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Journal articles on the topic 'Enjambment'
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1
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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Coke-Enguidanos, Mervyn R. "Enjambment in Quevedo's Poetry: An Existential Device and Other Uses." Hispania 68, no. 3 (September 1985): 452. http://dx.doi.org/10.2307/342438.
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Sanni, Amidu. "On taḍmīn (enjambment) and structural coherence in classical Arabic poetry." Bulletin of the School of Oriental and African Studies 52, no. 3 (October 1989): 463–66. http://dx.doi.org/10.1017/s0041977x0003456x.
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The importance of poetry as the chief aesthetic experience of the Arabs as well as the principal repository of materials on their life and thought had long been recognized by the Arab and, following them, non-Arab students of Arabic culture. The fact that all the technical terminologies of Arabic verse which were formalized in ‘ilm al- ‘aruḍ (Prosody) are derived from the components of the bedouin tent—a highly prized possession—indicates the significance of the art to the Arab mind. The pride of place enjoyed by poetry in Arabic literary thought derives primarily from the hieratic idiom associated with it, as well as from its structural coherence, which relies on the harmony of prosodic factors (al-‘awāmilal-‘arūūiyya) associated with poetic praxis.
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de Voogt, Alex. "A CHARACTERIZATION OF CAVAFY’S 18: CASCADING ENJAMBMENT AND THE SYLLABIC FORM." Translation Review 107, no. 1 (May 3, 2020): 60–78. http://dx.doi.org/10.1080/07374836.2020.1799276.
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Martin-Baron, Michelle R. "Mythical enjambment in The Hungry Woman: nation, desire, and Cherríe Moraga’s utopic turn." Women & Performance: a journal of feminist theory 28, no. 3 (September 2, 2018): 239–58. http://dx.doi.org/10.1080/0740770x.2018.1524618.
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Johnson, Paul Michael. "The End(lessnes)s of Infamy: Agamben, Enjambment, and Embodiment in a Cervantine Stanza." MLN 132, no. 2 (2017): 494–506. http://dx.doi.org/10.1353/mln.2017.0031.
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Robles Mohs, Ivonne. ""Intrépida capital de provincia": Un drama de identidad." Revista de Filología y Lingüística de la Universidad de Costa Rica 25, no. 1 (August 30, 2015): 105. http://dx.doi.org/10.15517/rfl.v25i1.20519.
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En "Intrépida capital de provincia", la variedad métrica, la acentuación múltiple, el encabalgamiento y la rima ponen de relieve la integración de las partes y de la variedad, es decir, de una conjunción, el poema, que se manifiesta como una larga tirada de versos, sin fragmentacién. No obstante, la disposición de la rima traba, también, un significativo cruce de voces, de interrogantes: el tiempo, la agresividad, la persona. In "Intrépida capital de provincia", metric variety, multiple accentuation, enjambment and rhyme, bring out the integration of parts and variety, that is, of a union, the poem, which manífests itself as a long series of verses without fragmentation. Nevertheless, the disposition of rhyme also binds a meaningful crossing of voices, of questions: time, aggressiveness, person.
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Rastar, Amin. "Enjambment and End-stopping in the Magnum Opus of the Three Renowned poets: Chaucer, Gower, Langland." International Journal of English Literature and Social Sciences 2, no. 5 (2017): 83–101. http://dx.doi.org/10.24001/ijels.2.5.11.
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Batstone, W. W. "The fragments of Furius Antias." Classical Quarterly 46, no. 2 (December 1996): 387–402. http://dx.doi.org/10.1093/cq/46.2.387.
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Between Ennius and Vergil the Latin epic hexameter underwent dramatic changes in both prosody and diction.1 The precise history of these changes remains obscure, although it is clear from Catullan spondiazontes and Lucretian archaisms, from variation in the use of enjambment and the history of Hermann's bridge, that the versatile and expressive instrument the hexameter was to become in Vergil's hands was not the result of linear development. In fact, despite the pivotal role often assigned to Cicero, 2 in many ways the last one hundred years of the Republic is better characterized as a period of poetic variety and innovation than one of linear progress toward classical perfection. The fragments of Furius Antias can shed light on this period of change. They show remarkable prosodic characteristics and verbal finesse, and they appear to have influenced both Vergil and Ovid.
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Hajrah, Hajrah, Rapi Tang, Suradi Tahmir, and Kembog Daeng. "Reconceptualization of Local Wisdom through Kelong Makassar: A Semiotic Review of Michael Riffaterre." Journal of Language Teaching and Research 10, no. 6 (November 1, 2019): 1209. http://dx.doi.org/10.17507/jltr.1006.08.
