Academic literature on the topic 'English poetry – French influences'
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Journal articles on the topic "English poetry – French influences"
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Sarah Lee, Sze Wah. "Anglo-French Poetic Exchanges in the Little Magazines, 1908–1914." Modernist Cultures 16, no. 3 (August 2021): 340–66. http://dx.doi.org/10.3366/mod.2021.0338.
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This article demonstrates the extent and significance of exchange between English and French poets in the years leading up to World War I, a crucial period for the development of modern Anglophone poetry. Through archival research, I trace the growing interest in French poetry of Imagist poets F. S. Flint, Ezra Pound and Richard Aldington, exhibited in various little magazines including the New Age, Poetry Review, Poetry and Drama, Poetry, the New Freewoman and the Egoist. Moreover, I show that such interest was reciprocated by contemporary French poets, notably Henri-Martin Barzun and Guillaume Apollinaire, who published works by English poets in their respective little magazines Poème et Drame and Les Soirées de Paris. This suggests that not only were modern English poets influenced by their French counterparts, but they were also given a voice in the Francophone artistic world, resulting in a unique moment of cross-channel poetic exchange before the war.
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VELYCHKO, M., and O. BRATEL. "The role of Andaluzian poetry in the formation and development of the lyrics of the Provencal troubadours." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 45–48. http://dx.doi.org/10.17721/1728-242x.2020.26.45-48.
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In the review article the theories of the Arabic origin of West European chivalrous poetry were analyzed. The article deals with the problem of the direct interaction between Arabic and European literary traditions, in particular, the probability of the impact of the Arab-Spanish strophic poetry on Provencal troubadour's lyrics and the possibility of the influence of Andalusian poetry on Spanish and Provencal. So that it is established that al-Andalus was a multilingual society in which the Andalusi Romance dialects were spoken and written alongside Arabic. In Europe, and from scholars working in departments of modern national languages, this usually means the discussion of what it means to write in Middle English, or German, or French instead of Latin. The Andalusian poets could easily convey in Romance the motives and themes inherent in Arabic classical literature, and with the help of the Arabic language they expressed elements of Roman folk poetry. The analysis of various researches showed that the issue of the historical and geographical formation and development of Arab-Spanish poetry during the Middle Ages were studied by Arab and European sceintists of past centuries, as well as by the modern literary scientists. Modern studies of the Arab-Spanish medieval stanza do not deny the existence of an interaction between European and Arabic lyrics, but the role of this interaction on the scale of the history of world literature remains unclear. Lyrics of the troubadours of the 11th–14th centuries was a unique synthesis of many literary elements of church Latin poetry, folk poetry and Arab influences, and strongly influenced on the history of Italian, Spanish, English, Portuguese, German literature.
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Sokolova, Alla. "The Court Culture in France, Italy and England in 16-17th Centuries: Interaction and Mutual Influence." Journal of History Culture and Art Research 9, no. 4 (December 24, 2020): 134. http://dx.doi.org/10.7596/taksad.v9i4.2958.
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<p>The article examines the traditions of French court ballet, which are rooted in early medieval Italian musical and theatrical performances, as well as the traditions of the medieval carnival. The functional features of the French court ballet are revealed. French ballet is viewed through the prism of a synthesized art form: dance, music, poetry and complex scenography. It is specified that French ballet as an independent genre was formed in the era of Queen Catherine de Medici.</p><p>It was revealed that thanks to the skill and professionalism of choreographers of both French and Italian descent, the French court ballet reached its peak in the first half of the seventeenth century.</p><p>It was determined that the court ballet was becoming a cultural and political instrument that raised the status of France in Europe, served to strengthen the authority of the French monarch, and was a means of uniting the French monarchy and the people. Despite significant financial costs, the political and cultural feasibility of staging court ballets exceeded the economic feasibility.</p><p>An analogy is drawn with the English court Мasque. It is substantiated that the English court Masque was based on the traditions of Italian intermedio and French court ballet. Thus, English stage designers adopted the experience of Italian stage designers. Dances of Italian origin were an integral part of Masque in England. Choreography in Masque was created by French and Italian choreographers.</p><p>It has been proven that English culture was influenced by continental culture, which contributed to the formation of a common cultural space.</p><p>It is substantiated that the genre of French ballet, Italian intermedio and English Masque were not a high art, but over time, having undergone a transformation, they evolved into new forms and genres.</p>
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Van der Mescht, H. "Die agtergrond en ontstaansgeskiedenis van Hubert du Plessis se Duitse en Franse liedere." Literator 24, no. 2 (August 1, 2003): 125–44. http://dx.doi.org/10.4102/lit.v24i2.294.
