Academic literature on the topic 'Pastoral poetry, Classical History and criticism'
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Journal articles on the topic "Pastoral poetry, Classical History and criticism"
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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.
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Naaman, Erez. "Collaborative Composition of Classical Arabic Poetry." Arabica 65, no. 1-2 (February 27, 2018): 163–206. http://dx.doi.org/10.1163/15700585-12341476.
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Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.
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Barnes, Diana G. "Animal-Human Compassion: Structures of Feeling in Dark Pastoral." Emotions: History, Culture, Society 4, no. 1 (September 14, 2020): 183–208. http://dx.doi.org/10.1163/2208522x-02010090.
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Abstract This essay argues that animal-human compassion, defined as human fellow-feeling with (and not for) animals, is most urgently articulated at points of crisis in human history, such as the terrible bushfires and drought of the Australian summer of 2019–20. Literary history, particularly of pastoral literature, reveals animal-human compassion as a long-contested structure of feeling. The pastoral template established in classical literature, and refined in early modern literature, sets conventions for proper human-animal emotional relations. These ideals are radically destabilised in Andrew Marvell’s ‘dark pastoral’ civil war poetry. This troubled legacy flows through Australian settler-colonial writing about animals, particularly the kangaroo; Barron Field, Charles Harpur and Ethel Pedley strive to intervene in the patriotic myth-making associated with colonial settlement and Federation.
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Wolff, Charlotta. "Viska om mitt qval." 1700-tal: Nordic Journal for Eighteenth-Century Studies 19 (December 29, 2022): 26–49. http://dx.doi.org/10.7557/4.6609.
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Gustav Philip Creutz and Gustaf Fredrik Gyllenborg, both born in 1731, were two major authors who developed pastoral and epic poetry in Swedish and who were also known for their literary friendship. In Swedish and Finnish national literature, they are known as representatives of a supposedly light, rococo style that fell out of fashion in the nineteenth century. By proposing a queer reading of their poetry, this article takes a new approach to their works, arguing that these can be used as valuable sources for the history of gender, genderqueer and feelings of love and friendship. While previous studies have generally analysed Creutz’s and Gyllenborg’s works separately, they are here seen as a mutual venture in the context of a shifting, gendered public space, however within a strongly classical framework, which allowed the authors to play at several intertextual levels to appeal to the sensitivities of different readers.
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Yakovenko, Iryna. "African American history in Natasha Trethewey’s “Native Guard”." Synopsis: Text Context Media 27, no. 4 (December 25, 2021): 224–30. http://dx.doi.org/10.28925/2311-259x.2021.4.4.
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The article presents interpretations of the poetry collection “Native Guard” of the American writer Natasha Trethewey — the Pulitzer Prize winner (2007), and Poet Laureate (2012–2014). Through the lens of African American and Critical Race studies, Trethewey’s “Native Guard” is analyzed as the artistic Civil War reconstruction which writes the Louisiana Native Guard regiments into national history. Utilizing the wide range of poetic forms in the collections “Domestic Work” (2000), “Bellocq’s Ophelia” (2002), “Thrall” (2012), — ekphrastic poetry, verse-novellas, epistolary poems, rhymed and free verse sonnets, dramatic monologues, in “Native Guard” (2006) Natasha Trethewey experiments with the classical genres of villanelle (“Scenes from a Documentary History of Mississippi”), ghazal (“Miscegenation”), pantoum (“Incident”), elegy (“Elegy for the Native Guard”), linear palindrome (“Myth”), pastoral (“Pastoral”), sonnet (the ten poems of the crown sonnet sequence “Native Guard”). Following the African American modernist literary canon, Trethewey transforms the traditional forms, infusing blues into sonnets (“Graveyard Blues”), and experimenting with into blank verse sonnets (“What the Body Can Tell”). In the first part of “Native Guard”, the poet pays homage to her African American mother who was married to a white man in the 1960s when interracial marriage was illegal. The book demonstrates the intersections of private memories of