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Verse semantics of some metres in Uku Masing’s poetry

Verse semantics of some metres in Uku Masing’s poetry

Author(s): Aile Tooming / Language(s): English Issue: 1-2/2012

The article introduces the results of a semantic analysis of Uku Masing’s (1909–1985) early poetry (1926–1943). The metres analyzed are syllabic-accentual trochaic tetrameter, trochaic pentameter, iambic pentameter and dactylic, logaoedic and polymetric hexameters. In each text the textual communicative perspective as well as motifs and tropes of each verse line were examined. The semantic differences and colourings of the metres are most evident in the way of expression, in the viewpoint.

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On the functions of metrical dualism in M. Tsvetayeva’s verse on the basis on the poem “How perfectly deceitful life is ….” (1922)

On the functions of metrical dualism in M. Tsvetayeva’s verse on the basis on the poem “How perfectly deceitful life is ….” (1922)

Author(s): Vadim Semenov / Language(s): English Issue: 1-2/2012

The article discusses the notion of metrical dualism as a phenomenon of the reader’s perception of verse. The author analyzes the prosody and metrics of Marina Tsvetayeva’s poems “Неподражаемо лжет жизнь” (“How perfectly deceitful life is ….”, 1922). However, the aim of this study is not to interpret the metre of Tsvetayeva’s verse, but rather to obtain a model of reading verse and thus show how the reader’s perception of metre changes. Thus, the author consciously has not considered the metric or the logaoedic interpretations of this poem, while approaching the text from the point of view of the reader’s perception which is always aimed at the revealing of symmetric structures. This approach makes it possible to take into account such aspects as the variety of metric interpretations, the dynamic development of verse metre, the internal and external metrical boundaries in text, etc. The analysis of Tsvetayeva’s verse reveals the interaction of two rhythmic patterns in the text, which is connected to the general meaning of the poem that tells the reader about the deceitfulness of life.

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Verse as a semiotic system

Verse as a semiotic system

Author(s): Mihhail Lotman / Language(s): English Issue: 1-2/2012

Poetry is an important challenge for semiotics, and a special area of study for the Tartu-Moscow semiotic school, since the first volume of Sign Systems Studies was Juri Lotman’s monograph Lectures on Structural Poetics (1964). From then on the concept of poetry as one of the secondary modelling systems has evolved, since in relation to poetry, the primary modelling system is natural language. In this paper, the concept of semiotic system has been re-examined and the treatment of primary and secondary semiotic systems has been significantly revised. A semiotic system can be characterized not only by its internal structure and other systems to which it is related, but also by the field upon what it is realized. The latter aspect has gained almost no attention in any treatment of semiotics; the execution of a sign is understood in the spirit of Saussure and Hjelmslev as a material realization of an abstract element (for instance, a chess piece knight can be realized with wood or plastic, but it can also remain purely virtual). At first, distinction is made between language and sign system. Every sign system consists of language and field. There are three different kinds of fields: 1) just a background – footprints on sand are a sign on the background of sand; 2) a material structured field (a football ground or a chess board in the game called Chapayev) and 3) an abstract structured field, which in its turn consists of other fields (for instance, the chess board which consists of 64 fields). Differently from a football ground, a chess board can be a purely virtual one on which virtual pieces are moved (for instance, in case of blindfold or correspondence chess). The field in its turn can be language and one language can use another language as its field. In this case we speak of primary and secondary sign systems. For instance, the prosodic system of language is a field for a verse metre, while the semantic system of language is a field for a narrative.

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Synonymy and rank in alliterative poetry

Synonymy and rank in alliterative poetry

Author(s): Jonathan Roper / Language(s): English Issue: 1-2/2012

This paper addresses the high sonic demands of alliterative metres, and the consequences of these demands for sense: the semantic stretching of common words and the deployment of uncommon (archaic, ‘poetic’) words. The notion of alliterative rank is discussed as an indicator of such consequences (examples are given from English and Estonian verse) and the range of onsets found for synonyms of key notions in verse traditions is remarked upon

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Some aspects of poetic rhythm: An essay in cognitive metrics

Some aspects of poetic rhythm: An essay in cognitive metrics

Author(s): Eva Lilja / Language(s): English Issue: 1-2/2012

Rhythm should be regarded as a perceptional category rather than as a property of the work of art. Rhythm might be classified according to three principles, serial rhythm, sequential rhythm and dynamic rhythm, three basic sets of gestalt qualities that lay the foundation for versification systems. Two schemas decide the rhythm of a poem: direction and balance. ‘Direction’ refers to rising and falling movements in the line. ‘Balance’ refers to repetitions in a play between symmetry and asymmetry as well as a moment of rest. Rhythms produce meaning, probably due to the fact that rhythms activate internalized bodily experiences as well as conventional meaning patterns. This is demonstrated on the basis of a poem by Sylvia Plath.

