Audible punctuation: performative pause in Homeric prosody
"Audible Punctuation focuses on the pause in Homer's Iliad and Odyssey, both as a compositional feature and as a performative aspect of delivery, arguing for the possibilities and limits of expressing phrases in performance. Ronald Blankenborg's analysis of metrical, rhythmical, synta...
Gespeichert in:
| 1. Verfasser: | |
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| Format: | Abschlussarbeit Buch |
| Sprache: | English |
| Veröffentlicht: |
Washington, DC
Center for Hellenic Studies, Trustees for Harvard University
2022
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| Schriftenreihe: | Hellenic studies
87 |
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis |
| Zusammenfassung: | "Audible Punctuation focuses on the pause in Homer's Iliad and Odyssey, both as a compositional feature and as a performative aspect of delivery, arguing for the possibilities and limits of expressing phrases in performance. Ronald Blankenborg's analysis of metrical, rhythmical, syntactical, and phonological phrasing shows that the text of the Homeric epic allows for different options for performative pause--a phonetic phenomenon evidenced by phonology. From the ubiquitous compositional pauses in sense and metrical surface structure, Audible Punctuation selects the pauses that, under specific phonetic circumstances, double as rests of some duration during a performance. In this way, Blankenborg identifies those places in the verses that a performer of Homeric poetry was most likely to have used as opportunities to pause. The distribution of pauses over Homer's hexameters proves to be irregular and unpredictable because phonological phrases and grammatical clauses differ considerably in the way they terminate. The mismatch of prosodic and other levels of phrasing draws attention to the need to reassess stylistic issues, notably enjambment" |
| Beschreibung: | xi, 294 Seiten Diagramme |
| ISBN: | 9780674237957 |
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| 520 | 3 | |a "Audible Punctuation focuses on the pause in Homer's Iliad and Odyssey, both as a compositional feature and as a performative aspect of delivery, arguing for the possibilities and limits of expressing phrases in performance. Ronald Blankenborg's analysis of metrical, rhythmical, syntactical, and phonological phrasing shows that the text of the Homeric epic allows for different options for performative pause--a phonetic phenomenon evidenced by phonology. From the ubiquitous compositional pauses in sense and metrical surface structure, Audible Punctuation selects the pauses that, under specific phonetic circumstances, double as rests of some duration during a performance. In this way, Blankenborg identifies those places in the verses that a performer of Homeric poetry was most likely to have used as opportunities to pause. The distribution of pauses over Homer's hexameters proves to be irregular and unpredictable because phonological phrases and grammatical clauses differ considerably in the way they terminate. The mismatch of prosodic and other levels of phrasing draws attention to the need to reassess stylistic issues, notably enjambment" | |
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Datensatz im Suchindex
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|---|---|
| adam_text | Contents Acknowledgments.............................................................................................. ix Introduction: Pause in Homer.......................................................................... 1 0.1 Pause on the Level of Metrics................................................................. 2 0.2 Pause on the Level of Rhythmics............................................................ 3 0.3 Pause on the Level of Syntax.................................................................. 5 0.4 Pause on the Level of Phonology............................................................ 8 0.5 Pause on the Level of Phonetics........................................................... 10 0.5.1 Aim of the study: The reconstruction of performative pause... .13 0.5.2 Organization of the study............................................................. 14 0.5.3 Outcome of the study: Phrases in composition and performance terminate differently.................................................. 15 0.5.4 Evidence from text? — The status of a written Iliad and Odyssey................................................................................................ 16 1. Pause in Metrics and Rhythmics................................................................. 19 1 .0 Introduction.......................................................................................... 19 1 .1 Pause in Prosody................................................................................... 20 1.1.1
Meter.............................................................................................. 20 l.l.l.l Scansion................................................................................. 20 1.1.1.2 Footing..................................................................................... 22 1.1.1.3 Colometry................................................................................25 1.1.2 Tone................................................................................................ 29 1.1.3 Weight............................................................................................ 31 1.1.3.1 Weight and duration.............................................................. 31 1.1.3.2 Weight as equivalent of sonority........................................... 34
