6 Rhyme Now listen to Track 4, on which Jackie Kay and Paul Muldoon talk about rhyme. Click below to listen to track 4. 5.2 Free verse Although we can't make rules about what constitutes a poem, we can see that even when writing free verse, where lines and line-breaks may be irregular, form is still important. Free verse still makes use of technical effects: rhythms, grammatical structures, sound effects, etc. Also, it invariably still makes grammatical sense. Free verse, with its infinite elasticity, can recreate form anew in each poem, inventing a one-off organising principle which explains that particular poem. Acknowledgements Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. The material acknowledged below is Proprietary and used under licence (not subject References Keep on learning   There are more than 800 courses on OpenLearn for you to 4 Form of memorial I now want you to think about the form of ‘your’ war memorial. I don't think you will have had any difficulty in knowing what to look for when I asked you whether you had a memorial near to you, and where it was. You may have had to think about the question, and search for the memorial, but you knew what you were looking for. 1 War memorial and commemoration In this course you will have an opportunity to practise good study techniques using a framework within which to use them. Obviously, since you are shortly to begin your study of a range of disciplines, it will make sense to use a framework, or theme, that is relevant to the arts as a whole. The theme we have selected is that of commemoration and memorials. Studying this course will give you the experience of looking at, and thinking about, ideas that form the study of the humanities. At Learning outcomes After studying this course, you should be able to: demonstrate an awareness of the processes of study in the arts and humanities understand key concepts in the arts and humanities. 2.7 Expression meaning as defined by Grice Recall Step Two in the Gricean agenda: to define the meaning of expressions in terms of the meaning of individual utterances. Carrying out this strategy successfully would lend strong support to the thought that it is the mental states of speakers, rather than the meaning of expressions, that are the ultimate source of utterances’ meaning. 2.6 Which intentions? Grice makes three attempts to answer this last question. The second builds on the first; the third, which he proposes to adopt, builds on the second. In the next three activities, you will be asked to extract these attempts in turn, and appreciate the alleged shortcomings of the first two. 2.4 The meaning of expressions versus the meaning of individual utterances I drew a contrast at the beginning of the chapter between those approaches to the meaning of utterances that look to the meaning of the words used, and those approaches that look instead to the content of the mental or psychological states of speakers. Grice belongs to the second camp. He aims to show that the meaning of an expression (e.g. a word or a sentence) is derivative, definable in terms of how that expression is typically used in meaningful utterances. The meaning of individual utter 1.6 Further reading For an advanced general introduction to the philosophy of language, see Blackburn 1984. Lycan 1996 is pitched at a more accessible level. Pinker 1994 is an informal but informative discussion of the hypothesis that much of our linguistic ability is innate, an important topic that has had to be left out of this course. 3.1 William James In 1890, the philosopher and psychologist William James published his influential work The Principles of Psychology. The book included a chapter on the emotions, in which James advanced a bold new thesis about the nature of the emotions. James's thesis has had an enormous influence on subsequent debate. Reading 1 is a short extract from James's chapter on the emotions. In the passage that precedes this extract, James castigates earlier psychologists who have written on the subjec 2.6 Books and the internet as sources Finally, let's come back to the different types of modern sources as indicated in Figure 1. Many of these types are familiar to you in one way or another, so we can be brief. The course A219 uses set books that students registered with the Open University are required to purchase. Three of them are clearly modern scholarship: 2.4.6 Documents Various texts survive from the ancient world that don't fit into any of the categories above. Most of them are categorised as ‘documentary’. These can be parts of archives, or public commemorations such as tombstones, or inventories, or even shopping lists. Unsurprisingly, the vast majority of such material is now lost (after all, even today, a shopping list and many company and government records have a lower hope of long-term survival than a novel). Nonetheless, some of them have surviv 2.3 The use of sources As you saw in the video clips and the introduction to the essays, engagement with the evidence from and about the Classical world that we can still access lies at the heart of exploring the Classical world (as indeed any other place or period in the past). Work with sources is a constant feature of Classical Studies. This section, therefore, introduces you to the available sources, and to ways of working with them. We'll begin by discussing the different types of sources; later you will Acknowledgements This free course was written by Dr Derek Neale Except for third party materials and otherwise stated (see terms and conditions), this content is made available under a Creative Commons Attribution-NonCommercial-ShareAlike 4.0 Licence. The material acknowledged bel 3.2 Contexts On their own, sensory perceptions don't tend to mean that much. They depend on a context in which they can be brought to life: for instance, that of a character. Such sensory perceptions as you've just listed in Activity 4 might hold more meaning if the man who twitches the curtains was the character smelling the smells or touching the surfaces; if his neighbour in the purple sari was the character hearing the noises, tasting the flavours. Sensory perceptions offer dimensions that will enrich 3.1 Involving all of the senses Becoming more aware of the everyday world around you involves more than just looking. If writing is a perceptual art then perception should involve all of the senses, not just the visual. You must also start to smell, feel, taste and hear the world you are trying to realise. So, in the made up scenario, when you see the man with the Scottie dog you might be too fearful to stroke his dog, but perhaps you could touch the cold metal bar where the dog was tied up – after he is gone, of course! 2.1 The provinces Controlling and governing the provinces was a substantial part of an emperor's remit. Here you will consider different ways in which the emperor had contact with his provincial subjects. You will work through some sections from books by Goodman and Lewis, and Reinhold and watch a short video sequence.
Activity 17
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