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Journal articles on the topic 'Iambic pentameter'
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1
Duffell, Martin J. "Some observations on English binary metres." Language and Literature: International Journal of Stylistics 17, no. 1 (February 2008): 5–20. http://dx.doi.org/10.1177/0963947007082986.
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In an earlier article ( Language and Literature, 11(4)) the author argued that Hanson and Kiparsky's parametric theory failed to account for some statistically verifiable features of the English iambic pentameter, in particular, the far from random distribution of mid-line word boundaries in this metre. The present article argues that there are a series of other features of English binary metres that can only be identified and explained if parametric theory is supplemented by quantitative techniques borrowed from Russian linguistic metrics. It analyses samples of verse in various binary metres by Chaucer, Shakespeare, Milton, Pope, Wordsworth, Tennyson, Longfellow, and Browning, and identifies some peculiar properties of each poet's use of tension. It measures inversion and erosion in iambic pentameters, and in iambic, trochaic and mixed tetrameters, and concludes that: (1) more than 85 percent of strong positions in the English iambic pentameter contain a stressed syllable; (2) English iambic verse contains a constraint against two consecutive strong positions lacking stress; (3) the tetrameter is more regularly iambic than the pentameter; (4) the English trochaic tetrameter allows up to half of its lines to have a non-trochaic opening; and (4) Milton's `L'Allegro' and `Il Penseroso' contain a balanced mixture of the metrical features of iambic and trochaic verse.
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Klenin, Emily. "Russian iambic pentameter." Linguistic Approaches to Poetry 15 (December 31, 2001): 187–203. http://dx.doi.org/10.1075/bjl.15.13kle.
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The Russian pentameter is historically associated with the English and German traditions, but typologically it has with some justice been compared to the French decasyllable. The present article analyzes the structure and cultural context of Russian pentameter and examines in detail the use of caesura in a small corpus of iambic pentameter poems by Afanasy Fet. It is shown that the use of caesura correlates with patterns of word stress. In particular, the appearance of caesuraed lines in poems in which caesura is relatively weak correlates with the stress patterns of the lines in question: caesuraed lines are less heavily stressed than uncaesuraed ones, a correlation that theoretically should promote equalization of line length across the text. Russian poetry has a general tendency to promote equality of line length, and the intrusion of occasional I6 lines into I5 texts, a phenomenon known in many Russian I5 poems, can be viewed as a related strategy for handling ragged I5 lines.
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Roberts-Smith, Jennifer. "Thomas Campion’s iambic and quantitative Sapphic: Further evidence for phonological weight in Elizabethan English quantitative and non-quantitative meters." Language and Literature: International Journal of Stylistics 21, no. 4 (November 2012): 381–401. http://dx.doi.org/10.1177/0963947012444952.
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Fulfilling a central goal of a generation of Elizabethan English metrical theory often referred to as the ‘quantitative movement’, Thomas Campion succeeded in demonstrating the role of syllable quantity, or phonological weight, in Elizabethan iambic pentameter. Following Kristin Hanson (2001, 2006), this article parses Campion’s scansions of Early Modern English syllables, according to moraic theory, into resolved moraic trochees. The analysis demonstrates that (1) Campion distinguished between syllable weight (syllable quantity) and stress or strength (accent) in Early Modern English; (2) Campion prohibited syllabic consonants in English iambic pentameter, despite the fact that they were attested in Early Modern English as a whole; (3) in a successful adaptation of the Latin rule of ‘position’, as described by William Lily and John Colet’s Short Introduction of Grammar (1567), Campion re-syllabified coda consonants followed by vowels; and (4) Campion employed syllabic elision as a means of avoiding pyrrhic syllable combinations that resulted in non-maximal filling of long positions in a line of English iambic pentameter. His two iambic pentameters – the ‘pure’ and the ‘licentiate’ – are both accentual and quantitative meters that, in accordance with moraic theory, integrate stress and strength with syllable weight. He contrasted stress and weight in the quantitative Sapphic lyric ‘Come let us sound with melodie’ (Campion, 1601). Hanson’s (2001, 2006) reconsideration of the role of syllable quantity in Elizabethan metrical theory and Elizabethan poetry should be continued.
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عبدالحميد, اسامه احمد صلاح الدين. "The Iambic Pentameter: Norm and Variation." مجلة کلية الاداب.جامعة المنصورة 71, no. 71 (August 1, 2022): 1. http://dx.doi.org/10.21608/artman.2022.115784.1522.
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Fabb, Nigel. "The metres of ‘Dover Beach’." Language and Literature: International Journal of Stylistics 11, no. 2 (May 2002): 99–117. http://dx.doi.org/10.1177/0963947002011002575.
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‘Dover Beach’ is an iambic text which has four different lengths of line. I apply the Bracketed Grid theory of metrical form to the text and show that the four lengths of line can all be generated by a variant form of the iambic pentameter rules, and thus are all related at a more abstract level. I then show that the text is organized in a way which, in relevance theoretic terms, implicates that it is iambic pentameter in the conventional sense, and that this implicated form partially competes with the determinate metrical form generated by the metrical rules. I conclude that the possibility of competition between two distinct kinds of literary form, as illustrated by ‘Dover Beach’, can be a characteristic source of complexity in a literary text.
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Tooming, Aile. "Verse semantics of some metres in Uku Masing's poetry." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 177–91. http://dx.doi.org/10.12697/sss.2012.1-2.09.
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The article introduces the results of a semantic analysis of Uku Masing's (1909– 1985) early poetry (1926–1943). The metres analyzed are syllabic-accentual trochaic tetrameter, trochaic pentameter, iambic pentameter and dactylic, logaoedic and polymetric hexameters. In each text the textual communicative perspective as well as motifs and tropes of each verse line were examined. The semantic differences and colourings of the metres are most evident in the way of expression, in the viewpoint.
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Blackman, Shane. ""Listen to Irene Cara", "Octavio Paz and the Nobel", "The Goals of Diego Maradona"." Latin American Literary Review 49, no. 99 (September 9, 2022): 83–84. http://dx.doi.org/10.26824/lalr.333.
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These 3 sonnets explore the lives of pop-star Irene Cara, author and Nobel Prize winner Octavio Paz, and soccer legend Diego Maradona. Though one major sonnet form from literary history has included iambic pentameter, the sonnets here drop the iambic part, but keep the pentameter. In the history of the sonnet, there traditionally have been rhyme schemes. There is no particular rhyme scheme in these 3 sonnets. They are written with a mixture of free verse and rhyming. The poems span across Latin America -- from Mexico to Argentina and from Cuba to Puerto Rico -- and they celebrate the rich musical, literary, and sporting worlds of three icons and legends. The 3 sonnets employ ordinary language to describe extraordinary people, so that everyone and all readers can be inspired to be creative and to enjoy, shape, and impact the world.
