The publication in 1907 of the Berlin papyrus containing Sappho's poem τεθνάκην δʹ δόλως θέλω κτλ posed in the clearest possible form the problem, already highly controversial, of the metrical structure of the Glyconic and its associated metres; and many answers have been suggested to the question ‘What is the peculiar nature of the Glyconic line which permits of its being related to two types of line apparently constructed on quite different principles?’ What follows is an attempt to consider this (...) problem once more, with reference to other simple types of line which seem to provide analogies for the process which I believe to have occurred. (shrink)

In reviewing Ellis' OCT of Catullus, Housman scorned the ‘diction and metre’ of Carm. 64.37, ‘Pharsaliam coeunt, Pharsalia tecta frequentant’. Yet several subsequent editors have agreed with Ellis and have also refrained from emending Pharsaliam. Even if there has not been enough discomfort with the MS reading to put some editors off retaining it, they might yet welcome a piece of positive evidence to support this decision. I will make the case that a passage in Statius' Achilleid may indicate that (...) the later poet was familiar with the line as the MSS have it. (shrink)

The publication in 1907 of the Berlin papyrus containing Sappho's poem τεθνάκην δʹ δόλως θέλω κτλ posed in the clearest possible form the problem, already highly controversial, of the metrical structure of the Glyconic and its associated metres; and many answers have been suggested to the question ‘What is the peculiar nature of the Glyconic line which permits of its being related to two types of line apparently constructed on quite different principles?’ What follows is an attempt to consider this (...) problem once more, with reference to other simple types of line which seem to provide analogies for the process which I believe to have occurred. (shrink)

If in the various books of the Iliad and Odyssey the speeches or personated lines are separated from the rest, the metrical phenomena will, when tabulated, be found to show a perceptible divergence from those of the narrative verse. The differences are worth some notice. They throw into sharp relief the subtle rules that control the narrative type; and, what is more important, they do to some extent suggest the principle, of which these rules are the necessary outcome. There is (...) also involved another point of considerable interest; for the contrast between narrative- and speech-verse exactly coincides, it must be remembered, with a very remarkable difference in the use of the augment; and the more this coincidence is considered, the less easy it will be found to dismiss it as accidental. (shrink)

If in the various books of the Iliad and Odyssey the speeches or personated lines are separated from the rest, the metrical phenomena will, when tabulated, be found to show a perceptible divergence from those of the narrative verse. The differences are worth some notice. They throw into sharp relief the subtle rules that control the narrative type; and, what is more important, they do to some extent suggest the principle, of which these rules are the necessary outcome. There is (...) also involved another point of considerable interest; for the contrast between narrative- and speech-verse exactly coincides, it must be remembered, with a very remarkable difference in the use of the augment; and the more this coincidence is considered, the less easy it will be found to dismiss it as accidental. (shrink)

This article seeks to assess the meaning and scope of one of Lacan's most famous and decried notion: scansion. Scansion is a notion of prosody which undoubtedly was not chosen at random by Lacan. Scanning, which proved central to his conception of the analytic cure and handling of the treatment, turns out to be a gesture of a very particular kind: through an action which involves minimal intervention is revealed a double entendre, the content of the unconscious fantasy. (...) The clinical function of scansion is hence to accentuate a ‘part’ of the subject's discourse to make it resonate, to isolate a signifier, to make it audible through its material and phonemic plasticity in its irreducible ambiguity. As the article tries to demonstrate, scansion is for Lacan of Freudian descent: clinically stemming and theoretically deduced from the principle of the determinism of the unconscious, it relies on the ‘weft’ of the dream's written fabric as evinced by The Interpretation of Dreams. (shrink)

H. Jacobsohn, a pupil of Leo, in a Göttingen dissertation of 1904, ‘Quaestiones Plautinae’ declared that Plautus allowed Hiatus and Syllaba Anceps at two places in the line :— at the fourth arsis of the Iambic Senarius , at the second arsis of a Trochaic Septenarius.

