Handbook of Poetic Forms
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In Case You Didn't Know
ICYDK (In Case You Didn’t Know) Short Biographical notes on the boldly named (compiled by Steven Lavoie). Lawrence Ferlinghetti ~ first language was French Eugene O’Neill ~ built Tao House near Danville to entertain Charles Chaplin Henry Miller ~ in Paris in the 1930s Kenneth Rexroth ~ MC at Six Gallery, Oct. 7, 1955 Herb Caen ~ coined words using Russian endings for San Francisco newspapers Allen Ginsberg ~ read “Howl” at Six Gallery, Oct. 7, 1955 Lenny Bruce ~ arrested for obscenity at the Jazz Workshop, San Francisco, Oct. 4, 1961 Carol Doda ~ wore Rudi Gernreich’s monokini at the Condor Club William Carlos Williams ~ Allen Ginsberg’s mentor Duncan McNaughton ~ established the Poetics Program at the New College of San Francisco Patrick Marks ~ see text Steve Dickison ~ born in Duluth, Minn. Bill Berkson ~ friend of Frank O’Hara Robert Duncan ~ partner of Jess Jack Spicer ~ co-founder of Six Gallery Helen Adam ~ a Scot Philip Whalen ~ Zen abbot from Oregon Richard Brautigan ~ Aquarius who fished Joanne Kyger ~ born in Vallejo, Calif. Clark Coolidge ~ drummer for Serpent Power Michael McClure ~ read at Six Gallery, Oct. 7, 1955; Libra, from Wichita, Kans. Ginger Rogers ~ movie star Billie Holliday ~ played by Diana Ross in a biopic with Richard Pryor Lester Young ~ from Count Basie’s Orchestra Mal Waldron ~ also played with Charles Mingus Larry Rivers ~ read eulogy at O’Hara’s funeral Philip Guston ~ birth name “Goldstein,” born in Montreal, first language was French Alice Neel ~ Aquarius, portrait painter black-listed as a communist Jean Dubuffet ~ French painter, wine seller Joe Brainard ~ grew up in Tulsa, Okla. -
Reading List Fall 2009
SAN FRANCISCO STATE UNIVERSITY Programme de français LE M.A. EN FRANÇAIS Liste de lecture Options I et II Format de l’examen oral 1 FORMAT ET DEROULEMENT DE L’EXAMEN ORAL LISTE DE LECTURES Révision : Automne 2009 Vous trouverez dans ce document une liste de lectures conçue pour vous aider dans vos études graduées. Les premiers ouvrages indiqués sont des manuels généraux sur l’histoire de la culture et de la littérature, et quelques ouvrages qui peuvent vous aider dans l’analyse des textes (partie II de ce document). La partie III contient, pour chaque période ou siècle que vous devez étudier, une liste d’oeuvres principalement littéraires qui sont représentatifs de la littérature et de la culture française et francophone de cette époque. Cette liste de lecture est aussi conçue pour vous aider à préparer l’examen oral que vous devez passer à la fin de vos études graduées. Vous devez passer en effet alors un examen oral, que vous choisissiez l’option I (examen écrit et oral) ou l’option II (thèse). Nous allons donc d’abord préciser le contenu de ces options puis le format de l’examen oral. Options possibles pour obtenir le diplôme de maîtrise à la fin des études dans le programme gradué : 1) Option I (examen) : Les étudiants qui choisissent l’option « Examen (oral et écrit)» ne passeront l’oral qu’après avoir réussi l’examen écrit (durée : 4 heures), où il leur sera demandé de : – Traiter deux questions d’essai au choix sur quatre proposées – Faire une explication de texte au choix sur deux proposées Ces questions comme les explications de texte seront basées, autant que possible, sur les cours suivis par les étudiants. -
Post-War English Literature 1945-1990
Post-War English Literature 1945-1990 Sara Martín Alegre P08/04540/02135 © FUOC • P08/04540/02135 Post-War English Literature 1945-1990 Index Introduction............................................................................................... 5 Objectives..................................................................................................... 7 1. Literature 1945-1990: cultural context........................................ 9 1.1. The book market in Britain ........................................................ 9 1.2. The relationship between Literature and the universities .......... 10 1.3. Adaptations of literary works for television and the cinema ...... 