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Tarlinskaja, Marina. "Kyd and Marlowe’s Revolution: from Surrey’s Aeneid to Marlowe’s Tamburlaine." Studia Metrica et Poetica 1, no. 1 (April 22, 2014): 9–27. http://dx.doi.org/10.12697/smp.2013.1.1.02.
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The Early New English iambic pentameter was re-created by Wyatt and Surrey in the first half of the 16th c. Surrey introduced blank iambic pentameter into English poetry, and the first English tragedy, Gorboduc, was written in this versification form. Early New English playwrights were feeling their way into the iambic meter, and wrote “by the foot”: the mean stressing on even syllables reached 90 percent, while on the odd syllables it fell to 5 percent. The authors of first new English tragedies were members of the parliament or the gentlemen of the City Inns, and they wrote for the aristocratic audience and the Court. Their subject matter and their characters matched the verse form: they were stiff and stilted.Marlowe and Kyd represented a new generation of playwrights who wrote for the commercial stage patronized by commoners. Marlowe and Kyd created different sets of plots and personages and a different versification style. Marlowe’s Tamburlaine and Kyd’s The Spanish Tragedy had a powerful impact on generations of English playwrights, from Shakespeare to Shirley. The particulars of the Earlier New English versification style compared to later Elizabethan dramaturgy are discussed in the presentation.
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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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Powell, Grosvenor. "The Two Paradigms for Iambic Pentameter and Twentieth-Century Metrical Experimentation." Modern Language Review 91, no. 3 (July 1996): 561. http://dx.doi.org/10.2307/3734084.
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Bruster, Douglas. "Beautified Q1 Hamlet." Critical Survey 31, no. 1-2 (July 1, 2019): 58–71. http://dx.doi.org/10.3167/cs.2019.31010205.
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Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.
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Khodakivska, Ya V. "Rhythm in the 2nd part of Wasyl Barka’s book ‘Ocean’ (mixed trochee)." Linguistic and Conceptual Views of the World, no. 69 (2) (2021): 146–59. http://dx.doi.org/10.17721/2520-6397.2021.2.11.
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The article is dedicated the verse rhythm in the second part of the book “Ocean” by the Ukrainian poet Vasyl Barka (1979). The rhythm of the first part (iambic) was investigated in our previous article. The meter of the second part of the book is a mixed trochee, the scheme of which is 5454. The stresses in the poetic lines were counted and the rhythm profiles of the trochaic tetrameter and the trochaic pentameter were plotted. The rhythm diagram method developed by Taranovsky, Gasparov (for Russian verse) was used to compare Barka’s verses with Ukrainian and Russian verses. To illustrate the trends in Ukrainian verse, our calculations of the verse of Stus and Andrukhovich were also used. The results of the research showed that the character of Barka’s rhythm is unique; it has no correspondence either in Ukrainian or in Russian verses. In the rhythm of Barka’s poem, ‘the law of regressive dissimilation’, discovered by Taranovsky and extrapolated to the Ukrainian verse by Kostenko, does not work. That is, there is no alternation of strong and weak foot. Barka in trochee avoids full-accented lines, which are commonly used by Ukrainian and Russian poets. The set of rhythmic forms of verse differs from other poets. The drawing of the diagrams is also different. For a trochaic pentameter, this is a “bucket”, with strong 2nd and 5th feet and weak 3rd and 4th feet. And for a trochaic tetrameter, this is an almost equal strength of the first three feet and a strong last foot. A rhythm, approximately similar to that of Barka, was revealed only in Goethe’s verse for a trochaic pentameter and in Schiller’s verse for a trochaic tetrameter (according to Taranovsky). Given the unique nature of the iambic rhythm and rhyme in Barka’s verse, we consider it promising to search for the factors that determined Barka’s poetics.
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Tarlinskaja, Marina. "Shakespeare’s Macbeth and Shelley’s The Cenci: Versification." Studia Metrica et Poetica 8, no. 2 (December 31, 2021): 7–31. http://dx.doi.org/10.12697/smp.2021.8.2.01.
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The article describes the development of English iambic pentameter during 260 years, 1561–1821. The evolution of the versification went in waves: strict (Renaissance) – loose (Baroque) – strict (Classicism) – loose (Romanticism); the periods developed “over the head” of adjacent periods. The similarity of the Renaissance and Classicism vs. Baroque and Romanticism was probably rhythmical homonymy rather than imitation. The article reveals the versification similarity of Shakespeare’s Macbeth and Shelley’s The Cenci. The similarity of versification added to the noticed earlier similarity of motifs, phraseology and vocabulary.
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Groves, Peter. "What, if anything, is a caesura? The ontology of the ‘pause’ in English heroic verse." Language and Literature: International Journal of Stylistics 28, no. 3 (June 6, 2019): 263–79. http://dx.doi.org/10.1177/0963947019854001.
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The term ‘caesura’ (or ‘pause’) has featured in discussion of English iambic pentameter for four centuries, and yet it still lacks what the Latin hexameter or the French alexandrine have: a definition of the term that might be usefully applied in stylistic description. Despite the temptation to dismiss it as a prosodic chimera or a mere epiphenomenon of syntax, this article will investigate a rough consensus that emerged amongst 18th-century theorists and practitioners about the bisecting caesura as both a normative element of versification and an aesthetic instrument, and attempt to formalize that consensus into a taxonomy based on linguistic features that will allow the caesura to function as a feature of stylistic description and analysis, not just for the heroic couplet but for the pentameter more generally, in terms of three independent and objectively definable properties that I term ‘balance’, ‘juncture’ and ‘integration’.
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Duffell, Martin J. ""The Craft So Long to Lerne": Chaucer's Invention of Iambic Pentameter." Chaucer Review 34, no. 3 (2000): 269–88. http://dx.doi.org/10.1353/cr.2000.0010.
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Duus, Peter. "Presidential Address: Weapons of the Weak, Weapons of the Strong—The Development of the Japanese Political Cartoon." Journal of Asian Studies 60, no. 4 (November 2001): 965–97. http://dx.doi.org/10.2307/2700017.
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I Approach my topic—the development of the modern Japanese political cartoon—with some trepidation. Humor is a fragile product that can easily be damaged by academic scrutiny. As Evelyn Waugh once remarked, analyzing humor is like dissecting a frog—much is learned but in the end the frog is dead. Waugh was right. Most analyses of humor cannot be read for amusement. On the other hand, why should they be? If Shakespeare scholars are not expected to write in iambic pentameter, why should students of humor be expected to keep their readers in stitches? As the editor of the International Journal of Humor Studies recently told a reporter, “We are not in the business of being funny” (New York Times, 19 December 2000).
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Glaser, Ben. "Folk Iambics: Prosody, Vestiges, and Sterling Brown's Outline for the Study of the Poetry of American Negroes." PMLA/Publications of the Modern Language Association of America 129, no. 3 (May 2014): 417–34. http://dx.doi.org/10.1632/pmla.2014.129.3.417.
