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En este trabajo se repasan algunos de los análisis estructurales de la tragedia del dramaturgo extremeño García de la Huerta para destacar un recurso que ha resultado invisible hasta el momento para los lectores de la obra: los cambios en la asonancia de sus endecasílabos. Se dan estos cambios en situaciones de la acción dramática de especial trascendencia, como si se tratasen de señales sonoras sobre esos momentos. Además, la asonancia pudo ser un rasgo formal con el que Huerta quiso aportar algo al debate sobre la métrica que interesaba a algunos autores coetáneos como Agustín Montiano, Juan José López de Sedano o Cándido María Trigueros.

The visible and hidden layers of literary compositions can be better understood and highlighted by making comparisons between different literatures. This method makes it clear which literature is superior to the others in terms of perspectives and linguistic power. The philosophical field of aesthetics explores many facets of beauty and can improve the enjoyment of reading literature. Given the importance of the Mashruteh Era, knowing the viewpoints of liturgical poets before and after the Mashruteh Movement is vital. This research uses a comparative-analytical approach to investigate the most notable Ghadiriyyas in Persian poetry spanning from the Qajar era to the early Mashruteh Era and the eighties. This research is an effort to identify the most common components that enhance aesthetics. The findings show that before the Mashruteh Era, literature had considerably improved both in terms of quantity and variety—as well as rhetorical strategies—than subsequently. From a linguistic standpoint, musical repetition is the most often used element. Free repetition, dissonant puns, and assonance repetition were more common before the Mashruteh Era, while the Zoghafiatain was more common in regular repetition. After the Mashruteh Era, assonance repetition and dissonant puns in free repetition, as well as portmanteau in regular repetition, achieved the highest frequency. Allusion became the most popular literary device following the Mashruteh Era, whereas simile was the most common rhetorical method in poetry written before that time.

Witty, direct and articulate, Peter Barry illustrates the key elements of poetry at work, covering many different kinds of verse, from traditional forms to innovative versions of the art, such as ‘concrete’ poetry, minimalism and word-free poems. The emphasis is on meanings rather than words, looking beyond technical devices like alliteration and assonance so that poems are understood as dynamic structures creating specific ends and effects. The three sections cover progressively expanding areas – ‘Reading the lines’ deals with such basics as imagery, diction and metre; ‘Reading between the lines’ concerns broader matters, such as poetry and context, and the reading of sequences of poems, while ‘Reading beyond the lines’ looks at ‘theorised’ readings and the ‘textual genesis’ of poems from manuscript to print. Reading poetry is for students, lecturers and teachers looking for new ways of discussing poetry, and all those seriously interested in poetry, whether as readers or writers.

Although retrieval of lexical forms is a prerequisite for language production, research of L2 vocabulary learning has focused much more on meanings and form-meaning mappings than on development of detailed, accessible mental representations of forms. This is particularly true with respect to multi-word items (MWIs). We report an experimental study involving a variety of intra-lexical, usage-based, and interlingual co-determinants of L2 vocabulary learnability pertaining to MWIs. Each learner (N = 60) encountered a randomly allocated set of 26 two-word MWIs (Nsets = 4) semi-randomly drawn from a larger pool of MWIs. Learners were asked to remember either the 13 MWIs showing the form variable assonance (e.g., change shape ) or the 13 nonassonant control MWIs (e.g., sound good ). Posttests of form recall revealed a large, durable effect of the focusing task in combination with forewarning of testing. Except when MWI concreteness (a semantic variable) was high, assonance had a positive effect on retrievability in recall tests given after delays of 15 minutes and one week. There was a consistent effect of the semi-semantic variable Mutual Information. Even in the context of a strong focus on forms, form variables are not the only variables that matter.

In this bold recasting of operatic history, Gary Tomlinson connects opera to shifting visions of metaphysics and selfhood across the last four hundred years. The operatic voice, he maintains, has always acted to open invisible, supersensible realms to the perceptions of its listeners. In doing so, it has articulated changing relations between the self and metaphysics. Tomlinson examines these relations as they have been described by philosophers from Ficino through Descartes, Kant, and Nietzsche, to Adorno, all of whom worked to define the subject's place in both material and metaphysical realms. The author then shows how opera, in its own cultural arena, distinct from philosophy, has repeatedly brought to the stage these changing relations of the subject to the particular metaphysics it presumes. Covering composers from Jacopo Peri to Wagner, from Lully to Verdi, and from Mozart to Britten, Metaphysical Song details interactions of song, words, drama, and sounds used by creators of opera to fill in the outlines of the subjectivities they envisioned. The book offers deep-seated explanations for opera's enduring fascination in European elite culture and suggests some of the profound difficulties that have unsettled this fascination since the time of Wagner.

