Relevant bibliographies by topics / Ballads, French History and criticism

Academic literature on the topic 'Ballads, French History and criticism'

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Published: 10 December 2022
Last updated: 29 January 2023

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Journal articles on the topic "Ballads, French History and criticism"

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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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Stanovaïa, Lydia A. "FRANCIEN AS A STUMBLING BLOCK IN HISTORY OF THE FRENCH LANGUAGE." Theoretical and Applied Linguistics, no. 3 (2019): 164–99. http://dx.doi.org/10.22250/2410-7190_2019_5_3_164_199.

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Criticism of the concept of the formation of the French language on the basis of the francien dialect, presented in the works of XIX-XX centuries, has led to the fact that the term and the concept of «Francien» has become a kind of stumbling block in solving many questions of the formation and evolution of the French language. Analysis of the criticism of the traditional history of the French language, of the discussions about the formation of the French language and the role of the Francien dialect in this process, of the questions of the diatopic variation of the French and Old French showed the theoretical and methodological importance of consistently separating the language and writing, dialect and scriptа, text of the work and text of the manuscript. The analysis of the arguments given by the opponents of the Francien dialect and its special role in the history of the French language showed their failure. The selection of the Francien dialect and the Francien scripta as dialect and scripta of Ile-de-France is necessary for an adequate description of the linguistic situation in the Old and middle French periods.
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Miller, Stephen, and Rene Wellek. "A History of Modern Criticism, 1750-1950. Vol. 8, French, Italian and Spanish Criticism, 1900-1950." South Central Review 13, no. 1 (1996): 77. http://dx.doi.org/10.2307/3189934.

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Hart, Thomas R., and Rene Wellek. "A History of Modern Criticism, 1750-1950. Vol. 8, French, Italian and Spanish Criticism, 1900-1950." Comparative Literature 45, no. 4 (1993): 372. http://dx.doi.org/10.2307/1771600.

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McGregor, Andrew. "French Film Criticism and Cultural Hegemony: the Perpetual French ‘Discovery’ of Le Cinéma Des Antipodes." French Cultural Studies 15, no. 2 (June 2004): 158–73. http://dx.doi.org/10.1177/0957155804044095.

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Handyside, Fiona. "Une certaine idée du cinéma français: Contemporary French Cinema Criticism." French Cultural Studies 15, no. 3 (October 2004): 311–18. http://dx.doi.org/10.1177/009715580401500308.

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Sauter, Michael J. "Preaching, a Ponytail, and an Enthusiast: Rethinking the Public Sphere's Subversiveness in Eighteenth-century Prussia." Central European History 37, no. 4 (December 2004): 544–67. http://dx.doi.org/10.1163/1569161043419271.

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Recent work on the eighteenth-century public sphere has recast the debate about the Enlightenment's responsibility for the French Revolution. Historians have argued that the print public sphere and its concomitant forms of sociability, such as salons, reading clubs, and coffee houses created social spaces from which criticism of the state emerged. This elite criticism corroded the Old Regime's foundations and the revolutionary crash of 1789, if it was not directly the intellectuals' fault, was sufficiently related to their mental labors to show that enlightened publicness had consequences.
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Corredor, Eva L. "Book Review: A History of Modern Criticism: 1750-1950, Volume 8: French, Italian, and Spanish Criticism, 1900-1950." Philosophy and Literature 20, no. 1 (1996): 260–62. http://dx.doi.org/10.1353/phl.1996.0031.

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McCusker, Maeve. "Authorising a tradition: Theory, criticism and (self-)canonisation in French Caribbean writing." French Cultural Studies 24, no. 1 (January 29, 2013): 77–92. http://dx.doi.org/10.1177/0957155812464162.

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Hill, Harvey. "French Politics and Alfred Loisy's Modernism." Church History 67, no. 3 (September 1998): 521–36. http://dx.doi.org/10.2307/3170944.

