Studia Metrica et Poetica 2019-01-21T13:58:51+02:00 Maria-Kristiina Lotman Open Journal Systems <p><em>Studia Metrica et Poetica</em><em> is</em> a biannual peer-reviewed journal of prosody and poetics. The main aim of the journal is to publish papers devoted to the comparative-historical and typological issues, but various questions of verbal art and descriptions of the individual creation of different authors are addressed as well.</p> <p>One volume in two fascicles is published each year.</p> <p><em>Studia Metrica et Poetica</em> is indexed in Web of Science Core Collection (Clarivate Analytics).</p> Optimality Theory, Language Typology, and Universalist Metrics 2019-01-21T13:58:51+02:00 Geoffrey Russom <p>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).</p> 2018-08-05T14:01:21+03:00 ##submission.copyrightStatement## Attributing John Marston’s Marginal Plays 2019-01-21T13:58:49+02:00 Darren Freebury-Jones Marina Tarlinskaja Marcus Dahl <p>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: <em>Lust’s Dominion</em>; <em>Histriomastix</em>; <em>The Family of Love</em>; and <em>The Insatiate Countess</em>. 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.</p> 2018-08-05T14:07:27+03:00 ##submission.copyrightStatement## Rapikwenty: ‘A loner in the ashes’ and other songs for sleeping 2019-01-21T13:58:48+02:00 Myfany Turpin Jennifer Green <p><em>Rapikwenty</em> 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, <em>Rapikwenty</em> 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 &amp; Reichl, 1997). <em>Rapikwenty</em> 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, <em>Rapikwenty</em> uses the recitative style known as <em>arnwerirrem</em> ‘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.</p> <p><em>NOTE. The pdf version of this paper contains sound files, which may not work if you open the pdf in the browser. If this is the case, please download the pdf and open it from your computer.</em></p> 2018-08-05T14:13:06+03:00 ##submission.copyrightStatement## Verse texts in the Latin inscriptions of Estonian ecclesiastical space: meter, rhythm and prosody 2019-01-21T13:58:46+02:00 Anni Arukask Kaidi Kriisa Maria-Kristiina Lotman Tuuli Triin Truusalu Martin Uudevald Kristi Viiding <p>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 <em>in situ</em> 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.</p> 2018-08-05T14:21:35+03:00 ##submission.copyrightStatement## Vyacheslav V. Ivanov (1929–2017) and his Studies in Prosody and Poetics 2019-01-21T13:58:44+02:00 Igor Pilshchikov Ronald Vroon <p>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.</p> 2018-08-05T14:25:19+03:00 ##submission.copyrightStatement##