What Is a Poem? Fact Sheet
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Friends, Enemies, and Fools: a Collection of Uyghur Proverbs by Michael Fiddler, Zhejiang Normal University
GIALens 2017 Volume 11, No. 3 Friends, enemies, and fools: A collection of Uyghur proverbs by Michael Fiddler, Zhejiang Normal University Erning körki saqal, sözning körki maqal. A beard is the beauty of a man; proverbs are the beauty of speech. Abstract: This article presents two groups of Uyghur proverbs on the topics of friendship and wisdom, to my knowledge only the second set of Uyghur proverbs published with English translation (after Mahmut & Smith-Finley 2016). It begins with a brief introduction of Uyghur language and culture, then a description of Uyghur proverb styles, then the two sets of proverbs, and finally a few concluding comments. Key words: Proverb, Uyghur, folly, wisdom, friend, enemy 1. Introduction Uyghur is spoken by about 10 million people, mostly in northwest China’s Xinjiang Uyghur Autonomous Region. It is a Turkic language, most closely related to Uzbek and Salar, but also sharing similarity with its neighbors Kazakh and Kyrgyz. The lexicon is composed of about 50% old Turkic roots, 40% relatively old borrowings from Arabic and Persian, and 6% from Russian and 2% from Mandarin (Nadzhip 1971; since then, the Russian and Mandarin borrowings have presumably seen a slight increase due to increased language contact, especially with Mandarin). The grammar is generally head-final, with default SOV clause structure, A-N noun phrases, and postpositions. Stress is typically word-final. Its phoneme inventory includes eight vowels and 24 consonants. The phonology includes vowel harmony in both roots and suffixes, which is sensitive to rounded/unrounded (labial harmony) and front/back (palatal harmony), consonant harmony across suffixes, which is sensitive to voiced/unvoiced and front/back distinctions; and frequent devoicing of high vowels (see Comrie 1997 and Hahn 1991 for details). -
The Low-Status Character in Shakespeare's Comedies Linda St
Western Kentucky University TopSCHOLAR® Masters Theses & Specialist Projects Graduate School 5-1-1973 The Low-Status Character in Shakespeare's Comedies Linda St. Clair Western Kentucky University Follow this and additional works at: http://digitalcommons.wku.edu/theses Part of the English Language and Literature Commons Recommended Citation St. Clair, Linda, "The Low-Status Character in Shakespeare's Comedies" (1973). Masters Theses & Specialist Projects. Paper 1028. http://digitalcommons.wku.edu/theses/1028 This Thesis is brought to you for free and open access by TopSCHOLAR®. It has been accepted for inclusion in Masters Theses & Specialist Projects by an authorized administrator of TopSCHOLAR®. For more information, please contact [email protected]. ARCHIVES THE LOW-STATUS CHARACTER IN SHAKESPEAREf S CCiiEDIES A Thesis Presented to the Faculty of the Department of English Western Kentucky University Bov/ling Green, Kentucky In Partial Fulfillment of the Requirements for the Degree Master of Arts Linda Abbott St. Clair May, 1973 THE LOW-STATUS CHARACTER IN SHAKESPEARE'S COMEDIES APPROVED >///!}<•/ -J?/ /f?3\ (Date) a D TfV OfThesis / A, ^ of the Grafduate School ACKNOWLEDGEMENTS With gratitude I express my appreciation to Dr. Addie Milliard who gave so generously of her time and knowledge to aid me in this study. My thanks also go to Dr. Nancy Davis and Dr. v.'ill Fridy, both of whom painstakingly read my first draft, offering invaluable suggestions for improvement. iii TABLE OF CONTENTS ACKNOWLEDGEMENTS iii INTRODUCTION 1 THE EARLY COMEDIES 8 THE MIDDLE COMEDIES 35 THE LATER COMEDIES 8? CONCLUSION 106 BIBLIOGRAPHY Ill iv INTRODUCTION Just as the audience which viewed Shakespeare's plays was a diverse group made of all social classes, so are the characters which Shakespeare created. -
Poetry Vocabulary
