Academic literature on the topic 'Story of rhyme'

The research that discusses about assonance can be related to literature including short stories. The "UGD" short story by Djenar Maesa Ayu is a work that contains some of the beauty of the language in it. Djenar is able to concoct language into a beautiful sentence. Thus this research is expected to be able to analyze the style of asonance in the "ER" short story. Asonansi is a vowel sound repetition to make internal rhymes in phrases or sentences, and together with alliteration and consonance function as one of the rhyme building blocks. Asonans do not have to rhyme; identity that depends only on the vowel and consonant sounds. Thus, asonance is the resemblance of units which are generally less than syllables. The method of this research is descriptive qualitative with the method of note and note. The results of this study were to describe the asonance in the ER short story by Djenar Maesa Ayu.

The paper aims to explore the genre specifics of the novel Counting-out Rhyme, Octopus-Story written by Laslo Blašković, as well as the semantic layers that were activated in this manner. By accepting the traditional genre of the novel, which was transformed in the direction of a counting-out rhyme and octopus-story, the novel is constructed as a formally unique, subjective literary expression. Building its narrative flow upon the destinies of different personalities, who built seemingly independent stories, the novel Counting-out Rhyme develops the idea of a single story. With each new destiny, the story gets its variant, so the figure of the octopus will become a metaphor of literature in the most general sense. The story, having lost its meaning due to countless repetitions, like a counting-out rhyme, will become a structure of sound and scream, while the need for narration will become a principle of self-preservation.

Penelitian ini bertujuan untuk mendeskripsikan jenis dan pola rima yang terdapat dalam cerita pantun serta implikasinya untuk bahan pembelajaran apresiasi sastra di SMA. Metode deskrptif digunakan dalam penelitian ini, data diolah dengan menggunakan tekhnik telaah pustaka. Data rima yang diperoleh dari cerita pantun Budak Mandjor yang dipantunkan oleh Ki Atjeng Tamadipura (Situraja – Sumedang) sejumlah 582 rima dengan frekuensi 1.182 kali. Hasil penelitian ini ditemukan 11 jenis rima yang meliputi purwakanti pangluyu, purwakanti maduswara, purwakanti mindoan kawit, purwakanti laras madya, purwakanti cakraswara, purwakanti rangkepan, purwakanti laras wekas, purwakanti mindoan wekas, purwakanti margaluyu, purwakanti laras purwa, purwakanti mindoan kata. Jenis rima yang paling dominan adalah purwakanti pangluyu yang berjumlah 125 dengan frekuensi sebanyak 246 kali (20,81%). Sedangkan pola yang ditemukan dari setiap jenis rima tersebut merupakan pola struktur bahasa yang meliputi konsonan, vokal, suku kata, kata dan frasa. Hasil penelitian ini direkomendasikan untuk bahan pembelajaran aprésiasi sastra di SMA kelas XII. AbstractThis study aimed to describe the types and patterns of rhymes contained in pantun story and their implications for literature appreciation teaching and learning materials in senior high school. This study employed descriptive method, and its data were processed by literature review techniques. The data of rhyme obtained from the story of the Budak Mandjor pantun story sung by Ki Atjeng Tamadipura (Situraja - Sumedang) of total 582 rhymes with a frequency of 1.182 times. This study found 11 types of rhymes which included purwakanti pangluyu, purwakanti maduswara, purwakanti mindoan kawit, purwakanti laras madya, purwakanti cakraswara, purwakanti rangkepan, purwakanti laras wekas, purwakanti mindoan wekas, purwakanti margaluyu, purwakanti laras purwa, purwakanti mindoan kata. The most dominant type of rhyme is purwakanti pangluyu, which totaled 125 and its frequency is 246 times (20.81%). While the pattern type found in each rhyme is a language structure pattern that includes consonants, vowels, syllables, words and phrases. The results of this study are recommended for literary teaching-learning materials in Grade XII Senior High School.

