DOCSLIB.ORG

Strategies Adopted by Omar Abu Risha in Rendering Imagery from Arabic Into English

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Strategies Adopted by Omar Abu Risha in Rendering Imagery from Arabic Into English i Strategies Adopted by Omar Abu Risha in Rendering Imagery from Arabic into English ا ات ا ى أ ر ا رة ا '& ا إ$ ا #"! Prepared by Raed. H. Odeh Supervised by Prof .Twafiq Yousef Thesis Submitted in Partial Fulfillment of the Requirement for Master of Arts in English Language and Literature Department of English Language and Literature Faculty of Arts and Sciences Middle East University (MEU) Amman, Jordan May 18,2014 ii iii iv Acknowledgements First and foremost I am most grateful to Allah who endowed me with patience, persistence and the incentive to pursue my master’s degree. I am deeply indebted to my mentor and supervisor Prof .TawfiqYousef for his incessant encouragement, help and guidance to complete this work . No words can express my deep gratitude for his perpetual support. I am very fortunate and proud to be one of his students. I would, also like to express my sincere gratitude to Professor Sabar Sultan for all the unconditional support and guidance. I also extend my thanks to professorBadr S. Dweik for his guidance. My special thanks also go to Prof. Salah Al- Najar for his continued help and generous support. I would like to express my sincere gratitude to my friends GhassanHazzz and Tariq Rifa’i for their help and support . Finally, I owe my deepest gratitude and appreciation to my beloved parents, wife and children, Rahaf, Roa’a, Ahmed, Mohammad and Karam for their endless support and sacrifice. No words can express my deepest gratitude. I will be indebted to them my whole life. v Dedication I dedicated this work to the wise, the patient, and the ones, who are Always with me My parents, My children & My beloved wife vi Table of Contents Chapter Subject Page vii Chapter Subject Page Thesis title i 2.1.3 Translation problems of poetry 13 Authorization ii 2.1.3.1 Syntactic problems 13 Thesis committee decision iii 2.1.3.2 Stylistic problems 13 Acknowledgments iv Dedication v Table of contents viii List of diagrams &appendices ix English abstract xi Arabic abstract x Chapter One Introduction 1 1.0 Background of the study 1 1.1 Statement of the problem 3 1.2 Objectives of the study 3 1.3 Questions of the study 4 1.4 Significance of the study 4 1.5 Limitations of the study 4 1.6 Definition of terms 4 Chapter Two Review of related literature 6 2.1 Review of theoretical literature 6 2.1.1 Translation of poetry 6 2.1.2 The translatability and Untranslatability of poetry 8 viii 2.1.3.3 Cultural problems 14 2.1.3.4 Aesthetic problems 15 2.1.4 Translation and figures of speech 16 2.1.4.0 Figures of speech 16 2.1.4.1 Imagery 16 2.1.4.2 Metaphor 17 2.1.4.3 Simile 20 2.1.4.4 Conceit 23 2.1.4.5 Personification 23 2.1.5 Strategies for poetry translation 24 2.1.6 Procedures of translation 26 2.2 Emperical studies related to poetry translation 31 Chapter three Method and Procdures 35 3.1 Procedures 39 Chapter four Analysis and Discussion 40 4.1 The analysis of the first poem 42 4.2 The analysis of the second poem 52 Chapter five Discussion of findings , Conclusions and Recommendations 60 5.1 Discussion related to the findings of the first question 60 5.2 Discussion related to the findings of the second question 61 5.3 Discussion related to the findings of the third question 62 Chapter Subject page 5.4 Conclusions 64 5.5 Recommendations 64 ix References 66 Appendices 70 Pag Diagram Title e Diagram 1 The frequency count of the first poem 53 Diagram 2 The frequency count of the second poem 60 Diagram 3 The frquency count of poem 1 & 2 60 List of Appencices Appendix 1 The Arabic classsical poems 71 Appendix 2 The Translated English poems 73 x Strategies Adopted by Omar Abu Risha in Rendering Imagery from Arabic into English By :Ra’edOdeh Supervisor: Prof. Tawfiq Yousef Abstract The present study aimed to figure out the strategies adopted by Omer Abu Risha in rendering imagery from Arabic into English and to examine the procedure which has been used in rendering poetic devices .Moreover , the study also tries to show the extent of the poet translator ‘s succcess in rendering his poems in another language. To achieve the above-mentioned objectives , the researccher raised the following three questions; what are the strategies adopted by Omer Abu Rish in rendeing imagery from Arabic into English ?What procedures has he uded in in rendering poetic devices? To what extent has the poet been successful in rendering his poems in another language?To answer the