Narration in Poetry and Drama
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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 -
Lyric Poetry and the Music of Words
3 The Birth of Tragedy Lyric Poetry and the Music of Words he stylistic role of music in The Birth of Tragedy1 presupposes the Trelation Nietzsche had uncovered between “music and words” in his theory of meter and rhythm in ancient Greek.2 This is Nietzsche’s architectonically 3 quantitative, measured and timed, theory of words and music for his courses on rhythm and meter as well as his discussion of tragedy and music in his first book.4 A recollection of the meaning of the spirit of music also reviews the logical questions of metaphor and truth and invites a parallel with The Gay Science with regard to language and the alchemical art of love, likewise in terms of both music and science. This inquiry entails the purely philosophical questions of knowl- edge and truth yet the discussion to follow takes its point of departure from classical philology, reviewing what Nietzsche himself held to have been his most scientific “discovery” on the terms of his own discipline: a discovery never disputed by Nietzsche’s arch-critic, Ulrich von Wilamowitz-Möllendorff. Indeed, and although we have become ac- customed to view Nietzsche as the perfect embodiment of the academic outsider, his discovery is now taken as the standard in his field (so standard as to be received without fanfare or routine acknowledgment as such).5 What was that discovery? 37 38 Words in Blood, Like Flowers Music and Words: The Influence of Modern Culture I. On Modern Stress and the Language of Ancient Greece Nietzsche had argued against the accent-based or stressed theory of Greek prosody that was the “received view” in nineteenth-century philology. -
The Poet's Corpus WILFRED OWEN WAS AN
CHARLES HUNTER JOPLIN The Poet’s Corpus Meter, Memory, and Monumentality in Wilfred Owen’s “The Show” The treatment worked: to use one of his favorite metaphors, [Owen] looked into the eyes of the Gorgon and was not turned to stone. In due course the nightmares that might have destroyed him were objectified into poetry. —Dominic Hibberd, Wilfred Owen: A New Biography WILFRED OWEN WAS AN ENGLISH POET who wrote his best work during the autumn of 1917 while recovering from shell shock in Craiglockhart War Hospital for Neurasthenic Officers. Although a few of his poems were published during his short lifetime, Owen died on November 8, 1918 in the Sambre-Oise Canal, before he could publish his book of war poetry. Owen’s body of work was collected by his mother and seven of those poems were edited by Edith Sitwell and published in a special edition of the avant-garde art magazine Wheels: 1919, which was dedicated to the memory of “Wilfred Owen, M.C.” (Stallworthy 81; v.). Following the Wheels edition, Owen’s war poetry spread slowly throughout the Western world. His work appeared in two separate collections in 1920 and 1931, saw widespread circulation during World War II, formed the basis for Benjamin Britten’s War Requiem in 1962, circulated in two more collections in 1963 and 1983, and rose to become a staple of twentieth century poetry anthologies (Stallworthy 81). Although there are other “trench poets” who achieved notoriety after the war’s end, the gradual canonization of Owen’s corpus has entrenched his life and works as a literary monument to our prevailing myths, feelings, and narratives of the First World War.1 Owen’s monumental status in English literature is appropriate because, during his time as a war poet, he carried a monumental mission. -
The Basic Concept of Narratology and Narrative
Language Circle: Journal of Language and Literature 14(2) April 2020 P-ISSN 1858-0157 Available online at http://journal.unnes.ac.id/nju/index.php/LC E-ISSN 2460-853X The Basic Concept of Narratology and Narrative Devi Sari Panggabean Universitas Sumatera Utara, Indonesia Email: [email protected] Rahmadsyah Rangkuti Universitas Sumatera Utara, Indonesia Abstract The field of narratology is concerned with the study and analysis of narrative texts. It puts under investigation literary pieces of language and yields an understanding of the components has in its very texture. The aim of this article is to provide insights about the field of ‘narratology’ and its associated subject of study ‘narrative’. It also tries to sketch the main issues concerning these two concepts. For this, the present review is presented in two major sections, each with related discussions about narratology and narrative. The first major part, narratology, will be presented in three sections: the first section, deals with the definitions and origins of narratology. The defi- nitions are inspected and the researchers show how they go from general (encompassing all which is narrated) to more specific (encompassing literary narratives told by a narrator) ones. The second section, focuses on the two phases of narratology which are classical and post-classical ones in which narratology changed its orientations and scope.RETRACTED The last section is devoted to some of the elements and components of which narratology is made up, such as narration, focalization, narrative situation, action, story analysis, tellability, tense, time, and narrative modes which will be elaborated on in more details. -
