Relevant bibliographies by topics / Poetry and rhythm

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetry and rhythm'

Author: Grafiati
Published: 4 June 2021
Last updated: 5 February 2022

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Journal articles on the topic "Poetry and rhythm"

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Evans, David. "Paul Valéry and the Search for Poetic Rhythm." Paragraph 33, no. 2 (July 2010): 158–76. http://dx.doi.org/10.3366/para.2010.0002.

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Throughout his theoretical writings, Valéry insists on two fundamental principles: poetic rhythm is undefinable and yet it is central to poetry. Although his verse practice evolves from irregularity to regularity, Valéry insists that predictable metrical forms are no guarantee of poeticity, and rejects the Romantic model of rhythmic mimesis based on the cosmos, nature or the human body. It is not by confirming the meaningfulness of regular patterns, therefore, that poetic rhythm signifies; rather, the complex overlapping of multiple, elusive and unanalysable rhythms provides a source of questions to which the answer is constantly deferred; and that, for Valéry, is the definition of poetry.
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Cureton. "Rhythm and Poetic Form: Poetry as Rhythmic “Telling”." Style 53, no. 2 (2019): 236. http://dx.doi.org/10.5325/style.53.2.0236.

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Cureton, Richard D. "Rhythm and Poetic Form: Poetry as Rhythmic "Telling"." Style 53, no. 2 (2019): 236–56. http://dx.doi.org/10.1353/sty.2019.0016.

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Tsur, Reuven. "Metre, rhythm and emotion in poetry. A cognitive approach." Studia Metrica et Poetica 4, no. 1 (August 7, 2017): 7–40. http://dx.doi.org/10.12697/smp.2017.4.1.01.

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This essay integrates what I have written on the contribution of meter and rhythm to emotional qualities in poetry, opposing them to emotional contents. I distinguish between “meaning-oriented” approaches and “perceived effects” approaches, adopting the latter; and adopt a qualitative (rather than quantitative) method of research. Providing a simplified list of structural elements of emotion, I explore structural resemblances between rhythmic patterns and emotions. I investigate such issues as convergent and divergent poetic styles, convergent and divergent delivery styles, hypnotic poetry, the contribution of meter and rhythm to a “dignified quality”; and the rhythmic performance and emotional effect of stress maxima in weak positions. Finally, I locate my work between impressionist criticism on the one hand, and meaning-oriented criticism on the other.
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Dobrescu, Caius. "Drums of Doubt: On the Rhythmical Origins of Poetic and Scientific Exploration." Hungarian Studies Yearbook 1, no. 1 (December 1, 2019): 67–81. http://dx.doi.org/10.2478/hsy-2019-0006.

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Abstract In his article “Drums of Doubt: On the Rhythmical Origins of Poetic and Scientific Exploration” Caius Dobrescu argues that even though the sciences and arts of doubt have never been connected to the notion of rhythm, doubt is a form of energy, and more specifically, a form of vibration. It implies an exploratory movement that constantly expands and recoils in a space essentially experienced as uncharted territory. Poetry acquires cognitive attributes through oscillatory rhythmic patterns that are explorative and adaptive. In order to test this hypothesis, the essay focuses on the nature and functioning of free verse. This modern prosodic mutation brings about a dovetailing of the rhythmic spectrum, but also, and more significantly, a change in the very manner of understanding and experiencing rhythm. Oscillatory rhythms are broadly associable with entrainment indexes that point to the adaptation of inner physiological and behavioral rhythms to oscillatory environment stimuli. Free verse emerges from the experience of regaining an original explorative, adaptive, and orientation-oriented condition of consciousness.
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Dickie, June F. "The Importance of Literary Rhythm When Translating Psalms for Oral Performance (in Zulu)." Bible Translator 70, no. 1 (April 2019): 64–81. http://dx.doi.org/10.1177/2051677018824771.

