Pub Date : 2022-12-31DOI: 10.12697/smp.2022.9.2.03
Alejandro Augusto Prieto Mendoza
This paper studies alliteration and rhyme in the traditional Kakataibo chants of Emilio Estrella Logía, one of the most important Kakataibo sabios of the present era. For alliteration and rhyme, consonants which are able to be in coda position according to Kakataibo syllable structure play a central role. Alliteration is sporadic and based on the repetition of fricative consonants in passages of indeterminate length. It occurs in syllable onset and freely within a line and across lines, the latter by adjacency. Kakataibo rhyme is also sporadic, its domain is the final syllable of the line and the nucleus of it; only the nasal consonant /n/ can occupy coda in end-line syllables. Kakataibo true rhyme, as opposed to rhyme in lists created by repetition or semantic parallelism, is by adjacency and within vowel passages of indeterminate length.
{"title":"Alliteration and Rhyme in the Traditional Kakataibo Chants of Emilio Estrella","authors":"Alejandro Augusto Prieto Mendoza","doi":"10.12697/smp.2022.9.2.03","DOIUrl":"https://doi.org/10.12697/smp.2022.9.2.03","url":null,"abstract":"This paper studies alliteration and rhyme in the traditional Kakataibo chants of Emilio Estrella Logía, one of the most important Kakataibo sabios of the present era. For alliteration and rhyme, consonants which are able to be in coda position according to Kakataibo syllable structure play a central role. Alliteration is sporadic and based on the repetition of fricative consonants in passages of indeterminate length. It occurs in syllable onset and freely within a line and across lines, the latter by adjacency. Kakataibo rhyme is also sporadic, its domain is the final syllable of the line and the nucleus of it; only the nasal consonant /n/ can occupy coda in end-line syllables. Kakataibo true rhyme, as opposed to rhyme in lists created by repetition or semantic parallelism, is by adjacency and within vowel passages of indeterminate length.","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":"46619747","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.2022.9.2.02
E. Dikova
The paper measures the extent to which the most characteristic features related to the so-called Byzantine dodecasyllable are applied in one of the earliest Old-Bulgarian poems – Azbuchna molitva (‘Alphabetic Prayer’) noted to be written in dodecasyllabic verses. This alphabetic acrostic is dated back to the very end of the ninth century and is attributed to Constantine of Preslav. In this article its text is given after its earliest copy, MS Syn. 262, as it is the only representative of the version closest to the Glagolitic archetype, now lost. The piece is studied in comparison with St Gregory the Theologian’s alphabetic acrostic (as published in PG 37) which Constantine of Preslav quotes just after the end of his poem and which is considered its rhythmical model. The main conclusions are that the Alphabetic Prayer is an early replica of the Byzantine dodecasyllable, follows its rhythmical peculiarities to an extent similar to St Gregory’s alphabetic acrostic, all the previously supposed deviations are motivated by genre peculiarities and rhetorical requirements, which reveals Byzantine schooling of the Old-Bulgarian writer. Nevertheless, the content and intention of the poem indubitably target the neophyte Slavonic audience.
