Gotowe bibliografie tematyczne / Nonsense poems

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Gotowa bibliografia na temat „Nonsense poems”

Autor: Grafiati
Data publikacji: 27 lipca 2024
Data aktualizacji: 31 lipca 2025

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Artykuły w czasopismach na temat "Nonsense poems"

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Anderson, Emily. "‘There was a young girl of the Somme, / Who sat on a number five bomb’: The Representation of Violence in First World War Trench Newspaper Nonsense Rhymes." Literature & History 27, no. 2 (2018): 129–47. http://dx.doi.org/10.1177/0306197318792388.

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The nonsense rhymes that were almost ubiquitous in First World War trench newspapers (periodicals produced by servicemen while on active service) present vivid, humorous, and arresting representations of violence. This article draws attention to servicemen’s widespread use of limericks and parodic nursery rhymes to depict soldiers being, variously, shot, shelled, and bayoneted, and establishes the hitherto unrecognised representational significance of these poems. Those portrayals of the First World War most frequently celebrated for their truthfulness and emotiveness tend to be both solemn an
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Chrzanowska-Kluczewska, Elzbieta. "Humorous nonsense and multimodality in British and American children's poetry." European Journal of Humour Research 5, no. 3 (2017): 25. http://dx.doi.org/10.7592/ejhr2017.5.3.kluczewska.

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Nonsense and humour are two cognitive and linguistic phenomena that frequently overlap. The focus of this article falls on chosen instances of humorous nonsense poetry, targeted at English-speaking children, which contains verbal and visual modes of expression. Formal sources of nonsense-creation in natural language can be several, among others semantic anomaly, syntactic ill-formedness and structural ambiguity, phonetic and graphological experimentation. The interplay of nonsense with the visuality of the text in children's poetry assumes three distinct forms: 1) visual poems, 2) multimodal t
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Musliu, Arian, Blerta Berisha, and Diellza Latifi. "The Impact of Music in Memory." European Journal of Social Sciences Education and Research 10, no. 2 (2017): 222. http://dx.doi.org/10.26417/ejser.v10i2.p222-227.

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A lot of research has been done on the effects of music and sounds on performance in many areas of study. However, there have been mixed results about what kind of effects music can have. Musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factor (Gold B., et al. 2013). According to Fassbender (2012), music does have an effect on memory, music during a study or learning phase hindered memory but increased mood and sports performance. The objective of this experiment is to find if music can help memorize different tests like non
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Zheng, Hanwen. "Edward Lears Bittersweet Attempt: Being Seen as a Person Alone in a Landscape The Dong with a Luminous Nose." Communications in Humanities Research 19, no. 1 (2023): 135–40. http://dx.doi.org/10.54254/2753-7064/19/20231218.

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Edward Lear left a rich and precious poetic legacy from the Victorian Age even though accompanied by illness, loneliness, and melancholy throughout his life. Before nearly one hundred years, scholars have pointed out how Lears subject differed from other nonsense verse writers, as well as the autobiographical elements of his poems. But this self-writing in the form of nonsense is never straightforward. It is often confusing whether Lears poems are meant to take people to the land of nonsense to wander or explore, hoping that people will feel the same pleasure and spiritual support in nonsense
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Tian, Peiyu. "A Study of the Literary Nonsense in Lewis Carrolls Through the Looking-Glass and What Alice Found There." Communications in Humanities Research 2, no. 1 (2023): 404–9. http://dx.doi.org/10.54254/2753-7064/2/2022510.

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Nonsense Literature has always been an obscure viewpoint of literature studies. Through the Looking-Glass and What Alice Found There (referred to as Through the Looking-Glass hence) witnessed Lewis Carroll bring this peculiar genre into the spotlight. He designed a series of fictional characters and devised several poems on which he endowed the united characteristic of talking nonsense. This essay aims at analyzing the nonsensical discourse in Through the Looking-Glass, which includes nonsensical utterances, nonsensical poems, and illogical narrations. Starting with skepticisms from the propos
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Heyman, Michael, and Joseph Thomas. "On the Theory and Praxis of Nonsense Poetry as Dialogic Scrum; Or, the Poetical Hermeneutics of a Retro-Teleological, Post-Diegetic Transom (Notes towards an Investigation)." Pacific Coast Philology 56, no. 2 (2021): 224–41. http://dx.doi.org/10.5325/pacicoasphil.56.2.0224.