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The first decade of the twentieth century was a time of great theological ferment in the Catholic church in France. In order to reconcile Catholic teaching with the latest findings of historical criticism, Alfred Loisy (1857–1940) and other “modernists” proposed sweeping reforms in the Church. From the perspective of Rome, however, these reforms seemed to threaten the very heart of the faith. In Roman eyes, Loisy and his theological allies had adopted the scientific methods of the anticlerical university. Like their secular colleagues but less openly, they then used these methods to subvert the Catholic tradition and the institutional structure of the church. The Vatican defended its embattled faith with a series of measures designed to crush this movement.
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Dissertations / Theses on the topic "Ballads, French History and criticism"

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Clavero, Dolores. "Génesis y evolución de los temas épicos nacionales del romancero viejo." Thesis, University of British Columbia, 1987. http://hdl.handle.net/2429/26974.

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Although controversial, the theory that the Romancero (ballad genre) resulted from the disintegration of cantares de gesta in the late Middle Ages is generally accepted in current Spanish literary scholarship. The romances (ballads) based on epic themes of Castilian history occupy a key position in this theory, since they are considered to be the oldest and the closest to the epics from which the Romancero originated. In an attempt to justify or to disprove this claim, the present study investigates the thematic contents of the romances viejos based on Castilian subjects. Utilising the edition of old romances gathered by Ferdinand Wolf and Conrad Hofmann in their Primavera y flor de romances, these romances are analysed, and compared on the one hand with the extant epic poems, and on the other with the chronicle texts in which poems no longer extant were prosified. The romances chosen for analysis are from the cycles of the following heroes: Bernardo del Carpio (Chapter I), Fernán González (Chapter II), Infantes de Lara (Chapter III) and El Cid (Chapters IV-VII). The cycle of El Cid is divided into the separate categories of Mocedades de Rodrigo (Chapter IV), the partition of the kingdoms and resulting fratricidal wars (Chapter V), the siege of Zamora (Chapter VI), and the conquest of Valencia and punishment of the Infantes de Carridn (Chapter VII). The evidence acquired by this reanalysis of the romances and their possible sources allows the following conclusions: 1. There is a diachronic continuity in the elaboration of epic texts, as seen in the romances of Fernán González, the Infantes de Lara and the Cid series. Some of these reelaborations were in all probability in prose while others were in verse. In the latter case, a tendency is demonstrated toward the restriction of the narrative to a few popular motifs, and in particular that of the confrontation between king and vassal. The authors of the romances took up this confrontation motif in creating some of the most popular ballads of the genre. 2. There is a diachronic continuity in the transmission of the original, unelaborated epic material, both in oral and in written form. This conservatism is seen in the romances of Bernardo del Carpio. and in those dealing with the partition of the kingdoms and the siege of Zamora. 3. There was clearly erudite participation of chroniclers and others in the reworking of epic material, as seen in the romances of the Infantes de Lara and the Cid series. Some of this reworking involved the favouring of certain epic poems which best reflected the chroniclers' historiographical points of view, but in other cases these unknown authors even created new episodes or reinterpreted ambiguous points to give a new turn to the old narratives. 4. In the process of transmission of epic narratives, some prose texts were written by adapting chronicle material to make it more appealing to a popular audience. The present investigation has found evidence of the creation of many old epic romances by resort to these popular adaptations. Thus, chronicle sources appear to be of greater importance in the origin and development of the romances viejos, and in the transmission of epic themes, than current theory allows.
Arts, Faculty of
French, Hispanic, and Italian Studies, Department of
Graduate
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2

Le, Cocq Jonathan. "French lute-song, 1529-1643." Thesis, University of Oxford, 1997. https://ora.ox.ac.uk/objects/uuid:1a712369-836c-45e4-9f84-91045f297b3f.