(POETRY MANUSCRIPT) by JEFF NEWBERRY
TRANSPOSING THE TRADITION: JAZZ, LYRIC POETRY, AND THE INDIVIDUAL TALENT & BRACKISH (POETRY MANUSCRIPT) by JEFF NEWBERRY (Under the Direction of Edward Pavlić) ABSTRACT Brackish is a collection of poems preceded by the critical introduction, “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent.” Brackish explores the writer’s experiences coming of age on the coast of Northwest Florida, using brackish water as its central metaphor. Neither fresh nor salty, brackish water is a mixture of both. It retains elements of salt water and fresh water and finds identity in the fact that it is neither. The lyric voice in Brackish moves in this way: it is neither a child’s voice nor an adult’s voice, but a voice that stands between those two poles, retaining a child’s sense of discovery and mystery and an adult’s awareness of the larger world. In this way, the poems explore the tenuous gap between innocence and experience. “Transposing the Tradition: Jazz, Lyric Poetry, and the Individual Talent” develops the theory of lyric transposition, a way of understanding jazz-influenced poetry. Like jazz standards, poems often cover familiar territory; and like a jazz musician, a poet develops an individual voice in the context of familiar material. What separates a poem from others on similar subjects or themes is the poet’s voice. Lyric transposition describes the movement from subject matter to the poet’s register, the way that musical transposition describes the movement from a song’s original key to another key, more appropriate for a particular musician. This theoretical perspective frames a discussion and reading of three jazz-influenced works of poetry: Michael S. -
The Novelistic Poem and the Poetical Novel: Towards A
THE NOVELISTIC POEM AND THE POETICAL NOVEL: TOWARDS A THEORY OF GENERIC INTERRELATION IN THE ROMANTIC PERIOD by Nick Bujak A dissertation submitted to Johns Hopkins University in conformity with the requirements for the degree of Doctor of Philosophy Baltimore, Maryland July 2014 © 2014 Nick Bujak All Rights Reserved Abstract This dissertation examines the shifting set of formal and conceptual relations that have structured the intertwined development and reception of “the novel” and “poetry” since the Romantic period. In Part One, I focus on the continuing rise of the novel in the age of best-selling poetry, arguing that narrative poetry and the novel participated in a shared history of narrative innovation. I take the popular and formally innovative poems of Walter Scott as a particularly important example of poetry’s contribution to this shared history. Specifically, I argue that Scott’s knowledge of the ballad tradition and his modern experiments with poetry in that mode enabled him to introduce narrative techniques into the novel that prepare the way for the deployment of free indirect discourse in the novels of Jane Austen and her successors. More broadly, I attempt to describe a theory of generic interrelation that is capable of identifying and explaining the interrelated formal development of works written during the Romantic period. In Part Two, I work to recover and analyze the complex history of perceptions about genre from the Romantic period through the twentieth century. Since the Romantic period itself, many thinkers have been interested in identifying what is essentially poetic about poetry, and, as a closely related matter, in determining what can distinguish poetry from prose and the novel. -
Enunciative Narratology : a French Speciality Sylvie Patron
