Studia Metrica et Poetica https://ojs.utlib.ee/index.php/smp <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>&nbsp;</p> en-US maria.lotman@mail.ee (Maria-Kristiina Lotman) Ivo.Volt@ut.ee (Ivo Volt) Thu, 31 Dec 2020 00:00:00 +0200 OJS 3.1.2.4 http://blogs.law.harvard.edu/tech/rss 60 Russian Iambic Tetrameter: The Evolution of Its Rhythmic Structure https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.01 <p>To characterize the rhythm of stresses in a line of Russian iambic tetrameter, a frequency profile is often used, i. e., a diagram of the occurrence of real stresses on all feet (ictuses) of the verse line. This article discusses in detail one of the mechanisms that enables the speech factor to influence the formation of the stress profile. It is shown that in Russian iambic tetrameter of the nineteenth and twentieth centuries, the high frequency of stresses of the second ictus is explained by the fact that the beginning of the line more often than not coincides with the beginning of a sentence or clause, and the Russian syntagma is more frequently stressed in the middle. And vice versa, wherever the frequency of enjambments increases, the second ictus is less frequently stressed, because the beginning of the syntagma moves to the middle of the line. Considering the above, the author attempts to characterize the peculiarity of the rhythmic structure of Russian iambic tetrameter in synchronic and diachronic aspects and reveal some major large-scale trends such as the growth of the rhythmic diversity of poetic texts.</p> Sergei Liapin Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.01 Thu, 31 Dec 2020 00:00:00 +0200 Verse Forms and Metres in Livonian Humanist Poetry: David Hilchen and his Ancient Models https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.02 <p>The aim of this paper is to give an account of verse forms in David Hilchen’s poetry. In the paper the metrical structures and rhythmic regularities in poems gathered from different periods of his creation are studied and the results are compared with the data from ancient Latin authors. Some aspects of the prosodic features in Hilchen’s verse are discussed as well. The paper will demonstrate the prosodic and rhythmic variety of the metres used, which resembles the rhythmic preferences of ancient models and early modern verse.</p> Maria-Kristiina Lotman, Kristi Viiding Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.02 Thu, 31 Dec 2020 00:00:00 +0200 John Fletcher’s Collaborator on The Noble Gentleman https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.03 <p>Although John Fletcher is recognized as one of the most influential dramatists of the early modern period, many of the theories concerning the divisions of authorship in his collaborative plays continue to present insoluble difficulties. For instance, according to the soundly based chronology developed by Martin Wiggins, many plays attributed in part to Francis Beaumont appear to have been written after Beaumont had ceased writing (c. 1613), or even after he died in 1616. A prime example would be <em>The Noble Gentleman</em> (1626), which E. H. C. Oliphant and Cyrus Hoy attributed in part to Beaumont. Modern scholarship holds that this was Fletcher’s last play and that it was completed by another hand after Fletcher died in 1625. This article offers the most comprehensive analysis yet undertaken of the stylistic qualities of the “non-Fletcher” portions in this play in relation to dramatists writing for the King’s Men at the time, thereby opening up several new lines of enquiry for co-authored plays of the period. Seeking to broaden our understanding of the collaborative practices in plays produced by that company in or around 1626, through a combination of literary-historical and quantitative analysis, the article puts forth a new candidate for Fletcher’s posthumous collaborator: John Ford.</p> Darren Freebury-Jones Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.03 Thu, 31 Dec 2020 00:00:00 +0200 Radishchev’s “Bova” and Its Place in the History of Russian Folkloric Stylization https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.04 <p>Aleksandr Radishchev (1749–1802) has long been recognized for the boldness and originality of his writings. The present essay examines a substantial but largely forgotten poetic work (“Bova”), focusing on its experimental metrics. The author considers Radishchev’s possible motivations in creating this unprecedented form and suggests a new means of categorizing it.</p> Michael Wachtel Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.04 Thu, 31 Dec 2020 00:00:00 +0200 Movement and Balance. A comment on Derek Attridge’s Moving Words https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.05 <p>This paper discusses some central problems that occur within cognitive versification studies. Derek Attridge’s <em>Moving Words</em> (2013) comments on Richard Cureton’s concept of temporalities. Attridge understands poetic rhythm as movement. He draws the conclusion that movement and repetition are, in principle, contradictory because, in a way, repetition looks backwards and stops the movement. This turns out to be a complicated statement, as repetition seems to be the only poetic device that is common in poetry all over the world. However, it may be possible to understand the relationship between movement and repetition with the help of Reuven Tsur’s concept of back-structuring. This shows how verse rhythm is spatialised as well as has the ability to move in time. This is possible because of gestalt borders that close the sequences. Additionally, Cureton’s fourth thematic temporality is useful to solve the conflict. Temporality is a complex reality, and poetic rhythm also has the ability to stand still.</p> Eva Lilja Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.05 Thu, 31 Dec 2020 00:00:00 +0200 Kiril Taranovsky and his Greatest Work https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.06 <p>Kiril Taranovsky and his Greatest Work</p> Mihhail Lotman, Igor Pilshchikov Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.06 Thu, 31 Dec 2020 00:00:00 +0200 Russian Binary Meters https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.07 <p>Russian Binary Meters. Part One</p> Kiril Taranovsky; Lawrence E. Feinberg Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.07 Thu, 31 Dec 2020 00:00:00 +0200 Annika Mikkel, Rütmilised lauselõpud 14. sajandi ladinakeelsetes ning itaalia rahvakeelsetes proosateostes https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.08 <p>Annika Mikkel, Rütmilised lauselõpud 14. sajandi ladinakeelsetes ning itaalia rahvakeelsetes proosateostes (Rhythmic clausulae in the 14th-century Latin and Italian vernacular prose texts)</p> Satu Grünthal Copyright (c) https://ojs.utlib.ee/index.php/smp/article/view/smp.2020.7.2.08 Thu, 31 Dec 2020 00:00:00 +0200