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The article discusses the use of special substrates at the Foulis Press, a printing press in Glasgow from the 1740s to the 1790s. The Foulis brothers, Robert and Andrew, printed over 700 editions, many of which were Greek and Latin classics for students. They often created different issues by using different formats, paper types, and text arrangements. While most editions were printed on paper, the Foulises occasionally used vellum, silk, and linen as substrates. These special substrates were used for a small number of copies within an edition and were likely considered as collectible objects. [Extracted from the article]

This paper examines the translation praxis, called Sinaramutan, of Godehardo Calleja in his rendering of Shakespeare's sonnets for the Bikolnon (people from Bikol) in the southeastern Luzon region of the Philippines. Sinaramutan derives from the Bikol word simot, meaning gleanings or leftovers, while a related verb, saramutan, means to collect or to heap together many small items. In his Sinaramutan translations, Calleja mainly uses a base lexicon of the Bikol Central Standard dialect, to which he adds vocabulary from the languages and dialects of Bikol provinces, Catanduanes, Sorsogon, and Masbate; he occasionally borrows from Tagalog, the basis of the country's national language or, more rarely from Philippine regional languages like Hiligaynon and Kinaray-a, related Austronesian languages of Southeast Asia, and Sanskrit. In doing this, he avoids words of Western origin, specifically from Spanish and English, the languages of former colonisers. The title of Calleja's collection reflects the decolonising enterprise of his translation praxis: Kun Saná si Shakes Taga Satô, which means "If Shakes Were Just from Here." This paper zooms in on translations of two well-known sonnets, 18 and 29, to harvest what it can from applying a Sinaramutan translation that localises and talks back to Shakespeare and a Bikolnon linguistic canon. The paper argues that Calleja's translation praxis does more than write back to the coloniser: It also defies both the regional centre and a monolithic Bikol language by cultivating a Bard who is Bikolnon, thus writing into Bikol a "Shakes" from here. [ABSTRACT FROM AUTHOR]

Copyright of Bulletin of Ablai Khan KazUIRandWL: Series 'Philological sciences' is the property of Kazakh Ablai Khan University of International Relations & World Languages 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.)

This article considers Tyehimba Jess's representation of the lives of several historical African American musicians from the post-emancipation period in his 2016 collection Olio. Reading Olio in the context of African American musical traditions, it considers how Jess's syncopated sonnet forms appropriate and contest historical instances of white supremacy to undermine the dehumanizing logics of plantocracy. At the same time, it explores how the collection's threedimensional forms materialize feelings of constraint to reveal the embeddedness of antiblackness in American popular culture, and the fragility of liberty into the twentieth century and beyond. While Olio reifies the tension between freedom and bondage in the post-bellum nation, this paper argues that Jess's archival recuperation of elided historical figures and innovative configuration of sonnet form demonstrate an ethos of creativity, as it envisions alternative forms of community and autonomy through poetry and music. [ABSTRACT FROM AUTHOR]

My analysis in this paper centers on Miguel de Unamuno's multifaceted engagement (commentary, translation, poetic response) with Antero de Quental's metaphysically-inclined sonnets. Like Unamuno, I focus on the sonnets "Redenção" and "Na mão de Deus." I first demonstrate how Unamuno unsuccessfully attempts to reconcile Quental's poetic descriptions of death as liberation, and of the individual's reabsorption in death into the universal consciousness, with his agonized faith in a personal God and his New Testament-derived belief in humanity's redemption from sin and salvation by Jesus Christ. I then argue that while Unamuno may have misinterpreted Quental, his misreading was nonetheless productive in that it furnished him with an Iberian exemplar of the sentimientotrágico de la vida – though I contend that Unamuno's elevation of Quental to the status of tragic exemplar is nonetheless misplaced [ABSTRACT FROM AUTHOR]

The paper analyses the presence of the motifs of the body, senses and emotions, the degree of representation, functions, and meanings of somaticisms, the ways of aestheticisation of the body and the contradiction or integration of the motifs of the body and the soul in the poetic cycle Ukojenie tôní (Soothing the shadows, 1845) by Samo Vozár (1823 - 1850), a Slovak Romantic poet. Vozár's sonnets provide ample material for exploring the somatisms involved in the creation of the image (representation, personification) of death, but also of love (both maternal and filial). Corporeal motifs are tied to the object of the lyrical statement (the dead mother) and to the subject of the lyrical statement (her son). Stylistically neutral forms of somatisms prevail. These are used both in the primary sense (naming the parts of the body) and in the figurative one - in the depiction of other phenomena of the external and internal world. They "make visible" the affective experience of the lyrical subject, abstract phenomena connected with the inner experience (the soul), which is manifested in a higher representation of somatisms, which are conventionally considered as carriers, manifestations of mental, emotional movement such as the heart, tears, or blood. [ABSTRACT FROM AUTHOR]