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Poetry must be heard, and heard in a way that is pleasing and memorable. Much of the beauty and rhetorical power of poetry arises from prosody, that is, patterns of rhythm and sound. Rhythm is composed of four elements that work together to provide aesthetic and emotive strength. It is an important feature of both biblical and Zulu poetry, and thus the translator of psalms (translating into Zulu or any Bantu language) must pay attention to aural components of the source and receptor texts. A recent empirical study invited Zulu youth to participate in translating and performing three praise psalms. They learned the basics of Bible translation and poetics, including rhythm, and their translations show a sensitivity to Zulu poetry and music that makes them highly rhythmic and singable. The underlying understanding of “translating with rhythm” can be applied to other languages and is an essential element of translating biblical poetry.
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Abbott, Helen. "Sacred Rhythms, Tired Rhythms: Dino Campana's Poetry." Paragraph 33, no. 2 (July 2010): 260–79. http://dx.doi.org/10.3366/para.2010.0008.

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Early twentieth-century Italian poetry experiences a crisis in confidence concerning the expressibility of rhythm. Dino Campana's writings exemplify the processes the poet goes through in order to write (about) rhythm. Rhythm is difficult to deal with because it is both sacred and tired. These two incarnations of rhythm lead Campana to different modes of expression; from more traditional definitions (in terms of metre or pulse) through to more fluid definitions (in terms of poetic form, syntax and metaphor). Two strands of analysis reveal themselves as central to understanding Campana's theoretical stance, namely fluidity and movement. These point to a careful veiling of rhythm which opens up new spaces for the articulation of something that, whilst difficult, remains the essence of poetry.
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Attridge, Derek. "Rhythm in English Poetry." New Literary History 21, no. 4 (1990): 1015. http://dx.doi.org/10.2307/469197.

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SUPPES, PATRICK. "Rhythm and Meaning in Poetry." Midwest Studies In Philosophy 33, no. 1 (September 25, 2009): 159–66. http://dx.doi.org/10.1111/j.1475-4975.2009.00188.x.

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HOLFORD-STEVENS, L. "LATIN POETRY AND CONDUCTUS RHYTHM." Music and Letters 81, no. 1 (February 1, 2000): 170. http://dx.doi.org/10.1093/ml/81.1.170-a.

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Dissertations / Theses on the topic "Poetry and rhythm"

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Johnson, Miriam Janell. "The South is Following me Again, and, Runaway rhythm 1900-2011." Thesis, University of Edinburgh, 2012. http://hdl.handle.net/1842/7742.

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The South Is Following Me Again is a collection of poetry composed over a three-year period, which focuses on my interest in my roots as an ex-patriot from the American South and the growing occurrences of runaway rhythm within my own work as I researched and defined the term. There is a strong theme of ‘Southernism’ that permeates the collection and is evident in the nostalgically atmospheric poems such as “A Haunting”, “Greenhouse Effect”, and “Textually Active” as they present an interesting and somewhat foreboding sense of the South. The collection then moves into a series of four southern dialect poems, which explore phonetically written poetry of a southern family, as it evolves away from the Southern epicentre of the collection. Delicate issues such as Mexican/American immigration in the poem “Immigration Policy”, and deaths and illnesses of friends and lovers in “Poem for a Murdered Friend”, “Radio Therapy”, and “Audience Participation” are dealt with strategically by refusing to sentimentalise or moralise the subject. There are a few poems that deal with love and sex in engaging and playful forms, as can be seen in “Answering God’s Call” and the “Torture Garden” series, which leads characters through a memorable visit to a hardcore fetish night, and marks the point in the collection where the reader is furthest removed from the South. Some of the poems hinge on more intellectually surreal concepts such as “Esoteric”, “The Guards”, “Timeless”, and “Café Tutu Tango” and challenge the reader to disentangle the rhythm from the content of the lines. Moving on from the esoterically obscure, the poems “Travelling Horses”, “Bottoms Up”, and “Bombilation: a cousin of Howl” echo my growing understanding of runaway rhythm as it pushes against the elements that bind together the sense and movement of the lines. Finally, the collection ends with the long, elegiac poem “A Natural Beauty”, which brings together aspects of the American South and the United Kingdom, and in which the rhythms are intertwined with memory to provide an extended release for the reader. The critical element, entitled “Runaway Rhythm 1900-2011”, defines the term “runaway rhythm” as a rhythm that is formed by various nuances of grammar, syntax, and poetic mechanisms to create minute separations between the movement and sense of the lines. In utilising this form of rhythm, the poet encourages the reader to engage with the poem by drawing their attention to the content and theme while simultaneously linking it to the structure. I will be focusing on runaway rhythm in selected works by Marianne Moore, Denise Levertov, Robert Creeley and discussing how it is still used by contemporary poets Adam York and Gerald Stern, and within my own collection.
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Jagger, Jasmine Jeanne. "Affective rhythms in Edward Lear, T.S. Eliot, and Stevie Smith." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278872.

