Journal articles on the topic 'Provençal poetry Provençal language'

The Provencal language and lyrics of troubadours had the highest authority in the Middle Ages, having influenced the development of poetic art, in particular, and the development of philological thought, in general, in adjacent territories. Undoubtedly, there were the closest ties of medieval Provence with Catalonia. However, Italy was also involved in the orbit of the cultural life of Provence. The purpose of the article is to show how Italy and Provence were connected in the 13th century and to what extent Italy contributed to the development and preservation of the grammar of the Provencal literary language of that era.

Writing ability is one of the language skills possessed by a person. One of the skills to write old poetry is pantun. Pantun develops in the people of the archipelago with a variety of regional languages. This study aimed to determine the effect of learning motivation on the ability to write local language rhymes. This study uses multiple linear regression analysis. From the research results, it can be seen that the learning motivation is in a good category and the ability to write local language pantun is in a good category. The motivation of learning showed an influence on the poetry writer's ability, which was proven that the significance value was 0.000 that smaller than the probability of 0.05. From the research results, it can be seen that the learning motivation contributed 49.4% to the ability to write regional language pantun, and other factors influenced the remaining 50.6%.

Margaret Atwood is undoubtedly the most popular Canadian author in Slovenia, with eight novels translated into Slovene. Although this prolific author also writes short fiction, poetry, children’s books, and non-fiction, these remain unknown to Slovene readers, at least in their own language. Atwood has published as many poetry collections as novels, but her poetry is inaccessible in Slovene, with the exception of some thirty poems that were translated and published in literary magazines between 1999 and 2009. The article provides an overview of Atwood’s poetry volumes and the main features of her poetry, as well as a detailed overview of Atwood’s poems that have appeared in Slovene translation, with the names of translators, titles of poetry collections, dates of publication, and names of literary magazines. This is the first such overview of Slovene translations of Atwood’s poetry. Additionally, the article offers an insight into some stylistic aspects of Atwood’s poetry that have proven to be particularly challenging for translation.

The purpose of this research is to describe figurative language of comparison in the collection of poetry Biarkan Jariku Kini yang Mengungkapkannya by Kawe ‘Arkaan which consist of three aspects, they are: proverbs, personification, and depersonification. This research uses descriptive method with content analysis. The primary data of the research is the words which contain figurative language of comparison in the collection of the poetry Biarkan Jariku Kini yang Mengungkapkannya by Kawe ‘Arkaan. Meanwhile the technique of collecting data is library study. Based on the result of the analysis, it can be found that there is figurative language in the collection of poetry Biarkan Jariku Kini yang Mengungkapkannya by Kawe ‘Arkaan. It has three aspects, they are provebs, personification, and depersonification. The result of the analysis shows: (1) 18 expressions of proverbs, (2) 51 expressions of personification, (3) no depersonification. The dominant of figurative language occured is personification.

I begin this exploration of characteristically Iliadic and Odyssean attitudes toward the traditional language in which these poems are composed by treading again a well-rutted path in the field of mid-20th century Homeric studies. In formulating his radical revision of the aesthetics of Homeric poetry, Milman Parry took as one of his guiding principles Heinrich Düntzer's notion of a contradiction between the compositional utility of the fixed epithet and its semantic value: if an epithet could be shown to have been selected on the basis of its utility in versification—and Parry's detailed examinations of extensive and economical systems of noun-epithet formulae were aimed in part at demonstrating this point—then it would be proven by that very fact that the epithet's meaning was irrelevant to its selection. Moreover, Parry asserted that the success of poetry composed in such a manner would depend on a corresponding indifference on the part of the audience, an indifference that must be, by his reasoning, categorical and absolute.

This paper deals with the use of interjections in early language development and children’s literature with special emphasis on the syntactic role and meaning of interjections in statements and/or verses. In communication with children, children’s poetry and picture books, as well as children’s speech, interjections replace nouns, verbs and adverbs, i.e., they have a different syntactic function which is proven by the examples. Special emphasis is also being placed on the interjections’ function as exclamations in children’s statements and poetry which goes beyond sentence structure. The paper presents different development stages in acquiring first language, i.e., development stages in children’s speech production, and the frequency of using interjections in different sentence functions while mastering speech. Furthermore, it analyzes and provides examples of the use of interjections in children’s poetry from folk oral poetry to contemporary picture books as well as picture books for speech therapy. It emphasizes the influence of a child’s motor development on speech development, as well as the influence of motherese, parentese, i.e., speech which parents or guardians use with their children (baby-talk), and applying games and picture books for speech therapy in reading routines with children. Examples provided in the paper prove the polyfunctionality of interjections in children’s speech and children’s literature.

AbstractThe sequence Oft daedlata domę foręldit (four words) in the Old English Proverb from Winfrid’s Time (ProvW, 1) defies grammatical analysis because foręldit ‘delays’ requires an accusative object. It is proposed to read Oft daed lata domę foręldit as five words, with daed (= dǣd) ‘deed’ functioning as direct object. This suggestion does not require any emendation because word division in Old English is by no means regular and there is some space between daed and lata in the manuscript anyway. The dative forms domę and gahwem (2a) function as instrumentals, with gahwem perhaps subordinated to domę. The meaning of the simplex lata lies in the area of ‘late-comer’, but ‘sluggard’, ‘laggard’ or other derogatory terms are not suitable. With regard to its genre, ProvW may be viewed in conjunction with Bede’s Death Song (BDS). The vocabulary of BDS presents some problems, but, above all, the construction of the five verse-lines is not totally clear. It is proposed that the comparative thoncsnotturra (2a) has absolute function, and that the adverbial than (2b), meaning ‘then’, introduces a fresh clause. ProvW and BDS may belong to a larger group of self-contained texts no longer extant. In a wide sense they represent the category of Wisdom Poetry in a Christian context.

Shakespeare's sonnets are designed to seem written by a poet and spoken by a lover. This conspicuous ambidexterity, compounded by our declining tolerance for such deftness, has made them infamously problematic. They simultaneously flaunt and flout the correspondence between the lover's pen and his heart, between the artifice of his “rhetoric,” characteristic of much Tudor literature, and the rhetoric of his sincerity, characteristic of the Romantic poetics that has proven their sternest judge. The sonnets thus pose internally the very problem that informs their extensive interpretive history. But they also propose its solution: their sustained balance of verba and res, of verbally erotic and hermeneutically chaste designs, exalts the conflict of these designs, displaying its poetic power. And this paradoxical resolution of the poet's dilemma solves the critic's as well: it suggests a way of making a richly correspondent and yet reasoned sense of the sonnets and, indeed, of any literary text.

The Late Medieval Greek “vernacular” (12th–15th c.) is one of the least studied stages of the history of the Greek language. The lack of interest by linguists can presumably be ascribed to its major source, i.e. metrical πολιτικὸς στίχος poetry. The language of this type of poetry has been labelled a “Kunstsprache”, because of its oral-formulaic character and because of its mixed idiom incorporating vernacular yet also archaizing elements. In this article, however, I demonstrate that the Late Medieval Greek πολιτικὸς στίχος poetry should not automatically be excluded from linguistic research, given that it clearly possesses a strongly vernacular, i.e. spoken, syntactic base: its underlying syntax runs in a very natural way. This is proven by the fact that we can apply the modern linguistic concept of the Intonation Unit, the basic unit of analysis in contemporary spoken(!) languages, to the texts composed in the πολιτικὸς στίχος: far from having an artificial syntax, the πολιτικὸς στίχος poetry is conceptually made up of short, simple “chunks” of information. More precisely, each verse consists of two (stylized) Intonation Units, demarcated by the fixed caesura, which can thus be equated with an Intonation Unit boundary. This thesis is supported by various arguments, both of a metrical and of a syntactico-semantic nature. Arguments belonging to the former category are the length of each half-line, the possibility of stress on the first syllable of each half-line, the origin of the metre, and especially the avoidance of elision at the caesura. In the second category of (syntactico-semantic) evidence, we can consider the tendency of each half-line for constituting a grammatical sense-unit. I also bring forward some little-studied syntactic features of Late Medieval Greek: first, I pay attention to the distribution of the archaizing “Wackernagel particles”, which do not only appear in second position in the verse, but also occur after the first word/constituent following the caesura and thus further confirm my thesis. The same holds for the position of “corrective afterthoughts”, for the verbs and pronominal objects taking the singular are consistently separated from their plural referents by the caesura. Once the Intonation Unit is thus established as a meaningful methodological tool for the analysis of the πολιτικὸς στίχος poetry, the way is cleared for more linguistic research on the Late Medieval Greek vernacular.

AbstractThere is a growing interest in the application of creative writing in the treatment of mental illness. Nonpharmacological approaches have shown that access to poetic, creative language can allow for the verbalisation of illness experiences, as well as for self-expressions that can include other facets of the subject outside of the disease. In particular, creative writing in a safe group context has proven to be of particular importance. In this article, we present a pilot on a creative writing group for young adults in treatment for psychosis. We set the texts and experiences from the writing group in dialogue with Paul Ricoeur’s and Julia Kristeva’s philosophies on poetic language as meaning making and part of subject formation. The focus is on language as materiality and potentiality and on the patient’s inherent linguistic resources as founded in a group dynamic. As a whole, the project seeks to give an increased theoretical and empirical understanding of the potentiality of language and creativity for healing experiences, participation and meaning-making processes among vulnerable people. Furthermore, a practice founded in poetic language might critically address both the general and biomedical understanding of the subject and disease.

