Literary Forms Unit II Stanza Forms Dr
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UCLA UCLA Electronic Theses and Dissertations Title Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) Permalink https://escholarship.org/uc/item/2wn8v8p6 Author Gomez, Isabel Cherise Publication Date 2016 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Hispanic Languages and Literatures by Isabel Cherise Gomez 2016 © Copyright by Isabel Cherise Gomez 2016 ABSTRACT OF THE DISSERTATION Reciprocity in Literary Translation: Gift Exchange Theory and Translation Praxis in Brazil and Mexico (1968-2015) by Isabel Cherise Gomez Doctor of Philosophy in Hispanic Languages and Literatures University of California, Los Angeles, 2016 Professor Efraín Kristal, Co-Chair Professor José Luiz Passos, Co-Chair What becomes visible when we read literary translations as gifts exchanged in a reciprocal symbolic economy? Figuring translations as gifts positions both source and target cultures as givers and recipients and supplements over-used translation metaphors of betrayal, plundering, submission, or fidelity. As Marcel Mauss articulates, the gift itself desires to be returned and reciprocated. My project maps out the Hemispheric Americas as an independent translation zone and highlights non-European translation norms. Portuguese and Spanish have been sidelined even from European translation studies: only in Mexico and Brazil do we see autochthonous translation theories in Spanish and Portuguese. Focusing on translation strategies that value ii taboo-breaking, I identify poet-translators in Mexico and Brazil who develop their own translation manuals. -
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. -
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. -
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. -
Understanding Poetry Are Combined to Unstressed Syllables in the Line of a Poem
Poetry Elements Sound Includes: ■ In poetry the sound Writers use many elements to create their and meaning of words ■ Rhythm-a pattern of stressed and poems. These elements include: Understanding Poetry are combined to unstressed syllables in the line of a poem. (4th Grade Taft) express feelings, ■ Sound ■ Rhyme-similarity of sounds at the end of thoughts, and ideas. ■ Imagery words. ■ The poet chooses ■ Figurative ■ Alliteration-repetition of consonant sounds at Adapted from: Mrs. Paula McMullen words carefully (Word the beginning of words. Example-Sally sells Language Library Teacher Choice). sea shells Norwood Public Schools ■ Poetry is usually ■ Form ■ Onomatopoeia- uses words that sound like written in lines (not ■ Speaker their meaning. Example- Bang, shattered sentences). 2 3 4 Rhythm Example Rhythm Example Sound Rhythm The Pickety Fence by David McCord Where Are You Now? ■ Rhythm is the flow of the The pickety fence Writers love to use interesting sounds in beat in a poem. The pickety fence When the night begins to fall Give it a lick it's their poems. After all, poems are meant to ■ Gives poetry a musical And the sky begins to glow The pickety fence You look up and see the tall be heard. These sound devices include: feel. Give it a lick it's City of lights begin to grow – ■ Can be fast or slow, A clickety fence In rows and little golden squares Give it a lick it's a lickety fence depending on mood and The lights come out. First here, then there ■ Give it a lick Rhyme subject of poem. -
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. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain. -
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. -
The Prosodic Hierarchy As a Form of Meter
The Prosodic Hierarchy as a Form of Meter Item Type Article; text Authors Golston, Chris Publisher University of Arizona Linguistics Circle (Tucson, Arizona) Journal Coyote Papers Rights Copyright © is held by the author(s). Download date 02/10/2021 17:53:47 Item License http://rightsstatements.org/vocab/InC/1.0/ Link to Item http://hdl.handle.net/10150/226595 The Prosodic Hierarchy as a Form of Meter Chris Golston 1. Introduction 1 This paper has two goals. First, it seeks to establish that Middle English Alliterative Verse (MEAV) is a meter based on hierarchically organized prosodic constituents above the foot. In particular, I daim that MEAV is based straightforwardly on the Prosodic Hierarchy, as conceived of in work by Selkirk (1978, 1980, 1984, 1986), Hayes (1989) and others. Second, the account of MEAV advanced here requires reference to the notion of branching in prosodic structure above the foot, suggesting that branching may be a relevant property of prosodic constituent above the level of the syllable and foot2. Discussion proceeds as follows. In section 2 I outline the facts about Middle English Alliterative verse in general and in the poem Cleanness in particular, following recent work by Cable (1991). Section 3 presents a brief overview of work on the Prosodic Hierarchy and Section 4 proposes an analysis of MEAV in terms of it.In section 5 I discuss the relation of this proposal to Cable's work and extend the analysis to metrical structure above the line in Cleanness. A brief conclusion follows in section 6. 2. Cleanness and Late Middle English Alliterative Verse Cleanness (also known as Purify) consists of 1812 lines of alliterative verse. -
Poetry, Rhyme, Is Probably the Syllable Foot Consisting of an Elements One That Is Least Used in Unaccented, Lightly Accented, Modern Poetry
is two stressed syllables: // Ironically, the one poetic pyrrhic foot: two Some technique that everyone unstressed syllables, --. Rare. immediately associates with dipodic foot: a four- poetry, rhyme, is probably the syllable foot consisting of an Elements one that is least used in unaccented, lightly accented, modern poetry. Instead, most unaccented, and heavily modern poets use far subtler accented syllable. and less obvious techniques to anacrusis: prefixing an create—and conceal—their art. unstressed syllable to a line of of Many of them are explained which it forms no metrical below. part: Sport that wrinkled Care derides / And Laughter Poetry holding both his sides. feminine ending: a final unstressed syllable appended Meter to an iambic or anapestic line. MC Thompson meter: the pattern of To be or not to be, that is the stressed (accented, long) and question. Those who are not well unstressed (unaccented, short) catalexis: dropping one acquainted with good poetry syllables in poetry. or two unaccented syllables often imagine that poetry is a cadence: rhythm not truly from the end of a line-- spontaneous emotional regular. Walt Whitman wrote necessarily a trochaic or production, involving perhaps in cadences rather than in dactylic line. Dust thou art to some rhyme, but relying meters. dust returnest / Was not largely on intuition and scansion: the analysis of spoken of the soul. fortuitous accident, the muse, meter and its variations in metrical lines: for the details of genius which poetry. monometer, dimeter, trimeter, make great poems great. foot: a unit of meter with tetrameter, pentameter, Actually, poets work in a two or three syllables of which hexameter, heptameter, manner more similar to great one is usually stressed.