Poetry Vocabulary Alliteration: Definition: •The repetition of consonant sounds in words that are close together. •Example: •Peter Piper picked a peck of pickled peppers. How many pickled peppers did Peter Piper pick? Assonance: Definition: •The repetition of vowel sounds in words that are close together. •Example: •And so, all the night-tide, I lie down by the side Of my darling, my darling, my life and my bride. -Edgar Allen Poe, from “Annabel Lee” Ballad: Definition: •A song or songlike poem that tells a story. •Examples: •“The Dying Cowboy” • “The Cremation of Sam McGee” Cinquain: Definition: • A five-line poem in which each line follows a rule. 1. A word for the subject of the poem. 2. Two words that describe it. 3. Three words that show action. 4. Four words that show feeling. 5. The subject word again-or another word for it. End rhyme: Definition: • Rhymes at the ends of lines. • Example: – “I have to speak-I must-I should -I ought… I’d tell you how I love you if I thought The world would end tomorrow afternoon. But short of that…well, it might be too soon.” The end rhymes are ought, thought and afternoon, soon. Epic: Definition: • A long narrative poem that is written in heightened language and tells stories of the deeds of a heroic character who embodies that values of a society. • Example: – “Casey at the Bat” – “Beowulf” Figurative language: Definition: • An expressive use of language. • Example: – Simile – Metaphor Form: Definition: • The structure and organization of a poem. Free verse: Definition: • Poetry without a regular meter or rhyme scheme. -
Poetry Explications A-State Online Writing Center
Poetry Explications A-State Online Writing Center What are poetry explications? A poetry explication is an analytical essay that comments on a poem’s elements and possible meanings. In other words, writers make connections between the narrative of the poem and the literary choices the poet uses to convey that narrative such as imagery, tone, rhythm and meter, and word choice. Reading & identifying analysis points Before writing your essay, it’s best to take the time to read the poem to yourself at least twice to gain an understanding of the plot, structure, narrator’s point of view (POV), and main ideas. Remember that you need to separate the narrator of the poem from the poet, particularly if you know the poet’s identity. Do not conflate the poet’s POV and personal life with the narrator’s life. When you begin looking for major ideas and connections between poem elements, consider these questions: ● What are the major themes? ● How is the poem structured and broken up into lines and stanzas? ● Who does the narrator or speaker seem to be addressing? ● What are the major conflicts and plot points? ● What is the overall tone? Are there shifts in tone? ● Is there a location described? ● Are there patterns you can note throughout the poem? Are there patterns in word choice, imagery, structure, syntax, rhyme, rhythm, and other elements? Determining these answers are helpful when writing your analysis. General outline Briefly summarize the poem’s narrative in the introduction of your essay for context. Then develop a clear thesis statement that addresses your major analysis points. -
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Advances in Social Science, Education and Humanities Research (ASSEHR), volume 279 Third International Conference of Arts, Language and Culture (ICALC 2018) Uncovering the translator’s techniques in retaining the beauty of poetic children’s stories Nur Saptaningsih1, Ardianna Nuraeni 2 1 English Department, Universitas Sebelas Maret, Surakarta, Indonesia 2 English Department, Universitas Sebelas Maret, Surakarta, Indonesia 1 [email protected], 2* [email protected] Abstract: Studies on translation of children’s literature have been widely explored by researchers with a number of focus on translation readability, proper names, titles, and culture-specific terms. One area that is still rare to study is the presence of bilingual children’s books that are presented poetically, where the author writes the stories using poetic devices (such as presenting them in stanzas and rhyming expressions) and where the translator produces the translated stories with the same poetic sense. This study focuses our special attention to the issue of the translation of poetic illustrated stories for children, which aims to describe ways the translator of book series “Archipelago Legend” renders the poetic markers in his translation, particularly to keep maintaining the message of the Source Text (ST) in the Target Text (TT) and the beauty of the stanzas. Under the design of descriptive qualitative research, we analyzed seven bilingual books of Indonesia’s “Archipelago Legend”. Stanzas in the stories and their translations were selected and categorized into types of poetic devices used by the writer and the translator. The source language construction and their translations, as well as the poetic devices in both ST and TT were analyzed with the aim at exploring the translator’s techniques in maintaining the beauty of the poetic stories in rendering the message of ST. -
