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His research interests are in metre and other aspects of poetic form, and he is working on a theory of verse-movement.<br /><div class="js-profile-less-about u-linkUnstyled u-tcGrayDarker u-textDecorationUnderline u-displayNone">less</div></div></div><div class="ri-section"><div class="ri-section-header"><span>Interests</span><a class="ri-more-link js-profile-ri-list-card" data-click-track="profile-user-info-primary-research-interest" data-has-card-for-ri-list="29622779">View All (9)</a></div><div class="ri-tags-container"><a data-click-track="profile-user-info-expand-research-interests" data-has-card-for-ri-list="29622779" href="https://www.academia.edu/Documents/in/Literature"><div id="js-react-on-rails-context" style="display:none" 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id="all"><div class="profile--tab_heading_container js-section-heading" data-section="Articles" id="Articles"><h3 class="profile--tab_heading_container">Articles by Peter Groves</h3></div><div class="js-work-strip profile--work_container" data-work-id="11951151"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11951151/Metre"><img alt="Research paper thumbnail of Metre" class="work-thumbnail" src="https://attachments.academia-assets.com/37309364/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11951151/Metre">Metre</a></div><div class="wp-workCard_item"><span>A Companion to Poetic Genre, ed. Erik Martiny (Wiley-Blackwell, May 2011)</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="02267e410bc177b1bd47ce57d2f90f00" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309364,"asset_id":11951151,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309364/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11951151"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11951151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11951151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11951151]").text(description); $(".js-view-count[data-work-id=11951151]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11951151; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11951151']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11951151, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "02267e410bc177b1bd47ce57d2f90f00" } } $('.js-work-strip[data-work-id=11951151]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11951151,"title":"Metre","translated_title":"","metadata":{"ai_abstract":"This paper explores the concept of metre in poetry, distinguishing between sounded beats (ictus) and silent beats (rests). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11951024"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11951024/Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry"><img alt="Research paper thumbnail of Subversive rhythms: Postcolonial prosody and Indo Anglian poetry" class="work-thumbnail" src="https://attachments.academia-assets.com/37309245/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11951024/Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry">Subversive rhythms: Postcolonial prosody and Indo Anglian poetry</a></div><div class="wp-workCard_item"><span>Hoogstad, Jan Hein, and Birgitte Stougaard, eds: Pluralizing Rhythm: Music, Arts, Politics, (Amsterdam/New York: Rodopi, 2011) </span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7d7b9a73dd8195c3c9ca04d8c6e49c4f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309245,"asset_id":11951024,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309245/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11951024"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11951024"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11951024; 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dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7d7b9a73dd8195c3c9ca04d8c6e49c4f" } } $('.js-work-strip[data-work-id=11951024]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11951024,"title":"Subversive rhythms: Postcolonial prosody and Indo Anglian poetry","translated_title":"","metadata":{"grobid_abstract":"Rhythm, seemingly so abstract a concept, can be a potent signifier of cultural difference and identity: consider, for example, the complex multi-layered rhythms of African drumming or classical Indian raga, and how disturbingly anarchic these must have seemed to British imperial administrators, attuned as the latter were to the dreary simplicity of Hymns Ancient and Modern. Those who executed the project of Macaulay's famous Minute on Indian Education (1835) hoped to attune Indian ears-or those, at any rate, of a class of potentially useful intermediaries, \"Indian in blood and colour, but English in tastes, in opinions, in morals and in intellect\" (Sharp 107-17)-as much to the music of Shakespeare and Tennyson as to their ideological baggage (indeed, the two are difficult to uncouple), and the partial success of this Anglification project can be seen in the slightly wan but metrically perfect pentameter of nineteenth-century Indian poets, such as Henry de Rozario, Toru Dutt, and Sarojini Naidu.","publication_date":{"day":null,"month":null,"year":2011,"errors":{}},"publication_name":"Hoogstad, Jan Hein, and Birgitte Stougaard, eds: Pluralizing Rhythm: Music, Arts, Politics, (Amsterdam/New York: Rodopi, 2011) ","grobid_abstract_attachment_id":37309245},"translated_abstract":null,"internal_url":"https://www.academia.edu/11951024/Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry","translated_internal_url":"","created_at":"2015-04-14T19:42:41.284-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":37309245,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309245/thumbnails/1.jpg","file_name":"Thamyris_26_07_-_Peter_Groves.pdf","download_url":"https://www.academia.edu/attachments/37309245/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Subversive_rhythms_Postcolonial_prosody.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309245/Thamyris_26_07_-_Peter_Groves-libre.pdf?1429065857=\u0026response-content-disposition=attachment%3B+filename%3DSubversive_rhythms_Postcolonial_prosody.pdf\u0026Expires=1733352608\u0026Signature=QaBsFMhlFpXkSlH6mY5nUbCLraGvHvBoY-Il8E6fvEYwgHzlY7VH8kzGDdVqlHdGJRBKvF5dt31oEyhN~nf8j1~4xb~qlACtxRgxgVOCL93-uDFZDrdhb3-eV54~5vCteea-ODMcUzdaXcalr52fCbT6bsh6id~lABPVyodvJdnB9Ovh0DS-bhttgh2T~UFZeiv4CyvKoL4QIrSVsNaq92Kn8nPalo~hhv04r2k0XPYY2zC2Pty5Fyp84ebeY-yIYkL0yIURXcShGtxuEryxNs3-jU3Us~T5dpvFUkd22BYANRo7SoGH6elhG34TfocLtts8ybKfgzaKL9aIqCD25g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry","translated_slug":"","page_count":12,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":37309245,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309245/thumbnails/1.jpg","file_name":"Thamyris_26_07_-_Peter_Groves.pdf","download_url":"https://www.academia.edu/attachments/37309245/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Subversive_rhythms_Postcolonial_prosody.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309245/Thamyris_26_07_-_Peter_Groves-libre.pdf?1429065857=\u0026response-content-disposition=attachment%3B+filename%3DSubversive_rhythms_Postcolonial_prosody.pdf\u0026Expires=1733352608\u0026Signature=QaBsFMhlFpXkSlH6mY5nUbCLraGvHvBoY-Il8E6fvEYwgHzlY7VH8kzGDdVqlHdGJRBKvF5dt31oEyhN~nf8j1~4xb~qlACtxRgxgVOCL93-uDFZDrdhb3-eV54~5vCteea-ODMcUzdaXcalr52fCbT6bsh6id~lABPVyodvJdnB9Ovh0DS-bhttgh2T~UFZeiv4CyvKoL4QIrSVsNaq92Kn8nPalo~hhv04r2k0XPYY2zC2Pty5Fyp84ebeY-yIYkL0yIURXcShGtxuEryxNs3-jU3Us~T5dpvFUkd22BYANRo7SoGH6elhG34TfocLtts8ybKfgzaKL9aIqCD25g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":10634,"name":"Versification","url":"https://www.academia.edu/Documents/in/Versification"},{"id":15863,"name":"Postcolonial Literature","url":"https://www.academia.edu/Documents/in/Postcolonial_Literature"},{"id":341904,"name":"Indian Poetics","url":"https://www.academia.edu/Documents/in/Indian_Poetics"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11950995"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11950995/Shakespeare_s_Short_Pentameters_and_the_Rhythms_of_Dramatic_Verse"><img alt="Research paper thumbnail of Shakespeare’s 'Short' Pentameters and the Rhythms of Dramatic Verse" class="work-thumbnail" src="https://attachments.academia-assets.com/37309218/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11950995/Shakespeare_s_Short_Pentameters_and_the_Rhythms_of_Dramatic_Verse">Shakespeare’s 'Short' Pentameters and the Rhythms of Dramatic Verse</a></div><div class="wp-workCard_item"><span>Stylistics and Shakespeare’s Language — Transdisciplinary Approaches ed. Mireille Ravassat and Jonathan Culpepper (Continuum Press, June 2011). pp.119-138</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="22619f3a6e1bd057a3c61b649bba51f2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309218,"asset_id":11950995,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309218/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950995"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950995"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950995; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950995]").text(description); $(".js-view-count[data-work-id=11950995]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950995; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950995']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950995, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "22619f3a6e1bd057a3c61b649bba51f2" } } $('.js-work-strip[data-work-id=11950995]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950995,"title":"Shakespeare’s 'Short' Pentameters and the Rhythms of Dramatic Verse","translated_title":"","metadata":{"grobid_abstract":"This chapter investigates Shakespeare's innovative use of lacunae (empty slots in the metrical template of iambic pentameter) as rhythmic devices operating in dramatic verse either deictically or mimetically. Lacunae represent either silent beats or silent offbeats, produced in our negotiation as performers between written line and known phonological and metrical constraints. The silent offbeat comes itself in two distinct flavours: the 'jolt', which occurs between intonational phrases, and which has the effect of emphasizing discontinuity, and in mimetic terms of suggesting surprise, alarm, anger, urgency and so on; and the much rarer 'drag', which occurs within a phrase and has the effect of locally slowing down the tempo and forcing pitch-accent emphasis on the syllable that precedes it. The silent beat or 'rest', on the other hand, functions as a way of cueing gesture and action in the theatre, and in addition has a number of interesting deictic uses, marking and drawing attention to features of the interaction between characters. The chapter will explore the ontology and epistemology of lacunaehow as readers we recognise them, and as performers produce themand investigate in detail the sorts of aural and experiential effects they produce in performance","publication_date":{"day":null,"month":null,"year":2011,"errors":{}},"publication_name":"Stylistics and Shakespeare’s Language — Transdisciplinary Approaches ed. