Accentuation
Accentuation
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强调
DOI：
10.2307/3360313
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发表时间：
2019
期刊：
影响因子：
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通讯作者：
B. Blackwell
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文献类型：
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作者：
B. Blackwell
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。早在公元前3世纪，非特尔斐音乐作品的片段——尤其是特尔斐赞美诗——提供了更丰富的语音细节来源。就像在许多具有对比音调的语言的声乐传统中一样（Devine and Stephens 1994:160-171），片段在言语的音高运动和音乐的旋律之间表现出相对严格的对应关系（Devine and Stephens 1994:172-194; Probert 2006:47-48; West 1992:199）。例如，一个单词的重音音节设置不低于它的非重音音节，这样一个单词的音高峰值对应于音乐中的局部峰值。如果一个带有旋音的音节被设置为双音重音，第一个音节通常更高，尊重旋音重音的下降音高轮廓。重音是重音的一种短语变奏变体，被证明是重音的一种降低版本（Devine和Stephens 1994:180-183），并且有可能重建整个单词的重音轮廓。例如，3 τ ο νος = tónos和προσ ο δί ώ = pros [i] id [ía]是英语音韵的来源。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。Leiden/Boston: Brill. 3在一个有五个音节的proparoxytone单词中（例如：ο κλεγόμενος = eklegómenos），音高在最初的两个非重音音节上稳步上升，在重音音节上达到顶峰，然后在第一个后重音音节上急剧下降，在最后一个音节上急剧下降（Devine and Stephens 1994:183-189）。
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 works on accentuation. In the early accented papyri, which date from the 2nd c. BCE onwards, notational conventions vary, as does the frequency with which written accents were applied. The notational system familiar to us, where each accented word is marked with an acute, circumflex, or grave, was first applied in minuscule manuscripts of the 9th c. CE by scribes following the precepts of the same grammatical tradition. The early works on accentuation including Herodian's do not survive as such, but scholia and short treatises based on them provide us with indirect access. On the grammatical tradition, the papyri, and the manuscripts, see Probert 2006:21-52 with refs. 2. PHONETICS AND PHONOLOGY OF THE GREEK ACCENTUAL SYSTEM Phonetically, accent may be studied from an articulatory, acoustic, and perceptual standpoint. It is clear that the most salient perceptual correlate of ancient Greek accent — what the Greeks themselves 'heard' — was pitch, at least until the 2 c. BCE. Within the word, pitch peaked during syllables marked with an acute or grave accent, and it both peaked and fell again during syllables marked with a circumflex. Phonologically, we may say that syllables marked with acute accent hosted a High tone and those marked with a circumflex hosted a High-Low tone, i.e. a falling contour tone. Evidence for the phonetic nature of Greek accent comes from several sources. The words used to refer to 'accent' have to do with musical pitch, e.g. τόνος = tónos refers to the ‘tension’ and therefore to the perceived pitch of vibrating strings, and the basic meaning of προσῳδίᾱ = prosɔːid̯íaː is 'singing along (to music)'. The adjectives used to specify the three different types of προσῳδίᾱ = prosɔːid̯íaː are ὀξεῖα = oksêii̯a̯ ‘high’ for acute, βαρεῖα = barêii̯a̯ ‘low’ for grave, and ὀξυβάρεια = oksubáreii̯a̯ ‘high-low’ for circumflex. Fragments of non-strophic musical compositions dating from as early as the 3 c. BCE — the Delphic hymns in particular — provide a richer source of phonetic detail. As in vocal music traditions in a number of languages with contrastive tone (Devine and Stephens 1994:160-171), the fragments display a relatively strict correspondence between the pitch movements of speech and the melody of the music it is set to (Devine and Stephens 1994:172-194; Probert 2006:47-48; West 1992:199). For example, the accented syllable of a word is set no lower than its unaccented syllables, such that the pitch peak of a word corresponds to a local peak in the music. If a syllable bearing a circumflex is set to a twonote melism, the first is usually higher, respecting the falling pitch contour of circumflex accent. The grave accent, a phrasal sandhi variant of the acute, proves to be a lowered version of the acute (Devine and Stephens 1994:180-183), and it is possible to reconstruct the accentual contour of entire words. For example, 3 τόνος = tónos and προσῳδίᾱ = prosɔːid̯íaː are the source of English tone and prosody. 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. 3 in a proparoxytone word of five syllables (e.g. ἐκλεγόμενος = eklegómenos), pitch rose steadily over the initial two unaccented syllables, peaked at the accented syllable, then fell steeply over the first post-accentual syllable and less steeply over the final syllable (Devine and Stephens 1994:183-189).