Master List of Terms Tested Last Updated 8 January 2017

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Literary Criticism 2009-2016 Master List of Terms Tested last updated 8 January 2017 The first column details the year and test in which the term found in the second column serves as a correct answer; the remaining four columns offer the distractors used in a particular test item. I do not mind sending as an attachment a Word file that the coach and his or her team can manipulate in a manner that serves them best. Contact me: [email protected] Please contact me when you find a typo, inconsistency, or anything more serious: [email protected] Please note that the variety of distractors and, indeed, the terms themselves follows the editorial decisions that have characterized each succeeding edition of The Handbook to Literature. We are currently using the twelfth edition. Use Control + F to find a term.

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UCLA UCLA Electronic Theses and Dissertations Title Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) Permalink https://escholarship.org/uc/item/2wn8v8p6 Author Gomez, Isabel Cherise Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Isabel Cherise Gomez 2016 © Copyright by Isabel Cherise Gomez 2016 ABSTRACT OF THE DISSERTATION Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) by Isabel Cherise Gomez Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2016 Professor Efraín Kristal, Co-Chair Professor José Luiz Passos, Co-Chair What becomes visible when we read literary translations as gifts exchanged in a reciprocal symbolic economy? Figuring translations as gifts positions both source and target cultures as givers and recipients and supplements over-used translation metaphors of betrayal, plundering, submission, or fidelity. As Marcel Mauss articulates, the gift itself desires to be returned and reciprocated. My project maps out the Hemispheric Americas as an independent translation zone and highlights non-European translation norms. Portuguese and Spanish have been sidelined even from European translation studies: only in Mexico and Brazil do we see autochthonous translation theories in Spanish and Portuguese. Focusing on translation strategies that value ii taboo-breaking, I identify poet-translators in Mexico and Brazil who develop their own translation manuals.
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Chapter One Phonetic Change
CHAPTERONE PHONETICCHANGE The investigation of the nature and the types of changes that affect the sounds of a language is the most highly developed area of the study of language change. The term sound change is used to refer, in the broadest sense, to alterations in the phonetic shape of segments and suprasegmental features that result from the operation of phonological process es. The pho- netic makeup of given morphemes or words or sets of morphemes or words also may undergo change as a by-product of alterations in the grammatical patterns of a language. Sound change is used generally to refer only to those phonetic changes that affect all occurrences of a given sound or class of sounds (like the class of voiceless stops) under specifiable phonetic conditions . It is important to distinguish between the use of the term sound change as it refers tophonetic process es in a historical context , on the one hand, and as it refers to phonetic corre- spondences on the other. By phonetic process es we refer to the replacement of a sound or a sequenceof sounds presenting some articulatory difficulty by another sound or sequence lacking that difficulty . A phonetic correspondence can be said to exist between a sound at one point in the history of a language and the sound that is its direct descendent at any subsequent point in the history of that language. A phonetic correspondence often reflects the results of several phonetic process es that have affected a segment serially . Although phonetic process es are synchronic phenomena, they often have diachronic consequences.
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Moses Hayim Luzzatto's Quest for Providence
City University of New York (CUNY) CUNY Academic Works All Dissertations, Theses, and Capstone Projects Dissertations, Theses, and Capstone Projects 10-2014 'Like Iron to a Magnet': Moses Hayim Luzzatto's Quest for Providence David Sclar Graduate Center, City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_etds/380 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] “Like Iron to a Magnet”: Moses Hayim Luzzatto’s Quest for Providence By David Sclar A Dissertation Submitted to the Graduate Faculty in History in Partial Fulfillment of the Requirement for the Degree of Doctor of Philosophy The City University of New York 2014 © 2014 David Sclar All Rights Reserved This Manuscript has been read and accepted by the Graduate Faculty in History in satisfaction of the Dissertation requirement for the degree of Doctor of Philosophy Prof. Jane S. Gerber _______________ ____________________________________ Date Chair of the Examining Committee Prof. Helena Rosenblatt _______________ ____________________________________ Date Executive Officer Prof. Francesca Bregoli _______________________________________ Prof. Elisheva Carlebach ________________________________________ Prof. Robert Seltzer ________________________________________ Prof. David Sorkin ________________________________________ Supervisory Committee iii Abstract “Like Iron to a Magnet”: Moses Hayim Luzzatto’s Quest for Providence by David Sclar Advisor: Prof. Jane S. Gerber This dissertation is a biographical study of Moses Hayim Luzzatto (1707–1746 or 1747). It presents the social and religious context in which Luzzatto was variously celebrated as the leader of a kabbalistic-messianic confraternity in Padua, condemned as a deviant threat by rabbis in Venice and central and eastern Europe, and accepted by the Portuguese Jewish community after relocating to Amsterdam.
