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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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Omar, Ahmad Mukhtar. "The fāṣila in the Qur'an: Word, Context and Meaning." Journal of Qur'anic Studies 1, no. 1 (April 1999): 264–69. http://dx.doi.org/10.3366/jqs.1999.1.1.264.
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Fāsila is a termed used to denote the last word in each Qur'anic āya. In this article, we explore this Qur'anic usage, examining in particular the connection between the choice of word, its semantic and rhythmic role in its immediate context, and its wider signification in the narrative. Previous writers on the subject drew attention to the apparent similarity between the fāṣila and the rhythmic schemes of poetry and rhyming prose. We argue that tire fāṣila, while certainly playing a role in the rhythmic structure of the text, has a wider significance, and that an examination of each occurrence underlines the organic connection between the ‘content’ of each sentence and its fāṣila. In a number of instances, it can be shown that the fāṣila and the rhythmic and semantic demands of the narrative account for differences between standard usage and the Qur'anic text. We discuss a number of specific instances of fāṣila, and, examine these in the light of the views of classical exegetes on this feature of the Qur'an.
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Breen, Mara, Ahren B. Fitzroy, and Michelle Oraa Ali. "Event-Related Potential Evidence of Implicit Metric Structure during Silent Reading." Brain Sciences 9, no. 8 (August 8, 2019): 192. http://dx.doi.org/10.3390/brainsci9080192.
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Under the Implicit Prosody Hypothesis, readers generate prosodic structures during silent reading that can direct their real-time interpretations of the text. In the current study, we investigated the processing of implicit meter by recording event-related potentials (ERPs) while participants read a series of 160 rhyming couplets, where the rhyme target was always a stress-alternating noun–verb homograph (e.g., permit, which is pronounced PERmit as a noun and perMIT as a verb). The target had a strong–weak or weak–strong stress pattern, which was either consistent or inconsistent with the stress expectation generated by the couplet. Inconsistent strong–weak targets elicited negativities between 80–155 ms and 325–375 ms relative to consistent strong–weak targets; inconsistent weak–strong targets elicited a positivity between 365–435 ms relative to consistent weak–strong targets. These results are largely consistent with effects of metric violations during listening, demonstrating that implicit prosodic representations are similar to explicit prosodic representations.
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Nowak-Barcińska, Małgorzata. "Psałterz poznański. Prolegomena lingwistyczne." Poznańskie Studia Polonistyczne. Seria Językoznawcza 25, no. 2 (April 8, 2019): 221–42. http://dx.doi.org/10.14746/pspsj.2018.25.2.12.
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This article discusses a collection of fifty psalms published as The Poznań Psalter. A Collection of Psalms for Common Singing at Home and in Church (Poznań 2017). As a text genre, the publication represents a song book, which – according to its dictionary definition – is: ‘a collection of songs (solemn or popular) with their lyrics and notes’. The publication can alternatively be classified as a hymnal. The authors of the paraphrased psalter intended to underscore the musical character of the Biblical texts. This musical character is underscored by giving the particular psalms their regular rhythmic pattern, partly supported with a rhyming pattern. As far as the musical layer of the Poznań Psalter is concerned, the authors make a conscious reference to tradition, since the melodic lines are transferred from the Geneva Psalter (1563 edition). The language layer, on the other hand, departs from tradition, since it does not exhibit the historically marked lexical or grammatical structures. Analysing the text of the Poznań Psalter, composed by the Protestant (Reformed Evangelical Church) authors in the context of the Polish tradition of Biblical translation, one can conclude that this tradition retains its vital interdenominational nature, which – as in the case in point – is capable of using the Warsaw Bible and the Millennium Bible as sources of textual adaptation.
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Toorawa, Shawkat M. "Rendering the Qur'an into Cadenced, Rhyming English Prose: Process and Outcome in a Translation of Sūrat al-Ghāshiya (Q. 88)." Journal of Qur'anic Studies 17, no. 2 (June 2015): 103–17. http://dx.doi.org/10.3366/jqs.2015.0197.
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Translators of the Qur'an often explain the general principles underlying their translation but rarely, if ever, go into the nitty-gritty of the process and discuss aspects such as specific word choice, word placement, rhyme/non-rhyme, assonance/consonance, and so on. Either they do not think about these dimensions of their translation explicitly, or soundscape and soundshape is not as important to them as ‘meaning’. As a translator who believes that Qur'anic meaning inheres in word placement and word choice, I aim to demonstrate how this can be transferred to the English translation by recording all my choices as I translated Sūrat al-Ghāshiya (Q. 88). Thus, process (the act of translation) is made explicit, and product (translation proper) can be appreciated as the outcome of the process. Another important aim of this discussion is to encourage others translating the Qur'anic text (from single verses for quotation in their own scholarship to longer pieces or, indeed, the whole Qur'an) to appreciate the importance of word placement and choice, even in the target language (in this case, English).
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Moisiienko, Anatolii. "ENJAMBMENT IN THE SONNET POEM." Research Bulletin Series Philological Sciences 1, no. 193 (April 2021): 184–91. http://dx.doi.org/10.36550/2522-4077-2021-1-193-184-191.
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This article contains a short overview of theory and practice of the poem text, dealing with the phenomenon of enjambment. It should be stressed that Ukrainian poetry (both classic and modern) widely uses the figure of enjambment. There is a number of recently published articles by Ukrainian authors offering the study of this poetic figure in different aspects of different individual styles. But for obvious reasons there are no such studies about sonnet texts in particular. Regarding the sonnet poem, since the times of the first French theorists of the 17-18 th centuries up to modern reference editions, genre definitions of its figurative structure almost always contain a number of restrictions. There should be no repeated words, the rhymes should be exact and voiced, every stanza - with the relevant rhyming system - has to be a complete syntactic entity etc. The author (using as example a number of sonnets of Ukrainian poets) tries to show that the enjambement accented word in the sonnet text is as natural as in any other poetic text. And as in any other poetic text (depending on the author’s intention) it can play an important semantic and stylistic function. The main meaning and functional shift of enjambement word on the structural level is being studied here both in the system of simple and compound sentence of the sonnet. Quite often we can observe the phrase shift from one stanza to another, from quatrain to tercet. An example of such enjambement structure of the poem where the shift is being observed in every line and every stanza is a sonnet of Dmytro Pavlychko "Слова”. Another rare phenomenon of syllable shift in the sonnet poem can be found here: Дихнуло весною, Десною... Над супер- / крутою урбанню.Над біль./У долі моєї чебрець і канупер / З чернігівських піль / (А. Мойсієнко).
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Mikhnieva, Yuliia, Olga Demydenko, and Diana Babak. "ІNTERTEXTUAL HUMOROUS ELEMENTS IN THE ANIMATED SERIES GRAVITY FALLS AND THE SPECIFICS OF THEIR TRANSLATION INTO UKRAINIAN." Advanced Linguistics, no. 10 (November 30, 2022): 59–66. http://dx.doi.org/10.20535/2617-5339.2022.10.266341.
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The main goal of the work is to consider the English-language animated film text “Gravity Falls” directed by Alex Hirsch, to identify the means of intertextuality of humor in it and to point out the peculiarities of their translation. It is emphasized that today, for scientists, the film text is a rich material for study due to its multidimensionality and dynamism, representing the dynamics of socio-cultural development of society in general and language in particular. The concept of intertextuality is based on the belief that all literary works are derived from or influenced by a previous literary work. There is intentional intertextuality, which borrows intentionally from texts, and there is covert intertextuality, where references occur accidentally (the connection or influence is not intentional), since any written text makes intertextuality possible. Some intertextual references are precise lines of dialogue or action, while others are more vaguely referenced. Any work of literature that participates in the creation of a new text is considered intertextual. When translating humorous elements, a specialist must take into account a number of factors. As for the transfer of a comic effect, it is quite a difficult task that requires consideration of various factors. Each language has its own specific linguistic devices for creating comic effect, and it is extremely unlikely that the same devices will be used in translation. That is why it is almost impossible to find a complete equivalent of wordplay or rhyming jokes in another language. The effectiveness of the transmission of the comic effect depends on the degree of coincidence of the background knowledge of the addressee and the recipient. Comic contexts that require awareness of another culture will often be untranslatable using equivalents. All these features greatly complicate the process of translating a cartoon, which is saturated with intertextual elements. Keywords: audiovisual translation; humorous elements; intertext; intertextuality; context; film text; techniques of translation.