{"title":"A Byzantine Poetic Form in a Ninth-Century Bulgarian Poem","authors":"E. Dikova","doi":"10.12697/smp.2022.9.2.02","DOIUrl":"https://doi.org/10.12697/smp.2022.9.2.02","url":null,"abstract":"The paper measures the extent to which the most characteristic features related to the so-called Byzantine dodecasyllable are applied in one of the earliest Old-Bulgarian poems – Azbuchna molitva (‘Alphabetic Prayer’) noted to be written in dodecasyllabic verses. This alphabetic acrostic is dated back to the very end of the ninth century and is attributed to Constantine of Preslav. In this article its text is given after its earliest copy, MS Syn. 262, as it is the only representative of the version closest to the Glagolitic archetype, now lost. The piece is studied in comparison with St Gregory the Theologian’s alphabetic acrostic (as published in PG 37) which Constantine of Preslav quotes just after the end of his poem and which is considered its rhythmical model. The main conclusions are that the Alphabetic Prayer is an early replica of the Byzantine dodecasyllable, follows its rhythmical peculiarities to an extent similar to St Gregory’s alphabetic acrostic, all the previously supposed deviations are motivated by genre peculiarities and rhetorical requirements, which reveals Byzantine schooling of the Old-Bulgarian writer. Nevertheless, the content and intention of the poem indubitably target the neophyte Slavonic audience.","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":"42607885","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}
{"title":"Versification and Poetics through the Lens of the Tartu-Moscow School of Semiotics (“Juri Lotman 100”: A Report from Poetry and Poetics Panels)","authors":"Maria-Kristiina Lotman, I. Pilshchikov","doi":"10.12697/smp.2022.9.1.06","DOIUrl":"https://doi.org/10.12697/smp.2022.9.1.06","url":null,"abstract":"Versification and Poetics through the Lens of the Tartu-Moscow School of Semiotics (“Juri Lotman 100”: A Report from Poetry and Poetics Panels)","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41893465","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 : 2022-09-01DOI: 10.12697/smp.2022.9.1.05
A. Ustinov, Galina Babak
The essay describes an arduous process of formation of verse studies in Ukraine in the early 1920s. Borys Jakubs’kyj’s book Nauka virshuvannia [The Science of Versification] published in Kyiv in 1922 served as the first harbinger of a new Ukrainian theory of verse. In developing his science of versification Jakubs’kyj relied on the instrumentarium of the proponents of the Formalist method in literary studies who belonged to the Petrograd Society for the Study of the Poetic Language, known as OPOJAZ, and primarily on the concepts developed by Boris Tomashevskij who pretty much singlehandedly established the OPOJAZ approach to verse theory. After the publication of Jakubs’kyj’s book Tomashevskij also wrote a succinct review in which he expressed the wish to see it translated into Russian (which never happened).
{"title":"Ad fontes: Borys Jakubs’kyj’s Nauka virshuvannia and Formation of the Ukrainian Science of Verse","authors":"A. Ustinov, Galina Babak","doi":"10.12697/smp.2022.9.1.05","DOIUrl":"https://doi.org/10.12697/smp.2022.9.1.05","url":null,"abstract":"The essay describes an arduous process of formation of verse studies in Ukraine in the early 1920s. Borys Jakubs’kyj’s book Nauka virshuvannia [The Science of Versification] published in Kyiv in 1922 served as the first harbinger of a new Ukrainian theory of verse. In developing his science of versification Jakubs’kyj relied on the instrumentarium of the proponents of the Formalist method in literary studies who belonged to the Petrograd Society for the Study of the Poetic Language, known as OPOJAZ, and primarily on the concepts developed by Boris Tomashevskij who pretty much singlehandedly established the OPOJAZ approach to verse theory. After the publication of Jakubs’kyj’s book Tomashevskij also wrote a succinct review in which he expressed the wish to see it translated into Russian (which never happened).","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46259491","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 : 2022-09-01DOI: 10.12697/smp.2022.9.1.01
P. Plecháč, R. Kolár
The article deals with the relationship between semantics and poetic meter in the works of Czech post-symbolist poets and their predecessors. We access the phenomena by means of a machine-driven meter recognition on one hand and LDA topic modelling on the other. We first show how the poetic groups differ in their general preferences for particular topics. Next we analyze the topic distributions in two dominant metres (i.e. iamb and trochee) across the poetic groups.
