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Journal articles on the topic 'Poetry and rhythm'

Author: Grafiati

Published: 4 June 2021

Last updated: 5 February 2022

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1

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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9

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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10

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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11

Keller, Sarah. "“As Regarding Rhythm”: Rhythm in Modern Poetry and Cinema." rythmer, no. 16 (April 11, 2011): 129–43. http://dx.doi.org/10.7202/1001959ar.

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This essay examines the connection between modern poetry and cinema through their mutual emphasis on rhythm. It argues that rhythm provides both an alternative mode for structuring non-narrative cinemas as well as an explanatory device for how filmmakers in the modernist milieu believe the cinema works.

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12

Jones, Francis R. "Poetry translators and regional vernacular voice." Target. International Journal of Translation Studies 26, no. 1 (March 7, 2014): 32–62. http://dx.doi.org/10.1075/target.26.1.02jon.

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This study investigates how poetry translators tackle source regional voice within their wider approach to poetic text. It analyses eleven translators’ ‘outputs’ of Scots and English translations from Giuseppe Belli’s 19th-century regionallanguage sonnets, which are set in working-class Rome. Each output was coded for voice (space, community, tenor marking), text-world space, and poetic form (rhyme, rhythm), then analysed quantitatively and qualitatively; translator interviews and translators’ written commentaries provided extra data. Translators ranged along a spectrum (apparently genre-specific) between two extremes: (1) ‘relocalising’ voice into target regional language/dialect with similar workingclass and informal features to Belli’s originals, whilst relocalising place and person names to target-country analogies, and recreating rhyme and rhythm; (2) translating into standard (supra-regional, literary/educated, neutral-toformal) English, whilst preserving Belli’s Roman setting, but replacing rhyme and rhythm by free verse. This reflects a spectrum between two priorities: (1) creatively conveying poetic texture; (2) replicating surface semantics.

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13

권혁웅. "Rhythm Variations Demonstrated in Modern Poetry." Journal of Korean Modern Literature ll, no. 56 (June 2015): 335–67. http://dx.doi.org/10.35419/kmlit.2015..56.010.

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14

Lidov, Joel B. "Alternating Rhythm in Archaic Greek Poetry." Transactions of the American Philological Association (1974-) 119 (1989): 63. http://dx.doi.org/10.2307/284261.

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15

Ferris, Jim. "Against Rhythm: Poetry in Uncommon Time." Journal of Literary & Cultural Disability Studies 1, no. 1 (May 2007): 81–86. http://dx.doi.org/10.3828/jlcds.1.1.9.

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16

Briggs, A. D. P., and Barry P. Scherr. "Russian Poetry: Meter, Rhythm and Rhyme." Modern Language Review 83, no. 3 (July 1988): 807. http://dx.doi.org/10.2307/3731410.

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17

Worth, Dean S., and Barry P. Scherr. "Russian Poetry: Meter, Rhythm, and Rhyme." Slavic and East European Journal 33, no. 3 (1989): 448. http://dx.doi.org/10.2307/308732.

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18

Jang Seok-won. "The rhythm of Park-Mokwol’s poetry." Korean Poetics Studies ll, no. 43 (August 2015): 261–84. http://dx.doi.org/10.15705/kopoet..43.201508.009.

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19

Grosser, Emmylou J. "What Symmetry Can Do That Parallelism Can’t: Line Perception and Poetic Effects in the Song of Deborah (Judges 5:2–31)." Vetus Testamentum 71, no. 2 (January 20, 2021): 175–204. http://dx.doi.org/10.1163/15685330-12341455.

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Abstract The concept of parallelism has framed discussions of biblical poetry for more than two centuries, but there is still no consensus on what exactly parallelism is. This study contends that consensus does not exist because the side-by-side correspondence approach of parallelism is not suited to the part-whole free-rhythm nature of biblical poetic lines. Instead, perceptual symmetry better accounts for certain aspects of poetic lines that have been understood as parallelism. Unlike parallelism, symmetry is able to account for how lines emerge in aural, free-rhythm biblical poetry, as well as how the emergence of lines is intertwined with poetic effects, as demonstrated in the Song of Deborah (Judg 5:2–31). The cognitive poetics framework of this paper shifts scholarly focus from line patterns to the perception of these stimulus patterns, taking seriously the features of the text as well as the mental processing of the active listener.

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20

Basu, Marina. "“This Wave in the Mind”: Resonant Becomings in Reading-Writing Inquiry." Cultural Studies ↔ Critical Methodologies 21, no. 4 (May 5, 2021): 333–43. http://dx.doi.org/10.1177/15327086211010497.