In her new book, Carolyn Abbate considers the nature of operatic performance and the acoustic images of performance present in operas from Monteverdi to Ravel. Paying tribute to music's realization by musicians and singers, she argues that operatic works are indelibly bound to the contingency of live singing, playing, and staging. She seeks a middle ground between operas as abstractions and performance as the phenomenon that brings opera into being. Weaving between opera's \"facts of life\" and a series of works includingThe Magic Flute, Parsifal, andPelléas, Abbate explores a spectrum of attitudes towards musical performance, which range from euphoric visions of singers as creators to uncanny images of musicians as lifeless objects that have been resuscitated by scripts. In doing so, she touches upon several critical issues: the Wagner problem; coloratura, virtuosity, and their critics; the implications of disembodied voice in opera and film; mechanical music; the mortality of musical sound; and opera's predilection for scenes positing mysterious unheard music. An intersection between transcendence and intense physical grounding, she asserts, is a quintessential element of the genre, one source of the rapture that operas and their singers can engender in listeners. In Search of Operamediates between an experience of opera that can be passionate and intuitive, and an intellectual engagement with opera as a complicated aesthetic phenomenon. Marrying philosophical speculation to historical detail, Abbate contemplates a central dilemma: the ineffability of music and the diverse means by which a fugitive art is best expressed in words. All serious devotees of opera will want to read this imaginative book by s music-critical virtuoso.

The repeated Ds perhaps authorize a reading of \"deep devoted delicate\" as rather arch, and the concatenation of percussive Ps may seem to amp up the impressive, paradoxical sharpness of Mrs. Newsome's importunate presence, but whatever suggestive nuances one may or may not assign to such insistent repetitions of consonants one must surely allow that they bespeak the stylist's inveterate delight in the soundscape of his prose. Phonic repetitions, of course, may also include assonance, the repetition of vowel sounds, but while it is clear that at times James intentionally pressed the keys of his instrument to produce assonance, \"[o]ne must remember,\" as P. G. Adams and T. Cable observe in The Princeton Encyclopedia of Poetry and Poetics, \"that unintentional alliteration will occur less often than unintentional assonance, since in IE [Indo-European] languages, consonants outnumber vowels\" (41). If we balk (and obviously I don't think we should) at seeing such deviations from phonic norms as intentional, we at very least have to say that they look to be statistically significant, and in James more often than not, moreover, they can be read as signifying, shaping meaning and nuance as well as the auditory texture or patterning of James's language. [...]to indicate how given James was to phonic effects in the 1882 Portrait, how constant that performance might be across the 1882 and 1907 texts, and how richly modulated the resources of consonance, assonance, and internal and near-rhyme might be within the compact confines of the sentence, consider this memorable description of the ceremony of tea on the lawn at Gardencourt, a sentence left untouched by James in the late revision: \"The implements of the little feast had been disposed upon the lawn of an old English country-house, in what I should call the perfect middle of a splendid summer afternoon\" (PL1 3).

\"Letitia Landon: Still a Problem\" (VP 57, no. 4 [2019]: 533-556) provides fresh insight into the publication history of Landon's works in magazines and literary annuals, revealing her role in print culture and her capacity for not only embedding multiple forms of media as a hallmark of her poetics, but also an ability to exploit and critique the production of nineteenth-century media through what Storti terms \"a culture of recycling\" (p. 537). To focus attention on the periodical and its poetry, the monograph is organized according to different middle-class publications (weeklies, shilling monthlies, religious periodicals, and the sensation magazine, Argosy) rather than a set of authors. Barrett Browning's employment of rhyme, assonance, and consonance affords an exploration of the consequences of \"fallen language\" (p. 96) and, in doing so, demonstrates the labor of the poet: to create poetry \"where style is not incidental, not simply an invisible appendage through which readers see a clear meaning, but is inseparable from ideas\" (p. 102). Meredith Martin's response (Victorian Studies 61, no. 2 [2019]: 216-221) to papers by Caolan Madden, Ashley Miller, and Heather Bozant Witcher emphasize how women's poetry reteaches us how to read poetry: \"Each paper moves our critical perspective away from its expected location, looks outward toward different horizons, and, in doing so, changes how we think of power- and the power of reading-altogether\" (p. 217).