Zeitschriftenartikel zum Thema „Veps poetry“

The article is devoted to the Romanian vers libre genesis and its identification among disordered verse forms in the Romanian poetry of the beginning of the 20th century. Our investigations are based on the innovative methods of verse analysis suggested by the Russian poetic science which are based on the quantitative analysis. By means of statistical analysis of the disordered oeuvres – verses without rhyme, meter and formal stanza – we found out that not all oeuvres with such features may be referred to as vers libre. Among such forms there are the oeuvres which do have some systematic characteristics coinciding with classical, tonic or heteromorphic forms.

The article is a reading/interpretation of Raimbaut d’Aurenga’s La flors enversa. The co-presence of winter and spring in the canso’s coblas is the point of departure of an investigation of the meaning of the adjective enversa. It is also an analysis of the devices by which the troubadour links the distance between winter and poetry, and the one between the trobar and its inverse.

(English): Essays by Jean Tortel and Philippe Jaccottet, along with the recent publication of a text by André du Bouchet, “Les dizains concrastés”, reveal a post-war fascination for the Renaissance poet Maurice Scève and his collection Délie (1544). The collection is rediscovered as a « travail du voir » (Tortel) and valorized for the tension it creates between construction and erasing of poetic form, generating a complex relation to the image. Taking these essays as a starting point, this article presents the first two collections of Olivier Larronde Les Barricades mystérieuses (1945) et Rien, voilà l'ordre (1956), in which Scève's influence is manifest. Exploring the relation of the semantic and the visual, it shows that the figural space of pre-classical poetry informs Larronde's poetry and broader poetic polemics in the 1940–60s.

The article deals with innovations in the fi eld of versification technique used by Apollon Grigoriev in his poetic translations from German, English and Ancient Greek. These are accentual verse (dolnik), metrical composite, free verse, new syllabics, as well as prose miniature used to translate lyrical poetry, and prosimetrum, with the help of which the poet sought to accurately convey the rhythmic features of the works by Heine, Goethe, Shakespeare and Sophocles.

‘Deur ’n waaier wat die bolig…’: a poem on the marital relationship in Antjie Krog’s Lady Anne This essay examines one of the poems from Antjie Krog’s seventh volume of poetry Lady Anne. The poem, “Deur ’n waaier wat die bolig ... ", focuses on the marital relationship between Andrew Barnard and Lady Anne Barnard. The poem is read within the context of the volume as a whole in order to delineate the particular aspects of the marital relationship pertaining to the Barnards.

: In view of the importance of the Civilization of the Universal in the thought and poetry of Léopold Sédar Senghor, the reasons and foundations for the adoption of this concept – borrowed from the European Cultural Society – deserve to be studied. Such is the concern of this present work which is based above all on the sociology of literature, anthropology and the analysis of elements of his biography. It shows that if the term in question only appeared in Senghorian discourse at the end of the 1950s, the dispositions to dialogue, to exchange, and to openness to the Other were acquired from primary socialization of Senghor, under the influence of the Serer ethnic group, his family and his intellectual and religious education. His status as a bicultural torn apart, in search of inner harmony has also found there a flourishing existential modus operandi.

AbstractMany Renaissance poets attempted to imitate classical verse metrics in their own vernaculars. This article examines the quantitative metrical verse of the French poet Baïf who is often criticized for producing unscannable verse using an incomprehensible phonetic orthography. This paper argues that the poet's rules for encoding length, while hermetic, are surprisingly consistent. It is demonstrated that Bai¨f's metrics derive largely from a system that is accentual with his orthography permitting the poet to encode quantitative distinctions that coincide with the metre. This article argues that Baïf's metrical verse provides us with a rare example of how prosody and rhythm in sixteenth century France might have been perceived.

A Poetic Palliative. The Épître au docteur Alfred G*** sur l’espérance, considérée dans l’exercice de la médecine (1811), by Jean-Marie Caillau (1765-1820) In 1811, the poetic academy of Toulouse awarded an epistle about hope in medical practice, by Jean-Marie Caillau, a now unknown physician who combined medicine and writing. This article provides contextualizing and close reading. It presents Caillau’s works and reputation, and highlights how he defined himself as a doctor-writer. Then it focuses on the didactic epistle, in which hope is regarded as a moral palliative, or a soothing and comforting illusion that the empathetic clinician prescribes to incurable, moribund and suffering people. The study of the text reveals the significant use of the peritext, the strong connection between medical discourse and poetical devices, and the praise of an eloquent physician at the patient’s bedside. By correlating hope and eloquence, Caillau embodies and promotes the dual figure of the doctorpoet. This article thus explores the fruitful and sometimes challenging interplay between medicine and poetry during the early 19th century.