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Toorawa, Shawkat M. "Seeking Refuge from Evil: The Power and Portent of the Closing Chapters of the Qur'an." Journal of Qur'anic Studies 4, no. 2 (October 2002): 54–60. http://dx.doi.org/10.3366/jqs.2002.4.2.54.
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Chapters 113 and 114 of the Qur'an, al-mucawwidhatān ‘the two suras of taking refuge from evil’, are said to have been revealed to the Prophet Muḥammad in order to counteract a spell laid on him. These consecutive suras are consequently recited in order to dispel any and all forms of evil. In spite of the fact that they are paired in revelation, paired together at the end of the Qur'anic text, paired in ritual recitation, paired in invocation and appear to be similarly structured, in this short article I argue that the Mucawwidhatān are in actuality very different. They clearly can and do function as a pair, but the linguistic and stylistic differences between them are as striking as the similarities. In Sura 113, for instance, rhyming prose (sajc) is used; in Sura 114, on the other hand, it is not a question of end-rhyme, but of the use of the very same rhyme word five out of six times, or rather – since the one exception incorporates that rhyme word – the use of the same rhyme throughout. As for the thematic, I propose the following heuristic characterisation of the dimensions of evil in Sura 113: Natural Evil, Unnatural Evil, Supernatural Evil and Mortal Evil.
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Nakhaei, Bentolhoda. "FitzGerald’s Translation of the Mantiq-Ut-Tayr: A Colonial Approach towards Metrics, Textual Rhythm, and Rhyme Translation." TranscUlturAl: A Journal of Translation and Cultural Studies 14, no. 1 (September 22, 2022): 97–110. http://dx.doi.org/10.21992/tc29562.
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The Mantiq-Ut-Tayr[1] is a collection of mystical poems composed by Farid ud-Din Attar in 1177 in Iran. He was a doctor, druggist, perfumer, and at the same time a Sufi in his ideas. In 1857, the British poet and translator, Edward FitzGerald, introduced this collection of couplets to England for the first time. As a Victorian translator, he attempted to colonize the Persian text and recreate Attar’s rhythmic pattern in his translation. In other terms, he tried to introduce the Persian Metrics of the twelfth century into English literature of the nineteenth century.
By introducing Persian fixed metric patterns into English literature, one may wonder how FitzGerald’s invention affected the norms of the Victorian poetry. Has the British translator become successful in recreating the close correlation, which exists between rhythm and the underlying significance of the Mantiq-Ut-Tayr in his translation?
By applying the theories of scholars in linguistics and translation studies, such as Derek Attridge, André Lefevere, Antoine Berman, Susan Bassnett, and Harish Trivedi; this research seeks to investigate the way FitzGerald rendered the Persian Masnavi—rhyming couplets—and the genre in established English norms. Thus, the present study might provide an interesting research field for developing a postcolonial methodology with regard to the rendition of the Mantiq-Ut-Tayr’s rhythm and rhyme in English. In fact, this research attempts to evaluate the change of meaning, comprehension, and above all the reception between the Persian text and the English translation of Attar’s masterpiece.
Keywords: exception, metrics, rhythm, colonial approach, translation, Mantiq-Ut-Tayr.
[1] The conference of the birds.
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Murray, Alan V. "Formulaic Language in the Livonian Rhymed Chronicle." Amsterdamer Beiträge zur älteren Germanistik 79, no. 1 (April 12, 2019): 86–105. http://dx.doi.org/10.1163/18756719-12340144.
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Abstract This paper investigates formulaic syntax in the Livonian Rhymed Chronicle (German: Livländische Reimchronik), a Middle High German (MHG) verse history composed around 1290. A common syntactical formula is a unit formed with the adjective vrô (‘glad’, ‘happy’, ‘joyful’) or its negative variant unvrô, together with the verbs sîn (‘be’) or werden (‘become’), with a genitive object: NP-Nom + SÎN/ WERDEN + NP-Gen + (un)vrô (e.g. der meister was der rede vrô). In almost every case the adjective (un)vrô occurs in end position, so that it can be rhymed with another common word, e.g. dô (‘then’) or sô (‘thus’). An important variation is introduced with the demonstrative pronoun des: Pro-Dem-Gen + SÎN/WERDEN + NP-Nom + (un)vrô. This construction has the metrical function of filling a complete line, but it also functions as a discourse marker: it comments positively or negatively on an episode it follows or introduces. The high frequency of this construction in this text compared to its occurrence in other genres written in rhyming couplets suggests that the author was more conservative and less inventive than his contemporaries. In addition he also drew more frequently on the vocabulary and conventions of heroic poetry in which formulaic language was very common. It is argued that the employment of formulaic phrasing and syntax are connected with the sociolinguistic circumstances of the recitation of the chronicle.
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Pyatetska, Olga. "Linguistic and functional-style features of Ukrainian advertising publications in the social network of Facebook." Actual issues of Ukrainian linguistics: theory and practice, no. 36 (2018): 49–60. http://dx.doi.org/10.17721/apultp.2018.36.49-60.
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The article analyzes the linguistic and functional-style features of advertising posts in the social network of Facebook on the example of the Ukrainian advertising agency "Kiwi Agency", whose purpose is to increase the process of selling and providing various commercial services on the media market; the main extralinguistic factors that influence the linguistic organization of this genre of Internet communication are determined. It has been established that advertising agencies that carry out an advertising campaign through the social network Facebook, attract SMM managers, copywriter and graphic designer. The main requirements for the creation of advertising posts are the uniqueness of the text, creativity, adaptability to the target audience, expressiveness, easiness of perception of information, call - to - action, correspondence of the text and its visual part. The conducted analysis of advertising publications made it possible to distinguish their main functions, which their structural and content features are related to: contact, call, information-entertaining, social, cognitive; find out the most important extralinguistic factors of the writing of posts, which include: purpose and communication tasks, adaptation to the target audience, information media, the influence of other languages and cultures, etc., which led to the use englishisms, neologisms, created from the name of the brand of toys or abbreviation of the store "House of Toys", which is played by various variants: repetitions, alliteration, graphic means, rhyming, lexemes with affixes of an enlarged sign, exclamations, isotopes, imperative-vocative and nominative syntactic constructions; the use of speech techniques and allusions - the recognition of users of social media Facebook texts created by analogy with cartoons and famous songs. The article concludes that today in the language of Internet advertising as an effective marketing tool there are active processes of word formation, the tendency to simplify syntactic constructions, the growth of the role of visual means, mixing of styles.
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Rushing, James. "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." Journal of English and Germanic Philology 105, no. 2 (April 1, 2006): 351–53. http://dx.doi.org/10.2307/27712594.
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Fernández Riva, Gustavo. "Naming and Renaming Texts: Rubrics in Middle High German Miscellany Manuscripts." Interfaces: A Journal of Medieval European Literatures, no. 8 (December 31, 2021): 245–63. http://dx.doi.org/10.54103/interfaces-08-11.