Rhyme in European Verse: a Case for Quantitative Historical Poetics
1 Rhyme in European Verse: A Case for Quantitative Historical Poetics Boris Maslov & Tatiana Nikitina Keywords rhyme, statistical methods, meter, Historical Poetics, Russian verse The past decade has witnessed an unprecedented rise of interest in objectivist, data-driven approaches to literary history, often grouped together under the heading of digital humanities. The rapid multiplication of software designed to map and chart literature, often on a massive scale, has engendered an anxious (and often unpublicized) reaction. A concern for the future of literary studies, traditionally committed to the study of individual texts accessed through “close reading” of individual passages, is exacerbated in the wake of the emergence of a version of “world literature” that normalizes the study of literary works in translation, effectively jettisoning the philological techniques of explication du texte. This article seeks to bypass these antagonisms by proposing an alternative approach to literary history which, while being rooted in data analysis and employing quantitative methods some of which have been part of a century-old scholarly tradition, retains a twofold focus on the workings of poetic form and on the interaction between national literary traditions—the two topics that have dominated theoretical poetics and comparative literature ever since the inception of these disciplines in the late nineteenth-early twentieth centuries. While close reading is admittedly of limited value in the study of 2 versification, a more rigorous type of statistical testing used in this study allows for reliable assessment of tendencies observed in relatively small corpora, while also making it possible to verify the significance of highly nuanced quantitative differences. -
Voices from Early China
Voices from Early China The Odes Demystified Voices from Early China The Odes Demystified Geoffrey Sampson Voices from Early China: The Odes Demystified By Geoffrey Sampson This book first published 2020 Cambridge Scholars Publishing Lady Stephenson Library, Newcastle upon Tyne, NE6 2PA, UK British Library Cataloguing in Publication Data A catalogue record for this book is available from the British Library Copyright © 2020 by Geoffrey Sampson All rights for this book reserved. No part of this book may be reproduced, stored in a retrieval system, or transmitted, in any form or by any means, electronic, mechanical, photocopying, recording or otherwise, without the prior permission of the copyright owner. ISBN (10): 1-5275-5212-8 ISBN (13): 978-1-5275-5212-8 The symbol on the title page is the Chinese title of this book—Shi, “Poetry”—in the hand of the Tang dynasty monk Huai Su, who called his greatly admired calligraphy “the handwriting of a drunken immortal”. VOICES FROM EARLY CHINA v VOICES FROM EARLY CHINA Contents Map of the Tiw Kingdom xvi Introduction 1 List of Works Consulted 43 A Timeline of Early Chinese History and Myth 46 THE POEMS Airs of the States State of Tiw and Southwards 1 The Fish-Hawk 關雎 47 2 The Spreading Lablab Vine 葛覃 48 3 The Mouse-Ears 卷耳 49 4 Sagging Branches 樛木 50 5 Locusts 螽斯 50 6 The Delicate Peach-Tree 桃夭 51 7 The Rabbit Net 兔罝 52 8 Gathering Plantains 芣苢 52 9 The Wide River Han 漢廣 53 10 On the Embankment of the Nac 汝墳 54 11 A Unicorn’s Hooves 麟之趾 54 State of Daws and Southwards 12 Magpie and Dove 鵲巢 56 13 -
Program Overview Screenwriting Research Network
