Academic literature on the topic 'Balkar Epic poetry'

The paper examines Uskok poems, especially those dedicated to the Uskoks of Senj, primarily from the point of view of the relationship between epic poems and history. The people of Senj worked from 1537 to 1617, fighting as paid soldiers or volunteers on the side of the Austrian Monarchy, but also going on campaigns on their own, fighting almost to the same extent with the Turkish invaders and the Christians from the wider region. In contrast to the relatively short period of eight decades of their historical presence, the people of Senj have survived in the oral epics in a very wide Balkan area over a long period of time covering a wide anachronistic field. The paper presents an assumption that the Uskoks of Senj were a warrior-patriarchal world, one that has created and spread oral epics. There were many events in their real lives that were themed in the oral epics. In addition, those who jumped from the mainland to the Austrian territory and settled in Senj probably carried some songs/ poems in their spiritual baggage, primarily those about Hajduks. And they were ready to create new ones. Thus, the first known records are proof that the early poetic narrative was suitable for depicting the Uskoks of Senj, and then that it survived in time and space. In certain interpretations, to which the second part of the work is dedicated, it is shown on the basis of anthological examples of poems, how the mythical, ritual and the historical intersect in the poetics of oral epic poetry; how the anachronistic field of a particular poem is formed, whether it is about gathering "power and dominance" in wedding processions, about concentrating heroes around certain events, personalities or spaces important for national history, or about opposing worthy opponents, and how it affects the aesthetic values and meanings that are shaped in the poems; how different genre features intertwine in such poems (epic and epic-lyric poetry, for example); and form complex and witty, full of twists novelistic plots. All this contributes to the meaning of the epic story: it seems that the past of one's own community is brought into a meaningful, paradigmatic order, which can serve as a basis for future actions.

This article is based on folklore studies of oral epic tradition in the Serb-Croat (or, depending on territory, Croat-Serbian) language which was common to the majority of former Yugoslavia population (in fact, all but Slovenes and Macedonians). The corpus of 1200 oral epic songs were chosen among other folklore genres because of their strong ideological position which made them the only form of oral literature where town appears as a human habitation clearly defined in time and space. In all other forms of traditional culture, the urban space is imagined and represented either as a miraculous or elfin place (as in fairy-tales, ritual poetry, short literary forms, et al), or as a notion with a name but without a content (as in etiological and other legends). In contrast, the epic poetry builds the image of urban space.

In "The Milman Parry Collection of Oral Literature" on Harvard University out of 131 epic songs recorded from Milovan Vojicic, several are dedicated to the popular theme of the Serbian and Balkan epic - the Kosovo Battle 1389 (Prince Lazar and Milos Obilic, The Defeat of Kosovo, ?he Kosovo Tragedy, The Kosovo Field after the Battle, The Death of Mother Jugovici, The Death of Pavle Orlovic at Kosovo, noted in 1933-34 in Nevesinje). The paper examines Vojicic?s Kosovo songs from the perspective of textual, stylistic and rhetoric criticism, poetics, and memory studies. An analysis of Milovan Vojicic?s Kosovo epic poetry leaves an impression of an active singer who has internalised tradition, and on this foundation composes new works in the traditional manner and "in the folk style". Vojicic is a literate singer who was familiar with the collections of Vuk Karadzic, Bogoljub Petranovic, the Matica Hrvatska, and the songbooks of the time. He did not hesitate to remake or rewrite songs from printed collections or periodicals, which means that his understanding of authorship was in the traditional spirit. Vojicic?s compilations lie on that delicate line between oral traditional and modern literary poetry; he is, naturally, not alone in this double role - the majority of the gusle-players who were his contemporaries could be similarly described. In the body of Kosovo epic poetry Vojicic?s songs stand out (The Death of Pavle Orlovic at Kosovo, The Kosovo Tragedy), where he abandons the printed model and achieves the kind of originality which is in fact part of tradition itself. Vojicic highly valued oral tradition and the opportunity to perform it, as part of the process of creating an image of himself as a folk gusle-player in modern terms. For this reason, his repertoire includes both old and new themes. They are sung according to the epic standard, but also in accordance with the modern standard of epic semi-literary works. In Vojicic?s world, oral tradition is an important component in viewing the historical past, and in perceiving reality and the singer?s place in it. The epic is a form of oral memory and the guardian of remembrance of past events; however it also provides a space for surveying and commenting on modern historical situations in a popularly accepted manner, at times in an ideological key, as seen in songs which gather together major historical events. This perception of the epic tradition and history is mirrored in the heterogeneity of the corpus and in the repertoire of songs, and is all a consequence of vastly changed conditions of origin, existence and acceptance, i.e. the consumption of oral works in the first half of the 20th century, in a process of interaction between literature and folklore.

