DOCSLIB.ORG

Zeuscansion: a Tool for Scansion of English Poetry

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Zeuscansion: a Tool for Scansion of English Poetry ZeuScansion: a tool for scansion of English poetry Manex Agirrezabal, Bertol Arrieta, Aitzol Astigarraga Mans Hulden University of the Basque Country (UPV/EHU) University of Helsinki Dept. of Computer Science Department of modern languages 20018 Donostia Helsinki, Finland [email protected] [email protected] [email protected] [email protected] Abstract 1.1 Scansion Conventionally, scanning a line of poetry should We present a finite state technology based sys- yield a representation where every syllable is tem capable of performing metrical scansion marked with a level of stress—typically two or more of verse written in English. Scansion is the traditional task of analyzing the lines of a levels are used—and groups of syllables are divided poem, marking the stressed and non-stressed into units of feet. Consider, for example, the follow- elements, and dividing the line into metrical ing line from John Keats’ poem To autumn. feet. The system’s workflow is composed of several subtasks designed around finite state To swell the gourd, and plump the hazel shells machines that analyze verse by performing tokenization, part of speech tagging, stress placement, and unknown word stress pattern Here, a natural analysis is as follows: guessing. The scanner also classifies its input according to the predominant type of metrical foot found. We also present a brief evaluation -’-’-’-’-’ To swell |the gourd |and plump |the haz|el shells of the system using a gold standard corpus of human-scanned verse, on which a per-syllable accuracy of 86.78% is reached. The program We use the symbol ’ to denote marked (ictic) syl- uses open-source components and is released lables, and - to denote unmarked ones (non-ictic). under the GNU GPL license. That is, we have analyzed the line in question to fol- low a stress pattern 1 Introduction DE-DUM DE-DUM DE-DUM DE-DUM DE-DUM Scansion is a well-established form of poetry anal- ysis which involves marking the prosodic meter of lines of verse and possibly also dividing the lines and also to consist of five feet of two syllables each into feet. The specific technique and scansion nota- in the order unstressed-stressed. Indeed, this is the tion may differ from language to language because most common meter in English poetry: iambic pen- of phonological differences. Scansion is tradition- tameter. ally done manually by students and scholars of po- The above example is rather clear-cut. How a par- etry. In the following, we present a finite-state based ticular line of verse should be scanned, however, is software tool—ZeuScansion— for performing this often a matter of contention. Consider a line from task with English poetry, and provide a brief evalua- the poem Le Monocle de Mon Oncle by Wallace tion of its performance on a gold standard corpus of Stevens: poetry in various meters. I wish that I might be a thinking stone 18 Proceedings of the 11th International Conference on Finite State Methods and Natural Language Processing, pages 18–24, St Andrews–Sctotland, July 15–17, 2013. c 2013 Association for Computational Linguistics Here, matters are much more murky. Regarding Disyllabic feet the ambiguity in this line, the poet Alfred Corn notes - - pyrrhus that - ’ iamb . there is in fact room for disagree- ’ - trochee ment about the scansion of this line. But ’ ’ spondee Stevens is among the most regular of the metrists, and he probably heard it as five Trisyllabic feet iambic feet.1 Still, an alternative scansion - - - tribrach is: one iamb, followed by a pyrrhic foot,2 ’ - - dactyl followed by two strong stresses, followed - ’ - amphibrach by two iambs. - - ’ anapest - ’ ’ bacchius In line with the above commentary, the following ’ ’ - antibacchius represents several alternative analyses of the line in ’ - ’ cretic question: ’ ’ ’ molossus Examp.: I wish that I might be a thinking stone Table 1: Metrical feet used in English poetry 1st: - ’ - ’ - ’ - ’ - ’ 2nd: - ’ - - ’ ’ - ’ - ’ predominant format used in a poem. The follow- ing illustrates the analysis produced by our tool of a 3rd: - ’ - ’ ’ ’ - ’ - ’ stanza from Lewis Carroll’s poem Jabberwocky: 4th: - ’ - - - ’ - ’ - ’ 1 He took his vorpal sword in hand: The first variant is the meter (probably) intended 2 Long time the manxome foe he sought- by the author. The second line is Corn’s alternative 3 So rested he by the Tumtum tree, scansion. The third and fourth lines show the out- 4 And stood awhile in thought. put of the software tools Scandroid and ZeuScan- 1 - ’ - ‘- ’ - ’ 2 ’ ’ - ‘’ ’ - ’ sion, respectively. 