Rhythmic Forms Research Articles

Poetic Devices, Thematic Significance, and Social Realities in Poetry: A Critical Literature Review

This study critically synthesized the existing scholarly research on poetic devices, thematic significance, and social realities. The researcher used a critical literature review and content analysis to scrutinize scientific literature. Based on the review, this study bridges the gap between poetic form and societal critique, highlighting poetry's capacity for thematic depth and social analysis. The artful use of metaphors, personification, imagery, etc., empowers poets to address complex socio-political narratives within their work, positioning poetry as a mirror of society’s multifaceted issues. Poets from varied cultures have historically harnessed verse to reflect on universal themes such as mortality, justice, and human experiences, affirming poetry's role as both a narrative force and a societal barometer. Furthermore, poetry's archival value as a historical record is illuminated, capturing the spirit of different ages and contributing to our collective societal understanding. Through this synthesis, poetry is recognized as an enduring vehicle for exploring and challenging social dynamics, immortalizing the collective human psyche in rhythmic form. Through their craft, poets offer critiques and engage in the socio-political commentary that continues to shape the literary canon and our collective understanding. The study's findings underscore poetry’s timeless relevance as a medium for social critique and thematic exploration

LINGUOPOEICS OF M. ZHUMABAYEV’S POEM “TO MADAME GULSIM” AND ITS REFLECTION IN TRANSLATION

The article examines the features of the translation of linguapoetics elements into Russian and English in Magzhan Zhumabaev’s poem “To Madam Gulsim”. Poetic translation is the highest peak of literary translation. Deep, subtextual thoughts are brought into a certain rhythmic form by various artistic and figurative means, and when every word becomes important, the burden placed on the translator becomes heavier. Translation into other languagesof the poetry of Magzhan, a master of the poetic word, is only now being studied. Therefore, we aim to identify successful moments of translation and emerging gaps, comparing artistic and visual means that meet the aesthetic effect in the original and translated text from a lexical-semantic and structural point of view. Also, in the original/translation pair, external parameters and structure are analyzed that give the poem a certain melody and rhythm at the level of syllables, stanzas and rhymes. The results of the study determine the quality of translations of the poet’s po- etry and further contribute to enriching the experience of translation into foreign languages. It is determined which poetry translation strategy (According to J. Holmes and A. Lefever) corresponds to three versions of the translation in Russian and the English translation, and the extent to which it influenced the original content and idea, the artistic form, is interpreted. Currently, only twenty of the poet’s poems have been translated into English. Since Russian serves as an intermediate language for many translations, Russian translations require special analysis.

Peculiarities of Future Educators’ Training for the Forming of the Fundamentals of National Consciousness in Children of Older Preschool Age

The peculiarities of professional training of future educators for the forming of older preschool-age children’s national consciousness are substantiated in the article. The main tasks, directions, and means of national education of children of older preschool age are analyzed. The main ethnographical means that contribute to the forming of the fundamentals of the national consciousness of children in the sixth year of life are specified and characterized, and the content of pedagogical activities aimed at expanding their horizons with specific ethnographical knowledge and ideas about important social phenomena and events is determined. All this can be realized with the help of various genres of oral folk art, traditions and customs of the Ukrainian people, folk games and toys, folk industries and crafts, and national symbols. All the ethnographical means listed above in figurative and rhythmic forms reflect real life in all its diversity (everyday life, social phenomena, work, human relationships) and contribute to national education, forming of the fundamentals of the national consciousness of older preschool-age children.
 It was established that preschool national education should help the child to form and apply the acquired social knowledge, and contribute to the forming of the skills of spiritual perception of national and cultural heritage. The result of national education should be reflected in the children's acquisition of social experience, the inheritance of the spiritual and moral values of the Ukrainian people, the achievement of a high level of national consciousness, as well as in the forming of a personality as a patriot of one's country. It is worth noting that national feelings are the basis of national consciousness and they do not arise by themselves, but only as a result of long-term educational influence on the personality, starting from the older preschool age.
 The future IPE teachers’ training for the development of national consciousness in children of older preschool age should be aimed at self-realization and the disclosure of their individual creative abilities. Gradually, the student’s vocabulary is enriched with everyday words, proverbs, sayings, tongue twisters, riddles, and other works of oral folk creativity, they learn to dramatize fragments of familiar Ukrainian fairy tales, make toys, decorate national dishes, clothes, and other household items. A systematic approach in work promotes the development of higher education getters’ interests in ethnography.