It is about one of the literary works discussed numerous times and in many literary dimensions, both national and international, that looks into the efforts, phenomena, history, and naturalness of the Albanian popular culture in front of the great European cultures, particularly those of Balkan countries. The great writer Kadare, who had entered through the great gates in the most important national and historical events and had penetrated very deeply into the social life and the psychology of his people, indeed, would not happen to be by chance and unexpectedly in the rich field of Albanian folk creativity. In the process of research, popular creativity remains a life-force and inspiration passed down from one generation to another. As he puts it "When you browse folk poetry, you experience a sense of eternity, reality, space. You want to live, to love, to have children, to be a mother, to be a father, to be a son-in-law, to go to war, to return from her, even to die as in a song”. Culture, poetry and popular prose in Albanian literature are emphasized in these writings, in particular, in those that have a national character, and thereby even communicate freely and strongly with artistic literature like nowhere else.

Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’Esprit
This work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit

Ce travail construit une dantologie transcendantale fondée sur la fécondité et la légitimité du commentarisme français tout au long du dix-neuvième siècle. Le nom et l’œuvre de Dante progressent dans la vie de l’esprit et de la culture après la sidération de la Révolution, avec la naissance, l’apogée, le déclin et les suites métamorphosées du Romantisme. Un amour soumis à la loi de la divisibilité de quelques fragments de la Divine Comédie se transforme graduellement en une première dantologie. Des figures archétypiques issues de domaines hétérogènes donnent une armature conceptuelle et poétique à cette double spirale entrecroisée : la lecture des textes de Dante éclairée par la critique contemporaine ; et la compréhension des morphologies divergentes du Romantisme en la diversité de ses moments. Dante est un penseur de l’histoire, des enjeux politiques, du christianisme jusqu’en ses limites internes et externes, du fait initiatique, de la différence sexuelle dans laquelle UN POETE SE TRANSHUMANISE PARCE QU’IL EST AIME PAR BEATRICE APRES AVOIR ETE GUIDE PAR VIRGILE. Chateaubriand, Balzac, Nerval et Hugo sont les parangons d’une lecture tournée vers un usage libre, infidèle mais hautement créateur. Fauriel, Ozanam et Aroux représentent la volonté d’une critique raisonnée de la doctrine philosophique et théologique dantesque. Dante et son œuvre s’inscrivent au cœur des mille agitations d’un dix-neuvième siècle qui reconfigure la France et l’Europe. La rémanence de l’espérance du voyageur cherchant à revoir les étoiles et à contempler la Trinité influence les réminiscences du progressisme plurivoque. La figure d’airain du poète acrimonieux et vengeur accompagne les esprits désenchantés. Celui qui devient l’égal des dieux après avoir affronté une Dame qui tue autant qu’elle ennoblit inspire les mystiques et ceux qui cherchent une nouvelle spiritualité. Le chantre de la foi, revenu dans le giron de l’Église après la conversion de son amour, réchauffe les catholiques. L’homme qui dédouble les pouvoirs comme les soleils de Rome devient un interlocuteur privilégié après l’Empire. Nous ne cherchons pas une liste exhaustive, thématique ou chronologique, notionnelle ou par auteur. À travers des exemples ayant valeur de paradigmes, nous montrons comment cette union de connaissance et d’usage créateur construit des FIGURES de Dante qui entrent en écho avec les inquiétudes et les espérances, les attentes et les angoisses, du Romantisme. Alors Dante et son « Poème Sacré » ne sont plus seulement des occasions de références. Ils deviennent un MYTHE au cœur du rapport entre mystique religieuse et initiation par l’Éternel-Féminin, engagement dans l’histoire et culte de la Beauté, aspiration à un sursaut régénérateur du monde et conscience amère du tragique de la scission entre l’Idéal et le Réel, mythe du Tombeau et promesse d’élévation spirituelle. Parmi les voies possibles, NOUS DEFENDONS UN DANTE SE VOUANT AU CULTE INITIATIQUE DES TOMBEAUX ET DES « DAMES QUI ONT L’INTELLECT D’AMOUR. » Il appartient à un catholicisme élargi, dilaté – le catholicisme transcendantal de Maistre qui assume son ésotérisme arcane fondé sur la polysémie des textes et la liberté accordée par