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This thesis reads individual affects in the compositions of Edward Lear, Thomas Stearns Eliot, and Stevie Smith. My central question is the extent to which compositions can be driven by, perform, and treat affect. In exploring how rhythmical tendencies ally with the representations of affect in poets’ published verses and unpublished manuscripts, I investigate how feelings are patterned and performed by poets and their poems. My research method combines close reading and biographical research with examinations of unpublished archival materials housed in the Houghton Library in Harvard, Berg Collection in New York, and McFarlin Library in Tulsa. The three types of affect I examine are: tears in Edward Lear (chapter one), nerves in T. S. Eliot (chapter two), and aggression in Stevie Smith (chapter three). Each chapter is divided into three sections and a fourth concluding section. These are chronologically as well as thematically shaped to follow the progress of a life as it comes to terms with affect in writing. In Chapter One, Lear’s Tears: ‘Breaking’ looks at moments of emotional rupture or bursting in Lear’s verses; ‘Private melody’ explores how tearfulness is secreted into and by his compositions; ‘Turtle, you shall carry me’ examines Lear’s dramatisation of rhythm as carrying us through upset; and ‘Too deep for tears’ contemplates Lear’s playful surfaces as leading us unknowingly into tearful depths. In Chapter Two, Eliot’s Nerves: ‘Early jitters’ looks at Eliot’s rhythms as dramatising moments of nervous crisis in the Inventions of the March Hare drafts; ‘Nerves in patterns’ explores how he develops this technique throughout the 1920s as influenced by his personal, theoretical, and socio-medical context; ‘Sickly vehicle’ questions whether The Waste Land drafts dramatise nervous breakdown and its treatment; and ‘When words fail’ explores Eliot’s apprehension of rhythm as a way ‘to report of things unknown’ and ‘to express the inexpressible’. In Chapter Three, Smith’s Scratches: ‘Beast within’ looks at how Smith considers her Muse to be an aggressive other that scratches for release from within her; ‘Scratching out’ examines how fantasies of violence are played out in her verses to bring her ‘ease’; ‘Too low for words’ explores how off-kilter rhythms dramatise ‘mental disequilibrium’ in her writing after 1953; and ‘Darker I move’ uncovers, through a close examination of Smith’s dying rhythms, that her music lay deeper than her words. In my afterword on disorder and dancing, I argue that these discoveries illuminate our understanding of poetics, at whose heart lies a mysterious acknowledgment of the psychosomatic nature of expression and its drive to release and re-form thoughts and feelings. If poetic rhythm can dramatise attempts to articulate and control affect, then affect moves the human creature and its language in the same way as rhythms move through bodies of poetry. This small-scale observation has large-scale implications for literary practice as feeding on psychosomatic disorder while crafting compositions of thoughts and feelings lying beyond human articulation and comprehension.
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Al-Athari, Lamees. ""This rhythm does not please me" : women protest war in Dunya Mikhail's poetry." Thesis, Manhattan, Kan. : Kansas State University, 2008. http://hdl.handle.net/2097/865.

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Mahoney, Kathleen. "Musicality in nineteenth-century French poetry prior to the emergence of free verse : Baudelaire, Mallarmé." Thesis, Birkbeck (University of London), 2002. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.268846.

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Lau, Wing. "The Expressive Motivation of Meter Changes in Brahms's Lieder." Thesis, University of Oregon, 2015. http://hdl.handle.net/1794/19314.