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11950890"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11950890/Finding_his_Feet_Wyatt_and_the_Founding_of_English_Pentameter"><img alt="Research paper thumbnail of Finding his Feet: Wyatt and the Founding of English Pentameter" class="work-thumbnail" src="https://attachments.academia-assets.com/37309100/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11950890/Finding_his_Feet_Wyatt_and_the_Founding_of_English_Pentameter">Finding his Feet: Wyatt and the Founding of English Pentameter</a></div><div class="wp-workCard_item"><span>Versification: An Electronic Journal of Literary Prosody 4 (2005) ISSN 1546 0401 (http://www.arsversificandi.info/current/groves.html )</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a mo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed "at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="613fedab2e7fa2fe8ff363dad7b7c233" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309100,"asset_id":11950890,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309100/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950890"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950890"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950890; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950890]").text(description); $(".js-view-count[data-work-id=11950890]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950890; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950890']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950890, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "613fedab2e7fa2fe8ff363dad7b7c233" } } $('.js-work-strip[data-work-id=11950890]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950890,"title":"Finding his Feet: Wyatt and the Founding of English Pentameter","translated_title":"","metadata":{"abstract":"The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed \"at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.","ai_title_tag":"Wyatt's Role in Developing English Pentameter Structure","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"Versification: An Electronic Journal of Literary Prosody 4 (2005) ISSN 1546 0401 (http://www.arsversificandi.info/current/groves.html )"},"translated_abstract":"The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed \"at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11950785"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11950785/The_Chomsky_of_Grub_Street_Edward_Bysshe_and_the_Triumph_of_Classroom_Metrics"><img alt="Research paper thumbnail of The Chomsky of Grub Street: Edward Bysshe and the Triumph of Classroom Metrics" class="work-thumbnail" src="https://attachments.academia-assets.com/37309018/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11950785/The_Chomsky_of_Grub_Street_Edward_Bysshe_and_the_Triumph_of_Classroom_Metrics">The Chomsky of Grub Street: Edward Bysshe and the Triumph of Classroom Metrics</a></div><div class="wp-workCard_item"><span>Versification: An Electronic Journal of Literary Prosody 3 (1999) ISSN 1546 0401 (http://www.arsversificandi.info/backissues/vol3/essays/groves.html) </span><span>, 1999</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. So entrenched has this reputation become that (judging from their contradictory and wildly inaccurate accounts of it) his critics seem content to dismiss Bysshe's theory unheard. In fact it represents a serious and innovative attempt in the tradition of late C17 Royal Society empiricism to codify, for the practical purposes of the versifier, the metricality of the English heroic line, with particular reference to the practices of neoclassical poetry. In attempting, moreover, an explicit account of the conditions governing metrical form in terms of syntactic and phonological structure (given the rudimentary understanding of these matters then available), his system represents a remarkable (though sketchy and incomplete) prefiguring of modern linguistic or "generative" metrics. Given its demonstrable superiority as a descriptive tool over the gimcrack humanist alternative which has since become the orthodox form of scansion, the paper goes on to consider some of the reasons for the latter's ultimate triumph, including what might be termed the ceremonial function of traditional metrical description.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8652f4d2aef6da8395f46d65716fc77c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309018,"asset_id":11950785,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309018/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950785"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950785"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950785; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950785]").text(description); $(".js-view-count[data-work-id=11950785]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950785; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950785']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950785, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8652f4d2aef6da8395f46d65716fc77c" } } $('.js-work-strip[data-work-id=11950785]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950785,"title":"The Chomsky of Grub Street: Edward Bysshe and the Triumph of Classroom Metrics","translated_title":"","metadata":{"abstract":"For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. So entrenched has this reputation become that (judging from their contradictory and wildly inaccurate accounts of it) his critics seem content to dismiss Bysshe's theory unheard. In fact it represents a serious and innovative attempt in the tradition of late C17 Royal Society empiricism to codify, for the practical purposes of the versifier, the metricality of the English heroic line, with particular reference to the practices of neoclassical poetry. In attempting, moreover, an explicit account of the conditions governing metrical form in terms of syntactic and phonological structure (given the rudimentary understanding of these matters then available), his system represents a remarkable (though sketchy and incomplete) prefiguring of modern linguistic or \"generative\" metrics. Given its demonstrable superiority as a descriptive tool over the gimcrack humanist alternative which has since become the orthodox form of scansion, the paper goes on to consider some of the reasons for the latter's ultimate triumph, including what might be termed the ceremonial function of traditional metrical description.","publication_date":{"day":null,"month":null,"year":1999,"errors":{}},"publication_name":"Versification: An Electronic Journal of Literary Prosody 3 (1999) ISSN 1546 0401 (http://www.arsversificandi.info/backissues/vol3/essays/groves.html) "},"translated_abstract":"For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. So entrenched has this reputation become that (judging from their contradictory and wildly inaccurate accounts of it) his critics seem content to dismiss Bysshe's theory unheard. In fact it represents a serious and innovative attempt in the tradition of late C17 Royal Society empiricism to codify, for the practical purposes of the versifier, the metricality of the English heroic line, with particular reference to the practices of neoclassical poetry. In attempting, moreover, an explicit account of the conditions governing metrical form in terms of syntactic and phonological structure (given the rudimentary understanding of these matters then available), his system represents a remarkable (though sketchy and incomplete) prefiguring of modern linguistic or \"generative\" metrics. Given its demonstrable superiority as a descriptive tool over the gimcrack humanist alternative which has since become the orthodox form of scansion, the paper goes on to consider some of the reasons for the latter's ultimate triumph, including what might be termed the ceremonial function of traditional metrical description.","internal_url":"https://www.academia.edu/11950785/The_Chomsky_of_Grub_Street_Edward_Bysshe_and_the_Triumph_of_Classroom_Metrics","translated_internal_url":"","created_at":"2015-04-14T18:59:18.661-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":37309018,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309018/thumbnails/1.jpg","file_name":"Chomsky_of_Grub_Street.pdf","download_url":"https://www.academia.edu/attachments/37309018/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Chomsky_of_Grub_Street_Edward_Bysshe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309018/Chomsky_of_Grub_Street-libre.pdf?1429064532=\u0026response-content-disposition=attachment%3B+filename%3DThe_Chomsky_of_Grub_Street_Edward_Bysshe.pdf\u0026Expires=1733352608\u0026Signature=SaAn5b13XZaN7azsP1u4Fzv5ZIoVDUN8pU14Y3qOwceipFY38GCW~hOsWvgN9-3OKpPHXGcdn7gmK~gtYHmVDZxMlxMghDUpJJwicyXoRh~PQ6qHETsK5ZFfU9xGTywpkOPjJFqmvD-Y5QHuvbFcEjrR~BLc-hCXTr-4rsxmkzy98KcdmBhneevj6WR46zitlT08Rs0IW1vQCAbLe5eROphDc0fwaXzsDi9S-MGUSbbtVSUT20Gb4lwMEFza~eBwo~-1Q3DGrsJEsyBSRKfwYdFitujVCwtocs7WF7EOO4jwsvQVOhNQZyIxhUjutf-v16TdtxZfhFiieTUX-28~HA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"The_Chomsky_of_Grub_Street_Edward_Bysshe_and_the_Triumph_of_Classroom_Metrics","translated_slug":"","page_count":19,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":37309018,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309018/thumbnails/1.jpg","file_name":"Chomsky_of_Grub_Street.pdf","download_url":"https://www.academia.edu/attachments/37309018/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"The_Chomsky_of_Grub_Street_Edward_Bysshe.