ZPA Latin Day 2019 Recitatiions
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The Play of Memory and Imagination in the Arena of Performance: an Attempt to Contextualise the History and Legend of Amar Singh
The Play of Memory and Imagination in the Arena of Performance: An Attempt to Contextualise the History and Legend of Amar Singh Rathore as taken forward by various Performing Arts First Six-Monthly Report Tripurari Sharma This report attempts to compile and analyse certain aspects that have come to the fore while exploring the various dimensions that emerge from the subject of study. It is true, that Amar Singh as a character has been celebrated in the Folk Performing Arts, like, Nautanki, Khayal and Puppetry. However, that is not all. There are also songs about him and some of the other characters who are part of his narrative. Bards also tell his story and each telling is a distinct version and interpretation of him and his actions. As his presence expands through various cultural expressions of Folklore, it seems necessary to explore the varying dimensions that have enabled this legend construct. A major challenge and delight in this research has been the discovering of material from various sources, not in one place and a lot by interaction and engaging with artists of various Forms. Books, that deal with History, Cultural Studies, Folk poetry, Life styles of Marwar and Rajputs, Mughal Court, Braj Bhasha and Folklore have been studied in detail. The N.M.M.L. has provided much material for reading. This has facilitated, thinking, formulating connections with the Legend, Society and Performative Arts. There have been discussions with artists engaged with Puppetry and Nautanki. Some of them have been preliminary in nature and some fairly exhaustive. Archival material of some senior artists has been examined and more is in process. -
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. -
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. -
A Close Look at Two Poems by Richard Wilbur
Ouachita Baptist University Scholarly Commons @ Ouachita Honors Theses Carl Goodson Honors Program 4-16-1983 A Close Look at Two Poems by Richard Wilbur Jay Curlin Ouachita Baptist University Follow this and additional works at: https://scholarlycommons.obu.edu/honors_theses Part of the Comparative Literature Commons, and the Poetry Commons Recommended Citation Curlin, Jay, "A Close Look at Two Poems by Richard Wilbur" (1983). Honors Theses. 209. https://scholarlycommons.obu.edu/honors_theses/209 This Thesis is brought to you for free and open access by the Carl Goodson Honors Program at Scholarly Commons @ Ouachita. It has been accepted for inclusion in Honors Theses by an authorized administrator of Scholarly Commons @ Ouachita. For more information, please contact [email protected]. A CLOSE LOOK AT TWO POEMS BY RICHARD WILBUR Jay Curlin Submitted in partial fulfillment of the requirements of the University Honors Program Ouachita Baptist University The Department of English Independent Study Project Dr. John Wink Dr. Susan Wink Dr. Herman Sandford 16 April 1983 INTRODUCTION For the past three semesters, I have had the pleasure of studying the techniques of prosody under the tutelage of Dr. John Wink. In this study, I have read a large amount of poetry and have studied several books on prosody, the most influential of which was Poetic Meter and Poetic Form by Paul Fussell. This splendid book increased vastly my knowledge of poetry. and through it and other books, I became a much more sensitive, intelligent reader of poems. The problem with my study came when I tried to decide how to in corporate what I had learned into a scholarly paper, for it seemed that any attempt.to do so would result in the mere parroting of the words of Paul Fussell and others. -
A Study of the Poetic Relationship Between Thomas Hardy and A.C
