Academic literature on the topic 'Sonnets, American'
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Journal articles on the topic "Sonnets, American"
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BROMWICH, DAVID. "AMERICAN SONNETS." Yale Review 93, no. 2 (April 2005): 26–41. http://dx.doi.org/10.1111/j.0044-0124.2005.00902.x.
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Volkovynskyi, Oleksandr, and Serhiy Hnatenko. "Use of “Erase” Technique in Young American Poetry of the Early 21st Century: Architectonic and Structural Transformation of the Sonnet Canon." Pitannâ lìteraturoznavstva, no. 107 (June 30, 2023): 30–42. http://dx.doi.org/10.31861/pytlit2023.107.030.
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“Erasure” technique has gained particular popularity in young American poetry of the early 21st century. Its use entails partial deletion or discoloration of the earlier text by a famous writer. Only fragments of the precedent text remain, used to subsequently shape a different architectonic and semantic structure. Shakespeare’s sonnets are an attractive object for “erasure”. They are the primary source for “innovations” by the poet and artist Jen Bervin in her book “Nets” (2003), the title of which is “erased” from the very word “sonnets” – “nets”. From partially discolored but readable Shakespeare’s text Bervin handpicks the words, extremely important to generate her new meaning. Architectonically, these words remain in the same places as in Shakespeare’s sonnets. Thus, the canonical sonnet form serves only as a background for laconic modernized expression. By means of “erasure” Bervin bares the Shakespeare’s sonnets’ deep semantic “grid”, actualizing various intertextual nuances. The poetic invariant opens up for new interpretations. Moreover, “erasure” technique has a purely technical component, hence the canonical form of the sonnet is subjected to certain filtering. The author of the new text produces numerous contemporary meanings. Therefore, “erasure” technique becomes an effective means of actualizing precedent texts. Modern reader oftentimes has already lost interest in them, but thanks to the postmodern experiment, expressive and sometimes brilliant new creations appear in the form of text fragments. Gamification, inherent to “erasure”, renews communicative processes, involving the classical author, their text, the experimental author, and their new work, as well as the recipient, also able to find new options for constructing utterances.
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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.
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The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.
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Вороневская, Н. В. "On the Typology of Translations of R. M. Rilke's Poetry into English." Иностранные языки в высшей школе, no. 4(55) (March 5, 2021): 23–30. http://dx.doi.org/10.37724/rsu.2020.55.4.003.
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В статье рассматриваются разновременные переводы XXI сонета первой части «Сонетов к Орфею» Р. М. Рильке, выполненные британскими и американскими переводчиками. Изучение типологии поэтического перевода на примере лирического цикла Рильке основывается на классификации поэтического перевода, разработанной Р. Р. Чайковским. Проанализированные в статье переводы XXI сонета первой части в интерпретациях американских переводчиков Р. Блая и Л. Норриса (в соавторстве с А. Килом) представлены прозаическим и адекватным переводами соответственно. Британский поэт и переводчик Д. Патерсон использует сонеты Рильке как основу для создания поэтической версии оригинала, навеянной мотивами переводимого произведения. Сравнение трех переводов XXI сонета позволяет сделать выбор в пользу адекватного перевода Л. Норриса и А. Кила, в котором воссозданы не только образы оригинала, но и его уникальная поэтическая форма. В прозаической интерпретации сонета Р. Блая не учтены ни жанровые характеристики сонета, ни индивидуально-авторский стиль Рильке. The article deals with the different-time translations of the XXI sonnet of the first part of “Sonnets to Orpheus” by R. M. Rilke made by British and American translators. The study of the typology of poetic translation with examples drawn fromRilke’s lyric cycle is based on the classification of poetic translation developed by R. R. Tchaikovsky. The analyzed translations of the XXI sonnet of the first part in the interpretations of the American translators R. Bly and L. Norris (co-authored with A. Keel) are presented by prosaic and adequate translations, respectively. Inspired by Rilke’s original, the British poet and translator D. Paterson uses Rilke’s sonnets as a basis for creating his poetic version (i. e. interpretation based on the original) of the German sonnets. Comparing three English translations of the XXI sonnet allows us to make a choice in favor of the adequate translation made by L. Norris and A. Keel, in which not only the images of the original but also its unique poetic form are thoroughly recreated. In the prosaic interpretation of R. Bly’s sonnet, neither the genre characteristics of the original sonnet nor Rilke’s individual style are taken into account.
