The Translation of Verse Form. A Revision of Holmes’ Model Based on the Spanish Translations of Shakespeare’s Sonnets

Sendebar ◽

10.30827/sendebar.v32.16892 ◽

2021 ◽

Vol 32 ◽

pp. 7-29

Author(s):

Tanya Escudero

Keyword(s):

Poetic Form ◽

Essential Component ◽

Model Based ◽

Poetry Translation ◽

Verse Form

While an essential component of poetry, form has been frequently overlooked in research on poetry translation or has been addressed under rather prescriptivist approaches, with notable exceptions (Holmes 1994, Jones, 2011, among others). This paper deals with the translation of the poetic form from a descriptivist perspective from a corpus of 69 Spanish translations of Shakespeare’s Sonnets published between 1877 and 2018. It addresses, particularly, the outer form or macrostructure of the poems using one sonnet of each translation as a prototype. This analysis will serve as a basis for classifying these translations according to James S. Holmes’ metapoem forms and for proposing a revision of this model. While there are certain forms or patterns repeated throughout, the diverse solutions show that there is no single favoured way of rendering these sonnets, not even during a specific period (beyond the preference for verse over prose).

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Ted Berrigan’s Stanzaic Spaces

10.1093/oso/9780198808725.003.0002 ◽

2018 ◽

Author(s):

Yasmine Shamma

Keyword(s):

New York ◽

Second Generation ◽

John Donne ◽

New York School ◽

Poetic Form ◽

Verse Form

After suggesting (and agreeing) that Berrigan led the Second Generation New York School, this chapter treats the actual forms of Berrigan’s poems, focusing on his sonnets to show that these poets interpret poems as spaces in which to recreate rooms. Berrigan, perhaps more obviously than any other New York School poet, took deliberate steps towards integrating aspects of traditional poetic verse form: Where John Donne encouraged: “We’ll build in sonnets pretty rooms,” Berrigan retorts (repeated throughout his Sonnets): “Is there room in the room that you room in?” riddling the form with domestic, urban and aesthetic complications. Berrigan explained to an interviewer: “I always thought of each one of my poems, like the sonnets, as being a room. And before that, I used to think of each stanza as being a room.” Accordingly, this chapter examines Berrigan’s stanzas as rooms, arguing that this responsive poetic form functions organically.

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Ballad, Tale, and Tradition: A Study in Popular Literary Origins

PMLA ◽

10.1632/457015 ◽

1914 ◽

Vol 29 (4) ◽

pp. 473-498

Author(s):

Arthur Beatty

Keyword(s):

Oral Tradition ◽

Poetic Form ◽

Ancient Source ◽

The People ◽

Verse Form ◽

Literary Origins

To anyone who has followed the development of the theory of ballad origins, it is well known that there are two main theories in the field for our suffrages at the present time: the communal; and the individualistic, literary, or anti-communal theory. The last name of the second theory is indicative of the attitude of its upholders, for they have in truth been largely occupied with a criticism of the communalists, always demanding of them more and ever more light, and ever, like doubting Thomas, refusing to believe until an actual ballad dating from at least the time of Hereward the Wake is produced for their fingers to touch. The communalists, by an appeal to the well-established facts of folk-lore and ethnology, maintain that the ballads are the product of the communal stage of society in Europe, in which the populace held festive dances, and in which there was actual improvisation of certain traditional lyric narratives. These narratives had their verse-form determined by the dance; and the whole poem from beginning to end was the product of the people, and was not in any way composed by literary persons. Moreover, these ballads have been handed down by oral tradition, and live in the mouths of the people. Of course, there is no claim that one expects to find in the ballads of the collections anything which springs directly from the ancient source; all that is claimed is that the poetic form is handed down, and, so to say, the general ballad tradition. This claim of long descent is substantiated by the very features of the ballads as they exist to-day; by their impersonality, their refrain, their depicting of but a single situation, their use of incremental repetition. Thus, it is maintained, the ballad is not derived from any pre-existing literary material, but is the result of a primary impulse which is as old as man, and out of which the various forms of communal poetry spring. Finally, the ballad is not connected with the popular tale; “it follows an entirely different line and springs from an entirely different impulse.”

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“The Sound in Faith”

Awakening Verse ◽

10.1093/oso/9780197510278.003.0002 ◽

2020 ◽

pp. 17-48

Author(s):

Wendy Raphael Roberts

Keyword(s):

Poetic Form ◽

Augustan Age ◽

Verse Form

Chapter 1 provides the first literary treatment of the transatlantic bestseller, Ralph Erskine’s Gospel Sonnets. The chapter argues that the poem makes visible how poetry and homiletics enabled each other and, as they did so, fused together the revivalist minister and the poet, the itinerant and the poem, and soteriology and verse form. Erskine developed an espousal poetics (a poetics based on the metaphor of Christ wed to the believer) that saturated the rhymed couplet with Calvinist thought and helped produce a lived affective theology. While scholars have conceived of the Augustan Age in terms of Alexander Pope’s heroic couplet primarily as an Enlightenement form, this chapter argues that early Evangelicalism contributed a different meaning to poetic form—what Roberts calls the “Calvinist couplet.”

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The Finnic Tetrameter – A Creolization of Poetic Form?