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This study employs a qualitative descriptive research design. The data in this study are words in the lines and stanzas of Kelong Makassar containing the concept of Makassar local wisdom. The techniques of data collection users are reading, observation and document study. The data analysis technique used in this study is the interactive model of data analysis developed by Miles and Huberman (1992). The data analysis includes data collection, data reduction, data display and conclusion drawing/verification. The data were analyzed to obtain the concept of local wisdom through the meaning of Kelong Makassar. The results of this study reveal the meaning of Kelong based on the review of Michael Riffaterre's indirection of meaning and show that (1) displacement of meaning in this analysis was found through figurative language in the form of metaphor, metonymy, pars pro toto and personification, (2) distortion of meaning was found through ambiguity and contradiction, (3) creation of meaning was found through enjambment and typography.
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Bathurst, Ralph, and Fiona Kennedy. "Hunting the ‘play’: A leadership suite in 12 movements." Leadership 13, no. 1 (July 31, 2016): 20–34. http://dx.doi.org/10.1177/1742715016654000.
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This article has been crafted to evoke the sound of leadership. It represents the hum and sigh and pounding of leadership as it appeared, disappeared and reappeared each time looking and sounding different in an extraordinary undertaking where senior citizens, many with no acting experience performed T. S. Eliot’s The Waste Land. The metaphor of a hunt and an episodic form represents our experience and we have sought to suggest sound by using principles of montage, Gestalt theory, and the poetic devise of enjambment that leave one reaching after meaning rather than being comforted by end points. This article represents research that we very nearly abandoned, because it simply did not ring true when we wrote in conventional ways. As a result, we advocate different ways of writing not only because we love good writing but because for us, different writing was the only way that we could do justice to this story.
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Mendoza, Alejandro Prieto. "Semantic Parallelism in Traditional Kakataibo Chants." Open Linguistics 5, no. 1 (November 1, 2019): 383–404. http://dx.doi.org/10.1515/opli-2019-0021.
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AbstractIn the present article, I propose some initial topics for the typological-comparative study of semantic parallelism, which also serve as an analytical axis to study semantic parallelism in traditional kakataibo chants. These basic topics are the structure of the cotext, lexical and grammatical type of parallel units, type of semantic relations between parallel units, number of parallel units per pair of lines, and associated phenomena such as recurrent or fixed pairing and diphrasism. Following this initial proposal, I postulate that the cotext in Kakataibo semantic parallelism is a repeated morphosyntactic structure that does not exhibit ellipsis or increasing, the number of parallel units can be one to three slots and one pair is more productive, parallel units are related by semantic fields such as kinship terms and colors. Furthermore, I analyze the interaction of semantic parallelism in the continuous creation of lines with two other poetic forms, enjambment and repetition, and I postulate that semantic parallelism is a compositional strategy due to its high productivity for line composing.
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Ghazzoul, Nahed. "A Linguistic and Stylistic Analysis of Ted Hughes’s “Hawk Roosting”." Theory and Practice in Language Studies 11, no. 7 (July 1, 2021): 798–805. http://dx.doi.org/10.17507/tpls.1107.05.
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The world of birds in Ted Hughes poems has always been the subject of a controversy and critical interest. His attempts to majestify their violence, and project their terrifying and brutal traits might tend to give the impression that the poet is the envoy of terror. However, a closer inspection indicates that the bird-of-prey-world is boldly a foil to project human concerns and moral behaviour. This study provides a linguistic and stylistic analysis of the poem “Hawk Roosting”. Metonymically, the figure of the Hawk in the poem stands for birds of prey, and allegorically, it refers to political dictators in human history. The study, and for the first time, applies the concept of mind style, dramatic monologues and mask lyrics in its analysis to reflect the Hawk’s strange psychology and worldview depending on the rhythmic form and stylistic features. Thus, the study shows how distinctive linguistic features—such as, the use of pronouns, simple present tense, polysemy, enjambment, and deviant constructions among others—relate to the mental representation of the Hawk’s world. This view indicates that there would always be a Hawk to plague, or a dictator to rule, no matter where you are, or which time you live in.
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Sanni, Amidu. "Again on taḍmīn in Arabic theoretical discourse." Bulletin of the School of Oriental and African Studies 61, no. 1 (February 1998): 1–19. http://dx.doi.org/10.1017/s0041977x0001572x.