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E. M. Deniz Newlin, Donna Louisa. "The Sonnet Tradition and Claude McKay." English Journal 99, no. 1 (September 1, 2009): 99–105. http://dx.doi.org/10.58680/ej20097717.
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Voronevskaya, Natalia V. "ON ENGLISH TRANSLATIONS OF R. M. RILKE’S POETIC LANGUAGE." Вестник Пермского университета. Российская и зарубежная филология 13, no. 2 (2021): 89–96. http://dx.doi.org/10.17072/2073-6681-2021-2-89-96.
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This study aims to assess the adequacy of the form of German sonnets when reproduced in English translations. The focus is on interrogative sentences, which, together with the sonnet in the form of a macro-sentence, the shortened verse and enjambment, are the characteristics of the innovative features of Sonnets to Orpheus by R. M. Rilke. The lyrical cycle Sonnets to Orpheus is among the most translated into world languages of Rilke’s poetry works, as well as Duino Elegies. Both professional and amateur poets and translators have been competing to put the Austrian writer’s best poems into English. Here we examine more than twenty English translations of the Sonnets into English, made from 1936 to 2008. The importance of the comparative linguistic-stylistic study of the original and its translations is determined by the continuing interest in Rilke’s works in English-speaking countries and the necessity to understand the principles of reconstructing the features of Rilke’s poetics using the English language. The system of methods used in this work includes: historical and philological analysis, comparative linguistic and stylistic description, as well as comparative analysis of the original and translation in the form that was developed in the works of V. Bryusov (1905), N. Gumilev (1919), M. Lozinsky (1935), E. Etkind (1963), S. Goncharenko (1987). We have found that the innovative nature of German sonnets is not always reflected in English translations. In some translations, American and British translators significantly modified the form of the original: interrogative sentences dominating in XVII and XVIII sonnets of the second part of the lyric cycle were not reproduced in English translations made by G. Good, D. Young, C. Haseloff, N. Mardas Billias and others.
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Burcar, Lilijana. "Old Aesthetics, New Ethics." Acta Neophilologica 56, no. 1-2 (December 8, 2023): 91–106. http://dx.doi.org/10.4312/an.56.1-2.91-106.
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The depiction of the class struggle features prominently in the American canon of the first half of the 20th century. However, the emphasis has been almost exclusively on prose fiction to the exclusion of the works of poets such as Claude McKay, one of the central figures of the early Harlem Renaissance and the leading figure among socially engaged English-speaking poets at the time. The article redresses this imbalance by drawing attention to McKay’s socially engaged sonnets, which helped to expand the horizons and culturally empower the exploited poor in America (and by extension the proletariat in England) to resist and overcome racist ideology in their common struggle for universal social justice. McKay makes use of a traditional, highly aestheticized sonnet form, while giving it a new ethical premise and fresh impetus.
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Malech, Dora, and Laura T. Smith. "Sonnets from the American: An Introduction." Hopkins Review 14, no. 2 (2021): 176–78. http://dx.doi.org/10.1353/thr.2021.0061.
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Kempton, Karl. "The Ramadan Sonnets." American Journal of Islam and Society 14, no. 1 (April 1, 1997): 129. http://dx.doi.org/10.35632/ajis.v14i1.2264.
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Best book of poems I’ve read in years by a contemporary and have had thepleasure of being lifted by, shot into the orbit of harmonious rapture grins andthe joyousness of countless YES, O, YES. The collection resonates and purifiesthe deep sweet water in the cells where the real self drinks. The resonatingbuilds stanza by stanza, poem after poem, informed by an American spiritualand mystical lineage from Transcendentalism to the Beats of the BeatitudeVision into as-yet-to-be identified and named Third Wave, holding in itsunnumbered beckoning hands the world‘s mystical poetry body. Moore’s spectacularcontribution to this present building surge arrives before his audiencewith a thorough immersion in Islam’s Sufi way. This is experience inspired intosong, not a complex geometry of imaginary gymnastics afloat in an alienatedmental life ...
