry made by English and American critics, poets and translators. Aim and objectives. The paper aims to classify, systematize and critically value those statements, which can be described as occasional and unsystematic. Material and methods. The research is based on statements concerning Brodsky’s original English poetical works made by foreign English-speaking philologists, critics and poets. All the statements are found in variety of different interviews and books dedicated to Brodsky’s life and work. The methods used in the research are as follows: frontal analysis and content analysis, comparative method. Results and discussion. Brodsky’s English verses are yet to be studied as for researchers neglect such an important component of Brodsky’s works, which however is to help construct the whole picture of one’s esthetic thinking to its logical whole. As long as philologists traditionally concentrate on Brodsky’s Russian verses, English essays and (self) translations, this paper addresses Brodsky’s original English poetry as a phenomenon craving for deeper scientific understanding. The article brings the light on the reasons determined Brodsky’s turn toward English which can be divided into three groups: esthetic, utilitarian and linguistic ones. Brodsky’s attitude towards his own English verses was complicated. Creating original English poetical texts was like so-called play in versification and prosody with the using of new linguistic tools. He admitted in English prosody ability of rhyming short English lexical elements in broad variety of possible combinations, using impossible in Russian rhythmical and syntactic structures, experimenting with prosody. The paper provides review of statements addressing Brodsky’s original English poetry. All the statements are divided into groups according to geographical, linguistic and professional areas of the authors they were made by. The majority of studying statements are occasional and unsystematic, united however with some same features. Even supporters of Brodsky’s English poetry were forced to mention a bunch of imperfections in Brodsky’s English, stylistic mistakes and too Russian being of his English verses. One of the main grievance about Brodsky’s English verses is his incorrect using of English idiomatic elements. Many underline interferential and interconditional nature of English and Russian languages in Brodsky’s verses. Some consider this feature to be unacceptable, others as a unique style of bilingual author. Conclusion. Finally the article concludes that Joseph Brodsky was a two-cultured and two-language representative: Russian and English. Despite all the deviation in opinion of critics, poets and translators, the majority of them focus solemnly on linguistic level of Brodsky’s English verses. It’s worth noticing the lack of esthetic interpretation of Brodsky’s English poetry. The upcoming research can provide an answer to a question: does Brodsky’s world view remain the same in his English poetry or did it change subsequent to the language?

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28

Bermúdez-Otero, Ricardo. "Review of Minkova (2003): Alliteration and Sound Change in Early English." Diachronica 22, no. 2 (December 7, 2005): 438–45. http://dx.doi.org/10.1075/dia.22.2.07ber.

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29

Edwards, A. "Memorabilia. Fifteenth-century English poetry." Notes and Queries 48, no. 4 (December 1, 2001): 359. http://dx.doi.org/10.1093/nq/48.4.359.

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30

Howe, N. "Maxims in Old English Poetry." Notes and Queries 49, no. 4 (December 1, 2002): 506–7. http://dx.doi.org/10.1093/nq/49.4.506.

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31

Howe, Nicholas. "Maxims in Old English Poetry." Notes and Queries 49, no. 4 (December 1, 2002): 506–7. http://dx.doi.org/10.1093/nq/490506.

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32

Eyckmans, June, and Seth Lindstromberg. "The power of sound in L2 idiom learning." Language Teaching Research 21, no. 3 (July 6, 2016): 341–61. http://dx.doi.org/10.1177/1362168816655831.