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In my earlier examination of the phenomenon of taḍmīn in Arabic poetry, I attempted to show how it evolved from the status of a defect into a poetic device. But I could not at that time offer any explanation that would reasonably account for this development. Moreover, I have come to realize that my treatment of the term as referring to those instances where the full meaning of an idea started in one line emerges only in the succeeding line(s), viz. enjamb-ment, did not adequately account for its subtleties; and, more importantly, it ignored other phenomena which are also subsumed under the term, though they have no obvious connection with enjambment. It is precisely these lacunae that I intend to fill in the present study. For purposes of analysis I will designate the over-running of lines as ‘grammatical taḍmīn’ since the relationship in such cases is either syntactic or semantic, although still other, subtler relationships within this broad classification are demonstrable. The term is also used for cases where a poet deliberately quotes, with or without indication, from poems or statements by others: this will be discussed under ‘rhetorical taḍmīn’. Yet another use of the term arose from the introduction of philosophical thought into theoretical speculation, specifically in the area of scriptural interpretation: this I will designate as ‘hermeneutical taḍmīn’.
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Morlier, Margaret M. "SONNETS FROM THE PORTUGUESE AND THE POLITICS OF RHYME." Victorian Literature and Culture 27, no. 1 (March 1999): 97–112. http://dx.doi.org/10.1017/s1060150399271057.
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ALTHOUGH VICTORIAN REVIEWERS uniformly praised Elizabeth Barrett Browning for the “sincere” poetic voice of Sonnets from the Portuguese, they often blamed her for faulty craft. In structure and rhyme scheme the poems in the sequence recall the Petrarchan tradition, suggesting the idealized love that accompanies it, yet their varied syntax and diction seem more conversational than ideal. Enjambment usually destroys the integrity of octave and sestet. Then in the Sonnets Barrett Browning continued her use of odd rhymes, which had been raising critical eyebrows since earlier poems. For example, in the most famous sonnet — XLIII, “How do I love thee?” — Barrett Browning rhymed the noun phrase “put to use” (9) with the infinitive “to lose” (11) and rhymed “faith” (10) with “breath” (12). Victorian reviewers, somewhat disoriented, offered a variety of explanations for these apparent technical lapses. Some attributed them to a defective ear for music (“Review of Poems” 278; [Massey] 517).1 George Saintsbury — taking the lead from the controversy over the “cockney school” of poetry — reproved Barrett Browning, born to the educated classes, for relying out of laziness on vulgar pronunciation to force rhymes instead of taking the time to discover correct ones (280–81). Even her poet-friend and correspondent, Mary Russell Mitford, wondered if isolation at Wimpole Street had led to an overly narrow experience with proper pronunciation of English (reported in Horne 458; see also Hayter 38–39). Victorian reproofs and anecdotes like these followed Barrett Browning’s work into the formalist twentieth century.
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Vallega, Alejandro A. "Naufrages, of Derrida’s “Final” Seminar." Research In Phenomenology 46, no. 3 (July 22, 2016): 390–404. http://dx.doi.org/10.1163/15691640-12341345.
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This article puts into play the ghostly horizon of “death” as it follows its semblances through Derrida’s reading of Heidegger in the French thinker’s last seminars as published in The Beast and the Sovereign Vol. ii. The moments I underscore are three, always marking the playing out or releasing of death’s ghost, its sovereignty over life, while the readings, drift off driven by other forces: 1. In Session iv, Derrida’s enjambment of Heidegger’s sense of dasein and Welt with Celan’s line from Atemwende, “Die Welt ist fort, Ich muß dich tragen” (“the world has withdrawn, I must carry you”); 2. The mutual displacement of the question of the other and the question of death at the beginning of Session v; and 3, the unfolding of Crusoe’s desire and fear of “living a living death” in Derrida’s discussion of survivance, also in session v. The discussion closes with the interpolation of Latin American thought through the introduction of the temporalizing movement of différance read in light of the non-linear simultaneous asymmetric temporality one finds constitutive of Latin American consciousness. Thus, the reading moves from the deconstruction of various figures of death that permeate in an almost transcendental manner the organizing of the meaning of Derrida and Heidegger’s thought, to a thinking with the temporalizing movement of survivance or living-dying, in which the binomial reasoning and teleological structures of temporality held by the figures of life and death are released to a thought beyond their supposed mutually exclusive timeline.
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Sanni, Amidu Sanni, and Ömer KARA. "Amidu Sanni, “Klasik Arap Şiir ve Teorik Hitabında Tazmîn (En‐ jambment) ve Yapısal Uyum Üzerine/ On Tadmīn (Enjambment) and Structural Coherence in Classical Arabic Poetry and Theoretical Discourse”." Sakarya Üniversitesi İlahiyat Fakültesi Dergisi (SAUIFD) 16, no. 30 (January 30, 2015): 229. http://dx.doi.org/10.17335/sakaifd.219878.