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Metric dissonance in Brahms’s music is not an unfamiliar topic. Hemiola, offbeat accents, and syncopations are Brahms’s common metric strategies. These metric manipulations often facilitate a displacement between the audible and the notated downbeats, leading many scholars to question the importance of Brahms’s notated meters and notated barlines. However, Brahms does not hesitate to change the notated meter when he wants a new one to prevail, especially in his solo songs. Out of 194 songs for solo voice with piano accompaniment written and published during Brahms’s life time, 41 of them involve notated meter changes. This dissertation offers a new perspective on the function and expressive effect of notated meter changes in Brahms’s songs—a topic that has gone largely unexplored in current scholarship on rhythm and meter. I outline three types of meter changes: (1) the brief appearance of a new meter or meters; (2) different meters for sections with different affects; (3) the quick and regular alternation of triple and duple/quadruple meters, a technique typical in Slovakian and Bohemian dances, which Brahms employed to preserve the composite rhythm in folk or folk-like poetry. A close analysis of the notated meter changes in Brahms’s songs reveals how much his careful attention to the notated meter reflects his sensitivity to the pacing of music and words. Drawing upon poetic prosody and metric analysis, this dissertation shows how this pervasive but underexamined aspect of Brahms’s songwriting style relates to both the sound and sense of the poems he sets.
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Hall, Kira Ann. "How Can We Know The Poet from The Poem?: Cross-examining the Poetic Process." Ohio University Honors Tutorial College / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1556238425343561.

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Thune, Lucie Noel. "Sense of Duration." VCU Scholars Compass, 1998. http://scholarscompass.vcu.edu/etd/1279.

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The following writings contain different segments about the concept of time. To best describe certain feelings and thoughts concerning my ideas and work I have used poetry and short stories in a prosaic manner. I also felt it necessary to include some historic facts about the history of time and its measuring devices.
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Steinle, Larissa Fernanda [UNESP]. "Variações rítmicas e literatura de tradição oral na poesia de Manuel Bandeira." Universidade Estadual Paulista (UNESP), 2018. http://hdl.handle.net/11449/154375.

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A pesquisa propõe o estudo da presença da cultura popular na poesia de Manuel Bandeira, por meio da análise do modo como ritmos de textos criados pelo imaginário popular são incorporados à poesia de autoria do poeta modernista. Sendo assim, partimos inicialmente do levantamento de poemas que evocam explicitamente a literatura popular de tradição oral para, em seguida, analisar os aspectos formais que constituem o nível rítmico dos poemas, visando a sempre estabelecer uma ligação entre aspectos rítmicos e semânticos, ao estudo não apenas da estrutura, mas da função exercida por ela no poema. Para tanto, utilizamos como fundamentação teórica as lições sobre ritmo e análise de poemas presentes em O estudo analítico do poema (2006), de Antonio Candido; os ensinamentos sobre fonologia, expressos por Roman Jakobson, em Seis lições sobre o som e o sentido (1977), dentre outros estudos. Sobre a obra do poeta, Manuel Bandeira, consultamos obras críticas como Humildade, paixão e morte (2009), de Davi Arrigucci Jr. e Manuel Bandeira: verso e reverso (1987), livro organizado por Telê Porto Ancona Lopes. O caráter popular da poesia de Bandeira é abordado por meio de diversos estudos e registros da cultura e da música populares brasileiras realizados por Mário de Andrade e de obras como Literatura oral no Brasil (1984), de Luis da Câmara Cascudo. Foram selecionados seis poemas, distribuídos em quatro livros do poeta, sendo que dentre eles encontramos diferentes tipos de composições populares, sendo elas cantigas infantis, acalantos e orações. Espera-se assim, compreender o papel da cultura popular na obra de Manuel Bandeira.
This research intends to study the presence of the popular culture in Manuel Bandeira’s poetry, through the analysis of the manner in which the rhythms of the texts created by the popular imaginary are incorporated into the modernist author’s works. Thus, we start by the selection of poems that explicitly evoked the popular literature of oral tradition to, in sequence, analyze the formal aspects that constitute the rhythmic level of the poems. In so doing, we seek to establish a connection between the rhythmic and the semantic aspects, in order to study, not only the structure, but also the role it plays in the poem. For this purpose, we use as theoretical basis the lessons about rhythm and poem analysis present in O estudo analítico do poema (2006), by Antonio Candido and the teachings about phonology expressed by Roman Jakobson in Seis lições sobre o som e o sentido (1977), among others. About Manuel Bandeira’s works, we will consult critical works such as Humildade, paixão e morte (2009) by Davi Arrigucci Jr. and Manuel Bandeira: verso e reverso (1987), a book organized by Telê Porto Ancona Lopes. The popular aspect of Bandeira’s poetry is approached through several studies and registers of Brazilian’s popular culture and music by Mário de Andrade, works such as Literatura oral no Brasil (1984), by Luís da Camara Cascudo. We selected six poems distributed among four of the author’s books, among which we find different kinds of popular compositions, like children’s songs, lullabies, prayers, among others. Thereby, we hope to comprehend the role played by popular culture in Manuel Bandeira’s works
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Camargo, Sarah Valle. "Traduzindo Twenty-one love poems de Adrienne Rich: ambivalência rítmica como re-visão da tradição." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-25032019-121336/.

