Journal articles on the topic 'Poetics – history – 16th century'
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Phélippeau, Marie-Claire. "The Poetics of Water in 16th and 17th century Utopias: More, Bacon, Rabelais." Moreana 51 (Number 197-, no. 3-4 (December 2014): 67–82. http://dx.doi.org/10.3366/more.2014.51.3-4.6.
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This paper intends to study the poetics of water in various 16th and 17th utopias or imaginary tales: Thomas More’s Utopia (1516), Francis Bacon’s New Atlantis (1627) and François Rabelais’s Gargantua (1534), Pantagruel (1532) and Quart Livre (1552). Based on Gaston Bachelard and Gilbert Durand’s research, the analysis intends to highlight the function of the aquatic element in the writing of fantastic tales inspired notably by Lucian (A True Story). Water being the infinitely malleable substance, endowed with plural metaphors and in turn positively and negatively valued, it plays multiple roles in poetic imagination, which this analysis attempts to determine.
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Galasheva, Tatiana. "POETICS OF THE LIFE OF ST. EPHRAIM OF TORZHOK." Проблемы исторической поэтики 21, no. 2 (June 2023): 118–44. http://dx.doi.org/10.15393/j9.art.2023.12343.
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According to legend, the Venerable Ephraim of Torzhok was an 11th century ascetic, and the “ancient scripture” about him has been lost. The history of the saint was written anew: a Brief edition of his Life was created in the last quarter of the 16th century, an Extensive one — in the second quarter of the 17th century. The subject of research of this article is the poetics of the Life of St. Ephraim of Torzhok (mainly based on the material of the rhetorically adorned Extensive edition). The text’s highly complex structure is examined and attributed to the strong dependence of the Extensive edition on the Brief edition and to the special tasks that the compiler set for himself. The question of the place of the Life in the history of the hagiographic genre, and the ways in which traditional formulas and motifs, and biblical quotations work in the text is investigated along with the fragments of the composition marked by rhetorical means. The Life was probably created not so much with a focus on the hagiographic canon, but in the genre-appropriate language: the compiler of the Extensive edition approached the traditional elements of the hagiographic genre quite freely. One of the main events of the Life, both in the Brief and Extensive versions, was specifically the creation of the text about the saint. The fragmentary nature of the Life, which combines heterogeneous elements characteristic of folk and book lives, allows us to observe the process of formation of a new type of hagiographic text that took place in the 17th century.
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Lavocat, Françoise. "Dido Meets Aeneas: Anachronism, Alternative History, Counterfactual Thinking and the Idea of Fiction." Journal of Literary Theory 14, no. 2 (September 25, 2020): 194–214. http://dx.doi.org/10.1515/jlt-2020-2009.
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AbstractThe anachronistic character of the loving relationship between Dido and Aeneas was widely and commonly discussed among commentators, critics, and writers in the early modern period. From the 16th century onwards, when the word »anachronism« appeared in vernacular languages, its definition was even inseparable from the example borrowed from the Aeneid. The purpose of this article is to interrelate early modern debates on anachronism, reflections on the status of fiction and the history of fiction.Starting with the hypothesis that anachronism is a form of counterfactual, the questions posed in this article are: did forms of counterfactuals exist before the 19th century, to what extent did they differ from contemporary alternative histories and, if so, why? The story of Dido and Aeneas in the Aeneid can be considered »counterfactual«, because this version of the narrative about the queen of Carthage was opposed to another, which was considered to be historical and which made Dido a privileged embodiment of female virtue and value.Several important shifts are highlighted in this article. With the exception of St. Augustine (who saw in Vergil’s anachronism confirmation of the inanity of fiction), before the 16th century indifference towards anachronism prevailed: the two versions of Dido’s story were often juxtaposed or combined. If Vergil’s version of Dido’s story was condemned, it was for moral reasons: the exemplary version, considered more historically accurate, was favored throughout the Middle Ages, notably by Petrarch and Boccaccio.From the 16th century onwards, however, increased acquaintance with Aristotle’s Poetics promoted greater demand for rationality and plausibility in fables. This coincided with the appearance of the word »chronology« and its development, which led to a new understanding of historical time. Anachronism then appeared to be a fault against verisimilitude, and as such was strongly condemned, for example by the commentator on Aristotle, Lodovico Castelvetro. At the same time, the argument of poetic license was also often invoked: it actually became the most common position on this issue. Vergil’s literary canonization, moreover, meant that the version of Dido’s life in the Aeneid was the only story that was known and cited, and from the 17th century onwards it totally supplanted the exemplary version. Strangely enough, permissiveness towards anachronism in treatises, prefaces, or comments on literary works was not accompanied by any development of counterfactual literature in early modern period. Indeed, in both narrative and theatrical genres fiction owed its development and legitimization to the triumph of the criterion of plausibility.This article, however, discusses several examples that illustrate how the affirmation of fiction in the early modern period was expressed through minor variations on anachronism: the counterfictional form of Ronsard’s epic, La Franciade, which represents an explicit deviation from the Iliad; the metaleptic meeting of Vergil and Dido in the Underworld in Fontenelle’s Le dialogue des morts; and the provocative proposal for a completely different version of Dido’s life, which was made in an early 17th century Venetian operatic work by an author who claimed to be anti-Aristotelian. This study thus intends to provide an aspect of the story of fiction. The change of perspective on anachronism marks a retreat from moral argument, with privilege given to aesthetic criteria and relative independence with regard to history – while still moderated by the criterion of verisimilitude, as underlined by the abbé d’Aubignac, as well as Corneille.
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Verdonk, Peter. "Painting, poetry, parallelism: ekphrasis, stylistics and cognitive poetics." Language and Literature: International Journal of Stylistics 14, no. 3 (August 2005): 231–44. http://dx.doi.org/10.1177/0963947005054479.
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Ekphrasis is a sub-genre of poetry addressing existent or imaginary works of art. Though now a term in poetics, its cultural roots go back to classical rhetoric, which shows that the two have always been in an osmotic relationship. In a wider context, ekphrasis is also the natural outcome of the traditionally strong bond in Western art between poetry and the visual arts, which Aristotle regarded as imitative arts because both make use of mimetic representation. This close link found its fullest expression in Horace’s famous simile Ut pictura poesis. Different periods of Western art history had different ekphrastic agendas, ranging from Homer’s description of the making of the shield of Achilles in the Iliad to Auden’s ‘Musée des Beaux Arts’ on some pictures by Pieter Brueghel the Elder. Auden may have set the fashion, but as it happened this 16th-century Flemish painter became the favourite muse of a great many other 20th-century poets, in both Europe and the USA. As an illustration of this genre, I present a reading of William Carlos Williams’ s ekphrastic poem ‘The Dance’, which was inspired by Brueghel’s picture ‘The Kermess’. In my analysis I combine the tools of stylistics with those of cognitive poetics, which has embraced the cognitive linguistic theory that any act of language use can potentially be related to some underpinning mental faculty, for example, experience, memory, perception, imagination, and emotion. Along these lines, I try to show how my analysis and reading of the poem’s rhetorical elements, or perceived effects, might be traced to certain underlying cognitive structures such as mentally stored real-world experience, memories and images, genre knowledge, the human delight in repetitive formal patterns, the embodied experience of movement, spatial perception, figure-ground alignments in visual and other sensory perceptions, etc.
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Titarenko, Svetlana D. "The Metamorphosis of Mannerism in Russian Poetry at the Turn of the 19th–20th Centuries: Valery Bryusov and Nikolay Gumilev." Studia Litterarum 8, no. 2 (2023): 182–99. http://dx.doi.org/10.22455/2500-4247-2023-8-2-182-199.
