Relevant bibliographies by topics / Accentual structure of verse

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Academic literature on the topic 'Accentual structure of verse'

Author: Grafiati
Published: 7 June 2025
Last updated: 26 June 2025

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Journal articles on the topic "Accentual structure of verse"

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Lotman, Maria-Kristiina, and Mihhail Lotman. "The Accentual Structure of Estonian Syllabic-Accentual Iambic Tetrameter." Studia Metrica et Poetica 1, no. 2 (2014): 71–102. http://dx.doi.org/10.12697/smp.2014.1.2.04.

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This paper is part of a project aimed to analyse the rhythm of Estonian binary verse metres. It is the first complex analysis of Estonian syllabic-accentual iamb. The analysis is comprised of poetry by 20 prominent authors from the end of the 19th century and the beginning of the 20th century, and, all in all, more than 9000 verse lines. In order to find out which regularities are specific to poetry in general or to a particular poet, these data were compared with pseudoiambic segments extracted from prose. Differently from the earlier studies, stress is treated as a phenomenon of gradation, with altogether five different degrees of stress distinguished. The performed study showed that the rhythmical structure of iambic poems allows the clear distinction between two groups of poets, whom we conditionally call Traditionalists and Modernists.
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Lotman, Maria-Kristiina. "Equiprosodic translation method in Estonian poetry." Sign Systems Studies 40, no. 3/4 (2012): 447–72. http://dx.doi.org/10.12697/sss.2012.3-4.10.

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Equimetrical translation of verse, which conveys the metre of the source text, should be distinguished from equiprosodic translation of verse, which conveys the versification system of the source text. Equiprosodic translation of verse can rely on the possibilities of natural language (for instance, when presumably Publius Baebius Italicus created the Ilias Latina, he made use of the quantitative structure in Latin), but it can also employ an artificial system (cf., for example, the quantitative verse in Church Slavonic or English). The Estonian language makes it possible to convey the syllabic (based on the number of syllables), accentual (based on the number and configuration of accents) and quantitative (based on the configuration of durations) versification systems. In practice, combined types are most frequent, for instance, the ones in which both the syllable count and the configuration of accents is relevant; in Estonian, versification systems with the participation of all three principles are possible as well. Despite the contrast of quantity in Estonian, the transmission of the quantitative structure of ancient metrics still involves a number of difficulties which result from differences in the prosodic structures. The transmission of purely syllabic versification system has also been problematic: it is hard to perceive such structure as verse in Estonian and therefore it has often been conveyed with the help of different syllabic-accentual or accentual-syllabic verse metres. Although equiprosodic translation is not necessarily equimetrical, in actual translation practice it usually is so.
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Proto, Teresa, and François Dell. "The structure of metrical patterns in tunes and in literary verse. Evidence from discrepancies between musical and linguistic rhythm in Italian songs." Probus 25, no. 1 (2013): 105–38. http://dx.doi.org/10.1515/probus-2013-0004.

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Abstract A first exploration of acceptable and unacceptable discrepancies between linguistic and musical rhythm in Italian songs has uncovered two kinds of discrepancies which do not have counterparts in literary verse: durational discrepancies between adjacent syllables and stress-beat misalignments that involve nonadjacent syllables. The latter type is explored in greater detail than the former. Our survey suggests that analogous misalignments are in principle impossible in literary verse composed in accentual or accentual-syllabic meters, because, on the one hand, the abstract metrical templates that characterize such meters are not anchored in measured time, and, on the other hand, they do not recognize more than two degrees of metrical prominence.
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Boykov, V. N. "A Context-Free Grammar of One Rhythmic Model of Russian Verse." Modeling and Analysis of Information Systems 19, no. 4 (2015): 154–67. http://dx.doi.org/10.18255/1818-1015-2012-4-154-167.

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A formal model of the Russian verse based on the accentual segmentation of its structure is offered and considered. A context-free grammar (in N. Chomsky’s sense) which generates correct rhythmic forms of the presented model is constructed.
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Petrov, Alexander. "Trochaic tetrameter in Russian folk spiritual verses of late tradition: Some issues of metrics and rhythmics." Voprosy Jazykoznanija, no. 3 (2022): 54. http://dx.doi.org/10.31857/0373-658x.2022.3.54-74.

