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Статті в журналах з теми "Theory of lyric"

Автор: Grafiati

Опубліковано: 11 березня 2023

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1

Culler, Jonathan. "Theory of the Lyric." Nordisk poesi 2, no. 02 (December 4, 2017): 119–33. http://dx.doi.org/10.18261/issn.2464-4137-2017-02-02.

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2

GUSTAFSON, RICHARD F. "GINZBURG'S THEORY OF THE LYRIC." Canadian-American Slavic Studies 19, no. 2 (1985): 135–39. http://dx.doi.org/10.1163/221023985x00260.

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3

Scott, Chris. "Beyond Theory of the Lyric." Critical Quarterly 64, no. 3 (October 2022): 80–106. http://dx.doi.org/10.1111/criq.12661.

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4

박홍준. "The Structure of Liu-yong's Lyrics and The Lyric Format Theory." Journal of Chinese Language and Literature ll, no. 54 (December 2009): 181–208. http://dx.doi.org/10.15792/clsyn..54.200912.181.

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5

Molde, Klas. "Toward a Theory of Poetic License." Poetics Today 41, no. 4 (December 1, 2020): 561–93. http://dx.doi.org/10.1215/03335372-8720071.

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Анотація:

In a supposedly enlightened and disenchanted age, why has lyric poetry continued to make claims and perform gestures that are now otherwise inadmissible or even unimaginable? Animation, invocation, and unmotivated praise, apparently artificially imposed (dis)order, and spurious gnomic and vatic sayings that pretend to universal or transcendent knowledge are marks of the lyric as a genre. Sketching a theory of poetic license, this article addresses the lyrical entanglement of enchantment and embarrassment. The author argues for a concept of the lyric as a medium for regulating the balance between enchantment and disenchantment in an always imbalanced environment. Engaging other scholars and using examples from modern French and German poetry, the article also ventures a new understanding of lyric modernity. Rather than naming a historical event to be lamented, disenchantment unveils a risk inherent to the lyric whose regulatory function it makes explicit.

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6

Henderson, W. J. "Die antieke Griekse lofgedig." Literator 17, no. 1 (April 30, 1996): 153–68. http://dx.doi.org/10.4102/lit.v17i1.592.

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Ancient Greek praise poems Arguing from both the surviving texts themselves and from ancient theorists, the present article deals with early Greek lyric poems in praise of human beings. This type of lyric falls under the more “secular types” of ancient Greek lyric, in the sense that they were addressed, not to a divine being, but to a human being. The context or space of such “secular” lyric performance includes, not only the public gathering of officials and the populace, but also the private and intimate circle of individuals with shared interests. Both choral odes and solo-lyrics are therefore involved. The lyric types discussed are the praise poem, the war poem, the political poem and the dirge.

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7

Bókay, Antal. "The Lyric and Its Reading – Paul de Man’s Theory of Lyric." Transcultural Studies 15, no. 1 (May 25, 2019): 72–80. http://dx.doi.org/10.1163/23751606-01501006.

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Анотація:

The concept of lyric is a central component of Paul de Man’s theory of poetry. In several papers but first of all in his „Anthropomorphism and Trope in the Lyric” he developed a coherent understanding of the lyric as an act of modernism. Its epistemological character was given through Nietzsche’s often quoted statement on the metaphorical, anthropological and performative nature of subjective language and language use. The development of these ideas, however, took place through a detailed text-interpretation of two Baudelaire poems that served as metapoetical definitions of different poetical stances. It is possible that the idea of the lyric and reading lyric defined through anthropomorphism and phenomenality refers to, can be read like an elaborated epistemology of modern, subjective textuality too.

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8

Coffman. "Lyric Queerness." Journal of Modern Literature 34, no. 1 (2010): 185. http://dx.doi.org/10.2979/jml.2010.34.1.185.

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9

Shoptaw, J. "Lyric Cryptography." Poetics Today 21, no. 1 (March 1, 2000): 221–62. http://dx.doi.org/10.1215/03335372-21-1-221.

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10

Larsen, Peter Stein. "Jonathan Culler: Theory of the Lyric." Nordisk poesi 1, no. 01 (December 6, 2016): 81–87. http://dx.doi.org/10.18261/issn.2464-4137-2016-01-08.

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11

Weinfield, Henry. "(A/The) Theory of the Lyric." Modern Philology 115, no. 1 (August 2017): 144–58. http://dx.doi.org/10.1086/691581.

