Rhyming Verse Research Articles

Hebban olla vogala: An Eleventh-Century Link Between Dutch and English Literary History

The short eleventh-century lyric Hebban olla vogala is considered the earliest literary text in Dutch. Yet it only survives as a badly faded pen trial, written in England by a monk from the Low Countries. As a result, the exact reading of the text and even the language it was written in remain uncertain. Now, multispectral imaging of the manuscript has made it possible to provide an improved reconstruction of the text. An analysis of this new reading suggests that the scribe deliberately used the similarity between dialects of late Old English and Old Dutch to produce a rhyming verse text that was intelligible in both languages. As a multilingual and translingual poem, Hebban olla vogala must therefore be situated in English as well as Dutch literary history. The scribe’s other pen trials in the same manuscript demonstrate an interest in different Latin verse forms, indicating that Hebban olla vogala may also be a literary experiment. In exploiting the mutual intelligibility of Old Dutch and Old English, the poem points to an easily overlooked current of influence on late Old English and early Middle English literature. While this is hard to trace due to the similarities between the two languages, Dutch emerges as another potential influence, alongside Anglo-Norman French, on the development of rhyming verse in English after the Norman Conquest. In this way, Hebban olla vogala can be seen not only as a monument of Dutch literary history, but also as a testament to its interaction with English literature.

Georgian Translations of "Cinna" by Pierre Corneille

Georgian reader got acquainted with the work of Pierre Corneille in the second half of the nineteenth century. Georgian translators were especially interested in P. Corneille's tragedy  ,,Cinna’’.  Currently, there are three Georgian translations of ,,Cinna’’.  The first one belongs to Alexander Tchavtchavadze (1844),  second - to Nino Tarishvili (1941-1942), and the third -  to Giorgi Salukvadze (1961). Al. Tchavtchavadze 's translation has come to us  in its complete form. The translator either extends or reduces the dialogues or monologues of the actors by one or two verses in case of need. That is why, there are totally 1766 verses instead of original 1780  in the translation. The mentioned work is made in rhyming verse - we find both ordinary and beautifully designed poetry, although mostly the patterns are poor. It is not hard for Alexander Tchavtchavadze to codify ,formulate and analyze the text of ,,Cinna", it is easy for him to decode the phrase and make the necessary paraphrase and changes. Al. Tchavtchavadze successfully adapted the sixteen-syllable Georgian verse to the Alexandrian verse of the original, and at the same time ensured the creation of adequate artistic forms of ,,Cinna" in translation.  It is undoubtable ,that Al. Tchavchavadze picked the text of ,,Cinna" thanks to his own literary taste and intuition and also due to socio-political interests – through this translation he draws an allusive parallel with the 1832 conspiracy of the Georgian nobility, whose 145 participants were first executed by Nicholas I, known for his cruelty. He did not decide, but soon, thanks to his own natural ,,kindness", he forgave all the conspirators.  Chronologically, the second Georgian translation of "Cinna" was made in 1941-1942 by the famous poet Nino Tarishvili. At present the mentioned translation cannot be found  in the archive of Nino Tarishvili preserved in Giorgi  Leonidze State Museum of Literature.  In the time period of my friendship with Ms. Tarishvili, I read the manuscript of the translation of ,,Cinna" at her residence and now, without any special research, I can say that the text of "Cinna" is completely translated from French in fourteen-syllable rhymed verse and is distinguished by the depth and charm of Nino Tarishvili's poetic thinking. The third translation of ,,Cinna" belongs to the poet Giorgi Salukvadze, who was able to preserve the form and content of the origin in his translation. Despite some shortcomings of the work, G. Salukvadze vividly describes the artistic portraits of the main characters, because of this, the Georgian translation of ,,Cinna" is an artistically matured work.  The fact that three famous Georgian poets were interested in the translation of Pierre Corneille's "Cinna" is very significant for the history of Georgian-French literary relations. We hope that in the future Georgian poets will return to the translation of "Cinna" and give us better and improved texts

Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev ed. by Dassia N. Posner, Kevin Bartig and Maria De Simone