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This article is dedicated to the insufficiently studied topic concerning comparative analysis of European mannerism and neo-mannerist tendencies in Russian modernist poetry. The basis of this analysis is formed by ideas of Ernst Robert Curtius regarding mannerism as a constant theme in European literature and classic art history studies (Max Dvořák, Erwin Panofsky) and modern philological studies dedicated to this style of the 16th century. The article examines the poems from early poetry collections by Valery Bryusov, such as “Juvenilia” (1892–1894), “Chefs d’oeuvre” (1894–1896), “Mе eum esse” (1896–1897), and “Pearls” (1910) by Nikolay Gumilev. It demonstrates that the neo-mannerism in Bryusov’s and Gumilev’s poetry was brought upon by influence of French culture and Art Nouveau style, which reveals in the creation of the contingent, aestheticized and exotic image of the world. The poets use techniques of theatricalization in order to develop plots. A complexity of poetic manner is characteristic, principles of surprise poetics are created in line with it. The picturesque scenes, motifs of narcissism and love games are varied. The topoi of mannerism or early baroque are used. It allows us to talk about the actualization of mannerist model of thinking that embody ideas of aesthetic rebel against tradition.
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Moody, Ivan. "Mensagens: Portuguese Music in the 20th Century." Tempo, no. 198 (October 1996): 2–10. http://dx.doi.org/10.1017/s0040298200005313.
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These lines of Fernando Pessoa (1888–1935), the great poet of Portuguese modernism, may seem at first sight to invoke the principal element of fado, Portugal's national music: the element represented by that famously untranslatable word suadade, implying longing, nostalgia, homesickness … However, they hide far deeper resonances. Mensagen (Message), the poetic sequence from which they come, is a profound exploration of Portugal's history, a modern counterpart to Camoens's great 16th-century epic The Lusiads. It is connected to the nationalist Integralismo Lusitano movement, and to Sebastianism. Other poets, particularly Mario Sa-Carneiro (1890–1916), and plastic artists, notably Amadeo de Sousa Cardoso (1887–1918) and Jose de Almada Negreiros (1893–1970), similarly reflect the strength of these patriotic and mystical ideas in Portugal during the country's deepening social crisis in the early part of the century. But Pessoa, who famously split himself into several persons, each with their own name, style and poetic output, may also stand as a symbol of the different currents Portuguese composers have ridden in search of their national identity.
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Polilova, Vera S. "The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One." Imagologiya i komparativistika, no. 17 (2022): 7–36. http://dx.doi.org/10.17223/24099554/17/1.
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The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
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Górska, Magdalena Kinga. "Status teoretyczny emblematu w polskiej dekoracji." Terminus 23, no. 3 (2021): 227–58. http://dx.doi.org/10.4467/20843844te.21.010.13847.
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The Theoretical Status of the Emblem in Polish Decorative Art This paper argues that the theoretical status of the emblem in decorative art has methodological significance in emblem studies and art history, comparable to its status in the so-called book’s editorial frame. This claim is justified in the historical and theoretical tradition of defining emblems in the sources. The departure point for the author’s considerations comes from the findings of applied emblematics, and its foundation is provided by the theoretical sources describing symbolic genres (scil. emblema, symbolum, hierogliphicum) published in Poland from the 16th to the 18th century, including books of poetics, rhetoric, dictionaries and compendia. The first part of the article presents an overview of research on decorative emblems in Poland, together with factors responsible for the scarcity of such studies, including the lack of symbolic typology of the decorations, and the division into literary and non-literary studies, motivated by the philological roots of emblem studies. It is noted that the emblemata in the so-called book’s editorial frame and those in decorations should be studied separately, as the latter are of ornamental nature, and require a distinct order of perception, explication, and the recipient’s role. Besides, it is pointed out that the anachronism of the 16th-century formulae of emblema raises problems for the genological classification of Polish decorations, and so does the inter-genre, compendiumtype pattern of symbolism dominant in the 18th century. The second part of the article discusses the definition of the emblema, focusing on its details relevant for the artistic practice and present-day genre classification, such as technique, composition, the content of the image, which is confronted with Polish historical materials. The analysis carried out in the paper supports the claim that providing a genelogical definition of a work of art sheds light on its artistic rendition and aesthetic value. It also enhances the perspective on emblem studies, the workshop of an emblem artist and the reception of the emblem. Additionally, it enables the verification of synthetic accounts and research practice, offering a profound reflection on the chronology and previous conceptions of the emblem. Finally, it helps to formulate postulates, which can be useful for the met
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Kolbuszewska, Zofia. "William Gibson’s Debt to the Culture of Curiosity: The Wunderkammer, or, Who Controls the World?" Polish Journal for American Studies, no. 12 (Autumn 2018) (April 30, 2022): 291–306. http://dx.doi.org/10.7311/pjas.12/2/2018.03.
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The article discusses transformations in William Gibson’s employment of the theme and poetics of the Wunderkammer from his two early novels, Neuromancer (1984) and Count Zero (1987), to Zero History (2010), his last-but-one novel. The exploration of Gibson’s representations of various Wunderkammer collections and arrangements in these books reveals his ever more pronounced recourse, over time, to the culture of curiosity as a diagnostic instrument. By interrogating the changing function of the Wunderkammer in Gibsons’ oeuvre, along with all its early-modern and contemporary associations with curiosity, it is possible to tease out the complexity of the writer’s evolving view of the duality, and the fusion, of the digital and the material, as well as his keen understanding of how the late capitalist market functions. Through his diagnostic representations of various cabinets of curiosities, Gibson reverses tendencies governing the transformations of the Wunderkammer as a collection of curia from the 16th to the 18th century, as well as overturning the relationship between the collection as a representation of available knowledge and the desire to create synthetic life. Gibson’s novels, which represent postdigital reality by analogous means, can thus be designated as postdigital analog writings that, according to Michael Punt, give expression to contemporary consciousness formed “in the Wunderkammer.”
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Lutsenko, E. M. "The image of Romeo as interpreted by Ivan Roskovshenko. From the history of Russian Petrarchism." Voprosy literatury, no. 5 (December 19, 2018): 242–70. http://dx.doi.org/10.31425/0042-8795-2018-5-242-270.
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This study of the translation strategies for Romeo and Juliet heavily relies on two aspects concerning the play’s genre complexity: the lyrical plot (drawing on the poetic fashions of the 1590s), and the comical carnival element, imbued with a Shakespearean London idiom. The process of the Russian adaptation of Shakespearian imagery was lengthy and fraught with difficulties, not only due to the play’s linguistic complexity, but because of differences in treatment of higher matters (here, poetry) and social and everyday realities. The paper discusses the first Russian translation of Romeo and Juliet, penned by Ivan Roskovshenko. The study focuses on discovering the ways in which the play’s Petrarchian stylistics transforms in the Russian interpretation. A detailed comparative analysis of the translation and its original suggests that I. Roskovshenko consistently replaced the rhetorical conventions of the 16th century with the patterns of contemporary Russian poetry, domesticating the Shakespearian text. The approach only paid off when the images of English Petrarchism, interspersing Romeo and Juliet, resonated with the Russian poetry of the early 1800s.
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Popovich, Alexey. "«ИЗОБРАЖАЯ ЖЕРТВУ»: ПАФОС ОБЛИЧЕНИЯ И МУЧЕНИЧЕСТВА В СОЧИНЕНИЯХ ИВАНА ГРОЗНОГО И АНДРЕЯ КУРБСКОГО." Проблемы исторической поэтики 18, no. 4 (November 2020): 67–98. http://dx.doi.org/10.15393/j9.art.2020.8743.
