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Journal articles on the topic 'Sonnet sequences'

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Published: 4 June 2021

Last updated: 29 July 2024

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1

Khavzhokova, Lyudmila Borisovna. "Versification as a genre-forming factor in the sonnet sequence “Faithful to Love” by M. Bemurzov." Philology. Issues of Theory and Practice 17, no. 4 (April 22, 2024): 1217–22. http://dx.doi.org/10.30853/phil20240176.

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The paper addresses the problem of identifying the role of versification factors in shaping certain genres and genre forms of Adyghe poetry. The study is based on the sonnet sequence “Faithful to Love” by the Circassian poet Mukhadin Hamidovich Bemurzov (1948-2007). The study aims to determine the genre-forming functions of meter, rhyme, and stanzaic structure in a specific literary context. The study is original in that it represents the first attempt to consider the listed components of versification as dominant genre features of sonnets comprising the sonnet sequence “Faithful to Love”. As a result of the study, the determining role of versification in shaping a number of poetic genres and the genre form of the sonnet sequence is confirmed. The adoption of the “solid form” of the sonnet by Adyghe poets is largely explained by their desire to enhance the level of literary skills and fully unfold their creative potential. Sonnet sequences are created with the aim of expanding the genre boundaries of the sonnet and introducing its innovative forms into the national literary process. The paper analyzes the meter and rhyme system and stanzaic structure of the sonnets included in the sequence “Faithful to Love”, determining whether they comply with the genre’s canon.

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2

Evans, Robert C., and Thomas P. Roche. "Petrarch and the English Sonnet Sequences." Sixteenth Century Journal 21, no. 3 (1990): 520. http://dx.doi.org/10.2307/2540317.

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3

Evans, Robert C., and Thomas P. Roche. "Petrarch and the English Sonnet Sequences." Sixteenth Century Journal 21, no. 2 (1990): 290. http://dx.doi.org/10.2307/2541078.

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4

Hakobyan, Levon. "THE CROWN OF SONNETS: PROBLEMS OF GENESIS AND GENRE FORMATION." Проблемы исторической поэтики 19, no. 4 (December 2021): 82–104. http://dx.doi.org/10.15393/j9.art.2021.9722.

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The established, yet unconfirmed, viewpoint states that the crown of sonnets originated in the 13th century, although the first known instances of this genre form belong to the 16th century. These works differ from the modern (canonical) crown by the unregulated number of texts and the absence of the master sonnet. The thematic and stylistic variety of the Baroque crowns suggests that certain sonnet crown sequences did exist before the 16th century, albeit they are still undiscovered. In the absence of relevant texts, the study of the formal poetic preconditions required for the emergence of the crown of sonnets could clarify the time of the appearance of this supertextual form. Two factors determine the structure of the crown: the cohesion of adjacent texts and the ring-like organization of the supertextual unit. The first refers to the repetition of the last verse of the preceding text at the beginning of the following one. This poetic technique originates from the Provençal troubadours, who created a specific form of chained stanzas (coblas capfinidas); the Galician-Portuguese poets discovered another form of strophic concatenation (leixaprén). The second factor is the repetition of the first verse of the initial text at the end of the last one. Despite the verbatim coincidence, these verses are not semantically equal to each other, since the last verse, enriched by the previous context, acquires new semantic characteristics. One of the first poetic forms that combines the beginning and end of the text was the rondel, created in the 15th century. The examination of medieval poetic genres from the point of view of their crown-forming potential led to the conclusion that only the sonnet form meets the requirements for a poetic crown. The studied material suggests that, despite the common opinion, the non-canonical crown of sonnets could not appear in the 13th century, as the entire complex of formal poetic conditions for the emergence of this genre form developed at the end of the 15th century.

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5

Prescott, Anne Lake, and Christopher Warley. "Sonnet Sequences and Social Distinction in Renaissance England." Sixteenth Century Journal 38, no. 4 (December 1, 2007): 1115. http://dx.doi.org/10.2307/20478668.

