![]() Bede s discussion of other poetic metres is mainly restricted to those employed in Christian hymnody, and their simplified analyses correspond with Christian usage. Bede s views have been influenced by his belief in the biblical origins of metre, an idea expounded by several Christian apologists. Instead of relying on the example of Vergil and other classics, he seeks to base his presentation of metrical rules, from syllable lengths to larger structures, on the example of Christian poets, most notably Sedulius, implying that pagan authors were even prosodically less advanced than Christian ones. Even here, Bede consciously strives to create a consistently Christian literary norm. The work departs from previous grammatical tradition by incorporating syllable lengths into its discussion of poetic metres, a didactic solution necessitated by the linguistic conditions of Anglo-Saxon England. The main focus of De arte metrica is on hexameter verse and the problems inherent in its composition at a time when syllable quantity had disappeared from spoken Latin. This historical background, together with the author s Christian agenda, is present in virtually every aspect of the way the work discusses the Latin poetic heritage. It played a central role in the transmission of the classical literary tradition to the medieval audience, but, at the same time, constitutes one of the first efforts at creating a textbook on metrics that was primarily intended for the monastic curriculum. The Venerable Bede s eighth-century De arte metrica was the most important treatise on Latin metrics to emerge in the early Middle Ages. Syntactically based scansion is also more accurate, and able to identify a wider range of rhythms (including free verse and triple rhythms) in contexts where traditional scansion fails. Syntactically derived stress assignments are much closer to native-speaker assessments of stress and so produce more natural scansions. From this research, it is clear that referencing syntax improves the accuracy of scansion. This identifies the skill level of each application. A third experiment enters the applications in an online poetry contest against humans, allowing them to be measured against a critic’s actual criteria. This is used to estimate how far each application approximates human assumptions when it does not match expert scansion. The second experiment uses a survey of non-experts to determine the acceptability of the applications’ scansions and of expert scansion. The first experiment assessed the applications against expert scansions of a large corpus to determine which one identifies rhythm the best. In each of three experiments, three applications are tested: one does not use syntax (Scandroid), one uses it for stress assignments only (Revised Scandroid), and one, which I have developed, uses it to determine both stress and scansion (Phonological Scansion). The research seeks to evaluate the impact of syntax on scansion generally and computer scansion in particular. However, no current computer scansion program references it, and most recent research has overlooked it (Hayes, 2005). One improvement is proposed by recent linguistic research: according to Hayes and Kaun (1996), syntax is an essential component in both stress and scansion assignment. The best, including Scandroid (Hartman, 2005), only scan as well as the undergraduates they are designed to help, because they depend on unreliable procedures to identify the stress in syllables and the rhythm in lines. In the last decade a large number of computer programs have been developed to identify scansion in English poetry – that is, the intended rhythm of stressed and unstressed syllables in each line. the combination of visual, auditory, and cognitively embodied experience, be properly understood and studied within the Digital Humanities? Organisers: Tazuko van Berkel, Matthew Payne & Antje Wessels How can the multimedia aspect of human experience, e.g.How can the Digital Humanities lead to new ways of incorporating phonic data in our research?.How can the inclusion and embedding of phonic properties be properly represented for textual, visual and other kinds of content in our digital working methods and in our outputs?.How can Digital Humanities help us to reconstruct phonic properties?. ![]() This workshop aims to tackle the following questions, to explore how the digital humanities can refocus on sound and what tools can be created to help: These are objects of sight, but a significant portion of human life is experienced through sound – in our day to day communication, in the music that we listen to, in the soundscapes of urban and rural life. The Digital Humanities are flourishing, but they are still largely focussed on textual and visual objects. We are delighted to announce SOUND MATTERS, an exploratory workshop into sound and Digital Humanities, to be held on Friday 26th August 2022 at Leiden University.
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