English Title: Time and scansion: rythmical meaning of Duration between Husserl and Bachelard. -/- Abstract: Inside phenomenological search, present time and instant live inside a troubled dialectic: for Husserl present runs, widening out past and future, in the same moment, like the Heraclitean bowstring which stretches between two dimensions. Gaston Bachelard, on the contrary, is the thinker of Discreteness, where temporal continuum is linked to the reciprocal differentiating of instants in the duration. So, the conceptions of time inside these (...) philosophers seem to be opposed one to the other, but inside these two modalities of scansion we meet a steady thread, which underlies both the interpretations, which precipitate one on the other. Let’s read the taking shape of the positions inside La dialectique de la durée (1936) and in Husserl’s writings on attention, linked to the rise of an aspect of the thing above the others (1904 -1905) treated in Husserliana XXXVIII (Wahrnehmung und Aufmerksamkeit, Texte aus dem Nachlass, (1893 – 1912). /// -/- Resumen: En la investigación fenomenológica los conceptos de instante y presente viven in potente una abierta tensión constitutiva: en la filosofía de Husserl es el presente el que transcurre, dilatándose conjuntamente hacia el pasado y el futuro como la heraclítea cuerda del arco, que se extiende entre los dos lados de una dirección unitaria y continua. Gaston Bachelard, por el contrario, es un pensador de la discreción, no existe un continuo temporal sino una gran sutura en la que los instantes se diferencian en la duración. Las concepciones del tiempo entre los dos filósofos parecen oponerse la una a la otra y, sin embargo, entre las dos formas de escansión, existe un hilo firme, que ciñe las dos interpretaciones, haciéndolas precipitar una dentro de la otra, en nombre del contenido perceptivo. Las dos posiciones emergen con su diferencia en La dialéctica de la duración [1936] y en los textos que Husserl ha dedicado al tema de la atención y el interés [1898; 1904; 1905]. -/- . (shrink)

Twentieth-century Greco-French philosopher, economist, psychoanalyst and activist Cornelius Castoriadis offers a creative new conception of imagination that is uniquely promising for social justice. Though it has been argued that this conception has one fatal flaw, the latter has recently been resolved through a creative dialogue with dance. The present article fleshes out this philosophical-dancing dialogue further, revealing a deeper layer of creative dialogue therein, namely between Castoriadis’ account of time and choreography. To wit, he reconceives time as the self-choreography of (...) the sociohistorical, in which performance the sociohistorical plays two dancing roles simultaneously, both choreographer and choreographed dancer. More precisely, as interpreted by Castoriadis in a late essay, the creation and emergence of forms in time consists of a poetic “scansion” or “scanning” of time. Thus, the sociohistorical is both choreographer and dancer, poet and reader, reinterpreting the poetic text of time as the music for its evolving dance. (shrink)

Ce texte a déjà paru dans la revue Théâtre/public, octobre-décembre 2017, n° 226, p. 17-22. Nous remercions Olivier Neveux de nous avoir autorisé à le reproduire ici. Une partie des chorégraphies mentionnées ci-dessous est visible dans la section GALERIE DE DANSE. Socialement et individuellement, l'homme est un animal rythmique. Marcel Mauss Quelques chorégraphies de Maguy Marin. Quelques notes prises à la volée. MAY B Au début, une scansion d'ahans, de corps trottinant. La marche hébétée - Danse, théâtre et spectacle (...) vivant – GALERIE – Nouvel article. (shrink)

The statement in the second-and-third edition of Sommer's excellent Handbuch der lateinischen Laut- und Formenlehre , p. 462, that the oldest scansion is diūtius, to say nothing of the unqualified assertion in our current grammars and dictionaries that the u in it and in diutissime is long or the regrettable silence of the principal editors of Plautus upon the subject, is of itself sufficient warrant for a brief discussion. The relevant facts are these:1. Though diu is common enough in (...) verse of all kinds, the comparative is not attested for any but writers in iambics, while the superlative appears to be confined to prose. (shrink)