above questions the researcher followed a descriptive analysis of two selected poems “the eagle and roads”. The study concluded that classical Arabic poetry can be translted into English with a great extent of effectiveness and the translator plays a significant role to overcome the problematic issues he may encounter through the process of translation. Furthermore, the poet-translator has the ability to produce a new poem in the target language as a mirror of the source language which conveys the same message in both languages.Moreover, following the appropriate strategies and procedures is a method to overcome the culturally bound–expressions and the difficulty of translating figurative language such as metaphor, simile, personification, etc. xi ا ات ا ى أ ر ا رة ا '& ا إ$ ا #"! إاد ا() : را, دة إ1اف ا/ذ اآ ر : 3 2 ارا ه9 ه67 ارا ا$ ' ا/ات ا ا4ّ ا أ ر ا رة ا '& ا"= ا ا$ ا"= ا/#"!> واف ا$ ا/) ا أ:'9 ا< ا . آ ه9 ارا اC ا$ ن 'ى #ح ا ا @ E ,6 ا$ = اDى . و3FG أهاف ه67 ارا , Oح اMN ا/L" اIJK ا : 'ه ا/ات ا ا4ّ ا أ ر ا رة ا '& ا"= ا ا$ ا"= ا/#"!>؟ 'ه ا/) ا أ:'9 ا< ا؟ . ا$ اي 'ى #Q ا E ,6 ا$ = أDى؟ S "$ ه67 ا/L" , أ:م اMN اT"G ا < F E &' & ,6 ا :رة وه " اX و اروب ". ". أ4Yت ارا أ# > \& ا ا ا\J\ ا$ ا"= ا/#"!> X ى لٍ و '[I . وأن ا @ > دور ' ! ا=") "$ ا آT ا \& أن ا 44 JDل " ا وأC أن ا ا @ > اFرة "$ آ E , ة ا"= ا/Dى رة ' I" "= ا ر ا TF #` ا رة آ" ا"=& وذ_ ع ا/ات وأ/) ا J, "=") "$ ا اFK و '\" ا/) اTK' aJ ا/رة و ا و ا:b , .أc 1 Chapter one Introduction The introduction includes an account of the research problem, objectives and questions. It also includes the significance of the study, its limits and limitations of the study and definition of terms. 1.0Background of the study Literary translation has always been more complicated and confusing than the translation of other types of texts, such as legal or technical texts. The translation of poems has been seen even more complicated, and there has always been a disagreement about the methods and the strategies that can be used in literary translation work. In translating poetry from Arabic into English there is no one-to-one equivalent when comparing two languages. Even if the translator has strong knowledge of the target language, he/she would not be able to create a replica of the original text. Many scholars such as Jacobson believe that translating poetry is impossible due to the linguistic and cultural factors. But some other scholars like John Dryden argues that all meanings and concepts are translatable and what is said in one language can be conveyed intoanother language. In a poem, the beauty is not only accomplished with the use of words and figurative language like in short stories and novels , but also with the creation of rhyme, rhythm, specific expressions and structures that are not commonly usedin the daily language. Many studies have investigated the problems a translator faces during the act of literary translation, especially poetry translation.Throughout the history of translation, there has been strong evidence that the aesthetic values can be reproduced in 2 another language and culture and that the target readers would understand and obtain the meaning, which the poet wanted to deliver through the source text (ST). A translator plays a significant role in poetry rendition; his or her aim is to produce an impression similar or nearly similar to that produced by the original. So the translator tries his best to find the most suitable equivalent for each word, phrase, and sentence in the target language. Therefore, using the appropriate strategies helps to present the aesthetic value of the translated poem and understand the background of the poet and the poem makes it easier to translate it into another language. Poetry, as an art form, uses words and language not merely to express meaning or content, but to symbolize meaning and content (Eagleton, 2007.p.69). It is mentioned that translating poetry is a complicated issue between two languages and two cultures like Arabic and English since the translator deals with different forms of poetry,different rhymes and meter systems and s/he should keep these musical features in the translated poem in order to preserve the beauty of such work.Many Arab poets translated their works from Arabic into English such as BadrShakir AL Sayyab, Ali Esber and Abd al-wahabb Al-Bayati. The aim of this study is to identify and explore specific strategies adopted in translating some of Omar Abu Risha’s poems and to what extent the translator has succeeded in translating his poems in terms of form and content, and the extent of the success of these strategies used in translating his poems.
