Despite the great number of published works that deal with English prosody or the more restricted subject of versification, there is a noticeable scarcity of studies that describe the practices of individual poets. One of the more apparent reasons for the meager number of versification studies is the instability of the basic criteria by which a poem is examined. Prosodists quite simply find it difficult to establish concrete principles of scansion that are acceptable to all other prosodists. Without going into discussion of the various schools of thought on metrical structure, suffice it to say that there are conflicting opinions about such basic points as what constitutes a line of verse, for example, or what makes up a rhythmical unit or even an increment of sound. With such fundamental concepts in doubt, it becomes understandably difficult to speak on the subject of prosody with any degree of confidence. However, since this study is concerned with the versification of the poetry of Matthew Arnold, and since much of the criticism of the tenets of prosody is quite modern, it doesn't seem too amiss to ignore much of the most recent material on scansion and discuss Arnold according to the traditional syllable-stress system of metrical analysis. It goes without saying that Arnold was a part of the great tradition of English poets and that any metrical theories he might have had would have had their basis in the traditional system of metrics. This thesis will support such a proposition, as well as the belief that any systematic study of the verse of a poet will enhance the appreciation of that poet to a degree far overshadowing whatever faults may exist in the system of scansion used. In addition to showing Arnold's practices with meter, this paper will attempt to describe his chronological development as a metrist.

Au moment où la scène poétique au Moyen Orient était ébranlée par un bouleversement inouï du point de vue de la forme et du style, le mouvement littéraire et intellectuel marocain, dont la poésie s’abandonnait durant les trente premières années du XXème siècle, à une torpeur et à un anachronisme dont il avait du mal à s’arracher. L’onde de choc orientale finira avec le temps par atteindre les poètes marocains,mais leurs tentatives timides et embarrassées, ne seront pas à la mesure des espoirs escomptés.Dans les années soixante-dix, un groupe de poètes marocains animé par une ambition incoercible, attentif à la refonte et empressé - à coups de manifestes et de textes émancipés - d’en finir avec le legs mitigé des poètes de la modernité des années soixante, va s’engager dans une écriture désencombrée de toutes contraintes. Ni le poème classique, ni le poème de vers libre ne les convainc plus. Ils veulent la rupture.Cette radicalisation délibérée, transgressive qui va toucher la langue, la grammaire, la signification et les rythmes, et va conduire à une crise poétique et à mettre des obstacles entre le lecteur et la poésie moderniste”. / During the early twenty years of the 20 th centry, the intellectual and literarymovement in Morocco was outdated. The poetry of that time also kept on reproducingthe same old poetic genres. In the course of time the moroccan poets will realise that thearabic poetic movementhad reached a high level researching new styles and new forms.Influenced by theconcept of revival, the moroccan poets attempted to go beyond the bounds oftraditional poetry.However, their attempts remained very limited. The 1970s, in Morocco, werecharaterised by the birth of an ambitious group of poets. As early as their first texts,they asserted their longing to go beyond the experience of the 1960s, and to write a textthat is free from any constraint related to the classical poem or the free verse one. Neverthe less, their radical modernist experience will transform the poetry the 1970s into aprocess of transgression that will affect language, grammar, meaning and rhythm.Moreover,it will lead to a poetic crisis putting obstacles between the reader and themodernist poetry.

Composée de cinq parties, notre étude commence par s’intéresser à la transcription du « retour de la violence » en Algérie dans les littératures orale et écrite qui refusent toute forme de nihilisme. Ce refus amène le poète-chanteur kabyle Lounis Aït Menguellet et l’écrivain francophone Tahar Djaout à ouvrir leur espace à l’altérité. C’est là que commencent les ruptures spatiales dans le texte poétique, qui alors éclate en plusieurs espaces insulaires. Mais la souffrance et l’angoisse de la mort sont partout et marquent de leur présence l’espace textuel, par exemple en bouleversant l’organisation rimique. Le lecteur-auditeur se retrouve de nouveau dans un espace-temps fermé sur le Même. En effet, et à cause du manque des récits historiques en Algérie, les deux auteurs sont condamnés à inventer leur propre langage sacré et à léguer au groupe social des vestiges verbaux. Ces vestiges devraient aussi leur garantir l’immortalité du Nom. Notre dernière partie porte sur la position du poète dans une histoire de violence, son engagement littéraire et la continuité de cet engagement hors-texte. / Composed of five parts, my outline starts with the algerian “historical return of violence” issue, as transcribed in both oral and written literatures, which rejects any nihilist position. Such a radical stance brings therefore the kabyle singer and poet Lounis Aït Menguellet as well the francophone novelist Tahar Djaout to open their inner space to otherness. From then on, the literary text can be defined as many island-shaped poetic space breaks. However, pain and fear of death remain, disrupting structures and rhymes organization within the text, so that space and time are closed. The decline of historical narrative in Algeria does actually lead the authors to forge their own verbal vestiges and sacred language; what should ensure the remaining/lasting of the Name. The last part of this work sheds light on the poet’s position towards a violent history, his presence as a protagonist within his texts, and his involvement in and out the literary field.