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The article explores changes in the use of the categories of victim and sacrifice in political literary artefacts in the second half of the 16th century: namely, the correspondence between Ivan the Terrible and Andrey Kurbsky and Kurbsky’s History of the Grand Prince of Moscow. The study shows that the writers of this time used the literary topoi of victim in a fundamentally different way to earlier authors in medieval Russia. The article defines the main means of poetics and rhetoric in the works of Ivan the Terrible and Andrey Kurbsky. The methods for updating the topos of victim for both authors are similar. Each of them desacralizes a high Christian idea and uses it and a topos for subjective and, as a rule, ideological purposes. Such changes are possible due to the mixing of earthly (profane) and heavenly (sacred) logic when dealing with the categories of victim and sacrifice, which is typical for this time. If, for Kurbsky, the people killed by the tsar are new martyrs, then for Ivan the Terrible, they are justly punished traitors. The tsar believes that subjects should be ready to sacrifice their lives for him. Kurbsky does not deny the necessity of willingness to sacrifice, but he consistently proves that the tsar’s personality does not correspond to Christian ideas about the ideal monarch, so he convinces the reader of the possibility of confronting the tsar. At the same time, both authors characterize themselves as a person affected by the actions of the other and use the literary topoi of victim.
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Gangui, Alejandro. "A palace for astronomy in Buenos Aires." Proceedings of the International Astronomical Union 5, S260 (January 2009): 346–53. http://dx.doi.org/10.1017/s1743921311002511.
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AbstractIn no other epoch of Western history like in the Middle Ages, cosmology was so key an element of culture and, one way or another, the motion of the heavens ended up impregnating the literature of that time. Among the most noteworthy poets we find Dante Alighieri, who became famous for his Commedia, a monumental poem written roughly between 1307 and his death in 1321, and which the critics from 16th century onwards dubbed Divina. In this and other works, Dante pictures the cosmic image for the world, summing up the current trends of Neoplatonic and Islamic traditions. The Barolo Palace in the city of Buenos Aires is a singular combination of both astronomy and the worldview displayed in Dante's poetic masterpiece. Some links of the Palace's main architectural structure with the three realms of the Comedy have been studied in the past. In this note we consider its unique astronomical flavor, an issue which has not been sufficiently emphasized yet.
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Petrov, Alexander. "SPIRITUAL VERSES ABOUT TSAREVICH JOASAPH: PLOTS AND METRICAL MODELS." Antropologicheskij forum 17, no. 49 (June 2021): 88–131. http://dx.doi.org/10.31250/1815-8870-2021-17-49-88-131.
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The article considers the problem of the development of metrical forms of the cycle of folklore spiritual verses about Tsarevich Joasaph. Spiritual verses related to the literary tradition are used as supplementary material. The aim of the research is to trace the evolution of the metrics of folklore spiritual verses about Tsarevich Joasaph in the context of the history of Russian versification. The tasks of the research are the formation of a database of texts, differentiation of the texts into thematic groups, selection of method of work, and the analysis of folk and literary variants. The research methodology is determined by its complex nature, being at the intersection of folklore, linguistics, and literary studies. Taking into account the heterogeneity of the material, special methods are used for texts created within the framework of different systems of versification: syllabic, accentual, and syllabic-accentual. The entire corpus of texts consists of seven types of plots and can be divided into metrical groups depending on the time and the environment of their creation. The earliest known text dates from the 16th century; it is a free, non-rhymed accentual verse. A significant corpus of texts was created in the 17th century, in line with the literary syllabic system of versification; these are spiritual verses with 8 or 13 syllables per line. Some of these were assimilated by folk culture and subsequently lost their syllabic equality of lines, becoming close to the accentual system. Literary texts of the 18th–19th centuries are closer to the syllabic-accentual system; sometimes they include polymetric poetic forms. Folklore texts collected in the 19th–20th centuries are based mainly on the accentual system of versification (dolnik, taktovik, accentual verse); however, as we move towards the 20th century, syllabic-accentual tendencies also intensify in this area. In the 20th century, the tradition of spiritual poetry was based on syllabic-accentual models borrowed from the works of Russian classics. The long history of the existence of this poetic cycle is, in general, in line with the evolution of Russian versification. At the same time, if the syllabic-accentual verse has been formed since the 18th century in the literary tradition of spiritual poetry, then in folklore it spread relatively late. Reliable examples of syllabic-accentual versification are found in folklore spiritual verses about Tsarevich Joasaph from the second half of the 19th century.
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Grimm-Stadelmann, Isabel. "Οἱ ἰατροὶ λέγουσι … – Erläuterungen zur anatomischen Terminologie in Περὶ τῆς τοῦ ἀνθρώπου κατασκευῆς." Byzantinische Zeitschrift 112, no. 3 (August 1, 2019): 843–60. http://dx.doi.org/10.1515/bz-2019-0034.
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Abstract The anatomical and physiological treatise Περὶ τῆς τοῦ ἀνθρώπου ἀνθρώπου κατασκευῆς is characterized by a peculiarity of medical terminology which is largely unknown from comparable texts: on the one hand, anatomical terms are put into relation with corresponding terms from poetic language, on the other hand they are precisely defined by descriptions of objects of everyday use. The considerable discrepancy between the Greek original and its Latin translation is of particular interest against the background of the renaissance of Περὶ τῆς τοῦ ἀνθρώπου κατασκευῆς in the 16th century AD. The multiple versions of the Latin translation show that medical terminology in Latin language was still in an ongoing process of development, for which reason many Greek anatomical terms were inserted untranslated into the Latin text due to a lack of an adequate Latin equivalents. For this reason Περὶ τῆς τοῦ τοῦ ἀνθρώπου κατασκευῆς plays a central role in the development of anatomical terminology, but also in its becoming more and more specific and precise.
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Goldfrank, David. "Nil’s and Iosif’s Rhetoric of Starchestvo." Russian History 39, no. 1-2 (2012): 42–76. http://dx.doi.org/10.1163/187633112x627139.
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The ideal master-disciple relationship or starchestvo associated with Paisii Velichkovskii (1722-92) and his epigones rests on a complex monastic legacy stretching back to Christian Antiquity and includes early Russia’s two greatest native writing elders, Nil Sorskii (1433/4-1508) and Iosif Volotskii (1439/40-1515). Pedagogical networks, circulation of texts, structural continuities, and workings of the hierarchy’s nomenklatura system in the 16th century contributed to the solidification of Nil’s and Iosif’s literary and institutional legacy in which this rhetoric was embedded and expressed. Their genres and sub-genres combine testament, regulation, sermon, systematic exposition, polemic, hagiography, and epistle, all freely utilizing maxims, enthymemes (rhetorical syllogisms, sometimes as questions), emotional appeals, scare stories, and insults, as well as poetic imagery. Both recognize the disciples’ active role in master’s success, as they address a variety of audiences. Nil’s spiritual treatise discusses the need for the “reliable” teacher, while his epistles place each recipient in his proper relationship to authority. Iosif directly speaks in turn to the pastor and the senior elders and officials of their responsibilities; he shows the multiplicity of authority lines within the large cenobium; and he polemically defends formal structures and discipline. His hagiography depicts the ideal elder as advising hesychast-hermit, community disciplinarian, and politically indispensible supplicant to God. Crucial for our overall sense of starchestvo, Iosif’s applies the New Testament maxims concerning “binding” and “loosing” to the teacher as teacher, while Nil’s Tradition/Instruction, specifying that only those qualified to listen and speak guide others, bridges to the modern era.
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Gamage, Swarnananda. "Shakespeare Tragedy, Comedy and Historical Play." European Modern Studies Journal 8, no. 2 (April 19, 2024): 91–95. http://dx.doi.org/10.59573/emsj.8(2).2024.10.
