Translation Pragmatics of Phonic Expressive Means in English Poetic Texts

Phono-stylistics is a promising research area. Expressive power of a text depends on its phonetic imagery. The research objective was to identify the pragmatic features of phonic expressive means in translations of contemporary English poetry. The methods included a comparative analysis, phono-semantic and phono-stylistic interpretation of the original poems and their translations, and O. N. Tynyanov's law of versification. The method of sound counting developed by E. V. Elkina and L. S. Yudina was used to calculate the frequency of sounds in the context of phono-semantic analysis in the Russian translations. The method of sound counting designed by Tsoi Vi Chuen Thomas was used to calculate the frequency of sounds in the original English texts. The theoretical foundation of the research was formed by the works by M. A. Balash, G. V. Vekshin, Z. S. Dotmurzieva, V. N. Elkina, A. P. Zhuravlev, L. V. Laenko, F. Miko, L. P. Prokofyeva, E. A. Titov, etc. The study featured the phonics and pragmatics of S. Dugdale’s poem Zaitz and its three translations made by E. Tretyakova, A. Shchetinina, and M. Vinogradova, and C. E. Duffy’s Anne Hathaway translated by Yu. Fokina. The author compared the pragmatics of sound imagery in the English originals and their Russian translations. The research made it possible to define the role of sound imagery in the poetic discourse, as well as the relationship between the sound organization of poetic speech and the pragmatic value at the phonographic level. The results can be used in courses of translation, stylistics, and phonetics.

Making 20% Matter Most: Meeting the Needs of Gifted and High Ability Students Through Type III 20Time (T4) Projects

A 9th grade Honors English class creates and publishes original poems, art, fiction, and nonfiction products through an activity called “Type Three – Twenty Time = T4.” The instructional method merges elements from Renzulli’s Type III process with elements from Brookhouser’s 20Time Project-based learning model. Each student researches an interest passion topic and creates a related original product or service for a real audience. Upon reflection on the experience, the author identifies evidence-based practices including compacting ELA course content to create time for the T4 process; enhanced student engagement; active learning versus passive learning; improved writing skills; quality presentation skills; higher level creative and critical thinking; and upgraded 21st Century skills.

Songings: A Poetry Journal

Somewhen poem is dying but technology prevails. Songings is an international peer-reviewed poetry journal dedicated to save poem for the people by publishing original poems, translated poems, images, poem reviews, opinions, and book reviews since 2021. Songings creates and keeps that poem touches your heart, and should be readable, communicable, singable, and frameable for the people as the poem saver standard, and names it the Songings’s Standard. Our slogan is Always People.

Thomas Percy

Thomas Percy (b. 1729–d. 1811) is primarily remembered for his seminal collection of ballads, Reliques of Ancient English Poetry. However, the 1765 publication of this text was only the midpoint of an extraordinarily prolific decade. After publishing some original poems and a translation of Ovid’s elegy for Tibullus in the 1750s, the 1760s also saw Percy produce the first Chinese novel translated into English, Hau Kiou Choaan (1761); Miscellaneous Pieces Relating to the Chinese (1762); The Matrons (1762); Five Pieces of Runic Poetry (1763); a new translation of The Song of Solomon (1764); A Key to the New Testament (1766); and his influential study of “Gothic” art and society, Northern Antiquities (1770). He also worked on his long poem, The Hermit of Warkworth (1771), and edited the Northumberland Houshold [sic] Book (1770). This only covers his published works: during the same period, he worked on several other editing and translating projects—preparing an edition of The Spectator and other journals by Addison and Steele, for example—which never reached print. As Percy rose through the ranks of the Anglican clergy—becoming one of the king’s chaplains by 1770, Dean of Carlisle in 1778, and finally Bishop of Dromore in 1782—he stopped publishing new works, perhaps because he thought it detracted from the dignity of his ecclesiastical office. Nevertheless, his translations of Spanish ballads—Ancient Songs, Chiefly on Moorish Subjects—were ready for press in 1775 (though they were only published in 1932). His extensive correspondence also reveals his continuing interest in literary matters, and he was certainly ready to lend a hand to other scholars, providing they were sufficiently polite. In antiquarian circles, Reliques of Ancient English Poetry attracted considerable attention: his theory of minstrels’ high status was disputed, and his editorial practice was (and remains) controversial. The literary reception was more positive. Although Percy’s own ballad, The Hermit of Warkworth, was mercilessly parodied by Samuel Johnson, the medieval ballads he anthologized were profoundly important to Romanticism, both British and German. As critics increasingly attend to Percy’s work beyond Reliques of Ancient English Poetry, other aspects of his influence—including troubling legacies—have come to light. His work on Spanish and Chinese material has been taken as foundational for “world literature,” and scholars have debated whether Percy’s treatment of China is orientalist, or whether there are ethnonationalist and racialist elements to Percy’s Gothic interests.

