Towards a typology of poetic forms : from language to metrics and beyond /
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作 者：edited by Jean-Louis Aroui, Andy Arleo.
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ISBN：9789027208194
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简介
Metrics is often defined as a discipline that concerns itself with the study of meters. In this volume the term is used in a broader sense that more or less coincides with the traditional notion of “versification”. Understood this way, metrics is an eminently complex object that displays variation over time and in space, that concerns forms of a great variety and with different statuses (meters, rhymes, stanzas, prescribed forms, syllabification rules, nursery rhymes, slogans, musical textsetting, ablaut reduplication etc.), and that as a cultural manifestation is performed in a variety of ways (sung, chanted, spoken, read) that can have direct consequences on how it is structured. This profusion of forms is thought to correspond, at the level of perception, to a limited number of cognitive mechanisms that allow us to perceive and to represent regularly iterating forms. This volume proposes a relatively coherent overall vision by distinguishing four main families of metrical forms, each clearly independent of the others and amenable to separate typologies.
目录
Table of contents 5
Contributors 7
Acknowledgments 13
Introduction 15
1. Introduction 15
2. Metrical typologies 16
3. Isochronous metrics 21
3.1 Properties of isochronous meters 21
3.2 Musical Textsetting 23
4. Prosodic Metrics 24
4.1 Classification 24
4.2 C忙sura, line ending, bridge and alliteration 29
5. Para-metrical phenomena 31
6. Macrostructural metrics 32
6.1. Rhymes 32
6.2 Stanzas 41
6.3 Prescribed forms 45
7. Presentation of the volume 46
References 48
Part I Isochronous metrics 55
Textsetting as constraint conflict 57
1. Introduction 57
2. Halle and Lerdahl\u2019s analysis 60
3. Evaluating the syllabic distribution algorithm 63
3.1 Leftward greed 65
3.2 Squeezing the Stressless Syllables 65
3.3 More than four stresses 66
3.4 Consecutive stressed syllables 66
3.5 Altering stress? 67
4. Toward an alternative 67
5. Analysis: Constraints and ranking 69
6. Analysis: Assessment 71
7. Postscript: More metrics needed 73
References 74
Comparing musical textsetting in French and in English songs 77
1. Preliminaries 77
2. Prominence matching in English 81
3. Prominence matching in French 85
4. Positional parallelism in strophic songs 87
5. Conclusions 89
References 91
Bavarian Zwiefache 93
1. Introduction 93
2. The interface between rhythm, metrics and song 94
3. Language-based hypothesis about the emergence of Zwiefache 96
4. Preconditions for the language-based hypothesis 98
5. Empirical study 99
5.1 Corpus 99
5.2 Categories for quantifying the linguistic foundation of Zwiefache 99
5.3 Results 102
5.4 Interpretation 104
5.4.1 Rule of Natural Text Setting for the Zwiefache 104
5.4.2 Parallel evidence I: German rap 105
5.4.3 Parallel evidence II: English folk songs 107
5.4.4 Supporting the diachronic argument: Text setting in the older stages of German 109
6. Conclusions 110
References 111
Natural versification in French and German counting-out rhymes 115
1. Introduction 115
1.1 Claims predicting universals of metrical form 116
1.2 Claims predicting cross-linguistic differences 117
1.3 Some general properties of counting-out rhymes 118
2. French counting-out rhymes 120
2.1 Data 120
2.2 Results 120
2.3 Comparative remarks 123
3. High and low German counting-out rhymes 124
3.1 Data 124
3.2 Results 125
3.2.1 Ternary feet 125
3.2.2 Word-internal stress clash 128
3.2.3 The distribution of nonce words 130
4. Conclusion 131
References 132
Primary sources 132
Further references 133
Minimal chronometric forms 137
1. Chronometric and glossometric 137