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Martínez Cantón, Clara I. "El silencio del verso. La pausa y sus implicaciones métrico-estilísticas." Rhythmica. Revista Española de Métrica Comparada, no. 17 (January 9, 2020): 55. http://dx.doi.org/10.5944/rhythmica.26320.
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La pausa métrica es hoy en día considerada, por prácticamente todos los estudiosos, como uno de los elementos esenciales del verso. Este artículo hace una revisión teórica sobre la pausa con el objetivo de ofrecer una perspectiva amplia de las refl exiones que ha suscitado, recorriendo algunos de los puntos que ofrecen mayor discusión entre los expertos y retos en su fi jación teórica. El artículo se centra en la versifi cación en español y lo que sobre la pausa han escrito sus tratadistas y críticos. Se parte de la pausa métrica y su relevancia para el discurso versificado, para tratar después su relación con la escritura y la marca gráfica que la señala, la naturalidad de la pausa métrica (esticomitia y encabalgamiento) y una breve revisión de los desafíos que presenta la pausa en el interior de verso en la teoría métrica.The metric pause is considered nowadays, in the academia, by practically all researchers, as one of the essential elements in verse. This article makes a review about the metric pause with the aim of offering a broad perspective of the reflections that it has raised, going through some of the points that off er more discussion among the experts, and showing the challenges for its theoretical fixation. The article focuses on the versification in Spanish and what scholars and critics have written about the pause. It takes as its starting point the metric pause and its relevance for versification. The article handles later the pause relation with the writing and the graphic mark that indicates it, the naturalness of the metric pause (enjambment and syntactic end-stopping) and a brief review of the challenges that the pause within a metrical line presents for the theory of versifi cation and metrics.
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Le Bigot, Claude. "A(ho)rmar la lengua del poema: Ángel González o la dinámica del código." Prosemas 4 (February 19, 2020): 223. http://dx.doi.org/10.17811/prep.4.2019.223-240.
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Resumen: Este artículo pretende examinar la evolución del lenguaje poético de Ángel González, especialmente la transición desde los modelos codificados dentro de una tradición bien asentada (lira, canción, romance, soneto, elegía) hasta una subversión de las formas que, si bien se emparentan con el versolibrismo, mantienen lazos con lo canónico, no haciendo más que duplicar recursos surgidos con la modernidad: versos escalonados, sangrados, guiones. Todo lo que permite agujerear el texto es también portador de ritmo. La oposición medida / encabalgamiento, factor tensional de antiguo abolengo, se regenera bajo la pluma de Ángel González, al lado de otros procedimientos sintácticos, para crear una voz propia en la que se interpenetran lo culto y lo popular. Existe en Ángel González una forma de oralidad, inseparable del ritmo, como articulación de un hablante con su decir. Palabras clave: Ángel González; formas codificadas; ritmo; signos gráficos; versolibrismo. Abstract: This contribution proposes to examine the evolution of poetic language in Ángel González’s works, in particular the transition from models codified by a long-established tradition (lira, ballad, romance, sonnet, elegy) to a subversion of forms which —although it is akin to free verse— still borrows from the canonical form and seeks to tap literary processes born of modernity: stepped lines, blank spaces, dashes. Anything that allows to space out the text becomes a constitutive element of rhythm. Under Ángel González’s pen, new life is breathed into the antithesis between beat and enjambment, a long-established source of tension, revisited thanks to other syntactic devices so as to create an idiosyncratic voice commingling the erudite and the popular. A form of orality exists in Ángel González which is inseparable from rhythm as articulation between the poetic voice and its spoken word. Key words: Ángel González; canonical forms; rhythm; typographic signs; free verse.
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Voronevskaya, Natalia V. "ON ENGLISH TRANSLATIONS OF R. M. RILKE’S POETIC LANGUAGE." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 89–96. http://dx.doi.org/10.17072/2073-6681-2021-2-89-96.
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This study aims to assess the adequacy of the form of German sonnets when reproduced in English translations. The focus is on interrogative sentences, which, together with the sonnet in the form of a macro-sentence, the shortened verse and enjambment, are the characteristics of the innovative features of Sonnets to Orpheus by R. M. Rilke. The lyrical cycle Sonnets to Orpheus is among the most translated into world languages of Rilke’s poetry works, as well as Duino Elegies. Both professional and amateur poets and translators have been competing to put the Austrian writer’s best poems into English. Here we examine more than twenty English translations of the Sonnets into English, made from 1936 to 2008. The importance of the comparative linguistic-stylistic study of the original and its translations is determined by the continuing interest in Rilke’s works in English-speaking countries and the necessity to understand the principles of reconstructing the features of Rilke’s poetics using the English language. The system of methods used in this work includes: historical and philological analysis, comparative linguistic and stylistic description, as well as comparative analysis of the original and translation in the form that was developed in the works of V. Bryusov (1905), N. Gumilev (1919), M. Lozinsky (1935), E. Etkind (1963), S. Goncharenko (1987). We have found that the innovative nature of German sonnets is not always reflected in English translations. In some translations, American and British translators significantly modified the form of the original: interrogative sentences dominating in XVII and XVIII sonnets of the second part of the lyric cycle were not reproduced in English translations made by G. Good, D. Young, C. Haseloff, N. Mardas Billias and others.
