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"French language Versification."
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Understanding French verse : a guide for singers
This guide is aimed at singers & singing teachers interested in French song repertoire. In a clear & concise way, using examples from well-known song settings, it sets out the basics of French versification, showing how an understanding of verse techniques can enhance the interpretation of the French 'mélodie'.
Book
The Long and the Short of It
Students of English literature now rarely receive instruction in versification (theory or practice) at either the undergraduate or the graduate level.The Long and the Short of It is a clear, straightforward account of versification that also functions as an argument for a renewed attention to the formal qualities of verse and for a renewed awareness of the forms and traditions that have shaped the way we think about English verse. After an introduction and discussion of basic principles, Joseph A. Dane devotes a chapter to quantitative verse (Latin), syllabic or isosyllabic verse (French), and accentual verse (Old English/Germanic). In addition to basic versification systems, the book includes a chapter on musical forms, since verse was originally sung. Most serious studies of these systems in English have been designed for language students, and are not accessible to students of English literature or general readers. This book will enable the reader to scan verse in all three systems, and it will also provide a framework within which students can understand points of contention about particular verse forms. The guide includes a chapter addressed to teachers of English, an appendix with examples of verse types, and a glossary of commonly used terms.
eBook
French prosodics and phonotactics : an historical typology
No detailed description available for \"French prosodics and phonotactics\".
eBook
French prosodics and phonotactics
No detailed description available for \"French prosodics and phonotactics\".
eBook
Swinburne and the Möbius Strip: Circumvented Circularity in \A Century of Roundels\
[...]these works subvert the expected circularity, and her suggestive mathematical parallel can also illuminate the overall structure of A Century of Roundels, the structure of the individual roundels themselves, and Swinburne's method of appropriating both medieval subject matter and lyric forms; each functions as a Möbius strip, ending by returning to its beginning with an inverted perspective. Before Swinburne adopted it, the word \"roundel\" existed in heraldry, referring to a circular charge on a coat of arms. [...]the roundel lyric form is medieval both because it was derived from names and structures of medieval French forms and because its name associates it with the Victorian obsession with all things chivalric.
Journal Article
Poetic Conventions As Cognitive Fossils
Where do poetic conventions come from? I argue that they are active cognitive (sometimes depth-psychological) processes and constraints that became fossilized in time. I confront two rival approaches to conventions, the migration (or influence-hunting) approach, and the cognitive-fossils (or constraints-seeking) approach. The migration approach transfers the problem from one place to another, without trying to solve it. Consumers of poetry cannot acquire the meanings, emotional import and perceptual qualities of conventions by relying on conventional knowledge (that would be circular), only by relying on cognitive strategies acquired for adaptation purposes. Novel poetic inventions may become conventions when in the process of repeated social transmission they come to take forms which have a good fit to the natural capacities and constraints of the human brain. There are different degrees of fossilization. Such verbal devices as interjections, exclamations, vocatives and repetitions have emotive force owing to their relation to the right hemisphere of the brain. In Elizabethan drama interjections followed by repeated vocatives become a hackneyed convention. In the ballad “Edward” the same conventions turn into rigid formula, perceived as “ballad style” rather than expressive devices. The rhythmic processing of poetry is constrained by the limited channel capacity of the cognitive system. This has shaped a wide range of versification conventions in a number of languages and versification systems. Thus, in the majority of English iambic pentameter lines caesura occurs after the fourth position (out of ten). The influence-hunting approach attributes this to French influence. According to the cognitive-constraints approach, the limited channel capacity of immediate memory requires that of two parallel segments the longer should come last, both in English and French poetry. The influence-hunting approach has no answer to why French poetry should have placed the caesura after the fourth position in the first place, and why English poetry should have adopted this practice in a different versification system. Finally, I point out that going against those cognitive constraints may have its own expressive value too, even when it is an established convention.
Journal Article
Zgodovina rime in njena kriza v sodobni poeziji
This article treats the development of rhyme from its origins in medieval Latin \"rhythmic\" prose to various forms in European languages. Just like meter at the level of verse rhythm, rhyme exhausted its artistic possibilities in the second half of the nineteenth century, yielding its place to free verse. The author examines various reasons for the rhyme crisis in the contemporary poetry of some languages: the small number of pure rhymes in English, the danger of rhythmic monotony due to the oxytonic nature of French, which resulted in a complicated set of versification rules, the long and rich history of rhymed Italian poetry that ended with clichés, and so on. The fact that rhyme can still be fruitfully used in contemporary Slovenian poetry shows that - despite the existence of thousand-year-old documents written in Slovenian - it isa relatively young poetic language. That is also why contemporary Slovenian translators of classic poetry mostly still use rhymes that have disappeared from the repertory of procedures used by translators in many other languages. This paper views rhyme not only as an acoustic device, but also as a rhythmic and semantic procedure that helps maintain the \"memory of the language\": repeating rhythmic and sound patterns (including alliteration and assonance in addition to rhyme) and their echoes establish a time-memory vertical that surpasses the linear flow of words into silence and oblivion. Whenever we hear the same rhythmic pattern or rhyme, the words that have already sunk into the past are brought back to the present. [PUBLICATION ABSTRACT]
Journal Article
Defining Stanzaic Structure in Verdi's French Librettos and the Implications for the Musical Setting
When Giuseppe Verdi agreed to set French librettos, he was confronted by a style of texts that challenged his compositional instincts, first in \"Jérusalem\" in 1847, then in \"Les Vêpres siciliennes\" in 1855, and finally in \"Don Carlos\" in 1867. Although an understanding of the properties of French librettos would seem essential for evaluating the composer's success in meeting this challenge, scholars have paid only superficial attention to this issue. In the past, musicologists have addressed such matters as accentuation and polymetric stanzas, but only in the most general terms and without systematically showing how these properties influenced the musical setting. On earlier occasions, the author has discussed the subject of French accentuation and its influence; in this article, he provides a fuller treatment of the French operatic stanza and its musical implications. An earlier version of this article was read at the Opera Analysis Conference, held April 10-11, 2000, at Trinity College at Cambridge University in England.
Journal Article