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Abstract This essay explores the nonsensical elements of the composition and staging of “A Short Program of Poems for Young People, in Four Chapters,” a fifty-minute poetry reading by Michael Heyman and Joseph T. Thomas, Jr. prepared for the Pacific Ancient and Modern Language Association’s 2019 annual conference, “Send in the Clowns,” focusing primarily on the theory and practice of nonsense in relation to the writing and staging of “A Short Program of Poems for Young People, in Four Chapters,” which was performed in San Diego by Joseph T. Thomas, Jr. and Michael Heyman at the 2019 Pacific An
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Singh, Garima. "Stylistic Analysis and Comparative Study Of Edward Lear’s “The Owl And The Pussy-Cat” And Lewis Carroll’s “Jabberwocky”." International Journal of Basic and Applied Sciences 13, no. 2 (2024): 25–31. http://dx.doi.org/10.14419/6119fn22.

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The present paper represents stylistic analysis and comparison of Edward Lear’s “The Owl and the Pussycat” and Lewis Carroll’s “Jabberwocky”. These poems, which are representative of Victorian literary nonsense, engage readers in a fanciful literary experience by subverting normal narrative expectations through the use of unique vocabulary, whimsical topics, and fun sound patterns. Lear’s “The Owl and the Pussycat” is distinguished by its fanciful storyline and endearing application of anapestic meter, which gives the poem a rhythmic, melodic feel. Lear creates a surreal universe where rationa
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Cusimano, Christophe. "« The two old bachelors » de Edward Lear: étude sémantique et traductologique." Journal for Foreign Languages 11, no. 1 (2019): 291–302. http://dx.doi.org/10.4312/vestnik.11.291-302.

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Cet article a pour ambition de saisir du point de vue de la sémantique interprétative un court-texte poétique de Edward Lear intitulé « The two old bachelors »1 (tiré de Laughable lyrics, a fourth book of nonsense poems, songs, botany, music, etc, 1877) traduit en français exactement un siècle plus tard par Patrick Hersant (Edward Lear – Nonsense, 1977, éd. Ombres). Outre une analyse proprement sémantique de la version originale anglaise du poème et de ce qui en fait un texte absurde, nous souhaitons montrer sur la base de cette analyse préparatoire comment Patrick Hersant a tranché le dilemme
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Politis, Dimitris, and Angela Yannicopoulou. "The Hidden Childness of a Nobel Prize-Winning Poet: George Seferis’s Limericks for Young Readers." Dzieciństwo. Literatura i Kultura 5, no. 1 (2023): 9–23. http://dx.doi.org/10.32798/dlk.1015.

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In addition to his outstanding poems for adults, George Seferis, the Nobel Prize-winning Greek poet, also wrote verses for children. The limericks he composed as gifts for children of his family were published in a volume entitled Poiḗmata me Zōgraphiés se Mikrá Paidiá [Poems with Drawings for Young Children] (1975), discussed in this paper. With these limericks, Seferis turned to the Anglo-Saxon poetic tradition of nonsense to oppose the ‘seriousness’ of adult life, while also coping with painful family memories and the dark atmosphere of World War II. He employed humour and playfulness as an
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Wieczorkiewicz, Aleksandra. "Wiersze dla niegrzecznych dzieci. Danuta Wawiłow i angielskie nursery rhymes (przekłady, inspiracje)." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 345–75. http://dx.doi.org/10.14746/pspsl.2018.32.18.

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Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the trad
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Książki na temat "Nonsense poems"

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Edward, Lear. Nonsense poems. Dover Publications, 1994.

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Goldberg, Doris R. Poems, non-poems, and nonsense. Lake Shore Pub., 1989.

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Middleton, William J. Merely mearns nonsense poems. WJM Press, 2003.

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Smith, William Jay. Laughing time: Nonsense poems. Dell, 1986.

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North, Joan. Poems: Sense and nonsense. Infinite Design, 1995.

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Foster, John, 1941 Oct. 12- and Eccles Jane, eds. What a lot of nonsense: Poems. Royce, 1985.

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Edward, Lear. The nonsense poems of Edward Lear. Clarion Books, 1991.

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Edward, Lear. The Nonsense poems of Edward Lear. Little,Brown, 1991.

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Lewis, Carroll. Jabberwocky and other poems. Dover Publications, 2001.

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Mathews, Tom. The owl and the pussycat, and other poems. Dedalus Press, 2009.

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Części książek na temat "Nonsense poems"

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Seed, Ian. "Nonsense and Wonder: An Exploration of the Prose Poems of Jeremy Over." In British Prose Poetry. Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77863-1_16.

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"Riddles and nonsense poems." In Poetry - From Reading to Writing. Routledge, 2009. http://dx.doi.org/10.4324/9780203864449-11.

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May, Will. "Walter de la Mare, Nonsense, and Animals." In Walter de la Mare. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800854659.003.0012.

