Pub Date : 2023-09-11DOI: 10.12697/smp.2023.10.1.01
None Frog
This paper is the first in a three-part series or tryptic that argues for the Old Germanic origins of rhyme in the Old Norse dróttkvætt meter. This meter requires rhymes on the stressed syllables of two words within a six-position line, irrespective of the syllables that follow. This first instalment introduces both the Old Germanic poetic form and the dróttkvætt meter. It outlines the background of the discussion and presents the basic argument. The second instalment presents a portrait of rhyme in Old Germanic meters outside of Old Norse, providing foundations for viewing rhyme as an inherited part of the Old Germanic poetic system. That portrait highlights the use of rhymes including the stressed vowel within a short line and the tendency to use such rhymes in the b-line, corresponding to the rhymes in even lines of dróttkvætt. The third instalment turns to dróttkvætt within its poetic ecology, beginning with a portrayal of rhyme in Old Norse eddic poetries, followed by dróttkvætt in relation to its contemporary poetic ecology and unravelling its impacts on that ecology, gradually working backward to a perspective on the ecology in which it emerged.
{"title":"Rhyme in dróttkvætt, from Old Germanic Inheritance to Contemporary Poetic Ecology I: Overview and Argument","authors":"None Frog","doi":"10.12697/smp.2023.10.1.01","DOIUrl":"https://doi.org/10.12697/smp.2023.10.1.01","url":null,"abstract":"This paper is the first in a three-part series or tryptic that argues for the Old Germanic origins of rhyme in the Old Norse dróttkvætt meter. This meter requires rhymes on the stressed syllables of two words within a six-position line, irrespective of the syllables that follow. This first instalment introduces both the Old Germanic poetic form and the dróttkvætt meter. It outlines the background of the discussion and presents the basic argument. The second instalment presents a portrait of rhyme in Old Germanic meters outside of Old Norse, providing foundations for viewing rhyme as an inherited part of the Old Germanic poetic system. That portrait highlights the use of rhymes including the stressed vowel within a short line and the tendency to use such rhymes in the b-line, corresponding to the rhymes in even lines of dróttkvætt. The third instalment turns to dróttkvætt within its poetic ecology, beginning with a portrayal of rhyme in Old Norse eddic poetries, followed by dróttkvætt in relation to its contemporary poetic ecology and unravelling its impacts on that ecology, gradually working backward to a perspective on the ecology in which it emerged.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135980347","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.12697/smp.2023.10.1.03
Amir Vasheghanifarahani
As the Peshitta plays an essential role in literary and textual criticism, the literary features of the Peshitta must be examined not only from the perspective of translation technique but also from the perspective of other factors, such as poetical devices and form. Little attention has been paid to the translation technique in the Peshitta Psalms despite the substantial research conducted on the Peshitta. Most studies have focused on the relationship between the Peshitta Psalms, the Hebrew Masoretic text, and other ancient versions. Therefore, the Peshitta Psalms have yet to be examined from the perspective of classical Syriac poetry. This study investigates how well the Syriac translator employed poetical devices to produce strophic structures and poetic style in the psalms, with particular attention to potential approaches to strophic structure that have not previously been explored. The paper addresses the question of whether the Peshitta Psalms are strophic. The study indicates that Peshitta Psalms 29, 96, 136, and 148 use strophic markers such as word repetition, alliteration, repetition of syntactical structures, parallelism and a balanced number of syllables and words.
