Готові списки джерел за темами / Nonsense poems

Добірка наукової літератури з теми "Nonsense poems"

Автор: Grafiati
Опубліковано: 27 липня 2024
Оновлено: 28 липня 2024

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Статті в журналах з теми "Nonsense poems"

1

Anderson, Emily. "‘There was a young girl of the Somme, / Who sat on a number five bomb’: The Representation of Violence in First World War Trench Newspaper Nonsense Rhymes." Literature & History 27, no. 2 (August 21, 2018): 129–47. http://dx.doi.org/10.1177/0306197318792388.

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The nonsense rhymes that were almost ubiquitous in First World War trench newspapers (periodicals produced by servicemen while on active service) present vivid, humorous, and arresting representations of violence. This article draws attention to servicemen’s widespread use of limericks and parodic nursery rhymes to depict soldiers being, variously, shot, shelled, and bayoneted, and establishes the hitherto unrecognised representational significance of these poems. Those portrayals of the First World War most frequently celebrated for their truthfulness and emotiveness tend to be both solemn and, in different ways, ‘new’. In contrast, written in the traditions of nineteenth-century nonsense literature and reflecting the popularity of nonsense in contemporary comic periodicals, nonsensical trench newspaper poems indicate the durability of nonsense as a form of Great War representation.
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2

Chrzanowska-Kluczewska, Elzbieta. "Humorous nonsense and multimodality in British and American children's poetry." European Journal of Humour Research 5, no. 3 (November 21, 2017): 25. http://dx.doi.org/10.7592/ejhr2017.5.3.kluczewska.

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Nonsense and humour are two cognitive and linguistic phenomena that frequently overlap. The focus of this article falls on chosen instances of humorous nonsense poetry, targeted at English-speaking children, which contains verbal and visual modes of expression. Formal sources of nonsense-creation in natural language can be several, among others semantic anomaly, syntactic ill-formedness and structural ambiguity, phonetic and graphological experimentation. The interplay of nonsense with the visuality of the text in children's poetry assumes three distinct forms: 1) visual poems, 2) multimodal texts,, where illustrations, often nonensical and funny in themselves, support the verbal text, and 3) texts based on the phonetic play. Examples will be drawn from the classics of the Anglophone children's poetry: Mother Goose, the Victorian classics L. Carroll and E. Lear, 20th-c. British and American poets - L. Hughes, e.e. cummings, T. Hughes, J. Agard, as well as the Polish-British pair W. Graniczewski and R. Shindler. In all the poems to be analyzed multimodality has an important role to play in the creation and strengthening of the effect of humorous bisociation/incongruity. A tight intertwining of the phonetic, semantic and visual layers in such texts becomes an additional challenge for their translators. The theoretical keystone for our considerations remains H. Bergson's study Laughter (1900/2008), which deftly combines the Superiority, the Incongruity and the Release Theory of Modern Humour Studies. Bergson rightly links the sources and effects of the nonsensical and the comic to the notion of game/play and to the idea of dream-like illusion they create.
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3

Musliu, Arian, Blerta Berisha, and Diellza Latifi. "The Impact of Music in Memory." European Journal of Social Sciences Education and Research 10, no. 2 (May 19, 2017): 222. http://dx.doi.org/10.26417/ejser.v10i2.p222-227.

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A lot of research has been done on the effects of music and sounds on performance in many areas of study. However, there have been mixed results about what kind of effects music can have. Musical pleasure was able to influence task performance, and the shape of this effect depended on group and individual factor (Gold B., et al. 2013). According to Fassbender (2012), music does have an effect on memory, music during a study or learning phase hindered memory but increased mood and sports performance. The objective of this experiment is to find if music can help memorize different tests like nonsense syllables, numbers and poems with rhyme. Students were from different faculties, N=74 (75% females) between age 17-22, participating in this experiment. Experiment had 4 different tests, self-created according to the experiment of nonsense syllables from (Ebinghaus 1885). First test had 50 nonsense syllables to lead to the next phase of experiment. Students were separated in 3 groups with almost the same numbers of correct nonsense syllables from the first test. First group was taking the tests without music at all and in silent, second group was doing the test with lyrics music and the third group with relaxing music. All three groups had 5 minutes for each 3 different tests to memorize 50 other nonsense syllables (including 3 same syllables), 12 lines from poems and 50 different order of numbers, then to write down how much they memorized. The music was the same during memorizing phase and was repeated during writing phase with same volume and with headphones on. Result showed that there are significant differences memorizing lines from poems and the same syllables between students without music and them with music. T-test for each group also showed the significant differences between these two groups. Regression analyses explain 33% of variance factors for memorizing the lines and 50% of variance factors for memorizing the same syllables, groups have the most impact on regression. Conclusions of this research are that music affects memory negatively resulting that students are able to memorize better without music. This research also concludes that silent is a key factor to recognize the same nonsense syllables. When it comes to memorizing better keep the music down!
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4

Zheng, Hanwen. "Edward Lears Bittersweet Attempt: Being Seen as a Person Alone in a Landscape The Dong with a Luminous Nose." Communications in Humanities Research 19, no. 1 (December 7, 2023): 135–40. http://dx.doi.org/10.54254/2753-7064/19/20231218.