BOOK OF POEMS BY T. KIBIROV “ON THE MARGINS OF ‘A SHROPSHIRE LAD’” AS A METATEXTUAL PHENOMENON

The article is devoted to the book of poems, “On the margins of ‘A Shropshire lad’” (2007) by Timur Kibirov. It is marginalia to the poetic cycle of Alfred Hausman “The Shropshire lad” (1896). The metatextual elements by which Kibirov indicates the connection of his texts with the poems of the English poet are considered. We identify such characteristics of the metatext as secondary to the main work and the expression of the author’s will, aimed at demonstrating the creative process to the reader. Timur Kibirov marks his own words and forms a common intertextual field at the intersection of Hausman’s work, his own poetry and literary tradition in general. Original poems and marginalia are compared. The emphasis is placed on the graphic level of the book of poems: headings, epigraphs, notes, the use of italics, as well as cases of changing the language code. In the development of his creative input – total intertextual interplay – Kibirov writes a commentary on each of the 63 Hausman poems. Thus, the reader sees the places of coincidence and divergence of the Russian and English texts. A conclusion is made about the originality of the markers of the dialogue between the poetic cycles of Hausman and Kibirov, and about the specificity of the secondary markers, which reinforce the author’s beginning of the book of poems “On the margins of ‘A Shropshire lad’”.

Regime Change

Soon after the Hanoverian succession, Pope ceased writing original poems of consequence and instead began two new projects: his translation of the Iliad and the publication of his collected Works of 1717. This chapter asks what prompted this change of direction. The opening section traces Pope’s movements and those of his friends during the messy and unpredictable transfer of power in 1714. Although Pope’s private correspondence and manuscript poems signal his disaffection with the new regime, his public persona is distinctly apolitical. Pope countered accusations of treachery by disowning political readings of his earlier poems and by rebranding those works as timeless literary exercises. His translation of Homer and the publication of his Works were calculated to enshrine his reputation as an author of classic literary status. By publishing a Works and not a Poems on Several Occasions, this chapter argues, Pope inserted himself into a canonical tradition divorced from contemporary poems on affairs of state. His emergence as a literary colossus was motivated by political necessity as much as it was by raw ambition or vanity.

Rivals in Symbolism

The article examines the reception of Western European modernism in Russia in the late 19 th — early 20th centuries, with the emphasis on the phenomenon of the “crooked mirror” of a different nation perception, which not only endows the work of a foreign author with new functions, but sometimes also gives it a new scale (as with Byron, Zola, some of whose novels were published in Russian translation earlier than in the original in France, the Parnassian poet Jose Maria de Heredia, who received real fame in Russia, in contrast to the very short recognition in his homeland). The subject of the analysis is the texts that are maximally indicative and convincing for the stated topic, above all the translations from Paul Verlaine by Fyodor Sologub, who, along with Bryusov, opened the French poet to the Russian reader, and his original poems, created in the course of and largely as a result of work on translations. The systematization of observations on specific texts makes it possible to conclude that Russian Symbolists, adhering to sometimes opposite views on art, relying on the authority of Baudelaire and Verlaine who are perceived in France more as predecessors of Symbolism than its representatives, walked alongside them, never meeting along the way, but recognizing the “other” as “equal”.

HOME AS POEM

What does it mean to be home? We began asking this provocative question well before COVID-19, well before the collective crisis the world experienced which sent both of us back into our current homes. Exploring such a question through poetry writing may provide insights about individuals’ lived experiences, and, therefore, we contend it is worthwhile for scholars, artists and educators to widen possibilities for poetic method and craft related to writing about home. In this paper, we, two poets, arts-based education scholars, and Pittsburgh natives, offer pathways into exploring notions of home through the writing of poetry grounded in the ideas of Gaston Bachelard’s (1958/1964) seminal text, The Poetics of Space. To do so, we each offer and discuss two original poems on the topic of home to illustrate a number of compelling avenues scholars and research participants; educators and students might explore as they write poems evoking their own unique conceptions of home.

‘Like Her, Fair Book, be thou’

Chapter 3 examines six manuscript books which influential hostess Sarah Sophia Child-Villiers, fifth Countess of Jersey (1785–1867) kept in 1805–24. It argues that these manuscript compilations are overlooked technologies of power, influence, and creativity in elite Regency social and literary networks. The books reflect the shift towards collecting original poems during album-keeping’s transition to a popular practice, and show Jersey’s developing consciousness of the album as an expression and extension of her own identity. The albums document the range of reading, copying, and composing practices associated with guests’ visits to the Jerseys’ house at Middleton Park, from parlour games and flirtation, more formal and public tributes, and prestigious personalized poems in autograph by celebrated poets including George Crabbe, Lord Byron, and Thomas Moore, as well as overlooked society poets such as W. R. Spencer.