2. Isochronous notation, metrical instants and strokes 138
2.1 Isochronous notation 138
2.2 Metrical instant and stroke 139
2.3 Durational equivalence and superimposed isochronies 140
3. The strict chronometric minimum: Three vowels? 141
3.1 The 3-stroke group as an a priori metrical minimum 141
3.2 Several metrical 3-stroke groups 142
4. The 2-2-stroke group as a metrical minimum 143
4.1 The 4-stroke group 143
4.2 stroke binary structure 144
5. Regularisation of the interval of the 2-2-stroke group 146
6. Linear combination into open sequences 147
7. Linear combination into a (bounded) group or (indefinite) sequence 148
8. Non-linear combination by development 149
9. Ambivalence and rhythmic switch-over 151
10. Development of rhyme 153
References 155
Symmetry and children\u2019s poetry in sign languages 157
1. Introduction 157
2. Symmetry in poetry: A review of the literature 158
2.1 Children\u2019s oral folklore 158
2.2 Signed poetry 160
3. Examining children\u2019s signed register and its theoretical implications 162
3.1 Children\u2019s poetry 162
3.2 The tortoise and the hare fable: An LSQ version 170
3.2.1 Discourse Motif 170
3.2.2 Spatial Motif 171
3.2.3 Rhythmic Motif 173
3.2.4 Mirror effect 174
4. Conclusion and discussion 175
References 176
Videos 177
Part II Prosodic metrics 179
Pairs and triplets 181
1. Introduction: Lineation 181
2. English metrical verse: Counting and rhythm 185
3. Lines of different lengths 189
4. Some traditional accounts of English meters 194
5. The simple meters of French verse 195
6. The compound meters of French 199
7. Conclusion 203
References 205
Generative linguistics and Arabic metrics 207
1. Introduction 207
2. The bas墨t meter 208
3. Ra千az and the Greek iambic trimeter 213
4. Sar墨\u2018 between ragaz and bas墨t 214
5. What does an \u201coptimal\u201d Arabic verse-pattern look like? 216
List of symbols in Table 22 218
References 221
On the meter of Middle English alliterative verse 223
1. What sets Middle English alliterative verse apart from other vernacular verse? 223
2. Informal accounts of the \u201calliterative revival\u201d meter 227
3. Philological issues in reconstructing phonological representations 230
4. The repertoire of patterns 234
5. What makes a b-verse metrical? 236
References 240
The Russian Auden and the Russianness of Auden 243
1. Introduction 244
2. Background assumptions and Auden\u2019s meter 245
3. Why Brodsky ESCHEWS the dol\u2019nik in this case 250
4. Why Brodsky used hexameter 251
5. Conclusion 256
References 257
Appendix: Brodsky\u2019s iambic hexameter 259
Towards a universal definition of the caesura 261
1. Introduction 261
2. The caesura in the dactylic hexameter and the iambic trimeter 263
3. The metrical structure of the dactylic hexameter and the iambic trimeter 265
3.1 Positions and subpositions 265
3.2 The foot: Resolution and contraction 266
3.3 Metrical trees 268
4. The contour contrasts of the dactylic hexameter and the iambic trimeter 270
4.1 Contour contrasts between the clausula and the expansion 271
4.2 Contour contrasts between metron 1 and metron 2 274
4.3 Contour contrasts between strong and weak feet 274
4.4 Contour contrasts between strong feet (hexameter) or weak feet (trimeter) 275
4.5 Contour contrasts between strong and weak positions 276
5. The location of the caesura 276
5.1 Synthetical and analytical caesuras 276
5.2 The caesura and the verse design 277
References 279
Metrical alignment 281
1. Introduction 281
2. European decasyllables 285
2.1 The English iambic pentameter 285
2.2 The Italian endecasillabo 287
2.3 The French d茅casyllabe 289
3. Alignment in grammar 291
4. Metrical \u201cexceptions\u201d 293
4.1 Inversion 294
4.2 Extrametricality 297
5. Conclusion 299
Principal references 299
Rephrasing line-end restrictions 301
1. Introduction 301
2. A contradiction in standard analyses 302
3. The role of intonational primitives 306