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This article analyses rubrics in Middle High German miscellany manuscripts of short texts in rhyming couplets (Reimpaargedichte). A corpus consisting of 1433 rubrics from 68 manuscripts was created to be able to perform this study. As rubrics in medieval manuscripts were not authorial, but composed by scribes, they offer insights into the reception of the texts. This paper analyses their features and functions as a proxy to interrogate the standing and status of Reimpaargedichte between the thirteenth and fifteenth centuries. The main methodology is distant reading, i.e. the application and interpretation of statistical methods on a textual corpus. The features analyzed include the length of the rubrics, their level of variation, the presence of author names, and vocabulary. Although no general patterns regarding length nor level of variation were detected, some important conclusions can be drawn: 1. there were no clear markers of literary genre in rubrics; 2. authorship was mostly absent, except for some specific cases of famous authors; 3. relatively stable keywords were used to identify particular texts, but they were more common in manuscripts with narrative texts (Erzählungen) and less common in later manuscripts dominated by the genre known as Minnereden. Furthermore, the analysis revealed that rubrics used a series of linguistic procedures to show that they participated in a different speech act than the main text – they embodied an interaction between scribes and readers, in which the former framed the reception of the work.
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Vasilyeva, Svetlana Nikolaevna, and Anna Veniaminovna Gordeeva. "Literary Translation Into English of Peter Khuzangai’s Poem “The Poet”." Ethnic Culture 4, no. 2 (June 27, 2022): 40–43. http://dx.doi.org/10.31483/r-102894.
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The purpose of the article is to present a literary translation into English of P. Khuzangay’s poem «A Poet» and to make a comprehensive analysis of it. The object of the study is the text of P. Khuzangay’s poem «A Poet» and the literary translation of S. N. Vasilyeva «A Poet». The novelty of the work lies in the fact that a literary translation and a comprehensive analysis of this poem were carried out for the first time. Based on the methods of analytical reading, theoretical analysis of literature, search, contextual analysis, comparative analysis, the language of the work (morphology, syntax, vocabulary, style) is considered and the relationship between the ideological and artistic conception of the poem with its linguistic features is revealed. The methods used in the process of literary translation made it possible to preserve the idea of the poem, the features of the composition and to select the appropriate means of artistic expression. In the work of P. Khuzangay, the philosophical problem of the poet's destiny and his work is touched upon. The composition of the poem is three-part, the size is a three-foot trochee with cross-rhyming throughout the entire poem, the intonation is narrative. The translation was made using the technique of rhetorical exclamation. The temporal organization is interesting: throughout the poem, verbs are transmitted in the present tense. The translation is dominated by complex sentences. As a rule, a stanza corresponds to one sentence. Alliteration and assonance are used to enhance sound expressiveness and achieve speech imagery.
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Dreyzis, Yulia A. "The Revival of Poetry Declamation in Contemporary China: The Case of Fenchunguan Poetry Group (Guangzhou)." Oriental Studies 20, no. 4 (2021): 145–57. http://dx.doi.org/10.25205/1818-7919-2021-20-4-145-157.
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The paper presents a description of the contemporary practice of poetry declamation in one of the literary communities of Guangzhou, among the poets who associate themselves with the tradition of the informal Fenchunguan group. The members of the group are authors and performers of classical poetry. They take an active part in the movement for the revival of traditional declamatory practices which were widely popular until the first decades of the 20th century. Their example allows us to trace some features of the declamation (oral presentation) used to promote poetry in classical formats (written texts) and thereby expand our knowledge of the written-oral dichotomy functioning within the Chinese tradition. The paper details the genealogy of the Southern School of text presentation, related to Fenchunguan, and analyzes how authors and performers appeal to the traditional practice of verbalizing poetry to construct and maintain a distinct “southern” (Cantonese) identity. This practice is utilized to create a distinct subspace within the system of national and local literature: quite a significant contribution is made by the original performing techniques of the Southern School (truncation of duration at the beginning of beats; repetition of rhyming words at the ends of phrases that coincide with the end of a poetic line, with a transition to a different pitch; merging adjacent lines into one phonetic-melodic unit) and the deliberate use of a local lect (Cantonese). In the process of (re)discovering the declamatory phenomenon, it becomes loaded with new aesthetic, social, practical and personal meanings. Those who participate in its functioning, thus, contribute to the great come-back of the classical type poetry and the spontaneous nature of declamatory practice.
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WÁNG, Zhì Hào. "A linguistic study on rhyming in the Beijing dialect/ 北京歌谣押韵的语言学研究." Cahiers de Linguistique Asie Orientale 49, no. 1 (June 5, 2020): 21–42. http://dx.doi.org/10.1163/19606028-bja10003.
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Abstract Rhyming plays an important role in the study of Chinese phonology. Traditionally it is believed that there are two types of rhyming between finals: free rhyming and mixed rhyming. Finals which rhyme with each other freely constitute a rhyme group, while the rhyming between finals from different rhyme groups can only be mixed rhyming. By analyzing the rhyming in the modern Beijing dialect using a statistical method, we find a third type: semi-free rhyming, which is close to free rhyming. As a whole, these two types can be called pan-free rhyming. Thus, the definition of rhyme group must be revised as the maximum unit of pan-free rhyming, because free rhyming is no longer a transitive relation, i.e., when both final pairs A–B and B–C are free rhyming, A–C may be semi-free rhyming. As for the Beijing dialect, our statistical test results approve that non-érhuà finals are divided into 15 rhyme groups, and subsequent phonological analyses show that words in the same rhyme group share the same nucleus and coda. Besides finals, tones also function apparently in rhyming, but in a different way from the three types mentioned above. As more Chinese dialects are studied, the typology of rhyming in Chinese dialects can be analyzed, creating a useful reference for the study of Chinese historical phonology.
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Pavlinchuk, T. "THE PAINFUL EXISTENCE IN THE BOLESŁAW LEŚMIAN’S POEM "AT NIGHT"." Вісник Житомирського державного університету імені Івана Франка. Філологічні науки, no. 2(95) (December 17, 2021): 76–90. http://dx.doi.org/10.35433/philology.2(95).2021.76-90.
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The paper deals with poetic translation analysis of the poem "At Night"of the Polish poet Bolesław Leśmian. The appearance of Bolesław Leśmian’s poetry in Ukrainian translation (the collections of selected works "Садбожий спалахненець" and "Ангели" translated by M. Kiianovska) has become an important event. The researcher focuses their attention on the contextual, poetic, poetical, artistic and stylistic peculiarities of the poem "At Night", in connection with the philosophic and literary views of the poet. The wide range of scientific works on Bolesław Leśmian’s poetry in Polish literary studies allows us to study different aspects of this poet’s poetics: symbolism, peculiarities of the artistic images creation, the appeal to folk sources, the language of his literary works, the image of God in his poetry, the role of rhythm, immediacy of worldview and creating the world anew in "song without words" etc. The poetics of the poem has been studied, its interpretation is based on the unity of compositional, semantic, figurative elements of the poem.
The translation analysis, aimed at the study of structural and semantic features of the poem "At Night" in Ukrainian translation, is concentrated on the author’s peculiarities of creating images and their representation by M. Kiianovska in her translation of the poem. The author of the article focuses on the concept of the original and translation, the overall mood of the poem, its content, figurative system, structure, rhythmic organization, the rhyming system of the translation and the original. Special attention is paid to the analysis of the selection of lexical equivalents, the poetic syntax of the poem and other translation techniques on the way to better understanding of the text, the artistic images creation and grammatical and compositional integrity of the translation of the poem.
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Барахнин, Владимир Борисович, Ольга Юрьевна Кожемякина, Ирина Владимировна Кузнецова, and Вера Алексеевна Карпова. "The model of facture of Russian poetic texts." Вычислительные технологии, no. 3 (August 13, 2021): 107–17. http://dx.doi.org/10.25743/ict.2021.26.3.007.