Reviewed by: Three Loves for Three Oranges: Gozzi, Meyerhold, Prokofiev ed. by Dassia N. Posner, Kevin Bartig and Maria De Simone Anna Muza THREE LOVES FOR THREE ORANGES: GOZZI, MEYERHOLD, PROKOFIEV. Edited by Dassia N. Posner and Kevin Bartig, with Maria De Simone. Bloomington: Indiana University Press, 2021; pp. 460. The volume under review considers the whimsical comedy of three oranges as scripted, first, by Carlo Gozzi in eighteenth-century Venice; by Vsevolod Meyerhold in early twentieth-century St. Petersburg; and just a few years later by Sergei Prokofiev, whose opera is the best-known work of the three in the New World. An (equally) international collective of scholars offer erudite, insightful, and truly interdisciplinary readings of the dramatic texts, realized and unrealized performances, artistic controversies, and of a continuous creative absorption of ideas, styles, and techniques. The volume’s title is elegant yet unduly restrictive: In addition to the three titular artists, the book presents other seminal authors enamored of commedia dell’arte, such as German Romantics and Russian Symbolists, whose sensibilities and influences are specifically addressed in Natalya Baldyga’s and Vadim Shcherbakov’s contributions but resonate throughout the volume. Examining the pertinent theatrical, cultural, and critical history of the Italian masks, the book also brings to light some of the less famous yet remarkable figures (such as the theatre scholar and practitioner Konstantin Miklashevsky featured in Laurence Senelick’s essay, and the artist Boris Anisfeld in John E. Bowlt’s). As a result, the scholarly volume dedicated to a series of extremely fluid theatrical texts and events is as sparkling and fascinating as the delightful source material itself. The main elements of the whimsical plot retained by all of its co-creators concern a prince first cursed by an inability to laugh and then sent on a romantic pursuit of three oranges, which eventually prove to enclose three fair maidens, one of whom becomes the prince’s bride. Each of the book’s three parts— “The Fiaba,” “The Divertissement,” and “The Opera”—contains a translation of a verbal script produced by Gozzi in Italian (1772), by Meyerhold in Russian (1913), and by Prokofiev in French (1919). The English translations are done, respectively, by Maria De Simone, Dassia Posner (who has also participated in rendering the rhyming verse in Gozzi’s text), and Kevin Bartig. The editors-translators have meticulously examined and coordinated the scripts to preserve and reveal borrowings, correspondences, and emendations. The scholarly precision, historical sensitivity, and literary quality of the three translations are matched by a theatrical thrust: all (re)create the vivid atmosphere (I might say, ecology) of live, audience-oriented theatre. As Posner observes in her sharp overview of the collection’s main goals and themes, the “fairy-tale manifestoes” by the three great artists are extremely relevant to our ongoing attempts to “rethink what is primary in stage performance” (3). The volume not only discusses but also invites stage practice. All translated texts are stage-ready: framed and enhanced by the research, they can be used in all kinds of training and studio work, interdisciplinary courses, and full-scale productions. Gozzi’s “Reflective Analysis of the Fairy Tale ‘The Love of Three Oranges,’” written eleven years after its actual stage performance, is striking in its montage of scripted parts and “self-referential commentary,” which includes, in De Simone’s words, “descriptions of mise-en-scène, audience reactions, [End Page 414] and Gozzi’s explanations of his formal experiments” (6). “Analysis” provides a conceptual trajectory for the collection not only as the origin of the itinerant plot, but also as a template for daring generic innovations, assertive self-awareness, and metatheatricality. The historical and histrionic background on Venetian theatre (provided by Alberto Benuscelli, Guiletta Bazoli, and Domenico Pietropaolo) is also helpful in building an arch from the past to the future, and vice versa. That commedia dell’arte inspired Meyerhold, Prokofiev, and other modernists is well-known, yet the essays in Three Loves reach beyond the triviality of “everything new is the well-forgotten old.” Ted Emery’s chapter, aptly titled “Carlo Gozzi’s Reactionary Imagination,” underscores Gozzi’s fierce anti-Enlightenment stance staged in his “imaginary fairy-tale worlds” (109), which...

