scholarly journals Canvas Embroidery: Lesya Ukrainka’s Versification Skillfulness in the Poems of the Cycle “Rhythms”

2021 ◽  
pp. 7-27
Author(s):  
Borys Bunchuk
Keyword(s):  
Verse Form

The article under studies deals with the form of Lesya Ukrainka’s poetic works that comprised the verse cycle “Rhythms”. The meaningful unity of the cycle proems has been emphasized by a specifically defined syllable-tonic meter – pentameter iamb, which, however, does not cause the feeling of monotony of the verse form. The purpose of the article is to determine the means, used by the poetess, in order to diversify the structure. The structure of each verse of the cycle is considered separately. The curriculum verse-dialogue “De podilysia vy, holosniyi slova…”, which opens the cycle and develops the theme in the following poems, is extensively analyzed and statistically examined in the aspect of conveying emotions through the verse rhythm. It has been ascertained that the final verses of the cycle (seventh and eighth) differ in the type of the rhythm (“alternated” – “transitive”), the nature of the caesura, the hierarchy of the forms used, the presence or absence of the lines with a different meter, the number of enjambments, and the strophic structure. Thus, despite the fact that the six poems and the second parts of the two polymetric constructions of the cycle “Rhythm” have been written in pentameter iamb, they are far from being similar. Most often, the distinction is in terms of rhythm and syntax. Among the rhythmic means, there prevail the type of the caesura and the forms of the rhythm; then – the percentage of the lines with a different meter, the verses with out-of-scheme stresses and the type of the rhythm; next – the percentage of the stressed feet and the verses with masculine endings. The syntactic means are represented, above all, through enjambments and “sentences-stanzas”, more rarely – through the division into “periods” and anaphors.

Ted Berrigan’s Stanzaic Spaces

2018 ◽  
Author(s):  
Yasmine Shamma
Keyword(s):  
New York ◽  
Second Generation ◽  
John Donne ◽  
New York School ◽  
Poetic Form ◽  
Verse Form

After suggesting (and agreeing) that Berrigan led the Second Generation New York School, this chapter treats the actual forms of Berrigan’s poems, focusing on his sonnets to show that these poets interpret poems as spaces in which to recreate rooms. Berrigan, perhaps more obviously than any other New York School poet, took deliberate steps towards integrating aspects of traditional poetic verse form: Where John Donne encouraged: “We’ll build in sonnets pretty rooms,” Berrigan retorts (repeated throughout his Sonnets): “Is there room in the room that you room in?” riddling the form with domestic, urban and aesthetic complications. Berrigan explained to an interviewer: “I always thought of each one of my poems, like the sonnets, as being a room. And before that, I used to think of each stanza as being a room.” Accordingly, this chapter examines Berrigan’s stanzas as rooms, arguing that this responsive poetic form functions organically.

Futures Honed

Futures ◽  
2021 ◽  
pp. 118-134
Author(s):  
Barbara Adam
Keyword(s):  
Social Sciences ◽  
Original Work ◽  
Collective Responsibility ◽  
The Past ◽  
Writing Theory ◽  
Time Space ◽  
The Social ◽  
The Future ◽  
Verse Form ◽  
The Way

This chapter comprises an interview between Barbara Adam and the editors, and is followed by Adam’s ‘Honing Futures’, which is presented in four short verses of distilled theory. In the interview Adam reflects on thirty-five years of futures-thinking rooted in her deeply original work on time and temporality, and her innovative response to qualitative and linear definitions of time within the social sciences. The interview continues with a discussion of the way Adam’s thinking on futures intersects in her work with ideas of ethics and collective responsibility politics and concludes with a brief rationale for writing theory in verse form. In ‘Honing Futures’, a piece of futures theory verse form, Adam charts the movements and moments in considerations of the Not Yet and futurity’s active creation: from pluralized imaginings of the future, to an increasingly tangible and narrower anticipated future, to future-making as designing and reality-creating performance. Collectively, the verses identify the varied complex interdependencies of time, space, and matter with the past and future in all iterations of honing and making futures.

scholarly journals The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme

2018 ◽  
Vol 4 (2) ◽  
pp. 67-124
Author(s):  
Rebekka Lotman
Keyword(s):  
Second World War ◽  
Free World ◽  
Free Verse ◽  
World War ◽  
History Of ◽  
Axis I ◽  
Verse Form ◽  
Estonian Language ◽  
Iambic Pentameter ◽  
Second World