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Studies of the New Negro Renaissance have long emphasized the emergence in black poetry of the vernacular and of folk-oriented rhythms in particular. Sterling Brown's critical work and poetry show, however, that traditional English meters had a central role in the discourse and poetics of New Negro poetry. Reading his 1931 Outline for the Study of the Poetry of American Negroes together with James Weldon Johnson's Book of American Negro Poetry (1922) suggests that these meters counteracted dominant racialized ideas about black bodies, rhythms, and song. The polymetrical surface of Brown's own early poem “When de Saints Go Ma'ching Home” (1927) reveals that Brown treated iambic pentameter as a vernacular form, destabilizing entrenched divisions between conventional and innovative, white and black, past and present. Future studies of black poetry might therefore look to prosodic hybridity as a powerful critique of audience ideology.
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Luo, Yilu, and Honghui Tan. "Rhythm Reproduction in English Translation of Chinese Poetry: A Contrastive Analysis of Li Bai's “GUAN SHAN YUE”（关山月）and its English Version." IRA International Journal of Education and Multidisciplinary Studies 16, no. 3 (August 31, 2020): 143. http://dx.doi.org/10.21013/jems.v16.n3.p3.
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This paper contrasts the rhythm of Li Bai's “GUAN SHAN YUE”（关山月）and that of Fletcher's English version “The MOON OVER The PASS” and finds out the functional equivalence between the Ping (平) and Ze (仄) (level and oblique tones) of Chinese poetry and the lightly stressed and heavily stressed syllables of English poetry, the number of Yan (言) (the number of characters) and the number of feet, and the rhymes. To promote the realization of musical beauty, formal beauty and emotional expression in the translation of Chinese poetry and reproduce the rhythm of ancient Chinese poetry, five-character and seven-character poem with regular line can be translated into iambic pentameter; pre-Tang poem and Song Ci with irregular line can be translated according to the analogy of character and syllable, and the feet of the translated poem can mainly be iambs; the rhyme of the translated poem can be couplet rhyme, cross rhyme or alternate rhyme. Based on this strategy, the author translates her self-created poem “MAN JIANG HONG ZHAN YI”（满江红·战疫）into English to prove the feasibility of the rhythm reproduction strategy of the English translation of ancient Chinese poetry.
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Akimova, Marina. "“The Trout Breaks the Ice” by Mikhail Kuzmin: Verse and Grammar." Studia Metrica et Poetica 8, no. 1 (October 14, 2021): 99–116. http://dx.doi.org/10.12697/smp.2021.8.1.03.
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The author explores various compositional levels of the Russian modernist author Mikhail Kuzmin’s long poem “The Trout Breaks the Ice”. The levels are: (1) the grammatical tenses vs. the astronomical time (non-finite verb forms (imperative) are also assumed to indicate time); (2) the meters of this polymetric poem; (3) realistic vs. symbolic and (4) static vs. dynamic narrative modes. The analysis is done by the chapter, and the data are summarized in five tables. It turned out that certain features regularly co-occur, thus supporting the complex composition of the poem. In particular, the present tense and time regularly mark the realistic and static chapters written in various meters, whereas the past tense and time are specific to the realistic and dynamic chapters written in iambic pentameter. The article sheds new light on the compositional structure of Kuzmin’s poem and the general principles of poetic composition.
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Akimova, Marina. "“The Trout Breaks the Ice” by Mikhail Kuzmin: Verse and Grammar." Studia Metrica et Poetica 8, no. 1 (October 14, 2021): 99–116. http://dx.doi.org/10.12697/smp.2021.8.1.03.
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The author explores various compositional levels of the Russian modernist author Mikhail Kuzmin’s long poem “The Trout Breaks the Ice”. The levels are: (1) the grammatical tenses vs. the astronomical time (non-finite verb forms (imperative) are also assumed to indicate time); (2) the meters of this polymetric poem; (3) realistic vs. symbolic and (4) static vs. dynamic narrative modes. The analysis is done by the chapter, and the data are summarized in five tables. It turned out that certain features regularly co-occur, thus supporting the complex composition of the poem. In particular, the present tense and time regularly mark the realistic and static chapters written in various meters, whereas the past tense and time are specific to the realistic and dynamic chapters written in iambic pentameter. The article sheds new light on the compositional structure of Kuzmin’s poem and the general principles of poetic composition.
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Wood, Craig. "The secret art of pedagogical alchemy." Open Scholarship of Teaching and Learning 2, no. 1 (October 20, 2022): 1–21. http://dx.doi.org/10.56230/osotl.45.
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This paper reveals secrets. Like their Renaissance counterparts, pedagogical alchemists often work in secret networks as they struggle against dominant forces. Pedagogical alchemists seek to transform assemblages of neoliberal education policies, shifting enactments of such policies from replication of systemic hierarchies and oppressions towards teacher and student experiences of joy, hope, and resistance. The secret art of pedagogical alchemy adopts critical praxis research method that amplifies epistemological insights arising from teacher experience. This paper utilizes performative autoethnography and social fiction to interrogate the influence of socio-political context on the labour of an 8th grade school-teacher. The secret art of pedagogical alchemy locates the experiences of a pedagogical alchemist whose 8th grade history class includes a unit of work on Renaissance alchemist Isabella Cortese. The experiences are framed by globalised, neo-liberal education policy assemblage. Like the writings of Renaissance alchemist, Isabella Cortese, the voice of the 8th grade history pedagogical alchemist is performed in quatrains that are written in iambic pentameter.
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Dale, Vicki, Matthew Barr, and Nathalie Tasler. "Editorial: oSoTL 2(1)." Open Scholarship of Teaching and Learning 2, no. 1 (October 20, 2022): i—ii. http://dx.doi.org/10.56230/osotl.60.
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We open this issue with a thought-provoking and creative article that seeks to disrupt the dominant discourse of neoliberalism through Critical Reflective Practice (CPR). Through a process of mirror-writing, Wood employs the voice of Malcolm, a disillusioned school-teacher of History, who experiences moments of joy, resistance and hope on encountering a Renaissance text, I secreti de la signora Isabella Cortese. These moments are deftly captured in quatrains using the iambic pentameter. In The secret art of pedagogical alchemy, Wood allows us to hold a mirror up to our own teaching practice, discovering hope and joy, and encouraging us to question capitalist values in education and hegemony in the curriculum, resulting in giving hope to individual learners, enabling them to become empowered global citizens. ... We hope you enjoy this issue and would like to take this opportunity to thank again all our contributors for sharing their valuable work, and our conscientious reviewers for their expertise and time.
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Skansgaard, Michael. "How Not to Introduce Blues Prosody:." Poetics Today 40, no. 4 (December 1, 2019): 645–81. http://dx.doi.org/10.1215/03335372-7739071.
