Notes on Grade 12 HL Poems
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Metre and Rhythm in Medieval and Early Modern English Poetry
SEDE – Via Elisabetta Vendramini, 13 35137 Padova tel +39 049 8279700 C.F. 80006480281 P.IVA 00742430283 [email protected] www.disll.unipd.it Metre and Rhythm in Medieval and Early Modern English Poetry Padova, 19-20 May 2022 ‘Tunable rhyme or metrical sentences’, the distinguishing features of poetry according to George Puttenham, do not only mark the passage from prose to ‘poesy’: they also make such texts as orators’ and doctors’ sermons acceptable to princes as well as the common people. In chapter 6 of his Art of English Poesy, Puttenham thus attributes to poetry a fundamental role in the community: it turns discourse into public utterance, it lends memorability and authority to speech, both in the ancient and in the contemporary world: ‘And the great princes and popes and sultans would one salute and greet another – sometime in friendship and sport, sometime in earnest and enmity – by rhyming verses, and nothing seemed clerkly done but must be done in rhyme’. These reflections come after centuries of change in the English language, a change that is also reflected in the extraordinarily rich range of metres and poetic forms that develop between the medieval and early modern period in the British Isles, and that by the sixteenth century become also the object of theoretical reflection. The present conference investigates all aspects of this phenomenon in medieval and early modern poetry in English and Scots. Topics include (but are not limited to): Alliterative poetry Connections between metre and genre The sonnet and -
Publication No. 201619 Notice No. 48 B
CIPC PUBLICATION 16 December 2016 Publication No. 201619 Notice No. 48 B (AR DEREGISTRATIONS – Non Profit Companies) COMPANIES AND CLOSE CORPORATIONS CIPC PUBLICATION NOTICE 19 OF 2016 COMPANIES AND INTELLECTUAL PROPERTY COMMISSION NOTICE IN TERMS OF THE COMPANIES ACT, 2008 (ACT 71 OF 2008) THE FOLLOWING NOTICE RELATING TO THE DEREGISTRATION OF ENTITIES IN TERMS OF SECTION 82 OF THE COMPANIES ACT ARE PUBLISHED FOR GENERAL INFORMATION. THE CIPC WEBSITE AT WWW.CIPC.CO.ZA CAN BE VISITED FOR MORE INFORMATION. NO GUARANTEE IS GIVEN IN RESPECT OF THE ACCURACY OF THE PARTICULARS FURNISHED AND NO RESPONSIBILITY IS ACCEPTED FOR ERRORS AND OMISSIONS OR THE CONSEQUENCES THEREOF. Adv. Rory Voller COMMISSIONER: CIPC NOTICE 19 OF 2016 NOTICE IN TERMS OF SECTION 82 OF THE COMPANIES ACT, 2008 RELATING TO ANNUAL RETURN DEREGISTRATIONS OF COMPANIES AND CLOSE CORPORATIONS K2011100425 SOWETO CITY INVESTMENT AND DEVELOPMENT AGENCY K2011100458 K2011100458 K2011105301 VOICE OF SOLUTION GOSPEL CHURCH K2011105344 BOYES HELPING HANDS K2011105653 RACE 4 CHARITY K2011105678 OYISA FOUNDATION K2011101248 ONE FUTURE DEVELOPMENT 53 K2011101288 EXTRA TIME FOOTBALL SKILLS DEVELOPMENT ORGANISATION K2011108390 HALCYVISION K2011112257 YERUSHALYIM CHRISTIAN CHURCH K2011112598 HOLINERS CHURCH OF CHRIST K2011106676 AMSTIZONE K2011101559 MOLEPO LONG DISTANCE TAXI ASSOCIATION K2011103327 CASHAN X25 HUISEIENAARSVERENIGING K2011118128 JESUS CHRIST HEALS MINISTRY K2011104065 ZWELIHLE MICRO FINANCE COMPANY K2011111623 COVENANT HOUSE MIRACLE CENTRE K2011119146 TSHIAWELO PATRONS COMMUNITY -
Editor's Introduction
Editor’s Introduction: Scansion DAVID NOWELL SMITH _______________________ I would like to start from an intuition.1 This might seem an abuse of editorial privilege, and indeed might strike one as more generally tendentious: is an issue on ‘scansion’ the place for discussing one’s intuitions at all? For a start, it contravenes quite brazenly the strict separation between description and performance, lain down most powerfully by John Hollander well over half a century ago. For Hollander, a ‘descriptive’ system of scansion would aim at presenting schematically the whole ‘musical’ structure of a poem, whether this consists, in any particular case, of the prosodic features of the