Cette contribution entend appliquer aux institutions européennes la méthode généalogique élaborée par Rousseau dans le Discours sur l’origine et les fondements de l’inégalité parmi les hommes. Elle entend retracer dans ses grandes lignes l’histoire d’un détournement des institutions qui peut s’interpréter en termes de corruption ou d’usurpation. La nécessité de concevoir la génération des institutions, leur « esprit », prend sens dans cette perspective – non pour évoquer une théorie du complot en vertu de laquelle certains politiques alliés aux économistes (...) néolibéraux auraient « mis la main » sur une institution noble pour la tourner exclusivement à leur profit, mais pour montrer la variété des forces d’emblée à l’œuvre dans l’histoire, et les contingences ou les effets de structure qui ont dévié les intentions fondatrices. Car il ne faut pas simplifier la causalité historique : les institutions n’ont pas d’emblée été conçues dans un esprit néolibéral, qui n’aurait fait que s’accentuer dans les années 1980-1990 avec la dérégulation économique imposée à l’échelle mondiale. Il convient donc de distinguer, dans le projet européen et l’évolution des institutions, ce qui relève des intentions initiales et ce qui ressort des événements qui les ont altérées en profondeur dans les grandes scansions de la construction européenne. (shrink)

Did George Berkeley think about the sounds of words? In his extraordinary 1912 work A History of English Prose Rhythm, the literary critic and prosodist George Saintsbury implies that such was indeed the case.1 Berkeley, more familiar to us as an idealist philosopher and as Bishop of Cloyne from 1734 to 1753, was also the author of a number of strange and often surprising texts. Saintsbury quotes, and metrically scans, one such work in his History.Saintsbury’s approach here, as elsewhere in (...) the book, is to impose on the fluidities of prose the kind of structured scansion usually reserved for poetry—by arranging sentences into “feet” and marking whether a syllable carries a stress or goes unstressed. As... (shrink)

The assumption that a particular object mentioned in the Iliad or Odyssey must be described by epithets which are consistent with each other and with the narrative has complicated every attempt to relate the evidence of archaeology to the poems. It may fairly be assumed that a modern writer wants to be consistent and that, apart from oversights, he will not use an epithet unless it is directly appropriate to the object which he is creating for his immediate purpose; but (...) this is not necessarily true of a poet who had ready to hand a rich store of phrases in meaning appropriate to the various furnishings of his heroic world, and in form adapted to the needs of his verses. As within the Kunstsprache there is a group of epithets describing the moral and physical characteristics common to all heroes and used to suit not the race or actions of individuals but the scansion of their names and the place in the hexameter, so it is natural to suppose that descriptions of things in common use will include at least some similar stock phrases appropriate to types rather than to units. Once the existence of such phrases is established, there is no difficulty in their combination, as metrical convenience requires, in composite descriptions made up of elements each of which has its own real counterpart, but which need never all have existed together in the same object or even in the same age. The following tabulations of the descriptive words and phrases applied to a few familiar objects show that such metrical clausulae are always present, though they vary in prevalence and behaviour. (shrink)

Ce texte a déjà paru sur le site Fugitive Philosophy. Fleeing the Disciplines fear of a wet planet (rhythm I) Drexciya (descending AfroMer) We should linger here for a long while on rhythm : it is nothing other than the time of time, the vibration of time itself in the stroke of a present that presents it by separating it from itself, freeing it from its simple stanza to make it into scansion (rise, raising of the foot that beats) (...) and cadence (fall, passage into the pause). Thus, rhythm (...) - Philosophie – Nouvel article. (shrink)