3 ’ ‘- - - - ‘- ’ In short, evaluating the output of automatic scan- 4 - ’ -’ - ’ sion is somewhat complicated by the possibility of In addition to this, the system also analyzes the various good interpretations. As we shall see below, different types of feet that make up the line (dis- when evaluating the scansion task, we use a gold cussed in more detail below). ZeuScansion sup- standard that addresses this and accepts several pos- ports most of the common types of foot found in En- sible outputs as valid. glish poetry, including iambs, trochees, dactyls, and anapests. Table 1 shows a more complete listing of 2 The output of ZeuScansion the type of feet supported. As there exist many different established systems 2.1 Metrical patterns of scansion, especially as regards minor details, we have chosen a rather conservative approach, which Once we have identified the feet used in a line, we also lends itself to a fairly mechanical, linguistic rule can analyze for each line the most likely meter used. based implementation. In the system, we distinguish This includes common meters such as: three levels of stress, and mark each line with a stress Iambic pentameter: Lines composed of 5 • pattern, as well as make an attempt to analyze the iambs, used by Shakespeare in his Sonnets. 1 Iambic foot: A weak-stressed syllable followed by a Dactylic hexameter:3 Lines composed of 6 strong-stressed syllable. • 2Pyrrhic foot: Two syllables with weak stress. 3Also known as heroic hexameter 19 dactyls, used by Homer in the Iliad. for stress assignment. As with the other documented projects, we have not found an implementation to re- Iambic tetrameter: Lines composed of 4 iambs, • view. used by Robert Frost in Stopping by Woods on a Snowy Evening. 4 Method For example, if we provide Shakespeare’s Sonnets Our tool is largely built around a number of rules as input, ZeuScansion classifies the work as iambic regarding scansion developed by Peter L. Groves pentameter in its global analysis (line-by-line output (Groves, 1998). It consists of two main components: omitted here): (a) An implementation of Groves’ rules of Syllable stress _’_’_’_’_’ scansion—mainly a collection of POS-based Meter: Iambic pentameter stress-assignment rules. 3 Related work (b) A pronunciation lexicon together with an out- There exist a number of projects that attempt to au- of-vocabulary word guesser. tomate the scansion of English verse. In this section, (a) Groves’ rules we present some of them. Scandroid (2005) is a program that scans En- Groves’ rules assign stress as follows: glish verse in iambic and anapestic meter, written by 1. Primary step: Mark the stress of the primarily Charles O. Hartman (Hartman, 1996). The source stressed syllable in content words.6 code is available.4 The program can analyze poems and check if their stress pattern is iambic or anapes- 2. Secondary step: Mark the stress of (1) the sec- tic. But, if the input poem’s meter differs from ondarily stressed syllables of polysyllabic con- those two, the system forces each line into iambic tent words and (2) the most strongly stressed or anapestic feet, i.e. it is specifically designed to syllable in polysyllabic function words.7 only scan such poems. AnalysePoems is another tool for automatic scan- In section 5 we present a more elaborate example sion and identification of metrical patterns written to illustrate how Groves’ rules are implemented. by Marc Plamondon (Plamondon, 2006). In contrast to Scandroid, AnalysePoems only identifies patterns; (b) Pronunciation lexicon it does not impose them. The program also checks To calculate the basic stress pattern of words nec- rhymes found in the input poem. It is reportedly essary for step 1, we primarily use two pronuncia- developed in Visual Basic and the .NET framwork; tion dictionaries: The CMU Pronouncing Dictionary however, neither the program nor the code appear to (Weide, 1998) and NETtalk (Sejnowski and Rosen- be available. berg, 1987). Each employs a slightly different nota- Calliope is another similar tool, built on top of tion, but they are similar in content: they both mark Scandroid by Garrett McAleese (McAleese, 2007). three levels of stress, and contain pronunciations and It is an attempt to use linguistic theories of stress stress assignments: assignment in scansion. The program seems to be NETTALK format: unavailable. abdication @bdIkeS-xn 2<>0>1>0<<0 Of the current efforts, (Greene et al., 2010) ap- CMU format: pears to be the only one that uses statistical meth- INSPIRATION IH2 N S P ER0 EY1 SH AH0 N ods in the analysis of poetry. For the learning pro- The system uses primarily the smaller NETtalk cess, they used sonnets by Shakespeare, as well as dictionary (20,000 words) and falls back to use a number of others works downloaded from the In- CMU (125,000 words) in case a word is not found ternet.5 Weighted finite-state transducers were used 6Content words are nouns, verbs, adjectives, and adverbs. 4http://oak.conncoll.edu/cohar/Programs.htm 7Function words are auxiliaries, conjunctions, pronouns, 5http://www.sonnets.org and prepositions. 20 English poetry text RHYTHMI-METRICAL SCANSION GROVES' RULES Tokenizer 1st step POS-tagger 2nd step Cleanup Are the words in N Closest word the dictionary? finder Metrical information Y Figure 1: Structure of ZeuScansion in NETtalk.
