On Huang Gaoxin's Choices in the Translation of the Canterbury Tales
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Research Scholar ISSN 2320 – 6101 an International Refereed E-Journal of Literary Explorations Impact Factor 0.998 (IIFS)
Research Scholar ISSN 2320 – 6101 www.researchscholar.co.in An International Refereed e-Journal of Literary Explorations Impact Factor 0.998 (IIFS) TREND OF POETIC FORMS & THEMES: AN ANALYSIS Dr. Bhoomika Thakur Associate Professor & Head Dept. of English N.M.D.College, Gondia (MS) Abstract Poetry is the expression of soul. Poetry is a part and parcel of literature. It is the most effective and interesting way of expression. It appeals, vitalizes and electrifies the heart and mind. It is an electrifier. The English poetry has a rich history and records. It has traveled a long way. It has undergone multiple changes, influences and revivals. So is the case with themes and forms of the English Poetry. They have experienced several changes as well as revivals. The past records show that there were different forms and themes in different periods. Various changes in themes can be seen. Earlier, themes were related to Religion, church and Morality. Then came in to vogue the themes of love and chivalry. Later, the themes related to the upper- class people of the society were in fashion. During the Romantic Period the themes concerning to common people, rustic life, and nature were in demand. The Pre-Raphaelite poetry was based on the idea of Art for the Sake of Art. On the contrary, the modern poetry emphasizes on the Art for the sake of life. The war- poetry focused on war themes. The poetry of Eliot reflects the shallow mindedness of people and meaninglessness of life. Thus, the English poetry has completed a journey with various changes, adoptions as well as revivals of forms and themes. -
The Canterbury Tales Free
FREE THE CANTERBURY TALES PDF Geoffrey Chaucer,Nevill Coghill | 528 pages | 23 Dec 2008 | Penguin Books Ltd | 9780140424386 | English | London, United Kingdom The Canterbury Tales The framing device for the collection of stories is a pilgrimage to the shrine of Thomas Becket in The Canterbury TalesKent. The 30 pilgrims who The Canterbury Tales the journey gather at the Tabard Inn in Southwarkacross the Thames from London. They agree to engage in a The Canterbury Tales contest as The Canterbury Tales travel, and Harry BaillyThe Canterbury Tales of the Tabard, serves as master of ceremonies for the contest. Chaucer did not complete the full plan for his book: the return journey from Canterbury is not included, and some of the pilgrims do not tell stories. The use of a pilgrimage as the framing device enabled Chaucer to bring together people The Canterbury Tales many walks of life: knight, prioress, monk; merchant, man of The Canterbury Tales, franklin, scholarly clerk; miller, reeve, pardoner; wife of Bath and many others. The The Canterbury Tales and links together offer complex depictions of the pilgrims, while, at the same time, the tales present remarkable examples of short narratives in verse, plus two expositions in prose. The pilgrimage, which in medieval practice combined a fundamentally religious purpose with the secular benefit of a spring vacation, made possible extended consideration of the relationship between the pleasures and vices of this world and the spiritual aspirations for the next. Probably influenced by French syllable-counting in versification, Chaucer developed for The Canterbury Tales a line of 10 syllables with alternating accent and regular end rhyme—an ancestor of the heroic couplet. -
A Genealogy of Antihero∗
A GENEALOGY OF ANTIHERO∗ Murat KADİROĞLU∗∗ Abstract “Antihero”, as a literary term, entered literature in the nineteenth century with Dostoevsky, and its usage flourished in the second half of the twentieth century. However, the antihero protagonists or characters have been on stage since the early Greek drama and their stories are often told in the works of the twentieth century literature. The notion of “hero” sets the base for “antihero”. In every century, there are heroes peculiar to their time; meanwhile, antiheroes continue to live as well, though not as abundant as heroes in number. The gap between them in terms of their personality, moral code and value judgements is very obvious in their early presentation; however, the closer we come to our age, the vaguer this difference becomes. In contemporary literature, antiheroes have begun to outnumber heroes as a result of historical, political and sociological facts such as wars, and literary pieces have tended to present themes of failure, inaction, uncertainty and despair rather than heroism and valour. This study argues that Second World War has the crucial impact on the development of the notion of modern antihero. As a consequence of the war, “hero” as the symbol of valour, adventure, change and action in the legends and epic poems has been transformed into “antihero” of failure and despair, especially in realist, absurdist and existentialist works written during/after the Second World War. Keywords: Antihero, Hero, Heroism, Protagonist, Romantic Hero, Second World War, Post-war Öz Anti-kahramanın Soykütüğü Edebi bir terim olarak “anti-kahraman” ya da “karşı-kahraman”, on dokuzuncu yüzyılda Dostoyevski ile edebiyata girmiştir ve kullanımı yirminci yüzyılın ikinci yarısında doruğa ulaşmıştır. -
