Current approaches to generating rhyming English poetry with a neural network involve constraining output to enforce the condition of rhyme. We investigate whether this approach is necessary, or if recurrent neural networks can learn rhyme patterns on their own. We compile a new dataset of amateur poetry which allows rhyme to be learned without external constraints because of the dataset’s size and high frequency of rhymes. We then evaluate models trained on the new dataset using a novel framework that automatically measures the system’s knowledge of poetic form and generalizability. We find that our trained model is able to generalize the pattern of rhyme, generate rhymes unseen in the training data, and also that the learned word embeddings for rhyming sets of words are linearly separable. Our model generates a couplet which rhymes 68.15% of the time; this is the first time that a recurrent neural network has been shown to generate rhyming poetry a high percentage of the time. Additionally, we show that crowd-source workers can only distinguish between our generated couplets and couplets from our dataset 63.3% of the time, indicating that our model generates poetry with coherency, semantic meaning, and fluency comparable to couplets written by humans. / Graduate

A definição mais imediata para canção de ninar, uma das várias denominações brasileiras para este gênero poético-musical, é estabelecida por sua finalidade: canção feita para adormecer criança pequena; uma definição funcional,portanto. A análise do conteúdo poético e da forma destas canções permite identificar os elementos imprescindíveis à sua composição e eficácia estética, ampliando tal conceito. Desta maneira, a canção de ninar pode ser considerada um dos primeiros objetos culturais a que o ser humano é exposto. O medo da morte (perdas, despedidas, separações), presente nos cuidados maternos, paternos e de outros adultos com as crianças pequenas, especialmente com os recém-nascidos, penetra as canções de ninar em diferentes culturas, expressando-se em vários elementos, inclusive em suas figuras de terror. A esta linha interpretativa, substancializada por constatações advindas de uma prática clínica de atendimento psicológico às famílias de recém-nascidos, foi acrescida outra de caráter mais sociológico: o estudo de alguns textos de canções de ninar tradicionais brasileiras revelou elementos dos encontros e desencontros étnico-culturais dos diferentes povos que formaram a nação brasileira. O traço de terror, geralmente compreendido como medida disciplinar para o sono, aparece acentuado nas nossas canções também porque se origina em um ambiente colonial, escravocrata, contaminado por ameaças e hostilidades. Junto a vestígios de horror apareceram também traços de resistência e preservação cultural das etnias indígenas e negras; como se as canções de ninar fossem veículos propícios ao transporte resguardado de elementos fundamentais da cultura dos grupos humanos colonizados ou escravizados. As pesquisas e reflexões de Mário de Andrade e o estudo de acalantos compostos por artistas brasileiros contemporâneos permitiram conhecer e delinear melhor este gênero: o contexto que o origina, seu tom melancólico, sua forma curta e repetitiva, o uso da sonoridade nasal hum e da vogal u. Por sua qualidade artística, o acalanto pode revigorar o ambiente cultural que cerca o nascimento e a infância. Neste sentido, ele é potencialmente humanizador. O ambiente cultural é tão fundamental e delimitador da experiência humana quanto o ambiente físico e emocional (familiar ou institucional). Cuidar do surgimento das palavras, da sua afinação com a experiência vivida, de seu vigor e sentido; cuidar da experiência inicial com a palavra é condição para o desenvolvimento pleno deste ser de linguagem que é o homem. Assim, redimensiona-se neste estudo o conceito de puericultura que passa a abranger também as ações de cultivo da palavra e da poesia com a criança pequena. / The most immediate definition of lullaby, only one among several Brazilian denominations for this poetic-musical genre, is determined by its main purpose: a song intended for little children to fall asleep, a functional definition, therefore. The analysis of the poetical content and of the form of these songs allows us to identify the essential elements of their aesthetic composition and effectiveness, broadening such concept. Thus, the lullaby may be considered one of the first cultural objects that the human being is exposed to. The fear of death (losses, farewells, separations), present in the cares given by mothers, fathers and other grown-ups to little children, especially newborn babies, permeates the lullabies in different cultures, expressing itself in many elements, including its terror figures. To this interpretative line, based on observations derived from the practice of psychological assistance to the families of newborn babies, another one of a more sociological nature has been added: the study of some texts extracted from traditional Brazilian lullabies has revealed elements of the ethnic-cultural matches and mismatches of the different cultures that shaped the Brazilian nation. The element of terror, generally understood as a disciplinary measure for sleeping, is highlighted in our songs because it also has its origin in a colonial slave-based environment, contaminated by threats and hostilities. Along with the vestiges of horror, there have arisen traces of resistance and cultural preservation of black and indigenous ethnic groups, as if the lullabies had been proper conducive vehicles to the hedged transportation of fundamental elements of the culture of the colonized or enslaved human groups. The researches carried out by Mario de Andrade, as well as his reflections, and the study of lullabies composed by contemporary Brazilian artists allowed the better understanding and outline of this genre: the context where it comes from, its melancholic tone, its short and repetitive form, the use of the nasal sonority \'hum\' and the vowel \'u\'. For its artistic value, the lullaby can be quite refreshing for the cultural environment surrounding birth and childhood. In this sense, it is potentially humanizing.The cultural environment is as important and delimiting for human experience as the physical and emotional environment (familiar or institutional). Caring about the arising of new words, their affinity to the life experience, their vitality and sense; caring about the initial experience with words is a condition for the full development of this language-based being, the man. Hence, in this study, the concept of childcare is resized so as also to include the actions of cultivation of word and poetry with the little child.

