This aticle discusses briefly the evaluation devices encoded in language (axiological vocabulary) and more complex ways of expressing evaluaƟtions used in utterances and statements and based on the ...employment of connotations and conversational implicatures (comparisons, metaphors, irony). The subject of a closer analysis is the use of the verse form in the evaluative function. The combined applicaƟtion of a variety of evaluative devices, including versological ones, is illustrated by Ruch (Movement) by Julian Tuwim. The metrical structure of this poem, i.e. the 4-accent tonic verse, which is rarely used in Poland, functions as a sound metaphor that contributes to the grotesque image of the movement of passers-by hurrying without a clear purpose along the streets of the city, and hence the tonic rhythm becomes an important factor in the satirical approach to the work’s theme
Verse forms may be employed as bearers of semantic values. The present paper intends to show the richness of this resource in literary texts. The semantic values of particular verse structures are ...interpreted here in terms of the semiotic categories introduced by C. S. Peirce: as symptoms, symbols, or iconic signs. The basis for this kind of reflection is earlier systematic study of various verse forms and their linguistic morphology conducted by a group of Polish and Slavic researchers (as part of the Comparative Slavic Metrics programme).The semantic value can be attributed to the fact that verse forms function as filters of various linguistic units. It is why the metrical organisation of a text determines its stylistic characteristics. A verse form may be employed and interpreted in many different ways; for instance, to represent the social status of the speaker or to differentiate between various literary genres. Many metrical forms perform an iconic function. Some semantic values are derived from the intertextual relationships of a poem. Verse structure may also be seen as a kind of author’s signature. It may also be employed to perform axiological functions.
Confessing on the Move Fernández Rodríguez, Esther
The Oxford Handbook of Cervantes,
02/2021
Book Chapter
Even though Viaje del Parnaso (1614) has been relegated to the status of a minor work within Cervantine literature, in its day it must have had a strong personal significance, and it was well ...received. The fact that he devoted time and energy towards the end of his life to complete Viaje meant that Cervantes wanted to leave us with a personal testimony of his experience as a writer and a record of his artistic and aesthetic values. However, it undeservedly finds itself at the margins of Cervantine studies, possibly due to the widespread belief held by many that he was a bad poet. This chapter explores the literary value of Viaje and the ‘Adjunta’ in prose and why it has been studied so little.
En este trabajo se estudian las formas estróficas y musicales de los géneros poéticos más arcaicos en las letras romances, vinculados a la tradición oral del Medioevo y a registros literarios no ...corteses. El zéjel, además de sus conocidos precedentes árabes, remonta en provenzal al período pretrovadoresco ("Laissatz estar lo gazel"), el ejemplo más antiguo de rotrouenge remonta hasta el siglo X en el Alba de Fleury y el rondeau, en su forma más simple (versos de estrofa que alternan con versos de estribillo) aparece en la obra del escritor Hilario el Inglés, discípulo de Abelardo. En todos estos casos nos hallamos ante textos híbridos, en latín (árabe, en el caso de las moaxajas) y algún romance primitivo, a veces difícil de identificar; sin embargo, en todos estos casos podemos reconocer sin lugar a dudas los aspectos esenciales de cómo serán estas formas en el período trovadoresco y durante toda la Baja Edad Media.
Since the millennium, certain trends in Anglophone poetry have echoed the ‘turn’ in Western art music away from what we might think of as mid-century ‘scholasticism’ towards such conventional musical ...rewards as readily detectable patterning, or euphony. Artistic credibility and a response by non-specialist audiences no longer appear inimical. It has once again become possible to develop serious original work using traditional verse forms such as the ballad (which we saw at work in Chapter 6), or musical tropes as familiar as the rising or falling scale on which Arvo Pärt’s famousFratresis built.¹
This shift, from the complex
Writing from Dublin in February 1724, Jonathan Swift responded to some London gossip and joked about the ‘gallantry’ of the aged military hero the Earl of Peterborough, who had publicly commanded an ...apology from the castrato Senesino for his impugning the honour of the soprano Anastasia Robinson. This scandal set off a series of obscene, misogynistic, satiric epistles written to or about Mrs Robinson, Senesino, Faustina, Mrs Barbier, and Farinelli that accuse the female singers, British prudes, and others of a variety of deviant, sexually subversive practices. This article introduces and presents annotated texts of this group of epistles written between 1724 and 1736. Several have been discussed by historians of opera and literary scholars, but the whole corpus has not been identified or made readily available to opera scholars.
La estrofa purímica, forma músico-poética tradicional, ha servido para enriquecer el repertorio de las Coplas Sefardíes, demostrando que éstas constituyen un género vivo, creativo en su misma ...esencia. Su Corpus se ha ensanchado hasta nuestros días con nuevas coplas que reflejan el impacto de las circunstancias sobre la vida del individuo y la comunidad. La estrofa purímica -noneta de versos largos y cortos alternados, de rima característica y de una estructura musical particular- se presenta en este estudio respondiendo a diversos temas: costumbres y eventos sociales, sucesos históricos y problemas económicos. El presente artículo se dedica a la utilización modélica de esta estructura poético-musical, y se basa en materiales de mi colección catalogados y conservados en la Fonoteca Nacional (National Sound Archives) de Jerusalén.
The study of Vivimos en una noche oscura by César Arconada (1898-1964), a collection published in 1936, not reissued to date, intends to highlight the originality of a form of writing which is both ...denunciation and de-occultation of the socio-economic mechanisms, which subjected the proletarians to the domination of the masters. The antagonisms of the class struggle nourish a prophetic vision of the emancipation of workers. By implementing combat rhetoric, the author joins the cohort of poets engaged in the anti-fascist struggle. However, Arconada did not adopt the style of proletarian poetry. By choosing the long verse form, he gives his speech an unprecedented epic breath, anxious to bring language revolution and social advancement together.
Josep Carner's translation of A Midsummer's Night Dream (El somni d'una nit d'estiu, 1908) is but an indirect version, based on François-Victor Hugo's prose translation into French. However, its ...solutions are not fully dependent on those of the French text: they are often determined by a sophisticated new versification which put strict requirements of metre and rhyme. This article first shows that Carner's decisions regarding word choice and order, verse forms, and transfer of literal sense, are mutually conditioned; then it gives reasons for his aim at language innovation and virtuosity in versification at this initial stage of his career.
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