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Notes on the metrical semantics of Russian, French and German imitations of Janus Secundus’s Basium II

Notes on the metrical semantics of Russian, French and German imitations of Janus Secundus’s Basium II

Author(s): Igor Pilshchikov / Language(s): English Issue: 1-2/2012

This article links Konstantin Batiushkov’s poem Elysium (1810) to the tradition of poetic imitations of Janus Secundus’s Basium II. A French equivalent for this poem’s pythiambic distichs was invented by Ronsard (Chanson, 1578), who used cross-rhymed quatrains with regular alternation of dodecasyllabic and hexasyllablic lines. However, the French translators of Basia of the eighteenth and early nineteenth centuries could not use this metre, because its semantic aura was drastically changed by Malherbe’s Consolation à Monsieur du Périer (1598). Batiushkov’s Elysium as well as its Latin and French sources are poems about a delightful death and the union of lovers in the afterlife; yet the metre, which was used in Malherbe’s poem, was for more than two centuries a metre of mournful elegiac stanzas about eternal separation. The question of a metrical prototype for Batiushkov’s poem still remains undetermined. His “anacreontic” trochaic tetrameter does not have analogues in the Latin original or its French translations, but coincides with the metre of G. A. Bürger’s Die Umarmung from 1776 (of which Batiushkov was hardly aware in 1810), and finds parallels in some eighteenth-century Russian imitations of Basium II which were most likely forgotten by the beginning of the nineteenth century.

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“Сколько стоятъ въ Лондонѣ галоши”: Quasi-trochees in Nabokov’s prose

“Сколько стоятъ въ Лондонѣ галоши”: Quasi-trochees in Nabokov’s prose

Author(s): Grigori Utgof / Language(s): English Issue: 1-2/2012

Summing up the ideas expressed in the most influential articles on the semantic halo of the Russian trochaic pentameter, scholars tend to avoid one particularly tricky question: how many units – and what kind of units – are needed to detect extra layers of meaning in a particular text? While the article of Kiril Taranovsky “О взаимоотношении стихотворного ритма и тематики” had implied that the source of these meanings (e.g. the dynamic theme of the journey) should be sought in a line starting from the 3- to 4-syllable structure, incorporating a verb of motion and an anapestic anacrusis (Выхожу [verb of motion, last syllable stressed] один я на дорогу), later research objected to this principle as an oversimplification. At the same time two later contributions on the subject (Kirill Vishnevsky’s “Экспрессивный ореол пятистопного хорея” and Mikhail Gasparov’s “The semantic halo of the Russian trochaic pentameter: Thirty years of the problem”) proposed the idea of operating with whole texts as potential sources of meanings, thus calling into question a micro-level approach to the origin of the phenomenon. In my article I propose an empirical model that makes it possible to evaluate some limitations of both practices: I concentrate on some quasi-trochaic pentameters culled from the prose text of Подвиг (Glory) by Vladimir Nabokov (Sirin), and examine these quasi-verse incidents in the framework of both approaches.

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Editors’ preface

Editors’ preface

Author(s): Maria-Kristiina Lotman,Mihhail Lotman / Language(s): English Issue: 1-2/2012

The semiotic turn in Tartu has its beginning in studies of versification: in 1962 Juri Lotman delivered a special course on structural poetics, on the basis of which, in 1964, he published the monograph Lectures on Structural Poetics. Introduction. Theory of Verse, which would become the first volume of Sign Systems Studies. Verse was a favoured object of study in the 1960s and early 1970s, and also a classic illustration of the term ‘secondary modelling systems’. Verse theory was, at the time, an inseparable part of semiotic studies at Tartu, where scholars of versification such as Piotr Rudnev and Jaak Põldmäe actively participated in seminars on semiotics and published their works in editions covering such subjects. Mikhail Gasparov, a leading Soviet scholar of versification, also took part in conferences and contributed to volumes on semiotics.