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309018/Chomsky_of_Grub_Street-libre.pdf?1429064532=\u0026response-content-disposition=attachment%3B+filename%3DThe_Chomsky_of_Grub_Street_Edward_Bysshe.pdf\u0026Expires=1733352608\u0026Signature=SaAn5b13XZaN7azsP1u4Fzv5ZIoVDUN8pU14Y3qOwceipFY38GCW~hOsWvgN9-3OKpPHXGcdn7gmK~gtYHmVDZxMlxMghDUpJJwicyXoRh~PQ6qHETsK5ZFfU9xGTywpkOPjJFqmvD-Y5QHuvbFcEjrR~BLc-hCXTr-4rsxmkzy98KcdmBhneevj6WR46zitlT08Rs0IW1vQCAbLe5eROphDc0fwaXzsDi9S-MGUSbbtVSUT20Gb4lwMEFza~eBwo~-1Q3DGrsJEsyBSRKfwYdFitujVCwtocs7WF7EOO4jwsvQVOhNQZyIxhUjutf-v16TdtxZfhFiieTUX-28~HA__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":2396,"name":"Eighteenth-Century literature","url":"https://www.academia.edu/Documents/in/Eighteenth-Century_literature"},{"id":6636,"name":"Metrics","url":"https://www.academia.edu/Documents/in/Metrics"},{"id":10634,"name":"Versification","url":"https://www.academia.edu/Documents/in/Versification"}],"urls":[]}, dispatcherData: dispatcherData }); 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This book, then, is about the way Shakespeare organises the rhythms of speech in verse, and uses them to create and reinforce meanings in the theatre (and in the mind of the reader); it doesn't deal with either prose or song, which are different (and complex) topics. The first chapter explores the material of performance-the music of English speech-and the second deals with the normal ways in which that material is patterned in verse; the third discusses breaks and pauses; the fourth and fifth look at the ways in which performancedirection is structured into the verse in metrical gaps and absences; the sixth briefly covers other kinds of spoken verse in the plays; and the seventh shows how to explore in technical detail the possibilities of the verse for performance. There are, of course, those who feel we'd be better off ignoring the metre: that iambic pentameter is a kind of \"metronome\" (Harrison 1948, 249) that stifles the actor's spontaneity, making soliloquies monotonous and dialogue wooden and artificial. 2 There's an element of truth in this if we confine ourselves to the very earliest examples of blank verse drama, from Gorbuduc (1569) to the late 1580s, but the insistent regularity of this 'drumming decasyllabon' was artificially produced: it was a deliberate starching strategy to distinguish the new (and self-consciously artistic) form as far as possible from the rough-andready doggerel of the old interludes and morality plays that preceded it (see §6.2.7). 3 To reform the crude insistence of early pentameter into something 2 See Groves (2007) for instances of this curious modern hostility to metre, in part the result of \"a failure of ear: an inability to hear pentameter in all its modulated complexity\" (128). 3 As an illustration of what Robert Greene dismissed as \"the swelling bombast of bragging blank verse\" and \"the spacious volubility of a drumming decasyllabon\" (Preface to Menaphon [1589]), consider the opening of Sackville and Norton's Gorbuduc (1569): The silent night that bringes the quiet pawse, From painefull travailes of the wearie Daie Prolonges my carefull thoughtes and makes me blame The slowe Aurore that so for love or shame Doth longe delaye to shewe her blusshing face, And nowe the Daie renewes my griefull plainte. The heavy-handed rhythmical insistence illustrated here is not due to incompetence: it is artfully produced by poets who wish to ensure that you will not mistake their verse either for prose or for doggerel. Notice, for example, the 'drumming' effect of the almost complete coincidence of stresses (bolded) with beats (underlined), and the 'bombast' or padding out with vacuous fillers (silent and quiet in line 1, painful and weary in 2) to ensure that line endings coincide with grammatical breaks. rms-p1-v7.indd 14 13/06/2013 3:12:16 PM 4 Australian public radio regularly announces the weather in iambic pentameter: \"A warm to hot and mainly sunny day\", for example, or \"A top today of thirty-four degrees\". I once spent a few weeks collecting such lines as they occurred in conversation and the media, and was surprised to find how frequent they were. The following little poem is made of lines that are all, individually, exactly as heard or overheard: \"Horses performing dressage in the paddock; / A sculpture made of bits of wood you've found; / That lovely hat you bought in Covent Garden; / I need to know; I want to understand / Science, the arts, religion and ideas. / Who did you say had read The Golden Bowl? / I've never farted in a crowded lift: / Ceremony's the crucible of soul.\" 5 See B. L. Joseph (1951, 79-80). Hugh Blair (1783, 2.209) describes what he calls \"a theatrical, or mouthing manner\" in public speaking, from those who \"dwell upon [the syllables], and protract them; they multiply accents on the same word; from a mistaken notion, that it gives gravity and force to their Discourse\". In a play from 1626, the 'mouthing' town-crier (p.14) delivers a proclamation in which the disruptive effect of these distortions is represented in the play-text by vertical solidi: \"All manner of schollars and students| with their Reteiners| and appurtenances| that hold or pretend to hold| in Capite| any learning, art or science| of the grand Lord our soueraigne Apollo| [etc.]\" (William Hawkins, Apollo Shroving (London: Printed for Robert Mylbourne [1627], pp.16-17).","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"grobid_abstract_attachment_id":90649082},"translated_abstract":null,"internal_url":"https://www.academia.edu/11951047/Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors_Melbourne_Monash_University_Publishing_2013_","translated_internal_url":"","created_at":"2015-04-14T19:47:08.482-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[{"id":90649082,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/90649082/thumbnails/1.jpg","file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors.pdf","download_url":"https://www.academia.edu/attachments/90649082/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guid.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/90649082/Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors-libre.pdf?1662300422=\u0026response-content-disposition=attachment%3B+filename%3DRhythm_and_Meaning_in_Shakespeare_A_Guid.pdf\u0026Expires=1733328769\u0026Signature=PNDmstXuGOu~530wn3dmIM5pBFbUVdBRs88lJRZzyHFqMmD5bAFuH8JIoXCvcd4l0Q0Kewvnso4PNC9WIPDyzbbavXFjIPJMjbUmsXMMJa7Z4RC4XgF-V7OYmNLMw3gfTDXe4vCnohO13ZI9mROYxBP5IBqspoYtevHyTYci6ed77p7RnCEbweeh3nAL~Ygh796KauQBp6JgjBJrb3NnWNQjNH7P-DP3IlWYDAgJHHhXhFOgL-hFhScRkaBajBzLrMMfBO~RSkZcaTaj-PANgIWxhzkj~oIxwFJ3aq7Hkq6jL3PLKLWtFjDqjrfC-9h7p~WEcDTbhrb92Dv2uYEMUQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors_Melbourne_Monash_University_Publishing_2013_","translated_slug":"","page_count":224,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":90649082,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/90649082/thumbnails/1.jpg","file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors.pdf","download_url":"https://www.academia.edu/attachments/90649082/download_file?st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guid.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/90649082/Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors-libre.pdf?1662300422=\u0026response-content-disposition=attachment%3B+filename%3DRhythm_and_Meaning_in_Shakespeare_A_Guid.pdf\u0026Expires=1733328769\u0026Signature=PNDmstXuGOu~530wn3dmIM5pBFbUVdBRs88lJRZzyHFqMmD5bAFuH8JIoXCvcd4l0Q0Kewvnso4PNC9WIPDyzbbavXFjIPJMjbUmsXMMJa7Z4RC4XgF-V7OYmNLMw3gfTDXe4vCnohO13ZI9mROYxBP5IBqspoYtevHyTYci6ed77p7RnCEbweeh3nAL~Ygh796KauQBp6JgjBJrb3NnWNQjNH7P-DP3IlWYDAgJHHhXhFOgL-hFhScRkaBajBzLrMMfBO~RSkZcaTaj-PANgIWxhzkj~oIxwFJ3aq7Hkq6jL3PLKLWtFjDqjrfC-9h7p~WEcDTbhrb92Dv2uYEMUQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":10634,"name":"Versification","url":"https://www.academia.edu/Documents/in/Versification"},{"id":19590,"name":"Acting","url":"https://www.academia.edu/Documents/in/Acting"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance"}],"urls":[{"id":4677221,"url":"http://www.publishing.monash.edu/books/rms-9781921867811.html"}]}, dispatcherData: dispatcherData }); 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="profile--tab_heading_container js-section-heading" data-section="Encyclopedia entries" id="Encyclopedia entries"><h3 class="profile--tab_heading_container">Encyclopedia entries by Peter Groves</h3></div><div class="js-work-strip profile--work_container" data-work-id="11964471"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11964471/Pertinence"><img alt="Research paper thumbnail of Pertinence" class="work-thumbnail" src="https://attachments.academia-assets.com/37319010/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11964471/Pertinence">Pertinence</a></div><div class="wp-workCard_item"><span>Encyclopedia of Semiotics, ed. P. Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a166335928076ffee86dd78d90621fe6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37319010,"asset_id":11964471,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37319010/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964471"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964471"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964471; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964471]").text(description); $(".js-view-count[data-work-id=11964471]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964471; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964471']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964471, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a166335928076ffee86dd78d90621fe6" } } $('.js-work-strip[data-work-id=11964471]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964471,"title":"Pertinence","translated_title":"","metadata":{"grobid_abstract":"Since to decode a message we need to know something both of the code and of the context of the message, any message that is interpretable will be, for the interpreter, at least partly predictable and (to that extent) redundant. If we meet a \u003cq\u003e in an English text, for example, we can be fairly certain that the next letter will be a \u003cu\u003e; if a word begins with a \u003ct\u003e, the next letter is highly unlikely to be a \u003cg\u003e; if . Thus if we listen to a speech in English on a subject we know nothing about, we will still be able to predict a fair amount about it, simply by virtue of the fact that it will obey the rules of English phonology, syntax, lexical collocation, and so on; if we understand the context of discourse we will be able to predict far more-indeed, if we are listening to a friend on a familiar topic, we may even be able to finish his or her sentences. A message that is completely predictable, however, both in its form and its context of occurrence-an 'OPEN' sign outside a shop that is never taken down, for example, even when the shop is closed for business-conveys no information in the (linguistic) code it claims to operate in; a message that is almost completely unpredictable in form, such as a speech in an unknown language, equally conveys no information.","publication_date":{"day":null,"month":null,"year":1998,"errors":{}},"publication_name":"Encyclopedia of Semiotics, ed. P. 