Thematische Bibliographien / Poetry, Medieval History and criticism

Auswahl der wissenschaftlichen Literatur zum Thema „Poetry, Medieval History and criticism“

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Veröffentlicht am 4. Juni 2021
Zuletzt aktualisiert am 24. Februar 2023

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Inhaltsverzeichnis

  1. Zeitschriftenartikel
  2. Dissertationen
  3. Bücher
  4. Buchteile
  5. Konferenzberichte

Zeitschriftenartikel zum Thema "Poetry, Medieval History and criticism":

1

Naaman, Erez. „Collaborative Composition of Classical Arabic Poetry“. Arabica 65, Nr. 1-2 (27.02.2018): 163–206. http://dx.doi.org/10.1163/15700585-12341476.

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Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.
2

Bender, Lucas Rambo. „Against the Monist Model of Tang Poetics“. T’oung Pao 107, Nr. 5-6 (09.12.2021): 633–87. http://dx.doi.org/10.1163/15685322-10705004.

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Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.
3

van Gelder, Geert Jan, und Mansour Ajami. „The Neckveins of Winter: The Controversy over Natural and Artificial Poetry in Medieval Arabic Literary Criticism“. Die Welt des Islams 26, Nr. 1/4 (1986): 172. http://dx.doi.org/10.2307/1570768.

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4

WILLIS, KATHERINE E. C. „THE POETRY OF THE POETRIA NOVA: THE NUBES SERENA AND PEREGRINATIO OF METAPHOR“. Traditio 72 (2017): 275–300. http://dx.doi.org/10.1017/tdo.2017.4.

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Geoffrey of Vinsauf's Poetria nova must be studied as a poem in its own right as thoroughly as it has been studied as a technical rhetorical treatise; although many scholars have acknowledged the brilliance of his style, few analyses thereof exist. This imbalance in criticism limits our understanding of his ideas and the appeal they held for medieval poets. This study, therefore, focuses on two images in the section on ornatus graves, or weighty ornamentation, the category of figures defined by its reliance on transumptio. In describing its moving effects, Geoffrey uses the imagery of a pilgrimage (peregrinatio) and of a “clear cloud” (nubes serena). Both help him explain how transumptive language at first displaces or hides meaning beneath something that is deceptively ordinary. When that meaning becomes clear to the reader, however, the recognition can be delightful, intoxicating, or even wondrously transporting. The images are not original to Geoffrey, nor are they drawn from the discourse of formal rhetoric. Rather, peregrinatio and the nubes serena have a rich history in liturgical drama, biblical commentary, and iconography where they signify a kind of spiritual transport remarkably similar to Geoffrey's conception of transumptio in terms of process and quality. Thus, the Poetria nova leverages the spiritual significance of the images to make a decisively literary point about the wondrous power of subtle, transumptive language. Only by recognizing the resonance of these images can we fully appreciate just how highly Geoffrey values transumptio. Approaching the Poetria nova with a poet's eye expands the range and scope of likely influences on the treatise and, more importantly, deepens our appreciation for his remarkable commitment as a poet to the affective potential of transumptive language.
5

Gaižiūnas, Silvestras. „At the Origins of Modern Lithuanian Literary Studies. Phenomenon of Juozas Eretas“. Pitannâ lìteraturoznavstva, Nr. 100 (27.12.2019): 155–68. http://dx.doi.org/10.31861/pytlit2019.100.155.