11 1.4. The minorities in English Literature: women and post-colonial writers .................................................................... 12 2. The English Novel 1945-1990.......................................................... 14 2.1. Traditionalism: between the past and the present ..................... 15 2.2. Fantasy, realism and experimentalism ........................................ 16 2.3. The post-modern novel .............................................................. 18 3. Drama in England 1945-1990......................................................... 21 3.1. West End theatre and the new English drama ........................... 21 3.2. Absurdist drama and social and political drama ........................ 22 3.3. New theatre companies and the Arts Council ............................ 23 3.4. Theatre from the mid-1960s onwards ....................................... -
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. -
Lorine Niedecker's Personal Library of Books: A
LORINE NIEDECKER’S PERSONAL LIBRARY OF BOOKS: A BIBLIOGRAPHY Margot Peters Adams, Brooks. The Law of Civilization and Decay. New York: Vintage Books, 1955. Adéma, Marcel. Apollinaire, trans, Denise Folliot. London: Heineman, 1954. Aldington, Hilda Doolittle (H.D.). Heliodora and Other Poems. Boston: Houghton, Mifflin, 1924. Aldington, Richard, ed. The Religion of Beauty: Selections from the Aesthetes. London: Heineman, 1950. Alighieri, Dante. The Divine Comedy. New York: Random House, 1950. Allen, Donald M., ed. The New American Poetry: 1945-1960. New York: Grove Press, 1960. Allen, Glover Morrill. Birds and Their Attributes. New York: Dover, 1962. Alvarez, A. The School of Donne. New York: Mentor, 1967. Anderson, Charles R. Emily Dickinson’s Poetry: Stairway of Surprise. New York: Holt, Rinehart & Winston, 1960. Anderson, Sherwood. Six Mid-American Chants. Photos by Art Sinsabaugh. Highlands, N.C.: Jargon Press, 1964. Arnett, Willard E. Santayana and the Sense of Beauty. Bloomington, IN: Indiana University Press, 1957. Arnold, Matthew. Passages from the Prose Writings of Matthew Arnold, ed. William E. Buckler, New York: New York University Press, 1963. Saint Augustine. The Confessions. New York: Pocket Books, n.d. Aurelius, Marcus (Marcus Aelius Aurelius Antoninus). Meditations. London: Dent, 1948. Bacon, Francis. Essays and the New Atlantis, ed. Gordon S. Haight. New York: Van Nostrand, 1942. Basho. The Narrow Road to the Deep North and Other Travel Sketches, trans. Nobuyuki Yuasa. Baltimore: Penguin, 1966. 1 Baudelaire, Charles. Flowers of Evil. New York: New Directions, 1958. Beard, Charles A. & Mary R. Beard. The Rise of American Civilization. New York: Macmillan, 1939. Bell, Margaret. Margaret Fuller: A Biography. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain. -
Rhetoric of Silence in American Studies Retoryka Ciszy - Perspektywa Amerykanistyczna 7 (4) 2020 EDITORS: KATARZYNA MOLEK-KOZAKOWSKA, KLARA SZMAŃKO
ISSN: 2392-3113 Rhetoric of Silence in American Studies Retoryka ciszy - perspektywa amerykanistyczna 7 (4) 2020 EDITORS: KATARZYNA MOLEK-KOZAKOWSKA, KLARA SZMAŃKO JACEK PARTYKA UNIVERSITY OF BIAŁYSTOK https://orcid.org/0000-0003-0734-6138 [email protected] Charles Reznikoff and the Rhetoric of Witnessing through Silence Charles Reznikoff i retoryka dawania świadectwa poprzez ciszę Abstract The article considers the poetry of Objectivist poet Charles Reznikoff as informed by the frequent use of rhetoric of silence. The analysis is two-fold: fi rst, it explains the two theoretical key terms, sincerity and objectifi cation, as distinct features of the Objectivist verse, which are crucial in the thematic framework of the analysis, and, second, it gives examples of the practical use thereof by Reznikoff, who is viewed as the poet-witness. Artykuł omawia poezję Charlesa Reznikoffa, amerykańskiego obiektywisty, w świetle zastosowania w niej retoryki ciszy. Analiza jest dwutorowa: po pierwsze, objaśnia znaczenie dwóch ujętych teoretycznie elementarnych składników poezji obiektywistycznej – rzetelności i obiektywizacji – jako niezbędnych w kontekście poruszanej problematyki; po drugie, przedstawia kilka analiz wybranych wierszy Reznikoffa, który określany jest jako poeta-świadek. Key words rhetoric of silence, Charles Reznikoff, Objectivists, sincerity, objectifi cation, witnessing, silence retoryka ciszy, Charles Reznikoff, rzetelność, obiektywizacja, bycie świadkiem, cisza License This work is licensed under a Creative Commons Attribution 4.0 international (CC BY 4.0). The content of the license is available at http://creativecommons.org/licenses/by/4.0/ Received: July 6, 2020 | Accepted: November 10, 2020 DOI: https://doi.org/10.29107/rr2020.4.8 Res Rhetorica, ISSN 2392-3113, 7 (4) 2020, p. -
