Relevant bibliographies by topics / Poetry, Medieval History and criticism

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Poetry, Medieval History and criticism'

Author: Grafiati
Published: 4 June 2021
Last updated: 30 July 2024

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Journal articles on the topic "Poetry, Medieval History and criticism"

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Bender, Lucas Rambo. "Against the Monist Model of Tang Poetics." T’oung Pao 107, no. 5-6 (December 9, 2021): 633–87. http://dx.doi.org/10.1163/15685322-10705004.

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Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.
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Tüske, László. "Ibn Ṭabāṭabā’s Poetics." Arabist: Budapest Studies in Arabic 23 (2001): 211–18. http://dx.doi.org/10.58513/arabist.2001.23.20.

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In the history of Arabic literature, ‛amūd aš-šiʿr (the pillars or principles of poetry) is considered a control for the poetic activity, as well as being an important reference in classifying poets and measuring their abilities in their art. The theory is also considered one of the first critical issues that preoccupied poets and worked to establish standards and characteristics that the poet relies on so as not to deviate from the pattern followed by the ancients. This article deals with Ibn Ṭabāṭabā al-ʿAlawī’s treatise entitled ʿIyār aš-šiʿr (The Standard of Poetry). by analyzing his theoretical work and organizing the author’s thoughts. The article shows that Ibn Ṭabāṭabā systematized the knowledge and expectations related to the craft of poetry in the framework of ʿamūd aš-šiʿr. In the history of medieval Arabic criticism, Ibn Ṭabāṭabā occupies a position where he articulates a widely held view: namely, that poetry is ultimately a craft governed by established rules. In this way, he discusses the tools of poetry, the process of creating a poem, and also – in a unique way – the effect of poetic creation.
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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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van Gelder, Geert Jan, and Mansour Ajami. "The Neckveins of Winter: The Controversy over Natural and Artificial Poetry in Medieval Arabic Literary Criticism." Die Welt des Islams 26, no. 1/4 (1986): 172. http://dx.doi.org/10.2307/1570768.

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Bezrukov, Andrii. "Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 6–13. http://dx.doi.org/10.28925/2412-2475.2023.21.1.

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The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses as well as the method of generalisation have been exploited for this research. The European poetic tradition has passed a long way in searching for new forms and means of the artistic representation of reality. The emergence of the Sicilian School on the Apennine Peninsula in the 13th century became the initial stage of the literary and linguistic history of the Old World. It marked the beginning of Italian poesy the development of the Dolce Stil Nuovo and was largely the forerunner of Dante’s and Petrarch’s poems, laying the foundations of the philosophy of lyric poetry. The Sicilians gave a powerful impetus to the further development of poetic theory, images, and themes, which would be pivotal in stilnovismo, as well as to the assimilation of many authors of the Renaissance in Europe. The appeal to certain themes and motives as well as their transformation highlighted the idea of Sicilian authors about poetry as a specific kind of philosophy. We emphasise that the time of origination and a highly cultured environment have caused the refinement of art forms and stylistic devices for revealing the conceptual content of such verses. Giacomo da Lentini reconceptualised the approaches to rhyming and poetising, and most importantly — to the psychological perception of reality and understanding of love in the metaphysical dimension. The ideological and aesthetic unity of the poets of the Dolce Stil Nuovo, who developed the innovations of da Lentini, made it possible to relate them with the writers of the early Renaissance. The article also focuses on the specifics of literary activity during the expansion of new European poetry leading to the invention of a sonnet as the poetic form that follows a particular rhyming pattern.
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WILLIS, KATHERINE E. C. "THE POETRY OF THE POETRIA NOVA: THE NUBES SERENA AND PEREGRINATIO OF METAPHOR." Traditio 72 (2017): 275–300. http://dx.doi.org/10.1017/tdo.2017.4.