The Life and Legacy of Danijela Kulezic-Wilson

The Life and Legacy of Danijela Kulezic-Wilson

Who Put the ‘a’ in ‘Thomas a Becket’? The History of a Name from the Angevins to the Victorians

This article examines the history of Becket’s name from his birth to c. 1800, through detailed corpus analysis, with a particular focus on the varying popularity of the ‘Becket’ and ‘a Becket’ forms from the 16th to 18th centuries. The analysis goes beyond positivist attempts to decide on the ‘correct’ name to look instead at naming conventions in the context of their use. There is some evidence to suggest that, until his ordination at least, Thomas was known by the family surname ‘Beket’ during his lifetime, and this name for him occurs in some medieval chronicle traditions. Yet for the most part he was ‘St Thomas of Canterbury’, and the ‘Becket’ surname was revived by Protestants at the Reformation as a slur to emphasise his unworthiness. The form ‘a Becket’ was invented by the satirist Thomas Nashe in the 1590s to turn the archbishop into a figure of fun, and by the 1700s may have been the predominant form in popular, verbal, use, largely thanks to its more appealing rhythmic form. By the 1760s the ‘a Becket’ form had also become the academically accepted ‘correct’ form. This in turn gave rise to debate, continuing to this day, about the correct nomenclature and to a host of theories about the etymology of both ‘types’.Banner image: The earliest known portrayal of Thomas Becket's murder in Canterbury Cathedral, unknown author, c.1200. Original in the British Library: Harley MS 5102, f. 32; image from Wikimedia Commons.

Areology of the Birth and Christening Tunes of the West of the Ukrainian Ethnic Territory and Adjacent Lands: the Perspective from Northern Pidlassia

The considerable progress of Ukrainian ethnomusicology in the field of structural and typological researches in the recent decades has generally clarified the melotypology and melogeography of the most ritual genre cycles of ethnic Ukraine and the adjacent areas, except the birth and christening songs. This is due to the small number or complete absence of recordings of this kind of songs in most regions of Ukraine.
 However, there are some areas where birth and christening songs exist in more than a few numbers and form a sufficiently integral melotypological complex. These areas are Northern Pidlassiaand Nadsyannia (the Syan river region). Generally, Western Ukraine is represented by a small number of records of birth and christening songs, but this nevertheless dominate over the rest of the territory, which is represented mainly by single samples. In the represented study, an attempt to fill the existing gap in the typological study of birth and christening songs of the western territories of Ukraine is made. The sources are published recordings, the author’s own materials, as well as materials from the Archive of the Laboratory of Music Ethnology at the Lviv National Music Academy named after Mykola Lysenko.
 Musical and folklore studies of birth and christening rites are not numerous. Among them it is necessary to mention a sizable monograph of Anatolyi Ivanytsky «Songs are from Birth and Christening» (Ivanytsky, 2013) and also collections of Halyna Sokil, Stephan Copa and others.Iryna Klymenko dedicated a special paragraph to this genre in the monograph «Ritual Melodies of the Ukrainians in the Context of the Slavic-Baltic Early-Traditional Melomassive: Typology and Geography» (2020).
 The comparative analysis of the total amount of the birth and christening tunes reveals a significant role in this genre cycle of the melotypological group on the basis of the spondeic seven-component structure, which is the most represented in the western Ukrainian and adjacent territories.
 The next melotypological group combines various forms based on the five component structure. Melodic type with a lyric structure V(5+5)2 has two rhythmic versions. Quite often, the same texts can be performed in different rhythmic variants. It has been observed that the tunes of the first rhythmic type are connected mainly with ritual lyrics. Instead, the second type combines mainly with common plots.
 A unique type based on a five-component structure, which has no analogues, is a three-part form V(5+5+5)2, which spreads on Nadsianna, less on Opillia territories. These melodies usually are combined with the same poetic lines «Early on Sunday, early on Sunday as a white day» rarely with some slight variants in the first line.
 Speaking of five-syllable structures we should mention songs with the so-called «arrow-like» rhythm. Although only a few fixations are known in Western Ukraine, the central and eastern territories of Ukraine and Belarus are represented more richly. Instead, the West part represents a kind of «hybrid» form based on this rhythmic structure.
 Perhaps the most widely used ritual melodic type in Eastern Europe with the verse structure V(5+5+7)2 and birth and christening function distribute on the territory of north-western Ukraine with a concentration on Nadsyannia.
 Another widespread ritual rhythmical form based on the iambic six-component structure is represented in tirade and strophic compositions, but the records of these songs, unfortunately, are rare.
 Summarizing the melotypological and meloareological characteristics of the birth and christening melodic types of the ethnic west of Ukraine, it should be noted that the two densest centers of their existence are Northern Pidlassiaand Nadsyannia. However, Northern Pidlassiais characterized by a richer melotypological set: six melotypes, while in Nadsyannia there are only three ones. In addition, the folk melodic types of these two areas actually differ.
 In general, the birth and christening genre cycle of Nadssiannia seems to be separated from the surrounding territories with its «unique» song «Early on Sunday», which partially spread to neighboring territories. Additionally, there is no any recorded sample based on the seven-component structure, as well as no samples of six-syllable melodies were encountered.
 The range of melotypes based on the five-component structure is the most numerous and most widespread in the territory of the ethnic west of Ukraine. A group of related seven-components melodic types is spread in the BelarusianUkrainian area. The melodic basis of the vast majority of the birth and christening songs is a system of stable tones at a distance of a fifth with a minor inclination of the scale.