Load more

Recommended publications
  • Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw
    Northwestern Journal of International Law & Business Volume 13 Issue 2 Fall Fall 1992 Proprietary Aspects of Commercial Remote- Sensing Imagery Patrick A. Salin Follow this and additional works at: http://scholarlycommons.law.northwestern.edu/njilb Part of the Science and Technology Commons Recommended Citation Patrick A. Salin, Proprietary Aspects of Commercial Remote-Sensing Imagery, 13 Nw. J. Int'l L. & Bus. 349 (1992-1993) This Article is brought to you for free and open access by Northwestern University School of Law Scholarly Commons. It has been accepted for inclusion in Northwestern Journal of International Law & Business by an authorized administrator of Northwestern University School of Law Scholarly Commons. Proprietary Aspects of Commercial Remote-Sensing Imagery PatrickA. Salin * I. INTRODUCTION Remote-sensing is performed by sensors on board a satellite which is usually placed on a low polar orbit so that it may vertically scan the Earth while the Earth is revolving around its axis. Remote-sensing en- ables a very high altitude view of the areas which are covered and since it always follows the same path in a circular movement which is perpendic- ular to the rotation of the Earth, it covers the whole Earth after a few rotations. For example, US Landsat satellites, the initiator in the field, circle the globe fourteen times a day at a 920 km circular and sun-synchronous orbit,1 with a 200 km wide swath.' Their repeat coverage at the Equator is 18 days.3 Resolution of Landsat imagery is 30 m. (i.e. the size of the smallest object which can be identifiable on the basis of picture elements or "pixels"), within a standard image of 185 km by 170 km.
    [Show full text]
  • Durham Research Online
    Durham Research Online Deposited in DRO: 11 April 2019 Version of attached le: Accepted Version Peer-review status of attached le: Peer-reviewed Citation for published item: Sunderland, Luke (2020) 'Visualizing elemental ontology in the Livre des propri¡et¡esdes choses.', Romanic review., 111 (1). pp. 106-127. Further information on publisher's website: https://doi.org/10.1215/00358118-8007978 Publisher's copyright statement: Additional information: 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 DRO • 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 DRO policy for further details. Durham University Library, Stockton Road, Durham DH1 3LY, United Kingdom Tel : +44 (0)191 334 3042 | Fax : +44 (0)191 334 2971 https://dro.dur.ac.uk Visualizing Elemental Ontology in the Livre des propriétés des choses Luke Sunderland Durham University A major challenge for the humanities and social sciences, according to Bruno Latour, is the need to supersede the model of cultural diversity, which he does not see (as we might expect) as a positive, open-minded stance that valorizes difference. Instead, he holds that to speak of cultural diversity is to suggest that difference is only possible on the level of concepts and vocabulary, stories and beliefs, and to assume that there are objectively knowable truths about the material world that are immune to variation (Inquiry 20).
