Diegetic Elements in Elizabeth Bishop’s Over 2,000 Illustrations and a Complete Concordance (original) (raw)

Style in Literature: A Stylistics Study of a Poem

2017

This paper attempts a stylistic study of a poem. It targets to unveil the deeper underpinnings of semanticity in condensed literary pieces, particularly in poetry, as a consequence of the style employed by an author. Among other findings, the study uncovered the peculiar use of lexis and the features embedded in such peculiar use. It brings to the fore, the heavy use of deviation and parallelism in drumming home the theme of the poem. And finally, a fundamental literary feature used which is worthy of note and which the study has clearly drawn attention to in the analysis, is the foregrounding of the entire literary piece, which gives it a unique outlook. On the surface, one might not notice the effect of this literary technique but the study has meticulously pointed this out. Article visualizations:

MEANING BEHIND THE POEM: AN ANALYSIS OF TRANSITIVITY OFPOEMS IN ROMANTICISM PERIOD

Romanticism period is the period of poem. The themes of poems in romantic era are dominated with nature, freedom, equality and confraternity. To get the meaning of the poem, the readers have to interpret the intention in the poem. One of the ways to convey the meaning is by analyzing the transitivity pattern in the poem. Transitivity is represented the experiential meaning that are meanings about the world, experience and what is going on in the clauses. The purpose of this research was to figure out the ideas contained within the three poems in romantic period. The data were three poems in romantic era entitled I wandered Lonely as a Cloud by William Wordsworth,The Battle of Blenheim by Robert Southey, and London by William Blake. Descriptive qualitative method of transitivity technique was employed in analyzing the process types occurred in the three poems. The process types were then calculated and cultivated to reveal the meaning behind them. The findings showed that there were 7 material processes, 2 mental processes, 9 behavioral processes, and 2 relational attributive in the poem entitled I Wandered Lonely as a Cloud. Then in The Battle of Blenheim, the processes that found were 9 relational attributive, 10 behavioral, 4 mental, 24 material, 1 existential, and 9 verbal processes. Meanwhile in London, the processes were 6 material and 3 mental. The finding result of transitivity has a relationship on the idea of poet at the romantic period.

“The Concept of Metatheatre: A Functional Approach"

Abstract This essay reviews the highly popular concept of metatheatre or metadrama, whose first formulation appeared in Lionel Abel’s collection of essays Metatheatre in 1963. Abel’s contribution in the field of theatre studies took place in the wake of Roman Jakobson’s model of six linguistic functions, which Jakobson had introduced in a conference held in Indiana five years before the publication of Metatheatre. In my review of Jakobson’s model, I argue that neither the metalinguistic nor the poetic function can fully explain the existence of multiple self-referential, anti-illusionist devices in twentieth-century dramaturgies (a few examples from the modernist years are discussed in my essay). In order to shed new light into Jakobson’s model, I propose a return to the four-function model developed by Jan Mukařovský, the most important critic of the Prague School, in the late 1930s. Mukařovský expanded upon Karl Bühler’s Sprachtheorie (with the functions Darstellung, presentation ; Ausdruck, expression ; and Appell, appeal), by conceptualizing a fourth function, the aesthetic, one that brings to the fore the structural components of the artistic work. Resumen El presente ensayo examina el hoy muy popular concepto de metateatro o metadrama, que apareció por primera vez en Metatheatre, de Lionel Abel, una colección de ensayos publicada en 1963. Esta contribución de Abel al campo de los estudios teatrales se basó en el modelo de seis funciones lingüísticas de Roman Jakobson, que Jakobson había presentado en una conferencia en Indiana cinco años antes de la publicación de Metatheatre. Al analizar el modelo de Jakobson, argumento que ni la función metalingüística ni la función poética pueden explicar correctamente la existencia de múltiples mecanismos autorreferenciales y antiilusionistas en la dramaturgia del siglo veinte (en mi ensayo, hago mención a algunos ejemplos del periodo modernista). Para ofrecer una nueva lectura del modelo de Jakobson, propongo un retorno al modelo de cuatro funciones desarrollado por Jan Mukařovský, el crítico más importante del Círculo de Praga, a finales de los años treinta. Mukařovský expandió la Sprachtheorie de Karl Bühler (con las tres funciones Darstellung, presentación ; Ausdruck, expresión ; y Appell, apelación), al añadir una cuarta función, la estética, que destaca en un primer plano los componentes estructurales de la obra artística.