Poetic Expression Through Scenery: Sentimental Chinese Classical Poetry Generation from Images

Author(s):  
Haotian Li ◽  
Jiatao Zhu ◽  
Sichen Cao ◽  
Xiangyu Li ◽  
Jiajun Zeng ◽  
...  
Author(s):  
Hilary Radner ◽  
Alistair Fox

This chapter assesses Raymond Bellour’s contribution to the area of research known as “film analysis,” arguing that it is best understood as an “art” rather than a scientific practice. Grounded in the French tradition of “explication du texte” as a means of approaching literature, Bellour was among the first film scholars to bring a French literary sensibility to the analysis of Classical Hollywood film, which enabled him to recognize the rhetorical refinements of the cinematic medium and its potential for poetic expression. The chapter explores the significant concepts that define Bellour’s approach: segmentation; “the unattainable text” (also referred to as “the undiscoverable text” or “le texte introuvable”); le blocage symbolique (also referred to as “the symbolic blockage”);“the textual volume”; Hitchcock and psychoanalysis; and enunciation.


Author(s):  
Nora Goldschmidt ◽  
Barbara Graziosi

The Introduction sheds light on the reception of classical poetry by focusing on the materiality of the poets’ bodies and their tombs. It outlines four sets of issues, or commonplaces, that govern the organization of the entire volume. The first concerns the opposition between literature and material culture, the life of the mind vs the apprehensions of the body—which fails to acknowledge that poetry emerges from and is attended to by the mortal body. The second concerns the religious significance of the tomb and its location in a mythical landscape which is shaped, in part, by poetry. The third investigates the literary graveyard as a place where poets’ bodies and poetic corpora are collected. Finally, the alleged ‘tomb of Virgil’ provides a specific site where the major claims made in this volume can be most easily be tested.


2013 ◽  
Vol 1 (1) ◽  
pp. 175-194 ◽  
Author(s):  
Maurizio Bettini

Abstract Analysis of a large number of texts from the archaic period of Roman culture shows that the authoritative character of a solemn utterance (a prophecy, the formula uttered by a praetor, a religious praefatio) was based principally on specific sound patterns. From these utterances’ use of parallelisms, phonic echoes and syllabic repetitions there emerged a sort of ‘resultant voice’, which made their exceptional character immediately apparent. From the perspective of their intended hearers, the sound-construction of these pronouncements had the capacity to arouse what the Romans called delectatio: that is, the disposition to believe in the truth and validity of what they were hearing. That the Romans included all these acoustic phenomena within a single perceptual domain is demonstrated by the fact that music, too, had the power to produce delectatio—and by the fact that the verb cano and its derivatives refer as much to musical as to poetic expression.


2021 ◽  
Author(s):  
N.I. Belozubova ◽  
◽  
E Yanyan ◽  
Keyword(s):  

Author(s):  
Eva Eglāja Kristsone ◽  
Signe Raudive

Keywords: children’s poetry, public engagement, reading aloud, recording of poetry, Veidenbaums The development of public engagement technologies has provided new ways of ensuring societal participation. Public engagement events developed by various institutions provide ways to combine learning about cultural heritage with individual participants. Poetry readings serve as one of the ways the sound of Latvian literature and particularly Latvian classical poetry can be updated. The authors of this article analyse the first two public engagement actions (“Skandē Veidenbaumu” and “Lasīsim dzejiņas” of the series “Lasi skaļi” (Read Aloud) launched by the Institute of Literature, Folklore, and Art of the University of Latvia. During these events, participants were given the opportunity to record thematically-selected poems in the audio recording booth of the Latvian National Library or, as an alternative, to record a poem on their computer or mobile device and upload them to the action site. The events combined the creation of a recorded body of poetry readings with related educational content and represent one of the newer educational methods for reaching the general public and some of its subgroups (children, pupils, students, etc.). Through these events, the public was given the opportunity to become acquainted with Latvian cultural heritage while simultaneously creating new cultural artifacts. The participants creatively used different approaches of performance, recording the poems in a variety of voices, singing, or even incorporating digital sound processing programmes. They actively seized on the opportunity to create new versions of poems that had already been set to music. The main reasons for rejecting any particular recording were buffoonery or cursing during the recording process, or having left the recording unfinished. Both events resulted in more than 4,500 audio recordings which were then stored in the digital archive of the Institute. The set of recordings could be of interest to researchers in the fields of linguistics, sociolinguistics and computer linguistics, as it provides a unique representation of pronunciation during a specific period of time performed by people of different ages, genders, and nationalities.


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