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Culture-related decision conflicts in the translation process

Culture-related decision conflicts in the translation process

Author(s): Terje Loogus / Language(s): English Issue: 3-4/2012

Translators as members of a certain culture, generally that of the target culture, base their translation-relevant decisions on their own culture, while the decisions are motivated by the (alien) source culture. In the translation process, cultural differences may lead to various decision-making conflicts and the translator has to find a compromise between the author of the source text, the target recipient and finally, of course, the translator him/herself. In this article, proceeding from functionalist approaches to translation, the discussion focuses on the decision conflicts related to translating culturespecific elements. Culture-related decision conflicts, as considered here, refer to the translator’s inner indecision with reference to his/her goals, interests, values, beliefs, methodological approach, or any consequences thereof, attributable to the different cultural embeddings of the source text and the target text. In general, decision conflicts are perceived as subjective translation problems. The translator has to be able to constantly act between separate perspectives, continuously see things from different viewpoints. The conflicts arise when the translator attempts to bring together two incongruent cultures without prejudice to any of the parties involved in the process. Acting within the interface of two different cultures, bearing in mind the interests of several participants, is what makes translation-relevant decisions a highly complex matter.

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Peeter Torop for Italian science of translation

Peeter Torop for Italian science of translation

Author(s): Bruno Osimo / Language(s): English Issue: 3-4/2012

In the 1930s Lev Vygotsky explained that the inner language we use to think and to formulate the verbal text is a nonverbal code. This simple fact gives much food for thought regarding the translation process, as it becomes very probable that the three types of translation proposed by Jakobson (intralingual, interlingual, intersemiotic, 1959) are actually intended, among other things, as different facets of the same, only apparently interlingual, process. In “translation proper” intersemiotic processes occur both during the prototext deverbalization when it is perceived (Vygotsky’s “volatilization into thought”; Vygotskij 1990: 347) and translated into mental awareness by the translator, as well as during the metatext reverbalization with which words, phrases, and texts are synthesized from the mental magma.

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Translation and semiotic mediation

Translation and semiotic mediation

Author(s): Winfried Nöth / Language(s): English Issue: 3-4/2012

Translation, according to Charles S. Peirce, is semiotic mediation. In sign processes in general, the sign mediates between the object, which it represents, and its interpretant, the idea it evokes, the interpretation it creates, or the action it causes. To what extent does the way a translator mediates correspond to what a sign does in semiosis? The paper inquires into the parallels between the agency of the sign in semiosis and the agency of the interpreter (and translator) in translation. It argues that some of the limits and limitations of translatability are also the limits of the sign in semiosis. Since genuine icons and genuine indices do not convey meaning they are strictly speaking also untranslatable. Nevertheless, icons and indices also serve as mediators in learning how to translate.

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On the paths of translation semiotics with Peeter Torop

On the paths of translation semiotics with Peeter Torop

Author(s): Elin Sütiste / Language(s): English Issue: 3-4/2012

The present special issue of Sign Systems Studies, “Semiotics of Translation and Cultural Mediation”, brings together a collection of papers written on translational and mediational aspects of various cultural phenomena and on semiotic and cultural aspects of translation. Most of the articles are based on presentations delivered at the conference “Culture in Mediation: Total Translation, Complementary Perspectives” dedicated to Peeter Torop’s 60th birthday in November 2010.

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Goethe’s glosses to translation

Goethe’s glosses to translation

Author(s): Dinda L. Gorlée / Language(s): English Issue: 3-4/2012

The logical and illogical unity of translation with a triadic approach was mediated by Peirce’s three-way semiotics of sign, object, and interpretant. Semiotranslation creates a dynamic network of Peircean interpretants, which deal with artificial but alive signs progressively growing from undetermined (“bad”) versions to higher determined (“good”) translations. The three-way forms of translation were mentioned by Goethe. He imitated the old Persian poetry of Hafiz (14th Century) to compose his German paraphrase of West-östlicher Divan (1814–1819). To justify the liberties of his own translation/paraphrase, Goethe furnished notes in Noten und Abhandlungen and Paralipomena (1818–1819). Through his critical glosses, he explained information, adaptation,and reproduction of the foreign culture and literature (old Persian written in Arabic script) to become transplanted into the “equivalent” in German 19th Century verse. As critical patron of translation and cultural agent, Goethe’s Divan notes are a parody mixing Orient and Occident. He built a (lack of) likeness, pointing in the pseudo-semiosis of translation to first and second degenerate types of object and sign.

