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Journal articles on the topic 'Octosyllable'
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1
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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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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Rainsford, T. M. "Dividing lines: the Changing syntax and prosody of the mid-line break in Medieval French octosyllabic verse." Transactions of the Philological Society 109, no. 3 (November 2011): 265–83. http://dx.doi.org/10.1111/j.1467-968x.2011.01278.x.
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Duncan, A. A. M. "The War of the Scots, 1306–23." Transactions of the Royal Historical Society 2 (December 1992): 125–51. http://dx.doi.org/10.2307/3679102.
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The life of Robert I, king of Scots, written by John Barbour archdeacon of Aberdeen is the fullest of any medieval king in the west, a chronicle of chivalry in vernacular octosyllabic couplets, on which much of our understanding of the events and ethos of the Scottish war depends. In this paper I discuss some aspects of the king's reign which Barbour ignored: pro-Balliol sentiment which lingered in Scotland and at the French and papal courts; and also aspects of the war where Barbour's narrative is incomplete or misleading, but which illustrate the growth of King Robert's military effort from that of a very uncertain factional rising to one which matched the rhetorical claims (in die Declaration of Arbroath) of a people at war. I shall be treading ground already mapped in Professor Barrow's masterly study, seeking only to point out features to which Barbour has, by omission or commission, drawn my attention.
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Orekhov, Boris. "Bashkir Verse from the Turkic Perspective." Studia Metrica et Poetica 8, no. 2 (December 31, 2021): 32–44. http://dx.doi.org/10.12697/smp.2021.8.2.02.
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The article discusses the statistically identified properties of Bashkir versification in comparison with the existing descriptions of other Turkic versification systems. The focus is on imparisyllabic forms, predominant meters, and peculiarities of rhyme. The study allows concluding that Bashkir Uzun-Kyuy (a regular alteration of 10- and 9-syllable lines) is unique and its equivalents are not found in other Turkic poetic traditions except the Tartar tradition, with which Bashkir verse has common roots. The frequency of Bashkir 9-syllable verse is also unusual as compared with poetry in other Turkic languages. Octosyllabic lines, which are often used together with 7-syllable verse, are common for various Turkic systems and can also be found in Bashkir poetry, most prominently in Kyska-Kyuy (a regular alteration of 8- and 7-syllable lines). More data is needed to judge to what extent the rhythm of Bashkir verse is comparable with the verse rhythm in other Turkic poetic traditions.
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Heffernan, Thomas J. "The Authorship of the ‘Northern Homily Cycle’: The Liturgical Affiliation of the Sunday Gospel Pericopes as a Test." Traditio 41 (1985): 289–309. http://dx.doi.org/10.1017/s0362152900006929.
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In the north of England, as the thirteenth century was drawing to a close, an enterprising and pastorally zealous cleric was engaged in the composition of the most extensive preaching codex in the English language since Aelfric's Catholic Homilies. The text now known as the Northern Homily Cycle (hereafter NHC) was left untitled by an anonymous author who wrote in his native dialect and was well versed in the lore of the north country. He used a rhymed octosyllabic line throughout. His plan encompassed a free rendering of the Gospel pericope for the particular Sunday (the homilies are chiefly dominical), a complementary exegesis drawn from the Fathers, and an exemplum, reflecting a shrewd sense of his audience and the fashion of the time. In these exempla he revealed a catholic taste by selecting stories of saints and monks, stories from antiquity and the east, pieces of local Northumbrian folklore, legends of the Virgin, accounts of miraculous beasts, risqu6 fables, and child-like pious tales.
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Calenda, Angela. "La métamorphose des Minéides en chauves-souris dans l’Ovide moralisé." Reinardus / Yearbook of the International Reynard Society 28 (December 31, 2016): 23–30. http://dx.doi.org/10.1075/rein.28.02cal.