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6

Hanson, Elizabeth. "Boredom and Whoredom: Reading Renaissance Women's Sonnet Sequences." Yale Journal of Criticism 10, no. 1 (1997): 165–91. http://dx.doi.org/10.1353/yale.1997.0004.

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7

Cotter, James Finn. "Sequences of Phrase and Feeling in “The Windhover”." Religion and the Arts 22, no. 4 (September 10, 2018): 488–500. http://dx.doi.org/10.1163/15685292-02204006.

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Abstract Gerard Manley Hopkins distinguished and approved “sequences of feeling and phrase” in his friend Robert Bridges’s sonnets. A close reading of “The Windhover” reveals Hopkins’s own use of these sequences with a remarkable shift between the octave, developed by a series of adverbial and adjectival participial and prepositional phrases, and the sestet which proceeds as a series of declarative-exclamatory statements. The first half of the sonnet follows the kestrel’s flight as it “hovers” (hence its name) into a fixed position either by beating its wings (“hurl”) or by sitting still (“gliding”). This act of hovering is then transferred from the bird “there” to the poet’s own heart “here” by the verb “Buckle,” with its meaning of joining, bending, putting on, and holding back. This shift in action occurs also in place and time, from past to present, outdoors to an indoor chapel where the poet attended Mass each May morning. The action itself incorporates inscape as catching sight of the pattern of the kestrel’s flight in the morning of Christ’s created light and instress as the heart’s response in thought and being to Christ’s uplifting grace in the fire of redemption. “As kingfishers catch fire” reverses the sequences of feeling and phrase in “The Windhover” as it too moves from the physical (“each mortal thing”) to the supernatural as the “just man” becomes an after-Christ.

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8

Hawkes, David. "Sonnet Sequences and Social Distinction in Renaissance England (review)." Shakespeare Quarterly 57, no. 2 (2006): 218–20. http://dx.doi.org/10.1353/shq.2006.0059.

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9

Wilkes, G. A. "Petrarch and the English sonnet sequences (review)." Parergon 8, no. 1 (1990): 174–75. http://dx.doi.org/10.1353/pgn.1990.0066.

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10

Reith, Louis J., and Roger Kuin. "Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism." Sixteenth Century Journal 32, no. 1 (2001): 305. http://dx.doi.org/10.2307/2671499.

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11

Durinova, N. N. "Syllable Boundary in the Poetic Line." Izvestiya of Saratov University. Philology. Journalism 9, no. 2 (2009): 47–50. http://dx.doi.org/10.18500/1817-7115-2009-9-2-47-50.

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The article investigates the binary delimitation of the line with the first short and the first long hemistiches determined by the syllabic structure of the sonnet. It discusses the reasons for regarding these lines as “right” because the majority of metrically perfect sequences occur in them and their metrical deviations tend to be found in certain syllable positions.

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12

Rigg, Patricia. "Gendered Poetic Discourse and Autobiographical Narratives in Late Victorian Sonnet Sequences." Victorian Poetry 57, no. 2 (2019): 201–23. http://dx.doi.org/10.1353/vp.2019.0009.

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13

Walls, Kathryn. "The Christian Lark: Spenser’s Faerie Queene I. x.51 and Shakespeare’s Sonnet 29." Explorations in Renaissance Culture 46, no. 2 (December 18, 2020): 200–218. http://dx.doi.org/10.1163/23526963-46020005.

