1,916 research outputs found
Author and Narrator in Lyric Poetry
No full textHillebrandt C. Author and Narrator in Lyric Poetry. In: Birke D, Köppe T, eds. Author and Narrator. Transdisciplinary contributions to a narratological debate . Linguae & litterae. Vol 48. Berlin: De Gruyter; 2015: 213-233
Lyric Minds
No full textLike other lyric, the solo lyric of early Greece creates encounters with another mind. Drawing on the psychological phenomenon of ‘mentalizing’, this chapter attempts to capture the quality of these encounters. In contrast to epic or drama, where we observe a multiplicity of characters as they interact with one another horizontally, lyric minds attain complexity vertically: audiences encounter the mind of the speaker in the text, that of the performer, and of the author. Lyric thus fragments and asks us to reassemble what in ordinary life is one—the flesh-and-blood person before us, the words, and the person from whom the words originate—and thus creates its peculiar blend of immediacy and opacity. In the course of this argument, a case is made for the necessary truthfulness of the lyric speaker. Whereas the lyric performer inhabits words that are not wholly his/her own, the lyric speaker is necessarily truthful.</p
Review of the book Lyric philosophy, by J. Zwicky
No full textFinal article published.philosophyDr. John Bruin (Douglas College) reviews the book Lyric philosophy, by J. Zwicky (1992)
Lyric poetry and the positioning of the lyric speaker
Full text linkLyric poetry is frequently viewed by critics as distinct from narrative poetry and prose. This distinction rests largely on the positioning of the lyric speaker vis-à-vis the poet author. Part of any definition of the lyric is the understanding that the lyric speaker is identical to the poet and therefore the poem is the unmediated direct expression of the poet’s thoughts and experiences. These assumptions which are endemic to literary and sometimes linguistic criticism have led to restricted critical studies and a preponderance of inappropriate biographical criticism. This thesis examines how the speakers in certain types of lyric poetry are positioned, and identifies where conceptions of lyric speakers may be causing the problem of the biographical fallacy.
The central questions that structure this thesis are:
• Why is the lyric speaker so often considered by critics to be identical to the poet and therefore an unmediated direct expression of the poet’s thoughts and experiences?
• Can lyric poetry instead make use of the same complexity of perspectives, voices and mediation that narrative prose does?
• What linguistic and narratological features in poetry deemed ‘personal’ to the poet might be creating the illusion of personalness, causing us to reduce this potential complexity to unmediated and monologic autobiography?
I argue that the assumption that lyric poetry represents the monologic and unmediated voice of the poet is endemic in criticism and without a more precise examination of what lyric speakers do, poetic criticism will continue to fall back on biographical criticism despite the many theoretical attempts to leave it behind. By demonstrating that there is narrativity present in lyric poetry, I argue that narratological concepts can and should be applied to lyric poetry, and therefore I join a growing discussion about how theoretical approaches to poetry can be improved by using the tools that are used to analyse narrative. Overall, my thesis is an application of narrative theory to three distinct types of lyric poetry that best demonstrate the multiperspectivism of the lyric, but are at the same time central examples of the genre: lyric poetry which uses a turn or volta to encode multiple viewpoints, poetry which appears extremely personal and connected to its poet, and poetry based on experiences of real conflict.
By using narrative theory (and where necessary drawing on literary linguistic models, such as text world theory, relevance theory and transitivity) , I analyse the point(s) of view expressed in poems considered quintessentially lyric and the positions and levels of mediation that the lyric speaker can adopt, thus demonstrating not only that lyric poetry can make use of the same complexity of perspectives, voices and mediation that narrative prose does, but that the poetic speaker operates in much the same way as that of a prose narrator. I argue that this should cause us to rethink how the speaker in lyric poetry is approached. In addition, I argue that by examining poetry in this way, we can move on from making assumptions about the biographical links between poetry and poets, and instead identify the linguistic features which cause us to assume that such a link is present
Lyric poetry and the positioning of the lyric speaker
Full text linkLyric poetry is frequently viewed by critics as distinct from narrative poetry and prose. This distinction rests largely on the positioning of the lyric speaker vis-à-vis the poet author. Part of any definition of the lyric is the understanding that the lyric speaker is identical to the poet and therefore the poem is the unmediated direct expression of the poet’s thoughts and experiences. These assumptions which are endemic to literary and sometimes linguistic criticism have led to restricted critical studies and a preponderance of inappropriate biographical criticism. This thesis examines how the speakers in certain types of lyric poetry are positioned, and identifies where conceptions of lyric speakers may be causing the problem of the biographical fallacy. \ud
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The central questions that structure this thesis are:\ud
\ud
• Why is the lyric speaker so often considered by critics to be identical to the poet and therefore an unmediated direct expression of the poet’s thoughts and experiences? \ud
• Can lyric poetry instead make use of the same complexity of perspectives, voices and mediation that narrative prose does? \ud
• What linguistic and narratological features in poetry deemed ‘personal’ to the poet might be creating the illusion of personalness, causing us to reduce this potential complexity to unmediated and monologic autobiography?\ud
\ud
I argue that the assumption that lyric poetry represents the monologic and unmediated voice of the poet is endemic in criticism and without a more precise examination of what lyric speakers do, poetic criticism will continue to fall back on biographical criticism despite the many theoretical attempts to leave it behind. By demonstrating that there is narrativity present in lyric poetry, I argue that narratological concepts can and should be applied to lyric poetry, and therefore I join a growing discussion about how theoretical approaches to poetry can be improved by using the tools that are used to analyse narrative. Overall, my thesis is an application of narrative theory to three distinct types of lyric poetry that best demonstrate the multiperspectivism of the lyric, but are at the same time central examples of the genre: lyric poetry which uses a turn or volta to encode multiple viewpoints, poetry which appears extremely personal and connected to its poet, and poetry based on experiences of real conflict.\ud
\ud
By using narrative theory (and where necessary drawing on literary linguistic models, such as text world theory, relevance theory and transitivity) , I analyse the point(s) of view expressed in poems considered quintessentially lyric and the positions and levels of mediation that the lyric speaker can adopt, thus demonstrating not only that lyric poetry can make use of the same complexity of perspectives, voices and mediation that narrative prose does, but that the poetic speaker operates in much the same way as that of a prose narrator. I argue that this should cause us to rethink how the speaker in lyric poetry is approached. In addition, I argue that by examining poetry in this way, we can move on from making assumptions about the biographical links between poetry and poets, and instead identify the linguistic features which cause us to assume that such a link is present
N20EM dataset for multimodal lyric transcription
No full textN20EM dataset for multimodal lyric transcription, proposed in our ACM MM 2022 paper, MM-ALT: A Multimodal Automatic Lyric Transcription System. This dataset contains recordings of three modalities: audio, video, and IMU motion signal.