In this paper, the authors present a rationale and offer suggestions for how nursery rhymes could be used in the EFL classroom as well as how teachers and/or teachers in training might use nursery rhymes to enhance engagement in learning English. First, the authors define nursery rhymes, give a brief history of the origins, discuss the characteristics, make a case for using nursery rhymes with EFL learners, and last, offer practical suggestions for how nursery rhymes might be used in English as a Foreign (EFL) instruction. A list of accessible nursery rhyme resources is shared at the end. There are many categories in folklore, but the ones children often like the most and adults may remember well are nursery rhymes, fairy tales, fables, myths, legends, and folksongs. Each of these genres contributes in some way to the language development of children. Nursery rhymes in particular form one of the foundations of children’s as well as adults’ literary heritage. The simple rhythm and rhyme of the language, the often predictable structure of the narratives, and the appealing characters combine to produce memorable language models for young children (Cullinan & Galda, 1998; Temple, Martinez, & Yakota, 2011). Children delight in the opportunities to chant the catchy phrases, mimic the nonsense words, and recite the lines endlessly. This pleasure in nursery rhymes translates into developing many reading, writing and oral language skills such as naturally segmenting sounds in spoken words and playing with real and nonsense words. Additionally, young children appreciate the stories and verses for their rhythm, repetition, and rhyme. Their attention is focused on the fanciful language and imaginative nonsense. They learn basic story patterns, encounter vivid plots, develop a sense of theme, and meet intriguing characters that in turn become the stepping stones for subsequent literary education (Cullinan & Galda, 1998; Bodden, 2010).

In this article, the Old Icelandic poem Þrymskviða, which depicts an ancient myth about the theft and retrieval of Thor’s hammer, is compared with a number of later texts describing the same story – a late medieval Icelandic rhyme Þrymlur and a number of ballads from Denmark, Norway, and Sweden, – in order to find out if it is possible to reconstruct an earlier, common Scandinavian version of this myth. While such a reconstruction appears to be plausible, none of the extant sources reflects the proto-myth in its complete form: although the oldest source Þrymskviða generally appears to be the most conservative among the different versions of this story, some of the scenes from the proto-myth have been preserved better in the later sources.

This paper aimed to describe the use of language styles expressed in a collection of short stories titled Ngulul Tanah Yuléngék Langit by I Made Suarsa. The use of language styles was a special feature of the story through the form of intercultural communication or tools of communication as a series of events to form a story as a whole. The stylistic study that used in this study by descriptive method of analysis was describing the use of language style and diction in rhyme which was used by the author. The results of the analysis showed that the metaphorical language styles in rhyme were more dominant in the tension between tradition and creation the diction continued the convention of tradition as a local wisdom and creativity provided innovations of creating through inter-communications.Tulisan ini bertujuan untuk mendeskripsikan penggunaan gaya bahasa yang diekspresikan dalam kumpulan cerita pendek berjudul Nguntul Tanah Yuléngék Langit karya I Made Suarsa. Penggunaan gaya bahasa menjadi ciri khusus dalam cerita tersebut melalui bentuk komunikasi antartokoh atau sarana komunikasi sebagai rangkaian peristiwa untuk membentuk sebuah cerita secara utuh. Kajian stilistika yang digunakan dalam kajian ini dengan metode deksriptif analisis yaitu dengan memaparkan penggunaan gaya bahasa dan pilihan kata dalam permainan bunyi yang dimanfaatkan oleh pengarang. Hasil analisis menunjukkan bahwa pemanfaatan gaya bahasa dalam permainan bunyi menunjukkan lebih dominan gaya bahasa metafora dalam ketegangan antara tradisi dan kreasi. Dari pilihan kata meneruskan konvensi tradisi sebagai sebuah kearifan lokal dan dalam berkreasi menyajikan inovasi-inovasi dalam berkreasi melalui komunikasi antartokoh.