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Regan, Stephen. "The Sonnet and its Travels." CounterText 3, no. 2 (August 2017): 162–75. http://dx.doi.org/10.3366/count.2017.0086.
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As well as being one of the oldest and best known of all poetic forms, the sonnet is also one of the most widely travelled. Critical studies of the sonnet in English have traced its historical development from its Italian predecessors, through its domestication in Elizabethan England, to its remarkable popularity among modern British, Irish, and American poets. There is still much to learn, however, about the geography of the sonnet. This essay looks at some of the ways in which the sonnet has been shaped in places distant from its familiar European cultural domain: in Roy Campbell's South Africa, Allen Curnow's New Zealand, and Derek Walcott's St Lucia. It claims that, paradoxically, the intense compression of the sonnet form generates a powerful preoccupation with worldwide vision. It also proposes that the shape and size of the sonnet makes it an especially attractive form for poet-translators, and that the circulation of translations, imitations, and versions of sonnets greatly enhances the geographical mobility of the form. The essay concludes that some of the most innovative experiments with the sonnet form, by writers such as Don Paterson and Paul Muldoon, have been those concerned with latitude, and with the crossing of cultural and geographical boundaries.
Dissertations / Theses on the topic "Sonnets, American"
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Wakefield, Eleanor. "Extending the Line: Early Twentieth Century American Women's Sonnets." Thesis, University of Oregon, 2017. http://hdl.handle.net/1794/22651.
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This dissertation rereads sonnets by three crucial but misunderstood early twentieth-century women poets at the intersection of the study of American literary history and scholarship of the sonnet as a genre, exposing and correcting a problematic loss of nuance in both narratives. Genre scholarship of the sonnet rarely extends into the twentieth century, while early twentieth-century studies tend to focus on nontraditional poem types. But in fact, as I show, formal poetry, the sonnet in particular, engaged deeply with the contemporary social issues of the period, and proved especially useful for women writers to consider the ways their identities as women and poets functioned in a world that was changing rapidly. Using the sonnet’s dialectical form, which creates tension with an internal turn, and which engages inherently with its own history, these women writers demonstrated the enduring power of the sonnet as well as their own positions as women and poets. Tying together genre and period scholarship, my dissertation corrects misreadings of Edna St. Vincent Millay, Sarah Teasdale, and Helene Johnson; of the period we often refer to as “modernism”; and of the sonnet form.
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Van, Hooser David. "Opening Day." Thesis, University of North Texas, 2008. https://digital.library.unt.edu/ark:/67531/metadc9018/.
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Although I've read and written poetry for my own pleasure for about twenty years now, I've only seriously studied and written poetry on a consistent basis for the past two years. In this sense, I still consider myself a beginning poet. When attempting to pursue an art form as refined and historically informed as poetry, only after spending a number of years reading and writing intensively would I no longer consider myself a beginner, but a practitioner of the art. I've grounded my early development as a poet in concision, voice, and imagination, and hope to build upon these ideas with other poetic techniques, theories, and forms as I go forward. I am particularly interested in mastering the sonnet form, a concise and imaginative form that will allow me to further develop my skills. Hopefully, the works in this thesis reflect that effort.
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Zuk, Edward. "The modernist American sonnet." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 2001. http://www.collectionscanada.ca/obj/s4/f2/dsk3/ftp04/NQ61215.pdf.
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Craddock, Jade. "Women poets, feminism and the sonnet in the twentieth and twenty-first centuries : an American narrative." Thesis, University of Birmingham, 2013. http://etheses.bham.ac.uk//id/eprint/4158/.
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Initially developed and perfected by male poets, the history of the sonnet has been characterised by androcentrism. Yet from its inception the sonnet has also been adopted by women. In recent years feminist critics have begun to redress the form’s gender imbalance, but most studies of the female-authored sonnet have excluded the twentieth and twenty-first centuries, and thus one of the most important periods in women’s history – the rise of feminism – leading to a flawed narrative of the genre. Repositioning Edna St. Vincent Millay as the starting point in a twentieth-century tradition, this study begins where most others end and examines how the emergence and development of feminism, specifically in an American context, underscores a significant female narrative of the sonnet that emerges outside of the male tradition. By reading the works of Edna St. Vincent Millay, Adrienne Rich, Marilyn Hacker, Marilyn Nelson and Moira Egan within their specific feminist contexts and within the broader trajectory of feminism, it is possible to see how women in the era took ownership of the form. Ultimately, the thesis suggests that feminism has shaped an important narrative in the history of the genre that means today the sonnet is no longer exclusively male.