67-82 3MIYAZAKI 6.Indd
Aloysius Bertrand, admirateur de Victor Hugo ? – Essai sur la relation entre Gaspard de la Nuit et le romantisme des années 1820 – Akane MIYAZAKI En novembre 1842, un petit recueil de poèmes en prose de Louis Bertrand, dit Aloysius Bertrand, paraît sous le titre Gaspard de la Nuit. Fantaisies à la manière de Rembrandt et de Callot(1). L’auteur était mort l’année précédente et ses manuscrits ont été réunis par David d’Angers, Victor Pavie et Sainte-Beuve. À cette première édition, Sainte-Beuve a consacré une « Notice » détaillée(2). En retraçant la vie « d’un orfèvre ou d’un bijoutier de Renaissance(3) », il fait l’éloge de ces « petites ballades en prose, dont le couplet ou le verset exact simulait assez bien la cadence d’un rythme(4). » Mais en même temps, il émet un avis singulier à propos de la mort du poète : « Si Bertrand fût mort en 1830, vers le temps où il complétait les essais qu’on publie aujourd’hui pour la première fois, son cercueil aurait trouvé le groupe des amis encore réunis, et sa mémoire n’aurait pas manqué de cortège(5). » Bertrand aurait-il dû mourir plus tôt ? Certes, son recueil pouvait sembler anachronique : il avait fallu plus de dix ans pour en achever le manuscrit entre 1826 et 1836, resté ensuite presque cinq ans chez l’imprimeur de 1836 à 1841. Même en 1842, la publication de ce recueil n’a pas connu un brillant succès. Pourtant, à partir des années 1860, Bertrand a commencé à être exhumé comme poète moderne : Stéphane Mallarmé a dit de lui qu’il était « un de nos frères » et qu’« un anachronisme a[vait] causé son oubli »(6). -
Elizabethan Sonnet Sequences and the Social Order Author(S): Arthur F
"Love is Not Love": Elizabethan Sonnet Sequences and the Social Order Author(s): Arthur F. Marotti Source: ELH , Summer, 1982, Vol. 49, No. 2 (Summer, 1982), pp. 396-428 Published by: The Johns Hopkins University Press Stable URL: http://www.jstor.com/stable/2872989 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms The Johns Hopkins University Press is collaborating with JSTOR to digitize, preserve and extend access to ELH This content downloaded from 200.130.19.155 on Mon, 27 Jul 2020 13:15:50 UTC All use subject to https://about.jstor.org/terms "LOVE IS NOT LOVE": ELIZABETHAN SONNET SEQUENCES AND THE SOCIAL ORDER* BY ARTHUR F. MAROTTI "Every time there is signification there is the possibility of using it in order to lie." -Umberto Ecol It is a well-known fact of literary history that the posthumous publication of Sir Philip Sidney's Astrophil and Stella inaugurated a fashion for sonnet sequences in the last part of Queen Elizabeth's reign, an outpouring of both manuscript-circulated and printed collections that virtually flooded the literary market of the 1590's. But this extraordinary phenomenon was short-lived. With some notable exceptions-such as the delayed publication of Shake- speare's sought-after poems in 1609 and Michael Drayton's con- tinued expansion and beneficial revision of his collection-the composition of sonnet sequences ended with the passing of the Elizabethan era. -
Thesis Full Version (1.534Mb)