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При исследовании зависимости смыслового содержания поэтических текстов от их метроритмических характеристик и строфики возникает необходимость в описании фактур - совокупностей названных характеристик поэтических текстов. В статье сформулировано определение фактуры - структурной модели поэтического текста, которая однозначно определяет метроритмический и строфический шаблон стихотворного текста; представлены алгоритмы определения метра и стопности, а также строфики стихотворения, позволяющие определить его фактуру. В ходе работы создана таблица всех фактур, встречающихся в стихотворениях А.С. Пушкина, с приведением примеров строф для каждого типа фактуры The dependence of the semantic content of poetic texts on their metrorhythmic characteristics and the structure of stanzas requires describing the factures - the combination of these characteristics of poetic texts. The purpose of this article is to formulate the definition of facture as a structural model of a poetic text, which uniquely determines the metrorhythmic and strophic pattern of a poetic text, and also to develop the algorithms for automatic determination of facture. To achieve this goal, an algorithm for automatic determination of meter and number of feet, as well as the algorithm for automatic determination of the structure of stanzas of poems, has been developed. A distinctive feature of the algorithm for automatic determination of meter and number of feet of poems is to take into account the real problems of accentuation, which are associated with the presence of homographs, proclitics, etc., moreover, in the case of detection of a lexeme in a line that cannot be unambiguously accentuated using the automatic accentuation methods, it is used to establish the possible accentuation “by analogy” based on the accentuation of unambiguously accentuated lines. The algorithm for automatic determination of the structure of stanzas is based on the identification of the rhyming lines on the basis of their consonance. The testing of the algorithm was carried out on the corpus of poems by A.S. Pushkin, for which the "Metric Reference Book"was manually created in the 1930s with a description of metrorhythmics and stanzas. The developed algorithm showed the almost complete compliance of the results of the automatic determination of the factures with the metrorhythmic and strophic characteristics given in the reference book. Thus, the algorithm for automatic facture detemination which is developed and programmatically implemented by the authors of the paper, can be a reliable tool for the complex analysis of metrorhythmic and strophic characteristics of Russian poetic texts
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Manik, Ricky Aptifive. "MAKNA DAN FUNGSI TRADISI LISAN KENDURI SKO MASYARAKAT KERINCI JAMBI/MEANING AND FUNGCTIONS OF KENDURI SKO ORAL TRADITION KERINCI SOCIETY IN JAMBI." Aksara 33, no. 2 (January 3, 2022): 229–44. http://dx.doi.org/10.29255/aksara.v33i2.484.229-244.
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AbstrakKenduri Sko merupakan tradisi pengukuhan gelar adat yang dilakukan oleh masyarakat Kerinci. Di dalam tradisi itu terdapat berbagai piranti dan pepatah-petitih yang belum diketahui makna dan fungsinya. Oleh sebab itu, penelitian ini hendak melihat makna dan fungsi tradisi lisan Kenduri Sko. Ada dua strategi yang digunakan dalam penelitian ini,pertama, pengumpulan data dengan perekaman dan wawancara. Kedua, Kenduri Sko dilihat sebagai fakta semiotik dengan aspek empirik dan aspek nonempirik. Melalui aspek empirik dikaji piranti dan teks pepatah-petitih dalam pengukuhan pemangku adat, sedangkan aspek nonempirik dilihat secara keseluruhan tradisi Kenduri Sko sebagai kesadaran kolektif kebahasaan dan kesadaran kolektif kebudayaan. Metode berikutnya adalah dengan melihat fungsi-fungsi folklore menurut Bascom. Penelitian ini menemukan bahwa Kenduri Skoadalah warisan nenek moyang yang berupa benda pusaka, aturan-aturan, norma-norma, nilai-nilai, dan sebagai ucapan rasa syukur atas apa yang menjadi milik masyarakat Kerinci. Adapun fungsi Kenduri Sko adalah sebagai pengukuhan gelar adat, sistem nilai-nilai kolektif, edukasi bagi pewaris selanjutnya, dan menjadi alat kontrol dalam prilaku sosial masyarakat.Kata kunci: tradisi lisan, kenduri sko, semiotik, kesadaran kolektifAbstractKenduri Sko is a tradition of custom title inauguration held by the Kerinci society. In that tradition, there are various tools and wise words which their meaning and functions are not yet known. Therefore, this study wants to look at the meaning and function of Kenduri Sko oral tradition. Two strategies are used in this study. First, the data are collected by recording and interviewing. Second, Kenduri Sko seen as a semiotic fact with empirical and non-empirical aspects. Through the empirical aspect, petatah-petitih (customary rhyming wise words) text examined in the inauguration of customary stakeholders, while the non-empirical aspect seen as a whole of the Kenduri Sko tradition as collective language and cultural awareness. The next method is to look at the functions of folklore according to Bascom. This research found that Kenduri Sko is a legacy of ancestors in the form of heirlooms, rules, norms, values, and gratitude for what belongs to the Kerinci’s community. Kenduri Sko functions as an oath of customary titles, a system of collective values, education for the next heirs, and a means of control in people’s social behavior.Keywords: oral tradition, kenduri sko, semiotics, collective awareness
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Wagganer, J. D., T. J. Pujol, M. E. Langenfeld, A. J. Sinclair, J. E. Tucker, and C. L. Elder. "A WORKLOAD SELECTION PROCEDURE FOR THE ASTRAND-RHYMING TEST." Medicine & Science in Sports & Exercise 35, Supplement 1 (May 2003): S257. http://dx.doi.org/10.1097/00005768-200305001-01431.
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Pogliaghi, Silvia, Cecilia Bellotti, and Donald H. Paterson. "“Tailored” Submaximal Step Test for VO2max Prediction in Healthy Older Adults." Journal of Aging and Physical Activity 22, no. 2 (April 2014): 261–68. http://dx.doi.org/10.1123/japa.2012-0171.
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The authors developed and validated a “tailored” version of the Åstrand-Rhyming step test (tA-R) and a new equation for VO2maxprediction in older adults (OA). Sixty subjects (age 68 ± 4 yr, 30 male, 30 female) performed their tA-R step test (5-min, 30-cm step, tailored stepping rate) and an incremental cycling test to exhaustion. VO2maxwas (a) predicted using the standard A-R equation (predictedVO2max), (b) predicted based on the authors’ new multiple linear equation (equationVO2max), and (c) directly measured by incremental cycling test (directVO2max). Agreement among values of VO2maxwas evaluated by Bland-Altman analysis. ThepredictedVO2maxwas not significantly different from thedirectVO2max, yet with relatively large imprecision. TheequationVO2maxallowed more precise as well as accurate predictions of VO2maxcompared with standard A-R prediction. The “tailored” version of the Åstrand-Rhyming step test and the new prediction equation appear suitable for a rapid (5-min), safe (submaximal), accurate, and precise VO2max prediction in healthy OA.
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Karapetsas, A., and G. Andreou. "Cognitive Development of Fluent and Nonfluent Bilingual Speakers Assessed with Tachistoscopic Techniques." Psychological Reports 84, no. 2 (April 1999): 697–700. http://dx.doi.org/10.2466/pr0.1999.84.2.697.
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A tachistoscopic study investigated verbal skills among bilingual speakers, 10 fluent and 15 nonfluent, on rhyming and semantic tasks in both their native (Greek) and second (English) languages. Fluent bilinguals scored higher on all tasks, especially on the English rhyming and the Greek semantic tasks. They also responded faster, especially on the English semantic task. Fluent bilingual speakers scored higher on the Uses of Objects Test, an index of creativity. Nonfluent bilinguals had higher grades in geometry and arithmetic at school while fluent bilinguals had higher grades in Greek composition.
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Kozubovskaya, Galina P. "The Noble Nest by I. S. Turgenev: Poetics of Costume." Humanitarian Vector 16, no. 1 (February 2021): 8–15. http://dx.doi.org/10.21209/1996-7853-2021-16-1-8-15.