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Edward Lear left a rich and precious poetic legacy from the Victorian Age even though accompanied by illness, loneliness, and melancholy throughout his life. Before nearly one hundred years, scholars have pointed out how Lears subject differed from other nonsense verse writers, as well as the autobiographical elements of his poems. But this self-writing in the form of nonsense is never straightforward. It is often confusing whether Lears poems are meant to take people to the land of nonsense to wander or explore, hoping that people will feel the same pleasure and spiritual support in nonsense as he does himself, or whether he wants people to see him calling out for cares and hopes, to see his own desires, frustrations and sorrows. Based on The Dong with a Luminous Nose, this article examines and explains how the Dong is a symbol of Lears self. Lear projects his suffering from loneliness and unrequited love and his eccentric lifelong sense of exile into this poem; yet at the same time satisfies some of his desires, his quest for the aesthetic of sadness, his own idealism and his deeply hidden histrionic personality. This article fully integrates Lears biography, his status as a landscape painter and his creative talents brought about by his illnesses, and draws to the conclusion that this poem is Lears bittersweet attempt to be seen as a person alone in a landscape.
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5

Tian, Peiyu. "A Study of the Literary Nonsense in Lewis Carrolls Through the Looking-Glass and What Alice Found There." Communications in Humanities Research 2, no. 1 (February 28, 2023): 404–9. http://dx.doi.org/10.54254/2753-7064/2/2022510.

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Nonsense Literature has always been an obscure viewpoint of literature studies. Through the Looking-Glass and What Alice Found There (referred to as Through the Looking-Glass hence) witnessed Lewis Carroll bring this peculiar genre into the spotlight. He designed a series of fictional characters and devised several poems on which he endowed the united characteristic of talking nonsense. This essay aims at analyzing the nonsensical discourse in Through the Looking-Glass, which includes nonsensical utterances, nonsensical poems, and illogical narrations. Starting with skepticisms from the proposals on implicature, the essay proceeds onto the Language Game theory of Wittgenstein, followed by the life story of Carroll himself and the analysis of a typical nonsensical poem. As the existing studies of Nonsensical Literature fails to merge the work with the man, this essay intends to establish a new method of cross referencing in order to achieve a more profound understanding of said literature as well as Lewis Carroll.
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6

Heyman, Michael, and Joseph Thomas. "On the Theory and Praxis of Nonsense Poetry as Dialogic Scrum; Or, the Poetical Hermeneutics of a Retro-Teleological, Post-Diegetic Transom (Notes towards an Investigation)." Pacific Coast Philology 56, no. 2 (October 2021): 224–41. http://dx.doi.org/10.5325/pacicoasphil.56.2.0224.

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Abstract This essay explores the nonsensical elements of the composition and staging of “A Short Program of Poems for Young People, in Four Chapters,” a fifty-minute poetry reading by Michael Heyman and Joseph T. Thomas, Jr. prepared for the Pacific Ancient and Modern Language Association’s 2019 annual conference, “Send in the Clowns,” focusing primarily on the theory and practice of nonsense in relation to the writing and staging of “A Short Program of Poems for Young People, in Four Chapters,” which was performed in San Diego by Joseph T. Thomas, Jr. and Michael Heyman at the 2019 Pacific Ancient and Modern Language Association conference, “Send in the Clowns.”
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7

Cusimano, Christophe. "« The two old bachelors » de Edward Lear: étude sémantique et traductologique." Journal for Foreign Languages 11, no. 1 (December 30, 2019): 291–302. http://dx.doi.org/10.4312/vestnik.11.291-302.