Trethewey’s mother, her childhood and personal encounters with the racial oppression in the American South, and the “poeticized” episodes from the Civil War history presented from the perspective of the freed slave and the soldier of the Native Guard, Nathan Daniels. The core poems devoted to the 1st, 2nd and 3rd Louisiana regiments in the Union Army formed in 1862, are the crown sonnet sequence which variably combine the formal features of the European classical sonnet and the African American blues poetics. The ten poems are composed as unrhymed journal entries, dated from 1862 to 1865, and they foreground the reflections of the African American warrior on historical episodes of the Civil War focusing on the Native Guard’s involvement in the military duty. In formal aspects, Trethewey achieves the effect of continuity by “binding” together each sonnet and repeating the final line of the poem at the beginning of the following one in the sequence. Though, the “Native Guard” crown sonnet sequence does not fully comply with the rigid structure of the classical European form, Trethewey’s poetic narrative aims at restoring the role of the African American soldiers in the Civil War and commemorating the Native Guard. The final part of the collection synthesizes the two strains – the personal and the historical, accentuating the racial issues in the American South. Through the experience of a biracial Southerner, and via the polemics with the Fugitives, in her poems Natasha Trethewey displays that the Civil Rights Act has not eliminated racial inequality and racism. Trethewey’s extensive experimentation with literary forms and style opens up the prospects for further investigation of the writer’s artistic methods in her poetry collections, autobiographical prose, and nonfiction.
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Hadjimichael, Theodora A. "Aristophanes’ Bacchylides: Reading Birds 1373–1409." Greek and Roman Musical Studies 2, no. 1 (January 28, 2014): 184–210. http://dx.doi.org/10.1163/22129758-12341258.
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AbstractThe significance of Aristophanes in the history of ancient literary criticism cannot be doubted. Equally undoubted is also the dismissive attitude that he appears to have towards the musical and poetic innovations of the late-fifth century BC. This position of his becomes essential when one considers the manner in which he treats the appraised canonical lyric poets and the contemned representatives of the New Dithyramb. This paper is concerned with the reading specifically of Bacchylides in Aristophanes. It argues in favour of the use of Bacchylides’ Ode 5 to Hieron inBirds1373-1409 as well as for the poem’s reconfiguration by Kinesias within the context of the New Music. In the process it will allow us to comment on a number of poetic characteristics of Bacchylides’ poetry and also to draw conclusions on Bacchylides’ status within the melic tradition as the poet in-between classical lyric poetry and the New Music.
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Graf, E. C. "From Scipio to Nero to the Self: The Exemplary Politics of Stoicism in Garcilaso de la Vega's Elegies." PMLA/Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1316–33. http://dx.doi.org/10.1632/pmla.2001.116.5.1316.
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What is the relation between the early modern lyric and the emergence of modern individuality? Garcilaso de la Vega's verse from early-sixteenth-century Hapsburg Spain is generally assessed in terms of Petrarchan protocols. But the emotive effects of love fictions and pastoral nostalgia provide an incomplete aesthetic picture. Garcilaso's poetry also concerns modern power relations; some of his most impressive tropes allude to contemporary politics. This essay argues that Garcilaso's most experimental and self-assertive verse manifests the political animus of the Toledan nobility. On the ideological fault line between the municipal capitalists of the comunero revolution (1520–21) and the combined forces of the Hapsburg imperialists and the great landed aristrocracy, Garcilaso's “ultramoderate” lyric production problematizes the imperialist-aristocratic coalition by demystifying the official interpretations of recent events as divinely ordered repetitions of classical history. The peculiar self-referential implosion of the second elegy suggests that the emergence of modern individuality occurs in response to imperialist tyranny.
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Graf, E. C. "From Scipio to Nero to the Self: The Exemplary Politics of Stoicism in Garcilaso de la Vega's Elegies." Publications of the Modern Language Association of America 116, no. 5 (October 2001): 1316–33. http://dx.doi.org/10.1632/s0030812900113355.