{"title":"Strophes in Peshitta Psalms? A Study of Selected Examples","authors":"Amir Vasheghanifarahani","doi":"10.12697/smp.2023.10.1.03","DOIUrl":"https://doi.org/10.12697/smp.2023.10.1.03","url":null,"abstract":"As the Peshitta plays an essential role in literary and textual criticism, the literary features of the Peshitta must be examined not only from the perspective of translation technique but also from the perspective of other factors, such as poetical devices and form. Little attention has been paid to the translation technique in the Peshitta Psalms despite the substantial research conducted on the Peshitta. Most studies have focused on the relationship between the Peshitta Psalms, the Hebrew Masoretic text, and other ancient versions. Therefore, the Peshitta Psalms have yet to be examined from the perspective of classical Syriac poetry. This study investigates how well the Syriac translator employed poetical devices to produce strophic structures and poetic style in the psalms, with particular attention to potential approaches to strophic structure that have not previously been explored. The paper addresses the question of whether the Peshitta Psalms are strophic. The study indicates that Peshitta Psalms 29, 96, 136, and 148 use strophic markers such as word repetition, alliteration, repetition of syntactical structures, parallelism and a balanced number of syllables and words.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135979640","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.12697/smp.2023.10.1.02
Mirella De Sisto
The present paper introduces a corpus of Dutch Renaissance poetry which was automatically annotated by using neural networks. The analysis of the annotations provides a clear picture of the process of implementing the new poetic form into Dutch poetic tradition, and of its different stages. The development of iambic metre was a gradual process that required various attempts; this can be well observed when comparing Dutch poems from a 100 year time window. While syllabic instances can be observed among the first attempts, most of the earlier poems are not isosyllabic and have a rather varied syllable length. This study shows that isosyllabicity developed together with iambicity. Finally, automatic poetry annotation allows for testing and validating theoretical hypotheses and for investigating literary questions with the aid of large amount of data.
{"title":"The Development of a Poetic Tradition. A Study of a Dutch Renaissance Poetry Corpus","authors":"Mirella De Sisto","doi":"10.12697/smp.2023.10.1.02","DOIUrl":"https://doi.org/10.12697/smp.2023.10.1.02","url":null,"abstract":"The present paper introduces a corpus of Dutch Renaissance poetry which was automatically annotated by using neural networks. The analysis of the annotations provides a clear picture of the process of implementing the new poetic form into Dutch poetic tradition, and of its different stages. The development of iambic metre was a gradual process that required various attempts; this can be well observed when comparing Dutch poems from a 100 year time window. While syllabic instances can be observed among the first attempts, most of the earlier poems are not isosyllabic and have a rather varied syllable length. This study shows that isosyllabicity developed together with iambicity. Finally, automatic poetry annotation allows for testing and validating theoretical hypotheses and for investigating literary questions with the aid of large amount of data.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135980933","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.12697/smp.2023.10.1.06
Kiril Taranovsky, Lawrence Feinberg
Russian Binary Meters. Part Two. Chapters 7–8
俄罗斯二进制米。第二部分。章7 - 8
{"title":"Russian Binary Meters. Part Two. Chapters 7–8","authors":"Kiril Taranovsky, Lawrence Feinberg","doi":"10.12697/smp.2023.10.1.06","DOIUrl":"https://doi.org/10.12697/smp.2023.10.1.06","url":null,"abstract":"Russian Binary Meters. Part Two. Chapters 7–8","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135979473","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.12697/smp.2023.10.1.04
Ksenia Tveryanovich, Robert Kolár
The paper considers the poetry of four Czech authors – František Gellner, Viktor Dyk, Karel Toman, and Fráňa Šrámek – in their Russian-language translations. Based on known published translations made by 17 Russian translators throughout the 20th century, it describes their metrical and stanzaic forms in comparison with the original Czech poems. The description and comparative analysis serve to consider a number of questions, including which of the Czech forms appear most attractive to Russian translators, which formal elements are typically preserved and which are significantly altered in the translations, and how Russian readers’ overall perception of the four Czech poets and their oeuvres is shaped through the choices made by translators, in terms of versification.