The Provençale poet Frédéric Mistral (1830-1914) is remembered for his attempt at revitalizing the Proven?al language. He was one of the main founders of the literary academy named Félibrige, and was awarded the Nobel Prize for Literature in 1904. Although his poetical works have been extensively studied, the political inspiration which pervades a great part of his writings has not so far received the attention it deserves. This article, the first part of which appeared in the previous issue of Literator (vol. 8, no. 3), shows how profoundly Mistral was influenced by the ideal of independence and liberty which was a distinctive feature of the European XIXth century, and how his patriotic enthusiasm is reflected in his poetry.

Penelitian ini bertujuan (1) mendeskripsikan struktur fisik sajak “Wakil Rakyat” karya Rachmat Djoko Pradopo dan (2) mendeskripsikan kritik sosial yang terdapat di dalam sajak tersebut. Untuk mencapai tujuan itu digunakan dua pendekatan, yaitu (1) pendekatan struktur dan (2) pendekatan semiotika. Hasil analisis yang diperoleh adalah (1) bahwa sajak tersebut dibangun dengan struktur fisik yang padu, yang terbukti dari eratnya kaitan antarunsur struktur yang terdiri atas diksi, pengimajian (citraan), kata konkret, majas (bahasa figuratif), versifikasi (rima, ritme), dan tipografi dan (2) bahwa kritik sosial yang diangkat dalam sajak itu adalah para wakil rakyat (pejabat legislatif dan eksekutif) yang merupakan hasil pilihan rakyat dalam melaksanakan tugasnya, mendahulukan kepentingan diri sendiri atau kelompoknya daripada kepentingan rakyat. Abstract: This research is proposed to (1) describe the physical structure of poetry “Wakil Rakyat” written by Rachmat Djoko Pradopo and (2) describe the social critics in the poetry. Thus, two approaches are used, i.e. structural and semiotic. The findings are (1) that poetry is constructed with a physical structure proven by the tight bond among the structural element consisting of diction, imagination, concrete word, figurative language, verification (rhyme, rhythm, and metrum), and typography and (2) that the social critics highlighted in the poetry are the member of parliament (wakil Rakyat)-who, in doing the duty, do not meet the people expectations by putting forward their own/their group’s interest before the poor people and thus the effort to eliminate the poverty becomes very difficult and has a small possibility to be realized. Key Words: social critic, physical structure, semiotics

This research is motivated by the increasingly rapid technological advances in the world of education and the widespread use of social media among adolescents. In addition, there is no media in the form of blog-based videoscribe that is used to support Indonesian language learning especially poetry writing material. This study aims to explain the process of developing, quality and implementation of blog-based videoscribe media. Research the type of research and development uses Sadiman's model which has seven steps in the development procedure, namely identification of student needs, formulation of instructional goals, formulation of material points, formulation of measuring instruments for success, writing media scripts, validating and revising, conducting trials and revision. Based on the validation process, blog-based video subscription media obtained an overall average yield of 82.6% with very valid qualifications. The results of validation by media experts obtained a value of 72.15% with valid qualifications, while from material experts obtained a value of 88% with very valid qualifications. Indonesian linguists1 scored 80% with valid qualifications, while Indonesian linguists2 scored 84% with highly valid qualifications. The results of validation by IT experts (graphic design) obtained 92% results with very valid qualifications and blogger experts obtained 80% results with valid qualifications. Based on the results of field trials there are significant differences. This was evidenced by the pre-test and post-test values that showed X2 results more than X1 (80.2 ≥ 73.3). So, blog-based video subscription learning media has been proven to significantly improve Indonesian language learning especially for poetry writing material.

Immoral problems at the form of sarkasme which is identical with behavior insinuate in have leanguage, pushing research qualitative this to identify form proverb of Indonesian have a meaning of insinuation, to descirbe his context and meaning, and also obedient to describe of suavity principles hanve language at proverb of Indonesian have a meaning of insinuation. The target reached to pass method correct reading with descriptive approach qualitative. Source of data in this research refer at proverb dictionary in application of offline Fifth KBBI Edition and also dictionary print Proverb and Poetry Indonesia as other source. Proverb data have a meaning of insinuation mustered to pass documentation technique, continuation technique correct reading free entangle to speak, and technique note. Authenticity of data gathered data, to be strived with testing credibility through range of time in lengthening of peroeption, durability of fokus aa make up of assidinity, and triangulation of is source of data. Here in after analyse data done with technique link to conpare to equalize and link to compare to differentiate which is mustered in method correspond extralingual. This research yield proverb from have a meaning of insinuation pursuant to classification theory of majas marginally, among others form oposition of contradiction type, coherent of repetation type, retoris, and climax, and also comparison of supposing type of word, symbolic, and comparison of diction. Third of the form both of the same aim to the strengthen insinuation meaning in proverb. Besides, yielded also proverb meaning and context have a meaning of insinuation influenced by relation at the opposite of its of him which share to assist interpretation of used association. Context and the meaning constitute obediently of suavity principles have language of Leech at proverb of insinuation, proven of teared meaning which implied by figurative language, at the same time become marker of principal bowing to interest as elementary principle which obeyed by proverb of insinuation. Proven other obedient at humility principle, wise, and praise.

This study depends on the analysis content by used semio-sociological approach in the interpretation of proverbs through selection of a group of the Palestinian proverbs associated with the resistance dimension. Many studies of proverbs did not address this type of interpretation. Moreover, many of these studies were not up to the desired methodological level because of the proverb’s varied associations with the general life. In its sociological context, the proverb stemmed from a sensory human experience, expressed in simple language. It was able to portray the life of the human through their immersion into the action framework that awakened the collective conscience which rejected the oppressive reality, which drew the differing paths of the proverb and left some margin for explicating the current crisis and how to deal with it. Since the resistant proverb is a part of the cultural landscape, it was in harmony with the novel, poem, drawing and poetry in a revolting image that stressed confrontation as well as rejection of weakness and subjection. It also succeeded in expressing an identity that embodied awareness about the suffering of human reality in all its concise and deep dimensions and historical and social framework. Despite the fact that the proverb is subsumed under the duality of subjection and revolt, the two researchers opted to address the resistant side of it, through a Palestinian model whose space abounds in a movement that bestowed a deep constructivist dimension on the Palestinian landscape. This is parallel with the current objective contexts that the Palestinian society is undergoing. Therefore, this study proceeded along three results, the first results of the interpretive structure of the denotations of the proverb and its projections on the symbols of time and place, secondly the proverb denotations and projections on plantation, animals, the third of the interpretive structure of the denotations of the proverb and its projections on the humans.

RESUMENUn desafío para los profesores de castellano en Chile corresponde a la vinculación de los contenidos teóricos con la elaboración de actividades prácticas, que permitan el acercamiento de los estudiantes a diversas temáticas, desde el enfoque constructivista que plantea el currículum nacional. El presente artículo tiene por objetivo proveer de una propuesta pedagógica, que asume este enfoque al orientar metodológicamente la enseñanza de la Literatura Española. Se repara, particularmente, en la poesía ascética medieval, en correspondencia con lo prescrito por el programa de estudio de la asignatura para segundo año de Enseñanza Media.Palabras clave: Literatura Española, poesía ascética, propuesta pedagógica, constructivismo, segundo año de Enseñanza Media.Constructivist pedagogical proposal for the teaching of Spanish Literature in the second grade of High SchoolABSTRACTA challenge for teachers of Spanish language in Chile corresponds to linking the theoretical content with the development of practical activities that allow students to approach various topics, from the constructivist approach imposed by the national curriculum. This article aims to provide an educational proposal assuming this approach and methodologically guiding the teaching of Spanish Literature. It particularly emphasizes the ascetic medieval poetry in correspondence with the requirements for the curriculum of the course for the second grade of secondary school.Key words: Spanish Literature, ascetic poetry, pedagogical approach, constructivism, second grade of secondary School.

In this study, the researcher has talked about Old English or Anglo-Saxons history and literature. He has mentioned that this period contains the formation of an English Nation with a lot of the sides that endure today as well as the regional regime of shires and hundreds. For the duration of this period, Christianity was proven and there was a peak of literature and language. Law and charters were also proven. The researcher has also mentioned that what literature is written in Anglo-Saxon England and in Old English from the 450 AD to the periods after the Norman Conquest of 1066 AD. He also has argued that from where the composed literature begun of the era with reference to the written and composed literature. The major writers of the age are also discussed with their major works. There is slightly touch of the kings of the time have been given in the study with their great contribution with the era. The researcher also declared that what kinds of literary genres were there in the era. It is the very strong mark that Anglo-Saxon poetic literature has bottomless roots in oral tradition but observance with the ethnic performs we have seen elsewhere in Anglo-Saxon culture, there was an amalgamation amid custom and new knowledge. It has been also declared that from which part literary prose of Anglo-Saxon dates and in what language it was written earlier in the power of Ruler Alfred (governed 871–99), who operated to give a new lease of life English culture afterwards the overwhelming Danish attacks ended. As barely anybody could read Latin, Alfred translated or had translated the greatest significant Latin manuscripts. There another prominent thing discussed in the study which is the problem of assigning dates to various manuscripts of the era.