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Cet article a pour ambition de saisir du point de vue de la sémantique interprétative un court-texte poétique de Edward Lear intitulé « The two old bachelors »1 (tiré de Laughable lyrics, a fourth book of nonsense poems, songs, botany, music, etc, 1877) traduit en français exactement un siècle plus tard par Patrick Hersant (Edward Lear – Nonsense, 1977, éd. Ombres). Outre une analyse proprement sémantique de la version originale anglaise du poème et de ce qui en fait un texte absurde, nous souhaitons montrer sur la base de cette analyse préparatoire comment Patrick Hersant a tranché le dilemme traductologique auquel il a été confronté : en effet, une partie de l'absurde reposant sur l'homonymie en anglais, le traducteur a livré une interprétation très peu fidèle à l'original, peut être volontairement.
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8

Politis, Dimitris, and Angela Yannicopoulou. "The Hidden Childness of a Nobel Prize-Winning Poet: George Seferis’s Limericks for Young Readers." Dzieciństwo. Literatura i Kultura 5, no. 1 (August 18, 2023): 9–23. http://dx.doi.org/10.32798/dlk.1015.

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Анотація:
In addition to his outstanding poems for adults, George Seferis, the Nobel Prize-winning Greek poet, also wrote verses for children. The limericks he composed as gifts for children of his family were published in a volume entitled Poiḗmata me Zōgraphiés se Mikrá Paidiá [Poems with Drawings for Young Children] (1975), discussed in this paper. With these limericks, Seferis turned to the Anglo-Saxon poetic tradition of nonsense to oppose the ‘seriousness’ of adult life, while also coping with painful family memories and the dark atmosphere of World War II. He employed humour and playfulness as an antidote to harsh realities. Accompanied by surreal drawings, the playful verses became the playground where Seferis met his child readers as well as his childness.
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9

Wieczorkiewicz, Aleksandra. "Wiersze dla niegrzecznych dzieci. Danuta Wawiłow i angielskie nursery rhymes (przekłady, inspiracje)." Poznańskie Studia Polonistyczne. Seria Literacka, no. 32 (October 2, 2018): 345–75. http://dx.doi.org/10.14746/pspsl.2018.32.18.

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Among numerous books of poetry for children written by Danuta Wawiłow – famous XXth century Polish poet and writer – one book is special: Poems for Naughty Children [Wiersze dla niegrzecznych dzieci] published in 1987. The book is unique not only because of the poetical qualities it represents – rhythmicity, melodiousness, catchiness, melancholy and lyricism equally with pure nonsense, absurdity, grotesque, (black) humour and numerous equivoques and puns, which are characteristic for Wawiłow’s poetical works; above all else Poems for Naughty Children is a collection of translations of the traditional English nursery rhymes, made by Danuta Wawiłow, who claimed more than once that she was a translator long before she had become a writer. The article aims to explore Wawiłow’s translation work which (up to now) remains almost unknown and un-described in Polish theoretical discourse. Moreover, the author presents the outcome of her research conducted to find “missing originals” of translated nursery rhymes, offers the classification of them and undertakes critical reflection over translation strategy adopted by Danuta Wawiłow.
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10

Voronina, Kamilla. "Jabberwocky in French Translations." Journal of V. N. Karazin Kharkiv National University Series: Foreign Philology. Methods of Foreign Language Teaching, no. 94 (November 30, 2021): 27–33. http://dx.doi.org/10.26565/2227-8877-2021-94-04.

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This paper focuses on the specifics of rendering lexical nonsense into the target language. The research is done on the basis of one of the outstanding poems of all times belonging to the genre of nonsense, namely Jabberwocky by Lewis Carroll and 12 translations into French. As a result of the research it was established that the interpretation of any nonsensical representation of the lexical level has a significant impact on its reproduction in the target language, but does not limit translators in their creative approaches. We claim that nonsense is an interesting, complex, and ambiguous phenomenon which implies a plurality of potential options for its interpretation, and reproduction in the target language. Lexical nonsense units are deprived of one single sense and thus one single variant of their interpretation due to their word formation. In most cases, Lewis Carroll chose blending, which resulted in coining new words with two or more meanings “packed up” into one word. To make interpretation easier, the author gave his commentaries on the pages of the literary work. In most cases, L. Carroll’s game with meanings is reproduced in French translations by means of calquing the word-formation pattern. In certain cases, translators are guided by the author’s commentary and they select the means of the French language as accurately as possible to reproduce Carroll’s intentions. In most cases, Carroll’s lexical nonsense units are reproduced in the French translations by means of blending and compounding. In some cases, the translators take a creative approach bringing new meanings into Carroll’s game, different from his initial intention. And their game becomes so specific that it goes beyond the reader’s imagination. The translators’ preference to use calque to coin their equivalents is a manifestation of the domestication strategy in most analyzed translations. Only one translator borrowed English nonsensical lexemes to name main characters in his French translation, which we consider to be the manifestation of foreignization strategy.
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Книги з теми "Nonsense poems"

1

Edward, Lear. Nonsense poems. New York: Dover Publications, 1994.

