The Original Event of Language in Modern Lyric Tradition

2021 ◽  
pp. 194-199
Author(s):  
William Franke
Keyword(s):  
Lyric Tradition ◽  
Original Event

Remembering from the Outside

2018 ◽  
Author(s):  
Christopher McCarroll
Keyword(s):  
The Self ◽  
Perceptual Content ◽  
Visual Perspective ◽  
Personal Memory ◽  
External Observer ◽  
Cognitive Domains ◽  
Past Event ◽  
Observer Perspective ◽  
Ways Of Thinking ◽  
Original Event

When recalling events that one personally experienced, one often visualizes the remembered scene as one originally saw it: from an internal visual perspective. Sometimes, however, one sees oneself in the remembered scene: from an external “observer perspective.” In such cases one remembers from-the-outside. This book is about such memories. Remembering from-the-outside is a common yet curious case of personal memory: one views oneself from a perspective one seemingly could not have had at the time of the original event. How can past events be recalled from a detached perspective? How is it that the self is observed? And how can we account for the self-presence of such memories? Indeed, can there be genuine memories recalled from-the-outside? If memory preserves past perceptual content then how can one see oneself from-the-outside in memory? This book disentangles the puzzles posed by remembering from-the-outside. The book develops a dual-faceted approach for thinking about memory, which acknowledges constructive and reconstructive processes at encoding and at retrieval, and it uses this approach to defend the possibility of genuine memories being recalled from-the-outside. In so doing it also elucidates the nature of such memories and sheds light on the nature of personal memory. The book argues that field and observer perspectives are different ways of thinking about a particular past event. Further, by exploring the ways we have of getting outside of ourselves in memory and other cognitive domains, the book sheds light on the nature of our perspectival minds.

scholarly journals Mise en scène in the original and adaptation: narrative organisation of the event in its internal symbolism

2019 ◽  
Keyword(s):  
Mise En Scene ◽  
The Matrix ◽  
Original Message ◽  
Pass Through ◽  
Original Event

This article explores narrative organisation of the event in the literary story Nunc dimittis by T. Lee and the screen version of the same name. The event in its entirety of concrete episodes is a change of states with the known and the unknown confronting each other throughout the whole narrative. The character of the known side is a young criminal, while a female vampire and her servant stand for the unknown. The literary story and its screen version (the filmic narrative) are brought to comparison in terms of the authentic retranslation that reproduces the original event in another (cinematic) medium in detail, but with minor fluctuations seen in each episode separately. In the article, the mode of retranslation is shown according to the pattern the original – a transponent, where the original is the initial, primary work, and transponents are the products of intermedial, or extracompositional reinterpretation (in this article the only existing screen version is at issue). All adaptations, notwithstanding their number, make up the matrix of a certain narrative together with the original. The literary as well as the filmic episodes of Nunc dimittis resolve into three types of mise en scène where the latter term is defined as the elements that make up the event. The types suggested include the enclosed mise en scène keeping all the participants inside up to its end; the pass-through mise en scène that adheres to one of the characters who is in and out; the open mise en scène where the characters take turns in coming and going. Minor differences between the original and its transponent concern the symbolic load on the names of characters and their actions, which do not change, but rather amplify the original message of the story.

scholarly journals An Investigation about Entailment and Narrative by AI Techniques (Generative Models)

2020 ◽  
Vol 3 (4) ◽  
pp. p61
Author(s):  
Paolo Marocco ◽  
Roberto Gigliucci
Keyword(s):  
Generative Models ◽  
Language Models ◽  
Original Text ◽  
Logical Inference ◽  
Narrative Story ◽  
Task Requirements ◽  
Lyric Tradition

Many storytelling generation problems concern the difficulty to model the sequence of sentences. Language models are generally able to assign high scores to well-formed text, especially in the cases of short texts, failing when they try to simulate human textual inference. Although in some cases output text automatically generated sounds as bland, incoherent, repetitive and unrelated to the context, in other cases the process reveals capability to surprise the reader, avoiding to be boring/predictable, even if the generated text satisfies entailment task requirements. The lyric tradition often does not proceed towards a real logical inference, but takes into account alternatives like the unexpectedness, useful for predicting when a narrative story will be perceived as interesting. To achieve a best comprehension of narrative variety, we propose a novel measure based on two components: inference and unexpectedness, whose different weights can modify the opportunity for readers to have different experiences about the functionality of a generated story. We propose a supervised validation treatment, in order to compare the authorial original text, learned by the model, with the generated one.

