This essay analyses a selection of poems written by the American poet Emily Dickinson. The essay aims to explore the function of the meter in Emily Dickinson’s poetry. Earlier studies have combined Emily Dickinson’s poetry with meter, but the research of metrical pattern and form has not been sufficient enough to show Emily Dickinson’s full potential with the different meters. The purpose of this essay is to analyse how the metrical patterns are used by the poet as metrical strategies to impact the reader’s perception. One assumption is that structure and form are fundamental to her writing style. It justifies the reading of her poetry in relation to meter. The main focus was the physical structures of the poems, such as line length, metrical patterns, and systematic rhymes. The second most important aim was to analyse her other poetic devices, such as dashes and capitalizations. The findings were analysed together with the vocabulary and figurative language. The analysis shows Emily Dickinson’s poetic artistry in meter and rhyme and clarifies how she creates poetry with lyrical qualities. The result is important because it also shows that she can create poetry with metrical patterns, without in that sense being bound to meter.

I examine those linguistic features of Old English and Old Norse which serve as the basic elements for the metrical systems of those languages. I begin with a critical survey of recent work on Old English metrical theory in chapter 1, which suggests that the four-position and word-foot theories of metre are the most viable current frameworks. A further conclusion of this chapter is that stress is not, as is often claimed, a core element of the metre. In chapter 2, I reassess the phonological-metrical phenomenon of Kaluza's law, which I find to be much more regular and widely applicable within Bēowulf than has previously been recognized. I further argue that the law provides evidence that Old English phonological foot structure is based on a preference for precise bimoraism. In chapter 3, I examine the role of syllables in the Norse Eddic metre fornyrðislag, which supports a view of resolution and phonological feet similar to that found in Old English, though Norse prosody is much more tolerant of degenerate, light feet. I reconsider the other major Eddic metre, ljóðaháttr, in chapter 4, integrating the insights of Andreas Heusler and Geoffrey Russom to propose a new system of scansion for this notoriously recalcitrant verse form. This scansion provides important support for the word-foot theory, and suggests that linguistic elements larger than syllables or phonological feet play a crucial role in early Germanic verse. In the final chapter, I give a diachronic account of Germanic metre and relevant linguistic structures, arguing that the word-foot theory provides the best metrical framework for understanding the development of Germanic alliterative verse. This metrical system is linguistically supported by Germanic word structures and compounding rules, and interacts with bimoraic phonological feet, all of which have a long history in Proto- and pre-Germanic.

Esta dissertação trata da queda de sílaba em limite de palavra no falar da cidade paulista de Capivari, observando-se em quais contextos esse processo fonológico pode ocorrer e em quais nunca ocorre. Para realizar essa análise, são considerados três níveis fonológicos, quais sejam: segmental, prosódico e métrico. A queda de sílaba é tratada como dois tipos distintos de redução fonológica: na elisão silábica, há dessemelhança entre as consoantes das sílabas envolvidas; com relação à haplologia, as consoantes das sílabas são iguais ou semelhantes ? a diferença entre elas está apenas no traço [sonoridade]. Pôde-se constatar, pela análise de contextos segmentais, que tanto a elisão silábica quanto a haplologia são processos regidos pelas mesmas regras, uma vez que ambos os processos se dão no mesmo ponto de consoante para que possa haver efetiva queda de sílaba. E, da mesma forma, esses processos fonológicos podem ocorrer em qualquer nível da hierarquia prosódica. Isso evidencia que a elisão silábica e a haplologia são de fato o mesmo processo fonológico. Finalmente, a análise métrica aponta as mesmas propriedades para a elisão silábica e para a haplologia no que diz respeito ao uso desses processos para otimizações rítmicas / This work deals with syllable deletion in word boundary in Capivari speech, a city from the countryside of São Paulo state. It was checked in which contexts this phonological process can occur and in which it can never occur. To fulfill this analysis three phonological levels were considered: segmental, prosodic and metrical. Syllable deletion is dealt as two distinct types of phonological reduction: in syllable drop, the syllable\'s consonants are distinct from each other; in haplology, the consonants are equal or alike - the difference between them is only the feature [sonority]. By the analysis of segmental contexts, it has been proved that both syllable drop and haplology are types of processes which are governed by the same rules, for both of them must have the same consonant place node, so that there can be in fact syllable deletion. In the same way, both the phonological processes may occur in any prosodic level from which it is evident that syllable drop and haplology are actually the same phonological process. To verify if both the processes are rhythmically used in the same way it has been pointed out by metrical analysis that syllable drop and haplology present the same properties as regards to optmization