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Corpus analyses of learners’ dictionaries of English idioms have revealed that 11% to 35% of English figurative idioms show either alliteration ( miss the mark) or assonance ( get this show on the road), depending on the type considered. Because English multiword combinations, particularly idiomatic expressions, present a huge challenge even to advanced learners, techniques for helping learners come to grips with this part of the lexicon should be welcomed. A quasi-experiment was conducted to investigate whether interword phonological similarity (specifically, alliteration and assonance) facilitates the delayed recall of the forms of common second language (L2) English figurative idioms which were not known at pretest. Twenty-six advanced-level EFL learners learned significantly more phonologically similar, or ‘sound-repeating’, idioms than phonologically dissimilar control idioms after a treatment designed to raise awareness of phonological similarity and to direct learners’ attention toward occurrences of it. Learners in a comparison group ( n = 24), who experienced no awareness raising or attention direction, recalled more non-sound-repeating control idioms than sound-repeating ones. We conclude that the presence of sound-repetition in idioms makes the forms of those idioms relatively easy to recall, but only when learners experience appropriate awareness raising and attention direction. It appears that the techniques of awareness raising and attention direction did not hinder learning of the control idioms.

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33

Dance, Richard, and H. Momma. "The Composition of Old English Poetry." Modern Language Review 94, no. 4 (October 1999): 1067. http://dx.doi.org/10.2307/3737239.

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Liuzza, R. M., and Peter Orton. "The Transmission of Old English Poetry." Modern Language Review 98, no. 1 (January 2003): 154. http://dx.doi.org/10.2307/3738184.

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35

Guibbory, Achsah, and George Parfitt. "English Poetry of the Seventeenth Century." Modern Language Review 83, no. 3 (July 1988): 671. http://dx.doi.org/10.2307/3731309.

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Allen, Rosamund S., Carol Braun Pasternack, and Peter Clemoes. "The Textuality of Old English Poetry." Modern Language Review 92, no. 3 (July 1997): 682. http://dx.doi.org/10.2307/3733397.

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Wilson, Penelope. "PINDAR AND ENGLISH EIGHTEENTH-CENTURY POETRY." Bulletin of the Institute of Classical Studies 55, Supplement_112 (June 1, 2012): 157–68. http://dx.doi.org/10.1111/j.2041-5370.2012.tb00078.x.

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38

Miller, A. "TIM KENDALL. Modern English War Poetry." Review of English Studies 58, no. 236 (July 16, 2007): 595–96. http://dx.doi.org/10.1093/res/hgm036.

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MINKOVA, DONKA. "Phonemically contrastive fricatives in Old English?" English Language and Linguistics 15, no. 1 (February 7, 2011): 31–59. http://dx.doi.org/10.1017/s1360674310000274.

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The article addresses two recent hypotheses regarding the history of the English fricatives /f/–/v/, /s/–/z/, /θ/–/ð/: the hypothesis that phonemicization of the voicing contrast occurred in Old English, and the related claim that the reanalysis of the contrast was due to Celtic substratum influence. A re-examination of the arguments for early phonemicization leads to alternative interpretations of the observed voicing ‘irregularities’ in Old English. The empirical core of the article presents the patterns of alliteration in Old and Middle English; this kind of evidence has not been previously considered in evaluating the progress of the change. The analytical core of the article is dedicated to the dynamics of categorization based on edge vs domain-internal contrasts, the relative strength of the voicing environments, and the distinction among fricatives depending on place of articulation. A comprehensive LAEME and MED database of all relevant forms reaffirms the traditional position regarding French influence for the phonemicization of voicing for the labial fricatives. The categorization of the contrast for the interdental fricatives is a language-internal prosodic process, and the history of the sibilants requires reference to both external and internal factors. The shift from a predominantly complementary to a predominantly contrastive distribution of the voiced–voiceless fricative pairs has been occurring at different rates for a whole millennium. The claim that phonemicization is attributable to Celtic influence in Old English is empirically and theoretically unsubstantiated.

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Sayers, William. "ETYMOLOGIZING DEPRECATORY REDUPLICATIVE COMPOUNDS OF THE TYPES FLIM-FLAM AND HIGGLEDY-PIGGLEDY (PART I)." Studia Linguistica Universitatis Iagellonicae Cracoviensis 135, no. 2 (2018): 97–106. http://dx.doi.org/10.4467/20834624sl.18.008.8467.