Abstract. Once upon a time, narratives were considered to be a non-reliable way of representing and communicating science. Nowadays, narratives are widely accepted as an accurate way of conveying science; they represent an effective emotional trigger, a lasting memory structure and a powerful aid for learning. To study how memorable different ways of presenting information can be is a fundamental task for science communication in order to evaluate materials that not only need to be understood by the general public but also need to be retained in the long term as a part of the communication process. In this paper, I will give a brief introduction to cognitive psychology and the study of memory in relation to narratives. Evidence from the field of memory studies suggests that narratives represent a good recall device. They can generate emotion, and this in turn is a way of focusing attention, promoting rehearsal in memory and inducing long-term potentiation. Similarly, a story produces semantic links that might assist in storing and retrieving information from memory. Studies suggest that memory span and paired-associate recall have implications in storing and recalling narratives. Evidence also suggests that the use of stories as modelling tools can organise information, provide schemas and allow extrapolation or prediction. Finally, literature in memory suggests that narratives have value as mnemonic devices.

Educators need measurement tools to determine phonological awareness in young children. This study investigated the appropriateness of rhyme cloze tasks, referred to as Finish-a-Rhyme-Story items, which were designed to measure preschool and kindergarten children's early rhyme development. The rhyme cloze tasks required children to verbally complete a sentence by filling in a final rhyming word that matched a rhyme pattern highlighted in a short story that was read aloud to them. The task required rhyme awareness as well as comprehension of the language in the story. Twenty-four items were individually administered to preschool (n = 207) and kindergarten (n = 382) children to determine item performance and discriminative power. Rasch analysis indicated that the difficulty level of the items was well matched for the sample indicating that the items were developmentally appropriate for preschool and kindergarten children. Several analyses of variance (ANOVA) compared the performance of preschool and kindergarten children as well as the performance of monolingual English speaking (ENG) children and English Language Learners (ELL) to determine if there were group differences on the rhyme cloze measure. Results also indicated that the items have the ability to discriminate between children with high and low level rhyming ability based on the Rasch model; kindergarten children were more aware of the rhyme component than preschool children and ENG children were more aware than ELL children.