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A study of French-texted solo songs and duets with lute or guitar accompaniment notated in tablature, dating from the sixteenth and seventeenth centuries. Connected repertoires include the Parisian chanson, psalm, voix de ville, dialogue, and air de cour. Sources are examined in terms of their background, composers represented in them, relationship to concordant and other musical sources, repertoire, and musical conception. Foreign and manuscript sources are included. Literary references indicating the status of sixteenth-century lute-song, its importance to humanists (including its role in the Académie de Poésie et de Musique), and its position in theatrical works, are considered. Issues of notation, musical and poetic form, prosody, rhythm, ornamentation, lute pitch and tuning, relationship to polyphonic versions, to the ballet de cour, to dance forms, and to solo instrumental styles such as stile brisé are examined. Early references to continuo practice and to the theorbo are noted. Several arguments are developed, including 1. that the sixteenth-century Le Roy publications were conceived primarily as solo lute music, 2. that from the late sixteenth-century onwards lute-songs were initially conceived as melody-bass outlines, and may to an extent be regarded as continuo realisations, and 3. that rhythmic features of the air de cour commonly related to the influence of musique mesurée may also be explained with reference to earlier attempts to adapt the voix de ville to humanist goals, and also to the influence of the Italian villanella. Includes tables and bibliographies. Musical examples, facsimiles, and transcriptions are included in a separate volume.
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McMahon, Orlene Denice. "Listening to the French new wave : the film music and composers of postwar French art cinema." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.610716.

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Stevenson, Harald Edward. "The French and neo-Latin epigram (1530-1560)." Thesis, University of Cambridge, 2014. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.648873.

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Roth, Janet Ilene. "The Romances of the Sephardim: a Reflection of Sephardic History, Culture and Tradition." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc504106/.

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This work is a comprehensive study of the Sephardic Romancero and the historical, political and cultural elements that have contributed to the maintenance of the romance tradition in Sephardic life. The investigation begins with an overview of the past studies of the Sephardic Romancero and is followed by a survey of the history of the Sephardic Jews, both in Spain and in the Spanish Diaspora. An historical approach to the literary and linguistic aspects of the Sephardic Romancero follows and this approach is then applied to a musical study. The concluding chapter discusses the uses and functions of the romancero in the Sephardic world, particularly among the Sephardic women and the social processes that have contributed to the maintenance of the romance tradition in Sephardic culture.
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Samball, Michael L. (Michael Loran). "The Influence of Jazz on French Solo Trombone Repertory." Thesis, North Texas State University, 1987. https://digital.library.unt.edu/ark:/67531/metadc331843/.

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This lecture-recital investigated the lineage of French composers who were influenced by jazz during the first half of the twentieth century, with a focus on compositions from the solo trombone repertory. Historically, French composers, more than those of other European countries, showed an early affinity for the artistic merits of America's jazz. This predilection for the elements of jazz could be seen in the selected orchestral works of Les Six and the solo compositions of the Paris Conservatory composers. An examination of the skills of major jazz trombonists early in the twentieth century showed that idioms resulting from their unique abilities were gradually assimilated into orchestral and solo repertory. Orchestral works by Satie, Milhaud, and Ravel works showing jazz traits were investigated. Further, an expose of the solo trombone works emanating from the Paris Conservatory was presented. Although written documentation is limited, comparisons between early recorded jazz trombone solos and compositions for orchestral and solo trombone was established. These comparisons were made on the basis of idiomatic jazz elements such as high-tessitura ballad melodies, blue tonalities and harmonies, syncopated rhythms, and many of the aspects of style associated with improvisation. All major French solo trombone repertory to mid-century was surveyed and examined.
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Rivest, Mélanie. "Nouveau théatre et nouveau roman : la quête d'un art perdu." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79975.

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The histories of the Theater and of the Novel have rarely been linked to one another. Nevertheless, studying the evolution of the two arts as of the seventeenth century, allows us to pinpoint and define the sources of contamination. It is more precisely in the nineteenth century that the history of both the Theater and the Novel became envenomed, going from fresh influences to disloyal relations during which time the Theater faded by admitting romanesque realism to take the stage. By denying its capacity to reveal the "real", the Theater failed its possibilities and let its art be disinterested from the theatricality showing all that should have been evoked. Men of theater participated at recapturing the theatrical art so to regain confidence on stage and near 1950, an avant-garde movement flourished to favor a renewal of vitality for the theater with a new language which utilizes all of what the scene could provoke. This "New Theater" is soon followed by a similar romanesque enterprise, the "New Novel", a group of novelists also wishing to acknowledge the right to explore a new style of writing.
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Schmid, William A. (William Albert). "An Analysis of Elements of Jazz Style in Contemporary French Trumpet Literature." Thesis, University of North Texas, 1991. https://digital.library.unt.edu/ark:/67531/metadc332815/.

