Geoffrey Chaucer
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Amanda Holton University of Reading
Chaucer and Pronominatio Amanda Holton University of Reading Pronominatio, or antonomasia, is the replacement of a proper noun with another noun or adjective or a periphrastic formulation, such as 'Cristes mooder' for Mary.] I apply the term only when the reader needs some knowledge outside the immediate context in order to understand the reference and when the name itself is not given at all in surrounding lines. 2 Pronominatio is a fairly common figure in classical and medieval literature, and Chaucer encountered it in a number of his sources; indeed this article, while it focuses on Chaucer's practice, also indicates how it is used in a range of his sources and analogues. The figure is discussed in various classical and medieval rhetorical manuals, featuring, for example, in the Rhetorica Ad Herennium and in Quintilian' s /nstitutio oratoria3 Chaucer's own use of it as a freestanding figure is sparse, highly selective and often pointed, and reveals mixed feelings about its potential, for he is very conscious of how it can express both grandeur and pomposity, splendour and insincerity. After discussing Chaucer's preferred methods of denoting people and places, this article examines how his use of pronominatio relates to his response to Virgil, and, by extension, how he uses the figure as a marker of epic style in several texts. It then demonstrates how he exploits its more negative possibilities when denoting Diomede in Troilus and Criseyde and Mary in the Prioress's Tale. On the whole Chaucer shows a strong preference for simple and direct naming, and will often reject pronominatio even when he encounters it in a source he otherwise favours stylistically. -
Ariadne and Dionysus
Ariadne and Dionysus. Foreword. The Greek legends, as we know them from Homer, Hesiod, and other ancient sources, have their origins in the Bronze Age about the time of the thirteenth century B.C., which is when many scholars think something resembling the Trojan War may have taken place. The biblical Abraham may be of the same period. It was a time when the concept of Earth as the great Mother-Goddess, immanent in all things as all things were in Her, was being replaced throughout the region by the idea of an external Sky God, probably introduced by the marauding nom- adic tribes coming down from the north. At the same time, and for the same reasons, the principle of matriarchy was being replaced by patriarchy. The transformation was slow and spor- adic but eventually complete, at least on the surface. The legends, repeated by story-tellers for centuries before they were written down, probably with many deviations from the original, were meant to be pleasing to men. It has been my object to imagine the same events from the point of view of the women concerned. To this end I have added "fictional" material of my own. The more familiar version of the story of Ariadne and Dionysus is that she married him after being abandoned by Theseus. Dionysus was either man or god, as with many of the old myth- ical characters. I have imagined that she gave birth to him. Some may complain of the way I tell it, but after so long a time, who knows? In all the legends there are different known versions. -
Annotated Books Received
ANNOTATED BOOKS RECEIVED A SUPPLEMENT OF TRANSLATION REVIEW Volume 9, No. 2 December 2003 THE UNIVERSITY OF TEXAS AT DALLAS ANNOTATED BOOKS RECEIVED All correspondence and inquiries should be directed to Translation Review The University of Texas at Dallas Box 830688 - JO51 Richardson, TX 75083-0688 Telephone: (972) 883-2092 or 883-2093 Fax: (972) 883-6303, e-mail: [email protected] Annotated Books Received, published twice a year, is a Supplement of Translation Review, a joint publication of the American Literary Translators Association and the Center for Translation Studies at The University of Texas at Dallas. ISSN 0737-4836 Copyright © 2003 by Translation Review. The University of Texas at Dallas is an equal opportunity/affirmative action employer. ANNOTATED BOOKS RECEIVED TABLE OF CONTENTS Arabic...................................................................................................................................1 Bosnian ................................................................................................................................1 Bulgarian..............................................................................................................................1 Catalan .................................................................................................................................1 Chinese.................................................................................................................................1 Dutch....................................................................................................................................4 -
