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The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17Th-First Half of the 18Th Century
The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century The Harvard community has made this article openly available. Please share how this access benefits you. Your story matters Citation Siedina, Giovanna. 2014. The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century. Doctoral dissertation, Harvard University. Citable link http://nrs.harvard.edu/urn-3:HUL.InstRepos:13065007 Terms of Use This article was downloaded from Harvard University’s DASH repository, and is made available under the terms and conditions applicable to Other Posted Material, as set forth at http:// nrs.harvard.edu/urn-3:HUL.InstRepos:dash.current.terms-of- use#LAA © 2014 Giovanna Siedina All rights reserved. Dissertation Advisor: Author: Professor George G. Grabowicz Giovanna Siedina The Reception of Horace in the Courses of Poetics at the Kyiv Mohyla Academy: 17th-First Half of the 18th Century Abstract For the first time, the reception of the poetic legacy of the Latin poet Horace (65 B.C.-8 B.C.) in the poetics courses taught at the Kyiv Mohyla Academy (17th-first half of the 18th century) has become the subject of a wide-ranging research project presented in this dissertation. Quotations from Horace and references to his oeuvre have been divided according to the function they perform in the poetics manuals, the aim of which was to teach pupils how to compose Latin poetry. Three main aspects have been identified: the first consists of theoretical recommendations useful to the would-be poets, which are taken mainly from Horace’s Ars poetica. -
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature
A Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor RESEARCH IN MEDIEVAL CULTURE Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Medieval Institute Publications is a program of The Medieval Institute, College of Arts and Sciences Bibliographical Guide to the Study of the Troubadours and Old Occitan Literature Robert A. Taylor MEDIEVAL INSTITUTE PUBLICATIONS Western Michigan University Kalamazoo Copyright © 2015 by the Board of Trustees of Western Michigan University All rights reserved Manufactured in the United States of America This book is printed on acid-free paper. Library of Congress Cataloging-in-Publication Data Taylor, Robert A. (Robert Allen), 1937- Bibliographical guide to the study of the troubadours and old Occitan literature / Robert A. Taylor. pages cm Includes index. Summary: "This volume provides offers an annotated listing of over two thousand recent books and articles that treat all categories of Occitan literature from the earli- est enigmatic texts to the works of Jordi de Sant Jordi, an Occitano-Catalan poet who died young in 1424. The works chosen for inclusion are intended to provide a rational introduction to the many thousands of studies that have appeared over the last thirty-five years. The listings provide descriptive comments about each contri- bution, with occasional remarks on striking or controversial content and numerous cross-references to identify complementary studies or differing opinions" -- Pro- vided by publisher. ISBN 978-1-58044-207-7 (Paperback : alk. paper) 1. Provençal literature--Bibliography. 2. Occitan literature--Bibliography. 3. Troubadours--Bibliography. 4. Civilization, Medieval, in literature--Bibliography. -
Nigel Fabb and Morris Halle (2008), Meter in Poetry
Nigel Fabb and Morris Halle (2008), Meter in Poetry Paul Kiparsky Stanford University [email protected] Linguistics Department, Stanford University, CA. 94305-2150 July 19, 2009 Review (4872 words) The publication of this joint book by the founder of generative metrics and a distinguished literary linguist is a major event.1 F&H take a fresh look at much familiar material, and introduce an eye-opening collection of metrical systems from world literature into the theoretical discourse. The complex analyses are clearly presented, and illustrated with detailed derivations. A guest chapter by Carlos Piera offers an insightful survey of Southern Romance metrics. Like almost all versions of generative metrics, F&H adopt the