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The article under studies is a critical survey of the activities of a Swiss scholar Juozas Eretas (1896–1984), one of the founders of Lithuanian Literary Studies, whose origin is closely related to the revival of the Lithuanian State (1918 р). Raised on the principles of the so-called Fribourg School, J. Eretas may be regarded as a vivid example of a catholic scientist. He emphasized the importance of the connection between research and thinking. In the 20-30s, having mastered the Lithuanian language, under the influence of the first translations of the world literary works into Lithuanian, Eretas laid the foundation of analytical criticism. He also took up the translation and, at the same time, became the founder of Lithuanian Germanic Studies, paying most of his attention to the Medieval German Literature, the heritage of mystics, the literature of “storm and drive”, particularly the works by Goethe and Schiller. In addition, Eretas made a considerable contribution to Lithuanian Theory of Literature: “Creating Philosophical Criticism in Literature” (lecture, 1922), “Philosophy and Poetry” (1924), “Methods of Literary Analysis” (1929). Eretas’ approach to German Literature was purely conceptual and rested on the idea of its universal nature (especially concerning Goethe): monographs “Young Goethe” (1932) and “Goethe Hundred Years Later” (1933). It is worth mentioning Eretas’ attitude to Goethe’s “Faust”. He interprets the main character typologically, as an eternal image of the world culture, pointing hereby to the increased attention to this image during the epoch of “storm and drive”. Eretas’ interpretation of the images of Faust and Mephistopheles, which present the idea of “dual world” that is so peculiar for Romanticism, seems very interesting and promising. Besides, Eretas was first in Lithuanian Literary Studies to refer to Goethe’s “Wilhelm Meister’s Apprenticeship” as to the novel of upbringing. Another significant subject of Eretas’ research was the History of World Mystics (the work “From the History of Mystics”, as well as the monographs on Tauler, Eckhart and Suso).
6

Brantley, Jessica. „The iconography of the Utrecht Psalter and the Old English Descent into Hell“. Anglo-Saxon England 28 (Dezember 1999): 43–63. http://dx.doi.org/10.1017/s0263675100002258.

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The Old English Descent into Hell fits uneasily into the poetic corpus remaining to us from Anglo-Saxon England. The poem is an oddity both thematically and genetically, and (insofar as it has attracted any attention at all) the history of its criticism has been an unrewarding search for sources. The Descent presents a sourcing problem at its most basic, for its parts are so disparate that it is difficult even to construct a horizon of expectations from which to read the work. I hope to suggest here a new analogue, as well as a new way of thinking about sources and analogues in Old English literary studies, that may prove fruitful. The more rewarding context for comparative study of the Descent into Hell is not textual, but pictorial; I argue that visual exegesis of the psalms reveals both the source and the nature of the connection between the poem's two primary topics. In particular, iconography derived from the enormously influential Utrecht Psalter (Utrecht, Universiteitsbibliotheek, 32) provides a structural model, if not for the composition of the text in the most direct sense, then certainly for both medieval and modern understanding of it.
7

Risden, E. L., und John Cherry. „Medieval Love Poetry“. Sixteenth Century Journal 38, Nr. 3 (01.10.2007): 836. http://dx.doi.org/10.2307/20478544.

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8

Meimei, Huan. „THE WORLDVIEW PRINCIPLES OF THEOPHAN PROKOPOVYCH'S "POETICS"“. Bulletin of Taras Shevchenko National University of Kyiv. Literary Studies. Linguistics. Folklore Studies, Nr. 31 (2022): 34–39. http://dx.doi.org/10.17721/1728-2659.2022.31.07.

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The article examines the peculiarities of the worldview foundations of "Poetics" by Theophan Prokopovych. The thesis is substantiated that the ideological foundations of the treatise are generally educational. It is emphasized on the author's criticism and denial of Baroque norms, as the opposition to the enlightenment theses. Prokopovych represents the author's vision of well-known concepts and categories of theoretical poetics, showing the examples of the world literature. The thinker argues with traditional understandings of a number of categories, while offering innovative and relevant to his era theses. The writer develops the idea of the necessity to adhere to the stated theoretical provisions, representing them as a model for further literary development. The treatise, having not only theoretical but also practical character, represents the peculiarities of literary evolution. In "Poetics" by Theophan Prokopovych, we observe the development of the tradition of creating such treatises in school institutions. The author's contribution to the improvement of this genre and its existence in Ukrainian literature is important. The studied treatise represents the author's departure from the baroque tradition of poetics, even in some cases its denial, the presentation of individual worldview in the field of theory and history of literature. T. Prokopovych offered his vision of poetic art and its understanding in an educational way. The traditional thesis in science about the worldview principles of the treatise "Poetics" as synthetic in nature, combining traditions of Antiquity, Medieval, Renaissance, Baroque, is discussed and supplemented by considerations of the predominance in the treatise of classical and enlightenment elements. The author's character is also clearly shown in the presentation of T. Prokopovych's artistic texts in "Poetics", which tend towards the Enlightenment style. In general, written in the era of Ukrainian literary Baroque "Poetics" by Theophan Prokopovych leads a discussion with the ideas and theses of the day as those that have lost their relevance and need to be modernized. Thus, the essence of the worldview principles of the treatise is in their revolutionary nature in relation to the ruling era and the establishment of innovation in the field of theory and history of literature, which Prokopovych notices in the Enlightenment.
9