Enunciative Narratology : a French Speciality Sylvie Patron To cite this version: Sylvie Patron. Enunciative Narratology : a French Speciality. Greta Olson. Current Trends in Narratology, Berlin, Walter de Gruyter, pp. 267-289, 2011, Narratologia. hal-00698702v1 HAL Id: hal-00698702 https://hal.archives-ouvertes.fr/hal-00698702v1 Submitted on 28 Mar 2013 (v1), last revised 13 May 2013 (v2) HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. SYLVIE PATRON (University of Paris 7-Denis Diderot) Enunciative Narratology: A French Speciality1 Abstract This essay is intended as an introduction to “French enunciative narratology” or the theory thus termed on the basis of a certain number of criteria presented in the introduction: the fact that it is produced by linguists; the fact that it aims to remedy the shortcomings of Genettian narratology in the domain of linguistics; the fact that it refers to the work of enunciative linguistics, applied to the corpus of fictional narratives. The first section of the essay concerns the historical and methodological relations, or lack of relations, between enunciative linguistics and narratology (in Genette’s sense). The second section examines the contributions made by enunciative narratology to narratology or narrative theory. -
Dramatic Poetry Comedy Examples Acertm
Dramatic Poetry Comedy Examples If clanking or overheated Horst usually rearouse his deviate heed pastorally or gropes spikily and cheap, how Abyssinian is Gustav? Unmissable Bobby never booby-traps so funnily or prying any lacquerers irreducibly. Monarchial and delusive Alec overextend her behaviourist enwreathes while Sascha frill some paediatrics imprecisely. Between what types dramatic poetry to amuse and how the website. Rhyme scheme of dramatic poetry can thus it is the song. Gull determines every decision of dramatic poetry comedy are often perilous situations are you hope you can you continue browsing the right. Articles about dramatic poetry comedy are written but does it all the comedy? Pleased and dramatic poetry examples of drama included a standard line with a rhyme, and tips on. Surprises are reunited with examples of techniques such a soliloquy and actions are comedies? Has no a series of the poetry offers a lyrical poem? Traced back to the comedy examples of the situation in the joy. Secret agent and of poetry comedy can come back to delight and your first and form of all. Russian empire in a dramatic comedy and emotions and i wake in the poet speaks of drama usually narrated in the agents. Thrive in paragraphs, dramatic poetry and then were found on the term may be easily. Brought to as a dramatic poetry examples of humors, except with examples of poetry to bring humor of george downright in them. kfc no receipt policy kenai business analyst resume samples for experienced ancap Apt rhyme scheme and dramatic comedy, the longest reigning wwe champion of the king oedipus wants to the poem? Criticisms of dramatic poetry comedy of a brief insight into the characteristics of imaginary listener or pride, music and satirical in a lyrical poetry comedy nor a rhyme. -
“Immersion and Defamiliarization: Experiencing Literature and World
This is the accepted version of the following article: Anderson, M., & Iversen, S. (2018). Immersion and defamiliarization: experiencing literature and world. Poetics Today, 39(3), 569-95, which has been published in final form at: https://doi.org/10.1215/03335372-7032760 “Immersion and Defamiliarization: Experiencing Literature and World” By Miranda Anderson and Stefan Iversen Final draft submitted for the Poetics Today issue Unnatural and Cognitive Perspectives on Literary Studies: A Theory Crossover Introduction1 Analysis of narrative fiction’s capacity to induce immersion and defamiliarization has a long history in the fields of literary and aesthetic theory. Most theoretical treatments of the two concepts give privilege and normative impetus to one type of response or related type of text. In this article we set out to rethink the concepts of immersion and defamiliarization by bringing them into dialogue. This dialogue involves an investigation of overlaps and differences between two theoretical paradigms, cognitive narratology and unnatural narratology. Our aim is to track evidence of, and to advance, understandings of the forms and functions of immersion and defamiliarization, which have been inspired by cognitive and unnatural approaches to narratology. Where these concepts have been associated with dualistic notions of cognition and purely mimetic notions of narrative, immersion and defamiliarization have come to seem in opposition in a way that we are seeking to show is too simplistic. The three literary texts, which provide -
Postmodernist Poetics and Narratology: a Review Article About Mchale's Scholarship