University of Plymouth PEARL https://pearl.plymouth.ac.uk 04 University of Plymouth Research Theses 01 Research Theses Main Collection 2019 Birds with Wolf Hearts, a Collection of Poetry, with an Analysis of Contemporary Nepalese Women's Poetry Walsh, Eleanor http://hdl.handle.net/10026.1/14293 University of Plymouth All content in PEARL is protected by copyright law. Author manuscripts are made available in accordance with publisher policies. Please cite only the published version using the details provided on the item record or document. In the absence of an open licence (e.g. Creative Commons), permissions for further reuse of content should be sought from the publisher or author. This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with its author and that no quotation from the thesis and no information derived from it may be published without the author's prior consent. BIRDS WITH WOLF HEARTS, A COLLECTION OF POETRY, WITH AN ANALYSIS OF CONTEMPORARY NEPALESE WOMEN’S POETRY by ELEANOR WALSH A thesis submitted to the University of Plymouth in partial fulfilment for the degree of DOCTOR OF PHILOSOPHY School of Humanities and Performing Arts March 2019 Acknowledgements I would first like to thank my supervisors Anthony Caleshu, Min Wild and Mandy Bloomfield, for their tireless effort with this project, as well as great ideas, feedback, and guidance. The research for this thesis was supported by the Roland Levinsky Scholarship fund and the Santander Scholarship Program. I’m so grateful for their assistance, without which such extensive fieldwork could never have taken place. -
Poetry As Correspondence in Early Modern England
University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2017 Unfolding Verse: Poetry As Correspondence In Early Modern England Dianne Marie Mitchell University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Recommended Citation Mitchell, Dianne Marie, "Unfolding Verse: Poetry As Correspondence In Early Modern England" (2017). Publicly Accessible Penn Dissertations. 2477. https://repository.upenn.edu/edissertations/2477 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2477 For more information, please contact [email protected]. Unfolding Verse: Poetry As Correspondence In Early Modern England Abstract This project recovers a forgotten history of Renaissance poetry as mail. At a time when trends in English print publication and manuscript dissemination were making lyric verse more accessible to a reading public than ever before, writers and correspondents created poetic objects designed to reach individual postal recipients. Drawing on extensive archival research, “Unfolding Verse” examines versions of popular poems by John Donne, Ben Jonson, Mary Wroth, and others which look little like “literature.” Rather, these verses bear salutations, addresses, folds, wax seals, and other signs of transmission through the informal postal networks of early modern England. Neither verse letters nor “epistles,” the textual artifacts I call “letter-poems” proclaim their participation in a widespread social -
Theories of Acrostic Poems 1. Definition of Terms
Theories of Acrostic Poems 1. Definition of Terms: Acrostic The following is the definition of the term used in this research study. Acrostic: According to Webster’s dictionary, an acrostic poem is a composition usually in verse in which sets of letters (as the initial or final letters of the lines) taken in order to form a word or phrase or a regular sequence of letters of the alphabet. Originally, a short verse composition, constructed so that one or more sets of letters (such as the initial, middle, or final letters of the lines), taken consecutively, form words. In this study, the design of the acrostic poems follows the rules of the acrostic poems. In chapter two, the author is going to discuss more about the definitions of acrostics (see Table 1). Table 1 Brief definitions of acrostic poems Researchers/ Sources Definitions of acrostic poems Holman & Snyder (2006) An acrostic poem is a cryptographic form in which the initial letter of each line spells out a word, often the subject of the poem or the name of the person to whom the poem is dedicated. Fisher (2007) An acrostic is a poem or a puzzle in which the first or last letter of each line spell out a word, phrase, or name. When it's the last letter, it's often referred to as a telestich. A double acrostic has the first and last letters forming new words. Marshall (2007) Acrostics, or acrostic poetry are easy enough to write, and very simple in their format. The message is written vertically downwards on the left hand side of the page, in the simplest form of this poetry.