4. Unstressed disyllables and the preference for paroxytonic lines 310
5. Some general considerations 313
References 315
Part III Para-metrical phenomena 319
Pif paf poof 321
1. Introduction 322
2. Why counting-out rhymes? 324
3. The corpus and methodological issues 324
3.1 Construction of the corpus 324
3.2 The identification of AR sequences 325
3.3 Nonsense syllables 325
3.4 The database 326
4. Findings 327
4.1 Frequency of AR sequences in counting-out rhymes 327
4.2 Vowel contrasts 327
4.2.1 Overall frequencies by segment 327
4.2.2 Vowel contrasts in binary sequences 328
4.2.3 Vowel contrasts in ternary sequences 330
4.3 Discussion 330
5. Reduplication and rhythm 331
6. Conclusion 333
References 334
Primary sources 334
Further references 335
Appendix: Counting-rhyme corpus 336
Indo-European (322/1824) 336
Non-Indo-European (24/60) 336
The phonology of elision and metrical figures in Italian versification 339
1. Introduction 339
2. Elision in Italian phonology 341
3. Examination of the corpus 342
4. Conclusions 346
References 347
Part IV Macrostructural metrics 349
Convention and parody in the rhyming of Tristan Corbi猫re 351
1. Les amours jaunes 352
1.1 Floating consonants other than s, x, z 352
1.2 The floating consonants s, x, z 353
2. The marginalia 361
3. Conclusion 365
References 367
The metrics of Sephardic song 369
References 382
A rule of metrical uniformity in old Hungarian poetry 385
Terminological clarification 385
The Iso-rule 386
The Iso-rule at the syllable count level 387
The Iso-rule at the rhyme level 387
The Iso-rule at the stanza level 388
A regional level Iso-rule? 389
Another principle of composition: The \u201cmagyaresque\u201d 391
A musical parallel: The music of recruits or \u201cverbunkos\u201d 394
Summary 397
References 398
Metrical structure of the European sonnet 399
1. Preliminaries 399
2. Italian sonnet (abba, abba, cde, cde) and French sonnet (abba, abba, ccd, eed) 401
2.1 Octave and Sestet 401
2.2 Hierarchical form and structural form 401
2.3 Justification of levels 403
2.3.1 Octave and Sestet 403
2.3.2 Quatrains vs. Tercets 404
2.3.3 Tercets vs. Modules 404
2.3.4 Main Rhymes vs. Secondary Rhymes 404
2.3.5 Unmarked Rhymes level 405
2.4 A few words on the French form 406
3. Italian sonnet (abba, abba, cdc, dcd) and French sonnet (abba, abba, ccd, ede) 406
3.1 Italian sonnet (abba, abba, cdc, dcd) 406
3.2 French sonnet (abba, abba, ccd, ede) 408
4. English sonnet 410
4.1 Shakespearian sonnet 410
4.2 Spenserian sonnet 411
References 412
Persons 417
Languages 425
Subjects 429
Contributors 7
Acknowledgments 13
Introduction 15
1. Introduction 15
2. Metrical typologies 16
3. Isochronous metrics 21
3.1 Properties of isochronous meters 21
3.2 Musical Textsetting 23
4. Prosodic Metrics 24
4.1 Classification 24
4.2 C忙sura, line ending, bridge and alliteration 29
5. Para-metrical phenomena 31
6. Macrostructural metrics 32
6.1. Rhymes 32
6.2 Stanzas 41
6.3 Prescribed forms 45
7. Presentation of the volume 46
References 48
Part I Isochronous metrics 55
Textsetting as constraint conflict 57
1. Introduction 57
2. Halle and Lerdahl\u2019s analysis 60
3. Evaluating the syllabic distribution algorithm 63
3.1 Leftward greed 65
3.2 Squeezing the Stressless Syllables 65
3.3 More than four stresses 66
3.4 Consecutive stressed syllables 66
3.5 Altering stress? 67
4. Toward an alternative 67
5. Analysis: Constraints and ranking 69
6. Analysis: Assessment 71
7. Postscript: More metrics needed 73
References 74
Comparing musical textsetting in French and in English songs 77
1. Preliminaries 77
2. Prominence matching in English 81
3. Prominence matching in French 85
4. Positional parallelism in strophic songs 87
5. Conclusions 89
References 91
Bavarian Zwiefache 93
1. Introduction 93
2. The interface between rhythm, metrics and song 94
3. Language-based hypothesis about the emergence of Zwiefache 96