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This article delivers a two-pronged intervention into blues prosody. First, it argues that scholars have repeatedly misidentified the metrical organization of blues poems by Langston Hughes and Sterling Brown. The dominant approach to these poems has sought to explain their rhythms with models of alternating stress, including both classical foot prosody and the beat prosody of Derek Attridge. The article shows that the systematic organization of blues structures originates in West African call-and-response patterning (not alternating stress), and is better explained by models of syntax and musical phrasing. Second, it argues that these misclassifications — far from being esoteric matters of taxonomy — lie at the heart of African American aesthetics and identity politics in the 1920s and 1930s. Whereas literary blues verse has long been oversimplified with conventional metrics like “free verse,” “accentual verse,” and “iambic pentameter,” the article suggests that its rhythms arise instead from a rich and complex vernacular style that cannot be explained by the constraints of Anglo-American versification.
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Gelfond, M. M. "Semantics of the Fictional Draft: Once again about B. L. Pasternak’s poem “A Fairy Tale” (“Skazka”)." Critique and Semiotics 38, no. 1 (2020): 351–62. http://dx.doi.org/10.25205/2307-1737-2020-1-351-362.
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The article deals with the fictional creative story of Boris Pasternak’s poem “The Fairy Tale” (“Skazka”), described in the novel “Doctor Zhivago”. It is fundamentally different from the real story: if Pasternak changed the plot and partly the genre of “The Fairy Tale”, as evidenced by his letter to Nina Tabidze, Yuri Zhivago in the novel changes the poetic meter twice – and at the same time comprehends its semantics. The differences between the real and the “novelistic” creative history focus on the semantic halo both of trochaic trimeter – the meter of “The Fairy Tale”, and of trochaic pentameter and trochaic tetrameter, used at starting of the first and intermediate edition. The article shows how the first edition, written in pentameter (trochaic or iambic), connects “The Fairy Tale” with “Hamlet” and “The Gethsemane Garden”. The assumption of a genetic link between the three texts and a few significant plot coincidences enables to find invariant embodiments of one lyrical plot in different genres in them. The triangle: “Hamlet” – “The Fairy Tale” – “The Gethsemane Garden” built within the cycle varies the most important topic of the cycle and the novel – the strategy of individual, personal confrontation with “the twilight of night” and “the years of timelessness”. The study of the second stage of the fictional story “The Fairy Tale” clarifies a number of Pushkin’s contexts, not only in the “Poems of Yuri Zhivago”, but also in the novel as a whole. The study of semantic halos arising at different stages of Zhivago’s work on “The Fairy Tale” allows including it in the context of Russian lyrics.
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Neidorf, Leonard. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter." English Studies 100, no. 1 (November 27, 2018): 108–9. http://dx.doi.org/10.1080/0013838x.2018.1545415.
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Gurnett, Jane Elizabeth. "How can Shakespeare’s iambic pentameter enable inclusion of and encourage participation of autistic pupils in a year 7 boy’s mainstream classroom?" Advances in Autism 4, no. 4 (October 1, 2018): 165–73. http://dx.doi.org/10.1108/aia-02-2018-0006.
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Purpose The purpose of this paper is to facilitate a greater understanding of verbal and non-verbal communication in an open space learning (OSL) environment. This is an exploration of the premise that by using Shakespeare’s iambic pentameter as a scaffolding for learners on the autism spectrum, a “safe place” can be accessed. Design/methodology/approach Using an action research model and following government guidelines, using common assessment framework analysing the findings using School’s assessment criteria model that is used for single exercises through to whole scheme of work: making–performing–evaluating (self-evaluation sheets/peer evaluation sheets/teacher evaluation). Findings There has been hypothesis that people with ASD may be more able to track their heart beats for longer than neurotypicals. Kimberly et al. (2015) suggest that empathetic abilities and emotional experiences in people with ASD can produce negative experiences, anxiety can occur and the interoceptive awareness and ability to positively relate to self can be caused to dislocate. The use of the rhythm of the heartbeat may aid communication skills in ASD learners. Research limitations/implications In the autistic learner, overload, caused by hypersensitivity/hyposensitivity, can also affect and be effected by environmental issues in OSL environment. The autistic learner can be deeply affected. Unlike a desk-based class there is nowhere to hide, no place of safety. Practical implications By trying to find a common ground where the autistic learners can realise their full capacity the use of the heartbeat iambic rhythm can, the author posits, impact on the autistic learners sense of self and confidence, aiding learning. Social implications As Hunter (2015) espouses, the heartbeat is a nurturing instrument. The author advocates that the heartbeat is also a unilateral marker that unifies a class/the environment at the same time as comforting the autistic learner. Originality/value There is an element in every being that has to be present from inception, the heartbeat, it is the first function an embryo performs. The heartbeat also produces a primal symbiotic interdependency in mother and child. It is a pure connection. The author posits that the replication of this pure function can comfort, reassure and foster communication. There is no empirical evidence, but research is currently taking place at the Nisonger Centre at the Ohio State University, where, under the leadership of Dr Marc J. Tasse, pilot workshops have taken place. The author also have no empirical evidence as to why the heartbeat is instrumental in helping the autistic learner to communicate. The author gives the conjecture in the paper.
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Griffith, Mark. "GEOFFREY RUSSOM. The Evolution of Verse Structure in Old and Middle English Poetry from the Earliest Alliterative Poems to Iambic Pentameter." Review of English Studies 69, no. 289 (September 1, 2017): 368–70. http://dx.doi.org/10.1093/res/hgx098.
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Keinänen, Nely. "Canons and Heroes: The Reception of the Complete Works Translation Project in Finland, 2002-13." Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (December 30, 2017): 109–25. http://dx.doi.org/10.1515/mstap-2017-0022.
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This essay examines the reception of the ten-year Complete Works translation project undertaken by the Finnish publishing company Werner Söderström Oy (WSOY) in 2004-13. Focusing on reviews published in the first and last years of the project, the essay details ongoing processes of Shakespeare (re-)canonization in Finland, as each new generation explains to itself what Shakespeare means to them, and why it continues to read, translate and perform Shakespeare. These processes are visible in comments from the series editors and translators extolling the importance of Shakespeare’s work and the necessity of creating new, modern translations so Finns can read Shakespeare in their mother tongue; in discussions of the literary qualities of a good Shakespeare translation, e.g. whether it is advisable to use iambic pentameter in Finnish, a trochaic language; and in the creation of publisher and translator “heroes,” who at significant cost to themselves, whether in money in terms of the publisher, or time and effort in terms of the translators, labour to provide the public with their Shakespeare in modern Finnish. While on the whole reviewers celebrated the new translations, there was some resistance to changes in familiar lines from older translations, such as Macbeth’s “tomorrow” speech, suggesting that there are nevertheless some limits on modernizing “classic” translations.
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McLaren, Mary-Rose. "Searching and searching again – finding meaning through arts-based research." Qualitative Research Journal 14, no. 3 (November 4, 2014): 307–17. http://dx.doi.org/10.1108/qrj-09-2013-0054.