La contribution qui suit vise à repérer et analyser dans le quotidien du tissu sportif un mode organisationnel et structurel de rapport au temps, puis d’en caractériser les éventuels effets psychologiques chez les pratiquants de haut niveau. Une scansion volontariste du temps, étayée sur le primat des processus physiologiques, s’accompagne d’effets psychologiques multiples et complexes, parmi lesquels nous envisageons :– un rendement et une efficacité dans la gestion de l’effort qui génère chez le sportif, dans le grand public, mais (...) aussi dans le monde de l’entreprise, une impression de réalisation parfaite. De fait cette gestion constitue le temps en allié, en outil de progrès et de perfection,– la genèse fréquente de troubles anxieux et d’épisodes dépressifs chez les pratiquants, sans cesse en alerte pour coller aux assignations et impératifs du temps prescrit,– un décalage potentiel entre cette saisie du temps objectif et les rythmes de l’élaboration psychologique, par exemple lors des ratés, contre-performances, mais aussi des réussites soudaines. Une désynchronisation potentielle entre le temps vécu, subjectif et coloré par les affects d’une part, le temps planifié et maîtrisé d’autre part, induit un risque de déstabilisation de l’économie temporelle individuelle. (shrink)

Professor Postgate speaks of ‘the regrettable silence of the principal editors of Plautus upon the subject.’ As a minor editor, I beg to defend my colleagues by pointing out that the scansions dĭŭtíus and dyūtius are subject of a note in Dziatzko's and Hauler's editions of the Phormio of Terence and in the Plautus Report in Bursian of 1879 . Also that a reference to the index of my larger edition of the Captiui will show that the word is discussed (...) in my section on Prosody : ‘The same doubt exists regarding the scansion of diutius , the by-form of the fuller form dĭūtĭŭs .’. (shrink)

M. Marouzeau has re-directed attention to the peculiarity of Terentian versification by which a monosyllabic word is put at the end of the line, though it belongs, in point of sense, to the beginning of the next line. There is thus, for the copyist or ‘corrector’, a strong temptation to shift the little word to the beginning of the next line, or even to drop it altogether. Where scansion allows, the second course can be adopted without arousing any suspicions.

It may be safely asserted that few of the fragments of Greek lyric poetry have excited more discussion than the so-called ‘Lament of Danae’ but it is curious, considering that we owe our knowledge of it to Dionysius's desire to set his readers a metrical puzzle, to see how little attention has been given to the metre of the fragment by the many scholars who have contributed to the literature of the problem since 1835. The purpose of the present study (...) is to enquire into the scansion of the fragment, quoting parallels wherever possible from the extant remains of Simonides and, where these fail, from the works of other lyric poets. (shrink)

It used to be thought that, just as word-initialfl… and fr… behaved likepl…, pr…, tr…, etc., in not producing a long syllable when following a word-final short vowel, just so word-internal …fl… and …fr… allowed both the short and, except for the pre-classical scenic poets, the long scansion. It was implied that these clusters oscillated with the same degree of freedom which is the well-known characteristic of the stop-and-liquid clusters. The difficulty is, of course, that evidence can be no (...) more than minimal since in truly Latin material f occurs only at the beginning of words or after a compounding seam. In fact, the argument, explicit or implicit, has turned on Horace, Sat. 1.2.98: custodes lectica ceniflones parasitae; Horace, Sat. 2.2.131: ilium aut nequities aut uafri inscitia iuris; Ov. Ars 3.332: cuiue pater uafri luditur arte Getae; Martial 6.64.26: stigmata nec uafra delebit Cinnamus arte; 12.66.3: arte sed emptorem uafra corrumpis Amoene; Phaedrus 2.6.14: inducta uafris aquila monitis paruit; Silius 8.566: et quos aut Rufrae quos aut Aesernia quosue, and Martial 4.71.1: quaero diu totam Safroni Rufe per urbem. (shrink)

