Introducing the concept of verse history and adapting Roman Jakobson's distinction between verse design and verse instance, this chapter considers a sequence of brief case studies drawn from the work of multiple writers: the Beowulf poet, William Langland, the Gawain poet, John Gower, Wallace Stevens, Elizabeth Willis, Victoria Chang, and André 3000. The chapter proposes that, even after free verse, reading poetry historically still must involve a consideration of the relationship of rhythm to meter. The potential for friction between verse instance and verse design, and more broadly between poems and poetry, implies a need for relations of supplementarity. Moments of rhythmical disturbance disclose how what one had located outside the lone poem – a metrical template, a political ideal, or a historical event – comes rushing into it and through it.

The relationship between context and prosody is undoubtedly one of the most intuitive ones in language. At the same time, it is one of the most difficult to describe because it is based on acoustic cues that only need milliseconds to create an image in our brain. However, speakers of a language can generally understand their interlocutors’ emotional and cognitive status through their prosodic realization. Prosodic pragmatics is the branch of pragmatics that attempts to identify the intentionality of the speaker’s meaning in a real context based on the analysis of the suprasegmental aspects of speech production. If prosody studies how an utterance is pronounced in unison with the perceptual features of pitch, length, and loudness, then prosodic pragmatics studies the acoustic and cognitive contextual parameters in conversation. The chapter will show the relationship between prosody, information, and context in communication. Starting from the essential acoustic parameters of speech, it will revise the most influential theories of intonation through the prosodic pragmatics lens to understand the cognitive adaptation of a message in a specific context.

This chapter focuses on imaginative engagements with the steam engine in nineteenth-century literature. Following James Watt’s patent in 1781, the steam engine became an obsessive focus of literary writing, with reactions ranging from Thomas Carlyle’s denunciation of the steam-powered mechanization of the mind to Walt Whitman’s rhapsodic vision in “To a Locomotive in Winter” of the steam railway engine as “The type of the modern – emblem of motion and power – pulse of the continent.” In the nineteenth century, the steam engine became a symbolic magnet for working through new conceptions of logic and rationality, mobility and freedom, distance and proximity, city and country, and the natural and the manmade. Kirkby shows how Victorian authors picked up the new rhythms of the steam age, also providing their readers with “psychosomatic inoculation to the impact of railway travel on the nervous system.”

The circadian timing system has pronounced effects on learning and memory, with learning and recall regulated by time of day and the cellular mechanisms underlying learning and memory being under circadian control. Given this influence of the circadian system, studies across species, including humans, reveal that circadian disruption has pronounced negative effects on cognitive functioning. Circadian disruption leads to deficits in learning and memory by negatively affecting neurogenesis, synaptic plasticity, and epigenetic events required for acquisition and recall of memories. The present chapter describes the impact of circadian disruption on learning and memory while considering the mechanisms underlying circadian control of cognitive function. Given that the modern world is rife with temporal disruptions due to work requirements, limited exposure to sunlight during the day, and exposure to artificial lighting and blue light-emitting electronic devices at night, understanding the negative impact of circadian disruption on learning and memory and developing mitigating strategies are vital.

When the Lives first appeared as “Prefaces,” the final, resonant, paragraph was the conclusion of the “Life of Gray.” But when individual “Lives” were printed separately from the poems, this particular grace was replaced by the possibility of reading with more continuity from one “Life” to the next. Such integration highlights internal transitions, changes and shifts of topic and tone; gradations of critical engagement mark Johnson’s developing interpretation of his task. Each “Life” inscribes an individual career; this is placed in the context of other “Lives” to draw attention to ends and beginnings. Johnson thereby resurrects within his late eighteenth-century present the ghosts of a 150-year poetical past. He actualizes this past in the fictional imagination of the living. The artistic moral of the Lives arises from the succession of births and deaths of poets whose company was the late-life mental habitation of a critic who found solitude unbearable.

This chapter will introduce you to the concepts of stress and rhythm in relation to languages and to varieties of English. The chapter begins by defining stress both acoustically and articulatorily, and then examining stress across varieties. This is examined first at the level of the syllable through a focus on strong vs weak syllables in English, and the relationship between strong/weak syllables and stress. The discussion then focuses on the concept of word stress in varieties of English, after which rhythm and pitch accent are introduced, through an examination of stress- and syllable-timing, in different languages as well as varieties of English. This discussion will also present information about the function of stress and pitch accent in various substrate languages for different varieties - such as Cantonese, Malay, Filipino, Spanish, among others - to help you understand the different stress and rhythm patterns that exist across varieties. In the final section of the chapter, you will be guided through exercises designed to check your understanding of the content of the chapter.

Histories of urban sound have often fixated on the regulation of soundscapes and sensitivities to noise – frequently on the part of a perpetually rising bourgeoisie. Using the case study of the ’news-horn’, a tubular instrument used by newspaper vendors, this chapter offers an alternative way of understanding the changing soundscapes of towns and cities: rhythm. Developing from the post-horn which had been used in England since the sixteenth century, the news-horn became a common sound on the streets of 1770s London. However, with the growth of newspaper print and news from the Revolutionary and Napoleonic wars, the intensity and frequency of the news-horns’ blasts increased. This produced an arrythmia in London’s soundscape that clashed with other street sounds, sabbath-day silence, and the busy hum of London’s commercial centres. During the 1820s this resulted in the disappearance of the news-horn from London’s streets. Looking back from the mid-nineteenth century, many writers did not celebrate the news-horn’s removal. Instead, they remembered its sound with a fond nostalgia. The news-horn was one among many casualties in the emergence of a new London soundscape that replaced a pointillist pattern of auditory information with a roaring blanket of urban noise.

