Pub Date : 2019-01-17DOI: 10.12697/SMP.2018.5.2.01
Reuven Tsur, C. Gafni
This study submits to empirical investigation an old idea of Tsur’s regarding the effect of enjambment on the perceived subtleness of irony in a poetic passage. We submitted two versions of a Milton passage to over 50 participants with “background in literary studies”, ranging from undergraduates to tenured professors, asking them to rate the perceived subtleness of irony and forthrightness of expression. We received four incompatible combinations of relative subtleness and forthrightness in the two passages. Two of the combinations were logically reasonable (though resulting from opposite performances), and two were internally inconsistent. An analysis of these results revealed two sources of this discrepancy: enjambments can be performed in three different ways, and participants respond not to abstract enjambments, but to performed enjambments; and they act upon partly overlapping definitions of irony. Assuming different performances of the enjambment, both logically acceptable response patterns support our hypothesis. Yet, a large part of the responses in this study were incoherent to some extent. This highlights the difficulty in collecting subjective interpretations of complex aesthetic events. We discuss this methodological issue at length.
{"title":"Enjambment – Irony, Wit, Emotion. A Case Study Suggesting Wider Principles","authors":"Reuven Tsur, C. Gafni","doi":"10.12697/SMP.2018.5.2.01","DOIUrl":"https://doi.org/10.12697/SMP.2018.5.2.01","url":null,"abstract":"This study submits to empirical investigation an old idea of Tsur’s regarding the effect of enjambment on the perceived subtleness of irony in a poetic passage. We submitted two versions of a Milton passage to over 50 participants with “background in literary studies”, ranging from undergraduates to tenured professors, asking them to rate the perceived subtleness of irony and forthrightness of expression. We received four incompatible combinations of relative subtleness and forthrightness in the two passages. Two of the combinations were logically reasonable (though resulting from opposite performances), and two were internally inconsistent. An analysis of these results revealed two sources of this discrepancy: enjambments can be performed in three different ways, and participants respond not to abstract enjambments, but to performed enjambments; and they act upon partly overlapping definitions of irony. Assuming different performances of the enjambment, both logically acceptable response patterns support our hypothesis. Yet, a large part of the responses in this study were incoherent to some extent. This highlights the difficulty in collecting subjective interpretations of complex aesthetic events. We discuss this methodological issue at length.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2019-01-17","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43831143","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 : 2018-08-05DOI: 10.12697/SMP.2018.5.1.05
I. Pilshchikov, R. Vroon
Vyacheslav V. Ivanov was an outstanding scholar who excelled in almost all disciplines related to linguistic and literary studies. This article analyses his accomplishments in the fields of prosody and poetics.
{"title":"Vyacheslav V. Ivanov (1929–2017) and his Studies in Prosody and Poetics","authors":"I. Pilshchikov, R. Vroon","doi":"10.12697/SMP.2018.5.1.05","DOIUrl":"https://doi.org/10.12697/SMP.2018.5.1.05","url":null,"abstract":"Vyacheslav V. Ivanov was an outstanding scholar who excelled in almost all disciplines related to linguistic and literary studies. This article analyses his accomplishments in the fields of prosody and poetics.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44135332","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 : 2018-08-05DOI: 10.12697/SMP.2018.5.1.02
Darren Freebury-Jones, M. Tarlinskaja, Marcus Dahl
John Marston (c. 1576–1634) was a dramatist of the Elizabethan and Jacobean periods, known for his satirical wit and literary feuds with Ben Jonson. His dramatic corpus consists of nine plays of uncontested authorship. This article investigates four additional plays of uncertain authorship which have been associated with Marston: Lust’s Dominion; Histriomastix; The Family of Love; and The Insatiate Countess. The internal evidence for Marston’s hand in these four texts is examined and an analysis made of the potential divisions of authorship. The essay provides a survey of Marston’s individual style by testing vocabulary; prosody; collocations of thought and language; and versification habits within both his acknowledged plays and the contested texts, in comparison to plays written by other authorship candidates.