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Geoffrey of Vinsauf's Poetria nova must be studied as a poem in its own right as thoroughly as it has been studied as a technical rhetorical treatise; although many scholars have acknowledged the brilliance of his style, few analyses thereof exist. This imbalance in criticism limits our understanding of his ideas and the appeal they held for medieval poets. This study, therefore, focuses on two images in the section on ornatus graves, or weighty ornamentation, the category of figures defined by its reliance on transumptio. In describing its moving effects, Geoffrey uses the imagery of a pilgrimage (peregrinatio) and of a “clear cloud” (nubes serena). Both help him explain how transumptive language at first displaces or hides meaning beneath something that is deceptively ordinary. When that meaning becomes clear to the reader, however, the recognition can be delightful, intoxicating, or even wondrously transporting. The images are not original to Geoffrey, nor are they drawn from the discourse of formal rhetoric. Rather, peregrinatio and the nubes serena have a rich history in liturgical drama, biblical commentary, and iconography where they signify a kind of spiritual transport remarkably similar to Geoffrey's conception of transumptio in terms of process and quality. Thus, the Poetria nova leverages the spiritual significance of the images to make a decisively literary point about the wondrous power of subtle, transumptive language. Only by recognizing the resonance of these images can we fully appreciate just how highly Geoffrey values transumptio. Approaching the Poetria nova with a poet's eye expands the range and scope of likely influences on the treatise and, more importantly, deepens our appreciation for his remarkable commitment as a poet to the affective potential of transumptive language.
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Gaižiūnas, Silvestras. "At the Origins of Modern Lithuanian Literary Studies. Phenomenon of Juozas Eretas." Pitannâ lìteraturoznavstva, no. 100 (December 27, 2019): 155–68. http://dx.doi.org/10.31861/pytlit2019.100.155.

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The article under studies is a critical survey of the activities of a Swiss scholar Juozas Eretas (1896–1984), one of the founders of Lithuanian Literary Studies, whose origin is closely related to the revival of the Lithuanian State (1918 р). Raised on the principles of the so-called Fribourg School, J. Eretas may be regarded as a vivid example of a catholic scientist. He emphasized the importance of the connection between research and thinking. In the 20-30s, having mastered the Lithuanian language, under the influence of the first translations of the world literary works into Lithuanian, Eretas laid the foundation of analytical criticism. He also took up the translation and, at the same time, became the founder of Lithuanian Germanic Studies, paying most of his attention to the Medieval German Literature, the heritage of mystics, the literature of “storm and drive”, particularly the works by Goethe and Schiller. In addition, Eretas made a considerable contribution to Lithuanian Theory of Literature: “Creating Philosophical Criticism in Literature” (lecture, 1922), “Philosophy and Poetry” (1924), “Methods of Literary Analysis” (1929). Eretas’ approach to German Literature was purely conceptual and rested on the idea of its universal nature (especially concerning Goethe): monographs “Young Goethe” (1932) and “Goethe Hundred Years Later” (1933). It is worth mentioning Eretas’ attitude to Goethe’s “Faust”. He interprets the main character typologically, as an eternal image of the world culture, pointing hereby to the increased attention to this image during the epoch of “storm and drive”. Eretas’ interpretation of the images of Faust and Mephistopheles, which present the idea of “dual world” that is so peculiar for Romanticism, seems very interesting and promising. Besides, Eretas was first in Lithuanian Literary Studies to refer to Goethe’s “Wilhelm Meister’s Apprenticeship” as to the novel of upbringing. Another significant subject of Eretas’ research was the History of World Mystics (the work “From the History of Mystics”, as well as the monographs on Tauler, Eckhart and Suso).
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Risden, E. L., and John Cherry. "Medieval Love Poetry." Sixteenth Century Journal 38, no. 3 (October 1, 2007): 836. http://dx.doi.org/10.2307/20478544.

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Ivanovic, Aleksandra. "Serbian medieval poetry: 20th-century literary-historical and theoretical interpretations." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 88 (2022): 79–92. http://dx.doi.org/10.2298/pkjif2288079i.