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The article represents the first experience in analyzing the metrical and rhythmical organization of Russian folk spiritual verses written in trochaic tetrameter in the 19th–20th centuries. These verses existed not only orally, but in writing as well. The criteria for the selection of folklore material and its preparation for research are substantiated. The sample consists of 4447 lines, 93 texts were analyzed. The analysis is based on the principles of the “Russian method”. The purpose of the article is to test the hypothesis about different rhythmical structure of lines with feminine and masculine endings. According to this hypothesis, accentual dissimilation is progressive in feminine lines and regressive in masculine lines, which is also confirmed by some literary and folklore materials. The array of lines was differentiated by feminine and masculine rhymes; rhythmical tendencies were identifi ed on the basis of a separated analysis. The metrical repertoire of the bearers of the folklore tradition was revealed; the nomenclature of rhythmical forms was identified; accentual profi les were created; the data are presented in 25 tables. The research has shown that in lines of diff erent types the principle of regressive accentual dissimilation is observed, but in masculine lines dissimilation is more intense than in feminine lines. An important feature of the rhythm of spiritual poetry is the abundance of misplaced accents (emphatic syncopations). Taking into account the mobility of stress in folklore, I propose three models of rhythmical analysis. The fi rst model is based on the hypothesis of regular syncopations; the second one proposes the correction and exclusion of some cases of syncopations; the third one takes into account the regular shifts of stress to a metrically strong position, with elimination of all misplaced accents. As far as I could discover, an adequate characteristic of the rhythm of folklore verse does not require constant “fine tuning”. It is quite possible to use the basic model with checking the accentual variants by dictionaries.
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Petrov, Alexander. "Is there a three-ictic <em>taktovik</em> in the verse of Russian bylinas?" Voprosy Jazykoznanija, no. 4 (2023): 65. http://dx.doi.org/10.31857/0373-658x.2023.4.65-95.

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The paper attempts to clarify some theses of the accentual theory of folk versification in relation to bylinas — Russian epic songs. A brief overview of the research tradition from Vostokov to the modern time is presented, the most difficult problems of studying the metrics and rhythm of bylina are explicated. Criteria for selecting material for analysis are formulated. The sample is based on published texts from classical folklore collections of Kirsha Danilov, Gilferding, and Rybnikov — 10,111 lines (41 texts). An extensive audio material collected from a bearer of the folklore tradition is used for the study — 632 lines (36 fragments of bylinas). With the help of audio recordings, the features of epic accentuation, previously not fully reflected in published texts, were revealed. Based on them, a hypothesis was formulated about the alternation of lines with 3 and 4 stresses in the structure of an epic verse. Data extracted from audio recordings were extrapolated to texts whose exact sound is unknown. The most typical rhythmical variations of lines with 3 and 4 stresses are presented based on a complete separate metrical and rhythmical analysis. The results are presented in 15 tables. As far as I could discover, the shares of lines with 3 and 4 stresses are more or less balanced, and together normally make up more than 80 % of an epic text. I suggest that the three-ictic model of the epic verse arose as a result of separating text from melody and is a mere reflection of an artificial literary declamation. In reality, the verse of bylina is a taktovik (an accentual verse with mono-, di-, and trisyllabic inter-ictic interval) with alternation of lines with 3 and 4 stresses, variable anacrusis (the range of variation is normally 0–2 syllables), and dactylic or masculine (less often hyperdactylic) ending, with no rhyme.
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Duffell, Martin J. "Tennyson’s ‘metre of Catullus’: The ambivalent hendecasyllable." Language and Literature: International Journal of Stylistics 22, no. 1 (2013): 19–31. http://dx.doi.org/10.1177/0963947012469752.

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This article argues that quantitative verse can be no more than an intellectual exercise in English because of the language’s strong dynamic accent and tendency towards stress-timing. The case focuses on Tennyson’s experiment entitled ‘Hendecasyllabics’, which he described as being ‘in a metre of Catullus’. The article offers a detailed comparison of the supra-segmental features of Tennyson’s poem and its model and concludes that the English poem lacks an essential component of the Latin metre: a variable relationship between ictus and accent. As a result, Tennyson unwittingly composed lines with a regular accentual configuration, one that English poets had been studiously avoiding for 500 years. In contrast, poets of the Southern Romance languages have cultivated this type of line assiduously, and the article pursues the historical reasons for the divergence. It concludes that the difference is almost entirely due to individual aesthetic choices, and that this line structure, known as the endecasílabo melódico, is a viable option as a verse design for English poets.
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Skansgaard, Michael. "How Not to Introduce Blues Prosody:." Poetics Today 40, no. 4 (2019): 645–81. http://dx.doi.org/10.1215/03335372-7739071.

