Journal articles on the topic 'Latin literary tradition'
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White, Paul. "Continuity and Rupture: Comparative Literature and the Latin Tradition." Comparative Critical Studies 17, no. 3 (October 2020): 373–89. http://dx.doi.org/10.3366/ccs.2020.0370.
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Studies of the Latin tradition played a major role in the formation of Comparative Literature as a discipline. In spite of their shared origins, the disciplines of Neo-Latin studies and Comparative Literature are today rarely brought into dialogue with one another. This article argues that such dialogues can be mutually productive, and that Neo-Latin literature exemplifies, and itself engages with, some of the key problems at issue in the latest dispensations of Comparative Literature. Ideas of cosmopolitanism and transnationalism, of bilingualism and the dynamic interactions between languages, energized Neo-Latin writing (and energize Neo-Latin studies today). Writers in the post-classical Latin tradition devoted great efforts to working through many of the problems and dichotomies that interest comparatists today: from defining the ‘literary’, to asking what it means for literary forms and a literary language to cross historical, cultural, and national borders. Using the classical theme of recusatio (‘refusal’) as a case study, I explore the ways in which Neo-Latin writers thematized in their writing a sense of the continuity and universality of literature which was nevertheless always threatened by rupture and fragmentation.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 60, no. 2 (September 16, 2013): 320–25. http://dx.doi.org/10.1017/s0017383513000132.
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Among this latest batch of books to review are a number whose endeavour, very much to my own taste, is intellectual and cultural history through the study of Latin literature. Cream of the crop is Craig Williams’ study of Roman friendship. Admirers of Williams’ excellent Roman Homosexuality, recently reissued in second edition, will recognize the approach; this is a theoretically informed and meticulously argued work of cultural history that also shows fine appreciation of philological, linguistic, and literary issues. In Chapter 1 (Men and Women), Williams has a simple and compelling point to make: basing their idealization of friendship on our male-authored ancient literary texts (Cicero's De amicitia, Seneca's Letters), the great thinkers of Western civilization have asserted that ideal friendship is a man's game, and even that women are by and large incapable of real friendship, at the very least being excluded from the most interesting parts of friendship's history. As Williams shows, the epigraphic evidence tells a different story; here we can gain a new appreciation of friendships between women, and indeed between men and women. In its divergence from the well-trodden literary tradition, the epigraphic material opens up new ways of understanding the ancient world, but it can also be used to bring a fresh perspective to familiar literary texts, especially when one is as open-minded and attentive to linguistic nuance as Williams. Chapter 2 explores some of the key conceptual issues and themes related to the (vexed) distinction between amor and amicitia, and then in Chapter 3 Williams turns to the close reading of particular Latin texts, bringing his new interpretative framework to Catullus, Horace, Virgil, and Propertius, Petronius’ Satyricon, and the letters of Cicero and of Fronto. The fourth and final chapter, ‘Friendship and the Grave’, turns again to the epigraphic evidence, and funerary inscriptions in particular, where friends are shown to play an important role in the commemoration of the dead, usually associated in the Western tradition with close family. Williams’ work showcases Classics as a vitally and productively interdisciplinary academic subject, where significant new readings can be achieved with the right methodologies and approach. He has some big claims to make about Roman society, of which ancient historians will certainly want to take note, but his fresh analysis of familiar literary texts is also highly illuminating and the book has many smaller-scale insights to offer as well.
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Torres Perdigón, Andrea. "Hacia un concepto de narratividad: cruces (posibles) entre su dimensión literaria, antropológica y cognitiva." Acta Poética 42, no. 2 (June 22, 2021): 79–105. http://dx.doi.org/10.19130/iifl.ap.2021.2.18124.
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This article suggests a conceptual reflection on narrativity and its role in different cultural spheres. Therefore, a dialogue between three traditions is proposed: literary, anthropological and cognitive, to bring some elements of the cognitive paradigm closer to the tradition of literary studies, literary theory and some authors that could be identified with philosophical anthropology. This approach pretends to critically examine some contemporary debates on narratives, post-classical narratology and bring these debates in the context of Latin American literary studies.
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Taylor, Claire. "Entre "Born Digital" y herencia literaria: el diálogo entre formatos literarios y tecnología digital en la poética electrónica hispanoamericana." Tropelías: Revista de Teoría de la Literatura y Literatura Comparada, no. 27 (January 3, 2017): 79. http://dx.doi.org/10.26754/ojs_tropelias/tropelias.2017271541.
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Este artículo propone analizar la poética electrónica en un contexto latinoamericano y dentro de una tradición literaria hispánica. El artículo parte de la hipótesis de que los nuevos géneros ciberliterarios existen en constante diálogo con una tradición arraigada de experimentación literaria en América Latina: varios de los géneros ciberliterarios emergentes, tales como la poesía-twitter, la novela-hipertexto, o el blog literario, dialogan con movimientos literarios precursores como la poesía concretista, los caligramas, el testimonio, la crónica, y muchos otros. El artículo ofrece un análisis comparativo de dos obras de poética electrónica hispanoamericana que dialogan con movimientos literarios precursores. Se enfoca en particular en la obra colaborativa Women: Memory of Repression in Argentina (2003) y en Radikal Karaoke de Belén Gache (2011), y propone entender estas obras como parte de un continuum de posibles negociaciones entre tecnologías digitales y géneros literarios establecidos. This article aims to analyse electronic poetry in a Latin American context, and as part of a Hispanic literary tradition. The article starts off from the premise that new digital literary genres exist in a constant dialogue with a long-standing tradition of literary experimentation in Latin America. It argues that many of the emerging digital literary genres, such as twitter-poetry, hypertext novels, or literary blogs, dialogue with prior literary movements or genres such as concrete poetry, caligrammes, testimonios, crónicas, and much more. Within this context, the article offers a comparative analysis of two works of electronic poetry from Latin American which dialogue with prior literary movements. It focuses in particular on the collective piece, Women: Memory of Repression in Argentina (2003) and Radikal Karaoke by Belén Gache, and aims to understand both of these works as on a continuum of possible negotiations between digital technologies and established literary genres.
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Milnor, Kristina. "Between Epigraph and Epigram: Pompeian Wall Writing and the Latin Literary Tradition." Ramus 40, no. 2 (2011): 198–222. http://dx.doi.org/10.1017/s0048671x00000400.