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This paper examines how national literary histories written in the twentieth century define medieval Serbian poetry. Grounded in the canon of Byzantine liturgical poetry and dedicated to cult practice, hymnography often did not conform to modern poetic principles, originality, and metrical form. Formalist approaches to poetry shaped the anthologies of Serbian medieval literature published in Yugoslavia in the 1960s. The editors transformed sequences from narrative prose into poetic texts, thus creating medieval poems. These cases draw attention to the importance of textual criticism and the social context in defining medieval literary genres. Exploring hymnography as a linguistic and liturgical event - a poem sung to an engaged audience - introduces new perspectives on its interpretation.
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Al-Abbasi, Thoraiya. "Medieval Criticism and the Artistic Value of Vagueness in Poetry." Journal of King Abdulaziz University-Arts and Humanities 17, no. 2 (2009): 169–211. http://dx.doi.org/10.4197/art.17-2.5.

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Dissertations / Theses on the topic "Poetry, Medieval History and criticism"

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Meir, Amira. "Medieval Jewish interpretation of pentateuchal poetry." Thesis, McGill University, 1994. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=28842.

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This dissertation studies parts of six medieval Jewish Torah commentaries in order to examine how they related to what we call Pentateuchal poetry. It examines their general approaches to Bible interpretation and their treatments of all Pentateuchal poems. It focusses on qualities we associate with poetry--parallelism, structure, metaphor, and syntax--and explores the extent to which they treated poems differently from prose.
The effort begins by defining Pentateuchal poetry and discussing a range of its presentations by various ancient writers. Subsequent chapters examine its treatment by Rabbi Saadia Gaon of Baghdad (882-942), Abraham Ibn Ezra of Spain (1089-1164), Samuel Ben Meir (1080-1160) and Joseph Bekhor Shor (12th century) of Northern France, David Kimhi of Provence (1160-1235), and Obadiah Sforno of Italy (1470-1550).
While all of these commentators wrote on the poetic passages, none differentiated systematically between Pentateuchal prose and poetry or treated them in substantially different ways. Samuel Ben Meir, Ibn Ezra, Bekhor Shor, and Kimhi did discuss some poetic features of these texts. The other two men were far less inclined to do so, but occasionally recognized some differences between prose and poetry and some phenomena unique to the latter.
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Ward, Jessica D. "Conjugal Rights in Flux in Medieval Poetry." Thesis, University of North Texas, 2014. https://digital.library.unt.edu/ark:/67531/metadc500176/.

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This study explores how four medieval poems—the Junius manuscript’s Genesis B and Christ and Satan and Geoffrey Chaucer’s Troilus and Criseyde and The Parliament of Fowls—engage with medieval conjugal rights through their depictions of agentive female protagonists. Although many laws at this time sought to suppress the rights of women, especially those of wives’, both pre- and post-conquest poets illustrate women who act as subjects, exercising legal rights. Medieval canon and common law supported a certain amount of female agency in marriage but was not consistent in its understanding of what that was. By considering the shifts in law from Anglo-Saxon and fourteenth century England in relation to wives’ rights and female consent, my project asserts that the authors of Genesis B and Christ and Satan and the late-medieval poet Chaucer position their heroines to defend legislation that supports female agency in matters of marriage. The Anglo-Saxon authors do so by conceiving of Eve’s role in the Fall and harrowing of hell as similar to the legal role of a forespeca. Through Eve’s mimesis of Satan’s rhetoric, she is able to reveal an alternate way of conceiving of the law as merciful instead of legalistic. Chaucer also engages with a woman’s position in society under the law through his representation of Criseyde’s role in her courtship with Troilus in his epic romance, Troilus and Criseyde. Chaucer disrupts his audiences’ expectations by placing Criseyde as the more agentive party in her courtship with Troilus and shows that women might hope to the most authority in marriage by withholding their consent. In his last dream vision, The Parliament of Fowls, Chaucer engages again with the importance of female consent in marriage but takes his interrogation of conjugal rights a step further by imagining an alternate legal system through Nature, a female authority who gives equal consideration to all classes and genders.
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Wong, Alexander Tsiong. "Aspects of the kiss-poem 1450-1700 : the neo-Latin basium genre and its influence on early modern British verse." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708782.

