Relevant bibliographies by topics / Octosyllable

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  2. Dissertations / Theses
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  5. Conference papers

Academic literature on the topic 'Octosyllable'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 February 2023

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Journal articles on the topic "Octosyllable"

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Danièle, James-Raoul. "La poétique du premier monologue amoureux de Lavine: éléments de versification (Énéas, v. 8082–8334)." Volume 60 · 2019 60, no. 1 (November 14, 2019): 37–62. http://dx.doi.org/10.3790/ljb.60.1.37.

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The study of the first love monologue of the Eneas, entrusted to Lavine, highlights how the musicality of the octosyllabic in this proto-novel is both traditio­nal and innovative. The purpose of this study is to clarify and reconsider the art of the anonymous versifier and to reposition it in literary history: the often regular and measured scansion 4-4 of the octosyllable, the small number of discrepancies between meter and Syntax, the low proportion of rich and leonine rhymes or even feminine rhymes are all signs of a still young, evolving versification. The frequency with which the writer breaks the verse, however, similar to that observed a few decades later in Chrétien de Troyes, is a real innovation that should be restored.
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Noyer, Rolf. "Generative metrics and Old French octosyllabic verse." Language Variation and Change 14, no. 2 (July 2002): 119–71. http://dx.doi.org/10.1017/s0954394502142013.

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Both Old French meters and their Modern French descendants are usually thought to lack the internal binary constituent structure of, say, English or German iambic verse. In this article, however, an underlying iambic structure for the Old French octosyllable is established through quantitative analysis of a large corpus of texts written from c. 975 to 1180 (42 distinct works, including over 22,000 lines). Because no texts conform absolutely to the grammar of English iambic verse (Halle & Keyser, 1971; Kiparsky, 1977), certain measures are proposed for the degree to which a sample deviates from the iambic pattern; these values are then compared with the (chance) deviation of normal Old French prose. A significant correlation emerges between these measures and date of composition, author, and genre: early texts are almost perfectly iambic, and late 12th-century texts approach, but do not reach, chance levels. It is concluded that the grammar of meter used by Old French authors underwent a gradual change during the 12th century, a change comparable to more familiar phonological and syntactic changes.
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Manasterska-Wiącek, Edyta. "On the Emotional and Emotive Power of Translation: Translation Experiment." Annales Universitatis Mariae Curie-Sklodowska, sectio N – Educatio Nova 6 (September 22, 2021): 317–28. http://dx.doi.org/10.17951/en.2021.6.317-328.

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The purpose of the article is to see whether the power of the literary work rules the reader’s emotions and whether the extra-lexical elements of the text are participating in the transfer of emotions. The author is going to answer these questions based on two authored translations of Sergey Mikhalkov’s poem into Polish. The understanding of the reception of the literary text as an aesthetic impression forces one to seek affective tensions, or elements which influence the emotional reactions of the reader. In reference to the conducted study it is essential to describe (and delineate) two concepts: the text’s emotive power and the reader’s emotional power. The literary work selected for analysis is not a typical one. Its structure was based on rhythm, which was used in an excellent way. Rhyme, on the other hand, appears only in the last two verses. The proposed translation uses a potential rhyme to add the emotional value in relation to the original text. Such a play with the reader is only possible when he/she understands the whole mechanism. A similar device used to increase the emotional value is maintaining the formal aspect of the original (octosyllable or heptasyllable verses), which sounds slightly artificial in Polish, given its permanent, paroxytone, accent. The analysis confirms that a translator is able to increase or reduce the emotional power of reception by modifying the text’s emotive power.
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Pigini, Noemi. "Notes linguistiques sur le « Salut d’amor » occitano-catalan." Mot so razo 21 (January 31, 2023): 1. http://dx.doi.org/10.33115/udg_bib/msr.v21i0.22874.