Reynolds, R. Clay, und R. S. Gwynn. „New Expansive Poetry: Theory, Criticism, History“. South Central Review 17, Nr. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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10

Al-Abbasi, Thoraiya. „Medieval Criticism and the Artistic Value of Vagueness in Poetry“. Journal of King Abdulaziz University-Arts and Humanities 17, Nr. 2 (2009): 169–211. http://dx.doi.org/10.4197/art.17-2.5.

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Zeitschriftenartikel Dissertationen Bücher

Dissertationen zum Thema "Poetry, Medieval History and criticism":

1

Meir, Amira. „Medieval Jewish interpretation of pentateuchal poetry“. Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
2

Ward, Jessica D. „Conjugal Rights in Flux in Medieval Poetry“. Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500176/.

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This study explores how four medieval poems—the Junius manuscript’s Genesis B and Christ and Satan and Geoffrey Chaucer’s Troilus and Criseyde and The Parliament of Fowls—engage with medieval conjugal rights through their depictions of agentive female protagonists. Although many laws at this time sought to suppress the rights of women, especially those of wives’, both pre- and post-conquest poets illustrate women who act as subjects, exercising legal rights. Medieval canon and common law supported a certain amount of female agency in marriage but was not consistent in its understanding of what that was. By considering the shifts in law from Anglo-Saxon and fourteenth century England in relation to wives’ rights and female consent, my project asserts that the authors of Genesis B and Christ and Satan and the late-medieval poet Chaucer position their heroines to defend legislation that supports female agency in matters of marriage. The Anglo-Saxon authors do so by conceiving of Eve’s role in the Fall and harrowing of hell as similar to the legal role of a forespeca. Through Eve’s mimesis of Satan’s rhetoric, she is able to reveal an alternate way of conceiving of the law as merciful instead of legalistic. Chaucer also engages with a woman’s position in society under the law through his representation of Criseyde’s role in her courtship with Troilus in his epic romance, Troilus and Criseyde. Chaucer disrupts his audiences’ expectations by placing Criseyde as the more agentive party in her courtship with Troilus and shows that women might hope to the most authority in marriage by withholding their consent. In his last dream vision, The Parliament of Fowls, Chaucer engages again with the importance of female consent in marriage but takes his interrogation of conjugal rights a step further by imagining an alternate legal system through Nature, a female authority who gives equal consideration to all classes and genders.
3

Wong, Alexander Tsiong. „Aspects of the kiss-poem 1450-1700 : the neo-Latin basium genre and its influence on early modern British verse“. Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708782.

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4

Schubert, Layla A. Olin 1975. „Material literature in Anglo-Saxon poetry“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.

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x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
5

Desrochers, Arnald. „Los cruces genéricos en las cantigas gallego-portuguesas medievales“. Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59627.