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Schubert, Layla A. Olin 1975. "Material literature in Anglo-Saxon poetry." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10909.

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x, 208 p. A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
The scattered instances depicting material literature in Anglo-Saxon poetry should be regarded as a group. This phenomenon occurs in Beowulf, The Dream of the Rood, and The Husband's Message. Comparative examples of material literature can be found on the Ruthwell Cross and the Franks Casket. This study examines material literature in these three poems, comparing their depictions of material literature to actual examples. Poems depicting material literature bring the relationship between man and object into dramatic play, using the object's point of view to bear witness to the truth of distant or intensely personal events. Material literature is depicted in a love poem, The Husband's Message, when a prosopopoeic runestick vouches for the sincerity of its master, in the heroic epic Beowulf when an ancient, inscribed sword is the impetus to give an account of the biblical flood, and is also implied in the devotional poem The Dream of the Rood, as two crosses both pre-and-post dating the poem bear texts similar to portions of the poem. The study concludes by examining the relationship between material anxiety and the character of Weland in Beowulf, Deor, Alfred's Consolation of Philosophy, and Waldere A & B. Concern with materiality in Anglo-Saxon poetry manifests in myriad ways: prosopopoeic riddles, both heroic and devotional passages directly assailing the value of the material, personification of objects, and in depictions of material literature. This concern manifests as a material anxiety. Weland tames the material and twists and shapes it, re-affirming the supremacy of mankind in a material world.
Committee in charge: Martha Bayless, Chairperson, English; James Earl, Member, English; Daniel Wojcik, Member, English; Aletta Biersack, Outside Member, Anthropology
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Desrochers, Arnald. "Los cruces genéricos en las cantigas gallego-portuguesas medievales." Thesis, McGill University, 1990. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=59627.

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The cantigas de amor, de amigo, de escarnio, and de maldecir are poetic compositions written between 1200 and 1350 which form a literary school commonly referred to as Galician-Portuguese. The troubadours who refine these compositions do not limit themselves to composing cantigas of only one genre. They write cantigas of all types. For thematic and formal purposes, the common practice is to divide the cantigas into four genres. These divisions are not always very clear.
Because they were in touch with all sorts of cantigas, the poets included in their poems characteristics which blended from one genre to another. This may or may not have been done intentionally. Critics later studied these cantigas. They found that cantigas of one genre shared peculiarities common to cantigas of other genres, but they did not explore further into this trait. This study analyzes characteristics found commonly in one genre of cantiga and, as well, by placing together those cantigas with related attributes, it establishes the overlapping that takes place between the cantigas of different genres.
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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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Hacksley, Timothy Christopher. "A critical edition of the poems of Henry Vaux (c. 1559-1587) in MS. Folger Bd with STC 22957." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1704/.

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Applauso, Nicolino. "Curses and laughter: The ethics of political invective in the comic poetry of high and late medieval Italy." Thesis, University of Oregon, 2010. http://hdl.handle.net/1794/10874.

