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Readers of poetry make aesthetic judgements about verse. It is
quite common to hear intuitive statements about poets' rhythms. It
is said, for example, that Joseph Brodsky, the Russian poet and
1987 Nobel Prize laureate, "sounds English" when he writes in
Russian. Yet, it is far from clear what this statement means from a
linguistic point of view. What is English about Brodsky's Russian
poetry? And in what way are his "English" rhythms different from
the verse of his Russian predecessors? The book provides an
analysis of Brodsky's experiment bringing evidence from an
unusually wide variety of disciplines and theories rarely combined
in a single study, including the generative approach to meter; the
Russian quantitative approach, analysis of readers' intuitions
about poetic rhythm, analysis of the poet's source readings, as
well as acoustic phonetics, statistics, and archival research. The
distinct analytic approaches applied in this book to the same
phenomenon complement one another each providing insight alternate
approaches do not, and showing that only a combination of theories
and methods allows us to fully appreciate what Brodsky's "English
accent" really was, and what any poetic innovation means.
This book will create greater public awareness of some recent
exciting findings in the formal study of poetry. The last
influential volume on the subject, Rhythm and Meter , edited by
Paul Kiparsky and Gilbert Youmans, appeared fifteen years ago.
Since that time, a number of important theoretical developments
have taken place, which have led to new approaches to the analysis
of meter. This volume represents some of the most exciting current
thinking on the theory of meter. In terms of empirical coverage,
the papers focus on a wide variety of languages, including English,
Finnish, Estonian, Russian, Japanese, Somali, Old Norse, Latin, and
Greek. Thus, the collection is truly international in its scope.
The volume also contains diverse theoretical approaches that are
brought together for the first time, including Optimality Theory
(Kiparsky, Hammond), other constraint-based approaches (Friedberg,
Hall, Scherr), the Quantitative approach to verse (Tarlinskaja,
Friedberg, Hall, Scherr, Youmans) associated with the Russian
school of metrics, a mora-based approach (Cole and Miyashita,
Fitzgerald), a semantic-pragmatic approach (Fabb), and an
alternative generative approach developed in Estonia (M. Lotman and
M. K. Lotman). The book will be of interest to both linguists
interested in stress and speech rhythm, constraint systems,
phrasing, and phonology-syntax interaction and poetry, as well as
to students of poetry interested in the connection between language
and literature.
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