Notes to Chapter 4. Prosody

4.1 Introduction
4.2 The concept of prosody
      4.2.1 Principles and mechanisms
      4.2.2 Measure and structure
      4.2.3 The tensionality towards the expectation
      4.2.4 Compositional structure
4.3 The factors
      4.3.1 Tonality and isotony
      4.3.2 The elements
      4.3.3 Combinatory schemes
      4.3.4 Counter-schemes
      4.3.5 The semantic dimension
      4.3.6 The morphological dimension
4.4 Towards a Mesopotamian prosody
      4.4.1 Introduction
      4.4.2 Syntactic isotony
      4.4.3 Semantic isotony
      4.4.4 Parallelisms
      4.4.5 Combinatory schemes: the verse
      4.4.6 Combinatory schemes: dystich, strophe, stanza, and song
      4.4.7 The discourse
      4.4.8 Dispositives of inclusion
4.5 Prose and poetry

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• "Bottero1992Reasoning.d": duplicate bibliography "Bottero1992Reasoning" for site "Mes-rel".
• "Buccellati1972Teodicea.d": duplicate bibliography "Buccellati1972Teodicea" for site "Mes-lit".
• "Cauvin2000Birth.d": duplicate bibliography "Cauvin2000Birth" for site "Mes-rel".
• "DMB.d": duplicate bibliography "DMB" for site "Mes-rel".
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• "Oshima2014Sufferers.d": duplicate bibliography "Oshima2014Sufferers" for site "Mes-rel".
• "Trinkaus1983Shanidar.d": duplicate bibliography "Trinkaus1983Shanidar" for site "Mes-rel".

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4.1 Introduction

1. I have given a detailed formalization of the system in Buccellati 1990 Poetry.

   – [ Giorgio Buccellati, January 2022]

4.3.4 Counter-schemes

1. Reiner 1985 Thwarts, p. 106, speaks of “counterpoint”.

   – [ Giorgio Buccellati, January 2022]

4.3.5 The semantic dimension

1. See theme Semantics.

   – [ Giorgio Buccellati, January 2022]

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4.4 Towards a Mesopotamian prosody

1. On Mesopotamian prosody, see Izreel 2001 Adapa, pp. 72-106.

   – [ Giorgio Buccellati, January 2022]

4.4.1 Introduction

1. See Lambert 1960 Wisdom, p. 122, for stress in Shamash Hymn.

   – [ Giorgio Buccellati, January 2022]

4.4.2 Syntactic isotony

1. See Foster 1983 Self Reference and Reiner 1985 Thwarts.

   – [ Giorgio Buccellati, January 2022]

4.4.3 Semantic isotony

1. See Jakobson 1977 Poesie (= Poesie der Grammatik), T.H.Robinson in Supplement Vetus Testamentum 1 (1953) on Sinnrhythmus, and New Advent.

   – [ Giorgio Buccellati, January 2022]

4.4.4 Parallelisms

1. On parallelism, see Jakobson 1966 Parallelism; Fox 1977 Parallelism; Reiner 1985 Thwarts, p. 103, p. 105 (concinnitas rather than parallelism); Fox 1988 Pairs.

   – [ Giorgio Buccellati, January 2022]

4.4.6 Combinatory schemes: dystich, strophe, stanza, and song

1. Reiner 1985 Thwarts, p. 102 f. gives definitions for the metrical units discussed in Buccellati 2017 Pensiero. She hints at a canto, does not consider a strophe (not in the sense given in Buccellati 2017 Pensiero), and articulates in detail the notions of the distich (plus the “single-line unit” and the “three-line unit”) and of strophe.

   – [ Giorgio Buccellati, January 2022]

4.4.7 The discourse

1. For repetitions in the troubadour period, see …

   – [ Giorgio Buccellati, January 2022]

4.4.8 Dispositives of inclusion

1. For an in-depth and enlightening presentation of references in Dante, see Malato 1995 Dante: Francesca da Rimini compared with Stazio as an example of intratextual reference (pp. 981-1004), and Beatrice of the Vita Nuova compared with Beatrice of the Commedia as an example of intertextual reference (pp. 1005-1009).

   – [ Giorgio Buccellati, January 2022]

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4.5 Prose and poetry

1. See Giovannetti 2008 Poesia.

   – [ Giorgio Buccellati, January 2022]