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The background and genesis of Hubert du Plessis’s German and French songs On 7 June 2002 the South African composer Hubert du Plessis turned 80. Among his 77 art songs there are (apart from songs in Afrikaans, Dutch and English) eleven on German texts and one on a French text. The aim of this article is to investigate the genesis of these German and French songs. Du Plessis was influenced by his second cousin, the Afrikaans poet Barend J. Toerien, who lived in the same residence as Du Plessis at the University of Stellenbosch where they studied in the early 1940s. Toerien introduced Du Plessis to the work of Rilke, of whose poetry Du Plessis later set to music “Herbst”. Du Plessis’s ten Morgenstern songs were inspired by a chance gift of a Morgenstern volume from Susanne Stark-Schwietering, a student in Grahamstown where Du Plessis taught at Rhodes University College (1944-1951). During his studies in London (1951-1954) Du Plessis also received a volume of Morgenstern poetry from Howard Ferguson in 1951. The choice of French verses from Solomon’s Song of Songs was influenced by the advice of Hilda de Wet (Stellenbosch, 1966). It is notable that Du Plessis’s main composition teachers, William Bell, Friedrich Hartmann and Alan Bush, had practically no influence on the choice of the texts of his German and French songs.
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Padel, Ruth. "Homer's Reader: A reading of George Seferis." Proceedings of the Cambridge Philological Society 31 (1985): 74–132. http://dx.doi.org/10.1017/s0068673500004764.
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The reader I have in mind is a poet. My immediate interest is the example he provides of a writer's relationship with her or his reading. My aim is double: to suggest both that Homer illuminates the work of the later poet and that the later poetry can function as an interpretation of Homer which offers even to a scholar valuable ways of reading the epics, especially the Odyssey. Accordingly, I shall usually offer translations both of the modern and of the ancient Greek, since not all classicists know modern Greek intimately and those who study modern Greek do not always know the ancient language well.Let us begin by reading one of Seferis' best-known poems. He wrote it in the Thirties and many contemporary poetic influences, both French and English, are at work in it. But I want to read it now from a special perspective, which I shall argue was crucial to Seferis through all his work. I shall read it as a search for a significant but bearable relationship in his own poetry with Homer and, through Homer, with the whole ancient poetic tradition.
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Mathur, Manisha. "WILLIAM BLAKE- AN ENLIGHTENED VISIONARY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3538.
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William Blake an English painter poet and printmaker is considered as a seminal figure in the history of poetry and visual arts of the Romantic age. In the realm of imaginative painting Blake stands quite alone, and to find any real parallel to this extraordinary man of genius one must go back to the illuminators and sculptors of the twelfth century. Born out of time, with no tradition of imaginative painting to guide him, the intense flame if his genius burns fitfully blazing with an unbearable brilliance. Blake, for his idiosyncratic views is held in high regard by critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of the Romantic movement are Pre-Romantic for its large appearance in the 18th C. Reverent of the bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American Revolutions.
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Шмігер, Тарас. "Review Article. How Poetry is Translated…" East European Journal of Psycholinguistics 4, no. 2 (December 28, 2017): 95–96. http://dx.doi.org/10.29038/eejpl.2017.4.2.shm.
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James W. Underhill. Voice and Versification in Translating Poems. University of Ottawa Press, 2016. xiii, 333 p.
After its very strong stance in the 19th century, the versification part of translation scholarship was gradually declining during the 20th century, substituted by the innovative searches for semasiology, culture and society in text. The studies of structural and cognitive approaches to writing, its postcolonial identity or gender-based essence uncovered a lot of issues of the informational essence of texts, but overshadowed the meaning of their formal structures. The book ‘Voice and Versification in Translating Poems’ welcomes us to the reconsideration of what formal structures in poetry can mean.
