Narrative Poetry: Telling Stories Through Verse by Thoughtco.Com, Adapted by Newsela Staff on 02.12.20 Word Count 1,149
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The Transformation of Pushkin's Eugene Onegin Into Tchaikovsky's Opera
THE TRANSFORMATION OF PUSHKIN'S EUGENE ONEGIN INTO TCHAIKOVSKY'S OPERA Molly C. Doran A Thesis Submitted to the Graduate College of Bowling Green State University in partial fulfillment of the requirements for the degree of MASTER OF MUSIC August 2012 Committee: Eftychia Papanikolaou, Advisor Megan Rancier © 2012 Molly Doran All Rights Reserved iii ABSTRACT Eftychia Papanikolaou, Advisor Since receiving its first performance in 1879, Pyotr Il’yich Tchaikovsky’s fifth opera, Eugene Onegin (1877-1878), has garnered much attention from both music scholars and prominent figures in Russian literature. Despite its largely enthusiastic reception in musical circles, it almost immediately became the target of negative criticism by Russian authors who viewed the opera as a trivial and overly romanticized embarrassment to Pushkin’s novel. Criticism of the opera often revolves around the fact that the novel’s most significant feature—its self-conscious narrator—does not exist in the opera, thus completely changing one of the story’s defining attributes. Scholarship in defense of the opera began to appear in abundance during the 1990s with the work of Alexander Poznansky, Caryl Emerson, Byron Nelson, and Richard Taruskin. These authors have all sought to demonstrate that the opera stands as more than a work of overly personalized emotionalism. In my thesis I review the relationship between the novel and the opera in greater depth by explaining what distinguishes the two works from each other, but also by looking further into the argument that Tchaikovsky’s music represents the novel well by cleverly incorporating ironic elements as a means of capturing the literary narrator’s sardonic voice. -
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). -
Short Stories
Elements and Characteristics of Short Stories Short stories tend to be less complex than novels. Usually, a short story will focus on only one incident, has a single plot, a single setting, a limited number of characters, and covers a short period of time. In longer forms of fiction, stories tend to contain certain core elements of dramatic structure: exposition (the introduction of setting, situation and main characters); complication (the event of the story that introduces the conflict); rising action, crisis (the decisive moment for the protagonist and their commitment to a course of action); climax (the point of highest interest in terms of the conflict and the point of the story with the most action); resolution (the point of the story when the conflict is resolved); and moral. Because of their short length, short stories may or may not follow this pattern. Some do not follow patterns at all. For example, modern short stories only occasionally have an exposition. More typical, though, is an abrupt beginning, with the story starting in the middle of the action. As with longer stories, plots of short stories also have a climax, crisis, or turning-point. However, the endings of many short stories are abrupt and open and may or may not have a moral or practical lesson. Of course, as with any art form, the exact characteristics of a short story will vary by author. Length Determining what exactly separates a short story from longer fictional formats is problematic. A classic definition of a short story is that one should be able to be read it in one sitting, a point most notably made in Edgar Allan Poe's essay "The Philosophy of Composition" (1846). -
The Gothic Novel and the Lingering Appeal of Romance
The Gothic Novel and the Lingering Appeal of Romance While the origins of most literary genres are lost, either in scholarly controversy or the dark backward and abysm of time, those of the Gothic novel present an admirable clarity. Beneath the papier-mâché machicolations of Strawberry Hill, the antiquarian and aesthete Horace Walpole, inspired by a nightmare involving ‘a giant hand in armour,’ created at white heat the tale published Christmas 1764 as The Castle of Otranto. Not one but two genres were thus begun. The one established first was the historical romance, which derived from elements in both Otranto and an earlier romance by Thomas Leland, Longsword, Earl of Salisbury (1762). This form was pioneered by William Hutchinson's The Hermitage (1772), and developed by Clara Reeve (in The Champion of Virtue, 1777, retitled 1778 The Old English Baron) and Sophia Lee in The Recess (1783B85); it reached something like canonical status with the medieval romances of Walter Scott. The second, the Gothic tale of supernatural terror, was slower to erupt. The Otranto seed has time to travel to Germany and bear fruit there in the Räuber- und Ritter-romane before being reengrafted onto its native English soil. It was not until the last decade of the eighteenth century that the Gothic became a major force in English fiction, so much so that tales set in Italian castles and Spanish monasteries began to crowd out those set in London houses and Hampshire mansions. The Mysteries of Udolpho (1794), by Ann Radcliffe, and The Monk (1796), by Matthew G. Lewis, spawned numberless imitators in a craze whose original impetus carried it into the next century. -
The Power of Short Stories, Novellas and Novels in Today's World