本文考虑了四位捷克作家的诗歌——František Gellner, Viktor Dyk, Karel Toman和Fráňa Šrámek——他们的俄语翻译。根据17位俄罗斯翻译家在20世纪出版的译本，它描述了它们的格律和诗节形式，并与捷克原文诗歌进行了比较。描述和比较分析有助于考虑一些问题，包括捷克语的哪种形式对俄罗斯译者最有吸引力，哪些形式元素在翻译中通常被保留，哪些被显著改变，以及俄罗斯读者对四位捷克诗人及其作品的总体看法是如何通过译者的选择而形成的，就译本而言。
{"title":"The Metrics of Four Czech Poets in Russian Translations","authors":"Ksenia Tveryanovich, Robert Kolár","doi":"10.12697/smp.2023.10.1.04","DOIUrl":"https://doi.org/10.12697/smp.2023.10.1.04","url":null,"abstract":"The paper considers the poetry of four Czech authors – František Gellner, Viktor Dyk, Karel Toman, and Fráňa Šrámek – in their Russian-language translations. Based on known published translations made by 17 Russian translators throughout the 20th century, it describes their metrical and stanzaic forms in comparison with the original Czech poems. The description and comparative analysis serve to consider a number of questions, including which of the Czech forms appear most attractive to Russian translators, which formal elements are typically preserved and which are significantly altered in the translations, and how Russian readers’ overall perception of the four Czech poets and their oeuvres is shaped through the choices made by translators, in terms of versification.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135979314","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-11DOI: 10.12697/smp.2023.10.1.05
Jing Yang
Mo Yan’s Frog has been widely recognized and welcomed by readers since its publication. Apart from the Western readers’ love of Chinese culture, it also owes its popularity to the translator’s skillful handling of the translation. Specifically, this paper examines the translation strategies used in the English translation of Frog. The term hybrid translation is derived from Homi Bhabha’s hybrid theory, which advocates the mixing of different cultures in order to create a hybrid and fuzzy third space. This hybrid translation approach consists of mixing and integrating translation strategies, such as domestication and foreignization, literal translation and free translation, and finally forming a translation that reflects cultural hybridity. To demonstrate a cultural hybrid effect, translators must adopt a variety of approaches to the transformation of the text so that the target readers are able to fully understand its meaning and connotations.
{"title":"Hybrids in Literary Translation: Binary Translation Strategies in Howard Goldblatt’s English Translation of Mo Yan’s Frog","authors":"Jing Yang","doi":"10.12697/smp.2023.10.1.05","DOIUrl":"https://doi.org/10.12697/smp.2023.10.1.05","url":null,"abstract":"Mo Yan’s Frog has been widely recognized and welcomed by readers since its publication. Apart from the Western readers’ love of Chinese culture, it also owes its popularity to the translator’s skillful handling of the translation. Specifically, this paper examines the translation strategies used in the English translation of Frog. The term hybrid translation is derived from Homi Bhabha’s hybrid theory, which advocates the mixing of different cultures in order to create a hybrid and fuzzy third space. This hybrid translation approach consists of mixing and integrating translation strategies, such as domestication and foreignization, literal translation and free translation, and finally forming a translation that reflects cultural hybridity. To demonstrate a cultural hybrid effect, translators must adopt a variety of approaches to the transformation of the text so that the target readers are able to fully understand its meaning and connotations.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-09-11","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135982425","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.12697/smp.2022.9.2.04
Eric Weiskott
The C version of Piers Plowman has yet to earn much attention from metrists relative to the outgrowth of research into fourteenth-century alliterative meter since 1986. Langland’s relationship to metrical tradition is idiosyncratic, a judgment that involves both this author’s divergence from conventions characteristic of other alliterative poems and the recognizability of his own metrical habitus across his career. Scansion of an inconsistently alliterating passage new in C (Prol.95–124) illustrates in miniature the unusual problems thrown up by Langland’s metrical practice and suggests that his metrical signature persisted over the years of his writing life. The Ophni and Phineas insertion is of special interest because it has been thought an unfinished draft.