Franghiz Alizadeh’s Composition ‘Wahe’ (‘Oasis’) for String Quartet and Tape Recorder

The article examines the chamber-instrumental work of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, People’s Artist, awarded the honorary title of ‘Artist of Peace’ by UNESCO. The article also highlights the characteristics of the musical and harmonic language, original timbre combinations, unusual dynamics, methods of using modern musical techniques of chamber-instrumental works of Franghiz Alizadeh, which is an area of her creative work that combines East-West music synthesis. The article analyzes Franghiz Alizadeh’s composition ‘Oasis for tape recorder and string quartet and gives specific features of the work. The article emphasizes that Franghiz Alizadeh’s presentation of Oriental thought in a synthesis of modern methods in the composition ‘Oasis’ is a unique feature of the work. The purpose of the research is to analyze the composition of Franghiz Alizadeh’s ‘Oasis’ and to determine the individual stylistic features of the composer. The interpretation of important innovations in Franghiz Alizadeh’s chamber-instrumental work and the discovery of its connection with modern music culture is especially emphasized. The basis of the research is the involvement of Franghiz Alizadeh, a prominent representative of the modern Azerbaijani school of composition, in the research work of the composition ‘Oasis’, which has not been subjected to scientific and theoretical analysis. The research methodology is based on music-analytical, theoretical, and historical analysis. It was noted that Franghiz Alizadeh’s chamber-instrumental work was formed in the context of the development of modern music, and modern technical methods were manifested uniquely. At the same time, the methodological basis of the article is based on the scientific-theoretical principles and research of Azerbaijani and foreign musicologists. The scientific novelty of the research is that for the first time, the general features of Franghiz Alizadeh’s chamber-instrumental creative work were studied within the framework of Azerbaijani music science, and the composer’s composition ‘Oasis’ was analyzed in detail. At the same time, based on the analysis, the article presents a detailed scientific study of the composition ‘Oasis’, which is of great importance in the work of the composer. Conclusions. The comprehensive analysis of Franghiz Alizadeh’s chamber-instrumental work and especially the composition ‘Oasis’ in the presented article allows drawing important conclusions about the features of the composer’s creative style. Franghiz Alizadeh is a modern Azerbaijani composer distinguished by her original creative style, and it was noted that the deep content of her works, distinguished by her unusual style of performance, is important in our national music art. It was noted that the East-West synthesis is dynamically manifested in the composer’s work, and this feature is directly felt like her works. From this point of view, F. Alizadeh’s camera-instrumental work is distinguished by the difference of modern writing techniques with rich images, and she has achieved great success not only in her native Azerbaijan but also far beyond its borders. It should be noted that Franghiz Alizadeh’s works, which combine East-West synthesis, have been performed in many countries and met with success. From this point of view, the composition of ‘Oasis’ differs by its rhythmic structure, artistic content, and texture form. It is especially emphasized that the unusual performance of the composition ‘Oasis’ was used to reveal a certain image. It is noted that the composition has a different musical language, along with deep content and non-traditional features. The combination of serial technique and mugam elements gives the composition ‘Oasis’ originality. It is noteworthy that the tape was used as an integral part of the camera-instrumental work. It was noted that the composition "Oasis", as a work of synthesis of theatre and music, has a theatrical effect. Franghis Alizadeh is currently living the period of wisdom in her work and enriches the professional music of Azerbaijan with her unusual works of modern type, which combine East- West synthesis.