James William Underhill, a native of Scotland and a graduate of Hull University, got Master’s and PhD degrees from Université de Paris VIII (1994 and 1999 respectively). He has translated from French, German and Czech into English, and now, he is full professor of poetics and translation at the English Department of Rouen University as well as the director of the Rouen Ethnolinguistics Project. His scholarly activities focused on the subject of metaphor, versification, cultural linguistics and translation. He also authored ‘Humboldt, Worldview, and Language’ (Edinburgh University Press, 2009), ‘Creating Worldviews: Ideology, Metaphor and Language’ (Edinburgh University Press, 2011), and ‘Ethnolinguistics and Cultural Concepts: Truth, Love, Hate and War’ (Cambridge University Press, 2012).
the belief of the impossibility of translating poems, poems are translated and sometimes translated quite successfully. In contemporary literary criticism, one observes the contradiction that despiteJames W. Underhill investigates this fascinating observable fact by deploying the theory of voice.
The first part of the book, ‘Versification’, is more theoretical as the researcher is to summarizes the existing views and introduce fundamental terms and guidelines. The book is strongly influenced by the French theoretician Henri Meschonnic, but other academic traditions of researching verse are also present. This part includes four chapters where the author discusses recent scholarship in the subject-matter (‘Form’), theories of verse structure (‘Comparative Versification’), rhythm and stress systems (‘Meter and Language’), and the issues of patterning and repetition (‘Beyond Metrics’). The author shapes the key principle of his views that ‘[v]oice represents the lyrical subject of the poem, the “I” that creates it, but that is also created in and by the poem’ (p. 44). This stipulation drives him to the analysis of five facets in poetry translation: 1) the voice of a language; 2) the voice of an era; 3) the voice of a literary movement or context of influence; 4) the voice of a poet; 5) the voice of the particular poem.
Part 2, ‘Form and Meaning in Poetry Translation’, offers more theorizing on how we can (or should) translate form. The triple typology of main approaches – (translating form blindly; translating a poem with a poem; translating form meaningfully) – sounds like a truism. The generic approach might be more beneficial, as the variety of terms applied in poetry translation and applicable to the idea of the book – (poetic transfusion, adaptation, version, variant) – would widen and deepen the range of questions trying to disclose the magic of transformations while rendering poetry of a source author and culture to the target reader as an individual and a community. The experience of a reader (individual and cultural personality) could be a verifying criterion for translating strategies shaped the translator’s experience.
In Part 3, ‘Case Studies’, the author explores the English translations of Charles Baudelaire’s poetry and the French and German translations of Emily Dickinson’s poems. All translations theoreticians and practitioners will agree with the researcher’s statement that “[t]ranslating that simplicity is inevitably arduous” (p. 187). Balancing between slavery-like formalist operations and free transcreations, translators experiment on strategies of how to reproduce the original author’s voice and versification successfully enough. The longing categorically pushes us to the necessity of understanding what is in language but communication, how a nation’s emotionality is built linguistically, and why a language applies certain meters for specific emotional articulation.
‘Glossary’ (p. 297-319), compiled on the basis of theoretical reflections in the main text on the book, is of significant practical value. This could really become a good sample to follow in any academic book.
This book takes us closer to the questions ‘How can a form mean something?’ and ‘How can we verify this meaning?’, though further research merged in ethnolingual, ethnopoetic and ethnomusical studies still promises to be extremely rich.
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Srebotnjak, Vanda. "Giuseppe Ungaretti Reading of the Correspondence with Pea, Prezzolini, Soffici and Papini from a New Perspective." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 1 (January 11, 2021): 81–106. http://dx.doi.org/10.30958/ajha.8-1-4.
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Giuseppe Ungaretti is one of the major representatives of 20th century Italian poetry. He was born in Alexandria, Egypt in 1888, where he also pursued his first studies. Our claim, which is in contrast with what has been argued so far by literary critics, is that the Egyptian environment in which he grew up and formed his personality played a role in shaping the author’s ‘colonialist’ attitude. This emerges in a more detailed reading of his correspondence from the decade between 1909 and 1919. The main goal of this study is therefore to analyse a selection of these letters in order to highlight how the period in Egypt deeply influenced the author, leading him to internalize French and English colonial culture. We argue that this later induced the poet to make particular political choices such as backing Italian participation in the First World War and supporting Fascism.
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Srebotnjak, Vanda. "Giuseppe Ungaretti Reading of the Correspondence with Pea, Prezzolini, Soffici and Papini from a New Perspective." ATHENS JOURNAL OF HUMANITIES & ARTS 8, no. 1 (January 11, 2021): 81–106. http://dx.doi.org/10.30958/ajha.8-1-4.