Program Overview Screenwriting Research Network 7. International Conference 17—19 October 2014 Screenwriting and Directing Audiovisual Media Keynotes by Milcho Manchevski, Jutta Brückner & Brian Winston Film University Babelsberg KONRAD WOLF, Potsdam, Germany FILMUNIVERSITÄT BABELSBERG KONRAD WOLF Conference website: www.filmuniversitaet.de/de/forschung/tagungen-symposien/tagungen/tma/detail/6706.html Thursday, 16 October 3 —5 pm Sightseeing: Potsdam Park Sanssouci www.potsdam-park-sanssouci.de/sitemap-eng.html We organized a guided tour of Sanssouci (castle and park) Thursday afternoon, October 16th, 3-5 pm. The tour is in English language with access for a group of max. 40 entrants. The fee must be shared: depending on the number of participants it could be 9,50 Euro each (40p.) up to 19 Euro (20p.) Please sign in: http://doodle.com/qyyrf69hu7yis9m8 6—9 pm Opening Reception & Get Together @ Wissenschaftsetage Potsdam (rsvp) Bildungsforum Potsdam, Am Kanal 47, 14467 Potsdam (4th floor) > www.wis-potsdam.de/en Friday, 17 October 9 am Registration (entrance hall, first floor) 10 am Welcome by PROFESSOR DR. SUSANNE STÜRMER, PRESIDENT OF FILM UNIVERSITY BABELSBERG KONRAD WOLF, PROFESSOR DR. KERSTIN STUTTERHEIM, CONFERENCE HOST AND KIRSI RINNE, CHAIR SRN 10:30 am Keynote by MILCHO MANCHEVSKI: WHY I LIKE WRITING AND HATE DIRECTING: NOTES OF A RECOVERING WRITER-DIRECTOR (Writer/Director, Scholar, Macedonia/USA) 11:30 am Coffee Break 11:45 am—1:15 pm Panel 1: WRITER–DIRECTOR’S SCREENPLAYS Ian W. Macdonald (University of Leeds, UK) SCREENWRITING AND SUBJECTIVITY Carmen Sofia Brenes (University of Los Andes, Chile) THE POETIC DENSITY OF THE STORY AS KEY ISSUE IN THE FILM NEGOTIATION BETWEEN WRITER, DIRECTOR AND PRODUCER Temenuga Trifonova (York University, Canada) THE WRITER’S SCREENPLAY AND THE WRITER/DIRECTOR’S SCREENPLAY: A COMPARATIVE ANALYSIS Jarmo Lampela (Aalto University Helsinki, Finland) ENSEMBLE AS A SCRENWRITER – THEATRE GOES MOVIES Panel 2: AUTEUR–FILM Gabriel M. -
Who Heard the Rhymes, and How: Shakespeare’S Dramaturgical Signals
Oral Tradition, 11/2 (1996): 190-221 Who Heard the Rhymes, and How: Shakespeare’s Dramaturgical Signals Burton Raffel The Audience “The many-headed multitude” was how, in 1601, a contemporary referred to the Shakespearian audience (Salgado 1975:22). “Amazed I stood,” wondered an anonymous versifier in 1609, “to see a crowd/ Of civil throats stretched out so lowd;/ (As at a new play) all the rooms/ Did swarm with gentles mix’d with grooms.”1 This wide-ranging appeal considerably antedated Shakespeare’s plays: though he very significantly shaped its later course, he profited from rather than created the solidly popular status of the Elizabethan and, above all, the London stage, for “London was where the players could perform in their own custom-built playhouses, week after week and year after year. In London there were regular venues, regular audiences, regular incomes.”2 The first playhouses had been built in 1576; at least two professional “playhouses were flourishing in 1577.”3 (Shakespeare was then a country lad of thirteen.) The urgency of clerical denunciations, then as now, provides particularly revealing evidence of the theater’s already well- established place in many Londoners’ hearts.4 1 Idem:29. Festivity was of course a far more important aspect of Elizabethan life. “The popular culture of Elizabethan England . is characterized first and foremost by its general commitment to a world of merriment” (Laroque 1991:33). 2 Gurr 1992:6. And, just as today, those who wielded political power took most seriously the ancillary economic benefits produced by London’s professional theaters. See Harrison 1956:112-14, for the authorities’ immensely positive reaction, when appealed to by the watermen who ferried playgoers back and forth across the Thames, and whose profitable employment was being interfered with. -
Elements of Poetry Title ➔ the Name Given to the Poem by the Author