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It has become a scholarly commonplace to remark that the ancient Roman city had, at least after the time of Augustus, a wide, varied, and almost omni-present regime of writing in public. This regime included texts of many different types, commercial, political, dedicatory; written with charcoal, paint, stylus or chisel; on stone, wood, plaster and mortar; on private houses, public monuments, temples, shops, baths, fountains and tombs. In part, this is due to what has come to be known as the ‘epigraphic habit’, the characteristically Roman practice of recording acts and events on stone. From the late Republic onwards, both public and private individuals who had even marginal means to hire a stonecutter left behind inscriptions—honorific, commemorative, funerary—which document multiple aspects of social life, from birth to death. Many of these texts have direct ties to civic authority: decrees of the Senate or the Emperor; dedicatory texts on buildings by consuls, tribunes or other magistrates; milestones, boundary markers, altars, statue bases and the like, all of which record the names of the officials responsible for their placement. The production of such publicly-readable texts, however, was not simply the purview of the state: wealthy private individuals also could and did erect monumental inscriptions, which often recorded some act of public beneficence like the construction of a building or the presentation of gladiatorial games. Other writing was less formal: thus, in Pompeii, the famouscaue canem(‘beware of the dog’) mosaic which marked the threshold of the House of the Tragic Poet; the bakery which featured a terracotta plaque with a phallus and the perhaps aspirational legendhic habitat felicitas(‘here dwells good fortune’); or the cookshop of Euxinus whose front sign announcesphoenix felix et tu(‘the phoenix is lucky, and so may you be!’). As William Harris once noted, ‘Roman cities…were full of things to read’.
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Garzón Hurtado, Libertad. "Saúl Yurkievich en la “nueva crítica” latinoamericana." Revista Grafía- Cuaderno de trabajo de los profesores de la Facultad de Ciencias Humanas. Universidad Autónoma de Colombia 13, no. 1 (January 4, 2016): 168. http://dx.doi.org/10.26564/16926250.662.
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Resumen: Saúl Yurkievich pertenece a una larga tradición de escritores y poetas que se dedican también a la lectura experta de las obras literarias. En América Latina, Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima y Severo Sarduy continúan en la segunda mitad del siglo XX la tradición iniciada por los poetas modernistas. Saúl Yurkievich es heredero directo de esta generación de escritores-críticos y quizás uno de los más radicales exponentes de lo que, apropiándonos de la expresión de Paz, podríamos denominar la poesía vista desde la poesía. Este artículo presenta una primera aproximación a la obra crítica de Yurkiévich en el marco de lo que Guillermo Sucre denominó la tradición de la “nueva crítica” latinoamericana.Palabras Clave: Saúl Yurkiévich, ensayo crítico literario, Guillermo Sucre, la nueva crítica.************************************************************************Saúl Yurkievich in Latin American “new critique”Abstract: Saul Yurkiévich makes part of a long tradition of writers and poets devoted also to the expert reading of pieces of literary work. Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima, and Severo Sarduy in Latin America continue in the second half of the XXth Century the tradition pioneered by the modernist poets. Saul Yurkievich is a direct heir of this generation of writers and critics, and is perhaps one of the most radical examples of what, taking the expression of Paz, we could called poetry seen from poetry. This article presents a first approach to the critical work of Yurkiévich within the frame of what Guillermo Sucre called Latin American “new critique.”Key words: Saúl Yurkievich, literary critical essay, Guillermo Sucre, new critique.************************************************************************Saul Yurkievich na nova critica Latino-AmericanaResumoPertence Saul Yurkievich a uma longa tradição de escritores e poetas que se dedicam também à leitura atenta das obras literárias. Na América Latina Octavio Paz, Jorge Luis Borges, Julio Cortázar, José Lezama Lima e Severo Sarduy continuam a busca na segunda metade do século XX da tradição começada pelos poetas modernistas. Saul Yurkievich é herdeiro direto de esta geração de escritores-críticos e tal vez um dos mais radicais expoentes do que, nos apropriando da expressão de Paz poderíamos denominar a poesia vista desde a poesia. Este artigo apresenta uma primeira aproximação à obra crítica de Yurkiévich no marco do que Guillermo Sucre denominou a tradição da nova crítica latino-americana.Palavras chave: Saul Yurkiévich, ensaio crítico latino-americano, Guillermo Sucre, a nova crítica.
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Ghosh, Ritwik. "Marxism and Latin American Literature." SMART MOVES JOURNAL IJELLH 8, no. 4 (April 28, 2020): 208. http://dx.doi.org/10.24113/ijellh.v8i4.10539.
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In the aftermath of the collapse of the U.S.S.R Marxism remains a viable and flourishing tradition of literary and cultural criticism. Marx believed economic and social forces shape human consciousness, and that the internal contradictions in capitalism would lead to its demise.[i] Marxist analyses can show how class interests operate through cultural forms.[ii] Marxist interpretations of cultural life have been done by critics such as C.L.R James and Raymond Williams.[iii]
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Wills, Tarrin. "The thirteenth-century runic revival in Denmark and Iceland." Grammarians, Skalds and Rune Carvers II 69, no. 2 (September 26, 2016): 114–29. http://dx.doi.org/10.1075/nowele.69.2.01wil.
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While in the High Middle Ages runic literacy appears to have been very much alive in urban centres such as Bergen, interest in runes appears to have been of a different nature in learned circles and in other parts of the Scandinavian world which had adopted widespread textual production of the Latin alphabet. This paper examines a number of runic phenomenon from the thirteenth and early fourteenth centuries in Denmark and Iceland to argue that they belong to a cultural revival movement rather than forming part of a continuous runic tradition stretching back into the early Middle Ages. Some of these runic texts show some connection with the Danish royal court, and should rather be seen as forming part of the changes in literary culture emanating from continental Europe from the late twelfth century and onwards: they all show a combined interest in Latin learning and vernacular literary forms.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 61, no. 2 (September 12, 2014): 265–72. http://dx.doi.org/10.1017/s0017383514000102.