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How might one situate oneself in and respond to research literature in a way that does not assume traditional humanist research paradigms? In response, I engage in poetic inquiry through my readings of certain scholarly articles published in the field of postqualitative inquiry. I present two of them here, based on two articles that strike a rhythm in me; evocations are created and my voice merges with the existing voices in creating further lines of flight. The poetry helps me attune to inquiry and in turn inquiry is revealed as a sensitive attunement to the rhythms of life.

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21

MOHAMMED, Khadeeja Adree, and Rushdi Talal LATIF. "THE POETIC ALLUSION IN JASSIM MOHAMMED JASSIM'S POETRY." RIMAK International Journal of Humanities and Social Sciences 03, no. 06 (July 1, 2021): 499–513. http://dx.doi.org/10.47832/2717-8293.6-3.44.

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The paper deals with intertextuality as an artistic phenomenon that well overwhelms poetry with aesthetic perspectives. The phenomenon enriches the experience of poetry with selective hereditary witnesses that promotes the poetic text with intertextuality and interpretations within the intertextual texts. The paper opens itself with what the lexical and contextual meaning of intertextuality is, then tackles the views of the old and modern critics with reference to intertextuality in poetry and in the poetic text, and finally ends the findings of the paper sealed by the works cited. The poet, Jassim Mohammed Jassim, deals cleverly with the absent text in a high way that shows his skillful awareness and knowledge. His poetic images and the images of the absent text along with the folkloric heritage gather together to form a perfect mingling of rhyme, rhythm, and utterances. His poetic text and the alluded text conspire to, on the one hand, refer to popular names that are often referred to in poetry and, on the other hand, the utterances and terms that are relevant to the world of poetry.

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22

KIVLE, INETA. "P. CHEYNE, A. HAMILTON, M. PADDISON (EDS.) PHILOSOPHY OF RHYTHM: AESTHETICS, MUSIC, POETICS. New York: Oxford University Press, 2019 ISBN 978-0-19-934778-0." HORIZON / Fenomenologicheskie issledovanija/ STUDIEN ZUR PHÄNOMENOLOGIE / STUDIES IN PHENOMENOLOGY / ÉTUDES PHÉNOMÉNOLOGIQUES 10, no. 1 (2021): 312–19. http://dx.doi.org/10.21638/2226-5260-2021-10-1-312-319.

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The review provides an outline of the collective monograph The Philosophy of Rhythm: Aesthetics, Music, Poetics, edited by Peter Cheyne, Andy Hamilton and Max Paddison, published by Oxford University Press, 2019. Concept of rhythm is analysed from different perspectives—philosophical, musicological and psychological. It considers a multidisciplinary approach and also includes both analytic and continental philosophical traditions. Rhythm is viewed as a pulse that is going through various metric structures including particular pieces of music, paintings, examples of poetry and philosophy. Twenty eight authors from the entire world discuss rhythm and specify definitions of rhythm. They try to give answers on crucial questions uniting experienced rhythm in philosophy and arts, thus giving an important contribution to rhythm studies. The book is organised thematically and based on different aspects of rhythm manifestations. The main questions of the research are as follows: How is rhythm experienced? Does rhythm necessarily involve movement? Why rhythm is so deeply rooted in human? How can static configurations be rhythmic? How does a rhythmic structure change from a stable pattern to a flexible texture? All these questions concern two interwoven issues common for the volume in general: immanence of rhythm to arts and human experience of it.

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23

Evans, Kate. "Rhythm ‘n’ Blues Bringing poetry into groupwork." Groupwork 19, no. 3 (January 1, 2009): 27–38. http://dx.doi.org/10.1921/095182410x505631.

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24

장석원. "The Rhythm of Jeong Ji-yong's poetry." Korean Poetics Studies ll, no. 21 (April 2008): 153–77. http://dx.doi.org/10.15705/kopoet..21.200804.006.

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25

Lockwood, Michael. "Getting into the Rhythm: Children reading poetry." Literacy 27, no. 3 (November 1993): 50–53. http://dx.doi.org/10.1111/j.1467-9345.1993.tb00104.x.

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26

Marsden, Jill. "Between Philosophy and Poetry: Writing, Rhythm, History." British Journal of Aesthetics 46, no. 1 (January 1, 2006): 106–7. http://dx.doi.org/10.1093/aesthj/ayj012.