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This particular research paper sheds light on common recognizable characteristics of Shakespeare tragedy, comedy and historical play. Shakespeare, the dramatist of all time, brought tragedy and comedy developed by classic Greek dramatists: Aeschylus, Sophocles, Euripides and Aristophanes to a new level in the Elizabeth period. Within his theatre life which expands for 22 years, he produced ten tragedies, seventeen comedies and ten historic plays, which are staged with diverse modification all over the world, being translated to almost all the languages that are spoken in very nook and corner in the world. Shakespeare whom quoted next to the Bible is undoubtedly a social reality; his tragedy, comedy and historical plays have become the most timeless and placeless plays which touch the hearts of the audiences irrespective of social political and geographical differences. His tragedy showcases the downfall of the hero/heroine of high socio standing due to a tragic flaw, which finally causes the death of the protagonist either by being killed or committing suicide. His comedy is much more different from one another, although almost all of then end in poetic justice. His historical plays are based on the English history from 12th century to 16th century (from 1399 to 1485) and actual kings who ruled Great Britain in the particular period. However, Shakespeare added more dramatic effects into these historical plays constantly reminding the fact that he is not a historian yet a dramatist.
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Салтыкова, Арина Михайловна, and Сергей Николаевич Лебедев. "Sethus Calvisius. Melopoeia." Научный вестник Московской консерватории, no. 1(48) (March 31, 2022): 8–93. http://dx.doi.org/10.26176/mosconsv.2022.48.1.01.
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Труд Зета Кальвизия «Мелопея» (1592) скромно подан автором как краткий учебник музыкальной - главным образом многоголосной - композиции. В действительности «Мелопея», состоящая из 21 главы с обширным Прологом, представляет собой памятник немецкой культуры XVI века, воздвигнутый гуманистом ренессансного толка, для которого история, классическая филология, математика, риторика и другие науки - составные части musica poetica в той же мере, что и практические наставления к сочинению музыки. Эта публикация включает издание полного оригинального текста «Мелопеи» и его перевод на русский язык, в том числе транскрипции более 150 авторских иллюстраций. Издание текста предваряет статья С. Н. Лебедева и А. М. Салтыковой «Мелопея Кальвизия в истории музыкальной науки», в которой дан систематический обзор научной и учебной проблематики в трактате, описаны бэкграунд автора и особенности его стиля, выделены основные преимущества и недостатки его учения. Sethus Calvisius’ Melopoeia (1592) is modestly presented by the author as a brief textbook of musical - mainly polyphonic - composition. In fact, the Melopoeia with its 21 chapters and extensive Prologue is a monument of 16th-century German culture set up by a Renaissance humanist for whom history, classical philology, mathematics, rhetoric, and other sciences were as much components of musica poetica as they were ‘mere precepts’ for composing music. This publication includes a complete edition of the original text of the Melopoeia and its translation into Russian, with modern transcriptions of more than 150 original illustrations. The edition is introduced by the article Melopoeia by Sethus Calvisius in the History of Musicology by Sergey N. Lebedev and Arina M. Saltykova, which presents a systematic overview of the scholar and didactic matters in the treatise, describes the author’s background and features of his style, identifies the main advantages and shortcomings of his doctrine.
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Korzo, Margarita. "On the Erudition of a (non)Orthodox Author from the first third of the 17th C.: The Case of Kasijan Sakovyč." Slovene 11, no. 1 (2022): 166–91. http://dx.doi.org/10.31168/2305-6754.2022.11.1.7.
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Kasijan Sakovyč (сa. 1578–1647) can rightfully be attributed to one of the most educated representatives of both Orthodox and Uniate monasticism in Polish-Lithuanian Commonwealth of the first third of the 17th century. Kasijan’s diversity in terms of literary genres reflects his wide knowledge. Thus, his polemical treatises against the Orthodox Church and, partly, against the Uniates, echoed the events of his personal biography: after 1625, Sakovyč converted from Orthodox Christianity to the Uniate Church; in 1640, he became a Catholic. Two textbooks (compilations from Pseudo-Aristoteles) were partly related to his teaching activity and rectorship at Kyiv Brotherhood school. A rhymed funeral eulogy for the Hetman of Zaporozhian Cossacks, Petro Sahaidachny, testifies to Kasijan’s poetic talents. The present article aims to investigate Sakovyč’s writings as a means to reconstruct his personal “resource” or texts or books that he read and used in his literary activity. Two prefaces by Kasijan (a dedication to the nobleman Aleksander Zasławski and an appeal to the ‘pious reader’) are used for this case study, both written for “Desiderosus, abo Scieszka do miłości Bożey” (Desiderosus or a Path to God’s Love) (Kraków, 1625). The work is a Polish translation of an anonymous Spanish treatise ca. 1515, which was prepared by Kasper Wilkowski (died after 1589) and published three times during the late 16th century. Attributing Latin phrases, maxims, quotations, and references to historical figures and works, visual images, etc., that are used in both prefaces, allows one to suggest what books were known and available to Sakovyč and could have been the source of his erudition.
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Landsbergytė Becher, Jūratė. "THE VISIONARIES OF VILNIUS AND THE LITHUANIAN VERSION OF METAMODERNISM." CONTEMPORARY LITERARY STUDIES, no. 20 (December 20, 2023): 95–102. http://dx.doi.org/10.32589/2411-3883.20.2023.293582.
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Contemporary Lithuanian culture uses a unique source of creative spirit, which gives birth to visions of Lithuanian Statehood and sacred architecture. It is Vilnius, and authors related to Vilnius focused on its visual, poetic, and historical meanings. Such creators periodically appeared in the 19th and 20th centuries (M. K. Čiurlionis, A. Mickewicz, O. Miłosz, Cz. Miłosz, M. Kulbak), and when Poland occupied Vilnius, the spiritual connection between the city and Lithuania painfully and vividly intensified. Furthermore, Vilnius’ significance highly increased during the Soviet occupation (1940, 1945–1990). It symbolised the enslaved Statehood of Lithuania at that time and remained an invincible architectural vision of European continuity. Composers (E. Balsys, V. Barkauskas), film directors (A. Grikevičius), and painters (A. Stasiulevičius) created the paradigm of the eternal city, deeply rooted in the self-consciousness of Lithuanian Statehood. In the 21st century, this paradigm flourished incredibly powerfully in literature and music. Composer Onutė Narbutaitė (*1956) seemed to awaken Vilnius’ importance in global Western civilisation. In her oratorio “Centones meae urbi” (1997), she brought several eras of Vilnius history back to the present, raising the concept of the seasons as parts of the oratorio: “Spring” — Baroque, cultural flourishing, “Summer” — 20th century, Holocaust catastrophe, the fate of Vilnius Jews, “Autumn” — 19th century Romanticism, A. Mickiewicz’s poetry, the deep patriotism of Polish-Lithuanian people, “Winter” — the tragic 1991 January events in Vilnius, Lithuania’s walk toward the West and the restoration of independence. This musical-poetic-documentary concept of oratorio, recreating the turning points of Eastern European epochs, brought Narbutaitė’s work, the winner of the National Prize award, into the global spotlight.It is even more important to emphasise the role of literature, returning Vilnius to the civic historical self-awareness of the European present, which is especially relevant after the beginning of the Russian imperial aggression in 2022 against Ukraine. It is the four-volume work Silva rerum (2008–2016) by the writer and doctor of art studies Kristina Sabaliauskaitė (*1974). Because of its artistic and geopolitical incisiveness, it was translated into the languages of neighbouring European nations (Polish, Latvian, Estonian). Here, the depth of Vilnius’ historical memory grows into the restoration of the meaning of Statehood and acquires an exclusive expression of literary value, the sound of multicultural rumble with a unique penetration of antiquity into the present.The coverage of Sabaliauskaitė’s literary style is a powerful showcase of linguistic memory and existential and state life events, which, in her unique narrative, transforms into an endless melody of musical expression, enriched with the brutal reality of images and actions. Through Vilnius’ idea, not in a vague visionary sense but in a concrete historicism revision sense, Sabaliauskaitė brings back the deep state of the 16th–18th-century Republic of Two Nations (Polish–Lithuanian Commonwealth) into modern Lithuania, unveiling its relevance. Most importantly, the works of both women creators place them in the category of Vilnius visionaries. Here, historicism is integrated into metamodernism — through an endless melody, the transformation of a musicalform, and a literary sentence into the will of the world, the step into the present. Semantics becomes the bearer of the idea of an astute gathering of nations (in Vilnius as well), the inspirer, and the assessor of Europe’s weakened citizenship genesis in the sense of the Statehood of Eastern Europe. A melody emerges as a line of historical memory in the vault of metamodernism, reviving and enriching the myths of emptiness and the end of history spread by postmodernism. It also synchronises in the present time when an experience of a new challenge of the “falling-behind history” caused by war.
