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Chargement... Poetic Rhythm: An Introductionpar Derek Attridge
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This is the first introduction to rhythm and meter that begins where students are: as speakers of English familiar with the rhythms of ordinary spoken language, and of popular verse such as nursery rhymes, song and rap. Poetic Rhythm builds on this knowledge and experience, taking the reader from the most basic questions about the rhythms of spoken English to the elaborate achievements of past and present poets. Terminology is straightforward, the simple system of scansion that is introduced is suitable for both handwriting and computer use, and there are frequent practical exercises. Chapters deal with the elements of verse, English speech rhythms, the major types of metrical poetry, free verse, and the role of sense and syntax. Poetic Rhythm will help readers of poetry experience and enjoy its rhythms in all their power, subtlety and diversity, and will serve as an invaluable tool for those who wish to write or discuss poetry in English at a basic as well as a more advanced level. Aucune description trouvée dans une bibliothèque |
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![]() GenresClassification décimale de Melvil (CDD)821.009Literature English English poetry English poetry {by more than one author} Modified standard subdivisions History, description, critical appraisal of English poetry not limited by time period or kind of formClassification de la Bibliothèque du CongrèsÉvaluationMoyenne:![]()
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Attridge's approach is that traditional ways of scanning and describing poems (iambic pentameter etc.) are only useful up to a point, so that it is about halfway through the book before he starts raising this terminology. His point is that we do not actually experience iambs and trochees and spondees when we read poetry, that these are artificial groupings of rhythmic patterns. In stead, Attridge teaches that we have to understand the history of what works in the poetic rhythm of the English language rather than trying to impose a faux-classicism on it. This approach is particularly rich when it comes to explaining all the metrical variations that might be used in syllable-stress metre (e.g. iambic pentameter) that allow greater freedom of expression without undermining the overall rhythm. Other books might just say that the odd iamb can be swapped for a trochee here and there to keep things interesting.
The book covers Anglo-Saxon alliterative verse (and some more recent attempts at it) and other less-strict stress metres; there is even a brief foray into rap. The chapter on free verse is perhaps understandably, yet also woefully, short. Basically, the book presents two rough rhythmical styles of free verse: using bits of traditional metre as building blocks, or not. It would have been good to have more of a survey of how different free-verse poets write the rhythm of their lines. This is the only blind spot, and Poetic Rhythm does, in fact, equip one with a more detailed approach to analysing free verse.
This book is a must for any poet, reader or critic of poetry. (