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27

Taylor, Dennis. "Rhythm and Will in Victorian Poetry (review)." Victorian Studies 43, no. 2 (2001): 357–58. http://dx.doi.org/10.1353/vic.2001.0038.

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28

Kolmogorov, A. N., and N. G. Rychkova. "Russian Poetry Rhythm Analysis and Probability Theory." Theory of Probability & Its Applications 44, no. 2 (January 2000): 375–85. http://dx.doi.org/10.1137/s0040585x97977616.

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29

Purvis, Tristan Michael. "Speech rhythm in Akan oral praise poetry." Text & Talk - An Interdisciplinary Journal of Language, Discourse Communication Studies 29, no. 2 (January 2009): 201–18. http://dx.doi.org/10.1515/text.2009.009.

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30

Robey, David, Annalisa Cipollone, and Paola Nasti. "Rhythm and metre in Renaissance narrative poetry." Italianist 20, no. 1 (June 2000): 21–43. http://dx.doi.org/10.1179/ita.2000.20.1.21.

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31

Sautchuk, João Miguel. "Poetic improvisation in the Brazilian Northeast." Vibrant: Virtual Brazilian Anthropology 8, no. 1 (June 2011): 260–90. http://dx.doi.org/10.1590/s1809-43412011000100010.

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This study concerns the singing called repente or cantoria, a modality of improvised sung poetry, practiced in the Northeast region of Brazil. Its practitioners are called repentistas, cantadores or violeiros, and they always sing in duets, alternating in the composition of strophes according to strict parameters of meter, rhyme and thematic coherence. There is a set of rules formulated for this purpose, but the repentistas improvise their verses on a practical basis, such as the poetic rhythm incorporated. The improvisation places the repentista in relation to aesthetic models, such as the rhythm of the poetry, the melodic patterns and the singing rules, at the same time it puts him into a dialogue with the other singer and with the expectations and reactions of the audience. The improvisation, therefore, is not only the poetic vibrant v.8 n.1 joão miguel sautchuk creation, but also the unfolding of a game of interaction between the poets and the other participants in the singing situation.

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32

Al-Shabani, Saad Ali Saleh, and Muhammad Nuri Abbas. "The Composition of the Poetic Verse in The Poetry of Al Wahb Family." Journal of AlMaarif University College 32, no. 2 (April 30, 2021): 163–86. http://dx.doi.org/10.51345/.v32i2.394.g220.

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The purpose of this research is to find out the compositional aspects of the poetic verse in the poetry of the family of the Wahb family, who are the class of writers in the Abbasid era. Their literature had a great position, and They performed a prominent role in the fields of literary life. A combination such as the composition of the poetic verse and the composition of the literary text as well as the technical image in simile, metaphor, and metonymy, and their literature also included the phonological level such as rhythm in poetry, poetic weight, rhyme, and internal music, and we preferred to devise and study the compositional aspects of the verses of the poetry of the Al-Wahb family, and composed the research from an introduction and five demands which are: (news, presentation and delay, deletion, interrogation, call) in which I studied the structural level.

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33

BELAVINA, Ekaterina M. "MOTIFS TRANSFORMATION OF M. DESBORDES-VALMORE LYRICS IN THE WORKS OF MARINA TSVETAEVA." Tyumen State University Herald. Humanities Research. Humanitates 7, no. 1 (2021): 128–43. http://dx.doi.org/10.21684/2411-197x-2021-7-1-128-143.

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The influence of French culture on the poetry of M. Tsvetaeva was noted by her contemporaries (B. Pasternak, S. Bobrov), and also became the subject of scientific research (for example, N. Strelnikova). However, the relationship of her poetry with the French writer work of the romanticism era, M. Desbordes-Valmore (1786-1859), which is almost forgotten in our days, is analyzed for the first time, which seems relevant in light of the growing interest in the role of women in European culture. The article uses a biographical method, with the involvement of the poetics of the rhythm of H. Meshonnik. The article examines the mentions of M. Desbordes-Valmore in M. Tsvetaeva’s poetry and in correspondence with B. Pasternak, provides a brief comparison of biographies in terms of their influence on the formation of a poetic voice. Their tragic fates have a lot in common: both survived revolutions, as a consequence the ruin of the family nest, extreme poverty, the loss of loved ones. The main similarity between M. Tsvetaeva and M. Desbordes-Valmore lies in the auditory imagination, in intonational rhythmic expressiveness and in vivid metaphor. Both M. Desbordes-Valmore and M. Tsvetaeva left evidence of a moment preceding the moment of writing, “music” preceding verbal expression. They often rely on the song as a precedent text (O. Revzina), a precedent rhythm. The autobiographical nature of the lyrics and the musicality bring together so dissimilar authors at first glance. M. Tsvetaeva read M. Desbordes-Valmore in the original, probably having become acquainted with her work at the summer courses in the history of French literature at the Sorbonne. The analysis of the transformations of M. Desbordes-Valmore’s poems motifs in M. Tsvetaeva’s lyrics clearly show not only a deep knowledge and understanding of the French romantic tradition, but also the innovation of her own poetic language.

