Relevant bibliographies by topics / Rhyming poetry

Contents

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

Academic literature on the topic 'Rhyming poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Rhyming poetry"

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LIN, HONG. "TOWARD AUTOMATED GENERATION OF CHINESE CLASSIC POETRY." New Mathematics and Natural Computation 09, no. 02 (July 2013): 153–81. http://dx.doi.org/10.1142/s1793005713400024.

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The forms of Chinese classic poetry have been developed through thousands of years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary to keep the classic poetry up to date in the new settings of modern Chinese language. To ease the transition process, computing technology is used to help the readers as well as poetry writers to check the compliance of poems in accordance with the forms and to compose poems without the effort to learn the old grouping of rhyming words. A piece of software has been developed in a faculty/student research project at the University of Houston-Downtown to verify this idea. This software, called Chinese classic poetry wizard, provides the functionality of checking metrical forms and rhyming schemes. It also allows users to edit rhyme dictionaries and metrical forms. The new rhyming scheme proposed in this paper should rationalize the composition rules of classic Chinese poetry in the modern society; and the poem composition wizard will provide a handy tool for poem composition. This work will help revive Chinese classic poetry in modern society and, in a sequel, contribute to the current campaign of advocating Chinese traditional teachings.
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Chepiga, Valentina P. "Silver age of Russian poetry into French: towards the problem of poetic translation." Tyumen State University Herald. Humanities Research. Humanitates 8, no. 2 (2022): 79–93. http://dx.doi.org/10.21684/2411-197x-2022-8-2-79-93.

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This article studies the problems of translating Silver Age Russian poetry into French, namely Vladimir Mayakovsky, Anna Akhmatova, Marina Tsvetaeva, and Nikolai Gumilev. The author examines the main anthologies of Russian poetry published in France in the 20th century: the anthologies of 1947, 1965 and 1985, all three published by Paris publishers. This article focuses on the peculiarities of the translations, when analyzing the translation transformations and examining the strategies of translation practice in France. The linguistic form, consisting of the four macro-levels: morphology, word formation, vocabulary and syntax — is one of the most difficult both to translate and to compare translations. What strategies French translators use determines the degree of equivalence of the translation. The author also looks at the notion of the creativity of poetic translation and analyzes the strengths and weaknesses of rhyming and non-rhyming translations. Unrhymed translation brings us closer to conveying the meaning of the poem, but it deprives the poem of rhythm and melody, as well as reduces emotionality. A rhyming translation can convey the emotionality of the poem, but the search for rhyme can lead to approximation and diminish the equivalence of the poem. The author explains the choice of each translation strategy: in a rhyming translation, translators seek to preserve the author’s rhyme image, the “breath” of the poem; while in a non-rhyming translation, the translator is often “closer” to the original.
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Lin, Hong. "Software Aided Classic Chinese Poem Composition." International Journal of Computer-Assisted Language Learning and Teaching 4, no. 1 (January 2014): 63–83. http://dx.doi.org/10.4018/ijcallt.2014010104.

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The forms of Chinese classic poetry have been developed through thousands years of history and are still current in today's poetry society. A re-classification of the rhyming words, however, is necessary for the classic poetry writing to be done in the new settings of modern Chinese language. In order to maintain the continuation of the poetry forms, computing technology can be used to help the readers as well as poetry writers to check the compliance of poems in accordance to the forms and compose poems without the effort to learn the old grouping of rhyming words. This work will help revive Chinese classic poetry in modern society and promote its writability.
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Tartakovsky, Roi. "Towards a theory of sporadic rhyming." Language and Literature: International Journal of Stylistics 23, no. 2 (May 2014): 101–17. http://dx.doi.org/10.1177/0963947013502404.

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A surprising amount of 20th-century (and earlier) English-language poetry employs rhyme, but not the rhyme we normally think of, which marks the end of the line in metrical poetry, but a kind of half-intentional half-accidental rhyme that can appear anywhere within the text. This type of rhyming, which I term ‘sporadic’ and distinguish from ‘systematic,’ has illuminating potential as it relies on, but also departs from traditional rhyme functions. As such, it asks for a new theorization. In this essay I elaborate the core characteristics of sporadic rhyming, and then exemplify and qualify these through a series of readings.
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McCormack, Andy. "Rhyme time." Nursery World 2020, no. 5 (March 2, 2020): 22–24. http://dx.doi.org/10.12968/nuwa.2020.5.22.