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What is the relation between the early modern lyric and the emergence of modern individuality? Garcilaso de la Vega's verse from early-sixteenth-century Hapsburg Spain is generally assessed in terms of Petrarchan protocols. But the emotive effects of love fictions and pastoral nostalgia provide an incomplete aesthetic picture. Garcilaso's poetry also concerns modern power relations; some of his most impressive tropes allude to contemporary politics. This essay argues that Garcilaso's most experimental and self-assertive verse manifests the political animus of the Toledan nobility. On the ideological fault line between the municipal capitalists of the comunero revolution (1520–21) and the combined forces of the Hapsburg imperialists and the great landed aristrocracy, Garcilaso's “ultramoderate” lyric production problematizes the imperialist-aristocratic coalition by demystifying the official interpretations of recent events as divinely ordered repetitions of classical history. The peculiar self-referential implosion of the second elegy suggests that the emergence of modern individuality occurs in response to imperialist tyranny.
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Begass, Christoph. "Kaiserkritik in Konstantinopel. Ein Spottepigramm auf Kaiser Anastasius bei Johannes Lydus und in der Anthologia Palatina." Millennium 14, no. 1 (February 23, 2017): 103–50. http://dx.doi.org/10.1515/mill-2017-0004.
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Abstract In De magistratibus John Lydus refers to an epigram of eight lines insulting emperor Anastasius (491-518) as a money-collecting Charybdis. A similar version of this poem can be found in the Greek Anthology where it is divided into two epigrams of four lines each (AP XI 270 -71). In a first step, a critical edition of the epigram is established. On this basis it becomes clear that the earlier version referred to by Lydus comes close to the original poem. A detailed commentary reveals it as work of an able and witty poet who was familiar with both classical epic poetry and the formulas used in late antique laudatory epigrams. Looking at the historical background of the epigram, the paper highlights the history and varieties of Kaiserkritik in Late Antiquity and Byzantium, while another chapter takes a closer look at the far-reaching reforms undertaken by Anastasius which were heavily criticized by contemporaries. Taking into account the function of the epigram in Lydus’ work, it seems certain that John Lydus himself composed the poem to support his general criticism of the administrative reforms of both Anastasius and Justinian.
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Maryam, Sitti. "Historisitas Aliran Neo-Klasik Dalam Kesusastraan Arab." Al-Irfan : Journal of Arabic Literature and Islamic Studies 2, no. 1 (March 30, 2019): 121–41. http://dx.doi.org/10.36835/al-irfan.v2i1.3388.
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Arabic literature has undergone such a long journey from the time of the beginning of the time of Jahili, the period of Islam, the period of Muawiyah service, Abasiah, the Ottoman dynasty, and the modern period until now. In each period of this development, Arabic literature experienced innovations that differentiated it from other periods. In the modern phase in particular, it turns out that Arabic literature has a variety of literary schools that have appeared alternately, both because of the motivation of criticism of the literary models that emerged before and because of refining other streams that emerged in the same period of time.
The emergence of this neoclassical school was initially a reaction to Napoleon's arrival in Egypt in 1798, which marked the entry of French culture into the Arab world. This school also maintains strong Arabic poetry rules, for example the necessity to use wazan, qāfiyah, the number of words is very large, the uslūb is very strong, the themes still follow the previous period, such as madah, ritsa (lamentations), ghazal, fakhr, and the movement from one topic to another in one qasidah (ode)
Problems raised in this study include: 1. What is the history of Arabic literature? 2. What are the factors that arouse Arabic literature? 3. Who are the pioneers of the neoclassical school? The results in this study are: 1. The history of Arabic literature has experienced such a long journey from the period beginning at the time of Jahili, the period of Islam, the period of Muawiyah's service, Abasiah, the Ottoman dynasty, and the modern period until now. During the Abbasid period there was a period of emotion in Arabic literature, and suffered a setback during the Ottoman period until the beginning of this phase since the reign of Muhammad Ali in Egypt after colonialization Francis ended in 1801. 2. The factors include: Al-Madaris (School -school), Al-Mathba'ah (Printing), Ash-Shuhuf / Al-Jaro'id (Newspaper), and Tarjamah.3. One of the pioneers of the neoclassical school of Arabic poetry or commonly called al-Muhāfizun is Mahmud Sami al Barudi
Keywords: arabic literary history, factors, flow, neo classical figure
Dissertations / Theses on the topic "Pastoral poetry, Classical History and criticism"
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Chan, Kwok-kou Leonard, and 陳國球. "The reception of Tang poetry in the Ming neo-classical criticism." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1988. http://hub.hku.hk/bib/B31231081.