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Purpose – The purpose of this paper is to explore the interrelation of form and meaning in arts-based research and in academic writing. Design/methodology/approach – It draws on two arts-based projects: one a study of Shakespeare undertaken with undergraduate students; the other a play written to convey a young boy's experiences of Second world War in an Australian country town. Both projects were arts-based research, aimed at extending knowledge of individual experiences, and the ways in which individuals bring knowledge and interpretation to their worlds. Findings – It is hoped by examining the experiences of individuals the authors also learn about collective experiences and ways of building and communicating understanding. The paper proposes that intuitive ways of knowing are of equal value to other ways of knowing, and the Arts provide a space where intuition can be valued and explored. Originality/value – The paper is also an experiment in form, seeking to find forms which reflect the nature of the research. Consequently it is constructed primarily from a piece of iambic pentameter, a play script and a sonnet. These three forms are used, in conjunction, to reflect upon and explore the nature of arts-based research for individuals and collectively.
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Cornelius, Ian. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter by Geoffrey Russom." Arthuriana 29, no. 4 (2019): 82–85. http://dx.doi.org/10.1353/art.2019.0047.
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Tarlinskaja, Marina. "Rhythm and meaning: "Rhythmical deviations" as italics." Sign Systems Studies 40, no. 1/2 (September 1, 2012): 65–81. http://dx.doi.org/10.12697/sss.2012.1-2.04.
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English iambic pentameter allows rhythmical deviations that occupy three (seldom four, more often two) adjacent metrical positions. These deviations, though metrical, are noticed by the listener or reader. Starting from the first quarter of the 16th century, poets (Surrey) have used rhythmical deviations to emphasize ("italicize") semantically important segments in the line. Such rhythmical deviations have become part of the English poetic traditions. It has turned out that rhythmical deviations used to italicize meaning are filled with recurring rhythmical and grammatical structures and repeated lexicon. M. L. Gasparov used a special term to denote the recurring rhythmicalgrammatical structures: "clichés"; while calling clichés incorporating recurrent lexicon "formulas". I have discovered that formulas are part of the English poetic tradition: the same formulas recur in poetic texts of the 16th–20th cc. They are not plagiarisms, allusions or reminiscences; they are a common basket of goods that belong to all English poets, used by all and owned by none. The recurrent deviations usually occur on metrical positions "weak-strong-weak-strong" and as a rule contain a monosyllabic (rarely – disyllabic) verbpredicate followed by a monosyllabic grammatical word (e.g. an article), an adjectiveattribute and a noun – a direct object to the verb. The recurring lexicon includes verbs of motion, particularly verbs of fast, aggressive motion, an action directed downwards or causing an injury or death, and recurring nouns referring to moving objects or agents (hands, arms, wings; spear, sword). I term such recurring formulas "rhythmical italics".
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Lotman, Rebekka. "The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme." Studia Metrica et Poetica 4, no. 2 (January 4, 2018): 67–124. http://dx.doi.org/10.12697/smp.2017.4.2.04.
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The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.
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Duffell, Martin J. "The Italian line in English after Chaucer." Language and Literature: International Journal of Stylistics 11, no. 4 (November 2002): 291–305. http://dx.doi.org/10.1177/096394700201100401.
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This article argues that the English iambic pentameter (EIP) has other important features in addition to the five parameters identified by Hanson and Kiparsky’s (1996) parametric theory ( position number and size, orientation, prominence site and type). One of these features is that EIP contains a mixture of pausing (French) and running (Italian) lines, as determined by whether the syllable in position 4 is word-final. A study of the frequency with which the Italian line is used in the two centuries after Chaucer’s death reveals that Hoccleve and the Scots poets, Henryson, Dunbar and Douglas, adhered fairly closely to Chaucer’s EIP verse design. On the other hand, several generations of English poets, Lydgate, Wyatt, Surrey and Sidney, experimented with alternative types of line that might well have developed into the canonical English long-line metre. Ultimately, however, the examples of Spenser and Shakespeare proved decisive in ensuring the victory of Chaucer’s metre. Between the 17th and 19th centuries, Donne, Milton, Dryden, Pope, Wordsworth, Keats and Browning were among the major poets who consolidated that victory and exploited the Italian line in order to accommodate their own or their age’s choice of diction. The mixture of French and Italian lines in decasyllabic verse is one of the distinguishing features of EIP. Although other factors affect the proportions in this mixture to a small extent, they are primarily the result of individual poets’ aesthetic choice. Significantly, all the English poets after Spenser whose verse is analysed in this article have favoured a more evenly balanced mixture of French and Italian lines than the random deployment of their lexicon would have produced.
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Hartman, Megan E. "The Evolution of Verse Structure in Old and Middle English Poetry: From the Earliest Alliterative Poems to Iambic Pentameter. Geoffrey Russom. Cambridge Studies in Medieval Literature 98. Cambridge: Cambridge University Press, 2017. xii + 324 pp. $99.99." Renaissance Quarterly 71, no. 3 (2018): 1211–12. http://dx.doi.org/10.1086/700539.
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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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Myklebust, Nicholas. "Geoffrey Russom, 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, 2017. Pp. xi, 316; many tables. $99.99. ISBN: 978-1-1071-4833-8." Speculum 95, no. 3 (July 1, 2020): 895–97. http://dx.doi.org/10.1086/709487.
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Andričík, Marián. "Trying not to get Paradise Lost in Translation." Translation and Literature 30, no. 1 (March 2021): 72–81. http://dx.doi.org/10.3366/tal.2021.0446.
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The author of a recently published translation of Milton's Paradise Lost into Slovak here gives an account of his approach. His version is in a form of blank verse and has a line count matching Milton's, whereas other Slavic translators (Czech, Polish, Russian) tend towards expansion both in line length and overall line-count. Structural differences between English and Slovak, and the different ‘semantic density’ of the languages, do not, it is argued, preclude the attempt. The core concern is how to construct iambic pentameters while also preserving Milton's meanings in a language to which blank verse does not come easily. Milton's language and the translator's handling of Milton's biblical references are more briefly considered.
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Bunchuk, Borys. "Canvas Embroidery: Lesya Ukrainka’s Versification Skillfulness in the Poems of the Cycle “Rhythms”." Pitannâ lìteraturoznavstva, no. 104 (December 27, 2021): 7–27. http://dx.doi.org/10.31861/pytlit2021.104.007.