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The cultural mediational dynamics of literary intertexts: An approach to the problem of generative and transformational dynamics

The cultural mediational dynamics of literary intertexts: An approach to the problem of generative and transformational dynamics

Author(s): Katalin Kroó / Language(s): English Issue: 3-4/2012

The paper raises the theoretical question of the cultural mediational nature of literary intertexts from the point of view of generic and transformational dynamics. The intertextual complex as mediational operator is examined at two levels – (1) in the context of cultural diachrony by observing how the literary work establishes its place in the history of literature closely connected to the metapoiesis of the text; (2) at various kinds of intratextual interlevel movements regulating the evolution of a whole intertextual system within the work. Differentiating the ontological, generative and transformational conceptualization of intertextual poetics, an attempt is made to define the basic textual modes of the pretext, the intext and the intertext by describing their functionality in the building of an intersemiotic literary system. The relevant functions are grasped by shedding light upon the types of the sign of which the given signifying structures consist (here a terminological clarification and re-evaluation are added) and their textual semantics in terms of referential and relational quality (cf. the different versions of referential and relational semantics). In the first place, however, the paper aims at outlining the structure and content of the generic-transformational semiotic processes in which the dynamic aspects of intertextual semiosis are revealed. Within this framework, the processuality of the development of the intertextual signifying structure is elucidated, shown as a chain of reciprocal sign activities resulting in constantly evolving semantic shifts within the intra- and intertextual semiosis processes, all relying on mediational operations. Text examples are taken from and references made to works by A. S. Pushkin, I. S. Turgenev, F. M. Dostoevsky and J. M. Coetzee.

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The mythopoetical model and logic of the concrete in Quechua culture: Cultural and transcultural translation problems

The mythopoetical model and logic of the concrete in Quechua culture: Cultural and transcultural translation problems

Author(s): Ileana Almeida,Julieta Haidar / Language(s): English Issue: 3-4/2012

This article deals mainly with problems of cultural/transcultural translation between the Quechua and Spanish cultures, analysing these on the basis of some ideas by Juri Lotman and Peeter Torop. The process of translation implies considering the Quechua semiosphere’s internal borders as well as the external borders related to the cultures that existed at the time of Tahuantin Suyo, and all changes that have come from the Spanish conquest of Latin America. In the case of the Quechua culture, the problems are numerous and conflicting in several dimensions. First of all, Quechua is an agglutinating language that creates problems for translation into a flexional language such as Spanish. Secondly, and more importantly, there exists a mythopoetical model of the world that has been built in this culture, which does not use concepts of rational logic, but poetic images integrated into mythical thinking: it represents a different cognitive pattern. Thirdly, the presence of the logic of the concrete in Quechua culture, articulated with the mythopoetical model, makes translation from Western abstract formal logic difficult. Reflections on these issues provide new analytical possibilities.

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Semiotico-translation-theoretical reverberations revisited

Semiotico-translation-theoretical reverberations revisited

Author(s): Ritva Hartama-Heinonen / Language(s): English Issue: 3-4/2012

This article examines translating and translations primarily from a sem(e)iotic viewpoint. The focus is, on the one hand, on a semiotic re-reading of certain translationtheoretical suggestions (such as the idea of translation being an inherently semiotic category), and on the other hand, on a translation-theoretical re-reading of certain semiotic suggestions (such as what signs can be used for representing). Other proposals that receive a revisiting discussion include, for instance, Roman Jakobson’s translation typology and Umberto Eco’s notion of semiotics as a theory of the lie. The approach adopted in the present article advocates a serious re-reading and attitude, but even more, a literal reading and sometimes, a less serious attitude as well.