The hearing and understanding problems of the people with high frequency hearing loss are covered within the scope of this thesis. For overcoming these problems, two main studies, developing hearing loss simulation (HLS) and applying new frequency lowering methods (FLMs) were carried out. HLS was developed with the suprathreshold effects and new FLMs were applied with different combinations of the FLMs. For evaluating the studies, modified rhyme test (MRT) and speech intelligibility index (SII) were used as subjective and objective measures, respectively. Before both of the studies, offline studies were carried out for specifying the significant parameters and values for using in MRT. For the HLS study, twelve hearing impaired subjects listened to unprocessed sounds and thirty six normal hearing subjects listened to simulated sounds. In the evaluation of the HLS, both measures gave similar and consistent results for both unprocessed and simulated sounds. In FLMs study, hearing impaired subjects were simulated and normal hearing subjects listened to frequency lowered sounds with the specified methods, parameters and values. All FLMs were compared with the standard method of hearing aids (amplification) for five different noisy environments. FLMs satisfied 83% success of higher speech intelligibility improvement than amplification in all cases. As a conclusion, the necessity of using subject-specific FLMs was shown to achieve higher intelligibility than with amplification only. Accordingly, a methodology for selection of the values of parameters for different noisy environments and for different audiograms was developed.

This dissertation deals with the poetry of C.S.Z. Ntuli, with specific reference to themes, diction and form. The introductory chapter deals with the aim of study, the author's biographical background, the development of modern Zulu poetry, the state of critical studies in modern Zulu poetry, the scope of study and the method of approach. Chapter 2 examines the main themes manifest in the poetry of Ntuli. Chapter 3 is devoted to diction, with particular reference to imagery, compound words, ideophones and deideophonic derivatives. Comment is also made on ways in which these amplify the theme in selected poems. Chapter 4 discusses outstanding formal features and techniques including stanza formation, refrains, alliteration, parallelism, linking and rhythm. Chapter 5 concludes the study by giving observations about the quality of Ntuli's contribution to modern Zulu poetry, and by exploring some possibilities regarding future studies on the poetry of Ntuli / African Languages / M. A. (African languages)

Tonalität ist eines der herausragenden prosodischen Mittel, das traditionell in der Poesie afrikanischer Tonsprachen eingesetzt wird, und Sprachminiaturen (z.B. Sprichwörter und Rätsel) gehören nicht zuletzt ausweislich ihrer weit verbreiteten tonalen Reimcharakteristik viel eher zur afrikanischen Poesie als etwa zur Prosa, wie es bislang herrschende Meinung war.