{"title":"Attributing John Marston’s Marginal Plays","authors":"Darren Freebury-Jones, M. Tarlinskaja, Marcus Dahl","doi":"10.12697/SMP.2018.5.1.02","DOIUrl":"https://doi.org/10.12697/SMP.2018.5.1.02","url":null,"abstract":"John Marston (c. 1576–1634) was a dramatist of the Elizabethan and Jacobean periods, known for his satirical wit and literary feuds with Ben Jonson. His dramatic corpus consists of nine plays of uncontested authorship. This article investigates four additional plays of uncertain authorship which have been associated with Marston: Lust’s Dominion; Histriomastix; The Family of Love; and The Insatiate Countess. The internal evidence for Marston’s hand in these four texts is examined and an analysis made of the potential divisions of authorship. The essay provides a survey of Marston’s individual style by testing vocabulary; prosody; collocations of thought and language; and versification habits within both his acknowledged plays and the contested texts, in comparison to plays written by other authorship candidates.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"66673267","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 : 2018-08-05DOI: 10.12697/smp.2018.5.1.04
Anni Arukask, Kaidi Kriisa, Maria-Kristiina Lotman, Tuuli Triin Truusalu, Martin Uudevald, Kristi Viiding
In 2014, the project CEILE (Corpus Electronicum Inscriptionum Latinarum Estoniae, EKKM 14-364) was launched within the framework of the program “Estonian language and cultural memory”, in order to systematically map and study the Latin inscriptions created before 1918 and stored in Estonian Lutheran and Catholic churches. As of 2018, the database contains more than 300 inscriptions. Although the proportion of verse texts is not high (13 entries), the fact that the material (totalling 175 verses) has survived almost completely, part of them in situ and partly in transcriptions, and contains several lengthier texts, allows us to make certain generalizations about their metrical and prosodic structure. In this paper, we will give an overview of the chronology and sites of inscriptions and describe the metrical, rhythmical and prosodic structure of the verse texts, addressing also the conjectural role of meter and prosody in our work. We will also dwell on the metrical and prosodic correctness of the texts and will take a separate look at the prosodic licences and errors which occur in the verse texts of the corpus.
{"title":"Verse texts in the Latin inscriptions of Estonian ecclesiastical space: meter, rhythm and prosody","authors":"Anni Arukask, Kaidi Kriisa, Maria-Kristiina Lotman, Tuuli Triin Truusalu, Martin Uudevald, Kristi Viiding","doi":"10.12697/smp.2018.5.1.04","DOIUrl":"https://doi.org/10.12697/smp.2018.5.1.04","url":null,"abstract":"In 2014, the project CEILE (Corpus Electronicum Inscriptionum Latinarum Estoniae, EKKM 14-364) was launched within the framework of the program “Estonian language and cultural memory”, in order to systematically map and study the Latin inscriptions created before 1918 and stored in Estonian Lutheran and Catholic churches. As of 2018, the database contains more than 300 inscriptions. Although the proportion of verse texts is not high (13 entries), the fact that the material (totalling 175 verses) has survived almost completely, part of them in situ and partly in transcriptions, and contains several lengthier texts, allows us to make certain generalizations about their metrical and prosodic structure. In this paper, we will give an overview of the chronology and sites of inscriptions and describe the metrical, rhythmical and prosodic structure of the verse texts, addressing also the conjectural role of meter and prosody in our work. We will also dwell on the metrical and prosodic correctness of the texts and will take a separate look at the prosodic licences and errors which occur in the verse texts of the corpus.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49195143","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 : 2018-08-05DOI: 10.12697/smp.2018.5.1.03
Myfany Turpin, Jennifer Green
Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.
