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Relevant bibliographies by topics / Enjambment

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Academic literature on the topic 'Enjambment'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Enjambment"

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Koops van ’t Jagt, Ruth, John Hoeks, Gillis J. Dorleijn, and Petra Hendriks. "Look before you leap." Scientific Study of Literature 4, no. 1 (September 22, 2014): 3–24. http://dx.doi.org/10.1075/ssol.4.1.01jag.

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This study describes two eye tracking experiments investigating the processing of poetry with and without enjambments. In Experiment 1, poetic fragments with authentic prospective (syntactically incomplete) or retrospective (syntactically complete) enjambments were investigated; in Experiment 2, enjambments were created — for the purpose of the experiment — from poetry that did not originally contain enjambments. We hypothesized that the layout of the text in poetic fragments would affect the degree to which integrative processes take place: in case of prospective enjambments, the syntactic incompleteness may preclude integration at the end of the line (before going to the next line), whereas retrospective enjambments may cause considerable re-interpretation at the next line. We indeed found significant differences in reading patterns between prose and poetry, poetry with and without enjambment, and poetry with prospective and retrospective enjambment. We interpret these results as favoring a dynamic model of language processing, where the amount and type of integration is determined by syntactic (in)completeness, semantic (in)completeness, but also the physical layout of the text.

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Tsur, Reuven, and Chen Gafni. "Enjambment – Irony, Wit, Emotion. A Case Study Suggesting Wider Principles." Studia Metrica et Poetica 5, no. 2 (January 17, 2019): 7–28. http://dx.doi.org/10.12697/smp.2018.5.2.01.

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This study submits to empirical investigation an old idea of Tsur’s regarding the effect of enjambment on the perceived subtleness of irony in a poetic passage. We submitted two versions of a Milton passage to over 50 participants with “background in literary studies”, ranging from undergraduates to tenured professors, asking them to rate the perceived subtleness of irony and forthrightness of expression. We received four incompatible combinations of relative subtleness and forthrightness in the two passages. Two of the combinations were logically reasonable (though resulting from opposite performances), and two were internally inconsistent. An analysis of these results revealed two sources of this discrepancy: enjambments can be performed in three different ways, and participants respond not to abstract enjambments, but to performed enjambments; and they act upon partly overlapping definitions of irony. Assuming different performances of the enjambment, both logically acceptable response patterns support our hypothesis. Yet, a large part of the responses in this study were incoherent to some extent. This highlights the difficulty in collecting subjective interpretations of complex aesthetic events. We discuss this methodological issue at length.

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Van Leuvensteijn, J. A. "Enjambment and Emotion." Dutch Crossing 13, no. 39 (December 1989): 53–60. http://dx.doi.org/10.1080/03096564.1989.11783922.

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Tsur. "Free Verse, Enjambment, Irony." Style 49, no. 1 (2015): 35. http://dx.doi.org/10.5325/style.49.1.0035.

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Rhee, Young Suck. "Enjambment in Yeats and Ashbery." Yeats Journal of Korea 40 (December 30, 2012): 97–120. http://dx.doi.org/10.14354/yjk.2013.40.97.

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Moisiienko, Anatolii. "ENJAMBMENT IN THE SONNET POEM." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 184–91. http://dx.doi.org/10.36550/2522-4077-2021-1-193-184-191.

