文献一覧: 逸身喜一郎 (著者)

5 0 0 0 OA ギリシア悲劇の詩句分析と電子計算機

著者: 逸身喜一郎片山英男
出版者: 日本西洋古典学会
雑誌: 西洋古典学研究 (ISSN:04479114)
巻号頁・発行日: vol.24, pp.75-86, 1976-03-31 (Released:2017-05-23)

How do phraseology and meter correlate with each other in the dialogue verse ・of Greek tragedy? With this question in mind, we set about analyzing all the extant trimeters with the help of a computer. The following is an interim report on some points of interest. (i) Conversion of texts into machine-readable form. The system we adopted was that of the normal transliteration into Roman alphabet with some modifications; long vowels marked by* , prosodical signs(-for crasis, +for synizesis, &c.) added. At present 6660 lines of eight plays are converted and reposited on magnetic tape. (ii) Automatic scansion. The computer scans trimeter according to the prosodical rules and, recognizing resolutions as such, writes out a metrical scheme to each line. The resulting, completely scanned texts serve as the raw materials for subsequent inquiries. For the symbols used in scansion see Explanatory Note to fig. 1-a. (iii) Automatic production of concordance. Two Concordances were made; the usual, Alphabetical one and the one in which words are classified and arranged .according to their Metrical word-types. These are reposited on MT and serviceable ior various further uses. Cf. fig. 1-a〜c. (iv) Examination of metrical features of lines. Lines with any particular metrical features can be assembled and examined at a stroke with the use of the computer. The example shown in fig. 3 is an inquiry into metrical behavior after caesura of the lines with penthemimeral caesura. (v) Examination of 'correptio Attica'. All occurrences of the sequence of short vowel-mute-liquid were assembled and classified according to the constituent 'Consonants. Refined statistics were drawn there from. The gross figure is 960 short .syllables(resolutions excluded)against 354 longs in 6660 lines. Cf. fig. 2. (vi) Examination of lengthening by position of word-final open syllable. This ・prosodical abnormality occurs 183x in the lines examined, mostly between words that cohere closely together. Each individual case can be examined in the list prepared by the computer. For some of the more conspicuous cases see above p.78. (vii) Study of localization and distribution of metrical word-types. Occurrences of each word-shape, at each metrical position of the verse, were counted and a comprehensive list of distributional figures for each shape was made; cf. fig. 4-a〜b. From the list certain tendencies become apparent: Every shape has its preferred position or positions. For instance, one of the fittest forms to iambic, SLSL, which can be used in four positions, shows a tendency towards localization at the verse-end(cf. fig. 4-b), and SL, iamb itself, too. On the contrary, SLS_0 and SLS_1, which are also shapes suitable to iambic, appear mostly in the former half of the verse. Sometimes preference amounts to restriction. SLL and LSLL are used each in one position only(this is a corollary of Porson's Law). These tendencies are consistent throughout all the plays regardless of their author or the date of composition, although some innovations were made and introduced by using resolution or crasis(cf. fig. 4-b and"-SSL" &c. in fig. 4-a). They may beinherent properties of the iambic trimeter, and if we examine further the words themselves from semantical and syntactical point of view, the system on which poets subconsciously depend in versification will be correctly described. The figures referred to are on pp. 80〜86 above.

2017-09-06 20:07:00
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5 0 0 0 メデイアの子供殺し

著者: 逸身喜一郎
出版者: 成城大学
雑誌: 成城文藝 (ISSN:02865718)
巻号頁・発行日: no.109, pp.82-126, 1985-01

https://ci.nii.ac.jp/naid/110000245680

1 0 0 0 IR 柴田さんと沼野さんに、ナ・ズドローヴィエ (特集北アメリカの文学 : 柴田元幸教授退官記念号)

著者: 逸身喜一郎
出版者: 現代文芸論研究室
雑誌: れにくさ = Реникса : 現代文芸論研究室論集 (ISSN:21870535)
巻号頁・発行日: no.5, pp.1-13, 2014

特集北アメリカの文学柴田元幸教授退官記念号エッセイ

2022-02-02 08:45:05
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1 0 0 0 OA 西洋古典学の課題