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韻素是韻律學在分析音節輕重理論系統中的最小單位。在韻素音步系統的語言中，韻素數量的多少決定音節的輕重。韻素在韻律系統中的作用，與音節中韻素數量的多少，元音響度的大小有直接關係。 / 自清代段玉裁發現"吾輕、我重"以來，這方面的探討一直未曾間斷，之前的研究雖提供了寶貴的材料，但卻不能很好地解決諸如輕重表現形式、語音與句法位置的關係和古今演變等方面的問題。而將韻素理論引入會使很多難題迎刃而解。本文在此基礎上，以上古漢語第一人稱代詞"吾"、"我"為研究對象，研究二者在先秦及兩漢以後的分佈特點及韻律輕重的表現，指出： / "我"是先秦漢語第一人稱代詞的標準形式，"吾"是在特定語音環境要求下出現的弱化形式。當句中位置具備語音弱化條件時，才使用弱化形式"吾"，其他位置使用標準形式"我"。因此，"吾"、"我"實為一詞的兩個不同形式。 / 本文主要包括以下幾個內容： / 第一章，緒論。本章分為三小節。第一小節，韻素理論的研究概況。概述韻素理論的基本觀點及理論體系。第二小節，漢語"吾輕、我重"研究綜述。本節對之前學者研究"吾輕、我重"的歷史進行總結和評價。第三小節，提出本文的研究目的、主要內容及方法。 / 第二章，第一人稱代詞"吾"、"我"的分佈現象及數字統計。本章著重描述先秦及兩漢以後重音位置上:"吾"、"我"出現的規律，分別考察以下幾個位置的分佈：語音空拍前位置、對比結構焦點位置及"前輕式"結構。 / 第三章，"吾"、"我"互補分佈特徵的韻律分析。本章分五部份。一、引入韻律相關理論，說明韻素輕重形式實現的語音條件。二、指出上古漢語"吾"、"我"的韻素特徵及二者的差異。三、"對"、"吾"、"我"互補分佈現象及統計結果進行韻律分析和解釋。四、闡釋"吾"、"我"對立現象的古今演變機制。五、重新審視"吾"、"我"對應屬性反映出的語音機制。 / 第四章，結論。我們概括了全文的觀點，強調：在韻素理論的框架下，本文提供了一系列發掘新材料的操作方法和驗證手段。同時，本文發現的新材料支持了上古韻素敏感的語音系統的理論和假說，同時支持了漢語韻律系統轉變的觀點，進一步論證了單音節音步是如何在上古漢語韻律系統中發揮功能的，同時也為漢語語音史的討論開闢了一個嶄新的領域。 / Mora is the smallest unit in the prosodic analysis. In quantity-sensitive languages, the weight of a syllable depends on the number of morae. The realization of the morae is relevant to the quantity and sonority of the vowel in the syllable. / Since Duan Yucai 段玉裁 proposed that "Wu 吾 is weak, while Wo 我 is strong" in the Qing Dynasty, the difference between the two pronouns has been extensively discussed. Although previous research has provided us with valuable materials, they cannot answer some crucial questions such as: what is the representation of weak form and strong form, what is the correlation between the stress and the syntactic positions in classical Chinese, and why the phonological contrast disappeared in the Han Dynasty. Within the framework of prosodic phonology, this thesis discusses the rule of the distribution of the first person pronouns Wu and Wo in archaic Chinese and proposes that: / Wo is the default form of the first person pronoun in archaic Chinese, while Wu exists as its reduced form in the specified phonological environments. In the language system, Wo is chosen as the basic form. Wu only occurs when the syllable is light, Wo occurs elsewhere. Wu and Wo are variants of the same pronoun. / The first chapter briefly introduces the relevant theoretical research principles on morae in section one, and then reviews some previous accounts for the contrasts of Wu and Wo in section two. The research purpose and methodology will be proposed in section three. / The second chapter shows statistics of the complementary distribution of Wu and Wo in archaic Chinese, especially focusing on the positions before the pause, contrastive stress and iambic structure. / The third chapter mainly presents the phonological and prosodic condition analysis to the phenomena listed in the chapter two. On the basis of the prosodic theories such as Nuclear Stress Rule (NSR), Invisible Condition (IC) and Default Rule (DR), I argue that the regularities of distribution result from the phonological distinction between Wu and Wo. Wo should be analysed as the underlying form, and the Wu represents the variable form. To give an explanation for the phonological process and mechanism in the evolution of these two pronouns, I gave a preliminary description of their changes after Han dynasty. This chapter also explores several properties of Wu and Wo to rethink how their contrast reflects some basic phonologic mechanisms / The fourth chapter summarizes the prosodic study of the two first person pronouns in this dissertation and emphasizes that: a set of evidence is provided to support the prosodical explanation, as well as to validate the hypothesis of Weight-sensitive System‘ in archaic Chinese. It is also suggested that aside from its significant role in prosodic system, monomoraic syllable foot could lead to great diachronic changes of the language. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 趙璞嵩. / Parallel title from added title page. / Thesis (Ph.D.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 122-129). / Abstracts in Chinese and English. / Zhao Pusong.

La littérature persane est surtout connue en Occident par les excellentes traductions en français d'illustres poètes classiques comme Omar Khayyam, Roumi, Hafîz. Genre majeur de la littérature persane, la poésie s'impose pendant des siècles avec ses règles draconiennes de prosodie et de versification. Dans les années 1930, une jeune génération de poètes, sensibles aux transformations sociales, politiques, culturelles et ayant découvert la poésie et la littérature occidentales, s'est engagée dans une lutte systématique contre ces règles intangibles. Le pionnier de ce mouvement est Nimâ Yshij. Il rejette les règles de la poésie classique, aussi bien en ce qui concerne la métrique que la place de la rime. Ahmad Shâmlu, disciple de Nimâ, va plus loin en refusant même la prosodie. En rupture permanente, Shâmlu a marqué la poésie moderne persane, par son œuvre, par ses idées et par ses attitudes. Soucieux des événements de son temps et de sa société, ce poète, traducteur et directeur de revues, a lutté toute sa vie pour ses idéaux humanistes. Une anthologie de ses œuvres traduites en français permettra de faire découvrir aux amateurs ce grand poète persan moderne et contemporain. / Persian literature is best known in the West by the excellent French translations of famous classical poets like Omar Khayyam, Rumi, Hafeez. As a major genre of Persian literature, poetry has for centuries imposed draconian rules of prosody and versification. In the 1930s, younger generation of poets, sensitive to social, political and cultural changes, discovered Western poetry and literature, and engaged in a systamtic struggle against these intangible rules. the pioneer of this movment in Nima Yshij. Her rejected the rules of classical potry, where both versification and rhyme are concerned. Ahmad Shâmlu, a disciple of Nima, goes even further by refusing prosody. Breaking constantly with traditon, Shâmlu has left his mark on modern Persian poetry, in his work, and by his ideas and attitudes. Mindful of the events of his time and of his life for his humanistic ideals. An antthology of his works translatedinto French will enable poetry-lovers to discover this great modern contemporary Persian poet.