El objetivo de este trabajo es realizar algunas consideraciones teóricas sobre el metro griego, con atención particular al estudio del verso de los poetas eólicos (Safo y Alceo). Se analizan algunos de los modelos teóricos vigentes para su estudio, intentando mostrar sus limitaciones y la necesidad de elaborar un nuevo modelo que resulte más adecuado para la comprensión del objeto de estudio. Asimismo, se busca demostrar que el modelo presentado por Dale (1969: 41-97) y ampliado por Sicking (1993) es el que con mayor precisión y simpleza describe las estructuras formales del verso griego, de modo que puede proveer una base para su descripción de nivel abstracto. Se argumenta, por otra parte, que es necesario complementar esa descripción con un análisis del nivel de la realización, apoyado fundamentalmente en el estudio cuantitativo de los poemas.

Penelitian ini bertujuan untuk mengetahui peningkatan kemampuan menulis puisi siswa SDN Muktiwari 02 melalui penerapan metode sugestopedia. Metode penelitian yang digunakan adalah penelitian tindakan kelas. Penelitian ini dilakukan sebanyak tiga siklus yang setiap siklusnya melalui proses pengkajian yang terdiri dari empat tahap, yaitu merencanakan, melakukan tindakan, mengamati, dan melakukan refleksi. Hasil penelitian ini menunjukkan bahwa pembelajaran menulis puisi dengan menerapkan metode sugestopedia dapat meningkatkan kemampuan menulis puisi siswa. Terbukti dengan aktivitas dan hasil belajar menulis puisi siswa pada kondisi awal pra siklus dengan nilai rata-rata 51,88. Setelah dilakukan tindakan dengan menerapkan metode sugestopedia mengalami peningkatan yaitu pada siklus I dengan nilai rata-rata 62,5,siklus II dengan nilai rata-rata 68,95, dan pada siklus III nilai rata-rata 75,2. Oleh karena itu, pembelajaran dengan menerapkan metode sugestopedia dapat meningkatkan kemampuan menulis puisi. Implikasi penelitian ini ditujukan kepada pendidik, peneliti, dan lembaga atau intansi yang terkait khususnya pihak sekolah agar dapat lebih peka terhadap kebutuhan siswa dan meningkatkan kreativitas pendidik dalam proses pembelajaran terutama pembelajaran bahasa Indonesia khusunya pembelajaran menulis puisi.Kata kunci: kemampuan menulis puisi, metode sugestopedia. APPLICATION OF SUGESTOPEDIA METHODS TO IMPROVE THE WRITING POETRY ABILITY OF VOCATIONAL SCHOOL OF ELEMENTARY SCHOOLAbstractThis study is aimed to know students’ ability in increasing their poem writing at SDN muktiwari 02 by using method of sugestopedia. Research methodology used is classroom action research. The study is done in three of any cycles through research repeated, consisting of four stage, the plan, take action, observing, and reflection. This research result indicates that learning wrote poems by applying a method of sugestopedia can improve the ability of students writing poetry. Proven with the activity and study results wrote poems students on initial conditions pre cycle the average value of 51,88. After conducted the act of by applying method sugestopedia increased where the cycle I the average value of 62.5, cycle II the average value of 68,95, and in cycle III the mean value of the 75,2. Hence, learning by applying method sugestopedia can improve the ability wrote poems. Implication this research shown to educator, researchers, and institution or intansi related especially the school that can more vulnerable to student needs and creative educator in learning especially learning the indonesian language especially learning wrote poems.

The paper examines sound schemes in Arabic original poetic prose and English translation. These are reverse rhyme, rhyme, pararhyme and consonance. Looked at from the vantage point of sound symbolism, an attempt is made to verify their expressive and thematic functions in ST. In some cases, the concept has apparently been proven applicable and the claims made in this regard are plausible. As to the interlingual patterns of sound symbolism, the study has come to the conclusion that ST and TT diverge when it comes to how onomatopoeic elements evoke meaning. The strategic decisions taken by translators in addressing translation problems depend largely on how sensitive they are towards the ST phonic aspect and affiliations. They employ compensation in kind and in place whenever and wherever that is felt to be required, hence, replacing ST phonological recurrence with morphological and lexical ones. These higher-level devices are but one means of achieving parallel effects in the TT. However, consonance is regularly used as a prime solution for the problem of equivalence. It is axiomatic that in any attempt of translation a certain degree of loss is expected in terms of failure to relay the ST message content intact. Another kind of damage consists in the impossibility of rendering ST scripts into TT. The significance of Arabic letters to the readers of Arabic will definitely be mismatched in the TT as they imply culturally broader connotations and allusions to the Islamic heritage. The graphological input to the message in the Arabic text will hardly be imparted by the TT Roman script.

UKRAINIAN TRANSLATION WORKSHOP IN PRIASHIV Ukrajinský jazyk a kultúra v umeleckom a odbornom preklade v stredoeurópskom priestore : Zbornik príspevkov z medzinárodného vedeckého seminára, ktorý sa konal dňa 27.9.2017 na Katedre ukrajinistiky Inštitutu ukrajinistiky a stredoeurópskych štúdií Filozofickej fakulty Prešovskej univerzity / Filozofická fakulta Prešovskej univerzity v Prešove ; ed.: Jarmila Kredátusová. Prešov: Filozofická fakulta Prešovskej univerzity v Prešove, 2018. 216 p. (Opera Translatologica; 6/2018). Ukrainian modern academic traditions in the Western Transcarpathian area of Priashiv (Presov in Slovak) go back to the 19-century intellectual institutions of the Ukrainian Catholic Church of the Byzantine Rite. After WW2, the main centre of Ukrainian education was the Pegagogical College which was later transformed into a separate university. This university helps the local Ukrainians maintain and develop their rich traditions of learning and research. It is no surprise that the very university hosted the International academic workshop “The Ukrainian Language and Culture in the Literary and Sci-Tech Translation of Middle European Space” (27 September 2017). The workshop brought together specialists in Ukrainian Studies from Ukraine, Slovakia, Czechia and Poland. One year later the conference volume was finalized and published. The first part of the book contains the historical and bibliographical essays which record the history of Ukrainian-Slovak and Ukrainian-Czech literary translation. Jarmila Kredátusová’s task was to present the outline of Slovak-Ukrainian and Ukrainian-Slovak translation which started progressing rather dynamically only after WW2. She presents its history divided into decades and discusses specific features and some statistical data from each period. In the end, she also describes today’s hardships of this translation in Slovakia (relations with readership, translation criticism, professional qualification) which are similar to ones in Ukraine. The history of Ukrainian-Czech translation is longer and richer. The existing extended papers cover the pre-1989 time rather well, that is why Rita Lyons Kindlerová and Iryna Zabiyaka dedicated their articles to the editions and tendencies of the recent decades. Rita Lyons Kindlerová offers the analysis of translated literature from Ukrainian into Czech and pinpoints the turning moment of the year 2001 when Ukrainian literature started reentering Czech society and have promising prospects among readers. Conversely, Iryna Zabiyaka studies the literary presentation of Czechia in Ukraine and considers the most important translations and main tendencies. She also designs a list of Czech authors whose writings are worth translating into Ukrainian. At the same time, she characterizes the pitfalls of Ukraine’s translation market from the viewpoint of these translations. Since we lack translation bibliographies and insightful translation monographs, the above articles contribute to a larger possible publication in future which will reveal more sociological dimensions of Ukrainian-Slovak and Ukrainian-Czech translation. Papers in the second part focus on literary translation. Liudmyla Siryk outlined similarities in the translation theories of Mykola Zerov and Maksym Rylskyi. Thus, she has proven that Rylskyi’s views were the further progress of Zerov’s ones, and we have to remember it may be a gesture of respect or substitution: Zerov was murdered in 1937, and Rylskyi fulfilled his duty to preserve and develop the fundamental ideas of his friend and colleague. Anna Choma-Suwała explored the facets of literary interpretations and connections between Oleh Olzhych (Kandyba) and Józef Łobodowski. Łobodowski’s translations did not only discover the intellectual poetry by Oleh Olzhych, but they are also a contribution to the Polish-Ukrainian cultural contacts and cooperation. Yuliya Yusyp-Yakymovych addresses to verse translation by investigating the specific features of rendering intonation, rhythm, meter, repetitions, onomatopoeia and aesthetic norms in translation. Adriana Amir’s contribution deals with the Slovak-language translation of Vasyl Shkliar’s historical novel ‘The Black Raven’ (done by Vladimír Čerevka) and tackles the issues of reflecting lexical means for showing the real historical context which border on the shaky axiological limits of political correctness. The main aesthetic form of contemporary writing is the usage of non-standard language which is abundant in modern Ukrainian literature. That is why Veronika Dadajová regarded incorrect figures of the literary sociolect as a topical point of literary translation nowadays. Meanwhile, Viera Žemberová interprets Yuriy Andrukhovych’s literary and aesthetic experience for Slovak readers by analyzing his novel ‘Recreations’ whose Slovak translation was published in Priashiv in 2003. Sci-tech translation is focused on in the third part containing articles on rendering terms and grammatical problems of interlingual translation. The paper by Mária Čižmárová will serve as a practical tool for Ukrainian-Slovak translators and interpreters who will have to render idioms with the floristic component. Similarly practical are the contributions covering two branches of Ukrainian-Slovak specialized translation: commercial translation (by Lesia Budnikova and Valeriya Chernak) and legal translation (by Jarmila Kredátusová and Valeriya Chernak). The study of loan words is the topic of the paper by Jana Kesselová which offers the complex view of loan processes in today’s Slovak. However, it would be desirable to discuss Ukrainian sources as well. It is rather a rare case when one volume consists of papers discussing both literary translation and sci-tech translation, but in the presented book, this amalgamation is quite natural and shows the multifacetedness of Ukrainian translation in Slovakia. The informational contents of all the papers are rather high, and they will be useful for practical research by scholars, translators and critics. The good balance of early ‘classical’ and recent publications creates a complete picture both of the coverage of the topic in the chronological dynamics and the presentation of the academic traditions of institutions where the papers were produced. This conference volume is an important contribution to Ukrainian Translation Studies in the area of Priashiv which has been shaped and developed by the publications in the literary magazine ‘Dukla’ (published since 1953), the proceedings of the Cultural Union of Ukrainian Workers (‘Naukovi zapysky KSUT’ in the 1980s to the early 1990s) and other editions of the Ukrainian Division of the Slovak Pedagogical Publishing House. The book will be useful for really wide readership in academic, literary and professional communities.

