Proceedings of the 15th Conference on Knowledge Organization WissOrg'17 of theGerman Chapter of the International Society for Knowledge Organization (ISKO),30th November - 1st December 2017, Freie Universität Berlin

Wissensorganisation is the name of a series of biennial conferences / workshops with a long tradition, organized by the German chapter of the International Society of Knowledge Organization (ISKO). The 15th conference in this series, held at Freie Universität Berlin, focused on knowledge organization for the digital humanities. Structuring, and interacting with, large data collections has become a major issue in the digital humanities. In these proceedings, various aspects of knowledge organization in the digital humanities are discussed, and the authors of the papers show how projects in the digital humanities deal with knowledge organization.Wissensorganisation ist der Name einer Konferenzreihe mit einer langjährigen Tradition, die von der Deutschen Sektion der International Society of Knowledge Organization (ISKO) organisiert wird. Die 15. Konferenz dieser Reihe, die an der Freien Universität Berlin stattfand, hatte ihren Schwerpunkt im Bereich Wissensorganisation und Digital Humanities. Die Strukturierung von und die Interaktion mit großen Datenmengen ist ein zentrales Thema in den Digital Humanities. In diesem Konferenzband werden verschiedene Aspekte der Wissensorganisation in den Digital Humanities diskutiert, und die Autoren der einzelnen Beiträge zeigen, wie die Digital Humanities mit Wissensorganisation umgehen

On (Not) Being Milton: Tony Harrison’s Liminal Voice

The paper examines the relation between poetic identity, whose ongoing construction remains one of the most persistently reoccurring themes of Harrison’s work, and the liminal position occupied by the speaker of Harrison’s verse. In the context of the sociological thought of such scholars as Zygmunt Bauman and Stuart Hall, the following paper discusses the way in which the idea of being in-between operates in “On Not Being Milton,” an initial poem from Harrison’s widely acclaimed sonnet sequence The School of Eloquence, whose unique character stems partly from the fact that it constitutes an ongoing poetic project which has continued from 1978 onwards, reflecting the social and cultural changes of contemporary Britain

WRITING UTOPIA NOW: Utopian Poetics In The Work Of Theresa Hak Kyung Cha

This thesis examines Theresa Hak Kyung Cha’s DICTEE (1982), Audience Distant Relative (1977) and Reveillé dans la Brume (Awakened in the Mist) (1977). The premise of the thesis is an exploration of the various ways in which these works both perform and gesture toward the possibility of a ‘utopian’ experience of nonalienation. In Cha’s vocabulary, this takes the form of ‘interfusion’ and is related to the role of the artist as alchemist. Cha employs formal and linguistic innovations in her text, mail art and performance works to invite active participation from her readers and audience in a gesture toward embodied intersubjectivity. Her grappling with the challenges relating to the articulation of subjectivity place her work at the centre of contemporary critical debates around subjectivity and innovative poetics. In particular, recent scholarship on race and the poetic avant-garde has called for cross-disciplinary approaches to reading DICTEE as a text that explores the intersections of subjectivity and its performance in contemporary innovative poetics. Developing a theory of Utopian Poetics from my reading of Ernst Bloch’s utopian philosophy, I explore the ways in which DICTEE and Cha’s other works perform a yearning for non-alienated subjectivity that remains necessarily open and incomplete. My reading of DICTEE, in particular, is primarily informed by my own practices of yoga and meditation, and these practices form the basis of both my scholarly and creative engagements with this research. This scholarly thesis comprises Part 1 of a two-part submission. Part 2 comprises my own creative experiments with UtopianPoetics

Towards the Creation of a Poetry Translation Mapping System

The translation of poetry is a complex, multifaceted challenge: the translated text should communicate the same meaning, similar metaphoric expressions, and also match the style and prosody of the original poem. Research on machine poetry translation is existing since 2010, but for four reasons it is still rather insufficient: 1. The few approaches existing completely lack any knowledge about current developments in both lyric theory and translation theory. 2. They are based on very small datasets. 3. They mostly ignored the neural learning approach that superseded the long-standing dominance of phrase-based approaches within machine translation. 4. They have no concept concerning the pragmatic function of their research and the resulting tools. Our paper describes how to improve the existing research and technology for poetry translations in exactly these four points. With regards to 1) we will describe the “Poetics of Translation”. With regards to 2) we will introduce the Worlds largest corpus for poetry translations from lyrikline. With regards to 3) we will describe first steps towards a neural machine translation of poetry. With regards to 4) we will describe first steps towards the development of a poetry translation mapping system

Gwyneth Walker’s use of melodic motive and tonal centricity to depict E. E. Cummings’ Poetry in the Cycle “though love be a day.”