three-way distinction between what Jakobson called VERSE DESIGN, VERSE INSTANCE, and DELIVERY INSTANCE.2 F&H’s the- ory maps abstract grid patterns onto the linguistically determined properties of texts. In that sense, it is a kind of template-matching theory. The mapping imposes constraints on the distribution of texts, which define their metrical form. Recitation may or may not reflect meter, according to conventional stylized norms, but the meter of a text itself is invariant, however it is pronounced or sung. Where F&H differ from everyone else is in denying the centrality of rhythm in meter, and char- acterizing the abstract templates and their relationship to the text by a combination of constraints and processes modeled on Halle/Idsardi-style metrical phonology. F&H say that lineation and length restrictions are the primary property of verse, and rhythm is epiphenomenal, “a property of the way a sequence of words is read or performed” (p. -
Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected]
University of Richmond UR Scholarship Repository Classical Studies Faculty Publications Classical Studies 2016 Iambic Metapoetics in Horace, Epodes 8 and 12 Erika Zimmerman Damer University of Richmond, [email protected] Follow this and additional works at: http://scholarship.richmond.edu/classicalstudies-faculty- publications Part of the Classical Literature and Philology Commons Recommended Citation Damer, Erika Zimmermann. "Iambic Metapoetics in Horace, Epodes 8 and 12." Helios 43, no. 1 (2016): 55-85. This Article is brought to you for free and open access by the Classical Studies at UR Scholarship Repository. It has been accepted for inclusion in Classical Studies Faculty Publications by an authorized administrator of UR Scholarship Repository. For more information, please contact [email protected]. Iambic Metapoetics in Horace, Epodes 8 and 12 ERIKA ZIMMERMANN DAMER When in Book 1 of his Epistles Horace reflects back upon the beginning of his career in lyric poetry, he celebrates his adaptation of Archilochean iambos to the Latin language. He further states that while he followed the meter and spirit of Archilochus, his own iambi did not follow the matter and attacking words that drove the daughters of Lycambes to commit suicide (Epist. 1.19.23–5, 31).1 The paired erotic invectives, Epodes 8 and 12, however, thematize the poet’s sexual impotence and his disgust dur- ing encounters with a repulsive sexual partner. The tone of these Epodes is unmistakably that of harsh invective, and the virulent targeting of the mulieres’ revolting bodies is precisely in line with an Archilochean poetics that uses sexually-explicit, graphic obscenities as well as animal compari- sons for the sake of a poetic attack. -
Le Jeu De La Feuillée. Édité Par Ernest Langlois
.' »( 1411 ,33 1923 Presented to the LIBRARY oj the UNIVERSITY OF TORONTO IN MEMORY 0? PROFESSOR H. L. HUMPHREYS t\^ LES CLASSIQUES FRANÇAIS DU MOYEN AGE publiés sous la direction de Mario Roques ADAM LE BOSSU TROUVÈRE ARTÉSIEN DU XIII- SIÈCLE LE JEU DE LA FEUILLÉE ÉDITÉ PAR ERNEST LANGLOIS DEUXIÈME ÉDITION REVUE PARIS LIBRAIRIE ANCIENNE HONORÉ CHAMPION, ÉDITEUR QUAI (vi') 5, MALAQUAIS ^ 1923* 6* LES CLASSIQUES FRANÇAIS MOYEN AGE COLLECTION DE TEXTES FRANÇAIS ET PROVENÇAUX ANTÉRIEURS A i5oo FONDÉE EN I9IO PAR Mario ROQUES Pour paraître en i g23 : Première série : Textes. La Queste DEL Saint Graal, éd. par Albert Pauphilet. Chrétien de Troies et ses continuateurs, Perceval, éd. par Mary Williams : la continuation de Gerbert de Mon- treuil, t. II. Galeran de Bretagne, éd. par Lucien Foulet. AucASSiN et Nicolette, éd. par Mario Roques. Jong^leurs^et troubadours gascons, éd. par Alfred Jean- ROY. Henaut de Beaujeu, Le Bel Inconnu, éd. par G. Perrie Williams. Le Roman de Troie en prose, éd. par L. Constans et E. Faral, t. II. Alain Chartier, Le Quadrilogue invectif, éd. par Eugé- nie Droz. Charles d'Orléans, Poésies, éd. par Pierre Champion. Maître Pierre Pathelin, éd. par R. T. Holbrook. Le Poème de Sancta Fides, éd. par Antoine Thomas. Robert de Clari, Prise de Constantinople, éd. par Phi- lippe Lauer. Deuxième série : Manuels. Petite syntaxe du moyen français, par Lucien Poulet» La musique du moyen âge, par Th. Gerold. LES CLASSIQUES FRANÇAIS DU MOYEN AGE publies sous !a direction de Mario Roques ADAM LE BOSSU TROUVÈRE ARTÉSIEN DU XIII< SIÈCLE LE JEU DE LA FEUILLÉE ÉDITÉ PAR ERNEST LA.NGL01S DEUXIÈME ÉDITION REVUE PARIS LIBRAIRIE ANCIENNE HONORÉ CHAMPION, ÉDITEUR 5, QUAI MALAQUAIS (vi^) 1923 ' "fzz INTRODUCTION I. -
