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Books > Language & Literature > Literature: history & criticism > Poetry & poets
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Sound and Structure in the Divine Comedy (Hardcover)
Loot Price: R5,097
Discovery Miles 50 970
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Sound and Structure in the Divine Comedy (Hardcover)
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Donate to Against Period Poverty
Total price: R5,117
Discovery Miles: 51 170
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The importance of sound in poetry is indisputable, yet it is not at
all an easy subject to discuss, and is rarely treated
systematically by literary scholars. This book uses a variety of
computer-based processes to construct a systematic analytical
description of the sounds of Dante's Divine Comedy in the sense of
their overall distribution within the text. The description is
developed through a comparative treatment of the same features in a
range of related texts, with a view to defining the distinctive
characteristics of Dante's practice; and by a discussion of the
function and effect of sounds in the work, with special attention
to unusually high incidences of particular features. The book is
thus both a contribution to the scholarly debate about Dante's
poem, and an illustration and discussion of the ways in which new
electronic technology can be used for this kind of purpose. Taking
advantage of the regularity of Italian orthography, the book begins
by using an almost wholly electronic analysis to study the
distribution of vocalic and consonantal phonemes and of assonances
and alliterations in the text of the Comedy. This is followed by an
extensive discussion of the related topic of rhyme, also
susceptible of treatment by almost entirely electronic means. The
next part of the book deals with rhythmical and metrical
structures, and as a result has required a much greater element of
manual intervention. A full discussion of syllable divisions in the
Comedy and related texts is the necessary first step in the
treatment of rhythm. This is followed by a discussion of the
theoretical problems involved in the definition of accented
syllables in verse, and the formulation a set of principles for
resolving them, which are then systematically applied. The outcome
is the identification of some distinctive rhythmical tendencies in
Dante's work, and a discussion of the effect of certain kinds of
rhythmical structure in the poem. The final chapter's contribution
is broadly contextual, describing and discussing the theoretical
and methodological starting-points - mainly in Formalism and
structuralism - of the numerical analysis with which the rest of
the book is concerned.
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