An Analysis of Works by BTS <Dynamite>

본 논문은 한국 가수 최초로 빌보드 핫100 1위를 차지한 방탄소년단의 노래 Dynamite의 작품 분석 연구이다. 음악적 분석을 통해 다양한 작곡 기법과 음악 어법을 파악하여 창작자들의 작품 활동에 도움이 되게 하며 한국대중음악의 음악적 연구에 의미 있는 자료를 제공하는 것을 연구목적으로 한다. 이를 위해 작품의 구조적, 리듬적, 선율적, 화성적, 텍스쳐적 특징을 분석 연구하였다. Dynamite는 곡의 형식상 12개 부분으로 나눌 수 있고 각 부분은 특색 있는 음악적 요소를 포함하고 있다. 모티브가 되는 4개의 리듬형이 반복, 축소, 확대, 역행, 변형, 결합되며 악곡 전체로 전개되고 붙임줄로 인한 강세 변화로 다양한 리듬 패턴을 생성한다. 선율은 주로 E음과 C#음이 사용되는데 동음 반복되거나 이 두 음만을 사용한 선율이 <코러스>를 제외한 모든 부분에 나타난다. 코러스는 6개 음으로 구성된 순차진행 선율이 하행과 상행으로 나타나 노래하기 쉬운 선율을 만든다. 이 곡의 화성은 코드 4개가 순환 반복하는 단조로운 진행이 나타나고 있다. 보컬이 주선율을 노래하고 악기가 반주를 담당하는데 12개의 각 부분은 성부 수, 음색, 음역, 편성 방식에 변화를 주어 다채롭고 조화로운 텍스쳐를 만들고 있다. 이 작품은 선율과 화성에서는 대중성과 통일성으로, 리듬과 텍스쳐에서는 변화와 다양성을 반영하여 균형 잡힌 작품의 조화를 만들어 낸다. 본 논문은 그동안 업적과 영향력에 비해 음악적 연구가 부족했던 상황에서 방탄소년단의 <Dynamite>를 음악적 관점으로 깊이 있게 분석 연구함으로써 한국대중음악 작품 연구에 의미 있는 자료를 제공하는데 그 의의가 있다.This study aimed to analyze the work of BTS’s song “Dynamite,” which was the first Korean singer to rank first on the Billboard HOT 100 chart. By musically analyzing this song, various composition techniques and musical grammar were identified. Therefore, the purpose of this study is to help creators create music and provide meaningful data in the field of music research of Korean popular music. For this study, the structural, rhythmic, melodious, harmonious, and textural characteristics of the work were analyzed and studied. Dynamite was divided into 12 parts in the form of a song, and each part contains distinctive musical elements. For the rhythm of this song, four motif rhythmic forms were developed throughout the work, and the method used methods of repetition, reduction, enlargement, retrograde, transformation, and combination. The stress is changed due to the tie to generate various rhythm patterns. E and C# notes are mainly used for the melody, and the same note is repeated, or the melody consisting of only these two notes appears in all parts except for the Chorus part. The Chorus part is a sequential progression melody composed of six notes. This melody consists of descending and ascending, creating a melody that is easy to sing. In the harmony of this song, a monotonous progression appears in which four chords repeat circulation. The vocal part plays the main melody, and the instrument part plays the accompaniment. Each part of the form classified into 12 changes the number of layers, tone, voice range, and organization method. So, it is creating a colorful and harmonious texture. In this work, elements of popularity and unity appear in melody and harmony, and elements of change and diversity are reflected in rhythm and texture, creating a balanced harmony of works. Until now, research focusing on music has been insufficient, focusing only on BTS’ achievements and influence. Therefore, this study is meaningful in providing meaningful data for the musical research of Korean popular music by analyzing and researching Dynamite from a musical point of view.

