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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

Pierre Boulez composed several related pieces during the latter half of the 1950s. These pieces all share both serial structures and wholesale notational borrowings. Importantly, when Boulez reused notated material, his focus shifted from executing organizational processes to nuancing the contour, dynamics, and instrumental character of his musical figures, a concern I equate with “revision” in the broadest sense. His habit of revising works in this way altered his stylistic priorities in future works.

Cet article présente la partie disponible (stances 1-14) d'un commentaire inédit sur la Sattasaī – oeuvre la plus importante de la littérature prâkrite –, composé par Vrajarāja Dīkṣita de Mathurā au XVIIIe siècle. On y trouvera une discussion sur la famille, le style et les sources de Vrajarāja, ainsi que sur les rapports qu'entretient ce commentaire avec d'autres. This paper presents the available portion (verse 1–14) of a previously unpublished commentary on Hāla's Seven Centuries, the most important work of Prakrit literature, by the eighteenth-century scholar Vrajarāja Dīkṣita of Mathurā. It includes a discussion of Vrajarāja's family, style, and sources, and the relationship of his commentary to others.

Song complexity is often regarded as a sexually selected trait that reflects the overall quality of a male. In many passerine species, old males possess larger song repertoires than younger males. This may be either because individual males improve their performance as they get older (longitudinal increase) or because poor singers have reduced viability and, hence, are underrepresented in old age classes (cross-sectional increase). We studied the age dependence of repertoire size and other song traits in a German and a Swedish great reed warbler (Acrocephalus arundinaceus) population. We found marked differences between longitudinal and cross-sectional approaches, as well as between the two study populations. In the German population, we found that syllable switching, a measure of immediate versatility and strophe length, increased with age in a cross-sectional analysis. This was not because birds improved with age (longitudinally) but because syllable switching was positively correlated with male longevity. However, in Sweden, syllable switching seemed to be unrelated to age and longevity. In the Swedish population, individual males increased their repertoire size as they got older (longitudinal increase), but this did not happen in the German population. Hence, two populations, even when belonging to the same subspecies, may differ in whether or not they show delayed song maturation.

Arion's Lyreexamines how Hellenistic poetic culture adapted, reinterpreted, and transformed Archaic Greek lyric through a complex process of textual, cultural, and creative reception. Looking at the ways in which the poetry of Sappho, Alcaeus, Ibycus, Anacreon, and Simonides was preserved, edited, and read by Hellenistic scholars and poets, the book shows that Archaic poets often look very different in the new social, cultural, and political setting of Hellenistic Alexandria. For example, the Alexandrian Sappho evolves from the singer of Archaic Lesbos but has distinct associations and contexts, from Ptolemaic politics and Macedonian queens to the new phenomenon of the poetry book and an Alexandrian scholarship intent on preservation and codification. A study of Hellenistic poetic culture and an interpretation of some of the Archaic poets it so lovingly preserved,Arion's Lyreis also an examination of how one poetic culture reads another--and how modern readings of ancient poetry are filtered and shaped by earlier readings.

\"Libretto-bashing has a distinguished tradition in the blood sport of opera,\" writes Arthur Groos in the introduction to this broad survey of critical approaches to that much-maligned genre. To examine, and to challenge, the long-standing prejudice against libretti and the scholarly tradition that has, until recently, reiterated it, Groos and Roger Parker have commissioned thirteen stimulating essays by musicologists, literary critics, and historians. Taken as a whole, the volume demonstrates that libretti are now very much within the purview of contemporary humanistic scholarship. Libretti pose questions of intertextuality, transposition of genre, and reception history. They invite a broad spectrum of contemporary reading strategies ranging from the formalistic to the feminist. And as texts for music they raise issues in the relation between the two mediums and their respective traditions. Reading Opera will be of value to anyone with a serious interest in opera and contemporary opera criticism. The essays cover the period from the early nineteenth to the early twentieth centuries, with a particular focus on works of the later nineteenth century. The contributors are Carolyn Abbate, William Ashbrook, Katherine Bergeron, Caryl Emerson, Nelly Furman, Sander L. Gilman, Arthur Groos, James A. Hepokoski, Jurgen Maehder, Roger Parker, Paul Robinson, Christopher Wintle, and Susan Youens. Originally published in 1988. ThePrinceton Legacy Libraryuses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These paperback editions preserve the original texts of these important books while presenting them in durable paperback editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.

Formal and thematic devices demonstrate that Hebrew poetry is composed of a consistent pattern of cantos (stanzas) and strophes. The formal devices include quantitative balance on the level of cantos in terms of the number of verselines, verbal repetitions and transition markers.