Understanding Literary Text: What's in a Sonnet? (IPDAE)
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Zanesville & Western: a Creative Dissertation
ZANESVILLE & WESTERN: A CREATIVE DISSERTATION by Mark Allen Jenkins APPROVED BY SUPERVISORY COMMITTEE: _________________________________________ Dr. Frederick Turner, Co-Chair _________________________________________ Dr. Charles Hatfield, Co-Chair _________________________________________ Dr. Matt Bondurant _________________________________________ Dr. Nils Roemer Copyright 2017 Mark Allen Jenkins All Rights Reserved ZANESVILLE & WESTERN A CREATIVE DISSERTATION by MARK ALLEN JENKINS, BA, MFA DISSERTATION Presented to the Faculty of The University of Texas at Dallas in Partial Fulfillment of the Requirements for the Degree of DOCTOR OF PHILOSOPHY IN HUMANITIES – AESTHETIC STUDIES THE UNIVERSITY OF TEXAS AT DALLAS May 2017 ACKNOWLEDGMENTS There are several significant people to thank in the development, creation, and refining of this dissertation, Zanesville & Western: A Creative Dissertation. Dr. Charles Hatfield supported me throughout the dissertation. His expertise on theoretical framing helped me develop an approach to my topic through a range of texts and disciplines. Dr. Frederick Turner encouraged me to continue and develop narrative elements in my poetry and took a particular interest when I began writing poems about southeastern Ohio. He encouraged me to get to the essence of specific poems through multiple drafts. Dr. Rainer Schulte, Dr. Richard Brettell, and Dr. Nils Roemer were my introduction to The University of Texas at Dallas. Dr. Schulte’s “Interdisciplinary Approaches to the Arts and Humanities” highlighted many of the strengths of our program, and “Crafting Poetry” provided useful insight into my own poetry as well as a thorough introduction international poetry. Dr. Brettell’s “Art and Anarchy” course expounded the idea that poets could be political in their lives and work, both overtly and implicitly. -
Rhythm and Meter in Macbeth Iambic Pentameter (Nobles)
Grade 9 Analysis- Rhythm and Meter in Macbeth Iambic Pentameter (Nobles) What is it? Shakespeare's sonnets are written predominantly in a meter called iambic pentameter, a rhyme scheme in which each sonnet line consists of ten syllables. The syllables are divided into five pairs called iambs or iambic feet. An iamb is a metrical unit made up of one unstressed syllable followed by one stressed syllable. An example of an iamb would be good BYE. A line of iambic pentameter flows like this: baBOOM / baBOOM / baBOOM / baBOOM / baBOOM. Why does Shakespeare use it? When Shakespeare's characters speak in verse (iambic pentameter), they are usually the noble (aristocratic) characters, and their speech represents their high culture and position in society. It gives the play a structured consistency, and when this is changed in instances of prose such as when Macbeth writes to Lady Macbeth and when Lady Macduff talks with her son, these are normally instances where a situation is abnormal e.g. when the Porter babbles in his drunken haze. Trochaic Tetrameter (Witches) What is it? Trochaic tetrameter is a rapid meter of poetry consisting of four feet of trochees. A trochee is made up of one stressed syllable followed by one unstressed syllable (the opposite of an iamb). Here is the flow of a line of trochaic tetrameter: BAboom / BAboom / BAboom / BAboom. Why does Shakespeare use it? The witches’ speech patterns create a spooky mood from the start of the scene. Beginning with the second line, they speak in rhyming couplets of trochaic tetrameter. The falling rhythm and insistent rhyme emphasize the witchcraft they practice while they speak—boiling some sort of potion in a cauldron. -
Metrical Feet Iamb (Iambic) Betray Anapest
Meter & Form Metrical Feet Iamb (iambic) betray Anapest (anapestic) intercede Trochee (trochaic) stupor Dactyl (dactylic) secondly Spondee (spondaic) stop light Pyrrhic a night / for the / ghosts Some Other Metrical Concerns caesuras end-stopped vs. enjambed lines rhyme ************************************ “It is not meters, but a meter-making argument that makes a poem.” Emerson “[Meter] can’t be merely a careless dash off, with no grip and no real hold to the words and sense.” Pound ************************************ According to Paul Fussell in Poetic Meter & Poetic Form, there are three principles of expression that metric variations convey: 1 A succession of stressed syllables without the expected intervening unstressed syllables can reinforce effects of slowness, weight, or difficulty; 2 A succession of unstressed syllables without the expected intervening stressed syllables can reinforce effects of rapidity, lightness, or ease; 3 An unanticipated reversal in rhythm implies a sudden movement, often of discovery or illumination; or a new direction of thought, a new tone of voice, or a change or intensification of poetic address. 1 Meter & Form Some Examples Listen! / you hear / the gra / ting roar / Of peb / bles which / the waves / draw back, / and fling, / At their / return, / up the / high strand, / Begin, / and cease, / and then / again / begin / . (Arnold, “Dover Beach”) . through many a dark and dreary Vale They pass’d, and many a Region dolorous, O’er many a Frozen, many a Fiery Alp, Rocks, Caves, Lakes, Fens, Bogs, Dens, and shades of death. (PL) Drove them before him Thunder-struck, pursu’d With terrors and with furies to the bounds And Crystal wall of Heav’n, which op’ning wide, Roll’d inward, and a spacious Gap disclos’d Into the wasteful Deep; the monstrous sight Strook them with hoor backward, but far worse Urg’d them behind; headlong themselves they threw Down from the verge of Heav’n, Eternal wrath Burnt after them to the bottomless pit. -