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The costume which has recently become the focus of many scientific disciplines has hardly attracted literary critics: the methodology of its research in fiction is just beginning to take shape. The historical and cultural approach, which essentially boils down to a commentary has been replaced by a very productive structural and semiotic approach that deciphers the semantics and functions of the costume. The methodology of our research is of a complex nature, combining the structural-semiotic, mythopoetic, and motivic aspects of the analysis of literary texts. The narratological aspect in the study of costume poetics is emphasized, which, as a rule, remains outside the scope of research.The narratological aspect is aimed at identifying “flickering” meanings in the structure of the whole – “prose as poetry” (V. Schmid).The dynamics of costume descriptions, their functionality in the structure of the whole and the specifics in the organization of the narrative (taking into account the “point of view”, the motive given by costume details and based on semantic nodes that connect polar meanings, etc.) are at the center of our research.Thanks to costume inclusions, the text of the novel The Noble Nest becomes multidimensional. Thus, the characterological detail of Panshin – a screw-shaped Golden ring is situational and at the same time conceptual: it connects the “beginnings” and “ends” of his story, symbolically programming fate. Laconic sketches of Lavretsky’s clothing, scattered throughout the text, formalizing the opposition of one’s own/ another’s, prepare a motif of loneliness and homelessness. In layered narrative created by the play of the author’s and character’s points of view, Lavretsky’s point of view “migrates” to the author’s one replacing it (“poetic” sign of the optics of the hero) and then separates from it. The content of the method of crushing, which replaced the silhouette image, is an expression of the confusion of the soul, deforming the female image. The details in Lavretsky’s “split” point of view are ambiguous: on the one hand, there is alienation, on the other hand, there is a subconscious attraction to the beloved woman in the primary, unreflexed sense of a person losing happiness. The novel’s flickering meaning is created by semantic nodes that match polarities. “White” is the symbolic color of the national, rooted in the soil (the white caps of Marfa Timofeevna and Nastasya Karpovna), and at the same time the ghostly, impossible realization of happiness (the rhyming white dress of Lisa and the white dress on the portrait of Lavretsky’s mother). “Black” is also ambivalent: the elegant black silk dress of Varvara Pavlovna and the unnamed color of Lisa’s monastic clothes in the Epilogue. The scarf that Marfa Timofeevna knits is a mythologeme that encodes the story of love and failed happiness and at the same time the semantic core of the poetics of incompleteness. Keywords: costume, costume poetics, mythologeme, narrative, semantics, point of view
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Katz, Robert B., and Susan M. Lanzoni. "Automatic Activation of Word Phonology from Print in Deep Dyslexia." Quarterly Journal of Experimental Psychology Section A 45, no. 4 (November 1992): 575–608. http://dx.doi.org/10.1080/14640749208401334.
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The performance of deep dyslexics in oral reading and other tasks suggests that they are poor at activating the phonology of words and non-words from printed stimuli. As the tasks ordinarily used to test deep dyslexics require controlled processing, it is possible that the phonology of printed words can be better activated on an automatic basis. This study investigated this possibility by testing a deep dyslexic patient on a lexical decision task with pairs of stimuli presented simultaneously. In Experiment 1, which used content words as stimuli, the deep dyslexic, like normal subjects, showed faster reaction times on trials with rhyming, similarly spelled stimuli (e.g. bribe-tribe) than on control trials (consisting of non-rhyming, dissimilarly spelled words), but slower reaction times on trials with non-rhyming, similarly spelled stimuli (e.g. couch-touch). When the experiment was repeated using function words as stimuli, the patient no longer showed a phonological effect. Therefore, the phonological activation of printed content words by deep dyslexics may be better than would be expected on the basis of their oral reading performance.
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COLEMAN, A. RAND, and J. MICHAEL WILLIAMS. "The attenuation of auditory neglect by implicit cues." Journal of the International Neuropsychological Society 12, no. 5 (September 2006): 649–56. http://dx.doi.org/10.1017/s1355617706060760.
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This study examined implicit semantic and rhyming cues on perception of auditory stimuli among nonaphasic participants who suffered a lesion of the right cerebral hemisphere and auditory neglect of sound perceived by the left ear. Because language represents an elaborate processing of auditory stimuli and the language centers were intact among these patients, it was hypothesized that interactive verbal stimuli presented in a dichotic manner would attenuate neglect. The selected participants were administered an experimental dichotic listening test composed of six types of word pairs: unrelated words, synonyms, antonyms, categorically related words, compound words, and rhyming words. Presentation of word pairs that were semantically related resulted in a dramatic reduction of auditory neglect. Dichotic presentations of rhyming words exacerbated auditory neglect. These findings suggest that the perception of auditory information is strongly affected by the specific content conveyed by the auditory system. Language centers will process a degraded stimulus that contains salient language content. A degraded auditory stimulus is neglected if it is devoid of content that activates the language centers or other cognitive systems. In general, these findings suggest that auditory neglect involves a complex interaction of intact and impaired cerebral processing centers with content that is selectively processed by these centers (JINS, 2006, 12, 649–656.)
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BALEY, Julien. "Leveraging graph algorithms to speed up the annotation of large rhymed corpora." Cahiers de Linguistique Asie Orientale 51, no. 1 (March 17, 2022): 46–80. http://dx.doi.org/10.1163/19606028-bja10019.
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Abstract Rhyming patterns play a crucial role in the phonological reconstruction of earlier stages of Chinese. The past few years have seen the emergence of the use of graphs to model rhyming patterns, notably with List’s (2016) proposal to use graph community detection as a way to go beyond the limits of the link-and-bind method and test new hypotheses regarding phonological reconstruction. List’s approach requires the existence of a rhyme-annotated corpus; such corpora are rare and prohibitively expensive to produce. The present paper solves this problem by introducing several strategies to automate annotation. Among others, the main contribution is the use of graph community detection itself to build an automatic annotator. This annotator requires no previous annotation, no knowledge of phonology, and automatically adapts to corpora of different periods by learning their rhyme categories. Through a series of case studies, we demonstrate the viability of the approach in quickly annotating hundreds of thousands of poems with high accuracy.
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Murray, Bruce A., Kimberly A. Smith, and Geralyn G. Murray. "The Test of Phoneme Identities: Predicting Alphabetic Insight in Prealphabetic Readers." Journal of Literacy Research 32, no. 3 (September 2000): 421–47. http://dx.doi.org/10.1080/10862960009548087.
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To test the validity of the Test of Phoneme Identities (TPI), 97 kindergartners were administered the TPI and two other tests of phoneme awareness, measures of alphabet and nursery rhyme knowledge, and a measure of rudimentary decoding ability. The tpi proved reliable (α = .91) and comparable to the other phoneme awareness measures in predicting decoding ability in the full kindergarten sample. Thirty-four kindergartners identified as prealphabetic readers were taught to use the letters S and M as phonetic cues to distinguish rhyming printed words, an indicator of alphabetic insight. The tpi was shown to be more effective than the nursery rhyme and alphabet measures and the other phoneme awareness tests in predicting the number of lessons required for a student to learn to distinguish phonetic cues.
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Mandler, George, Peter Graf, and Dolores Kraft. "Activation and Elaboration Effects in Recognition and Word Priming." Quarterly Journal of Experimental Psychology Section A 38, no. 4 (November 1986): 645–62. http://dx.doi.org/10.1080/14640748608401618.
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Two experiments investigated the effect of direct and indirect activation on subsequent accessibility to individual items. In the first experiment, words were semantically processed in the context of either phonologically (rhyming) or conceptually (categorical) related words and tested subsequently for recognition and word completion. On the completion test the initial three letters of a word are presented for completion. The previously presented target word is one of several possible completions. The presence of different contexts had no differential effect either on recognition memory—which persisted at high levels for two days—or on completion—which decayed in the course of about 15 min. In the second experiment, the contexts were presented but the target words were not. Thus the rhyming and categorical contexts were directly activated but not the actual words that were scored on the subsequent tests. Prior activation of phonologically similar items affected both recognition and completion performance on immediate testing, but not after 10 min. Conceptual activation affected only recognition—an effect that lasted for a period of days. Completion performance demonstrates access to the integration component of recognition. The results were compared with attempts to demonstrate independence of recognition and completion.
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Werle, Dirk, and Uwe Maximilian Korn. "Telling the Truth: Fictionality and Epic in Seventeenth-Century German Literature." Journal of Literary Theory 14, no. 2 (September 25, 2020): 241–59. http://dx.doi.org/10.1515/jlt-2020-2006.