Dante au commentaire. L’auteur de la Divine Comédie s’inscrit dans un Romantisme de plus en plus sombre, antimoderne, à la fois POUVOIR D’ANAMNESE D’UNE GRANDEUR ABOLIE ET PROPHETE D’UN MONDE EN GERMINATION, qui reprend ses thèmes : les questions de la laïcité, de la langue pour le peuple contre celle des dieux, de l’aspiration à l’idéal et à la communication du visible et de l’invisible, de la puissance métaphysique de la Dame. Notre Dante est celui qui doit choisir « l’autre voie », celle de la catabase nécessaire avant l’anabase ; et qui doit faire preuve de la plus grande piété envers les ombres. Alors ce Dante et ce Romantisme « ne descendent pas sans raison dans l’abîme » : ils y trouvent, notamment par la puissance de la parole, la promesse de l’Esprit
This work builds a transcendental dantology based on a leibnizian paradigm of a perennial philosophy. Dante's name and work get on gradually in the life of spirit and French culture, after the astonishment of the Revolution, with the birth, the apogee, the decline and the transformed sequels of Romanticism. One love submitted to the rule of divisibility in direction of some fragments of the Divine Comedy turns into a first dantology. Archetypal figures coming from heterogeneous domains provide a conceptual and poetical framework at this double-crossed spiral: the reading of Dante's texts enlightened by present-day criticism; and the understanding of the divergent morphologies of the various moments of Romanticism. Dante appears as a thinker of history, political stakes, Christianism even in his internal and external limits, initiatory fact, sexual difference in which A POET BECOMES TRANSHUMAN THANKS TO BEATRICE'S LOVE AND VIRGIL'S GUIDING. Chateaubriand, Balzac, Nerval and Hugo are the paragons of a reading going to a free use, inaccurate but highly creative. Fauriel, Ozanam and Aroux represent the quest of a reasoned criticism of the philosophical and theological dantean doctrine. Dante and his work got included in the heart of thousands occasions of unrest of a nineteenth century that reconfigure France and Europe. The persistence of the hope of a traveller attempting to see once more the stars and contemplate the Trinity influence the reminiscences of progressivism in many aspects. The brazen figure of an acrimonious and revengeful poet goes with disenchanted minds. The one that becomes a companion of the other gods after struggling with an ennobling and killing Lady inspire the mystics and those who look for a new spirituality. The faith apologist, once he has got back into the bosom of the Church thanks to the conversion of his love, warms up the Catholics. The man who divides into two the powers as the suns of Rome turns to a favoured speaker after the Empire. We don't look for an exhaustive, thematical, notional, chronological or nominal list. But, through examples as paradigms, it's shown how that union between knowledge and creative use builds, in less than a century, some figures of Dante that echo with the concerns and hopes, expectations and anguishes, of Romanticism. In this way Dante and his "Sacred Poem" aren't reductive to citations occasions. They become a myth at the heart of the relation between religious mystic and initiation thanks to the Eternal-Feminine, commitment in history and cult of Beauty, craving for a world-wide regenerative burst and being aware of the tragic scission between Ideal and Real, myth of the Tomb and promise of spiritual elevation. Among the various possibilities, WE DEFEND A DANTE DEVOTED TO THE INITIATORY CULT OF THE SEPULCHRE AND THE "LADIES WHO GOT THE INTELLECT OF LOVE." He belongs to a broadened, dilated Catholicism - the transcendental Catholicism by Maistre, that takes on his Arcanum esotericism based on the polysemy of the texts and the freedom granted by Dante to the commentary. The author of the Divine Comedy takes place in a more and more gloomy, antimodernist, Romanticism; BOTH THE ANAMNESIS POWER OF AN ABOLISHED GREATNESS AND THE PROPHET FOR WORLD IN GERMINATION that picks his themes up again: questions of laicity, popular language in front of the gods 'one, aspiration at the Ideal and at the link between visible and invisible, metaphysical power of the Lady. Our Dante is the one who has to take care of "the other path", the catabasis before the anabases; and who has to show up the highest devotion toward the shadows. Then, this Dante and this Romanticism don't journey to the "deep randomly": here they find, in particular thanks to the power of Speech, the promise of the Spirit