The writings of William Wordsworth evince a deeply ecological consciousness, a firm belief in the underlying connectedness of all living and non-living entities accounting for their continued existence. Such a consciousness becomes particularly evident in The River Duddon, A Series of Sonnets from 1820 as the poetic account of the river's flow from its source in the mountains to its estuary between Morecambe Bay and the North Lonsdale coast. For not only does it constitute a core element of the Lake District, which Wordsworth deemed the best example of a region of eco-friendly and hence socially unified communities; it is also depicted, as will be elaborated in this paper, as an ecosystem consisting in a complex web of symbiotic interactions between the fluvial, vegetal, animal and human.Instead of focusing on verbal representations of such more-than-human interrelations through semiotic processes that appropriate their otherness and render them intelligible in solely human terms, however, this paper argues that Wordsworth's "speaking monument" (Wordsworth 1954: 247, iii, l. 3) rather enacts these ecosystemic interactions on a vocal, aural, and rhythmical level. It thereby foregrounds the materiality and corporeality of poetic speech that precedes as well as grounds meaning and so connects the human to the river ecosystem in a pre-reflexive and somatic way. In this context, it will be pointed out how not only the speaker and other human characters participate in the Duddon's web of reciprocal relations through rhythmical synchronisation and sonic attunement, but also how the reader becomes an active part in them through their vocal performance of the sonnets. The river's autopoietic structure illustrated through the metaphor of the hydrological cycle, it will thus be shown, is thereby continued through the sonnet cycle as a direct organic product and hence integral component of the ecosystem that, by repeatedly giving rise to various idiosyncratic readings, will poetically contribute to the Duddon's continued existence. [ABSTRACT FROM AUTHOR]

In this paper, we describe Oupoco (l'Ouvroir de Poésie Combinatoire), a system producing new sonnets by recombining lines of poetry from existing sonnets, following an idea that Queneau described in his book Cent Mille Milliards de poèmes (A Hundred Thousand Billion Poems , 1961). We first give the rationale of the project and review past experiments in poetry generation using combinatorial methods. We then demonstrate different outputs of our implementation (a Web site, a Twitter bot and a specifically developed device, called the Boîte à poésie) based on a corpus of 19th century French poetry. We describe how this project was an opportunity to work with artists and reach a new audience through the Boîte à poésie , and also through a video clip that frequently served as an introduction to the project. Our goal is to revive people's interest in poetry by giving access to automatically produced sonnets through original and entertaining channels and devices. Poetry combinatorics: exploring how poetry can be produced automatically, using a mix of literature, computer and art! [ABSTRACT FROM AUTHOR]

The author of the paper discusses the issue of Italian influences in Jan Kochanowski's output in the light of his youthful stays in the Republic of Venice, and a possible impact of the books with which he acquainted at that time. Niccoló Franco's La Priapea (1541), a pornographic-satirical cycle of sonnets issued a dozen or so years before Kochanowski's arrival, could have been one of them. In the trifle III 82 Do dziewki (To a Maid) Franco's collection most probably completes the Anacreontic pattern (an elderly suitor's love's labours to a young maid in the first stanza) and develops it into a firmly obscene (phallic, in verses 2-3) direction, while ceasing to wipe out the elements traditionally linked with Kochanowski's home culture. [ABSTRACT FROM AUTHOR]

This paper aims to assess the overall contribution of different language branches to world literature in the genres of sonnets and epics. The study focuses on determining region-based and language-branch-specific characteristics of epics, tracing their origin history, analyzing data on epics across different eras, and examining the themes found in the epic "MeghnadBadhKavya." Additionally, the research explores a new style of sonnet writing and provides data and descriptions of its themes. This study employs a descriptive qualitative research approach to accomplish its objectives. Through this investigation, the study reveals the proportion of epics and sonnets from ancient to modern eras, both on a continental and language-branch basis. By doing so, it encourages the expansion of sonnet and epic writing beyond the boundaries set by classical works. Moreover, the research highlights the ongoing efforts of writers who continue to produce new epics and sonnets. The author believes that by fostering collaboration between regional cultural and literary authorities, significant progress can be made in this regard. Consequently, the paper concludes by recommending the exploration of new avenues for sonnet and epic creation, suggesting a promising future for these genres. [ABSTRACT FROM AUTHOR]