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xiv, 479 p. : ill. (some col.) A print copy of this thesis is available through the UO Libraries. Search the library catalog for the location and call number.
My dissertation examines the ethical engagement of political invective poetry in thirteenth- and fourteenth-century Italy. Modern criticism tends to treat medieval invective as a playfully subversive but marginal poetic game with minimal ethical weight. Instead, I aim to restore these poetic productions to their original context: the history, law, and custom of Tuscan cities. This contexts allows me to explore how humor and fury, in the denunciation of political enemies, interact to establish not a game but an ethics of invective. I treat ethics as both theoretical and practical, referring to Aristotle, Cicero, and Brunetto Latini, and define ethics as the pursuit of the common good in a defined community. Chapter I introduces the corpus, its historical and cultural background, its critical reception, and my approach. Chapter II discusses medieval invective in Tuscany and surveys the cultural practice of invective writing. Chapter III approaches invectives written by Rustico Filippi during the Guelph and Ghibelline wars. Chapter IV explores invectives by Cecco Angiolieri set in Siena, which polemicize with the Sienese government and citizenry. Chapter V examines invectives in Dante's Commedia (Inf. 19, Purg. 6, and Par. 27), focusing on his unexpected humor and his critique of the papacy, the empire, and Italian city governments. My conclusion examines the ethical function of slanderous wit in wartime invective. These poems balance verbal aggression with humor, claiming a role for laughter in creating dialogue within conflict. Far from a stylistic or ludic exercise, each invective shows the poet's activism and ethical engagement. This dissertation includes previously published material.
Committee in Charge: Regina Psaki, Chairperson, Romance Languages; Massimo Lollini, Member, Romance Languages; David Wacks, Member, Romance Languages; Steven Shankman, Outside Member, English
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Young-Studer, Noémie. "La chanson d'Yde et Olive: A Parable of a Medieval Self-Made Man." PDXScholar, 2003. https://pdxscholar.library.pdx.edu/open_access_etds/4668.

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La chanson d'Yde et Olive, an early fourteenth-century epic poem from the Picard region, exemplifies the medieval custom of text renewal that seeks to adapt pagan materials to fit Christian doctrine. Largely based on the plot of the Ovidian fable Iphis and Ianthe from The Metamorphoses, its main character Yde undergoes a metaphorical transformation from a woman into a man. Moreover, much like the Ovide moralisé, a Christianized adaptation of the Latin original, Yde et Olive's message can be understood as a Christian parable for the purging of the sinful soul. To set up the poem's didactic message, the poet carefully infuses the story with contemporary social concerns, such as the theme of incest and gender disruption, both potentially offensive forces to the medieval social structure. In the backdrop of these threats to society, the heroine's overcoming of her struggles becomes all the more meaningful, leading to a clear moral message to the reader. While being a hybrid in genre and structure, the poem shows many borrowings from Christian hagiography, especially from the later, more romance-influenced versions of the Vitae of female transvestite saints. In these narratives, the heroine's spiritual development is typically portrayed in terms of "becoming male," which can also be understood as an erasure of sexual difference to approach God in a Neoplatonic sense. Moreover, the development of Yde's own hybrid state leading to the climax of revealing her new sex exemplifies medieval literary criticism, elaborating on the central theme of uncovering truth by exposing the hidden gem beneath the rough surface.
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McNamara, Rebecca Fields. "Code-switching in medieval England : register variety in the literature of Geoffrey Chaucer, Thomas Usk and Thomas Hoccleve." Thesis, University of Oxford, 2010. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.669980.

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Books on the topic "Poetry, Medieval History and criticism"

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Spearing, A. C. Readings in medieval poetry. Cambridge [Cambridgeshire]: Cambridge University Press, 1989.

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Spearing, A. C. Readings in medieval poetry. Cambridge [Cambridgeshire]: Cambridge University Press, 1987.

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Saunders, Corinne J. A companion to medieval poetry. Chichester, U.K: Wiley-Blackwell, 2010.

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McCarthy, Conor. Seamus Heaney and medieval poetry. Woodbridge, Suffolk: D.S. Brewer, 2008.

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McCarthy, Conor. Seamus Heaney and medieval poetry. Woodbridge, Suffolk: D.S. Brewer, 2008.

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Saunders, Corinne J. A companion to medieval poetry. Chichester, U.K: Wiley-Blackwell, 2010.

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Petropoulos, J. C. B. Eroticism in ancient and medieval Greek poetry. London: Duckworth, 2003.

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Rebecca, Dixon, and Sinclair Finn E. 1961-, eds. Poetry, knowledge and community in late medieval France. Woodbridge, Suffolk, UK: D.S. Brewer, 2008.

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Francisco, Pérez Gutiérrez, ed. Poesía medieval en España. Madrid: Santillana, 1997.