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AbstractResearch on the history of fiction of the early modern period has up to now taken primarily the novel into consideration and paralleled the rise of the novel as the leading genre of narrative literature with the development of the modern consciousness of fictionality. In the present essay, we argue that contemporary reflections on fictionality in epic poetry, specifically, the carmen heroicum, must be taken into account to better understand the history of fiction from the seventeenth century onwards. The carmen heroicum, in the seventeenth century, is the leading narrative genre of contemporary poetics and as such often commented on in contexts involving questions of fictionality and the relationship between literature and truth, both in poetic treatises and in the poems themselves. To reconstruct a historical understanding of fictionality, the genre of the epic poem must therefore be taken into account.The carmen heroicum was the central narrative genre in antiquity, in the sixteenth century in Italy and France, and still in the seventeenth century in Germany and England. Martin Opitz, in his ground-breaking poetic treatise, the Buch von der Deutschen Poeterey (1624), counts the carmen heroicum among the most important poetic genres; but for poetry written in German, he cites just one example of the genre, a text he wrote himself. The genre of the novel is not mentioned at all among the poetic genres in Opitz’ treatise. Many other German poetic treatises of the seventeenth century mention the importance of the carmen heroicum, but they, too, provide only few examples of the genre, even though there were many Latin and German-language epic poems in the long seventeenth century. For Opitz, a carmen heroicum has to be distinguished from a work of history insofar as its author is allowed to add fictional embellishments to the ›true core‹ of the poem. Nevertheless, the epic poet is, according to Opitz, still bound to the truthfulness of his narrative.Shortly before the publication of Opitz’ book, Diederich von dem Werder translated Torquato Tasso’s epic poem Gerusalemme liberata (1580); his translation uses alexandrine verse, which had recently become widely successful in Germany, especially for epic poems. Von dem Werder exactly reproduces Tasso’s rhyming scheme and stanza form. He also supplies the text with several peritexts. In a preface, he assures the reader that, despite the description of unusual martial events and supernatural beings, his text can be considered poetry. In a historiographical introduction, he then describes the course of the First Crusade; however, he does not elaborate about the plot of the verse epic. In a preceding epyllion – also written in alexandrine verse – von dem Werder then poetically demonstrates how the poetry of a Christian poet differs from ancient models. All these efforts can be seen as parts of the attempt to legitimate the translation of fictional narrative in German poetry and poetics. Opitz and von dem Werder independently describe problems of contemporary literature in the 1620s using the example of the carmen heroicum. Both authors translate novels into German, too; but there are no poetological considerations in the prefaces of the novels that can be compared to those in the carmina heroica.Poetics following the model established by Opitz develop genre systems in which the carmen heroicum is given an important place, too; for example, in Balthasar Kindermann’s Der Deutsche Poet (1664), Sigmund von Birken’s Teutsche Rede- bind- und Dicht-Kunst (1679), and Daniel Georg Morhof’s Unterricht von der Teutschen Sprache und Poesie (1682). Of particular interest for the history of fictionality is Albrecht Christian Rotth’s Vollständige Deutsche Poesie (1688). When elaborating on the carmen heroicum, Rotth gives the word ›fiction‹ a positive terminological value and he treats questions of fictionality extensively. Rotth combines two contradictory statements, namely that a carmen heroicum is a poem and therefore invented and that a carmen heroicum contains important truths and is therefore true. He further develops the idea of the ›truthful core‹ around which poetic inventions are laid. With an extended exegesis of Homer’s Odyssey, he then illustrates what it means precisely to separate the ›core‹ and the poetic embellishments in a poem. All these efforts can be seen as parts of the attempt to legitimize a poem that tells the truth in a fictional mode.The paper argues that a history of fictionality must be a history that carefully reconstructs the various and specifically changing constellations of problems concerning how the phenomenon of fictionality may be interpreted in certain historical contexts. Relevant problems to which reflections on fictionality in seventeenth-century poetics of the epic poem and in paratexts to epic poems react are, on the one hand, the question of how the genre traditionally occupying the highest rank in genre taxonomy, the epic, can be adequately transformed in the German language, and, on the other hand, the question of how a poetic text can contain truths even if it is invented.
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Sulistyaniningsih, Endang, Fatimah Fatimah, and As’ad As’ad. "ANALISIS NILAI PENDIDIKAN DALAM NOVEL RANAH TIGA WARNA KARYA A. FUADI." Pujangga 6, no. 2 (December 7, 2020): 118. http://dx.doi.org/10.47313/pujangga.v6i2.991.
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<p>ABSTRAK<br /> <br /> Penelitian ini menganalisis nilai pendidikan dalam novel Ranah 3 Warna karya Ahmad Fuadi yang meliputinilai pendidikan agama, moral, adat/budaya, dan sosial. Tujuan penelitian ini adalah untuk mendeskripsikan nilaipendidikan novel Ranah 3 Warna karya Ahmad Fuadi. Penelitian ini merupakan penelitian deskriptif kualitatif. Datayang digunakan berupa kutipan langsung maupun tidak langsung dari teks novel Ranah 3 Warna karya Ahmad Fuadi.Teknik pengumpulan data dalam penelitian ini adalah studi pustaka dan observasi. Instrumen penelitian ini adalahpeneliti sendiri. Analisis data dilakukan dengan metode analisis isi. Penyajian hasil analisis menggunakan teknikpenyajian informal. Hasil penelitian ini disimpulkan bahwa tema novel Ranah 3 Warna karya Ahmad Fuadi adalahperjuangan Alif demi meraih impian dan cita-cita dengan segala keterbatasan. Nilai pendidikan dalam novel Ranah 3Warna ada empat, yaitu nilai pendidikan agama meliputi beribadah, berdoa, bersyukur, tawakal, ikhlas, dan sabar,nilai pendidikan moral meliputi tekad kuat, pantang menyerah, sungguh-sungguh, kerja keras, rajin belajar, mampumengendalikan diri, disiplin, jujur, tanggung jawab, kreatif, nasionalisme, percaya diri, dan prasangka baik, nilai<br />pendidikan adat/budaya meliputi melestarikan kesenian tradisional dan melestarikan budaya berpantun, nilaipendidikan sosial meliputi tolong-menolong, berbakti kepada orang tua, setia kawan, persahabatan, kasih sayang,memberi semangat, dermawan, musyawarah, dan rela berkorban.</p><p>Kata Kunci: nilai pendidikan, karya sastra, novel</p><p>ABSTRACT <br />This study analyze the value of education in the novel Ranah 3 Warna Ahmad Fuadi's work which includes the value<br />of religious, moral, custom/cultural, and social education. Th e purpose of this study is to describe the educational<br />value of Ranah 3 Color novel by Ahmad Fuadi. This research is a qualitative descriptive study. The data used in the<br />form of direct or indirect quotations from the text of the Ranah 3 Color novel by Ahmad Fuadi. Data collection<br />techniques in this research are literature study and observation. The research instrument is the researcher himself.<br />Data analysis was performed using the content analysis method. Presentation of analysis results using informal<br />presentation techniques. The results of this study concluded that the theme of the Ranah 3 Color novel by Ahmad<br />Fuadi was Alif's struggle to achieve dreams and ideals with all limitations. There are four educational values in the </p><p>Ranah 3 Color novel, namely the value of religious education including worship, prayer, gratitude, trust, sincerity,<br />and patience, the value of moral education includes determination, unyielding, earnestly, hard work, diligent learning,<br />being able to control self, discipline, honest, responsibility, creative, nationalism, self-confidence, and good prejudice,<br />the value of traditional / cultural education includes preserving traditional arts and preserving the culture of rhyming,<br />the value of social education includes help, helping, serving parents, loyal friends, friendship, compassion,<br />encouragement, generosity, deliberation, and willing to sacrifice.</p><p>Keywords: educational values, novel</p>
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McKenzie, Michael J., Kevin J. Ritsche, William R. Valentine, Ramine C. Alexander, and Paul F. Mellick. "Relationship Between The Ymca, Astrand Rhyming, And Maximal Cylcle Ergometer Exercise Test In African-american Females." Medicine & Science in Sports & Exercise 42 (May 2010): 321. http://dx.doi.org/10.1249/01.mss.0000384562.74107.74.