{"title":"Metre and Semantics in the Poetry of Czech Post-Symbolists Accessed via LDA Topic Modelling","authors":"P. Plecháč, R. Kolár","doi":"10.12697/smp.2022.9.1.01","DOIUrl":"https://doi.org/10.12697/smp.2022.9.1.01","url":null,"abstract":"The article deals with the relationship between semantics and poetic meter in the works of Czech post-symbolist poets and their predecessors. We access the phenomena by means of a machine-driven meter recognition on one hand and LDA topic modelling on the other. We first show how the poetic groups differ in their general preferences for particular topics. Next we analyze the topic distributions in two dominant metres (i.e. iamb and trochee) across the poetic groups.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42334722","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 : 2022-09-01DOI: 10.12697/smp.2022.9.1.04
Annika Mikkel
This paper studies 14th-century Latin prose rhythm as exemplified by Dante and Boccaccio. The texts observed in this analysis are samples from De Monarchia, De vulgari eloquentia, Quaestio de aqua et terra and Epistole by Dante and De mulieribus claris and De casibus virorum illustrium by Boccaccio. In ancient rhetoric, rhythmical units were used at the ends of sentences and clauses in prose texts. These units were called clausulae, and the rhythm of classical prose was based on the quantity of syllables. Medieval Latin prose rhythm, however, was based on word stress and was called cursus. The aim of this paper is to study what kinds of cursus occur in the given text samples and their frequency. The research method used in this paper is comparative-statistical analysis. The distribution of cursus in these samples is also analysed by chapters and different types of cursus are distinguished.
{"title":"Latin Accentual Clausula as Exemplified in 14th-Century Prose Texts by Dante and Boccaccio","authors":"Annika Mikkel","doi":"10.12697/smp.2022.9.1.04","DOIUrl":"https://doi.org/10.12697/smp.2022.9.1.04","url":null,"abstract":"This paper studies 14th-century Latin prose rhythm as exemplified by Dante and Boccaccio. The texts observed in this analysis are samples from De Monarchia, De vulgari eloquentia, Quaestio de aqua et terra and Epistole by Dante and De mulieribus claris and De casibus virorum illustrium by Boccaccio. In ancient rhetoric, rhythmical units were used at the ends of sentences and clauses in prose texts. These units were called clausulae, and the rhythm of classical prose was based on the quantity of syllables. Medieval Latin prose rhythm, however, was based on word stress and was called cursus. The aim of this paper is to study what kinds of cursus occur in the given text samples and their frequency. The research method used in this paper is comparative-statistical analysis. The distribution of cursus in these samples is also analysed by chapters and different types of cursus are distinguished.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43597774","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 : 2022-09-01DOI: 10.12697/smp.2022.9.1.03
A. Belousova, Juan Sebastián Páramo Rueda, Paula Ruiz Charris
Elaborating on an analysis of a corpus of more than 1200 sonnets by Italian, French, Spanish, English and Russian authors, this article describes the general rhythmic-syntactic arrangement of thirteenth- and fourteenth-century Italian sonnets, European Petrarchist sonnets, and several experiments with this form in the nineteenth and twentieth centuries. It presents results obtained with the help of a computer program developed for the automated analysis of strophic syntax. The program was created using Boris Tomashevsky’s method based on analyzing the punctuation at the end of poetic lines (the strength of the syntactic pause is evaluated depending on the absence or presence of a punctuation sign: i.e., a comma, a dash, a semicolon, or a full stop / question mark / exclamation mark). We supplemented this with two more indices also based on punctuation. The first characterizes the length of sentences (the percentage of sentences in one line, two lines, three lines, etc.), and the second characterizes the number of sentences that end with a full stop, which comes in the middle of a line followed by the beginning of the next sentence in the same line (or, which is the same, the number of such lines). This study demonstrates that both the number of lines with a strong pause in the middle and the number of short sentences have increased over time.