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This article delivers a two-pronged intervention into blues prosody. First, it argues that scholars have repeatedly misidentified the metrical organization of blues poems by Langston Hughes and Sterling Brown. The dominant approach to these poems has sought to explain their rhythms with models of alternating stress, including both classical foot prosody and the beat prosody of Derek Attridge. The article shows that the systematic organization of blues structures originates in West African call-and-response patterning (not alternating stress), and is better explained by models of syntax and musical phrasing. Second, it argues that these misclassifications — far from being esoteric matters of taxonomy — lie at the heart of African American aesthetics and identity politics in the 1920s and 1930s. Whereas literary blues verse has long been oversimplified with conventional metrics like “free verse,” “accentual verse,” and “iambic pentameter,” the article suggests that its rhythms arise instead from a rich and complex vernacular style that cannot be explained by the constraints of Anglo-American versification.
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Tsivinska, Yuliia. "“Mesopotamia” by Serhii Zhadan: Metrical and Rhythmic Parameters of Poetic Texts." Pitannâ lìteraturoznavstva, no. 109 (June 28, 2024): 43–57. http://dx.doi.org/10.31861/pytlit2024.109.043.

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The article analyzes the second part of S. Zhadan’s book “Mesopotamia”, “Clarification and Generalization”, which contains thirty poetic texts, from the point of view of versioning. In addition, the paper presents an interpretation of the book’s title that transfers it to Ukrainian basis and possibly reflects some details of the author’s biography. Mesopotamia is associated with Kharkiv, the city of S. Zhadan’s formation. The study offers a general picture of the metrical and rhythmic characteristics of the poems written in the sizes of the syllabic-tonic (iambic), tonic systems (dolnik, metrical, accented verse), and free verse. Also the article indicates the features of their interaction and combination in one text. Among the poems, there are also those that are considered transitional metrical forms and polymetrical constructions, one of which (the poem “And then she says”) combines not only with tonic metres but also the free verse. We raise the question of distinguishing between accentual verse and polymetrical construction on the basis of the quantitative ratio of lines of a particular size. The author makes an attempt to highlight specific features of the writer’s free verse, in particular, irregular rhyme, repetition, stylistic figures, division of syntactic units by means of ending pauses, which form the rhythm of poetry and emphasize its meaning. We substantiate their value and give examples of their use. The paper separately considers the issue of the stanzaic structure of couplets, which we reckon as conditional, since in such texts the concept of stanza has lost its features and is based mainly on the author’s vision. However, such a mosaic „stanza” is another tool that gives free verse a special rhythm. In conclusion, the article outlines the prospects for further research on the author’s versioning.
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Petrov, Alexander M. "FOLK METRE 5+5 IN RUSSIAN EPIC SPIRITUAL VERSES." Lomonosov Journal of Philology 47, no. 5, 2024 (2024): 157–69. https://doi.org/10.55959/msu0130-0075-9-2024-47-05-12.

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The paper focuses on the features of the metrical and rhythmical structure of the metre defined as 5+5 . The materials of the study are Russian epic spiritual verses. Texts for analysis were selected from academic publications and from archival sources by the method of continuous sampling (71 texts, 8827 lines). The purpose of the presented paper is to identify the extent of the distribution of this metre in the epic text: usually the 5+5 meter is associated with folk lyrics. As I was able to discover, the share of lines in the form of 5+5 is about 13 % . They are represented by 30 rhythmical variations, among which “dol’nik” type (an accentual verse with mono- and disyllabic interictic interval) predominates. The basis of the 5+5 metre in epic spiritual verses is the alternation of lines with 3 and 4 stresses. Also, I managed to detect structures with skipped stresses on ictic positions and lines with a shift of caesura (12 % ). In addition to published texts, I also used the archival audio recordings. An analysis of these sources revealed that when a text is performed orally to a melody, the accent structure of a line significantly changes. As far as I could discover, a word stress is never suppressed by a phrase accentuation. Also, in the entire corpus of materials, I managed to reveal the lines that can be conditionally classified as “derivatives” of the 5+5 scheme. These are lines with 11 syllables with additional particles, caesura extensions, etc. Their connection with a 5+5 form is subject to further study and argumentation. In the paper, the need to use precise methods of experimental phonetics is emphasized. A thorough study of “transitional” phenomena in the field of folklore metrics also seems promising.
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Dissertations / Theses on the topic "Accentual structure of verse"

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O'Connor, Michael Patrick. "Hebrew verse structure /." Winona Lake (Ind.) : Eisenbrauns, 1997. http://catalogue.bnf.fr/ark:/12148/cb388305198.

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Girand, Cynthia V. "Prenuclear accentual structure in conversational English: Form and function." Diss., Connect to online resource, 2006. http://gateway.proquest.com/openurl?url_ver=Z39.88-2004&rft_val_fmt=info:ofi/fmt:kev:mtx:dissertation&res_dat=xri:pqdiss&rft_dat=xri:pqdiss:3207727.

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Bittner, Hansjörg. "The metrical structure of free verse." Thesis, University of East Anglia, 1997. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.361429.

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Tomei, Christine D. [Verfasser]. "The Structure of Verse Language / Christine D. Tomei." Frankfurt a.M. : Peter Lang GmbH, Internationaler Verlag der Wissenschaften, 1989. http://d-nb.info/1165481847/34.

