This study focuses on Taiwanese nursery rhymes. In addition to lullabies and nursery rhymes, it also includes rhymes and songs chanted to pray for good fortune at birth rituals and those sung to teach and encourage children. Most of the rhymes and songs discussed here, including those pronounced in Taiwanese (the Hokkien language in Taiwan) and Hakka, are popular in Taiwan and passed down from generation to generation. Some nursery rhymes and songs in Mandarin and in other Taiwan aboriginal languages are also included to make necessary comparisons. First, this study analyzes the sentence arrangement, structure, rhythm, and presentation of these nursery rhymes in order to examine their structure characteristics. Based on their contents, then, they are classified into five categories: lullabies, colic care songs and rhymes, playtime songs and rhymes, prayer songs and rhymes, as well as value-teaching songs and rhymes. The five categories are examined and analyzed, and their cultural backgrounds explored. Finally, based on the structures, contents, and embedded cultures of these nursery rhymes, their values are discussed and presented. This research contains six chapters: Chapter 1: Introduction. It broadly introduces the content and the structure of this research. Chapter 2: A Structural Analysis of the Nursery Rhymes. This chapter focuses on the characteristics of these nursery rhymes: sentence arrangements, structures, rhythm, and presentation skills. Chapter 3: A Content Analysis of the Nursery Rhymes. Based on the content, each rhyme is classified and analyzed. Chapter 4: Cultures in the Nursery Rhymes. This chapter discusses some embedded cultural activities such as birth and marriage in nursery rhymes to explore the relationships between ethnic cultures and their individual rhymes. Chapter 5: Values of the Nursery Rhymes. The values of nursery rhymes are examined from the aspects of education, life, and ethnic cultures. Chapter 6: Conclusion. The significance and implications of this research as well as its future extended research are discussed in this chapter.

Thesis (doctoral)--Helsingfors universitet, 1990. / Summary in English. Includes bibliographical references (p. [141]-145).

No description available.

Thesis (Ed.M.)--Boston University / PLEASE NOTE: Boston University Libraries did not receive an Authorization To Manage form for this thesis or dissertation. It is therefore not openly accessible, though it may be available by request. If you are the author or principal advisor of this work and would like to request open access for it, please contact us at open-help@bu.edu. Thank you. / 2031-01-01

The first children’s video game called Mixed up Mother Goose was created by Roberta Williams in 1987. This game was created for a desktop. Today, many children’s games exist on a range of digital platforms. While these platforms offer different types of interactions for engagement and learning, many of these interactions are limited to tapping, dragging and clicking. Current studies have shown that physical interaction is important for young children’s development. Traditionally, nursery rhymes have been this source of physical interaction to engage children in the process of learning. This study looks at the physical engagement of children with nursery rhymes in oral, print and digital mediums. Engagement in oral medium consists of learning nursery rhymes through the movement of the body such as action rhymes and finger plays. Engagement in print medium consists of learning nursery rhymes through interactive books that include movable books, puppet books and sound books. Digital medium, including platforms such as touchscreen devices and laptops, continue to evolve from tap and click games to increased physical engagement of children. Although digital medium is a new phenomenon, it is following a similar evolution as print and oral mediums. Digital medium is increasingly engaging children with interactive play. As part of a larger project, this research collects information and provides a matrix that identifies the attributes of physical engagement employed by these three mediums.

British composer Tarik Hamilton O’Regan (b. 1978, London) is earning a reputation as an important composer of today. The innovative works of O’Regan are entering the spectrum of professional, educational, and community performing organizations across the United States and Europe. Scattered Rhymes’ intricate melodic, harmonic, and rhythmic relationships with Messe de Notre Dame by Guillaume de Machaut (c.1300-1377) make an examination and comparison of the two works significant. Analyzing Scattered Rhymes by tracing its roots to Guillaume de Machaut’s Messe de Notre Dame, results in a renewed interest in this ancient work and brings prominence to Tarik O’Regan’s modern musical interpretation of ancient ideas. Understanding Scattered Rhymes as a work based on ideas from the fourteenth century in fusion with compositional concepts rooted in the modern era promotes Scattered Rhymes as one that is valuable in the current musical landscape.

No description available.

Le travail se propose d’analyser sous divers aspects l’un des manuscrits les moins étudiés appartenant au célèbre groupe des manuscitsfranco-italiens provenant de la famille de Gonzaga de Mantou, l’Huon d’Auvergne, conservé à Berlin. La première partie du travail est une transcription interprétative intégrale du manuscrit : elle est complétée par une étude de l’écriture gothique et une analyse d’un riche ensemble d’enluminures (deuxième partie) à travers la comparaison avec un autre code contemporaine lui aussi en franco-italien, l’Entrée d’Espagne, conservé à Venise et d’autres mnuscrits illustrés réalisés en Italie du Nord au XIV siècle (en particulier le Roman de Troie). La troisième partie de la thèse traite de manière plus spécifique des questions stylistiques et linguistiques: en particulier, les analyses linguistiques concernant le lexique en isolant deux champs sémantiques, le champ du combat et celui de la mer. La partie linguistique est complété par un tableau des rimes qui suit l’ordre des laisses, par une table synoptique des rimes des deux poèmes (Huon d’Auvergne et Entrée d’Espagne) et par un dictionnaire de rimes des deux poèmes complets mis sur CD-Rom. / Using different analytic perspectives, this dissertation examines the Huon d’Auvergne manuscript, one of the less studied manuscripts from the famous group of the Franco-Italian codices in Berlin coming from a Gonzaga family. Other than a complete interpretative transcription of the manuscript, an early section of this work centers around the study of Gothic and the analysis of the rich decorative apparatus comparing it whit another manuscript of the same period written in Franco-Italian, the Entrée d’Espagne, kept in Venice, and other manuscripts written in Northern Italy in the 14th century (in particular the Roman de Troie). The second part of this thesis is more specifically devoted to literary, stylistic, and linguistic question : in particular, the analyses of the lexicon of the poem, compared with the one of Entrée d’Espagne, and the rhyme schemes which characterize it. A complete list of the rhyme schemes of Huon d’Auvergne and Entrée d’Espagne, included on a cd-Rom, will verify the analyses and considerations regarding the meter of the poem which will be fund in the chapter of the thesis focusing on this topic.

This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.

<p>Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories.</p><p>Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints.</p><p>In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions.</p><p>The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.</p>