This paper is a multifaceted exploration of white subjectivity and the social phenomena of whiteness, about which there is a considerable body of psychoanalytic literature spanning decades. Hazel White's "unwound sonnet late on the tide" explores themes of traumatic legacies, family, shame, and mourning. Critical poetic inquiry is used to consider these themes and make links between the poetics of psychoanalytic processes and the psychoanalysis of poetics. [ABSTRACT FROM AUTHOR]

Copyright of Al-Adab / Al-ādāb is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

Christopher Marlowe is one of the most interesting and complex Elizabethan poets and playwrights, and among the favourite candidates to embody at least one of the "rival poets" mentioned in some of William Shakespeare's Sonnets, where it is possible to find different concepts of beauty and poetry. Among these is the idea of a 'painted' beauty, connected to other considerations on writing, style and artistic composition. Marlowe's Hero and Leander, with its polished and refined writing and its lavish and rich images, represents a literary product in which formal and aesthetic beauty are exalted through bodies, garments, and settings. The main aim of this paper is to show how Marlowe managed poetic fashions and rhetorical instruments in order to create a purely Elizabethan literary product. After an introduction on the characteristics of the epyllion as a genre, I will analyse how the bodies and garments of the two young protagonists, and the settings of the poem, are wisely 'embroidered' by Marlowe, who used all the most fashionable threads available to an Elizabethan poet, ranging from the widespread Petrarchan rhetoric to a learned display of an abundant mythological apparatus, with the poetical aim of exalting Beauty. It will be necessary to draw some comparisons with one of its primary sources: the Greek epyllion Hero and Leander by Musaeus. The whole paper will take into consideration, as reference points to carry on the analysis, some Shakespearean sonnets so as to better show Marlowe's expression of a courtly literature glistered with love, beauty, and knowledge. [ABSTRACT FROM AUTHOR]

Besides numerous positive transformations and unique opportunities in language pedagogy, the post-method era brought with itself several challenges for language teachers. After intensive research and empirical studies, the use of literature was welcomed in ELT classrooms. But the question arises as to what extent and in what ways does literature support language learning? In an attempt to answer these questions and fill this lacuna, the present paper highlights ways in which literature assist language teachers. Moreover, the paper presents resourceful strategies to frame exercises using poems for ELT classroom. Shakespeare's Sonnet 65 is used to illustrate some vital themes explored in this paper. In spite of the observed difficulty level of the sonnet and the layers of meaning it encapsulates, dynamic and engaging activities can be crafted out of this poem. Since the elements discussed in this study are ubiquitous to the genre of poetry, therefore the use of the presented methodology would also be universal. [ABSTRACT FROM AUTHOR]

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Women and nature are in ecofeminism, a conceptual hybridization foregrounded in nature as well as in culture. It transcends the nature-culture dualism as the capitalist brings the two in related exploitation following gender discrimination and environmental negligence. Shakespeare's works are largely read and designated to romanticism and romantic literature. However, the interpretation of the literature is inexhaustible. Thus, his sonnets No. 18 and 104 are beautiful songs of admiration composed of a metaphoric complexity of woman and nature. Unlike most pastoral, these poems open up with a striking connection between the woman and the natural seasons. This paper focuses on the nexus that joins women and nature as a process that yields literary aesthetics using Judith Plant's ecofeminism and women's environmental relationship. This is a re-evaluation of Shakespeare's Sonnets. The paper aims to engage the poems beyond mere romanticism thus, it interrogates the ecofeminist links as nuances of eco-gender negligence which is again, unruly exploited in patriarchal capitalism. This is, however, implicated in some danger of extinction including human and other life forms in the age of Anthropocene. Plant's socialist ecofeminist approach establishes women and nature as two inseparable beings strongly related in suffering but also in beauty. The figurative impacts within the poems show how women and nature are quite related in beauty and vulnerability. The entwinement is a demonstration of ultimate literary pleasure resulting from an imaginary portrait of a lady, whose beauty transcends to metaphysical. This is a positive stereotype of women and nature, which is the promise of ecofeminism. [ABSTRACT FROM AUTHOR]

Copyright of Alustath is the property of Republic of Iraq Ministry of Higher Education & Scientific Research (MOHESR) 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.)