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Leatherman, Donn Walter. "An analysis of four current theories of Hebrew verse structure." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape10/PQDD_0028/NQ50205.pdf.

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Leatherman, Donn Walter. "An analysis of four current theories of Hebrew verse structure /." Thesis, McGill University, 1998. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=35906.

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This dissertation tests and evaluates four current theories of the verse structure of biblical Hebrew poetry. These theories are: the counting of minimal units, such as poetic feet, stresses or syllables, practiced in various forms since antiquity, and recently employed by D. N. Freedman, F. M. Cross and others, the analysis of poetic line-forms proposed by Terence Collins, the syntactic structural analysis proposed by M. O'Connor, and the semantic analysis practiced by Willow van der Meer, Johannes de Moor and a group of scholars associated with the Kampen School of Theology. All of these theories purport to identify and explain the fundamentals of biblical Hebrew verse structure. Each of these theories is presented comprehensively. These presentations include a review of literature relevant to the field of Hebrew verse structure studies in general, and to these four current theories of verse structure in particular.<br>These four theories are applied to four poetic passages from the Hebrew Bible: Judges 5:2--31, Isaiah 5:1--7, Lamentations 1 and Psalm 126. These applications show how each of these theories describes the verse structure of each of the poems. Following this, the theories and their applications to these passages are compared to determine which, if any, of these theories are effective in distinguishing poetry from prose, distinguishing one poem from another, predicting the form of a poem, and prescribing rules for the composition of poetry. The strengths and weaknesses of each theory are identified. In addition, the reasons for the failure of these theories to provide an adequate description of the verse structure of biblical Hebrew poetry are indicated.
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Tomei, Christine D. "The structure of verse language : theoretical and experimental research in Russian and Serbo-Croatian syllabo-tonic versification /." München : O. Sagner, 1989. http://catalogue.bnf.fr/ark:/12148/cb35562432c.

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Cooper, Andrew. "A unified account of the Old English metrical line." Doctoral thesis, Stockholms universitet, Engelska institutionen, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-148370.

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This study describes the verse design of Old English poetry in terms of modern phonological theory, developing an analysis which allows all OE verse lines to be described in terms of single metrical design. Old English poetry is typified by a single type of line of variable length, characterised by four metrical peaks. The variation evident in the lengths of OE metrical units has caused previous models to overgenerate acceptable verse forms or to develop complex typologies of dozens of acceptable forms. In this study, Metrical phonology and Optimality theory are used to highlight some aspects of the relationship between syntax, phonology and verse metrics in determining how sentences and phrases interact with the verse structure to create variation. The main part of the study is a metrical model based on the results of a corpus analysis. The corpus is centred on the OE poems Genesis and Andreas, complemented by selected shorter poems. A template of a prototypical line is described based on a verse foot which contains three vocalic moras, and which can vary between 2 and 4 vocalic moras distributed across 1 to 4 syllables. Each standard line is shown to consist of four of these verse feet, leading to a line length which can vary between 8 and 16 vocalic moras. It is shown that the limited variation within the length of the verse foot causes the greater variation in the length of lines. The rare, longer ‘hypermetric’ line is also accounted for with a modified analysis. The study disentangles the verse foot, which is an abstract metrical structure, from the prosodic word, which is a phonological object upon which the verse foot is based, and with which it is often congruent. Separate sets of constraints are elaborated for creating prosodic words in OE, and for fitting them into verse feet and lines. The metrical model developed as a result of this analysis is supported by three smaller focused studies. The constraints for creating prosodic words are defended with reference to compounds and derivational nouns, and are supported by a smaller study focusing on the metrical realisation of non-Germanic personal names in OE verse. Names of biblical origin are often longer than the OE prosodic word can accommodate. The supporting study on non-Germanic names demonstrates how long words with no obvious internal morphology in OE are adapted first to OE prosody and then to the verse structure. The solution for the metrical realisation of these names is shown to be patterned on derivational nouns. The supporting study on compound numerals describes how phrases longer than a verse are accommodated by the verse design. It is shown that compound numerals, which consist of two or more numeral words (e.g. 777 – seofonhund and seofon and hundseofontig) are habitually rearranged within the text to meet the requirements of verse length and alliteration. A further supporting study discusses the difference between the line length constraints controlling OE verse design and those for Old Norse and Old Saxon verse. Previous studies have often conflated these three closely related traditions into a single system. It is shown that despite their common characteristics, the verse design described in this study applies to all OE verse, but not to ON or OS.
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Zindulková, Klára. "Tónický verš a čeština." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338145.

