Pub Date : 2019-03-21DOI: 10.1017/9781139027052.035
• The CCGPS Standard Element: • Form and use verbs in the indicative, imperative, interrogative, conditional, and subjunctive mood.
•动词在指示语气、祈使句、疑问句、条件句和虚拟语气中的形式和用法。
{"title":"The Verb: Mood","authors":"","doi":"10.1017/9781139027052.035","DOIUrl":"https://doi.org/10.1017/9781139027052.035","url":null,"abstract":"• The CCGPS Standard Element: • Form and use verbs in the indicative, imperative, interrogative, conditional, and subjunctive mood.","PeriodicalId":420293,"journal":{"name":"The Cambridge Grammar of Classical Greek","volume":"9 3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133269761","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-21DOI: 10.1017/9781139027052.016
{"title":"The Future: Active and Middle","authors":"","doi":"10.1017/9781139027052.016","DOIUrl":"https://doi.org/10.1017/9781139027052.016","url":null,"abstract":"","PeriodicalId":420293,"journal":{"name":"The Cambridge Grammar of Classical Greek","volume":"33 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-03-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"121187487","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2019-03-21DOI: 10.1017/9781139027052.050
M. Olson, M. Olson, Joseph Lupo, Boomer Moore, Kristina Olson
Conditional Clauses Meghan Olson My MFA written thesis addresses work completed and shown in a thesis exhibition at West Virginia University as well as significant influences to my studio process. While my stated focus is printmaking, the work presented in the exhibition consisted of six sculptural and installation pieces. This thesis, along with the supporting exhibition, will address my investigations into probing ordinary materials for juxtapositions and arrangements that lend themselves towards a conditional, not absolute, meaning. The work is created from an impulse to put everyday materials together in order to observe subtle relationships that ultimately transcend the ordinary and question what is being seen or experienced.
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The accents marks in modern editions of Ancient Greek texts primarily reflect the accentual system of an educated register of the Koine of the early 2nd c. BCE. In this system, phonological, morphological, and lexical factors conspire to associate a pitch accent with one syllable of each lexical word. The phonology of the language permits limited contrasts in accentual position (λιθοβόλος vs. λιθόβολος = litobólos vs. litóbolos) and type (ἰσθμοί vs. ἰσθμοῖ = istmói ̯vs. istmôi)̯; in the latter case, the syllable marked with an acute accent hosts a High tone, and that marked with a circumflex hosts a High-Low falling contour tone. In any given form, the maximum number of phonologically licit accentual contrasts is three. Within the bounds set by the phonology, morphological and lexical factors, e.g. the inherent accentual properties of particular suffixes, further determine the accentuation of a word. Comparison with related Indo-European languages, especially Vedic, shows that the Greek system developed from an earlier system that likely lacked a contrast in accent type but permitted more positional contrasts; Greek accentuation is more dependent on the rhythmic structure of the language. 