This paper presents an inset feed rectangular microstrip patch antenna with multiple slits for sub 6 GHz - 5G Applications. This antenna is proposed with the development, design, running simulations, and finally a conclusion of the analysis. The antenna in this paper is implemented using a technique called "inset-feed" and multiple slits. The dielectric used as a substrate is FR-4. The proposed antenna is useful for a sub 6 GHz 5G band, which comes under the 5G band of frequency. The proposed and designed antenna gives the input match of -10.74 dB, and 5.99 dB gain at the design frequency of 5.045 GHz. These outputs are usable for 5G applications. The antenna is simulated and developed in a radio technology design software Sonnet. [ABSTRACT FROM AUTHOR]

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In this paper, a double-layered structure to form an N-Well meander-line structure by added shielding grounded conductor to improve the quality factor on-chip resistors in high frequency operation is presented. An additionally added shielding ground conductor is applied to the proposed structure to reduce the induced capacitance coupling. and substrate losses for further improvement of the Q factor were also presented. Sonnet EM simulation result validated that double-layered structure via the shielding ground conductor was effective to improve their quality factors by 37.8% from 1.209 to –0.752 and reducing capacitance coupling effect by 57.92% from 55.23fF to 23.24fF during operating frequency at 10 GHz compared with conventional N-Well meander-line resistors. A novel structure in the design of a double-layered on-chip resistor with a shielding grounded conductor showed that capacitance coupling of parasitic effect was reduced; therefore, a low Q factor in high-frequency operations was obtained. [ABSTRACT FROM AUTHOR]

Copyright of Philological Review (00151807) is the property of University of Belgrade, Faculty of Philology 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.)

Penelope Rich was arguably the most famous woman in Elizabethan England apart from the Queen herself. Initially that was largely due to Philip Sidney in the widely circulated sonnet cycle, Astrophil & Stella. Many writers followed his lead, penning poems, dedications, and songs/music to her, often using signifiers he established such as "rich," "star," "silver," and more. For her part, she fashioned her star-dom into an ever-expanding sphere of connections, influence, and political alliances. How did this fame affect her life both within the Sidney circle and beyond? This paper seeks to explore the effect of this Muse and the trajectory of the star he created. [ABSTRACT FROM AUTHOR]

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Copyright of Nasleđe is the property of University of Kragujevac, Faculty of Philology & Arts 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.)

This paper examines Lesia Ukrainka's two lyrical cycles about Crimea, Krymski spohady and Krymski vidhuky, as examples of a poetic dialogue with Adam Mickiewicz's Sonety krymskie. I begin my analysis by highlighting the diff erent sensibilities of Mickiewicz's Sonety krymskie and Lesia Ukrainka's Krymski spohady, and underscore their formal and thematic peculiarities. The paper continues with an examination of Lesia Ukrainka's second cycle, Krymski vidhuky, as an experiment in drama -- a genre that is absent from her fi rst cycle -- before situating a dramatic scene, "Ifi heniia v Tavridi," this cycle's only text about Crimea's Hellenic history, within the cultural contexts of Lesia Ukrainka's oeuvre. In doing so, I argue that Iphigenia's lament echoes the voice of an exiled poet from Mickiewicz's sonnets and conclude my analysis by probing reasons behind Lesia Ukrainka's choice of a Greek (not Tatar) heroine. [ABSTRACT FROM AUTHOR]