language in which it is written, the arrangement of elements completely foreign to that language (syllable counting in English verse for example), or even the arrangement of type on a page. A performative system of scansion, on the other hand, would present a series of rules governing a locutionary reading of a particular poem, before a real or implied audience. It would end up by describing not the poem itself, but the unstated canons of taste behind the rules. Performative systems of scansion, disguised as descriptive ones, have composed all but a few of the metrical studies of the past. Their subjectivity is far more treacherous than even that of reading poems into oscilloscopes and claiming that the image produced describes, or even is, the true poem.2 1 My great thanks to Ewan Jones on his comments on an earlier draft of this introduction. 2 John Hollander, ‘The Music of Poetry’, The Journal of Aesthetics and Art Criticism vol. -
Rubai (Quatrain) As a Classical Form of Poetry in Persian Literature
INTERNATIONAL JOURNAL OF RESEARCH CULTURE SOCIETY ISSN: 2456-6683 Volume - 2, Issue - 4, Apr – 2018 UGC Approved Monthly, Peer-Reviewed, Refereed, Indexed Journal Impact Factor: 3.449 Publication Date: 30/04/2018 Rubai (Quatrain) as a Classical Form of Poetry in Persian Literature Ms. Mina Qarizada Lecturer in Samangan Higher Education, Samangan, Afghanistan Master of Arts in English, Department of English Lovely Professional University, Punjab, India Email – [email protected] Abstract: Studying literature, including poetry and prose writing, in Afghanistan is very significant. Poetry provides some remarkable historical, cultural, and geographical facts and its literary legacy of a particular country. Understanding the poetic forms is important in order to understand the themes and the styles of the poetry of the poets. All the Persian poets in some points of the time composed in the Rubai form which is very common till now among the past and present generation across Afghanistan. This paper is an overview of Rubai as a classical form of Poetry in Persian Literature. Rubai has its significant role in the society with different stylistic and themes related to the cultural, social, political, and gender based issues. The key features of Rubai are to be eloquent, spontaneous and ingenious. In a Rubai the first part is the introduction which is the first three lines that is the sublime for the fourth line of the poem. It represents the idea if sublet, pithy and clever. It also represents the poets’ literary works, poetic themes, styles, and visions. Key Words: Rubai, Classic, Poetry, Persian, Literature, Quatrain, 1. INTRODUCTION: Widespread geography of Persian speakers during the past centuries in the history of Afghanistan like many other countries, it can be seen and felt that only great men were trained in the fields of art and literature. -
Sudáfrica México
LA PRENSA GRÁFICA VIERNES 11 DE JUNIO DE 2010 LA TRIBUNA 8 www.laprensagrafica.com SUDÁFRICA PLANTILLA EL TÉCNICO NOMBRE POSICIÓN GRUPO A 1 Itumeleng Khune Arquero CARLOS PARREIRA 2 Moeneeb Josephs Arquero FECHA DE NACIMIENTO: 27 DE ABRIL DE 1947 3 Shu-Aib Walters Arquero LUGAR DE NACIMIENTO: 4 Matthew Booth Defensa RÍO DE JANEIRO, BRASIL 5 Siboniso Gaxa Defensa TRAYECTORIA: 6 Bongani Khumalo Defensa AL DIRIGIR A SUDÁFRICA EN EL MUNDIAL DE 2010, PARREIRA 7 Tsepo Masilela Defensa IGUALARÁ AL SERBIO BORA 8 Aaron Mokoena Defensa MILUTINOVIC COMO LOS 9 Anele Ngcongca Defensa AQUÍ DOS ENTRENADORES CON MÁS 10 Siyabonga Sangweni Defensa PARTICIPACIONES EN MUNDIALES, 11 Lucas Thwala Defensa CON SEIS EDICIONES CADA UNO. 12 Lance Davids Mediocampista 13 Kagisho Dikgacoi Mediocampista LA LISTA DEL ANFITRIÓN 14 Thanduyise Khuboni Mediocampista Sudáfrica espera tener su mejor participación en 15 Reneilwe Letsholonyane Mediocampista TENDRÁN una Copa del Mundo amparada en sus jugadores 16 Teko Modise Mediocampista con experiencia europea. Pese a que Carlos Parreira 17 Surprise Moriri Mediocampista