1.2 Rhythm................................................................................................. 34 1.2.1 Thesis recurrence......................................................................... 36 1.2.2 Colon recurrence......................................................................... 36 1.2.3 Rhythmical word type recurrence.............................................. 37 1.2.4 Timing mechanism of speech......................................................39 1.2.5 From pause in prosody to pause in performance....................... 43 2. Pause in Syntax and Sense......................................................................... 45 2.0 Introduction..................................................................... 45 2.1 Pause in Loose Syntax............................... 46 2.2 Pause in Special Speech....................................................................... 50 2.3 Pause in Syntactical Movement.............................................................56 2.4 Pause in Out֊of-Line Composition........................................................ 58 2.4.1 Enjambment.................................................................................59 2.4.2 Classification of enjambment-types............................................. 61 2.4.3 Acknowledgement of out-of-linecomposition.............................. 64 2.4.4 Affective prosody?........................................................................ 65 3. Pause in Phonology and Phonetics............................................................67 3.0
Introduction........................................................................................... 67 3.0.1 Audible phenomena in a dead language?.................................... 67 3.1 Pause in Phonology................................................................................ 69 3.1.1 Metrical syllabification................................................................. 70 3.1.2 Apposition.................................................................................... 71 3.1.3 Coherence and pause in larger phonological domains................. 73 3.1.3.1 Vowel coalescence in largerdomains................................... 74 3.1.3.2 Lengthening, prolongation, and subordination in larger domains................................................................................... 76 3.1.3.3 Bridges................................................................................... 80 3.1.4 Pause in phonological phrases...................................................... 82 3.2 Pause in Phonetics................................................................................. 86 3.2.1 The phonetics of pause................................................................. 87 3.2.2 Frequent word end and pause...................................................... 89 3.2.3 The phonetics of termination....................................... 91 4. Possible Pause in Performance....................................................................97 4.0 Introduction........................................................................................... 97 vi
4.1 Performance and Pause.......................................................................... 99 4.1.1 Poetry recited.............................................................................. 100 4.1.2 Song.............................................................................................. 103 4.2 Performance and thePhonetics of Pause............................................. 103 4.2.1 Phonological perspectives of phonetic pause in performance. .105 4.2.2 Phonological restrictions on phonetic pause in performance . .110 4.2.3 Metrical perspectives of phonetic pause in performance................. 114 4.2.4 Metrical restrictions on phonetic pause in performance................. 118 4.2.5 Two types of sandhi-free word end — two types of phonetic pause. 119 5. Performative Pause.................................................................................... 123 5.0 Introduction......................................................................................... 123 5.1 Performative Pause.............................................................................. 123 5.1.1 Options for performative pause................................................. 125 5.1.2 Options at position 2 (στίχος λαγαρός)?.................................... 127 5.1.3 Options at position 8 (under Wernicke’s Law)?..........................129 5.1.4 Options at verse end................................................................... 135 5.1.4.1 Option 1: Metarrhythmisis due to a verse-final heavy
syllable.................................................................................... 136 5.1.4.2 Option 2: Subordination due to spondaic closure.............. 136 5.1.4.3 Option 3: Metarrhythmisis despite a verse-final light syllable?.................................................................................. 138 5.1.5 Options at secondary word end................................................... 143 5.1.6 Options and choice....................................................................... 144 5.2 Performative Pause as Audible Punctuation...................................... 145 5.3 Repetition of Rhythmic Patterning..................................................... 146 5.4 A Sample (Iliad 11-100, Odyssey i 1-100).............................................. 147 6. Audible Punctuation................................................................................... 161 6.0 Introduction......................................................................................... 161 6.1 Audible Punctuation in Performance..................................................161 6.1.1 Selective pausing in performance............................................... 162 6.1.2 Straddling compositional pauses............................................... 163 6.2 Mismatching Punctuation................................................................... 164 6.2.1 Mismatched metrical pauses.......................................................165 6.2.1.1 Verse end.............................................................................. 165 6.2.1.2 Main