Load more

Recommended publications
  • 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.
    [Show full text]
  • Introduction to Meter
    Introduction to Meter A stress or accent is the greater amount of force given to one syllable than another. English is a language in which all syllables are stressed or unstressed, and traditional poetry in English has used stress patterns as a fundamental structuring device. Meter is simply the rhythmic pattern of stresses in verse. To scan a poem means to read it for meter, an operation whose noun form is scansion. This can be tricky, for although we register and reproduce stresses in our everyday language, we are usually not aware of what we’re going. Learning to scan means making a more or less unconscious operation conscious. There are four types of meter in English: iambic, trochaic, anapestic, and dactylic. Each is named for a basic foot (usually two or three syllables with one strong stress). Iambs are feet with an unstressed syllable, followed by a stressed syllable. Only in nursery rhymes to do we tend to find totally regular meter, which has a singsong effect, Chidiock Tichborne’s poem being a notable exception. Here is a single line from Emily Dickinson that is totally regular iambic: _ / │ _ / │ _ / │ _ / My life had stood – a loaded Gun – This line serves to notify readers that the basic form of the poem will be iambic tetrameter, or four feet of iambs. The lines that follow are not so regular. Trochees are feet with a stressed syllable, followed by an unstressed syllable. Trochaic meter is associated with chants and magic spells in English: / _ │ / _ │ / _ │ / _ Double, double, toil and trouble, / _ │ / _ │ / _ │ / _ Fire burn and cauldron bubble.
    [Show full text]
  • Your Feet's Too Big: Downsizing English Metrics
    Mad River Review Volume 1 Issue 1 Article 9 2016 Your Feet's Too Big: Downsizing English Metrics William Wilborn Follow this and additional works at: https://corescholar.libraries.wright.edu/mrr Part of the Fiction Commons Recommended Citation Wilborn, W. (2016). Your Feet's Too Big: Downsizing English Metrics, Mad River Review, 1 (1). This Criticism is brought to you for free and open access by CORE Scholar. It has been accepted for inclusion in Mad River Review by an authorized editor of CORE Scholar. For more information, please contact library- [email protected]. Wilborn: Your Feet's Too Big: Downsizing English Metrics WILLIAM WILBORN Your Feet’s Too Big: Downsizing English Metrics Classical English metrics, as in Shakespeare's iambic pentameter, is a method of grouping the local rhythms of language into two ascending levels of organization, the foot and the line or verse. Unfortunately our understanding of this method has long been clouded by theory. That is because verse is more like dancing than computation. A gardener at Rydal Mount remembered watching Wordsworth as he composed. In his innocence he reveals the physical basis of practical metrics. Essentially he tells us that for Wordsworth iambic meter was walking: I think I can see him at it now. He was ter'ble thrang [busy] with visitors and folks, you mun kna, at times, but if he could git awa fra them for a spell, he was out upon his gres [grass] walk; He would set his head a bit forrad, and put his hands behint his back. And then he would start bumming, and it was bum, bum, bum, stop; then bum, bum, bum, reet down til t'other end [of the walk], and then he'd set down and git a bit o' paper out and write a bit; and then he git up, and bum, bum, bum, and goa on bumming for long enough right down and back agean.