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The article under studies deals with the form of Lesya Ukrainka’s poetic works that comprised the verse cycle “Rhythms”. The meaningful unity of the cycle proems has been emphasized by a specifically defined syllable-tonic meter – pentameter iamb, which, however, does not cause the feeling of monotony of the verse form. The purpose of the article is to determine the means, used by the poetess, in order to diversify the structure. The structure of each verse of the cycle is considered separately. The curriculum verse-dialogue “De podilysia vy, holosniyi slova…”, which opens the cycle and develops the theme in the following poems, is extensively analyzed and statistically examined in the aspect of conveying emotions through the verse rhythm. It has been ascertained that the final verses of the cycle (seventh and eighth) differ in the type of the rhythm (“alternated” – “transitive”), the nature of the caesura, the hierarchy of the forms used, the presence or absence of the lines with a different meter, the number of enjambments, and the strophic structure. Thus, despite the fact that the six poems and the second parts of the two polymetric constructions of the cycle “Rhythm” have been written in pentameter iamb, they are far from being similar. Most often, the distinction is in terms of rhythm and syntax. Among the rhythmic means, there prevail the type of the caesura and the forms of the rhythm; then – the percentage of the lines with a different meter, the verses with out-of-scheme stresses and the type of the rhythm; next – the percentage of the stressed feet and the verses with masculine endings. The syntactic means are represented, above all, through enjambments and “sentences-stanzas”, more rarely – through the division into “periods” and anaphors.
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Priestly, Tom. "Translating Prešeren's ‘Wreath of Sonnets’: Formal Aspects." TranscUlturAl: A Journal of Translation and Cultural Studies 5, no. 1-2 (March 31, 2014): 116. http://dx.doi.org/10.21992/t9fw55.
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This article describes and evaluates a co-authored translation of France Prešeren’s “Sonetni venec [A Wreath of Sonnets]” (1834), which has been translated once before into English, namely by Vivian de Sola Pinto in 1954. Having sketched the background to the undertaking, the author describes the structure of “Wreaths of Sonnets” in general and mentions some examples from English literature. He then places “Sonetni venec” in Prešeren’s oeuvre. Next, he exemplifies two other translations of “Wreaths” into English (one from Danish, the second from Czech). Most of the article is devoted to the strategy employed in this latest undertaking, a very complex and challenging one. Three particular problems had to be solved, given that the aim was to produce a translation that, formally, would be as close near feasible to the original. The first involved metre: Prešeren’s original was in iambic pentameters with feminine rhymes in line-finals; the translators chose to reject feminine rhymes, and their reasons are provided. Second, which particular frequently-recurrent rhymes would be chosen, given that one had to occur 24 times and another 18 times? This choice, also, is described. Third, Prešeren’s original has an acrostic in the Master Theme: we decided to attempt one in our version. The whole evaluation, which is some details compares this translation with the one by Pinto, is limited to an extremely formal framework.
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Ignat, Anca, and Alexandru M. Călin. "Of “You” and “Thou,” Lips and Pilgrims in the Translation of Romeo and Juliet’s “Shared Sonnet”: A Hands-On Perspective." American, British and Canadian Studies 32, no. 1 (June 1, 2019): 20–35. http://dx.doi.org/10.2478/abcsj-2019-0003.
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Abstract It is not a recent discovery in the field of language history that the address pronouns thou and you were not, in Shakespeare’s time, used indiscriminately. If the speaker did have a choice between the two forms, that choice was by no means random, idiosyncratic or arbitrary, but always dictated by the social, relational or attitudinal context of a speech act. Nonetheless, all 20th-century Romanian translations of Romeo and Juliet (and of other Shakespearean plays) – from Haralamb Leca’s rather loose rendering (1907) to Ștefan-Octavian Iosif’s and to Virgil Teodorescu’s more refined versions (1940 and 1984, respectively) – seem to ignore the difference in associative meaning between the two forms, which is sometimes essential for a correct assessment of the relationships between characters. The latest Romanian translation of the play, which we have jointly submitted for publication within the Shakespeare for the Third Millennium project (William Shakespeare. Opere XIII, 2018) acknowledges the importance of the various associative meanings that the two pronouns carry and strives to restore these meanings to the text, though not without difficulty, given the rather restrictive form of the original, i.e. iambic pentameters, often with strict rhyme schemes. Thus, focusing on the well-known “shared sonnet” as one of the most relevant instances of pronoun alternation in the play, our paper discusses the uses of you and thou in Early Modern English and sets out to assess how much is lost in 20th-century translations, to show how our own translation restores the associative meanings of the two pronominal forms and finally to exemplify how we managed to overcome translation difficulties entailed by the metrical and stylistic demands of the text.
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Duffel, Martin J. "The iambic pentameter and its rivals." Rhythmica. Revista Española de Métrica Comparada, no. 1 (February 11, 2013). http://dx.doi.org/10.5944/rhythmica.428.
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Bye, Patrik. "Medial catalexis in Sir Thomas Wyatt’s iambic pentameter." Nordlyd 45, no. 1 (December 30, 2021). http://dx.doi.org/10.7557/12.6260.
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There is a reasonable scholarly consensus that the long (“heroic”) line of Sir Thomas Wyatt is an iambic pentameter. However, a significant number of his long lines are apparently syllabically hypometrical, calling into question this interpretation. The doubt is further compounded by Wyatt’s nontrivial use of phrase-medial inversions. I argue that it is nonetheless possible to infer an iambic pentameter intention behind Wyatt’s syllabically hypometrical lines, which can be ‘repaired’ by medial catalexis. Syllabically canonical lines are known to favour major prosodic breaks (Intonational Phrase boundaries) between the second and third foot and, to some extent, between the third and fourth. On the assumption that medial catalexis exploits the natural pauses that occur at the boundaries between Intonational Phrases, what emerges is a significant preference for catalexis to target the weak position of the third verse foot (half-line boundary), followed by the fourth (immediately following the verse-foot adjunct of the second half-line). The finding opens up further possibilities for understanding Wyatt’s other licences, and linguistically informed literary criticism of his verse. The final part of the paper offers some speculations as to the nature of medial catalexis and how it can be approached within a linguistically informed framework compatible with generative metrics.
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Wells, Stanley. "Shakespeare and sonnet form." Cahiers Élisabéthains: A Journal of English Renaissance Studies, October 13, 2022, 018476782211217. http://dx.doi.org/10.1177/01847678221121760.
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This essay considers some of the uses to which Shakespeare put the literary form of the sonnet along with its component parts – the iambic pentameter line, the quatrain, the sestet, and the rhyming couplet – both in his plays and in independent poems. It offers a fresh appraisal of the sonnets by Shakespeare published by Thomas Thorpe in 1609, with emphasis on those printed in the earlier part of the volume, often referred to as ‘the young man sonnets’. The article also discusses Richard Barnfield's homoerotic verse and position in relation to the sonnet tradition and to Shakespeare's place in it.
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Proto, Teresa. "Prominence matching in english songs : a historical perspective." Signa: Revista de la Asociación Española de Semiótica 22 (January 1, 2013). http://dx.doi.org/10.5944/signa.vol22.2013.6345.