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This article contains a short overview of theory and practice of the poem text, dealing with the phenomenon of enjambment. It should be stressed that Ukrainian poetry (both classic and modern) widely uses the figure of enjambment. There is a number of recently published articles by Ukrainian authors offering the study of this poetic figure in different aspects of different individual styles. But for obvious reasons there are no such studies about sonnet texts in particular. Regarding the sonnet poem, since the times of the first French theorists of the 17-18 th centuries up to modern reference editions, genre definitions of its figurative structure almost always contain a number of restrictions. There should be no repeated words, the rhymes should be exact and voiced, every stanza - with the relevant rhyming system - has to be a complete syntactic entity etc. The author (using as example a number of sonnets of Ukrainian poets) tries to show that the enjambement accented word in the sonnet text is as natural as in any other poetic text. And as in any other poetic text (depending on the author’s intention) it can play an important semantic and stylistic function. The main meaning and functional shift of enjambement word on the structural level is being studied here both in the system of simple and compound sentence of the sonnet. Quite often we can observe the phrase shift from one stanza to another, from quatrain to tercet. An example of such enjambement structure of the poem where the shift is being observed in every line and every stanza is a sonnet of Dmytro Pavlychko "Слова”. Another rare phenomenon of syllable shift in the sonnet poem can be found here: Дихнуло весною, Десною... Над супер- / крутою урбанню.Над біль./У долі моєї чебрець і канупер / З чернігівських піль / (А. Мойсієнко).

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Clark, Matthew. "Enjambment and Binding in Homeric Hexameter." Phoenix 48, no. 2 (1994): 95. http://dx.doi.org/10.2307/1088310.

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Grošelj, Nada. "Enjambment and its realisation(s) in speech." Acta Neophilologica 35, no. 1-2 (December 1, 2002): 101–14. http://dx.doi.org/10.4312/an.35.1-2.101-114.

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With regard to the question how enjambment should be rendered in the recitation of poetry, three conflicting approaches may be identified: continuing into the next line without marking the line-ending at all; making a break in the intonation and rhythm at the line-ending; and finally, acknowledging the -line-ending by merely introducing a short pause without any intomition changes. Each of these renditions has different consequences for the listener's perception of the text. This paper reviews the three approaches and their implications, concluding that the most important criterion for the preference of one approach over another is the type of verse (free vs. metrical) in a given text.

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Martínez, José Enrique. "El encabalgamiento intertextual." Rhythmica. Revista Española de Métrica Comparada, no. 14 (January 1, 2016): 65. http://dx.doi.org/10.5944/rhythmica.18460.

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Entre las diferentes maneras de incorporar a la voz propia las voces ajenas está el uso de un encabalgamiento que, consagrado por la tradición, se enmarca en contextos distintos a los originales, con nuevas funciones que un lector cualificado ha de descubrir e interpretar. En este trabajo se describen e interpretan cuatro casos concretos en los que el encabalgamiento, literal o reelaborado, remite a usos anteriores.Among the various ways to incorporate to one´s voice the voices of others is by means of enjambment. This consecrated traditional technique is framed in contexts different to those of the original ones and the new meanings should be discovered and deciphered by a qualified reader. This article develops the analysis of four specific cases in which enjambment, either literal or reelaborated, refers to previous uses.

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Blankenborg, Ronald J. J. "Ending in the Middle? Enjambment and Homeric Performance." Yearbook of Ancient Greek Epic Online 1, no. 1 (January 1, 2017): 65–106. http://dx.doi.org/10.1163/24688487-00101004.

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Dissertations / Theses on the topic "Enjambment"

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Cornelius, Ryan. "Meniscus." Thesis, University of North Texas, 2007. https://digital.library.unt.edu/ark:/67531/metadc3685/.

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Hawkins, Paul. "Toward a practical poetics of rhythm : kinds of end-stop and enjambment." Thesis, 1995. http://spectrum.library.concordia.ca/6171/1/MM01303.pdf.

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Ngoepe, Magwai Wilson. "Theto ya sebjalebjale ya maitekelo (Sepedi)." Diss., 2007. http://hdl.handle.net/2263/23889.