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Bruhn, Mark J. "Citation analysis." Empirical Studies of Literariness 8, no. 1 (December 31, 2018): 77–113. http://dx.doi.org/10.1075/ssol.17009.bru.
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Abstract This paper presents series of historiometric studies that exemplify the value of “citation analysis” as an empirical approach to professional literary-critical interpretation, especially with respect to the question of the “literariness” of literary texts. Specifically, the studies show that professional interpreters of Wordsworth’s poetry, across more than a century of time and despite widely varying critical approaches, tend to pay more attention to and therefore more frequently cite lines that involve prospective enjambments. Lines involving nominative noun phrase and retrospective enjambments, however, did not reveal the same correlation with frequency of citation. The studies thus suggest that literariness does indeed have a relatively stable textual component that may be discriminated through citation analysis of professional interpretations of individual literary texts by authors writing in distinct genres of literature and in different periods in literary history.
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Balashov-Eskin, Kirill M. "Poetic Enjambments as the Phenomenon of the V. A. Sosnora’s Poetic Syntax." Russkaia Rech, no. 2 (April 2021): 100–115. http://dx.doi.org/10.31857/s013161170014713-3.
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de Decker, Filip. "Some loose ends in the analysis of the forms ἔθηκε(ν) and θῆκε(ν) in the Iliad: the Exceptions, the Compounds, the Link with Mycenaean and the Origin of the Augment." Studia Linguistica Universitatis Iagellonicae Cracoviensis 137, no. 3 (2020): 205–21. http://dx.doi.org/10.4467/20834624sl.20.016.12721.
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In the final part of the investigation into the use of the (un)augmented 3rd singular forms ἔθηκε(ν) and θῆκε(ν) in the Iliad, I focus on some loose ends, such as the enjambments, the compound forms, the formulaic nature of the epic language, the subordinate and negative sentences, and on some thornier issues such as the exceptions to the rules and the Mycenaean te ke and do ke and what this can tell us about the original meaning and origin of the augment.
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Tarlinskaja, Marina. "Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries)." Studia Metrica et Poetica 6, no. 1 (August 29, 2019): 7–19. http://dx.doi.org/10.12697/smp.2019.6.1.01.
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The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.
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Fatimah, Siti, Ngatmini Ngatmini, and Latif Anshori Kurniawan. "THE POETRY’S POTENCIES AS EMOTION THERAPY MEDIA IN SOCIETY 5.0." Diksi 29, no. 1 (March 29, 2021): 30–40. http://dx.doi.org/10.21831/diksi.v29i1.33204.
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(Title: The Poetry’s Potencies As Emotion Therapy Media in Society 5.0). This study aims to describe the function of poetry as a medium for emotional therapy in society 5.0. The data from this study are poetry texts written by students. Data were collected through test techniques (poetry writing) and non-tests (interviews, observations, and documentation). Based on the results of the study, it is said that aside from being a medium for brainstorming one's thoughts, feelings and experiences, poetry has the potential to become a medium for emotional therapy. Dictionaries, Enjambments, typography, and arrangement of lines can be said to represent the soul of the poet when angry, happy, in love, traumatized, experiencing sadness, and other emotions. The entire contents of the poem is a reflection of the emotions that the poet naturally experienced, saw, and felt in the packaging of words that were solid and full of meaning.Keywords: poetry, emotion therapy, therapy media, society 5.0
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Wandana Y, Mhd Ridho. "INTERPRETATION OF POETRY THE CHARGE OF THE LIGHT BRIGADE BY ALFRED, LORD TENNYSON." LINGUISTICA 9, no. 3 (October 5, 2020): 354. http://dx.doi.org/10.24114/jalu.v9i3.20138.
