{"title":"抑扬格恐怖:阿基洛科斯和希波那克斯的颤抖和破碎","authors":"M. Telò","doi":"10.1163/9789004412590_011","DOIUrl":null,"url":null,"abstract":"Now, the letter rho, as I was saying, seemed to the name giver a good instrument for the representationof motion....Through this letter, he imitates motion first of all in the words ῥεῖν (“to flow”) and ῥοῇ (“flow”), then in τρόμῳ (“trembling”) ... and in such verbs as κρούειν (“to strike”), θραύειν (“to crush”) ... θρύπτειν (“to break”).... He saw, I think, that the tongue in this [letter] was least at rest, and most shaken (σειομένην)....","PeriodicalId":372785,"journal":{"name":"Genre in Archaic and Classical Greek Poetry: Theories and Models","volume":"1 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"2","resultStr":"{\"title\":\"Iambic Horror: Shivers and Brokenness in Archilochus and Hipponax\",\"authors\":\"M. Telò\",\"doi\":\"10.1163/9789004412590_011\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"Now, the letter rho, as I was saying, seemed to the name giver a good instrument for the representationof motion....Through this letter, he imitates motion first of all in the words ῥεῖν (“to flow”) and ῥοῇ (“flow”), then in τρόμῳ (“trembling”) ... and in such verbs as κρούειν (“to strike”), θραύειν (“to crush”) ... θρύπτειν (“to break”).... He saw, I think, that the tongue in this [letter] was least at rest, and most shaken (σειομένην)....\",\"PeriodicalId\":372785,\"journal\":{\"name\":\"Genre in Archaic and Classical Greek Poetry: Theories and Models\",\"volume\":\"1 1\",\"pages\":\"0\"},\"PeriodicalIF\":0.0000,\"publicationDate\":\"2019-10-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"2\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Genre in Archaic and Classical Greek Poetry: Theories and Models\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.1163/9789004412590_011\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"\",\"JCRName\":\"\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Genre in Archaic and Classical Greek Poetry: Theories and Models","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.1163/9789004412590_011","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
Iambic Horror: Shivers and Brokenness in Archilochus and Hipponax
Now, the letter rho, as I was saying, seemed to the name giver a good instrument for the representationof motion....Through this letter, he imitates motion first of all in the words ῥεῖν (“to flow”) and ῥοῇ (“flow”), then in τρόμῳ (“trembling”) ... and in such verbs as κρούειν (“to strike”), θραύειν (“to crush”) ... θρύπτειν (“to break”).... He saw, I think, that the tongue in this [letter] was least at rest, and most shaken (σειομένην)....