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Sample English reduplicative compounds on the model of flim-flam and higgledy-piggledy are analyzed for the interplay of formal features (alliteration, vowel alternation, rhyme), semantics (as parts and wholes), and obscure origins. Loans, new coinages, internal realignment, register, and affect are discussed. Inadequacies in earlier lexicographical, especially etymological, treatment are remedied.

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Sayers, William. "ETYMOLOGIZING DEPRECATORY REDUPLICATIVE COMPOUNDS OF THE TYPES FLIM-FLAM AND HIGGLEDY-PIGGLEDY (PART II)." Studia Linguistica Universitatis Iagellonicae Cracoviensis 135, no. 3 (2018): 147–58. http://dx.doi.org/10.4467/20834624sl.18.012.8848.

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Sample English reduplicative compounds on the model of flim-flam and higgledy-piggledy are analyzed for the interplay of formal features (alliteration, vowel alternation, rhyme), semantics (as parts and wholes), and obscure origins. Loans, new coinages, internal realignment, register, and affect are discussed. Inadequacies in earlier lexicographical, especially etymological, treatment are remedied.

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42

Perry, John Oliver, and G. J. V. Prasad. "Continuities in Indian English Poetry: Nation, Language, Form." World Literature Today 74, no. 2 (2000): 357. http://dx.doi.org/10.2307/40155620.

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Hill-Vasquez, Heather, and G. A. Lester. "The Language of Old and Middle English Poetry." Rocky Mountain Review of Language and Literature 51, no. 1 (1997): 96. http://dx.doi.org/10.2307/1348087.

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Schulte, Rainer, Stephen Watts, and Daniel Weissbort. "Mother Tongues: Non English-Language Poetry in England." World Literature Today 76, no. 1 (2002): 236. http://dx.doi.org/10.2307/40157246.

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Watsky, Paul. "Ecocidal Themes in English Language and Japanese Poetry." Jung Journal 11, no. 2 (April 3, 2017): 51–65. http://dx.doi.org/10.1080/19342039.2017.1297105.

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OJAIDE, TANURE. "My poetry: English language and the African tradition." World Englishes 6, no. 2 (July 1987): 165–67. http://dx.doi.org/10.1111/j.1467-971x.1987.tb00191.x.

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Sila, Anita, and Vid Lenard. "The Use of Creative Movement Method in Teaching Foreign Languages to Very Young Language Learners." European Journal of Social Science Education and Research 7, no. 1 (January 1, 2020): 15. http://dx.doi.org/10.26417/ejser.v7i1.p15-27.

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The creative movement method is a holistic teaching method that enables children to develop language skills through art not just by looking and seeing, hearing and listening, speaking and talking, but also by conducting various motions and movements – experiencing while playing. Children can learn holistically only when their minds and bodies are an indivisible whole. When all their senses are engaged, children remember and recall information more effectively. The present paper describes the use of the creative movement method in teaching phonological awareness skills in a foreign language (English) to 13 Slovenian preschool children with a mean age of 5.8 years. The aim of the study was to determine children’s success rates in producing words and alliteration after being given the first sound of word (vowels /æ/, /e/, /ɪ/, /ɒ/, /ʌ/) in English, both with and without movement support. Children participated in two 45-minute long teaching sessions (the second took place after two weeks). There was no additional training between each session and the test. The results of the test after two weeks from the last session show that creative movement support proved essential for children in recalling words and producing alliteration in English. The study also includes some guidelines for the method’s use in teaching foreign languages to very young language learners.

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Niles, John D. "Sign and Psyche in Old English Poetry." American Journal of Semiotics 9, no. 4 (1992): 11–25. http://dx.doi.org/10.5840/ajs1992943.

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Hao, Fu. "On English Translations of Classical Chinese Poetry." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 3 (November 15, 1999): 227–43. http://dx.doi.org/10.1075/babel.45.3.05hao.

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Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.

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Robinson, F. C. "The Transmission of Old English Poetry." Notes and Queries 49, no. 2 (June 1, 2002): 262–63. http://dx.doi.org/10.1093/nq/49.2.262-a.

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