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<p>L’article propose une analyse linguistique du <em>Salut d’amor</em>, texte narratif qui a été transmis par le chansonnier catalan<em> Fa</em> (Paris, BnF, esp. 487). Ce poème en octosyllabes, qui s’inscrit dans la tradition des <em>novas rimadas</em>, est caractérisé par un mélange d’éléments stylistiques et littéraires issus de la tradition des troubadours occitans, et d’images récurrentes dans les oeuvres narratives catalanes et même françaises. À travers un examen de la <em>scripta</em>, nous tenterons de résumer les traits les plus caractéristiques de la koinè littéraire occitano-catalane à laquelle le texte appartient.<br /><br /></p><p>The article proposes a linguistic analysis of the <em>Salut d’amor</em>, a narrative text transmitted by the Catalan chansonnier <em>Fa</em> (Paris, BnF, esp. 487). This octosyllabic poem, which belongs to the tradition of the <em>novas rimadas</em>, is distinguished by a mixture of stylistic and literary elements derived from the Occitan troubadour tradition and also by images that recur in Catalan and French narrative works. Through an analysis of the <em>scripta</em>, we will try to summarise the most distinctive features of the Occitan-Catalan literary koinè to which the text belongs.</p>
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Rankovic, Sanja. "Traditional music of Prizren Gora in the shadow of the Ottoman empire." Muzikologija, no. 20 (2016): 101–32. http://dx.doi.org/10.2298/muz1620101r.

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Located at the southernmost part of Kosovo and Metohija, on the slopes of the Sharr Mountains, Gora represents a place once inhabited by the Serbian Orthodox population, who converted to Islam under the Turkish occupation of the Balkans. The faith conversion began in the 16th and ended in the 19th century, at which point there had still been some remains of Orthodox churches left on the territory of Gora. The acceptance of the new religion and other values passed on by the Ottoman Empire brought about changes in terms of identity, so, nowadays, inhabitants identify themselves as the Goranci/Gorani people. To this very day, their cultural matrix reflects a combination of musical creations which probably preceded the change of religion as well as those variations established by the Turkish domination. These phenomena can be tracked on the level of both their context and the musical text. The Gorani celebrate Christian holidays (Christmas and St George?s Day), and keep those holidays that are part of Islamic practice (Sunnah and Bayram). As an example of an older, traditional manner of musical expression, the two-part ?aloud? (na glas) singing has a dominant second interval in a narrow tonal ambitus and a free metro-rhythmical organization. This form of singing is usually shaped into octosyllable and it is characterized by text improvisation which happens simultaneously with a certain action. Its interpretation is associated with St George?s Day, wedding, Sunnah, and other holidays. Songs that accompany the dance are sung in a heterophonic manner or in unison, accompanied by the tambourine (emic term: daire or def). Unlike the two-part ?aloud? singing, performing the songs in unison with the tambourine and dance has wider tonal systems with a periodical case of an excessive second. However, the very emergence of numerous instruments such as the tambourine, kaval, tambura and zurla, shows a considerable Turkish-Eastern influence. This influence is especially noticeable in the Romani ?musicking? using zurla, which typically involves a combination of traditional music of different nations, predominantly Turkish and Albanian. Turkish influence tied to instrumental music was conveyed to the vocal singing, particularly to singing songs together with using the tambourine while dancing, as well as to singing to the accompaniment of the tambura. Within these modes of musical performance, asymmetrical rhythms are used, along with the augmented second, which ethnomusicological literature often cites as an element of Oriental culture. By overviewing the Gorani musical practice and the ?otherness? in diachrony, it is evident that what was known as otherness in the past now represents an integral part of the identity. The practices established before Islam, as well as those brought by this religion, are manifested in terms of context and text. It is obvious that the Gorani people have created their own musical uniqueness throughout the centuries of cultural turmoil.
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Piechnik, Iwona. "Finnic tetrameter in J.R.R. Tolkien’s The Story of Kullervo in comparison to W.F. Kirby’s English translation of the Kalevala." Studia Linguistica Universitatis Iagellonicae Cracoviensis 138, no. 4 (2021): 201–20. http://dx.doi.org/10.4467/20834624sl.21.016.14744.