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Anyone who has ever taught or studied the Aeneid will be familiar with student gripes that the protagonist, Aeneas, does not meet their expectations of a hero: stolid, boring, wooden, uninspiring, lacking in emotional range. Likewise, students of Lucan's Civil War often find it hard to get a handle on the figure of Cato, and his hard-line heroics are usually met with a combination of disbelieving horror and ridicule. The important and deceptively simple suggestion of J. Mira Seo's new monograph is that such apparently two-dimensional and unsatisfactory ‘problem characters’ in Latin literature (19) are the result not of the failure of the ancient poets to depict their protagonists successfully, but rather of the different expectations that Romans held about literary characterization. Her book sets out to explore the possibility that Roman writers were not attempting to present characters who are psychologically ‘rounded’ in the way that we moderns expect, with our Cartesian approach and our high regard for radical individuality and subjectivity. Rather, she argues, Roman characterization was based on a distinctively Roman approach to self as ‘aemulatory, referential, and circumscribed by traditional expectations of society’ (15). For Seo, characterization is a literary technique (4) rather than mimetic of real people (5) and, like genre, characters in literature are established through reference to earlier material. Indeed, characterization is a form of allusion, and characters in literature are ‘nodes of intertextuality’ (4) created out of generic expectation and familiar schemata, and the significant and creative modification of these. This technique is often evident in ancient literature (the intertextuality of Virgil's depiction of Dido is well known); however Seo pursues its implications through close readings of five case studies: Virgil's Aeneas, created through the conflicting voices of fama, with effeminate Paris as his ghostly doppelganger; Cato as Lucan's lethal exemplum; Seneca's Oedipus, becoming ‘himself’ under the pressure of decorum and the literary tradition; and two of Statius' most stereotypical and over-determined characters, the archetypal ‘doomed beautiful youth’, exquisitely intensified in the figure of Parthenopaus, and the doomed prophet Ampharius. In her series of illuminating and insightful readings, Seo shows how such characters are built up through schematization, through articulation from a variety of perspectives in the texts, and through the evocation and skilful modification of familiar literary motifs. Although I am not sure she has entirely cracked the problem of Roman characterization, her book opens up a stimulating new approach to Roman poetry and characterization, which I hope will inspire others to take up the call for more research in this area.
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Soldán, Edmundo Paz, David Draper Clark, and César Ferreira. "Between Tradition & Innovation: The New Latin American Narrative." World Literature Today 78, no. 3/4 (2004): 16. http://dx.doi.org/10.2307/40158476.
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Santos Júnior, Cristóvão José dos. "RASTROS DA TRADIÇÃO LITERÁRIA EXPERIMENTAL | TRACES OF THE EXPERIMENTAL LITERARY TRADITION." Estudos Linguísticos e Literários, no. 62 (June 26, 2019): 130. http://dx.doi.org/10.9771/ell.v0i62.30441.
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<p><strong>RESUMO:</strong> O presente artigo investiga a tradição literária experimental, de modo a evidenciar sua potência e vivacidade histórica. Assim, estuda-se, inicialmente, a <em>ars</em> latina, partindo das contribuições críticas de Horácio, para, em seguida, apreciar o conjunto de tipologias que encerram a ideia de experimentalismo poético aqui sugerida, em confronto com variadas diretrizes literárias observadas ao longo do curso histórico da Literatura Ocidental. Dessa forma, com base no contraste entre estéticas dominantes e a experimental, é colocada em relevo a permanência resistente de manifestações que foram alvo de relativa marginalização, através de um levantamento de ocorrências encontradas.</p><p><strong><em>ABSTRACT: </em></strong><em>The present article investigates the literary experimental tradition, in order to show its power and historical vivacity. Thus, we first study the latin </em>ars<em>, starting from the critical contributions of Horacio, and then to appreciate the set of typologies that enclose the idea of poetic experimentalism suggested here, in comparison with several literary guidelines observed throughout course of Western Literature history. Then, through a survey of found occurrences, based on the contrast between dominant and experimental aesthetics, the resistant permanence of manifestations that have been subject to relative marginalization is highlighted.</em></p><p><strong><em>Keywords</em></strong><em>: Permanence; Restriction; Linguistic Play.</em></p>
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LOMAS, LAURA. "José Martí's “Evening of Emerson” and the United Statesian Literary Tradition." Journal of American Studies 43, no. 1 (April 2009): 1–17. http://dx.doi.org/10.1017/s0021875809006021.
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Revising a century of interpretation that has emphasized the identification of José Martí with Ralph Waldo Emerson, this essay draws on Martí's unpublished and published manuscripts about Emerson to reveal Martí's keen sense of his difference from the New England bard. When we read Martí's 1882 eulogy to Emerson alongside contemporaneous essays about the Chinese Exclusion Act and the War of the Pacific, Martí's epiphany – which he calls the “evening of Emerson” – comes to suggest the evanescence of Emerson's influence. Martí here glimpses his contribution: a creative resignification and translation of Emerson and US culture more broadly in order to arrive at a distinct version of nuestra América. Although Emerson's influence persists, as he provides the phrase “our America,” Martí's interpretation transposes the phrase to a minor key and reveals the perspective of the Latin American migrant who presciently observes the threat of imperial expansion.
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CARROLL R, M. Daniel. "The Prophetic Text and the Literature of Dissent in Latin America: Amos, Garcia Marquez, and Cabrera Infante Dismantle Militarism." Biblical Interpretation 4, no. 1 (1996): 76–100. http://dx.doi.org/10.1163/156851596x00121.
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AbstractThis article attempts a reading of the final form of Amos within the framework of the literary tradition of the novels of dissent in Latin America. Works by the Colombian Gabriel Garcia Márquez and the Cuban Guillermo Cabrera Infante are presented in order to demonstrate how literary strategies can take apart the pretense and cruelty of the militarism so endemic to Latin American history and society. The reading of Amos shows how pervasive militarism is in the world of the prophetic text and highlights how that text ridicules and condemns it through literary technique. Amos, therefore, echoes many of the concerns of Latin American texts. As the scripture of the Christian church, however, Amos not only can be read alongside of other protest literature but can also make a particular contribution to help the people of God on that continent confront the harsh realities of life.
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Howlett, David. "Bede, Lutting, and the Hiberno-Latin Tradition." Peritia 31 (January 2020): 107–24. http://dx.doi.org/10.1484/j.perit.5.124471.
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Schendl, Herbert. "Code-switching in early English literature." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 233–48. http://dx.doi.org/10.1177/0963947015585245.