4. Preconditions for the language-based hypothesis 98
5. Empirical study 99
5.1 Corpus 99
5.2 Categories for quantifying the linguistic foundation of Zwiefache 99
5.3 Results 102
5.4 Interpretation 104
5.4.1 Rule of Natural Text Setting for the Zwiefache 104
5.4.2 Parallel evidence I: German rap 105
5.4.3 Parallel evidence II: English folk songs 107
5.4.4 Supporting the diachronic argument: Text setting in the older stages of German 109
6. Conclusions 110
References 111
Natural versification in French and German counting-out rhymes 115
1. Introduction 115
1.1 Claims predicting universals of metrical form 116
1.2 Claims predicting cross-linguistic differences 117
1.3 Some general properties of counting-out rhymes 118
2. French counting-out rhymes 120
2.1 Data 120
2.2 Results 120
2.3 Comparative remarks 123
3. High and low German counting-out rhymes 124
3.1 Data 124
3.2 Results 125
3.2.1 Ternary feet 125
3.2.2 Word-internal stress clash 128
3.2.3 The distribution of nonce words 130
4. Conclusion 131
References 132
Primary sources 132
Further references 133
Minimal chronometric forms 137
1. Chronometric and glossometric 137
2. Isochronous notation, metrical instants and strokes 138
2.1 Isochronous notation 138
2.2 Metrical instant and stroke 139
2.3 Durational equivalence and superimposed isochronies 140
3. The strict chronometric minimum: Three vowels? 141
3.1 The 3-stroke group as an a priori metrical minimum 141
3.2 Several metrical 3-stroke groups 142
4. The 2-2-stroke group as a metrical minimum 143
4.1 The 4-stroke group 143
4.2 stroke binary structure 144
5. Regularisation of the interval of the 2-2-stroke group 146
6. Linear combination into open sequences 147
7. Linear combination into a (bounded) group or (indefinite) sequence 148
8. Non-linear combination by development 149
9. Ambivalence and rhythmic switch-over 151
10. Development of rhyme 153
References 155
Symmetry and children\u2019s poetry in sign languages 157
1. Introduction 157
2. Symmetry in poetry: A review of the literature 158
2.1 Children\u2019s oral folklore 158
2.2 Signed poetry 160
3. Examining children\u2019s signed register and its theoretical implications 162
3.1 Children\u2019s poetry 162
3.2 The tortoise and the hare fable: An LSQ version 170
3.2.1 Discourse Motif 170
3.2.2 Spatial Motif 171
3.2.3 Rhythmic Motif 173
3.2.4 Mirror effect 174
4. Conclusion and discussion 175
References 176
Videos 177
Part II Prosodic metrics 179
Pairs and triplets 181
1. Introduction: Lineation 181
2. English metrical verse: Counting and rhythm 185
3. Lines of different lengths 189
4. Some traditional accounts of English meters 194
5. The simple meters of French verse 195
6. The compound meters of French 199
7. Conclusion 203
References 205
Generative linguistics and Arabic metrics 207
1. Introduction 207
2. The bas墨t meter 208
3. Ra千az and the Greek iambic trimeter 213
4. Sar墨\u2018 between ragaz and bas墨t 214
5. What does an \u201coptimal\u201d Arabic verse-pattern look like? 216
List of symbols in Table 22 218
References 221
On the meter of Middle English alliterative verse 223
1. What sets Middle English alliterative verse apart from other vernacular verse? 223
2. Informal accounts of the \u201calliterative revival\u201d meter 227
3. Philological issues in reconstructing phonological representations 230
4. The repertoire of patterns 234
5. What makes a b-verse metrical? 236
References 240
The Russian Auden and the Russianness of Auden 243
1. Introduction 244
2. Background assumptions and Auden\u2019s meter 245
3. Why Brodsky ESCHEWS the dol\u2019nik in this case 250
4. Why Brodsky used hexameter 251
5. Conclusion 256
References 257
Appendix: Brodsky\u2019s iambic hexameter 259
Towards a universal definition of the caesura 261
1. Introduction 261
2. The caesura in the dactylic hexameter and the iambic trimeter 263