Songs in Fixed Forms
Songs in Fixed Forms by Margaret P. Hasselman 1 Introduction Fourteenth century France saw the development of several well-defined song structures. In contrast to the earlier troubadours and trouveres, the 14th-century songwriters established standardized patterns drawn from dance forms. These patterns then set up definite expectations in the listeners. The three forms which became standard, which are known today by the French term "formes fixes" (fixed forms), were the virelai, ballade and rondeau, although those terms were rarely used in that sense before the middle of the 14th century. (An older fixed form, the lai, was used in the Roman de Fauvel (c. 1316), and during the rest of the century primarily by Guillaume de Machaut.) All three forms make use of certain basic structural principles: repetition and contrast of music; correspondence of music with poetic form (syllable count and rhyme); couplets, in which two similar phrases or sections end differently, with the second ending more final or "closed" than the first; and refrains, where repetition of both words and music create an emphatic reference point. Contents • Definitions • Historical Context • Character and Provenance, with reference to specific examples • Notes and Selected Bibliography Definitions The three structures can be summarized using the conventional letters of the alphabet for repeated sections. Upper-case letters indicate that both text and music are identical. Lower-case letters indicate that a section of music is repeated with different words, which necessarily follow the same poetic form and rhyme-scheme. 1. Virelai The virelai consists of a refrain; a contrasting verse section, beginning with a couplet (two halves with open and closed endings), and continuing with a section which uses the music and the poetic form of the refrain; and finally a reiteration of the refrain. -
Rhyme in European Verse: a Case for Quantitative Historical Poetics
1 Rhyme in European Verse: A Case for Quantitative Historical Poetics Boris Maslov & Tatiana Nikitina Keywords rhyme, statistical methods, meter, Historical Poetics, Russian verse The past decade has witnessed an unprecedented rise of interest in objectivist, data-driven approaches to literary history, often grouped together under the heading of digital humanities. The rapid multiplication of software designed to map and chart literature, often on a massive scale, has engendered an anxious (and often unpublicized) reaction. A concern for the future of literary studies, traditionally committed to the study of individual texts accessed through “close reading” of individual passages, is exacerbated in the wake of the emergence of a version of “world literature” that normalizes the study of literary works in translation, effectively jettisoning the philological techniques of explication du texte. This article seeks to bypass these antagonisms by proposing an alternative approach to literary history which, while being rooted in data analysis and employing quantitative methods some of which have been part of a century-old scholarly tradition, retains a twofold focus on the workings of poetic form and on the interaction between national literary traditions—the two topics that have dominated theoretical poetics and comparative literature ever since the inception of these disciplines in the late nineteenth-early twentieth centuries. While close reading is admittedly of limited value in the study of 2 versification, a more rigorous type of statistical testing used in this study allows for reliable assessment of tendencies observed in relatively small corpora, while also making it possible to verify the significance of highly nuanced quantitative differences. -
Poetry and Poems