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P. Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8fa7251ff93a7f19b94c4ba2dac11e3d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37319003,"asset_id":11964469,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37319003/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964469"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964469"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964469; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964469]").text(description); $(".js-view-count[data-work-id=11964469]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964469; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964469']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964469, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8fa7251ff93a7f19b94c4ba2dac11e3d" } } $('.js-work-strip[data-work-id=11964469]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964469,"title":"Markedness","translated_title":"","metadata":{"publication_date":{"day":null,"month":null,"year":1998,"errors":{}},"publication_name":"Encyclopedia of Semiotics, ed. 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P. Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7988533ec89635c63d6d90442531a7d8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37318996,"asset_id":11964416,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37318996/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964416"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964416"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964416; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964416]").text(description); $(".js-view-count[data-work-id=11964416]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964416; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964416']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964416, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7988533ec89635c63d6d90442531a7d8" } } $('.js-work-strip[data-work-id=11964416]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964416,"title":"Linearity","translated_title":"","metadata":{"grobid_abstract":"When you dressed yourself this morning, you created a sartorial syntagm, or combination of signifiers, by selecting at each point from the appropriate range, or paradigm, of items: from the paradigms of boot/shoe, of sock/stockings/tights, of hat/shawl, and so on. The resultant vestimentary syntagm will have a generalised signification that spectators may take in at a glance; if they wish to inspect it item by item, they may trace the signifiers in any order they choose. It is clear that articulate speech differs from such visual modes of symbolic representation in that its component parts cannot be presented to the attention simultaneously; they must unfold in some particular sequence, creating a chain of signifiers, or 'syntagmatic string'. For Saussure, this property of 'linearity' constitutes (after its essential arbitrariness) the most crucial characteristic of the (vocal) signifier: \"Le signifiant, étant de nature auditive, se déroule dans le temps seul et a les caractères qu'il emprunte au temps: a) il représente une étendue, et b) cette étendue est mésurable dans une seule dimension: c'est une ligne\" (Saussure 1915, 103). 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Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5ed4ad364a40ac4f34938cf2be548edc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37318991,"asset_id":11964411,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37318991/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964411"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964411"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964411; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964411]").text(description); $(".js-view-count[data-work-id=11964411]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964411; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964411']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964411, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5ed4ad364a40ac4f34938cf2be548edc" } } $('.js-work-strip[data-work-id=11964411]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964411,"title":"Language change","translated_title":"","metadata":{"publication_date":{"day":null,"month":null,"year":1998,"errors":{}},"publication_name":"Encyclopedia of Semiotics, ed. 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Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7cfe31a8aa0f2bd66344375e476dc37f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37318980,"asset_id":11964402,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37318980/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964402"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964402"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964402; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964402]").text(description); $(".js-view-count[data-work-id=11964402]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964402; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964402']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964402, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7cfe31a8aa0f2bd66344375e476dc37f" } } $('.js-work-strip[data-work-id=11964402]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964402,"title":"Distinctive features","translated_title":"","metadata":{"grobid_abstract":"Suppose that two flatmates agree on a simple code: an upside-down doormat is to mean that whoever is in current possession of the flat doesn't want to be disturbed. A naive observer might suppose that the signification was somehow vested in the doormat itself, but this cannot be the case since any mat will serve the flatmates' purpose-rubber or coconut, black or brown, pristine or shabby-provided that it has an identifiable recto and verso. It is the relationship between the two possible situations of the mat that gives it its significance: the meaning resides in the difference. Indeed, in the temporary absence of the doormat the code could be transferred to a nearby object-a boot-jack, say, or a milk-bottle. Of all the possible characteristics of doormats, only one-vertical orientation-matters so far as the code is concerned. To put it another way, we may say that the mat has just one binary distinctive feature, 'upsidedownness', which is either present, such that the mat is [+upsidedown], or absent (making it [-upsidedown]); this distinctive feature (henceforth DF) would be conventionally represented as [±upsidedown]. 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Erik Martiny (Wiley-Blackwell, May 2011)</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="02267e410bc177b1bd47ce57d2f90f00" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309364,"asset_id":11951151,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309364/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11951151"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11951151"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11951151; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11951151]").text(description); $(".js-view-count[data-work-id=11951151]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11951151; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11951151']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11951151, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "02267e410bc177b1bd47ce57d2f90f00" } } $('.js-work-strip[data-work-id=11951151]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11951151,"title":"Metre","translated_title":"","metadata":{"ai_abstract":"This paper explores the concept of metre in poetry, distinguishing between sounded beats (ictus) and silent beats (rests). 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11951024"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11951024/Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry"><img alt="Research paper thumbnail of Subversive rhythms: Postcolonial prosody and Indo Anglian poetry" class="work-thumbnail" src="https://attachments.academia-assets.com/37309245/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11951024/Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry">Subversive rhythms: Postcolonial prosody and Indo Anglian poetry</a></div><div class="wp-workCard_item"><span>Hoogstad, Jan Hein, and Birgitte Stougaard, eds: Pluralizing Rhythm: Music, Arts, Politics, (Amsterdam/New York: Rodopi, 2011) </span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7d7b9a73dd8195c3c9ca04d8c6e49c4f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309245,"asset_id":11951024,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309245/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11951024"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11951024"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11951024; 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Those who executed the project of Macaulay's famous Minute on Indian Education (1835) hoped to attune Indian ears-or those, at any rate, of a class of potentially useful intermediaries, \"Indian in blood and colour, but English in tastes, in opinions, in morals and in intellect\" (Sharp 107-17)-as much to the music of Shakespeare and Tennyson as to their ideological baggage (indeed, the two are difficult to uncouple), and the partial success of this Anglification project can be seen in the slightly wan but metrically perfect pentameter of nineteenth-century Indian poets, such as Henry de Rozario, Toru Dutt, and Sarojini Naidu.","publication_date":{"day":null,"month":null,"year":2011,"errors":{}},"publication_name":"Hoogstad, Jan Hein, and Birgitte Stougaard, eds: Pluralizing Rhythm: Music, Arts, Politics, (Amsterdam/New York: Rodopi, 2011) ","grobid_abstract_attachment_id":37309245},"translated_abstract":null,"internal_url":"https://www.academia.edu/11951024/Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry","translated_internal_url":"","created_at":"2015-04-14T19:42:41.284-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":37309245,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309245/thumbnails/1.jpg","file_name":"Thamyris_26_07_-_Peter_Groves.pdf","download_url":"https://www.academia.edu/attachments/37309245/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Subversive_rhythms_Postcolonial_prosody.