Esta dissertação trata da queda de sílaba em limite de palavra no falar da cidade paulista de Capivari, observando-se em quais contextos esse processo fonológico pode ocorrer e em quais nunca ocorre. Para realizar essa análise, são considerados três níveis fonológicos, quais sejam: segmental, prosódico e métrico. A queda de sílaba é tratada como dois tipos distintos de redução fonológica: na elisão silábica, há dessemelhança entre as consoantes das sílabas envolvidas; com relação à haplologia, as consoantes das sílabas são iguais ou semelhantes ? a diferença entre elas está apenas no traço [sonoridade]. Pôde-se constatar, pela análise de contextos segmentais, que tanto a elisão silábica quanto a haplologia são processos regidos pelas mesmas regras, uma vez que ambos os processos se dão no mesmo ponto de consoante para que possa haver efetiva queda de sílaba. E, da mesma forma, esses processos fonológicos podem ocorrer em qualquer nível da hierarquia prosódica. Isso evidencia que a elisão silábica e a haplologia são de fato o mesmo processo fonológico. Finalmente, a análise métrica aponta as mesmas propriedades para a elisão silábica e para a haplologia no que diz respeito ao uso desses processos para otimizações rítmicas / This work deals with syllable deletion in word boundary in Capivari speech, a city from the countryside of São Paulo state. It was checked in which contexts this phonological process can occur and in which it can never occur. To fulfill this analysis three phonological levels were considered: segmental, prosodic and metrical. Syllable deletion is dealt as two distinct types of phonological reduction: in syllable drop, the syllable\'s consonants are distinct from each other; in haplology, the consonants are equal or alike - the difference between them is only the feature [sonority]. By the analysis of segmental contexts, it has been proved that both syllable drop and haplology are types of processes which are governed by the same rules, for both of them must have the same consonant place node, so that there can be in fact syllable deletion. In the same way, both the phonological processes may occur in any prosodic level from which it is evident that syllable drop and haplology are actually the same phonological process. To verify if both the processes are rhythmically used in the same way it has been pointed out by metrical analysis that syllable drop and haplology present the same properties as regards to optmization

Spoken by the Fulni-ô indians, whose community is located in Águas Belas district, approximately 300 Km from Recife, Yaathe is an indigenous language belonging to Macro-Jê phylum. Live and spoken by almost 3,700 members of the group, according to data provided by FUNASA in 2006, it executes religions and social functions in the tribe, being the only native language still spoken in the Northeast of Brazil. (COSTA, 1999). In spite of a large study having already been undertaken of the Yaathe language, little is known about its accentual system in phonetics terms as well as linguistically. Hence, this study was conducted focusing on an experimental phonetic description of accent, aiming more consistent formulations of its organization in the referred language. To reach our goals, we used acoustic analyses principles, conjoined with technical procedures of laboratorial phonetics and, following that, analysis principles of Metrical Phonology. Data processing showed that taking into account only phonological criteria, it is not possible to define clearly the rules of assignment of stress in Yaathe, calling for a morphological study to observe the behavior of accent in words with an internal structure. From a phonetic point of view, we have reached the following results: i) pitch has not a linguistic function as the melodic pattern is always rising in the word; ii) length and intensity, either together or isolated, are the phonetic correlate of accent; iii) the accent prominence occurs in the right margin of the word, in the last or in the second-to-last syllable. From the phonological point of view, it was not possible to formulate rules for the assignment of accent in the language. Nevertheless the research made possible to sketch some hypothesis that can be pursued in the future towards a better understanding of the prosodic system of Yaathe. / Fundação de Amparo a Pesquisa do Estado de Alagoas / Falada pelos índios da tribo Fulni-o, cuja reserva indígena localiza-se no município de Águas Belas, a cerca de 300 quilômetros de Recife, o Yaathe é uma língua indígena pertencente ao tronco