Big Love by Charles Mee: a Bit of Background
Big Love by Charles Mee: A Bit of Background About ‘the (re)making project’ All of Chuck Mee’s plays are available online, for free, and in the spirit of his collage style of playwriting, he welcomes artists borrow The Love Trilogy from, steal and transform his scripts into new projects. He also en- courages, possibly even requires, the artists working on his scripts to Big Love is the third play in a thematic trilogy of plays by become creators themselves, completing the work he has laid out Charles Mee. While the plots of the plays do not connect, with their own performance and interpretation. the subject, themes and elements of the plays intersect. The Love Trilogy was written during Mee’s love affair “There is no such thing as an original play. with Laurie Williams that “burst suddenly into flame and None of the classical Greek plays were original: they were all based then, a few years later, was just as suddenly doused.” on earlier plays or poems or myths. And none of Shakespeare's plays are original: they are all taken from earlier work. As You Like It is First Love taken from a novel by Thomas Lodge published just 10 years before Shakespeare put on his play without attribution or acknowledgment. Two people in their seventies fall in love—for the first Chunks of Antony and Cleopatra are taken verbatim, and, to be sure, time in their lives. And, as they work their way toward without apology, from a contemporary translation of Plutarch's one another through the accumulated baggage of their Lives. -
Flowers in Greek Mythology
Flowers in Greek Mythology Everybody knows how rich and exciting Greek Mythology is. Everybody also knows how rich and exciting Greek Flora is. Find out some of the famous Greek myths flower inspired. Find out how feelings and passions were mixed together with flowers to make wonderful stories still famous in nowadays. Anemone:The name of the plant is directly linked to the well known ancient erotic myth of Adonis and Aphrodite (Venus). It has been inspired great poets like Ovidius or, much later, Shakespeare, to compose hymns dedicated to love. According to this myth, while Adonis was hunting in the forest, the ex- lover of Aphrodite, Ares, disguised himself as a wild boar and attacked Adonis causing him lethal injuries. Aphrodite heard the groans of Adonis and rushed to him, but it was too late. Aphrodite got in her arms the lifeless body of her beloved Adonis and it is said the she used nectar in order to spray the wood. The mixture of the nectar and blood sprang a beautiful flower. However, the life of this 1 beautiful flower doesn’t not last. When the wind blows, makes the buds of the plant to bloom and then drifted away. This flower is called Anemone because the wind helps the flowering and its decline. Adonis:It would be an omission if we do not mention that there is a flower named Adonis, which has medicinal properties. According to the myth, this flower is familiar to us as poppy meadows with the beautiful red colour. (Adonis blood). Iris: The flower got its name from the Greek goddess Iris, goddess of the rainbow. -
Sappho: Sappho’S ‘After-Life’ in Early Modern England, 1550-1735
1 SAPPHO: SAPPHO’S ‘AFTER-LIFE’ IN EARLY MODERN ENGLAND, 1550-1735 SAPPHO (fl. 630 BCE), GREEK POET. For a brief biography of Sappho, selections from her own works, an introduction to her early modern reception, reputation, and translation, as well as further texts concerning her early modern ‘after-life,’ see the print anthology, pp. 153-87. EDITIONS: For early modern and modern translations of Sappho’s verse, see the essay ‘Sappho’ in “Classical Writers, their Early Modern Reputations and Translations” (Online Companion). ANACREONTEA (FIRST PUBLISHED, 1554). The Anacreontea is a volume of approximately sixty lyric poems that was long attributed to the Greek poet Anacreon (c. 575-490 BCE), and was certainly believed to constitute his work in the early modern period. The first edition of the Anacreontea appeared in 1554 from the press of Henri Estienne; its verse was translated into a number of languages throughout the Renaissance and into the eighteenth century. For a brief biography of Anacreon and selections from his verse (i.e., largely from the Anacreontea), see the print anthology, pp. 187-90. EDITIONS: For selected early modern and modern translations of Anacreon and the Anacreontea, see the accompanying essay ‘Anacreon’ in “Classical Writers, their Early Modern Reputations and Translations” (Online Companion). 1 THE WORKS OF PETRONIUS ARBITER […] TO WHICH IS ADDED SOME OTHER OF THE ROMAN POETS (1714) SAPPHO’S VINDICATION By Anacreon2 Come golden-locks, come god of love,3 And take me up from this low crowd, Carry me through the orbs above, 1 st Petronius Arbiter Petronius Arbiter (fl. 1 c. -
Cover No Spine