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Chen, Quanze, Chenyang Lei, Wei Xu, Ellie Pavlick, and Chris Callison-Burch. "Poetry of the Crowd: A Human Computation Algorithm to Convert Prose into Rhyming Verse." Proceedings of the AAAI Conference on Human Computation and Crowdsourcing 2 (September 5, 2014): 10–11. http://dx.doi.org/10.1609/hcomp.v2i1.13189.
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Poetry composition is a very complex task that requires a poet to satisfy multiple constraints concurrently. We believe that the task can be augmented by combining the creative abilities of humans with computational algorithms that efficiently constrain and permute available choices. We present a hybrid method for generating poetry from prose that combines crowdsourcing with natural language processing (NLP) machinery. We test the ability of crowd workers to accomplish the technically challenging and creative task of composing poems.
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Lukács, István. "Nejasna mjesta u Sibili Ane Katarine Zrinske." Studia Slavica Academiae Scientiarum Hungaricae 65, no. 2 (February 24, 2022): 275–97. http://dx.doi.org/10.1556/060.2020.00023.
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Ana Katarina Zrinska (rođ. Frankopan) značajna je spisateljica hrvatskog baroka. Njezini otkriveni pjesnički tekstovi koncem prošloga stoljeća pridonijeli su revalorizaciji čitavoga životnog djela. Obitelj Zrinski posjedovala je izuzetno lijepo ukrašen rukopisni primjerak gatalice (Sibile), na čijoj unutarnjoj strani nalazimo vlastoručne bilješke same Ane Katarine Zrinske kao vlasnice te nadalje jedan tajanstveni rebus. Prema mojoj interpretaciji grofica je na dan nadnevka 2. travnja 1670. pokušavala tražiti odgovor putem gatalice na pitanja kakva će sudbina zadesiti njenog supruga (Petra Zrinskog) i brata (Frana Krstu Frankopana) koji su za par dana krenuli na svoj kobni put u Beč. Poznata je činjenica da je hrvatska Sibila zapravo prijevod mađarske Fortune, a ova opet prijevod poljske Fortune. Temeljitu usporedbu triju gatalica zasada nitko nije izvršio.Hrvatsku je Sibilu prvi put objelodanio Ljudevit Ivančan (1906), najnovije je Zvonimir Bartolić (2007) objavio faksimil i transkribirani tekst te napisao opširniju studiju i dodao tumač riječi. U mađarskim i hrvatskim kritičkim izdanjima ima više nedostataka, među inim netočnog transkribiranja, krivih tumačenja nekih riječi, sintagmi.U svome radu usporedbom upitnih mjesta poljske, mađarske i hrvatske gatalice pokušavao sam popraviti, dopuniti, odnosno razriješiti proturječnosti u kritičkim izdanjima hrvatske i mađarske gatalice, a u studiji sam na osnovi potpunih hrvatskih i poljskih strofa iznio svoje prijedloge za dopunu riječi i izraza u mađarskoj Fortuni, nadalje protumačio i, ako je bilo potrebno, korigirao riječi i sintagme koje nisu bile ili su bile krivo interpretirane u mađarskom i hrvatskom kritičkom izdanju, a na kraju sam preko nekih zanimljivih konkretnih primjera pokušao objasniti razlike između mađarskog i hrvatskog teksta.Posebno sam poglavlje posvetio pitanju nejedinstvene versifikacije hrvatske Sibile, napose posveti Siromahom, iznimno točnom i majstorski složenom samostalnom tekstu pisanom dvostruko rimovanim simetričnim dvanaestercima. Premda je u hrvatskoj književnopovijesnoj znanosti danas opće prihvaćena teza kako je Sibila prijevod više osoba (zna se, naime, da su u čakovečkom dvorcu Zrinskih djelovali dijaki), temeljitu filološku analizu nitko nije izvršio.Na osnovi usporedbe mađarske i hrvatske gatalice ovo stajalište čini nam se nepobitnim, primjerice sa značenjem iste mađarske riječi (marha u značenju ‘imovina’) u jednom je slučaju prevoditelj bio načisto, a u drugom ju pak nije uspio protumačiti, stoga je izostavljena u prijevodu. Neujednačeno oblikovani pjesnički tekst same gatalice s jedne strane, s druge pak strane iznimno lijepo i brižno sastavljena posveta (Siromahom) idu u prilog istoj tezi.Ana Katarina Zrinska Frankopan is an important woman writer of Baroque Croatian literature, whose poems unearthed towards the end of the last century shed new light on her entire work. The Zrinski family owned a special ornate manuscript fortune teller book (Sibila), the inner cover of which contains handwritten entries and a rebus from the Countess. According to my interpretation, on the day of the entry (2 April 1670), the Countess tried to get an answer from this book about the fate of her husband (Petar Zrinski) and her brother (Krsto Frankopan), who left for Vienna a few days later. It is a well-known fact that the Croatian Sibila was translated from the Hungarian Fortuna and the Hungarian from the Polish Fortuna. An accurate philological comparison of the three fortune teller books has not been done by anyone so far.The Croatian Sibila was first published by Ljudevit Ivančan (1906) and then more recently by Zvonimir Bartolić (2007) in a facsimile with a full modern transcribed version of it, including a study and a gloss. There are several shortcomings in the critical editions of the Hungarian and Croatian fortune teller books, such as inaccurate transcriptions, misinterpretations, and omissions. In this study, the author makes an attempt to fill the aforementioned lacunae and resolve the contradictions in the texts published by Zvonimir Bartolić and Géza Orlovszky by carefully comparing certain passages in the Polish, Hungarian, and Croatian fortune teller books.In the present paper, based on the available full Croatian and Polish verses, the author proposes to replace the missing words and expressions in the given verse of the Hungarian version of Fortuna. He also interprets and corrects words that are not interpreted or misinterpreted in the Hungarian and Croatian critical editions, and finally tries to find an explanation for the differences between the Hungarian and Croatian texts using several interesting examples.In a separate chapter, the author deals with the somewhat inconsistent poetic text of the Croatian Sibila, and discusses in more detail the highly accurate, twice-rhyming, halved twelve separate text written Siromahom i.e. ‘For the Poor’. Although it is now believed in Croatian literary studies that Sibila is not the work of one but of several translators (it is a known fact that there were many copyists working at the court of the Zrinski family in Čakovec), no one has proved this.After an accurate comparison of the Hungarian and Croatian fortune teller books, it is quite apparent that the above statement is true, as the author’s analysis revealed that, for example, one translator knew the obsolete meaning of a given Hungarian word accurately (‘cattle’ in the sense of property), whilst the other did not, as it is missing from his translation. This is also supported by the uneven wording of the verses, which is particularly striking in the case of the poetic text of the extremely demanding dedication entitled Siromahom.
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CRONIN, VIRGINIA S. "The syntagmatic–paradigmatic shift and reading development." Journal of Child Language 29, no. 1 (February 2002): 189–204. http://dx.doi.org/10.1017/s0305000901004998.
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This study examined developmental change in the word association task as reading acquisition occurred. Syntagmatic responses follow the stimulus word in discourse, ‘cold’ – ‘outside’, while paradigmatic associates are of the same form class, ‘cold’ – ‘hot’. Some 59 children were tested three times during the school year. The average age of the younger group was 5;4, and the older group, 6;2 at the October test. They were given the PPVT, the Woodcock Reading Mastery Test, and a word association task. The younger group gave an increasing number of rhyming responses and the older group gave more paradigmatic responses as the year progressed. Regression analyses with the older group attributed this to reading acquisition. The changing nature of the cognitive representation of words as reading acquisition took place was discussed.
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Rahim, Abdul Rahman, Wardiman Wardiman, and Yuni Lestari. "Inovasi Pembelajaran Pantun Berbasis Kearifan Lokal." NATURALISTIC : Jurnal Kajian Penelitian Pendidikan dan Pembelajaran 6, no. 1 (October 30, 2021): 1086–93. http://dx.doi.org/10.35568/naturalistic.v6i1.1306.