lingüístico Macro-Jê. Viva e falada por cerca de 3.700 indivíduos do grupo, segundo dados fornecidos pela FUNASA em 2006, ela desempenha funções rituais e sociais na aldeia, sendo a única língua nativa ainda falada no Nordeste do Brasil. (COSTA, 1999). Apesar de um amplo estudo já desenvolvido sobre o Yaathe, pouco se sabe a respeito do seu sistema acentual, tanto em termos fonéticos como em termos de funcionamento lingüístico. Dessa forma, portanto, direcionamos a elaboração desse trabalho para uma descrição fonéticoexperimental do acento, visando formulações mais consistentes a respeito da sua organização na língua referida. Para tanto, utilizamos os pressupostos de análise acústica, aliando procedimentos técnicos de fonética laboratorial e, posteriormente, princípios de análise da Fonologia Métrica. A apreciação dos dados mostrou que levando em conta critérios puramente fonológicos não seria possível definir claramente as regras de atribuição acentual para o Yaathe, fazendo-se necessário, portanto, um estudo de caráter morfológico, observando o comportamento do acento em palavras com estrutura interna. Do ponto de vista fonético, obtivemos os seguintes resultados: i) o pitch não tem função lingüística, uma vez que a curva melódica na palavra é sempre ascendente; ii) duração e intensidade, ora conjuntamente, ora isolados, são os correlatos fonéticos do acento; iii) a proeminência acentual ocorre na margem direita da palavra, na última ou na penúltima sílaba. Fonologicamente, não foi possível decidir as regras de acentuação da língua. Entretanto, a pesquisa permitiu esboçar hipóteses que poderão ser investigadas posteriormente para um melhor conhecimento do sistema prosódico do Yaathe.

The purpose of this diploma thesis is to analyse the ability of the human ear to hear slight rhythm deviations in speech and non-speech phrases. The first part contains theoretical background for the study of speech rhythm and summarizes the research that has been already conducted in this area. It focuses especially on the perceptual nature of rhythm, the concept of P-centers, and provides a comparative study of speech rhythm and musical rhythm and their common properties and functions. The theoretical part is concluded with the analysis of potential influences of linguistic and musical training on the production and perception of rhythm, and hypotheses and research questions are formulated. The practical part contains a perceptual experiment designed to examine the ability to identify rhythm manipulations in short speech and non-speech, i.e. percussive, phrases. Short English phrases are selected and their rhythmically altered counterparts are prepared. Participants are then presented with pairs of speech or non-speech phrases and a task to identify rhythmical discrepancies between them. The results highlighted several differences between the nature of speech and non-speech rhythm. While the presence of stressed syllables enhances perception of rhythm deviations in speech, this is not the case...

L'état du texte de l'auteur latin Properce fait l'objet de débat depuis plusieurs siècles déjà. Son état déterioré a laissé place à de nombreuses hypothèses sur sa transmission. Le présent mémoire vise à évaluer de façon macroscopique la validité de l'hypothèse voulant que dans l'archétype des manuscrits propertiens ou dans un antécédent de ce dernier, un interpolateur ait modifié les vers corrompus pour leur redonner une forme métriquement régulière. Pour ce faire, nous recensons l'état de la critique textuelle entourant Properce ainsi que l'état de la question en ce qui a trait à l'interpolation métrique plus précisément. Nous présentons ensuite un résumé des données pertinentes, relevées dans les tableaux de l'annexe, où nous trouvons d'un côté des erreurs métriques et de l'autre des corruptions identifiées unanimement par quatre éditeurs principaux du texte de Properce. Des observations sur les résultats sont par la suite présentées et soutenues par une comparaison avec la transmission du texte d'un autre auteur latin, Catulle. / The state of the text of the Latin author Propertius has been the subject of debate for several centuries now. Its deteriorated condition has given rise to numerous hypotheses about its transmission. This dissertation macroscopically evaluates the validity of the hypothesis which supposes that, in the archetype of the extant Propertius manuscripts or in an antecedent of it, an interpolator altered the corrupt verses to make them metrically regular again. To do so, the author surveys the state of textual criticism surrounding Propertius as well as the state of the question with respect to metrical interpolation specifically. She then presents a summary of the relevant data, found in the tables in the appendix, where are collected on the one hand metrical errors and on the other hand corruptions unanimously identified by four main editors of Propertius' text. Observations on the results are subsequently presented and supported by a comparison with the transmission of the text of another Latin author, Catullus.