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Code-switching has been a frequent feature of literary texts from the beginning of English literary tradition to the present time. The medieval period, in particular, with its complex multilingual situation, has provided a fruitful background for multilingual texts, and will be the focus of the present article. After looking at the linguistic background of the period and some specifics of medieval literature and of historical code-switching, the article discusses the main functions of code-switching in medieval poetry and drama, especially in regard to the different but changing status of the three main languages of literacy: Latin, French and English. This functional-pragmatic approach is complemented by a section on syntactic aspects of medieval literary code-switching, which also contains a brief comparison with modern spoken code-switching and shows some important similarities and differences between the two sets of data.
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Navaud, Guillaume. "More's History of King Richard III: Bilingual Writing and Renovation of Historiography." Moreana 57 (Number 213), no. 1 (June 2020): 48–62. http://dx.doi.org/10.3366/more.2020.0073.
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Why did Thomas More write two versions of his History of King Richard III, one in English and the other in Latin? Critics tend to answer this question by arguing that the two versions were not destined for the same audience: the Latin for a continental elite, the vernacular for a larger British readership. Although perfectly convincing, this explanation may not be the only one: this paper tries to underline the existence of another motivation, one of a literary nature. The History of King Richard III indeed combines two historiographical models: the ancient and classical monograph as illustrated by Sallust, and the medieval tradition of the chronicle. The oscillation between English and Latin may reflect More's wish to renovate the genre of the medieval chronicle, accomplished by an hybridization with classical Latin models—as if More attempted to grasp the best of both traditions in order to initiate a new means of writing history.
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Curley, Michael. "Arthurian Narrative in the Latin Tradition. Siân Echard." Speculum 77, no. 1 (January 2002): 169–71. http://dx.doi.org/10.2307/2903819.
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Lines, David A. "Rethinking Renaissance Aristotelianism: Bernardo Segni’s Ethica, the Florentine Academy, and the Vernacular in Sixteenth-Century Italy*." Renaissance Quarterly 66, no. 3 (2013): 824–65. http://dx.doi.org/10.1086/673584.
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AbstractIn 1550 Bernardo Segni, a member of the Florentine Academy, published an Italian translation of and commentary on Aristotle’s Nicomachean Ethics. Practically unstudied, Segni’s work represents an important moment in the evolution of vernacular Aristotelianism (and philosophy more generally) in the Renaissance. This essay examines Segni’s approach to the text, his familiarity (or not) with the Greek and Latin traditions, and his discussion of a philosophical problem, the freedom of the will. It shows that in all these areas Segni was well aware of Latin interpretations. The essay thus argues that studies of Renaissance Aristotelianism need to abondon their longstanding concentration on the Latin tradition alone and consider the complex and multilevel interactions of Latin and vernacular philosophy.
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Kraus, Matthew. "HEBRAISMS IN THE OLD LATIN VERSION OF THE BIBLE." Vetus Testamentum 53, no. 4 (2003): 487–513. http://dx.doi.org/10.1163/156853303770558185.
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AbstractRecent work on the Old Latin version of the Bible attributes Hebraisms to a hebraized Greek Vorlage. The results of this work question previous claims that the Hebraisms of the Old Latin derive from Jewish attempts to revise the Old Latin towards the Hebrew directly through Hebrew texts and Jewish exegetical traditions. This study reconsiders the evidence in favor of Hebraizations of the Old Latin from a Hebrew source and concludes that: 1. There was no translation of the Bible directly from the Hebrew into Latin prior to Jerome. 2. There was no editorial reworking of the Old Latin directly from the Hebrew. 3. Hebraisms in the Old Latin must be attributed to the Greek tradition or Jerome and his influence. 4. Since Jerome's time, interest in the Hebrew text behind the Latin also accounts for the Hebraisms found in the Old Latin. 5. Jewish communities utilized a Latin Bible borrowed from Christians after Jerome.
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Fedriani, Chiara. "The politeness formula si placet in Late Latin: on the role of pragmatic conventions in discourse traditions." Journal of Latin Linguistics 19, no. 1 (September 8, 2020): 1–25. http://dx.doi.org/10.1515/joll-2019-0007.
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AbstractThis paper analyzes uses, functions, and literary distribution of the negative politeness formula si placet ‘(lit.) if it pleases (you)’ in a corpus of Late Latin texts (third–sixth century CE). Drawing on both qualitative and quantitative observations, it is suggested that the pragmatic enrichment undergone by this conditional parenthetical clause is due to a conspiracy of factors, namely a process of semantic and pragmatic change fostered by a “politeness-induced invited inference” (Beeching 2005), which was triggered by a general process of literary imitation within the very specific discourse tradition of philosophical dialogues. The analysis shows, indeed, that si placet is very rarely used in the history of Latin and it is circumscribed to this specific literary genre. This suggests that this politeness formula developed as a genre-specific stylistic feature and as such it was replicated over centuries through the circulation of textual models and the propagation of genre-related practices, as a valuable linguistic device to render the idea of an urbane conversation among educated peers and, ultimately, as a marker of socio-cultural identity.
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Rick, Evelyn Patrick. "CICERO BELTS ARATUS: THE BILINGUAL ACROSTIC AT ARATEA 317–20." Classical Quarterly 69, no. 1 (March 21, 2019): 222–28. http://dx.doi.org/10.1017/s0009838819000235.
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That Cicero as a young didactic poet embraced the traditions of Hellenistic hexameter poetry is well recognized. Those traditions encompass various forms of wordplay, one of which is the acrostic. Cicero's engagement with this tradition, in the form of an unusual Greek-Latin acrostic at Aratea 317–20, prompts inquiry regarding both the use of the acrostic technique as textual commentary and Cicero's lifelong concerns regarding translation.
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Puche López, Carmen. "Legenda aurea latina, elementos apócrifos y tradición catalana." Magnificat Cultura i Literatura Medievals 8 (December 8, 2021): 201. http://dx.doi.org/10.7203/mclm.8.16751.
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A study on Iacobus de Voragine’s warnings and observations about the apocryphal nature of some narrative elements within his Golden Legend. According to G. P. Maggioni's theory, most of these observations were inserted by Voragine in his second redaction of the work (LA2), and here we analyse to what extent and in what ways they are cited in the Legenda Aurea’s Catalan tradition, taking as the study’s basis the most recent edition of the Latin text (Maggion 2007) and four of the most important manuscripts of the Catalan tradition. We aim to provide new data about the textual history of the Catalan Golden Legend and its Latin model; and also, to find out to what extent the Catalan tradition was concerned with pinpointing its apocryphal material for the audience’s benefit.