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Reichl, Karl. Singing the past: Turkic and medieval heroic poetry. Ithaca, N.Y: Cornell University Press, 2000.

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Book chapters on the topic "Poetry, Medieval History and criticism"

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Perry, Lucy. "Legendary History and Chronicle: Lazamon's Brut and the Chronicle Tradition." In A Companion to Medieval Poetry, 217–36. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch12.

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Kroll, Paul W. "The Image of the Halcyon Kingfisher in Medieval Chinese Poetry *." In Essays in Medieval Chinese Literature and Cultural History, VII: 237—VII: 252. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417675-7.

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Kroll, Paul W. "The Significance of the fu in the History of T'ang Poetry." In Essays in Medieval Chinese Literature and Cultural History, XI: 87—XI: 106. London: Routledge, 2023. http://dx.doi.org/10.4324/9781003417675-11.

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Levy, Isabelle. "Sefer ha-meshalim and the status of poetry in medieval Iberia." In Comparative History of Literatures in European Languages, 131–37. Amsterdam: John Benjamins Publishing Company, 2016. http://dx.doi.org/10.1075/chlel.xxix.13lev.

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Zhao, Yiheng. "Pure Poetry, Impure Criticism, and the Power of Academia: Some Paradoxes Concerning the History of New-Wave Poetry." In The River Fans Out, 191–200. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-7724-6_12.

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Björkvall, Gunilla, and Andreas Haug. "Sequence and Versus: On the History of Rhythmical Poetry in the Eleventh Century." In Publications of the Journal of Medieval Latin, I:57–82. Turnhout: Brepols Publishers, 2002. http://dx.doi.org/10.1484/m.pjml-eb.3.2815.

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Cornelius, Ian. "Chapter 30. Ecologies of medieval Latin poetics." In Comparative History of Literatures in European Languages, 498–506. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.30cor.

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The concept of literary ecology is developed as an instrument for large-scale literary study by Alexander Beecroft (2015), for whom the metaphor emphasizes the great diversity of world literatures and the possibility of organizing this diversity into cultural types, analogous to the biologist’s ecotypes. For a study of Latin poetics, the most important typological distinction is between cosmopolitan and vernacular languages. Latin acquired an articulated body of stylistic norms (“poetics”) in antiquity as a vernacular language; subsequent developments in Latin poetics were conditioned by the language’s acquisition of cosmopolitan characteristics. I explore the consequences of that shift; texts discussed include Donatus’s Ars maior, the twelfth- and thirteenth-century arts of poetry and prose, Óláfr Þórðarson’s treatise on Icelandic poetics, and Dante’s De vulgari eloquentia.
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Kretschmer, Marek Thue. "Chapter 38. The matter of Troy in medieval Latin poetry (ca. 1060 – ca. 1230)." In Comparative History of Literatures in European Languages, 606–24. Amsterdam: John Benjamins Publishing Company, 2024. http://dx.doi.org/10.1075/chlel.xxxiv.38kre.

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The present chapter discusses Latin poems dealing with the Trojan matter from the rise of such poetry around 1060 up to the early 13th century, when poems in the vernacular become dominating. Discussed poets or anonymous poems (in italics) include Wido of Ivrea, Godfrey of Reims, Baudri of Bourgueil, the Deidamia Achilli, the Heu male te cupimus, the Sub uespere Troianis menibus, the Carmina Burana 92, 99–102, the Anna soror ut quid mori, Hugh Primas, Pierre de Saintes, Peter Riga, the Alea fortunae, Simon Capra Aurea, the Altercatio Ganymedis et Helenae, the Causae Aiacis et Ulixis I–II, the Quis partus Troiae and the Bella minans Asiae. A short postface offers a rapid synopsis of the vernacular literature that marks the late Middle Ages.
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Minnis, A. J., A. B. Scott, and David Wallace. "Assessing the New Author: Commentary on Dante." In Medieval Literary Theory and Criticism C. 1100-C. 1375, 439–519. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198112747.003.0011.