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Krzywy, Roman. "Polska epika bohaterska przed i po „Gofredzie”." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (December 20, 2020): 97–122. http://dx.doi.org/10.24917/20811853.20.6.
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The article is a review of the most important trends in the development of the Polish epic in the 16th and 17th centuries. In the absence of significant traditions of knightly works, the creation of Polish heroic poetry should be associated primarily with the humanistic movement, whose representatives set a heroic epic at the top of the hierarchy of genres and recognized 'Eneid' as its primary model. The postulate proposed first by the Renaissance and later by the Baroque authors did not lead to the creation of a ‘real’ epic in Poland. The translations of: the Virgil’s epic poem (1590) by Andrzej Kochanowski and Book 3 of 'The Iliad' by Jan Kochanowski can be regarded as the genre substitutes. These translations seem to test whether the young Polish poetic language is able to bear the burden of an epic matter. Then again, the works of Maciej Kazimierz Sarbiewski on the Latin 'Lechias' (the 1st half of the 17th century), which was to present the beginnings of the Polish state, were not completed. Polish Renaissance authors preferred themes from modern or even recent history, choosing 'Bellum civile' by Lucan as their general model but they did not refrain from typically heroic means in the presentation of the subject. This is evidenced by such poems as 'The Prussian War' (1516) by Joannis Vislicensis or 'Radivilias' (1592) by Jan Radwan. The Latin epic works were followed by the vernacular epic in the 17th century, when the historical epic poems by Samuel Twardowski and Wacław Potocki were created, as well as in the 18th century (the example of 'The Khotyn War' by Ignacy Krasicki). The publication of Torquato Tasso’s 'Jerusalem delivered' translation by Piotr Kochanowski in 1618 introduced to the Polish literature a third variant of an epic poem, which is a combination of a heroic poem and romance motives. The translation gained enormous recognition among literary audiences and was quickly included in the canon of imitated works, but not as a model of an epic, but mainly as a source of ideas and poetic phrases (it was used not only by epic poets). The exception here is the anonymous epos entitled 'The siege of Jasna Góra of Częstochowa', whose author spiced the historical action of the recent event with romance themes, an evident reference to the Tasso’s poem. The Polish translation of Tasso’s masterpiece also contributed to the popularity of the ottava rima, as an epic verse from the second half of the 17th century (previously the Polish alexandrine dominated as the equivalent of the ancient hexameter). This verse was used both in the historical and biblical epic poems, striving to face the rhythmic challenge.
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Bjørnerud Mo, Gro. "Collecting uncollectables: Joachim Du Bellay." Culture Unbound 9, no. 1 (September 4, 2017): 23–37. http://dx.doi.org/10.3384/cu.2000.1525.179123.
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Lists of wonders have circulated for millennia. Over and over, such inventories of spectacular man made constructions have been rewritten, re-edited and reimagi-ned. Both the wonders and the lists of wonders, preferably of the seven, have had a profound and long-lasting effect, and have been abundantly imitated, copied and reworked. Renaissance creative thinking was obsessed with the seven wonders of the ancient world, and early-modern Europe experienced a surge of visual and verbal depictions of wonders. This article is about a remarkable list of seven wonders, included in one of Joachim Du Bellay’s canonical poems on Roman antiquities (Antiquités de Rome), published in Paris in 1558. Du Bellay shapes his list of wonders by exploring pat-terns of both repetition and mutability. Almost imperceptibly, he starts suggesting connections between 16th-century Rome and distant civilizations. Through the eyes of a fictive traveller and collector, the poet venerates the greatness and la-ments the loss of ancient buildings, sites and works of art, slowly developing a ver-bal, visual and open-ended gallery, creating a collection of crumbling or vanished, mainly Roman, architecture. This poetic display of ruins and dust in the Eternal City is nourished by the attraction of the inevitable destruction of past splendour and beauty. In the sonnets, Du Bellay imitates classical models and patterns. Whi-le compiling powerful images and stories of destruction, he combines techniques associated with both a modern concept of copy and more ancient theories of co-pia. In this context, this article also explores whether Pliny’s Natural History might be a source for the imaginary collection of lost sites and wonders in Du Bellay’s Antiquités.
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Козырева, А. А. "Sacred Topography in Chants to the Uncovering of the Relics of St. Euthymius of Suzdal." OPERA MUSICOLOGICA, no. 2023 (May 11, 2023): 176–95. http://dx.doi.org/10.26156/om.2023.15.2.008.
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Статья посвящена исследованию отражения священной топографии города Суздаля в песнопениях уникальной службы прп. Евфимию Суздальскому на 4 июля, тексты которой были созданы в 40-х гг. XVI века гимнографом, агиографом, иноком мужского суздальского Спасо-Евфимиева монастыря Григорием. Песнопения чинопоследования, обнаруженные в Стихираре типа «Дьячье Око» из собрания Д. В. Разумовского, рассматриваются в статье как специфический феномен локальной певческой культуры середины XVII века. Неоднократное упоминание Суздаля в музыкально-поэтических текстах службы позволяет рассмотреть их с точки зрения музыкальной иеротопии как направления в искусствоведении, исследующего роль церковного пения в оформлении сакрального пространства. Анализ образов «священного града» Суздаля, важнейших храмов как сакральных локусов, а также гробницы прп. Евфимия в поэтических текстах службы доказывает их непосредственную связь с локальной литургической традицией. На основании исследования художественной структуры роспева одного из песнопений в честь почитаемого суздальского святого автор приходит к выводу о том, что музыкальная форма последовательно воплощает средствами знаменного роспева образность, связанную с разными уровнями священной топографии города и его символическим центром — ракой с чудотворными мощами прп. Евфимия. This work studies the way how the sacred topography of the city of Suzdal appears in the chants from the unique service of St. Euthymius of Suzdal on July 4, the texts of which were created in the 40s of the 16th century by the hymnographer, hagiographer, monk of the male Suzdal Spaso-Euthymiev monastery Grigory. The chants of the rites, discovered in the Book of Sticheron “D’yach’e oko” from the collection of D. V. Razumovsky, are first considered in the article as a specific phenomenon of the local singing culture of the mid XVIIth century. The repeated mention of the city of Suzdal in the musical and poetic texts of the service allows us to consider them from the point of view of musical hierotopy as a trend in the art history that explores the role of church singing in the design of sacred space. The analysis of the images of the “sacred city” of Suzdal, the most important temples as sacred loci, as well as the tomb of St. Euthymius in the poetic texts of the service proves their direct connection with the local liturgical tradition. Having studied the artistic structure of the chant of one of the texts in honor of the revered Suzdal saint, the author comes to the conclusion that the musical form consistently embodies the imagery associated with different levels of the sacred topography of the city, lining up, by means of the znamenny chant, from its symbolic center — the shrine with the miraculous relics of St. Euphemius.