Ovid's Wand: the Brush of History and the Mirror of Ekphrasis Presented In
Ovid’s Wand: the brush of history and the mirror of ekphrasis Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Reid Hardaway, M.A. Graduate Program in English The Ohio State University 2017 Dissertation Committee: Ethan Knapp, Advisor Karen Winstead Sarah-Grace Heller Copyright by Reid Hardaway 2017 Abstract The recent work on the manuscript reception of Ovid’s canon and Ovidian commentaries in western Europe has affirmed the author’s significant literary influence in the late Mid- dle Ages. The production and reception of Ovidinia flourished, and Ovid’s poems in- creasingly became read as coherent compositions rather than dissected for bits of moral exempla. In particular, the Metamorphoses profoundly affects the literary landscape of late medieval France and England. Allusions to Ovid’s poem reemerge throughout the late Middle Ages at defining moments of poetic self-consciousness, most often through figures of ekphrasis, the use of poetry in order to portray other media of art. By examin- ing such moments from a selection of influential medieval poems, the mind of the late medieval poet reveals itself in perpetual contestation with the images and figures of an Ovidian lineage, but the contest entails the paradoxical construction of poetic identity, which forces the poet to impose the haunting shadow of literary history onto the mirror of his or her craft. ii Acknowledgements The following work would not have been possible without the considerate and insightful assistance of my advisor, Ethan Knapp, as well as the other members of the dissertation committee, Karen Winstead and Sarah-Grace Heller. -
“General Prologue,” Canterbury Tales: Informational/Explanatory Writing and Close Reading Task Text Grade Band Placement
“General Prologue,” Canterbury Tales: Informational/explanatory Writing and Close Reading Task Text grade band placement: 11-12 Text Text Complexity Analysis Title: General Prologue, The Canterbury Quantitative: Tales Lexile: 1310L Author: Geoffrey Chaucer Qualitative: Meaning - Several levels/layers and competing elements of meaning that are difficult to Citation/Publication info: identify, separate, and interpret; theme is implicit or subtle, often ambiguous and revealed over Chaucer, Geoffrey. The Canterbury the entirety of the text Tales. Trans. Nevill Coghill. Prentice Hall Literature: The Text Structure - Narration: Complex and/or unconventional; many shifts in point of view and/or British Tradition. Upper Saddle perspective; Order of Events: Not in chronological order; heavy use of flashback River, NJ: Pearson, 2012. 97- 119. Print. Language Features - Conventionality: Dense and complex; contains abstract, ironic, and/or figurative language; Vocabulary: Some use of unfamiliar, archaic, subject-specific, or overly Link: academic language http://www.fordham.edu/halsall/source/CT- prolog-para.html Knowledge Demands - Life Experiences: Explores many complex and sophisticated themes; experiences are distinctly different from the common reader; Intertextuality and Cultural Knowledge: Some references or allusions to other texts or cultural elements; Subject Matter Knowledge: requires some prior content knowledge Reader and Task: The Common Core State Standards name The Canterbury Tales as an exemplar text for the 11- 12 grade band. It is important to note that even in a translated version, the text remains a challenge given the complexities of meaning, text structure, language features and knowledge demands placed upon the reader. ELA Common Core Standards addressed by task CCSS.ELA-Literacy.RL.11-12.1 Cite strong and thorough textual evidence to support analysis of what the text says explicitly as well as inferences drawn from the text, including determining where the text leaves matters uncertain. -
Example of Heroic Couplet in Literature
Example Of Heroic Couplet In Literature Protrusible and embryological August declutches, but Barthel will-lessly cone her underpants. Osmund sops her cayman bearishly, she relinquishes it corporeally. Splashier and provisionary Mylo verged his replications gumshoeing entreat infectiously. The musician Timotheus modulates Alexander the Great though several moods, manipulating him feel sure hand. But for example, heroic gouplet used couplet of heroic couplet example in literature, either have been committed to? Arvind krishna mehrotra, in itself to add at example: closed couplet to submit some cases they alternate between what grade literary technique. What is saying that govern that line six of danger you visit this example of in heroic couplet literature. Belinda as heroic couplet examples of! Find ironic rejection of heroic couplet including its own custom theme of a variety of this couplet features two words are saved will be familiar with parents is. Pope blames the poem, most common everyday occurrence of intricate tensions rarely viewed as thomas thorpe, in heroic example couplet of literature, the writing a variety of a downfall. Thank you get in three quatrains, pulling us motivate every unit of heroic couplets: here inserts a writer to play a speech. Jonathan swift and it rhymes that lamented the heroic couplets definition of the eighteenth century the! While he and a heroic couplet example of. The poem is predominantly a political satire that explores the conflict between Catholics and Protestants during martial rule together King Charles. Many epic poems were translated into English using heroic couplets. Sorry, fireplace is an invalid or expired game link. -