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Chief subject of this work is a detailed description of the metrical structure of accentual verse and its place in the system of versifications. Definitions of this metrical system in the Czech theory of verse are compared to the international concepts of accentual verse. Then the category of isochrony is described. Isochrony is a property of language, on which the priciple of accentual verse is based on. In the next part of the work I present an overview of the types of accentual verse in Polish, English, Russian and German. Special attention is paid to the category of strict stress-verse, its relation to the accentual verse and also to some of Czech literary works. Further in the work I focus on metrical analysis of the texts written by five czech poets, which are more or less based on the accentual principle. The most attention is paid to the drama Faëthon by O. Theer. I elaborate on author's comments and critical reviews of his contemporaries, comparing them with the modern metrical descriptions. The last part is devoted to the problem of translating accentual verses into Czech, connecting this versification with "sylabotonic" translations of quantitative verse and also oral character of accentual versification in general.
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Hu, Sheng-Yang, and 胡勝揚. "Automated Song Segmentation and Verse-chorus Identification by Structure Analysis." Thesis, 2015. http://ndltd.ncl.edu.tw/handle/34523785850073629440.

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碩士<br>國立交通大學<br>工學院聲音與音樂創意科技碩士學位學程<br>104<br>Automated song analysis and composition is one of the most significant issues in the field of music technology. In this research, we bring up the methods including melody extraction and pitch class set theory in pre-processing stage and apply dynamic programming which used to solve longest common subsequence (LCS) problem to segment the song through symbolic data. In addition, we also analyze the song structure, and calculate average transition rate of every state transitions as a reference of verse-chorus identification. And we probe the relationship among music genres, segmentation and verse-chorus identification. The whole songs of experiment and analysis in this research are selected randomly in million song dataset (MSD) published in ISMIR 2011 as a dataset.
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Books on the topic "Accentual structure of verse"

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O'Connor, M. Hebrew verse structure. Eisenbrauns, 1997.

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Tomei, Christine D. The Structure of Verse Language. Peter Lang International Academic Publishers, 1989.

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Tomei, Christine D. The structure of verse language: Theoretical and experimental research in Russian and Serbo-Croatian syllabo-tonic versification. O. Sagner, 1989.

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Ontario. Esquisse de cours 12e année: Sciences de l'activité physique pse4u cours préuniversitaire. CFORP, 2002.

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Ontario. Esquisse de cours 12e année: Technologie de l'information en affaires btx4e cours préemploi. CFORP, 2002.

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Ontario. Esquisse de cours 12e année: Études informatiques ics4m cours préuniversitaire. CFORP, 2002.

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Ontario. Esquisse de cours 12e année: Mathématiques de la technologie au collège mct4c cours précollégial. CFORP, 2002.

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Ontario. Esquisse de cours 12e année: Sciences snc4m cours préuniversitaire. CFORP, 2002.

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Ontario. Esquisse de cours 12e année: English eae4e cours préemploi. CFORP, 2002.

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Ontario. Esquisse de cours 12e année: Le Canada et le monde: une analyse géographique cgw4u cours préuniversitaire. CFORP, 2002.

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Book chapters on the topic "Accentual structure of verse"

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Lester, G. A. "Old English Verse: Structure and Organisation." In The Language of Old and Middle English Poetry. Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_5.

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Lester, G. A. "Middle English Verse: Structure and Organisation." In The Language of Old and Middle English Poetry. Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_7.

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Minkova, Donka. "Verse structure as evidence for prosodic reconstructions in Old English." In English Historical Linguistics 1994. John Benjamins Publishing Company, 1996. http://dx.doi.org/10.1075/cilt.135.04min.

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Dobbs-Allsopp, F. W. "1. Whitman on the Bible." In Divine Style. Open Book Publishers, 2024. http://dx.doi.org/10.11647/obp.0357.02.

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The chapter provides a preliminary brief for Whitman’s familiarity with the Bible. While there is a longstanding consensus among Whitman scholars on this issue, it nevertheless seems appropriate to begin with the “massing of evidence” called for by M. N. Posey. The ensuing survey is somewhat eclectic (e.g., connecting Whitman with known or currently extant bibles) but it focuses in the main on Whitman’s own meta-discourse about the Bible and features an extended look at his late and under-appreciated essay, “The Bible as Poetry” (1883). In particular, I seek to discern what of the sentiments expressed about the Bible in this essay (e.g., Whitman’s awareness of the lack of rhyme in biblical poetry) may be traced back to the germinal period of Leaves’ inception. In the process, I begin identifying aspects of Whitman’s style that may be indebted (to varying degrees) to the Bible (e.g., his preference for lyric). I close the chapter by spotlighting the coincidence of Whitman’s breaking into free verse in 1850 while writing three biblically inflected poems. And though I do not elaborate on this free verse or Whitman’s proclivity for the lyric, that both offer substantial links to the Bible should not go unnoticed. Whitman collages all manner of language material, especially those aspects of form and structure that are not oversaturated with semantic uptake.
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Creaser, John. "‘The Melting Voice Through Mazes Running’." In Milton and the Resources of the Line. Oxford University PressOxford, 2022. http://dx.doi.org/10.1093/oso/9780192864253.003.0004.