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The cantigas de amor, de amigo, de escarnio, and de maldecir are poetic compositions written between 1200 and 1350 which form a literary school commonly referred to as Galician-Portuguese. The troubadours who refine these compositions do not limit themselves to composing cantigas of only one genre. They write cantigas of all types. For thematic and formal purposes, the common practice is to divide the cantigas into four genres. These divisions are not always very clear.
Because they were in touch with all sorts of cantigas, the poets included in their poems characteristics which blended from one genre to another. This may or may not have been done intentionally. Critics later studied these cantigas. They found that cantigas of one genre shared peculiarities common to cantigas of other genres, but they did not explore further into this trait. This study analyzes characteristics found commonly in one genre of cantiga and, as well, by placing together those cantigas with related attributes, it establishes the overlapping that takes place between the cantigas of different genres.
6

Sawyer, Daniel. „Codicological evidence of reading in late medieval England, with particular reference to practical pastoral verse“. Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8c21053f-e347-4349-9cc4-b1fa0229e95a.

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This study advances and adds detail to our history of the reading of verse in England c.1350-1500. Scholarship has established major twelfth- and thirteenth-century changes in reading, and linked these changes to manuscripts containing the modern Middle English verse canon. Historians of early modern reading have also argued for distinctive changes in their own period. But the examination of reading between these two clusters of change has been limited. This study therefore asks how later medieval Middle English verse was read. The surviving copies of The Prick of Conscience and Speculum Vitae, two hugely successful religious instructional poems, form the primary body of evidence. This body is augmented by reference to hundreds of other manuscripts containing Middle English verse. Together, these can reveal much about what was normal and abnormal in reading. They are also an important part of the context for the reading of more canonical Middle English verse. Manuscript studies often proceeds through case studies of individual books and unusual evidence such as marginalia. This thesis turns to codicology to understand more widespread evidence for reading, combining qualitative case studies with quantitative techniques borrowed and developed from continental scholarship. The first chapter examines evidence of provenance, revealing that both The Prick of Conscience and Speculum Vitae were read by an impressive range of people and remained current into the sixteenth century. The second chapter considers the navigational aids used in copies of both poems. Reading in this period has been characterised as 'discontinuous', but it could be discontinuous in diverse ways, and readers also read continuously. The third chapter is a large-scale study of books' size and shape, showing how these features can reveal books' reading histories, sometimes in counterintuitive ways. The fourth chapter contends that readers in this period attended closely to rhyme and probably read for balanced rhyme structures. The fifth chapter uncovers the ways in which these poems were rewritten for new readers and investigates the composition of the Southern Recension of The Prick of Conscience, arguing that this new text was partly a formalist intervention. The conclusion summarises the new 'baseline' history of the reading of Middle English verse which is offered here, and gestures towards implications for our reading of the Middle English poems which are canonical today.
7

Hacksley, Timothy Christopher. „A critical edition of the poems of Henry Vaux (c. 1559-1587) in MS. Folger Bd with STC 22957“. Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1704/.

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8

Applauso, Nicolino. „Curses and laughter: The ethics of political invective in the comic poetry of high and late medieval Italy“. Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10874.

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xiv, 479 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation examines the ethical engagement of political invective poetry in thirteenth- and fourteenth-century Italy. Modern criticism tends to treat medieval invective as a playfully subversive but marginal poetic game with minimal ethical weight. Instead, I aim to restore these poetic productions to their original context: the history, law, and custom of Tuscan cities. This contexts allows me to explore how humor and fury, in the denunciation of political enemies, interact to establish not a game but an ethics of invective. I treat ethics as both theoretical and practical, referring to Aristotle, Cicero, and Brunetto Latini, and define ethics as the pursuit of the common good in a defined community. Chapter I introduces the corpus, its historical and cultural background, its critical reception, and my approach. Chapter II discusses medieval invective in Tuscany and surveys the cultural practice of invective writing. Chapter III approaches invectives written by Rustico Filippi during the Guelph and Ghibelline wars. Chapter IV explores invectives by Cecco Angiolieri set in Siena, which polemicize with the Sienese government and citizenry. Chapter V examines invectives in Dante's Commedia (Inf. 19, Purg. 6, and Par. 27), focusing on his unexpected humor and his critique of the papacy, the empire, and Italian city governments. My conclusion examines the ethical function of slanderous wit in wartime invective. These poems balance verbal aggression with humor, claiming a role for laughter in creating dialogue within conflict. Far from a stylistic or ludic exercise, each invective shows the poet's activism and ethical engagement. This dissertation includes previously published material.
Committee in Charge: Regina Psaki, Chairperson, Romance Languages; Massimo Lollini, Member, Romance Languages; David Wacks, Member, Romance Languages; Steven Shankman, Outside Member, English
9

Young-Studer, Noémie. „La chanson d'Yde et Olive: A Parable of a Medieval Self-Made Man“. PDXScholar, 2003. https://pdxscholar.library.pdx.edu/open_access_etds/4668.