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Chief subject of this work is a detailed description of the metrical structure of accentual verse and its place in the system of versifications. Definitions of this metrical system in the Czech theory of verse are compared to the international concepts of accentual verse. Then the category of isochrony is described. Isochrony is a property of language, on which the priciple of accentual verse is based on. In the next part of the work I present an overview of the types of accentual verse in Polish, English, Russian and German. Special attention is paid to the category of strict stress-verse, its relation to the accentual verse and also to some of Czech literary works. Further in the work I focus on metrical analysis of the texts written by five czech poets, which are more or less based on the accentual principle. The most attention is paid to the drama Faëthon by O. Theer. I elaborate on author's comments and critical reviews of his contemporaries, comparing them with the modern metrical descriptions. The last part is devoted to the problem of translating accentual verses into Czech, connecting this versification with "sylabotonic" translations of quantitative verse and also oral character of accentual versification in general.

<p>Avhandlingen utforsker det poetiske mediets indre spenningsforhold mellom stemme og skrift slik dette manifesterer seg i Gunvor Hofmos (1921-95) lyrikk. Versifikasjonsfenomenet - lyrikksjangerens særlige karakteristikum - utgjør det analytiske brennpunktet i denne utforskningen.</p><p>Etter en innledende drøfting av stemmens status i moderne litteraturvitenskap generelt og i Hofmos forfatterskap spesielt, argumenteres det for å revitalisere versifikasjonsteorien for å gjøre den metodisk produktiv i lyrikkforskningen. I avhandlingens analytiske hoveddel dveles det ved noen karakteristiske diktformer i Hofmos lyriske produksjon: den tradisjonelle sangstrofen, det umetriske rimede verset, det dityrambiske friverset, den gammeltestamentlige parallellismen, elegien, prosadiktet og den imagistiske kortstrofen. Avslutningsvis undersøkes den skriftmedierte stemmen (som framtrer gjennom innenat lesning) ut fra poetens egen «kroppsstemme», slik denne oppleves auditivt/akustisk.</p><p>Avhandlingen søker med sitt fokus på formelle og mediale forhold å bidra til å fristille diktfortolkningen fra den dominerende psykologiserende og biografiske betraktningsmåte; denne har ikke bare rammet Gunvor Hofmos forfatterskap spesielt, men også kvinnelige lyrikere i sin alminnelighet. På et overordnet metodisk-teoretisk nivå er avhandlingen tradisjonsfornyende ved at den demonsterer hvordan analyse av versifikatoriske, rytmiske og andre tilsynelatende rent stilistiske forhold kan åpne opp for nye meningsdimensjoner i en poetisk tekst. Arbeidet søker i tillegg å fylle noe av det metodiske vakuumet som har oppstått i etterkrigstidens lyrikkforskning etter at det frie versets dominans langt på vei diskvalifiserte den tradisjonelle metrikken.</p><p>"Mellom stemme og skrift" er den første doktoravhandlingen om Gunvor Hofmos lyrikk.</p>