{"title":"Rhythm, Syntax, Punctuation: A Distant Analysis of the European Sonnet","authors":"A. Belousova, Juan Sebastián Páramo Rueda, Paula Ruiz Charris","doi":"10.12697/smp.2022.9.1.03","DOIUrl":"https://doi.org/10.12697/smp.2022.9.1.03","url":null,"abstract":"Elaborating on an analysis of a corpus of more than 1200 sonnets by Italian, French, Spanish, English and Russian authors, this article describes the general rhythmic-syntactic arrangement of thirteenth- and fourteenth-century Italian sonnets, European Petrarchist sonnets, and several experiments with this form in the nineteenth and twentieth centuries. It presents results obtained with the help of a computer program developed for the automated analysis of strophic syntax. The program was created using Boris Tomashevsky’s method based on analyzing the punctuation at the end of poetic lines (the strength of the syntactic pause is evaluated depending on the absence or presence of a punctuation sign: i.e., a comma, a dash, a semicolon, or a full stop / question mark / exclamation mark). We supplemented this with two more indices also based on punctuation. The first characterizes the length of sentences (the percentage of sentences in one line, two lines, three lines, etc.), and the second characterizes the number of sentences that end with a full stop, which comes in the middle of a line followed by the beginning of the next sentence in the same line (or, which is the same, the number of such lines). This study demonstrates that both the number of lines with a strong pause in the middle and the number of short sentences have increased over time.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46234099","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 : 2021-12-31DOI: 10.12697/smp.2021.8.2.03
T. Lomidze
Research on the character of Georgian verse started in 1731. Since that time, some researchers have described Georgian verse as syllabic, while others have said that it is syllabotonic. The dispute about the character of Georgian verse became particularly acute in the 20th century. The main text the participants in the dispute analysed was a prominent piece of Georgian poetry of the 12th century – The Knight in the Panther’s Skin by Shota Rustaveli. It consists of 16-syllable monorhymical quatrains that have a special name in Georgian – shairi. There are two varieties of shairi – the so-called high shairi (4 4 4 4) and low shairi (5 3 5 3). The high shairi was the main issue of the dispute. The researchers who regarded Georgian verse as belonging to the syllabotonic system divided high shairi into trochaic feet, while the supporters of the syllabic theory denied the presence of metric trochaic stress in high shairi, believing that the penultimate syllables can be stressed only in two-syllable words but not in words with multiple syllables (due to the dactylic accentuation typical in the modern Georgian language). Since natural dactylic stress (found in low shairi) reflects the accentuation norms of the language of the later period (including those of modern Georgian), we assume that metric stress in high shairi, which is no longer found in modern Georgian speech, could be a reflection of the natural accentuation of the comparatively earlier period in the development of the Georgian language. Checking this hypothesis by relying on relevant linguistic literature, we reconstructed the archaic movable and phonologically relevant stress in the rhymed words in The Knight in the Panther’s Skin. We found that metric stresses of both high and low shairi in this epic poem are actually archaic linguistic stresses. This conclusion differs from the views expressed in concepts developed earlier. It enables us to take a fresh look at the metrics and rhymes of The Knight in the Panther’s Skin as well as the main principles and specific features of Georgian verse in general.
{"title":"On the Character of Georgian Verse","authors":"T. Lomidze","doi":"10.12697/smp.2021.8.2.03","DOIUrl":"https://doi.org/10.12697/smp.2021.8.2.03","url":null,"abstract":"Research on the character of Georgian verse started in 1731. Since that time, some researchers have described Georgian verse as syllabic, while others have said that it is syllabotonic. The dispute about the character of Georgian verse became particularly acute in the 20th century. The main text the participants in the dispute analysed was a prominent piece of Georgian poetry of the 12th century – The Knight in the Panther’s Skin by Shota Rustaveli. It consists of 16-syllable monorhymical quatrains that have a special name in Georgian – shairi. There are two varieties of shairi – the so-called high shairi (4 4 4 4) and low shairi (5 3 5 3). The high shairi was the main issue of the dispute. The researchers who regarded Georgian verse as belonging to the syllabotonic system divided high shairi into trochaic feet, while the supporters of the syllabic theory denied the presence of metric trochaic stress in high shairi, believing that the penultimate syllables can be stressed only in two-syllable words but not in words with multiple syllables (due to the dactylic accentuation typical in the modern Georgian language). \u0000Since natural dactylic stress (found in low shairi) reflects the accentuation norms of the language of the later period (including those of modern Georgian), we assume that metric stress in high shairi, which is no longer found in modern Georgian speech, could be a reflection of the natural accentuation of the comparatively earlier period in the development of the Georgian language. Checking this hypothesis by relying on relevant linguistic literature, we reconstructed the archaic movable and phonologically relevant stress in the rhymed words in The Knight in the Panther’s Skin. We found that metric stresses of both high and low shairi in this epic poem are actually archaic linguistic stresses. This conclusion differs from the views expressed in concepts developed earlier. It enables us to take a fresh look at the metrics and rhymes of The Knight in the Panther’s Skin as well as the main principles and specific features of Georgian verse in general.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45576767","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 : 2021-12-31DOI: 10.12697/smp.2021.8.2.01
M. Tarlinskaja
The article describes the development of English iambic pentameter during 260 years, 1561–1821. The evolution of the versification went in waves: strict (Renaissance) – loose (Baroque) – strict (Classicism) – loose (Romanticism); the periods developed “over the head” of adjacent periods. The similarity of the Renaissance and Classicism vs. Baroque and Romanticism was probably rhythmical homonymy rather than imitation. The article reveals the versification similarity of Shakespeare’s Macbeth and Shelley’s The Cenci. The similarity of versification added to the noticed earlier similarity of motifs, phraseology and vocabulary.