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Johnson, Joel A. "Oppressive Rhyming: George Orwell on Poetry and Totalitarianism." Perspectives on Political Science 48, no. 3 (January 18, 2019): 162–69. http://dx.doi.org/10.1080/10457097.2018.1535212.

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Chasar, Mike. "The Business of Rhyming: Burma-Shave Poetry and Popular Culture." PMLA/Publications of the Modern Language Association of America 125, no. 1 (January 2010): 29–47. http://dx.doi.org/10.1632/pmla.2010.125.1.29.

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This essay uses the example of the long‐lived and popular Burma‐Shave advertising campaign to argue that literary critics should extend their attention to the vast amounts of poetry written for advertising purposes in the nineteenth and twentieth centuries. The Burma‐Shave campaign—which featured sequences of rhyming billboards erected along highways in the United States from 1926 to 1963—not only cultivated characteristics of literary and even avantgarde writing but effectively pressured that literariness into serving the commercial marketplace. At the same time, as the campaign's reception history shows, the spirit of linguistic play and innovation at the core of Burma‐Shave's poetry unintentionally distracted consumers' attention away from the commercial message and toward the creative forces of reading and writing poetry. A striking example of popular reading practices at work, this history shows how poetry created even in the most commercial contexts might resist the commodification that many twentieth‐century poets and critics feared. (MC)
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Aleksandrova, Steliana. "Rhymes in the Poetry of Konstanty Ildefons Gałczyński (Aspects of Translation into Bulgarian)." Zeszyty Cyrylo-Metodiańskie 12 (December 15, 2023): 182–94. http://dx.doi.org/10.17951/zcm.2023.12.182-194.

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The article is devoted to the rhymes in the poetry of Polish author Konstanty Ildefons Gałczyński and the ways they have been translated into the Bulgarian language. First, distinguishing features of the poetic text and the concept of rhyme are discussed, after which basic characteristics of rhymes in Polish poetry are noted. An overview of Gałczyński’s translations into Bulgarian leads to the main focus of the paper which concerns translators’ difficulties in converting the original rhyming pairs into the target language. The analysis is based on three translations of one poem: “Rozmowa liryczna” (“Lyrical Dialogue”), made by two prominent translators, Parvan Stefanov and Dimitar Pantеleev between 1960 and 1984. The observations indicate that the Bulgarian versions of the poem modify the original rhyming patterns due to the specificity of each language, as well as the translators’ individual aesthetic preferences. Almost all rhyming lexical units in the Polish text are adjacent and feminine, while there is a significantly more frequent use of cross and masculine rhymes in the three Bulgarian versions. Also, the translators refuse to preserve several irregular rhymes. The article concludes that the approaches of Stefanov and Panteleev are related to general trends in translating rhymed poetry from Polish into Bulgarian. Among them, the increased presence of masculine rhymes, largely dictated by the analytic nature of the Bulgarian language, seems prominent.
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Ward, Barbara A., Rebecca Kai Dotlich, Elaine Magliaro, Jonda C. McNair, Mary Napoli, and Terrell A. Young. "Children’s Literature Reviews: Poetry for Children at Its Best: 2009 Poetry Notables." Language Arts 87, no. 6 (July 1, 2010): 478–86. http://dx.doi.org/10.58680/la201011545.

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However you like your poetry, whether in free verse or rhyming couplets, each year seems to bring new delights in the world of poetry, and this one was no exception. It seemed as though our poets simply got better and the poems they created were even more memorable than before. In this year’s list of the 20 notable poetry books, members of the NCTE Excellence in Poetry Committee hope readers discover a poem or two that will help you imagine all the possibilities of the spoken and the written word.
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Khan, Muhammad Yaseen. "Edit distance-based search approach for retrieving element-wise prosody/rhymes in Hindi-Urdu poetry." Indian Journal of Science and Technology 13, no. 39 (October 24, 2020): 4189–201. http://dx.doi.org/10.17485/ijst/v13i39.1489.

