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The Sound of Morals : = Figures of Grammar and Music in Dante.

紀錄類型:	書目-語言資料,手稿 : Monograph/item
正題名/作者:	The Sound of Morals :/
其他題名:	Figures of Grammar and Music in Dante.
作者:	Scartoni, Paolo.
面頁冊數:	1 online resource (303 pages)
附註:	Source: Dissertations Abstracts International, Volume: 85-11, Section: A.
Contained By:	Dissertations Abstracts International85-11A.
標題:	Italian literature. -
電子資源:	click for full text (PQDT)
ISBN:	9798382759074

The Sound of Morals : = Figures of Grammar and Music in Dante.
Scartoni, Paolo.

The Sound of Morals :Figures of Grammar and Music in Dante. - 1 online resource (303 pages)

Source: Dissertations Abstracts International, Volume: 85-11, Section: A.

Thesis (Ph.D.)--Rutgers The State University of New Jersey, School of Graduate Studies, 2024.

Includes bibliographical references

This dissertation explores the relationship between music and grammar in Dante's linguistic and poetic theory. I argue that Dante departs from a grammatical study of language rooted in Latin and artificial rationality (Dante considered Latin to be an invention of human beings). I instead propose that his study of language is informed by the philosophical study of musical ratios. By adopting a musical model to rethink language, Dante can establish a close connection between language and ethics. In fact, the textual evidence suggests that he applies to the sounds of language the same properties that Greek philosophers had applied to music: a beautiful sounding language will lead to refined morals, and, conversely, a language that features ugly combinations of phonemes will cause its speakers to have equally despicable customs.Thus, I contend that the public poet envisioned by Dante is also a musicus: he knows the cosmic ratios that bind together the universe and are observable in music. Such knowledge allows poets to reform the natural language of a community and consequently its customs. This enormous ethical authority that Dante ascribes to poets derives from their musical, that is to say, metaphysical, knowledge of language; in fact, the acoustic ratios that they use to mold language are the same cosmic ratios that God established to create harmony in the universe. In other words, I posit that Dante is attempting to find a metaphysical foundation for the ethical reform that he envisions for Italy by applying musical rules to the natural vernacular. This itinerary taking him from esthetics to ethics, and ultimately to metaphysics, is carefully and gradually developed in both his theoretical works, the De Vulgari Eloquentia (On the Vulgar Eloquence) and Convivio (The Banquet), as well as in the Comedy.In Chapter One, I situate Dante's use of grammar and music as frameworks of linguistic inquiry in the broader context of late ancient and medieval poetic criticism. I analyze Dante's De Vulgari Eloquentia and Convivio to provide evidence that his original assimilation of musica speculativa allows him to root poetic authority in metaphysics. In Chapters Two to Four, I show how at key junctures of his reflection on the civic role of poetry and poets in the Comedy, Dante yokes together what I termed "figures of grammar" and "figures of music." I map this twofold investigation into the grammatical and musical components of language throughout the Comedy to provide new insights on Dante's linguistic, ethical, and political theory of poetry.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2024

Mode of access: World Wide Web

ISBN: 9798382759074Subjects--Topical Terms:

1195822
Italian literature.
Subjects--Index Terms:

DanteIndex Terms--Genre/Form:

554714
Electronic books.

The Sound of Morals : = Figures of Grammar and Music in Dante.
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520 $a This dissertation explores the relationship between music and grammar in Dante's linguistic and poetic theory. I argue that Dante departs from a grammatical study of language rooted in Latin and artificial rationality (Dante considered Latin to be an invention of human beings). I instead propose that his study of language is informed by the philosophical study of musical ratios. By adopting a musical model to rethink language, Dante can establish a close connection between language and ethics. In fact, the textual evidence suggests that he applies to the sounds of language the same properties that Greek philosophers had applied to music: a beautiful sounding language will lead to refined morals, and, conversely, a language that features ugly combinations of phonemes will cause its speakers to have equally despicable customs.Thus, I contend that the public poet envisioned by Dante is also a musicus: he knows the cosmic ratios that bind together the universe and are observable in music. Such knowledge allows poets to reform the natural language of a community and consequently its customs. This enormous ethical authority that Dante ascribes to poets derives from their musical, that is to say, metaphysical, knowledge of language; in fact, the acoustic ratios that they use to mold language are the same cosmic ratios that God established to create harmony in the universe. In other words, I posit that Dante is attempting to find a metaphysical foundation for the ethical reform that he envisions for Italy by applying musical rules to the natural vernacular. This itinerary taking him from esthetics to ethics, and ultimately to metaphysics, is carefully and gradually developed in both his theoretical works, the De Vulgari Eloquentia (On the Vulgar Eloquence) and Convivio (The Banquet), as well as in the Comedy.In Chapter One, I situate Dante's use of grammar and music as frameworks of linguistic inquiry in the broader context of late ancient and medieval poetic criticism. I analyze Dante's De Vulgari Eloquentia and Convivio to provide evidence that his original assimilation of musica speculativa allows him to root poetic authority in metaphysics. In Chapters Two to Four, I show how at key junctures of his reflection on the civic role of poetry and poets in the Comedy, Dante yokes together what I termed "figures of grammar" and "figures of music." I map this twofold investigation into the grammatical and musical components of language throughout the Comedy to provide new insights on Dante's linguistic, ethical, and political theory of poetry.
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