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12

Culler, Jonathan. "Extending the Theory of the Lyric." diacritics 45, no. 4 (2017): 6–14. http://dx.doi.org/10.1353/dia.2017.0017.

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13

Matthews, Ricardo. "Song in Reverse: The Medieval Prosimetrum and Lyric Theory." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 296–313. http://dx.doi.org/10.1632/pmla.2018.133.2.296.

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Анотація:

Studying the medieval prosimetrum, a genre that mixes narrative with lyric, could have important ramifications for the general study of poetics. By disrupting transhistorical theories of the lyric, which proceed from a presumed continuity between ancient Greece and modernity, the prosimetrum situates the Middle Ages at the center of our understanding of modern lyric poetry. Instead of beginning with a late-eighteenth-century understanding of lyric poetry as a self-expressive voice, which scholars must then localize in a poem's historical conditions, language, and genres, the prosimetrum begins with a conventional, rhetorical poem in a variety of stated genres and then, by including a narrative frame, stages that poem as a heartfelt song sung by lovesick knights or clerks. In the prosimetrum, the playful game of conventional art, which defines the medieval love lyric in isolation, suddenly becomes a way to imagine fictional subjectivities.

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14

Fitri, Aulia, Haru Deliana Dewi, and Rahayu Surtiati Hidayat. "THE QUALITY OF RHYME AND RHYTHM IN SONG LYRIC TRANSLATION." Paradigma: Jurnal Kajian Budaya 12, no. 2 (September 26, 2022): 213. http://dx.doi.org/10.17510/paradigma.v12i2.507.

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<p>This research is a development of Low’s theory (2008) on assessing the quality of song lyric translation based on its translation method. The objective of the study is to discover the quality of rhyme and rhythm of song lyrics in the album We Love Disney which have been translated from English to Indonesian. Therefore, this study focuses on the quality of rhyme and rhythm of the translation because these elements are significant parts of the songs. Low’s theory has been applied in the present study to measure the song lyric translation quality using three translation methods: communicative, free, and semantic methods. The study employs a qualitative approach through comparative analysis. Data in the analysis are the song lyrics and their translation, and their rhymes and rhythms. The values of the rhyme and rhythm in the translations were obtained from the comparative analysis. The findings reveal that song lyrics translated using the communicative translation method have a higher rhyme value than the original song lyrics; in contrast, the lyrics translated using a free method yield a rhyme value with a considerable difference. The assessment of rhythm reveals that a song translated using the free method shows a substantial difference in value compared to translations using the other methods.</p>

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15

Tiffany, Daniel. "Fugitive Lyric: The Rhymes of the Canting Crew." PMLA/Publications of the Modern Language Association of America 120, no. 1 (January 2005): 82–96. http://dx.doi.org/10.1632/003081205x36877.

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Анотація:

This essay examines the correlation between lyric obscurity and lyric communicability—that is, the capacity of lyric poetry to serve, even in the absence of understanding (for certain communities of readers), as a matrix of social and cultural cohesion. The essay takes up this question by examining the contours of a little-known vernacular tradition in poetry and by considering the correspondences, in a limited sense, between slang and poetry. Specifically, the essay examines the permutations of the so-called canting tradition (lyrics written in the jargon of the criminal underworld) and its relation to the dominant poetic tradition.

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16

Cull, Ryan. "Beyond the Cheated Eye: Dickinson's Lyric Sociality." Nineteenth-Century Literature 65, no. 1 (June 1, 2010): 38–64. http://dx.doi.org/10.1525/ncl.2010.65.1.38.

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Ryan Cull, "Beyond the Cheated Eye: Dickinson's Lyric Sociality" (pp. 38––64) During the past generation, Dickinson scholarship has shown how historicist and printculture methodologies can illuminate the social nexus of even a notoriously reticent figure. It has also had a broader impact on how we think about lyric poetry in general. For Emily Dickinson's experiments with dual authorship, hybrid-collage forms, and the blurring of stylistic and formal lines between poem and letter indicate the social embeddedness of what critics often still consider a private genre. This essay blends these two lines of thought in order to consider the lyric (and here, especially, Dickinson's lyrics) not only as a socio-historically embedded form but also as a form that may have application to our theorizing of the social. The essay argues that in a sequence of poems and letters in the period from 1862 to 1863 Dickinson identifies a possessiveness at the heart of the lyrical subjectivity that poisons social relations and stands as the most pervasive legacy of Romanticism. The essay then shows how Dickinson criticism, which can serve as a microcosm of critical trends in general, critiques but never casts aside this post-Romantic subjectivity that still limits our social theorizing. Then it shows how Dickinson seeks to do just this, to present within her lyrics an alternative poetic subjectivity that makes possible a revolutionary, pacifistic (though not passive) form of social relation.