Teaching Shakespeare's Sonnets
Teaching Shakespeare’s Sonnets: time as fracture in sonnets 18, 60 and 63 Miguel Martínez López UNIVERSITY OF GRANADA Literary studies on the Sonnets before the seventies were usually part of larger works on Sha- kespeare or on the sonnet. Specialization and detailed analyses of individual and groups of sonnets is absolutely necessary before attempting any further generalizations, which so far have led nowhere.1 In this paper I suggest a possible approach to the discussion of Shakespeare’s poetic stance as regards the intellectual metamorphosis of human apprehension of time at the dawn of the Modern Age. My reading and analysis of three of the «time-sonnets» (nos. 18, 60 & 73) is set within the context of a final-year or graduate class, minimally fluent in rhetoric, in basic medieval and Renaissance philosophy and in the intellectual history of this period.2 My central contention is that Shakespeare superbly epitomizes in his poetry and drama the fear of death resulting from a radical change in the apprehension of time: time passus (the form typical of the M. A.) becomes now time fractus.3 Humankind is and has always been fearful of death (the ultimate consequence of the passing of time) but there is a historical period -broadly between the mid-fourteenth century and the mid-seventeenth century- in which existential anguish has been at its highest. For three centuries, a series of endless calamities assaulted Europe: the Black Death, the Hundred-Year War, the invasions of the Turks, the Great Schism of the Reformation… . In the Autumn of the M. -
A Critical Analysis of the Sonnets of Charles Tenyson-Turner
RICE UNIVERSITY A CRITICAL ANALYSIS OF THE SONNETS OF CHARLES TENNYSON-TURNER by Wilkes Berry A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF Master of Arts Houston, Texas May 1962 TABLE OF CONTENTS Chapter Page 1. Introduction ..... 1 2. Versification 4 3. Themes and Topics 7 I. Poetry 8 II. Pessimism 11 III. Home and Patriotism 13 IV. Technological Progress 17 V. War 19 VI. Lovers ...... 23 VII. Death 27 VIII. The Passing of Time 32 IX. Birds, Beaits, and Insects 33 X. Land, Sea, and Sky 45 XI. History 5 2 4. Religion 58 5. Structure and Imagery 82 6. Conclusion 106 7. Appendix ..... 110 8. Footnotes 115 9. Bibliography . 118 INTRODUCTION Charles Tennyson-Turner was born in 1808 at Somersby, Lincolnshire. He was the second of the two older brothers of Alfred Tennyson, with whom he matriculated at Cambridge in 1828. Charles was graduated in 1832, and after his ordination in 1835 he was appointed curate of Tealby. Later the same year he became vicar of Grasby; then in 1836 he married Louisa Sellwood, sister to Emily Sellwood, who later married Alfred Tennyson. The next year he inherited several hundred acres of land from his great-uncle Samuel Turner of Caistor. At this time he assumed the additional surname of Turner which he used the rest of his life.* Shortly before his marriage Turner had overcome an addiction to opium which resulted from his using the drug to relieve neuralgic pain; however, he soon resumed the use of opium. His wife helped to free him of the habit once more, but, in so doing, she lost her own health and had to be placed under medical care. -
From Neumes to Notation: a Thousand Years of Passing on the Music by Charric Van Der Vliet
From Neumes to Notation: A Thousand Years of Passing On the Music by Charric Van der Vliet Classical musicians, in the terminology of the 17th and 18th century musical historians, like to sneer at earlier music as "primitive", "rough", or "uncouth". The fact of the matter is that during the thousand years from 450 AD to about 1450 AD, Western Civilization went from no recording of music at all to a fully formed method of passing on the most intricate polyphony. That is no small achievement. It's attractive, I suppose, to assume the unthinking and barbaric nature of our ancestors, since it implies a certain smugness about "how far we've come." I've always thought that painting your ancestors as stupid was insulting both to them and to yourself. The barest outline of a thousand year journey only hints at the difficulties our medieval ancestors had to face to be musical. This is an attempt at sketching that outline. Each of the sub-headings of this lecture contains material for lifetimes of musical study. It is hoped that outlining this territory may help shape where your own interests will ultimately lie. Neumes: In the beginning, choristers needed reminders as to which way notes went. "That fifth note goes DOWN, George!" This situation was remedied by noting when the movement happened and what direction, above the text, with wavy lines. "Neume" was the adopted term for this. It's a Middle English corruption of the Greek word for breath, "pneuma." Then, to specify note's exact pitch was the next innovation. -
