Caesura


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Related to Caesura: enjambment

caesura

1. (in modern prosody) a pause, esp for sense, usually near the middle of a verse line.
2. (in classical prosody) a break between words within a metrical foot, usually in the third or fourth foot of the line

Caesura

 

in poetry, a regular break between words in a poem.

In classical poetry, a caesura usually occurred within a foot; in accentual-syllabic verse it usually coincides with the foot ending. The caesura occurs after the second foot in the iambic pentameter line, as in “Eshche odno ∥ poslednee skazan’e” (“Yet one last tale,” Pushkin); after the third foot in iambic and trochaic hexameter lines, for example, “Dni pozdnei oseni ∥ braniat obyknovenno” (“The days of late autumn are usually cursed,” Pushkin); and occasionally after the second foot in the amphibrachic tetrameter line, as in “Gliazhu kak bezumnyi, ∥ na chernuiu shal’” (“I gaze like a madman upon the black shawl,” Pushkin). The longer the line, the greater the need for a caesura. Usually a strong intonational pause, a caesura approaches the strength of a line ending. As with a clausula, the foot preceding a caesura may by truncated or augmented; it may also rhyme, for example, “Tri u Budrysa syna, ∥ kak i on, tri litvina” (“Budrys has three sons, like him, Lithuanians,” Pushkin).


Caesura

 

in music, a division between sections of a musical work. Together with other factors, a caesura ensures the perception of the articulation of a work and its structure. There are no special markings to indicate a caesura; in part, phrasing ligatures permit their location to be judged. In a number of instances, a caesura coincides with natural pauses between notes; they always appear after melodic and harmonic cadences, after a hold, and at transitions to a repeat. The significance, or impact, of a caesura is proportional to the scale of the sections it divides and the degree to which they appear a completed entity. In a number of instances, varying opinions concerning the location and significance of a caesura are possible; together with other features, such differences mold the distinctiveness of individual interpretations.

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Caesura features 123 market-rate, middle-income, and affordable apartments in a mix of studio and one- to two-bedroom homes, along with 34 furnished micro units.
This is a cogent and pungent critique that demonstrates that citizenship, a term so closely linked to democracy, is built upon a speciesist biopolitical caesura that reproduces and legitimates racialised hierarchies of life.
In the first chapter, for example, Cornulier provides a provocative reading of Rimbaud's sonnet, "Morts de Quatre-vingt douze et de Quatre vingt treize," that suggests a particularly Subversive placement of the caesura in the line "Morts de Valmy, Morts de / Fleurus, Morts d'Italie," By counting it as a 6-6 rather than the long-assumed 4-4-4, Cornulier ascribes to Rimbaud the rare Alexandrine in which the caesura falls not only on a monosyllabic preposition (de) but on a particularly unstable one at that.
Many of the contributors have chosen to echo the characteristic style of Anglo-Saxon verse by observing the four stresses, three alliterations, and even, though less often, the caesura (pause) found in the usual Old English poetic line.
First synthesis of Second synthesis of time (synthesis in time (synthesis of the present) the past) Present As prior selection As made to pass as the most contracted state of the pure past Past As dimension contracted As synthesis of the pure into the present through past a singular selection Future As dimension contracted As freedom and destiny into the present as a range of possibilities assigned given probabilities Third synthesis of time (synthesis for the future) Present As incapable of returning and as caesura, assembly and seriation Past As selected to return as pure difference and as symbolic process Future As eternal return of difference
The Cronica is in rhymed hexameters, using the variant known as Leonines, which have a disyllabic rhyme between the caesura and the end of the line; the English translates this into a longer Alexandrine line of twelve-syllabled iambics, with end-rhymes in couplets, thus capturing the general feel of Gower's verse.
In Greek and Latin versification this perceptual need became a formal convention, requiring a break called caesura in the middle of verse lines.
Negri's main concern is with articulating what he sees as the caesura between modernity and post-modernity at numerous political and economic levels.
Once you get past the caesura of Walter Reed Army Medical Center, every syllable of the street comes to vivid and variable life.
According to Peiter, 1933 marks a caesura in the history of resistance comedy.
This radical caesura is an essential component of the discussion we wish to engage" (19).
He does find that the last years of his representative artists produce works "marked by a sharp stylistic break, a caesura or rupture in their mode of expression" (35) and he agreees with Russ McDonald (in Shakespeare's Late Style [2007]) on the difficulty and intransigence resulting from ellipsis, distillation, deformed phrases, directional shifts, and intricate syntax.