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309245/Thamyris_26_07_-_Peter_Groves-libre.pdf?1429065857=\u0026response-content-disposition=attachment%3B+filename%3DSubversive_rhythms_Postcolonial_prosody.pdf\u0026Expires=1733352608\u0026Signature=QaBsFMhlFpXkSlH6mY5nUbCLraGvHvBoY-Il8E6fvEYwgHzlY7VH8kzGDdVqlHdGJRBKvF5dt31oEyhN~nf8j1~4xb~qlACtxRgxgVOCL93-uDFZDrdhb3-eV54~5vCteea-ODMcUzdaXcalr52fCbT6bsh6id~lABPVyodvJdnB9Ovh0DS-bhttgh2T~UFZeiv4CyvKoL4QIrSVsNaq92Kn8nPalo~hhv04r2k0XPYY2zC2Pty5Fyp84ebeY-yIYkL0yIURXcShGtxuEryxNs3-jU3Us~T5dpvFUkd22BYANRo7SoGH6elhG34TfocLtts8ybKfgzaKL9aIqCD25g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Subversive_rhythms_Postcolonial_prosody_and_Indo_Anglian_poetry","translated_slug":"","page_count":12,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":37309245,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309245/thumbnails/1.jpg","file_name":"Thamyris_26_07_-_Peter_Groves.pdf","download_url":"https://www.academia.edu/attachments/37309245/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Subversive_rhythms_Postcolonial_prosody.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309245/Thamyris_26_07_-_Peter_Groves-libre.pdf?1429065857=\u0026response-content-disposition=attachment%3B+filename%3DSubversive_rhythms_Postcolonial_prosody.pdf\u0026Expires=1733352608\u0026Signature=QaBsFMhlFpXkSlH6mY5nUbCLraGvHvBoY-Il8E6fvEYwgHzlY7VH8kzGDdVqlHdGJRBKvF5dt31oEyhN~nf8j1~4xb~qlACtxRgxgVOCL93-uDFZDrdhb3-eV54~5vCteea-ODMcUzdaXcalr52fCbT6bsh6id~lABPVyodvJdnB9Ovh0DS-bhttgh2T~UFZeiv4CyvKoL4QIrSVsNaq92Kn8nPalo~hhv04r2k0XPYY2zC2Pty5Fyp84ebeY-yIYkL0yIURXcShGtxuEryxNs3-jU3Us~T5dpvFUkd22BYANRo7SoGH6elhG34TfocLtts8ybKfgzaKL9aIqCD25g__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":10634,"name":"Versification","url":"https://www.academia.edu/Documents/in/Versification"},{"id":15863,"name":"Postcolonial Literature","url":"https://www.academia.edu/Documents/in/Postcolonial_Literature"},{"id":341904,"name":"Indian Poetics","url":"https://www.academia.edu/Documents/in/Indian_Poetics"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11950995"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11950995/Shakespeare_s_Short_Pentameters_and_the_Rhythms_of_Dramatic_Verse"><img alt="Research paper thumbnail of Shakespeare’s 'Short' Pentameters and the Rhythms of Dramatic Verse" class="work-thumbnail" src="https://attachments.academia-assets.com/37309218/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11950995/Shakespeare_s_Short_Pentameters_and_the_Rhythms_of_Dramatic_Verse">Shakespeare’s 'Short' Pentameters and the Rhythms of Dramatic Verse</a></div><div class="wp-workCard_item"><span>Stylistics and Shakespeare’s Language — Transdisciplinary Approaches ed. Mireille Ravassat and Jonathan Culpepper (Continuum Press, June 2011). pp.119-138</span><span>, 2011</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="22619f3a6e1bd057a3c61b649bba51f2" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309218,"asset_id":11950995,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309218/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950995"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950995"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950995; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950995]").text(description); $(".js-view-count[data-work-id=11950995]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950995; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950995']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950995, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "22619f3a6e1bd057a3c61b649bba51f2" } } $('.js-work-strip[data-work-id=11950995]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950995,"title":"Shakespeare’s 'Short' Pentameters and the Rhythms of Dramatic Verse","translated_title":"","metadata":{"grobid_abstract":"This chapter investigates Shakespeare's innovative use of lacunae (empty slots in the metrical template of iambic pentameter) as rhythmic devices operating in dramatic verse either deictically or mimetically. Lacunae represent either silent beats or silent offbeats, produced in our negotiation as performers between written line and known phonological and metrical constraints. The silent offbeat comes itself in two distinct flavours: the 'jolt', which occurs between intonational phrases, and which has the effect of emphasizing discontinuity, and in mimetic terms of suggesting surprise, alarm, anger, urgency and so on; and the much rarer 'drag', which occurs within a phrase and has the effect of locally slowing down the tempo and forcing pitch-accent emphasis on the syllable that precedes it. The silent beat or 'rest', on the other hand, functions as a way of cueing gesture and action in the theatre, and in addition has a number of interesting deictic uses, marking and drawing attention to features of the interaction between characters. 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Janeen Webb and Andrew Enstice (Perth: Eidolon, 1999), 160 67 </span><span>, 1999</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a901b9b5e828e1fb6b1d73ebe12d2bb9" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309146,"asset_id":11950933,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309146/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950933"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950933"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950933; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950933]").text(description); $(".js-view-count[data-work-id=11950933]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950933; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950933']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950933, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a901b9b5e828e1fb6b1d73ebe12d2bb9" } } $('.js-work-strip[data-work-id=11950933]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950933,"title":"Spenser's Secret Syncretism","translated_title":"","metadata":{"publication_date":{"day":null,"month":null,"year":1999,"errors":{}},"publication_name":"The Fantastic Self: Essays on the Subject of the Self, ed. 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$(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11950890"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11950890/Finding_his_Feet_Wyatt_and_the_Founding_of_English_Pentameter"><img alt="Research paper thumbnail of Finding his Feet: Wyatt and the Founding of English Pentameter" class="work-thumbnail" src="https://attachments.academia-assets.com/37309100/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11950890/Finding_his_Feet_Wyatt_and_the_Founding_of_English_Pentameter">Finding his Feet: Wyatt and the Founding of English Pentameter</a></div><div class="wp-workCard_item"><span>Versification: An Electronic Journal of Literary Prosody 4 (2005) ISSN 1546 0401 (http://www.arsversificandi.info/current/groves.html )</span><span>, 2005</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a mo...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed "at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="613fedab2e7fa2fe8ff363dad7b7c233" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309100,"asset_id":11950890,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309100/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950890"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950890"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950890; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950890]").text(description); $(".js-view-count[data-work-id=11950890]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950890; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950890']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950890, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "613fedab2e7fa2fe8ff363dad7b7c233" } } $('.js-work-strip[data-work-id=11950890]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950890,"title":"Finding his Feet: Wyatt and the Founding of English Pentameter","translated_title":"","metadata":{"abstract":"The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed \"at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.","ai_title_tag":"Wyatt's Role in Developing English Pentameter Structure","publication_date":{"day":null,"month":null,"year":2005,"errors":{}},"publication_name":"Versification: An Electronic Journal of Literary Prosody 4 (2005) ISSN 1546 0401 (http://www.arsversificandi.info/current/groves.html )"},"translated_abstract":"The puzzle of Wyatt's metre was famously summed up by an early twentieth-century reviewer of a modern edition of his poems, who observed \"at one moment he is the equal of the greatest in his command of rhythm and metre; at another he seems to be laboriously counting syllables on his fingers -- and getting them wrong sometimes This paper explores the origins of Wyatt's proto-pentameter in a misconstruction of the Italian endecasillabo, and tries to show that the mixture of familiarity and strangeness we find in his versification can be explained by the fact that he was writing as a pioneer at the very beginning of the modern English pentameter tradition. The strangeness arises from two causes: one is that he did not immediately see that in order to be intelligible as a metre, pentameter requires certain kinds of constraint on the metrical ordering of the line; the second is that he explored the expressive possibilities of certain prosodic features such as catalexis and the silent beat that have largely been avoided in the literary tradition of pentameter for essentially prescriptive reasons, though they have been exploited in Shakespeare dramatic verse and in the more relaxed versification of certain C20 poets. It also contends that the radical inventiveness of Wyatt’s contribution has been somewhat obscured by the traditional category of “accentual-syllabic” metre, which conflates merely ictosyllabic regulation, as in the case of poulter’s measure, with what might be called positional or footed (“ictothetic”) regulation.","internal_url":"https://www.academia.edu/11950890/Finding_his_Feet_Wyatt_and_the_Founding_of_English_Pentameter","translated_internal_url":"","created_at":"2015-04-14T19:15:44.626-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"other","co_author_tags":[],"downloadable_attachments":[{"id":37309100,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309100/thumbnails/1.jpg","file_name":"Finding__his_Feet.pdf","download_url":"https://www.academia.edu/attachments/37309100/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Finding_his_Feet_Wyatt_and_the_Founding.