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Abstract The success of Dante’s Comedy was immediate and all-pervasive: only the Bible was read or recited from with greater frequency in fourteenth-century ltaly. The poem’s popularity brought with it, at all levels of society, a great eagerness for explanation, for clarification, and for more detail on specific episodes: a demand, in short, for commentary. In this final section we shall see how the critical resources developed over several centuries of commentary on biblical and classical authors were put to work on the great text of the ‘new author’, Dante Alighieri. Before concentrating upon Dante commentary proper we should note that this learned tradition represents just one aspect of the Comedy’s fourteenth century reception. This greater literary history may be considered at three levels: popular writing; learned poetry; learned commentary. The Comedy is full of good stories: many of these were plucked from their original context and elaborated in a series of popular forms. Learned and semi-educated poets alike were eager to try out the new verse form, terza rima. The efforts of learned poets to develop and extend the enterprise of the Comedy throughout the fourteenth century form instructive parallels with the interpretative efforts of commentators.
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Minnis, A. J., A. B. Scott, and David Wallace. "Poetic Fiction and Truth: William of Conches, ‘Bernard Silvester’, Arnulf of Orleans, and Ralph of Longchamps." In Medieval Literary Theory and Criticism C. 1100-C. 1375, 113–64. Oxford University PressOxford, 1991. http://dx.doi.org/10.1093/oso/9780198112747.003.0005.

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Abstract According to the literary theory which twelfth-century scholars derived from such authorities as Cicero, Macrobius, and Isidore of Seville, there was a clear distinction between history and fable. Historia was the literally true record of actual happenings (gestae res, res foctae) which were removed in time from the recollection of our age, whereas fabula comprised untrue events, fictitious things (res fictae) which neither happened nor could have happened. But it was also believed that certain authors had chosen to convey truths of morality, physics, and even metaphysics under a fictitious veil or covering (integumentum, involucrnm): Macrobius had gone so far as to claim that ‘a conception of holy truths can be expressed under a seemly veil of fictions, conveyed by honourable matter honourably arranged’. The present chapter has as its main theme the different kinds of truth, both literal and ‘integumental’ or allegorical, which were sought by five representative artistae of the twelfth century.
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Conference papers on the topic "Poetry, Medieval History and criticism"

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Aleksić, Jana. "UMETNIČKA EPOHA KRALjA MILUTINA U KULTURNOISTORIJSKOJ I ESTETIČKOJ OPTICI MILANA KAŠANINA." In Kralj Milutin i doba Paleologa: istorija, književnost, kulturno nasleđe. Publishing House of the Eparchy of Šumadija of the Serbian Orthodox Church - "Kalenić", 2023. http://dx.doi.org/10.46793/6008-065-5.817a.

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Milan Kašanin (1895–1981) in his integral study of medieval Serbian culture pays significant attention to the works and authors who created in the time of King Stefan Uroš II Milutin Nemanjića (1282–1321). Kašanin’s analysis also includes medieval literary and artistic achievements whose central theme is the King's personality and symbols of rule, as well as the spiritual and socio-histor- ical characteristics of the era the era of this important founder and great artistic patron. The author of the monographs Serbian Literature in the Middle Ages (1975) and Stone Discoveries (1978) seeks to systematize knowledge of the cul- tural past, to explain the spiritual and historical forces of the time, to understand Byzantine influences on art forms and meanings, to find elements of original art within medieval Serbian culture and to establish the most reliable periodization of literary and artistic styles. Methodologically, in examining the key focuses of a historically limited period, such as the Middle Ages, Kašanin insists on mutual “illumination of art”. He also connects the poetic and spiritual-aesthetic features of specific literary achievements with medieval church and secular architecture, fresco painting or icon painting, but also with socio-political factors. Therefore, we tried to outline the analytical and methodological framework of Kašanin’s spiritual, historical, and aesthetic thought from the point of view of the history of literary criticism, concerning the way in which he had perceived and named the artistic forms of Milutin’s epoch, art forms in which Milutin’s age and literary achievements of monk Theodosius and archbishop Danilo II.
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Useinov, T. B. "Display of love for a male object in a figurative system of medieval Crimean Tatar Ashyk poetry." In Scientific Trends: Philology, Culturology, Art history. ЦНК МОАН, 2019. http://dx.doi.org/10.18411/spc-26-11-2019-06.