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Abstract The likening of the lark to the Christian worshipper as in Herbert’s “Easter Wings” was anticipated by both Spenser and Shakespeare in references that have been overlooked to date. These stand in a tradition most richly represented by the early fourteenth- century French allegorist Guillaume de Deguileville, in his Pèlerinage de l’Ame, in which the pilgrim soul, guided towards the gate of Heaven by his guardian angel, finds himself surrounded by larks whose cruciform shapes in flying match their singing of the name “Jhesu.” Having fallen for the second time when fighting the dragon, Spenser’s Red Cross Knight rises on the third morning to find himself victorious. In his rising he is compared with the lark at dawn. The Edenic setting (which underlines the theme of the redemption of “fallen” man by the risen Christ) is also illuminated by Deguileville’s Ame; Spenser’s two trees are reminiscent of the “green and the dry” in the French allegory, according to which Christ appears as the apple pinned to the dry tree in reparation for the apple stolen by Adam. When one examines Shakespeare’s reference to the lark in Sonnet 29 in the light of the tradition represented by Deguileville (whose work not only Spenser but also Shakespeare might have read in English translation) the question arises as to whether the beloved addressed in line 10 (“thee”) could be Christ, and the speaker a Christian worshipper moving from self reproach to Christian gratitude. Such an interpretation is challenged by the standard assumption that the sonnets reflect a narrative produced by a love triangle. But from Petrarch’s Canzoniere on, sequences of love sonnets had contained poems of religious adoration.

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14

Rogoff, J. "The Aesthetics of Contemporary Sonnet Sequences: The Examples of Salter and Muldoon." Literary Imagination 12, no. 3 (October 6, 2010): 335–43. http://dx.doi.org/10.1093/litimag/imq035.

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15

Kambasković-Sawers, Danijela. "Fictional Elements in Sixteenth-and Seventeenth-Century Sonnet Sequences and Early Modern Fictions." Parergon 29, no. 1 (2012): 47–69. http://dx.doi.org/10.1353/pgn.2012.0000.

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16

Wilson, Scott. "Racked on the tyrant's bed: The politics of pleasure and pain and the Elizabethan sonnet sequences." Textual Practice 3, no. 2 (June 1989): 234–49. http://dx.doi.org/10.1080/09502368908582061.

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17

Williams, Rhian. "“OUR DEEP, DEAR SILENCE”: MARRIAGE AND LYRICISM IN THE SONNETS FROM THE PORTUGUESE." Victorian Literature and Culture 37, no. 1 (March 2009): 85–102. http://dx.doi.org/10.1017/s1060150309090068.

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Sonnet XLI of Elizabeth Barrett Browning'sSonnets from the Portuguese is candid about its ambition to write love poetry that will last: — Oh, to shootMy soul's full meaning into future years, —That they should lend it utterance, and saluteLove that endures, with Life that disappears! – (Barrett Browning 397) This is a rare moment in the sequence of hope enunciated. Although littered with apparently unfettered exclamations of the newly loved and newly loving – “I seemed not one | For such man's love!” (XXXII), “Beloved, I only love thee!” (IX) – the rhetorical mode of the Sonnets from the Portuguese also feels reticent, provisional, even transient: “This said, ‘I am thine’ – and so, its ink has paled | With lying at my heart that beats too fast” (XXVIII). Yet the sequence's desire for endurance may be reconciled with its frequent return to moments of erasure – “My letters! – all dead paper, . . . mute and white! –” (XXVIII) – by attending to the generative effects of silence in this most ambivalent of sonnet performances. Indeed, the sequence appears to fall in with Daniel Barenboim's logic, which would dictate that if ensuing years are to produce, as the sonnet anticipates, “utterance” – to form sound – the sonnet itself must provide the pre-silence. If silence is the pulse of “Love that endures” (passing over from life to love), then the Sonnets from the Portuguese become, perhaps, an exercise in learning, in Derrida's terms, “how to be silent.” Despite such elevated investment, however, silence clearly troubles our reading of this sonnet sequence; not only does it threaten to undermine the efficacy of a sequence celebrated for the enunciation of love, but it also gestures at a broader Victorian discourse in which silence and “woman-love,” as sonnet XIII names it, are more frequently brought together as an effect of systemized suppression. But, I suggest that these sonnets are, in fact, pushing us to reconsider how we read silence; perhaps surprisingly, this is revealed by paying attention to the sequence's careful anticipation of marriage. Indeed, establishing a conjugal perspective on these poems reveals a radical dynamic in which silencing, in fact, gives way to finding, as Derrida asks, “how to say something.”