Gli studi di Simha Arom sulla polifonia africana ha avuto un notevole impatto sulla cultura occidentale, in modo particolare con riferimento alla teoria ritmica della composizione. Scopo principale di questo studio è discutere la relazione fra la comparsa di termini antichi relativi alla teoria musicale e l’effettiva possibilità di descriverli in contesti musicali moderni.Gli studi di Simha Arom sulla polifonia africana ha avuto un notevole impatto sulla cultura occidentale, in modo particolare con riferimento alla teoria ritmica della composizione. Scopo principale (...) di questo studio è discutere la relazione fra la comparsa di termini antichi relativi alla teoria musicale e l’effettiva possibilità di descriverli in contesti musicali moderni.In che modo si possono usare concetti come talea, color, organum nella descrizione di strutture ritmiche concepite al di fuori della teoria canonica occidentale? Gli scritti di Arom mostrano come oggi sia ancora possibile individuare un nesso tra modelli africani di scansione ritmica e il concetto occidentale di dissonanza temporale: ma qual è il ruolo della percezione all’interno di questa descrizione? Simha Arom’s Studies in African Polyphony had a great impact in Western Culture, especially inside the Rhythmic Theory of Composition: the main aim of this work is a discussion about the relationships between the occurrences of ancient terms connected to music theory and the strength possibility of description in modern music contexts.How can we use concepts like Talea, Color, Organum in the description of rhythmical structures conceived outside the western canonical theory? The Arom’s writings show us that today is still possible to establish a link between African models of Rhythmical periods and the Western Concept of temporal dissonance: but what is the role of perception inside this description? (shrink)

MR. MARTIN seems to have misread my table. He professes to summarize its last two rows, but he has got the last but one all wrong, and the last he omits altogether. My last row but one signifies: In the matter of a following disyllabic thesis Phaedria, Pamphilĕ, and Parmenō behave exactly alike: no argument here either for or against Phaedriā. The last row speaks plainly: If Phaedria were a cretic, we should expect to find it used as a cretic (...) at least six times. Mr. Martin had found it so used once, and I noted that this one example was in fact an ablative–a strange coincidence. But this was not, as Mr. Martin says, the only ‘error’ of which I ‘convicted’ him. I also, and primarily, pointed out that what he called ‘the significant thing’, viz. that the scansion Phaedriâ was never inevitable, held no significance whatever, since all dactylic words were in the same case. (shrink)

The use of the temporal augment in narrative we have found to be purely scansional. Scansional, too, is the use of the syllabic, though this has a grammatical restriction which is of some interest; indeed, next to the maintenance of type öρovδΕ, it is the most vital fact for the whole question. The unaugmented aorist is not felt as an inflection which has been docked of its first syllable; quite the reverse, the augmented tense is treated as a compound. For (...) example, é normally stands second in its clause; and so, if the syllabic augment was still consciously regarded as what it really is—viz. an adverb in composition—we should expect to see a great unwillingness to place Be after a tense thus augmented. Our expectation is fully borne out by the text; in the whole narrative of the Iliad there are only sixteen sure examples of é standing after the syllabically augmented aorist. (shrink)

The use of the temporal augment in narrative we have found to be purely scansional. Scansional, too, is the use of the syllabic, though this has a grammatical restriction which is of some interest; indeed, next to the maintenance of type öρovδΕ, it is the most vital fact for the whole question. The unaugmented aorist is not felt as an inflection which has been docked of its first syllable; quite the reverse, the augmented tense is treated as a compound. For (...) example, é normally stands second in its clause; and so, if the syllabic augment was still consciously regarded as what it really is—viz. an adverb in composition—we should expect to see a great unwillingness to place Be after a tense thus augmented. Our expectation is fully borne out by the text; in the whole narrative of the Iliad there are only sixteen sure examples of é standing after the syllabically augmented aorist. (shrink)

It is sufficiently probable that quantitative scansion in Latin, imposed on a language in which accentuation by stress was alone significant originally, not only gave way to the earlier principle in the decline of Latin literature, but scarcely tended to suppress it at any time in common speech and in familiar writing. It is also probable therefore that even in literature dominated by quantity stress-accentuation was not obliterated altogether. In fact the incidences of it, in Vergilian verse at least, (...) seemed so characteristic that in late Antiquity the Vergilian stress-rhythms were apparently copied without any knowledge of the prosody of the hexameter. In modern expositions, the variety of Vergil's rhythms is generally referred, not only to scansion, but also to stress-accentuation: and it has recently been shown that lines in which stress and metrical ictus predominantly coincide are different in quality and expressiveness from lines in which they do not. Since however no general explanation or definition of this difference in quality seemed to have been offered, I lately attempted a simple theory which would account for the different aesthetic values of lines of these two classes, and which would define, if possible, what these different values are. (shrink)