HARDY'S DANGEROUS COMPANION: A STUDY OF THE POETIC RELATIONSHIP BETWEEN THOMAS HARDY AND A.C. SWINBURNE by EILEEN DELEHANTY PEARKES B.A. Stanford University, 1983 THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER: OF ARTS in THE FACULTY OF GRADUATE STUDIES (English) We accept this thesis as conforming to the required standard THE UNIVERSITY OF BRITISH COLUMBIA October 1991 (c) Eileen Delehanty Pearkes, 1991 In presenting this thesis in partial fulfilment of the requirements for an advanced degree at the University of British Columbia, I agree that the Library shall make it freely available for reference and study. I further agree that permission for extensive copying of this thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It is understood that copying or publication of this thesis for financial gain shall not be allowed without my written permission. Department of ^MQrUtSM The University of British Columbia Vancouver, Canada Date oa- it mi DE-6 (2/88) ABSTRACT Thomas Hardy's elegy to A.C. Swinburne, composed in 1910 shortly after his death, points to a poetic relationship between the two poets which goes beyond admiration or influence. The relationship between Hardy and Swinburne has not been adequately explored by twentieth century critics, and it is the central purpose of this thesis to examine more closely parallels between them on the level of technique. Analysis of Hardy's elegy entitled "A Singer Asleep" suggests how Hardy may have identified with Swinburne on the level of technique. -
ED 105 498 CS 202 027 Introduction to Poetry. Language Arts
DOCUMENT RESUME ED 105 498 CS 202 027 TITLE Introduction to Poetry. Language Arts Mini-Course. INSTITUTION Lampeter-Strasburg School District, Pa. PUB DATE 73 NOTE 13p.; See related documents CS202024-35; Product of Lampeter-Strasburg High School EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS Class Activities; *Course Descriptions; Course Objectives; *Curriculum Guides; Instructional Materials; *Language Arts; Literature; *Poetry; Secondary Education; *Short Courses IDENTIFIERS Minicourses ABSTRACT This language arts minicourse guide for Lampeter-Strasburg (Pennsylvania) High School contains a topical outline of an introduction to a poetry course. The guide includes a list of twenty course objectives; an outline of the definitions, the stanza forms, and the figures of speech used in poetry; a description of the course content .nd concepts to be studied; a presentation of activities and procedures for the classroom; and suggestions for instructional materials, including movies, records, audiovisual aids, filmstrips, transparencies, and pamphlets and books. (RB) U S Oh PAR TmENT OF HEALTH C EOUCATKIN WELFARE NAT.ONA, INSTITUTE OF EOUCATION Ch DO. Ls. 1 N THA) BE E 4 REPRO ^,,)I qAt L'e AS RECEIVED FROM 1' HI PE 4 sON OR ulICHLNIZA T ION ORIGIN :.' 4L, , T PO,N' s OF .IIE K OR OP .NICINS LiN .." E D DO NOT riFcE SSARL + RE PRE ,E % , Lr lat_ 4.% 00NAL INS T TUT e OF CD c D , .'`N POs. T 1C14 OR POLICY uJ Language Arts Mini-Course INTRODUCTION TO POETRY Lampeter-Strasburg High School ERM.SSION TO RE POODuCETHIS COPY M. 'ED MATERIAL HA; BEEN GRANTED BY Lampeter, Pennsylvania Lampeter-Strasburg High School TD ERIC AV) ORGANIZATIONS OPERATING P.t,EP AGREEMENTS .SiTH THE NATIONAL IN STTuTE Or EDUCATION FURTHER 1973 REPRO PUCTION OU'SIDE THE EPIC SYSTEMRE QUIRES PERMISS'ON OF THE COPYRIGHT OWNER N O INTRODUCTION TO POETRY OBJECTIVES: 1. -
Ottava Rima and Novelistic Discourse
Ottava Rima and Novelistic Discourse Catherine Addison In “Discourse in the Novel,” Mikhail Bakhtin goes to some lengths to dis- tinguish novelistic from poetic discourse. And yet, as noted by Neil Roberts (1), he uses a poetic text, Alexander Pushkin’s Eugene Onegin, as one of his prime examples of novelistic discourse (Bakhtin 322–24, 329). Bakhtin’s theory is that poetic genres are monologic, presupposing “the unity of the language system and . of the the poet’s individuality,” as opposed to the novel, which is dialogic, “heteroglot, multivoiced, multi- styled and often multi-languaged.” (264–65). This paper contends that, by Bakhtin’s own criteria, some verse forms are especially well designed for novelistic discourse. The form chosen for particular scrutiny is ottava rima, a stanza that has been used for narrative purposes for many cen- turies, originating in the Italian oral tradition of the cantastorie (Wilkins 9–10; De Robertis 9–15). Clearly, ottava rima could not have originated as an English oral form, for it requires too many rhymes for this rhyme-poor, relatively uninflected language. Using a heroic line—in Italian the hendecasyllabic, in English the iambic pentameter—the stanza’s rhyme scheme is ABABABCC. Thus it resembles the English sonnet in a sense, for it begins with an alternating structure and concludes with a couplet that is alien to both the rhymes and the rhyme pattern that precede it. As with this type of sonnet, a potential appears for a rupture in the discourse between the alternating structure and the couplet. Alternating verse tends to lean forward not to the next line but JNT: Journal of Narrative Theory 34.2 (Summer 2004): 133–145. -