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La, Spata Adam Nunzio. "Psalms, Hymns, and Commercial Songs: Tradition and Innovation in James Lyon's "Urania"." Thesis, University of North Texas, 2020. https://digital.library.unt.edu/ark:/67531/metadc1707400/.
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This dissertation asserts the value of James Lyon's Urania to the field of American music history as a vital contribution to the development of music in the British colonies prior to the War for Independence. While previous scholarship acknowledges Urania's importance as the first publication in America to contain music by a native-born composer, this study argues that its subscription list and selection of anthems (both of which were new to the field of American music publishing) contribute to the status this compilation is due. The confluence of the English chapel tradition and American singing school tradition contributes to the theological universality and accessibility of its twelve anthems. An introductory chapter discusses the secondary literature upon which this study is based - notably that of Oscar Sonneck and Richard Crawford - and posits applications for the idea presented herein beyond the field of musicology. Chapter 2 provides biographical information on James Lyon and contextualizes Urania within the broader framework of the English chapel tradition and the American singing-school tradition. Chapter 3 discusses the marketability of music in colonial America and explores the biographies of the subscribers to Urania using modern databases. Chapter 4 concerns the confluence of music and sacred text by placing Urania as a spiritual and cultural descendant of the theological universality preached during the Great Awakening. It concludes with an analysis of the anthems, taking into account both text and music. Chapter 5 concludes the study by showing how Urania affected music in the generations after its publication. My dissertation concludes with four appendices. Appendix A is an annotated list of Lyon's subscribers. Appendix B parses out basic information on the anthems, notably the texts. Appendices C and D provide critical notes and editions of the anthems, respectively.
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Patterson, Arnecia. "Concrete Evidence: A Collection of Poems Versifying the City." Dayton, Ohio : University of Dayton, 2009. http://rave.ohiolink.edu/etdc/view?acc_num=dayton1260112007.
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Thesis (M.A. in English) -- University of Dayton.Title from PDF t.p. (viewed 4/12/10). Advisor: Albino Carrillo. Includes bibliographical references (p. 34-36). Available online via the OhioLINK ETD Center.
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Ritchie, James. "The Only Way Out Is Through." 2020. https://scholarworks.umass.edu/englmfa_theses/126.
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The image has been essential to American poetry since at least the early 20th century, when modernists like H.D., Williams, and Pound made images the charged heart of their poetics. But the image as a concept, as that which we see when we say caribou, is as ancient as human thought. Not all images, though, spring from material truths, like the material truth of an animal. Images are social, like doctor, and if they are social, they are political. They are shaped by experience and reinforced by culture. In a capitalist culture, images become alienated from the material they claim to represent; they are simulacra in the theoretical sense, a representation of a thing that never existed. As such, images can be wielded as weapons: to harm, to intimidate. These reified images are trafficked as truth, and they alter what is real as people bend the world to make it fit their image of it.
The poems in The Only Way Out Is Through are an intervention and an inquiry into this process. “Sonnets from Decivilization” is a crown of sonnets in the tradition of Claude McKay, Edwin Denby, Ted Berrigan, Wanda Coleman, Jack Agüeros, and Terrance Hayes. What is common between these poets is their engagement with American hegemony through the poetics of the sonnet. In the American sonnet, distinct from the Shakespearean and Petrarchan sonnet forms, notions of the state and of belonging are always-already present, influencing the affect of negotiations between speaker and state. An alien in the eyes of the United States government, the speaker of the sonnets engages with the unreal and the real that constitutes the image of, and images from, America.
The first part of “The Image World” is a journey to the realm of images, a place that is both interior and external, personal because shared. The unreality of a familiar landscape is relayed through understatement from a vacated voice. Joseph Ceravolo, Bernadette Mayer, Fred Moten, and Anne Carson help inform the approach.
“The Applications” uses the rhetoric of bureaucracy to show how personhood is distorted when citizens and aliens are required to make their experiences and desires legible to the language of power. The narrative resonates when the reader is able to place their own experience into the blank spaces between the words, and sites where language breaks down entirely is where the reader is able transcend, along with the speaker, the commodified function of language and exist, however briefly, in meaningful senselessness. Hoa Nguyen and Alice Notley are key influences.