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18

Kuin, Roger. "The Gaps and the Whites: Indeterminacy and Undecideability in the Sonnet Sequences of Sidney, Spenser, and Shakespeare." Spenser Studies 8 (January 1, 1987): 251–85. http://dx.doi.org/10.1086/spsv8p251.

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19

Alduy, Cécile. "Lyric Economies: Manufacturing Values in French Petrarchan Collections (1549–60)*." Renaissance Quarterly 63, no. 3 (2010): 721–53. http://dx.doi.org/10.1086/656927.

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AbstractBetween 1549 and 1560, French Petrarchan sonnet sequences proliferated in the wake of Du Bellay'sDefense and Illustration of the French Tongueand Ronsard'sAmours. Yet this proliferation relied on a remarkable economy of means, in large part due to the constant recycling of metaphors, tropes, and forms. In fact, the genre can be read as a cost-efficient system that addressed the economic anxiety of a generation of poets caught between the aspiration to impose the autonomy of their art and their social dependence on a patron. It also preemptively solved the potential credit crisis that could have resulted from having had to borrow from the Italians in order to establish a new French canon. Looking at Ronsard, Du Bellay, and Ellain, this essay examines French Petrarchan collections as complex lyric economies that manufacture and negotiate aesthetic, literary, monetary, and national values.

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20

Braden, Gordon. "Sonnet Sequences and Social Distinction in Renaissance England. Christopher Warley. Cambridge: Cambridge University Press, 2005. Pp. xi+240." Modern Philology 104, no. 2 (November 2006): 258–61. http://dx.doi.org/10.1086/511721.

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21

Fassina, Filippo. "Joann DellaNeva, Reading and re-writing Rome: intertextuality and the sonnet sequences of Du Bellay, Magny, and Piccolomini." Studi Francesi, no. 177 (LIX | III) (December 1, 2015): 578–79. http://dx.doi.org/10.4000/studifrancesi.1297.

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22

Barber, Lester E. "Literature and Daily Life: Looking for Love in All the Wrong (and Right) Places." ELOPE: English Language Overseas Perspectives and Enquiries 2, no. 1-2 (June 22, 2005): 119–25. http://dx.doi.org/10.4312/elope.2.1-2.119-125.

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It is sometimes claimed these days that serious literature is seldom relevant to the lives of ordinary citizens of our communities. It is the contention of this author, however, that good literature is always a joy to read and consider. The ideas conveyed by that literature can guide us, challenge us and reassure us in our daily lives. The challenge for the author is to see if he can demonstrate the truth of these claims to a general, non-academic audience. The first section of the article argues that Shakespeare in his Romeo and Juliet was doing something brand new in renaissance England – presenting love as a deep and sharply felt human emotion, something very different from the “game” of love presented in so many earlier works of that period and its predecessor as well, including plays, treatises of love and the many sonnet sequences of those times. The second, and somewhat longer, section analyzes James Purdy’s novel, The Nephew, seeing in it an underlying theme of love’s emotional power and redemptive force in the lives of ordinary individuals of all ages.

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23

Bassnett, Madeline. "“Injoying of true joye the most, and best”: Desire and the Sonnet Sequences of Lady Mary Wroth and Adrienne Rich." ESC: English Studies in Canada 30, no. 2 (2004): 49–66. http://dx.doi.org/10.1353/esc.2004.0016.

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24

Kambasković-Sawers, Danijela. "‘Never was I the golden cloud’: Ovidian myth, ambiguous speaker and the narrative in the sonnet sequences by Petrarch, Sidney and Spenser." Renaissance Studies 21, no. 5 (November 2007): 637–61. http://dx.doi.org/10.1111/j.1477-4658.2007.00356.x.