Literatures in general and English literature in particular have been used for generations to teach language. It has been proven many times that language can be effectively taught using literature. Literatures, in effect, help shape our thoughts and ideas, learning and using language effectively, and affecting our moods and emotions. We have, in this paper, attempted to show how teaching of several genres of literature, e.g. prose, poetry, drama, short stories etc. help students learn language really well.

Fractal geometry is a workable geometric middle ground between the excessive geometric order of Euclid and the geometric chaos of general mathematics. It is based on a form of symmetry that had previously been underused, namely invariance under contraction or dilation. Fractal geometry is conveniently viewed as a language that has proven its value by its uses. Its uses in art and pure mathematics, being without ‘practical’ application, can be said to be poetic. Its uses in various areas of the study of materials and of other areas of engineering are examples of practical prose. Its uses in physical theory, especially in conjunction with the basic equations of mathematical physics, combine poetry and high prose. Several of the problems that fractal geometry tackles involve old mysteries, some of them already known to primitive man, others mentioned in the Bible, and others familiar to every landscape artist.

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.

There is no one ever doubts the quality of Kahlil Gibran as a poet or man of letters. His great name is the guarantee of his literature works’ quality. Almost every work, most of them are prose poetry, gain great success, and one of the indications is by translating into various languages in the world, including Indonesian. One of his most success works and receives international acknowledgment as well as his own admission as his best work is The Prophet. The Prophet includes many lessons bearing deconstruction values, which has been proven in this study. Deconstruction values within The Prophet is still inherent in each statement of its main character (Al Mustafa/Gibran) about topic concerning with many kinds of human problems, such as love, marriage, child, friendship, beauty, happiness, sadness, work, religion, and even death. In this study those values were contrasted or compared to various realities in form of text and social fenomena of the community in order to find their contradictions or similarities. This qualitative study used moral approach because its review material is intrinsic aspect of a literature works related to values. While the analysis technique used content analysis because it tried to disclose, understand, and catch the massage beneath the literature work. While the “knite” used to cut and disentangle its values is deconstruction. Deconstruction is an idea which strive to cope the world view which has been boxed all along within a normative understanding that this world consists of two opposing elements, such as rational-irrational, traditional- modern, logic-illogic, good-bad, man-women, and so on. Then deconstruction tries to look for gaps or alternatives between the two opposing elements. Thus, deconstruction is not always extreme in its meaning: confirm or nullify.