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In-depth study reveals that the period 1971 to 1991 is a crucially important period is Sepedi poetry, because in these years the greatest proportion of the volumes of poetry currently available was published. This study discusses the characteristics of modern Sepedi poetry, focusing on selected poems by certain Sepedi poets. The poems examined are shown to be well organized in terms of content, structure, stanza form and rhyme. This study uses two research methodologies, namely definition and description of pertinent aspects of the poems related to the topic of study, modern Sepedi poetry. The model used examines the structure of the texts in terms of the three layers, namely content, plot and style, which provides a useful framework for the study of the structure of this modern poetry. Poetry is discussed in general, and defined, and the types and structure of modern poetry in particular are explored. The stanza forms of modern poetry are analyzed, according to Ntuli’s classification of regular, expanding, diminishing and bulging stanzas (1984: 232-245). Rhyme is known to be an important aspect of Sepedi poetry. Rhyme is defined as the repetition of words with the same or similar sound (homophones) and similar length, at the beginning, middle or end of lines, to form beginning, middle and end rhyme respectively. The function of rhyme is to make the reading of the poems more enjoyable, and to bring coherence to the stanzas of the poem. The sonnet is also discussed, and Spanish and English sonnets analyzed and compared with Sepedi sonnets. Sepedi sonnets are shown by this comparison to be governed to a greater extent by grammatical rules than their European counterparts, which affects the Sepedi poems’ rhyme, tone, poetic meter and length of words. Modern Sepedi poems are thus shown to draw on traditional Sepedi poetic techniques, in which the poetic meter is governed not by length of syllable but by two metrical laws, the law of separation and the law of agreement. The role of the caesura is also discussed, as it functions both to separate and join together metrical parts of the poem. Enjambment is described as the extension of a concept in a poem beyond a single line. That extension of poetical line in this fashion emphasizes the concept and also accelerates the tempo of the poem. Also important in tempo is the poetic meter, which can be altered by tone or pronouncement of particular words. The study is concluded by discussing the repetition of sounds, word stems, whole words or phrases. Various types of repetition are discussed, namely repetition of consonants, repetition of vowels, repetition of initial, middle and final sounds, mixed repetition, linking and refrains.
Dissertation (MA (African Languages))--University of Pretoria, 2008.
African Languages
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Books on the topic "Enjambment"

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Rokison, Abigail. Shakespeare’s Dramatic Verse Line. Edited by Jonathan Post. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199607747.013.0024.

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Using examples from Shakespeare’s early, middle, and late plays and from his Tragedies, Comedies, and Histories, this chapter charts developments and explores patterns in Shakespeare’s dramatic verse line across the genres and time span of his writing career. It examines incidences of end-stopping and enjambment, mid-line breaks, shared, short, and long verse lines, considering the ways in which these relate to the subject matter of scenes and may function as a means of reflecting a character’s emotional or mental state. The chapter draws on evidence from Renaissance prosodic accounts, printed texts, theatrical papers, and evidence relating to early modern theatre practice and considers the ways in which the features of the dramatic line are interpreted by modern theatre practitioners.

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Book chapters on the topic "Enjambment"

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Scherr, Barry P. "Beginning at the End: Rhyme and Enjambment in Brodsky’s Poetry." In Brodsky’s Poetics and Aesthetics, 176–93. London: Palgrave Macmillan UK, 1990. http://dx.doi.org/10.1007/978-1-349-20765-7_10.

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Dainotti, Paolo. "On the expressive and iconic value of enjambment from Homer to Milton." In Operationalizing Iconicity, 126–35. Amsterdam: John Benjamins Publishing Company, 2020. http://dx.doi.org/10.1075/ill.17.07dai.

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Müller, Wolfgang G. "Metrical inversion and enjambment in the context of syntactic and morphological structures." In Signergy, 347–63. Amsterdam: John Benjamins Publishing Company, 2010. http://dx.doi.org/10.1075/ill.9.20mul.

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"Enjambment." In The Craft of Poetry, 57–58. Yale University Press, 2021. http://dx.doi.org/10.2307/j.ctv1hztrbd.43.

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"Enjambment: Cummings, Williams, Giovanni." In Mark My Words. Bloomsbury Academic, 2020. http://dx.doi.org/10.5040/9781501360763.0014.