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French trumpet works comprise a large portion of the contemporary standard repertoire for the instrument, and they frequently present unique stylistic and interpretive challenges to performers. The study establishes the influence of jazz upon Henri Tomasi, André Jolivet, Eugène Bozza and Jacques Ibert in their works for solo trumpet. Idiomatic elements of jazz style are identified and discussed in terms of performance practice considerations for modern-day trumpeters.
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Grange, Huw Robert. "Sublime and abject bodies : saints and monsters in late medieval French and Occitan hagiography." Thesis, University of Cambridge, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.607654.

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L'Hostis, Aurelie Marie. "Literature and historical consciousness in the French Caribbean." Thesis, University of Cambridge, 2011. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.609280.

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Books on the topic "Ballads, French History and criticism"

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Roubaud, Jacques. La ballade et le chant royal. Paris: Belles Lettres, 1998.

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Georges, Moustaki, ed. Le mot et la note: Poésie et chanson, un cousinage compliqué. Paris]: Editions de l'Amandier, 2014.

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Ballade n'est pas morte: Étude sur la pratique de la ballade médiévale depuis 1850. Paris: Diffusion Les Belles lettres, 1996.

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Singing the French Revolution: Popular culture and politics, 1787-1799. Ithaca: Cornell University Press, 1996.

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Chants de liberté en 1848. Paris, France: L'Harmattan, 2001.

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Aubé, Jacques. Chanson et politique au Québec: 1960-1980. Montréal: Editions Tryptyque, 1990.

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Die öffentliche Muse: Studien zur Versdichtung und zum Lied in Frankreich (1815-1851). München: W. Fink, 1986.

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Donat, Christine. Zwischen Reform und Revolte: Politisches und soziales Chanson während der Julimonarchie und der Zweiten Republik. Bonn: Romanistischer Verlag, 1994.

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Sarrazin, Martine. Bouquet d'irrévérences: À propos de Georges Brassens et de son oeuvre. Lévis, Québec: Éditions Aster, 1991.

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Alltagswelt und Selbsterfahrung: Ballade und Testament bei Deschamps und Villon. München: W. Fink, 1986.

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Book chapters on the topic "Ballads, French History and criticism"

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Simpson, David. "The French Revolution." In The Cambridge History of Literary Criticism, 49–71. Cambridge University Press, 2000. http://dx.doi.org/10.1017/chol9780521300100.005.

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Moriarty, Michael. "French criticism in the seventeenth century." In The Cambridge History of Literary Criticism, 555–65. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.059.

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Mordey, Delphine. "Critical Battlegrounds in the French Third Republic." In The Cambridge History of Music Criticism, 344–70. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.019.

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Pottinger, Mark A. "French Music Criticism in the Nineteenth Century, 1789–1870." In The Cambridge History of Music Criticism, 127–46. Cambridge University Press, 2019. http://dx.doi.org/10.1017/9781139795425.008.

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Bowie, Andrew. "The ‘German–French’ debate: critical theory, hermeneutics and deconstruction." In The Cambridge History of Literary Criticism, 121–32. Cambridge University Press, 2001. http://dx.doi.org/10.1017/chol9780521300148.011.

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Brownlee, Kevin, Tony Hunt, Ian Johnson, Nigel F. Palmer, and James Simpson. "Vernacular literary consciousnessc. 1100–c. 1500: French, German and English evidence." In The Cambridge History of Literary Criticism, 422–71. Cambridge University Press, 2005. http://dx.doi.org/10.1017/chol9780521300070.017.

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Moss, Ann. "Literary imitation in the sixteenth century: writers and readers, Latin and French." In The Cambridge History of Literary Criticism, 107–18. Cambridge University Press, 1999. http://dx.doi.org/10.1017/chol9780521300087.011.