La Chanson d’Anseïs de Mes est la quatrième et dernière branche de la Geste des Lorrains. On ne possède actuellement aucune édition complète de cette chanson de geste : la seule que nous ayons est celle d’Herman Green, faite en 1939 sur un manuscrit fautif et sans aucun apparat critique, d’où la nécessité d’une nouvelle édition. Cette édition de la partie inédite permet une série de conclusions qui soulignent l’originalité de ce poème que nous appellerons désormais Anseïs de Gascogne. 1. Cette chanson n’est pas une chanson lorraine, mais picarde ; notre manuscrit présente des traits picards très marqués. L’auteur, linguistiquement un picard, est originaire de cette partie nord de la France qu’il connaît parfaitement. La composition est à situer vers 1255-1260, dans la région picarde qui jouxte la Flandre. 2. Anseïs de Gascogne représente une idéologie nouvelle qui la place à contre courant des autres chansons des Lorrains. Même si elle met en scène les deux lignages ennemis des Bordelais et des Lorrains, l’esprit est totalement différent : Anseïs de Gascogne est une œuvre « engagée » qui vise à la gloire de la Flandre et à l’anéantissement du roi de France et de son royaume, et où les Lorrains sont désavoués. Histoire et fiction se rencontrent dans cette œuvre d’actualité qui clôt une fois pour toutes l’histoire des Lorrains. 3. C’est l’œuvre d’un clerc lettré qui a donné la priorité à l’intelligence et à la culture, avant la prouesse chevaleresque. Cet écrivain de talent a utilisé avec soin toutes les ressources du style épique [laisses, motifs, formules] ; le poème témoigne en outre d’une composition solide, parfaitement structurée et d’une recherche dans l’écriture : peinture réaliste et pittoresque mettant en valeur des personnages bien dessinés, art de suggérer, parfois avec humour, mélange de tragique et de scènes divertissantes qui en font une œuvre d’art. / The Poem of Anseïs of Mes is the fourth and last part of the Geste des Lorrains. There is no complete edition of this epic poem: the only one that exists is the work by Herman Green which was completed in 1939 on an inaccurate manuscript and without any accompanying notes. Therefore a new edition is necessary. The release of the unpublished part would highlight enough evidence of the originality of this poem which will now be called Anseïs of Gascony. 1. This work is not a poem from Lorraine but from Picardy; the manuscript has very pronounced features from Picardy. The author speaks the language and knows perfectly well his native land of Picardy in the north of France. The text can be placed around 1255-1260, in the region of Picardy which is next to Flanders. 2. Anseïs of Gascony represents a new ideology which goes against the prevailing current of the other poems of the Lorrains at the time. Even if it presents the two rival lineages of Bodeaux and Lorraine, the spirit is totally different: Anseïs of Gascony is a "committed" work which aims for the glory of Flanders and the destruction of the king of France and his kingdom and where the people of Lorraine are disowned. History and fiction meet in this topical text which ends once and for all the history of the people of Lorraine. 3. It is the work of a scholarly clerk and gives priority to intelligence and culture, before chivalrous feats. This talented writer carefully used all the resources in writing this epic poem [leads, motifs, formulas]; additionally, this thoroughly researched poem is a well-structured and by all means, a solid piece of work: a realistic picture highlighting characters which are well drawn, the art of suggesting, sometimes with humor, a mixture of tragic and amusing scenes which on the whole form a good work of art.

The monographic thesis mainly solves poetry and prose of Josef Mach, the Czech writer, journalist and clerk. It watches literary progress of his poetics according to the era context, influenc of places, historical and social events and inspirations of other artists who surrounded him. The work look into the texts and lyrics by a diachronic and synchronic way. The section about his original works is followed by a chapter about translations of several novels, because he acted even on this literary field. Then the general outline of the reception of Mach's personality and works since the time of his life until today. The whole thesis is introduced by Mach's biography to which it returns in many topics because his works have an empiric character and it is closely connected to the life. The object of the thesis is to sum information about all these topics and give it as a base for future expert research.