Poetry Kaleidoscope Nicolae Sfetcu Published by Nicolae Sfetcu Second Edition Copyright 2014 Nicolae Sfetcu BOOK PREVIEW 1 Poetry Poetry (ancient Greek: ποιεω (poieo) = I create) is traditionally a written art form (although there is also an ancient and modern poetry which relies mainly upon oral or pictorial representations) in which human language is used for its aesthetic qualities in addition to, or instead of, its notional and semantic content. The increased emphasis on the aesthetics of language and the deliberate use of features such as repetition, meter and rhyme, are what are commonly used to distinguish poetry from prose, but debates over such distinctions still persist, while the issue is confounded by such forms as prose poetry and poetic prose. Some modernists (such as the Surrealists) approach this problem of definition by defining poetry not as a literary genre within a set of genres, but as the very manifestation of human imagination, the substance which all creative acts derive from. Poetry often uses condensed form to convey an emotion or idea to the reader or listener, as well as using devices such as assonance, alliteration and repetition to achieve musical or incantatory effects. Furthermore, poems often make heavy use of imagery, word association, and musical qualities. Because of its reliance on "accidental" features of language and connotational meaning, poetry is notoriously difficult to translate. Similarly, poetry's use of nuance and symbolism can make it difficult to interpret a poem or can leave a poem open to multiple interpretations. It is difficult to define poetry definitively, especially when one considers that poetry encompasses forms as different as epic narratives and haiku. -
BRITISH and COMMONWEALTH CONCERTOS from the NINETEENTH CENTURY to the PRESENT Sir Edward Elgar
BRITISH AND COMMONWEALTH CONCERTOS FROM THE NINETEENTH CENTURY TO THE PRESENT A Discography of CDs & LPs Prepared by Michael Herman Sir Edward Elgar (1857-1934) Born in Broadheath, Worcestershire, Elgar was the son of a music shop owner and received only private musical instruction. Despite this he is arguably England’s greatest composer some of whose orchestral music has traveled around the world more than any of his compatriots. In addition to the Conceros, his 3 Symphonies and Enigma Variations are his other orchestral masterpieces. His many other works for orchestra, including the Pomp and Circumstance Marches, Falstaff and Cockaigne Overture have been recorded numerous times. He was appointed Master of the King’s Musick in 1924. Piano Concerto (arranged by Robert Walker from sketches, drafts and recordings) (1913/2004) David Owen Norris (piano)/David Lloyd-Jones/BBC Concert Orchestra ( + Four Songs {orch. Haydn Wood}, Adieu, So Many True Princesses, Spanish Serenade, The Immortal Legions and Collins: Elegy in Memory of Edward Elgar) DUTTON EPOCH CDLX 7148 (2005) Violin Concerto in B minor, Op. 61 (1909-10) Salvatore Accardo (violin)/Richard Hickox/London Symphony Orchestra ( + Walton: Violin Concerto) BRILLIANT CLASSICS 9173 (2010) (original CD release: COLLINS CLASSICS COL 1338-2) (1992) Hugh Bean (violin)/Sir Charles Groves/Royal Liverpool Philharmonic Orchestra ( + Violin Sonata, Piano Quintet, String Quartet, Concert Allegro and Serenade) CLASSICS FOR PLEASURE CDCFP 585908-2 (2 CDs) (2004) (original LP release: HMV ASD2883) (1973) -
English 201 Major British Authors Harris Reading Guide: Forms There
English 201 Major British Authors Harris Reading Guide: Forms There are two general forms we will concern ourselves with: verse and prose. Verse is metered, prose is not. Poetry is a genre, or type (from the Latin genus, meaning kind or race; a category). Other genres include drama, fiction, biography, etc. POETRY. Poetry is described formally by its foot, line, and stanza. 