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25

Taylor, Cheryl. "Constructing Sonnet Sequences in the Late Middle Ages and Renaissance: A Study of Six Poets by Danijela Kambasković-Sawers (review)." Parergon 29, no. 2 (2012): 257–59. http://dx.doi.org/10.1353/pgn.2012.0128.

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26

Wącior, Sławomir. "Reading the city: Edwin Morgan’s “Glasgow Sonnets” as a contemporary urban sonnet sequence." Roczniki Humanistyczne 63, no. 11 (2015): 291–307. http://dx.doi.org/10.18290/rh.2015.63.11-18.

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27

Kalinowska, Izabela. "The Sonnet, the Sequence, the Qasidah: East-West Dialogue in Adam Mickiewicz's Sonnets." Slavic and East European Journal 45, no. 4 (2001): 641. http://dx.doi.org/10.2307/3086126.

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28

Hedley, Jane. "Thomas P. RocheJr. , Petrarch and the English Sonnet Sequences. (AMS Studies in the Renaissance, 18.) New York: AMS Press, 1989. xviii + 604 pp. $25." Renaissance Quarterly 43, no. 3 (1990): 638–41. http://dx.doi.org/10.2307/2862584.

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29

Cheney, Patrick. "Roger Kuin. Chamber Music: Elizabethan Sonnet-Sequences and the Pleasure of Criticism. Toronto: University of Toronto Press, 1998. xi + 289 pp. $50. ISBN: 0-8020-4188-4." Renaissance Quarterly 52, no. 3 (1999): 915–16. http://dx.doi.org/10.2307/2901950.

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30

Vasileva, O. V., A. S. Volynkina, I. V. Kuznetsova, S. V. Pisarenko, and A. N. Kulichenko. "MOLECULAR-GENETIC CHARACTERISTICS OF SHIGELLA SONNEI-2013 STRAIN ISOLATED DURING THE OUTBREAK IN DYSENTERY IN THE REPUBLIC ABKHAZIA IN 2013." Journal of microbiology epidemiology immunobiology, no. 1 (February 28, 2018): 72–76. http://dx.doi.org/10.36233/0372-9311-2018-1-72-76.

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Aim. Study of molecular-genetic properties of Shigella sonnei-2013 strain isolated during the outbreak in dysentery in the republic Abkhazia in 2013. Materials and methods. Genetic typing of the tested strains using multilocus sequence typing (MLST). Analyzed of nucleotide sequence fragments 7 of conservative «housekeeping» genes adk, fumC, icd, mdh, purA, recA, gyrB. Sequenced of DNA fragments compared with reference sequences from database of Escherichia coli MLST. Phylogenetic analysis was performed using UPGMA method and computer program START 2. Whole-genome sequencing performed on a genetic analyzer Ion Torrent Personal Genome Machine (PGM™) using fragment libraries (shot-gun). Aligning reads have been carried out with the program GS Reference Mapper. Results. Defined sequence - type of the studied strain - ST-152, one of the most common genotypes for S. sonnei. Demonstrated the high degree of similarity obtained contig to the sequences of the chromosome and plasmids А, В, С и E strains S. sonnei 53G and S. sonnei Ss046. Identified contigs with a high percentage similarity to the sequence of virulence plasmid p026-Vir of E. coli 026:H11 (H30). In the genomic S. sonnei-2013 revealed nucleotide sequence of 136 genes were found located on the p026-Vir strain of E. coli 026:Н11 (НЗО). Discovered genes controlling biosynthesis of type IV pili involved in adhesion to abiotic surfaces and biofilm formation. Conclusion. Identified structural peculiarities of strain induced by fragments of virulence plasmid p026-Vir strain E. coli 026:H 11 (H30).