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Background: Prosody (rhyming words) is a connatural element of poetry, throughout its reach, across thousands of languages in the world. Since medieval era, the Indic poetry (principally the Hindi/Urdu poetry) has created an impactful flamboyance w.r.t the subjects, styles, and other creative aspects in poetry. Besides the message of heartfelt poetry, we see the Qafiya (i.e., rhyming words) is the core element, without which we may not consider anything Hindi/Urdu poetry but merely a piece of writing; alongside it, Radif (i.e., a phrasal suffix to qafiya) is also considered next to the intrinsic part in Ghazals. In this regard, the contributions of this paper are one–the development of an optimal technique for the prosodic (qafiya) suggestions/retrieval in Hindi/Urdu poetry; and two–the qafiya suggestions based on the attached subsequent radif. Methods: The work in this paper involves usage of a 13.46 M tokens tri-script corpus of poetry. Instead of phonetic value matching, the proposed methodology employs four different Edit Distances (i.e., Levenshtein, Damerau–Levenshtein, Jaro–Winkler, and Hamming distance) as the comparison measures for prosodic suggestions. Findings: The proposed work shows better results in comparison to ‘Qaafiya Dictionary’ powered by rekhta.org. Moreover, w.r.t the inter-metric similarity and running time Jaro–Winkler appears to be the most optimal algorithm for the rhyme suggestion, whereas the Levenshtein distance is the laziest technique. Novelty/Applications: This work benefits researchers of Indic natural language processing for lexical look-ups and analysis of creative literature, especially poetry.
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Dissertations / Theses on the topic "Rhyming poetry"

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Turner, Kandy M. (Kandy Morrow). "A Study of "The Rhyming Poem": Text, Interpretation, and Christian Context." Thesis, North Texas State University, 1986. https://digital.library.unt.edu/ark:/67531/metadc331700/.

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The purpose of the research presented here is to discover the central concept of "The Rhyming Poem," an Old English Christian work known only from a 10th-century manuscript, and to establish the poem's natural place in the body of Old English poetry. Existing critical literature shows little agreement about the poem's origin, vocabulary, plot, or first-person narrator, and no single translation has satisfactorily captured a sense of the poem's unity or of the purposeful vision behind it. The examination of text and context here shows that the Old English poet has created a unified vision in which religious teachings are artistically related through imagery and form. He worked in response to a particular set of conditions in early Church history, employing both pagan and Christian details to convey a message of the superiority of Christianity to idol-worship and, as well, of the validity of the Augustinian position on Original Sin over that of the heretical Pelagians.
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Chung, Shuk-fan, and 鍾淑芬. "Teaching of rhyming skills in poems for primary school." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31962907.

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Chung, Shuk-fan. "Teaching of rhyming skills in poems for primary school : a case study = Xiao xue xin shi yin jie jiao xue ke tang ge an fen xi /." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25752327.

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Peterson, Cole. "Generating rhyming poetry using LSTM recurrent neural networks." Thesis, 2019. http://hdl.handle.net/1828/10801.

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Current approaches to generating rhyming English poetry with a neural network involve constraining output to enforce the condition of rhyme. We investigate whether this approach is necessary, or if recurrent neural networks can learn rhyme patterns on their own. We compile a new dataset of amateur poetry which allows rhyme to be learned without external constraints because of the dataset’s size and high frequency of rhymes. We then evaluate models trained on the new dataset using a novel framework that automatically measures the system’s knowledge of poetic form and generalizability. We find that our trained model is able to generalize the pattern of rhyme, generate rhymes unseen in the training data, and also that the learned word embeddings for rhyming sets of words are linearly separable. Our model generates a couplet which rhymes 68.15% of the time; this is the first time that a recurrent neural network has been shown to generate rhyming poetry a high percentage of the time. Additionally, we show that crowd-source workers can only distinguish between our generated couplets and couplets from our dataset 63.3% of the time, indicating that our model generates poetry with coherency, semantic meaning, and fluency comparable to couplets written by humans.
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Yang, Chih-Fan, and 楊之帆. "A Study on the Rhyming Categories of Sugawara no Michizane's Chinese Poetry and Rhymed Prose." Thesis, 2014. http://ndltd.ncl.edu.tw/handle/43014294102028469237.

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林鳳慧. "A comparative study on the rhyming patterns of Shi-ching (book of songs) and the "Old-style" poetry of Tu Fu." Thesis, 1991. http://ndltd.ncl.edu.tw/cgi-bin/gs32/gsweb.cgi/login?o=dnclcdr&s=id=%22080CHU00045004%22.&searchmode=basic.

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Hancock, Peter R. "RHYME VERSE: its reception and relatability for modern English-speaking culture." Thesis, 2021. https://vuir.vu.edu.au/44190/.