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Abstract This chapter analyses the rhythmic verve of L’Allegro and Il Penseroso. The unique poise of the four-beat or tetrameter verse is shown to emerge in part from the blending of seven- and eight-syllable lines, which tend to move very differently, but even more from the interfusion of two diverse prosodies. There is first the iambic verse of the prevailing accentual-syllabic mode, where both stressed and unstressed syllables have a structural presence. But there is also the accentual and lyrical mode of much popular verse—such as nursery rhymes and playground chants, folk songs, traditional ballads, and many popular songs—which is structured solely around the four beats of the line. This interfusion creates verse of unparalleled joie de vivre and disciplined freedom, and this influences how the poems are to be read, both read aloud and in interpretation, with results quite different from how they have sometimes been read.
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Zhuzhgina-Allahverdyan, Tamara N. "Ivan Bunin as an Interpreter of Adam Mickiewicz’s Crimean Sonnets." In I.A. Bunin and his time: Context of Life — History of Work. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2021. http://dx.doi.org/10.22455/ab-978-5-9208-0675-8-742-757.

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The paper analyzes the Polish sonnets translated by I. Bunin that is well known as an interpreter of English and American romantic literature, the author of a classic translation of the “Song of Hiawatha” by H.W. Longfellow. Less known and studied are Bunin’s translations of A.B. Mickiewicz’s sonnets — “Akkerman steppes”, “Chatyrdag” and “Alushta at night”. Developing his own concept of literary translation, Bunin inherited the poetic tendencies of the past century, the rules of accentual-syllabic arrangement of a sonnet that had developed in Russian versification, and the peculiarities of Mickiewicz’s Crimean poems as “travel notes” dating back to P.A. Vyazemsky. As a result of a comparative analysis of the Polish and Bunian texts, we find a two-pronged approach to verse translation and interpretation — on the one hand, the accuracy of the world image and strict adherence to the Russian sonnet structure, on the other, freedom of expression through the stylistics and emphatics of the native Russian language.
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"Accentual Verse:." In The Long and the Short of It. University of Notre Dame Press, 2010. http://dx.doi.org/10.2307/j.ctvpj73kn.8.

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"Accentual verse." In Catalogue of Irish Manuscripts in Houghton Library, Harvard University. University of Notre Dame Press, 2022. http://dx.doi.org/10.2307/jj.21995976.19.

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"Accentual verse." In Catalogue of Irish Manuscripts in Houghton Library, Harvard University. University of Notre Dame Press, 2022. http://dx.doi.org/10.2307/jj.21995976.7.

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"Ogham; accentual verse." In Catalogue of Irish Manuscripts in Houghton Library, Harvard University. University of Notre Dame Press, 2022. http://dx.doi.org/10.2307/jj.21995976.8.

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Conference papers on the topic "Accentual structure of verse"

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Abbas, Abeer, and Sun-Ah Jun. "Prosodic Structure of Farasani Arabic: Accentual Phrase without a Pitch Accent." In 1st International Conference on Tone and Intonation (TAI). ISCA, 2021. http://dx.doi.org/10.21437/tai.2021-46.

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Petrone, Caterina, and Mariapaola D’Imperio. "Tonal structure and constituency in Neapolitan Italian: evidence for the accentual phrase in statements and questions." In Speech Prosody 2008. ISCA, 2008. http://dx.doi.org/10.21437/speechprosody.2008-67.

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Barquero-Armesto, Maria Ángeles. "A comparative study on accentual structure between Spanish learners of French interlanguage and French native speakers." In Speech Prosody 2012. ISCA, 2012. http://dx.doi.org/10.21437/speechprosody.2012-64.

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Pavlović Jovanović, Jelena M., and Ane A. Ferri. "KNJIŽEVNA TRANSFORMACIJA BASNE „CVRČAK I MRAV” I NJENE METODIČKE IMPLIKACIJE." In Književnost za decu u nauci i nastavi. University of Kragujevac, Faculty of Education in Jagodina, Serbia, 2024. https://doi.org/10.46793/kdnn23.367pj.