I. Opera Role: Thursday, April 11, 2013, 7:30 p.m., Taylor Theatre. Noémie in Cendrillon (Jules Massenet) II. Solo Recital: Sunday, April 21, 2013, 5:30 p.m., Recital Hall. "The Blessed Virgin's Expostulation" (Henry Purcell, realized by Benjamin Britten); "Suleika I" D. 720 , "Suleika II" D. 717 (Franz Schubert); "Nur wer die Sehnuscht kennt," "Heiβ mich nicht redden, heiβ mich schweigen," "So laβt mich scheinen, bis ich werde" from Lieder und Gesänge aus Wilhelm Meister, op. 98a (Robert Schumann); "Solveigs Sang," "Solveigs Vuggesang" from Peer Gynt, op. 23 (Edvard Grieg); Try Me, Good King Last Words of the Wives of Henvry VIII (Libby Larsen) III. Solo Recital: Sunday, April 13, 2014, 5:30 p.m., Recital Hall. "Wir eilen mit schwachen, doch emsigen Schritten" from Jesu, der du meine Seele, BWV 78 (Johann Sebastian Bach); "Wenn des Kreuzes Bitterkeiten" from Was Gott tut, das ist wohlgetan, BWV 99 (Johann Sebastian Bach); "Слезы," "В огороде, возле броду," "Рассвет" from Шесть Дуэтов (Six Duets), op. 46 (Pyotr Ilyich Tchaikovsky); "La pesca" from Soirées musicales (Gioacchino Rossini), "Le gittane" from Péchés de vieillesse (Gioacchino Rossini); Pavane, op. 50 (Gabriel Fauré), El desdichado (Camille Saint-Saëns); Chanson Espagnole (Claude Debussy); "Rede, Mädchen, allzu liebes," "Die grüne Hopfenranke," "Ein kleiner, hübscher Vogel," "Wenn so lind dein Aug emir," "Am Donaustrande, da steht ein Haus," "Nein, es ist nicht auszukommen," "Schlosser auf! Und mache Schlösser," "Ein dunkeler Schacht ist Liebe," "Es bebet das Gesträuche" from Liebeslieder Walzer, op. 52 (Johannes Brahms) IV. Solo Recital: Sunday, October 26, 2014, 5:30 p.m., Recital Hall. The Telephone (Gian-Carlo Menotti) V. D.M.A. Research Project. GWYNETH WALKER'S USE OF MELODIC MOTIVE AND TONAL CENTIRICITY TO DEPICT E. E. CUMMINGS' POETRY IN THE CYCLE "THOUGH LOVE BE A DAY." This document provides an overview of E. E. Cummings' and Gwyneth Walker's biographical information and artistic output before analyzing the harmonic and melodic motives Walker uses in the four settings of E. E. Cummings poetry found in this song cycle

Some development in Urdu poetry since 1936

This work is devoted to discuss the developments in Urdu poetry since 1936.A brief account of the developments in poetical language, various verse-forms and themes of Urdu poetry till Iqbal (1877-1938) has been given in the introductory chapter. The second chapter is on the poetical language of Urdu poetry. In it, the Influence of English language, the use of Hindi words and phrases and the employment of colloquial vocabulary in Urdu poetry of the last thirty years is discussed at some length. In the third chapter on metres, a general account of the use of metres in Urdu poetry is given. In addition, some recent attempts to write poetry with disregard to metres are discussed, a "relative frequency table of metres" is also prepared and Included in this chapter. The fourth chapter deals with various traditional and new verse-forms of Urdu poetry. They are both defined and distinguished from each other. In the fifth and sixth chapters, a number of themes of Urdu poetry since 1936, such as the influence of Communism, the Independence of the sub-Continent of India and Pakistan and its aftermath. Communal Riots of 1947, writings on social evils and customs and on peace and war, historical and allegorical themes, humorous and satirical poetry, the influence of religion, recent Indo-Pakistani War, and psychological themes Including sex, escapism, scepticism, an Individual’s predicaments, imprisonment of the present moment and so on are discussed at length The final chapter is that of the conclusion

Poetry Beyond the Page: A Case for Spoken Word Poetry in Florida\u27s Secondary Classrooms

Florida’s B.E.S.T. Standards, Florida’s most recent K-12 educational standards to promote literacy, lack the rising art of Spoken Word Poetry. However, Florida’s Department of Education should integrate Spoken Word into Florida’s Secondary curriculum. Spoken Word Poetry, by its definition, holds researched benefits that align with the B.E.S.T. Standard’s poetry recommendations and literacy-centered goals. In light of such benefits, Florida’s Department of Education should consider various Spoken Word poets and poems to include in Florida’s Secondary Curriculum, as well as explore the resources and integration methods included in this thesis for both teachers and students

Writing in Britain and Ireland, c. 400 to c. 800

No abstract available