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Pantun is a type of old poem that is written and usually uses a tone or song. Pantun consists of the elements of a sentence of four lines in a verse, which is based (a-b-a-b). Usually the first row and the second row are sampiran, the third and fourth rows are the contents. This research aims to test the effectiveness of an innovation of learning based on local wisdom pantun namely by using a dictionary of courses. This research is categorized into experimental research types. The method used by researchers in this study is quasi experiment with one group pretest posttest design model. The population is all students of class V sdn 331 Borongtellutahun 2020/2021. The population numbered 30 people as well as a sample of the study. This study uses tests to find out the ability to write the student guide The test is given twice, namely pre-action and post-action. The data in this study were analyzed using statistical techniques inference design analysis, simple linear regression. Based on the results of this study, it can be concluded that the results of learning to write pantun students of grade V SD Negeri 331 Borongtellu using conventional techniques is an average of 67.74 in the range of 10-100 grades with a moderate category. After being treated using rhyming dictionaries and lateral thinking, the student's learning outcomes averaged 79.33in the range of grades 10-100 with a high category. Thus the use of rhyming dictionaries and lateral thinking effective in improving the results of writing local wisdom-based pantun learning in grade V students of SD Negeri 331 Borongtellu, because the t-count /empirical value is greater than the table/theoretical t-value (14.27>1.6709).
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Vancampfort, Davy, Hannes Guelinckx, Marc De Hert, Brendon Stubbs, Andrew Soundy, Simon Rosenbaum, Els De Schepper, and Michel Probst. "Reliability and clinical correlates of the Astrand–Rhyming sub-maximal exercise test in patients with schizophrenia or schizoaffective disorder." Psychiatry Research 220, no. 3 (December 2014): 778–83. http://dx.doi.org/10.1016/j.psychres.2014.08.049.
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Nurhaq, Hana Mumtazia, Yeti Mulyati, and Rosita Rahma. "Kemampuan Kesadaran Fonologis Siswa Berkesulitan Membaca." Jazirah: Jurnal Peradaban dan Kebudayaan 1, no. 1 (December 2, 2020): 1–15. http://dx.doi.org/10.51190/jazirah.v1i1.9.
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Penelitian ini bertujuan untuk beroleh gambaran tentang kesadaran fonologis anak berkesulitan membaca. Gambaran tersebut didapat melalui wawancara dan pelaksanaan tes kesadaran fonologis dengan instrumen yang diadaptasi dari Phonological Awareness Test. Subjek dalam penelitian ini adalah seorang siswa berkesulitan membaca yang duduk di kelas 3 salah satu SD Negeri di Kota Bandung. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus. Hasil penelitian menunjukkan: 1) kemampuan rhyming sebesar 42,5%; 2) kemampuan menyegmentasi sebesar 30%; 3) kemampuan mengisolasi sebesar 0%; 4) kemampuan menghapus sebesar 10%; 5) kemampuan mengganti sebesar 0%; dan 6) kemampuan menggabungkan sebesar 27,5%. Hasil tersebut dapat bermanfaat sebagai informasi awal bagi penyusunan program intervensi pelatihan kesadaran fonologis bagi siswa berkesulitan membaca. Informasi awal tersebut diperlukan agar intervensi yang dirancang dapat tepat sasaran dan sesuai dengan kebutuhan siswa berkesulitan membaca.
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DICKINSON, DAVID K., ALLYSSA McCABE, NANCY CLARK–CHIARELLI, and ANNE WOLF. "Cross-language transfer of phonological awareness in low-income Spanish and English bilingual preschool children." Applied Psycholinguistics 25, no. 3 (June 2004): 323–47. http://dx.doi.org/10.1017/s0142716404001158.
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This study investigated the phonological awareness of low-income Spanish–English bilingual children, because phonological awareness has been found to be an important prerequisite for literacy acquisition and because such children have been identified as at risk for successful literacy acquisition. Our sample included 123 Spanish–English bilingual preschool children (M=49.1 months) attending Head Start programs. Children's receptive vocabulary was assessed using the Peabody Picture Vocabulary Test—3rd Edition and the Test de Vocabulario en Imagines Peabody. We assessed phonological awareness using English and Spanish versions of the Early Phonological Awareness Profile, which includes deletion detection and rhyming tasks. Emergent literacy was assessed in the child's stronger language using the Emergent Literacy Profile, which includes tests of environmental print knowledge, printed word awareness, alphabet knowledge, and early writing. Spring levels of phonological awareness in each language were most strongly related to development of phonological awareness in the other language. Final models accounted for 68% of the variance in spring English and Spanish phonological awareness. Educational implications are discussed.
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Ilham Messaoud Mebrouk and Nayel Mamduh Abu Zaid. "منهج الطاهر بن عاشور في تعليل الفاصلة القرآنية دراسة نقدية." Maʿālim al-Qurʾān wa al-Sunnah 17, no. 2 (December 1, 2021): 242–63. http://dx.doi.org/10.33102/jmqs.v17i2.322.
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This research presents a critical and descriptive study of Ibn Ashour’s approach to directing the semantic of the Qurʾānic comma and proves that he is not limited to its rhyming role, but he strives to seek meaning indication for it. In the preface of one of his books, he explained his approach, which is a statement on Qurʾānic occasions, so researching the significance of the comma is a branch of his research on Qurʾānic occasions. Extracting the intangible occurrences of the comma from Ibn Ashour’s book “Al-Tahrir and al-Tanweer” needs veracity investigation and accuracy because he did not always state this matter, rather he may allude to the subject and mentioned the benefit of the comma during his interpretation of the Qurʾānic passages. The study presented examples of interpretation indicating Ibn Ashour’s method and gave them to the test of scientific criticism based on observing the principles of exegesis.
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Lennon, Olive C., Romain S. Denis, Nuala Grace, and Catherine Blake. "Feasibility, criterion validity and retest reliability of exercise testing using the Astrand-rhyming test protocol with an adaptive ergometer in stroke patients." Disability and Rehabilitation 34, no. 14 (December 8, 2011): 1149–56. http://dx.doi.org/10.3109/09638288.2011.635748.
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Fatemi, Rouholah, and Mohsen Ghanbarzadeh. "Assessment of Air Way Resistance Indexes and Exercise-Induced Asthma after a Single Session of Submaximal Incremental Aerobic Exercise." Journal of Human Kinetics 25, no. 1 (September 30, 2010): 59–65. http://dx.doi.org/10.2478/v10078-010-0032-3.
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Assessment of Air Way Resistance Indexes and Exercise-Induced Asthma after a Single Session of Submaximal Incremental Aerobic ExerciseThe present study aimed at assessing air way resistance indexes that include FEV1 (Force expiration Volume in one second), FVC (Forced vital capacity) and FEV1/FVC and exercise-induced asthma (EIA) after one session of sub maximal incremental aerobic exercise. Fifty healthy male subjects (age 19-26) from the faculty of Physical Education, University of Shahid Chamran served as the participants of the study. They were randomly assigned to either exercise or control groups. Body height, body mass and pulmonary factors were measured in the pre-test conditions. The study protocol included a sub maximal incremental Astrand - Rhyming test on an ergocycle. After performing this test by the exercise group, FEV1, FVC and FEV1/FVC, were measured again for both groups and compared with pre test evaluations. The data were analyzed through descriptive and inferential statistics (dependent and independent t test). Results showed that there was a significant difference in FEV1 between the two groups after the exercise protocol (p ≤ 0.05). There was no significant difference in FVC between the two groups after exercise, and a significant difference was registered in FEV1 and FEV1/FVC between pre-test and post-test results in the group that performed the aerobic test protocol (p ≤ 0.05). Our results indicate that one sub maximal incremental aerobic exercise session causes a significant change in FEV1 and FEV1/FVC, and causes exercise-induced asthma.