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Liu, Chongxi. "“POETRY CARVED IN STONE”: DOCUMENTARY, LITERARY AND CULTURAL CONNOTATION IN BAI JUYI’S POETRY INSCRIPTION." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.04.

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The poetry inscription, with Bai Juyi in the Middle Tang Era as its representative, began to express purely personal emotions in terms of content, which reflects the poet’s creative individuality. Bai takes stone as his friend, loves it, chants it, and inscribes poems on it, endowing it natural and personal qualities. Bai was the first poet to consciously combine “poetry” and “stone” with nearly 20 kinds of poetry inscriptions. Compared with book documents, Bai’s poetry inscriptions not only have the philological value of text criticism, but also have multiple functions, i. e., reproducing the historical context of poetry creation and transmitting as a “linguistic landscape”. Such humanistic connotation determines the significance of Bai’s poetry inscription in the history of Chinese literature and culture.
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Kenyhercz, Róbert. "Interpretation of data and sources in etymological research." In International Conference on Onomastics “Name and Naming”. Editura Mega, 2022. http://dx.doi.org/10.30816/iconn5/2019/39.

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The aim of the paper is to emphasize the importance of source criticism in etymological research. It is widely known that the main sources for the early history of toponyms in the Carpathian Basin are the charters created in the medieval Hungarian Kingdom, because these official documents contained a large number of vernacular proper names embedded in the Latin text. However, it is important to mention that the medieval charters were produced by the chancery and places of authentication along specific principles and needs. I argue that this circumstance must always be considered during the interpretation of the data. I will show some examples illustrating that – in certain cases – we have to take into account the nature of the sources in the reconstruction of the genesis of place names. My goal is to offer a brief outline of this issue through my own investigations.
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Hazratqulova, Elmira. "ATTITUDE TO THE SAINTS IN HISTORICAL WORKS." In The Impact of Zahir Ad-Din Muhammad Bobur’s Literary Legacy on the Advancement of Eastern Statehood and Culture. Alisher Navoi' Tashkent state university of Uzbek language and literature, 2023. http://dx.doi.org/10.52773/bobur.conf.2023.25.09/sqew2307.

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In the East mystical motifs developed in the literature of the Islamic period. In particular, when studying sources related to the history of medieval Maverannahr and Khorasan, the poetry of this period reflects different views on symbols, and historical works present biographical information about the life of Sufi writers. This article analyzes information about the representatives of Sufism in the works of "Baburnama" by Zahirad-Din Muhammad Babur and "Tarihi Rashidi" by Haidar Mirzo. At the same time, the prophecies characteristic of the saints and the attitude of the authors to this situation are studied.
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Breslavets, Tatiana, and Tatiana Vinokurova. "LOVE STANZAS IN SOGI’S POEM." In 10th International Conference "Issues of Far Eastern Literatures (IFEL 2022)". St. Petersburg State University, 2023. http://dx.doi.org/10.21638/11701/9785288063770.33.

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The article is devoted to the peculiarities of the work of Iyo Soga, the author of “connected stanzas” (renga). The ways of presenting love lyrics in the poem Sogi dokugin nanihito hyakuin (One hundred stanzas of the poet Sogi, 1499) are highlighted. The issues of the influence of the previous classical literature on the poet’s work, the specifics of intra-literary continuity in the history of medieval Japanese verse are discussed. The implicit meanings of love stanzas are revealed. Precedent texts with which the stanzas of the poem establish associative links are found. Intertextuality acts as the meaning-forming beginning of renga poetry.
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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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