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La présente étude s’occupe de l’épisode de la transformation des filles de Minyas en chauves-souris, tel qu’il est décrit dans le quatrième livre de l’Ovide moralisé. Cette œuvre est la première traduction intégrale en langue romane des Métamorphoses et comprend quelques 72000 octosyllabes dans les manuscrits complets. L’ouvrage, probablement rédigé par un franciscain, a une valeur hautement didactique, qui ressort surtout dans les moralisations, que le clerc a ajoutées à la traduction des Métamorphoses. Dans un premier temps, nous analyserons la description de l’animal, qui mérite attention du fait que la chauve-souris est considérée, dans la tradition naturaliste antique, comme une bête hybride, entre oiseau et souris, ce qui donne lieu à un traitement original de la part de l’auteur de l’Ovide moralisé. De là, nous essayerons d’expliquer les multiples facettes de la chauve-souris à l’intérieur du mythe des Minéides, en étudiant les multiples sens qui en découlent dans le texte français, et leur utilisation pour illustrer le comportement du chrétien exemplaire.
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Zoppi, Matteo. ""Raccontare è monotono": il ritmo della prosa in Feria d’agosto di Cesare Pavese." ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 201–20. http://dx.doi.org/10.7358/acme-2012-003-zopp.
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Starting with the twenty-five short stories which constitute August Holiday, the paper attempts to analyse the rhythmic and prosodic structures in Pavese’s prose works: the study initially tries to show the main metric structures subtended by each text (principally various length anapaestic verses, seven-syllable lines, octosyllables, decasyllables and hendecasyllables). The prosodic examination also shows a clear formal division between the first parts of the work and the third one: the number of anapaestic structures increases remarkably from the first to the last section. This stylistic evolution can be explained through a passage from The Business of Living written in 1944, where Pavese states that his previous prose works lack a «rhythmic support». To discover the functional reason of this prosodic style, it is necessary to consider that in this period of his life the writer is searching for a type of writing able to "raise reality to the mythic sphere". Pavese’s myth is fundamentally the "repetition" of an element in reality. In fact, from a lexical point of view, the words "monotony", "obsessive recurrence", "emphatic cadence" are those he uses the most to describe the dynamics of myth. Analyzing the passages where Pavese talks about his metric style, a surprising lexical correspondence can be observed: the writer describes the anapaest exactly as "monotony", "rhythm", "cadence" and "recurrence". Therefore, it is possible to suppose that Pavese, in the final part of August Holiday, uses the anapaestic structures as a way to operate the raising of reality to the mythic sphere.
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Mathie-Heck, Janice. "Translating Gjergj Fishta's epic masterpiece, Lahuta e Malcis, into English as The Highland Lute." TranscUlturAl: A Journal of Translation and Cultural Studies 1, no. 2 (July 22, 2009): 140. http://dx.doi.org/10.21992/t9j04r.
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The Highland Lute, the Albanian national epic poem, contains 15,613 lines. It mirrors Albania’s difficult struggle for freedom and independence which was finally achieved in 1912. It was important for Robert Elsie and I to achieve an atmosphere similar to that of other important European epics such as Beowulf (England), The Kalevala (Finland), and the grand medieval poems of the eleventh and twelfth centuries such as The Song of Roland (France), Nibelungenlied (Germany), and Poem of the Cid (Spain). Rhythmically, The Highland Lute is very much like the American writer Henry Wadsworth Longfellow's epic poem, Hiawatha, parts of which I loved to recite as a young girl.
Our task with translating The Highland Lute into English has been to make the language relevant and understandable for the modern reader while still retaining its colloquial, archaic, majestic, and heroic feel which gives a strong sense of the past. Quite a challenge! We translated many expressions unique to Gheg, and did our best to describe symbols of Albanian mythology and legend such as oras (female spirits), zanas (protective mountain spirits), draguas (semi-human figures with supernatural powers), shtrigas (witches), lugats (vampires), and kulshedras (seven-headed dragon-like creatures). We kept the octosyllabic rhythm consistent throughout, and we captured the qualities common to all epics: alliteration, assonance, repetition, hyperbole, metaphor, archaic figures of speech, concrete descriptions, colour, drama, passion, a range of emotions, intensity, sensuality, lots of action, rhyme where possible, and an exalted, dignified tone.
