The Rhythm of Mikhail V.Lomonosov's Odes of 1743
This article is about the Rhythm of Mikhail V.Lomonosov's Odes of 1743.
Article is devoted to almost unknown aspects of reception of the European culture in Russia of the mid 18th cenury.
The article describes the structures and principles of translations made by F. Fiedler.
Review on: Usitalo S. The Invention of Mikhail Lomonosov. A Russian National Myth. Boston: Academic Studies Press, 2013
In 2001 and 2006 St.Peterburg University Press published two volumes of scholarly articles titled Formal Methods in Linguistic I and II. If the first collection was basically dedicated to problems of Slavic verse, then the second also contained articles on West European versification. In addition, the first collection was in Russian, while the second was a bi-lingual, English-Russian volume.
The article use of statistics in linguistic analysis of German Verse.
This volume includes most papers read at the International Conference on "Meter, Rhythm and Performance" held at the University of Vechta, Germany, in May 1999. This metrics conference set out to break new ground in two respects. It was the first to explicitly address aspects of the performance of poetry in addition to questions of meter and rhythm.It was also the first of its kind to invite (and actually attract) a truly international panel of scholars from competing metrical traditions such as Generative Metrics,the Russian School of Metrics, Cognitive Metrics, and several others. Thus,the articles present an unusually broad picture of current research in the field of metrics,including a section on free verse. The languages and literatures addressed include Irish, Welsh, Breton, Latin, English (British and American), Dutch, German, Russian, Slovene, Serbo-Croatian, and Sanskrit. Most of the articles are written in English, eight are in German.
The poetry of Mikhail Lomonosov and Aleksandr Sumarokov played a decisive role in the establishment of Russian syllabo-tonic versification. Lomonosov’s early iambs show a noticeable foreign influence, whereas the prosodic structure of Sumarokov’s poems was formed in a fundamentally different way from the very start. The research presented in this article provides a new understanding of the sources of the rhythm of Sumarokov’s iambic verses, which represent a distinctive vector in the development of Russian verse. This vector displays significant differences from the principles of continental, West European syllabo-tonic poetry; an attempt at mastering whose principles can be observed in the early Lomonosov.