Translator's Introduction
translator’s introduction: taking up the gauntlet i Poor Racine! Martin Turnell begins his Jean Racine: Dramatist by quoting François Mauriac: “Of all our authors, Racine is one of the least accessible to the peoples of other countries” (Turnell, 3). Rob- ert Lowell’s preface to his translation of Phèdre opens with this dis- heartening pronouncement: “Racine’s plays are generally and cor- rectly thought to be untranslatable” (Lowell, 7). Patrick J. Smith, in a New York Times article of January 3, 1999, occasioned by the imminent importation of the Almeida Theater Company’s produc- tions of Phaedra and Britannicus, accurately reports that “it has long been an axiom of Racinian criticism that his works are untenable in translation.” So pervasive is this view, and so often is it resorted to by translators as a preemptive apology, as it were, for the inevitable inadequacy of their versions, that they seem to be offering up not so much the tragedies of Racine as the tragedy of Racine. Strange, if not shocking, to say, I have not found Racine to be untranslatable. Perhaps this is because I have made use of a ready- to-hand verse form that, for reasons explained below, is ideally designed to translate Racine’s poetic and dramatic style into Eng- lish, namely, the “heroic couplet” (or “English couplet,” as I prefer to call it). My decision to translate Racine into rhymed, end-stopped iambic pentameter couplets was prompted by several consider- ations. Let me introduce the first by quoting from C. H. Sisson’s xxii s translator’s introduction introduction to his Racine translations. -
Summary & Analysis of the Pardoner's Tale
Summary & Analysis of The Pardoner’s Tale Summary Apparently deeply affected by the Physician's sad and gruesome tale of Virginia, the Host praises the Physician by using as many medical terms as he can muster. However, he rejects the Physician's moral to the tale and substitutes one of his own: Thus the gifts of fortune and nature are not always good ("The gifts of Fortune and Nature have been the cause of the death of many a person"). Thinking that the pilgrims need a merry tale to follow, the Host turns to the Pardoner. The more genteel members of the company, fearing that the Pardoner will tell a vulgar story, ask the Pardoner for a tale with a moral. The Pardoner then explains to the pilgrims the methods he uses in preaching. His text is always "Radix malorum est cupidatis" ("Love of money is the root of all evil"). Always employing an array of documents and objects, he constantly announces that he can do nothing for the really bad sinners and invites the good people forward to buy his relics and, thus, absolve themselves from sins. Then he stands in the pulpit and preaches very rapidly about the sin of avarice so as to intimidate the members into donating money. He repeats that his theme is always "Money is the root of all evil" because, with this text, he can denounce the very vice that he practices: greed. And even though he is guilty of the same sins he preaches against, he can still make other people repent. -
(Mael 502) Semester Ii British Poetry Ii
PROGRAMME CODE: MAEL 20 SEMESTER I BRITISH POETRY I (MAEL 502) SEMESTER II BRITISH POETRY II (MAEL 506) SCHOOL OF HUMANITIES Uttarakhand Open University PROGRAMME CODE: MAEL 20 SEMESTER I BRITISH POETRY I (MAEL 502) SEMESTER II BRITISH POETRY II (MAEL 506) SCHOOL OF HUMANITIES Uttarakhand Open University Phone no. 05964-261122, 261123 Toll Free No. 18001804025 Fax No. 05946-264232, e-mail info @uou.ac.in http://uou.ac.in Board of Studies Prof. H. P. Shukla (Chairperson) Prof. S. A. Hamid (Retd.) Director Dept. of English School of Humanities Kumaun University Uttarakhand Open University Nainital Haldwani Prof. D. R. Purohit Prof. M.R.Verma Senior Fellow Dept. of English Indian Institute of Advanced Study Gurukul Kangri University Shimla, Himanchal Pradesh Haridwar Programme Developers and Editors Dr. H. P. Shukla Dr. Suchitra Awasthi (Coordinator) Professor, Dept. of English Assistant Professor Director, School of Humanities Dept. of English Uttarakhand Open University Uttarakhand Open University Unit Writers Dr. Suchitra Awasthi, Uttarakhand Open University, Haldwani Semester I: Units 1,2,3,4,5, Semester II: Unit 7 Dr. Binod Mishra, IIT, Roorkee Semester I: Units 6,7,8,9 Dr. Preeti Gautam, Govt. P.G. College, Rampur Semester II: Units 1, 2 Mr. Rohitash Thapliyal, Graphic Era Hill University, Bhimtal Semester II: Units 3,4,5 Dr. Mohit Mani Tripathi, D.A.V. College, Kanpur Semester II: Unit 6 Edition: 2020 ISBN : 978-93-84632-13-7 Copyright: Uttarakhand Open University, Haldwani Published by: Registrar, Uttarakhand Open University, Haldwani -
Clerk's Tale." Robert R