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La poesía métrica es la fuente primaria de evidencia lingüística para la reconstrucción del sistema de acentuación de una lengua muerta, y en particular la métrica que controla la coincidencia o ajuste entre acento lingüístico y posiciones fuertes. para el inglés medio, la distribución del acento léxico a través de los esquemas débil/fuerte del pentámetro yámbico, desde chaucer hasta shakespeare, ha ofrecido información importante para el análisis lingüístico. además de la poesía hablada, las canciones proveen otro tipo de poesía métrica presente en este periodo que, sin embargo, aún no ha sido explotado como fuente de evidencia métrica o lingüística. el presente trabajo intenta contribuir a llenar este vacío a través del estudio diacrónico del desajuste prominente.The primary source of linguistic evidence in reconstructing stress systems is provided by metered poetry, particularly by meters that control the matching of the linguistic stress to metrical strong positions. For middle english, the distribution of lexical stress across the weak/strong patterns of iambic pentameter, from chaucer to shakespeare, has provided important clues for linguistic analysis. in addition to spoken poetry, songs provide another type of metered poetry from that period. however, they have not been exploited as a source of metrical or linguistic evidence. the present paper takes a tentative step towards filling this gap, by focusing on a diachronic study of prominence mismatching.
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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.
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Campbell, Sandy. "Dream Away by J. Durango and K. Belle Trupiano." Deakin Review of Children's Literature 2, no. 4 (April 9, 2013). http://dx.doi.org/10.20361/g2n59p.
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Durango, Julia, and Katie Belle Trupiano. Dream Away. New York: Simon & Schuster Books for Young Readers, 2011. Print. This is a delightful picture book with a gentle rhyme designed to lull children to sleep. Reminiscent of “Moonbeam on a Cat’s Ear”, the father and child dream of sailing through the cosmos in an “old paper boat”. They have a magical crew of a knight, a winged horse, two winged cats (pixies) and a dog. As they wander through the heavens they are chased by the animals of the constellations. Eventually, even the clouds and the moon fall asleep. The rhymes are predictable - moon/balloon, seas/breeze, float/boat – the iambic pentameter rhythm is strong and regular, so pre-readers will quickly memorize the story and want to “read” along. While the colours in the illustrations are strong, all of the figures are soft-edged and rounded, giving everything a cuddly appearance. The images often add content to the story. For example, when the text reads, “We played with a bear, an archer, a hare. A dragon gave chase, but the crew won the race”, the images show us a constellation bear throwing a ball of light and the boy on the edge of the boat, ready to swing at it with his baseball bat. As they “glide down a glimmering slide”, we see the boy holding on to the winged horse’s tail, while the horse tows the boat down the Milky Way. The moon is a balloon tied to the back of the boat. In the final pages of the book, we see that most of the things in the story, the planets, cats, dog, winged horse and baseball bat are all objects in the boy’s room and he is wearing a paper hat shaped like the boat. This is a lovely, peaceful lullaby that is highly recommended for public libraries and small children’s rooms everywhere. Highly Recommended: 4 stars out of 4Reviewer: Sandy CampbellSandy is a Health Sciences Librarian at the University of Alberta, who has written hundreds of book reviews across many disciplines. Sandy thinks that sharing books with children is one of the greatest gifts anyone can give.
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Sprang, Felix. "The Confines of Cognitive Literary Studies: The Sonnet and a Cognitive Poetics of Form." Journal of Literary Theory 11, no. 2 (January 1, 2017). http://dx.doi.org/10.1515/jlt-2017-0022.
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AbstractWhen we think of the cognitive sciences and literature, we usually think of bringing expertise from neuroscience to literary texts. However, interdisciplinary projects of this nature usually focus on semantic fields or narrative patterns, marginalizing the literary quality of the texts that are examined. More recently, the opportunities that come with a focus on aesthetics and poetic form have been discussed following Stockwell (2009), who has argued that we need to go beyond semantics in the field of cognitive poetics. Experiments using fMRI scanners have shown that readers’ brains ›fire up‹ holistically but that engaging with poetry and prose activates different regions of the brain (cf. Jacobs 2015). So one task of cognitive poetics is to look more closely at the aesthetic experience of literary texts. The sonnet is arguably a suitable test case for a cognitive poetics that is interested in form. After all, received wisdom has it that the sonnet abides by a rigid formal pattern: »it is a fourteen-line poem with a particular rhyme scheme and a particular mode of organizing and amplifying patterns of image and thought […] usually [rendered in] iambic pentameter« (Levin 2001, xxxvii). Accordingly, matters of form should play a crucial part when sonnets are read. At the same time, due to its »particular mode« of organisation, the sonnet is often thought to be a poetic form that is prone to cognitive processes. Helen Vendler (1997, 168) claims, for example, that Shakespeare’sFollowing Vendler and Lyne in their focus on cognitive processes when discussing the sonnet, I will challenge simplistic notions of poetic form that – in the case of the sonnet – are limited to structural features like the fourteen-line rule. Aberrations like theIf we accept that poetic form is not given but evolves while stimuli for cognitive processes and emotional responses are provided, research in cognitive poetics must take aspects of form more seriously. In her comprehensive study of poetic form,Scrutinizing poetic form more systematically with the help of cognitive sciences thus also promises to help us redefine our concept of knowing. Exciting experiments with a focus on affect and emotional responses have brought to the fore the notion that aesthetics plays an important part in the process of reading poetry (cf. Lüdtke 2014). These experiments suggest that schema theory, with its reliance on pre-existing meaningful structures, falls short of grasping the process of reading poetry as an aesthetic process. So while pattern recognition, be it on a narrative plane or a semantic plane, is certainly one facet of the cognitive process of reading poetry, the process involves other facets, too, that CLS has only begun to address. Vaughan-Evans et al. (2016, 6) have perhaps provided »the first tangible evidence that this link [between an aesthetic appreciation of poetry and implicit responses] is permeable«. They argue that the »spontaneous recognition of poetic harmony is a fast, sublexical process« (ibid.) opening up a playing field for CLS at a sublexical level that still warrants investigation. Equally, a recent eye-tracking study of how English haiku are being read, conducted by Hermann J. Müller et al. (2017), has revealed that readers’ individual engagement with poetry becomes more diverse with a second or third round of engaging with the text. This may sound trivial, but it does challenge the notion that CLS will help establish universal patterns of cognition. On the contrary, CLS may corroborate a hermeneutical stance: with every reading of a poem, new questions arise; poems are never fully understood. CLS can thus help to heed Bruhn’s and Wolf’s interjection that »we should pay more attention to the responses of the individual qua individual than averaging individuals into groups« (Bruhn/Wolf 2003, 85).
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De Vos, Gail. "News and Announcements." Deakin Review of Children's Literature 5, no. 2 (October 25, 2015). http://dx.doi.org/10.20361/g2qk5x.
