Studia Metrica et Poetica 2018-01-04T16:29:22+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><p>Editors:</p><table border="0" cellspacing="5" cellpadding="5"><tbody><tr><td>Mihhail Lotman, University of Tartu, Tallinn University<br />Igor Pilshchikov, Tallinn University<br />Maria-Kristiina Lotman, University of Tartu</td></tr></tbody></table><p>Editorial Board:</p><table border="0" cellspacing="5" cellpadding="5"><tbody><tr><td>Derek Attridge, University of York<br />David Chisholm, University of Arizona<br />Nigel Fabb, University of Strathclyde<br />Morris Halle, Massachusetts Institute of Technology<br />Bruce Hayes, University of California, Los Angeles<br />✝ Vyacheslav V. Ivanov, University of California, Los Angeles<br />Paul Kiparsky, Stanford University<br />Christoph Küper, University of Vechta<br />Gregory Nagy, Harvard University</td><td>Jaan Ross, Estonian Academy of Music and Theatre<br />Geoffrey Russom, Brown University<br />Barry P. Scherr, Darthmouth College<br />Seiichi Suzuki, Kansai Gaidai University<br />Marina Tarlinskaja, University of Washington<br />Reuven Tsur, Tel Aviv University<br />Michael Wachtel, Princeton University<br />Suren Zolyan, Armenian Academy of Sciences</td></tr></tbody></table> Daniel Call’s Schocker: German Knittelvers in the late twentieth century 2018-01-04T16:29:21+02:00 David Chisholm <p>The word “Knittelvers” has been used since the eighteenth century to describe four-stress rhyming couplets which seem to be rather simply and awkwardly constructed, and whose content is frequently comical, course, vulgar or obscene. Today German Knittelvers is perhaps best known from the works of Goethe and Schiller, as well as other late eighteenth and early nineteenth century writers.</p><p>Well-known examples occur together with other verse forms in Goethe’s <em>Faust</em> and Schiller’s <em>Wallensteins Lager</em>, as well as in ballads and occasional poems by both poets. While literary critics have shown considerable interest in Knittelvers written from the fifteenth to the eighteenth century, there has been almost no discussion of the further use and development of this verse form from the nineteenth century to the present, despite the fact that it continues to appear in both humorous and serious works by many contemporary German writers. This article focuses on an example of dramatic Knittelvers in a late twentieth century play, namely Daniel Call’s comedy <em>Schocker</em>, a modern parody of Goethe’s <em>Faust</em>. Among other things, Call’s play, as well as other examples of Knittelvers in works by twentieth and early twenty-first century poets, demonstrates that while this verse form has undergone some changes and variations, it still retains metrical characteristics which have remained constant since the fifteenth century. Today these four-stress couplets continue to function as a means of depicting comic, mock-heroic and tragicomic situations by means of parody, farce and burlesque satire.</p> 2018-01-04T16:29:21+02:00 ##submission.copyrightStatement## Fin-de-Siècle Yeats: Artistry and affect in “The Cap and Bells” 2018-01-04T16:29:21+02:00 MacDonald P. Jackson There have been various interpretations of W. B. Yeats’s “The Cap and Bells”, but little attention has been paid to those elements of its organization which make it effective as poetry. This article is concerned less with what the poem means than with how it means, through the choice and placement of words, phrases, and images in a sequence that not only tells a story but shapes it so as to engage our feelings. The essence of this verbal artefact lies in the emotional progression, conveyed with consummate skill, from frustrated longing to fulfilment. Comparison between the version that Yeats first published in <em>The National Observer</em> in 1894 and the revised version included in <em>The Wind Among the Reeds</em> (1899) reveals Yeats’s increased technical skill. 2018-01-04T16:29:21+02:00 ##submission.copyrightStatement## Towards the concept of semantic halo 2018-01-04T16:29:21+02:00 Mikhail Trunin This paper is focused on the “semantic halo of meter” («семантический ореол метра»), one of the most recognizable, popular, and widely used concepts in Russian verse studies. After the publication of Kiril Taranovsky’s article “On the Relationships between Verse Rhythm and Theme” (1963), in which the author addresses the issue by looking at the Russian trochaic pentameter and deals with one particular rhythmic variation of the specific meter, most scholars who have adopted Taranovsky’s perspective have overlooked this emphasis therefore effectively shifting focus from rhythm to meter. Mikhail L. Gasparov pointed out that “five semantic shades” are observed around trochaic pentameter. “These are (in the reverse order of relevance): Night, Landscape, Love, Death (triumphant or defied), and Road”. From this perspective, the author analyzes Osip Mandelshtam’s poem “Skilful Lady of Guilty Glances…” (1934; «Мастерица виноватых взоров…»). This poem has attracted a significant number of monographic studies; however, scholars have never examined the poem’s meter and its connection with the semantic halo of trochaic pentameter. 2018-01-04T16:29:21+02:00 ##submission.copyrightStatement## The patterns of the Estonian sonnet: periodization, incidence, meter and rhyme 2018-01-04T16:29:21+02:00 Rebekka Lotman <p>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.</p><p>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.</p><p>The material for this study includes all the published sonnets in Estonian language, i.e almost 4400 texts.</p> 2018-01-04T16:29:21+02:00 ##submission.copyrightStatement## Plotting Poetry: On mechanically enhanced reading, 5–7 October 2017, Basel, Switzerland 2018-01-04T16:29:22+02:00 Clara Martínez Cantón Petr Plecháč Pablo Ruiz Fabo Levente Seláf <p>Plotting Poetry: On mechanically enhanced reading, 5–7 October 2017, Basel, Switzerland</p> 2018-01-04T16:29:22+02:00 ##submission.copyrightStatement## NorLyr: A Scandinavian network in poetry research 2018-01-04T16:29:22+02:00 Eva Lilja NorLyr: A Scandinavian network in poetry research 2018-01-04T16:29:22+02:00 ##submission.copyrightStatement## Frontiers in Comparative Metrics III, 29–30 September 2017, Tallinn, Estonia 2018-01-04T16:29:22+02:00 Kadri Novikov Anni Arukask <p>Frontiers in Comparative Metrics III, 29–30 September 2017, Tallinn, Estonia</p> 2018-01-04T16:29:22+02:00 ##submission.copyrightStatement##