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Kelly, Catriona. "Innokenty Fedorovich Annensky and the classical ideal : poetry, translations, drama and literary essays." Thesis, University of Oxford, 1986. http://ora.ox.ac.uk/objects/uuid:402cf752-742c-4447-ae0c-ffeace85f95c.
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Innokenty Annensky (1855-1909) was better known to his contemporaries as a classics teacher and translator than as a poet; but, with the exception of two or three obituary articles, nothing has been written on his work as a classicist. His work has often been misconstrued and he has been described as an outstanding scholar. It has not been generally appreciated that his interest in the scholarly world was not really academic; he saw classical texts as models for his own literary works, and as inspiration for the 'Slavonic renaissance' he looked forward to with F.F. Zelinsky. This thesis covers Annensky's classical education, the essays he wrote on classical literature, and his translations of classical texts. Particular attention is given to the essays and translations which were intended to be published in Teatr Evripida, the first complete Russian version of Euripides. Annensky wrote no essay explicitly devoted to the subject of classicism. But from his essays on classical literature and the remarks on classical literature in his essays on modern literature it is possible to extrapolate his views on the nature of the classical tradition and on how he thought classical literature should be imitated. I show that Annensky's attitude to the classics was idiosyncratic and paradoxical. On the one hand, the classical world was viewed elegaically as an ideal of lost perfection; on the other, it was one of many cultural traditions on which he drew in his literary works and which was adapted in accordance with Modernist poetics. The discussion of Annensky's views on classicism is accompanied by information about the system of classical education in Russia 1870-1910, and about the history of classical scholarship and of literary classicism in Russia. Annensky's essays are compared with those of a representative scholar, Zelinsky, and a representative Symbolist, Vyacheslav Ivanov.
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Buglass, Abigail Kate. "Repetition and internal allusion in Lucretius' 'De Rerum Natura'." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:b20951f7-d299-4c5f-8470-5e67be1340ff.
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This thesis aims to solve the apparent problem of the frequent repetitions in Lucretius' De Rerum Natura (DRN). Verbal repetitions of many different lengths pervade DRN, and are noted in the scholarship. Yet a consensus has not been reached as to their purpose and function, or even if they rightly belong in the text. Multi-linear repetitions are viewed as a temporary stop-gap which Lucretius would have removed or adjusted had he lived long enough to effect it; or as later interpolations; while shorter repetitions are underplayed or even ignored altogether. But repetitions and internal allusions in DRN are part of a purposeful, meaningful didactic and rhetorical strategy, and they form much of the intellectual structure of the poem. These internal connections combine in DRN to form a remarkably complex intratextual network. The thesis argues that repetition is a crucial way in which Lucretius conveys his arguments and persuades the reader to pursue a rational life. Chapter 1 analyses the ways in which Lucretius' epic predecessors used repetition and how Lucretius may have applied these models. Chapter 2 looks at the internal evidence for the alleged unfinished state of the poem and examines the function of long repetitions in DRN. Chapter 3 investigates the rhetorical background to and functions of different kinds of repetition in DRN. Chapter 4 explores the didactic and psychological effects of repetitions and internal allusions. Chapter 5 shows how repetition creates an image of the world Lucretius describes: just as Lucretius tells us that atoms and compounds make up different substances depending on their arrangement in combination, so repetitions perform different functions and produce different outcomes depending on their placement in the text. Throughout the poem, repetition serves again and again to reinforce Lucretius' message, creating argumentative unity, and bringing order from chaos.