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Autumn is not only a gloriously colourful time of the year, it is a time when a plethora of children’s book related events and awards take place. Just see what is happening in the next few months:IBBY: “Silent Books: Final Destination Lampedusa” travelling exhibit In response to the international refugee crisis that began last year, the Italian arm of the International Board on Books for Young People has launched a travelling picture-book exhibit to support the first children’s library on the island of Lampedusa, Italy where many African and Middle Eastern refugees are landing. After stops in Italy, Mexico, and Austria, the exhibit is currently touring Canada. It premiered in Edmonton at the Stanley A. Milner Library in August. Next are three Vancouver locations: UBC Irving Barber Learning Centre (Oct. 1 to 23), Vancouver Public Library central branch (Oct. 8 to 18), and the Italian Cultural Centre (Oct. 10 to 22). Then the North York Central Library in Toronto from Nov. 2 to Dec 11. Recognizing Lampedusa island’s cultural diversity, the exhibit comprises exclusively wordless picture books from 23 countries, including three from Canada:“Hocus Pocus” by Sylvie Desrosiers & Rémy Simard’s (Kids Can Press), “Ben’s Big Dig” by Daniel Wakeman and Dirk van Stralen’s(Orca Book Publishers)“Ben’s Bunny Trouble” also by Wakeman and van Stralen (Orca Book Publishers). Other books are drawn from an honour list selected by a jury of experts from the 2015 Bologna Children’s Book Fair including Ajubel’s “Robinson Crusoe” (Spain), Ara Jo’s “The Rocket Boy”(Korea), and Madalena Matoso’s “Todos Fazemos Tudo” (Switzerland), among others. The full catalogue can be viewed online.TD Canadian Children’s Book Week.Next year’s TD Canadian Children’s Book Week will take place from May 7-14, 2016. Thirty Canadian children’s authors, illustrators and storytellers will be touring across Canada visiting schools, libraries, bookstores and community centres. Visit the TD Book Week site (www.bookweek.ca) to find out who will be touring in your area and the types of readings and workshops they will be giving. If your school or library is interested in hosting a Book Week visitor, you can apply online starting in mid-October.Shakespeare Selfie CBC Books will once again be running the Shakespeare Selfie writing challenge in April 2016. Shakespeare took selfies all the time but instead of a camera, he used a quill. And instead of calling them "selfies," they were called "soliloquies."The challenge: Write a modern-day soliloquy or monologue by a Shakespearean character based on a prominent news, pop culture or current affairs event from the last year (April 2015-April 2016). It can be in iambic pentameter or modern syntax with a word count from 200 to 400 words. There are two age categories: Grades 7-9 and 10-12. Details at: http://www.cbc.ca/books/2015/10/the-2016-shakespeare-selfie-writing-challenge-for-students.html Awards:The winners of this year’s Canadian Jewish Literary Awards, celebrating Jewish literature and culture in Canada, have been announced. Amongst the nine awards is one for Youth Literature which was awarded to Suri Rosen for “Playing with Matches” (ECW Press). See all the award winners here: http://www.cjlawards.ca/.The Canadian Children's Book Centre administers several awards including the TD Canadian Children’s Literature Award, the Marilyn Baillie Picture Book Award, the Monica Hughes Award for Science Fiction and Fantasy and the Norma Fleck Award for Canadian Children’s Non-Fiction. This year’s winners will be announced on November 18, 2015. http://www.bookcentre.ca/awardThe Fitzhenry Family Foundation has revealed the winners of its Lane Anderson Awards for the best Canadian science books published in the previous year. Selections are made based on a title’s pertinence to science in today’s world and the author’s ability to relate scientific issues to everyday life. Prolific Halifax kids’ science writer L.E. Carmichael was awarded the YA prize for “Fuzzy Forensics: DNA Fingerprinting Gets Wild” (Ashby-BP Publishing), about using forensic science to fight crimes against animals. Uxbridge, Ontario–based environmental journalist Stephen Leahy received the adult prize for “Your Water Footprint” (Firefly Books), which examines human usage of the valuable natural resource. http://laneandersonaward.ca/The Edmonton Public Library has named Sigmund Brouwer (author and Rock & Roll Literacy Show host) as the winner (by public vote) of Alberta Reader’s Choice Award. Sigmund’s “Thief of Glory” (WaterBrook Press) is about a young boy trying to take care of his family in the aftermath of the 1942 Japanese Imperialist invasion of the Southeast Pacific. The prize awards $10,000 to an Alberta-based author of a work of excellent fiction or narrative non-fiction. http://www.epl.ca/alberta-readers-choiceHarperCollins Canada, the Cooke Agency, and the University of British Columbia have announced the shortlist of the annual HarperCollins Publishers/UBC Prize for Best New Fiction awarded to students and alumni of UBC’s creative writing program, and offers the winner literary representation by the Cooke Agency and a publishing contract with HarperCollins Canada.“Between the Wind and Us” by Iranian-Canadian writer Nazanine Hozar, the story of a young abandoned girl set during the political unrest of 1953–1979 Iran.“Learning to Breathe” by B.C.-based Janice Lynn Mather, a young adult novel about a Caribbean teenager’s struggle to establish herself in a new city and home life.“At The Top of the Wall, Alight” by Sudbury, Ontario, author Natalie Morrill, which follows a Viennese Jew separated from his family during the Second World War. An early version of this novel was previously nominated for the award.Novelist and University of Guelph writing professor, Thomas King, and L.A.-based author, graphic novelist, and musician, Cecil Castellucci, have been named winners of this year’s Sunburst Awards for excellence in Canadian literature of the fantastic. Castellucci won in the YA category for “Tin Star” (Roaring Brook/Raincoast), the first novel in a planned series about a teenager who struggles to survive parent-less in a space station where she is the only human, and which played scene to a brutal assault that haunts her memory. King won in the adult category for his novel “The Back of the Turtle” (HarperCollins Canada), for which he also received a Copper Cylinder Award from the Sunburst Society last week. The book follows a First Nations scientist who finds himself torn after he’s sent to clean up the ecological mess his company has left on the reserve his family grew up on.Be sure to save October 28th on your calendar for the GG book awards announcement. Of course, “GG” stands for Governor-General. The short lists can be viewed here:http://ggbooks.ca/books/. There are categories in both English and French for both children’s text and illustration books.Online ResourcesPodcast: Yegs and Bacon: Episode 22: the full audio from our recent Indigenous Representation in Popular Culture panel. In the audio, you’ll be hearing from (in order of first vocal appearance) Brandon, who introduces the panelists, James Leask, Richard Van Camp, Kelly Mellings, and Patti Laboucane-Benson. Recorded on Monday, September 28th, 2015. http://variantedmonton.com/category/yegs-and-bacon/European Picture Book Collection: The EPBC was designed to help pupils to find out more about their European neighbours through reading the visual narratives of carefully chosen picture books. Here you can find out about how the project began, the theoretical papers that have been presented on European children's literature, and how the materials were initially used in schools. http://www.ncrcl.ac.uk/epbc/EN/index.aspMore next time around,Yours in stories, Gail de VosGail de Vos is an adjunct professor who teaches courses on Canadian children's literature, young adult literature, and comic books & graphic novels at the School of Library and Information Studies (SLIS) at the University of Alberta. She is the author of nine books on storytelling and folklore. Gail is also a professional storyteller who has taught the storytelling course at SLIS for over two decades.