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La chanson d'Yde et Olive, an early fourteenth-century epic poem from the Picard region, exemplifies the medieval custom of text renewal that seeks to adapt pagan materials to fit Christian doctrine. Largely based on the plot of the Ovidian fable Iphis and Ianthe from The Metamorphoses, its main character Yde undergoes a metaphorical transformation from a woman into a man. Moreover, much like the Ovide moralisé, a Christianized adaptation of the Latin original, Yde et Olive's message can be understood as a Christian parable for the purging of the sinful soul. To set up the poem's didactic message, the poet carefully infuses the story with contemporary social concerns, such as the theme of incest and gender disruption, both potentially offensive forces to the medieval social structure. In the backdrop of these threats to society, the heroine's overcoming of her struggles becomes all the more meaningful, leading to a clear moral message to the reader. While being a hybrid in genre and structure, the poem shows many borrowings from Christian hagiography, especially from the later, more romance-influenced versions of the Vitae of female transvestite saints. In these narratives, the heroine's spiritual development is typically portrayed in terms of "becoming male," which can also be understood as an erasure of sexual difference to approach God in a Neoplatonic sense. Moreover, the development of Yde's own hybrid state leading to the climax of revealing her new sex exemplifies medieval literary criticism, elaborating on the central theme of uncovering truth by exposing the hidden gem beneath the rough surface.
10

McNamara, Rebecca Fields. „Code-switching in medieval England : register variety in the literature of Geoffrey Chaucer, Thomas Usk and Thomas Hoccleve“. Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669980.

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Bücher zum Thema "Poetry, Medieval History and criticism":

1

Trudeau, Lawrence J. Poetry criticism. Farmington Hills, Mich: Gale, Cengage Learning, 2014.

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Trudeau, Lawrence J. Poetry criticism. Detroit: Gale, Cengage Learning, 2014.

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Meisami, Julie Scott. Medieval Persian court poetry. Princeton, N.J: Princeton University Press, 1987.

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1954-, Guetta Alessandro, und Itzhaki Masha, Hrsg. Studies in medieval Jewish poetry. Leiden: Brill, 2008.

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Spearing, A. C. Readings in medieval poetry. Cambridge [Cambridgeshire]: Cambridge University Press, 1989.

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Spearing, A. C. Readings in medieval poetry. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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J, Bawcutt Priscilla, und Williams Janet Hadley, Hrsg. A companion to medieval Scottish poetry. Woodbridge, UK: D.S. Brewer, 2006.

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Saunders, Corinne J. A companion to medieval poetry. Chichester, U.K: Wiley-Blackwell, 2010.

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1963-, Saunders Corinne J., Hrsg. A companion to medieval poetry. Malden, MA: Wiley-Blackwell, 2010.

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McCarthy, Conor. Seamus Heaney and medieval poetry. Woodbridge, Suffolk: D.S. Brewer, 2008.

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Buchteile zum Thema "Poetry, Medieval History and criticism":

1

Perry, Lucy. „Legendary History and Chronicle: Lazamon's Brut and the Chronicle Tradition“. In A Companion to Medieval Poetry, 217–36. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch12.

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Levy, Isabelle. „Sefer ha-meshalim and the status of poetry in medieval Iberia“. In Comparative History of Literatures in European Languages, 131–37. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/chlel.xxix.13lev.