    [Show full text]
  • ELEMENTS of FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms That Indentify Components of Narratives “Fiction
    Dr. Hallett ELEMENTS OF FICTION – NARRATOR / NARRATIVE VOICE Fundamental Literary Terms that Indentify Components of Narratives “Fiction” is defined as any imaginative re-creation of life in prose narrative form. All fiction is a falsehood of sorts because it relates events that never actually happened to people (characters) who never existed, at least not in the manner portrayed in the stories. However, fiction writers aim at creating “legitimate untruths,” since they seek to demonstrate meaningful insights into the human condition. Therefore, fiction is “untrue” in the absolute sense, but true in the universal sense. Critical Thinking – analysis of any work of literature – requires a thorough investigation of the “who, where, when, what, why, etc.” of the work. Narrator / Narrative Voice Guiding Question: Who is telling the story? …What is the … Narrative Point of View is the perspective from which the events in the story are observed and recounted. To determine the point of view, identify who is telling the story, that is, the viewer through whose eyes the readers see the action (the narrator). Consider these aspects: A. Pronoun p-o-v: First (I, We)/Second (You)/Third Person narrator (He, She, It, They] B. Narrator’s degree of Omniscience [Full, Limited, Partial, None]* C. Narrator’s degree of Objectivity [Complete, None, Some (Editorial?), Ironic]* D. Narrator’s “Un/Reliability” * The Third Person (therefore, apparently Objective) Totally Omniscient (fly-on-the-wall) Narrator is the classic narrative point of view through which a disembodied narrative voice (not that of a participant in the events) knows everything (omniscient) recounts the events, introduces the characters, reports dialogue and thoughts, and all details.
    [Show full text]
  • Imagery in the Journals Written by the Writing I Students of the English Department of Widya Mandala Catholic University Surabaya
    Imagery in the Journals Written by the Writing I Students Of the English Department Of Widya Mandala Catholic University Surabaya Nonce Trisnawaty Abstract. Many students think that writing is a daunting task and, therefore, they cannot write a good composition and journal writing is assigned for writing improvement. One of the aspects in writing a journal is imagery. Imagery is the use of concrete words to replace the abstract ones in order to enable the readers to imagine in everything experienced by the author. This study explored the kinds of imagery which are found in the journals written by the Writing I students of Widya Mandala Catholic University Surabaya. The subjects were eleven students of Writing I. Each student submitted 4 journals. A checklist was used to organize the imagery in the journals. Not all writing journals that were analyzed exposed imagery. Visual and auditory imagery were found. There were forty seven examples of visual imagery and six examples of auditory imagery. The olfactory, gustatory and tactile imagery were not found. Key words: imagery, journal, writing I class Introduction Writing is a way in which people can communicate thoughts and feelings with others graphemically. It is a complex process of language communication and also a creative thinking process (Zuo Huangqi, 2002, p. 197). Hansen (2006) states that writing skills can be the ticket to better college grades and greater academic achievement, even if the students do not study harder and know the material better than others do. Writing allows students to keep permanent records such as journals, and it lets students demonstrate their knowledge on an examination.