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The Finnish epic Kalevala is written in the so-called Finnic “Kalevala-metre”, typical of Finnic oral poetry. Its main features are the use of trochaic tetrameter (octosyllabic lines), alliteration, assonance, sound parallelisms and the repetition of words. It is difficult to retain those features in translation but one of the early successful attempts was the first full English translation directly from Finnish by William Forsell Kirby (1907). Kirby’s translation was a source of inspiration and the linguistic model for The Story of Kullervo, a tale written by John Ronald Reuel Tolkien (probably in 1912), based on one of the Kalevala’s stories. Our aim is to compare those texts.
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Roccati, G. Matteo. "Schémas de rimes particuliers dans les octosyllabes de la “Moralité de Fortune et Povreté”." Studi Francesi, no. 179 (LX | II) (September 1, 2016): 179–92. http://dx.doi.org/10.4000/studifrancesi.4259.

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Schellino, Andrea. "Sur l'Épigraphe pour un livre condamné." Remate de Males 37, no. 1 (August 28, 2017): 83. http://dx.doi.org/10.20396/remate.v37i1.8649824.

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L’article présente un manuscrit autographe inconnu d’“Épigraphe pour un livre condamné” de Baudelaire, portant un autre titre: “Épigraphe / Pour un livre condamné en 1857”. L’auteur examine les variantes du poème et étudie sa composition dans le contexte de la seconde édition des Fleurs du mal. Baudelaire a pu vouloir, à un moment, que cette Épigraphe, adressée au lecteur, et l’Épilogue en vers, “adressé à la ville de Paris”, fassent symétrie, en ouvrant et en refermant le volume. Il a renoncé aussi bien à l’Épigraphe qu’à l’Épilogue. Quant à sa structure métrique, “Épigraphe pour un livre condamné” appartient à un genre bien représenté parmi les poèmes de Baudelaire: celui du sonnet en octosyllabes.
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Coler, Matt, Patrice Guyot, and Edwin Banegas-Flores. "Verbal art as heuristic for semantic analyses." LIAMES: Línguas Indígenas Americanas 20 (October 2, 2020): e020011. http://dx.doi.org/10.20396/liames.v20i0.8660368.

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Aymara is an Amerindian language spoken mainly in Peru and Bolivia. To date, relatively little is documented about Aymara verbal art. Accordingly, we analyze a traditional song recorded in the Peruvian highlands. We provide a musical and linguistic analysis of the non-prosodic poetic song structure. We detail the octosyllabic, homeoteleutonic strategies for line formation, the melodic and rhythmic characteristics, and outline the syntactic, morphological, and semantic strategies used in forming semantic couplets. This reveals semantic categories which would not be apparent in a traditional linguistic analysis. Furthermore, the musical analysis confirms previous works on the misperception of a musical anacrusis. We conclude that rigorous, scientific analyses of verbal art require consideration of the construction of meaning through practice and dialog.
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10

Wingfield, E. "The Late Sixteenth-Century Publication and Reception of the Older Scots Buik Of Alexander (Octosyllabic Alexander)." Notes and Queries 58, no. 2 (April 22, 2011): 210–16. http://dx.doi.org/10.1093/notesj/gjr069.

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Dissertations / Theses on the topic "Octosyllable"

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Saldanha, Kathryn Eleana. "Studies in medieval Scottish historical romance : an examination of John Barbour's Bruce, Hary's Wallace, the octosyllabic Buik of King Alexander, and the decasyllabic Buik of King Alexander the Conquerour." Thesis, University of Cambridge, 2000. https://www.repository.cam.ac.uk/handle/1810/265445.