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Este trabalho propõe uma primeira tradução do conjunto de poemas Twenty-One Love Poems (1974-1976) de Adrienne Rich para o português brasileiro e divide-se em dois eixos: o primeiro centra-se nos estudos feministas da tradução, revisando o projeto de Adrienne Rich e o balanço entre a cooperação da tradutora e a tradução como crítica. Discutem-se, caso a caso, as marcações de gênero na tradução, pensando a falácia da neutralidade e as possibilidades relacionadas ao gênero gramatical, com base nos trabalhos de Olga Castro e Myriam Diaz-Diocaretz. O segundo eixo centra-se nas estratégias de recriação de aspectos retórico-formais tais como o contraste entre características antiestéticas e a ambivalência rítmica gerada pela evocação do blank verse, aspectos implicados no ato de re-visão da tradição dos sonetos de amor ingleses performada pela sequência. Com base nos trabalhos de Alice Templeton, Sheila Black, Alicia Ostriker, dentre outras, busca-se mostrar como a postura ambivalente em relação à tradição poética é constituinte do desafio de Rich em sua busca por uma linguagem feminista que alinharia o estético e o político. Para a abordagem da recriação de traços formais, mobilizam-se trabalhos de Paulo Henriques Britto, Mário Laranjeira e Derek Attridge. O conceito de ambivalência que amarra o trabalho recai, por fim, sobre o uso de dêiticos para demarcar espaços, nomear o corpo e fundar a subjetividade autocrítica da voz poemática. Veicula-se a opacidade dos dêiticos, conforme abordada por Giorgio Agamben, a uma postura ambígua frente ao ato adâmico de nomear.
This work presents and discusses a translation of Adrienne Rich\'s set of poems Twenty-One Love Poems (1974-1976) into Brazilian Portuguese. Based on Alice Templeton\'s criticism, it aims to explore the notion of dialogue as well as the re-vision (Rich\'s concept) of the love sonnets\' tradition performed by this sequence of lesbian poems, perhaps the first one written by a major North American poet. The work consists of two parts: the first one focuses on feminist translation studies and the balance between translator\'s cooperation and criticism. It also discusses gender marks on a case-by-case basis, considering the fallacy of neutrality and some possibilities related to grammatical gender, based on the works of Olga Castro and Myriam Diaz-Diocaretz. The second part outlines strategies of re-creation of rhetorical-formal traits such as the anti-aesthetic features and the rhythmic ambivalence given by the poems\' evocation of the blank verse. Formal traits such as these reiterate the challenge faced by Rich in her search for a feminist language in confrontation with the masculine canon, as she reworks traditional poetic forms from another perspective, looking for the dream of a common language, that would align the poetic and the political aspects. This act of translation deals not only with the recreation of traditional Portuguese verse forms, but with the transposition of the notion of tradition to another context as well. This approach is based on the works of Haroldo de Campos, Paulo Henriques Britto, Mário Laranjeira and Derek Attridge.
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Vincenot, Matthias. "La poésie et la chanson, un cousinage compliqué." Thesis, Paris 4, 2011. http://www.theses.fr/2011PA040008.