The Italian Lyric Tradition: Essays in Honour of F. J. Jones

1996 ◽  
Vol 91 (2) ◽  
pp. 494
Author(s):  
Charles Burdett ◽  
Gino Bedani ◽  
Remo Catani ◽  
Monica Slowikowska
Keyword(s):  
Lyric Tradition

The Devil’s Gonna Get You

2017 ◽  
Author(s):  
Adam Gussow
Keyword(s):  
African American ◽  
Black Women ◽  
Intimate Relationships ◽  
African American Men ◽  
Major Theme ◽  
Men And Women ◽  
Bessie Smith ◽  
Lyric Tradition ◽  
The Devil

This chapter explores a major theme within the blues lyric tradition: the devil as a figure who haunts intimate relationships between African American men and women. In some cases, men imagine themselves as footloose, mistreating devils; in other cases, they complain about romantic rivals who act in that way; in still other cases, they rage as their women, in thrall to the devil, grow cold to the touch or transfer their feelings to some other man. Artists covered include Lonnie Johnson, Lightnin' Hopkins, Skip James, and Sonny Boy Williamson, along with Bessie Smith, Koko Taylor, and other black women who call on the devil to punish their no-good man—or, alternately, reject him as a mistreating devil rather than the angel he appeared at first to be.

I’m Going to Marry the Devil’s Daughter

2017 ◽  
Author(s):  
Adam Gussow
Keyword(s):  
Jim Crow ◽  
Black Man ◽  
Lyric Tradition ◽  
Jim Crow South ◽  
The Devil ◽  
The Way

This chapter explores the way in which the blues lyric tradition uses the devil as a figure for the southern white man and hell as a figure for the miseries of the Jim Crow South. The white slave master and slave patroller show up, in coded form, in the antebellum spirituals; this tradition was reconfigured after Emancipation to reflect the new realities of the sharecropper's and bluesman's world, one presided over by the white bossman, sheriff, and prison farm warden. Bluesmen acted the devil, one might say, in order to evade and supplant the (white) devil and live more freely in the Jim Crow South over which he presided. Big Bill Broonzy, Peetie Wheatstraw, Lightnin' Hopkins, Champion Jack Dupree, and others recorded songs in which they signified on this mean white devil; Wheatstraw and Broonzy imaged themselves as his son-in-law: the black man making love to the white devil's daughter.

Nicolò de’ Rossi

2019 ◽  
Author(s):  
Fabio Sangiovanni
Keyword(s):  
Civil Law ◽  
Northern Italy ◽  
Veneto Region ◽  
13Th Century ◽  
Political Events ◽  
Cino Da Pistoia ◽  
Lyric Tradition

Nicolò de’ Rossi (c. 1295–c. post-1348) was born in Treviso, Italy, toward the end of the 13th century and died in Venice after 1348. Beyond a preeminent legal activity that allowed him to take part as a Guelph to the unstable political events of those years, he was one of the most important literary personalities of his age in northern Italy. His cultural renown within the Trevisan area is confirmed by the fact that after the completion of his law studies in Bologna in 1318, he was preferred over Cino da Pistoia as professor of civil law at the academic Studium of Treviso, and he was often chosen as one of the members of diplomatic missions in several troublesome circumstances (in particular during the war against Cangrande della Scala). However, his name is primarily remembered because of his fervent literary activity: his poetic production includes more than 400 poems (sonnets and four canzoni, one associated to a Latin commentary) written between 1317 and 1329, collected, almost as a lyric canzoniere, in the manuscript Colombino 7.1.32 preserved at the Biblioteca Capitular in Seville. These poems mainly deal with love subjects (he experienced all the possibilities offered by the coeval tradition, from Guittone’s style to Stilnovo styles), as well as with political, moral, realistic, and religious themes. Furthermore, thanks to the testimony of this manuscript, we are able to recognize him as the author of the first vernacular examples of figurative poetry: by renewing the model of the Latin carmina figurata, he integrated the phonic element into the graphic one through the elaboration of complex visual architectures for four poems. His importance in the Veneto region is also due to his activity as a veritable editor of the Italian lyric tradition, as witnessed by another manuscript (Barberiniano lat. 3953 of the Vatican Library), collecting a wide series of Tuscan texts (by Dante, Cavalcanti, Cino da Pistoia, Cecco Angiolieri, etc.) that constitute a remarkable anthology based on particular criteria of selection and inner order.

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