Relevant bibliographies by topics / Rhyming text

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

Academic literature on the topic 'Rhyming text'

Author: Grafiati
Published: 4 June 2021
Last updated: 23 February 2023

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Journal articles on the topic "Rhyming text"

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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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Király, Ildikó, Szilvia Takács, Zsuzsa Kaldy, and Erik Blaser. "Preschoolers have better long-term memory for rhyming text than adults." Developmental Science 20, no. 3 (February 21, 2016): e12398. http://dx.doi.org/10.1111/desc.12398.

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Jugo, Midhat, and Amrudin Hajrić. "Stylistic potential of the absolute object in the text of the Qur’an." Zbornik radova 19, no. 19 (December 15, 2021): 411–30. http://dx.doi.org/10.51728/issn.2637-1480.2021.19.411.

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The subject of this paper is the stylistic potential of the absolute object in the text of the Qur’an. Besides reference to the basic theoretical definition of the absolute object in Arabic grammar and Arabic stylistics, the paper researches the discipline of ornaments, 'ilm al-badī', and based on the Qur’anic text tries to identify frequent stylistic figures realized by the constructions of the absolute object and its regent. The research showed that constructions with the same root are a significant syntactic framework within which numerous stylistic figures are realized in the Qur’an. Paronomasia of derivation, rhyming prose, parallelism, antithesis, and symmetrical antithesis are some of the stylistic figures which in the form of the absolute object and its regent shape the text of the Qur’an and determine it stylistically. In addition to stylistic marking, the same-root repetition of the word root in the absolute object and its regent represents an important linguistic means in connecting the Qur’anic text. The sound uniformity and echo that develops and resonates through the interpretation of these constructions is closely related to the meaning, affects the recipients’ hearing and mind and performs an argumentative function. Ključne riječi: Arabic language, absolute object, the Qur'an, stylistic figures, paronomasia, derivation, rhyming prose, parallelism, antithesis.
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Johnson, Janelle L., and Donald S. Hayes. "Preschool children's retention of rhyming and nonrhyming text: paraphrase and rote recitation measures." Journal of Applied Developmental Psychology 8, no. 3 (July 1987): 317–27. http://dx.doi.org/10.1016/0193-3973(87)90007-4.

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Di Santo, Federico. "Per una semiotica della rima." Romanistisches Jahrbuch 70, no. 1 (November 18, 2019): 158–85. http://dx.doi.org/10.1515/roja-2019-0006.

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Abstract The article, following a suggestion of Barthes, attempts to outline a semiotics of the technique of rhyming considered as a sub-code of poetic language, in order to better understand the important contribution provided by rhyme, on many levels, to the strategies of signification of the literary text. This semiotic approach is inscribed in a general theory of rhyme under development by the author, which aims at explaining the raison d’être and fortune of this poetic device in relation to its decisive contribution to the rhetorical and figurative elaboration of the poetic text. In a semiotic perspective, three fundamental levels of structuring rhyme as a sign can be distinguished: its signifier (the partial phonic identity which, in the current view, is considered to be rhyme’s exhaustive definition), its meaning (the semantic interference between rhyming words only) and its sense (the relation between rhyme’s meaning and context). A short reference is also made to further aspects of the the sub-code of rhyme, such as its syntax (strophic patterns) and the role of pools of rhymes. This leads to a reappraisal of some significant questions raised by the technique of rhyme, e. g. whether or not it always makes a semantic contribution, or what the interplay between its limitations to freedom of expression and its contribution to the expressiveness and poetic value of the text is. The theoretical tools are finally put to the test in a short analysis of the rhyme-words in the form of the sestine.
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Freebury-Jones, Darren, and Marcus Dahl. "Searching for Thomas Nashe in Dido, Queen of Carthage." Digital Scholarship in the Humanities 35, no. 2 (March 6, 2019): 296–306. http://dx.doi.org/10.1093/llc/fqz008.

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Abstract The title page of the 1594 Quarto text of Dido, Queen of Carthage assigns the play to two authors: Christopher Marlowe and Thomas Nashe. Some scholars, such as J. P. Collier, F. G. Fleay, Alexander Grosart, Tucker Brooke, and Thomas Merriam, have argued that Marlowe and Nashe co-authored the play, or that Nashe added significant material to Marlowe’s text. This article assesses the internal evidence for Nashe’s hand in the play by examining its prosody, vocabulary, phraseology, rhyming habits, and stage directions in comparison to works ascribed to Nashe and Marlowe. The article also explores different modes of collaboration, such as the possibility that Nashe helped to plot, revise, or edit the play.
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Rozov, Vladimir. "Revision of Internal Structure and Ordering of the Qurʼānic Sūras 105 al–Fīl and 106 Quraysh: Structural and Rhetorical Analysis." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 28, no. 2 (December 2022): 47–51. http://dx.doi.org/10.31250/1238-5018-2022-28-2-47-51.