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Sun, Yingying, and 孙莹莹. "Cultivation through classical poetry : the poetry and poetic studies of Huang Jie (1873-1935) = "Yi shi wei jiao" : Huang Jie (1873-1935) shi ge ji shi xue yan jiu." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/209557.
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This dissertation examines the cultural dilemma that Chinese intellectuals are forced to confront with between tradition and Western Scholarship in Late Imperial and Modern China. As a traditional poet and scholar, Huang Jie (1873-1935) believed that the Manchurian reign was the reason for China’s collapse during Late Qing Era, and Chinese traditional culture would be the only remedy for the rapidly decaying society. Therefore, Huang initiated the campaign named “Nationality Conservation” in the aim of overthrowing the Manchu Empire. While sticking to “conservative” values, Huang adopted foreign/ Western cultural concepts and attempted to rephrase them with Chinese scholarship. All these endeavors had made Huang’s cultural identity confusing. Hence, this dissertation attempts to deal with Huang Jie’s understanding of culture through analyzing his poetry writings and poetic studies.
Immersed by Confucian doctrines about the relationship between poetry and politics, Huang paid special attention to the cultural cultivating function of classical poetry. This ideology of “Cultivation through Poetry” was specifically generated from the Mao Shixu in Eastern Han Dynasty, and then repeatedly expressed in Huang’s poetic works in order to change the corrupt Modern society. In spite of this, Huang still respected and paid serious attention to the literariness of poetry, either in poetry writings or poetic studies. He spent great efforts on the prosody and therefore was well commended among Late Qing and Early Republican poets. Hence, this dissertation thoroughly examines how Huang Jie negotiated the tension between political and literary aspects of classical poetry. After introducing his life history and the ideology of “Cultivation through Classical Poetry”, chapter two and three focus on themes and characteristics of Huang’s poetry. These two chapters explore how Huang established his own poetic style under the trend of Song Poetry Movement commencing from Late Qing. The last chapter investigates Huang’s view on the evolution of literature and focuses on his abundant studies of classical poetry. In the conclusion, this dissertation would like to demonstrate that as a poet and scholar, Huang Jie established the traditional cultural identity, same as his friends in Nanshe, while his faith of “Cultivation through classical poetry” was well challenged at that tumultuous Modern time.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
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Fox, Peta Ann. "Heroes at the gates appeal and value in the Homeric epics from the archaic through the classical period." Thesis, Rhodes University, 2011. http://hdl.handle.net/10962/d1002168.
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This thesis raises and explores questions concerning the popularity of the Homeric poems in ancient Greece. It asks why the Iliad and Odyssey held such continuing appeal among the Greeks of the Archaic and Classical age. Cultural products such as poetry cannot be separated from the sociopolitical conditions in which and for which they were originally composed and received. Working on the basis that the extent of Homer’s appeal was inspired and sustained by the peculiar and determining historical circumstances, I set out to explore the relation of the social, political and ethical conditions and values of Archaic and Classical Greece to those portrayed in the Homeric poems. The Greeks, at the time during which Homer was composing his poems, had begun to establish a new form of social organisation: the polis. By examining historical, literary and philosophical texts from the Archaic and Classical age, I explore the manner in which Greek society attempted to reorganise and reconstitute itself in a different way, developing original modes of social and political activity which the new needs and goals of their new social reality demanded. I then turn to examine Homer’s treatment of and response to this social context, and explore the various ways in which Homer was able to reinterpret and reinvent the inherited stories of adventure and warfare in order to compose poetry that not only looks back to the highly centralised and bureaucratic society of the Mycenaean world, but also looks forward, insistently so, to the urban reality of the present. I argue that Homer’s conflation of a remembered mythical age with the contemporary conditions and values of Archaic and Classical Greece aroused in his audiences a new perception and understanding of human existence in the altered sociopolitical conditions of the polis and, in so doing, ultimately contributed to the development of new ideas on the manner in which the Greeks could best live together in their new social world.