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This study discusses indirect descriptive expressions in the poem The Charge of the Light Brigade by Alfred, Lord Tennyson use semiotics theory of Riffaterre. This study aims to, (a) to describe the kinds of indirect descriptive expressions used in the poetry The Charge of the Light Brigade by Alfred, Lord Tennyson, (b) to explain the realization of indirect descriptive expressions realized in the poetry The Charge of the Light Brigade by Alfred, Lord Tennyson, (c) to explain the reasons of indirect descriptive expressions realized in the ways they are. This research is a qualitative descriptive study. The data source used in this study is in the form of words, phrases, clauses and sentences from the poem. The results of this study, namely there are 8 Metaphors and 7 Metonymy in displacing of meaning; 6 Ambiguous, 2 Contradictions, and 4 Nonsense in distorting of meaning; 16 rhymes, 12 enjambments, and 6 typography in creating of meaning. Keywords: Indirect descriptive expressions; Semiotic; Poetry
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Liapin, Sergei. "Russian Iambic Tetrameter: The Evolution of Its Rhythmic Structure." Studia Metrica et Poetica 7, no. 2 (December 31, 2020): 7–22. http://dx.doi.org/10.12697/smp.2020.7.2.01.
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To characterize the rhythm of stresses in a line of Russian iambic tetrameter, a frequency profile is often used, i. e., a diagram of the occurrence of real stresses on all feet (ictuses) of the verse line. This article discusses in detail one of the mechanisms that enables the speech factor to influence the formation of the stress profile. It is shown that in Russian iambic tetrameter of the nineteenth and twentieth centuries, the high frequency of stresses of the second ictus is explained by the fact that the beginning of the line more often than not coincides with the beginning of a sentence or clause, and the Russian syntagma is more frequently stressed in the middle. And vice versa, wherever the frequency of enjambments increases, the second ictus is less frequently stressed, because the beginning of the syntagma moves to the middle of the line. Considering the above, the author attempts to characterize the peculiarity of the rhythmic structure of Russian iambic tetrameter in synchronic and diachronic aspects and reveal some major large-scale trends such as the growth of the rhythmic diversity of poetic texts.
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Tarlinskaja, Marina. "Fletcher’s Versification." Studia Metrica et Poetica 7, no. 1 (October 13, 2020): 7–33. http://dx.doi.org/10.12697/smp.2020.7.1.01.
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The essay deals with Fletcher’s versification compared to his contemporaries and co-authors. Fletcher had the most feminine endings compared to other playwrights, more compound feminine endings, and more heavy (stressed) feminine endings. He had few run-on lines: run-on lines and compound feminine endings are in reverse proportion. The main features outlined in the paper are the distribution of stressing and strong syntactic breaks in the line, types of line endings, and the syntactic and semantic function of enclitic micro-phrases. Fletcher’s verse had undergone an evolution, from Bonduca and Valentinian (1610–13) to The Island Princess (1621–23), e. g. the changed place of strong syntactic breaks. Analysis of Massinger’s verse confirmed Oras’s impression that it was prose-like: Massinger often squeezed two syllables into the same metrical slot; he had little hemistich segmentation; and he often divided his lines syntactically; the second part of the divided line ran-over onto the next line, thus effacing the division of his verse into lines. Unlike Shakespeare’s enjambments, which are composed with masculine endings and with an unstressed monosyllabic grammatical word placed on position 10, Massinger’s syntactic breaks in midline and run-on lines occur with compound light feminine endings.
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Wiyatmi, Wiyatmi. "MEMAHAMI MOTIF PERKAWINAN BIDADARI DENGAN LAKI-LAKI BUMI SEBAGAI SPIRIT FEMINISME DALAM FOLKLORE INDONESIA." Diksi 29, no. 1 (March 29, 2021): 41–50. http://dx.doi.org/10.21831/diksi.v29i1.33108.
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(Title: The Poetry’s Potencies As Emotion Therapy Media in Society 5.0). This study aims to describe the function of poetry as a medium for emotional therapy in society 5.0. The data from this study are poetry texts written by students. Data were collected through test techniques (poetry writing) and non-tests (interviews, observations, and documentation). Based on the results of the study, it is said that aside from being a medium for brainstorming one's thoughts, feelings and experiences, poetry has the potential to become a medium for emotional therapy. Dictionaries, Enjambments, typography, and arrangement of lines can be said to represent the soul of the poet when angry, happy, in love, traumatized, experiencing sadness, and other emotions. The entire contents of the poem is a reflection of the emotions that the poet naturally experienced, saw, and felt in the packaging of words that were solid and full of meaning.Keywords: poetry, emotion therapy, therapy media, society 5.0(Title: Understanding The Motif of Midwifery With Earth Men as The Spirit of Feminism in the Indonesian Folklore). Folklore is one of the intellectual works that was born as an expression of the world view of the supporting community. One of the folklore motifs found in a number of ethnic groups in Indonesia is that which tells about the marriage between earth men and angels from heaven. Among these folklore are Jaka Tarub (Java), Putri Surga (Papua), Cerita Air Tukang (Maluku), Betawol (Miraculous North Kalimantan), Malim Deman and Puti Bungsu (Riau), Tomanurun (Toraja), and Si Lanang and Punai (South Kalimantan). This study tries to compare and understand the motif of marriage between men of the earth and deities by using the perspective of feminism. The results showed that the deities had higher positions and abilities than men of the earth who married him. This means that the upper world (heaven or heaven) the place of origin of the deities in social stratification is considered higher than the underworld, even though the two complement each other. The existence of the motif of marriage between men of the earth and desities found in a number of ethnic groups in Indonesia shows a high appreciation for the figure of the mother as an ancestor who inherited certain ethnicities, which is a manifestation of the spirit of feminism in a number of folklores in Indonesia.Keywords: deities, world above, world below, feminism
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Dobbs-Allsopp, F. W. "The Effects of Enjambment in Lamentations (Part 2)." Zeitschrift für die Alttestamentliche Wissenschaft 113, no. 3 (January 31, 2001). http://dx.doi.org/10.1515/zatw.2001.003.