Historians of Modern Architecture have cultivated the image of the architect as a temperamental genius, unconcerned by issues of politeness or pragmatics—a reading reinforced in cultural representations of Modern Architects, such as Howard Roark, the protagonist in Ayn Rand’s 1943 novel The Fountainhead (a character widely believed to be based on the architect Frank Lloyd Wright). The perception of the Modern Architect as an artistic hero or genius has also influenced the reception of their work. Despite their indisputable place within the architectural canon, many important works of Modern Architecture were contested on pragmatic grounds, such as cost, brief and particularly concerning issues of suitability and effectiveness in relation to climate and weather. A number of famed cases resulted in legal action between clients and architects, and in many more examples historians have critically framed these accounts to highlight alternate issues and agendas. “Complaints about the weather,” in relation to architecture, inevitably raise issues regarding a work’s “success,” particularly in view of the tensions between artistry and functionality inherent in the discipline of architecture. While in more recent decades these ideas have been framed around ideas of sustainability—particularly in relation to contemporary buildings—more traditionally they have been engaged through discussions of an architect’s ethical responsibility to deliver a habitable building that meets the client’s needs. This paper suggests these complaints often raise a broader range of issues and are used to highlight tensions inherent in the discipline. In the history of Modern Architecture, these complaints are often framed through gender studies, ethics and, more recently, artistic asceticism. Accounts of complaints and disputes are often invoked in the social construction (or deconstruction) of artistic genius – whether in a positive or negative light. Through its discussion of a number of famed examples, this paper will discuss the framing of climate in relation to the figure of the Modern Architect and the reception of the architectural “masterpiece.” Dear Monsieur Le Corbusier … In June 1930 Mme Savoye, the patron of the famed Villa Savoye on the outskirts of Paris, wrote to her architect, Le Corbusier, stating: “it is still raining in our garage” (Sbriglio 144)—a persistent theme in their correspondence. This letter followed another sent in March after discovering leaks in the garage and several bedrooms following a visit during inclement weather. While sent prior to the building’s completion, she also noted that rainfall on the bathroom skylight “makes a terrible noise […] which prevents us from sleeping in bad weather” (Sbriglio 142). Claiming to have warned Le Corbusier about the concern, the contractor refused to accept responsibility, prompting some rather fiery correspondence between the two. This problem, compounded by issues with the heating system, resulted in the house feeling, as Sbriglio notes, “cold and damp” and subject to “substantial heat loss due to the large glazing”—a cause for particular concern given the health problems of the clients’ only child, Roger Savoye, that saw him spend time in a French Sanatorium (Sbriglio 145). While the cause of Roger’s illness is not clear, at least one writer (albeit with a noticeable lack of footnotes or supporting evidence) has linked this directly to the villa (de Botton 65). Mme Savoye’s complaints about dampness, humidity, condensation and leaking in her home persisted in subsequent years, prompting Benton to summarise in 1987, “every autumn […] there were cries of distress from the Savoye family with the first rains” (Villas 204). These also extended to discussion of the heating system, which while proving insufficient was also causing flooding (Benton, "Villa" 93). In 1935 Savoye again wrote to Le Corbusier, wearily stating: It is raining in the hall, it’s raining on the ramp and the wall of the garage is absolutely soaked [….] it’s still raining in my bathroom, which floods in bad weather, as the water comes in through the skylight. The gardener’s walls are also wet through. (Sbriglio 146-7) Savoye’s understandable vexation with waterproofing problems in her home continued to escalate. With a mixture of gratitude and frustration, a letter sent two years later stated: “After innumerable demands you have finally accepted that this house which you built in 1929 in uninhabitable…. Please render it inhabitable immediately. I sincerely hope that I will not have to take recourse to legal action” (Sbriglio 147). Paradoxically, Le Corbusier was interested in the potential of architecture and urban planning to facilitate health and well-being, as well as the effects that climate may play in this. Early twentieth century medical thought advocated heliotherary (therapeutic exposure to sunlight) for a diverse range of medical conditions, ranging from rickets to tuberculosis. Similarly the health benefits of climate, such as the dryness of mountain air, had been recognised for much longer, and had led to burgeoning industries associated with health, travel and climate. The dangers of damp environments had also long been medically recognised. Le Corbusier’s awareness of the health benefits of sunshine led to the inclusion of a solarium in the villa that afforded both framed and unframed views of the surrounding countryside, such as those that were advocated in the seventeenth century as an antidote to melancholy (Burton 65-66). Both Benton and Sbriglio present Mme Savoye’s complaints as part of their comprehensive histories of an important and influential work of Modern Architecture. Each reproduce excerpts from archival letters that are not widely translated or accessible, and Benton’s 1984 essay is the source other authors generally cite in discussing these matters. In contrast, for example, Murphy’s 2002 account of the villa’s conversion from “house” to “historical monument” cites the same letters (via Benton) as part of a broader argument that highlights the “undomestic” or “unhomely” nature of the work by cataloguing such accounts of the client’s experience of discomfort while residing in the space – thus revisiting a number of common criticisms of Modern Architecture. Le Corbusier’s reputation for designing buildings that responded poorly to climate is often referenced in popular accounts of his work. For example, a 1935 article published in Time states: Though the great expanses of glass that he favors may occasionally turn his rooms into hothouses, his flat roofs may leak and his plans may be wasteful of space, it was Architect Le Corbusier who in 1923 put the entire philosophy of modern architecture into a single sentence: “A house is a machine to live in.” Reference to these issues are usually made rather minimally in academic accounts of his work, and few would agree with this article’s assertion that Le Corbusier’s influence as a phrasemaker would rival the impact of his architecture. In contrast, such issues, in relation to other architects, are often invoked more rhetorically as part of a variety of historical agendas, particularly in constructing feminist histories of architecture. While Corbusier and his work have often been the source of intellectual contention from feminist scholars—for example in regard to authorial disputes and fractious relationships with the likes of Eileen Gray or Charlotte Perriand – discussion of the functional failures in the Villa Savoye are rarely addressed from this perspective. Rather, feminist scholars have focussed their attention on a number of other projects, most notably the case of the Farnsworth House, another canonical work of Modernism. Dear Herr Mies van der Rohe … Mies van der Rohe’s Farnsworth House, completed in 1951 in Plano Illinois, was commissioned as a country weekend residence by an unmarried female doctor, a brief credited with freeing the architect from many of the usual pragmatic requirements of a permanent city residence. In response Mies designed a rectilinear steel and glass pavilion, which hovered (to avoid the flood levels) above the landscape, sheltered by maple trees, in close proximity to the Fox River. The refined architectural detail, elegant formal properties, and poetic relationship with the surrounding landscape – whether in its autumnal splendour or covered in a thick blanket of snow – captivated architects seeing it become, like the Villa Savoye, one of the most revered architectural works of the twentieth century. Prior to construction a model was exhibited in the Museum of Modern Art in New York and, upon completion the building became a pilgrimage site for architects and admirers. The exhibition of the design later fuelled debate about whether Dr Farnsworth constituted a patron or a client (Friedman 134); a distinction generating very different expectations for the responsibilities of the architect, particularly regarding the production of a habitable home that met the client’s brief versus producing a design of architectural merit. The house was intended as a frame for viewing and contemplating nature, thus seeing nature and climate aligned with the transcendental qualities of the design. Following a visit during construction, Farnsworth described the building’s relationship to the elements, writing: “the two horizontal planes of the unfinished building, floating over the meadows, were unearthly beautiful under a sun which glowed like a wild rose” (5). Similarly, in 1951, Arthur Drexler described the building as “a quantity of air caught between a floor and a roof” (Vandenberg 6). Seven years later the architect himself asserted that nature “gained a more profound significance” when viewed from within the house (Friedman 139). While the transparency of the house was “forgiven” by its isolated location and the lack of visibility from neighbouring properties, the issues a glass and steel box might pose for the thermal comfort of its occupant are not difficult to imagine. Following the house’s completion, Farnsworth fitted windows with insect screens and blinds (although Mies intended for curtains to be installed) that clumsily undermined the refined and minimalistic architectural details. Controversy surrounding the house was, in part, the result of its bold new architectural language. However, it was also due to the architect-client relationship, which turned acrimonious in a very public manner. A dispute between Mies and Farnsworth regarding unpaid fees was fought both in the courtroom and the media, becoming a forum for broader debate as various journals (for example, House Beautiful), publicly took sides. The professional female client versus the male architect and the framing of their dispute by historians and the media has seen this project become a seminal case-study in feminist architectural histories, such as Friedman’s Women and the Making of the Modern House of 1998. Beyond the conflict and speculation about the individuals involved, at the core of these discussions were the inadequacies of the project in relation to comfort and climate. For example, Farnsworth describes in her journal finding the house awash with several inches of water, leading to a court session being convened on the rooftop in order to properly ascertain the defects (14). Written retrospectively, after their relationship soured, Farnsworth’s journal delights in recounting any errors or misjudgements made by Mies during construction. For example, she described testing the fireplace to find “the house was sealed so hermetically that the attempt of a flame to go up the chimney caused an interior negative pressure” (2). Further, her growing disenchantment was reflected in bleak descriptions aligning the building with the weather. Describing her first night camping in her home, she wrote: “the expanses of the glass walls and the sills were covered with ice. The silent meadows outside white with old and hardened snow reflected the bleak [light] bulb within, as if the glass house itself were an unshaded bulb of uncalculated watts lighting the winter plains” (9). In an April 1953 article in House Beautiful, Elizabeth Gordon publicly sided with Farnsworth as part of a broader campaign against the International Style. She condemned the home, and its ‘type’ as “unlivable”, writing: “You burn up in the summer and freeze in the winter, because nothing must interfere with the ‘pure’ form of their rectangles” (250). Gordon included the lack of “overhanging roofs to shade you from the sun” among a catalogue of “human qualities” she believed architects sacrificed for the expression of composition—a list that also included possessions, children, pets and adequate kitchen facilities (250). In 1998 excerpts from this article were reproduced by Friedman, in her seminal work of feminist architectural history, and were central in her discussion of the way that debates surrounding this house were framed through notions of gender. Responding to this conflict, and its media coverage, in 1960 Peter Blake wrote: All great houses by great architects tend to be somewhat impractical; many of Corbu’s and Wright’s house clients find that they are living in too expensive and too inefficient buildings. Yet many of these clients would never exchange their houses for the most workable piece of mediocrity. (88) Far from complaining about the weather, the writings of its second owner, Peter Palumbo, poetically meditate the building’s relationship to the seasons and the elements. In his foreword to a 2003 monograph, he wrote: life inside the house is very much a balance with nature, and an extension of nature. A change in the season or an alteration of the landscape creates a marked change in the mood inside the house. With an electric storm of Wagnerian proportions illuminating the night sky and shaking the foundations of the house to their very core, it is possible to remain quite dry! When, with the melting snows of spring, the Fox River becomes a roaring torrent that bursts its banks, the house assumes a character of a house-boat, the water level sometimes rising perilously close to the front door. On such occasions, the approach to the house is by canoe, which is tied to the steps of the upper terrace. (Vandenberg 5) Palumbo purchased the house from Farnsworth and commissioned Mies’s grandson to restore it to its original condition, removing the blinds and insect screens, and installing an air-conditioning system. The