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1

Is Metrical Foot a Phonetic Object?

100%

Ciszewski T.

Research in Language

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2010

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vol. 8

115-134

EN

The assumption behind this pilot study is that metrical feet are not ‘groups of syllables’ or ‘interstress intervals’ but rather ‘groups of vowels’ extracted from the phonetic material contained between two stresses. We analysed the duration, pitch, intensity and acoustic energy of all vowels in isolated pronunciations of 72 initially stressed items (mono-, di- and trisyllables). The results reveal that pre-fortis clipping of the stressed vowel and final lengthening are interrelated, which suggests that stressed and unstressed final vowels are able to ‘negotiate’ their durations. Such ‘communication’ between the stressed vowels and the final unstressed ones is possible only if a mediating constituent (the foot) is postulated. Most importantly, we found no significant differences (p < .05) between the total acoustic energy and the total vowel duration in words having a different number of syllables, which supports the assumption of foot-level isochrony in English. It was also observed that the significant increase in vowel duration in stressed CVC monosyllables co-occurs with a significantly greater pitch slope, which we interpret to be a tonally driven implementation of minimal foot binarity requirement.

2

Is Metrical Foot a Phonetic Object?

100%

Ciszewski T.

Research in Language

|

2010

|

vol. 8

1-20

EN

The assumption behind this pilot study is that metrical feet are not ‘groups of syllables’ or ‘interstress intervals’ but rather ‘groups of vowels’ extracted from the phonetic material contained between two stresses. We analysed the duration, pitch, intensity and acoustic energy of all vowels in isolated pronunciations of 72 initially stressed items (mono-, di- and trisyllables). The results reveal that pre-fortis clipping of the stressed vowel and final lengthening are interrelated, which suggests that stressed and unstressed final vowels are able to ‘negotiate’ their durations. Such ‘communication’ between the stressed vowels and the final unstressed ones is possible only if a mediating constituent (the foot) is postulated. Most importantly, we found no significant differences (p < .05) between the total acoustic energy and the total vowel duration in words having a different number of syllables, which supports the assumption of foot-level isochrony in English. It was also observed that the significant increase in vowel duration in stressed CVC monosyllables co-occurs with a significantly greater pitch slope, which we interpret to be a tonally driven implementation of minimal foot binarity requirement.

3

Tónický verš a čeština

51%

Čermochová K.

Česká literatura (Czech Literature)

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2020

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vol. 68

|

issue 1

3-39

EN

This paper describes the metric structure of accentual verse and its place in the panoply of versification systems. The author compares the definitions of this type of verse for both Czech and foreign authors and examines the reasons behind their differences. She describes the category of time isochrony as a feature of a language in which the tonic principle operates and presents the concept of tonism in Polish, English, Russian and German. The next section summarizes the period and contemporary reception of texts by six Czech authors (F. L. Čelakovský, K. J. Erben, P. Bezruč, F. Gellner, O. Theer and J. Kainar), whose verse is either considered by some theorists to be accentual or which has been discussed in this light in the past. The final chapter focuses on the issues surrounding translations of accentual verse into Czech and the association between tonism and the metric base of other types of verse, as well as the aural nature of accentual verse in general. It is not primarily the aim of this paper to prove or refute the existence of Czech accentual verse or its usage by particular authors. What is far more important here is the presentation of possible views of this metrical category and the quest for an answer to: a) what is and should be a generally applicable yardstick for the occurrence of a specific verse form in national literature, and b) what is the importance of objectively identifiable features of verse and on the other hand the national, cultural, historical and literary-historical context for its final designation, and thus also for the interpretation of entire poetic texts.

CS

Práce popisuje metrickou strukturu tónického verše a jeho místo v soustavě versifikačních systémů. Autorka porovnává definice tohoto typu verše u českých a zahraničních a autorů a zkoumá důvody jejich odlišností. Popisuje kategorii izochronie taktů jako vlastnost jazyka, z níž tónický princip vychází a představuje pojetí tónismu v polštině, angličtině, ruštině a němčině. V další části shrnuje dobovou i současnou recepci textů šesti českých autorů (F. L. Čelakovského, K. J. Erbena, P. Bezruče, F. Gellnera, O. Theera a J. Kainara), jejichž verš někteří teoretici za tónický považují, případně se o něm v tomto smyslu v minulosti diskutovalo. Poslední kapitola práce je věnována problematice překladů tónických veršů do češtiny a souvislosti tónismu s metrickou základnou jiných typů verše, a také zvukovému charakteru tónického verše obecně. Cílem této práce není v prvé řadě prokázání či vyvrácení existence českého tónického verše či jeho výskytu u konkrétních autorů. Daleko spíše v ní jde o předestření možných náhledů na tuto metrickou kategorii a hledání odpovědí na to, co je a má být obecným měřítkem výskytu konkrétní veršové formy v národní literatuře a jaký je význam objektivně zjistitelných rysů verše a na druhé straně národního, kulturního, historického i literárně-historického kontextu pro jeho finální určení, a tím i interpretaci celého básnického textu.

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2 Research in Language

1 Česká literatura (Czech Literature)

2 Ciszewski T.

1 Čermochová K.

1 2020

2 2010

Is Metrical Foot a Phonetic Object?

Is Metrical Foot a Phonetic Object?

Tónický verš a čeština