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Through three editions over more than four decades,The Princeton Encyclopedia of Poetry and Poeticshas built an unrivaled reputation as the most comprehensive and authoritative reference for students, scholars, and poets on all aspects of its subject: history, movements, genres, prosody, rhetorical devices, critical terms, and more. Now this landmark work has been thoroughly revised and updated for the twenty-first century. Compiled by an entirely new team of editors, the fourth edition--the first new edition in almost twenty years--reflects recent changes in literary and cultural studies, providing up-to-date coverage and giving greater attention to the international aspects of poetry, all while preserving the best of the previous volumes At well over a million words and more than 1,000 entries, theEncyclopediahas unparalleled breadth and depth. Entries range in length from brief paragraphs to major essays of 15,000 words, offering a more thorough treatment--including expert synthesis and indispensable bibliographies--than conventional handbooks or dictionaries. This is a book that no reader or writer of poetry will want to be without. Thoroughly revised and updated by a new editorial team for twenty-first-century students, scholars, and poetsMore than 250 new entries cover recent terms, movements, and related topicsBroader international coverage includes articles on the poetries of more than 110 nations, regions, and languagesExpanded coverage of poetries of the non-Western and developing worldsUpdated bibliographies and cross-referencesNew, easier-to-use page designFully indexed for the first time

The article deals with versified works of Viktor Dyk from the pre-war period (1897–1914) written in iambic pentameter. It analyses the relationship between the texts’ genre (lyric, satire, drama) and their rhythmic features (frequencies of stressing the line-initial and line-final syllables, frequencies of enjambment). The article concludes that Dyk’s lyric poems as well as his drama tend to employ features generally perceived as more literary compared to his satire.

PurposeThe purpose of this paper is to facilitate a greater understanding of verbal and non-verbal communication in an open space learning (OSL) environment. This is an exploration of the premise that by using Shakespeare’s iambic pentameter as a scaffolding for learners on the autism spectrum, a “safe place” can be accessed.Design/methodology/approachUsing an action research model and following government guidelines, using common assessment framework analysing the findings using School’s assessment criteria model that is used for single exercises through to whole scheme of work: making–performing–evaluating (self-evaluation sheets/peer evaluation sheets/teacher evaluation).FindingsThere has been hypothesis that people with ASD may be more able to track their heart beats for longer than neurotypicals. Kimberly et al. (2015) suggest that empathetic abilities and emotional experiences in people with ASD can produce negative experiences, anxiety can occur and the interoceptive awareness and ability to positively relate to self can be caused to dislocate. The use of the rhythm of the heartbeat may aid communication skills in ASD learners.Research limitations/implicationsIn the autistic learner, overload, caused by hypersensitivity/hyposensitivity, can also affect and be effected by environmental issues in OSL environment. The autistic learner can be deeply affected. Unlike a desk-based class there is nowhere to hide, no place of safety.Practical implicationsBy trying to find a common ground where the autistic learners can realise their full capacity the use of the heartbeat iambic rhythm can, the author posits, impact on the autistic learners sense of self and confidence, aiding learning.Social implicationsAs Hunter (2015) espouses, the heartbeat is a nurturing instrument. The author advocates that the heartbeat is also a unilateral marker that unifies a class/the environment at the same time as comforting the autistic learner.Originality/valueThere is an element in every being that has to be present from inception, the heartbeat, it is the first function an embryo performs. The heartbeat also produces a primal symbiotic interdependency in mother and child. It is a pure connection. The author posits that the replication of this pure function can comfort, reassure and foster communication. There is no empirical evidence, but research is currently taking place at the Nisonger Centre at the Ohio State University, where, under the leadership of Dr Marc J. Tasse, pilot workshops have taken place. The author also have no empirical evidence as to why the heartbeat is instrumental in helping the autistic learner to communicate. The author gives the conjecture in the paper.

By examining the relationship of the iambic tradition with ritual, this book studies how Horace's Epodes are more than partisan (consolidating Octavian's victory by projecting hostilities onto powerless others) but a meta-partisan project (forming fractured entities into a diversified unity).

Why do we often teach English poetic meter by the Greek terms iamb and trochee? How is our understanding of English meter influenced by the history of England's sense of itself in the nineteenth century? Not an old-fashioned approach to poetry, but a dynamic, contested, and inherently nontraditional field, \"English meter\" concerned issues of personal and national identity, class, education, patriotism, militarism, and the development of English literature as a discipline.The Rise and Fall of Metertells the unknown story of English meter from the late eighteenth century until just after World War I. Uncovering a vast and unexplored archive in the history of poetics, Meredith Martin shows that the history of prosody is tied to the ways Victorian England argued about its national identity. Gerard Manley Hopkins, Coventry Patmore, and Robert Bridges used meter to negotiate their relationship to England and the English language; George Saintsbury, Matthew Arnold, and Henry Newbolt worried about the rise of one metrical model among multiple competitors. The pressure to conform to a stable model, however, produced reactionary misunderstandings of English meter and the culture it stood for. This unstable relationship to poetic form influenced the prose and poems of Robert Graves, Siegfried Sassoon, Wilfred Owen, W. B. Yeats, Ezra Pound, and Alice Meynell. A significant intervention in literary history, this book argues that our contemporary understanding of the rise of modernist poetic form was crucially bound to narratives of English national culture.

Q1 Hamlet (1603) routinely sets prose speeches so that they appear to be blank verse. This article argues that such was an attempt to confer prestige upon the text, particularly in the wake of the saturation of Shakespeare books on the literary marketplace around 1600 – a phenomenon that saw his prose works achieve less favour than those in pentameter. The publishers of Q1 Merry Wives (1602) and Q1 Hamlet may have hedged their bets on these Shakespeare texts by amplifying their verse, long the gold standard of the Shakespearean brand. Like The True Tragedie of Richard III (published 1594) and The Famous Victories of Henry V (entered 1594), which presented their opening pages to readers as iambic pentameter, Q1 Hamlet seems to have beautified its dialogue for readers in the early modern book marketplace.

Keppel-Jones's study focuses on a period of 275 years, during which iambic pentameter variations were conducted with special precision. Representative blocks of verse are chosen from major poets in original authoritative editions, and each variation is analysed on the basis of all cases of that variation. To give precision to certain of the principles, Keppel-Jones follows the linguist Bruce Hayes' definitions of boundaries between word-groups, but handles this material in such a way as to be understood by the general reader.

The article deals with versified works of Viktor Dyk from the pre-war period (1897–1914) written in iambic pentameter. It analyses the relationship between the texts’ genre (lyric, satire, drama) and their rhythmic features (frequencies of stressing the line-initial and line-final syllables, frequencies of enjambment). The article concludes that Dyk’s lyric poems as well as his drama tend to employ features generally perceived as more literary compared to his satire.