A Linguistic and Stylistic Analysis of Ted Hughes’s “Hawk Roosting”

The world of birds in Ted Hughes poems has always been the subject of a controversy and critical interest. His attempts to majestify their violence, and project their terrifying and brutal traits might tend to give the impression that the poet is the envoy of terror. However, a closer inspection indicates that the bird-of-prey-world is boldly a foil to project human concerns and moral behaviour. This study provides a linguistic and stylistic analysis of the poem “Hawk Roosting”. Metonymically, the figure of the Hawk in the poem stands for birds of prey, and allegorically, it refers to political dictators in human history. The study, and for the first time, applies the concept of mind style, dramatic monologues and mask lyrics in its analysis to reflect the Hawk’s strange psychology and worldview depending on the rhythmic form and stylistic features. Thus, the study shows how distinctive linguistic features—such as, the use of pronouns, simple present tense, polysemy, enjambment, and deviant constructions among others—relate to the mental representation of the Hawk’s world. This view indicates that there would always be a Hawk to plague, or a dictator to rule, no matter where you are, or which time you live in.

Dynamic Korea and Rhythmic Form by Katherine In-Young Lee

Dynamic Korea and Rhythmic Form by Katherine In-Young Lee

РИТМІКА ДРУГОЇ ЧАСТИНИ КНИГИ ВАСИЛЯ БАРКИ «ОКЕАН» (РІЗНОСТОПОВИЙ ХОРЕЙ)

The article is dedicated the verse rhythm in the second part of the book “Ocean” by the Ukrainian poet Vasyl Barka (1979). The rhythm of the first part (iambic) was investigated in our previous article. The meter of the second part of the book is a mixed trochee, the scheme of which is 5454. The stresses in the poetic lines were counted and the rhythm profiles of the trochaic tetrameter and the trochaic pentameter were plotted. The rhythm diagram method developed by Taranovsky, Gasparov (for Russian verse) was used to compare Barka’s verses with Ukrainian and Russian verses. To illustrate the trends in Ukrainian verse, our calculations of the verse of Stus and Andrukhovich were also used. The results of the research showed that the character of Barka’s rhythm is unique; it has no correspondence either in Ukrainian or in Russian verses. In the rhythm of Barka’s poem, ‘the law of regressive dissimilation’, discovered by Taranovsky and extrapolated to the Ukrainian verse by Kostenko, does not work. That is, there is no alternation of strong and weak foot. Barka in trochee avoids full-accented lines, which are commonly used by Ukrainian and Russian poets. The set of rhythmic forms of verse differs from other poets. The drawing of the diagrams is also different. For a trochaic pentameter, this is a “bucket”, with strong 2nd and 5th feet and weak 3rd and 4th feet. And for a trochaic tetrameter, this is an almost equal strength of the first three feet and a strong last foot. A rhythm, approximately similar to that of Barka, was revealed only in Goethe’s verse for a trochaic pentameter and in Schiller’s verse for a trochaic tetrameter (according to Taranovsky). Given the unique nature of the iambic rhythm and rhyme in Barka’s verse, we consider it promising to search for the factors that determined Barka’s poetics.