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(1'9'6'8'""159-83 and in Later Publica- (1972 539
FINAL WEAKENING AND RELATED PHENOMENA1 Hans Henrich Hock University of Illinois at Urbana-Champaign 1: Final devoicing (FD) 1.1. In generative phonology, it is a generally accepted doctrine that, since word-final devoicing (WFD) is a very common and natural phenomenon, the ob- verse phenomenon, namely word-final voicin~ should not be found in natural language. Compare for instance Postal 1968 184 ('in the context----'~ the rules always devoice rather than voice'), Stampe 1969 443-5 (final devoicing comes about as the result of a failure t~ suppress the (innate) process of final devoicing), Vennemann 1972 240-1 (final voicing, defined as a process increasing the complexity of affected segment~ 'does not occur.')o 1.2 One of the standard examples for WFD is that of German, cf. Bund Bunde [bUnt] [bUndeJ. However Vennemann (1'9'6'8'""159-83 and in later publica- tions) and, following him, Hooper (1972 539) and Hyman (1975 142) have convincingly demonstrated that in Ger- man, this process applies not only word-finally, but also syllable-finally, as in radle [ra·t$le]3 'go by bike' (in some varieties of German). The standard view thus must be modified so as to recognize at least one other process, namely syllable-final devoicing (SFD). (For a different eA""Planation of this phenomenon compare section 2.3 below.) 2· Final voicing (or tenseness neutralization) 2 1 A more important argument against the stan- dard view, however, is that, as anyone with any train- ing in Indo-European linguistics can readily tell, there is at least one 5roup, namely Italic, where there is evidence for the allegedly impossible final voicing, cf PIE *siyet > OLat.
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Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected]
Marshall University Marshall Digital Scholar Theses, Dissertations and Capstones 2016 Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal Danielle Van Oort [email protected] Follow this and additional works at: http://mds.marshall.edu/etd Part of the European History Commons, History of Religion Commons, and the Music Commons Recommended Citation Van Oort, Danielle, "Rest, Sweet Nymphs: Pastoral Origins of the English Madrigal" (2016). Theses, Dissertations and Capstones. Paper 1016. This Thesis is brought to you for free and open access by Marshall Digital Scholar. It has been accepted for inclusion in Theses, Dissertations and Capstones by an authorized administrator of Marshall Digital Scholar. For more information, please contact [email protected], [email protected]. REST, SWEET NYMPHS: PASTORAL ORIGINS OF THE ENGLISH MADRIGAL A thesis submitted to the Graduate College of Marshall University In partial fulfillment of the requirements for the degree of Master of Arts in Music Music History and Literature by Danielle Van Oort Approved by Dr. Vicki Stroeher, Committee Chairperson Dr. Ann Bingham Dr. Terry Dean, Indiana State University Marshall University May 2016 APPROVAL OF THESIS We, the faculty supervising the work of Danielle Van Oort, affirm that the thesis, Rest Sweet Nymphs: Pastoral Origins of the English Madrigal, meets the high academic standards for original scholarship and creative work established by the School of Music and Theatre and the College of Arts and Media. This work also conforms to the editorial standards of our discipline and the Graduate College of Marshall University. With our signatures, we approve the manuscript for publication. ii ACKNOWLEDGEMENTS The author would like to express appreciation and gratitude to the faculty and staff of Marshall University’s School of Music and Theatre for their continued support.
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Keter Shem Tov: a Study in the Entitling of Books, Here Limited to One Title Only
Keter Shem Tov: A Study in the Entitling of Books, Here Limited to One Title Only Keter Shem Tov: A Study in the Entitling of Books, Here Limited to One Title Only[1] by Marvin J. Heller Entitling, naming books is, a fascinating subject. Why did the author call his book what he/she did? Why that name and not another? Hebrew books frequently have names resounding in meaning, but providing little insight into the contents of the book. This article explores the subject, focusing on one title only, Keter Shem Tov. That book-name is taken from a verse “the crown of a good name (Keter Shem Tov) excels them all (Avot 4:13). The article describes the varied books with that title, unrelated by author or subject, and why the author/publisher selected that title for the book. 1. Simeon said: there are three crowns: the crown of Torah, the crown of priesthood, and the crown of royalty; but the crown of a good name (emphasis added, Keter Shem Tov) excels them all (Avot 4:13). “As a pearl atop a crown (keter), so are his good deeds fitting” (Israel Lipschutz, Zera Yisrael, Avot 4:13). Entitling, naming books, remains, is, a fascinating subject. Why did the author call his book what he/she did? Why that name and not another? Hebrew books since the Middle-Ages often have names resounding in meaning, but providing little insight into the contents of the book. A reader looking at the title of a book in another language, more often than not, is immediately aware of the book’s subject matter.