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The paper explores different literary transformations of the fable “The Cricket and the Ant” published by several commercial and popular Serbian editors. The corpus consisted of eight different versions of the fable: one-episode and two-episode fa- bles written in prose or in verse, a poem (“Mrav dobra srca” by Brana Crnčević) and a cartoon (“Cvrčak i Mravica”). A collection of La Fontaine’s faibles that contains meth- odological adaptations, edited by Nataša Stanković Šošo, was used as a supplementary source of analysis. The research was carried out by using content analysis, according to the following criteria: genre, gender of the protagonists, individual protagonist as opposed to collective protagonist, generic protagonist as opposed to named protagonist, characteri- sation of the protagonists, structure of the fable and the moral of the fable. The analysis has identified variations in genre (fables written in prose, fables written in verse, cartoon), variations that do not affect the structure of the storyline (collective or individual protag- onist, gender of the protagonists, one or two episodes), as well as variations that offer dif- ferent view on art and different moral of the story. Literary transformations have proven to be very fertile ground for the development of moral values and empathy in children, especially through writing their own version of the fable.
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Lomouri, Salome. "Georgian Poetry in the Face of Repression in the 1930s." In XII Congress of the ICLA. Georgian Comparative Literature Association, 2025. https://doi.org/10.62119/icla.4.9026.

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The 1930s is one of the most tragic pages in the history of Georgian literature. As a result of Bolshevik rule, Georgian poets had to give up the search for versification and artistic-stylistic forms and, instead of developing modernist trends they almost wholly confined themselves to proletarian themes. Georgian verse, highly enriched in the 1910s-1920, nearly stopped evolving a decade later. The poets who failed to fit into a common pattern and tried to preserve their individuality were declared the "enemies of the people". They were faced with the choice of either to write Bolshevik poems or to be physically destroyed. The poetry was focused on the theme of revolution and building of communism. Proletarian literature rejected patriotism and replaced it with internationalism. Despite the threat of physical destruction, some Georgian poets still managed to adhere to the main path of the development of ancient Georgian poetry in the 1920s and 30s. Along with the older generation, a new gene­ration of poets (Lado Asatiani, Mirza Gelovani, Aleksandre Sajaia, Giorgi Napet­varidze, etc.) appeared on the scene in the early 1930s. These poets were able to revive the forms of national versification under the guise of Soviet internationalism. They adapted the traditional long– meter (20– and 16-syllable) textual structure to the verses on patriotic theme. The genre of ballad which occupies a worthy place in the works of the poets of "Our Generation" was also revived. Young authors turned poetic folklore into a source of creativity, and literary verse again came in close contact with folk poetry. This is especially important because these poets managed to breathe new life into the traditional Georgian verse forms at a time when the Bol­shevik regime was fighting against "formalism."
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jian, Yu. "Meta-verse Non-Heritage in Art Exhibitions: Virtual Reality Contextual Narrative Across Time and Space." In Intelligent Human Systems Integration (IHSI 2023) Integrating People and Intelligent Systems. AHFE International, 2023. http://dx.doi.org/10.54941/ahfe1002904.

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The meta-universe is a digital living space constructed by humans using digital technologies such as digital twin, virtual reality, Internet of Things, and cloud computing to connect reality and imagination. This mirror simulation of the real world breaks the boundaries of time and space and builds a new digital space-time context. Digital technology through sensing and VR makes people experience the retro atmosphere constructed by virtual reality across space and time while perceiving the real space-time embodied experience, which is the missing means to break the boundaries of space-time to experience the contextual narrative, revitalize historical relics, interpret historical stories, and achieve living heritage in art exhibitions. The concept of "contextual narrative" in the meta-universe ICH in the art exhibition will use digital modalities to recreate ICH scenes, and in terms of research methodology, it will draw on the narrative structure, characteristics, characters and plot of ICH scenes for inter-temporal construction.
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Voeikova, Maria D. "MORPHONOLOGICAL PROPERTIES OF NOUNS WITH -KA ELEMENT IN THE FINAL PART." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.13.

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Nouns containing -ka in their final part have some distinct common properties: they have homogeneous and salient inflectional endings and belong to most frequent (1st and 2nd) declension classes, they are mostly built with several productive derivation patterns and therefore, gain in type and token frequency. This paper addresses some other, not so obvious particularities of this morphonological group. Their accentual types in several case forms tend to be connected with certain semantic groups (e. g., four syllabic masculine nouns in the genitive mostly denote masculine nouns meaning occupation: ljubovnika ‘lover-Gen’, nachal’nika ‘chief-Gen’), thus, helping to disambiguate the usual case syncretism. The data is taken from the frequency lists of word forms of the Corpus of Russian literary language. Accentual types were defined by the number of syllables and by the stress placement. The observations are interpreted from the point of view of systemic approach to modern Russian grammar including the further elaboration of bootstrapping mechanisms that are usually in play during speech perception by adults and language acquisition by children. In this case we deal with the morphonological bootstrapping determining the hidden preferences of speakers. These observations serve as a base for future experimental study of this and similar morphonological groups that should be taken into consideration during the analysis of productive derivation patterns and their structural functions, the correlation of semantic, pragmatic and structure, as well as their perceptive capacities. The prediction for experimental study is that nouns with -ka in the final part should be earlier recognized in the reaction time experiments, easier processed and, probably, earlier acquired by children. Another development of this topic is a similar description of the final -k- of the stem followed by other vowels marking oblique cases, like e, u, i and o, that, however, would be not as promising because of poorer syncretism in the sphere of other inflectional endings. Refs 20.
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HYSA, Xhimi, and Shefqet SUPARAKU. "Management roots back to the city walls. History, present, and future." In ISSUES OF HOUSING, PLANNING, AND RESILIENT DEVELOPMENT OF THE TERRITORY Towards Euro-Mediterranean Perspectives. POLIS PRESS, 2023. http://dx.doi.org/10.37199/c41000105.