2006 VOL 44, NO. 4 Special Issue: The Hans Christian Andersen Awards 2006 The Journal of IBBY,the International Board on Books for Young People Editors: Valerie Coghlan and Siobhán Parkinson Address for submissions and other editorial correspondence: [email protected] and [email protected] Bookbird’s editorial office is supported by the Church of Ireland College of Education, Dublin, Ireland. Editorial Review Board: Sandra Beckett (Canada), Nina Christensen (Denmark), Penni Cotton (UK), Hans-Heino Ewers (Germany), Jeffrey Garrett (USA), Elwyn Jenkins (South Africa),Ariko Kawabata (Japan), Kerry Mallan (Australia), Maria Nikolajeva (Sweden), Jean Perrot (France), Kimberley Reynolds (UK), Mary Shine Thompson (Ireland), Victor Watson (UK), Jochen Weber (Germany) Board of Bookbird, Inc.: Joan Glazer (USA), President; Ellis Vance (USA),Treasurer;Alida Cutts (USA), Secretary;Ann Lazim (UK); Elda Nogueira (Brazil) Cover image:The cover illustration is from Frau Meier, Die Amsel by Wolf Erlbruch, published by Peter Hammer Verlag,Wuppertal 1995 (see page 11) Production: Design and layout by Oldtown Design, Dublin ([email protected]) Proofread by Antoinette Walker Printed in Canada by Transcontinental Bookbird:A Journal of International Children’s Literature (ISSN 0006-7377) is a refereed journal published quarterly by IBBY,the International Board on Books for Young People, Nonnenweg 12 Postfach, CH-4003 Basel, Switzerland tel. +4161 272 29 17 fax: +4161 272 27 57 email: [email protected] <www.ibby.org>. Copyright © 2006 by Bookbird, Inc., an Indiana not-for-profit corporation. Reproduction of articles in Bookbird requires permission in writing from the editor. Items from Focus IBBY may be reprinted freely to disseminate the work of IBBY. -
The Good Doctor: the Literature and Medicine of Anton Chekhov (And Others)
Vol. 33, No. 1 11 Literature and the Arts in Medical Education Johanna Shapiro, PhD Feature Editor Editor’s Note: In this column, teachers who are currently using literary and artistic materials as part of their curricula will briefly summarize specific works, delineate their purposes and goals in using these media, describe their audience and teaching strategies, discuss their methods of evaluation, and speculate about the impact of these teaching tools on learners (and teachers). Submissions should be three to five double-spaced pages with a minimum of references. Send your submissions to me at University of California, Irvine, Department of Family Medicine, 101 City Drive South, Building 200, Room 512, Route 81, Orange, CA 92868-3298. 949-824-3748. Fax: 714-456- 7984. E-mail: [email protected]. The Good Doctor: The Literature and Medicine of Anton Chekhov (and Others) Lawrence J. Schneiderman, MD In the spring of 1985, I posted a anything to do with me. “I don’t not possible in this public univer- notice on the medical students’ bul- want a doctor who knows Chekhov, sity; our conference rooms are best letin board announcing a new elec- I want a doctor who knows how to described as Bus Terminal Lite. tive course, “The Good Doctor: The take out my appendix.” Fortunately, The 10 second-year students who Literature and Medicine of Anton I was able to locate two more agree- signed up that first year spent 2 Chekhov.” It was a presumptuous able colleagues from literature and hours each week with me for 10 announcement, since I had never theatre. -
UCLA Electronic Theses and Dissertations
UCLA UCLA Electronic Theses and Dissertations Title Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present) Permalink https://escholarship.org/uc/item/9586x4bj Author Fronsman-Cecil, Dorthea Margery Publication Date 2018 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Los Angeles Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present) A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in French and Francophone Studies by Dorthea Margery Fronsman-Cecil 2018 © Copyright by Dorthea Margery Fronsman-Cecil 2018 ABSTRACT OF THE DISSERTATION Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present) by Dorthea Margery Fronsman-Cecil Doctor of Philosophy in French and Francophone Studies University of California, Los Angeles, 2018 Professor Lia N. Brozgal, Chair “Dirty Work: Labor, Dissatisfaction and Everyday Life in Contemporary French Literature and Culture (1975-present),” is an analysis of the representation of everyday activities – namely, of work, leisure, and consumerism – in contemporary French novels and other cultural productions. This dissertation examines how these contemporary texts use narrative, generic, and stylistic experiments to represent cynicism and dissatisfaction with everyday life as the consequences of neoliberal -
Ammianus Marcellinus on the Geography of the Pontus Euxinus