Many researchers with an interest in the field of teaching have attempted to implement story reading and storytelling strategies in teaching oral language skills to EFL/ESL language learners as a means of extending the positive effects of storytelling and poetry on first language acquisition to second language acquisition. Numerous studies have looked at how narrative and poetry affect language abilities, but few have tried to find educational applications in well-known works of literature. To address the gap, this study was carried out to seek the voice of young women in Charlotte Smith's and Anna Barbauld's major works and tried to extract implications for the educational context. Charlotte Smith and Anna Barbauld, two eighteenth-century women authors, found themselves working within a literary tradition that saw Milton and Shakespeare and the poet as masculine traditions and which portrayed women as a muse for male poets. They published their works during the start of the influential Romantic Movement, which demanded an independent personality and many volumes of poetry and affected both the leading male and female writers of the day. Smith and Barbauld developed an authoritative persona to help them negotiate between societal expectations of women and those of a writer during a time when women writers were persecuted for expressing any ideas that might upset the status quo. In doing so, they challenged preconceived notions about what constitutes an authoritative voice and developed feminine poetics. This paper examines how the two poets explore the female voice, studies the challenges and problems they faced as women writers, and ponders on their influence on English literature. Additionally, this study explores how the novels of Charlotte Smith and Anna Barbauld were modified to more organically reflect aesthetic political concerns on the other side of the English Channel. This study has multiple pedagogical implications for educational environments. [ABSTRACT FROM AUTHOR]

Copyright of International Journal of Filologia is the property of International Journal of Filologia 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.)

If we consider paratexts as a place for finding traces of metatranslational discourse, those preceding poetry translations may be one of the best examples of this practise, as they tend to be more frequent and long that those introducing other genres. Examining a corpus of 54 translatorial prefaces to Shakespeare's Sonnets into Spanish published between 1877 and 2018, we will see how, in order to account for decisions, translators often base their arguments on commonplaces or memes such as fidelity, equivalence or the superiority of the original. The significance of these ideas in the metatranslational discourse is such that it clearly shows their value beyond a mere explanation of the translation process. This papers interprets these recurrent ideas by resorting to the notion of 'symbolic capital' coined by Bourdieu (1984), and considers that they function as a mechanism to grant prestige and respectability to a given translation both for translators and readers. [ABSTRACT FROM AUTHOR]

This paper focuses on the responses of Byron and Shelley to the Neapolitan uprising in July, 1820 which compelled the Spanish Bourbon King Ferdinand IV (renamed Ferdinand I of the Kingdom of the Two Sicilies in1816) to accept the Spanish Constitution of 1812. Byron's reaction to this momentous event is mainly recorded in his letters at the time and in his Ravenna Journal. His mood changes from one of cautionary optimism to utter disillusion. Shelley on the other hand wrote two poems: a "Sonnet on Benevento" and a Pindaric "Ode to Naples" to celebrate this historic event and the recovery of Constitutional liberty. This paper also deals with the political aspect of both these poems in which Shelley sought to sensitize the British politicians (especially the Foxite Whigs) to the crisis in the constitutionalists' cause and to enlist support for the liberals. Like Byron Shelley was disillusioned by the eventual outcome of the uprising. [ABSTRACT FROM AUTHOR]

The paper aims at briefly outlining some of the most important and challenging linguistic particularities in retranslating Shakespeare's sonnets into Romanian by Constantin Manea. The method employed involves selecting various sonnets and analyzing them from a quantitative and qualitative perspective, which provides a clear and large coverage of syntactic and semantic manifestations in operating a translational transfer from English to Romanian. The main purpose of the study is therefore not to compare the collected data to older retranslations of the sonnets, but to pinpoint some of the exact linguistic nuances involved in retranslating Shakespeare into Romanian in the 21st century, which can ultimately help readers better understand Shakespeare's originality. The overarching idea behind this paper draws on Lawrence Venuti's three essential principles in retranslating literature, agency, intertextuality and history, which are used to determine the level of value that Constantin Manea created in retranslating Shakespeare's sonnets into Romanian. [ABSTRACT FROM AUTHOR]

Post-fabrication inductance variation is a big issue faced by chip designers of sensitive circuits, and on-chip tunable inductors seem to provide the solution to this problem. In addition, tunable inductors also benefit circuits that require the multi-frequency operation. This paper is on the design of a tunable inductor which utilizes the patterned ground shield (PGS) to enable fine-tuning capability. This work is unique as this is the first time that the PGS is used for this purpose, previous researches were more on the Q-factor merit provided by the inductors with PGS. In this work, inductor's and PGS parameters influencing the inductance tuning range and Q-factor performances were first determined. Subsequently, inductors with PGS made from different metals and track spacing were designed, with electronic circuitries implemented to control the grounding of each PGS metal finger. The hypothesis that the floating and grounding of each PGS metal finger can change the magnetic flux of the inductor which contributes to the inductance variation was verified using Sonnet EM. Measured results show that a 5.2% inductance tuning range and Q-factor of 5.9 were achieved at the Bluetooth frequency of 2.5 GHz for an inductor with 2.0 µm track spacing and a polysilicon PGS with finger spacing of 2.0 µm. The tunable inductor was further integrated into a power amplifier (PA) and simulation results show that it enables the PA to achieve the design specification at the frequency range of 3.3–3.8 GHz, dedicated for the sub-6 GHz 5G application. [ABSTRACT FROM AUTHOR]

Copyright of Atalanta: Revista de las Letras Barrocas is the property of Atalanta Revista de las Letras Barrocas 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.)