清代文學，在小說方面，最著名的是被列入中國四大小說之一的《紅樓夢》，這部偉大的作品是內務府包衣人滿洲正白旗的曹雪芹所作，書中詳細記載了滿洲貴族的生活，情節生動，文字雋永，是中國古典小說的代表，也是世界文學寶庫的不朽傑作。《紅樓夢》是中國文學史上一部曠世巨作，也是世界文學史上的奇蹟，自從十八世紀中葉面世以來，它便立即轟動全國，二百多年來，它的魅力經久不衰。對於《紅樓夢》的研究，目前已成為國際漢學界的顯學——「紅學」。它的內容，可以說是當時社會生活的一面鏡子，它不僅反映了當時社會生活的真實情況，更照透了人的心靈。它是我國古典小說的最高峰，具有深刻的思想和高度的美學價值。 子弟書是以北京地區為中心的滿族說唱曲藝，它誕生於乾隆年間，因首創於以滿族為主體的八旗子弟，故稱為「子弟書」，它是珍貴的滿族文化遺產。在清代，子弟書十分受人喜愛，滿族人士對它更是推崇，並尊稱它為「大道」。在我國俗文學史上，文學價值高、藝術成就大、影響最深遠的曲藝，大概是子弟書了。子弟書作者大多具有高度的文化素養，他們熟讀唐詩宋詞、元明戲曲，所以知識豐富，無論敘事、抒情、寫景、狀物，皆能鋪張揚厲而又得心應手。 《紅樓夢》子弟書即是根據《紅樓夢》小說故事所改編的一種滿族說唱曲藝，正因為《紅樓夢》具有高度的文化水平，故《紅樓夢》子弟書在現存五百多種子弟書中，它的文學價值、藝術成就也是最高的。現存《紅樓夢》子弟書總數有三十二種之多，在清代的藝壇上，它更為其他曲藝內容提供了珍貴的題材。由此可知，《紅樓夢》的故事之所以能家喻戶曉，而且在我國流傳的範圍極廣，《紅樓夢》子弟書的貢獻頗大。今略述如下： 第一，在《紅樓夢》子弟書的故事類別方面：大體說來，《紅樓夢》子弟書的思想內容仍以雙玉故事為最多，其次為劉姥姥故事，再次為晴雯故事。在雙玉故事方面，子弟書作家認為他們身上體現了追求個性解放，維護人性的尊嚴，希望擺脫封建束縛的進步思想。在劉姥姥故事方面，由於情節不僅具有詼諧幽默的效果，而且越是寫劉姥姥的純樸，越是反襯出榮國府主子們的物質享受已達到令人吃驚的地步，具有「微塵之中看大千」的作用，使得劉姥姥故事產生了強大的現實主義力量。在晴雯故事方面，晴雯心直口快，聰明伶俐，其生命最後被污濁黑暗的社會所吞噬，她的遭遇具有豐富社會內容和深刻悲劇因素。因此，他們的故事都深受各種戲曲、曲藝所歡迎，子弟書也不例外。 第二，在《紅樓夢》子弟書與《紅樓夢》小說的比較方面：子弟書與小說 ，兩者雖然是敷演同樣的故事，但是，《紅樓夢》子弟書絕不是《紅樓夢》小說的複述或翻譯。兩者有極大的差異：子弟書是屬於「驚四起」的說唱曲藝，小說則是屬於「適獨坐」的書面文學。《紅樓夢》小說大多側重於敘述故事，在簡練的敘述中往往留下「敘述空白」，給讀者以想像的空間，引人深思。小說的人物形象刻畫栩栩如生，子弟書作家在這個基礎上發揮，常常利用內心獨白的設計及故事情節的增益，使得人物的形象更細膩。他們不僅在單純的故事中，藉由季節的循環與場景的襯托等筆法，凸顯出敘事詩的藝術美，使得景物的描寫更精緻，而且，由於《紅樓夢》子弟書是根據小說所改編的短篇韻文，基於敘事詩的性質，它的抒情意味更濃厚。 第三，在《紅樓夢》子弟書與《紅樓夢》戲曲的比較方面：子弟書與戲曲 皆是藉由表演方式，成功地詮釋這個膾炙人口的《紅樓夢》小說，讓廣大的民眾了解這感人的故事。但戲曲是由介、白、曲聯織成劇，透過排場、曲文、賓白、科諢來表演情節，從而在舞蹈、音樂與詩歌中征服觀眾；而說唱曲藝之一的子弟書則是由詞曲組成，從文學上劃分是屬於敘事詩，它往往用大段的詩話唱詞來渲染故事，從而在婉轉悠揚的詞曲中征服聽眾。子弟書與戲曲，雖然同是敷演小說的故事，但基於藝術表現的不同，子弟書顯然比戲曲更容易、更適合改編。此外，在表現技巧方面，子弟書比戲曲不僅更富有詩意美感，更具有想像空間，而且，表演更為抽象化。又子弟書的表演場地形式簡易，通常是在書會或堂會中，作家們可以一面品著清茶，一面品評文本風格與演唱水平，交流心得。