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31

Keating, Mary. "Christopher Warley. Sonnet Sequences and Social Distinction in Renaissance England. Cambridge Studies in Renaissance Literature and Culture 49. Cambridge: Cambridge University Press, 2005. xii + 240 pp. $85. ISBN: 0-521-84254-9." Renaissance Quarterly 59, no. 3 (2006): 962–63. http://dx.doi.org/10.1353/ren.2008.0390.

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32

EARLE, T. F. "A Portuguese Sonnet Sequence of the Sixteenth Century." Bulletin of Hispanic Studies 63, no. 3 (July 1986): 225. http://dx.doi.org/10.3828/bhs.63.3.225.

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33

Earle, T. F. "A Portuguese Sonnet Sequence of the Sixteenth Century." Bulletin of Hispanic Studies 63, no. 3 (July 1986): 225–34. http://dx.doi.org/10.1080/1475382862000363225.

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34

Woods, Susanne. "The Body Penitent: A 1560 Calvinist Sonnet Sequence." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 5, no. 2-3 (April 1992): 137–40. http://dx.doi.org/10.1080/0895769x.1992.10542747.

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35

CHEN, JINRU. "uspA of Shigella sonnei." Journal of Food Protection 70, no. 10 (October 1, 2007): 2392–95. http://dx.doi.org/10.4315/0362-028x-70.10.2392.

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One of the strategies that bacteria utilize to combat environmental stress is to synthesize stress-responding proteins. In Escherichia coli, adverse environmental factors, such as starvation, heat, and the presence of acid, oxidants, heavy metals, and antibiotics, trigger the expression of the universal stress protein (USP). The gene of the USP, uspA, in E. coli K-12 and E. coli O157:H7 has been identified and sequenced. In this study, the nucleotide sequence of uspA in a strain of Shigella sonnei implicated in the 1998 parsley-related outbreak of shigellosis was determined. Within an 800-bp region sequenced, there were 17 bp mismatches between the uspA of S. sonnei and that of E. coli K-12. Among the 17 mismatched nucleotides, 8 were within the structure gene of uspA. A total of 12 bp variations were identified between the uspA of S. sonnei and that of E. coli O157:H7, of which 5 bp were internal to the coding region of uspA. However, unlike the mismatches between the uspA of E. coli K-12 and the same gene of E. coli O157:H7 and S. sonnei that resulted in a single amino acid substitution and changed an alanine to an arginine at position 140, the mismatches between S. sonnei and E. coli O157:H7 were silent and did not result in any amino acid substitution.

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36

Haywood, Mark. "Monk Trio: A Sequence of Sonnets." Journal of Jazz Studies 7, no. 1 (February 28, 2011): 73. http://dx.doi.org/10.14713/jjs.v7i1.5.

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<span style="font-size: 12pt; font-family: "Adobe Caslon Pro";">Poet Mark Haywood presents three sonnets that explore the life and music of Thelonious Monk, the great jazz pianist and composer.</span>

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37

Holmes, John. "Darwinism, Feminism, and the Sonnet Sequence: Meredith's Modern Love." Victorian Poetry 48, no. 4 (December 2010): 523–38. http://dx.doi.org/10.1353/vp.2010.a413064.

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38

Rienstra, Debra. "“Let Wits Contest”: George Herbert and the English Sonnet Sequence." George Herbert Journal 35, no. 1-2 (2011): 23–44. http://dx.doi.org/10.1353/ghj.2011.0005.

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39

Spiller, Michael R. G. "A Literary "First": The Sonnet Sequence of Anne Locke (1560)." Renaissance Studies 11, no. 1 (March 1997): 41–55. http://dx.doi.org/10.1111/1477-4658.00228.

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40

Kim, Sung-Hun, Jeong-Hyun Park, Bok-Kwon Lee, Hyuk-Joon Kwon, Ji-Hyun Shin, Jungmin Kim, and Shukho Kim. "Complete Genome Sequence of Salmonella Bacteriophage SS3e." Journal of Virology 86, no. 18 (August 23, 2012): 10253–54. http://dx.doi.org/10.1128/jvi.01550-12.