Literary adaptions in comics are not a recent phenomenon, but until recently the cultural status of this kind of work has always been very low, and a certain distrust has dominated the debates for many decades, the main reason of this suspicion being the fear that “fidelity” to the adapted model might jeopardize the proper creative possibilities of the adapting medium. More and more recent examples from the graphic novel field, which aims at becoming a literary practice itself, do not only show that literary adaptations can be very valuable, they also demonstrate that it is possible to use the notion of fidelity itself in highly creative ways. Taking its departure from specific case studies, Olivier Deprez’s adaptation of Kafka’s The Castle (2003), Paul Karasik (script) and David Mazzuchelli’s adaptation of Paul Auster’s City of Glass (2005), Simon Grennan’s adaptation of Anthony Trollope’s John Caldigate (2015), and Sébastien Conard’s adaptation of Samuel Beckett’s Watt (2019), this chapter examines the most important techniques that can be used to transfer a novel into a visual narrative in print. It pays particular attention to the visuality of the text as it is transferred from one medium to another (typography, page layout, text as drawing).

This Introduction immediately poses the book’s underlying questions, which themselves lead into a distinction between the philosophy of translation, on the one hand, and the science and theory of translation, on the other. The methods and persuasions of the book are described, as is the structure of the argument, which is provided with further justifications. The Introduction ends with a brief note on the difficulties of representing rhythm.

After revisiting Bohm’s implicate and expliocate orders, the chapter looks into the kinship between the implicate order and both Bergsonian duration and the continuity of the reading consciousness. Articulation and form also particpate intimately in ongoing duration. But what is the nature of the time of reading and how do we apprehend it? The chapter goes on to examine and criticize Bergson’s cinematographic account of language perceived as movement. Bergsonian duration and the dynamic of translation are compared with Impressionist painting. The chapter then moves on to consider the part played by voice and rhythm in the realization of duration and of intuitional relationships with text. It finally sets itself the task of identifying a rhythm pecular to translational activity itself. The chapter includes, as illustrations, translations from Eluard, Laforgue and Leconte de Lisle.

Suprasegmentals are phonetic elements that are not restricted to individual segments, but whose influence extends across a number of segments. What is phonetically the same type of suprasegmental may play a role at a very different place in the grammatical structure of a given language. One type is prominence, involving extra loudness and duration of the segments that are affected. In English, prominence is primarily grammatical stress playing a role in word pronunciation, but also emphasis, playing a role in the structure of a phrase or sentence. In English, an unstressed syllable contains a reduced vowel, normally realized as schwa. Another type of suprasegment involves variation in fundamental frequency. If this occurs at the level of the word (especially where words are restricted to a single syllable), the phenomenon is tone. Where F0 variation plays a role in the grammatical structure of the phrase or sentence, the phenomenon is intonation. Articulatory set (setting) is considered as a suprasegmental.

The first chapter looks at one half of song, namely rhythm. It seeks to understand how the idea of rhythm relates to the movements of the body, and particularly the heartbeat, starting with the earliest uses of the word rhythmos in poems of Archilochus of Theognis, moving back again to Homer and then forward to Aristophanes and Plato to understand the shifting ways that rhythm was understood to connect poems and bodies.

As the popularity of K-pop has grown around the globe, the number and scope of K-pop studies have also expanded. While many have provided important insights into socioeconomic aspects of K-pop, the music itself has rarely been at the center of discussion. The purpose of this chapter is to help fill the gap by examining the sound of K-pop, focusing on its musical elements such as melody, rhythm, and instrumentation. This approach involves close listening and reading of select songs covering various stylistic genres and analyzing their sound using the language of music theory. By so doing, this study will identify and offer an understanding of common musical structures used in K-pop songs. Furthermore, the chapter attempts to respond to the question asked most frequently in the author’s K-pop class: How is K-pop different from popular music of the West? To that end, a comparative analysis is conducted between K-pop songs and Western pop music. Among the styles of songs examined are bubblegum popular music, ballads, and songs that quote Korean traditional music, the types of music that are most revealing in addressing the question of distinctiveness of K-pop songs.

We start with a brief review of evidence that verbal working memory (WM) involves a limited capacity phonological loop capable of retaining verbal sequences for a few seconds in immediate serial recall, vocabulary acquisition, speech production, and language comprehension. The challenge of explaining how such a system handles information about serial order is discussed in the context of computational models of the immediate recall of unstructured sequences of words, letters, or digits, an extensively studied laboratory task for which there are many benchmark findings. Evaluating computational models against these benchmarks suggests a serial ordering mechanism in which items are simultaneously active before being selected for sequential output by a process of competitive queuing (CQ). Further evidence shows how this process may operate in the context of sequences that conform to various kinds of linguistic constraint. We conclude by suggesting that CQ is a promising theoretical mechanism for connecting and potentially unifying theories of WM and language processing more generally despite major differences in their scope and level of abstraction.