Chapter 3 is about Carl Loewe, a little-known musician who undertook an unprecedented and remarkable task: improvising entire songs, both the melody and the accompaniment, on poems given to him by the audience. This chapter reconstructs Loewe’s methods for performing this difficult feat and describes the cultural impetuses that motivated it. I propose that Loewe’s improvisations, performed mainly on a series of concert tours he undertook in the 1830s, condensed a number of independent cultural strains—the kapellmeister’s fluency in keyboard improvisation, the practice of touring virtuosos, the literary cult of poetic improvisers, and the genre theory of the ballad, which described it as a species of epic or bardic narration that was understood as improvisatory in character.

Of Mahler’s Des Knaben Wunderhorn songs, eighteen possess the characteristics traditionally associated with the ballad as defined by Goethe: telling a story that passes through time with a discrete beginning, middle, and end that uses any combination of epic, dramatic, and lyrical narrative voices, excepting the purely lyrical. Mahler utilised numerous poetic and musical methods to bring these stories to life in his ballads, one of the most unique being the use of traditional song forms as a device to convey the overarching narrative. At his most complex, Mahler was forced to abandon the traditional formal models, creating ballads that unfold like miniature scenas to best convey the narrative material at hand. With his ballads from Des Knaben Wunderhorn, Mahler refashioned tools that song composers had used for over a century, as a further layer of narrative reinforcement, tangling the old with the new, and modernising by way of nostalgia.

This chapter discusses William Blake's treatment of deep time in his works, particularly in Songs of Innocence and Experience. It examines Blake's “ballad culture” in greater detail, which encompasses not only the echoes of popular song and the vernacular meters but also his concern with oral composition, his poetic investigation of earlier stages of society, and even his technique of illustration. The chapter then elaborates the six topoi associated with the ballad tradition: the “rude age” of early humanity, conjectural history, the precedent of Homer, the origins of art, survivals, and human species identity. These topoi create an interface between ballad literature and human prehistory, or species time. The chapter then returns to Blake to show how these topoi from the ballad tradition informed Blake's reflections on time, scale, and human antiquity in his later mythopoeic epics.

Abstract A conventionalized discourse type. The term has traditionally been employed in a primarily classificatory sense to designate a literary or folkloric or general discursive category, such as sonnet, legend, oration, or greeting; but recent perspectives have been oriented more toward communicative practice than typology, viewing genre as an orienting framework for the production and interpretation of discourse. Classification has been a concern of literary and rhetorical theory since classical antiquity and has figured prominently in philologically oriented studies of literary history, with an emphasis throughout on the culturally valorized, canonically sanctioned forms of literature: tragedy, comedy, epic, lyric, and such more-modern forms as the novel. The philological focus of FOLKLORE study, beginning in the late eighteenth century, in turn gave genre a prominent place as an organizing concept in that field of inquiry. Here, too, the emphasis has been on classic genres: Marchen, legend, ballad, lyric folksong, PROVERB, and RIDDLE. (See also Folktale; Oral Poetry; Song.) Genre and classification have been central preoccupations in folklore, shaping frameworks for the collection, archiving, teaching, and scholarly study of folklore.