Poetry Types in One Collection Poems That Use Metaphors 1) the Ezra Pound Couplet Two Lines Long. Each Line Is a Metaphor for the Other
Poetry Types in One Collection Poems that Use Metaphors 1) The Ezra Pound Couplet Two lines long. Each line is a metaphor for the other. Typically, there are two or three elements in each line. Example: People filing onto a plane Peas rolling down a knife into a giant’s mouth The people are the peas, the filing into the plane is the rolling down the knife, and the plane itself is the giant. Good Ezra Pound Couplets utilize metaphors that are very different from each other. Too much similarity creates a poor poem. Example: Children playing in a sandbox Adults playing on the beach 2) The Metaphor Poem In this poem, many different forms could be used, such as quatrains or free verse, but the essence of the poem is that the first line provides a metaphor. Take an abstract concept and compare it to a concrete object. Each line that follows describes the concrete object. Example: Love is a battlefield – each line that follows this line will describe a battlefield. Because of the metaphor already established, each of these lines automatically also describes love. We’ll create this poem, based on the song by Pat Benetar, in class now. 3) Riddle Poetry Utilizes the invisible or unknown concrete object. Similar to the above example but without stating that it is love that is being talked about. Dylan Thomas portraits – this is a three line poem that asks a question which is answered by 4-6 word pairs ending in “ing”. Here is an example: Have you ever seen the rain? Life-giving, ground-soaking Mud-making, tires-spinning Haiku – Japanese three line poem with a 5-7-5 syllable pattern. -
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https://theses.gla.ac.uk/ Theses Digitisation: https://www.gla.ac.uk/myglasgow/research/enlighten/theses/digitisation/ This is a digitised version of the original print thesis. Copyright and moral rights for this work are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This work cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Enlighten: Theses https://theses.gla.ac.uk/ [email protected] VERSE FORM IN ENGLISH RENAISSANCE POETRY: A CATALOGUE OF STANZA PATTERNS BY MUNZER ADEL ABSI THESIS SUBMITTED IN FULFILMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF ENGLISH LITERATURE FACULTY OF ARTS UNIVERSITY OF GLASGOW 1992 ABSI, M.A. ProQuest Number: 10992066 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a com plete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. uest ProQuest 10992066 Published by ProQuest LLC(2018). Copyright of the Dissertation is held by the Author. All rights reserved. This work is protected against unauthorized copying under Title 17, United States C ode Microform Edition © ProQuest LLC. -
Tiruvalluvar.Pdf
9 788126 053216 9 788126 053216 TIRUVALLUVAR The sculpture reproduced on the end paper depicts a scene where three soothsayers are interpreting to King Śuddhodana the dream of Queen Māyā, mother of Lord Buddha. Below them is seated a scribe recording the interpretation. This is perhaps the earliest available pictorial record of the art of writing in India. From: Nagarjunakonda, 2nd century A.D. Courtesy: National Museum, New Delhi MAKERS OF INDIAN LITERATURE TIRUVALLUVAR by S. Maharajan Sahitya Akademi Tiruvalluvar: A monograph in English on Tiruvalluvar, eminent Indian philosopher and poet by S. Maharajan, Sahitya Akademi, New Delhi: 2017, ` 50. Sahitya Akademi Head Office Rabindra Bhavan, 35, Ferozeshah Road, New Delhi 110 001 Website: http://www.sahitya-akademi.gov.in Sales Office ‘Swati’, Mandir Marg, New Delhi 110 001 E-mail: [email protected] Regional Offices 172, Mumbai Marathi Grantha Sangrahalaya Marg, Dadar Mumbai 400 014 Central College Campus, Dr. B.R. Ambedkar Veedhi Bengaluru 560 001 4, D.L. Khan Road, Kolkata 700 025 Chennai Office Main Guna Building Complex (second floor), 443, (304) Anna Salai, Teynampet, Chennai 600 018 First Published: 1979 Second