    [Show full text]
  • Some Problems in Prosody
    1903·] Some Problems in Prosody. 33 ARTICLE III. SOME PROBLEMS IN PROSODY. BY PI10PlCSSOI1 R.aBUT W. KAGOUN, PR.D. IT has been shown repeatedly, in the scientific world, that theory must be supplemented by practice. In some cases, indeed, practice has succeeded in obtaining satisfac­ tory results after theory has failed. Deposits of Urate of Soda in the joints, caused by an excess of Uric acid in the blood, were long held to be practically insoluble, although Carbonate of Lithia was supposed to have a solvent effect upon them. The use of Tetra·Ethyl-Ammonium Hydrox­ ide as a medicine, to dissolve these deposits and remove the gout and rheumatism which they cause, is said to be due to some experiments made by Edison because a friend of his had the gout. Mter scientific men had decided that electric lighting could never be made sufficiently cheap to be practicable, he discovered the incandescent lamp, by continuing his experiments in spite of their ridicule.1 Two young men who "would not accept the dictum of the authorities that phosphorus ... cannot be expelled from iron ores at a high temperature, ... set to work ... to see whether the scientific world had not blundered.'" To drive the phosphorus out of low-grade ores and convert them into Bessemer steel, required a "pot-lining" capable of enduring 25000 F. The quest seemed extraordinary, to say the least; nevertheless the task was accomplished. This appears to justify the remark that "Thomas is our modem Moses";8 but, striking as the figure is, the young ICf.
    [Show full text]
  • ASSESSING POETRY MARKUP with NUSCHOLAR by MEGHA JYOTI
    ASSESSING POETRY MARKUP WITH NUSCHOLAR by MEGHA JYOTI Submitted in partial fulfilment of the requirements for the degree of Master of Computer Science at Dalhousie University Halifax, Nova Scotia December 2013 © Copyright by Megha Jyoti, 2013 TABLE OF CONTENTS LIST OF TABLES ........................................................................................................... viii LIST OF FIGURES ........................................................................................................... ix ABSTRACT .................................................................................................................... xi ACKNOWLEDGEMENTS ............................................................................................... xii CHAPTER 1 INTRODUCTION .......................................................................................... 1 1.1 Benefits of Digital Scansion Tool ............................................................................... 3 1.2 Motivation ................................................................................................................. 5 1.3 Thesis Contribution ................................................................................................... 6 1.4 Solution Overview ..................................................................................................... 6 1.4.1 Requirement Gathering ................................................................................. 6 1.4.2 Design and Implementation .........................................................................
    [Show full text]
  • Gerard Manley Hopkins and Old English Poetry: a Stylistic Analysis
    Gerard Manley Hopkins and Old English poetry: a stylistic analysis Item Type text; Dissertation-Reproduction (electronic) Authors Li, Leshi Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 23/09/2021 14:04:44 Link to Item http://hdl.handle.net/10150/565498 GERARD MANLEY HOPKINS AND OLD ENGLISH POETRY: A STYLISTIC ANALYSIS by Rebecca Lee A Dissertation Submitted to the Faculty of the DEPARTMENT OF ENGLISH In Partial Fulfillment of the Requirements For the Degree of DOCTOR OF PHILOSOPHY WITH A MAJOR IN ENGLISH LITERATURE . In the Graduate College THE UNIVERSITY OF ARIZONA 19 8 1 THE UNIVERSITY OF ARIZONA GRADUATE COLLEGE As members of the Final Examination Committee, we certify that we have read the dissertation prepared by Rebecca Lee_________________________________ entitled GERARD MANLEY HOPKINS AND OLD ENGLISH POETRY:___________________ A STYLISTIC ANALYSIS and recommend that it be accepted as fulfilling the dissertation requirement for the Degree of Doctor of Philosophy Date Date Final approval and acceptance of this dissertation is contingent upon the candidate's submission of the final copy of the dissertation to the Graduate College. I hereby certify that I have read this dissertation prepared under my direction and recommend that it be accepted as fulfilling the dissertation requirement. * / ■ ? ■ / Dissertation Director Date / STATEMENT BY AUTHOR This dissertation has been submitted in partial fulfillment of requirements for an advanced degree at The University of Arizona and is deposited in the University Library to be made available to borrowers under rules of the Library» Brief quotations from this dissertation are allowable without special permission5 provided that accurate acknowledgment of source is made.