    [Show full text]
  • UNIVERSITY of CALIFORNIA, SAN DIEGO Domestic
    UNIVERSITY OF CALIFORNIA, SAN DIEGO Domestic Dispatches: The Moral Imperative of Modernity, Writing, and the Evolving Role of Female Missionaries A thesis submitted in partial satisfaction of the requirements for the degree Master of Arts in Anthropology by Emily Frances King Committee in Charge: Professor Suzanne Brenner, Chair Professor Joseph Hankins Professor Saiba Varma 2017 The thesis of Emily Frances King is approved and it is acceptable in quality and form for publication on microfilm and electronically: ________________________________________________________________________ ________________________________________________________________________ ________________________________________________________________________ Chair University of California, San Diego 2017 iii Dedication This thesis is dedicated to my family. Thank you for telling me family stories, and constantly finding new articles and photographs in old boxes that made this thesis longer than I anticipated. Thank you for always making me laugh at horrible puns. Thank you for your unwavering support and love. This thesis wouldn’t have been possible without you. iv Table of Contents Signature Page……………………………………………………………………………iii Dedication……………………………………………………………………...................iv Table of Contents………………………………………………………………………….v List of Figures…………………………………………………………………………….vi Acknowledgements………………………………………………………………………vii Abstract of the Thesis..………………………………………………………………….viii I-Introduction……………………………………...………………………………………1 II-The Myth of Teleological Progress…………………………………………………......6
    [Show full text]
  • Cognitive Mechanisms of Alexithymia in Schizophrenia Investigating the Role of Basic Neurocognitive Functioning and Cognitive B
    Psychiatry Research 271 (2019) 573–580 Contents lists available at ScienceDirect Psychiatry Research journal homepage: www.elsevier.com/locate/psychres Cognitive mechanisms of alexithymia in schizophrenia: Investigating the T role of basic neurocognitive functioning and cognitive biases ⁎ Łukasz Gawęda , Martyna Krężołek II Department of Psychiatry, Medical University of Warsaw, Kondratowicza 8, 03-242 Warsaw, Poland ARTICLE INFO ABSTRACT Keywords: Alexithymia is an important but poorly understood emotional deficit in schizophrenia. We aimed at investigating Emotion regulation the role of basic cognitive functions, cognitive biases, and symptom severity in alexithymia among patients with Cognitive distortions schizophrenia. Sixty patients (31 females) with schizophrenia were assessed with standardized clinical inter- Cognition views for symptom severity. Cognitive functioning was assessed with neuropsychological tests. A self-report Psychosis scale (Davos Assessment of Cognitive Biases, DACOBS), as well as two experimental tasks assessing jumping to Hallucinations conclusions (the Fish task) and source monitoring (Action memory task), were used to investigate cognitive biases. Alexithymia was assessed with the Toronto Alexithymia Scale (TAS-20). Alexithymia was related to the severity of hallucinations but not delusions. Patients with a lifetime history of more psychotic symptoms had higher alexithymia. Alexithymia has broad relationships with different cognitive biases, especially in the self- reported measure. These relationships were
    [Show full text]
  • DIDLS Diction, Imagery, Details, Language, and Syntax Use Diction to Find Tone
    DIDLS Diction, Imagery, Details, Language, and Syntax Use diction to find tone. Use imagery, details, language and syntax to support tone. TONE Author's attitude toward the subject, toward himself, or toward the audience. DICTION Adjectives, nouns, verbs, adverbs, negative words, positive words, synonyms, contrast. Look at the words that jump out at you - Evaluate only those words to find tone Also look at: Colloquial (Slang) Old-Fashioned Informal (Conversational) Formal (Literary) Connotative (Suggestive meaning) Denotative (Exact meaning) Concrete (Specific) Abstract (General or Conceptual) Euphonious (Pleasant Sounding) Cacophonous (Harsh sounding) Monosyllabic (One syllable) Polysyllabic (More than one syllable) • Describe diction (choice of words) by considering the following: 1. Words can be monosyllabic (one syllable in length) or polysyllabic (more than one syllable in length). The higher the ratio of polysyllabic words, the more difficult the content. 2. Words can be mainly colloquial (slang), informal (conversational), formal (literary) or old-fashioned. 3. Words can be mainly denotative (containing an exact meaning, e.g., dress) or connotative (containing suggested meaning, e.g., gown) 4. Words can be concrete (specific) or abstract (general or conceptual). 5. Words can euphonious (pleasant sounding, e.g., languid, murmur) or cacophonous (harsh sound, e.g., raucous, croak). IMAGERY Creates a vivid picture and appeals to the senses Alliteration repetition of consonant sounds at the start of a word The giggling girl gave gum.