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Equiprosodic translation method in Estonian poetry

Equiprosodic translation method in Estonian poetry

Author(s): Maria-Kristiina Lotman / Language(s): English Issue: 3-4/2012

Equimetrical translation of verse, which conveys the metre of the source text, should be distinguished from equiprosodic translation of verse, which conveys the versification system of the source text. Equiprosodic translation of verse can rely on the possibilities of natural language (for instance, when presumably Publius Baebius Italicus created the Ilias Latina, he made use of the quantitative structure in Latin), but it can also employ an artificial system (cf., for example, the quantitative verse in Church Slavonic or English). The Estonian language makes it possible to convey the syllabic (based on the number of syllables), accentual (based on the number and configuration of accents) and quantitative (based on the configuration of durations) versification systems. In practice, combined types are most frequent, for instance, the ones in which both the syllable count and the configuration of accents is relevant; in Estonian, versification systems with the participation of all three principles are possible as well. Despite the contrast of quantity in Estonian, the transmission of the quantitative structure of ancient metrics still involves a number of difficulties which result from differences in the prosodic structures. The transmission of purely syllabic versification system has also been problematic: it is hard to perceive such structure as verse in Estonian and therefore it has often been conveyed with the help of different syllabic-accentual or accentual-syllabic verse metres. Although equiprosodic translation is not necessarily equimetrical, in actual translation practice it usually is so.

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Semiotics of mediation

Semiotics of mediation

Author(s): Peeter Torop / Language(s): English Issue: 3-4/2012

Semiotics of mediation is based on comparative analysis of mediation processes, on typology of forms of mediation and on the subsequent complementary analysis of culture. Not only does cultural analysis that is based on semiotics of mediation proceed from communication processes, it also searches for possibilities of correlation between concepts of describability, analysability, translatability. Depending on the strategy of mediation semiotics it is possible to create an overview of the main parameters of cultural analysis and to specify the boundaries of semiotic analysis of culture. The main types of mediation are simultaneously parameters of cultural analysis. The main types include autocommunicative mediation, metalingual mediation, intertextual mediation, interdiscursive mediation, and inter- or transmedial mediation. Typology of mediation types facilitates the understanding of the autocommunicative aspect of culture and creates the basis for analysing communication processes not on the level of the immediate sender and receiver but as part of the culture’s communication with itself. Semiotics of mediation starts from semiotic mediation and ends with a culture of mediation in which one and the same cultural language or text operates as a means of dialogue with itself, as a means of communication with others, as part of some textual system or discourse, or as a transmedial phenomenon. Semiotics of mediation is a means of studying the correlation between implicit semiotic mediation and forms of explicit semiotic mediation, thus complementing cultural semiotic study of culture.

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Theses about the poietic principle of metonymy

Theses about the poietic principle of metonymy

Author(s): Aare Pilv / Language(s): English Issue: 3-4/2012

The paper observes the relation of fictional/figural discourses to language-games that are active in reality. The starting point for the discussion is the “theory of two contexts” by Arne Merilai, the basic idea of which is distinguishing between fictional and factual speech acts on the basis of their different contexts of truth value. It seems to be justified to expand it to the whole sphere of figurality. After that the paper views John Gibson’s Wittgensteinian theory of fiction as an archive of standards/etalons of languagegames and a laboratory of reshaping and creating these standards. The fictional/figural sphere can be described as the area of possibility that creates language-games of reality via poiesis. The article describes some cases where the logic of figural sphere is introduced directly into real political discourse, forcing the reality to act according to the rules of art, but thus excluding the ethical freedom of our real-life language-games. It means that there exists a certain principle of metonymy between the figural sphere as archive and laboratory of standards, on the one hand, and the language-games of reality, on the other hand, while violation of that principle involves a danger of losing the reconciliatory power of fictionality/figurality that, according to Jaak Tomberg, is a significant function of literature as a human practice. There are several possibilities for further analysis: the cases where the danger can be turned into something positive; the problems and gains of art forms (certain forms of the theatre, happenings) that use techniques of intrusion into reality; the question if such violation of the “principle of metonymy” is specifically connected with modernist avant-gardism or not.

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Contents

Contents

Author(s): Author Not Specified / Language(s): Issue: 1-2/2012

TOC of the Issue 1-2/2012

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