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Mistrorigo, Alessandro. "Listening to Pablo García Baena Notes on the Translation of Rumore occulto." Rassegna iberistica, no. 114 (November 10, 2020). http://dx.doi.org/10.30687/ri/2037-6588/2020/114/002.
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The article focuses on the Spanish poet Pablo García Baena’s first Italian anthology, Rumore occulto, published by Passigli Editori in 2018. It demonstrates how audio recordings can inform translation process especially when dealing with poetry. By collecting and examining specific recordings where García Baena reads aloud some of his poems, the study shows in what way this author uses prosodic tools as caesura and enjambment to modify the versification of his poems. In these specific recordings, translator can listen to how author’s voice rearranges the printed poem and use these variations to reproduce specific metrics and rhythm in the target language too. This type of recordings also helps with semantics; in fact, interpreting the poem following the author’s vocal action on the original text can be beneficial to make a better lexical choice.
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Smith, Joseph Andrew. "Modular Clause Composition in Plautus." Mnemosyne, May 26, 2021, 1–42. http://dx.doi.org/10.1163/1568525x-bja10068.
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Abstract The iambic trimeters of Plautus are analyzed by syntactic boundaries and shown to be composed in a very narrow range of clause-measures using regular termini points in trimeters—line-end and the two caesuras. The five most frequently used syntactic measures account for half of trimeter composition. Plautus composed in modular units of syntax. This paper demonstrates: 1) the most frequent clause-type in Plautus’ trimeters is a trimeter in length, 2) the most frequent clause-type involving enjambment is exactly two trimeters in length, 3) certain clause-types appear with greater frequency in certain plays of Plautus, 4) clause-types can be shown to have distinctive, rhythmic cadences associated with each type. This modular method of clause composition must have been the product of its functional service to the playwright as he generated plays, to the actors who memorized them, and to the audience who heard discourse delivered in regular clause-packets.
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Wiadji, Livia Ayudita, and Sharifah Hanidar. "Linguistic Stylistic Analysis of Instagram Poems by Rupi Kaur, Dhiman, and R.M Drake." Lexicon 7, no. 1 (March 8, 2021). http://dx.doi.org/10.22146/lexicon.v7i1.64576.
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In the era of digitalization, poems are also published on the internet. Instagram is one of many platforms to introduce self-written poems to a broader range of readers around the world. An Instagram poem has its own writing style and aesthetics since it is written in the modern era. In this research, stylistic analysis is used to analyze the style used in Instagram poems. Rupi Kaur, Dhiman, and R. M. Drake are three Instagram poets whose poems are chosen for analysis. The poems are chosen based on the number of likes. Five most liked poems of each poet written in 2018 are the main data source used in this research. The purpose of the research is to identify the linguistic features found in poems written by Rupi Kaur, Dhiman, and R.M Drake. Out of many linguistic features, only graphology, phonology, syntax, and lexical features are analyzed in this research. The result shows that Instagram poems are mostly written in lower case letters in the same font. They also form free rhymed poems by using enjambment to break the sentences into several lines. The Instagram poets also chose their words carefully to create a specific meaning in the lines while creating a balanced emotion of word connotation.
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Guerin, Bernard. "WHAT DOES POETRY DO TO READERS AND LISTENERS, AND HOW DOES IT DO THIS? LANGUAGE USE AS SOCIAL ACTIVITY AND ITS CLINICAL RELEVANCE." Revista Brasileira de Análise do Comportamento 15, no. 2 (May 27, 2019). http://dx.doi.org/10.18542/rebac.v15i2.8763.