Edition: 1982 Reprint: 2017 © Sahitya Akademi ISBN: 978-81-260-5321-6 Rs. 50 Printed by Sita Fine Arts Pvt. Ltd., A-16, Naraina Industrial Area Phase-II, New Delhi 110028 CONTENTS Introduction 7 The Times and Teachings of Tiruvalluvar 11 Translations and Citations 19 The Personality of Tiruvalluvar 25 Interpretation of the Kural 33 Word-worship 37 Sensual Love 41 Architectonics of the Kural 47 Some Glimpses of Tiruvalluvar 54 Valluvar at the World Vegetarian Congress 71 Valluvar’s Blue Print for the Evolution of Man 73 The Bard of Universal Man 98 APPENDIX Transliteration of Tamil words with diacritical marks 105 Bibliography 106 1 INTRODUCTION Though Tiruvalluvar lived about 2000 years ago, it does not seem he is dead. -
1. Alliteration, Consonance and Assonance 2. Allusion 3. Analogy 4. Apostrophe
A Few Literary and Poetic Devices: (words underlined in bold represent “figurative” language) 1. Alliteration, consonance and assonance • The repetition of sounds where consonance uses consonants and assonance uses vowels Ex. From “The Raven” by Edgar Allan Poe Once upon a midnight dreary, while I pondered, weak and weary, Over many a quaint and curious volume of forgotten lore— While I nodded, nearly napping, suddenly there came a tapping, As of someone gently rapping, rapping at my chamber door. “’Tis some visitor,” I muttered, “tapping at my chamber door— Only this and nothing more.” 2. Allusion • a literary device in which an author uses subject matter refer to an event, place, or other work – usually not directly stated • An indirect reference to a piece of knowledge not explicitly mentioned in the text, e.g. “Chocolate was her Achilles Heel” Ex. When Nature sleeps and stars are mute, To mar the silence ev’n with lute. At rest on ocean’s brilliant dyes An image of Elysium lies:” 3. Analogy • A literary device that creates a relationship based on parallels or connections between two ideas. By establishing this relationship, the new idea is introduced through a familiar comparison, thus making the new concept easier to grasp. Analogy is more extensive and elaborate than either a simile or a metaphor. Ex. From Romeo and Juliet “What’s in a name? That which we call a rose By any other word would smell as sweet. So Romeo would, were he not Romeo called,” 4. Apostrophe • An apostrophe used in literature is an arrangement of words addressing a non-existent person or an abstract idea in such a way as if it were present and capable of understanding feelings. -
The Scripture of Helices
The University of Southern Mississippi The Aquila Digital Community Master's Theses Spring 5-2016 The Scripture of Helices Jessica M. Ramer University of Southern Mississippi Follow this and additional works at: https://aquila.usm.edu/masters_theses Part of the Literature in English, North America Commons, and the Poetry Commons Recommended Citation Ramer, Jessica M., "The Scripture of Helices" (2016). Master's Theses. 169. https://aquila.usm.edu/masters_theses/169 This Masters Thesis is brought to you for free and open access by The Aquila Digital Community. It has been accepted for inclusion in Master's Theses by an authorized administrator of The Aquila Digital Community. For more information, please contact [email protected]. THE SCRIPTURE OF HELICES by Jessica Maxine Ramer A Thesis Submitted to the Graduate School and the Department of English at The University of Southern Mississippi in Partial Fulfillment of the Requirements for the Degree of Master of Arts Approved: ________________________________________________ Dr. Rebecca Frank, Committee Chair Assistant Professor, English ________________________________________________ Dr. Angela Ball, Committee Member Professor, English ________________________________________________ Dr. Jameela Lares, Committee Member Professor, English ________________________________________________ Dr. Karen S. Coats Dean of the Graduate School May 2016 ABSTRACT THE SCRIPTURE OF HELICES: POEMS by Jessica Maxine Ramer May 2016 This thesis comprises poems written during my two years of study for the Master of Arts Degree in English with a creative writing emphasis. The majority of the poems are written in either a received or contemporary form, although a substantial minority are written in free verse. Many of the poems deal with extreme circumstances such as combat and imprisonment.