Computing Poetry
Computing Poetry Rodolfo Delmonte Department of Language Studies & Department of Computer Science Ca’ Foscari University - 30123, Venezia, Italy [email protected] Abstract: We present SPARSAR, a system for the automatic analysis of poetry(and text) style which makes use of NLP tools like tokenizers, sentence splitters, NER (Name Entity Recognition) tools, and taggers. Our system in addition to the tools listed above which aim at obtaining the same results of quantitative linguistics, adds a number of additional tools for syntactic and semantic structural analysis and prosodic modeling. We use a constituency parser to measure the structure of modifiers in NPs; and a dependency mapping of the previous parse to analyse the verbal complex and determine Polarity and Factuality. Another important component of the system is a phonological parser to account for OOVWs, in the process of grapheme to phoneme conversion of the poem. We also measure the prosody of the poem by associating mean durational values in msecs to each syllable from a database and created an algorithm to account for the evaluation of durational values for any possible syllable structure. Eventually we produce six general indices that allow single poems as well as single poets to be compared. These indices include a Semantic Density Index which computes in a wholly new manner the complexity of a text/poem. Keywords: NLP, Sentiment and Affective Analysis, Factuality and Subjectivity Analysis, Prosodic Structure, Semantic and Syntactic Processing, Metrical Structure 1 Introduction We present SPARSAR, a system for poetry (and text) style analysis by means of parameters derived from deep poem (and text) analysis. -
Definitions & Identify 1. Which of the Following Is A
Check for Understanding: Definitions & Identify 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. 1 long syllable followed by another long syllable d. 1 long syllable followed by a short syllable 2. Which of these words is an iamb? a. Employ b. Coffee c. Drinking d. Eat 3. Which of these words is not an iamb? a. Unfit b. Unwell c. Behold d. Freedom 4. What is the definition of a metrical foot? a. A syllable b. A group of 5 or more syllables c. A rhyme scheme in a poem d. A group of 2-3 syllables that form a rhythmic unit 5. All of these are types of metrical feet except – a. Iamb b. Trochee c. Spondee d. Taradactyl e. Dactyl 6. True or False: A metrical foot can only be one word. a. True b. False 7. True or False: An iamb must be more than one word. a. True b. False 8. True or False: Poems that rhyme have meter. a. True b. False 9. True or False: Poems that do not rhyme have meter. a. True b. False 10. True or False: A poem’s meter cannot change throughout a poem. a. True b. False Answer KEY 1. Which of the following is a definition of an iamb? (Short = unstressed, long = stressed) a. 1 short syllable followed by another short syllable b. 1 short syllable followed by a long syllable c. -
Exploring Shakespeare's Sonnets with SPARSAR
Linguistics and Literature Studies 4(1): 61-95, 2016 http://www.hrpub.org DOI: 10.13189/lls.2016.040110 Exploring Shakespeare’s Sonnets with SPARSAR Rodolfo Delmonte Department of Language Studies & Department of Computer Science, Ca’ Foscari University, Italy Copyright © 2016 by authors, all rights reserved. Authors agree that this article remains permanently open access under the terms of the Creative Commons Attribution License 4.0 International License Abstract Shakespeare’s Sonnets have been studied by rhetorical devices. Most if not all of these facets of a poem literary critics for centuries after their publication. However, are derived from the analysis of SPARSAR, the system for only recently studies made on the basis of computational poetry analysis which has been presented to a number of analyses and quantitative evaluations have started to appear international conferences [1,2,3] - and to Demo sessions in and they are not many. In our exploration of the Sonnets we its TTS “expressive reading” version [4,5,6]1. have used the output of SPARSAR which allows a Most of a poem's content can be captured considering full-fledged linguistic analysis which is structured at three three basic levels or views on the poem itself: one that covers macro levels, a Phonetic Relational Level where phonetic what can be called the overall sound pattern of the poem - and phonological features are highlighted; a Poetic and this is related to the phonetics and the phonology of the Relational Level that accounts for a poetic devices, i.e. words contained in the poem - Phonetic Relational View. -
Understanding Shakespeare