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Dir So, Trobar Vers, Entendre Razo. Poetry and Music in Medieval Romance Lyric*
Philomusica on-line 16 (2017) Dir so, trobar vers, entendre razo. Poetry and music in medieval Romance lyric* Maria Sofia Lannuti Università degli Studi di Pavia-Cremona [email protected] § Fino a che punto, nella lirica romanza § To what extent, in medieval del medioevo, l’idea di un’originaria Romance lyric, is the idea of an simbiosi tra parola e musica è original symbiosis between word and storicamente fondata? Prendendo in music historically grounded? Taking considerazione documenti e testi into account medieval documents letterari e non, il saggio intende and texts, both literary and non- sostenere l’ipotesi che un aspetto literary, this essay explores the fondamentale del rapporto tra poesia e interpretive hypothesis that one musica sia rimasto invariato dalle fundamental aspect of the relation- origini della lirica romanza fino alla fine ship between poetry and music del Trecento: l’indipendenza delle due remained unchanged from the forme d’arte nel processo creativo, e origins of Romance lyric through to conseguentemente il prevalere di una the end of the fourteenth century: the divisione delle competenze e dei ruoli independence of the two forms of art tra poeti e musicisti. in the creative process, and conse- quently the prevalence of a division of competence and role between poets and musicians. «Philomusica on-line» – Rivista del Dipartimento di Musicologia e beni culturali e-mail: [email protected] – Università degli Studi di Pavia <http://philomusica.unipv.it> – ISSN 1826-9001 – Copyright © 2017 by the Authors Philomusica on-line 16 (2017) Tacea la notte placida e bella in ciel sereno la luna il viso argenteo mostrava lieto e pieno..
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The Phonemic − Syllabic Comparisons of Standard Malay and Palembang Malay Using a Historical Linguistic Perspective
Passage2013, 1(2), 35-44 The Phonemic − Syllabic Comparisons of Standard Malay and Palembang Malay Using a Historical Linguistic Perspective By: Novita Arsillah English Language and Literature Program (E-mail: [email protected] / mobile: +6281312203723) ABSTRACT This study is a historical linguistic investigation entitled The Phonemic − Syllabic Comparisons of Standard Malay and Palembang Malay Using a Historical Linguistic Perspective which aims to explore the types of sound changes found in Palembang Malay. The investigation uses a historical linguistic comparative method to compare the phonemic and syllabic changes between an ancestral language Standard Malay and its decent language Palembang Malay. Standard Malay refers to the Wilkinson dictionary in 1904. The participants of this study are seven native speakers of Palembang Malay whose ages range from 20 to 40 years old. The data were collected from the voices of the participants that were recorded along group conversations and interviews. This study applies the theoretical framework of sound changes which proposed by Terry Crowley in 1997 and Lily Campbell in 1999. The findings show that there are nine types of sound changes that were found as the results, namely assimilation (42.35%), lenition (20%), sound addition (3.53%), metathesis (1.18%), dissimilation (1.76%), abnormal sound changes (3.53%), split (13.53%), vowel rising (10.59%), and monophthongisation (3.53%). Keywords: Historical linguistics, standard Malay, Palembang Malay, comparative method, sound change, phoneme, syllable. 35 Novita Arsillah The Phonemic − Syllabic Comparisons of Standard Malay and Palembang Malay Using a Historical Linguistic Perspective INTRODUCTION spelling system in this study since it is considered to be the first Malay spelling This study classifies into the system that is used widely in Malaya, field of historical linguistics that Singapore, and Brunei (Omar, 1989).
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Understanding Poetry Are Combined to Unstressed Syllables in the Line of a Poem
Poetry Elements Sound Includes: ■ In poetry the sound Writers use many elements to create their and meaning of words ■ Rhythm-a pattern of stressed and poems. These elements include: Understanding Poetry are combined to unstressed syllables in the line of a poem. (4th Grade Taft) express feelings, ■ Sound ■ Rhyme-similarity of sounds at the end of thoughts, and ideas. ■ Imagery words. ■ The poet chooses ■ Figurative ■ Alliteration-repetition of consonant sounds at Adapted from: Mrs. Paula McMullen words carefully (Word the beginning of words. Example-Sally sells Language Library Teacher Choice). sea shells Norwood Public Schools ■ Poetry is usually ■ Form ■ Onomatopoeia- uses words that sound like written in lines (not ■ Speaker their meaning. Example- Bang, shattered sentences). 2 3 4 Rhythm Example Rhythm Example Sound Rhythm The Pickety Fence by David McCord Where Are You Now? ■ Rhythm is the flow of the The pickety fence Writers love to use interesting sounds in beat in a poem. The pickety fence When the night begins to fall Give it a lick it's their poems. After all, poems are meant to ■ Gives poetry a musical And the sky begins to glow The pickety fence You look up and see the tall be heard. These sound devices include: feel. Give it a lick it's City of lights begin to grow – ■ Can be fast or slow, A clickety fence In rows and little golden squares Give it a lick it's a lickety fence depending on mood and The lights come out. First here, then there ■ Give it a lick Rhyme subject of poem.
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English 201 Major British Authors Harris Reading Guide: Forms There
English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight.
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https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] VERSE FORM IN ENGLISH RENAISSANCE POETRY: A CATALOGUE OF STANZA PATTERNS BY MUNZER ADEL ABSI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ARTS UNIVERSITY OF GLASGOW 1992 ABSI, M.A. ProQuest Number: 10992066 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992066 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC.
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Sachgebiete Im Überblick 513
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