caesura........................................................................ 168 vii
6.2.2 Mismatched syntactical pauses................................................. 170 6.2.2.1 Pause and clause.................................................................. 171 6.2.2.2 Pause and enjambment....................................................... 186 6.3 Prosodic Affectiveness......................................................................... 194 7. Between Performative Pauses................................................................. 201 7.0 Introduction.................................................................. 201 7.1 Intonation Between Pauses................................................................. 201 7.2 Syntax Between Pauses....................................................................... 202 7.2.1 Continuation.............................................................................. 203 7.2.2 Compositional units teaming up................................................ 204 7.2.3 Discourse between performative pauses....................................205 7.2.4 Audible continuation.................................................................. 205 7.2.5 Expectations between pauses.................................................... 210 7.3 Rhythm Without Beat.......................................................................... 211 7.3.1 Breaking the measure................................................................ 211 7.3.2 Rhythm from pause to pause...................................................... 214 7.4 Iliad 11-100, Odyssey i 1-100 between Performative Pauses............... 219
Conclusion....................................................................................................... 229 Glossary............................................................................................................ 233 Appendix. The Grammatical Clause in Homer.............................................. 249 The grammatical clause in Homer............................................................. 256 “Isolating” transition.................................................................................. 259 Extra-clausal, intra-clausal, and inter-clausal transition........................... 263 “Subordinating” transition?........................................................................ 268 Bibliography..................................................................................................... 271 General Index............................................................................ ....................... 283 Index of Passages............................................................................................ 291 viii
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| spelling | Blankenborg, Ronald 1971- Verfasser (DE-588)1079604022 aut Audible punctuation performative pause in Homeric prosody by Ronald J.J. Blankenborg Washington, DC Center for Hellenic Studies, Trustees for Harvard University 2022 xi, 294 Seiten Diagramme txt rdacontent n rdamedia nc rdacarrier Hellenic studies 87 Dissertation Universität Nijmegen 2015 "Audible Punctuation focuses on the pause in Homer's Iliad and Odyssey, both as a compositional feature and as a performative aspect of delivery, arguing for the possibilities and limits of expressing phrases in performance. Ronald Blankenborg's analysis of metrical, rhythmical, syntactical, and phonological phrasing shows that the text of the Homeric epic allows for different options for performative pause--a phonetic phenomenon evidenced by phonology. From the ubiquitous compositional pauses in sense and metrical surface structure, Audible Punctuation selects the pauses that, under specific phonetic circumstances, double as rests of some duration during a performance. In this way, Blankenborg identifies those places in the verses that a performer of Homeric poetry was most likely to have used as opportunities to pause. The distribution of pauses over Homer's hexameters proves to be irregular and unpredictable because phonological phrases and grammatical clauses differ considerably in the way they terminate. The mismatch of prosodic and other levels of phrasing draws attention to the need to reassess stylistic issues, notably enjambment" Homerus ca. v8. Jh. (DE-588)11855333X gnd rswk-swf Prosodie (DE-588)4047500-1 gnd rswk-swf Pause (DE-588)4173579-1 gnd rswk-swf Homer / Language Homer / Iliad Homer / Odyssey Caesura in versification Homer Iliad (Homer) Odyssey (Homer) Language and languages (DE-588)4113937-9 Hochschulschrift gnd-content Homerus ca. v8. Jh. (DE-588)11855333X p Prosodie (DE-588)4047500-1 s Pause (DE-588)4173579-1 s DE-604 Hellenic studies 87 (DE-604)BV017738392 87 Digitalisierung BSB München - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031856669&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis |
| spellingShingle | Blankenborg, Ronald 1971- Audible punctuation performative pause in Homeric prosody Hellenic studies Homerus ca. v8. Jh. (DE-588)11855333X gnd Prosodie (DE-588)4047500-1 gnd Pause (DE-588)4173579-1 gnd |
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| title | Audible punctuation performative pause in Homeric prosody |
| title_auth | Audible punctuation performative pause in Homeric prosody |
| title_exact_search | Audible punctuation performative pause in Homeric prosody |
| title_full | Audible punctuation performative pause in Homeric prosody by Ronald J.J. Blankenborg |
| title_fullStr | Audible punctuation performative pause in Homeric prosody by Ronald J.J. Blankenborg |
| title_full_unstemmed | Audible punctuation performative pause in Homeric prosody by Ronald J.J. Blankenborg |
| title_short | Audible punctuation |
| title_sort | audible punctuation performative pause in homeric prosody |
| title_sub | performative pause in Homeric prosody |
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