dejó fuera de la lista a Benny McCarthy por sus 18 Steven Pienaar Mediocampista 19 Siphiwe Tshabalala Mediocampista problemas físicos, esta tiene otros jugadores con 20 Macbeth Sibaya Mediocampista experiencia europea, donde el principal referente 21 Katlego Mphela Delantero ahora es Steven Pienaar, quien jugó para el Ajax 22 Siyabonga Nomvete Delantero FRACASO 23 Bernaard Parker Delantero de Holanda, y hoy participa en la Premier League. Dos ex campeones del mundo, Uruguay y ASOC. DE FÚTBOL DE SUDÁFRICA PALMARÉS EN LA COPA MUNDIAL PAÍS: SUDÁFRICA GANADOR: 0 CONTINENTE: ÁFRICA SEGUNDO: 0 Francia, contra el anfitrión del torneo, ABREVIATURA FIFA: RSA PARTICIPACIONES EN LA COPA AÑO DE FUNDACIÓN: 1932 MUNDIAL DE LA FIFA: AFILIADO DESDE: 1932 2 (1998, 2002) Sudáfrica, y como invitado de cierre una de las CONFEDERACIÓN: CAF NOMBRE: STEVEN PIENAAR HISTORIAL: Pienaar será el potencias de CONCACAF, México. -
"The Clam-Digger: Capitol Island": a Robinson Sonnet Recovered
Colby Quarterly Volume 10 Issue 8 December Article 7 December 1974 "The Clam-Digger: Capitol Island": A Robinson Sonnet Recovered Richard Cary Follow this and additional works at: https://digitalcommons.colby.edu/cq Recommended Citation Colby Library Quarterly, series 10, no.8, December 1974, p.505-512 This Article is brought to you for free and open access by Digital Commons @ Colby. It has been accepted for inclusion in Colby Quarterly by an authorized editor of Digital Commons @ Colby. Cary: "The Clam-Digger: Capitol Island": A Robinson Sonnet Recovered Colby Library Quarterly 505 "THE CLAM-DIGGER: CAPITOL ISLAND": A ROBINSON SONNET RE,C'OVE,RED By RICHARD CARY n page 2 of The Reporter Monthly for April 26, 1890 ap O pears the following sonnet by Edwin Arlington Robinson not yet attributed to him in any bibliography or checklist. THE CLAM-DIGGER CAPITOL ISLAND There is a garden in a shallow cove Planted by Neptune centuries ago, Which Ocean covers with a thin, flat flow, Then falling, leaves the sun to gleam above Those oozy lives (which reasoning mortals love) Reposed in slimy silence far below The shell-strewn desert, while their virtues grow, And over them the doughty diggers rove. Then awful in his boots the King appears, With facile fork and basket at his side; Straight for the watery bound the master steers, Where giant holes lie scattered far and wide; And plays the devil with his bubbling dears All through the bounteous, ottoitic tide. R. In compiling his sturdy Bibliography 0/ Edwin Arlington Robinson (New Haven, 1936), Charles Beecher Hogan did record and reprint two other primigenial poems from this four page literary supplement of the Kennebec Reporter: "Thalia," March 29, 1890, as Robinson's first known publication of verse; "The Galley Race," May 31, 1890, as his second (at this point clearly to be reclassified third). -
The Charge of the Light Brigade"
The Corinthian Volume 7 Article 13 2005 THE HYPNOTIC METER OF "THE CHARGE OF THE LIGHT BRIGADE" Michael Rifenburg Georgia College & State University Follow this and additional works at: https://kb.gcsu.edu/thecorinthian Part of the English Language and Literature Commons Recommended Citation Rifenburg, Michael (2005) "THE HYPNOTIC METER OF "THE CHARGE OF THE LIGHT BRIGADE"," The Corinthian: Vol. 7 , Article 13. Available at: https://kb.gcsu.edu/thecorinthian/vol7/iss1/13 This Article is brought to you for free and open access by the Undergraduate Research at Knowledge Box. It has been accepted for inclusion in The Corinthian by an authorized editor of Knowledge Box. Hypnotic Meter of "The Charge of the Light Brigade" THE HYPNOTIC METER OF "THE CHARGE OF THE LIGHT BRIGADE" Michael Rifenburg Dr. Peter Michael Carriere Faculty Sponsor "The joy and function of poetry is, and was, the celebration of man, which is also the celebration of God" --Dylan Thomas Poetry, at its core, is like a well-functioning automobile: myriad parts working in conjunction towards a common goal or effect. If one part is missing, then