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ASalmonellalytic bacteriophage, SS3e, was isolated, and its genome was sequenced completely. This phage is able to lyse not only variousSalmonellaserovars but alsoEscherichia coli,Shigella sonnei,Enterobacter cloacae, andSerratia marcescens, indicating a broad host specificity. Genomic sequence analysis of SS3e revealed a linear double-stranded DNA sequence of 40,793 bp harboring 58 open reading frames, which is highly similar toSalmonellaphages SETP13 and MB78.

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41

Hunter, Walt. "Claude McKay’s Lonely Planet: The Sonnet Sequence and the Global City." Hopkins Review 14, no. 2 (2021): 208–13. http://dx.doi.org/10.1353/thr.2021.0030.

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42

Kambasković-Sawers, Danijela. "Carved in living laurel: the sonnet sequence and transformations of idolatry." Renaissance Studies 21, no. 3 (June 2007): 377–94. http://dx.doi.org/10.1111/j.1477-4658.2007.00365.x.

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43

Prescott, Anne Lake. "Elizabeth's Garden of Virtue: Jacques Bellot's Sonnet Sequence for the Queen." ANQ: A Quarterly Journal of Short Articles, Notes and Reviews 5, no. 2-3 (April 1992): 122–24. http://dx.doi.org/10.1080/0895769x.1992.10542742.

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44

Logan, Naeemah Z., Beth E. Karp, Kaitlin A. Tagg, Claire Burns-Lynch, Jessica Chen, Amanda Garcia-Williams, Zachary A. Marsh, et al. "130. increase in Multidrug Resistance (2011–2018) and the Emergence of Extensive Drug Resistance (2020) in shigella Sonnei in the United States." Open Forum Infectious Diseases 7, Supplement_1 (October 1, 2020): S195. http://dx.doi.org/10.1093/ofid/ofaa439.440.

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Abstract Background Multidrug-resistant (MDR) Shigella sonnei infections are a serious public health threat, and outbreaks are common among men who have sex with men (MSM). In February 2020, Australia’s Department of Health notified CDC of extensively drug-resistant (XDR) S. sonnei in 2 Australian residents linked to a cruise that departed from Florida. We describe an international outbreak of XDR S. sonnei and report on trends in MDR among S. sonnei in the United States. Methods Health departments (HDs) submit every 20th Shigella isolate to CDC’s National Antimicrobial Resistance Monitoring System (NARMS) laboratory for susceptibility testing. We defined MDR as decreased susceptibility to azithromycin (MIC ≥32 µg/mL) with resistance to ampicillin, ciprofloxacin, and cotrimoxazole, and XDR as MDR with additional resistance to ceftriaxone. We used PulseNet, the national subtyping network for enteric disease surveillance, to identify US isolates related to the Australian XDR isolates by short-read whole genome sequencing. We screened these isolates for resistance determinants (ResFinder v3.0) and plasmid replicons (PlasmidFinder) and obtained patient histories from HDs. We used long-read sequencing to generate closed plasmid sequences for 2 XDR isolates. Results NARMS tested 2,781 S. sonnei surveillance isolates during 2011–2018; 80 (2.9%) were MDR, including 1 (0.04%) that was XDR. MDR isolates were from men (87%), women (9%), and children (4%). MDR increased from 0% in 2011 to 15.3% in 2018 (Figure). In 2020, we identified XDR isolates from 3 US residents on the same cruise as the Australians. The US residents were 41–42 year-old men; 2 with available information were MSM. The US and Australian isolates were highly related (0–1 alleles). Short-read sequence data from all 3 US isolates mapped to the blaCTX-M-27 harboring IncFII plasmids from the 2 Australian isolates with >99% nucleotide identity. blaCTX-M-27 genes confer ceftriaxone resistance. Increase in Percentage of Shigella sonnei Isolates with Multidrug Resistance* in the United States, 2011–2018† Conclusion MDR S. sonnei is increasing and is most often identified among men. XDR S. sonnei infections are emerging and are resistant to all recommended antibiotics, making them difficult to treat without IV antibiotics. This outbreak illustrates the alarming capacity for XDR S. sonnei to disseminate globally among at-risk populations, such as MSM. Disclosures All Authors: No reported disclosures