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17

Davis, Gregson. "Lyric Tales." Classical Review 49, no. 1 (April 1999): 50–52. http://dx.doi.org/10.1093/cr/49.1.50.

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18

Lee, Kevin. "LYRIC REFLEX." Classical Review 50, no. 1 (April 2000): 15–16. http://dx.doi.org/10.1093/cr/50.1.15.

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19

Bowie, A. M. "Lyric Lexicon." Classical Review 51, no. 1 (March 2001): 6–7. http://dx.doi.org/10.1093/cr/51.1.6.

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20

Alizadeh, Ali, and Penelope Pitt-Alizadeh. "Transgressive Lyric." Angelaki 14, no. 2 (August 2009): 51–61. http://dx.doi.org/10.1080/09697250903278794.

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21

Morrison, A. D. "LYRIC RECEPTIONS." Classical Review 54, no. 1 (April 2004): 23–24. http://dx.doi.org/10.1093/cr/54.1.23.

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22

Dubrow, Heather. "Afterword: Reinterpreting Lyric." Spenser Studies 36 (January 1, 2022): 361–72. http://dx.doi.org/10.1086/717197.

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23

Keller, Lynn, and Linda A. Kinnahan. "Revising Lyric Subjectivity." Twentieth Century Literature 50, no. 3 (2004): 324. http://dx.doi.org/10.2307/4149263.

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24

DEWEY, ANNE DAY. "Lyric, Affect, Canonization." Contemporary Literature 56, no. 3 (2015): 527–34. http://dx.doi.org/10.3368/cl.56.3.527.

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25

Matherly. "Prose, Essay, Lyric." Fourth Genre: Explorations in Nonfiction 19, no. 2 (2017): 157. http://dx.doi.org/10.14321/fourthgenre.19.2.0157.

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26

LoLordo, V. Nicholas. "Returning to Lyric." Contemporary Literature 51, no. 1 (2010): 180–87. http://dx.doi.org/10.1353/cli.0.0103.

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27

Brunner, Edward. "Updating the Lyric." Contemporary Literature 45, no. 2 (2004): 378–92. http://dx.doi.org/10.1353/cli.2004.0011.

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28

Keller, Lynn. "Revising Lyric Subjectivity." Twentieth-Century Literature 50, no. 3 (2004): 324–31. http://dx.doi.org/10.1215/0041462x-2004-4004.

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29

Molde, Klas. "Rilke’s Lyric Lies." Comparative Literature 70, no. 4 (December 1, 2018): 408–25. http://dx.doi.org/10.1215/00104124-7215473.

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30

Indah Lestari and Dwi Nitisari. "DENOTATIVE AND CONNOTATIVE MEANING IN LYRIC “MOCKINGBIRD” SONG BY EMINEM." Jurnal Sosial Humaniora dan Pendidikan 1, no. 2 (August 3, 2022): 20–26. http://dx.doi.org/10.56127/jushpen.v1i2.171.

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Анотація:

This research aims at analyzing several words, phrases, and clauses in 'Mockingbird' song sung by Eminem (2004) which have denotative and connotative meaning and finding the relation between the meaning found to the context of the singer's real life. In analyzing the denotative and connotative meaning of the selected words, phrases, and clauses, this study uses Palmer’s theory of denotative and connotative (1976) as a theoretical basis. The source of data was from “Mockingbird” song lyric by Eminem. This study uses descriptive qualitative as the design of study. After analyzing the data from the lyrics, this study found that (1) some lyrics contained with connotative and denotative meaning on referring a specific object or emotion. (2) Connotative meaning of these lyric have a relation with context family relationship in Eminem's real life .

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31

Lestari, Indah, Erna Pranata Putri, and Dwi Nitisari. "REPRESENTATION OF EXISTENTIAL FEMINISM IN THE LYRIC OF ‘I MADE YOU LOOK’ SONG BY MEGHAN TRAINOR." Jurnal Ilmiah Multidisiplin 1, no. 05 (September 30, 2022): 124–30. http://dx.doi.org/10.56127/jukim.v1i05.494.