1. THE NOTATIONAL SYSTEM The accent marks written in modern editions of Ancient Greek texts derive from a grammatical tradition that most likely began in Alexandria in the early 2nd c. BCE, with Aristophanes of Byzantium, to whom the invention of the written signs is attributed, and his successor as librarian, Aristarchus of Samothrace. Given the important functional role that accent played in the language, conveying accentual information in writing facilitated the difficult task of reading poetic texts written in scriptio continua. For example, the unaccented graphic sequence απονου = aponou could represent ἀπ ̓ ὄνου = ap’ ónoː 'from a donkey' or ἀπο νοῦ = apō nôː 'from (your) senses' (cf. Aristoph. Nub. 1273). These lectional signs conveyed the accentuation of the Koine spoken during that period, and to a lesser extent, the accentuation of other dialects; it is possible that the scholars also consulted oral traditions, e.g. rhapsodic performances of the Homeric poems, 1 The apostrophe shows that a word-final short vowel has been elided (deleted), in this case /o/. Here, as often, elision avoids vowel hiatus. 2 I have chosen the (combining macron =) IPA mid tone to convey the “grave” accent, which is an underlying high tone that has been lowered in the (post-lexical =) phrasal phonology. See further below. This is the author’s accepted version of Gunkel, Dieter. 2014. “Accentuation.” In Encyclopedia of Ancient Greek Language and Linguistics. Vol 1: A–F, ed. Georgios K. Giannakis et al., 7–12. Leiden/Boston: Brill. 2 to determine the accentuation of forms that were unfamiliar to them. In the 2nd c. CE, Aelius Herodian codified the tradition in περὶ καθολικῆς προσῳδίᾱς = perī katolikɛ̂ːs prosɔːid̯íaːs 'On Prosody in General', which served as the basis for later w
古希腊文本的现代版本中的重音符号主要反映了公元前2世纪早期受过教育的希腊人的口音系统。在这个系统中，音系、形态和词汇因素共同将音高重音与每个词汇单词的一个音节联系起来。语言的音系允许在重音位置(λιθοβόλος vs. λιθόβολος = litobólos vs. litóbolos)和类型(ι σθμοί vs. ι σθμο ο = istmói æ vs.)上进行有限的对比。̯istmoi);在后一种情况下，标有重音的音节拥有高音，标有回旋音的音节拥有高低下降的轮廓音。在任何给定的形式中，语音上合法的重音对比最多为三个。在音系、形态和词汇因素设定的范围内，例如特定后缀的固有重音特性，进一步决定了单词的重音。与相关的印欧语言，特别是吠陀语的比较表明，希腊语系统是从一个更早的系统发展而来的，这个系统可能在重音类型上缺乏对比，但允许更多的位置对比;希腊语的重音更依赖于语言的节奏结构。1. 书写在现代版本的古希腊文本中的重音符号源于一种语法传统，这种语法传统很可能始于公元前2世纪早期的亚历山大，由拜占庭的阿里斯托芬(Aristophanes)和他的继任者萨莫色雷斯的阿里斯塔克斯(Aristarchus)发明了书写符号。考虑到口音在语言中扮演的重要功能角色，在写作中传达口音信息有助于阅读用连续脚本写的诗歌文本。例如，无重音的图形序列απονου = aponou可以表示来自驴的ν πονου = ap ' óno]或来自(你的)感官的ν πονο = apγ nô](参见Aristoph)。核心,1273)。这些选举标志传达了那段时期所讲的共通语的重音，在较小程度上，也传达了其他方言的重音;有可能学者们也参考了口头传统，例如荷马诗歌的狂想曲表演。1撇号表示一个词尾短元音被省略(删除)，在这种情况下是/o/。这里，像往常一样，省略避免元音间断。我选择了(组合马克龙=)国际音标中音来传达“严肃”的口音，这是一个潜在的高音，在(后词汇=)短语音系中被降低。见下文。这是作者对Gunkel, Dieter. 2014的认可版本。“强调”。《古希腊语言与语言学百科全书》。第1卷:A-F编。Georgios K. Giannakis等人，7-12。莱顿/波士顿:Brill. 2确定他们不熟悉的形式的重音。公元2世纪，埃利乌斯·希律底将这一传统编纂为περ κ καθολικ ο ς προσ ο δί κ ς = perk æ katolik æ k æ s pros æ k æ id æ ía æ s《论韵律》，为后来关于重音的著作奠定了基础。在早期的重音莎草纸上，从公元前2世纪开始，符号惯例不同，书写重音的频率也不同。我们所熟悉的符号系统，即每个重音单词都标有一个锐音、一个旋音或一个重音，最初是由抄写员按照同一语法传统的规则在公元9世纪的小型手稿中应用的。早期关于重音的著作，包括希律王的著作，并没有保存下来，但以它们为基础的学术著作和短篇论文为我们提供了间接的途径。关于语法传统，纸莎草纸和手稿，见箴言2006:21-52。2. 希腊重音系统的语音学和音韵学在语音学上，口音可以从发音、声学和感知的角度来研究。很明显，至少在公元前2世纪之前，古希腊口音最显著的感知关联——希腊人自己“听到”的——是音高。在单词中，音高在带有尖锐或严重重音的音节中达到峰值，在带有旋音的音节中达到峰值并再次下降。从音韵学上讲，我们可以说，标有急性重音的音节主持高音，标有回旋音的音节主持高低音，即下降的轮廓音。希腊口音语音性质的证据来自几个来源。用来表示“重音”的词与音高有关，例如τ ο ος = tónos指的是“张力”，因此指的是振动的弦所感知到的音高，προσ ο δί ι = pros [ο] id [ía]的基本意思是“跟着音乐唱歌”。用来表示三种不同类型的προσ ε δί ι = pros æ i id [ía]的形容词是:ν ξε ε ε α = oksêii æ a æ ' high '表示急性，βαρε ε α = barêii æ a æ ' low '表示严重，而ν α ο βαρε ια = oksubáreii æ a æ ' high-low '表示旋流。早在公元3世纪的非节奏性音乐作品片段。
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