{"title":"Shakespeare’s Macbeth and Shelley’s The Cenci: Versification","authors":"M. Tarlinskaja","doi":"10.12697/smp.2021.8.2.01","DOIUrl":"https://doi.org/10.12697/smp.2021.8.2.01","url":null,"abstract":"The article describes the development of English iambic pentameter during 260 years, 1561–1821. The evolution of the versification went in waves: strict (Renaissance) – loose (Baroque) – strict (Classicism) – loose (Romanticism); the periods developed “over the head” of adjacent periods. The similarity of the Renaissance and Classicism vs. Baroque and Romanticism was probably rhythmical homonymy rather than imitation. The article reveals the versification similarity of Shakespeare’s Macbeth and Shelley’s The Cenci. The similarity of versification added to the noticed earlier similarity of motifs, phraseology and vocabulary.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46796410","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 : 2021-12-31DOI: 10.12697/smp.2021.8.2.02
B. Orekhov
The article discusses the statistically identified properties of Bashkir versification in comparison with the existing descriptions of other Turkic versification systems. The focus is on imparisyllabic forms, predominant meters, and peculiarities of rhyme. The study allows concluding that Bashkir Uzun-Kyuy (a regular alteration of 10- and 9-syllable lines) is unique and its equivalents are not found in other Turkic poetic traditions except the Tartar tradition, with which Bashkir verse has common roots. The frequency of Bashkir 9-syllable verse is also unusual as compared with poetry in other Turkic languages. Octosyllabic lines, which are often used together with 7-syllable verse, are common for various Turkic systems and can also be found in Bashkir poetry, most prominently in Kyska-Kyuy (a regular alteration of 8- and 7-syllable lines). More data is needed to judge to what extent the rhythm of Bashkir verse is comparable with the verse rhythm in other Turkic poetic traditions.
{"title":"Bashkir Verse from the Turkic Perspective","authors":"B. Orekhov","doi":"10.12697/smp.2021.8.2.02","DOIUrl":"https://doi.org/10.12697/smp.2021.8.2.02","url":null,"abstract":"The article discusses the statistically identified properties of Bashkir versification in comparison with the existing descriptions of other Turkic versification systems. The focus is on imparisyllabic forms, predominant meters, and peculiarities of rhyme. The study allows concluding that Bashkir Uzun-Kyuy (a regular alteration of 10- and 9-syllable lines) is unique and its equivalents are not found in other Turkic poetic traditions except the Tartar tradition, with which Bashkir verse has common roots. The frequency of Bashkir 9-syllable verse is also unusual as compared with poetry in other Turkic languages. Octosyllabic lines, which are often used together with 7-syllable verse, are common for various Turkic systems and can also be found in Bashkir poetry, most prominently in Kyska-Kyuy (a regular alteration of 8- and 7-syllable lines). More data is needed to judge to what extent the rhythm of Bashkir verse is comparable with the verse rhythm in other Turkic poetic traditions.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2021-12-31","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46185222","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}
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