SULLA METRICA DEL VERSO LIBERO
The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics...
Ausführliche Beschreibung
Gespeichert in:
| Autor*in: |
Luca Zuliani [verfasserIn] |
|---|
| Format: |
E-Artikel |
|---|---|
| Sprache: |
Deutsch ; Englisch ; Spanisch ; Französisch ; Italienisch |
| Erschienen: |
2019 |
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| Schlagwörter: |
|---|
| Übergeordnetes Werk: |
In: RiCognizioni - Università degli Studi di Torino, 2018, 6(2019), 11 |
|---|---|
| Übergeordnetes Werk: |
volume:6 ; year:2019 ; number:11 |
| Links: |
|---|
| DOI / URN: |
10.13135/2384-8987/3294 |
|---|
| Katalog-ID: |
DOAJ018521819 |
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| 520 | |a The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language. | ||
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10.13135/2384-8987/3294 doi (DE-627)DOAJ018521819 (DE-599)DOAJda9aba4e622e42099011572685a45395 DE-627 ger DE-627 rakwb ger eng spa fre ita Luca Zuliani verfasserin aut SULLA METRICA DEL VERSO LIBERO 2019 Text txt rdacontent Computermedien c rdamedia Online-Ressource cr rdacarrier The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language. Free verse Italian poetry Metrics Poetry and Music. Language and Literature P In RiCognizioni Università degli Studi di Torino, 2018 6(2019), 11 (DE-627)1760612146 23848987 nnns volume:6 year:2019 number:11 https://doi.org/10.13135/2384-8987/3294 kostenfrei https://doaj.org/article/da9aba4e622e42099011572685a45395 kostenfrei https://www.ojs.unito.it/index.php/ricognizioni/article/view/3294 kostenfrei https://doaj.org/toc/2384-8987 Journal toc kostenfrei GBV_USEFLAG_A SYSFLAG_A GBV_DOAJ AR 6 2019 11 |
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The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language. |
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The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language. |
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The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. In a second phase, a versification based on accents and not on syllables became more important. This change can be traced back to a change in collective prosodic competences, due to the definitive affirmation of the typical forms of tonal music. The hypothesis is also verified through the analysis of the recordings of the poets who read their poems, using the material preserved in the websites "VIP" and "Lyrikline". This feedback – which must be made with all the necessary caution – is nevertheless essential when trying to analyze a versification based on accents and not on syllables, also because it is not suited to the natural rhythm of the Italian language. |
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<?xml version="1.0" encoding="UTF-8"?><collection xmlns="http://www.loc.gov/MARC21/slim"><record><leader>01000caa a22002652 4500</leader><controlfield tag="001">DOAJ018521819</controlfield><controlfield tag="003">DE-627</controlfield><controlfield tag="005">20230310100850.0</controlfield><controlfield tag="007">cr uuu---uuuuu</controlfield><controlfield tag="008">230226s2019 xx |||||o 00| ||ger c</controlfield><datafield tag="024" ind1="7" ind2=" "><subfield code="a">10.13135/2384-8987/3294</subfield><subfield code="2">doi</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-627)DOAJ018521819</subfield></datafield><datafield tag="035" ind1=" " ind2=" "><subfield code="a">(DE-599)DOAJda9aba4e622e42099011572685a45395</subfield></datafield><datafield tag="040" ind1=" " ind2=" "><subfield code="a">DE-627</subfield><subfield code="b">ger</subfield><subfield code="c">DE-627</subfield><subfield code="e">rakwb</subfield></datafield><datafield tag="041" ind1=" " ind2=" "><subfield code="a">ger</subfield><subfield code="a">eng</subfield><subfield code="a">spa</subfield><subfield code="a">fre</subfield><subfield code="a">ita</subfield></datafield><datafield tag="100" ind1="0" ind2=" "><subfield code="a">Luca Zuliani</subfield><subfield code="e">verfasserin</subfield><subfield code="4">aut</subfield></datafield><datafield tag="245" ind1="1" ind2="0"><subfield code="a">SULLA METRICA DEL VERSO LIBERO</subfield></datafield><datafield tag="264" ind1=" " ind2="1"><subfield code="c">2019</subfield></datafield><datafield tag="336" ind1=" " ind2=" "><subfield code="a">Text</subfield><subfield code="b">txt</subfield><subfield code="2">rdacontent</subfield></datafield><datafield tag="337" ind1=" " ind2=" "><subfield code="a">Computermedien</subfield><subfield code="b">c</subfield><subfield code="2">rdamedia</subfield></datafield><datafield tag="338" ind1=" " ind2=" "><subfield code="a">Online-Ressource</subfield><subfield code="b">cr</subfield><subfield code="2">rdacarrier</subfield></datafield><datafield tag="520" ind1=" " ind2=" "><subfield code="a">The essay examines the "free verse" of modern Italian poetry, hypothesizing that two general tendencies have followed one another: in the first phase it was possible to overcome the traditional prosody – based above all on the Leopardi model – while maintaining its rhythmic characteristics, in particular in the first part of the lines. 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