The final section, the second part of “The Image World,” is a vision for a future that resists the oppressive powers that have brought our world to the crises we are currently living through. The speaker of this section is the addressed of the first section, collapsing reader and speaker into the same entity. This coming to voice speaks to the necessity of articulating possible futures, of creating new images, of returning to materials truths, together, the only way out, through.
Books on the topic "Sonnets, American"
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1948-, Baer William, ed. Sonnets: 150 contemporary sonnets. Evansville, IN: University of Evansville Press, 2005.
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1951-, Bromwich David, ed. American sonnets: An anthology. New York: Library of America, 2007.
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Kempher, Ruth Moon. The recycled sonnets. Lewiston, N.Y: Mellen Poetry Press, 1995.
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Kenyon, Ronald W. The Rosalind sonnets. Washington, D.C. (1601 18th St., N.W., Washington 20009): Poages Landing Press, 1985.
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Boulding, Kenneth Ewart. Sonnets from later life, 1981-1993. Wallingford, Pa: Pendle Hill Publications, 1994.
Find full textBook chapters on the topic "Sonnets, American"
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Westover, Jeff. "African American Sonnets." In A Companion to Poetic Genre, 234–49. Chichester, UK: John Wiley & Sons, Ltd, 2011. http://dx.doi.org/10.1002/9781444344318.ch16.
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Huntsperger, David W. "Making Poems: The “method” of Ted Berrigan’s Sonnets." In Procedural Form in Postmodern American Poetry, 41–70. New York: Palgrave Macmillan US, 2010. http://dx.doi.org/10.1057/9780230106109_3.
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Müller, Timo. "The Vernacular Sonnet and the Afro-Modernist Project." In The African American Sonnet, 75–90. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0005.
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This chapter examines Langston Hughes’s previously ignored blues sonnets from the early 1940s, which open up a new perspective on the trajectories of African American modernist writing. In these little-known sonnets, Hughes revived the formal experimentation of the twenties by bringing together high-modernist and vernacular elements. The chapter traces the transformations of this “synthetic vernacular” (Matthew Hart) in the work of the outstanding poets of the post-war period, Gwendolyn Brooks and Robert Hayden. It shows how these poets made the sonnet a crucial—if overlooked—laboratory for the Afro-modernist project that shaped African American literature from the 1940s into the 1960s.
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RAMAZANI, JAHAN. "Self-Metaphorizing “American” Sonnets." In The American Sonnet, 133–45. University of Iowa Press, 2023. http://dx.doi.org/10.2307/j.ctv32r03gt.96.
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MÜLLER, TIMO. "Sonnets into the American:." In The American Sonnet, 170–76. University of Iowa Press, 2023. http://dx.doi.org/10.2307/j.ctv32r03gt.100.
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LECA, DIANA. "Kay Ryan’s Miniature Sonnets." In The American Sonnet, 296–303. University of Iowa Press, 2023. http://dx.doi.org/10.2307/j.ctv32r03gt.119.
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MICKELSON, NATE. "Sonnets and/as Boxes:." In The American Sonnet, 278–84. University of Iowa Press, 2023. http://dx.doi.org/10.2307/j.ctv32r03gt.116.
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Edmondson, Paul, and Stanley Wells. "The Sonnets and Later Writers." In Shakespeare’s Sonnets, 145–65. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780199256105.003.0011.
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Abstract In his twenty-one-lined ‘American Sonnet’ (1991), Billy Collins describes the event of a sonnet as a few square inches of where we have strayed And a compression of what we feel.<sup>1</sup> Writers of poetry, prose, and drama have long drawn inspiration from Shakespeare’s sonnets, reappropriating their ideas and language to create new meanings, to compress, explore, and evolve other thoughts and emotions. What follows is a selective survey of the many writings which represent an on-going event of cultural and literary in xuence and transformation, a survey of how far later writers have strayed from Shakespeare’s originals.
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Müller, Timo. "The Sonnet and Black Transnationalism in the 1930s." In The African American Sonnet, 57–74. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0004.