The first sonnets in Estonian language were published almost 650 years after this verse form was invented by Federico da Lentini in Sicily, in the late of 19th century. Sonnet form became instantly very popular in Estonia and has since remained the most important fixed form in Estonian poetry. Despite its widespread presence over time the last comprehensive research on Estonian sonnet was written in 1938.This article has a twofold aim. First, it will give an overview of the incidence of Estonian sonnets from its emergence in 1881 until 2015. The data will be studied from the diachronic perspective; in calculating the popularity of the sonnet form in Estonian poetry through the years, the number of the sonnets published each year has been considered in relation to the amount of published poetry books. The second aim is to outline through the statistical analyses Estonian sonnets formal patterns: rhyme schemes and meter. The sonnet’s original meter, hendecasyllable, is tradionally translated into Estonian as iambic pentameter. However, over the time various meters from various verse systems (accentual, syllabic, syllabic-accentual, free verse) have been used. The data of various meters used in Estonian sonnets will also be examined on the diachronic axis. I have divided the history of Estonian sonnets into eight parts: the division is not based only on time, but also space: post Second World War Estonian sonnet (as the whole culture) was divided into two, Estonian sonnet abroad, i. e in the free world, and sonnet in Soviet Estonia.The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.

scholarly journals Ритм и смысл стихотворения Пушкина «Буря» [Pushkin’s “Buria”: The Meaning of Rhythm]

2021 ◽  
Vol 8 ◽  
pp. 48-55
Author(s):  
Sergei Dotsenko
Keyword(s):  
19Th Century ◽  
Russian Literature ◽  
Rhythmic Structure ◽  
Verse Form

This article addresses the meaning of the verse form of Alexander Pushkin’s poem “Buria” (1825). The poem’s monotonous rhythm corresponds to the theme of waves hitting the seashore and the rock in the same monotonous manner. The rhythmic structure of the poem implies that it can be divided into four three-line sections, each of which alternates between two rhythmic forms of iambic tetrameter (IV—IV—I, IV—IV—I, etc.). The stanzaic structure of the poem, which is a monostrophe, helps one to sense that pattern. KEYWORDS: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Buria (1825), Russian Iambic Tetrameter, Semantics of Rhythm, Verse Theory.

scholarly journals Evolution of Verse Form, Plots and Characters in English Plays (mid-16th to mid-19th centuries)

2019 ◽  
Vol 6 (1) ◽  
pp. 7-19
Author(s):  
Marina Tarlinskaja
Keyword(s):  
Nineteenth Century ◽  
Social Structure ◽  
Social Values ◽  
Poetic Language ◽  
The Social ◽  
English Society ◽  
Verse Form ◽  
Iambic Pentameter

The aim of this essay is to demonstrate how the rhythmical evolution of English dramatic iambic pentameter parallelled the changes of aesthetic tastes and social values of English society from the mid-sixteenth to mid-nineteenth century. During 250 years the evolution of such features as the abundance or absence of enjambments, the use of constrained or loose iambs, and some others corresponds to the changes in the architecture of the theaters, the social structure of the audience, the manners of declamation, the complexity of poetic language, and the types of characters and plots the playwrights used.

Ballad, Tale, and Tradition: A Study in Popular Literary Origins

PMLA ◽  
1914 ◽  
Vol 29 (4) ◽  
pp. 473-498
Author(s):  
Arthur Beatty
Keyword(s):  
Oral Tradition ◽  
Poetic Form ◽  
Ancient Source ◽  
The People ◽  
Verse Form ◽  
Literary Origins

To anyone who has followed the development of the theory of ballad origins, it is well known that there are two main theories in the field for our suffrages at the present time: the communal; and the individualistic, literary, or anti-communal theory. The last name of the second theory is indicative of the attitude of its upholders, for they have in truth been largely occupied with a criticism of the communalists, always demanding of them more and ever more light, and ever, like doubting Thomas, refusing to believe until an actual ballad dating from at least the time of Hereward the Wake is produced for their fingers to touch. The communalists, by an appeal to the well-established facts of folk-lore and ethnology, maintain that the ballads are the product of the communal stage of society in Europe, in which the populace held festive dances, and in which there was actual improvisation of certain traditional lyric narratives. These narratives had their verse-form determined by the dance; and the whole poem from beginning to end was the product of the people, and was not in any way composed by literary persons. Moreover, these ballads have been handed down by oral tradition, and live in the mouths of the people. Of course, there is no claim that one expects to find in the ballads of the collections anything which springs directly from the ancient source; all that is claimed is that the poetic form is handed down, and, so to say, the general ballad tradition. This claim of long descent is substantiated by the very features of the ballads as they exist to-day; by their impersonality, their refrain, their depicting of but a single situation, their use of incremental repetition. Thus, it is maintained, the ballad is not derived from any pre-existing literary material, but is the result of a primary impulse which is as old as man, and out of which the various forms of communal poetry spring. Finally, the ballad is not connected with the popular tale; “it follows an entirely different line and springs from an entirely different impulse.”