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"Chapter 10. THE SACRED POEM IS FORCED TO JUMP: CLOSURE AND THE POETICS OF ENJAMBMENT." In The Undivine Comedy, 218–56. Princeton University Press, 1992. http://dx.doi.org/10.1515/9781400820764-012.

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Ohi, Kevin. "Ovid and Orpheus." In Inceptions, 127–47. Fordham University Press, 2021. http://dx.doi.org/10.5422/fordham/9780823294626.003.0007.

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The beginning of Ovid’s Metamorphoses raises the question of inception in many different ways. As is well known, the poem itself becomes an object of textual controversy in its second line. In question is a pronoun (them), which, depending on its case, refers either to Ovid’s verse or to the forms it depicts. The uncertainty is fitting: Enjambment makes it initially seem as if the poem invoked its own originality; only in the second line, when a seeming noun retrospectively becomes an adjective, does the invocation become one to unnamed gods. In the second line, too, after a notable feint, Ovid, who, in the Amores, had invented the limping meter of elegiac couplets, returns to the dactylic hexameter of epic. Such play makes explicit that creation and writing are forms of metamorphosis; past the first two lines, the poem turns to repeated, sometimes mutually cancelling, accounts of the world’s creation. The chapter pursues the consequences of this structure of inception for the songs of Orpheus in Book X, focusing on Orpheus’s foundational place for male same-sex desire, and on recurrent images of stone—which links Book X’s account of desire and loss to the opening paradoxes of creation and inception.

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Conference papers on the topic "Enjambment"

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Hussein, Hussein, Burkhard Meyer-Sickendiek, and Timo Baumann. "Automatic Detection of Enjambment in German Readout Poetry." In 9th International Conference on Speech Prosody 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/speechprosody.2018-67.

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Ruiz, Pablo, Clara Martínez Cantón, Thierry Poibeau, and Elena González-Blanco. "Enjambment Detection in a Large Diachronic Corpus of Spanish Sonnets." In Proceedings of the Joint SIGHUM Workshop on Computational Linguistics for Cultural Heritage, Social Sciences, Humanities and Literature. Stroudsburg, PA, USA: Association for Computational Linguistics, 2017. http://dx.doi.org/10.18653/v1/w17-2204.

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Lus Arana, Luis M. "La Ligne Claire de Le Corbusier. Time, Space, and Sequential Narratives." In LC2015 - Le Corbusier, 50 years later. Valencia: Universitat Politècnica València, 2015. http://dx.doi.org/10.4995/lc2015.2015.814.

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Abstract: In 1921, issue 11-12 of L’Esprit Nouveau featured an article entitled “Toepffer, précurseur du cinema” where Le Corbusier, signing as ‘De Fayet’, vindicated the figure of Rodolphe Töpffer (1799-1846), a Swiss a pioneer of comics, as a key element in the development of cinema. Marginal as it may seem, this reference unveils a deeper relationship between Jeanneret and Töpffer’s work which started in his childhood, and would have a key role in the development of some of Le Corbusier’s trademark obsessions: travel, drawing, and cinematic narratives. In this context, “La Ligne Claire de Le Corbusier” proposes a close examination of the presence of graphic narrative and its aesthetics in Le Corbusier's early work in relation to its evolution from a sequential promenade architecturale to multispatial enjambment. The paper explores themes such as narrative and the inclusion of time in le Corbusier's Purist paintings, or his evolution from a painterly approach to drawing to an idealized, linear and synthetic rendering style. Keywords: Sequence; Enjambment; Purism; Avant-Garde; Töpffer ; Bande Dessinée. DOI: http://dx.doi.org/10.4995/LC2015.2015.814

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Baumann, Timo, Hussein Hussein, and Burkhard Meyer-Sickendiek. "Analysing the Focus of a Hierarchical Attention Network: the Importance of Enjambments When Classifying Post-modern Poetry." In Interspeech 2018. ISCA: ISCA, 2018. http://dx.doi.org/10.21437/interspeech.2018-2533.

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