Summary: The subject of the article is the poem Scachs d’Amor by the Valencian authors Bernat Fenollar, Francí de Castellví und Narcís Vinyoles. Written towards the end of the 15th century, it has attracted much interest of historians of chess, because in it one can find the first known description of chess moves distinguishing modern chess from that of the Middle Ages. The focus here, however, is on its literary characteristics and the literary tradition the poem is part of. Relying on recent research, one can showthat the allegorical connection of chess with courtly love was no unknown literary topos. But nobody has asked so far why the 64 stanzas consist of 9 verses each, a number which does not harmonize with the arithmetic of chess, displayed in the poem by its 64 stanzas. The number nine can be linked to the religious subtext hinted at by “Apocalipsi”, the last word of the poem, as well as to a hitherto unknown literary tradition of religious poetry, rooting in Dante’s veneration of the number nine.Keywords: chess, history, literature, Dante, early modern period, Catalonian, Valencian stanza of nine lines.

Resume :Knowing Poetry. Verse in Medieval France from the Rose to the Rhétoriqueurs, ouvrage co‑écrit par Sarah Kay et Adrian Armstrong en 2011, entreprend à la fois de réévaluer l’importance de la poésie au sein d’une production de plus en plus influencée par la prose, entre le xiiie et le xve siècle, et surtout de redessiner les liens qu’elle entretient, en tant que forme, avec le savoir. L’œuvre de Villon est de lieu en lieu convoquée à l’appui de la démonstration. Reprenant les résultats de cette précédente étude, cet article voudrait faire le point sur la situation de Villon dans un tel panorama, afin de mettre ensuite en évidence le cas limite qu’il représente. Parce que le savoir, dans l’œuvre de Villon, paraît soit incertain, soit lacunaire, les lecteurs du Testament se trouvent rassemblés par une semblable perplexité. Devant l’illisibilité des vers, ils sont conduits à choisir, plutôt qu’à élucider, le sens de l’œuvre de Villon.The book that Sarah Kay and Adrian Asmstrong wrote in 2011, Knowing Poetry. Verse in Medieval France from the Rose to the Rhétoriqueurs, reaffirms the importance of poetry between the 13th and the 15th century, when prose imposes itself in literary production. Its aim is also to map out how and where poetry relates to knowledge. First, this paper will situate Villon’s work among the verse production of the period ; it will then underline how problematic it is for him to fit in. Because knowledge is presented in his work as uncertain or incomplete, readers of Villon’s Testament are bound by a kind of shared ignorance. In front of such illegibility, they have to decide, more than to resolve, what may be the meaning of Villon’s work.

Abstract The translation of poetry has caused many debates because the translator is seen as a re-creator of the text and his work becomes « poetry en abyme ». Poetry is difficult to translate because of its conciseness and intertextual dynamics. The translator’s work supposes a comparative perspective and an analysis of the text’s peculiarities. Among the translation methods employed, one can identify duplication, i.e., strict and faithful reproduction in the target language, transposition, the creation of an effect similar to the original one, and dialogic analysis. The poetics of translation will be adapted to the features of each poem.

The publication of Thomas Percy’s anthology Reliques of Ancient English Poetry (1765) not only marked a new interest in the old medieval ballads themselves, but provided contemporary writers with dramatic literary motifs. Especially erotic ghost stories became fashionable. One of the most prominent ghost story writers was Matthew Gregory Lewis. In 1796 he published what was to become one of the most influential Gothic novels at the time, The Monk, containing several ballads of Lewis’ own creation. One of these, «Alonzo the Brave», became a classic. Almost immediately it was translated to Swedish and Danish. In Sweden, the ballad about the bold warrior Alonzo and his fiance Imogine became immensely popular as a broadside ballad (skilling ballad). Later it was translated to Norwegian, where the text was shortened and in some ways simplified. It seems that the ballad collector Sophus Bugge was the first to come across the ballad in Norwegian oral tradition. This was in the 1860s, but probably the translation was made quite a few years before that. Furthermore, in some cases the ballad story was transformed to a prose tale. Especially the prose tale told by Inger Marie Fallet from Sørum is of high quality, showing that there was no unsurmountable distinction between tales in verse and prose.

Abstract In this article, I first examine the use of the word orgia in the context of Optatian’s, Avienus’ and Claudian’s poetry. I then evaluate the references to the cult of Eleusis occurring in the proemium of the first book of Claudian’s Rape of Proserpina. By these two test cases, I try to survey the way in which the vocabulary of the mystery cults is used by Latin poets writing in the 4th century AD, a time punctuated by events which had progressively pushed the mystery cults to the margins of the Empire. In these texts, which might possibly mirror contemporary religious issues—although they are, first and foremost, literary projects shaped by their own models and narrative mechanisms—the mystery ceremony is sometimes likened to a theatrical performance; the emphasis is placed on the collective sensory experience, on the occult nature of these practices, as well as on their etiological aspects and symbolic meaning.