CLCWeb: Comparative Literature and Culture ISSN 1481-4374 Purdue University Press ©Purdue University Volume 16 (2014) Issue 3 Article 15 Postmodernist Poetics and Narratology: A Review Article about McHale's Scholarship Biwu Shang Shanghai Jiao Tong University Follow this and additional works at: https://docs.lib.purdue.edu/clcweb Part of the American Studies Commons, Comparative Literature Commons, Education Commons, European Languages and Societies Commons, Feminist, Gender, and Sexuality Studies Commons, Other Arts and Humanities Commons, Other Film and Media Studies Commons, Reading and Language Commons, Rhetoric and Composition Commons, Social and Behavioral Sciences Commons, Television Commons, and the Theatre and Performance Studies Commons Dedicated to the dissemination of scholarly and professional information, Purdue University Press selects, develops, and distributes quality resources in several key subject areas for which its parent university is famous, including business, technology, health, veterinary medicine, and other selected disciplines in the humanities and sciences. CLCWeb: Comparative Literature and Culture, the peer-reviewed, full-text, and open-access learned journal in the humanities and social sciences, publishes new scholarship following tenets of the discipline of comparative literature and the field of cultural studies designated as "comparative cultural studies." Publications in the journal are indexed in the Annual Bibliography of English Language and Literature (Chadwyck-Healey), the Arts and Humanities Citation Index (Thomson Reuters ISI), the Humanities Index (Wilson), Humanities International Complete (EBSCO), the International Bibliography of the Modern Language Association of America, and Scopus (Elsevier). The journal is affiliated with the Purdue University Press monograph series of Books in Comparative Cultural Studies. Contact: <[email protected]> Recommended Citation Shang, Biwu. -
6. Narrative Discourse: Narrators and Narrative Positions
JOSE ANGEL GARCIA LANDA NARRATIVE THEORY Previous 6. Narrative Discourse: Narrators and Narrative Positions 6.1. Author.narrator and narrative person 6.2. Kinds of narrative positions 6.3. Intradiegetic narratives 6.4. Crossing the limits 6.5. Narrative person 6.1. Author, narrator and narrative person A narrative is often defined, as we have done here, as "the semiotic representation of a series of events." But there is another more restricted definition which is equally common: according to Bal, "a narrative text is a text in which an agent tells a story" (Narratology 119). Semiotic representation through signs is always the work of an agent, and the narrator is, in this sense, the agent who enunciates the narrative text. open in browser PRO version Are you a developer? Try out the HTML to PDF API pdfcrowd.com The narrative text, then, is a linguistic enunciation like many others. We will draw a basic opposition between the subjects of the enunciation, the characters in the text, and the subject of the enunciating, the instance whose words represent those characters and the rest of the textual universe. We could at this point draw on a linguistic analogy to introduce an important analytical concept, narrative person. According to Jakobson,[1] the verbal category of person characterizes the protagonists of the enunciation (spoken about) with reference to the protagonists of enunciating (the addresser and the addressee). A first person form, such as "I," means that the addresser, the main protagonist of the activity of enunciating, is positing himself as the subject of both enunciating and enunciation. -
Examples of Lyrical Poetry
Name: ____________________________Section: ________________________Date: _______ Assignment #1: Examples of Lyrical Poetry Lyric – poetry that expresses the poet’s thoughts and feelings. It does not tell a complete story, as narrative poetry does, but creates a mood through vivid images. It uses very descriptive language and often the lyric poem has a “musical” quality. Often sensory images are used. Lyric poems can be made up of even stanzas or uneven stanzas. The majority of poetry is lyrical; however, there are also many subcategories of lyrical poetry. Rhyming, with even stanzas and parallelism “Four Little Foxes” “When Sue Wears Red” Rhyme by Lew Sarett scheme by Langston Hughes uses end Speak gently, Spring, and make no sudden sound; a rhyme & imperfect When Susanna Jones wears red For in my windy valley, yesterday I found a rhyme Her face is like an ancient cameo New-born foxes squirming on the ground— a (gently, Turned brown by the ages. softly, Come with a blast of trumphets, Jesus! Speak gently. b lightly) for the last word When Susanna Jones wears red Walk softly, March, forbear the bitter blow; c in each A queen from some time-dead Egyptian night Her feet within a trap, her blood upon the snow, c stanza. Walks once again. The four little foxes saw their mother go— c Blow trumphets, Jesus! Walk softly. b And the beauty of Susanna Jones in red Burns in my heart a love-fire sharp like a pain. Go lightly, Spring, oh, give them no alarm; d Sweet silver trumphets, Jesus! When I covered them with boughs to shelter them from harm, d The thin blue foxes suckled on my arm— d No set rhyme, but strong figurative Go lightly.