Poemata on affairs of state: political satire in Latin in later Stuart Britain, 1658–1714

ABSTRACT Later Stuart Britain is well known as an age of political satire. Scholars have generally approached this as an English-language phenomenon, but there was also a significant strand of satiric verse written in Latin, Britain’s second literary language. This article examines the nature and significance of political satire in Latin in this period. Latin satire appeared in many forms and genres, including epigrammatic, lapidary, hexameter and rhyming verse. Like English-language satire, most Latin satire circulated in manuscript rather than print. Although it had elite authors and readers, some Latin satires reached a substantial audience, assisted by the prevalence of short poems and their circulation alongside English translations. As Latin was Europe’s main international language, satires also flowed across borders, especially with France and the Dutch republic. Latin satires took diverse political perspectives, including royalist and oppositional, Tory and Whig, Jacobite and Williamite, and appeared throughout the later Stuart period.

Regularizing Rhythms: Meter as Prescription in Ninth-Century German

In this article I investigate meter as a linchpin in the process by which a ninth-century literary culture encroaches on a long-standing oral tradition. I focus on two ninth-century texts, the Old Saxon <i>Hêliand</i> by an unknown poet and Otfrid von Weissenburg’s Frankish <i>Liber Evangeliorum</i>. Both poets tell the story of the life of Christ, but the motivations behind their texts are different. The <i>Hêliand</i> is intended for recalcitrant Saxons, who still required some convincing that being a Christian subject of the Carolingian empire was a desirable state of affairs. In contrast, Otfrid self-consciously attempts to produce one of the German language’s first great works of literature. I argue that their contrasting goals lead the poets to lean more heavily on one of the two main language traditions of the day—the <i>Hêliand</i> poet on the Germanic oral tradition and Otfrid on the Latinate tradition of literacy—and that this relationship has a direct influence on the poems’ rhythms. In the case of the <i>Hêliand</i>, the poet composes in alliterative verse, whose loose meter is rooted in spoken Germanic and, thus, accommodates its rhythms perfectly. This choice has the effect of rendering the Gospel story less culturally alien to the Saxons. Otfrid, on the other hand, creates his own Latin-influenced rhyming verse, whose meter constrains and regularizes the rhythms of his spoken Frankish. This abstraction away from vernacular rhythms represents the monk’s attempt to prescribe good written Frankish as something apart from the pagan sounds of the oral tradition. (KS)