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Shea, Maureen E. "Latin American Women and the Oral Tradition: Giving Voice to the Voiceless." Critique: Studies in Contemporary Fiction 34, no. 3 (April 1993): 139–53. http://dx.doi.org/10.1080/00111619.1993.9933821.
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Stagl, Jakob Fortunat. "ZMYŚLONE A RZECZYWISTE KODYFIKACJE. O KONKURENCJI KOMENTARZA I PODRĘCZNIKA W CYWILISTYCE LATYNOAMERYKAŃSKIEJ." Studia Iuridica, no. 87 (October 12, 2021): 446–80. http://dx.doi.org/10.31338/2544-3135.si.2020-87.22.
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With the “glosa” on the Siete Partidas (13th century) by G. López (16th century), Latin America possesses an excellent example of a commentary on a civil law code, actually one of the greatest of the civil law tradition. Yet, the Latin American countries did not develop, as a rule, a proper culture of commentaries, albeit they gave themselves civil codes around the middle of the 19th century. The most important of these codifications, the Chilean civil code by Andrés Bello, is even a conscious continuation of the tradition enshrined in the Siete Partidas. In most countries, authors prefer instead to write textbooks. This choice seems to be explained by the fact that this literary form gives them more freedom to distance themselves from their civil codes, which are considered rather historical monuments than living legal texts. Commentaries appear only where the civil lawyers deal with a modern codification which is the case in Argentina and Brazil.
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Turner, Aimee. "“She Acted with Arrogance”." Studies in Late Antiquity 4, no. 2 (2020): 203–27. http://dx.doi.org/10.1525/sla.2020.4.2.203.
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This article investigates the characterization of women in Orosius' Historiae adversus paganos, a subject long overlooked. The Historiae enjoyed great popularity among medieval and renaissance scholars, and the way in which Orosius portrayed women had lasting literary influence. The representation of women as exempla is also intrinsically tied into the historiographical and biographical traditions of classical Latin literature, requiring examination of both Orosius' text and the classical influences that shape his work. This article begins by analyzing selected representations of women in Orosius' Historiae and then use these representations as a focus to explore his adaptation of the classical tradition.
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DeVirgilis, Megan. "Hearth and Home and Horror: Gothic Trappings in early C20th Latin American Short Fiction." Gothic Studies 23, no. 2 (July 2021): 201–16. http://dx.doi.org/10.3366/gothic.2021.0094.
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The Gothic short form in Latin America has yet to receive focused scholarly attention. Yet, despite no early Gothic novel tradition to speak of, the Gothic mode emerged in poetry and short fiction, representing particular anxieties and colonial/postcolonial realities specific to the region owing in part to a significant increase in periodicals. Focusing on two case studies – Clemente Palma's ‘La granja blanca’ (Peru, 1904) and Horacio Quiroga's ‘El almohadón de plumas’ (Uruguay, 1917) – this article will explore how Latin American authors classified as modern, modernista, and criollista were experimenting with Gothic forms, adapting the design of the traditional Gothic novel to intensify its effect and reach a wider readership. Demonstrating a particular influence of Poe, a unity of effect is created, one that suggests that the home is a place of horrors, not comfort, and the uniquely horrifying settings and plot ultimately challenge established moral codes and literary tendencies.
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Byrne, Philippa. "Cutting out the camel-like knees of St. James: the de viris illustribus tradition in the twelfth-century renaissance." Historical Research 94, no. 264 (April 5, 2021): 191–212. http://dx.doi.org/10.1093/hisres/htab001.
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Abstract This article examines the revival of the de viris illustribus genre in the twelfth century. These catalogues of the most important Christian authors were modelled on a template created in late antiquity by Jerome, but adopted new attitudes to what constitutes distinguished Christian literary activity. They regard the editing, collecting, and re-ordering of texts as equal to the composition of new works, and recognize legal codification as a noteworthy activity. As such, they represent the broadening out of a Latin Christian literary canon. These texts complicate our ideas about the relationship between ‘authority’ and ‘amplification’ in the twelfth-century renaissance.
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O'Meara, Dominic J. "Middle Platonism and Neoplatonism: The Latin Tradition. Stephen Gersh." Speculum 63, no. 4 (October 1988): 925–27. http://dx.doi.org/10.2307/2853559.
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Eterović, Ivana, and Jozo Vela. "On the Syntax of Kožičić’s MISAL HRUACKI." Slovene 2, no. 2 (2013): 118–42. http://dx.doi.org/10.31168/2305-6754.2013.2.2.5.
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Šimun Kožičić Benja’s Misal hruacki (1531) holds a special place amongst the Croatian Glagolitic missals. Namely, recent studies have shown it to be the first comprehensive Croatian redaction of Bible readings according to the Vulgate, and to execute this redaction, Kožičić probably made use of some contemporary Latin missal of Venetian provenance. Since the syntax has largely remained outside the range of previous studies, it is thoroughly explored in this paper. While relying on Latin syntax, Kožičić ended up using forms and structures which to some degree deviate from the Croatian Church Slavonic language tradition. At the same time, he occasionally deviates from both Latin and Croatian Church Slavonic in favor of Old Croatian forms and constructions. Thus the analysis of the syntax also confirms the presence of planning in his conception of literary language, where the status of Croatian Church Slavonic and Old Croatian (Čakavian) elements is defined and to some extent standardized. While the analysis of the selected syntactic features, as expected, affirms the strong dependence of the Misal hruacki on its Latin template, it also shows that the impact of this template should not be overstated. Kožičić does not blindly copy Latin constructions in order to adhere to his source, but rather takes Latin as an incentive and a reliable model on which he can construct a literary language based on clear syntactic principles.
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Verbaal, Wim. "Reconstructing Literature. Reflections on Cosmopolitan Literatures." Journal of Latin Cosmopolitanism and European Literatures, no. 1 (June 12, 2019): 1–15. http://dx.doi.org/10.21825/jolcel.v0i1.11404.
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This is a general introduction to and reflection on some of the concepts and questions that will be central to JOLCEL, highlighting the fundamental role of schooling in the formation and continuation of literary universes. It is argued, amongst others, that one cannot construe a thorough history of Europe’s national literatures without taking into account their roots in Latin schooling and texts – roots that run far deeper than the (already widely studied) ‘reception of the classical’. Vice versa, we cannot fully understand the internal workings and development of the Latin tradition without taking into account neighbouring, overlapping and competing literatures.