3. The metrical structure of the dactylic hexameter and the iambic trimeter 265
3.1 Positions and subpositions 265
3.2 The foot: Resolution and contraction 266
3.3 Metrical trees 268
4. The contour contrasts of the dactylic hexameter and the iambic trimeter 270
4.1 Contour contrasts between the clausula and the expansion 271
4.2 Contour contrasts between metron 1 and metron 2 274
4.3 Contour contrasts between strong and weak feet 274
4.4 Contour contrasts between strong feet (hexameter) or weak feet (trimeter) 275
4.5 Contour contrasts between strong and weak positions 276
5. The location of the caesura 276
5.1 Synthetical and analytical caesuras 276
5.2 The caesura and the verse design 277
References 279
Metrical alignment 281
1. Introduction 281
2. European decasyllables 285
2.1 The English iambic pentameter 285
2.2 The Italian endecasillabo 287
2.3 The French d茅casyllabe 289
3. Alignment in grammar 291
4. Metrical \u201cexceptions\u201d 293
4.1 Inversion 294
4.2 Extrametricality 297
5. Conclusion 299
Principal references 299
Rephrasing line-end restrictions 301
1. Introduction 301
2. A contradiction in standard analyses 302
3. The role of intonational primitives 306
4. Unstressed disyllables and the preference for paroxytonic lines 310
5. Some general considerations 313
References 315
Part III Para-metrical phenomena 319
Pif paf poof 321
1. Introduction 322
2. Why counting-out rhymes? 324
3. The corpus and methodological issues 324
3.1 Construction of the corpus 324
3.2 The identification of AR sequences 325
3.3 Nonsense syllables 325
3.4 The database 326
4. Findings 327
4.1 Frequency of AR sequences in counting-out rhymes 327
4.2 Vowel contrasts 327
4.2.1 Overall frequencies by segment 327
4.2.2 Vowel contrasts in binary sequences 328
4.2.3 Vowel contrasts in ternary sequences 330
4.3 Discussion 330
5. Reduplication and rhythm 331
6. Conclusion 333
References 334
Primary sources 334
Further references 335
Appendix: Counting-rhyme corpus 336
Indo-European (322/1824) 336
Non-Indo-European (24/60) 336
The phonology of elision and metrical figures in Italian versification 339
1. Introduction 339
2. Elision in Italian phonology 341
3. Examination of the corpus 342
4. Conclusions 346
References 347
Part IV Macrostructural metrics 349
Convention and parody in the rhyming of Tristan Corbi猫re 351
1. Les amours jaunes 352
1.1 Floating consonants other than s, x, z 352
1.2 The floating consonants s, x, z 353
2. The marginalia 361
3. Conclusion 365
References 367
The metrics of Sephardic song 369
References 382
A rule of metrical uniformity in old Hungarian poetry 385
Terminological clarification 385
The Iso-rule 386
The Iso-rule at the syllable count level 387
The Iso-rule at the rhyme level 387
The Iso-rule at the stanza level 388
A regional level Iso-rule? 389
Another principle of composition: The \u201cmagyaresque\u201d 391
A musical parallel: The music of recruits or \u201cverbunkos\u201d 394
Summary 397
References 398
Metrical structure of the European sonnet 399
1. Preliminaries 399
2. Italian sonnet (abba, abba, cde, cde) and French sonnet (abba, abba, ccd, eed) 401
2.1 Octave and Sestet 401
2.2 Hierarchical form and structural form 401
2.3 Justification of levels 403
2.3.1 Octave and Sestet 403
2.3.2 Quatrains vs. Tercets 404
2.3.3 Tercets vs. Modules 404
2.3.4 Main Rhymes vs. Secondary Rhymes 404
2.3.5 Unmarked Rhymes level 405
2.4 A few words on the French form 406
3. Italian sonnet (abba, abba, cdc, dcd) and French sonnet (abba, abba, ccd, ede) 406
3.1 Italian sonnet (abba, abba, cdc, dcd) 406
3.2 French sonnet (abba, abba, ccd, ede) 408
4. English sonnet 410
4.1 Shakespearian sonnet 410
4.2 Spenserian sonnet 411
References 412
Persons 417
Languages 425
Subjects 429
Towards a typology of poetic forms : from language to metrics and beyond /
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