Pilgrimage, Print, and Performance

2021 ◽  
Vol 51 (1) ◽  
pp. 79-104
Author(s):  
Matthew Coneys
Keyword(s):  
Public Performance ◽  
Late Medieval ◽  
Performance Traditions ◽  
And Performance ◽  
Verse Form

This article discusses three poems written in the early 1490s by the Florentine Giuliano Dati (1445–1524), a penitentiary priest at the Archbasilica of St. John Lateran in Rome: the Stazione e indulgenze di Roma (1492–93), Tractato di Santo Ioanni Laterano (1492–94), and Aedificatio Romae (1494). Composed in the popular cantare verse form, which was strongly associated with public performance, these works are an unusual example of printed guides to Rome aimed specifically at an Italian audience. Situating Dati’s cantari within the broader culture of the Roman pilgrimage, the article assesses their relationship with established textual and performance traditions and considers the pastoral motivation behind their production. In doing so, it advocates for closer attention to the permeability between ephemeral print and performance in late medieval pilgrimage and devotional culture.

Zu Geschichte, Theorie und Praxis der Bühnenübersetzung. Am Beispiel von Corneilles Komodie "Le Menteur"

2018 ◽  
pp. 367-398
Author(s):  
Rainer Kohlmayer
Keyword(s):  
Literary Translation ◽  
Original Version ◽  
Original Text ◽  
Translation Theory ◽  
English Version ◽  
Suspension Of Disbelief ◽  
Verse Form ◽  
Theorie Und Praxis

After a brief summary of Herder’s enormous influence on literary translation in Germany (translation restores the specific orality of the original text) the essay points out five fundamental criteria that obtain when translating for the stage: Orality, Individual speech of dramatis personae, Relations between persons (as subtext), Necessity of immediate audience comprehensibility (as opposed to the readers’ situation), Theatricality / Fictionality with its typical „suspension of disbelief ” (Coleridge). These criteria are then applied to Pierre Corneille’s comedy Le menteur, written in Alexandrines, the characteristic verse form of French classicism. The original version of 1643 is compared to the verse translations by Goethe (1767), Bing (1875), Schiebelhuth (1954), Kohlmayer (2005), with a side glance at Ranjit Bolt’s English version of 1989. The ease with which young Goethe renders the classicist form of the original into colloquial German is contrasted by Schiebelhuth’s stilted ‚foreignizing’ of the text. The explanation offered is the (fatal) influence of Schleiermacher’s well-known translation theory of 1813, with its categorical preference of foreignizing, in contrast to domesticating (in Venuti’s terminology).

scholarly journals Early English meter as a way of thinking

2017 ◽  
Vol 4 (1) ◽  
pp. 41-65
Author(s):  
Eric Weiskott
Keyword(s):  
Case Studies ◽  
Intellectual History ◽  
Middle English ◽  
Fourteenth Century ◽  
Geoffrey Chaucer ◽  
English Literature ◽  
William Langland ◽  
Middle English Literature ◽  
Verse Form ◽  
Early English

The second half of the fourteenth century saw a large uptick in the production of literature in English. This essay frames metrical variety and literary experimentation in the late fourteenth century as an opportunity for intellectual history. Beginning from the assumption that verse form is never incidental to the thinking it performs, the essay seeks to test Simon Jarvis’s concept of “prosody as cognition”, formulated with reference to Pope and Wordsworth, against a different literary archive.The essay is organized into three case studies introducing three kinds of metrical practice: the half-line structure in Middle English alliterative meter, the interplay between Latin and English in Piers Plowman, and final -e in Chaucer’s pentameter. The protagonists of the three case studies are the three biggest names in Middle English literature: the Gawain poet, William Langland, and Geoffrey Chaucer.

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