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f, f. "A Study on the Image of the Korean Poet Kim In-hoo's Chinese Poet Do Yeon-myeong." Society for Chinese Humanities in Korea 85 (December 31, 2023): 335–53. http://dx.doi.org/10.35955/jch.2023.12.85.335.
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If you look at the writings of writers of the Goryeo Dynasty and Joseon Dynasty, you can easily find a cool Hwadoshi in the poem of Do Yeon-myeong. Kim In-hoo, a 16th-century Joseon writer, did not create such a Hwadoshi, but read Doyeon Myung's poems and assimilated them to create poems by borrowing poetry or images from Doyeon Myung's literary works. First, Kim In-hoo expressed his desire to gain freedom and satisfaction while living a life united with nature using the image of “Gwitaek” among Do Yeon-myeong's literary works in poetry. Next, Kim In-hoo cited the image of the “historical biography” of Doyeon Myung literature in the poem to express an accurate opinion on historical events or characters, and expressed his deep feelings accordingly, sometimes expressing anger. Finally, Kim In-hoo also created a poem using the image of “Ju” among the literary works of Doyeon Myung to soothe frustration and anger felt in reality by drinking alcohol. In this way, Nujeongsi, written by Kim In-hoo, can be seen as expanding its category by citing Do Yeon-myeong's poetic image and poetry, and it is considered that Kim In-hoo's unique aesthetic atmosphere and his own unique experience of life are added to it. It is similar to Do Yeon-myeong's work in that he expresses his perspective and enlightenment in a plain tone, but there is a difference in that his attitude toward life and his view of alcohol have reached a deep level of thought unlike Do Yeon-myeong.
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Aitbayeva, B. M., and B. S. Rakhimov. "Poetics of historical and heroic epics." Bulletin of the Karaganda university Philology series 104, no. 4 (December 31, 2021): 104–9. http://dx.doi.org/10.31489/2021ph4/104-109.
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The article deals with the problems of studying the poetics of the Kazakh historical epic. A systematic study of the poetics of the historical epic devoted to the national liberation movement of the Kazakh people in the 16th–19th centuries and the beginning of the XX century has been considered. The objective reasons for the process of cyclization of historical songs, legends, epos, associated with the events of the socio-political reality of a nomadic society, have been clarified. The connection of typology and poetics of the Kazakh historical epic has been examined. The factor contributing to the cyclization of historical legends, songs, and epics is, first of all, the uniform time of their existence, which was expressed in the events of the plot narration. The principles of cyclization are shown in all works of the historical epic.
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Niebelska-Rajca, Barbara. "Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past." Roczniki Humanistyczne 66, no. 1 SELECTED PAPERS IN ENGLISH (October 23, 2019): 19–31. http://dx.doi.org/10.18290/rh.2018.66.1-2e.
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The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1.
Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.
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Medugno, Marco. "Postcolonial Poetics: 21st-Century Critical Readings." Interventions 22, no. 2 (September 19, 2019): 296–99. http://dx.doi.org/10.1080/1369801x.2019.1660204.
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Joost-Gaugier, Christiane L., Colin Rowe, and Leon Satkowski. "Italian Architecture of the 16th Century." Sixteenth Century Journal 35, no. 2 (July 1, 2004): 605. http://dx.doi.org/10.2307/20477014.
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Konstam, R. A. "16th century naval tactics and gunnery." International Journal of Nautical Archaeology 17, no. 1 (February 1988): 17–23. http://dx.doi.org/10.1111/j.1095-9270.1988.tb00619.x.
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Kulbaka, Jacek. "From the history of disabilities (16th-19th century)." Biuletyn Historii Wychowania, no. 38 (October 11, 2019): 19–37. http://dx.doi.org/10.14746/bhw.2018.38.2.
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The article presents various circumstances (social, legal, philosophical and scientific) connected with the care, upbringing and education of people with disabilities from the early modern era to the beginning of the 20th century. Particular attention was to the history of people with disabilities in the Polish lands. The author tried to recall the activity of leading educational activists, pedagogues and scientists – animators of special education in Poland, Europe and the world. The text also contains information related to the activities of educational and upbringing institutions (institutional, organisational, methodological and other aspects).
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Śnieżko, Dariusz. "Pismo i głos jako kategorie poetyki historycznej (liryka XVI wieku) / Writing and Orality as Categories of Historical Poetics (16th Century Verse )." Ruch Literacki 53, no. 6 (December 1, 2012): 653–62. http://dx.doi.org/10.2478/v10273-012-0040-0.
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Summary In an attempt to validate the role of orality and writing as categories of historical poetics, the article takes a close look at five aspects or criteria of this key distinction. They are the intended use of the text, genre, sensory perception, the morphological criterion, and the criterion of reception and performance. It is hoped that the use of those markers will help us to establish the connections between the macrocosm of the 16th-century communication strategies (and the dynamic inter-relationships between them) and the microcosm of genres, conventions and individual literary works
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Ignatieva (Oganissian), Maria Yu. "Spanish Mystic of the 16th Century and the “Spiritual Canticle” of Saint John of the Cross." Studia Litterarum 8, no. 2 (2023): 86–107. http://dx.doi.org/10.22455/2500-4247-2023-8-2-86-107.
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The article analyzes the poetics of the “Spiritual Canticle” of St. John of the Cross as a single two-part work, consisting of a poetic text and its prosaic commentary. The “Spiritual Canticle” is one of the masterpieces of Spanish mystical literature of the 16th century. The author of the article describes this literary context, showing the reasons for its emergence and flourishing, the main directions and features, and then proceeds to analyze the poetics of the texts under consideration. The relationship between poetry and prose in the literary legacy of St. John of the Cross is one of the traditional themes of juanística. The article proposes to consider both the one and the other as a manifestation of both the mystical experience and the poetic genius of St. John, without placing the commentary in an auxiliar position in relation to the verses. By interpreting his own poetic text, John creates a new parallel text on the same topic, but in a different genre. Each component has its own internal plot.These two plots, called “lyrical” and “theological,” enter into complex relationships. Thus, “mountains,” “forests,” “extraordinary islands” and other images change their meaning both in verses and in commentary, revealing a general but whimsical transformation of an earthly topos into a transcendental one. Transformation takes place through various types of intersection of created and uncreated beginnings: in man, in nature and in God. Poems from lyrics become sacred text, commentary from didactic becomes exegetical.
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Waddell, Peter J. A. "The disassembly of a 16th century galleon." International Journal of Nautical Archaeology 15, no. 2 (May 1986): 137–48. http://dx.doi.org/10.1111/j.1095-9270.1986.tb00562.x.
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Truong, Anh Thuan, and Thi Vinh Linh Nguyen. "Trade Activities and the Spread of Christianity by Portugal: Port of Faifo (Vietnam)." Vestnik of Saint Petersburg University. History 67, no. 1 (2022): 128–43. http://dx.doi.org/10.21638/11701/spbu02.2022.109.
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In the 16th and 17th centuries, Faifo (Hoi An, Quang Nam province) emerged as one of the busiest international trading ports in Southeast Asia in general and in Vietnam in particular. At the same time, in Europe, Portugal and its formidable navy discovered a new maritime route to Asia. Using this knowledge, the Portuguese became one of the first Western states to explore this part of the world and laid the foundation for trade and missionary activities in a number of different countries and locations there. Among them, Faifo (in Vietnam) was a notable example. In fact, for almost a century (from the second half of the 16th century to the middle of the 17th century), the Portuguese had established business relationships and played an important role in trading activities in Faifo. Meanwhile, the Portuguese Crown strongly supported the Jesuit priests, aiding them in becoming the first Catholic missionary force based in Vietnam, thereby allowing for the introduction and spread of Christianity in Faifo as well as in other locations around Cochinchina. However, at the end of the 17th century, for a number of different factors, Portugal gradually lost its important role in trading and missionary activities in the port of Faifo. This article examines the Portuguese commercial and missionary activities in Faifo in the 16th and 17th centuries. It also aims to make a specific contribution to clarifying the relationship of exchange between Vietnam and Portugal in the 16th and 17th centuries.