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While the transnational dimensions of the Harlem Renaissance are widely acknowledged, scholarly accounts often suggest that the Great Depression narrowed the scope of African American writing to localized concerns such as social improvement and folk expression. The chapter complicates this assumption by drawing attention to the little-known sonnets Claude McKay and Countee Cullen wrote in the 1930s, some of which remained unpublished until the early twenty-first century. These sonnets show that African American poetry sustained a range of transnational conversations throughout the 1930s. The chapter examines two such conversations: the negotiation of black travel around the Atlantic and the Mediterranean, and the Pan-Africanism incited by the Italo-Ethiopian War of 1935/36. Besides McKay and Cullen, the chapter considers sonnets by the neglected poets J. Harvey L. Baxter, Alpheus Butler, and Marcus Bruce Christian.
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Müller, Timo. "Introduction: Troubling Spaces." In The African American Sonnet, 3–14. University Press of Mississippi, 2018. http://dx.doi.org/10.14325/mississippi/9781496817839.003.0001.
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When Albery Allson Whitman, a minister and former slave, published his first collection of poetry in 1877, he inaugurated an unlikely genre: the African American sonnet.1 This was an altogether remarkable event. An ethnic group that had largely been excluded from intellectual life was beginning to appropriate one of the most venerable traditions in Western literature. A group whose capabilities had widely been disparaged was demonstrating its mastery of one of the most complex poetic forms in the language. A group whose cultural heritage had mainly relied on oral transmission was turning to one of the most durable genres in written literature. It was a development few were prepared to acknowledge or accept—as June Jordan, herself a writer of sonnets, would put it many years later, it was “not natural” (...
Conference papers on the topic "Sonnets, American"
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Tian, Yufei, and Nanyun Peng. "Zero-shot Sonnet Generation with Discourse-level Planning and Aesthetics Features." In Proceedings of the 2022 Conference of the North American Chapter of the Association for Computational Linguistics: Human Language Technologies. Stroudsburg, PA, USA: Association for Computational Linguistics, 2022. http://dx.doi.org/10.18653/v1/2022.naacl-main.262.
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Sin Wu, Yi, Chun Yen Chen, Chang Teng-, and Yee Pay Wuang. "Cool Guy's Adventure: A Sensory Integration Game Designed for Children with Attention Deficit Hyperactivity Disorder (ADHD)." In 15th International Conference on Applied Human Factors and Ergonomics (AHFE 2024). AHFE International, 2024. http://dx.doi.org/10.54941/ahfe1004904.
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This paper offers an interactive scenario of Cool Guy's Adventure for children with Attention Deficit Hyperactivity Disorder (ADHD) based on sensory integration (SIT). We present a design framework that allows occupational therapists to arrange and combine game units and difficulty levels. ADHD is one of the most common neurodevelopmental disorders of childhood. Many studies have utilized HCI technology to assist and treat patients with various mental conditions, helping them lead healthier lives. However, there has been limited attention given to the development of HCI technologies to support children with ADHD. The game was developed using the Unity3D game engine and Microsoft Kinect®, each game design focuses on sensory integration training and enhances the child's intrinsic motivation: Throw the perfect ball, Play hopscotch, and Capture treasure. We present assessments and results after testing a sample of children (n=4), aged 8, with or without ADHD.■ References[1]Fage C., Pommereau L., Consel C., Balland E. and Sauzéon H. 2014. The 16th International ACM SIGACCESS Conference on Computers and Accessibility Tablet-based Activity Schedule for Children with Autism in Mainstream Environment. Rochester, USA, 145-152. DOI: https://doi.org/10.1145/2858036.2858245[2]Sonne T. and Jensen M. M. 2016. Evaluating the ChillFish Biofeedback Game with Children with ADHD. In Proceedings of the 2016 ACM Interaction Design and Children (IDC), Manchester, United Kingdom, 529-534. DOI: https://doi.org/10.1145/2930674.2935981[3]American Psychiatric Association. 2013. Diagnostic and Statistical Manual of Mental Disorders. Fifth edition: DSM-5, Washington, p.991.[4]Liao M.-N. 2016. Co-creation - Exploration and Research on The Joint Decision-making Mode of Interdisciplinary Cooperation. Master’s thesis. National Yunlin University of Science and Technology.