critical positioning of Palumbo has been quite different from that of Farnsworth. His restoration and writings on the project have in some ways seen him positioned as the “real” architectural patron. Furthermore, his willingness to tolerate some discomfort in his inhabitation has seen him in some ways prefigure the type of resident that will be next be discussed in reference to recent owners of Wright properties. Dear Mr Wright … Accounts of weatherproofing problems in buildings designed by Frank Lloyd Wright have become the basis of mythology in the architectural discipline. For example, in 1936 Herbert Johnson and J. Vernon Steinle visited Wright’s Richard Lloyd Jones house in Oklahoma. As Jonathan Lipman wrote, “Steinle’s most prominent recollection of the house was that there were scores of tubs and canning jars in the house catching water leaking through the roof” (45). While Lipman notes the irony that both the house and office Wright designed for Johnson would suffer the same problem, it is the anecdotal accounts of the former that have perhaps attracted the most interest. An oft-recounted story tells of Johnson telephoning Wright, during a dinner party, with regard to water dripping from the ceiling into his guest-of-honour’s soup; the complaint was reportedly rebuffed unsympathetically by Wright who suggested the lady should move her chair (Farr 272). Wright himself addressed his reputation for designing buildings that leaked in his Autobiography. In reference to La Miniatura in Pasadena, of 1923, he contextualised difficulties with the local climate, which he suggested was prone to causing leaks, writing: “The sun bakes the roof for eleven months, two weeks and five days, shrinking it to a shrivel. Then giving the roof no warning whatever to get back to normal if it could, the clouds burst. Unsuspecting roof surfaces are deluged by a three inch downpour.” He continued, stating: I knew all this. And I know there are more leaking roofs in Southern California than in all the rest of the world put together. I knew that the citizens come to look upon water thus in a singularly ungrateful mood. I knew that water is all that enables them to have their being there, but let any of it through on them from above, unexpectedly, in their houses and they go mad. It is a kind of phobia. I knew all this and I have taken seriously precautions in the details of this little house to avoid such scenes as a result of negligible roofs. This is the truth. (250) Wright was quick to attribute blame—directed squarely at the builder. Never one for quiet diplomacy, he complained that the “builder had lied to [him] about the flashing under and within the coping walls” (250) and he was ignorant of the incident because the client had not informed him of the leak. He suggested the client’s silence was undoubtedly due to her “not wishing to hurt [his] feelings”. Although given earlier statements it might be speculated that she did not wish to be accused of pandering to a phobia of leaks. Wright was dismissive of the client’s inconvenience, suggesting she would be able to continue as normal until the next rains the following year and claiming he “fixed the house” once he “found out about it” (250). Implicit in this justification was the idea that it was not unreasonable to expect the client to bear a few days of “discomfort” each year in tolerance of the local climate. In true Wright style, discussions of these problems in his autobiography were self-constructive concessions. While Wright refused to take responsibility for climate-related issues in La Minatura, he was more forthcoming in appreciating the triumphs of his Imperial Hotel in Japan—one of the only buildings in the vicinity to survive the 1923 earthquake. In a chapter of his autobiography titled “Building against Doomsday (Why the Great Earthquake did not destroy the Imperial Hotel),” Wright reproduced a telegram sent by Okura Impeho stating: “Hotel stands undamaged as monument of your genius hundreds of homeless provided perfectly maintained service. Congratulations” (222). Far from unconcerned by nature or climate, Wright’s works celebrated and often went to great effort to accommodate the poetic qualities of these. In reference to his own home, Taliesin, Wright wrote: I wanted a home where icicles by invitation might beautify the eaves. So there were no gutters. And when the snow piled deep on the roofs […] icicles came to hang staccato from the eaves. Prismatic crystal pendants sometimes six feet long, glittered between the landscape and the eyes inside. Taliesin in winter was a frosted palace roofed and walled with snow, hung with iridescent fringes. (173) This description was, in part, included as a demonstration of his “superior” understanding and appreciation of nature and its poetic possibilities; an understanding not always mirrored by his clients. Discussing the Lloyd Lewis House in Libertyville, Illinois of 1939, Wright described his endeavours to keep the house comfortable (and avoid flooding) in Spring, Autumn and Summer months which, he conceded, left the house more vulnerable to winter conditions. Utilising an underfloor heating system, which he argued created a more healthful natural climate rather than an “artificial condition,” he conceded this may feel inadequate upon first entering the space (495). Following the client’s complaints that this system and the fireplace were insufficient, particularly in comparison with the temperature levels he was accustomed to in his workplace (at The Daily News), Wright playfully wrote: I thought of various ways of keeping the writer warm, I thought of wiring him to an electric pad inside his vest, allowing lots of lead wire so he could get around. But he waved the idea aside with contempt. […] Then I suggested we appeal to Secretary Knox to turn down the heat at the daily news […] so he could become acclimated. (497) Due to the client’s disinclination to bear this discomfort or use any such alternate schemes, Wright reluctantly refit the house with double-glazing (at the clients expense). In such cases, discussion of leaks or thermal discomfort were not always negative, but were cited rhetorically implying that perfunctory building techniques were not yet advanced enough to meet the architect’s expectations, or that their creative abilities were suppressed by conservative or difficult clients. Thus discussions of building failures have often been invoked in the social construction of the “architect-genius.” Interestingly accounts of the permeability of Wright’s buildings are more often included in biographical rather that architectural writings. In recent years, these accounts of weatherproofing problems have transformed from accusing letters or statements implying failure to a “badge of honour” among occupants who endure discomfort for the sake of art. This changing perspective is usually more pronounced in second generation owners, like Peter Palumbo (who has also owned Corbusier and Wright designed homes), who are either more aware of the potential problems in owning such a house or are more tolerant given an understanding of the historical worth of these projects. This is nowhere more evident than in a profile published in the real estate section of the New York Times. Rather than concealing these issues to preserve the resale value of the property, weatherproofing problems are presented as an endearing quirk. The new owners of Wright’s Prefab No. 1 of 1959, on Staten Island declared they initially did not have enough pots to place under the fifty separate leaks in their home, but in December 2005 proudly boasted they were ‘down to only one leak’ (Bernstein, "Living"). Similarly, in 2003 the resident of a Long Island Wright-designed property, optimistically claimed that while his children often complained their bedrooms were uncomfortably cold, this encouraged the family to spend more time in the warmer communal spaces (Bernstein, "In a House"). This client, more than simply optimistic, (perhaps unwittingly) implies an awareness of the importance of “the hearth” in Wright’s architecture. In such cases complaints about the weather are re-framed. The leaking roof is no longer representative of gender or power relationships between the client and the uncompromising artistic genius. Rather, it actually empowers the inhabitant who rises above their circumstances for the sake of art, invoking a kind of artistic asceticism. While “enlightened” clients of famed architects may be willing to suffer the effects of climate in the interiors of their homes, their neighbours are less tolerant as suggested in a more recent example. Complaints about the alteration of the micro-climate surrounding Frank Gehry’s Walt Disney Concert Hall in Los Angeles prompted the sandblasting of part of the exterior cladding to reduce glare. In 2004, USA Today reported that reflections from the stainless steel cladding were responsible for raising the temperature in neighbouring buildings by more than 9° Celsius, forcing neighbours to close their blinds and operate their air-conditioners. There were also fears that the glare might inadvertently cause traffic problems. Further, one report found that average ground temperatures adjacent to the building peaked at approximately 58° Celsius (Schiler and Valmont). Unlike the Modernist examples, this more recent project has not yet been framed in aid of a critical agenda, and has seemingly been reported simply for being “newsworthy.” Benign Conversation Discussion of the suitability of Modern Architecture in relation to climate has proven a perennial topic of conversation, invoked in the course of recurring debates and criticisms. The fascination with accounts of climate-related problems—particularly in discussing the work of the great Modernist Architects like Le Corbusier, Mies van der Rohe and Frank Lloyd Wright—is in part due to a certain Schadenfreude in debunking the esteem and authority of a canonical figure. This is particularly the case with one, such as Wright, who was characterised by significant self-confidence and an acerbic wit often applied at the expense of others. Yet these accounts have been invoked as much in the construction of the figure of the architect as a creative genius as they have been in the deconstruction of this figure—as well as the historical construction of the client and the historians involved. In view of the growing awareness of the threats and realities of climate change, complaints about the weather are destined to adopt a new significance and be invoked in support of a different range of agendas. While it may be somewhat anachronistic to interpret the designs of Frank Lloyd Wright or Mies van der Rohe in terms of current discussions about sustainability in architecture, these topics are often broached when restoring, renovating or adapting the designs of such architects for new or contemporary usage. In contrast, the climatic problems caused by Gehry’s concert hall are destined to be framed according to a different set of values—such as the relationship of his work to the time, or perhaps in relation to contemporary technology. While discussion of the weather is, in the conversational arts, credited as benign topic, this is rarely the case in architectural history. References Benton, Tim. The Villas of Le Corbusier 1920-1930. New Haven: Yale UP, 1987. ———. “Villa Savoye and the Architects’ Practice (1984).” Le Corbusier: The Garland Essays. Ed. H. Allen Brooks. New York: Garland, 1987. 83-105. Bernstein, Fred A. “In a House That Wright Built.” New York Times 21 Sept. 2003. 3 Aug. 2009 < http://www.nytimes.com/2003/09/21/nyregion/in-a-house-that-wright-built.html >. ———. “Living with Frank Lloyd Wright.” New York Times 18 Dec. 2005. 30 July 2009 < http://www.nytimes.com/2005/12/18/realestate/18habi.html >. Blake, Peter. Mies van der Rohe: Architecture and Structure. Harmondsworth: Penguin, 1963 (1960). Burton, Robert. The Anatomy of Melancholy, vol. II. Eds. Nicolas K. Kiessling, Thomas C. Faulkner and Rhonda L. Blair. Oxford: Clarendon, 1995 (1610). Campbell, Margaret. “What Tuberculosis Did for Modernism: The Influence of a Curative Environment on Modernist Design and Architecture.” Medical History 49 (2005): 463–488. “Corbusierismus”. Art. Time 4 Nov. 1935. 18 Aug. 2009 < http://www.time.com/time/magazine/article/0,9171,755279,00.html >. De Botton, Alain. The Architecture of Happiness. London: Penguin, 2006. Farnsworth, Edith. ‘Chapter 13’, Memoirs. Unpublished journals in three notebooks, Farnsworth Collection, Newberry Library, Chicago, unpaginated (17pp). 29 Jan. 2009 < http://www.farnsworthhouse.org/pdf/edith_journal.pdf >. Farr, Finis. Frank Lloyd Wright: A Biography. New York: Charles Scribner’s Sons, 1961. Friedman, Alice T. Women and the Making of the Modern House: A Social and Architectural History. New York: Harry N. Abrams, 1998. Gordon, Elizabeth. “The Threat to the Next America.” House Beautiful 95.4 (1953): 126-30, 250-51. Excerpts reproduced in Friedman. Women and the Making of the Modern House. 140-141. Hardarson, Ævar. “All Good Architecture Leaks—Witticism or Word of Wisdom?” Proceedings of the CIB Joint Symposium 13-16 June 2005, Helsinki < http://www.metamorfose.ntnu.no/Artikler/Hardarson_all_good_architecture_leaks.pdf >. Huck, Peter. “Gehry’s Hall Feels Heat.” The Age 1 March 2004. 22 Aug. 2009 < http://www.theage.com.au/articles/2004/02 /27/1077676955090.html >. Lipman, Jonathan. Frank Lloyd Wright and the Johnson Wax Buildings. Introduction by Kenneth Frampton. London: Architectural Press, 1984. Murphy, Kevin D. “The Villa Savoye and the Modernist Historic Monument.” Journal of the Society of Architectural Historians 61.1 (2002): 68-89. “New L.A. Concert Hall Raises Temperatures of Neighbours.” USA Today 24 Feb. 2004. 24 Aug. 2009 < http://www.usatoday.com/news/nation/2004-02-24-concert-hall_x.htm >. Owens, Mitchell. “A Wright House, Not a Shrine.” New York Times 25 July 1996. 30 July 2009 . Sbriglio, Jacques. Le Corbusier: La Villa Savoye, The Villa Savoye. Paris: Fondation Le Corbusier; Basel: Birkhäuser, 1999. Schiler, Marc, and Elizabeth Valmont. “Microclimatic Impact: Glare around the Walt Disney Concert Hall.” 2005. 24 Aug. 2009 < http://www.sbse.org/awards/docs/2005/1187.pdf >. Vandenberg, Maritz. Farnsworth House. Ludwig Mies van der Rohe. Foreword by Lord Peter Palumbo. London: Phaidon Press, 2003. Wright, Frank Lloyd. An Autobiography. New York: Duell, Sloan and Pearce, 1943.