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Stundžienė, Bronė. "The Folksong Narrative of the Family: Ritual Exposures and the Meaning of Shifting Contexts." Tautosakos darbai 51 (June 27, 2016): 137–60. http://dx.doi.org/10.51554/td.2016.28888.
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The article aims at outlining the framework of the family narrative based on folksongs perceived as profound texts of the ritual culture. The interpretation supported by hermeneutic assumptions seeks to reveal the aspects of the family life that are important to the poetic folksong discourse, as well as to establish the grounds for the reconstruction of the family narrative. The interest for the historical family patterns and the search for their possible reflections in folksongs was encouraged by the contemporary crisis experienced by the family institution. The “reading” of the songs was not a literal one, but rather, to paraphrase Gadamer, similar to a hermeneutic investigation, guided by the expectation of the universal meaning deduced from the total of singularities. The better understanding of the historic development of the family, its shifting structures and purposes required deeper knowledge of the linguistic kinship terms characterized by the ancient Indo-European roots, and the familiarity with the family rituals inseparable from the customary law still valid in the 16th century. It also involved noting changes in these phenomena that in turn affected the shifting notion of the family. This historically based information enabled the author to decipher the rather widely scattered ambiguous family reflections in the folksongs in a sufficiently objective way. The available linguistic research of the origins and spread of the Lithuanian kinship terms prompted paying attention to the rather numerous and revealing indications preserved by folksongs, testifying to their living memory of the extended family structure existing in Lithuania several centuries ago. The subsequent probing of the ritual memory of the Lithuanian folksongs involved placing it against the increasingly broader theoretically reconstructed ritual pattern. Recent studies of the Slavic family culture enabled establishing numerous ritual parallels with the Lithuanian (and the Baltic) one, as reflected in the folksongs. Although priority of the family issues in the folksongs was evident even before, the deeper look into the family theme allowed determining the role of the marriage not only as the supreme transition point of the human life, but also as an important change of the social status, which in the ritual culture involved the whole family, kin and even broader society. Such situation lasted in Lithuania much longer than elsewhere in Europe, since even at the turn of the 19th century the essentially illiterate oral Lithuanian culture sanctioned transferring the relevant experiences by means of the repeated rituals. The current interpretation was somewhat hindered by the thick accumulation of the cultural contexts concentrated in the folksong discourse, and even more cluttered by reflections of their change. However, the analysis enabled concluding that for the old folksongs only one family theme was truly relevant, namely, the establishing of the new family, which involved crucially important extension of the proximity of blood by marrying offspring of two families and acquiring new members in turn related as in-laws. Actually, the difference between the blood and the in-law relationship is the main thing to deal with for the whole briefly surveyed folksong narrative of the family. So far, the author of the article pays more attention to the family organization based on the proximity of blood, selecting the relevant information from the dissemination of the wedding ritual in the folksongs. Therefore, this article essentially presents investigation of only one part of the folksong family narrative. Further, the process of integration into the in-law family and the relevant symbolic constellations await examination.
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Dehqan, Mustafa, and Vural Genç. "The Kurdish Emirate of Brādōst, 1510-1609." Oriente Moderno 99, no. 3 (October 7, 2019): 306–20. http://dx.doi.org/10.1163/22138617-12340222.
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Abstract The Brādōst Kurdish emirate, ruling over Rawāndiz and adjoining areas including parts of Urmīya, is one of the numerous Kurdish ruling families of Kurdistan, which succumbed to the conquering Ottoman and Safavid arms in the 16th-century. While Ardalān, Ḥakkārī, Chamīšgazak, and many other Kurdish emirates were yielded to the several recent studies, Brādōst remained a neglected Kurdish emirate. By analyzing written documents produced during the 16th-century — from both Ottoman and Safavid sources — a better understanding can be had of what political interactions were possible at this emirate in Ottoman-Safavid frontier history. This paper critically contributes to scholarly discussions of 16th-century political history of Brādōst and Ottoman-Safavid borderlands.
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Noonkester, Myron C., and Boris Ford. "The Cambridge Cultural History, Volume 3: 16th Century Britain." Sixteenth Century Journal 24, no. 3 (1993): 752. http://dx.doi.org/10.2307/2542161.
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Bach-Szczawińska, Cecylia. "On the history of Krynki in the 16th century." Studia Podlaskie, no. 20 (2012): 9–25. http://dx.doi.org/10.15290/sp.2012.20.01.
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Maxwell-Irving, Alastair M. T. "Hoddom Castle: a reappraisal of its architecture and place in history." Proceedings of the Society of Antiquaries of Scotland 117 (November 30, 1988): 183–217. http://dx.doi.org/10.9750/psas.117.183.217.
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Bołdyrew, Aleksander, and Karol Łopatecki. "Volley fire in Europe in the mid-16th century." Studia Slavica et Balcanica Petropolitana, no. 2 (30) (2021): 3–18. http://dx.doi.org/10.21638/spbu19.2021.201.
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The article explores the application of volley fire in European armies in the mid-16th century. On the basis of Polish sources, the authors established that shooting volleys was applied by Polish infantry in 1558. There was also training in collective loading and shooting conducted by a commander every few days. Fire was conducted in the Turkish manner, i. e. having fired a salvo the rank would kneel and load the weapon in this position. The painting referred to in the article «The Battle of Orsha» (created in the 1530s or 1540s) shows the West European manner of conducting combat by an infantry unit. It involved setting the shooters in three ranks and alternating firing at enemy positions with a simultaneous countermarch. This suggests that the method described for the first time by the Spanish in 1592 was spread half a century earlier. The sources show that in the mid-16th century, volley fire was known in vast Eurasian tracks from remote China, through the Ottoman Empire to the western ends of Europe. The difference lay in the way of conducting the volley fire, and the most effective form of fire applied in battles was invented by the Dutch in the 1590s. As a result of the enlargement of weapon size and the introduction of muskets, the method proposed by Tarnowski of loading firearms in kneeling position became increasingly obsolete.
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Variash, Irina. "“The Muslim Question” in 16th Century Spain." ISTORIYA 14, no. 6 (128) (2023): 0. http://dx.doi.org/10.18254/s207987840027169-4.
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The article challenges the traditional perception of the negative image of the Muslim period in the mass consciousness of that time, based on the material from “Relaciones Topográficas de Felipe II”. Neither the objects of “Moorish origin”, nor the “Moors” themselves, nor the “Moriscos” had any negative connotations in the perception of the Spanish people in the 16th century. Intellectuals took the lead in reevaluating the historical experiences of that time, which led to the development of national historiography and the emergence of the “Black Legend”, depicting the intense conflict between Muslims and Christians during the long Reconquista period. This reevaluation was driven more by the goals of state-building than by popular sentiments, as the scientific and political knowledge of that time was just beginning to comprehend the ideas of a unified kingdom, standardized laws, and a shared history.
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Butel, Paul, and François Crouzet. "Empire and Economic Growth: the Case of 18th Century France." Revista de Historia Económica / Journal of Iberian and Latin American Economic History 16, no. 1 (March 1998): 177–93. http://dx.doi.org/10.1017/s0212610900007096.