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309100/Finding__his_Feet-libre.pdf?1429064522=\u0026response-content-disposition=attachment%3B+filename%3DFinding_his_Feet_Wyatt_and_the_Founding.pdf\u0026Expires=1733352608\u0026Signature=Ca9SJoUB3g7wz4mUnpFLAYbq0O6jaAdNi8-xE7hrJ8uYQbBZxFwQlaDre0IIMHO7KcLF8yhxfJAADHaORr3P7lJXOiLlZ33ICzvbOu7EYxuKV2Ldf2I95bbiD6FymjjblajmkMdWkarXLcJFLsX~zZi2T-RPQkwRRDNCYF6rFqdMs5NYhPuOVj80wtgSR3SONzKS~1R6rxBf8Pu6JiP8wz8xosZrFsqa5tkauQNOX8-HnMN-x3WRFntMD2vhMuwCtSQO~TfeOj58laA4sP7KCM3OvlfbsU7R3~ZEMuV4Z9-QhB1krtyNSN7fiUBqY-n5J6fLF1cvLIBZOeCTXbLNKQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Finding_his_Feet_Wyatt_and_the_Founding_of_English_Pentameter","translated_slug":"","page_count":26,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":37309100,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/37309100/thumbnails/1.jpg","file_name":"Finding__his_Feet.pdf","download_url":"https://www.academia.edu/attachments/37309100/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Finding_his_Feet_Wyatt_and_the_Founding.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/37309100/Finding__his_Feet-libre.pdf?1429064522=\u0026response-content-disposition=attachment%3B+filename%3DFinding_his_Feet_Wyatt_and_the_Founding.pdf\u0026Expires=1733352608\u0026Signature=Ca9SJoUB3g7wz4mUnpFLAYbq0O6jaAdNi8-xE7hrJ8uYQbBZxFwQlaDre0IIMHO7KcLF8yhxfJAADHaORr3P7lJXOiLlZ33ICzvbOu7EYxuKV2Ldf2I95bbiD6FymjjblajmkMdWkarXLcJFLsX~zZi2T-RPQkwRRDNCYF6rFqdMs5NYhPuOVj80wtgSR3SONzKS~1R6rxBf8Pu6JiP8wz8xosZrFsqa5tkauQNOX8-HnMN-x3WRFntMD2vhMuwCtSQO~TfeOj58laA4sP7KCM3OvlfbsU7R3~ZEMuV4Z9-QhB1krtyNSN7fiUBqY-n5J6fLF1cvLIBZOeCTXbLNKQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":10634,"name":"Versification","url":"https://www.academia.edu/Documents/in/Versification"},{"id":22587,"name":"Thomas Wyatt","url":"https://www.academia.edu/Documents/in/Thomas_Wyatt"},{"id":145710,"name":"Early Modern Poetry","url":"https://www.academia.edu/Documents/in/Early_Modern_Poetry"},{"id":184999,"name":"Metrics and Prosody","url":"https://www.academia.edu/Documents/in/Metrics_and_Prosody"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="11950785"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/11950785/The_Chomsky_of_Grub_Street_Edward_Bysshe_and_the_Triumph_of_Classroom_Metrics"><img alt="Research paper thumbnail of The Chomsky of Grub Street: Edward Bysshe and the Triumph of Classroom Metrics" class="work-thumbnail" src="https://attachments.academia-assets.com/37309018/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/11950785/The_Chomsky_of_Grub_Street_Edward_Bysshe_and_the_Triumph_of_Classroom_Metrics">The Chomsky of Grub Street: Edward Bysshe and the Triumph of Classroom Metrics</a></div><div class="wp-workCard_item"><span>Versification: An Electronic Journal of Literary Prosody 3 (1999) ISSN 1546 0401 (http://www.arsversificandi.info/backissues/vol3/essays/groves.html) </span><span>, 1999</span></div><div class="wp-workCard_item"><span class="js-work-more-abstract-truncated">For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its ...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. So entrenched has this reputation become that (judging from their contradictory and wildly inaccurate accounts of it) his critics seem content to dismiss Bysshe's theory unheard. In fact it represents a serious and innovative attempt in the tradition of late C17 Royal Society empiricism to codify, for the practical purposes of the versifier, the metricality of the English heroic line, with particular reference to the practices of neoclassical poetry. In attempting, moreover, an explicit account of the conditions governing metrical form in terms of syntactic and phonological structure (given the rudimentary understanding of these matters then available), his system represents a remarkable (though sketchy and incomplete) prefiguring of modern linguistic or "generative" metrics. Given its demonstrable superiority as a descriptive tool over the gimcrack humanist alternative which has since become the orthodox form of scansion, the paper goes on to consider some of the reasons for the latter's ultimate triumph, including what might be termed the ceremonial function of traditional metrical description.</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8652f4d2aef6da8395f46d65716fc77c" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37309018,"asset_id":11950785,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37309018/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOCw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11950785"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11950785"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11950785; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11950785]").text(description); $(".js-view-count[data-work-id=11950785]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11950785; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11950785']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11950785, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8652f4d2aef6da8395f46d65716fc77c" } } $('.js-work-strip[data-work-id=11950785]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11950785,"title":"The Chomsky of Grub Street: Edward Bysshe and the Triumph of Classroom Metrics","translated_title":"","metadata":{"abstract":"For three centuries Edward Bysshe's highly influential The Art of English Poetry (1702) with its notorious attack on traditional foot-based metrics has been dismissed by critics and literary historians as a piece of mindless hackwork, unthinkingly plagiarized from a French original: interestingly, this reputation was in the first instance the creation of Charles Gildon, the writer who more than anybody laid the foundations for the elevation of foot-based metrics into the item of standard mental furniture that it later became. 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{"id":11951047,"title":"Rhythm and Meaning in Shakespeare: A Guide for Readers and Actors (Melbourne: Monash University Publishing, 2013)","translated_title":"","metadata":{"grobid_abstract":"rms-p1-v7.indd 12 13/06/2013 3:12:16 PM rms-p1-v7.indd 13 13/06/2013 3:12:16 PM xiv | Rhythm and Meaning in Shakespeare (2011, xvii): whereas the phonetic texture of the line is present to any speaker of English who hears or speaks it, the rhythm is something the speaker or reader must partly produce in cooperation with the verse, and is therefore something that has to be learned. This book, then, is about the way Shakespeare organises the rhythms of speech in verse, and uses them to create and reinforce meanings in the theatre (and in the mind of the reader); it doesn't deal with either prose or song, which are different (and complex) topics. The first chapter explores the material of performance-the music of English speech-and the second deals with the normal ways in which that material is patterned in verse; the third discusses breaks and pauses; the fourth and fifth look at the ways in which performancedirection is structured into the verse in metrical gaps and absences; the sixth briefly covers other kinds of spoken verse in the plays; and the seventh shows how to explore in technical detail the possibilities of the verse for performance. There are, of course, those who feel we'd be better off ignoring the metre: that iambic pentameter is a kind of \"metronome\" (Harrison 1948, 249) that stifles the actor's spontaneity, making soliloquies monotonous and dialogue wooden and artificial. 2 There's an element of truth in this if we confine ourselves to the very earliest examples of blank verse drama, from Gorbuduc (1569) to the late 1580s, but the insistent regularity of this 'drumming decasyllabon' was artificially produced: it was a deliberate starching strategy to distinguish the new (and self-consciously artistic) form as far as possible from the rough-andready doggerel of the old interludes and morality plays that preceded it (see §6.2.7). 3 To reform the crude insistence of early pentameter into something 2 See Groves (2007) for instances of this curious modern hostility to metre, in part the result of \"a failure of ear: an inability to hear pentameter in all its modulated complexity\" (128). 3 As an illustration of what Robert Greene dismissed as \"the swelling bombast of bragging blank verse\" and \"the spacious volubility of a drumming decasyllabon\" (Preface to Menaphon [1589]), consider the opening of Sackville and Norton's Gorbuduc (1569): The silent night that bringes the quiet pawse, From painefull travailes of the wearie Daie Prolonges my carefull thoughtes and makes me blame The slowe Aurore that so for love or shame Doth longe delaye to shewe her blusshing face, And nowe the Daie renewes my griefull plainte. The heavy-handed rhythmical insistence illustrated here is not due to incompetence: it is artfully produced by poets who wish to ensure that you will not mistake their verse either for prose or for doggerel. Notice, for example, the 'drumming' effect of the almost complete coincidence of stresses (bolded) with beats (underlined), and the 'bombast' or padding out with vacuous fillers (silent and quiet in line 1, painful and weary in 2) to ensure that line endings coincide with grammatical breaks. rms-p1-v7.indd 14 13/06/2013 3:12:16 PM 4 Australian public radio regularly announces the weather in iambic pentameter: \"A warm to hot and mainly sunny day\", for example, or \"A top today of thirty-four degrees\". I once spent a few weeks collecting such lines as they occurred in conversation and the media, and was surprised to find how frequent they were. The following little poem is made of lines that are all, individually, exactly as heard or overheard: \"Horses performing dressage in the paddock; / A sculpture made of bits of wood you've found; / That lovely hat you bought in Covent Garden; / I need to know; I want to understand / Science, the arts, religion and ideas. / Who did you say had read The Golden Bowl? / I've never farted in a crowded lift: / Ceremony's the crucible of soul.\" 5 See B. L. Joseph (1951, 79-80). Hugh Blair (1783, 2.209) describes what he calls \"a theatrical, or mouthing manner\" in public speaking, from those who \"dwell upon [the syllables], and protract them; they multiply accents on the same word; from a mistaken notion, that it gives gravity and force to their Discourse\". In a play from 1626, the 'mouthing' town-crier (p.14) delivers a proclamation in which the disruptive effect of these distortions is represented in the play-text by vertical solidi: \"All manner of schollars and students| with their Reteiners| and appurtenances| that hold or pretend to hold| in Capite| any learning, art or science| of the grand Lord our soueraigne Apollo| [etc.]