1. Foot. Iambic, trochaic, dactylic, etc. 2. Line. Monometer, dimeter, trimeter, tetramerter, Alexandrine, etc. 3. Stanza. Sonnet, ballad, elegy, sestet, couplet, etc. Each of these designations may give rise to a particular tradition; for example, the sonnet, which gives rise to famous sequences, such as those of Shakespeare. The following list is taken from entries in Lewis Turco, The New Book of Forms (Univ. Press of New England, 1986). Acrostic. First letters of first lines read vertically spell something. Alcaic. (Greek) acephalous iamb, followed by two trochees and two dactyls (x2), then acephalous iamb and four trochees (x1), then two dactyls and two trochees. Alexandrine. A line of iambic hexameter. Ballad. Any meter, any rhyme; stanza usually a4b3c4b3. Think Bob Dylan. Ballade. French. Line usually 8-10 syllables; stanza of 28 lines, divided into 3 octaves and 1 quatrain, called the envoy. The last line of each stanza is the refrain. Versions include Ballade supreme, chant royal, and huitaine. Bob and Wheel. English form. Stanza is a quintet; the fifth line is enjambed, and is continued by the first line of the next stanza, usually shorter, which rhymes with lines 3 and 5. Example is Sir Gawain and the Green Knight. -
Examining the Relationship Between Children's
A Spoonful of Silly: Examining the Relationship Between Children’s Nonsense Verse and Critical Literacy by Bonnie Tulloch B.A., (Hons), Simon Fraser University, 2013 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Children’s Literature) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) December 2015 © Bonnie Tulloch, 2015 Abstract This thesis interrogates the common assumption that nonsense literature makes “no sense.” Building off research in the fields of English and Education that suggests the intellectual value of literary nonsense, this study explores the nonsense verse of several North American children’s poets to determine if and how their play with language disrupts the colonizing agenda of children’s literature. Adopting the critical lenses of Translation Theory and Postcolonial Theory in its discussion of Dr. Seuss’s On Beyond Zebra! (1955) and I Can Read with My Eyes Shut! (1978), along with selected poems from Shel Silverstein’s Where the Sidewalk Ends (1974), A Light in the Attic (1981), Runny Babbit (2005), Dennis Lee’s Alligator Pie (1974), Nicholas Knock and Other People (1974), and JonArno Lawson’s Black Stars in a White Night Sky (2006) and Down in the Bottom of the Bottom of the Box (2012), this thesis examines how the foreignizing effect of nonsense verse exposes the hidden adult presence within children’s literature, reminding children that childhood is essentially an adult concept—a subjective interpretation (i.e., translation) of their lived experiences. Analyzing the way these poets’ nonsense verse deviates from cultural norms and exposes the hidden adult presence within children’s literature, this research considers the way their poetry assumes a knowledgeable implied reader, one who is capable of critically engaging with the text. -
On Creativity and Originality in Verse Discourses
On Creativity and Originalityin Ve rse Discourses MILOSAV Ż. ĆARKIĆ (Belgrade) O.O. In verse discourses, as probably in2 no others, there is a large number of ste reotypes 1 ( canons, conventions, norms ) impo sed by a specific period of time, a specific genre, a specific literary movement (school), specific literature, the struc- The concept of stereotype. which is defined asa tri te. banał, fixed expression or act. is most often felt as if conveying a negative connotalion, and directly associa1ed with cliche (routine s1ylistic and structural ac1s which have łosi their anistic significance and expressiveness. but are stili used like a mechanical pattern: in linguis1ics, cliches include: idioms. all ossified phrases, sayings, proverbs (Petkovic 1995: 95) and platitudes (unchangeable, ready-made pauems which many ad here to blindly, a 1rite. banał phrase or such a way ofthinking and expression). Contrary Io such at titudes, there are other opinions a1 least as regards the scholarly style (Kouorova 1 998). 1t is 1he refore thai in this case, especially regarding literary-artis1ic style, the concept of stereotype conveys posi1ive conno1ations and is to a cenain extent equa1ed with canon (as a se1 of aesthetic rules, pauerns dominating poetic s1ructures). convention (deriving from the long-standing tradi tion of a melhod of literary creation offering its expressive potentials even to la1er anisls) and norm (as a prese1 rule or a set of rules commining the anis1 10 cenain li1erary methods. but not re s1raining poetic personali ty development. since a poe1ic work emerges either in compliance with a norm or in depanure from it.