http://ojs.utlib.ee/index.php/smp/issue/feed Studia Metrica et Poetica 2019-07-23T14:18:28+03:00 Maria-Kristiina Lotman maria.lotman@mail.ee 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> http://ojs.utlib.ee/index.php/smp/article/view/smp.2018.5.2.01 Enjambment – Irony, Wit, Emotion. A Case Study Suggesting Wider Principles 2019-07-23T14:18:28+03:00 Reuven Tsur tsurxx@tauex.tau.ac.il Chen Gafni chen.gafni@gmail.com <p>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.</p> 2019-01-17T14:39:38+02:00 ##submission.copyrightStatement## http://ojs.utlib.ee/index.php/smp/article/view/smp.2018.5.2.02 Versification and authorship attribution. A pilot study on Czech, German, Spanish, and English poetry 2019-07-23T14:18:26+03:00 Petr Plecháč plechac@ucl.cas.cz Klemens Bobenhausen bobenhausen@gmail.com Benjamin Hammerich benjamin.hammerich@gmail.com <p>This article describes pilot experiments performed as one part of a longterm project examining the possibilities for using versification analysis to determine the authorships of poetic texts. Since we are addressing this article to both stylometry experts and experts in the study of verse, we first introduce in detail the common classifiers used in contemporary stylometry (Burrows’ Delta, Argamon’s Quadratic Delta, Smith-Aldridge’s Cosine Delta, and the Support Vector Machine) and explain how they work via graphic examples. We then provide an evaluation of these classifiers’ performance when used with the versification features found in Czech, German, Spanish, and English poetry. We conclude that versification is a reasonable stylometric marker, the strength of which is comparable to the other markers traditionally used in stylometry (such as the frequencies of the most frequent words and the frequencies of the most frequent character <em>n</em>-grams).</p> 2019-01-28T16:12:14+02:00 ##submission.copyrightStatement## http://ojs.utlib.ee/index.php/smp/article/view/smp.2018.5.2.03 Testing the robustness of final strictness in verse lines 2019-07-23T14:18:25+03:00 Varuṇ deCastro-Arrazola varunasarman@gmail.com <p>In the field of metrics, it has long been observed that verse lines tend to be more regular or restricted towards the end (Arnold 1905). This has led to the Strict End Hypothesis [SEH], which proposes a general versification principle of universal scope (Hayes 1983). This paper argues that two main challenges hinder the substantiation of the SEH in a broad typological sample of unrelated verse corpora. First, the concept of strictness is too coarse and needs to be narrowed down to testable features or subcomponents. Second, explicit measures need to be developed which enable the systematic comparison of corpora, particularly when trying to capture potentially gradient features such as the relative faithfulness to a metrical template. This study showcases how to overcome these issues by analysing the entropy at different positions in the line for corpora in five languages (English, Dutch, Sanskrit, Estonian, Berber). Finally, I argue that, if the SEH is shown to be typologically robust, shared human cognitive features may provide a partial explanation for this puzzling asymmetry in verse lines.</p> 2019-01-28T16:24:56+02:00 ##submission.copyrightStatement## http://ojs.utlib.ee/index.php/smp/article/view/smp.2018.5.2.04 Spanish Romancero in Russian and the semantization of verse form 2019-07-23T14:18:24+03:00 Vera Polilova vera.polilova@gmail.com <p>In this paper, I analyze Russian translations and close imitations of Spanish <em>Romancero</em> poetry composed between 1789 and the 1930s, as well as Russian original poems of the same period marked by “Spanish” motifs. I discuss the Spanish <em>romance</em> as an international European genre, and show how this verse form’s distinctive features were transferred into Russian poetry and how the Russian version – or, rather, several Russian versions – of this form came into being. I pay special attention to the genesis of the stanza composed of a regular sequence of feminine (F) and masculine (m) clausulae FFFm. In Johann Gottfried Herder’s <em>Der Cid</em>, this clausula pattern was combined with unrhymed trochaic tetrameters, but, in early twentieth-century Russia, it emancipated from this metrical form, having retained the semantic leitmotifs of the Spanish <em>romance</em>, as well as its “Spanish” theme. I contextualize other translation equivalents of <em>romance</em> verse and compare them to the original Spanish verse form. I show (1) which forms poets used in translating <em>romance</em> verse and how those forms correlate (formally and functionally) with the original meter. Further, I discuss (2) when and how the trochaic tetrameters rhyming on even lines (XRXR) – originally used in translations of Spanish <em>romances</em> in German and English poetry – became the equivalent of <em>romance</em> verse in the Russian tradition. Finally, I demonstrate (3) how, in Konstantin Balmont’s translations of Spanish poetry, the FFFm clausula pattern lost its connection with trochee. After Balmont, other poets of the Silver Age of Russian literature started using it in original non-trochaic compositions to express “Spanish” semantics.</p> 2019-01-28T16:34:56+02:00 ##submission.copyrightStatement## http://ojs.utlib.ee/index.php/smp/article/view/smp.2018.5.2.05 Metrics and versification in poetry and song: the 14th Nordic conference on metrics, 13–15 September, 2018, Stockholm, Sweden 2019-07-23T14:18:22+03:00 Sissel Furuseth sissel.furuseth@iln.uio.no <p>Metrics and versification in poetry and song: the 14th Nordic conference on metrics, 13–15 September, 2018, Stockholm, Sweden</p> 2019-01-28T16:38:38+02:00 ##submission.copyrightStatement## http://ojs.utlib.ee/index.php/smp/article/view/smp.2018.5.2.06 Morris Halle (1923–2018) 2019-07-23T14:18:21+03:00 Paul Kiparsky kiparsky@stanford.edu <p>Morris Halle (1923–2018)</p> 2019-01-28T16:43:00+02:00 ##submission.copyrightStatement##