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The article analyses two suras of the Qur’an (Q. 105 and Q. 106) within the scope of the hypothesis that they initially constituted a textual unity. This assumption was presented by some reports of early Muslim traditions. Several modern researchers also mentioned the thematic coherence of these two suras. Structural analysis of the rhyming endings in both suras and distribution of their thematic units give new insights about supposed previous initial composition of the text. Rhetorical side of the revelation was also analysed according to the concept of emotional plots. These new arguments reinforce the idea that Q. 105 and Q. 106 were revealed as one distinctive piece of the Qur’anic text.
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Movchun, L. "DISCURSIVE TYPES OF RHYMES." Comparative studies of Slavic languages and literatures. In memory of Academician Leonid Bulakhovsky, no. 35 (2019): 293–305. http://dx.doi.org/10.17721/2075-437x.2019.35.29.

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The article raises the problem of the rhyme classification, in particular, in the matter of supplementing it with actual parameters. Interpretation of the rhymed text as a creative process determines its analysis in two diametrically opposite aspects: individualauthorial and general-cultural. In the discourse of author’s creativity, the rhyme is analyzed in terms of the stability of the component composition, the compliance with the completed text, the mandatory employment. In the discourse of national and world culture, rhymes are analyzed on the basis of intertextuality. The rhyme transformation is described in the direction from the original rhyming compound to the result of its development in the new text. Intertextual rhymes are analyzed according to their perceptual potential, the accuracy of the reproduction of the original rhyme, as well as the contextual parameter.
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Kruglyakova, Tatyana. "Spelling Rules as Poetry: How to Teach Russian?" Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 276–99. http://dx.doi.org/10.31860/2304-5817-2020-2-18-276-299.

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Poems that include formulas of spelling rules, specially written to help teacher of Russian Language were popular during the last century: one could find numerous rhymed rules in various textbooks, in article on teaching methodology, in tutorials, and in children’s books. Such rhymed rules address spelling mistakes, speech and versification errors, and distorted linguistic information. The article focuses on the problem of children’s perception and memorization of rhymed speech and expediency of usage of rhyming as a mnemonic method. Language particularities of didactical poems in Russian language (typical speech and grammatical errors, mistakes in poetic text construction) are considered. Children’s humorous modifications of the didactical poems ultimately serve as proof of their failure to deliver the desired educational outcomes. Ways of proposing linguistic information and its possible distortion (connected with text organization) are analyzed and studied. An important component question of this study probes why the Russian language teachers are still so fond of these poems as in-class instructional material.
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Chen, Xi. "Visualizing Chinese nursery rhymes in contemporary picturebooks: a multimodal perspective." MonTI. Monografías de Traducción e Interpretación, no. 14 (April 28, 2022): 119–48. http://dx.doi.org/10.6035/monti.2022.14.04.

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This study investigates how Chinese nursery rhymes are visualized in contemporary picturebooks from a multimodal perspective. The data for case analysis are selected from three Chinese rhyming picturebooks. Based on Jakobson’s (1959) typology of translation, this study regards picturebooks as multimodal texts and examines the adaptation of Chinese nursery rhymes into contemporary picturebooks as a process of intralingual and intersemiotic translations. It first analyzes the modern adaptations of traditional Chinese nursery rhymes in the verbal texts and then discusses the text-image interactions in picturebooks to explore the intersemiotic translation from the verbal to the visual. The research results indicate that the didactical function or political implication of traditional Chinese nursery rhymes is usually weakened or omitted in the intralingual translation, while more creative and amusing narrative rhymes are adapted to tailor for contemporary children’s hobbies and lifestyle. Besides, in the intersemiotic translation between texts and images in picturebooks, flexible and varied methods are employed according to different text-image interplays.
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Dissertations / Theses on the topic "Rhyming text"

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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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Lin, Yue-Ru, and 林悅如. "The Effects of Using Rhyming Texts on EFL Young Learners' Vocabulary Learning." Thesis, 2016. http://ndltd.ncl.edu.tw/handle/13788544176286262498.