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This thesis offers a study of four Middle Scots poems, John Barbour's Bruce, Hary's Wallace, the octosyllabic Buik of King Alexander and the decasyllabic Buik of King Alexander the Conquerour, which were composed in the late fourteenth and fifteenth centuries. While this thesis falls into two clear sections, the first of which examines John Barbour's Bruce and Hary's Wallace, and the second of which examines the octosyllabic Buik of King Alexander and the decasyllabic Buik of King Alexander the Conquerour, these are linked by the common concern of all four texts with the question of kingship. Each of the texts are studied within the political and cultural context of their composition in order to examine how their portrayal of kingship may have been influenced by contemporary concerns. In the case of John Barbour's Bruce and Hary's Wallace the ways in which these texts both represent and contribute to the development of a sense of Scottish national identity and an emergent Scottish 'nationalism' is considered. In the case of the two Middle Scots Alexander-books consideration is given to the question of the disputed authorship of these texts. In addition, in the case of the decasyllabic Buik of King Alexander the Conquerour, which has only recently been edited, it is argued that a number of episodes are borrowed from the work known in its Latin version as the Liber Philosophorum Moralium Antiquorum and in its French version as the Dits Moraulx. A number of interesting similarities are also observed between the decasyllabic Buik of King Alexander the Conquerour and the, as yet unedited L 'Histoire d'Alexandre of Jehan Wauquelin. Finally, consideration is given to the tension between the attempt in the Buik of King Alexander the Conquerour to present Alexander as both a 'romance hero' and a 'philosopher king'.
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Books on the topic "Octosyllable"

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Marsland, Rebecca. Lament for the Dead in Fifteenth-Century Scotland. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198787525.003.0003.

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This chapter explores the importance of lament for the dead within historical and romance narratives composed in Scotland between c.1438 and c.1500 in both Older Scots and Latin. The chapter looks in detail at intercalated laments for the dead included in Walter Bower’s Scotichronicon (c.1440–7) and the anonymous Liber Pluscardensis (completed c.1461) as well as in the octosyllabic Buik of Alexander (c.1437), The Wallace (c.1476–8), and Sir Gilbert Hay’s Buik of King Alexander the Conquerour (c.1460–99). The chapter traces a persistent association within these texts between lament for the dead and physical rites of commemoration such as burial and the production of monuments, arguing that lament for the dead provides a means by which reputations can be authoritatively fixed.
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Book chapters on the topic "Octosyllable"

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"The octosyllable, rhythmicity and syllabic position." In A Question of Syllables, 31–60. Cambridge University Press, 1986. http://dx.doi.org/10.1017/cbo9780511519574.003.

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"Aldhelm and the Anglo-Latin octosyllable." In The Poetic Art of Aldhelm, 19–72. Cambridge University Press, 1994. http://dx.doi.org/10.1017/cbo9780511597558.004.

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Lapidge, Michael. "Theodore and Anglo-Latin octosyllabic verse." In Archbishop Theodore, 260–80. Cambridge University Press, 1995. http://dx.doi.org/10.1017/cbo9780511627453.015.

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Scott, Clive. "Apollinaireʼs Octosyllabic Quatrain, Translation and Zoopoetics." In The Modernist Bestiary, 74–91. UCL Press, 2020. http://dx.doi.org/10.2307/j.ctv13xps0z.10.

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Attridge, Derek. "The Twelfth and Thirteenth Centuries." In The Experience of Poetry, 177–205. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198833154.003.0009.

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This chapter is concerned with the vernacular poetry of Europe in the twelfth and thirteenth centuries. Side-by-side with the monastic production and preservation of poetry, the castles and courts of the nobility became centres of culture. France, in particular, saw extensive poetic activity, notably in the genres of the chanson de geste and the troubadour lyric. Other French genres of the time include saints’ lives, romances, lais, and fabliaux; the use of the octosyllabic line for these poems is examined. Poetry in the Germanic languages, notably the Middle High German courtly epics and Minnesänger lyrics and the Old Norse eddic and skaldic poetry of Iceland, is discussed, as is the lyric poetry of Italy. The evidence for the experience of poetry in Dante’s Vita nuova is considered. The rhythmic variety of Middle English verse, it is argued, suggests some uncertainty in the adoption of French metres.
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Conference papers on the topic "Octosyllable"

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Rainsford, Thomas. "Rhythmic change in the medieval octosyllable and the development of group stress." In 2ème Congrès Mondial de Linguistique Française. Les Ulis, France: EDP Sciences, 2010. http://dx.doi.org/10.1051/cmlf/2010174.

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You might also be interested in the extended bibliographies on the topic 'Octosyllable' for particular source types:
Journal articles
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