Since the late 1990s, W. G. Sebald’s innovative contribution to the genre of prose fiction has been the source of much academic scrutiny. His books Vertigo, The Rings of Saturn, The Emigrants and Austerlitz have provoked interest from diverse fields of inquiry: visual communication (Kilbourn; Patt; Zadokerski), trauma studies (Denham and McCulloh; Schmitz), and travel writing (Blackler; Zisselsberger). His work is also claimed to be a bastion for both modernist and postmodernist approaches to literature and history writing (Bere; Fuchs and Long; Long). This is in addition to numerous “guide to” type books, such as Mark McCulloh’s Understanding Sebald, Long and Whitehead’s W. G. Sebald—A Critical Companion, and the comprehensive Saturn’s Moons: A W. G. Sebald Handbook. Here I have only mentioned works available in English. I should point out that Sebald wrote in German, the country of his birth, and as one would expect much scholarship dealing with his work is confined to this language. In this article I focus on what is perhaps Sebald’s prototypical work, The Rings of Saturn. Of all Sebald’s prose fictional works The Rings of Saturn seems the example that best exhibits his innovative literary forms, including the use of lists. This book is the work of an author who is purposefully and imaginatively concerned with the nature of his vocation: what is it to be a writer? Crucially, he addresses this question not only from the perspective of a subject facing an existential crisis, but from the perspective of the documents created by writers. His works demonstrate a concern with the enabling role documents play in the thinking and writing process; how, for example, pen and paper are looped in with our capacity to reason in certain ways. Despite taking the form of fictional narratives, his books are as much motivated by a historical interest in how ideas and forms of organisation are transmitted, and how they evolve as part of an ecology; how humans become articulate within their surrounds, according to the contingencies of specific epochs and places. The Sebald critic J. J. Long accounts for this in some part in his description “archival consciousness,” which recommends that conscious experience is not simply located in the mind of a knowing, human subject, but is rather distributed between the subject and different technologies (among which writing and archives are exemplary).The most notable peculiarity of Sebald’s books lies in their abundant use of “non-syntactical” kinds of writing or inscription. My use of the term “non-syntactical” has its origins in the anthropological work of Jack Goody, who emphasises the importance of list making and tabulation in pre-literate or barely literate cultures. In Sebald’s texts, kinds of non-syntactical writing include lists, photographic images, tables, signatures, diagrams, maps, stamps, dockets and sketches. As I stress throughout this article, Sebald’s shifts between syntactical and non-syntactical forms of writing allows him to build up highly complex schemes of internal reference. Massimo Leone identifies something similar, when he notes that Sebald “orchestrates a multiplicity of voices and text-types in order to produce his own coherent discourse” (91). The play between multiplicity and coherence is at once a thematic and poetic concern for Sebald. This is to say, his texts are formal experiments with these contrasting tendencies, in addition to discussing specific historical situations in which they feature. The list is perhaps Sebald’s most widely used and variable form of non-syntactical writing, a key part of his formal and stylistic peculiarity. His lengthy sentences frequently spill over into catalogues and inventories, and the entire structure of his narratives is list-like. Discrete episodes accumulate alongside each other, rather than following a narrative arc where episodes of suspenseful gravity overshadow the significance of minor events. The Rings of Saturn details the travels of Sebald’s trademark, nameless, first person narrator, who recounts his trek along the Suffolk coastline, from Lowestoft to Ditchingham, about two years after the event. From the beginning, the narrative is framed as an effort to organise a period of time that lacks a coherent and durable form, a period of time that is in pieces, fading from the narrator’s memory. However, the movement from the chaos of forgetting to the comparatively distinct and stable details of the remembered present does not follow a continuum. Rather, the past and present are both constituted by the force of memory, which is continually crystallising and dissolving. Each event operates according to its own specific arrangement of emphasis and forgetting. Our experience of memory in the present, or recollective memory, is only one kind of memory. Sebald is concerned with a more pervasive kind of remembering, which includes the vectorial existence of non-conscious, non-human perceptual events; memory as expressed by crystals, tree roots, glaciers, and the nested relationship of fuel, fire, smoke, and ash. The Rings of Saturn is composed of ten chapters, each of which is outlined in table form at the book’s beginning. The first chapter appears as: “In hospital—Obituary—Odyssey of Thomas Browne’s skull—Anatomy lecture—Levitation—Quincunx—Fabled creatures—Urn burial.” The Rings of Saturn is of course hardly exceptional in its use of this device. Rather, it is exemplary concerning the repeated emphasis on the tension between syntactical and non-syntactical forms of writing, among which this chapter breakdown is included. Sebald continually uses the conventions of bookmaking in subtle though innovative ways. Each of these horizontally linked and divided indices might put the reader in mind of Thomas Browne’s urns, time capsules from the past, the unearthing of which is discussed in the book’s first chapter (25). The chapter outlines (and the urns) are containers that preserve a fragmentary and suggestive history. Each is a perspective on the narrator’s travels that abstracts, arranges, and uniquely refers to the narrative elaborations to come.As I have already stressed, Sebald is a writer concerned with forms of organisation. His works account for a diverse range of organisational forms, some of which instance an overt, chronological, geometric, or metrical manipulation of space and time, such as grids, star shapes, and Greenwich Mean Time. This contrasts with comparatively suggestive, insubstantial, mutable forms, including various meteorological phenomena such as cloudbanks and fog, dust and sand, and as exemplified in narrative form by the haphazard, distracted assemblage of events featured in dreams or dream logic. The relationship between these supposedly opposing tendencies is, however, more complex and paradoxical than might at first glance appear. As Sebald warily reminds us in his essay “A Little Excursion to Ajaccio,” despite our wishes to inhabit periods of complete freedom, where we follow our distractions to the fullest possible extent, we nonetheless “must all have some more or less significant design in view” (Sebald, Campo 4). It is not so much that we must choose, absolutely, between form and formlessness. Rather, the point is to understand that some seemingly inevitable forms are in fact subject to contingencies, which certain uses deliberately or ignorantly mask, and that simplicity and intricacy are often co-dependent. Richard T. Gray is a Sebald critic who has picked up on the element in Sebald’s work that suggests a tension between different forms of organisation. In his article “Writing at the Roche Limit,” Gray notes that Sebald’s tendency to emphasise the decadent aspects of human and natural history “is continually counterbalanced by an insistence on order and by often extremely subtle forms of organization” (40). Rather than advancing the thesis that Sebald is exclusively against the idea of systematisation or order, Gray argues that The Rings of Saturn models in its own textual make-up an alternative approach to the cognitive order(ing) of things, one that seeks to counter the natural tendency toward entropic decline and a fall into chaos by introducing constructive forces that inject a modicum of balance and equilibrium into the system as a whole. (Gray 41)Sebald’s concern with the contrasting energies exemplified by different forms extends to his play with syntactical and non-syntactical forms of writing. He uses lists to add contrast to his flowing, syntactically intricate sentences. The achievement of his work is not the exclusive privileging of either the list form or the well-composed sentence, but in providing contexts whereby the reader can appreciate subtle modulations between the two, thus experiencing a more dynamic and complex kind of narrative time. His works exhibit an astute awareness of the fact that different textual devices command different experiences of temporality, and our experience of temporality in good part determines our metaphysics. Here I consider two lists featured in The Rings of Saturn, one from the first chapter, and one from the last. Each shows contrasting tendencies concerning systems of organisation. Both are attributable to the work of Thomas Browne, “who practiced as a doctor in Norwich in the seventeenth century and had left a number of writings that defy all comparison” (Sebald, Rings 9). The Rings of Saturn is in part a dialogue across epochs with the sentiments expressed in Browne’s works, which, according to Bianca Theisen, preserve a kind of reasoning that is lost in “the rationalist and scientific embrace of a devalued world of facts” (Theisen 563).The first list names the varied “animate and inanimate matter” in which Browne identifies the quincuncial structure, a lattice like arrangement of five points and intersecting lines. The following phenomena are enumerated in the text:certain crystalline forms, in starfish and sea urchins, in the vertebrae of mammals and the backbones of birds and fish, in the skins of various species of snake, in the crosswise prints left by quadrupeds, in the physical shapes of caterpillars, butterflies, silkworms and moths, in the root of the water fern, in the seed husks of the sunflower and the Caledonian pine, within young oak shoots or the stem of the horse tail; and in the creations of mankind, in the pyramids of Egypt and the mausoleum of Augustus as in the garden of King Solomon, which was planted with mathematical precision with pomegranate trees and white lilies. (Sebald, Rings 20-21)Ostensibly quoting from Browne, Sebald begins the next sentence, “Examples might be multiplied without end” (21). The compulsion to list, or the compulsiveness expressed by listing, is expressed here in a relationship of dual utility with