ELA Virtual Lesson #1: Handout The video that goes along with this lesson is posted in Google Classroom. If you do not have a way to access Google Classroom, I have included all necessary guidance on this handout. If you have any questions about this lesson, please email or message me. You can also join our Google Meet from 10am - 11am. Date: Tuesday, April 7th Objective: 5-RL.9. I will explain text structures and use terminology unique to poetry. Elements of Poetry Title ➔ The name given to the poem by the author. Verse/Line ➔ a “sentence” in a poem ➔ at least one word long ➔ the title is not a verse/line Stanza ➔ A “paragraph” in a poem ➔ a group of two or more verses/lines ➔ does not include the title ➔ a poem has at least 1 stanza Rhyme Rhyme Meter Repetition Mood Theme Free Scheme Verse → Words that → The pattern of → The beat → Words or → The → The lesson → Poems that have the same rhyming lines or rhythm of phrases that general or message are written ending sounds → Named using the poem. are repeated feeling the the author without a letters of the poem gives wants to rhyme scheme alphabet the reader. teach or express Guided Practice : Rhyme Scheme A poem's pa ttern of rhyming lines is called its rhyme scheme. Rhyme schemes are named using letters of the alphabet (usually A – D). This rhyme scheme is usually followed throughout each stanza. Here is an example of a poem with its rhyme scheme listed in brackets. Let's do a couple together.. -
Structures of Desire: Postanarchist Kink in the Speculative Fiction Of
Chapter 7 Structures of desire Postanarchist kink in the speculative fiction of Octavia Butler and Samuel Delany Lewis Call It's a beautiful universe ... wondrous and the more exciting because no one has written plays and poems and built sculptures to indicate the structure of desire I negotiate every day as I move about in it. -Samuel Delany, Stars in My Pocket Like Grains of Sand The problem of power is one of the major philosophical and political preoccupations of the modern West. It is a problem which has drawn the attention of some of the greatest minds of the nineteenth and twentieth cen turies, including Fried~ich Nietzsche and Michel Foucault. I have argued else where that the philosophies of power articulated by Nietzsche and Foucault stand as prototypes of an innovative form of anarchist theory, one which finds liberatory potential in the disintegration of the modern self and its liberal humanist politics (Call 2002: chs 1 and 2). Lately this kind of theory has become known as postanarchism. For me, postanarchism refers to a form of contemporary anarchist theory which draws extensively upon postmodern and poststructuralist philosophy in order to push anarchism beyond its traditional boundaries. Postanarchism tries to do this by adding important new ideas to anarchism's traditional critiques of statism and capitalism. Two of these ideas are especially significant for the present essay: the Foucauldian philosophy of power, which sees power as omnipresent but allows us to distinguish between power's various forms, and the Lacanian concept of subjectivity, which understands the self to be constituted by and through its desire. -
A GLOSSARY of THEATRE TERMS © Peter D
A GLOSSARY OF THEATRE TERMS © Peter D. Lathan 1996-1999 http://www.schoolshows.demon.co.uk/resources/technical/gloss1.htm Above the title In advertisements, when the performer's name appears before the title of the show or play. Reserved for the big stars! Amplifier Sound term. A piece of equipment which ampilifies or increases the sound captured by a microphone or replayed from record, CD or tape. Each loudspeaker needs a separate amplifier. Apron In a traditional theatre, the part of the stage which projects in front of the curtain. In many theatres this can be extended, sometimes by building out over the pit (qv). Assistant Director Assists the Director (qv) by taking notes on all moves and other decisions and keeping them together in one copy of the script (the Prompt Copy (qv)). In some companies this is done by the Stage Manager (qv), because there is no assistant. Assistant Stage Manager (ASM) Another name for stage crew (usually, in the professional theatre, also an understudy for one of the minor roles who is, in turn, also understudying a major role). The lowest rung on the professional theatre ladder. Auditorium The part of the theatre in which the audience sits. Also known as the House. Backing Flat A flat (qv) which stands behind a window or door in the set (qv). Banjo Not the musical instrument! A rail along which a curtain runs. Bar An aluminium pipe suspended over the stage on which lanterns are hung. Also the place where you will find actors after the show - the stage crew will still be working! Barn Door An arrangement of four metal leaves placed in front of the lenses of certain kinds of spotlight to control the shape of the light beam.