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34

Buhagiar, Michael. "A Greek Lyric Metre as Vector of the Self in the Poetry of Arthur Symons and Christopher Brennan." Victoriographies 2, no. 2 (November 2012): 163–80. http://dx.doi.org/10.3366/vic.2012.0086.

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Arthur Symons was a major influence on the Australian poet Christopher Brennan (1871–1932). For his long poem The Wanderer, Brennan took from Symons's poetry of the fin de siècle the theme of longing for a lost love, and much of its associated imagery and rhythms. Chief among the latter is the dochmial rhythm of the Aeschylean drama, which expresses, in shorter irregular lines, the spasmodic emotional ejaculations of the common people, and stands in contrast to the measured iambic rhythm and longer lines of the great speeches of the nobles. Eros was highly problematic for both writers, contributing to Symons's breakdown of 1908, and Brennan's ongoing psychological crises of the 1890s. I propose that both writers’ employment of the dochmial rhythm in longer, measured lines, was to ennoble the Self as a subject worthy of respect and study, in a way typical rather of modernism than Decadence.

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35

Lilja, Eva. "Movement and Balance. A comment on Derek Attridge’s Moving Words." Studia Metrica et Poetica 7, no. 2 (December 31, 2020): 90–108. http://dx.doi.org/10.12697/smp.2020.7.2.05.

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This paper discusses some central problems that occur within cognitive versification studies. Derek Attridge’s Moving Words (2013) comments on Richard Cureton’s concept of temporalities. Attridge understands poetic rhythm as movement. He draws the conclusion that movement and repetition are, in principle, contradictory because, in a way, repetition looks backwards and stops the movement. This turns out to be a complicated statement, as repetition seems to be the only poetic device that is common in poetry all over the world. However, it may be possible to understand the relationship between movement and repetition with the help of Reuven Tsur’s concept of back-structuring. This shows how verse rhythm is spatialised as well as has the ability to move in time. This is possible because of gestalt borders that close the sequences. Additionally, Cureton’s fourth thematic temporality is useful to solve the conflict. Temporality is a complex reality, and poetic rhythm also has the ability to stand still.

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36

Mohammad Ali Ibnian and Mohammed Ali Reda Mallah. "al-Lughah al-‘Arabīyah wa-Jamālīyāt al-Īqā‘." Al-Ma‘rifah 16, no. 2 (October 30, 2019): 194–204. http://dx.doi.org/10.21009/almakrifah.16.02.08.

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The relationship between Arabic language and the musical rhythm is very strong, the language is an art pot of different colors and forms, the rhythm is closely related by the sense and the pronunciation, and it is the strength of poetry and the Base of systems. Singing has not found a place since the pre-Islamic era until the poetry emerged which was truly the Dīwān of Arabs. The art of singing has become more prevalent than other musical Arts in the Arab world. The songs were the first musical expressive tools that added to the melody of poetry more attractive and fun elements. So the study came to show the relationship between music and Arabic language in terms of structures, rules and construction, which are what they share together. The study also concerned about the importance of rhythm in the linguistic music structure.

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37

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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38

Ballam, J. "Book review. Fascinating rhythm. Telling rhythm: body and meaning in poetry. Amittai Aviram." Essays in Criticism 46, no. 1 (January 1, 1996): 88–93. http://dx.doi.org/10.1093/eic/46.1.88.

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39

Bak, Seong-geun. "Re-understanding of Rhythm for Modern Poetry Education." Journal of Korean Language and Literature Education ll, no. 61 (June 2016): 223–56. http://dx.doi.org/10.17247/jklle.2016..61.223.

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40

Meeus, Nicolas, and Christopher Page. "Latin Poetry and Conductus Rhythm in Medieval France." Revue belge de Musicologie / Belgisch Tijdschrift voor Muziekwetenschap 53 (1999): 275. http://dx.doi.org/10.2307/3686868.

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41

Popin, Marielle, and Christopher Page. "Latin Poetry and Conductus Rhythm in Medieval France." Revue de musicologie 85, no. 2 (1999): 361. http://dx.doi.org/10.2307/947090.

