Spelling suggestions: "subject:"terza ria"" "subject:"terza rica""
1 |
Die Terzine in der deutschen Dichtung von Goethe bis HofmannsthalBernheim, Roger, January 1954 (has links)
Thesis--Bern. / Includes bibliographical references (p. 137-140).
|
2 |
Die Terzine in der deutschen Dichtung von Goethe bis HofmannsthalBernheim, Roger, January 1954 (has links)
Thesis--Bern. / Includes bibliographical references (p. 137-140).
|
3 |
The Same-Spelling Hapax of the Commedia of DanteSoules, Terrill Shepard 27 April 2010 (has links)
In the Commedia of Dante, a poem 14,233 lines in length, some 7,500 words occur only once. These are the hapax. Fewer than 2% of these constitute a minute but distinct subset—the hapax for which there are one or more words in the poem whose spelling is identical but whose meaning is different. These are what I call same-spelling hapax. I identify four categories: part-of-speech, homograph, locus, and name. Analysis of the same-spelling hapax illuminates a poetic strategy continuously in use throughout the poem. This is to use the one-word overlap of Rhyme and line number. Not only is it highly probable that a same-spelling hapax will be a rhyme-word, but it is also probable that it will occupy a rhyme-word’s most significant position—the one place—the single word—where the two intertwined formal entities that shape each canto coincide. Every three lines, their tension-resolving this-word-only union intensifies the reader’s attention and understanding alike.
|
4 |
The Same-Spelling Hapax of the Commedia of DanteSoules, Terrill S 10 August 2010 (has links)
In the Commedia of Dante, a poem 14,233 lines in length, some 7,500 words occur only once. These are the hapax. Fewer than 2% of these constitute a minute but distinct subset—the hapax for which there are one or more words in the poem whose spelling is identical but whose meaning is different. These are what I call same-spelling hapax. I identify four categories: partof- speech, homograph, locus, and name. Examination of the same-spelling hapax illuminates a poetic strategy continuously in use throughout the poem. This is to use the one-word coinciding of Rhyme’s rhyme number and terzina’s line number. Not only is it highly probable that a samespelling hapax will be a rhyme-word, but it is also probable that it will occupy a rhyme-word’s most significant position—the one place—the single word—where the two intertwined formal entities that shape each canto coincide. Every three lines, their tension-resolving this-word-only union intensifies the reader’s attention and understanding alike.
|
Page generated in 0.0502 seconds