Ce projet d’édition et d’étude du Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC. de Claude Fauchet est accompagné d’un commentaire du livre I. Publié en 1581, le Recueil de Claude Fauchet se donne pour mission de retracer l’origine de la poésie, de la langue française, de la rime et du roman ; un objectif précisé dès son titre et auquel répond le livre I. C. Fauchet entreprend de retracer ces genèses multiples sous un angle nationaliste. La haute estime qu’il a vis-à-vis de son pays transparaît à de nombreuses reprises, notamment lorsqu’il développe l’exportation internationale de la culture française, l’influence des poètes français sur leurs condisciples européens, la précocité littéraire de la langue vernaculaire française, etc. Toutes ces informations sont données selon une progression diachronique : sont d’abord précisées l’origine de la parole, puis celle du langage et de la langue, vient ensuite la diversification de celle-ci en idiomes divers et enfin les causes expliquant les mutations dont ils sont l’objet. Sont également développées dans le Recueil l’émergence et l’évolution de la poésie : sa naissance est dite grecque grâce à l’excellence des productions helléniques qui ont servi de modèles aux Romains. C. Fauchet distingue ensuite deux types de poésie : celle de langue latine et celle de langue vernaculaire. Alors que la première répond à un impératif de mesure et de quantité ; la seconde nécessite quant à elle de la mesure et du son. Pour cette raison, c’est à la poésie vernaculaire que revient l’émergence de la rime. L’ensemble des réflexions qui constituent le Recueil sont par ailleurs traitées de manière scientifique : C. Fauchet prouve sans cesse ce qu’il affirme par la caution d’auteurs et de textes variés manifestant l’étendue de son érudition ; il s’oppose également à tout ce qui relève du mythe et de l’invraisemblance, préférant aux discours fabuleux des explications rationnelles. En tant qu’humaniste, C. Fauchet tient à diffuser largement ses savoirs, c’est pour cette raison qu’il traduit presque systématiquement les citations qu’il emprunte, que celles-ci soient grecques, latines ou en vieux-haut-allemand. En aucun cas, le Recueil ne se veut polémique : chacune des positions est subtilement exposée et les réprobations deC. Fauchet sont toujours exprimées avec modération. Le Recueil est donc une œuvre riche, traitant de thèmes variés, et engagée dans la défense de la langue française. C’est d’ailleurs afin d’en conserver les premiers monuments littéraires que le livre II trouve sa raison d’être : afin de les préserver, C. Fauchet a recopié de nombreux extraits de textes de trouvères antérieurs à 1300 ; c’est uniquement grâce à lui que certains ont été conservés
This project of an edition of the Recueil de l’origine de la langue et poesie françoyse, Ryme et Romans. Plus les noms et sommaires des œuvres de CXXVII. poetes françois, vivans avant l’an M. CCC by Claude Fauchet comes with a commentary of the first book. Published in 1581, le Recueil, is expected to trace the origin of poetry, of the French language, rhyme, and novel : an objective which is clearly set in its title and accomplished in the first book.C. Fauchet undertakes this multiple genesis under a nationalist point of view : all of his work is tinged with patriotism. The high esteem he has for his country shows on numerous occasions, especially when he explains the international export of French culture, the influence of French poets on their European peers, the literary precocity of its vernacular language, etc. All these elements are unfolded in a diachronic progression : first the origin of the word and that of language ; then comes its diversification in various idioms ; and, finally, the causes for these variations. Also developed in the Recueil, is the emergence and evolution of poetry, said to be of Greek origins thanks to the excellence of Greek productions, which have served as models to the Romans. C. Fauchet makes a distinction between two types of poetry: Latin and vernacular. While the first addresses the need for measure and quantity, the latter requires measure and sound. For this reason, rhyme blooms in vernacular poetry. Besides, the sum of reflections which make up the Recueil are treated scientifically :C. Fauchet constantly proves what he says by the authority of authors and various texts demonstrating the extent of his erudition ; he also opposes anything mythical or implausible, preferring rational explanations to fables. As a humanist, C. Fauchet wishes to widely disseminate his knowledge ; this is why he almost invariably translates his quotes from Greek, Latin or Old High German. In no case is the Recueil meant to be controversial : each position is subtly exposed and C. Fauchet’s disapproval is always expressed with moderation. Therefore, the Recueil is a rich work, covering various themes, and is committed to the defence of the French language. It is also in the preservation of the first literary monuments that the second book finds its reason for being : to preserve them, C. Fauchet has copied many extracts from texts written by trouvères prior to 1300 ; it is exclusively thanks to him that some are preserved

This chapter explores the abstract form in poetry. For a poet, the notion that abstract form — not ‘meaning’, but pure shape — can play a key role in what they write is seductive. On the one hand, it implies the possibility of developing and experimenting with the kinds of sophisticated formal patterning that we traditionally associate with verse, such as the way stanzas ‘chunk’ a ballad's story, or a rhyme scheme creates a network of meanings that crisscross and link up within a poem. On the other hand, it also appeals to something more primitive. For it suggests that poets can — and perhaps even should — do what could best be described as ‘play’. It implies that they might ‘go by feel’, making judgements — for example about where to end a piece — that are not based purely on semantic logic but pay attention to what ‘feels right for’, or ‘works for’, the poem.

This chapter deals with a training curriculum for kindergarten teachers to introduce a learning game for technology-enhanced language learning in early childhood and how kindergarten teachers can launch the game in their classes. The game helps children to become familiar with the German language as a mother tongue or as a second language. The game “Schlaumäuse” was developed to enhance the children’s language learning. Children between the ages of four to eight are the target group of this software. The different activities in the game’s story encourage the children’s phases of language learning like structure of syllables, phoneme, rhymes or phonological features.