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2

Goldberg, Doris R. Poems, non-poems, and nonsense. Deerfield, IL: Lake Shore Pub., 1989.

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3

Middleton, William J. Merely mearns nonsense poems. Chadds Ford, PA: WJM Press, 2003.

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4

Smith, William Jay. Laughing time: Nonsense poems. New York: Dell, 1986.

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5

North, Joan. Poems: Sense and nonsense. Ross-on-Wye: Infinite Design, 1995.

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6

Edward, Lear. The Nonsense poems of Edward Lear. London: Little,Brown, 1991.

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7

Edward, Lear. The nonsense poems of Edward Lear. New York: Clarion Books, 1991.

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8

Foster, John, 1941 Oct. 12- and Eccles Jane, eds. What a lot of nonsense: Poems. London: Royce, 1985.

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9

Lewis, Carroll. Jabberwocky and other poems. Mineola, N.Y: Dover Publications, 2001.

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10

Mathews, Tom. The owl and the pussycat, and other poems. Dublin: Dedalus Press, 2009.

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Частини книг з теми "Nonsense poems"

1

Seed, Ian. "Nonsense and Wonder: An Exploration of the Prose Poems of Jeremy Over." In British Prose Poetry, 265–78. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-77863-1_16.

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2

"Riddles and nonsense poems." In Poetry - From Reading to Writing, 75–78. Routledge, 2009. http://dx.doi.org/10.4324/9780203864449-11.

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3

May, Will. "Walter de la Mare, Nonsense, and Animals." In Walter de la Mare, 167–80. Liverpool University Press, 2022. http://dx.doi.org/10.3828/liverpool/9781800854659.003.0012.

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This chapter considers the importance of nonsense in Walter de la Mare’s poetry. It notes the significance of his mid-career collection Stuff and Nonsense (1927), and explores the relationship between nonsense and parody in his authorial reception. It suggests the ethical qualities of his animal poems, which present animals as both foodstuff, captives, and companions, and draws on the work of Nietzsche and Derrida to consider formal innovations in his nonsense poetry. The chapter concludes by arguing for the central role of nonsense in Walter de la Mare’s work.
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4

"Good Sense and Nonsense." In The Many Faces of Philosophy, edited by Amélie Oksenberg Rorty, 213–18. Oxford University PressNew York, NY, 2003. http://dx.doi.org/10.1093/oso/9780195134025.003.0017.

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Abstract Putting aside his early Jesuit education, Francis-Marie Arouet de Voltaire (1694– 1778) set himself to writing satirical anti-clerical essays that led to his being exiled to Holland in 1713 and imprisoned in the Bastille in 1717. Released in 1718, he turned to writing plays that won him considerable literary fame; but a quarrel with the powerful Chevalier de Rohan nevertheless mandated another exile in 1726, this time to England. There he learned English, read widely in philosophy, law and science and came to admire the British empiricism of Bacon and Locke and the rigor of Newtonian science. Returning to France in 1729, he published a set of reflections on liberalism and empiricism that were, in essence, a critique of l’ancien régime. Lettres Philosophiques (1743) forced another retreat from Paris. In Lorraine, under the protection of Mme du Châtelet, he studied physics, metaphysics and history. Through the influence of Mme de Pompadour, he was named historiographer of France and elected to the French Academy in 1746. In 1750, he was invited to the court of Frederick the Great to serve for three years as an intellectual in residence. After quarreling with Frederick, he spent some years in Geneva and returned to France in 1759. A shrewd investor, he became wealthy, acquired an estate and settled to write essays, plays, a philosophical dictionary, treatises, poems, novels, letters. Addressing serious topics in ethics, law, theology and the philosophy of history, he retained a witty, mocking tone even when he was most indignant and outraged. Of metaphysics, he said “Metaphysics, in my opinion, is made up of two things, what all men of good sense know, the second what they will never know.”
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5

Robinson, Peter. "Dylan Thomas: ‘On out of sound’." In Reading Dylan Thomas, 71–88. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474411554.003.0005.