{"title":"The Meter of the Ophni and Phineas Insertion in Piers Plowman","authors":"Eric Weiskott","doi":"10.12697/smp.2022.9.2.04","DOIUrl":"https://doi.org/10.12697/smp.2022.9.2.04","url":null,"abstract":"The C version of Piers Plowman has yet to earn much attention from metrists relative to the outgrowth of research into fourteenth-century alliterative meter since 1986. Langland’s relationship to metrical tradition is idiosyncratic, a judgment that involves both this author’s divergence from conventions characteristic of other alliterative poems and the recognizability of his own metrical habitus across his career. Scansion of an inconsistently alliterating passage new in C (Prol.95–124) illustrates in miniature the unusual problems thrown up by Langland’s metrical practice and suggests that his metrical signature persisted over the years of his writing life. The Ophni and Phineas insertion is of special interest because it has been thought an unfinished draft.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44039127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.12697/smp.2022.9.2.01
B. Scherr
Philip Larkin, one of England’s finest poets among the generation that came of age during World War II, maintained a strong interests in the formal features of verse throughout his career. This article marks the first comprehensive overview of his highly varied and frequently original use of one such feature, the stanza. A set of tables provides overall data about the relative frequency of different stanza lengths – in his four published poetry collections, in poems that he either published or planned to publish but did not appear in one of those collections, and in the unpublished verse. He turns out to have been a strikingly innovative master of stanza form. If many poets rely heavily on the quatrain as their favored stanza, Larkin makes that only one of several stanza lengths that he turns to regularly. More importantly, he composes stanzas in innovative and imaginative ways. His forty sonnets – only eight of which appeared in his four collections – reveal a variety of rhyme schemes and, occasionally, unusual placement of the breaks between portions of the sonnet. In other poems, the rhyme schemes are often irregular, making the rhyme scheme difficult to detect, particularly in those cases when he employs highly approximate rhyme. Much of his verse is also marked by frequent enjambement, even between stanzas. He occasionally links his stanzas and sometimes creates a rhyme scheme that has a different number of lines than the actual stanza length, resulting in markedly complex compositions. In all, Larkin regularly uses his stanzas to highlights key aspects of a poem’s meaning, while the intricacy of many stanza structures forces his readers to consider poems more intently.
{"title":"Philip Larkin and the Stanza","authors":"B. Scherr","doi":"10.12697/smp.2022.9.2.01","DOIUrl":"https://doi.org/10.12697/smp.2022.9.2.01","url":null,"abstract":"Philip Larkin, one of England’s finest poets among the generation that came of age during World War II, maintained a strong interests in the formal features of verse throughout his career. This article marks the first comprehensive overview of his highly varied and frequently original use of one such feature, the stanza. A set of tables provides overall data about the relative frequency of different stanza lengths – in his four published poetry collections, in poems that he either published or planned to publish but did not appear in one of those collections, and in the unpublished verse. He turns out to have been a strikingly innovative master of stanza form. If many poets rely heavily on the quatrain as their favored stanza, Larkin makes that only one of several stanza lengths that he turns to regularly. More importantly, he composes stanzas in innovative and imaginative ways. His forty sonnets – only eight of which appeared in his four collections – reveal a variety of rhyme schemes and, occasionally, unusual placement of the breaks between portions of the sonnet. In other poems, the rhyme schemes are often irregular, making the rhyme scheme difficult to detect, particularly in those cases when he employs highly approximate rhyme. Much of his verse is also marked by frequent enjambement, even between stanzas. He occasionally links his stanzas and sometimes creates a rhyme scheme that has a different number of lines than the actual stanza length, resulting in markedly complex compositions. In all, Larkin regularly uses his stanzas to highlights key aspects of a poem’s meaning, while the intricacy of many stanza structures forces his readers to consider poems more intently.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48240243","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.12697/smp.2022.9.2.06
Mikhail Trunin
Frontiers in Comparative Metrics IV, 16–17 September 2022, Tallinn, Estonia
《比较指标的前沿IV》，2022年9月16日至17日，爱沙尼亚塔林
{"title":"Frontiers in Comparative Metrics IV, 16–17 September 2022, Tallinn, Estonia","authors":"Mikhail Trunin","doi":"10.12697/smp.2022.9.2.06","DOIUrl":"https://doi.org/10.12697/smp.2022.9.2.06","url":null,"abstract":"Frontiers in Comparative Metrics IV, 16–17 September 2022, Tallinn, Estonia","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43083671","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-12-31DOI: 10.12697/smp.2022.9.2.05
Nils Couturier, A. Martynenko, Lara Nugues, Pablo Ruiz Fabo, M. Sarv
Plotting Poetry 5: Popular Voices, 4–6 July 2022, Tartu, Estonia
策划诗歌5：大众之声，2022年7月4日至6日，爱沙尼亚塔尔图
{"title":"Plotting Poetry 5: Popular Voices, 4–6 July 2022, Tartu, Estonia","authors":"Nils Couturier, A. Martynenko, Lara Nugues, Pablo Ruiz Fabo, M. Sarv","doi":"10.12697/smp.2022.9.2.05","DOIUrl":"https://doi.org/10.12697/smp.2022.9.2.05","url":null,"abstract":"Plotting Poetry 5: Popular Voices, 4–6 July 2022, Tartu, Estonia","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47306828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：