Histos () – AMMIANUS MARCELLINUS ON THE GEOGRAPHYOF THE PONTUS EUXINUS “Das eitle Bemühen um Allwissenheit, wie es der Fluch aller encyclo- pädischen Bildung ist, und vor allem der Fluch jener unseligen, auch auf dem geistigen Gebiet, in der Trümmerwelt einer grössern Vergang- enheit kümmerlich hausenden Generationen war, zeigt sich bei Ammian … auf diesem Gebiet …” This quotation of more than a century ago by Theodor Mommsen expresses a harsh verdict on Ammianus Marcellinus’ acquaintance with the geogra- phy of the world as it was known in his days (it is geographical knowledge which is meant by “diesem Gebiet”). In this field Ammianus had a “schein- haftes Bescheidwissen” and empty words had to conceal his “Unkenntniss”, according to the same Mommsen. Mommsen’s article, written in reaction to V. Gardthausen’s Die geographischen Quellen Ammians , which expressed a more positive opinion, had a great impact. Soon Mommsen’s unfavourable view of Ammianus’ knowledge of geography was widely accepted and has for a long time not been seriously disputed. The Res Gestae of the fourth-century historian Ammianus Marcellinus started where Tacitus had left off, that is in the year C.E. with the reign of Nerva, and ended at the year . The work originally consisted of books, but the first books have unfortunately been lost. The extant books cover only some twenty-five years of Roman history, namely the years from to . Thus Ammianus wrote the history of his own time, of which he himself was not only a part but also an eyewitness, since he was present at several important events of this period. -
Operatic Danaids Peter Burian ([email protected]) CAMWS 2018
Operatic Danaids Peter Burian ([email protected]) CAMWS 2018 1. Ancient sources A. Apollodorus Bibliotheca 2.1.5 But the sons of Aegyptus came to Argos, and exhorted Danaus to lay aside his enmity, and begged to marry his daughters. Now Danaus distrusted their professions and bore them a grudge on account of his exile; nevertheless, he consented to the marriage and allotted the damsels among them. First, they picked out Hypermnestra as the eldest to be the wife of Lynceus…. When they had got their brides by lot, Danaus made a feast and gave his daughters daggers; and they slew their bridegrooms as they slept, all but Hypermnestra; for she saved Lynceus because he had respected her virginity: wherefore Danaus shut her up and kept her under ward. But the rest of the daughters of Danaus buried the heads of their bridegrooms in Lerna and paid funeral honors to their bodies in front of the city; and Athena and Hermes purified them at the command of Zeus. Danaus afterwards united Hypermnestra to Lynceus; and bestowed his other daughters on the victors in an athletic contest. (trans. J. G. Frazer) B. Hyginus Fabulae 168 Danaus son of Belus had 50 daughters by several wives. His brother Aegyptus had just as many sons, and he wanted to kill his brother Danaus and his daughters so that he alone would possess his father's kingdom. When Danaus first outage is realized what was going on, he fled from Africa to Argos with the help of Minerva, who, they say, built the first two-prowed ship so that Danaus when Egypt is found out could escape. -
Classical Mythology in the Victorian Popular Theatre Edith Hall
Pre-print of Hall, E. in International Journal of the Classical Tradition, (1998). Classical Mythology in the Victorian Popular Theatre Edith Hall Introduction: Classics and Class Several important books published over the last few decades have illuminated the diversity of ways in which educated nineteenth-century Britons used ancient Greece and Rome in their art, architecture, philosophy, political theory, poetry, and fiction. The picture has been augmented by Christopher Stray’s study of the history of classical education in Britain, in which he systematically demonstrates that however diverse the elite’s responses to the Greeks and Romans during this period, knowledge of the classical languages served to create and maintain class divisions and effectively to exclude women and working-class men from access to the professions and the upper levels of the civil service. This opens up the question of the extent to which people with little or no education in the classical languages knew about the cultures of ancient Greece and Rome. One of the most important aspects of the burlesques of Greek drama to which the argument turned towards the end of the previous chapter is their evidential value in terms of the access to classical culture available in the mid-nineteenth century to working- and lower- middle-class people, of both sexes, who had little or no formal training in Latin or Greek. For the burlesque theatre offered an exciting medium through which Londoners—and the large proportion of the audiences at London theatres who travelled in from the provinces—could appreciate classical material. Burlesque was a distinctive theatrical genre which provided entertaining semi-musical travesties of well-known texts and stories, from Greek tragedy and Ovid to Shakespeare and the Arabian Nights, between approximately the 1830s and the 1870s.