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In 1936, Bernard Spencer reviewed Twenty-Five Poems: ‘These poems strike one immediately because of their resonance (sometimes their rhythm is monotonous), their swirl of vigorous images, and, even before they are understood, their flavour of psychology and metaphysics’. The reviewer then added that they ‘divide more or less clearly into sense and nonsense-poems’. ‘The hunchback in the park’ is such a ‘sense’ poem, unusually straightforward and quotidian in its setting, yet it too has ‘resonance’ and ‘swirl’ and a ‘flavour of psychology and metaphysics’. This chapter first reflects on the May 1932 draft of the poem in the Notebooks, identifying weaknesses in it that would be addressed in the July 1941 rewriting; after exploring the character and action of that rewriting process, the chapter goes on to relate it to Thomas’s contextualizing of the poem in the radio broadcast ‘Reminiscences of Childhood’ (1943) and in his correspondence. The chapter concludes with a discussion of Thomas’s composition of ‘The hunchback in the park’ in light of W. H. Auden’s criticism of the poet as reviser in ‘Squares and Oblongs’ (1948).
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6

Zeitlin, Steve. "Poetry on the Porch." In The Poetry of Everyday Life. Cornell University Press, 2016. http://dx.doi.org/10.7591/cornell/9781501702358.003.0008.

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In this chapter, the author recalls how his family would spend afternoons and evenings reading poems on the screened porch overlooking the sand dunes, the beach, and the sea in a rented house in Garden City, South Carolina. His father-in-law, Lucas, eagerly anticipates those times, bringing along his 101 Favorite Poems, published in 1929. But they all bring a few poems to the porch—even the children. At age ten their nephew Aidan Powers came equipped with a full set of Shel Silverstein's ingenious poetry. Masterpieces and ditties are treated with equal weight: poems by Percy Bysshe Shelley, John Keats, William Wordsworth, and Lord Byron are interspersed with children's poetry and nonsense verses. The evenings of poetry reading on the porch at the beach were so enjoyed by the family that they spawned poetry nights in the Dargan living room back in Darlington, South Carolina, on a weekly basis.
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Williams, James. "The Scroobious Traveller." In Edward Lear, 78–106. Liverpool University Press, 2018. http://dx.doi.org/10.3828/liverpool/9780746312216.003.0004.

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This chapter is about Lear’s experiences as a traveller, and how they shaped him as a writer. It considers the way his poems and paintings are animated by dramas of arrival, departure, and being left behind. It considers, using evidence from Lear’s travel writing, the relationship between the experience of being a foreigner, and hearing unfamiliar languages, and the creation of nonsense words. It concludes with an extended close reading of “The Courtship of the Yonghy-Bonghy-Bò”.
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Bevis, Matthew. "Edward Lear's lines of flight." In British Academy Lectures 2012-13. British Academy, 2014. http://dx.doi.org/10.5871/bacad/9780197265666.003.0003.

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‘Verily I am an odd bird’, Edward Lear wrote in his diary in 1860. This article examines a range of odd encounters between birds and people in Lear’s paintings, illustrations, and poems. It considers how his interest in birds—an interest at once scientific and aesthetic—helped to shape his nonsense writings. It is suggested that poetic and pictorial lines of flight became, for Lear, a means of exploring the claims that art might make on our attention.
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O'Donoghue, Bernard. "4. The kinds of poetry and their contexts." In Poetry: A Very Short Introduction, 84–111. Oxford University Press, 2019. http://dx.doi.org/10.1093/actrade/9780199229116.003.0004.

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Many different things have been described as poetry—different ways of writing, ways of seeing the world, and states of mind. But in the Western tradition there are three established structural categories of writing that come under the heading of poetry: epic, drama, and lyric. ‘The kinds of poetry and their contexts’ considers these, but also looks at other forms including pastoral poetry, public poetry, and satire. It also discusses what makes poetry popular and why certain poems achieve universal appeal. Also considered are the poetry of place, comic and nonsense verse, elegy, the villanelle, consolation poetry, and wisdom poetry.
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Roy, Sumana. "Satyajit Ray." In Plant Thinkers of Twentieth-Century Bengal, 157–86. Oxford University PressOxford, 2024. http://dx.doi.org/10.1093/9780198929314.003.0007.

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Abstract Beginning with Upendrakishore Ray Chowdhury and Sukumar Ray, Satyajit Ray’s grandfather and father, and their stories and poems about fantastic and nonsense plant kingdoms, how that impacted children’s literature in Bengal, this chapter moves to the filmmaker’s memoir, particularly his childhood, his acquaintance with the trees of Darbhanga, the note that Rabindranath is said to have written in the little boy’s notebook. It must have been all of these that produced the fantastic nerve in Satyajit Ray’s stories about plant life—man-eating trees, murderous flowers, plants that can cure depression, the green man, and, of course, the Professor Shanku stories.
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