Studia Metrica et Poetica ◽

10.12697/smp.2019.6.1.02 ◽

2019 ◽

Vol 6 (1) ◽

pp. 20-78

Author(s):

Frog

Keyword(s):

Social Process ◽

Poetic Form ◽

Distinctive Features ◽

Language And Culture ◽

Alliterative Verse ◽

The North ◽

Sign Systems ◽

Or Groups ◽

Verse Form ◽

Language Areas

This article presents a new theory on the origins of the common Finnic tetrameter as a poetic form (also called the Kalevala-meter, regilaul meter, etc.). It argues that this verse form emerged as a creolization of the North Germanic alliterative verse form during a period of intensive language contacts, and that the Finnic ethnopoetic ecology made it isosyllabic. Previous theories have focused on the trochaic, tetrametric structure and viewed other features of poetic form as secondary or incidental. This is the first theory to offer a metrically driven explanation for the distinctive features of the poetic form: the systematic placement of lexically stressed short syllables in metrically unstressed positions and systematic yet unmetricalized use of verse-internal alliteration. The emergence of the poetic form may be viewed simply in terms of hybridization, but its formation as a central mode for epic and ritual poetry demands consideration of social factors. Creolization is considered a social process of hybridization at the level of sign systems that is characterized by a salient asymmetrical relation of power, authority or other value in the cultural sign systems being reconfigured from the perspective of the society or groups involved. An argument is presented that North Germanic contacts also produced systematic verse-internal alliteration in Finnic languages. Discussion then turns to the distinction between the origin and spread of the poetic form. The poetic form’s uniformity across Finnic language areas in spite of its ‘foreign’ metrical features along with the range of genres with which it was used are considered indicators of the poetic form’s spread with language, forming an argument that the tetrameter emerged within an environment that also produced Late Proto-Finnic, and then spread with Late Proto-Finnic language and culture through areas where other Finnic language forms were spoken.

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Chinese Translation of Emily Dickinson’s Poetry: Translation Features of Shi Li’s Lilacs in the Sky

International Journal of Language and Literary Studies ◽

10.36892/ijlls.v3i1.512 ◽

2021 ◽

Vol 3 (1) ◽

pp. 177-192

Author(s):

Jianxin Zhou

Keyword(s):

Comparative Analysis ◽

Chinese Poetry ◽

Poetic Form ◽

Chinese Translation ◽

Source Language ◽

Python Language ◽

Language Structure ◽

Rich Description ◽

Poetry Translation ◽

Poetry Collection

Using program written in python language to conduct a statistical and comparative analysis of poetic form and vocabulary use of Emily Dickinson's poems and its Chinese translation in the poetry collection, Lilacs in the Sky, translated by Shi Li, to reveal features of the translation. It is found that in translation, there is a large number of increases in stanzas and a relatively small adjustment in verse lines; a large number of dashes are omitted or translated into commas, and many commas are added, exclamation marks are basically deleted. Prepositions and conjunctions are used less frequently, making language structure less complete, and lyrical intensity is slightly inferior to the original. The less number of adjectives results in less delicate and less rich description in translation, but large increase in verbs and four-character words make translation more concrete, vivid and cordial. In short, the translation version deviates significantly from the original in terms of poetic form and vocabulary use, and the translation expression tends to be closer to the standard of Chinese poetry expression rather than to the source language.

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Representation, abstraction, and simple-minded sophisticates

Behavioral and Brain Sciences ◽

10.1017/s0140525x19002942 ◽

2020 ◽

Vol 43 ◽

Author(s):

Peter Dayan

Keyword(s):

Decision Theory ◽

Predictive Coding ◽

Bayesian Decision Theory ◽

Bayesian Decision ◽

Model Based ◽

Model Free

Abstract Bayesian decision theory provides a simple formal elucidation of some of the ways that representation and representational abstraction are involved with, and exploit, both prediction and its rather distant cousin, predictive coding. Both model-free and model-based methods are involved.

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Quantitative Model-Based Image Analysis of NuMa Distribution Links Nuclear Organization with Cell Phenotype

Microscopy and Microanalysis ◽

10.1017/s1431927600028968 ◽

2001 ◽

Vol 7 (S2) ◽

pp. 578-579

Author(s):

David W. Knowles ◽

Sophie A. Lelièvre ◽

Carlos Ortiz de Solόrzano ◽

Stephen J. Lockett ◽

Mina J. Bissell ◽

...

Keyword(s):

Image Analysis ◽

Mammary Epithelial Cells ◽

Nuclear Organization ◽

Critical Role ◽

Quantitative Model ◽

Mammary Epithelial ◽

Cell Phenotype ◽

Proliferating Cells ◽

Mitotic Apparatus ◽

Model Based

The extracellular matrix (ECM) plays a critical role in directing cell behaviour and morphogenesis by regulating gene expression and nuclear organization. Using non-malignant (S1) human mammary epithelial cells (HMECs), it was previously shown that ECM-induced morphogenesis is accompanied by the redistribution of nuclear mitotic apparatus (NuMA) protein from a diffuse pattern in proliferating cells, to a multi-focal pattern as HMECs growth arrested and completed morphogenesis . A process taking 10 to 14 days.To further investigate the link between NuMA distribution and the growth stage of HMECs, we have investigated the distribution of NuMA in non-malignant S1 cells and their malignant, T4, counter-part using a novel model-based image analysis technique. This technique, based on a multi-scale Gaussian blur analysis (Figure 1), quantifies the size of punctate features in an image. Cells were cultured in the presence and absence of a reconstituted basement membrane (rBM) and imaged in 3D using confocal microscopy, for fluorescently labeled monoclonal antibodies to NuMA (fαNuMA) and fluorescently labeled total DNA.

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