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Copyright of Revista Laboratorio is the property of Universidad Diego Portales and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

"A little learning is a dangerous thing". Though that line is amongst Pope's best known, and though it is a model example of iambic pentameter, it is also remarkable that, as a line, it only appears to have four strong stresses. We can choose to thump out five strong beats, but in practice we are unlikely to do so. Such lines have been variously theorised—as "balanced pentameters", as "heroic tetrameters"—but however they are labelled, their effects within the context of verse tend to be under-appreciated. Where they are usually subsumed into the workings of iambic rhythm, such lines, when strategically deployed in large enough numbers, can conspire to throw of the rhythm of whole verses, and even entire poems; a case in point, I argue, is Pope's four-book Dunciad, which can be heard as carrying a quasi four-beat rhythm. This essay is an attempt to account for that rhythm, and to attend to the relation between line and verse that is implied by the conspiring presence of almost four-beat lines alongside more traditional pentameters. [ABSTRACT FROM AUTHOR]

The article offers poetry criticism of the poem "Annabel Lee" by Edgar Allan Poe. It explores the use of music, rhythm, and the aesthetics of stanzas. The use of the "I" and "we" characters as a way to link writer and reader is explained. The author discusses the influence of poet Allan Cunningham on Poe, inspiration for the poem, the rhythmic effect and lyrical techniques.

Wellmann's historiographical thesis is extremely original and has overarching consequences for the history of art and science. As Wellmann herself acknowledges when briefly reflecting on the contemporary implications of her work, there is no doubt that "rhythm is a theme for twenty-first-century developmental biology as much as it was for the eighteenth century" (p. 34). Janina Wellmann, The Form of Becoming: Embryology and the Epistemology of Rhythm, 1760-1830 (translated by Kate Sturge). [Extracted from the article]

Copyright of Historische Zeitschrift is the property of De Gruyter and its content may not be copied or emailed to multiple sites or posted to a listserv without the copyright holder's express written permission. However, users may print, download, or email articles for individual use. This abstract may be abridged. No warranty is given about the accuracy of the copy. Users should refer to the original published version of the material for the full abstract. (Copyright applies to all Abstracts.)

Time and the rhythms of emancipatory education: rethinking the temporal complexity of self and society: by Michel Alhadeff-Jones, London, Routledge, 2017,226 pp., £110 (hardcover), ISBN 978-1-138-84584-8, £35.99 (eBook), ISBN 978-1-315-72789-9 Michel Alhadeff-Jones has made a unique and thought-provoking contribution to Routledge's I Theorizing Education Series i with his new book exploring transdisciplinary readings of time and rhythms in emancipatory education. This life history helpfully illustrates Alhadeff-Jones' arguments about the temporal movements she experiences in relation to gaining emancipation through education. [Extracted from the article]

Providing a useful introduction to the anthropology of Ireland, anthropology of literature and writing, and literary theory on Irish fiction in the Prologue, the rest of the book is empirically guided. In chapter 4 Wulff interestingly draws on the anthropology of the senses to illuminate how writers use all their sensorial experiences to write evocative texts. The fact that this aspect remains in the background is perhaps a consequence of Wulff "studying sideways", denoting anthropologists studying socio-economic groups not very different from their own (p. xvii). [Extracted from the article]

The article offers poetry criticism of the poem "In Memory of W. B. Yeats" by W. H. Auden. It explores the use of metaphor, rhythm, and the lyrics of poem lines. The poem is inspired by the genre of aphorism, which the poet uses as his main source of poetry writing. The author provides a critical interpretation of the poem and offers different meanings of poem's theme on poetic efficacy, negative theology, and poetic riddle.

The article offers poetry criticism of the poem "The Tantramar Revisited," by Charles G. D. Roberts. It explores the use of metaphor, rhythm, and the aesthetics of stanzas. Topics discussed theme of the poem and symbolic aspects of landscapes used. The author provides a critical interpretation of the poem.

The article offers poetry criticism of the poem "Morning on the Lièvre" by Archibald Lampman. It explores the use of metaphor, rhythm, and the aesthetics of stanzas. The use of the blue jay in the poem and its metaphoric aspect is also discussed. The author further provides a critical interpretation of the poem.

The article offers poetry criticism of the poem "Cold Knap Lake" by Gillian Clarke. It explores the use of metaphor and rhythms. The author provides a critical interpretation of the poem and offers different meanings behind several elements such as swan, lake, cold and water. It also reveals that the poem recounts the story of the girl in the lake.

The article presents information on music. The works of musician Rebert H. Harris, Soul Stirrers were one of gospel's foremost quartets, prime exponents of the twin-lead-voices format that contrasted a liquidy tenor with a gruff, bluesy baritone in alternating sections of each song, backed by barbershop quartet-derived harmonies that pumped driving cross-rhythms. Harris's tenor had been the pride of the Soul Stirrers, with its elastic note bends and invigorating presence. Specialty Records founder Art Rupe watched the tapes roll while the young man tackled "Peace in the Valley," a venerable and mighty piece by Thomas A. Dorsey.

This article investigates the narrative strategies implemented by artists to render visually the fantastic story born from the mind of Scottish author R. L. Stevenson, The Strange Case of Dr Jekyll and Mr Hyde (1886). After focusing on the problematic illustrations by Charles Raymond Macauley (1904) and Mervyn Peake (1948), the demonstration lays emphasis on the original graphic novel by Eddy Campbell and Alan Moore, From Hell (1989-1991). Carefully chosen panels are then analyzed to highlight the sophisticated combination of a highly documented script and a challenging visual rhetoric, thus addressing issues such as chronology and rhythm. [ABSTRACT FROM AUTHOR]

A review of the book "Song for Jimi: The Story of Guitar Legend Jimi Hendrix," by Charles R. Smith Jr., illustrated by Edel Rodriguez, is presented.