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Après une introduction présentant un historique des rapports entre la poésie et la chanson, cette thèse tente de déterminer d’abord ce qui peut faire poésie, en s’arrêtant sur la mise en musique des poèmes, étudiant notamment comment un poème peut devenir une chanson ; ensuite, il sera question de la chanson, de la façon dont on peut la définir comme de son pouvoir évocateur, ce que le chanteur Eric Guilleton appelle « la bande originale de nos vies », qui n’est pas sans conséquences dans la culture et la mémoire populaires. La troisième partie s’arrête sur la musique des mots, et donc sur l’utilisation du son, dans la poésie comme dans la chanson. La quatrième partie présente le rapport des chanteurs à la poésie, ainsi que celui des poètes à la chanson. Les témoignages de poètes et de chanteurs permettent de déterminer si tel art est, ou non, étranger à ceux qui pratiquent l’autre. Enfin, il est question du débat ouvert par Jacques Roubaud au sujet de la poésie aujourd’hui, auquel cette thèse prend part, suivi d’un bref panorama qui amène à déterminer la nature et la place du slam
After an introduction explores the historical bond between poetry and song, the first part of this thesis tries to define what poetry is and how music is used to transform a poem into a song. The second part then discusses the definition of singing and in particular, its evocative power and its consequences on culture and popular memory : what Eric Guilleton calls “the soundtrack of our lives”. The third part focuses on the musicality of words themselves, and how it is used in both poetry and singing. The fourth part emphasizes the relationship that singers have with poetry and songs, by trying to determine whether artists practicing the poetry can understand and practice the music, and vice-versa. This is emphasized through testimonials of poets and singers. The thesis concludes with the debate initiated by Jacques Roubaud about what poetry is today, as well as the nature and place of this new form of performance called “slam”
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Books on the topic "Poetry and rhythm"

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Cruz, Victor Hernández. Rhythm, Content & Flavor. Houston, USA: Arte Público Press, 1988.

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Rodgers, Denise. Great Lakes rhythm & rhyme. Spring Lake, Mich: River Road Publications, 2003.

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Kane, Julie. Rhythm & booze: Poems. Urbana, IL: University of Illinois Press, 2004.

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Rhythm & booze: Poems. Urbana: University of Illinois Press, 2003.

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Russian poetry: Meter, rhythm, and rhyme. Berkeley: University of California Press, 1986.

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Scherr, Barry. Russian poetry: Meter, rhythm, and rhyme. Berkeley: University of California Press, 1986.

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Rhythm and will in Victorian poetry. Cambridge, UK: Cambridge University Press, 1999.

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Hafiz, Hisham Ali. Words with rhythm: Second beat. London: Kegan Paul, 1995.

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Olusunle, Tunde. Rhythm of the mortar: Poems. Ibadan, Oyo State, Nigeria: Kraftgriots, 2001.

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1944-, Küper Christoph, ed. Meter, rhythm, and performance =: Metrum, Rhythmus, Performanz. Frankfurt am Main: P. Lang, 2002.

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Book chapters on the topic "Poetry and rhythm"

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Livingstone, Dinah. "Rhythm, Stress, Metre." In Poetry Handbook, 1–31. London: Macmillan Education UK, 1993. http://dx.doi.org/10.1007/978-1-349-22398-5_1.

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Skoulding, Zoë. "Address and Rhythm." In Contemporary Women’s Poetry and Urban Space, 21–40. London: Palgrave Macmillan UK, 2013. http://dx.doi.org/10.1057/9781137368041_2.

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Allen, Michael. "Rhythm and Development in Michael Longley’s Earlier Poetry." In Contemporary Irish Poetry, 214–34. London: Palgrave Macmillan UK, 1992. http://dx.doi.org/10.1007/978-1-349-80425-2_11.

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Whitworth, Michael H. "Rhythm, Form, and Diction in Modernist Poetry." In A Companion to Modernist Poetry, 4–19. Oxford, UK: John Wiley & Sons, Ltd, 2014. http://dx.doi.org/10.1002/9781118604427.ch1.

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McLoughlin, Nigel. "Gerard Manley Hopkins: Sprung Rhythm, Inscape and Instress." In The Portable Poetry Workshop, 164–70. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-60596-2_25.

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Tate, Gregory. "Mathilde Blind: Rhythm, Energy, and Revolution." In Nineteenth-Century Poetry and the Physical Sciences, 185–223. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-31441-5_6.