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The terms “manager” and “management” are frequently used in the daily communication. Given the universality trait of management, then every type of organization needs managers and man- agement. Principles of management have remained solid over time, and over all organization- al types. Fundamentals are fundamentals; what changes is the organizational mission, strategy, structure, and culture. The latter make the specific vocabulary of a defined organization. Thus, if principles have remained unchanged, what has changed is how managers respond to environ- mental dynamics and complexity in face of uncertainty. While technology, in one side has been showing itself as problem solver, on the other side has created new complexity conditions to deal with. This makes present and future more intriguing, while extends an invitation to managers to reflect through new lens. The importance of management is historically related to the territory. Not only, but the first organizational position where the term “manager” found a place was the city. Thus, the denomination “city manager” brings the institution of management back to the city walls. This paper makes an effort to harmonize together history, present, and future of city man- agement from an interdisciplinary perspective. It aims to reconcile the good management practic- es of the city by reviving the past as a timeframe of Chronos and Aion, exploiting the opportunities of the present from a Cairos time perspective, and imagining the future as a miscellaneous time Chronos-Aion-Cairos. This study considers the city as a viable system (i.e., a living territory) and a service system, able to survive and reproduce itself by being a service provider to its citizens. All these exchanges happen in complex feedback loops as facilitated by artificial intelligence and virtual reality. This metaverse perspective makes the case for “city-verse” and the emergent figure of “city-verse manager”.
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Piotrovsky, Dmitry D. "THE RHYME AND THE FORMULA IN POPULAR FAROESE POETRY." In 49th International Philological Conference in Memory of Professor Ludmila Verbitskaya (1936–2019). St. Petersburg State University, 2022. http://dx.doi.org/10.21638/11701/9785288062353.26.

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The main means which organizes the verse in popular Faroese poetry is end rhyme. In four-line stanzas the rhyme connects the second and the fourth lines, in two-line ones both present lines. The Faroese rhyme is not strict. It is enough only to repeat the stressed vowel, the consonant following after might vary. The part of the word which follows the stressed vowel may undergo significant changes. The masculine ending sometimes rhymes with the feminine one. Even the stressed vowel might vary to some extent. The Faroese rhyme is often trivial. The ballads on the Faroese Isles were oral. So, some special formula technique was applied for their transition. The means of the formula technique are formulas and repetitions. The formulas are metrically conditioned reproducible word groups having the length of one line, meanwhile the repetitions are metrically non-conditioned sequences of different length. The formulas and repetitions, as well as they perform the same function of the building material for the oral poetic text, also possess the same structure. They both are composed from permanent end variable parts. In repetitions their entwinement takes different forms. They may follow one another, usually first comes the permanent part then the variable one. The permanent part sometimes occupies the second half of one stanza and then the first half of the following stanza. The permanent end variable parts might cross one another. In this case the permanent part occupies unpair lines and the variable part occupies pair ones. The distribution of these parts of both formulas and repetitions is tied to the rhyming places of the verse. The rhyming word is usually located in the variable part but sometimes it is found in the permanent part. This one more time proves that there is no impenetrable boundary between formulas and repetitions. Refs 8.
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Oral, Tanju. "THE PLACE OF THE TURKİSH LANGUAGE AND LİTERATURE İN BABUR SHAH AND HİS CULTURAL POLİCY." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/zzrk4261.

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Thepermanence of the countries acguired by the sword can only be ensured through the pen. Babur Shah managed to establish a lasting empire in India, which had been conquered twice before but couldn't be held. The works he left us, primarily Baburnama, as well as Divan, Aruz Risalesi, a treatise in which he demonstrated a tactic using a verse with 504 metrics, Mübeyyen, and the translation of Risale-i Validiyye, provide us with insights into Babur Shah's utilization of the Turkish language, his mastery of Turkish culture, his understanding of state governance, his surroundings, emotions, genealogy, contemporary artists, and much more. In this article, we examined how the pen that ensured the empire's permanence turned the geography into homeland, how he stamped this place with Turkish language and culture through its architecture and demographic structure, and his cultural policy applied in state governance, all through his own works.
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