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Анотація:

This is a descriptive qualitative study that aims to describe how existential feminism is represented in the lyrics of a popular song entitled 'I made you look' sung by Meghan Trainor. Lyrics are a series of related poems in which some sort of broad narrative is tantalizingly offered (Culler, 2017). The aims of the research are 1) to find out the meaning of the lyric of ‘I made you look’ song and 2) to describe the existential-feminism represented in the lyric of ‘I made you look’ songThe method used in this research is descriptive with the approach of syntagmatic and paradigmatic relation by Ferdinand de Saussure (1983) and the theory of existential feminism by Beauvoir (1949). The results obtained are from the 5 stanzas of the lyrics, there are phrases containing existential feminism that is being self-confidence about femaleness, about sexual roles, about community, and about body.

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32

Steinman, Lisa M. "Theory of the Lyric by Jonathan Culler." Wallace Stevens Journal 40, no. 1 (2016): 100–102. http://dx.doi.org/10.1353/wsj.2016.0019.

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33

Ronda, Margaret. "Theory of the Lyric by Jonathan Culler." Comparative Literature 69, no. 4 (December 1, 2017): 449–52. http://dx.doi.org/10.1215/00104124-4260456.

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34

Kim, Hee Sun, and Hee Wook Weon. "Popular Song Lyric Education’s Effects on Stress Brainwaves and Emotional Intelligence of Female High School Students." Korean Association for the Study of Popular Music 30 (November 30, 2022): 39–76. http://dx.doi.org/10.36775/kjpm.2022.30.37.

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Анотація:

This study aims to validate the necessity and justification of popular song lyric education by verifying the effect of popular song lyric education on stress-related brainwaves and the emotional intelligence of female high school students. Lyrics in popular songs are language and symbols that create meaning based on their interpretation. The meaning is shared with the public in various ways (Choi Sang-jin, 2001). Adolescents, the primary consumers of popular music, also feel more familiar with pop lyrics than other reading materials. They relate to their contents (Gong Gyu-taek & Cho Woon-ah 2016). Adolescents tend to show emotional anxiety, impulsiveness, and duality due to psychological and physiological changes from rapid growth (Park So-young 2017, Kim Hyung-hee 2013). Considering that female students spend more time listening to music than male students (Lee Jung-yoon, 2014:15; Miranda & Claes, 2009:229), popular song lyric education using familiar and preferred elements might be effective for female adolescent high school students. A 10-week-lyric education program was devised based on cognitive apprenticeship theory. It was evaluated for scientific validity by examining high school female students’ emotional intelligence. Stress brainwaves were compared before and after popular song lyric education to confirm differences before and after popular song lyric education. The study were 2nd-grade female high school students at S high school in Seoul. The survey was administered by dividing them into 22 comparison groups who participated in popular song lyric education and 19 who did not. The popular song lyric education was conducted over 10 sessions once a week for 50 minutes from March to July 2021. The collected EEG data used the frequency series power spectrum analysis method by fast Fourier transform (FFT) using linear analysis and statistical processing. The IBM SPSS/WIN Version 25.0 program was used for calculations. Effectiveness differences between the groups before and after popular song lyric education was performed using Mann-Whitney and Wilcoxon Signed rank test. The results showed significant differences in stress brainwaves and emotional intelligence. First, stress brainwave analysis, after popular song lyric education, the values of ‘physical tension and stress left and right’ and psychological distraction and stress left and right’ were decreased. Second, differences in linguistic intelligence were detected between groups before and after popular song lyric education. Finally, significant improvements were shown in the fields of ‘emotional engagement,’ ‘thinking promotion,’ ‘emotional control,’ and ‘emotional utilization,’ among other sub-areas. The study clarifies the role of neuroscience’s exploration of popular music education. However, further research is required to build a meaningful scientific foundation for understanding popular music’s effects on the brain.

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35

Culler, Jonathan. "Why Lyric?" PMLA/Publications of the Modern Language Association of America 123, no. 1 (January 2008): 201–6. http://dx.doi.org/10.1632/pmla.2008.123.1.201.

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Poetry is alive in our culture, but in its own world: Never have there been so many poets and poetry readings, books, journals, and online sites. Poetry has certainly seemed threatened, though, in schools and universities, where literary studies focus on prose fiction—narrative has become the norm of literature—or else on other sorts of cultural texts, which can be read symptomatically

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36

Culler, Jonathan. "Lyric Prototypes." Zeitschrift für französische Sprache und Literatur 131, no. 1-2 (2021): 141–49. http://dx.doi.org/10.25162/zfsl-2021-0007.

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37

Paparousi, Marita. "Teaching Lyric Poetry: An Approach through Genre." Journal of Literary Education, no. 2 (December 6, 2019): 153. http://dx.doi.org/10.7203/jle.2.14833.

