Paolo Dainottiģ Introduction Expressiveness, iconicity and literary tradition A) Expressiveness 3 B) Iconicity 7 B) I Typologies of iconicity 8 B) I a Images 8 B) I a 1 Acoustic images 8 B) I a 2 Visual images 10 B) I b Diagrams 10 B) I b 1 Acoustic level 10 B) I b 2 Visual level 13 B) I b 3 Structural level 14 C) Criteria for a stylistic analysis 17ġ9 Chapter 1 Poetry and verse A) Poetry, verse and enjambement in ancient and modern theory 19 B) Enjambement in the Aeneid 26 B) I Interlinear juxtaposition: Virgil’s primary device. Finally, I thank my family and my wife Gabriella, who have always supported and encouraged me.
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I am also indebted to the editors of the series Untersuchungen zur antiken Literatur und Geschichte for their valuable suggestions. The translation of the text, carried out with elegance and uncommon rigour by Ailsa Campbell, was financed by the Dipartimento di Studi Umanistici dell’Università di Salerno. If the positive aspects of my work are due to the contributions of these scholars, any possible defects obviously remain attributable to me alone. Particular thanks are due to Stefano Grazzini, who has supervised me from the start of my research activities and has helped, in the role of tutor, towards the realization and revision of my work, with the competence and rigour which distinguish him and to Lucio Ceccarelli, for having read the work with patience and meticulous care, putting at my disposal his incomparable metrical competence. Stephen Harrison supervised me in my research term at Corpus Christi College of Oxford and, in the role of external supervisor of my doctoral thesis, has read my text and made valuable suggestions, in particular on the iconicity of Virgil’s ordo verborum, an aspect in which he is indisputably a pioneer. It pleases me to think that this is also his book. He entrusted to me some years ago this topic which he himself had long intended to investigate fully he offered me his long-term hospitality at the Scuola Normale di Pisa and his critical finesse, and has contributed, by means of his subtle analysis of Virgil’s style, not only to the planning and realization of the work, but also and above all to my cultural development.
I am deeply indebted and grateful to Gian Biagio Conte, who first conceived the idea of this research. This work, the expanded and revised version of my doctoral thesis, would not have been possible without the valuable help of the distinguished scholars who have supported me in these long years of study. KG, Göttingen ♾ Gedruckt auf säurefreiem Papier Printed in Germany To Gian Biagio Conte © 2015 Walter de Gruyter GmbH, Berlin/Boston Satz: Michael Peschke, Berlin Druck und Bindung: Hubert & Co. Bibliografische Information der Deutschen Nationalbibliothek Die Deutsche Nationalbibliothek verzeichnet diese Publikation in der Deutschen Nationalbibliografie detaillierte bibliografische Daten sind im Internet über abrufbar. ISBN 978-3-11-038422-2 e-ISBN (PDF) 978-3-11-040102-8 e-ISBN (EPUB) 978-3-11-040112-7 ISSN 1862-1112 Library of Congress Cataloging-in-Publication Data A CIP catalog record for this book has been applied for at the Library of Congress. The publication of this book has been financially supported by the University of Salerno (Dipartimento di Studi Umanistici/DIPSUM, Sezione FILSAM and Fondi di Ateneo per la ricerca di base – a. Word Order and Expressiveness in the Aeneid Translated from Italian by Ailsa Campbell Herausgegeben von Heinz-Günther Nesselrath, Peter Scholz und Otto Zwierlein
Untersuchungen zur antiken Literatur und Geschichte Paolo Dainotti Word Order and Expressiveness in the Aeneid Poetry and rhythm: on metrical expressiveness.
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