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Cormier, Raymond J. "The Roman de Troie by Benoît de Sainte- Maure: A Translation. Translated by Glyn S. Burgess, Douglas Kelly. Woodbridge, UK, and Rochester, NY: D. S. Brewer, 2017. Gallica, 41. 486 pp." Mediaevistik 32, no. 1 (January 1, 2020): 394–96. http://dx.doi.org/10.3726/med.2019.01.81.
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In his Roman de Brut (1155), the Norman Robert Wace of Caen recounts the founding of Britain by Brutus of Troy to the end of legendary British history, while adapting freely the History of the Kings of Britain (1136) by Geoffrey of Monmouth. Wace’s Brut inaugurated a new genre, at least in part, commonly known as the “romances of antiquity” (romans d'antiquité). The Roman de Troie by Benoît de Sainte-Maure, dating to around 1165, is, along with the Roman de Thèbes and the Roman d’Énéas, one of the three such romances dealing with themes from antiquity. These creations initiated the subjects, plots and structures of the genre, which subsequently flowered under authors such as Chrétien de Troyes. As an account of the Trojan War, Benoît’s version of necessity deals with war and its causes, how it was fought and what its ultimate consequences were for the combatants. How to explain its success? The author chose the standard and successful poetic form of the era—octosyllabic rhyming couplets; he was fond of extended descriptions; he could easily recount the intensity of personal struggles; and, above all he was fascinated by the trials and tribulations of love, a passion that affects several prominent warriors (among them Paris and his love for Helen, and Troilus and his affection for Briseida). All these elements combined to contour this romance in which events from the High Middle Ages were presented as a likeness of the poet’s own feudal and courtly spheres. This long-awaited new translation, the first into English, is accompanied by an extensive introduction and six-page outline of the work; two appendices (on common words, and a list of known Troie manuscripts); nearly twenty pages of bibliography; plus exhaustive indices of personal and geographical names and notes. As the two senior scholars assert (p. 3), By translating Benoît’s entire poem we seek to contribute to a greater appreciation of its composition and subject-matter, and thus to make available to a modern audience what medieval readers and audiences knew and appreciated.
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Mwita, Leonard Chacha. "An Octosyllabic Kuria Praise Poem." Ufahamu: A Journal of African Studies 33, no. 2-3 (2007). http://dx.doi.org/10.5070/f7332-3016490.
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Lončar, Milenko. "Pjesma jača od kamena? Natpis s jednog ili više kotorskih ciborija." Ars Adriatica 10, no. 1 (December 30, 2020). http://dx.doi.org/10.15291/ars.3189.
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The letters on the Kotor fragments are specific for the many punctures they contain, occasionally semicircles that break the hastas on some of them. This feature has hitherto served as evidence that the fragments belonged to the same ciborium. However, the edges of the slabs are not cut at the same angle nor are they all the same thickness, so it is hard to imagine them as parts of the same furnishing. A recently found transcript of an inscription speaks nevertheless in favour of the hypothesis that it was indeed a single monument. Its text expresses a coherent thought and the rhythm supports this view. It is a poem consisting of four octosyllabic and two heptasyllabic trochees, based on the medieval way of constructing rhythm by regularly alternating stressed and unstressed syllables. It therefore remains a puzzle how the verses found themselves on incompatible stone slabs. A newly found transcript of the inscription has indicated that the man named Nicephorus was a bishop from the second half of the 12th century. Andrew and his companions were most likely local saints, but it does not seem likely that they perished in the conflict between the people of Kotor and the Serbian ruler Nemanja, because he was the political protector of Bishop Nicephorus in the dispute with the Dubrovnik metropolitan. As the cult of Andrew and his brethren was introduced to Dubrovnik approximately at that time along with the story that the people of Kotor did not deserve them, their choice on the Kotor monument could be seen as a strike back in the rejection of the unwanted church leadership from Dubrovnik.