As a study of lyric poetry, in English, from the early modern period to the present, this book explores one of the most ancient and significant art forms in Western culture as it emerges in its ...various modern incarnations. Combining a much-needed historicisation of the concept of lyric with an aesthetic and formal focus, this collaboration of period-specialists offers a new cross-historical approach. Through eleven chapters, spanning more than four centuries, the book provides readers with both a genealogical framework for the understanding of lyric poetry within any particular period, and a necessary context for more general discussion of the nature of genre.
In nineteenth-century Romantic poetry, the lyric “I” was usually identified with the poet himself. This changed at the beginning of the twentieth century, when poets (Pound and Eliot, for instance) ...introduced speakers (“personae”) into their poetry who were clearly different from themselves. Instead of “the poet”, new terms were introduced to refer to the speaker in the poem. In German lyric theory, the term “das lyrische Ich” (“the lyric I”) became popular, as in Russian did “liricheskii geroi” (“the lyric hero”). English and American critics generally use “the speaker” and “the poet” (often indiscriminately in the same book or article). As the speaker in the poem is, in principle, a fictive construct and cannot be identified with the poet, and as many poems do not have an “I”, this paper argues for the use of the term “the speaker”.
This paper deals with the poetry of the yarn of contemporary poet, to reveal the contemporary methods in the use of this poetic purpose, and the Arab poetry is an inexhaustible source of meanings and ...images and this makes us in front of a new field. The old poem was the idea of the poet that he produced on the ground and his intellectual obsession. The Arabic poem continues to form an aesthetic dimension derived from the ancient cultural references to form a new poetry dealing with the same old themes. The research relied on the descriptive analytical approach in extrapolating the poetic texts and devising their rulings. I had Difficulties such as lack of time and the need to be able to link the old concept and the layout of the modern poem.
The purpose of this research was to study the associations of postural activities and knowledge of the voice of opera singers, recognized in the literature for the specificity of their posture. ...Additionally, the link between vocal pathologies and body pains on one hand, and posture control on the other hand was investigated.
A questionnaire including 90 questions was distributed to singers in France and overseas during 6 months. Ninety-eight opera singers participated in the survey. Data were analyzed using Excel and Stata software.
The results showed that the singers who paid more attention to posture, postural work while singing, had knowledge of anatomy and postural role in singing voice, healthy lifestyle, and good body habits, had less vocal discomfort and pathologies, a better vocal preservation, and used more costo-abdominal breathing. On the other hand, knowledge of postural role and postural work was linked with pain and vocal fatigue. Furthermore, a preventive need was revealed concerning the providing of knowledge and skills to singers, but also to singing teachers, speech therapists, and stage workers.
Our study shows that benefits were found in the voice quality of opera singers with anatomical and postural knowledge and who work on posture as part of their vocal work compared to others. Postural work and knowledge increase attention to body pain and vocal fatigue. These results can inform health care providers, opera singers, and their teachers and performers of the benefits of posture on operatic voice quality. Accordingly, this study sparks new ideas for postural work and therapy in lyric voice.
"Now a byword for beauty, Verdi’s operas were far from universally acclaimed when they reached London in the second half of the nineteenth century. Why did some critics react so harshly? Who were ...they and what biases and prejudices animated them? When did their antagonistic attitude change? And why did opera managers continue to produce Verdi’s operas, in spite of their alleged worthlessness? Massimo Zicari’s Verdi in Victorian London reconstructs the reception of Verdi’s operas in London from 1844, when a first critical account was published in the pages of The Athenaeum, to 1901, when Verdi’s death received extensive tribute in The Musical Times. In the 1840s, certain London journalists were positively hostile towards the most talked-about representative of Italian opera, only to change their tune in the years to come. The supercilious critic of The Athenaeum, Henry Fothergill Chorley, declared that Verdi’s melodies were worn, hackneyed and meaningless, his harmonies and progressions crude, his orchestration noisy. The scribes of The Times, The Musical World, The Illustrated London News, and The Musical Times all contributed to the critical hubbub. Yet by the 1850s, Victorian critics, however grudging, could neither deny nor ignore the popularity of Verdi’s operas. Over the final three decades of the nineteenth century, moreover, London’s musical milieu underwent changes of great magnitude, shifting the manner in which Verdi was conceptualized and making room for the powerful influence of Wagner. Nostalgic commentators began to lament the sad state of the Land of Song, referring to the now departed ""palmy days of Italian opera."" Zicari charts this entire cultural constellation. Verdi in Victorian London is required reading for both academics and opera aficionados. Music specialists will value a historical reconstruction that stems from a large body of first-hand source material, while Verdi lovers and Italian opera addicts will enjoy vivid analysis free from technical jargon. For students, scholars and plain readers alike, this book is an illuminating addition to the study of music reception."
According to a UN report published in 2019, up to one million species face extinction by 2100. Such a scale of loss outpaces language. Drawing on Denise Riley's work on the autonomy of language, this ...article argues that contemplating extinction involves attending to language's capacity to speak outside its context. Mindful of the 40% of amphibian life under threat of extinction, it examines three poems about frogs, by Paul Muldoon, Kathleen Jamie, and Vahni (Anthony Ezekiel) Capildeo, as instances of Riley's concept of 'lyric shame', where the poet acknowledges the 'voice of language itself ... trying to speak'. Focusing on allusion, apostrophe, and ekphrasis (facets of the poem that involve a clinamen, a turn away from or towards the subject) it argues that the lyric poem - as an occasion where shame gives rise to song - can also be a vehicle for encountering the lament of long-neglected non-human voices.
The current study was aimed at investigating the struggle of Charley Pride through his song lyric entitled “This Bed’s Not Big Enough” employing a mixed approach of literary and systemic-functional ...perspectives to save his marriage in an alternative. The marital problem may go even worst when the memories linger in bed, calling his or her ex’s name on sexual encounters. This really hurts, and may or may not end in a divorce depending on the wife's decision. Upon completion of systemic functional linguistic analysis to construe the meaning of the song, it turns out that the song lyric managed to create a discursive practice that most people would experience when encountered in the same situational context. The solution varies from one individual to another pertinent to one's social and educational background. Therefore, to further confirm the research findings, a supplementary survey to twenty male colleagues (husbands) was conducted to reveal their attitude- moral values and judgments on both implicit and explicit intentions of the song, to extrinsically relate them to a social and religious domain (value). The findings show that alternative solutions differ from one individual to another depending on social, educational and religious backgrounds.
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