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Gregory, Melissa Valiska. "Augusta Webster Writing Motherhood in the Dramatic Monologue and the Sonnet Sequence." Victorian Poetry 49, no. 1 (2011): 27–51. http://dx.doi.org/10.1353/vp.2011.0005.

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Mischo, John Brett. ""GREAT WITH CHILD TO SPEAKE": MALE CHILDBIRTH AND THE ELIZABETHAN SONNET SEQUENCE." Explorations in Renaissance Culture 24, no. 1 (December 2, 1998): 53–74. http://dx.doi.org/10.1163/23526963-90000196.

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Barańczak, Stanisław. "Polishing the Sonnet Sequence: A Polish Translator's Reflections on Seamus Heaney's “Clearances”." Translation Review 55, no. 1 (September 1998): 1–5. http://dx.doi.org/10.1080/07374836.1998.10523714.

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Aiman, Sara, Abbas Ahmad, Asifullah Khan, Yasir Ali, Abdul Malik, Musaed Alkholief, Suhail Akhtar, et al. "Vaccinomics-aided next-generation novel multi-epitope-based vaccine engineering against multidrug resistant Shigella Sonnei: Immunoinformatics and chemoinformatics approaches." PLOS ONE 18, no. 11 (November 22, 2023): e0289773. http://dx.doi.org/10.1371/journal.pone.0289773.

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Shigella sonnei is a gram-negative bacterium and is the primary cause of shigellosis in advanced countries. An exceptional rise in the prevalence of the disease has been reported in Asia, the Middle East, and Latin America. To date, no preventive vaccine is available against S. sonnei infections. This pathogen has shown resistances towards both first- and second-line antibiotics. Therefore, an effective broad spectrum vaccine development against shigellosis is indispensable. In the present study, vaccinomics-aided immunoinformatics strategies were pursued to identify potential vaccine candidates from the S. sonnei whole proteome data. Pathogen essential proteins that are non-homologous to human and human gut microbiome proteome set, are feasible candidates for this purpose. Three antigenic outer membrane proteins were prioritized to predict lead epitopes based on reverse vaccinology approach. Multi-epitope-based chimeric vaccines was designed using lead B- and T-cell epitopes combined with suitable linker and adjuvant peptide sequences to enhance immune responses against the designed vaccine. The SS-MEVC construct was prioritized based on multiple physicochemical, immunological properties, and immune-receptors docking scores. Immune simulation analysis predicted strong immunogenic response capability of the designed vaccine construct. The Molecular dynamic simulations analysis ensured stable molecular interactions of lead vaccine construct with the host receptors. In silico restriction and cloning analysis predicted feasible cloning capability of the SS-MEVC construct within the E. coli expression system. The proposed vaccine construct is predicted to be more safe, effective and capable of inducing robust immune responses against S. sonnei infections and may be worthy of examination via in vitro/in vivo assays.

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Goulding, Susan. "Legitimizing Voice: Petrarchan Form in Mary Darby Robinson's Sonnet Sequence, Sappho and Phaon." Essays in Romanticism 19, no. 1 (January 2012): 65–82. http://dx.doi.org/10.3828/eir.2012.19.6.

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Spiller, Michael R. G. "A literary ?first?: the sonnet sequence of Anne Locke (1560) an appreciation of Anne Locke's Sonnet Sequence: A Meditation of a Penitent Sinner ? with Locke's Epistle to the ? Duchesse of Suffolke." Renaissance Studies 11, no. 1 (March 1997): 41–55. http://dx.doi.org/10.1111/j.1477-4658.1997.tb00011.x.

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