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Bernard, Floris. "Rhythm in the Byzantine Dodecasyllable: Practices and Perceptions." In Middle and Late Byzantine Poetry: Texts and Contexts, 13–41. Turnhout, Belgium: Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.sbhc-eb.5.115582.

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Treece, David. "Rhythm and Poetry: Politics, Aesthetics and Popular Music in Brazil since 1960." In Cultural Politics in Latin America, 29–42. London: Palgrave Macmillan UK, 2000. http://dx.doi.org/10.1007/978-1-349-63055-4_2.

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Fant, G., A. Kruckenberg, and L. Nord. "Stress patterns and rhythm in the reading of prose and poetry with analogies to music performance." In Music, Language, Speech and Brain, 380–407. London: Macmillan Education UK, 1991. http://dx.doi.org/10.1007/978-1-349-12670-5_36.

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Ehlers, Sarah. "The Left Needs Rhythm." In Left of Poetry, 181–218. University of North Carolina Press, 2019. http://dx.doi.org/10.5149/northcarolina/9781469651286.003.0005.

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This chapter considers the role of the archive in left literary studies through a recovery of Jewish-American communist poet Martha Millet. Specifically, it uses Millet’s work to trace a history and theory of poetic rhythm that rethinks the relationship between modernist poetic forms and left politics. The chapter’s first section uses Millet’s involvement with the children’s magazine The New Pioneer to unpack the historical relationship between traditional forms and political community formation. The generic histories enacted by communist children’s poems provide a foundation for considering how rhythm was evoked in Popular Front and antifascist poetic discourses. The second section argues that during the Popular Front diverse traditional genres were collapsed into an ideal rhythmic poem, where rhythm described both form and function. The third section focuses on Millet’s contributions to Seven Poets in Search of an Answer (1944) to demonstrate how rhythm was redefined in antifascist discourses. Throughout, the chapter suggests how Millet’s poetry might be read in relation to poets such as Carl Sandburg, Lorine Niedecker, and Kenneth Fearing. A coda returns to Millet’s Cold War criticism in order to ask what is at stake in her critical erasure and her critical recovery.
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Conference papers on the topic "Poetry and rhythm"

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Ahmed, Munef Abdullah, and Stefan Trausan-Matu. "Using natural language processing for analyzing Arabic poetry rhythm." In 2017 16th RoEduNet Conference: Networking in Education and Research (RoEduNet). IEEE, 2017. http://dx.doi.org/10.1109/roedunet.2017.8123759.

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Yang, Xiaopeng, Xiaowen Lin, Shunda Suo, and Ming Li. "Generating Thematic Chinese Poetry using Conditional Variational Autoencoders with Hybrid Decoders." In Twenty-Seventh International Joint Conference on Artificial Intelligence {IJCAI-18}. California: International Joint Conferences on Artificial Intelligence Organization, 2018. http://dx.doi.org/10.24963/ijcai.2018/631.

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Computer poetry generation is our first step towards computer writing. Writing must have a theme. The current approaches of using sequence-to-sequence models with attention often produce non-thematic poems. We present a novel conditional variational autoencoder with a hybrid decoder adding the deconvolutional neural networks to the general recurrent neural networks to fully learn topic information via latent variables. This approach significantly improves the relevance of the generated poems by representing each line of the poem not only in a context-sensitive manner but also in a holistic way that is highly related to the given keyword and the learned topic. A proposed augmented word2vec model further improves the rhythm and symmetry. Tests show that the generated poems by our approach are mostly satisfying with regulated rules and consistent themes, and 73.42% of them receive an Overall score no less than 3 (the highest score is 5).
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Kataoka, Kuniyoshi. "Poetics through Body and Soul: A Plurimodal Approach." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.4-1.