María José FerradaHow to Order the Universe by Elizabeth Bryer

0 María José Ferrada How to Order the Universe Trans. Elizabeth Bryer. Portland. Tin House. 2021. 180 pages. WHEN SHE GOES TO SCHOOL, which isn’t often, the seven-year-old protagonist of this terrific novel is reminded that she has atypical interests. Let her classmates scribble rhyming verse about blue skies. She’d rather write paeans to pairs of pliers. M, as she’s called, is never far from her father, D, a traveling hardware salesman who thinks formal education is overrated. Each day, they drive around Chile’s hinterlands , persuading store owners to stock his hammers and wrenches. D neglects to tell his wife that their daughter accompanies him on daylong sales trips, but M is a vital partner. When she stands by his side, adorable and vaguely sad, shopkeepers tend to order more stuff. A successful author of children’s books, Santiago-based María José Ferrada has set How to Order the Universe, her first novel for adults, in the 1970s, when Augusto Pinochet’s dictatorship jailed and murdered countless law-abiding Chileans. M’s mother—she’s not part of M and D’s secret society, so we never learn her name or initial —knows these facts too well. Her first love, a regime opponent, disappeared without explanation. Her pain is renewed when D befriends a photographer who knew her missing ex. The photographer is driven to document the junta’s crimes, a quest that imperils all who enter his orbit. Narrated decades later by an adult M, this is a short book with ambitious goals. Ferrada wants to honor those who suffered under fascist rule while also spinning a comic yarn full of workplace absurdities and domestic intrigue. She accomplishes both with enviable grace. Why doesn’t M’s mother realize she’s skipping school? Because D and his daughter have concocted “a false booklet of parent-teacher communications.” Though her mother seems withdrawn, in truth, “she was simply sad,” M says, “and her sadness meant she couldn’t pay attention to details.” At heart, this is an appealing ode to eccentric forms of resistance in the face of brutal repression. Ferrada’s portraits of D and his colleagues are entertaining. All are liars—one claims he triggered a woman’s heart attack by delivering too many sewing needles, another that he accidentally drove his sedan into a river and floated to safety on a car door—but they’re endearingly so. Their apocryphal tales take on a mournful hue when viewed as coping mechanisms, a way to make sense of life and loss in a country run by a murderer. M, meanwhile, learns to organize her thinking by shadowing her sweet, misguided father, carefully taxonomizing his wares (everything from screwdrivers to peepholes), the stores he supplies (mom-and-pops in varying states of disorganization), and his expenseaccount -padding scams (falsified restaurant checks, pilfered tollbooth receipts). As it chugs toward a tense third-act crisis, this bighearted story, skillfully translated by Elizabeth Bryer, offers a host of memorable set pieces. Hitched together by this multitalented writer, they make for an outstanding novel. Kevin Canfield New York David Diop At Night All Blood Is Black Trans. Anna Moschovakis. New York. Farrar, Straus and Giroux. 2020. 160 pages. IN THE BLOOD-MIRED trenches of World War I, an unwilling soldier ascends to an agent of death. Though David Diop anchors At Night All Blood Is Black in the plight of Senegal, the historical context of the novel is hushed by an examination of the psychological duality of conflict. A recollection of late childhood and carnage, Diop’s prose is less of the fever dream sometimes associated with similarly grotesque subjects and more an organic, direct recount of destruction years at a remove à la Joshua Oppenheimer’s The Look of Silence. His early illustrations of violence in the novel are abrasive even when compared to most notorious contributions to realistic wartime fiction, but Diop skirts dwelling in such memory in favor of understanding the fractured life that inevitably follows. Alfa is a young Senegalese man with academic aspirations outside of Africa. Unfortunately, he and his best friend, Mademba, are recruited for the French war WORLDLIT.ORG...

The Origins of a Dramatic Technique: Rhyme in Pre-Shakespearean Drama, 1530–1580

English plays of the mid-sixteenth century tended to be spoken entirely in rhyme. This led to the creation of a whole dramatic mode: rhyming verse form was a way of signaling to the audience and deepening their understanding of the play world they were entering. This article discusses the ways in which this powerful mode operated, reading rhyme as an overt signifier of moral character, status, and power dynamic and examining the ways in which it can increase our understanding of this theater's doubling practices and metatheatrical humor. It also posits these techniques and styles as vital predecessors for the more canonical Renaissance theater. The continuously rhyming drama of the midsixteenth century set up a series of expectations and patterns, which William Shakespeare and other early modern playwrights would exploit when they made the crucial shift toward a drama that used rhyme as special effect rather than norm.

FUNGSI PANTUN MELAYU TRADISIONAL DILIHAT DARI PERSPEKTIF BUDAYA DAN ALAM PEMIKIRAN MASYARAKAT MELAYU

Pantun is a group of rhymed verses that support the beauty and finesse, which embody a strong and influential idea. Traditional Malay pantun works in almost every activity of the life of the Malay community, including expressing the values and culture of a tradition, questions of love and affection, concepts of humour as well as religious values. It also serves to convey the ideas and thoughts of its speakers and reflect the lives of its creator. In the creation of Malay pantun, all the experiences, views and philosophies of life conveyed in it use the nature background as a hint or meaning. The use of such elements reflects the intimate and bonded connection of the Malay community with the elements of nature around them. The creation of pantun often uses words related to the elements of nature that are present in the environment of the Malay community, especially in the form of symbolism or those imagining a variety of symbolic images that can exemplify the aesthetic value besides the meaning and profound message. The privileges and strengths of the Malay pantun can be seen in the use of certain symbols chosen based on the perception and worldview of the life of the Malay community and on the semantic relationship between hint and meaning. Keywords: Malay pantun, Malay community, function of pantun, nature background