the automobile shutters, sputters, collapses and dies, thus so with poetry. One of the many devices at a poet's dispos al is meter. Paul Fussell Jr., author of Poetic Meter and Poetic Form, gives a wonderfully succinct definition of meter: Meter is what results when the natural rhythmical movements of colloquial speech are heightened, organized, and regulated so that pattern emerges from the relative phonetic haphazard of ordinary utterance. Because it inhabits the physical form of the very words themselves, meter is the most fundamental technique of order avail able to the poet (Fussell 5) Meter may be the "most fundamental technique," but it is ripe with meaning. -
Jennifer Rushworth
Jennifer Rushworth Petrarch’s French Fortunes: negotiating the relationship between poet, place, and identity in the sixteenth and nineteenth centuries This article reconsiders Petrarch’s French afterlife by juxtaposing a time of long-recognised Petrarchism — the sixteenth century — with a less familiar and more modern Petrarchist age, the late eighteenth and early nineteenth centuries. Of particular interest is how French writers from both periods understand and represent Petrarch’s associations with place. This variously proposed, geographically defined identity is in turn regional (Tuscan/Provençal) and national (Italian/French), located by river (Arno/Sorgue) and city (Florence/Avignon). I argue that sixteenth-century poets stress Petrarch’s foreignness, thereby keeping him at a safe distance, whereas later writers embrace Petrarch as French, drawing the poet closer to (their) home. The medieval Italian poet Francesco Petrarca (known in English as Petrarch, in French as Pétrarque) is the author of many works in Latin and in Italian, in poetry and in prose (for the most complete and accessible account, see Kirkham and Maggi). Since the sixteenth century, however, his fame has resided in one particular vernacular form: the sonnet. In his poetic collection Rerum vulgarium fragmenta, more commonly and simply known as the Canzoniere, 317 of the total 366 are sonnets. These poems reflect on the experience of love and later of grief, centred on the poet’s beloved Laura, and have been so often imitated by later poets as to have given rise to a poetic movement named after the poet: Petrarchism. In the words of Jonathan Culler, “Petrarch’s Canzoniere established a grammar for the European love lyric: a set of tropes, images, oppositions (fire and ice), and typical scenarios that permitted generations of poets throughout Europe to exercise their ingenuity in the construction of love sonnets” (69). -
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. -
Sidney Keyes: the War-Poet Who 'Groped for Death'
PINAKI ROY Sidney Keyes: The War-Poet Who ‘Groped For Death’ f the Second World War (1939-45) was marked by the unforeseen annihilation of human beings—with approximately 60 million military and civilian deaths (Mercatante 3)—the second global belligerence was also marked by an Iunforeseen scarcity in literary commemoration of the all-destructive belligerence. Unlike the First World War (1914-18) memories of which were recorded mellifluously by numerous efficient poets from both the sides of the Triple Entente and Central Powers, the period of the Second World War witnessed so limited a publication of war-writing in its early stages that the Anglo-Irish litterateur Cecil Day-Lewis (1904-72), then working as a publications-editor at the English Ministry of Information, was galvanised into publishing “Where are the War Poets?” in Penguin New Writing of February 1941, exasperatedly writing: ‘They who in folly or mere greed / Enslaved religion, markets, laws, / Borrow our language now and bid / Us to speak up in freedom’s cause. / It is the logic of our times, / No subject for immortal verse—/ That we who lived by honest dreams / Defend the bad against the worse’. Significantly, while millions of Europeans and Americans enthusiastically enlisted themselves to serve in the Great War and its leaders were principally motivated by the ideas of patriotism, courage, and ancient chivalric codes of conduct, the 1939-45 combat occurred amidst the selfishness of politicians, confusing international politics, and, as William Shirer notes, by unsubstantiated feelings of defeatism among world powers like England and France, who could have deterred the offensive Nazis at the very onset of hostilities (795-813). -