This paper analyses Edmund Spenser's sonnet sequence Amoretti and its concluding sequel Epithalamion within the context of Puritanism. By highlighting the Puritanical concepts in Spenser's two poetic works, the two researchers demonstrate the aspects in which Spenser parts ways with the Petrarchan sonnet tradition. Spenser offers a pure, Christian love that ends in holy matrimony as an alternative to the unsanctified, unrequited love in Petrarchan sonnets. Moreover, this research identifies the segments of Spenser's poems wherein Platonism is exceedingly manifested. Through the textual examination of the two aforementioned works, it becomes evident that nuances of the Puritan faith come to light in Spenser's depiction of a holy, Christian courtship and marriage, in his portrayal of the lady as an embodiment of heavenly light in contrast to the inferiority of earthly existence and in his parallel presentation of the lover's suffering for his angelic lady as an allegorical reflection of the agony endured by the Puritan to gain Heavenly Grace. [ABSTRACT FROM AUTHOR]

The paper focuses on analysing the use of adnominals in the selected fifteen sonnet authors of the 19th- and 20th-century Czech literature. The poets have been selected so as to represent the main literary schools of the period, the main criterion of their ranking being their dates of birth. The investigation treats both general trends (changing numbers of adnominals in various eras, the measure of ornamentality in particular authors), and specific, Czech-based issues (premodification and postmodification, attributes and genitives). The goal of the paper is threefold: first, there is an endeavour to determine some principles of the development of the sonnet tradition in the Czech literature; second, some micro-analyses of the poets are provided, including contrastive views of various writing tactics employed by them; and third, one way of measuring ornamentality has been sketched, as the tool may be of help in unearthing stylistic preferences of different authors. All counts and figures are accompanied with interpretations which may be further enriched by literary scholars. [ABSTRACT FROM AUTHOR]

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Jude Morgan's novel, The Secret Life of William Shakespeare, is a work of biofiction that deals with the playwright's life from shortly before he met Anne Hathaway up to the year 1603, highlighting private aspects such as the relationships with his family and friends - and even his rivals. At the same time, the novel offers an insight into the Elizabethan world in which William Shakespeare lived and rose to fame, actually a pretext to bring to the foreground timeless issues which characterise today's world as well. The portrayal offered by Morgan is, therefore, one that aims to reconcile the two personas of the Bard - the family man and the poet and playwright. The present paper aims to analyse how those aspects are put forward by the novel, relying on features of postmodernism and the biographical novel, as the author attempts to fill in the gaps in Shakespeare's life narrative. What is more, emphasis is laid on the relative concept of 'truth' and how it is deconstructed in the shaping of this particular version of Shakespeare's story. [ABSTRACT FROM AUTHOR]

A new analysis method for the improvement and optimization of the geometrical layout parameters associated with the on-chip n-well meander line resistor layout to have a low-quality factor (Q) and better performance operating at high frequency is investigated through factorial design experiment DOE efficient method. The factors influencing the Q-factor include the width, line length, line segment, and spacing were studied. The factorial design DOE process model was formulated using the Minitab statistical package. The result in terms of the quality factor and resistance for comparison between the proposed optimized design and conventional design layout is simulated by Sonnet electromagnetic simulation tool and validated by the theoretical mathematical prediction calculation based on an equation of lumped physical model had been presented. Results indicate that a shorter line length and line segment lead to a high impact on the improvement of the Q-factor. By the factorial design experiment, the optimized structure with a single line segment, the width of 5 µm, spacing of 1 µm, and line length of 16 µm had been established to have a lower Q-factor compared to the conventional configuration. The Q-factor was improved by 93% from 1.193 to 0.071 at the targeted 1 GHz frequency by the Sonnet EM simulation tool. The simulation result had shown comparative agreement to the theoretical mathematical predictions analysis result. [ABSTRACT FROM AUTHOR]