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In this presentation, I will show that various multimodal resources—such as utterance, prosody, rhythm, schematic images, and bodily reactions—may integratively contribute to the holistic achievement of poeticity. By incorporating the ideas from “ethnopoetics” (Hymes 1981, 1996) and “gesture studies” (McNeill 1992, 2005), I will present a plurimodal analysis of naturally occurring interactions by highlighting the interplay among the verbal, nonverbal, and corporeal representations. With those observations, I confirm that poeticity is not a distinctive quality restricted to constructed poetry or “high” culture, but rather an endowment to any kind of natural discourse that is co-constructed by various semiotic resources. My claim specifically concerns a renewed interest in an ethnopoetic kata ‘form/ shape/ style/ model’ embraced as performative “habitus” among Japanese speakers (Kataoka 2012). Kata, in its broader sense, is stable as well as versatile, often serving as an organizational “template” for performance, which at opportune moments may change its shape and trajectory according to ongoing developments. In other words, preferred structures are not confined to an emergent management of performance, but should also incorporate culturally embedded practices with immediate (re)actions. In order to promote this claim, I explore a case in which mutually coordinated performance is extensively pursued for sharing sympathy and camaraderie. Such a kata-driven construction was typically observed in a highly involved, interactional interview about the Great East Japan Earthquake, in which both interviewer and interviewee were recursively oriented and attuned to the same rhythmic and organizational pattern consisting of an odd-number of kata. Based on these observations, I argue that indigenous principles of organizing discourse are as crucial as the mechanisms of conversational organization, with the higher-order, macro cultural preferences inevitably infiltrating into the micro management of spontaneous talk.
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Vyshpinska, Yaryna. "Formation of Creative Personality of Students Majoring in «Preschool Education» in the Process of Studying the Methods of Musical Education." In ATEE 2020 - Winter Conference. Teacher Education for Promoting Well-Being in School. LUMEN Publishing, 2021. http://dx.doi.org/10.18662/lumproc/atee2020/38.

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The body of the article goes on to discuss the creative models of a student’s personality’s development in the process of mastering the course «Theory and methods of musical education of the preschool children». In general, the teacher's profession accumulates a big number of opportunities for the creative improvement of a would-be teacher's personality. All types of activities used while working with children in the process of mastering the artistic competencies (like fine arts, modeling, designing, appliqué work or musical activities) require not only technical skills, but also sufficient creative imagination, lively idea, the ability to combine different tasks and achieve the goals. Achieving this task is possible if students are involved into the process of mastering the active types of musical activities – singing, musical-rhythmic and instrumental activity, development of aesthetic perception of musical works. While watching the group of students trying to master the musical activity, it is easy to notice that they are good at repeating simple vocal and music-rhythmic exercises. This is due to the young man's ability to imitate. Musical and instrumental activities require much more efforts and attention. It is focused on the types and methods of sound production by the children's musical instruments, the organization of melodic line on the rhythm, the coherence of actions in the collective music: ensemble or the highest form of performance – orchestra. Other effective forms of work include: the phrase-based study of rhythmic and melodic party, the ability to hear and keep the pause, to agree the playing with the musical accompaniment of the conductor, to feel your partner, to follow the instructions of the partiture. All the above-mentioned elements require systematic training and well selected music repertoire. Students find interesting the creative exercises in the course of music-performing activities which develop musical abilities, imagination and interpretive skills of aesthetic perception of music, the complex of improvisational creativity in vocal, musical-rhythmic and instrumental activity. The experiments in verbal coloring of a musical work are interesting too. Due to the fact that children perceive music figuratively, it is necessary for the teacher to learn to speak about music in a creative and vivid way. After all, music as well as poetry or painting, is a considerable emotional expression of feelings, moods, ideas and character. To crown it all, important aspects of the would-be teacher’s creative personality’s development include the opportunities for practical and classroom work at the university, where they can develop the musical abilities of students as well as the professional competence of the would-be specialist in music activity. The period of pedagogical practice is the best time for a student, as it is rich in possibilities and opportunities to form his or her creative personality. In this period in the process of the direct interaction with the preschool-aged children students form their consciousness; improve their methodical abilities and creative individuality in the types of artistic activity.
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Candela, Gustavo, Pilar Escobar, and Borja Navarro-Colorado. "In search of Poetic Rhythm." In DATeCH2017: 2nd International Conference on Digital Access to Textual Cultural Heritage. New York, NY, USA: ACM, 2017. http://dx.doi.org/10.1145/3078081.3078085.

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Bröggelwirth, Jörg. "A rhythmic-prosodic model of poetic speech." In Interspeech 2005. ISCA: ISCA, 2005. http://dx.doi.org/10.21437/interspeech.2005-45.

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