Domniemane datowanie niedatowanych utworów Karola Wojtyły: Dzieła literackie i teatralne, Juvenilia (1938-1946)

Karol Wojtyła left behind many undated works. Determining the date of their creation sometimes requires a detective’s acumen. Based on the extensive information available in his poetry, meditations or plays, the context of their creation can be worked out quite accurately. This article is an attempt to determine the chronology of the early works of Karol Wojtyła, starting with the adaptation of The Stage Image titled “Christ – King” based on the Apocalypse of Saint John, his rhymed verses as a secondary-school graduate, through the series of Sonnets, and Symphonies – Unifications, then his autumnal poetry, works from the time of the war and occupation – sometimes forgotten by the very author – and ending with Songs about the Hidden God – the most mature poem from the period before his priesthood. Confirmations of the suggested arrangements often come from the recollections of people who were close to the young Wojtyła. His letters to his friends, the Kotlarczyks and the Szkockis, are also an endless source of information. The literary works of the future Pope, full of his deepest thoughts, as well as fears and premonitions, complement the various stages of his life, and thus help us to better understand not only the artistic creativity, but also the teachings, of John Paul II.

Pentru O Poetică A Ritmurilor Discursive În Lirica Blagiană

Abstract Lucian Blaga’s writing merges into the boundaries of the European modernism both if we refer to the formal and the theoretical aspects of his work. His poetry shows us the deconstruction of the typical rhymed verse through the use of the white one. But as soon as poetry deconstructs the concepts of rhyme or meter as a necessity to define the formal aspects of writing, there is the resistant concept of rhythm which shows himself a plural concept. The aim of this paper is to investigate rhythm in the poetical creation of Lucian Blaga not as the asset of formal constructions, but as it was proposed by Henri Meschonnic a discursive rhythm which is in a tight relation with the subject of speech.

Seductive Movements in Lysistrata and Spike Lee’s Chi-Raq: Activism, Adaptation, and Immersive Theatre in Film

AbstractThis article investigates how Spike Lee’s 2015 Lysistrata adaptation, Chi-Raq, reaches beyond the screen—‘in excess’ of its medium—by using the techniques of immersive theatre to revive Aristophanes’ classical plot as well as his urgent call to citizenly collective action (McGowan, Todd. Spike Lee. Champaign, IL: University of Illinois Press, 2014). Lee’s seductive activist fairytale in rhyming verse imagines a worldwide sex strike led by Chicago’s women of colour. Like its Classical predecessor, the film both critiques and reinforces the spectacular objectification of female bodies; that tension is always in play, even as it successfully brings about a peace treaty between two warring Englewood gangs. To explore this and other socio-political tensions, Lee’s film employs many of the ‘physical, sensual and participatory’ elements that Josephine Machon understands as central to immersive performance (Machon, Josephine. Immersive Theatres: Intimacy and Immediacy in Contemporary Performance. London: Palgrave Macmillan, 2013. xv). Crucial to this immersive adaptation is Lee’s transgressive coordination of sight, touch, and sound to aptly update Lysistrata’s acts of refusal as deeply gendered and racialized calls for intimate justice. In effect, audiences learn, move, chant, yearn, and envision a better world alongside the characters in the film. As a result, the goals of Chi-Raq are achieved in ways that are both more compellingly relevant and more radical than any other contemporary Lysistrata adaptation in recent memory.