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碩士
國立彰化師範大學
兒童英語研究所
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Rhymes have been proven to be beneficial for promoting EFL young learners’ learning motivation and phonological awareness. However, there is a lack of research which has empirically confirmed the efficacy of using rhyming texts to promote EFL young learners’ vocabulary learning. Hence, the present study was aiming at investigating the effects of using rhyming texts to promote EFL young learners’ word memorization efficiency, more specifically, their word meaning and spelling learning retention. Four intact classes of 90 EFL eighth graders in northern Taiwan participated in the present study. The experimental group received rhyming text instruction, while the control group received non-rhyming text instruction for a total duration of 240 minutes. A Word Selection Test, an Immediate Word Meaning Test, an Immediate Word Spelling Test, a Delayed Word Meaning Test, and a Delayed Word Spelling Test were adopted in this research for data collection. The test results were analyzed through independent t-tests, paired samples t-tests, and Pearson’s chi-square tests. The results of the present study indicate that rhyming texts are significantly (α=.05) facilitative for EFL young learners’ immediate word meaning learning as compared to non-rhyming versions, while no significant positive effects (p>.05) were found on promoting the participants’ delayed word meaning learning retention. The results reveal that though rhymes seem to be facilitative for young learners’ word meaning learning, if their level of processing is not deep enough, their word meaning learning would not be retained since there was no application stage in the learning process. As for their word spelling learning, the results indicate that text types may not be a critical variable in determining EFL young learners’ spelling performance since spelling is concerned with the internal structure of words. The findings of this study provide evidence that applying rhyming texts as teaching materials can boost EFL young learner’s immediate word meaning learning.
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Books on the topic "Rhyming text"

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Crelin, Bob. There once was a sky full of stars. Cambridge, Mass: Sky Pub., 2003.

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Wells, David Ames. The Central Franconian Rhyming Bible ("Mittelfränkische Reimbibel"): An early-twelfth-century German verse homiliary : a thematic and exegetical commentary with the text and a translation into English. Amsterdam: Rodopi, 2004.

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Wells, David Ames. The central Franconion rhyming Bible ("Mittelfränkische Reimbibel"): An early-twelfth-century German verse homiliary : a thematic and exegetical commentary with the text and a translation into English. Amsterdam: Rodopi, 2003.

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Bible stories in Cockney rhyming slang. London: J. Kingsley Publishers, 2009.

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Colandro, Lucille. There Was an Old Lady Who: Swallowed a Desk! 2nd ed. New York, USA: Scholastic Inc., Scholastic Book Clubs, 2014.

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Cancino, Marianela Abarca. Mar y recuerdo: Poesía y cuento. [Mexico: s.n., 1997.

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The Worm song and other tasty tunes. Richmond Hill, Ont: Scholastic Canada, 1993.

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Carmela, Fischer, ed. Un do li tuá: Rondas y canciones tradicionales infantiles. Rosario, Argentina: Ameghino, 1997.

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Perkins, Al. The Nose Book. 2nd ed. New York, USA and Toronto, Canada: Random House Children's Books (Division of Random House Inc.) and Random House of Canada, Ltd., 2003.

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Hall, Michael. My heart is like a zoo. New York: Greenwillow Books, 2010.

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Book chapters on the topic "Rhyming text"

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"4. Rhyming Texts L and B, Prose Text G." In Dreaming of Cockaigne, 33–44. Columbia University Press, 2003. http://dx.doi.org/10.7312/plei11702-005.

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Dean, Terry. "Semyon Kotko and War and Peace." In Rethinking Prokofiev, 193–212. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190670764.003.0012.

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Prokofiev was both a voracious reader and a compulsive writer—of letters, diaries, an extensive autobiography, and even of poems and short stories. His interest in text, and in particular in its dramatic impact, determined that, for almost all his operas, he was his own librettist. This allowed him not only control of all compositional elements but also realized his preference for setting passages of non-rhyming prose in a declamatory style, which he believed to be more realistic and dramatically effective. Nevertheless, upon his return to the Soviet Union, Prokofiev found that this approach to text sources was seldom compatible with the demands of Socialist Realism. The chapter explores his reliance on collaborators more familiar than he was with Soviet aesthetics, and it focuses, in particular, on his collaboration with his second wife, Mira Mendelson on the opera War and Peace, with reference to their manuscript notebooks.
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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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"Rhyming Couplets." In Style and Form in Old-Babylonian Literary Texts, 157–73. BRILL, 2003. http://dx.doi.org/10.1163/9789004496668_010.

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"1. Middle Dutch Rhyming Texts on Cockaigne." In Dreaming of Cockaigne, 431–37. Columbia University Press, 2003. http://dx.doi.org/10.7312/plei11702-043.