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Sawyer, Daniel. "Codicological evidence of reading in late medieval England, with particular reference to practical pastoral verse." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:8c21053f-e347-4349-9cc4-b1fa0229e95a.
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This study advances and adds detail to our history of the reading of verse in England c.1350-1500. Scholarship has established major twelfth- and thirteenth-century changes in reading, and linked these changes to manuscripts containing the modern Middle English verse canon. Historians of early modern reading have also argued for distinctive changes in their own period. But the examination of reading between these two clusters of change has been limited. This study therefore asks how later medieval Middle English verse was read. The surviving copies of The Prick of Conscience and Speculum Vitae, two hugely successful religious instructional poems, form the primary body of evidence. This body is augmented by reference to hundreds of other manuscripts containing Middle English verse. Together, these can reveal much about what was normal and abnormal in reading. They are also an important part of the context for the reading of more canonical Middle English verse. Manuscript studies often proceeds through case studies of individual books and unusual evidence such as marginalia. This thesis turns to codicology to understand more widespread evidence for reading, combining qualitative case studies with quantitative techniques borrowed and developed from continental scholarship. The first chapter examines evidence of provenance, revealing that both The Prick of Conscience and Speculum Vitae were read by an impressive range of people and remained current into the sixteenth century. The second chapter considers the navigational aids used in copies of both poems. Reading in this period has been characterised as 'discontinuous', but it could be discontinuous in diverse ways, and readers also read continuously. The third chapter is a large-scale study of books' size and shape, showing how these features can reveal books' reading histories, sometimes in counterintuitive ways. The fourth chapter contends that readers in this period attended closely to rhyme and probably read for balanced rhyme structures. The fifth chapter uncovers the ways in which these poems were rewritten for new readers and investigates the composition of the Southern Recension of The Prick of Conscience, arguing that this new text was partly a formalist intervention. The conclusion summarises the new 'baseline' history of the reading of Middle English verse which is offered here, and gestures towards implications for our reading of the Middle English poems which are canonical today.
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朱少璋. "現代新詩人舊體詩硏究 = Study of Chinese classical poetry written by modern Chinese poets." HKBU Institutional Repository, 2002. http://repository.hkbu.edu.hk/etd_ra/471.
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Tedeschi, Guillaume. "Etude philologique du texte d'Hésiode aux époques hellénistique et romaine." Doctoral thesis, Universite Libre de Bruxelles, 2012. http://hdl.handle.net/2013/ULB-DIPOT:oai:dipot.ulb.ac.be:2013/209752.
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La présente dissertation analyse toutes les prises de position attribuées dans les scholies hésiodiques à un commentateur de l'Antiquité. Cette étude a pour optique d'apporter un regard nouveau sur les méthodes philologiques appliquées par les exégètes des époques hellénistique et romaine à la lecture des textes poétiques archaïques.Doctorat en Langues et lettres
info:eu-repo/semantics/nonPublished
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Stroebel, Maureen. "The pastoral poetry of Andrew Marvell." Thesis, 2000. http://hdl.handle.net/10413/9076.
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Ricci, Roslyn Joy. "Changing approaches to interpretation: twentieth century re-creations of classical Chinese poetry." 2006. http://hdl.handle.net/2440/37853.
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This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre.Thesis (M.A.)--School of Social Sciences, 2006.
Books on the topic "Pastoral poetry, Classical History and criticism"
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Bukolische Leidenschaft, oder, Über antike Hirtenpoesie. Frankfurt am Main: P. Lang, 1987.
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R, Hardie Philip, ed. Virgil: Critical assessments of classical authors. London: Routledge, 1999.