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This chapter considers the importance of nonsense in Walter de la Mare’s poetry. It notes the significance of his mid-career collection Stuff and Nonsense (1927), and explores the relationship between nonsense and parody in his authorial reception. It suggests the ethical qualities of his animal poems, which present animals as both foodstuff, captives, and companions, and draws on the work of Nietzsche and Derrida to consider formal innovations in his nonsense poetry. The chapter concludes by arguing for the central role of nonsense in Walter de la Mare’s work.
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Hoffman, A. Robin. "The Perils and Pleasures of Pronunciation and Perspective in Edward Lear’s Nonsense Alphabets." In Victorian Alphabet Books and the Education of the Eye. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198938163.003.0004.

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Abstract “Chapter 3: The Perils and Pleasures of Pronunciation and Perspective in Edward Lear’s Nonsense Alphabets” presents the first focused study of published abecedarian work by the renowned poet, which he developed over the course of decades and usually illustrated in a manner completely distinct from his highly finished oil paintings, watercolors, and lithographs. Lear’s nonsense poems counterbalance the utilitarian emphasis on textual literacy by investing meaning in performance and play, presenting verbal and visual puns or celebrating oral culture instead of developing narratives or p
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Robinson, Peter. "Dylan Thomas: ‘On out of sound’." In Reading Dylan Thomas. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474411554.003.0005.

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In 1936, Bernard Spencer reviewed Twenty-Five Poems: ‘These poems strike one immediately because of their resonance (sometimes their rhythm is monotonous), their swirl of vigorous images, and, even before they are understood, their flavour of psychology and metaphysics’. The reviewer then added that they ‘divide more or less clearly into sense and nonsense-poems’. ‘The hunchback in the park’ is such a ‘sense’ poem, unusually straightforward and quotidian in its setting, yet it too has ‘resonance’ and ‘swirl’ and a ‘flavour of psychology and metaphysics’. This chapter first reflects on the May
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"Good Sense and Nonsense." In The Many Faces of Philosophy, edited by Amélie Oksenberg Rorty. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195134025.003.0017.

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Abstract Putting aside his early Jesuit education, Francis-Marie Arouet de Voltaire (1694– 1778) set himself to writing satirical anti-clerical essays that led to his being exiled to Holland in 1713 and imprisoned in the Bastille in 1717. Released in 1718, he turned to writing plays that won him considerable literary fame; but a quarrel with the powerful Chevalier de Rohan nevertheless mandated another exile in 1726, this time to England. There he learned English, read widely in philosophy, law and science and came to admire the British empiricism of Bacon and Locke and the rigor of Newtonian
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Zeitlin, Steve. "Poetry on the Porch." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0008.

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In this chapter, the author recalls how his family would spend afternoons and evenings reading poems on the screened porch overlooking the sand dunes, the beach, and the sea in a rented house in Garden City, South Carolina. His father-in-law, Lucas, eagerly anticipates those times, bringing along his 101 Favorite Poems, published in 1929. But they all bring a few poems to the porch—even the children. At age ten their nephew Aidan Powers came equipped with a full set of Shel Silverstein's ingenious poetry. Masterpieces and ditties are treated with equal weight: poems by Percy Bysshe Shelley, Jo
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Williams, James. "The Scroobious Traveller." In Edward Lear. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9780746312216.003.0004.

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This chapter is about Lear’s experiences as a traveller, and how they shaped him as a writer. It considers the way his poems and paintings are animated by dramas of arrival, departure, and being left behind. It considers, using evidence from Lear’s travel writing, the relationship between the experience of being a foreigner, and hearing unfamiliar languages, and the creation of nonsense words. It concludes with an extended close reading of “The Courtship of the Yonghy-Bonghy-Bò”.
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Bevis, Matthew. "Edward Lear's lines of flight." In British Academy Lectures 2012-13. British Academy, 2014. http://dx.doi.org/10.5871/bacad/9780197265666.003.0003.

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‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paintings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. It is suggested that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention.
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O'Donoghue, Bernard. "4. The kinds of poetry and their contexts." In Poetry: A Very Short Introduction. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199229116.003.0004.

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Many different things have been described as poetry—different ways of writing, ways of seeing the world, and states of mind. But in the Western tradition there are three established structural categories of writing that come under the heading of poetry: epic, drama, and lyric. ‘The kinds of poetry and their contexts’ considers these, but also looks at other forms including pastoral poetry, public poetry, and satire. It also discusses what makes poetry popular and why certain poems achieve universal appeal. Also considered are the poetry of place, comic and nonsense verse, elegy, the villanelle
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