Ритм и смысл стихотворения Пушкина «Буря» [Pushkin’s “Buria”: The Meaning of Rhythm

This article addresses the meaning of the verse form of Alexander Pushkin’s poem “Buria” (1825). The poem’s monotonous rhythm corresponds to the theme of waves hitting the seashore and the rock in the same monotonous manner. The rhythmic structure of the poem implies that it can be divided into four three-line sections, each of which alternates between two rhythmic forms of iambic tetrameter (IV—IV—I, IV—IV—I, etc.). The stanzaic structure of the poem, which is a monostrophe, helps one to sense that pattern. KEYWORDS: 19th-Century Russian Literature, Alexander Pushkin (1799—1837), Buria (1825), Russian Iambic Tetrameter, Semantics of Rhythm, Verse Theory.

A STUDY ON INFLUENCE OF CLASSICAL INDIAN DANCE PRACTICE ON CARDIO – RESPIRATORY WELL BEING

Dance is a Rhythmic form of exercise. It involves slow to intense kinetic footwork, swaying hand gestures and subtle eye - facial expressions. It activates skeletal muscles, stimulates functioning of smooth muscles and enhances the contractility of cardiac muscles. Along with this dance practice also alters breathing mechanism with reference to enhancement of vital capacity. Thus, dancing regularly helps the overall functionality of Cardio – Respiratory system which changes the individual’s wellbeing. The following study analyses the mode of action of dancing over the system of the internal body and explains the same with Physical and subjective parameters. Regular dancing helps an individual in betterment of functions of cardiac and respiratory system.

SEPTEM VERBA A CHRISTO W STAROPOLSKICH APOKRYFACH NOWOTESTAMENTALNYCH W PERSPEKTYWIE ŹRÓDŁOZNAWCZEJ I LINGWISTYCZNEJ. CZĘŚĆ DRUGA: JĘZYKOWE UKSZTAŁTOWANIE

This article is the second and the last part of a series dedicated to the characteristics of a description of Christ’s seven words uttered on the cross as accounted in Old Polish biblical and apocryphal narrations. In part one, I focus on the origin of the words, the characteristics of Old Polish texts containing them. I highlight the most important differences in the narration of the specific fragments of Old Polish Passions of Jesus. Part two is entirely dedicated to the language of the fragments of Old Polish texts on Christ’s seven words uttered on the cross (ŻPJK, SCh and RD). First, I present the enumeration schemes in each apocrypha. They are strictly related to the tradition of religious instruction and teaching and are an attempt at sorting out the material. The article presents also the various ways in which Christ’s specific words are called. The regular word-forming structure of the modifiers affects the rhythmic form of the specific fragments of texts. Finally, I show how quotations from Christ were introduced into each apocrypha: how the utterances’ modal frame was shaped and what verbs of speech were used. It turns out that in each historic text, Christ’s words were treated differently: in the SCh, they were described most extensively and in the RD – least extensively but it is the RD where the enumerations are most precise with respect to the syntax, perhaps because the specific parts are at the smallest distance from each other. Christ’s seven words on the cross are least structured in the ŻPJK.

The semiotics of verse rhythm and comparative rhythmics: Vladimir Nabokov’s and Jurgis Baltrušaitis’s binary tetrameters from a typological perspective

The article discusses the problems of poetic rhythm in two aspects. The first concerns the possibility of awareness and conscious modelling of various aspects of poetic rhythm; the second is related to the manifestation of similar or even identical tendencies in the rhythmic structures of various authors who belong to different eras and literary trends and even writing in different languages. Works from bilingual authors such as Vladimir Nabokov and Jurgis Baltrušaitis are of the particular interest.&#x0D; The first half of the article focuses on how the concept of rhythm proposed in the book by Andrei Bely (1910) influenced the poetic practice. Before Bely, it had been implicit that the choice of stanzaic and metric forms was usually conscious for authors, while Bely demonstrated that poets and their audience can be aware of verse rhythm as well. After the publication of his results, Bely and other poets of a predominantly Symbolist approach began to pay attention to the rhythmic structure of the verse and made attempts to model it. Considered are the following problems: a) how do poetic meters relate to rhythmic forms; b) to what extent can the rhythmic momentum be recognized by the author, and to what extent can the author influence it; and c) how can the author compose verses in accordance with a pre-selected rhythmic model.&#x0D; In the second half of the article, the rhythm of iambic and trochaic tetrameters in Russian poetic heritage of Jurgis Baltrušaitis is analysed in comparison with the rhythm of his Lithuanian verses. As it turns out, despite the obvious differences in the prosody of the Lithuanian and Russian languages, the rhythmic structure of his poems obeys the same regularities.&#x0D; In the final part of the article, possible explanations of rhythmic patterns are proposed and an outline of the typology of the rhythm of the binary tetrameters is given.