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3

Björkvall, Gunilla, und Andreas Haug. „Sequence and Versus: On the History of Rhythmical Poetry in the Eleventh Century“. In Publications of the Journal of Medieval Latin, I:57–82. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.pjml-eb.3.2815.

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4

Zhao, Yiheng. „Pure Poetry, Impure Criticism, and the Power of Academia: Some Paradoxes Concerning the History of New-Wave Poetry“. In The River Fans Out, 191–200. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_12.

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5

Menocal, María Rosa. „15 “The Finest Flowering”: Poetry, History, and Medieval Spain in the Twenty-First Century“. In A Sea of Languages, herausgegeben von Suzanne Conklin Akbari und Karla Mallette, 242–53. Toronto: University of Toronto Press, 2013. http://dx.doi.org/10.3138/9781442663398-017.

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6

Iversen, G. „Introduction. Libri divini — libri liberales on Liturgical Poetry in the History of Medieval Latin Literature“. In Textes et Etudes du Moyen Âge, 561–75. Turnhout: Brepols Publishers, 2004. http://dx.doi.org/10.1484/m.tema-eb.3.2113.

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7

„Medieval Poetry“. In Encyclopedia of Literature and Criticism, 243–58. Routledge, 2002. http://dx.doi.org/10.4324/9780203403624-22.

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8

Hoppe, Felicitas. „‘Adventure? What Is That?’ On Iwein“. In The Middle Ages in the Modern World. British Academy, 2017. http://dx.doi.org/10.5871/bacad/9780197266144.003.0006.

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Annotation:
Felicitas Hoppe gives an introduction to the art of adapting medieval poetry that is in itself a poetic work. In 2008, Hoppe adapted Hartmann von Aue’s Arthurian romance Iwein into a highly successful young adult novel. She speaks about this experience and about the art of adapting medieval literature more generally: about encountering popular images of knights looking like ladies and about inverted gender roles in Hartmann’s romance; about history as produced by wishes; about finding Iwein by chance in a bookshop and being captivated by its beauty; about the romance’s surprising timelessness in its psychologically astute characterisation, its sensible rationality and its uncompromising morality; about the dialectic between boredom and adventure, between the desire to grow up and the fear of growing up in all good children’s books (and Arthurian romances); about the relationship between honour and masculinity in the romance code of values; about Iwein’s insistence on physicality; and about narrative techniques for modernising the text (including the introduction of Iwein’s companion, the lion, as the narrator). As a whole, Hoppe’s piece is a remarkably sensitive analysis of how and why aspects of medieval literature exert a fascination on creative minds. It compellingly demonstrates the wealth of insights that adaptors of medieval texts gain, which can complement and inspire those of literary critics.
9

„Modernism and criticism“. In A Linguistic History of English Poetry, 169–214. Routledge, 2005. http://dx.doi.org/10.4324/9780203978702-14.

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10

Wimsatt, William K., und Cleanth Brooks. „Further Medieval Themes“. In Literary Criticism: A Short History, 139–54. Routledge, 2021. http://dx.doi.org/10.4324/9781003140931-2.

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Konferenzberichte zum Thema "Poetry, Medieval History and criticism":

1

Useinov, T. B. „Display of love for a male object in a figurative system of medieval Crimean Tatar Ashyk poetry“. In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-26-11-2019-06.

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2

Kenyhercz, Róbert. „Interpretation of data and sources in etymological research“. In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/39.

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The aim of the paper is to emphasize the importance of source criticism in etymological research. It is widely known that the main sources for the early history of toponyms in the Carpathian Basin are the charters created in the medieval Hungarian Kingdom, because these official documents contained a large number of vernacular proper names embedded in the Latin text. However, it is important to mention that the medieval charters were produced by the chancery and places of authentication along specific principles and needs. I argue that this circumstance must always be considered during the interpretation of the data. I will show some examples illustrating that – in certain cases – we have to take into account the nature of the sources in the reconstruction of the genesis of place names. My goal is to offer a brief outline of this issue through my own investigations.
3

Мир-Багирзаде, Ф. А. „Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi“. In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.

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