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Giuseppe Ungaretti is one of the major representatives of 20th century Italian poetry. He was born in Alexandria, Egypt in 1888, where he also pursued his first studies. Our claim, which is in contrast with what has been argued so far by literary critics, is that the Egyptian environment in which he grew up and formed his personality played a role in shaping the author’s ‘colonialist’ attitude. This emerges in a more detailed reading of his correspondence from the decade between 1909 and 1919. The main goal of this study is therefore to analyse a selection of these letters in order to highlight how the period in Egypt deeply influenced the author, leading him to internalize French and English colonial culture. We argue that this later induced the poet to make particular political choices such as backing Italian participation in the First World War and supporting Fascism.
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Zasada, Olga. "Nostalgia, Depression and Suicide as the Consequence of Acquired and Inherited Trauma in Amelia Rosselli’s Poetry." Jednak Książki. Gdańskie Czasopismo Humanistyczne, no. 13 (December 14, 2021): 89–98. http://dx.doi.org/10.26881/jk.2021.13.08.
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In one of her many poetic motivation descriptions included in her literary works and comments, Amelia Rosselli points to tough-life experience as a factor influencing her artistic creativity. The Italian twentieth-century poet repeatedly emphasizes a direct impact of mental well-being as the driving force of her writing process. A gloomy flashback, hand in hand with a concept, experience, and fantasy, influence the expression of her pieces and structures the literary space. A minor overtoned reference to the grievous reality of Fascist Italy connected with the murder-for-hire of family members, sudden and premature death of her sweetheart and brother, mental illness in the context of the DNA memory, and, finally, the promise of suicide had all impacted noticeably upon the verses of her poems. Another thing worth mentioning is the issue of stress and hardships lived through by Amelia Rosselli’s mother and her immediate relatives just prior to the poet’s birth. According to the latest developments in medicine and cognitive sciences, any psychical damage influences bodily and mental functioning of persons not only directly affected by them, but also their descendants. The linguistic terms applied in the pieces of the Italian poet provoke a discussion of the phenomenon of post-memory. The term, which was proposed by Marianne Hirsch to refer to collective trauma inheritance, has been recently broadened by psychologists to encompass individual memory as well. The fragments written in four language codes (Italian, French, English, and music notation) offer hints to be used in the psycho-emotional analysis of the poet. Additionally, scrutinizing Amelia Rosselli’s nostalgic lyrical pieces, we can discern, by referring to psychological sciences, how the composition-making can constitute an auto-psychotherapy procedure. In terms of interdisciplinarity, the experience of melancholy and nostalgia in Amelia Rosselli’s artistic creativity covers the psychological, social, historical, cultural, political, and artistic areas.
Dissertations / Theses on the topic "English poetry – French influences"
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Auger, Peter. "British responses to Du Bartas' Semaines, 1584-1641." Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:be0f89c2-c2e4-482d-ac8f-e867985ff72e.
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The reception of the Huguenot poet Guillaume de Saluste Du Bartas' Semaines (1578, 1584 et seq.) is an important episode in early modern literary history for understanding relations between Scottish, English and French literature, interactions between contemporary reading and writing practices, and developments in divine poetry. This thesis surveys translations (Part I), allusions and quotations in prose (Part II) and verse imitations (Part III) from the period when English translations of the Semaines were being printed in order to identify historical trends in how readers absorbed and adapted the poems. Early translations show that the Semaines quickly acquired political and diplomatic affiliations, particularly at the Jacobean Scottish Court, which persisted in subsequent decades (Chapter 1). William Scott's treatise The Model of Poesy (c. 1599) and translations indicate how attractive the Semaines' combination of humanist learning and sacred rhetoric was, but the poems' potential appeal was only realized once Josuah Sylvester's Devine Weeks (1605 et seq.) finally made the complete work available in English (Chapter 2). Different communities of readers developed in early modern England and Scotland once this edition became available (Chapter 3), and we can observe how individuals marked, copied out, quoted and appropriated passages from their copies of the poems in ways dependent on textual and authorial circumstances (Chapter 4). The Semaines, both in French and in Sylvester's translation, were used as a stylistic model in late-Elizabethan playtexts and Zachary Boyd's Zions Flowers (Chapter 5), and inspired Jacobean poems that help us to assess Du Bartas' influence on early modern poetry (Chapter 6). The great variety of responses to the Semaines demonstrates new ways that intertextuality was a constituent feature of vernacular religious literature that was being read and written in sixteenth- and seventeenth-century Britain.