Rhythmical Ambiguity: Verbal Forms and Verse Forms

In undertaking the statistical analysis of the rhythm of Russian syllabic-accentual verse, one confronts a problem: how to accentuate words whose natural-language stress is weaker than that of fully-stressed words. Zhirmunsky called such words “ambiguous” and formulated a rule: they should be considered stressed in “strong” (ictic) positions and unstressed in “weak” (non-ictic) positions. Gasparov, who accepted and elaborated on Zhirmunsky’s rule, pointed out that “this difference in the quality of stress in strong positions [...] has a significant impact on the rhythm of verse, especially that of ternary meters.” The main point of the present paper is that this ambiguity equally impacts Russian binary meters. In the case of iambic tetrameter, for example, fully-stressed lines that contain rhythmically ambiguous words are often isomorphic with the predominating rhythmical form. In the present paper, this phenomenon is explored in connection with Jakobson’s hypothesis that rhythmically ambiguous words gravitate toward “weak” (i.e. less frequently stressed) ictuses. Although Jakobson’s view of accentual ambiguity was different from Zhirmunsky’s, and Jakobson’s calculation was, in fact, methodologically inaccurate, a cross-pollination of their approaches may prove fruitful.

Dynamic Korea and Rhythmic Form

Dynamic Korea and Rhythmic Form

Sravnitel´noe stikhovedenie: metrika i ritmika by E. V. Kazartsev (review)

Sravnitel´noe stikhovedenie: metrika i ritmika by E. V. Kazartsev (review)

Rhythmic patterns of shoreline contour in the gulf of Terpenya of Sakhalin Island

The results are discussed of the long-term observations of the system of mega-cusps (large-scale shoreline cusps) revealed on the coast of the Gulf of Terpenya of Sakhalin Island. Typical spatial step of the rhythmic forms is about 800 m and the amplitude of shoreline undulations is of tens of meters. Despite of significant changes in temporal scales of the seasons, years and decades the main morphological features of mega-cusps are kept over the period of more than 60 years. The model is suggested explaining creation of rhythmic shoreline patterns by self-organization of bottom relief under the wave impact. Development of mega-cusps is shown to be connected with generation of nearshore circulation cells. Due to flows within the cells a small initial perturbation of shoreline contour can increase in time. A positive feedback between the coastal morphology and the hydrodynamics arises when a certain relation is established between the length of perturbation, the width of surf zone and the velocities of nearshore currents. It is concluded that the system of mega-cusps in the Gulf of Terpenya is mainly supported by the moderate waves of significant wave height about 1.6 m.

Rhythmic Patterns in the Shoreline Contour of the Gulf of Terpenya, Sakhalin Island

The paper considers the results of long-term observations of megacusp (large-scale shoreline cusps) on the coast of the Gulf of Terpenya (Gulf of Patience), Sakhalin Island. The typical spatial step of the rhythmic forms is about 800 m, and the amplitude of shoreline undulations is 40–50 m. Despite significant changes on time scales of seasons, years, and decades, the main morphological features of the megacusps are preserved for more than 60 years. A model is proposed that explains the evolution of rhythmic shoreline patterns by self-organization of the bottom relief under wave impact. Development of megacusps is shown to be related to the generation of nearshore circulation cells; due to flows within the cells, a small initial perturbation to the shoreline contour can increase over time. A positive feedback between the coastal morphology and hydrodynamics arises when a certain relation is established between the length of the perturbation, the width of the surf zone, and the speeds of nearshore currents. It is concluded that the megacusp system in the Gulf of Terpenya is mainly supported by moderate waves with a significant wave height of ~1.6 m.