International Journal of Language and Literature June 2016, Vol. 4, No. 1, pp. 21-35 ISSN: 2334-234X (Print), 2334-2358 (Online) Copyright © The Author(s). 2015. All Rights Reserved. Published by American Research Institute for Policy Development DOI: 10.15640/ijll.v4n1a3 URL: https://doi.org/10.15640/ijll.v4n1a3 The Power of Short Stories, Novellas and Novels in Today’s World Suhair Al Alami1 Abstract The current paper highlights the significant role literature can play within EFL contexts. Focusing mainly on short stories, novellas and novels, the paper seeks to discuss five points. These are: main elements of a short story/novella/novel, specifications of a short story/novella/novel-based course, points for instructors to consider whilst dealing with a short story/novella/novel within EFL contexts, recommended approaches which instructors may employ in the EFL classroom whilst discussing a short story/novella/novel, and language assessment of EFL learners using a short story/novella/novel-based course. Having discussed the aforementioned points, the current paper proceeds to present a number of recommendations for EFL teaching practitioners to consider. Keywords: Short Stories; Novellas; Novels Abbreviation: EFL (English as a Foreign Language) 1. Introduction In an increasingly demanding and competitive world, students need to embrace the four Cs: communication, collaboration, critical thinking, and creativity. Best practices in the twenty-first century education, therefore, require practical tools that facilitate student engagement, develop life skills, and build upon a solid foundation of research whilst supporting higher-level thinking. With the four Cs in mind, the current paper highlights the significant role literature can play within EFL contexts. -
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 That Expresses Thoughts and Emotions of a Single Speaker
Type of writing done in verse form that Poetry uses figures of speech designed to appeal to emotions and imagination Poetry that expresses Lyric Poetry thoughts and emotions of a single speaker Poetry that tells a story Narrative Poetry Form and Structure Poem that is song-like; usually focuses Ballad on topics such as romance, adventure, and death; and tells a story Sonnet 14 line lyric poem A mourning poem; written for Elegy someone who has died Lyric poem on a serious subject; usually Ode addressed to one person or thing; often celebrates something a repeated sound, word, Refrain phrase, line, or group of lines Japanese 3 lined poem with 5 Haiku syllables in lines 1 and 3 and 7 syllables in line 2 Couplet two consecutive lines of poetry that rhyme Triplets Three lined stanza Quatrains 4 line stanzas poetry that doesn’t have a set Free Verse rhyme scheme or meter A very long narrative poem that tells of Epic the life and journeys of a hero A group of consecutive lines in a Stanza poem that forms a single unit; like paragraphs Figurative Language comparison between two unlike Simile things, using a word such as like, as, than, or resembles comparison between two unlike things that does not use a Metaphor connecting word a group of words not meant to Idiom be taken literally overstating something, usually Hyperbole for the purpose of creating a comic effect giving human characteristics to Personification an object or an animal contradictory elements (two Oxymoron things that do not belong together) use of language that appeals to Imagery -
Introduction: Ethics of the Narrative
doi: https://doi.org/10.26262/exna.v1i1.5990 Introduction: Ethics of the Narrative Helena Maragou a, Theodora Tsimpouki b aDeree—The American College of Greece. b The National and Kapodistrian University of Athens, Greece. If a man could write a book on Ethics which really was a book on Ethics, this book would, with an explosion, destroy all the other books in the world. 1 The debate on whether literature does or should possess ethical relevance is both old and new. As far back as in the ancient times, Plato and Aristotle addressed the ways in which aesthetic structure produces affective power, as well as the extent to which the affective power of literature may provide direction, or in fact—as in the case of Plato’s famous critique of poetry—misdirection to an audience’s moral consciousness. In more recent years, in the mid-1980s and early 1990s, the intersections of literature and ethics became the focus of work by Wayne C. Booth,2 who theorized on the moral functioning of rhetorical practices, and Martha C. Nussbaum,3 who addressed literature from the perspective of moral philosophy. In an article published in the 2004 special issue of Poetics Today, which focused on Ethics and Literature, Michael Eskin4 draws attention to moral philosophy’s “turn to literature,” a move that aims to embed moral philosophy’s abstract investigations into the concrete domain of human and social relations opened up by literature. At the same time, however, philosophy’s turn toward literature has coincided with a turn of literary studies toward ethics,5 a fact which some attribute to a reaction against formalism and poststructuralism. -
The Child and the Fairy Tale: the Psychological Perspective of Children’S Literature
International Journal of Languages, Literature and Linguistics, Vol. 2, No. 4, December 2016 The Child and the Fairy Tale: The Psychological Perspective of Children’s Literature Koutsompou Violetta-Eirini (Irene) given that their experience is more limited, since children fail Abstract—Once upon a time…Magic slippers, dwarfs, glass to understand some concepts because of their complexity. For coffins, witches who live in the woods, evil stepmothers and this reason, the expressions should be simpler, both in princesses with swan wings, popular stories we’ve all heard and language and format. The stories have an immediacy, much of we have all grown with, repeated time and time again. So, the the digressions are avoided and the relationship governing the main aim of this article is on the theoretical implications of fairy acting persons with the action is quite evident. The tales as well as the meaning and importance of fairy tales on the emotional development of the child. Fairy tales have immense relationships that govern the acting persons, whether these are psychological meaning for children of all ages. They talk to the acting or situational subjects or values are also more children, they guide and assist children in coming to grips with distinct. Children prefer the literal discourse more than adults, issues from real, everyday life. Here, there have been given while they are more receptive and prone to imaginary general information concerning the role and importance of fairy situations. Having found that there are distinctive features in tales in both pedagogical and psychological dimensions. books for children, Peter Hunt [2] concludes that textual Index Terms—Children, development, everyday issues, fairy features are unreliable. -