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Higgins, Jennifer Anne. "English responses to French poetry 1880-1930 : translation and mediation." Thesis, University of Cambridge, 2008. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.612206.
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Whitehead, S. G. "English pre-romantic and romantic influences in the poetry of V.A. Zhukovskii." Thesis, University of East Anglia, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.380126.
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Cox, J. N. "Dadaist, Cubist and Surrealist influences in settings by Francis Poulenc of contemporary French poets." Thesis, University of Oxford, 1986. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.375864.
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Armstrong, Robert A. "Gleanings in French Fields: A Formal Approach to the Translation of French Poetry." Ohio University Honors Tutorial College / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=ouhonors1587646850156205.
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Oness, Chad. "Not grace exactly : an unanxious search for contemporary and Anglo-Saxon poetic influences /." free to MU campus, to others for purchase, 1998. http://wwwlib.umi.com/cr/mo/fullcit?p9904863.
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Cameron, Anne Louise. "The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2531/.
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This doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership.
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Ford, John. "From poésie to poetry : remaniement and mediaeval techniques of French-to-English translation of verse romance." Thesis, University of Glasgow, 2000. http://theses.gla.ac.uk/2690/.
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From Poesie to Poetry: Remaniement and Mediaeval Techniques of French-to-English Translation of Verse Romance, explores the use of remaniement, the art of rewriting, as the method preferred for vernacular translations of genres such as romance. A thorough history of the practice's principles are given, drawing on comments from Classical rhetoricians, patristic writers, authorities of the artes poeticae, and mediaeval translators employing the procedure. A textual analysis of the Middle English Amis and Amiloun follows, utilising a broadly structuralist approach which compares each individual episode and 'lexie' with its Old French and AngloNorman predecessors. This examination demonstrates remaniement to be the method used to translate the romance, highlighting both the important debt owed to the francophone traditions as well as the use of dynamic interpretation to lend the work salience to an English audience. A subsequent linguistic examination includes a new definition of formulae based on prototype theory which utilises mental templates to identifY occurrences. This permits the recognition of over 3000 instances of formulaic diction, many of which can be traced back to native preConquest traditions, as can certain aspects of verse and structure. What emerges, therefore, is a composite work heavily indebted to continental and insular French sources for content and some aspects of style, but largely readapted to lend it appeal to an early fourteenth-century Anglophone audience. The thesis therefore clarifies the establishment and use of remaniement, provides a detailed examp Ie of its use, and in doing so reveals the true extent of the oft overlooked debt owed to francophone traditions in creating English romances. By way of setting these dimensions into a wider context, the conclusion suggests such translations had a general effect on the development of a new insular style, setting standards for the independent creation of works in English as that language continued to re-establish itself as an accepted medium for literary expression.
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Lennane, B. Michael. "Cross-cultural influences on corrective feedback preferences in English language instruction." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=112502.
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This cross-cultural study examined the preferences of 137 Taiwanese EFL students and 97 ESL Quebecois students for specific types of corrective feedback, as well as their attitudes and beliefs about error correction, and those of 12 Taiwanese English instructors and 12 native English teachers in Quebec. All participants completed two questionnaires, the first eliciting overall preferences and attitudes for corrective feedback, and the second eliciting preferences for specific types of feedback aurally modeled through a digital recording designed for the purpose of this study. In addition, a subsample of participants was selected for follow-up interviews. Descriptive analysis of the initial questionnaire coupled with trends found in interview data revealed cross-cultural differences in preferences for types of errors to correct, the use of correction, rates of correction and affective reactions to error correction. However, statistical analysis of the data yielded by the main elicitation instrument revealed similar preferences within both cultural groups, with explicit correction being ranked highest, followed by recasts and then prompts.
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Sage, Geoffrey Brandon. "The muwashshah, zajal, and kharja : what came before and what became of them." Thesis, University of Exeter, 2017. http://hdl.handle.net/10871/32454.