Friends and Foes: Poems about Us All by Douglas Florian

Reviewed by: Friends and Foes: Poems about Us All by Douglas Florian Deborah Stevenson, Editor Florian, Douglas Friends and Foes: Poems about Us All; written and illus. by Douglas Florian. Beach Lane, 2018 [48p] Trade ed. ISBN 978-1-4424-8795-6 $17.99 E-book ed. ISBN 978-1-4424-8796-3 $10.99 Reviewed from galleys Ad Gr. 2-4 Twenty-five poems treat the joys and challenges of friendship and the challenges and occasional joys of enmity. Poems address friendship across different languages (“How Do You Say ‘Friend’?”) and realities (“Imaginary Friend’), and animosity earned (“You Lied to Me”) and unjust (“Jealousy”). The scansion of the rhyming verse stumbles occasionally, and the sunny poems celebrating friendship are sometimes fairly flat; more interesting are the funny ones (“The Fabulous Five,” a basketball team that loses every game) or the verses treating complications (“We Used to Be Friends”) or even enmity (“Billy the Bully”), and the inclusion of a few poems for two voices provides additional utility. The full-bleed art in sunny colors is distinctively childlike both in its naïve draftsmanship and its vigorous streaky crayoning; while the effect is sometimes muddy, the art’s playfulness suits the tone of the frisky verses. Florian’s zoological poetry (Insectlopedia, BCCB 7/98, etc.) has more punch, but this could still be an entertaining romp for his fans or introduction for Florian newbies. [End Page 469] Copyright © 2018 The Board of Trustees of the University of Illinois

ToastingMéxicoin the American West:BrindisPoems and Political Loyalties of Women’s Mexican Patriotic Clubs

AbstractBrindis poems were popular in the nineteenth century. Accompanied by the raise of a glass, their verses were meant to celebrate a person or event. Only two decades after the Mexican-American War, Latinas/os living in the newly annexed territories of the American West found themselves using the brindis genre to declare their loyalties to Mexico against a new invader, France. Among the most ardent supporters of the Mexican army’s fight against French imperialism were lower and middle-class Latinas who formed Mexican patriotic clubs exclusively for women in California and Nevada. This article examines one brindis series recited by women of the Patriotic Club of Mexico of Virginia City, Nevada, and two series of such poems by women of the Zaragoza Club of Los Angeles published in 1865 in the San Francisco, Spanish-language newspaper El Nuevo Mundo. By reading the printed brindis as a trace of the original vocal and performative gesture, this article asserts that the verses of these women were a three-fold protest: first, through their performance in the public sphere, these Latinas disrupted their political disenfranchisement as women; second, they contested outright European tyrants; and third, by verbalizing anti-colonial sentiment more broadly, they protested their annexation by the U.S. in a shrouded, but powerful way. The article explores some of the most salient stylistic features of the brindis poems, including the mocking tone of most of the rhymed verses, call and response technique, and gendered rhetoric of patriotic “deber” or duty.

Ivasik Telesik. Nekaj misli ob knjigi Nazarija Nazarova »Obredni izvor pravljičnega besedila«&lt;br&gt;Ivasik Telesik. Reflections on the Book “The Ritual Origin of a Fairy Taletext” by Nazarij Nazarov&lt;/br&gt;

Ukrainian philologist Nazarij Nazarov has researched a popular fairy tale of the East Slavs that is known among the Ukrainians under the name “Ivasik Telesik”, among the Belarusians as “Sinek Pilipka”, and among the Russians as “Terešečka”. Of particular interest are several rhymed verses inserted in the text. Nazarov believes that these inserts primarily dissect the text, thereby creating a ceremonial form. A comparison of this Eastern Slavic tale with four Slovenian poems indicates that the purpose of these inserts may also be to soothe and lull to sleep.