This chapter details the east country in November. There were a hundred flood alerts, a hundred warnings, then overspill and breach. Insurance companies forecast withdrawal from lowlands in favor of profit. The elderly were pulled from cars and upper-story windows and ferried by rescue boats. Canoes paddled along streets and lifeboats sculled over meadows. It was not Hurricane Katrina, but which was worse: the probable consequences of climate change, or the earnest politicians? Meanwhile, the end of the month was marked by days of saints: St. Hugh's, St. Cecilia's, St. Clement's, St. Catherine's, and St. Andrew's. Each was a custom of feast and visit for sweet and soul cake eaten for rhymes recited or songs sung. Yet rural late November was also for the hiring fair.

This chapter covers the timeline from 1960 when New Orleans integrated its public schools, to 2011, the age of computers and the Internet. Integration had an immediate impact on children and their folklore – African American and white children began to communicate on the playground, sharing chants, jokes, jump rope rhymes, taunts, teases, and stories. Through the next forty-four years, schoolchildren of South Louisiana were able to conserve much traditional schoolyard lore while adapting to tremendous social and material changes and incorporating into play elements from media, computers, smartphones, and the Internet. As time passed African American vernacular became trendy among teenage whites. Black popular music became the music of choice for many worldwide. This is a story about how children, African American and “other” have learned to fit play into their rapidly changing society.

The Youth Dialogue about Feast of the Nativity from a cycle “Rhymed and not Rhymed Poems” from the manuscript collection by T.F. Bolshakov (RSL. F. 37. No. 88) refers to the poems in the collection on the biblical plots. The Dialogue, presumably dated to the 17th century, is a small rhymed poem with elements of action, divided into lines of poetry and played by roles by two youths ‘little yours’ to the listening ‘faithful virgins’. The Dialogue was clearly intended for a listener or spectator and, possibly, was shown on a stage or in a church as an action in which passages from the Gospel were read, represented in persons. The stage character of The Dialogue is indicated by an appeal to the audience, containing an invitation to listen to the story, and in a spectacular manner of a riddle, clearly with the aim of interest (intrigue) the audience. There are elements of artistic expressiveness in The Dialogue which gives dynamics and poetry to the text and, possibly, in order to impress the audience. Rapid change of verbs while reading could give an internal dynamics to the passage and even more captivate the audience. The Dialogue contains traditional Christmas attributes (star, myrrh, censer, angels), quotes from the Psalter, but the text doesn’t convey exactly the Gospel, but represents a poetic interpretation of Christmas. The Dialogue contains a linguistic expressiveness which is given by emotional elements (description of Herod’s intentions and speech expressiveness of the Mother of God), artistically meaningful persistent evangelical images (‘a pure dove,’ ‘stars from heaven’). The speech of the two youths is also expressive, in which some differences are also guessed (the speech of the first is more descriptive, the speech of the second is more graphic). All this makes it possible to talk about the elements of artistic expression inherent in The Youth Dialogue about Feast of the Nativity.

Part III (Workplaces) shifts attention to the theme of occupation in terms of working in a space and re-maps Italy along the routes of its outbound and inbound migrations. Of all the numerous job sectors related to Italian emigration abroad and foreign immigrants in Italy, two are chosen for their specific relevance in the historical and contemporary scenario: construction labor and domestic help. The Aperture introduces the topic through texts that focus on bricklayers (Gianni Rodari’s nursery rhymes from Favole al telefono) and baby-sitters (Gabriella Kuruvilla’s children’s story Questa non è una baby-sitter). The apparently light tone of these texts written for a young readership conceals a very subtle discussion of the abusive work conditions and prejudices that migrants face on construction sites and in domestic environments, and to which they react thanks to their ability to endure and question.