又子弟書的伴奏樂器更簡單，它採用的是三絃，雖然只有三根琴絃，卻可以通過演奏者彈、挑、搓、輪、吟、揉等指法變幻出豐富的音樂形式，它可以根據演唱者的快慢、高低進行靈活的調節。它的板眼節奏是一板三眼，總體上音調沉婉。又它的表演形式以唱為主，演員在演唱時，只有將那些表達人物心理情感的曲文用情唱出，才會扣人心弦。因此，子弟書的影響力更大。 第四，在《紅樓夢》子弟書的藝術成就方面：《紅樓夢》子弟書的體製結 構短小精緻，相當完整。最特別之處，即是每篇或每回的開端，大多有一首七言詩，大多為八句，稱之為「詩篇」，是用來敘述作者的感悟緣由，寫作的動機，對人物的評論或總括內容的大意。在正文部分，句型也以七言詩為主體，大多加襯字，每句的字數不一，最多可達二十多字。此外，在正文結尾處有所謂的「結語」，大多為兩句，也有四句，這些具有感嘆意味的詞句，往往反映出作家們創作的旨歸，主觀的態度，對人物的評論或總結內容。子弟書作者對自己時代的主流極為敏銳，對於小說內在精神的把握非常準確，從大多數《紅樓夢》子弟書中情節與人物形象的演變，可看出子弟書作者挖掘新意，再度創作的高明手法。《紅樓夢》子弟書在語言風格、修辭技巧以及形象塑造等方面的敘事構思，非常地生動傳神。此外，巧妙的文采、悠揚的韻調、明快的節奏以及端莊的表演等，更顯示出《紅樓夢》子弟書詞婉音清，雅而不俗的特色。 第五，在《紅樓夢》子弟書的影響方面：《紅樓夢》子弟書的故事結構、 人物形象、表現技巧、思想內容等方面均有突破性的創作意義，加上它詞婉韻雅，文學價值高，藝術成就亦大，因此流傳廣遠，甚至影響當時及後來許多地方戲曲與曲藝的發展。京韻大鼓就往往沿襲子弟書的原本或以子弟書為改編的題材，而子弟書也促進了京韻大鼓傳統唱詞體製的確立。所以，子弟書和京韻大鼓兩者關係密切。又子弟書是曲藝的一種，它是語言與音樂的結合，在語言方面，雖然子弟書與戲曲一樣講究依字行腔，但對於語言的重視程度要比戲曲更加明顯；在音樂方面，雖然子弟書的主要曲調早已失傳，但它仍借助京韻大鼓、梅花大鼓以及河南墜子等曲藝流傳至今。因此，子弟書促使了其他說唱文學着重韻雅音清的風格，也提昇了其他曲藝的文學價值與藝術成就。此外，《紅樓夢》子弟書重視語言接近原著的風格，發揮了原作的精髓，重鑄了原作的新意，因此，它能成為未來說唱曲藝改編文學之借鏡。 第六，在《紅樓夢》子弟書的文學價值方面：《紅樓夢》子弟書的內容以 寫「情」為主，它的藝術特質原是為了吟唱而寫的短篇敘事詩，它的真實價值，本來不在它的音樂曲調，而是在它的高超純熟的文學技巧上。它不僅增強了表現的範圍，提高了詩意的美感，而且樹立了獨特的藝術風格。子弟書作者大多是八旗子弟，由於他們獨特的生活圈和文化圈為他們提供了一個認識生活的新視角，從而結合自己的現實感受，將《紅樓夢》小說詩化，並本著舊曲翻新，再度創造的精神，賦予子弟書新的生命。因此，從《紅樓夢》子弟書中，可以反映八旗子弟生活的現象。《紅樓夢》子弟書有絢麗多姿的文采，也有淺易通俗的詞句，它更是融合抒情與敘事手法的敘事詩，它的語言具有故事性、口語化與音樂性等特色，不僅提高了說唱藝術的水平，而且可稱為敘事詩的上品。又子弟書是由皇城文化、士人文化和市民文化所組成的京味文化的統一體，它要求演唱者應當掌握四聲、陰陽、收聲、歸韻以及曲情等方法，才能達到「眾心同悅，眾口同音」的藝術境界。因此，研究《紅樓夢》子弟書可以促進中國京味文化的瞭解、豐富中國旅遊文化的內涵以及擴大紅學民間通俗文學的研究。 總的來說，說唱藝術對於文學創作影響極大，尤其《紅樓夢》子弟書對於北京地區的民俗學、語言學、文學創作和旅遊文化等，皆具有重要的意義。雖然，隨著時代的發展和社會生活的變革，人們對於子弟書逐漸淡忘，但是，子弟書就好像敦煌壁畫以及秦陵兵馬俑等珍貴的文物一樣，將作為中華民族燦爛文化的見證而保存下來，它的藝術審美價值將具有永久的魅力。 