\" (William Hawkins, Apollo Shroving (London: Printed for Robert Mylbourne [1627], pp.16-17).","publication_date":{"day":null,"month":null,"year":2013,"errors":{}},"grobid_abstract_attachment_id":90649082},"translated_abstract":null,"internal_url":"https://www.academia.edu/11951047/Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors_Melbourne_Monash_University_Publishing_2013_","translated_internal_url":"","created_at":"2015-04-14T19:47:08.482-07:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"book","co_author_tags":[],"downloadable_attachments":[{"id":90649082,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/90649082/thumbnails/1.jpg","file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors.pdf","download_url":"https://www.academia.edu/attachments/90649082/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guid.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/90649082/Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors-libre.pdf?1662300422=\u0026response-content-disposition=attachment%3B+filename%3DRhythm_and_Meaning_in_Shakespeare_A_Guid.pdf\u0026Expires=1733328769\u0026Signature=PNDmstXuGOu~530wn3dmIM5pBFbUVdBRs88lJRZzyHFqMmD5bAFuH8JIoXCvcd4l0Q0Kewvnso4PNC9WIPDyzbbavXFjIPJMjbUmsXMMJa7Z4RC4XgF-V7OYmNLMw3gfTDXe4vCnohO13ZI9mROYxBP5IBqspoYtevHyTYci6ed77p7RnCEbweeh3nAL~Ygh796KauQBp6JgjBJrb3NnWNQjNH7P-DP3IlWYDAgJHHhXhFOgL-hFhScRkaBajBzLrMMfBO~RSkZcaTaj-PANgIWxhzkj~oIxwFJ3aq7Hkq6jL3PLKLWtFjDqjrfC-9h7p~WEcDTbhrb92Dv2uYEMUQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors_Melbourne_Monash_University_Publishing_2013_","translated_slug":"","page_count":224,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":90649082,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/90649082/thumbnails/1.jpg","file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors.pdf","download_url":"https://www.academia.edu/attachments/90649082/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Rhythm_and_Meaning_in_Shakespeare_A_Guid.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/90649082/Rhythm_and_Meaning_in_Shakespeare_A_Guide_for_Readers_and_Actors-libre.pdf?1662300422=\u0026response-content-disposition=attachment%3B+filename%3DRhythm_and_Meaning_in_Shakespeare_A_Guid.pdf\u0026Expires=1733328769\u0026Signature=PNDmstXuGOu~530wn3dmIM5pBFbUVdBRs88lJRZzyHFqMmD5bAFuH8JIoXCvcd4l0Q0Kewvnso4PNC9WIPDyzbbavXFjIPJMjbUmsXMMJa7Z4RC4XgF-V7OYmNLMw3gfTDXe4vCnohO13ZI9mROYxBP5IBqspoYtevHyTYci6ed77p7RnCEbweeh3nAL~Ygh796KauQBp6JgjBJrb3NnWNQjNH7P-DP3IlWYDAgJHHhXhFOgL-hFhScRkaBajBzLrMMfBO~RSkZcaTaj-PANgIWxhzkj~oIxwFJ3aq7Hkq6jL3PLKLWtFjDqjrfC-9h7p~WEcDTbhrb92Dv2uYEMUQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":10634,"name":"Versification","url":"https://www.academia.edu/Documents/in/Versification"},{"id":19590,"name":"Acting","url":"https://www.academia.edu/Documents/in/Acting"},{"id":57385,"name":"Shakespeare in Performance","url":"https://www.academia.edu/Documents/in/Shakespeare_in_Performance"}],"urls":[{"id":4677221,"url":"http://www.publishing.monash.edu/books/rms-9781921867811.html"}]}, dispatcherData: dispatcherData }); 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Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="a166335928076ffee86dd78d90621fe6" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37319010,"asset_id":11964471,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37319010/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964471"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964471"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964471; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964471]").text(description); $(".js-view-count[data-work-id=11964471]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964471; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964471']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964471, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "a166335928076ffee86dd78d90621fe6" } } $('.js-work-strip[data-work-id=11964471]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964471,"title":"Pertinence","translated_title":"","metadata":{"grobid_abstract":"Since to decode a message we need to know something both of the code and of the context of the message, any message that is interpretable will be, for the interpreter, at least partly predictable and (to that extent) redundant. 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Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="8fa7251ff93a7f19b94c4ba2dac11e3d" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37319003,"asset_id":11964469,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37319003/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964469"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964469"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964469; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964469]").text(description); $(".js-view-count[data-work-id=11964469]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964469; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964469']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964469, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "8fa7251ff93a7f19b94c4ba2dac11e3d" } } $('.js-work-strip[data-work-id=11964469]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964469,"title":"Markedness","translated_title":"","metadata":{"publication_date":{"day":null,"month":null,"year":1998,"errors":{}},"publication_name":"Encyclopedia of Semiotics, ed. 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Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7988533ec89635c63d6d90442531a7d8" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37318996,"asset_id":11964416,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37318996/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964416"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964416"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964416; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964416]").text(description); $(".js-view-count[data-work-id=11964416]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964416; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964416']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964416, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7988533ec89635c63d6d90442531a7d8" } } $('.js-work-strip[data-work-id=11964416]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964416,"title":"Linearity","translated_title":"","metadata":{"grobid_abstract":"When you dressed yourself this morning, you created a sartorial syntagm, or combination of signifiers, by selecting at each point from the appropriate range, or paradigm, of items: from the paradigms of boot/shoe, of sock/stockings/tights, of hat/shawl, and so on. 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Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="5ed4ad364a40ac4f34938cf2be548edc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37318991,"asset_id":11964411,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37318991/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964411"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964411"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964411; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964411]").text(description); $(".js-view-count[data-work-id=11964411]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964411; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964411']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964411, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "5ed4ad364a40ac4f34938cf2be548edc" } } $('.js-work-strip[data-work-id=11964411]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964411,"title":"Language change","translated_title":"","metadata":{"publication_date":{"day":null,"month":null,"year":1998,"errors":{}},"publication_name":"Encyclopedia of Semiotics, ed. 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P. Bouissac (New York: Oxford University Press, 1998)</span><span>, 1998</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="7cfe31a8aa0f2bd66344375e476dc37f" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":37318980,"asset_id":11964402,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/37318980/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="11964402"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="11964402"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 11964402; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=11964402]").text(description); $(".js-view-count[data-work-id=11964402]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 11964402; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='11964402']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 11964402, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "7cfe31a8aa0f2bd66344375e476dc37f" } } $('.js-work-strip[data-work-id=11964402]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":11964402,"title":"Distinctive features","translated_title":"","metadata":{"grobid_abstract":"Suppose that two flatmates agree on a simple code: an upside-down doormat is to mean that whoever is in current possession of the flat doesn't want to be disturbed. A naive observer might suppose that the signification was somehow vested in the doormat itself, but this cannot be the case since any mat will serve the flatmates' purpose-rubber or coconut, black or brown, pristine or shabby-provided that it has an identifiable recto and verso. It is the relationship between the two possible situations of the mat that gives it its significance: the meaning resides in the difference. Indeed, in the temporary absence of the doormat the code could be transferred to a nearby object-a boot-jack, say, or a milk-bottle. Of all the possible characteristics of doormats, only one-vertical orientation-matters so far as the code is concerned. To put it another way, we may say that the mat has just one binary distinctive feature, 'upsidedownness', which is either present, such that the mat is [+upsidedown], or absent (making it [-upsidedown]); this distinctive feature (henceforth DF) would be conventionally represented as [±upsidedown]. 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Theories of Metre, Theories of Language Harvey Gross once characterized the field of prosody a...