A revista Calíope: Presença clássica entrega à apreciação do leitor seu décimo sexto número, em que todos os que se dedicam aos Estudos Clás- sicos poderão perceber que nos move o empenho em promover o diálogo sobre as línguas e as literaturas da Antiguidade Clássica para além das fronteiras das instituições, das áreas do saber, dos países e até para além dos limites continentais.O presente número conta com textos que apontam em direção à plura- lidade de abordagens e à riqueza temática que a grande área de Estudos Clássicos traz em sua própria essência.O Professor Carlos Antonio Kalil Tannus oferece ao leitor um tex- to que tem por base a Conferência com a qual conquistou o cargo máxi- mo de docência, o de Professor Titular. Seu texto auscuta os corredores palacianos do Portugal do século XV e XVI e perscruta-lhes a expressão mais prestigiada, a literatura novilatina, que, escrita no idioma de Horá- cio, retoma os referentes que aquele Portugal requeria para si.Também foi uma Conferência o núcleo do texto da Professora Jacque- line Fabre-Serris, da Universidade de Lille 3. A Professora Fabre-Serris, por ocasião de sua visita ao Programa de Pós-Graduação em Letras Clás- sicas da USP, foi convidada pelo Programa de Pós-Graduação em Letras Clássicas da UFRJ e pelo Programa de Pós-Graduação em Filosofia da UFRJ para proferir uma conferência acerca da poesia latina augustana de cunho erótico, partindo da leitura proposta por esses poetas da uoluptaslucreciana. A professora privilegiou o tema do conceito de uoluptas em Virgílio, Propércio e Ovídio, oferecendo uma reveladora amostragem do tratamento desse conceito e de seus desdobramentos no recorte temporal e espacial proposto.Os poemas eróticos, mais precisamente as elegias de Tibulo, com- põem o corpus do estudo com o qual a revista Calíope: Presença clássicaconta com colaboração do Professor João Batista Toledo Prado, docen- te de língua e literatura latina da UNESP. O artigo lança luzes renovadas sobre o caráter inventivo de Tibulo a partir de um estudo acerca do trata- mento que o poeta latino dispensa ao objeto da paixão.A filosofia grega, discurso tão prestigiado pela fortuna crítica, é alvo da atenção de dois artigos do presente número de Calíope: Presença clás- sica. O texto do Professor José Carlos Baracat Júnior, professor de língua e literatura grega da UFRGS, enfoca um ponto da vasta obra de Plotino que mostra com clareza inequívoca o que, na obra desse pensador que aprendemos a ter como neoplatônico, demonstra os limites da presença do legado platônico, a partir da releitura do livro X da República.O mesmo livro X da República de Platão é o ponto de partida para a reflexão do Professor Marcus Reis, Doutor em Filosofia pela PUC-Rio, acerca do lugar do poeta na obra de Platão. O estudo pretende promover uma revisão do tema da expulsão do poeta da República de Platão.O Professor Márcio Thamos, docente de língua e literatura latina da UNESP, apresenta um minucioso estudo sobre os sete primeiros versos da Eneida. Desse estudo, resulta, ao fim do texto, uma proposta de tradu- ção que segue os princípios defendidos pelo autor do ensaio e sublinha as particularidades apontadas ali.A tragédia grega faz-se presente neste número da revista Calíope: Presença clássica com o artigo da Professora Tereza Virgínia Ribeiro Bar- bosa, docente de língua e literatura grega da UFMG. A autora tematiza a metatragicidade das Bacantes, de Eurípides, glosando com inquestioná- vel competência a assertiva de Charles Segal, para quem a peça tem por tema a própria tragédia, enquanto ritual dionisíaco.Eurípides continua sendo alvo de estudos no trabalho do Professor Wilson Alves Ribeiro Jr., Mestre em Letras Clássicas pela USP, que em- preendeu a um levantamento referencial dos dados biográficos disponí- veis do tragediógrafo, especialmente no que concerne à questão mace- dônica que estaria, de alguma forma, presente nas tragédias Ifigênia em Aulis e Bacantes.A Professora Zelia de Almeida Cardoso, Professora Titular de língua e literatura latina da USP, brinda-nos com um ensaio onde coloca, com muita clareza, diante do leitor a presença, na obra de vários autores latinos, do binômio comportamental formado pela vida sossegada e pela vida de aventuras, viagens e conflitos. A autora, preocupada com a raiz dessa dualidade, mergulha nas intertextualidades que se podem encontrar nos autores analisados e oferece-nos uma visão privilegiada dessa inquietante questão.A seção de resenhas da revista foi agraciada com o texto do Profes- sor Pedro Paulo de Abreu Funari, Professor Titular de História Antiga da UNICAMP, onde o autor tece comentários críticos à obra Plutarco His- toriador, de Maria Aparecida de Oliveira Silva, publicada em 2006. A re- senha do Professor Pedro Paulo Funari coloca-nos diante da idéia central da obra analisada, e, além disso, mostra-lhe a atualidade, a pertinência e o caráter dialogal com a fortuna crítica dedicada a Plutarco.Finalmente, nós, editores da revista Calíope: Presença clássica, desejamos que o presente número deste que é um dos poucos periódicos do Brasil dedicados aos Estudos Clássicos contribua para o conhecimento mútuo daqueles que se dedicam à nossa área e também para o enriqueci- mento das pesquisas que desenvolvemos.