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Stetkevych, Jaroslav. The zephyrs of Najd: The poetics of nostalgia in the classical Arabic nasīb. Chicago: University of Chicago Press, 1993.
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Pastoral and the poetics of self-contradiction: Theocritus to Marvell. Cambridge: Cambridge University Press, 1994.
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Hubbard, Thomas K. The pipes of Pan: Intertextuality and literary filiation in the pastoral tradition from Theocritus to Milton. Ann Arbor: University of Michigan Press, 1998.
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Sielanki z Gajem zielonym. Warszawa: IBL, Instytut Badań Literackich, 2007.
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The Chaonian dove: Studies in the Eclogues, Georgics, and Aeneid of Virgil. Leiden: E.J. Brill, 1986.
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Myanmar classical poetry. Yangon: Moe Min Sarpay, 1998.
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Song exchange in Roman pastoral. Berlin: Walter de Gruyter, 2010.
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Eros and ritual in ancient literature: Singing of Atalanta, Daphnis, and Orpheus. Piscataway, NJ: Gorgias Press, 2005.
Find full textBook chapters on the topic "Pastoral poetry, Classical History and criticism"
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Cooper, Helen. "Pastoral." In The Oxford History of Poetry in English, 244–61. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0014.
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The pastoral poetry of the sixteenth century—that is, poetry that presented the shepherd world as a metaphor for the real one—embraced an exceptionally wide range of forms and practices. The model was set by Spenser’s Shepheardes Calendar, which provided templates of different kinds of language, from rustic dialect to the elaborately Latinate; different varieties of prosody, from folksong to a multiplicity of lyric forms; different traditions, from English vernacular to Virgilian, French, or Italian; different fields of allusion, from the Classical or Biblical to the contemporary; different landscapes, from idyllic spring to bitter winter; and different worlds, from Golden Age fantasies to ecclesiastical allegory. The range encouraged the self-presentation of the poet as shepherd-singer and the exploration of a number of key issues in contemporary poetics, including rhetorical decorum and quantitative verse.
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Cleland, Katharine. "Daniel, Drayton, Chapman." In The Oxford History of Poetry in English, 495–516. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780198830696.003.0028.
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This chapter examines the literary careers of the sixteenth-century English poets, Samuel Daniel, Michael Drayton, and George Chapman. In particular, the chapter demonstrates how they vie with one another for the distinction of being England’s poet laureate. To do so, it traces the way their careers develop from early experimentations with such genres as pastoral, lyric, and epyllion before turning to the ultimate laureate genre, epic. In their quest to achieve laureate status, each poet intentionally dedicates his career to the formation of a uniquely English literary tradition that builds upon and revises its Classical and Continental predecessors. Daniel, Drayton, and Chapman’s wide-ranging experimentations with poetic form and genre profoundly impact the history of English poetry.
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Van Anglen, K. P. "Thoreau’s Epic Ambitions: “A Walk To Wachusett” and the Persistence of the Classics in an Age of Science." In The Call of Classical Literature in the Romantic Age, 153–92. Edinburgh University Press, 2017. http://dx.doi.org/10.3366/edinburgh/9781474429641.003.0007.
Full textAbstract:
The piece is the earliest example in Thoreau of a prose genre now known as the excursion, which combines a brief autobiographical account of an experience of nature with broader philosophical meditations on the natural world. Moreover, in “A Walk to Wachusett,” Thoreau also uses quotations from and allusions to Virgil's own earliest extant poems (the eclogues) to recreate in prose the tension found throughout Virgil's poetry between the themes of the pastoral and those of epic. Thoreau also thereby allies his own literary career to the progression first followed by Virgil, from pastoral to georgic to epic, known as the cursus honorum. This renders problematic any simple notion that he became a scientist later in his career. Rather, his interests in natural science merged with his original goal of writing epic poetry, in his treatment of Pliny the Elder's Natural History.