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Ochoa, John A. (John Andres). "The Politics of Philology: Alfonso Reyes and the Invention of the Latin American Literary Tradition (review)." MLN 120, no. 2 (2005): 497–99. http://dx.doi.org/10.1353/mln.2005.0092.
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Good, Carl. "The Politics of Philology: Alfonso Reyes and the Invention of the Latin American Literary Tradition (review)." Hispanic Review 73, no. 1 (2005): 117–19. http://dx.doi.org/10.1353/hir.2005.0009.
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Nedeljkovic, Vojin. "Justinian’s πάτριος φωνή." Balcanica, no. 47 (2016): 55–73. http://dx.doi.org/10.2298/balc1647055n.
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In the Justinianic Novellae, repeated occurrences of the phrase ??????? ????, meaning the Latin language, are generally believed to be indicative of Justinian?s favourable stance towards Latin culture, Roman tradition, and his own roots. Per se, the importance and dignity of Latin needed no advocacy in the actual environment of the sixth-century Constantinople: not only was the idiom in wide official use, but a fair share of literary production was in Latin, and proficiency in that language was normal with the many admirers and connoisseurs of Roman antiquities. The usual understanding is that by calling Latin the ?father tongue? Justinian never emphasized the contingent fact of its being his own first language, but rather referred to Latin as the primary language of the Roman people and the traditional vehicle of high administration throughout the Empire. In the present paper the use of ??????? ???? (or ?. ??????) is examined in the wider context of earlier, contemporary and later Greek sources, in which it normally means the native language of a foreign individual or ethnicity as opposed to the Greek of the author and his readers; the instances involve a large number of foreign languages, including contemporary spoken idioms as well as traditional languages of different communities. However, the question whether ??????? ???? ever became a context-free denotation of Latin viewed as the traditional language, by all appearances, is to be answered to the negative. On the other hand, the phrase ??????? ???? often assumes the specific task of ?flagging? instances of code-switching in Greek texts, and it is this special purpose that it seems to fulfill more than once in the Novellae as well.
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Ferrer, Véronique. "« Éros mélancolique ». La folie d’amour chez les poètes de la fin du XVIe siècle." Studia Litteraria 17, no. 2 (August 2, 2022): 87–96. http://dx.doi.org/10.4467/20843933st.22.009.15597.
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The article proposes to show how the poets of the late sixteenth century give new energy to the paradigm of love madness that runs through the literary tradition, from the desperate heroes of the Greco-Latin pastoral to the Roland Furious, not forgetting the “fools-for-love” of the courtly Middle Ages, by taking advantage of expanding philosophic-medical knowledge and a demonic imaginary in vogue.
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Bazzana, Giovanni B. "Cucurbita super caput ionae Translation and Theology in the Old Latin Tradition." Vetus Testamentum 60, no. 3 (2010): 309–22. http://dx.doi.org/10.1163/156853310x499862.
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AbstractThe present paper aims at examining one passage in the Old Latin and Vulgate translations of the Book of Jonah, where Jerome inserted a controversial change by translating the Hebrew qyqywn with the Latin haedera instead of the usual cucurbita. The reasons for this variation are neither immediately evident nor directly stated by the translator, but an analysis of iconographical documents will show that Jerome wanted to exclude the possibility of a millenarian interpretation, which, after the conversion of Constantine, he had to deem heretic.
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Cesario, Marilina. "Ant-lore in Anglo-Saxon England." Anglo-Saxon England 40 (December 2011): 273–91. http://dx.doi.org/10.1017/s0263675111000123.
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AbstractTwo Old English versions of a sunshine prognostication survive in the mid-eleventh century Cambridge, Corpus Christi College 391, p. 713, and in a twelfth-century addition to Oxford, Bodleian Library, Hatton 115, 149v–150r. Among standard predictions promising joy, peace, blossom, abundance of milk and fruit, and a great baptism sent by God, one encounters an enigmatic prophecy which involves camels stealing gold from the ants. These gold-digging ants have a long pedigree, one which links Old English with much earlier literature and indicates the extent to which Anglo-Saxon culture had assimilated traditions of European learning. It remains difficult to say what is being prophesied, however, or to explain the presence of the passage among conventional predictions. Whether the prediction was merely a literary exercise or carried a symbolic implication, it must have originated in an ecclesiastical context. Its mixture of classical learning and vernacular tradition, Greek and Latin, folklore and Christian, implies an author with some knowledge of literary and scholarly traditions.
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Origgi, Alessandra. "La riscrittura di Ovidio nella Favola di Narcisso di Luigi Alamanni." ACME - Annali della Facoltà di Lettere e Filosofia dell’Università degli Studi di Milano, no. 03 (December 2012): 139–81. http://dx.doi.org/10.7358/acme-2012-003-orig.
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My paper deals with the analysis of the mythological short poem La Favola di Narcisso by Luigi Alamanni, focusing on the rewriting of the episode of Narcissus in Ovid’s Metamorphoses. This study takes into account the particular literary devices through which the author aims to reproduce and reinforce the rhetorical richness of the Latin example, such as the amplificatio, the modification of dispositio and the respect of decorum. Furthermore, the intertextual relationships between the Favola and the most important vernacular and Latin writers are highlighted; Petrarca’s poems Rvf 23 and 50, suggesting the idea of painful love, are the primary models for Alamanni and will serve as the main sources. Alamanni’s rewriting of the Ovidian text, as well as the connections between the different parts of the poem, lead to a new interpretation of the story of Narcissus. As the prologue and the conclusion of the Favola clearly point out, the episode of Narcissus represents a negative exemplum of amorous behaviour, in coherence with the author’s poetics and with the poetical culture of the Renaissance. Finally, the Favola is placed in the literary tradition of the mythological short poems, the translations of Ovid and in the tradition of the lyrical-narrative octave.
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Monge, Carlos Francisco. "Andanzas españolas de la poesía costarricense." LETRAS, no. 40 (July 24, 2006): 75–91. http://dx.doi.org/10.15359/rl.2-40.4.