《紅樓夢》這部百科全書式的書，需要許多人從各個不同的方面，不同的角度作深入的研究，才能把研究推向深入。而《紅樓夢》子弟書，提出了不少新的研究方向與成果，從而在一定程度上增加了歷年來紅學界研究的生氣和活力。《紅樓夢》子弟書的研究是有特色的研究，它不僅為紅學界提供一份豐碩成果，而且在古典文學上，也能起到剛健清新的作用。不論從哪一角度來說，都將是對當前紅學的一種促進，一種新的極有意義的貢獻。《紅樓夢》子弟書是優秀的說唱曲藝，是前人留下來的一份寶貴的遺產，它不僅忠實地反映了清代的社會生活、歷史特徵和民俗特色，而且它不少曲目有著極高的藝術價值。因此，它有助於弘揚中華民族的優秀文化，對未來說唱曲藝的振興具有極大的促進作用，值得大家深入研究。

Title: Longitudinal monitoring of anthropometric and physiologic characteristic of the elite sport climber. Work objective: The work objective is monitoring and analyzing of general and the specific physical fitness factors by the world knowing climbers from the longtime aspect. Method: In the process of the longtime monitoring was used the laboratory and the field measuring and testing to reach of the determined objectives. The particular factors of the physical fitness where determined according to aerobic fitness tests (step test to "vita maxima"), power condition tests (handgrip dynamometry, bent arm hang, etc), flexibility test and kinesiology study. To complement, understanding and interpretation of some results were used questionnaire with the opened questions. Results: The elite climber (body mass has been increased from 59,3 kg - age 16,8 years to 62,0 kg - age 19.0 years, body height has been increased from 181,9 cm to 183,4 cm., body fat from 5,3 % to 6,7 %). The climbing performance RP has been increased from climbing difficulty 11+ to 12 UIAA; the results reached at the testing of force abilities (bend arm hang has been increased from 100,0 to 122,0 s; finger hang on 2,5 cm ledge slightly has been decreased from 116,6 s to 111,6 s; relative force of the upper limb, reached at mass,...