著者: 逸身喜一郎
出版者: 公益財団法人日本学術協力財団
雑誌: 学術の動向 (ISSN:13423363)
巻号頁・発行日: vol.8, no.5, pp.56-58, 2003-05-01 (Released:2009-12-21)

2020-02-25 21:30:53
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1 0 0 0 教訓詩人個々人の系譜的自己規定,ないしジャンル意識

著者: 逸身喜一郎
出版者: 日本西洋古典学会
雑誌: 西洋古典学研究 (ISSN:04479114)
巻号頁・発行日: vol.56, pp.1-13, 2008

Did the poets we describe as 'didactic' regard their work as part of a generic tradition? Starting from this question I examine how each poet defines himself in relation to his predecessors. A central problem is that there is no word equivalent to 'didactic poetry' in the ancient world, except epos (all hexameter poetry). Grattius, Cynegetica 94-97 (o felix…) reminds us of Virgil, Georgica, 2. 490-2 (felix, qui…) or of Lucretius, 5. 8-12 (deus ille fuit, …, qui…). Has the tradition of didactic poetry a stock of common themes, motifs, or rhetorical expressions? Rather, Grattius, destined to be a second-rate poet, may have naively imitated a Virgilian/Lucretian expression. Contrary to Virgil or Lucretius, however, his appraisal of the felix is exaggerated. But the exaggeration is not deliberate. If it had been so, it would have been a parody, like Archestratos fr. 36. 1-5 vis-a-vis Hesiod, Erga, 383-4. Certainly, some poets were capable of comprehending the general idea of 'didactic poetry'. Ovid writes a mock-didactic in elegiac: Ars amatoria. Virgil seems to have grasped the essentials of didactic poetry when he made a Carthagian rhapsode sing an epos (Aeneid, 1. 740-6). Following Servius (Praef. ad Georg.) we tend to suppose a tradition of didactic poetry starting with Hesiod and culminating in Virgil's Georgica. The ancients, however, had no division between epic (in a narrower sense) and didactic poetry. Aristotle blames the tendency to classify poems according to metre (Ars poetica, 1. 1447b17), but he is an exception. Hesiod is not regarded by the didactic poets as their ancestor, or the originator of their genre. Rather, they are proud of being successors of Homer; e.g. Nicander (in the sphragis of Theriaca) or Lucretius (3. 1036-38). According to the latter, Homer is even a poet of rerum naturam expandere dictis (1. 126). Manilius' catalogue (2. 1-49) collecting Greek didactic poets starts with Homer. We should not over-estimate Hesiod's influence on Virgil, through a cliche in citation (Georgica 2. 176). Virgil is rather independent of Hesiod, especially in Book 2 (as well as 3 and 4). So is Aratus. The epigram of Callimachus (27 Pf.) does not say anything to suggest that Hesiod created a different generic entity from Homer. I imagine there are two characteristics in 'didactic poetry': (1) catalogue (2) denial of myth. There are some interactions between epic and didactic, of course, for example the Catalogue of Ships in the Iliad or the Orpheus myth in the Georgica. But Manilius's manifesto is interesting. At the end of his catalogue of heroic/historic epics (3. 1-30), he denies vulgarity. Myth is vulgar and should be denied (cf.ps.-Virgil, Aetna 74-5). Note the same tone in Virgil, Georgica, 3. 3-11. I imagine also there are two 'key-words' of 'didactic poetry': (1) artes (2) rerum causae. Observation of stars, weather, thunder, earthquakes leads to rerum causae. Interestingly, Ovid starts the Metamorphoses with the origin of the world and ends with Pythagorean theory (15. 66-72, similar to Virgil, Aeneid, 1. 740-6, above), although the central parts are catalogue of myths: this is an innovation of Ovid, self-conscious about the nature of epos. It is perhaps impossible to answer the question: 'What is didactic poetry?' There is no core of didactic poetry, comparable to the Iliad in the case of epic. Nor was there any agreement of opinion among the poets. Some simply imitate superior poets and other like to deny vulgarity. Virgil and Ovid are rare cases.