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Se describe analíticamente un recorrido histórico de los vínculos literarios, culturales y editoriales entre la producción poética costarricense del siglo xx, y la tradición lírica castellana. Sitúa las letras costarricenses en su contexto hispanoamericano, y señala algunos hitos que podrían explicar etapas y aspectos significativos de su desarrollo literario.
An analytical description is provided of the literary, cultural and publishing ties existing between Costa Rican twentieth-century poetry and the Spanish lyric tradition. It situates Costa Rican letters in their Latin American context and suggests certain milestones which could explain significant stages and aspects of its literary development.
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Minnema, Anthony H. "Algazel Latinus: The Audience of the Summa theoricae philosophiae, 1150–1600." Traditio 69 (2014): 153–215. http://dx.doi.org/10.1017/s0362152900001951.
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The Latin translation of al-Ghazali's Maqās˙id al-falāsifa was one of the works through which scholastic authors became familiar with the Arabic tradition of Aristotelian philosophy after its translation in the middle of the twelfth century. However, while historians have examined in great detail the impact of Avicenna and Averroes on the Latin intellectual tradition, the place of this translation of al-Ghazali, known commonly as the Summa theoricae philosophiae, remains unclear. This study enumerates and describes the Latin audience of al-Ghazali by building on Manuel Alonso's research with a new bibliography of the known readers of the Summa theoricae philosophiae. It also treats Latin scholars' perception of the figure of al-Ghazali, or Algazel in Latin, since their understanding in no way resembles the Ash'arite jurist, Sufi mystic, and circumspect philosopher known in the Muslim world. Latin scholars most commonly viewed him only as an uncritical follower of Avicenna and Aristotle, but they also described him in other ways during the Middle Ages. In addition to tracing the rise, decline, and recovery of Algazel and the Summa theoricae philosophiae in Latin Christendom over a period of four centuries, this study examines the development of Algazel's identity as he shifts from a useful Arab to a dangerous heretic in the minds of Latin scholars.
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Minervini, Laura. "Les Gestes des Chiprois et la tradition historiographique de l'Orient latin." Le Moyen Age CX, no. 2 (2004): 315. http://dx.doi.org/10.3917/rma.102.0315.
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Cataldi, Claudio. "Trinity Homily XXIX De Sancto Andrea between Tradition and Innovation." Anglia 135, no. 4 (November 10, 2017): 641–68. http://dx.doi.org/10.1515/ang-2017-0066.
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AbstractRecent scholarship has challenged the view of the late twelfth-century Trinity Homilies, and of the contemporary Lambeth Homilies, as two collections that merely continue the earlier Old English vernacular homiletic tradition. This study aims to contribute to the scholarly debate on the Trinity Homilies by considering the elements of tradition and innovation featured in the twenty-ninth sermon of the collection, De Sancto Andrea. Through a discussion on the passage on the ‘Soul’s Address to the Body’ preserved in this homily, I shall show that Trinity XXIX includes both elements of continuity with the ‘Soul and Body’ literature attested in Old English homiletic texts (like the antithetical rhetorical pattern developed in the damned soul’s speech) and new features (like the motif of the ‘Signs of Death’ and the theme of ‘neglectful friends’) which reflect early Middle English developments in the ‘Soul and Body’ theme. I shall argue that the Trinity XXIX homilist probably adapted and reworked a lost Latin source into a poetic passage metrically and thematically consistent with contemporary ‘Soul and Body’ poetry. In the Appendix, I shall discuss the sources for the Latin material embedded in Trinity XXIX.1
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Phuong, Le Ngoc. "The dictator – A specific figure of modern Latin American novels." Science & Technology Development Journal - Social Sciences & Humanities 4, no. 4 (December 6, 2020): First. http://dx.doi.org/10.32508/stdjssh.v4i4.603.
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heroic pages of her own. Latin America is an area encompassing countries historically ruled by the Spanish and the Portuguese under their colonization time throughout the centuries.After hard struggles to gain independence, the region continued to face many new challenges and difficulties in which violence and military dictatorship were the most common situation dominating Latin American politics in the 19th and 20th centuries. Since then, the topic of dictatorship has been written in novels in that region. Márquez has stated in an interview that, the fact that brutality ran from one end of the continent to the other made the history shaped by brutality. Writing about this topic, modern Latin American writers have "entered" the deepest into the reality of their continent, wherever they are, no matter what narrative method they use. This helps modern Latin American literature express its own literary themes, not being mixed with other literatures. In Vietnam, over the past 50 years, a lot of Latin American novels have been translated and well received by Vietnamese academic and popular readers. Such authors as A. Asturias, L. Borges, Carpentier of the Latin American Vanguardia, Márquez, Llosa of the Latin American Boom have become familiar names to Vietnamese readers. Understanding the image of the dictator – an important image of the tradition and identity of Latin American literature will give a better understanding about this literature.
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Korn, Uwe Maximilian, Dirk Werle, and Katharina Worms. "The carmen heroicum in Early Modernity (Das carmen heroicum in der frühen Neuzeit)." Daphnis 46, no. 1-2 (March 15, 2018): 1–14. http://dx.doi.org/10.1163/18796583-04601014.
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The special issue at hand provides a contribution to the historical exploration of early modern carmina heroica (epic poems) in the German area of the early modern period, especially of the ‘long’ 17th century. To this purpose, perspectives of Latin and German Studies, of researchers with expertise in medieval and modern literary history, are brought together. This introductory article puts the following theses up for discussion: 1) The view that epic poems of the early modern period are a genre with little relevance for the history of literature is wrong and has to be corrected. 2) Accordingly, the view has to be corrected that the history of narrative in the modern era leads teleologically to the modern novel. 3) For the exploration of the history of carmina heroica, the traditions of didactic poems and heroic poems have to be taken into consideration together. 4) Epic poems of the ‘long’ 17th century have a particular tendency to generic hybridization. 5) The genre history of carmina heroica can be reconstructed appropriately only by taking into account the vernacular as well as the Latin tradition.
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Lotman, Maria-Kristiina. "Prosody and versification systems of ancient verse." Sign Systems Studies 29, no. 2 (December 31, 2001): 535–61. http://dx.doi.org/10.12697/sss.2001.29.2.08.