    [Show full text]
  • Pride Goeth Before a Fall
    Pride Goeth Before a Fall Rachel VanderWoude ________________________________________________________________________________________________ Suggested Citation: VanderWoude, Rachel. “Pride Goeth Before a Fall.” Paper presented at the Ambrose Research Conference, Calgary, AB, April 4, 2018. Please consult your style guide when citing this resource. Available at: https://ambrose.whdl.org/ Posted with permission of rights holder. This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License. VanderWoude 2 Pride Goeth Before a Fall Rachel VanderWoude The character of Satan in John Milton’s Paradise Lost is a subject of heavy debate among Milton scholars. Some, like C.S. Lewis, believe that Satan is a villain through and through, and any sympathy towards him shows the reader to be an atheist, or at the very least, not firmly Christian. Others, like William Blake, claim that Milton was “of the devil’s party without knowing it,” and consider Satan to be a tragic hero rather than a villain (Blake 88). The latter is an especially convincing argument when studying Paradise Lost as a tragedy, since one of the key elements of tragedy is hamartia, the hero’s fatal flaw or error in judgement that inevitably brings about their downfall. For the most part, Satan certainly seems to fit the stereotype, but it is problematic to argue for his heroism and virtue in light of his mistakes. Perhaps this is because Paradise Lost is not a tragedy, at least not fully, and cannot be read as such without some serious difficulties. However, while Satan may not be able to fit the stock character of a tragic hero, he is not without a fatal flaw.
    [Show full text]
  • Imagery in Literature and Its Relation to White Supremacy
    Imagery in Literature and Its Relation to White Supremacy Kameron R. Morton Philosophy Faculty Advisor: Dr. Taine Duncan While it is easy to find examples of racist portrayals that uphold ideas of whiteness as being superior to blackness in literature through the creation of stereotypical characters from historical and recent examples of literature both within and outside the United States, I believe that there is a more subtle form of this issue at work. In books and short stories written by some of the most revered American authors, who are not coincidentally white men, as the Western literary canon is largely authored by white males, images of whiteness are often presented against blackness in ways that allow for the readers of the works to develop associations that may not be obvious upon first examining the text, particularly because the way in which these associations are created is common across multiple works (Morrison 33). In this paper, I argue that one of the ways in which whiteness is constructed as superior to blackness is through the use of images of whiteness in contrast to what author Toni Morrison refers to as ‘Africanist presences’ (33) and how the way in which these things are defined, or in some cases undefined, position whiteness as superior to blackness. CLA Journal 5 (2017) pp. 52 Morton Images of whiteness, which can include a variety of things including but not limited to snow, cliffs, or simply white fog, are often found in writing by American white males at the end of a narrative, and in contrast to what Morrison refers to as an ‘Africanist presence.’ Morrison defines this ‘Africanist presence’ as including both the presence of black characters within the text or the actual continent of Africa (33).
    [Show full text]
  • FANFICTION THEORY BEYOND TEXTUAL POACHERS a Thesis
    OPEN SEASON: FANFICTION THEORY BEYOND TEXTUAL POACHERS A Thesis Submitted to the Graduate School of the University of Notre Dame in Partial Fulfillment of the Requirements for the Degree of Master of Arts by Amanda G. Michaels James Collins, Director Graduate Program in English Notre Dame, Indiana April 2009 © Copyright 2009 Amanda G. Michaels OPEN SEASON: FANFICTION THEORY BEYOND TEXTUAL POACHERS by Amanda G. Michaels ABSTRACT This thesis suggests that fanfiction—so often considered to be the realm only of the obsessed or juvenile—has shaken off the label of ‘derivative’ and emerged as an independent artistic medium. This emergence calls for a rethinking of fanfiction theory, as fan studies has relied heavily upon Henry Jenkins’ Textual Poachers for the last sixteen years, despite the fact that it was written well before the Internet stepped in to completely revolutionize the field. After establishing that 1) fanfiction can be accepted as a new artistic medium, and 2) it is in need of fresher theory, this thesis will then offer performativity as another way into the fan-written text. It will use a genre called “All Human” from the Twilight fandom as an example of how fan writers are breaking with the traditional conventions of fanfiction and revitalizing tabooed figures in order to access the performative potential of their medium. “[. .] Laughter emerges in the realization that all along the original was derived.” —Judith Butler, Gender Trouble ii CONTENTS Chapter 1: Fanfiction’s New Moment . 1 1.1. Definitions 1.2. Terminology 1.3. Research Trends 1.3.1. Camille Bacon-Smith and Constance Penley 1.3.2.