Submitted by Cristiane Chim (cristiane.chim@ucpel.edu.br) on 2018-07-12T12:43:09Z No. of bitstreams: 1 SUÉLEN RIBEIRO DUTRA.pdf: 1590690 bytes, checksum: 2e518d46cb15acd2cf1ca5fc068be94a (MD5) / Made available in DSpace on 2018-07-12T12:43:09Z (GMT). No. of bitstreams: 1 SUÉLEN RIBEIRO DUTRA.pdf: 1590690 bytes, checksum: 2e518d46cb15acd2cf1ca5fc068be94a (MD5) Previous issue date: 2018-12-20 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES# / #2075167498588264571# / #600 / Focusing on Brazilian Portuguese phonology, specifically on the attribution of marked and unmarked stress of non-verbs in this language, this Master’s Dissertation has as its main goal researching the phonological knowledge in students from four different levels of Elementary School – 3 rd, 5th, 7thand 9thyear – in relation with the attribution of primary stress in syllables. According to Bisol (1992), are considered to be unmarked: (1) words in which the second syllable (from the right, to the left) carries the stress and the following and last syllable is light and (2) words in which the stress falls on the last and heavy syllable. The method of this study consisted of creating and applying three different tests: in the first test, students were asked to read invented words; in the second test, students were asked to attribute the primary stress to invented words; and, in the third test, students were asked to create words. Based on the Metrical Phonology and on Bisol’s (1992) proposition for stress attribution in Portuguese, the results show that the students’ phonological grammar (Brazilian Portuguese native speakers) fit the established stress pattern for Brazilian Portuguese, since no words were created with non-licensed stress. The three types of primary stress that belong to the language system can be considered to be part of students’ phonological knowledge, being effectively productive only the cases in which the primary stress is considered to be unmarked. The research corpus also allowed the discussion on the attribution of stress to word sending in high vowels /i/ and /u/, since data showed that, in the invented lexical items with this context, the attribution of last-syllable and second-syllable (right-left)stress had similar occurrences. Among the main results found, it is relevant to mention that, when attributing the primary stress to new words, it is possible to perceive the emergency of the internal grammar and it is also possible to establish a relation between progressive contact with the writing acquisition and graphic stress marks in school and their interference on students’ phonological knowledge. / Com foco na fonologia do Português Brasileiro (PB), particularmente na atribuição do acento marcado e não marcado a não-verbos da língua, o objetivo primeiro do presente estudo foi buscar o desvelamento do conhecimento fonológico que alunos de quatro anos distintos do Ensino Fundamental (EF)– 3º, 5º, 7º e 9º anos–possuem em relação ao acento primário. Seguindo-se Bisol (1992), consideraram-se não marcados o acento paroxítono de palavras terminadas em sílabas leves e o acento oxítono de palavras terminadas em sílabas pesadas. A metodologia da pesquisa incluiu a criação e a aplicação de três testes distintos: o primeiro teste exigia dos alunos a leitura de palavras inventadas, o segundo pedia a atribuição do acento primário em palavras inventadas e, o último, solicitava a criação de palavras. Analisados à luz da Fonologia Métrica (FM) e da proposta de Bisol (1992) para o acento em português, os resultados evidenciaram que a gramática fonológica dos alunos, falantes nativos de PB, integra a pauta acentual da língua, uma vez que jamais foram criadas palavras com acento não licenciado. Os três tipos de acento primário presentes no sistema – oxítono, paroxítono e proparoxítono – podem ser reconhecidos como pertencentes ao conhecimento fonológico dos alunos, sendo que se mostram efetivamente produtivos apenas os casos de acento primário considerados não marcados. O corpus da pesquisa também permitiu a discussão do acento atribuído às palavras terminadas nas vogais altas /i/ e /u/, já que os dados mostraram, nos itens lexicais inventados com esse contexto, a atribuição do acento oxítono e paroxítono em índices próximos. Dentre os principais resultados extraídos da aplicação dos testes aos alunos do Ensino Fundamental, merece destaque que, na atribuição do acento primário a palavras novas, há a emergência da gramática internalizada e que o contato progressivo com a escrita e com as regras de acentuação na escola pode interferir nesse conhecimento fonológico.