It is sufficiently probable that quantitative scansion in Latin, imposed on a language in which accentuation by stress was alone significant originally, not only gave way to the earlier principle in the decline of Latin literature, but scarcely tended to suppress it at any time in common speech and in familiar writing. It is also probable therefore that even in literature dominated by quantity stress-accentuation was not obliterated altogether. In fact the incidences of it, in Vergilian verse at least, (...) seemed so characteristic that in late Antiquity the Vergilian stress-rhythms were apparently copied without any knowledge of the prosody of the hexameter. In modern expositions, the variety of Vergil's rhythms is generally referred, not only to scansion, but also to stress-accentuation: and it has recently been shown that lines in which stress and metrical ictus predominantly coincide are different in quality and expressiveness from lines in which they do not. Since however no general explanation or definition of this difference in quality seemed to have been offered, I lately attempted a simple theory which would account for the different aesthetic values of lines of these two classes, and which would define, if possible, what these different values are. (shrink)

The topic of analogical relationship between hearing and meaning has strong repercussions in the history of musical understanding. The high-low couple, the ground of spatial dimension in music, turns in a lot of metaphorical meanings which show the way that draws from perceptual data to imaginative values. In this paper, I reconstruct a shirt history of the relationship between hearing and imagination starting from the metaphorical conception of musical hearing from Aristotelian environment to phenomenological perspective.

It used to be thought that, just as word-initialfl… and fr… behaved likepl…, pr…, tr…, etc., in not producing a long syllable when following a word-final short vowel, just so word-internal …fl… and …fr… allowed both the short and, except for the pre-classical scenic poets, the long scansion. It was implied that these clusters oscillated with the same degree of freedom which is the well-known characteristic of the stop-and-liquid clusters. The difficulty is, of course, that evidence can be no (...) more than minimal since in truly Latin material f occurs only at the beginning of words or after a compounding seam. In fact, the argument, explicit or implicit, has turned on Horace, Sat. 1.2.98: custodes lectica ceniflones parasitae; Horace, Sat. 2.2.131: ilium aut nequities aut uafri inscitia iuris; Ov. Ars 3.332: cuiue pater uafri luditur arte Getae; Martial 6.64.26: stigmata nec uafra delebit Cinnamus arte; 12.66.3: arte sed emptorem uafra corrumpis Amoene; Phaedrus 2.6.14: inducta uafris aquila monitis paruit; Silius 8.566: et quos aut Rufrae quos aut Aesernia quosue, and Martial 4.71.1: quaero diu totam Safroni Rufe per urbem. (shrink)

In a recent number Mr. O. J. Todd has discussed the clumsy scansion of a line in a Delphic oracle, and has called fresh attention to the problem of the Pythia's prophesyings in verse. The chief difficulty consists in the differences between the indications on this subject as given by our various sources. The conventional phrases in most authors from Pindar and Herodotus until late periods describe the responses as uttered by the Pythia herself. This picture seems to imply (...) that the Pythia originated the verse form of the oracle. But this view would take no account of the existence of the official known as the προφήτης whose business was evidently to deliver the response to the inquirer. (shrink)

The statement in the second-and-third edition of Sommer's excellent Handbuch der lateinischen Laut- und Formenlehre, p. 462, that the oldest scansion is diūtius, to say nothing of the unqualified assertion in our current grammars and dictionaries that the u in it and in diutissime is long or the regrettable silence of the principal editors of Plautus upon the subject, is of itself sufficient warrant for a brief discussion. The relevant facts are these:1. Though diu is common enough in verse (...) of all kinds, the comparative is not attested for any but writers in iambics, while the superlative appears to be confined to prose. (shrink)