!1 SHAKESPEARE! The Briefest Introduction Why do we still read Shakespeare? Before Shakespeare, plays were usually about morals, and were supposed to give strict lessons on how people should live their lives. Shakespeare’s plays were among the first to explore human psychology—why we do the things we do—and people loved it because it spoke to their own individual experiences. His plays were the blockbusters of his time, and everybody Who was Shakespeare? went to see them (and they got to eat Elizabethan popcorn and candy too!). His William Shakespeare lived from plays have hilarious jokes, biting insults, 1564-1616, and was a British actor, playwright, and poet. He wrote 154 touching romances, gory deaths, and sonnets, 2 long poems, and 38 plays that epic sword fights. Plus, Shakespeare was are still being performed 400 years after the master of slang: he invented over his death. Many people consider him one 1700 brand new words, many of which of the greatest writers of all time! we still use today! Understanding Shakespeare These handouts and exercises are designed to increase students’ understanding of Shakespeare, particularly when tackling the material on their own. It can be applied to reading homework or performance, and will help students in English and Drama classes alike. In this packet are: 1. Basic Elizabethan lingo handout (p. 2). 2. Iambic pentameter handout (p. 3-5). 3. In-class or at-home student exercises (p. 6). ! Kirin McCrory !2 Elizabethan Slang Folks living in the Elizabethan Era (1558-1603) had their own contemporary slang. Much like they would need a cheat sheet to talk to anyone in 2016 (“Did you see that eyebrows-on-fleek meme? I LOL’d and had to share it on Instagram!”), this cheat sheet will help when you read words you don’t recognize. -
Thinking in Song
THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Martin Kuester January 2012 © 2012 Martin Kuester THINKING IN SONG Prosody, Text-Setting and Music Theory in Eighteenth-Century Germany Martin Kuester, Ph.D. Cornell University 2012 Eighteenth-century music theorists habitually used terms that were apparently im- ported from grammar, rhetoric and poetics. While historians of music theory have commonly described these words as reflecting metaphorical attempts to understand music by analogy with language, this study emphasizes their technical value, especially with respect to vocal music, which includes both domains. In the case of Johann Mat- theson, Johann Adolph Scheibe, Joseph Riepel and Friedrich Wilhelm Marpurg, the literal meaning of this common vocabulary can be recovered by viewing their general composition rules���������������������� in the previously une�amined������������ conte��������������������������������t of their theories for compos- ing te�t and music of vocal works. Chapter One questions the applicability of a ‘metaphor of music as a language’ to eighteenth-century musical thought and proposes a new framework, centered on what Scheibe and others considered �����������������������������������������������the origin of both music and language, prosody. Chapter Two e�amines Mattheson’s famous minuet analysis and concludes that a prosodic sub-discipline of music theory provided a vocabulary that applied, in ten- dency, to words and notes of vocal music, simultaneously. Chapter Three traces the interaction of prosodic parameters in the longer history of ‘musical feet,’ pointing out eighteenth-century theorists’ successful efforts to adapt or re-adapt their terminol- ogy to the practice of modern vocal composition. -
Metrical Patterns and Layers of Sense: Some Remarks on Metre, Rhythm and Meaning*
Metrical patterns and layers of sense: some remarks on metre, rhythm and meaning* João Batista Toledo Prado State University of São Paulo, Araraquara Introduction Ideally, all metric phenomena should be observed as empirically as possible on the phonetic-phonological dimension of a language. Empirical observation has however considerably restricted limits when it comes to classical languages, due to the present manifest reductions created by their historical fate, which puts them among those idioms not any longer spoken today. Only legitimate speakers of the Latin language, that is, those who have had it as their mother tongue, were totally able to empirically experience features such as cadence, harmony, rhythm of speech as well as other traits crafted by versifi cation techniques, especially when one takes into account the fact that, from a certain time on, almost all verse compositions in Rome were meant to be read aloud and for public performances1. Th e * I wish to thank FAPESP (São Paulo Research Foundation, Brazil) for the granting of a scholarship that allowed me to develop a post-doctoral research in France of which the fi nal form of this text is one of the many results. 1 Dupont (1985, 402). 124 AUGUSTAN POETRY standards set by classical metrics were also based on the phonic qualities of the articulate sounds, and metrics treatises, written by ancient scholars as well as those produced by later critics, have always involved sound matter on the basis of their settings for the metrics phenomenon in poetry. Classical Metrics manuals have always sought to catalog regularities seen in classical poetry and formulate the standards of its occurrence in verses, by proceeding to investigate their harmony measures, i.e., poetic meters, and establishing the laws that rule their use as well as the eff ects produced by them, but always based on the sound phenomenon of ancient languages like Greek and Latin, which could not deliver to posterity any positive evidence of how their phonemes were articulated.