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DiSavino, Elizabeth. "8. Introduction by Katherine Jackson French." In Katherine Jackson French, 141–44. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0009.

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This little volume has a modest, though distinctly unique, purpose—the securing of these quaint renditions of the old English and Scottish ballads for future generations; these, journeying across the seas to Virginia and the Carolinas, were later hidden away in the Kentucky hills for 150 years. They are peculiarly Anglo-American, most characteristic of the traditional history and spirit of their composers of the fourteenth, fifteenth, and sixteenth centuries, and likewise, after generations of contact, made to be a part of the blood, bone, and sinew of the settlers in the remote land. Though told in their own homely household speech and illustrative of their own crude life, withal they are poems of the highest art—because they are not artful. They have lived because they were loved, and, with this excuse for existence, they have played for ages on free, generous, and impulsive minds. This, then, becomes an immemorial record of sentiment, loyalty, principle—a conserver of their love for poetry of song. Ballads are then an immemorial record of the pure ancestry of the singer and an undoubted proof of the sturdiness and truth of song in having been sufficient for another period of long yesterdays....
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DiSavino, Elizabeth. "Young Lady from London." In Katherine Jackson French, 14–25. University Press of Kentucky, 2020. http://dx.doi.org/10.5810/kentucky/9780813178523.003.0003.

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Jackson teaches for a year, and then attends Ohio Wesleyan University, where she excels academically. Her personality emerges from records of her activities, and it’s clear she is an energetic and enterprising young woman. She earns not the usual degree women did, but the regular B.A. degree, graduating with the same credentials men did. Jackson teaches, then returns home when her father dies. She returns to Ohio Weslyan and earns a masters degree. She attends Columbia University and earns a Ph.D., only the second woman in the history of the college to do so. Her life as a female Ph.D. student and Southerner in a great Northern city is discussed. While at Columbia, Jackson studies balladry in her Spanish Literature class, and hears about ballads being sung in the Kentucky hills from two classmates, who in turn learned of this from two lecturers from Berea College.
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Bruyère, Elisabeth. "BALZAC AND THE CRITICISM OF THE FRENCH CIVIL CODE IN THE FIRST HALF OF THE 19th CENTURY." In History of Law and Other Humanities, 329–36. Dykinson, 2019. http://dx.doi.org/10.2307/j.ctvr7f8t1.24.

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Conference papers on the topic "Ballads, French History and criticism"

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Макарьев, И. В. "Friedrich Schlegel's understanding of history in the context of the philosophy of history of the XX – early XXI centuries." 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.2021.83.19.061.

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в философии истории ХХ в. можно выделить двоякую тенденцию. С одной стороны, классическая философия истории подвергается радикальной критике (в немецкой философской герменевтике, французском структурализме и постструктурализме, англоязычной аналитической философии), а с другой стороны, она продолжается и развивается в различных концепциях и теориях («столкновение цивилизаций» С. Хантингтона, «конец истории» Ф. Фукуямы). Такая двойственность (критика философии истории и ее развитие) не является характеристикой только нашей современности. Выдающийся немецкий филолог и философ Фридрих Шлегель (1772–1829) в ситуации философской революции рубежа XVIII–XIX вв. постарался соединить эти две позиции в одну, что и стало предметом анализа автора статьи. in the philosophy of the history of the twentieth century, a twofold tendency can be distinguished. On the one hand, the classical philosophy of history is subjected to radical criticism (in German philosophical hermeneutics, French structuralism and poststructuralism, English-speaking analytical philosophy), and on the other hand, it continues and develops in various concepts and theories (S. Huntington's "clash of civilizations", "end of history" F. Fukuyama). Such duality (criticism of the philosophy of history and its development) is not a characteristic only of our modernity. The outstanding German philologist and philosopher Friedrich Schlegel (1772–1829), in the situation of the philosophical revolution at the turn of the 18th–19th centuries, tried to combine these two positions into one, , which became the subject of the analysis of the author of the article.
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