another, dominant or overt, kind of organisational form: the quincunx. It is not the utility or expressiveness of the list itself that is at issue—at least in the version of Browne’s work preserved here by Sebald. In W. G. Sebald: Image, Archive, Modernity, Long notes the historical correspondences and divergences between Sebald and Michel Foucault (2007). Long interprets Browne’s quincunx as exemplifying a “hermeneutics of resemblance,” whereby similarities among diverse phenomena are seen as providing proof of “the universal oneness of all things” (33). This contrasts with the idea of a “pathological nature, autonomous from God,” which, according to Long, informs Sebald’s transformation of Browne into “an avatar of distinctly modern epistemology” (38). Long follows Foucault in noting the distinction between Renaissance and modern epistemology, a distinction in good part due to the experimental, inductive method, the availability of statistical data, and probabilistic reasoning championed in the latter epoch (Whitehead; Hacking). In the book’s final chapter, Sebald includes a list from Browne’s imaginary library, the “Musæum Clausium.” In contrast to the above list, here Sebald seems to deliberately problematise any efforts to suggest an abstract uniting principle. There is no evident reason for the togetherness of the discrete things, beyond the mere fact that they happen to be gathered, hypothetically, in the text (Sebald, Rings 271-273). Among the library’s supposed contents are:an account by the ancient traveller Pytheas of Marseilles, referred to in Strabo, according to which all the air beyond thule is thick, condensed and gellied, looking just like sea lungs […] a dream image showing a prairie or sea meadow at the bottom of the Mediterranean, off the coat of Provence […] and a glass of spirits made of æthereal salt, hermetically sealed up, of so volatile a nature that it will not endure by daylight, and therefore shown only in winter or by the light of a carbuncle or Bononian stone. (Sebald, Rings 272-73)Unlike the previous example attributed to Browne, here the list coheres according to the tensions of its own coincidences. Sebald uses the list to create spontaneous organisations in which history is exhibited as a complex mix of fact and fantasy. More important than the distinction between the imaginary and the real is the effort to account for the way things uniquely incorporate aspects of the world in order to be what they are. Human knowledge is a perspective that is implicated in, rather than excluded from, this process.Lists move us to puzzle over the criteria that their togetherness implies. They might be used inthe service of a specific paradigm, or they might suggest an imaginable but as yet unknown kind of systematisation; a specific kind of relationship, or simply the possibility of a relationship. Take, for example, the list-like accumulation of architectural details in the following description of the decadent Sommerleyton Hall, featured in chapter II: There were drawing rooms and winter gardens, spacious halls and verandas. A corridor might end in a ferny grotto where fountains ceaselessly plashed, and bowered passages criss-crossed beneath the dome of a fantastic mosque. Windows could be lowered to open the interior onto the outside, and inside the landscape was replicated on the mirror walls. Palm houses and orangeries, the lawn like green velvet, the baize on the billiard tables, the bouquets of flowers in the morning and retiring rooms and in the majolica vases on the terrace, the birds of paradise and the golden peasants on the silken tapestries, the goldfinches in the aviaries and the nightingales in the garden, the arabesques in the carpets and the box-edged flower beds—all of it interacted in such a way that one had the illusion of complete harmony between the natural and the manufactured. (Sebald, Rings 33-34)This list shifts emphasis away from preconceived distinctions between the natural and the manufactured through the creation of its own unlikely harmony. It tells us something important about the way perception and knowledge is ordered in Sebald’s prose. Each encounter, or historically specific situation, is considered as though it were its own microworld, its own discrete, synecdochic realisation of history. Rather than starting from the universal or the meta-level and scaling down to the local, Sebald arranges historically peculiar examples that suggest a variable, contrasting and dynamic metaphysics, a motley arrangement of ordering systems that each aspire to but do not command universal applicability. In a comparable sense, Browne’s sepulchral urns of his 1658 work Urn Burial, which feature in chapter I, are time capsules that seem to create their own internally specific kind of organisation:The cremated remains in the urns are examined closely: the ash, the loose teeth, some long roots of quitch, or dog’s grass wreathed about the bones, and the coin intended for the Elysian ferryman. Browne records other objects known to have been placed with the dead, whether as ornament or utensil. His catalogue includes a variety of curiosities: the circumcision knives of Joshua, the ring which belonged to the mistress of Propertius, an ape of agate, a grasshopper, three-hundred golden bees, a blue opal, silver belt buckles and clasps, combs, iron pins, brass plates and brazen nippers to pull away hair, and a brass Jews harp that last sounded on the crossing over black water. (Sebald, Rings 25-26)Regardless of our beliefs concerning the afterlife, these items, preserved across epochs, solicit a sense of wonder as we consider what we might choose for company on our “last journey” (25). In death, the human body is reduced to a condition of an object or thing, while the objects that accompany the corpse seem to acquire a degree of potency as remnants that transcend living time. Life is no longer the paradigm through which to understand purpose. In their very difference from living things these objects command our fascination. Eric Santner coins the term “undeadness” to name the significance of this non-living agency in Sebald’s prose (Santner xx). Santner’s study places Sebald in a linage of German-Jewish writers, including Walter Benjamin, Franz Kafka, and Paul Celan, whose understanding of “the human” depends crucially on the concept of “the creature” or “creatureliness” (Santner 38-41). Like the list of items contained within Sommerleyton Hall, the above list accounts for a context in which ornament and utensil, nature and culture, are read according to their differentiated togetherness, rather than opposition. Death, it seems, is a universal leveller, or at least a different dimension in which symbol and function appear to coincide. Perhaps it is the unassuming and convenient nature of lists that make them enduring objects of historical interest. Lists are a form of writing to which we appeal for immediate mnemonic assistance. They lack the artifice of a sentence. While perhaps not as interesting in the present that is contemporary with their usefulness (a trip to the supermarket), with time lists acquire credibility due to the intimacy they share with mundane, diurnal concerns—due to the fact that they were, once upon a time, so useful. The significance of lists arrives anachronistically, when we look back and wonder what people were really up to, or what our own concerns were, relatively free from fanciful, stylistic adornment. Sebald’s democratic approach to different forms of writing means that lists sit alongside the esteemed poetic and literary efforts of Joseph Conrad, Algernon Swinburne, Edward Fitzgerald, and François René de Chateaubriand, all of whom feature in The Rings of Saturn. His books make the exclusive differences between literary and non-literary kinds of writing less important than the sense of dynamism that is elicited through a play of contrasting kinds of syntactical and non-syntactical writing. The book’s closing chapter includes a revealing example that expresses these sentiments. After tracing over a natural history of silk, with a particular focus on human greed and naivety, the narrative arrives at a “pattern book” that features strips of colourful silk kept in “the small museum of Strangers Hall” (Sebald, Rings 283). The narrator notes that the silks arranged in this book “were of a truly fabulous variety, and of an iridescent, quite indescribable beauty as if they had been produced by Nature itself, like the plumage of birds” (283). This effervescent declamation continues after a double page photograph of the pattern book, which is described as a “catalogue of samples” and “leaves from the only true book which none of our textual and pictorial works can even begin to rival” (286). Here we witness Sebald’s inclusive and variable understanding as to the kinds of thing a book, and writing, can be. The fraying strips of silk featured in the photograph are arranged one below the other, in the form of a list. They are surrounded by ornate handwriting that, like the strips of silk, seems to fray at the edges, suggesting the specific gestural event that occasioned the moment of their inscription—something which tends to be excluded in printed prose. Sebald’s remarks here are not without a characteristic irony (“the only true book”). However, in the greatercontext of the narrative, this comment suggests an important inclination. Namely, that there is much scope yet for innovative literary forms that capture the nuances and complexity of collective and individual histories. And that writing always includes, though to varying degrees obscures, contrasting tensions shared among syntactical and non-syntactical elements, including material and gestural contingencies. Sebald’s works remind us of what potentials might lay ahead for books if the question of what writing can be is asked continually as part of a writer’s enterprise.ReferencesBere, Carol. “The Book of Memory: W. G. Sebald’s The Emigrants and Austerlitz.” Literary Review, 46.1 (2002): 184-92.Blackler, Deane. Reading W. G. Sebald: Adventure and Disobedience. Rochester, New York: Camden House, 2007. Catling Jo, and Richard Hibbitt, eds. Saturn’s Moons: A W. G. Sebald Handbook. Oxford: Legenda, 2011.Denham, Scott and Mark McCulloh, eds. W. G. Sebald: History, Memory, Trauma. Berlin: Walter de Gruyter, 2006. Fuchs, Anne and J. J. Long, eds. W. G. Sebald and the Writing of History. Würzburg: Königshausen & Neumann, 2007. Goody, Jack. The Logic of Writing and the Organization of Society. Cambridge: Cambridge UP, 1986. Gray, Richard T. “Writing at the Roche Limit: Order and Entropy in W. G. Sebald’s The Rings of Saturn.” The German Quarterly 83.1 (2010): 38-57. Hacking, Ian. 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