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Rhyme has substantial presence in the history of English-speaking culture. In each generation of people there are poets and songwriters who have created their own version of rhyme verse to broadcast their viewpoints concerning ideas, emotions, and events. To explore the place of rhyme verse in modern English-speaking culture, we need to consider its reception and relatability for an audience. This thesis comprises two components: a creative product (Part A); and an exegesis (Part B). The purpose of the creative product is to provide samples of recent rhyme verse, and be a guide for teachers and senior school students relating to composition and presentation of rhyme. In the context of this project, these teachers and students are designated as ‘the audience’, but curriculum designers and poetry or song enthusiasts may have an interest in the creative product. Part A, Verbal Tap Dance: a collection of rhyme verse, does not set out to offer theoretical research information in an exegetical sense, it intends to be an interrelated study resource for the exegesis to show how rhyme verse can be composed by employing theme as a starting point for creating a poem or song. Furthermore, the creative product includes five contraposed viewpoints (contraview themes), which are factors on the decision spectrum that relate to human experiences. These five contraview themes are: (i) Conformity or Rebellion; (ii) Respect or Ridicule; (iii) Optimism or Pessimism; (iv) Connection or Isolation; and (v) Reality or Illusion. As part of an interrelated study resource, both Part A and Part B also concentrate on five essential elements for the composition of rhyme verse: Theme, Message & Meaning, Vernacular, Rhyme Schemes, and Syntax. Moreover, creative product and exegesis investigate three delivery avenues (education, entertainment, and advertisement), which have potential to deliver rhyme verse to an audience. Also, the exegesis focusses on cognitive effects of employing rhyme pertaining to memory and positive or negative reaction to rhyme verse.
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Books on the topic "Rhyming poetry"

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Lenzi, Maryann. The rhyming book of corporate poetry. North Wales, PA: Beaver Publications, 2005.

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Fisher-Price, Inc. Fisher-Price rhyming ABC. New York: Modern Pub., 1998.

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Florian, Douglas. Bow wow meow meow: It's rhyming cats and dogs. San Diego: Harcourt, 2003.

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Terban, Marvin. Time to rhyme: A rhyming dictionary. Honesdale, Pa: Wordsong/Boyds Mills Press, 1994.

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Peters, Ann. Farrer Park: Rhyming verses from a Singapore childhood. Singapore: Epigram Books, 2012.

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1940-, Mitchell Ken, ed. Rhyming wranglers: Cowboy poets of the Canadian West. Calgary: Frontenac House, 2007.

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Campbell, Rod. A simple rhyming ABC. London: Campbell, 1996.

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Lister, Philip. Rhyming Poetry Collection. Independently Published, 2018.

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Rhyming Poetry-Ology. Fulton Books, 2019.

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Sheridan, Sheyenne. Simple Rhyming. Lulu Press, Inc., 2009.

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Book chapters on the topic "Rhyming poetry"

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Bradford, Richard. "Rhyming Couplets and Blank Verse." In A Companion to Eighteenth-Century Poetry, 339–55. Oxford, UK: Blackwell Publishing Ltd, 2007. http://dx.doi.org/10.1002/9780470996638.ch26.

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Robinson, Jeffrey C. "Cursory Observations on Poetry and Cheerfulness (with an excursion on rhyming tetrameter couplets)." In Unfettering Poetry, 83–108. New York: Palgrave Macmillan US, 2006. http://dx.doi.org/10.1057/9781403982834_4.

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"Rhyming/Repeating." In Victorian Poetry Now, 55–72. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444340440.ch2.

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Street, Susan Castillo. "Rhyming Empires." In The Cambridge History of American Poetry, 43–64. Cambridge University Press, 2014. http://dx.doi.org/10.1017/cho9780511762284.004.

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Sawyer, Daniel. "Rhyming." In Reading English Verse in Manuscript c.1350-c.1500, 110–43. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857778.003.0005.

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This chapter investigates manuscript evidence for readers’ attention to one particular aspect of form, rhyme. The chapter begins by examining occasions when scribes copied Middle English verse in unusual layouts with atypical lineation, because such occasions drove scribes to punctuate the structures of poems more explicitly. The resulting punctuation reveals that scribes often read, and expected other readers to read, cycles of rhyme, not individual lines, as the basic building-blocks of rhyming verse. The chapter then turns to the evidence of rhyme braces. Manuscript case-studies show that readers were usually adept and accurate when adding rhyme braces, but did not always choose to represent the actual rhyme. Their decisions reveal an aesthetic interest in balanced and unbalanced structures in rhyme, which helps to explain the effects and pleasures offered by some unbalanced stanza forms of the period, such as rhyme royal. A systematic quantitative survey of the braces in long poems written in couplets then shows how much care and labour was spent representing rhyme accurately even in copies of poems which modern scholarship has tended to regard as essentially utilitarian texts. Readers had, it is suggested, a strong formalist interest in rhyme in all kinds of rhyming verse. The evidence also demonstrates that different readers could pursue different kinds of formalism, and that poets did not always see eye to eye with the readers who eventually absorbed and transmitted poetry.
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"The Rhyming Poem." In The Life Course in Old English Poetry, 174–90. Cambridge University Press, 2023. http://dx.doi.org/10.1017/9781009315159.006.