    [Show full text]
  • Robert Hayden (1913-1980)
    ROBERT HAYDEN (1913-1980) “RUNAGATE RUNAGATE” (1962) √A highly moving—rhythmic—poetic evocation of the Underground Railroad: sights, sounds, fears, threats, the heroine Harriet Tubman, language from “WANTED” posters. Different VOICES. √ THE CONCISE OXFORD COMPANION TO AFRICAN AMERICAN LITERATURE: “One of Robert Hayden’s most successful historical poems, ‘Runagate Runagate’ (first published in 1962), employs a montage of voices to portray the tumultuous world of escaped slaves, and ultimately the fundamental human impulse toward freedom. ‘Runagate,’ a term for a runaway slave, refers specifically to Harriet Tubman and by extension to a series of symbols suggesting freedom and emancipation.” [http://oxfordindex.oup.com/view/10.1093/oi/authority.20110803100433238] √ Cental Idea: Quest for Freedom, of slaves in the American South √ Poetic Meter: Utilizes a variety of meters: dactyl, iamb, amphibrach, cretic, anapest, spondee—yet is strongly grounded in the TROCHAIC. The poem’s opening line is in Trochaic Heptameter, with other major line-groupings of 6 trochees, 4 trochees, 3 trochees, pairs of trochees “bookending” another single meter; the “hoot-owl calling” quatrain near the poem’s conclusion has all 4 lines in Trochaic Tetrameter. The use of TROCHEE is, further, associated with moments of high drama. Three MOLOSSUS in highly emotionally charged moments. √ Historical, Evocative, Powerful, Personal √ Historical sources of some of the poetic language: spirituals, hymns, abolitionist songs, WANTED posters, voices of slaves, the voice of Harriet Tubman. √ Reiteration and Alliteration: “Catch them if you can….”; “she says”; “movering, movering”; “Mean (mean mean) to be free”; “brethren brethren”; “air”; “leaves”; “No more”; “Some go (some in)”; “for me”; “darkness”; “beckoning beckoning”; “and the hunters pursuing and the hounds pursuing”; “and the night cold and the night long”; “keep on going”; “when you try to catch them”; “Many thousands”; “If you see”; “woman of earth, whipscarred, a summoning, a shining”; “Tell me .
    [Show full text]
  • The Poetry Handbook I Read / That John Donne Must Be Taken at Speed : / Which Is All Very Well / Were It Not for the Smell / of His Feet Catechising His Creed.)
    Introduction his book is for anyone who wants to read poetry with a better understanding of its craft and technique ; it is also a textbook T and crib for school and undergraduate students facing exams in practical criticism. Teaching the practical criticism of poetry at several universities, and talking to students about their previous teaching, has made me sharply aware of how little consensus there is about the subject. Some teachers do not distinguish practical critic- ism from critical theory, or regard it as a critical theory, to be taught alongside psychoanalytical, feminist, Marxist, and structuralist theor- ies ; others seem to do very little except invite discussion of ‘how it feels’ to read poem x. And as practical criticism (though not always called that) remains compulsory in most English Literature course- work and exams, at school and university, this is an unwelcome state of affairs. For students there are many consequences. Teachers at school and university may contradict one another, and too rarely put the problem of differing viewpoints and frameworks for analysis in perspective ; important aspects of the subject are omitted in the confusion, leaving otherwise more than competent students with little or no idea of what they are being asked to do. How can this be remedied without losing the richness and diversity of thought which, at its best, practical criticism can foster ? What are the basics ? How may they best be taught ? My own answer is that the basics are an understanding of and ability to judge the elements of a poet’s craft. Profoundly different as they are, Chaucer, Shakespeare, Pope, Dickinson, Eliot, Walcott, and Plath could readily converse about the techniques of which they are common masters ; few undergraduates I have encountered know much about metre beyond the terms ‘blank verse’ and ‘iambic pentameter’, much about form beyond ‘couplet’ and ‘sonnet’, or anything about rhyme more complicated than an assertion that two words do or don’t.