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"5. The Two Rhyming Texts on the Land of Cockaigne." In Dreaming of Cockaigne, 45–54. Columbia University Press, 2003. http://dx.doi.org/10.7312/plei11702-006.

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Zimenkov, Alexey P., and Liudmila P. Zimenkova. "The Dictionary of the Rhymes by S. A. Esenin." In Sergey Esenin in the Context of the Epoch, 686–838. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/978-5-9208-0672-7-686-838.

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The dictionary of the rhymes by S. A. Esenin was compiled on the basis of “The Complete Works of S. A. Esenin” in 7 volumes, 9 books. (Moscow, Nauka — Golos Publ., 1995–2001) and contains the end rhymes of all his poetic works (including the sections “Poems in case”, “Excerpts. Unfinished”, “Collective”) — except for rhymes that are found in prose texts, letters and are also presented in the sections “Variants” and in the section “Appendices” of the 4th volume (“Lines recorded by contemporaries” and “Attributed. Dubia”). In addition, the vocabulary does not include consonances arising at the beginnings of lines and internal rhymes. The terminal consonances recorded in Esenin’s poetic works are arranged in alphabetical order of rhyming words and phrases, indicating the volume and page. When establishing the order of the compound rhymes,the space between words is not taken into account. The word combination participating in the formation of a compound rhyme is placed in the general alphabetical row of rhyming words. This rule also applies when one of the elements of the rhyme pair begins with a preposition or conjunction. For the convenience of using the dictionary the material in it is organized so that each rhyme pair can be found using any of the words included in it. This applies to compound rhymes and hyphenated words. The dictionary creates favorable conditions for studying the poet’s rhyme and statistical calculations, facilitates the identification of features, that bring Esenin’s rhyme system closer to the systems of other poets, and at the same time allows one to discover the individual characteristics of Esenin’s rhyme. Keywords: S. A. Esenin, rhyme, poetry, dictionary of rhymes.
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Jones, Howard, and Martin H. Jones. "Versification." In The Oxford Guide to Middle High German, 227–50. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199654611.003.0003.

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This chapter describes the chief features of versification in poetry written in the Middle High German Classical period (c.1170–c.1230) and in the remainder of the Middle High German period. The four parts of the chapter treat metre (anacrusis, interior of the line, cadence), rhyme (types of rhyme, rhyme schemes), lines of verse in context (rhythmical continuity or discontinuity between lines of verse, metrical and syntactical structures, rhyming couplets and syntactical structures), and verse forms (non-strophic verse, strophic verse in heroic and lyric poetry, the ‘Stollenstrophe’). Tips for the scansion of verse are included. Technical terminology in English and German is explained throughout. Examples are in the main drawn from the selection of texts (Chapter 5). In the case of lyric verse, the general account in this chapter is supplemented by metrical analyses of each song included in the selection.
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Manning, Jane. "ANTHONY RITCHIE (b. 1960)Two Pantoums (2005)." In Vocal Repertoire for the Twenty-First Century, Volume 2, 190–92. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780199390960.003.0059.

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This chapter explores Anthony Richie’s Two Pantoums (2005). In this piece, each of Cilla McQueen’s strikingly resonant texts, one commissioned specially, takes the form of a pantoum. This is Malay in origin and consists of a series of four-line stanzas, with rhymings and repeats alternating in the pattern ABCD, BEDF, EGFH, GIHJ, and so on. Each poem is rounded off with a final, framing ICJA stanza, making a satisfyingly symmetrical effect. With enviable ingenuity, Ritchie manages to adhere strictly to the form throughout his vocal settings, yet, by dint of subtle transposition and rhythmic variation, he avoids rigidity and instead creates a feeling of free-flowing spontaneity, aided considerably by rewardingly varied piano parts. Indeed, the songs progress so seamlessly that one is barely aware of their intricate, tightly knit structure. He wisely keeps the soprano within a comfortable and practicable tessitura and word-setting is exemplary. The relationship between voice and piano is idiomatic and the attractive musical language—mainly tonal, but laced with chromaticism and modality—is ‘accessible’ in the best sense.
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Conference papers on the topic "Rhyming text"

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Babrouskaya, Alena. "Ways To Use Rhyming Texts When Studying Russian As A Foreign Language." In X International Conference “Word, Utterance, Text: Cognitive, Pragmatic and Cultural Aspects”. European Publisher, 2020. http://dx.doi.org/10.15405/epsbs.2020.08.14.

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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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