Guidelines for Storytelling Preparation Choosing Your Story
GUIDELINES FOR STORYTELLING PREPARATION CHOOSING YOUR STORY All students in grades 3 through 8 are welcome to participate. The story you tell must be one of the following kinds of stories: Folk Tale, Fairy Tale, Myth, Legend, Fable or Tall Tale. You may find your story by: 1. Talking to your school or public librarian or teacher. 2. Browsing in the folk tale and fairy tale section (call # 398.2) or mythology section (call #292) of your school or public library. 3. Read several stories before you choose. 4. It may take you a few trips to the library to find your story. Choose a story you really enjoy and want to share with others. Choose a story that you feel comfortable telling. Remember the story you tell must be one of these: FOLK TALE: This category includes all forms of narratives, written or oral, which have been handed down generation to generation and belong to a particular culture. Folk tales have no known authors. Examples include Native American, African, Irish, American South, and Chinese stories. FAIRY TALE: A particular type of folk tale taking place in an unreal world. It contains elements of magic and supernatural happenings and is sometimes called a “wonder tale.” Examples: Collections by Grimm, Jacobs, Lang, and Perrault. MYTH: A myth is a narrative describing origin, explaining natural or social phenomena or predicting the destiny of humans through the interaction of people and supernatural beings. Examples of myths come from Norse, Greek, Roman and Egyptian cultures. Many of the constellation stories are myths. LEGEND: A legend is an account of an extraordinary happening believed to have actually occurred. -
The Verse Dramas of TS Eliot
University of Montana ScholarWorks at University of Montana Graduate Student Theses, Dissertations, & Professional Papers Graduate School 1959 Search for form| the verse dramas of T. S. Eliot Carol Sue Rometch The University of Montana Follow this and additional works at: https://scholarworks.umt.edu/etd Let us know how access to this document benefits ou.y Recommended Citation Rometch, Carol Sue, "Search for form| the verse dramas of T. S. Eliot" (1959). Graduate Student Theses, Dissertations, & Professional Papers. 3500. https://scholarworks.umt.edu/etd/3500 This Thesis is brought to you for free and open access by the Graduate School at ScholarWorks at University of Montana. It has been accepted for inclusion in Graduate Student Theses, Dissertations, & Professional Papers by an authorized administrator of ScholarWorks at University of Montana. For more information, please contact [email protected]. THE SEARCH FOR FORM; THE VERSE DRAMAS OF T.S. ELIOT by CAROL SUE ROMETCH B.A. Whitman College, 1957 Presented in partial fulfillment of the requirements for the degree of Master of Arts MONTANA STATE UNIVERSITY 1959 Approved by; GhfiHrman, Boàrd of Examiners Dean, Graduate School WAY 2 8 1959 Date UMI Number: EP35735 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 complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. ütaMitatton PlAMiing UMI EP35735 Published by ProQuest LLC (2012). Copyright in the Dissertation held by the Author. -
What Is Literature? a Definition Based on Prototypes
Work Papers of the Summer Institute of Linguistics, University of North Dakota Session Volume 41 Article 3 1997 What is literature? A definition based on prototypes Jim Meyer SIL-UND Follow this and additional works at: https://commons.und.edu/sil-work-papers Part of the Linguistics Commons Recommended Citation Meyer, Jim (1997) "What is literature? A definition based on prototypes," Work Papers of the Summer Institute of Linguistics, University of North Dakota Session: Vol. 41 , Article 3. DOI: 10.31356/silwp.vol41.03 Available at: https://commons.und.edu/sil-work-papers/vol41/iss1/3 This Article is brought to you for free and open access by UND Scholarly Commons. It has been accepted for inclusion in Work Papers of the Summer Institute of Linguistics, University of North Dakota Session by an authorized editor of UND Scholarly Commons. For more information, please contact [email protected]. What is Literature? A Definition Based on Prototypes Jim Meyer Most definitions of literature have been criterial definitions, definitions based on a list of criteria which all literary works must meet. However, more current theories of meaning take the view that definitions are based on prototypes: there is broad agreement about good examples that meet all of the prototypical characteristics, and other examples are related to the prototypes by family resemblance. For literary works, prototypical characteristics include careful use of language, being written in a literary genre (poetry, prose fiction, or drama), being read aesthetically, and containing many weak implicatures. Understanding exactly what literature is has always been a challenge; pinning down a definition has proven to be quite difficult.