2.2 Background and recordings Sorley MacLean, 1911–98, is now regarded as one of the greatest Scottish poets of the twentieth century. Until the 1970s, his verse was known by very few people. In that decade, publication of English translations and the impact of his public readings established him in the eyes of poetry lovers in Scotland, Ireland and England, as well as further afield, as a major poet. Yet, curiously, this impact depended on work that mostly derived from a very specific conjunction of personal and
2.1.1 Aims The aims of these recordings, in which Sorley MacLean is interviewed by Iain Crichton-Smith, are to: (a) help you to sense the power of MacLean's poetry in its original Gaelic; (b) assist your understanding of the English texts of the poems, translated by MacLean himself.
Acknowledgements This course was written by Maria Kasmirli 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 Grateful acknowledgement is made to the follo
References 1 Approaching philosophy The 1960s show Beyond the Fringe included a sketch satirizing philosophy. In it, Jonathan Miller and Alan Bennett play two Oxbridge philosophers discussing the role of philosophy in everyday life. It concludes like this: Jon: … the burden is fair and square on your shoulders to explain to me the exact relevance philosophy does have to everyday life. Alan: Yes, I can do this quite easily. This mo 1 'The Enlightenment' What a change there was between 1785 and 1824! There has probably never been such an abrupt revolution in habits, ideas and beliefs in the two thousand years since we have known the history of the world. (Stendhal, Racine and Shakespeare, 1825; 1962 edn, p. 144) This course looks at a period of 50 years or so during which European culture underwent one of the most profound and far-reaching Learning outcomes After studying this course, you should be able to: understand the cultural climate that existed as the Enlightenment began understand the main characteristics of the Enlightenment demonstrate an awareness of the cultural shifts and trends leading from Enlightenment to Romanticism. Acknowledgements This course was written by Ms Eva Solzman 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 Grateful acknowledgement is made to the follo 7 Other rhyming techniques Near- or half rhymes are words or combinations of words that achieve only a partial rhyme. Half rhymes can be between words with just one syllable, or between parts of words, for example where the accented syllables rhyme with each other, but other syllables in the word don't rhyme. For instance: cover–shovel; wily–piling, calling–fallen; wildebeest–building. Assonant rhyme refers to echoing vowel sounds, either in 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
Activity 17
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