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Among the colonial powers of the early modern period, France was the last to emerge. Although, the French had not abstained from the exploration of fhe New World in the 16th century: G. de Verrazano discovered the site of New York (1524), during a voyage sponsored by King Francis I; Jacques Cartier sailed up the St. Lawrence to Quebec and Montreal (1535). From the early 16th century, many ships from ports such as Dieppe, St. Malo, La Rochelle, went on privateering and or trading expeditions to the Guinea coast, to Brazil, to the Caribbean, to the Spanish Main. Many French boats did fish off Newfoundland. Some traded in furs on the near-by Continent. Moreover, during the 16th century, sporadic attempts were made to establish French settlements in «Equinoctial France» (Brazil), in Florida, in modern Canada, but they failed utterly. Undoubtedly, foreign wars against the Habsburgs, during the first half of the 16th and of the 17th centuries, civil «wars of religion» during the second half of the 16th century, political disorders like the blockade of La Rochelle or the Fronde during the first part of the 17th century, absorbed the attention and resources of French rulers, despite some ambitious projects, like those of Richelieu, for overseas trade. As for the port cities they tried to trade overseas but they were isolated and not strong enough (specially during die wars of religion) to create «colonies». Some small companies, which had been started in 1601 and 1604, to trade with the East Indies, were very short-lived, and the French did not engage seriously in Asian trade before 1664.
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Dehqan, Mustafa, and Vural Genç. "Kurdish Emirs in the 16th-Century Ruus Registers." Der Islam 96, no. 1 (April 9, 2019): 87–120. http://dx.doi.org/10.1515/islam-2019-0003.
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Abstract Sharaf Khān, author of the Sharaf-nāma, is the most energetic early modern champion of Kurdish history. One problem with the standard account of Sharaf Khān is that it organizes Kurdish history according to the author’s own classifications, rather than according to the administrative entities of the overlord empires, the Ottomans and Safavids; and that Sharaf Khān had access only to certain sources which are specific to the principalities. This indicates that one must be careful to use all claims of Sharaf Khān about particular Kurdish emirs, because not all that pertains to the understanding of 16th-century Kurdish emirs is included in the Sharaf-nāma. One way of resolving this inconsistency is to refer to the Ottoman archives. What we want to emphasize in this paper is the importance of the ruus registers for Kurdish history, which, we think, is less widely recognized. In what follows, we shall deal with the Kurdish materials given in the ruus registers.
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Galtsin, Dmitrii D. "Froben Prints and Polemics on Religion in Early Modern Eastern Europe." Vestnik of Saint Petersburg University. History 67, no. 2 (2022): 578–98. http://dx.doi.org/10.21638/11701/spbu02.2022.216.
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The article explores the Froben prints stored at the Rare Books Department of the Library of the Russian Academy of Science (Biblioteka Akademii Nauk) in Saint Petersburg. For three generations in the 16th century, Basel printers the Frobens influenced European intellectual life like no other publishing establishment, contributing to the spread of early Latin and Greek Christian literature, which determined both the development of theology and the humanities. Some copies of Froben prints are conspicuous for the history of their use which is intrinsically connected with various kinds of religious polemics in 16th and 17th century Eastern Europe. The focus of the article is the copies of Froben’s Opera omnia of St Augustine which underwent censorship in monastic libraries of the Polish-Lithuanian Commonwealth in the 16th and 17th century. The article traces the history of a number of Froben copies which belonged to notable Polish Protestants of the 16th and 17th centuries (Andrzej Trzecieski, Nicholas Radziwill the Black (“Czarny”), Andrzej Dobrzanski). The examination of the connections of Eastern European Protestants, which enabled vigorous exchange of books with Western Europe, bringing, for instance, a book from the library of the great Dutch cartographer Gerhard Mercator to the hands of a provincial Polish pastor, is carried out. Finally, the article addresses the marginalia left by Simeon of Polotsk on one of his books. These marginalia throw some new light on the question of Simeon’s genuine theological views. By examining the history of the copies from the Library of the Russian Academy of Science through the marginalia left in the 16th and 17th centuries by people of various religions, the article assesses Froben copies as a source on confessional and intellectual history of the period.
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Cram, David, and Ruth Campbell. "A 16th-century case of acquired Dysgraphia." Historiographia Linguistica 19, no. 1 (January 1, 1992): 57–64. http://dx.doi.org/10.1075/hl.19.1.04cra.
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Summary The purpose of this article is to draw attention to one of the earliest historical reports, to the authors’ knowledge, of a specific acquired agraphia: the first-hand account of a man who lost his ability to use letters in writing as a result of a battle injury in 1536. The description occurs as an interpolation in Thomas Wilson’s Arte of Rhetorique (1553), in the course of a discussion of the localisation of the memory in the head. The case is described in sufficient detail to allow a tentative identification of the sort of disorder that was involved.
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Kadir, Hatib Abdul. "History of the Moluccan's Cloves as a Global Commodity." Kawalu: Journal of Local Culture 5, no. 1 (June 30, 2018): 63. http://dx.doi.org/10.32678/kawalu.v5i1.1871.
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Abstract
This paper focuses on the history of spice trade in Moluccas. Using two main approaches of firstly, Braudel, I intend to examine the histoty of spice trade in Moluccas in the 16th century in relation with the changing of the structure of economy that affected the social and political relations of the Moluccans. Secondly, applying Wallerstein approaches, I find out that trading activities from the 16th century until today have created a wide gap between post-colonial Moluccas and the Europeans. To conclude, I argue that economic activities have always been accompanied by forcing political power, such as monopoly and military power. Consequently, they have
created unequal relations between the state and society
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Lehmann, L. Th. "Underwater archaeology in 15th and 16th-century Italy." International Journal of Nautical Archaeology 20, no. 1 (February 1991): 9–11. http://dx.doi.org/10.1111/j.1095-9270.1991.tb00290.x.
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Stagl, Justin. "The methodising of travel in the 16th century." History and Anthropology 4, no. 2 (January 1990): 303–38. http://dx.doi.org/10.1080/02757206.1990.9960802.
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Metan, Saskia. "Editorische Verflechtungen." Zeitschrift für Slawistik 64, no. 4 (October 30, 2019): 507–19. http://dx.doi.org/10.1515/slaw-2019-0029.
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Summary Among the various descriptions of „Sarmatia“ which have been printed in the 16th century, the works of Maciej z Miechowa, Marcin Kromer and Alessandro Guagnini possessed the largest distribution: Published between 1517 and 1578, their works – containing information about the geography, history and population of the eastern part of the European continent – were reprinted and translated several times at several places until the middle of the 17th century. With a focus on paratexts and metatextual comments, the present article considers the entangled history of their editions in the 16th and 17th century and deduces receptions of these texts.
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Nurlan A., Atygayev. "Qazaq-Qalmaq Relations in the 16th Century." Qazaq Historical Review 1, no. 4 (December 27, 2023): 446–57. http://dx.doi.org/10.69567/3007-0236.2023.4.446.457.
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The article deals with the Qazaq-Qalmaq relations in the 16th century and is based on the data of medieval Muslim sources. The author concludes that the history of relations between these two big nomadic peoples of the late medieval Central Asia began in the 1520s, and during the next eighty years, until the end of the 16th century, the character of these relations was complicated. Mostly the relations were hostile, but sometimes several Qalmaq groups would make alliances with Qazaqs and opposed the outer powers together. Sometimes this or that part of Qalmaqs was not only a political ally of the Qazaqs but also was a subject of the rulers of the Qazaq state, particularly Tauekel Khan
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GOSZCZYŃSKI, Artur. "The Magnates of Polish-Lithuanian Commonwealth in 16th-18th century: towards Sejmiks. Ciechanowiec May 24-27, 2022." Historia i Świat 11 (September 10, 2022): 385–89. http://dx.doi.org/10.34739/his.2022.11.25.
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