{"title":"Rapikwenty: ‘A loner in the ashes’ and other songs for sleeping","authors":"Myfany Turpin, Jennifer Green","doi":"10.12697/smp.2018.5.1.03","DOIUrl":"https://doi.org/10.12697/smp.2018.5.1.03","url":null,"abstract":"Rapikwenty is a traditional Australian Indigenous set of stories-and-songs from the Utopia region of Central Australia performed by Anmatyerr speaking adults to lull children to sleep. The main protagonist is a boy who is left to play alone in the ashes. Like many lullabies, Rapikwenty is characterised by scary themes, soft dynamics, a limited pitch range and repetition. The story-and-song form is not common in the Australian literature on lullabies, yet such combinations of prose and verse are found in other forms of verbal art of the region (Green 2014). This verbal art style is also well-attested in other oral traditions of the world (Harris & Reichl, 1997). Rapikwenty resembles other Anmatyerr genres in its song structure; yet differs in its performance style. Echoing Trainor et al. (1999: 532), we find it is the “soothing, smooth, and airy” delivery, rather than any formal properties of the genre, that achieves the lulling effect. In addition, Rapikwenty uses the recitative style known as arnwerirrem ‘humming’. The voice thus moves seamlessly between spoken story and sung verse, creating a smooth delivery throughout. We suggest that the combination of prose and verse reflects an Anmatyerr concept of song as prototypically punctuating events in a story rather than a medium for story-telling itself. This article suggests a more nuanced approach to the relationship between genre and performance styles.","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46743941","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 : 2018-08-05DOI: 10.12697/smp.2018.5.1.01
Geoffrey Russom
In Russom (2011), I defended a universalist hypothesis that the constituents of poetic form are abstracted from natural linguistic constituents: metrical positions from phonological constituents, usually syllables; metrical feet from morphological constituents, usually words; and metrical lines from syntactic constituents, usually sentences. An important corollary to this hypothesis is that norms for realization of a metrical constituent are based on norms for the corresponding linguistic constituent. Optimality Theory provides a universalist account of relevant linguistic norms and deals effectively with situations in which norms conflict, employing ranked violable rules. Language Typology provides a universalist account of relevant syntactic norms. In this paper I integrate these independently grounded methodologies and use them to explain the distribution of constituents within the line, identifying a variety of important facts that seem to have escaped previous notice. Universalist claims are tested against meters from each of the major language types: subject-verb-object (SVO), subject-object-verb (SOV) and verb-subject-object (VSO). My findings are incompatible with the claim that “lines are sequences of syllables, rather than of words or phrases” (Fabb, Halle 2008: 11).
{"title":"Optimality Theory, Language Typology, and Universalist Metrics","authors":"Geoffrey Russom","doi":"10.12697/smp.2018.5.1.01","DOIUrl":"https://doi.org/10.12697/smp.2018.5.1.01","url":null,"abstract":"In Russom (2011), I defended a universalist hypothesis that the constituents of poetic form are abstracted from natural linguistic constituents: metrical positions from phonological constituents, usually syllables; metrical feet from morphological constituents, usually words; and metrical lines from syntactic constituents, usually sentences. An important corollary to this hypothesis is that norms for realization of a metrical constituent are based on norms for the corresponding linguistic constituent. Optimality Theory provides a universalist account of relevant linguistic norms and deals effectively with situations in which norms conflict, employing ranked violable rules. Language Typology provides a universalist account of relevant syntactic norms. In this paper I integrate these independently grounded methodologies and use them to explain the distribution of constituents within the line, identifying a variety of important facts that seem to have escaped previous notice. Universalist claims are tested against meters from each of the major language types: subject-verb-object (SVO), subject-object-verb (SOV) and verb-subject-object (VSO). My findings are incompatible with the claim that “lines are sequences of syllables, rather than of words or phrases” (Fabb, Halle 2008: 11).","PeriodicalId":55924,"journal":{"name":"Studia Metrica et Poetica","volume":null,"pages":null},"PeriodicalIF":0.6,"publicationDate":"2018-08-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.12697/smp.2018.5.1.01","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46909940","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：