Avhandlingen utforsker det poetiske mediets indre spenningsforhold mellom stemme og skrift slik dette manifesterer seg i Gunvor Hofmos (1921-95) lyrikk. Versifikasjonsfenomenet - lyrikksjangerens særlige karakteristikum - utgjør det analytiske brennpunktet i denne utforskningen. Etter en innledende drøfting av stemmens status i moderne litteraturvitenskap generelt og i Hofmos forfatterskap spesielt, argumenteres det for å revitalisere versifikasjonsteorien for å gjøre den metodisk produktiv i lyrikkforskningen. I avhandlingens analytiske hoveddel dveles det ved noen karakteristiske diktformer i Hofmos lyriske produksjon: den tradisjonelle sangstrofen, det umetriske rimede verset, det dityrambiske friverset, den gammeltestamentlige parallellismen, elegien, prosadiktet og den imagistiske kortstrofen. Avslutningsvis undersøkes den skriftmedierte stemmen (som framtrer gjennom innenat lesning) ut fra poetens egen «kroppsstemme», slik denne oppleves auditivt/akustisk. Avhandlingen søker med sitt fokus på formelle og mediale forhold å bidra til å fristille diktfortolkningen fra den dominerende psykologiserende og biografiske betraktningsmåte; denne har ikke bare rammet Gunvor Hofmos forfatterskap spesielt, men også kvinnelige lyrikere i sin alminnelighet. På et overordnet metodisk-teoretisk nivå er avhandlingen tradisjonsfornyende ved at den demonsterer hvordan analyse av versifikatoriske, rytmiske og andre tilsynelatende rent stilistiske forhold kan åpne opp for nye meningsdimensjoner i en poetisk tekst. Arbeidet søker i tillegg å fylle noe av det metodiske vakuumet som har oppstått i etterkrigstidens lyrikkforskning etter at det frie versets dominans langt på vei diskvalifiserte den tradisjonelle metrikken. "Mellom stemme og skrift" er den første doktoravhandlingen om Gunvor Hofmos lyrikk.

Bilingual and multilingual research has mainly focused on segmental phonology, vocabulary and syntactic structures. The acquisition of native-like prosodic patterns has often been taken for granted. A study of prosodic features is particularly relevant since many children born into families of non-native speakers acquire English as a first or second language alongside the family or local language. Previous research has mainly identified general trends and found that children as a group are mainly accurate in their comprehension or production, but few studies have tried to go into detail and examine prosodic features in individual children. This thesis investigates the acquisition of prosodic parameters in two multilingual children, aged 10;5 and 9;5, learning English alongside Standard Chinese and Cantonese. Their data are compared with data from monolingual native-speakers and Cantonese speakers of English (L2 learners). Controlled experiments using minimal pairs and testing both comprehension and production of prosodic phrasing (“chocolate biscuits and milk” vs. “chocolate, biscuits and milk”) and compound vs phrasal stress (“hot dog” vs. “hot dog”) were conducted with each respondent. Praat phonetic analyses of the output and acoustic measurements were combined with auditory observations and listeners’ disambiguation. Comprehension was tested in identification tasks drawing on prosodic cues only. Results indicated that the multilingual children were less successful in using pitch movements to signal prosodic boundaries and convey compound and phrasal rhythmic patterns that the monolingual children. In terms of segmental and pause durations, and final-syllable lengthening, both multilingual children showed more consistency in their production. This supports previous monolingual research (Peeppé et al., 2000; Danbovicová et al., 2004) that temporal cues are more systematically used and more reliable disambiguating factors, which many contribute to their earlier acquisition (Vihman, 1996). In addition, the ability to accurately produce rhythmic patterns of compounds and phrases may develop at an even later stage in multilingual that in monolingual acquisition (Atkinson-King, 1973; Vogel & Raimy, 2002). Compared to L2 learners, the multilingual children have a well-differentiated English phonology with subtle evidence for language transfer (e.g., strengthening of unstressed vowels and tone on unstressed syllables) and deceleration (e.g., less stable or consistent production of single-stressed compounds). The L2 learners, although sensitive to contrasts in pitch, duration and lengthening, many never fully develop the ability to manipulate prosodic cues in a native-like way. Comprehension tests reveal that the relationship between perception and production of the same feature is no straightforward. Good perception does not mean accurate and unambiguous production while unsuccessful perception does not imply inaccurate and ambiguous production while unsuccessful perception does not imply inaccurate and ambiguous output. This thesis examines children’s perception and production of prosody, and contributes some detailed insights into prosodic development of monolingual, multilingual, and L2 learners. The results not only have implications for theoretical conceptualizations of language acquisition, but also provide relevant information for language instructors and testing specialists who develop assessment materials for children. / published_or_final_version / Linguistics / Doctoral / Doctor of Philosophy

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Thesis (Ph.D.)--University of Melbourne, Dept. of Linguistics and Applied Linguistics, 2003. / Typescript (photocopy). Includes bibliographical references (leaves 439-476).