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll Ap Siôn (Oxford University Press, 2019) *
Review of Rethinking Reich, Edited by Sumanth Gopinath and Pwyll ap Siôn (Oxford University Press, 2019) * Orit Hilewicz NOTE: The examples for the (text-only) PDF version of this item are available online at: hps://www.mtosmt.org/issues/mto.21.27.1/mto.21.27.1.hilewicz.php KEYWORDS: Steve Reich, analysis, politics DOI: 10.30535/mto.27.1.0 Received January 2020 Volume 27, Number 1, March 2021 Copyright © 2021 Society for Music Theory [1] This past September, a scandal erupted on social media when a 2018 book excerpt was posted that showed a few lines from an interview with British photographer and music writer Val Wilmer. Wilmer recounted her meeting with Steve Reich in the early 1970s: I was talking about a person who was playing with him—who happened to be an African-American who was a friend of mine. I can tell you this now because I feel I must . we were talking and I mentioned this man, and [Reich] said, “Oh yes, well of course, he’s one of the only Blacks you can talk to.” So I said, “Oh really?” He said, “Blacks are geing ridiculous in the States now.” And I thought, “This is a man who’s just done this piece called Drumming which everybody cites as a great thing. He’s gone and ripped off stuff he’s heard in Ghana—and he’s telling me that Blacks are ridiculous in the States now.” I rest my case. Wouldn’t you be politicized? (Wilmer 2018, 60) Following recent revelations of racist and misogynist statements by central musical figures and calls for music scholarship to come to terms with its underlying patriarchal and white racial frame, (1) the new edited volume on Reich suggests directions music scholarship could take in order to examine the political, economic, and cultural environments in which musical works are composed, performed, and received. -
Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’S Op
Reconsidering the Nineteenth-Century Potpourri: Johann Nepomuk Hummel’s Op. 94 for Viola and Orchestra A document submitted to The Graduate School of the University of Cincinnati in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in the Performance Studies Division of the College-Conservatory of Music 2018 by Fan Yang B. M., Hong Kong Academy for Performing Arts, 2008 M. M., Hong Kong Academy for Performing Arts, 2010 D. M. A. Candidacy, University of Cincinnati, 2013 Abstract The Potpourri for Viola and Orchestra, Op. 94 by Johann Nepomuk Hummel is available in a heavily abridged edition, entitled Fantasy, which causes confusions and problems. To clarify this misperception and help performers choose between the two versions, this document identifies the timeline and sources that exist for Hummel’s Op. 94 and compares the two versions of this work, focusing on material from the Potpourri missing in the Fantasy, to determine in what ways it contributes to the original work. In addition, by examining historical definitions and composed examples of the genre as well as philosophical ideas about the faithfulness to a work—namely, idea of the early nineteenth-century work concept, Werktreue—as well as counter arguments, this research aims to rationalize the choice to perform the Fantasy or Potpourri according to varied situations and purposes, or even to suggest adopting or adapting the Potpourri into a new version. Consequently, a final goal is to spur a reconsideration of the potpourri genre, and encourage performers and audiences alike to include it in their learning and programming.