</span><a class="js-work-more-abstract" data-broccoli-component="work_strip.more_abstract" data-click-track="profile-work-strip-more-abstract" href="javascript:;"><span> more </span><span><i class="fa fa-caret-down"></i></span></a><span class="js-work-more-abstract-untruncated hidden">1. Theories of Metre, Theories of Language Harvey Gross once characterized the field of prosody as populated by a group of ‘cranks and faddists’.1 Truly, few fields have suffered so much from fundamental disagreements over basic terminology, splintering metrists into a wide array of schools, charted helpfully by TVF Brogan in his English Versification, 1570-1980. According to that taxonomy, there are quantitative, temporal, and stress-based approaches, to which we today might add phrasal and cognitive approaches as well. Yet, over the past fifty years, what we might term popular discussion of the field has been dominated by two approaches within the stress-based school: traditional stress metrics and generative metrics. Traditional stress metrics, widely adopted by prosody handbooks and pedagogic poetic texts, takes its terminology from the discourse about Classical metres. Generative metrics applies the theory and terminology of generative linguistics to poetic metre. To the extent...</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="f40ca25d4b3efc941bdeee9e123ffbdc" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":92921474,"asset_id":89051227,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/92921474/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="89051227"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="89051227"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 89051227; window.Academia.workViewCountsFetcher.queue(workId, function (count) { var description = window.$h.commaizeInt(count) + " " + window.$h.pluralize(count, 'View'); $(".js-view-count[data-work-id=89051227]").text(description); $(".js-view-count[data-work-id=89051227]").attr('title', description).tooltip(); }); });</script></span></span><span><span class="percentile-widget hidden"><span class="u-mr2x work-percentile"></span></span><script>$(function () { var workId = 89051227; window.Academia.workPercentilesFetcher.queue(workId, function (percentileText) { var container = $(".js-work-strip[data-work-id='89051227']"); container.find('.work-percentile').text(percentileText.charAt(0).toUpperCase() + percentileText.slice(1)); container.find('.percentile-widget').show(); container.find('.percentile-widget').removeClass('hidden'); }); });</script></span><span><script>$(function() { new Works.PaperRankView({ workId: 89051227, container: "", }); });</script></span></div><div id="work-strip-premium-row-container"></div></div></div><script> require.config({ waitSeconds: 90 })(["https://a.academia-assets.com/assets/wow_profile-f77ea15d77ce96025a6048a514272ad8becbad23c641fc2b3bd6e24ca6ff1932.js","https://a.academia-assets.com/assets/work_edit-ad038b8c047c1a8d4fa01b402d530ff93c45fee2137a149a4a5398bc8ad67560.js"], function() { // from javascript_helper.rb var dispatcherData = {} if (true){ window.WowProfile.dispatcher = window.WowProfile.dispatcher || _.clone(Backbone.Events); dispatcherData = { dispatcher: window.WowProfile.dispatcher, downloadLinkId: "f40ca25d4b3efc941bdeee9e123ffbdc" } } $('.js-work-strip[data-work-id=89051227]').each(function() { if (!$(this).data('initialized')) { new WowProfile.WorkStripView({ el: this, workJSON: {"id":89051227,"title":"Stress-Based Metrics Revisited: A Comparative Exercise in Scansion Systems and their Implications for Iambic Pentameter","translated_title":"","metadata":{"abstract":"1. 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Ironically, this retreat from the authority of the metre has coincided with large advances, based in part upon linguistics, in our understanding of how metre works. But if metre is not some arid formality but rather a signifying system, this kind of negligence is doing that reader a disservice. This paper will explore some of the ways in which editors might discreetly assist the reader in grasping metrical and prosodic variation (where such variation seems relevant or important), and in exploring (without oppressing the reader with unnecessary detail) the kinds of editorial choices o ered by two equally but variously substantive witnesses, such as Q2 and FI Hamlet: one role of the editor here is to draw attention to meaningful variation while filtering out mere noise.","publication_name":"Variants","grobid_abstract_attachment_id":80757458},"translated_abstract":null,"internal_url":"https://www.academia.edu/71397496/Textual_Editing_Shakespeare_s_Metre_and_the_Reader_on_the_Clapham_Omnibus","translated_internal_url":"","created_at":"2022-02-13T17:01:28.165-08:00","preview_url":null,"current_user_can_edit":null,"current_user_is_owner":null,"owner_id":29622779,"coauthors_can_edit":true,"document_type":"paper","co_author_tags":[],"downloadable_attachments":[{"id":80757458,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/80757458/thumbnails/1.jpg","file_name":"b408841439511067805326f41542b0f27b34.pdf","download_url":"https://www.academia.edu/attachments/80757458/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Textual_Editing_Shakespeare_s_Metre_and.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/80757458/b408841439511067805326f41542b0f27b34-libre.pdf?1644802702=\u0026response-content-disposition=attachment%3B+filename%3DTextual_Editing_Shakespeare_s_Metre_and.pdf\u0026Expires=1733352609\u0026Signature=KDZ318UQvA5nQ6S8a-rpvS-Zj45CNDi49huuh~hPDMiRpjh0rPyVpRoLpPoJ6Ikps0fgb1Fpl99HqyDwEbXa-GxF-z5J8Irt57BS0zT1EOjUq3ANkP6gm-tY4Vp44we7WLPTa3g7BWyLdNMT8u7sMuI6XLnIWK00TTp~LLPuHU8txbRSizuSHcyb9KPxy0aDooN3cb37a~LUhGmVI6oQhl1H6DkglHMb5nSYMYBsD0ogkDXSdfaqyqQflkQWpDMhrFIUDbC68Wc-QzaoPPDEviXN5VPQi-7psTWMYhU5D-136y4zXr3iUEigZdJcIOG0m~zbeWwp4kcdxO4cFHo4eQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"slug":"Textual_Editing_Shakespeare_s_Metre_and_the_Reader_on_the_Clapham_Omnibus","translated_slug":"","page_count":22,"language":"en","content_type":"Work","owner":{"id":29622779,"first_name":"Peter","middle_initials":null,"last_name":"Groves","page_name":"PeterGroves","domain_name":"monash","created_at":"2015-04-14T17:18:25.483-07:00","display_name":"Peter Groves","url":"https://monash.academia.edu/PeterGroves"},"attachments":[{"id":80757458,"title":"","file_type":"pdf","scribd_thumbnail_url":"https://attachments.academia-assets.com/80757458/thumbnails/1.jpg","file_name":"b408841439511067805326f41542b0f27b34.pdf","download_url":"https://www.academia.edu/attachments/80757458/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&","bulk_download_file_name":"Textual_Editing_Shakespeare_s_Metre_and.pdf","bulk_download_url":"https://d1wqtxts1xzle7.cloudfront.net/80757458/b408841439511067805326f41542b0f27b34-libre.pdf?1644802702=\u0026response-content-disposition=attachment%3B+filename%3DTextual_Editing_Shakespeare_s_Metre_and.pdf\u0026Expires=1733352609\u0026Signature=KDZ318UQvA5nQ6S8a-rpvS-Zj45CNDi49huuh~hPDMiRpjh0rPyVpRoLpPoJ6Ikps0fgb1Fpl99HqyDwEbXa-GxF-z5J8Irt57BS0zT1EOjUq3ANkP6gm-tY4Vp44we7WLPTa3g7BWyLdNMT8u7sMuI6XLnIWK00TTp~LLPuHU8txbRSizuSHcyb9KPxy0aDooN3cb37a~LUhGmVI6oQhl1H6DkglHMb5nSYMYBsD0ogkDXSdfaqyqQflkQWpDMhrFIUDbC68Wc-QzaoPPDEviXN5VPQi-7psTWMYhU5D-136y4zXr3iUEigZdJcIOG0m~zbeWwp4kcdxO4cFHo4eQ__\u0026Key-Pair-Id=APKAJLOHF5GGSLRBV4ZA"}],"research_interests":[{"id":128,"name":"History","url":"https://www.academia.edu/Documents/in/History"},{"id":52408,"name":"Literary studies","url":"https://www.academia.edu/Documents/in/Literary_studies"},{"id":997152,"name":"Variants","url":"https://www.academia.edu/Documents/in/Variants"}],"urls":[]}, dispatcherData: dispatcherData }); $(this).data('initialized', true); } }); $a.trackClickSource(".js-work-strip-work-link", "profile_work_strip") }); </script> <div class="js-work-strip profile--work_container" data-work-id="51913351"><div class="profile--work_thumbnail hidden-xs"><a class="js-work-strip-work-link" data-click-track="profile-work-strip-thumbnail" href="https://www.academia.edu/51913351/_Unheedy_haste_interruptions_overlaps_and_Shakespeare_s_directing_hand"><img alt="Research paper thumbnail of “Unheedy haste”: interruptions, overlaps, and Shakespeare’s directing hand" class="work-thumbnail" src="https://attachments.academia-assets.com/69421909/thumbnails/1.jpg" /></a></div><div class="wp-workCard wp-workCard_itemContainer"><div class="wp-workCard_item wp-workCard--title"><a class="js-work-strip-work-link text-gray-darker" data-click-track="profile-work-strip-title" href="https://www.academia.edu/51913351/_Unheedy_haste_interruptions_overlaps_and_Shakespeare_s_directing_hand">“Unheedy haste”: interruptions, overlaps, and Shakespeare’s directing hand</a></div><div class="wp-workCard_item"><span>Voice and Speech Review</span><span>, 2016</span></div><div class="wp-workCard_item wp-workCard--actions"><span class="work-strip-bookmark-button-container"></span><a id="48480115ac81ced0a7a1d413fe909018" class="wp-workCard--action" rel="nofollow" data-click-track="profile-work-strip-download" data-download="{"attachment_id":69421909,"asset_id":51913351,"asset_type":"Work","button_location":"profile"}" href="https://www.academia.edu/attachments/69421909/download_file?st=MTczMzM0OTAwOSw4LjIyMi4yMDguMTQ2&s=profile"><span><i class="fa fa-arrow-down"></i></span><span>Download</span></a><span class="wp-workCard--action visible-if-viewed-by-owner inline-block" style="display: none;"><span class="js-profile-work-strip-edit-button-wrapper profile-work-strip-edit-button-wrapper" data-work-id="51913351"><a class="js-profile-work-strip-edit-button" tabindex="0"><span><i class="fa fa-pencil"></i></span><span>Edit</span></a></span></span><span id="work-strip-rankings-button-container"></span></div><div class="wp-workCard_item wp-workCard--stats"><span><span><span class="js-view-count view-count u-mr2x" data-work-id="51913351"><i class="fa fa-spinner fa-spin"></i></span><script>$(function () { var workId = 51913351; 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This paper explores the possibility that in the late 1590s Shakespeare developed on the basis of this a further convention, an example of what John Barton has called \"stage-direction in shorthand,\" for signaling verbal overlap between characters, through the use of what I call \"junctural extrametricality\" (JEM), a form of metrical overlapping at the point where one speaker succeeds another. 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