Our paper's camera ready version: https://arxiv.org/abs/2207.06127
Project website: https://n20em.github.io/
Please cite our work as:
@inproceedings{gu2022mm,
title={MM-ALT: A multimodal automatic lyric transcription system},
author={Gu, Xiangming and Ou, Longshen and Ong, Danielle and Wang, Ye},
booktitle={Proceedings of the 30th ACM International Conference on Multimedia},
pages={3328--3337},
year={2022}
}Add data for VAD training and accompaniment of each utterance
Polyhymnia: the rhetoric of Horatian lyric discourse
No full textHorace's Odes have a surface translucency that belies their rhetorical sophistication. Gregson Davis brings together recent trends in the study of Augustan poetry and critical theory and deftly applies them to individual poems. Exploring four rhetorical strategies - what he calls modes of assimilation, authentication, consolation, and praise and dispraise - Davis produces enlightening, new interpretations of this classic work. Polyhymnia , named after one of the Muses invoked in Horace's opening poem, revises the common image of Horace as a complacent, uncomplicated, and basically superficial singer. Focusing on the artistic persona - the lyric "self" that is constituted in the text - Davis explores how the lyric speaker constructs subtle "arguments" whose building-blocks are topoi, recurrent motifs, and generic conventions. By examining the substructure of lyric argument in groupings of poems sharing similar strategies, the author discloses the major principles that inform Horatian lyric composition
The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period
Full text linkThis doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership
Colonna and Petrarch in the Rime of Lucia Colao
No full textThis paper focuses on the lyric production of the Friulian writer Lucia Colao (b. 1578), which survives in two manuscripts, in the state libraries of Treviso and Vittorio Veneto. Colao’s Rime represent a rare contribution by a woman to the tradition of spiritual rewritings of Petrarch’s Fragmenta, which began in the 1530s with Girolamo Malipiero’s Petrarca spirituale. Colao recasts in a spiritual form 121 Petrarchan texts (sonnets and canzoni), all deriving from the first part of the RVF and mainly following the sequence of the original. The paper analyzes the complexities of the relationship between hypotext and hypertext in Colao’s Petrarchan reworkings, and the dialectic between conservation, substitution, and resemantization of the lexis and content of the originals. At the same time, it considers the way in which Colao’s texts construct a feminine subject within lyric discourse, in a manner which reflects the lessons of Vittoria Colonna’s earlier creative appropriation of Petrarch in her spiritual lyrics
Lyric mindedness: science and genre in romantic Britain
No full text“Lyric Mindedness” recovers conversations between Romantic-era poetics and the science of the embodied mind. While recent scientific approaches have tended to reinforce the idea of “the lyric” in its most familiar Romantic formulation—where it voices a solitary or idealized consciousness—“Lyric Mindedness” shows that Romantic-era lyric theory served as the occasion for a livelier debate between diverse, competing models of mindedness. Romantic theories of the lyric flirt with materialism, entertain the notion that the mind spreads over bodies and linguistic technologies, and explore the individual mind’s entanglements with a social environment made up of other minds. I begin by examining James Macpherson’s “Ossian” poems, in which he takes up the Scottish Enlightenment’s understanding of the lyric as a vestige of human cognition in its earliest and most pristine stages. Because his poems were largely forgeries, however, Macpherson imports eighteenth-century physiology into his Ossianic recreations, and experiments with the relation between poetic form and popular knowledge. The second chapter pursues the reception of that same theory—that poetry expressed the foundations of human cognition—into Romantic texts that align lyrical practice with cognitive disability. I trace the argument from William Wordsworth’s “The Idiot Boy” through Walter Scott’s Waverley, to show how the lyric, like disability, came to be understood as revealing the quasi-mechanical operations to be found at the core of cognition.Chapter three, on the collaborative writing and thinking of William Wordsworth, Dorothy Wordsworth, and Samuel Taylor Coleridge, examines how technologies of writing and, more specifically, the lyric as a generic medium, bring mental activity out of the individual head and into social circulation. The final chapter turns to William Hazlitt’s counterintuitive philosophy of action, which holds that even the simplest self-directed activities, like pulling away from a hot stove, require the same outward-directed faculties as sympathy for another person. This strange conclusion casts new light on Hazlitt’s later literary criticism, often read as installing a notion of private lyric that we have come to regard as traditionally “Romantic.” His early philosophy, by contrast, gives a glimpse of what a more capacious approach to “lyric mindedness” might look like.Ph.D.Includes bibliographical referencesIncludes vitaby John Lorenzo Savares
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