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There have historically been numerous connections between the way that medieval Iberian Muslims conceptualized love, lust, and desire and the ways in which Western Europeans have expressed those same concepts, especially as potentially derived from the literary genre of the muwashshah, a particular form of (primarily) medieval Hispano-Arabic poetry. Specifically, the muwashshah and its particular expression(s) of romantic love have helped in causing a series of paradigm shifts (with a definition borrowed from Kuhn to apply to the humanities) within Western ideology. This thesis focuses on the transformative effect of such Hispano-Arabic poetry within Western culture, as well as its connections with the following: Greco-Roman concepts of poetics, earlier Arabic poetry, and post-Hispano-Arabic Arabic poetry. It explores the concept of intersectionality within Hispano-Arabic culture, demonstrating how Hispano-Arabic sources may have influenced European interpretations of romantic relationships as well as how the muwashshah survived within an Arabic context. While mostly existing as a substratum within European culture, the muwashshah has had lasting influence upon European culture. The domains of love and desire provide a particularly apt example, as they involve not simply technology (civilian or military) but demonstrate the origin of a distinct change in the expression of emotion within European culture. At a fundamental level, Western Europe has adopted some of these Hispano-Arabic (as derived from a Muslim viewpoint) values. Regardless of further conflict between Europeans and Muslim cultures, they share parts of a common heritage, expressed differently, but with partial derivations, large or small, from a single source. Such exploration demonstrates the deep interconnectedness of what has heretofore been considered a separated, solely Western (Christian) European culture and that of the Islamic world, derived from one of the original points of intersection between Muslim culture and Western Christian culture, as well as how Arabic culture addressed its outliers.
Books on the topic "English poetry – French influences"
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1953-, Laskaya Anne, Salisbury Eve, and Consortium for the Teaching of the Middle Ages., eds. The Middle English Breton lays. Kalamazoo, Mich: Published for TEAMS (the Consortium for the Teaching of the Middle Ages) in association with the University of Rochester by Medieval Institute Publications, Western Michigan University, 1995.
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Hugh, Gough, and Dickson David 1947-, eds. Ireland and the French Revolution. Dublin: Irish Academic Press, 1990.
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Wimsatt, James I. Chaucer and his French contemporaries: Natural music in the fourteenth century. Toronto: University of Toronto Press, 1991.
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1963-, Morash Chris, ed. The Hungry voice: The poetry of the Irish famine. Blackrock, Co. Dublin: Irish Academic Press, 1989.
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Wimsatt, James I. Chaucer and his French contemporaries: Natural music in the fourteenth century. Toronto: University of Toronto Press, 1991.
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John, Williams. Wordsworth: Romantic poetry and revolution politics. Manchester: Manchester University Press, 1989.
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Lord Byron and Madame de Staël: Born for opposition. Aldershot, Hants, England: Ashgate, 1999.
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The fabliau in English. London: Longman, 1993.
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Under clouds of poesy: Poetry and truth in French and English reworkings of the Aeneid, 1160-1513. New York: Garland Pub., 1986.
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Lee, Monika. Rousseau's impact on Shelley: Figuring the written self. Lewiston, N.Y: Edwin Mellen Press, 1999.
Find full textBook chapters on the topic "English poetry – French influences"
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Thomson, J. A. K. "Didactic Poetry." In Classical Influences on English Poetry, 75–96. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-4.
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Thomson, J. A. K. "Elegiac Poetry." In Classical Influences on English Poetry, 159–71. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-8.
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Thomson, J. A. K. "Lyric Poetry." In Classical Influences on English Poetry, 138–58. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-7.
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Thomson, J. A. K. "The Epigram." In Classical Influences on English Poetry, 239–46. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-11.
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Thomson, J. A. K. "The Pastoral." In Classical Influences on English Poetry, 172–95. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-9.
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Thomson, J. A. K. "The Epic Tradition in Modern Times: Milton." In Classical Influences on English Poetry, 53–74. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-3.
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Thomson, J. A. K. "Tragedy." In Classical Influences on English Poetry, 97–118. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-5.
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Thomson, J. A. K. "The Epic Tradition in Antiquity." In Classical Influences on English Poetry, 30–52. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-2.
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Thomson, J. A. K. "Satire." In Classical Influences on English Poetry, 196–238. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-10.
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Thomson, J. A. K. "Comedy." In Classical Influences on English Poetry, 119–37. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003462682-6.
Full textConference papers on the topic "English poetry – French influences"
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Şəmsi qızı Məmmədova, Xumar. "Nakhchivan literary atmosphere and literary translation." In OF THE V INTERNATIONAL SCIENTIFIC RESEARCH CONFERENCE. https://aem.az/, 2021. http://dx.doi.org/10.36719/2663-4619/2021/02/03.