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"Workshop 9: The Robin – rhyming and un-rhyming poetry." In How to Teach Poetry Writing: Workshops for Ages 8-13, 56–57. Routledge, 2011. http://dx.doi.org/10.4324/9780203832981-15.

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"These Rhyming/Repeating Games are Serious." In Victorian Poetry Now, 108–48. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444340440.ch4.

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Chikina, Natalia V. "Translations of S. A. Esenin’s Poetry into Finnish in Karelia (1920–1980’s)." In Sergey Esenin in the Context of the Epoch, 658–85. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-658-685.

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The article analyzes the Finnish translations of Sergey Esenin’s poetry made in the period from 1920 through the 1980’s by H. Ato, A. Äikiä, N. Laine, T. Summanen and T. Flink. Most of the translations were published in the collection of Russian lyrics “Russia’s New Poetry: 40 Soviet Russian Poets” (Petrozavodsk, 1989). The translators have managed to fulfil all the necessary requirements of poetic translation: retain the structural design of the piece, the poet’s style, create an accurate rhyming in spite of the difference between the Russian and the Finnish languages and in some cases add the ethnic element.
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Wallace, David. "3. A life in poetry." In Geoffrey Chaucer: A Very Short Introduction, 36–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780198767718.003.0003.

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It was once thought that Chaucer’s creative career developed from a French phase through Italian to a final triumph of English, but Chaucer never stopped learning from Francophone poets, and never stopped speaking French. ‘A life in poetry’ explains how Chaucer was then inspired by the verse forms of Dante’s Commedia and Boccaccio’s the Teseida delle nozze d’Emilia and Il Filostrato. Italian proved liberatory for Chaucer not just because its hendecasyllabic (eleven syllable) lines allow more poetic elbow room than French octosyllabics, but because its metrics lie much closer to English. Chaucer finally settled on a form he seems to have invented: rhyme royal, a seven-line stanza, rhyming ababbcc.
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Conference papers on the topic "Rhyming poetry"

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Yeh, Wen-Chao, Yung-Chun Chang, Yu-Hsuan Li, and Wei-Chieh Chang. "Rhyming Knowledge-Aware Deep Neural Network for Chinese Poetry Generation." In 2019 International Conference on Machine Learning and Cybernetics (ICMLC). IEEE, 2019. http://dx.doi.org/10.1109/icmlc48188.2019.8949208.

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Piotrovsky, Dmitry D. "THE RHYME AND THE FORMULA IN POPULAR FAROESE POETRY." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.26.

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The main means which organizes the verse in popular Faroese poetry is end rhyme. In four-line stanzas the rhyme connects the second and the fourth lines, in two-line ones both present lines. The Faroese rhyme is not strict. It is enough only to repeat the stressed vowel, the consonant following after might vary. The part of the word which follows the stressed vowel may undergo significant changes. The masculine ending sometimes rhymes with the feminine one. Even the stressed vowel might vary to some extent. The Faroese rhyme is often trivial. The ballads on the Faroese Isles were oral. So, some special formula technique was applied for their transition. The means of the formula technique are formulas and repetitions. The formulas are metrically conditioned reproducible word groups having the length of one line, meanwhile the repetitions are metrically non-conditioned sequences of different length. The formulas and repetitions, as well as they perform the same function of the building material for the oral poetic text, also possess the same structure. They both are composed from permanent end variable parts. In repetitions their entwinement takes different forms. They may follow one another, usually first comes the permanent part then the variable one. The permanent part sometimes occupies the second half of one stanza and then the first half of the following stanza. The permanent end variable parts might cross one another. In this case the permanent part occupies unpair lines and the variable part occupies pair ones. The distribution of these parts of both formulas and repetitions is tied to the rhyming places of the verse. The rhyming word is usually located in the variable part but sometimes it is found in the permanent part. This one more time proves that there is no impenetrable boundary between formulas and repetitions. Refs 8.
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