East Tennessee State University Digital Commons @ East Tennessee State University Electronic Theses and Dissertations Student Works 5-2003 "And Gladly Wolde He Teche": Chaucer's Use of Source Materials in the "Clerk's Tale." Robert R. Brandon II East Tennessee State University Follow this and additional works at: https://dc.etsu.edu/etd Part of the English Language and Literature Commons Recommended Citation Brandon, Robert R. II, ""And Gladly Wolde He Teche": Chaucer's Use of Source Materials in the "Clerk's Tale."" (2003). Electronic Theses and Dissertations. Paper 748. https://dc.etsu.edu/etd/748 This Thesis - Open Access is brought to you for free and open access by the Student Works at Digital Commons @ East Tennessee State University. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of Digital Commons @ East Tennessee State University. For more information, please contact [email protected]. “And Gladly Wolde He Teche:” Chaucer’s Use of Source Materials in the “Clerk’s Tale” ________________________________________________ A thesis presented to the faculty of the Department of English East Tennessee State University In partial fulfillment of the requirements for the degree Masters of Arts in English _________________________________________________ By Robert R. Brandon May 2003 _________________________________________________ Dr. DiCicco, Chair Dr. Powers-Beck Dr. Stanley Keywords: Chaucer, Clerk’s Tale, Griselda, Canterbury Tales ABSTRACT And Gladly Wolde He Teche: Chaucer’s Use of Source Materials in the “Clerk’s Tale” By Robert R. Brandon Few of Chaucer’s works provoke such animosity as does his “Clerk’s Tale.” Modern critics are divided by the social and gender issues to which the tale lends itself. -
Or... Geoffrey Chaucer's Flying Circus
or... Geoffrey Chaucer’s Flying Circus By Burton Bumgarner © Copyright 2007, Pioneer Drama Service, Inc. Professionals and amateurs are hereby warned that a royalty must be paid for every performance, whether or not admission is charged. All inquiries regarding rights should be addressed to Pioneer Drama Service, Inc., PO Box 4267, Englewood, CO 80155. All rights to this play—including but not limited to amateur, professional, radio broadcast, television, motion picture, public reading and translation into foreign languages—are controlled by Pioneer Drama Service, Inc., without whose permission no performance, reading or presentation of any kind in whole or in part may be given. These rights are fully protected under the copyright laws of the United States of America and of all countries covered by the Universal Copyright Convention or with which the United States has reciprocal copyright relations, including Canada, Mexico, Australia and all nations of the United Kingdom. COPYING OR REPRODUCING ALL OR ANY PART OF THIS BOOK IN ANY MANNER IS STRICTLY FORBIDDEN BY LAW. On all programs, printing and advertising, the following information must appear: 1. The full name of the play 2. The full name of the playwright 3. The following notice: “Produced by special arrangement with Pioneer Drama Service, Inc., Englewood, Colorado” THE CANTERBURY TALES Or… Geoffrey Chaucer’s Flying Circus By BURTON BUMGARNER CAST OF CHARACTERS # of lines BORING SCHOLAR.....................lectures on Chaucer 11 HARRY BAILEY ..........................host of the Tabard Inn and the 117 narrator of The Canterbury Tales STAGE MANAGER ......................of the play 4 SIGN CHANGER .........................changes signs for each scene n/a GEOFFREY CHAUCER .................author of The Canterbury Tales; 59 unfocused WRONG PILGRIMS 1-4 ...............Thanksgiving pilgrims in the 4 wrong story MRS. -
Durham E-Theses
Durham E-Theses Studies in the heroic drama of John Dryden Blyth, Michael Graham How to cite: Blyth, Michael Graham (1978) Studies in the heroic drama of John Dryden, Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/8000/ Use policy The full-text may be used and/or reproduced, and given to third parties in any format or medium, without prior permission or charge, for personal research or study, educational, or not-for-prot purposes provided that: • a full bibliographic reference is made to the original source • a link is made to the metadata record in Durham E-Theses • the full-text is not changed in any way The full-text must not be sold in any format or medium without the formal permission of the copyright holders. Please consult the full Durham E-Theses policy for further details. Academic Support Oce, Durham University, University Oce, Old Elvet, Durham DH1 3HP e-mail: [email protected] Tel: +44 0191 334 6107 http://etheses.dur.ac.uk Studies in the Heroic Drama of John Dryden Thesis submitted to the University of Durham for the degree of Ph.D. by Michael Graham Blyth The copyright of this thesis rests with the author No quotation from it should be published without his prior written consent and information derived from it should be acknowledged 2rsity of Durham Tiber 1978 Acknowledgements My sincere thanks go to the following for their invaluable assistance: Dr. Ray Selden, Durham University English Department, who has given a great deal of his time and critical energy to supervising my work in all stages of its development; Mr.