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Poetry aims to change people’s talk, thoughts and actions but does not do this through direct commands, mands, or directives. The aim of this paper is to explore poetry in a behavioral or contextual analysis to analyze (1) what poetry does to people and (2) how it does that. In exploring a first question, “What does poetry to do people?”, it was found that poetry is a way of writing which acts to disrupt normal forms and grammar of writing and, while the lack of grammar slows the reading fluency and accuracy, the disturbances have novel effects on readers’ actions, talking and thinking. In answer to a second question, “How does poetry have effects on people?”, the social disruptions which produce the effects of poetry have been developed over long histories and include disruptions to form and grammar, the written presentation on a page, line length, and the inclusion of stress patterns rhymes and rhymes. Some of these also help sustain the attention of the reader since the lack of normal grammar and presentation makes reading poetry more effortful. Finally, a few clinical applications are drawn out, especially since the experiences and ideas evoked through poetic forms, just like experiences of mental health, are ones which cannot usually just be stated as directives. Keywords: poetry, contextual analysis, verbal behavior, discourse analysis, literary effects, poetic form, enjambment, literary styles
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Tsur, Reuven. "Issues in the Instrumental Study of Poetry Reading." Journal of Literary Theory 9, no. 1 (January 1, 2015). http://dx.doi.org/10.1515/jlt-2015-0006.
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AbstractThis paper presents in a nutshell aspects of the author’s research in poetry reading (rhythmical performance and voice quality). At the beginning it states the impossibility of straightforward instrumental research in poetic rhythm, and suggests a work-around within a comprehensive theory (the Perception-Oriented Theory of Metre). All rules for metrical vs unmetrical are violated by the greatest masters of musicality in English poetry (Milton and Shelley, for instance); instead, the theory places the constraints in the performer’s ability or willingness to perform the verse line rhythmically, a rhythmical performance being one in which conflicting patterns of language and versification are simultaneously perceptible. At a pre-instrumental stage the author applied hypotheses derived from the empirical research of others (stress perception, nonlinguistic tick-tack perception and performance of nonsense lines) to account for the peculiar nature of the trochaic metre; as well as hypotheses derived from the limited-channel-capacity hypothesis and gestalt theory to account for the mental processes that govern the vocal devices used in a rhythmical performance. He put to a non-instrumental test this theory in an experiment with the rhythmical performance of stress maxima in the seventh position in the iambic pentameter. Finally, he presents six case studies illustrating six theoretical issues, through computer analysis of recorded readings and electronic manipulations thereof in order to compare minimal pairs of alternative solutions. These case studies explore enjambment, convergent and divergent delivery style, triple-encodedness, listener response, voice quality and issues of interpretation.Such variety of effects is achieved by a homogeneous set of vocal manipulations: grouping and overarticulation which, in the final resort, boil down to conflicting phonetic cues for continuity and discontinuity at the same time. At the end of an utterance in ordinary speech there is, usually, redundancy of cues. We cue discontinuity by a pause, falling intonation contour, prolongation of the last syllable or speech sounds of the utterance, overarticulation of word-final stop releases, if any, overarticulation of the last word boundary, and so forth. In enjambment, for instance, where a syntactic unit overrides the line ending, the performer may have recourse to conflicting cues, indicating at the same time syntactic continuity and discontinuity of the versification unit. When a stressed syllable occurs in a weak position, overarticulation of the phonemes and of the syllable boundaries may save mental processing space, allowing to perceive the conflicting patterns of language and versification. At the same time, continuity must be indicated, to preserve syntactic coherence. A stress maximum (that is, a stressed syllable between two unstressed ones in mid-phrase or mid-word) in the seventh (weak) position of an iambic pentameter line renders it, according to Halle and Keyser, unmetrical. Experienced performers, however, seem to be able to perform such verse lines rhythmically, and tend to have recourse to similar vocal strategies. They are surprised to discover that they over- rather than under-emphasize the deviant stress, isolating the last four syllables as a perceptual unit, and generating a perceptual drive toward the last (tenth) position, where the two patterns have a coinciding downbeat, emphatically closing the verse line. After the sixth position cues for discontinuity are required to perceptually isolate the last four metric positions, but also cues for syntactic continuity (in mid-phrase). As to triple-encodedness, the same phonetic cues, e. g., overarticulated word-final voiceless plosives may indicate, at the same time, sentence ending, line ending and, e. g., a dominant, determined personality. As to convergent and divergent delivery styles, the distinction refers to the performer’s tendency to have recourse where possible to redundant or conflicting phonetic cues to effect a rhythmical performance, within the constraints of the conflicting linguistic and versification patterns of the text.