Full textAbstract:
The presented article discusses the issues of Nakhchivan literary environment and literary translation. It is noted that translation is a creation in itself, and the activities of representatives of the Nakhchivan literary environment in this area are exemplary. In general, during the independence period, some experience was gained in the literary environment of Nakhchivan, translations from German, English and French by our poets and writers Hamid Arzulu, Shirmammad Gulubeyli, Shamil Zaman who is famous as poet, prose-writer and translator were delivered to readers in the form of books and works were published in the press. The examples presented in the article once again prove the perfection of the writers' translation activities, their translations from German, English and French provide the Azerbaijani reader with full information about the society, people and their life of these peoples. Key words: Nakhchivan, literary atmosphere, literary translation, prose, poetry
2
Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s28.06.
Full textAbstract:
The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
3
Pilar, Martin. "EWALD MURRER AND HIS POETRY ABOUT A DISAPPEARING CULTURAL REGION IN CENTRAL EUROPE." In 10th SWS International Scientific Conferences on ART and HUMANITIES - ISCAH 2023. SGEM WORLD SCIENCE, 2023. http://dx.doi.org/10.35603/sws.iscah.2023/s10.06.
Full textAbstract:
The contemporary Czech poet using the pseudonym Ewald Murrer (born in 1964 in Prague) used to be a representative of Czech underground literature before 1989. Then he became one of the most specific and original artists of his generation. The present essay deals with his very successful collection of poetry called The Diary of Mr. Pinke (1991, English translation published in 2022). Between the world wars, the most Eastern part of Czechoslovakia was so-called Subcarpathian Ruthenia (or Karpatenukraine in German). This rural and somewhat secluded region neighbouring Austrian Galicia (or Galizien in German) in the very West of Ukraine and the South- East of Poland used to be a centre of Jewish culture using mainly Yiddish and inspired by local folklore. The poems of Ewald Murrer are deeply rooted in the imagery of Jewish and Rusyn fairy tales and folk songs. While Marc Chagall, the famous French painter (coming from today�s Byelorussia), discovered these old sources of Jewish art for European Modernism, Ewald Murrer uses the same sources but his approach to literary creation can be seen as much more post-modern: he uses but at the same time also re-evaluates old myths and archetypes of this region with both a lovely kind of humour and more serious visions of Kafkaesque absurdity that are probably unavoidable in Central Europe. The fictional and highly poetic diary of Mr. Pinke is highly significant as a sophisticated revival of the almost forgotten culture of a Central European region that almost definitely stopped existing after the tragic times of the Holocaust and Stalinism.
4
Ulianitckaia, Liubov A. "THE PECULIARITIES OF THE FRENCH SPOKEN IN BRUSSELS." In Second Scientific readings in memory of Professor V. P. Berkov. St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063590.
Full textAbstract:
The article discusses the main stages in the development of the language situation in the Brussels — Capital Region in the context of historical and socio-cultural phenomena. The purpose of the study is to illustrate the influence of the Dutch language on the Belgian varieties of French. The tasks to be solved are the substantiation of the legitimacy of the division of the Belgian variants of the French language into Brussels and Walloon variants, as well as the clarification of the issue of recognizing the Marolian as a mixed Franco-Dutch language. As a result of the study, it was revealed that the division of the Belgian version of the French language into Brussels and Walloon is, to a greater extent, of a historical nature and is currently difficult. Modern Dutch, along with English and Arabic, influences Belgian French throughout the country, however, given Brussels’ metropolitan status, as well as being surrounded by Flemish territory, it can be assumed that this influence is especially noticeable in the Brussels-Capital Region. Elements of the Marolian language are used mainly as original linguocultural inclusions in the Dutch and French languages of the capital. The result of this study of the features of the french spoken in Brussels is the conclusion that this variant retains features that are very different from Walloon French. On the one hand, the transition to a common French norm blurs the lines between these two options, on the other hand, the Flemish prehistory of the Brussels-Capital Region introduces many Dutch elements into the French language of this enclave. The scientific novelty of the study lies in the fact that for the first time it takes into account the influence of the Marolian language on the formation of the Brussels version of French, and also reveals the specifics of the functioning of this version in the conditions of multilingualism, characteristic of modern Brussels.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.
Full textAbstract:
The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.