July 15, 2013 Journal article Open Access

Hörandner, Wolfram

JSON Export

{"conceptdoi":"10.25592/uhhfdm.574","conceptrecid":"574","created":"2019-08-09T13:01:01.672649+00:00","doi":"10.25592/uhhfdm.575","id":575,"links":{"badge":"https://www.fdr.uni-hamburg.de/badge/doi/10.25592/uhhfdm.575.svg","conceptbadge":"https://www.fdr.uni-hamburg.de/badge/doi/10.25592/uhhfdm.574.svg","conceptdoi":"http://doi.org/10.25592/uhhfdm.574","doi":"http://doi.org/10.25592/uhhfdm.575"},"metadata":{"access_right":"open","access_right_category":"success","communities":[{"id":"uhh"}],"creators":[{"name":"H\u00f6randner, Wolfram"}],"description":"<p>Byzantine literature, like that of Antiquity, was written mostly for listening,&nbsp;hardly ever for silent reading. Given this highly aural character, taking account of rhythm is one of the necessary tools (of course not the only one) for better understanding the texts, the authors&rsquo; intentions, and their constraints.</p>","doi":"10.25592/uhhfdm.575","journal":{"issue":"July","pages":"19-21","title":"Comparative Oriental Manuscript Studies Newsletter","volume":"6"},"keywords":["Byzantine Studies","Greek","Philology","Orality"],"license":{"id":"CC-BY-4.0"},"publication_date":"2013-07-15","related_identifiers":[{"identifier":"10.25592/uhhfdm.574","relation":"isVersionOf","scheme":"doi"}],"relations":{"version":[{"count":1,"index":0,"is_last":true,"last_child":{"pid_type":"recid","pid_value":"575"},"parent":{"pid_type":"recid","pid_value":"574"}}]},"resource_type":{"subtype":"article","title":"Journal article","type":"publication"},"title":"Byzantine Prose Rhythm"},"owners":[42],"revision":2,"updated":"2019-08-28T10:57:43.072413+00:00"}