    [Show full text]
  • Author's Personal Copy
    Author's personal copy Provided for non-commercial research and educational use. Not for reproduction, distribution or commercial use. This article was originally published in the online Reference Module in Neuroscience and Biobehavioral Psychology, published by Elsevier, and the attached copy is provided by Elsevier for the author's benefit and for the benefit of the author's institution, for non-commercial research and educational use including without limitation use in instruction at your institution, sending it to specific colleagues who you know, and providing a copy to your institution's administrator. All other uses, reproduction and distribution, including without limitation commercial reprints, selling or licensing copies or access, or posting on open internet sites, your personal or institution’s website or repository, are prohibited. For exceptions, permission may be sought for such use through Elsevier’s permissions site at: http://www.elsevier.com/locate/permissionusematerial From Hommel, B. Conscious and Unconscious Control of Spatial Action. In Reference Module in Neuroscience and Biobehavioral Psychology, Elsevier, 2017. ISBN 9780128093245 © 2017 Elsevier Inc. All rights reserved. Elsevier Author's personal copy Conscious and Unconscious Control of Spatial Actionq B Hommel, Leiden University, Leiden, The Netherlands Ó 2017 Elsevier Inc. All rights reserved. Introduction 1 Action Control 2 Actions and Effects 2 Will and Consciousness 3 Motor Programs and Action Plans 3 Sensorimotor Processing 4 Single-Pathway Models 4 Multiple-Pathway Models 4 Interacting Levels of Action Control 6 Role and Function of Conscious Control 7 Further Reading 8 Glossary Action effect Sensory consequences of actions Feedback Feedback control considers action-produced, (reafference), assumed to be integrated with the actions reafferent stimulation to fine-tune or stop the action, they accompany and to serve as their “mental” retrieval that is, preliminary results of an ongoing process can cues.
    [Show full text]
  • Poetry Terms: Sound Devices, Figures of Speech, Elements of Literature, and Rhythm
    Poetry Terms: Sound Devices, Figures of Speech, Elements of Literature, and Rhythm Sound Devices Alliteration – the repetition of constant sounds in words that are close together. Assonance – the repetition of similar vowel sounds followed by different consonant sounds, especially in words close together. Consonance – the repetition of the same or similar final consonant sounds on accented syllables or in important words. Onomatopoeia – the use of a word whose sound imitates or suggests its use or meaning. Refrain/ (Repetition) – a word, phrase, line, or group of lines that is repeated, for effect, several times in a poem. Rhyme – the repetition of vowel sounds in accented syllables and all succeeding syllables. Internal – rhyme that occurs within a line of poetry or within consecutive lines. End Rhyme – rhyme that occurs at the ends of lines. Slant Rhyme – a rhyming sound that is not exact. Couplet – two consecutive rhyming lines of poetry. Common Figures of Speech – a word or a phrase that describes one thing in terms of another and that Is not meant to be taken literally. Cliché – a word or phrase, often a figure of speech, that has become lifeless because of overuse. Conceit – an elaborate metaphor or other figure of speech that compares two things that are startlingly different. Hyperbole – a figure of speech that uses an incredible exaggeration, or overstatement, for effect. Metaphor – a figure of speech that makes a comparison between two unlike things without the use of such specific words of comparison as like, as, than, or resembles. They may be directly states, implied, extended, dead, or mixed.
    [Show full text]