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42

Wulstan, David, and Christopher Page. "Latin Poetry and Conductus Rhythm in Medieval France." Notes 55, no. 3 (March 1999): 643. http://dx.doi.org/10.2307/900418.

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43

Arata. "Rhyme, Rhythm, and the Materiality of Poetry: Response." Victorian Studies 53, no. 3 (2011): 518. http://dx.doi.org/10.2979/victorianstudies.53.3.518.

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44

Avery, S. "Matthew Campbell., Rhythm and Will in Victorian Poetry." English 51, no. 201 (September 1, 2002): 315–19. http://dx.doi.org/10.1093/english/51.201.315.

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45

Laarif, Boutheina Boughnim. "Poetry: The Experience of Listening." Janus Head 18, no. 1 (2020): 30–41. http://dx.doi.org/10.5840/jh20201813.

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As a verbal art, the “specifica poetica ” of poetry is incontestably its peculiar rhythmic and sound patterning. Regarded as a ‘twin-sister’ of music, as it originally was meant to be sung, poetry offers a different experience of language and the world. Reciting a poem, reading it ‘aloud mentally’, or simply listening to someone else’s recitation is not a trifle experience. It may prove unsettlingly significant in the light of recent philosophical treatments, inscribed into Heidegger’s existential thought based on his multi-dimensional notion of temporality intrinsic in Being/Dasein, notably, Jean-Luc Nancy, Philippe Lacoue- Labarthe and Jacques Derrida. In the present essay, I shall primarily focus on Nancy’s compelling conception of the act of listening which he expounds in his book Listening. Drawing upon a plethora of philosophers, such as, Heidegger, his friend Lacoue-Labarthe and others, Nancy elaborates a forceful understanding of the act of listening beyond the meaning-bound, message-focused one. With a challenging, rich philosophical verve, Nancy probes the experience of listening to music, (poetic) rhythm and even to mere human voices’ timbre and links it to our own awareness of our own subjectivity, as well as perceiving subjects engaging with the world surrounding us. Listening mirrors our own selves. It makes reverberate our silent, inner depths whose essence lies beyond the meaning-loaded constructs which define our existence. Being fundamentally temporal, the subject’s economy is perceived, from this temporally existential view, as governed by an unremitting mimetic deferral, continuity and inception, or in rhythm’s logic, repetition and spacing . Poetry, like music, sets (rhythmic, sound) expectations and is perceived as an experience of immanence. The act of listening to a poem being recited or simply ‘reading it aloud mentally’, echoes the subject’s very economy and the perpetual, inceptive deferral underlying its formation, while at the same time reinforces it. What Nancy calls “to listen with all its being” (35), is what Whitman seems to exhort his reader to perform in his exhilarating work Song of Myself to which I refer in the second part of the present essay.

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Lajic-Mihajlovic, Danka. "The temporal dimension of epic songs." Muzikologija, no. 6 (2006): 343–64. http://dx.doi.org/10.2298/muz0606343l.

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Since research into south-Slav epic songs began, finding its place within philological sciences, the musical component has been marginalized. In extreme cases the correlation between poetry and music was even denied. In the relatively few (ethno)musicological works dealing with the epic songs that correlation was observed mainly on the macro-formal level. The author maintains that any systematic research of the functional melopoetic structure of Serbian epic songs should include the temporal features of music. The article is an essay on the methodology in which the poetry?music relationship is investigated from the point of view of their temporal dimension. The flow of music?poetry content is observed from the perspectives of tempo and rhythm, primarily as relations between durations on different structural levels. The chosen examples consist of two variants of an epic song, typical of their kind, which have the same subject and structural bases. The performers were two gusle-players, so that the performing bodies were the same. In the course of analysis, focus was directed on the musical equivalents of elements of poetic structure considered to be constant, or at least showing strong tendencies towards expression in verse forms. The analysis demonstrated that the musical component was the critical value needed to differentiate the systems of relations between the poetic and musical components, i.e. styles of interpretation. The chosen individual styles represent contrasting approaches to the organization of the poetic content in time. Although the temporal dimension in both examples is semanticised, its values in those styles are diametrically different. At one extreme a construction is found in which the relation of morphological unit values on poetical and musical levels demonstrates a specific interaction on the structural level. The symmetry on the macro plan depends on the constancy of the verse length, but it cannot be maintained that music is fully in the service of poetry. The reason for that is to be found mainly in the (isochrone) basis of the melopoetic, i.e. musical rhythm that, contrary to expectation (in view of the primary function of epic songs), is not achieved according to the dynamics of speech. The causes of such non-correspondence could be detected in the archaic links of epic songs with genres possessing characteristic rhythms of movement, first of all with rituals belonging to the death cycle, and/or changes in the prosody of the Serbian language. The other extreme is to be found in a style that represents, in a certain way, a quality development in the process of transferring the structural center of gravity from poetry to music. It should be added that in the course of that process the semantics of that style?s temporal dimension on the macro-plan stays in closest relation with the structure of verse and syntax. The key no correspondence of durations of spoken and sung syllables demands wider elaboration of the relation between the rhythm of poetry and music. While not denying the importance of regional differences, the author finds more probable the hypothesis that the key differences between the researched styles are linked to their development, from sin practical to sin logical "from representation to understanding", i.e. the hypothesis of the polystadiality of Serbian epic tradition. The application of the results of this research on a wider historical/stylistic scale should be approached cautiously, not only because of the scope of the given examples, but primarily because of links with the problematic chronology of the musical-aesthetic phenomena of symmetry and asymmetry, the "evolutive" and "architectonic" principles of structural construction.

