This paper highlights the results of the experimental phonetic research on American postmodern poetic texts, voiced by their authors. The acoustic analysis of fundamental frequency, duration, and intensity of rhythmic groups proves their rhythm-creating ability. Arrhythmicity is seen as a means of creating the effect of defeated expectancy, emphasizing those speech fragments, which are crucial in the decoding of the author’s intention.
This article presents a theoretical framework for the author’s experimental work in contemporary poetry, which has received the term cognitive poetry. In contrast to cognitive poetics, which applies the principles of cognitive psychology to interpret poetic texts, cognitive poetry applies these principles to produce poetic texts. The theoretical considerations of cognitive poetry are based on the assumption that one of the major purposes of creative work is to elicit an aesthetical reaction in the beholder. The aesthetical reaction to poetic texts could be achieved via their satiation with multiple meanings presented through multiple sensory modalities. Cognitive poetry employs techniques developed in cognitive psychology to explicitly address cognitive processes underlying the construction of multiple conceptual planes. The following techniques are discussed: priming, the Stroop effect, multimodal and multilingual presentations. The applications of these techniques are illustrated with examples of poetic texts produced by the author.
The Monophthongisation of Diphthongs Before Dorsal Fricatives: A Corpus Study
The paper discusses the geographical distribution of the monophthongisation of (1) the diphthong [ei] (< [e:ç]) before the palatal fricative [ç] (i.e. [eiç > i:ç]) and (2) the diphthong [ou] (< [o:×]) before the velar fricative [×] (i.e. [oux > u:x] in words like high an bough. The resulting monophthongs became the input to the diphthongisation rule, a part of the Great Vowel Shift. On the basis of forty-nine Middle English poetic texts from the Chadwyck-Healey online corpus an effort is made here to establish temporal and dialectal conditioning of the change.
Rezeptionsästhetik als Chance für gegenseitiges Lernen in der Bibelwissenschaft
Renate Andrea Klein
This article is a plea for a non-biblical approach to biblical texts, the so called “Rezeptionsästhetik” (aesthetics of reception). Important points of this approach are reading biblical texts as fictional (poetic) texts and the reader’s role in decoding the texts according to his “encyclopaedia”. Using aesthetics of reception in interpreting Bible texts can contribute to the better acceptance of different points of view on the same scripture passage and to more respect and understanding between the different religious traditions concerning biblical interpretation.
I Puritani is the masterpiece that crowned the creation of the Italian composer Vincenzo Bellini, being remarked and appreciated for the richness of his melodicity and profound symbols filled with the inspiration and creativity of a creator. This was the last of the ten works composed by Bellini, whose disappearance was premature, at only 33 years, but the passion and talent with which he created revealed a work dominated by essence and emotion, which establishes a close connection between chant and the poetic text, providing new expressive valences to the lyrical universe. The extremely difficult and demanding vocal writing raises serious challanges, the Bel-canto style meaning not only a “beautiful chant” but also a difficult texture, a certain specific phrasing and a spread of spectacular acute tones.
This paper focuses upon some of the female poets in Kurdish literature who have played a major role in establishing Kurdish women’s poetry and their poetic texts, and how their voices become deeper and more feminine. The study will encompass the earliest Kurdish female poet from the classic period -Masture-y Ardalani (1805–1848), one of the most prominent Kurdish poets - and four poets from the modern period, namely Diya Ciwan (b. 1953), Kazhal Ahmed (b. 1967), Nezend Begikhani (b. 1964), and Mahabad Qaradaghi (b. 1966). The existence of feminine poetry in Kurdish literature is considered new born, but in fact the real emergence of women’s poetry in Kurdish literature dates back to the early 1990s, aTher the liberation of southern Kurdistan from the Saddam Hussein regime. Additionally, it is important to note that the Kurdish political and creative history is not without women’s presence.
Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A
Since the times of Antiquity, people have looked up to the sky and developed various conceptions of Heaven and Hell. Already in the ancient Egypt people developed the tripartite conception of universe with earth placed between the Heaven inhabited by gods above and Hell below. The Old English poetic text of Genesis (MS Junius 11; compilation dated to the 10th century) presents the earthly paradise, Hell and Middangeard (or the middle earth). Both Genesis A and B that comprise the poem indeed show a single and consistent descriptions of cosmos. The overt consistency may well seem as interesting as the tradition that the poem draws upon as well as distorts. The universe found in the poem is a fusion of the Christian religious learning as well as Germanic tradition. The idea that marries Heaven, earth and Hell in the poetic sequence of OE Genesis is the concept of hall and anti-hall, city and anti-city. The aim of the following paper is to investigate the modes of this presentation of these parts of the universe by the analysis of the clusters of meaning that are associated with hall and city.
Musicology, viewed as a general science regarding all the defining elements of music, can approach compositions using hermeneutical methods, both through a critical view on the interpretation, the stage performance of the creative act, and through the subsequent musicological writings, becoming a “meta-interpretation” that requires a thorough exegesis. The couplet hermeneutics-interpretation together with that of compositional concept versus stage production are the ones underlying our research, while hermeneutics is the very art of performing that penetrates the most cryptic elements present in the musical act, viewed from the perspective of the triad creation-interpretation-reception. In an attempt to emphasize the ways in which the composer suggests to the performer certain indications for stage performance, through writing, agogics, dynamics and special sound effects, we intend to study, from the standpoint of the musicologist, the piece 5 tablouri cu umbre(le)1 by Constantin Rîpă. Built on a structure of five tableaux, the work comprises fifteen songs on poems by five contemporary Cluj poets and outlines a new concept of musical performance, which aims to experiment in composing music with the idea of the primordial nature of the poetic text, which is associated with elements of motion and gestures of the interpreters and is based on an arbitrary compositional concept, a defining technique that can be found in a great part of the choral creation of this composer.
Decoding Visual Metaphor ‘Global Warming’ in Public Awareness Campaigns
, Cognition and Experimental Literature . Routledge studies in Multimodality: 3. Routledge.
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Ibáñez, Daniel Barredo and Martin Oller Alonso. 2015. Multimedia resources and Sporting Bias in MARCA.com and SPORT.es: An Analysis of Matches between Real Madrid C.F. and F. Barcelona