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The aim of the present study is to describe the prosodic systems of the Greek and Latin languages and to find out the versification systems which have been realized in the poetical practice. The Greek language belongs typologically among the mora-counting languages and thus provides possibilities for the emergence of purely quantitative verse, purely syllabic verse, quantitative-syllabic verse and syllabic-quantitative verse. There is no purely quantitative or purely syllabic verse in actual Greek poetry; however, the syllabic-quantitative versification systems (the Aeolian tradition) and quantitative-syllabic versification systems (the Aeolian tradition) were in use. The Latin language, on the other hand, has a number of features, which characterize it as a stress-counting language. Since at the same time there exists also the opposition of short and long syllables, there are preconditions for the syllabic, accentual and quantitative principle, as well as for the combinations of these. The Roman literary heritage shows examples of purely accentual, syllabic-quantitative, quantitative-syllabic, as well as of several other combinatory versification systems.
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Molnár, Annamária. "Szempontok a De mulieribus claris elemzéséhez." Antikvitás & Reneszánsz, no. 3 (January 1, 2019): 63–78. http://dx.doi.org/10.14232/antikren.2019.3.63-78.
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Boccaccio had proved by his vernacular and Latin prosaic works as well that he merited a place among the three crowns of Italian literature. By De mulieribus claris he created the first collection of women’s biographies in the Western European literature, which work testifies such a complexity worth for analysing. This paper presents the various aspects I needed to apply during the analysis of the common goddesses of Genealogia and De mulieribus – e. g. the problem of the readers, the utilized literary sources, the narrative techniques and even the tradition called Euhemerism – to understand De mulieribus itself and due to these points of view to identify the answers that Boccaccio gave to the challenges of the Medieval and Renaissance interpretational traditions.
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Glauthier, Patrick. "Phaedrus, Callimachus and the recusatio to Success." Classical Antiquity 28, no. 2 (October 1, 2009): 248–78. http://dx.doi.org/10.1525/ca.2009.28.2.248.
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The following article investigates how Phaedrus' Latin verse fables engage standard Callimachean topoi. When Phaedrus imitates the Hymn to Apollo he fails to banish Envy and when he adopts Callimachus' own polemical allusions to Aesop he turns them upside down. Such texts are essentially Callimachean in spirit and technique and constitute a recusatio: by ““mishandling”” or ““abusing”” and thus ““rejecting”” various Callimachean topoi and the role of the ““successful”” Callimachean poet, the fabulist demonstrates his skill and versatility within the Callimachean tradition. This sort of recusatio satirizes those poets who unimaginatively rehash Callimachean staples and represents a strategy that gains momentum in the first century AD. It thereby provides a literary context for understanding Phaedrus' engagement with the evolving traditions of Roman Callimacheanism.
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Masiello, Francine. "Rethinking Neocolonial Esthetics: Literature, Politics, and Intellectual Community in Cuba's Revista de Avance." Latin American Research Review 28, no. 2 (1993): 3–31. http://dx.doi.org/10.1017/s0023879100037389.
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Writers from Jorge Luis Borges to Alejo Carpentier have celebrated the role of literary journalism in Latin American cultural life. The periodical press mediates between author and public, between the heavy sea of tradition and the rising tide of the new, between the institutions that sustain convention and the spontaneous, vibrant eruptions that give life to the avant-garde. Literary journalism thus traces the struggles of writers against the canon while revealing their engagement in the political and aesthetic events of the day. But as one might expect, literary journalism also unravels the neat boundaries of the finished work or the book in the ongoing dialogue with contemporary publications and multifaceted speculations on culture. In this way, the pastiche of materials found in the modern review exposes the vivid heterogeneity of the intellectual field.
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Martín, Sandra Romano. "Banqueting Gods in Valerius Flaccus Arg. 5.690-5." Mnemosyne 66, no. 4-5 (2013): 666–81. http://dx.doi.org/10.1163/156852512x617641.
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Abstract This work offers a new comment and interpretation of Valerius Flaccus Arg. 5.690-5, a passage where the poet describes a banquet of the gods on Olympus with music and dancing. Two elements of the scene have been put under consideration: the Greek and Latin sources for the traditional scene of the dance of the gods (especially in the context of Olympic councils), examined in such a way as to argue that the scene described is unusual within the extant Latin epic tradition; and the traditional content of Apollo’s song, the Gigantomachy. By mentioning the Gigantomachy theme in other parts of the poem, Valerius links this passage with the poem’s overarching theme of the imposition of order according to a divine plan.
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Pagán-Matos, Marla. "The Black Madonna in Latin America and Europe: Tradition and Transformation de Malgorzata Olieskiewics-Peralba." Revista Iberoamericana 74, no. 224 (September 20, 2008): 814–17. http://dx.doi.org/10.5195/reviberoamer.2008.5262.
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McElduff, Siobhán. "Epilogue: The Multiple Medeas of the Middle Ages." Ramus 41, no. 1-2 (2012): 190–205. http://dx.doi.org/10.1017/s0048671x0000031x.
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Insofar as we can know, Medea has always been multiple, existing in many different versions simultaneously. She is never simply a literary construction, a stratified intertextual ensemble made up of all the other literary Medeas that came before her, but a product of the values and fears of each culture that imagines her, recreates her, and uses her to represent meaning. The Middle Ages were no different: Medea could figure as an alchemist's guide, as in the Pretiosa Margarita Novella (the New Pearl of Great Price); as an allegory of God fighting the Antichrist in the Ovide Moralisé; as wronged wife in Geoffrey Chaucer's Legend of Good Women; or as a nightmare figure that appears like Grendel in Beowulf to destroy Jason's wedding feast in Raoul Lefèvre's History of Jason. The flexibility of the medieval myth of Medea is staggering—even more staggering than that of the Roman period—stretched as it was across a continent of warring kingdoms, with different authors and audiences pressing classical texts to generate new and culturally relevant and acceptable meanings. However, appropriately enough for a volume titled ‘Roman Medea’, there is one multiple of Medea that drops out of the equation as a direct influence: the Greek Medea, the Medea of Euripides and Apollonius. The loss of the Greek tradition did not impede medieval authors, who found more than enough in Latin texts to inspire them. The basic Latin materials upon which the Middle Ages built their Medeas were Ovid's Metamorphoses and Heroides, along with scattered references in other popular authors like Statius, presentations of irrational women in love like Dido in Virgil, descriptions of child murderers such as Procne also taken from the Metamorphoses, and terrifying witches such as Lucan's Erictho. However, some Latin texts which we might have expected to be influential, such as Seneca's Medea, were marginal to the medieval tradition.