![]() ![]() In the exhibited edition of the Divine Comedy, Polacco specifies where the accent falls on the words. Despite these efforts, Trissino did not succeed in establishing his graphic reform widely. He adopted these symbols in his 1529 edition of De Vulgari Eloquentia, a work by Dante that had been doomed to oblivion before Trissino’s publication, and in his Pωεtica and Rime published in 1529. Specifically, Trissino suggested the use of the Greek letter omega /ω/ to indicate the close vowel /o/ and the use of the Greek letter epsilon /ε/ to indicate the open vowel /e/, along with other symbols to express voiceless and voiced consonants, such as /z/ and /s/. He added signs to the Italian alphabet in order to express its phonetic rules more precisely. Ideas on how to reform the graphic system of the Italian language started with Gian Giorgio Trissino (1478-1550), who proposed a Florentine graphic and phonetic reform during the sixteenth-century “questione della lingua” (discussion on which language to adopt when writing literature). ![]() This edition of the Divine Comedy conceives of the pronunciation of vowels in accordance with orthoepic rules. F13 (Special Collections)Ĭase 1: “The Divine Comedy Between Texts and Images” Quinta edizione dallo stesso riveduta e arricchita di una tavola delle parti e di alcune osservazioni sulla pronunzia delle consonanti. Milano: Ulrico Hoepli, 1913.Ĭall number: PQ 4302. La divina commèdia di Dante Alighièri: corredata dei segni della pronunzia e di nuòvi spediènti utili all’evidènza, ai raffronti, alle ricerche, alla memorazione dal Prof. ![]()
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