Sometimes It’s Storks by L. J. R. Kelly

Reviewed by: Sometimes It’s Storks by L. J. R. Kelly Elizabeth Bush Kelly, L. J. R. Sometimes It’s Storks; illus. by the Brothers Hilts. Putnam, 2017 [32p] ISBN 978-0-399-25682-0 $16.99 Reviewed from galleys R 2-5 yrs In a seeming response to an inquiry about the origin of babies, this book launches a whopper of an explanation, certain to fool nobody. The parental response—in rhymed verse, no less—is equal parts worrisome and preposterous, emphasizing how the best laid plans for baby delivery can go madly astray: “The day was set; we called New York,/ and they decreed you’d come by stork/but the stork they chose was prone to think/of nothing else but food and drink.” Baby fell from the stork’s beak as the bird plunged for a fish, and a crocodile scooped up the little one and sold it to a whale, who passed the infant along from animal to animal on a transcontinental odyssey until the Brisbane Zoo, noting the delivery tag, forwarded baby to its rightful parents “at home where you belong,/ where the stork was heading all along.” In artwork as surreal as the tale itself, the narrating parents loom hugely and goofily over their little blue-faced child, their massive bodies, strong, comforting arms, and small, faraway heads appropriate for the perspective of one accustomed to viewing the world from a very low vantage point. The animal guardians are intimidating but harmless, while baby patiently goes with the flow. Expect listeners to giggle, eye roll, and return to the original question: but where do babies really come from? [End Page 219] Copyright © 2017 The Board of Trustees of the University of Illinois

Preschoolers have better long-term memory for rhyming text than adults.

The dominant view of children's memory is that it is slow to develop and is inferior to adults'. Here we pitted 4-year-old children against adults in a test of verbatim recall of verbal material. Parents read a novel rhyming verse (and an integrated word list) as their child's bedtime story on ten consecutive days. A group of young adults listened to the verse, matching the exposure of children. All participants subsequently performed a free-recall of the verse, verbatim. (Parents and young adults knew they would be tested; children did not.) Four-year-olds significantly outperformed both their parents and the young adults. There were no significant differences in the ability to recall the gist of the verse, nor the integrated word list, allaying concerns about differences in engagement or motivation. Verbatim recall of verse is a skill amenable to practice, and children, we argue, by virtue of the prominence of verse in their culture and their reliance on oral transmission, have honed this skill to exceed adults'.

YENİLİKÇİ BİR ŞAİRİN GELENEĞİ TAKİP EDEN SESİ: NEDÎM VE KASİDELERİ

The Classical Turkish literature, feeding from the world’s richest and the most colourful culture, keep itself for six centuries, pass from the permanence test of time with the created magnificent works. Divân poets adopt the verse form of the Arabic and Persian literature while using them under the effect of Islamic culture. Beside this verse form, domestic verse forms are also used with the same or exchanged name. Verse forms are formed with the structural property like stanza numbers of poem, order of this and the rhyme style and differ with the literary trend or term. Qasida is formed from single rhymed verse form of couplets and often written for the praise of reverend and statesmen. The entitling of qasida of this poem is its single purpose. In this work, Nedim who leave his mark upon 18th century and his name is come up with his life age; in fact identified an extraordinary personage Nedim’s qasidas which are social life’s record existed in his Divân are considered and the situation of his qasidas are determined in 18th century classical Turkish poem