    [Show full text]
  • Audible Punctuation Performative Pause In
    PDF hosted at the Radboud Repository of the Radboud University Nijmegen The following full text is a publisher's version. For additional information about this publication click this link. http://hdl.handle.net/2066/140838 Please be advised that this information was generated on 2021-09-25 and may be subject to change. AUDIBLE PUNCTUATION Performative Pause in Homeric Prosody Audible Punctuation: Performative Pause in Homeric Prosody Proefschrift ter verkrijging van de graad van doctor aan de Radboud Universiteit Nijmegen op gezag van de rector magnificus prof. dr. Th.L.M. Engelen, volgens besluit van het college van decanen in het openbaar te verdedigen op donderdag 21 mei 2015 om 14.30 uur precies door Ronald Blankenborg geboren op 23 maart 1971 te Eibergen Promotoren: Prof. dr. A.P.M.H. Lardinois Prof. dr. J.B. Lidov (City University New York, Verenigde Staten) Manuscriptcommissie: Prof. dr. M.G.M. van der Poel Prof. dr. E.J. Bakker (Yale University, Verenigde Staten) Prof. dr. M. Janse (Universiteit Gent, België) Copyright©Ronald Blankenborg 2015 ISBN 978-90-823119-1-4 [email protected] [email protected] All rights reserved. No part of this publication may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopy, recording, or any information storage or retrieval system, without permission in writing from the author. Printed by Maarse Printing Cover by Gijs de Reus Audible Punctuation: Performative Pause in Homeric Prosody Doctoral Thesis to obtain the degree of doctor from Radboud University Nijmegen on the authority of the Rector Magnificus prof.
    [Show full text]
  • Phonetics and Phonology
    TRNAVA UNIVERSITY IN TRNAVA FACULTY OF EDUCATION PHONETICS AND PHONOLOGY Selected Aspects of English Pronunciation Učebné texty Hana Vančová Trnava 2019 Phonetics and Phonology. Selected Aspects of English Pronunciation Učebné texty. © Mgr. Hana Vančová, PhD. Recenzenti: prof. PaedDr. Silvia Pokrivčáková, PhD. Mgr. Eva Lukáčová, PhD. Jazyková korektúra: M. A. Louise Kocianová Vydal: Pedagogická fakulta Trnavskej univerzity v Trnave Vydanie: prvé Náklad: elektronické vydanie Trnava 2019 ISBN 978-80-568-0178-9 2 OBSAH Introduction ................................................................................................................................ 5 1 THE ACOUSTIC ASPECT OF LANGUAGE ................................................................................... 6 1.1 The development of human speech ................................................................................. 6 1.2 Interfaces of phonetics and phonology with other linguistic disciplines ......................... 8 1.3 English orthography and pronunciation ......................................................................... 11 2 PHONEMES AND ALLOPHONES ............................................................................................. 16 2. 1 Vowel sounds ................................................................................................................. 16 2.1.1 Vowels (monophthongs) .......................................................................................... 16 2.1.2 Diphthongs ..............................................................................................................
    [Show full text]
  • I. a Humanist John Merbecke
    Durham E-Theses Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550) Kim, Hyun-Ah How to cite: Kim, Hyun-Ah (2005) Renaissance humanism and John Merbecke's - The booke of Common praier noted (1550), Durham theses, Durham University. Available at Durham E-Theses Online: http://etheses.dur.ac.uk/2767/ 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 2 Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Hyun-Ah Kim A 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. Thesis submitted in partial fulfilment of the requirements for the degree of Doctor of Philosophy in Durham University Department of Music Durham University .2005 m 2001 ABSTRACT Hyun-Ah Kim Renaissance Humanism and John Merbecke's The booke of Common praier noted (1550) Renaissance humanism was an intellectual technique which contributed most to the origin and development of the Reformation.
    [Show full text]
  • The Future of Poetry
    return to updates The Future of Poetry by Miles Mathis Many would argue that poetry is dead, and if we had to continue on either of the paths contemporary poetry is traveling, I would say that is true. But we don't. Serious poetry is now split into two main factions. Some would include slam poetry as a third faction, but I just precluded slam poetry with the word “serious.” As I have argued before, slam poetry is a performance art for the defectively educated, having little or no concern for the beauty of the word, the meter, or the meaning. It is usually little more than another excuse to look cool among the illiterati. Real poets have always striven to make their art a high art; slam poetry is a low art, like rap without the music. Yes, slam poetry, like rap, has its place. It is useful both as expression and political speech. But it isn't serious poetry. That leaves us with traditional poetry and modern poetry. What I am calling modern poetry is the mainstream poetry you have seen in journals for the past fifty years. Like modern art, modern poetry has jettisoned most of the old rules and customs of poetry. It has outlawed or obsolesced meter, rhyming, form, and most content. It has also outlawed most emotion. It is a stripped-down minimalist poetry of bald observation, daily happenings, and tepid feeling, to match the modern world it comes from. Like other art forms after 1900, it has become a self-conscious mirror of society.
    [Show full text]