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Duma, Mihai. "Pentru O Poetică A Ritmurilor Discursive În Lirica Blagiană." Lucian Blaga Yearbook 20, no. 1 (June 1, 2019): 119–25. http://dx.doi.org/10.2478/clb-2019-0012.

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AbstractLucian Blaga’s writing merges into the boundaries of the European modernism both if we refer to the formal and the theoretical aspects of his work. His poetry shows us the deconstruction of the typical rhymed verse through the use of the white one. But as soon as poetry deconstructs the concepts of rhyme or meter as a necessity to define the formal aspects of writing, there is the resistant concept of rhythm which shows himself a plural concept. The aim of this paper is to investigate rhythm in the poetical creation of Lucian Blaga not as the asset of formal constructions, but as it was proposed by Henri Meschonnic a discursive rhythm which is in a tight relation with the subject of speech.

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Pier, David. "Language ideology and kadongo kamu flow." Popular Music 35, no. 3 (September 14, 2016): 360–79. http://dx.doi.org/10.1017/s0261143016000520.

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AbstractKadongo kamu is a Ugandan guitar-based genre recognisable by its dense storytelling lyrics in Luganda language. This article offers a close analysis of kadongo kamu musical style, focusing on the interface between speech rhythm and musical rhythm. The style's poetic-musical ‘flow’ to be structurally analysed is interpreted with reference to a historically evolved language ideology which construes Luganda to be exceptionally ‘rich’ and ‘deep’. I show how specific musical techniques are used to foreground aspects of Luganda that speakers prize as elegant and learned. This musical artistry enhances listeners’ impressions of the proverb-rich ‘deep Luganda’ poetry for which kadongo kamu singers are famous.

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Rawlins, L. Shelley. "Poetic Existential: A Lyrical Autoethnography of Self, Others, and World." Art/Research International: A Transdisciplinary Journal 3, no. 1 (March 1, 2018): 155–77. http://dx.doi.org/10.18432/ari29208.

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“Poetic Existential” is a collection of lyrical autoethnography. This body of work explores existential themes relating to globalization and the immigration/refugee humanitarian crisis, “freedom” as personal/political/geographical ideology, and my own experiences of being a situated self alongside others. Lyrical poetry coaxes a person to embody and present experience through restrained (Faulkner 52), yet evocative descriptions – without the neat folds and contextual blanketing common to many narrative approaches. The challenge of autoethnographic poetry is to perform a focused crystallization of experience via lyrical aesthetics (arrangement, word choice, rhythm, rhyme, phrase and line structure, etc.). In the accompanying artist statement, I theorize my poetic engagement with attention paid to what the lyric facilitates in my scholarly work. In this exploratory fusion of lyrical expression, autoethnography, and existentialism, I hope to summon the aesthetic powers of poetry in the service of self-reflexivity, and in relation to the plight of millions of disenfranchised others.

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Lobin, Aleksandr M. "The Poetry of the Russian Novel." Izvestiya of Saratov University. New Series. Series: Philology. Journalism 20, no. 4 (November 25, 2020): 483–85. http://dx.doi.org/10.18500/1817-7115-2020-20-4-483-485.

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The monograph under review explores the poetics of the Russian novel of the first half of the 20th century. The author focuses on the titular sphere of the works and their inner organization, as well as the rhythm of the composition.

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