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Анотація:

A genre approach to teaching lyric poetry is the subject of this essay. Part one of the essay contains a discussion and critique of genre theory as it relates specifically to the use of genre as a framework to teach poetry. Part two examines the various ways lyric genre has been defined in literary theory and tries to offer a polyphonic range of perspectives about lyric genre’s most prominent characteristics. The final section suggests a sample lesson plan and student-centered activities intended to strengthen student’s understanding of lyric poetry.

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38

Willis, E. "Lyric Dissent." boundary 2 36, no. 3 (September 1, 2009): 229–34. http://dx.doi.org/10.1215/01903659-2009-032.

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39

Skillman, Nikki. "Lyric Reading Revisited: Passion, Address, and Form in Citizen." American Literary History 31, no. 3 (2019): 419–57. http://dx.doi.org/10.1093/alh/ajz030.

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Анотація:

Abstract This article makes the case for a revised model of lyric reading. While theorists have thus far identified lyric reading with a monolithic, expressive model of lyric, the more capacious model I propose involves bringing the signature entanglements that have endowed the term lyric with historical freight and analytical richness to bear on the analysis of literary works—particularly on generically ambiguous contemporary works written during the era of what Virginia Jackson and Yopie Prins have called “lyricization.” The essay presents three recurring sites of debate in lyric theory, using each to bring distinct aesthetic and political dimensions of Claudia Rankine’s Citizen: An American Lyric (2014) into focus. Meditating on contested, rather than putatively universal, features of lyric and their imprint upon Rankine’s “American lyric” reveals the urgent matters of value that such features comprehend. To explore them is to explore the racial subconscious of the lyric tradition and recover how lyric has been multiply and alternatively conceived.

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40

Kornberg, Morani. "Lyric, Nation, and Dialogism." Poetics Today 41, no. 4 (December 1, 2020): 595–617. http://dx.doi.org/10.1215/03335372-8720085.

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This article introduces, for the first time, the marginalized writings of Israeli-statehood-generation poet Maxim Ghilan (1931–2005), who lived in self-exile in Paris as a result of his political activism. By investigating the relationship between lyric poetry and nationalism, the article introduces Ghilan’s early poetry, followed by a close analysis of his groundbreaking and understudied poem “In Enemy Land,” written upon his return to Israel. Ghilan’s poetry overturns nationalist discourse by revisiting the events of 1948 and evoking the dual notion of return, namely, the Israeli Law of Return and the Palestinian Right of Return. In an effort to contribute to New Lyric Studies, the article offers a new form of lyric reading, the “trans-national lyric,” a hyphenated form of transnationalism used to emphasize crossing over and moving beyond the nation. The trans-national lyric dismantles the lyric speaker’s sovereign position and consequently uncovers the silent — and silenced — dialogic voices that are an inseparable part of the genre. The article concludes with an analysis of lyric address and the ethical role of reading, whereby readers are implicated in the process of forced remembering and historical revision.

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41

Levin, Iu I. "Notes on the Lyric." Russian Studies in Literature 31, no. 4 (October 1995): 41–54. http://dx.doi.org/10.2753/rsl1061-1975310441.

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42

McIver. "Elizabeth Bishop's Lyric Vision." Journal of Modern Literature 34, no. 4 (2011): 192. http://dx.doi.org/10.2979/jmodelite.34.4.192.

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43

Dickie, Margaret. "Dickinson's Discontinuous Lyric Self." American Literature 60, no. 4 (December 1988): 537. http://dx.doi.org/10.2307/2926656.

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44

Cook, Corinna. "Listening the lyric essay." New Writing 16, no. 1 (July 18, 2018): 100–115. http://dx.doi.org/10.1080/14790726.2018.1480045.

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45

Koethe, J. "Wittgenstein and Lyric Subjectivity." Literary Imagination 10, no. 1 (January 1, 2008): 96–101. http://dx.doi.org/10.1093/litimag/imm124.

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46

Cambon, Glauco, and F. J. Jones. "The Modern Italian Lyric." World Literature Today 61, no. 3 (1987): 435. http://dx.doi.org/10.2307/40143373.

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47

Jonathan Culler. "Lyric, History, and Genre." New Literary History 40, no. 4 (2009): 879–99. http://dx.doi.org/10.1353/nlh.0.0121.

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Gui, Weihsin. "LYRIC POETRY AND POSTCOLONIALISM." Journal of Postcolonial Writing 43, no. 3 (December 2007): 264–77. http://dx.doi.org/10.1080/17449850701669609.

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