The article discusses the morality of W. B. Yeats' sonnet Leda and the Swan in the context of a widening gap between the sexual mores of earlier times and our own, and whether the poem remains a suitable choice for the teaching of stylistics. I begin by examining stylistics treatments of the poem, and its political, social and artistic context, then move on to consider charges of misogyny against the poem for eroticising and failing to condemn the rape it depicts. To assess these charges I examine other literary uses of the Leda myth both before and after Yeats, including earlier poems which romanticise the rape, and later ones which vilify it. I also consider the implications of my discussion for the teaching of other canonical poems on similar themes. The last part of the paper discusses more generally the place of morality in literature and literature teaching, including stylistics: whether teachers and analysts should promote a moral world view and moral behaviour through their choice of texts and comments on them, or whether there are other valid criteria for selecting and describing a text such as Leda and the Swan. To elucidate current views, I draw parallels with the moral didacticism of the highly influential literary critic F. R. Leavis in the mid twentieth century, and ask whether aspects of his patrician view have undergone a surreptitious revival in some contemporary pedagogy and criticism at the beginning of the twenty first. [ABSTRACT FROM AUTHOR]

This paper aims to examine the problem of universal metrics developed with English sonnets by analyzing meter in Japanese haiku and Chinese recent-style verse. Following Martin (2007), In this study, a haiku is defined as a traditional form of Japanese poetry consisting of three lines, typically with seventeen metrical units per verse arranged in a pattern of five, seven, and five units per line. The data reveals that a system with metrical prominence cannot be applied to Chinese and Japanese metrical verse since linguistic prominence is missing in both languages. The only common feature shared among the metrical systems of the three languages is the existence of a contrast between two types of syllables that belong to opposite classes. However, this contrast only applies in limited situations in the Japanese case. Lastly, instead of a universal metrical structure, the data suggests that the metrical structure in the three languages should be distinguished. [ABSTRACT FROM AUTHOR]

The epic poem Venus and Adonis was the first work of Shakespeare’s to be printed, yet there was no author’s name on the title page. The name William Shakespeare only appeared at the end of a dedication of the poem to Henry Wriothesley, the 3rd Earl of Southampton. A year later, another epic poem was published, the 1600-line Rape of Lucrece. Almost as popular as Venus and Adonis (which was printed nine times in less than a decade), Lucrece went through six printings in a slightly longer time frame. Again here, the author’s name was not on the title page, only appearing in yet another dedication to Southampton. Of interest, never again did “Shakespeare” (whoever he or she was) dedicate anything else to anyone else. Nevertheless, on the strength of these two remarkable dedications, Shakespearean orthodoxy has put forth that Southampton must have been Shakespeare’s “patron” and possibly even the “fair youth” mentioned in Shakespeare’s Sonnets. Yet despite centuries of searching for such a connection, no evidence at all has emerged connecting Will Shakspere of Stratford with Southampton. The fact is, when Venus and Adonis was published in 1593, Southampton was himself only 19 years old, living on a very small income that had to be doled out to him by his guardian, William Cecil (Lord Burghley, Queen Elizabeth’s Master of the Royal Wards). At this point in time, Southampton was clearly in no position to be a patron to anyone. Indeed, how would the Stratford man have even gotten to know him? It would be two more years before Southampton would reach his majority and be able to “sue for livery” – the legal process that required payment to the crown for an heir to obtain any inheritance from his deceased father’s estates. This paper explores the historical circumstances of these major epic poems and what the author’s personal motivation might really have been behind choosing young Southampton as dedicatee. [ABSTRACT FROM AUTHOR]

In this essay the term "worldview" is understood, according to German tradition, both as a Weltbild, or 'world picture,' and Lebensanschauung, or outlook on life'. The article describes the analogies between generic worldview and linguistic worldview, taking into account their two properties, namely formal conservatism, and selectivity. Subsequently, genres whose worldviews expand beyond the level of linguistic expressibility are discussed on the example of the idyll and litany, i.e. poetic conventions which inspired their own painting and musical traditions. The article concludes with considerations on the sonnet as a convention that, nowadays, is regarded as emblematic for the lack of ideological commitment. However, as the author of the paper argues, in the initial period, the sonnet might have also been equipped with its own generic worldview. [ABSTRACT FROM AUTHOR]

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