Diario de máscaras by Luisa Valenzuela

artist. Earlier, that chapter seems to violate one of Schmidt’s guidelines against strictly geographical grouping, when that great locomotive of modern southern writing —as Flannery O’Connor once called Faulkner—leads a train of his southern compatriots, including O’Connor. Granted, they did not suffer by following. The Novel: A Biography is well conceived and superbly written. My bookmarks indicate five different pages that I will go back to. I recommend Schmidt for all those on the hunt for something new or perhaps just a novel like a novel you liked. W. M. Hagen Oklahoma Baptist University Luisa Valenzuela. Diario de máscaras. Buenos Aires. Capital Intelectual. 2014. isbn 9789876144612 Masks, among other things, may be monstrous or cute ambassadors of distant secrets, peoples, and truths. By cataloging her masks, passionately accumulated while traveling, Diario de máscaras enables us to trace the random outlines of what writing , traveling, and living have in common for Luisa Valenzuela: the intense need to avoid the plan, to get lost. Valenzuela’s new travelogue brings with it the undeniable fascination of distant peoples and places— from the equatorial jungle to the Dogon in Mali, Amazonia, Papua New Guinea, China, India, Japan, Nepal, Tibet, Egypt, and the Argentinean Chaco Salteño—as “narrated” by her masks. Valenzuela confesses : “Every one of my masks is for me like a book. They tell me many stories.” She also suggests that masks show rather than hide and that traveling and getting lost imply, for her, a need to write. Writing, for Valenzuela, is not different than traveling because she believes in “writing with the body, putting every one of the cells in movement to create, which is in itself a discovery process,” and her approach to both is similar in its lack of structure, where the technique is getting lost, probably because “the big surprises emerge from the unexpected. There is nothing like getting lost to better find ourselves.” This technique brings us closer to the places and peoples of her stories, letting us, if only for a minute, inhabit their masks. In Diario de máscaras, Valenzuela adopts the anthropologist’s role, which she had “lent” to Marcela Osorio, the main character of her novel La travesía (2001; see WLT, Spring 2002, 238), to produce a diary rather than a complete and organized description of places and cultures, with the purpose of “showing the scraps of her trips.” As in her novels—in which, she explained in a 2001 newspaper interview with María Moreno, “I don’t have structure. I never assemble a novel knowing where it is taking me. They tend to be exploration texts”—her diary feels like a set of exploratory texts and suggestions about places. While one could say that the irony of Valenzuela’s new book is that she commits the sins she warns against—to provide a guide, to suggest a route—the call to get lost and the value system she outlines redeem her from such sins. Diario de máscaras packs the same positions that characterize Valenzuela’s work— herengagementwithsocialcauses,feminism, and sustainability—in the form of a travelogue that stops to reflect on the responsibility of travelers: to avoid stealing the meaning of places, peoples, and masks; the cultural role of women as creators of the masks and therefore of deeper meaning; and the need for travelers to behave like true anthropologists and to try not to contaminate the setting with their presence. Diario is a guide of sorts to situations and an art of traveling that invites readers to go on their own trips to places and among peoples and therefore into a deeper understanding of themselves. Carolina Sitya-Nin University of Oklahoma Clive Watkins Already the Flames Waywiser Press / Dufour Editions While the opening poems in this eightpart work depict a demon’s attack on a pilgrim, Already the Flames opaquely moves from dismay to deliverance. Much like the alternating themes of antipathy and adjustment, Clive Watkins’s extensive range of style vacillates between rhymed verse and unrhymed prose. Through keen observation, this powerful selection of poems sharpens one’s perspective on perpetrator and willing observer alike. Nota Bene STATEMENT OF OWNERSHIP...

Poetry of the Crowd: A Human Computation Algorithm to Convert Prose into Rhyming Verse

Poetry composition is a very complex task that requires a poet to satisfy multiple constraints concurrently. We believe that the task can be augmented by combining the creative abilities of humans with computational algorithms that efficiently constrain and permute available choices. We present a hybrid method for generating poetry from prose that combines crowdsourcing with natural language processing (NLP) machinery. We test the ability of crowd workers to accomplish the technically challenging and creative task of composing poems.

Review: A Short History of the Highrise, by Katerina Cizek, director

Katerina Cizek, director A Short History of the Highrise Short film and “Op-Doc” for the New York Times launched in October 2013 http://www.nytimes.com/projects/2013/high-rise Henry David Thoreau once noted that “every apartment in which man dwells [should] be lofty enough to create some obscurity where flickering shadows may play at evening about the rafters.”1 Despite the fact that Thoreau abhorred urban life, the existential human quest for magic from the unlikeliest of places—confined living quarters—is similar to that of A Short History of the Highrise , an interactive documentary conceived and directed by Katerina Cizek and published online by the New York Times in the fall of 2013. The short interactive online documentary, which prides itself on placing the human aspects of high-rise life to the fore, is a hearty yet wistful work whose most striking aspect is its visual interpretation of source material. Cizek’s approach to her sources and narrative style itself flickers with a keen sense of play—as well as a certain amount of obscurity. Highrise is an “op-doc” subdivided into four sections, three of which—“Mud,” “Concrete,” and “Glass”—trace a roughly chronological story of multifamily living from Roman times to the present, while a fourth—a slideshow of apartment life contributed by readers—offers an impressionistic picture of contemporary apartment life from an anthropological perspective. The historical sections are narrated by the singer Feist through rhyming verse, which can feel both entertaining …