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Journal articles on the topic 'Praise poetry (form)'
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1
Mojalefa, M. J. "The verse-form of Northern Sotho oral poetry." Literator 23, no. 1 (August 6, 2002): 85–96. http://dx.doi.org/10.4102/lit.v23i1.322.
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Although examples of certain Northern Sotho traditional oral genres have been collected over years, a study of verse-form in traditional initiation poetry has not yet been undertaken. This article will consider the way in which Northern Sotho traditional initiation poems are structured or arranged in verse-form. It will be attempted to indicate that traditional oral initiation poetry in Northern Sotho is not metrically defined (as in Western poetry) but that Northern Sotho oral poetry is also structured by its performance and by symmetrical boundaries and other techniques. The structure of the oral praise poem in verse-form as discussed in this article will show the way in which poetry material is organised according to Northern Sotho metrical (verse-form) principles.
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Wellendorf, Jonas. "No need for mead." Grammarians, Skalds and Rune Carvers II 69, no. 2 (September 26, 2016): 130–54. http://dx.doi.org/10.1075/nowele.69.2.02wel.
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This paper will see Bjarni Kolbeinsson as a representative of the new kind of skaldic poetry that had developed around the turn of the thirteenth century. By then, formal skaldic poetry had become an art form cultivated by men who had received schooling and clerical ordination. Skalds such as Bjarni had turned their attention from the praise of kings of the present or the near past towards subjects of the more distant past and religious themes. In Jómsvíkingadrápa, Bjarni brushed aside the Odinic mead hailed by former skalds and preferred to apply techniques of poetic composition that he had learned through the formal study of Latin poetry. A tongue-in-cheek rejection of the traditional exordial topoi and a sensibility for love poetry allowed him to compose a poem that not only rejected the past but also pointed towards the future.
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SHIJA, Terhemba. "Tragedy and its Cathartic Effect in Tiv Praise Poetry: A Reflection on Misery and Death in the Praise Poetry of Obadiah Kehemen Orkor." Nile Journal of English Studies 1, no. 1 (March 7, 2016): 67. http://dx.doi.org/10.20321/nilejes.v1i1.38.
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<p>There is an ironic sense of fatalism in the Praise Poetry of the Tiv people which is created to elicit honour, heroism and success. It is an art form that evokes extreme emotions but also purges them in a manner that puts the reader or hearer in control of himself.</p><p>This paper examines a selection of oral poems by Obadia Orkor from Ukum district of Benue State to prove that Tiv art is a secular craft that seeks rational interpretation of man’s tragic fate in the same manner Greek tragedies did in classical times.</p>
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Plumley, Yolanda. "Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs." Early Music History 18 (October 1999): 287–363. http://dx.doi.org/10.1017/s0261127900001881.
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In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, exactly what type of work Machaut meant by this term and whether he was referring to a purely poetic form or to one that involved music. That the practice of citation in lyric poetry was well established at this time is demonstrated by Machaut's own output, which reveals him to have been a master of this art; this literary tradition was to continue to thrive in the later fourteenth century.
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Todd, Richard, and Julia Carolyn Guernsey. "The Pulse of Praise: Form as a Second Self in the Poetry of George Herbert." Yearbook of English Studies 32 (2002): 292. http://dx.doi.org/10.2307/3509086.
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Miller, Edmund. "Book Review: The Pulse of Praise: Form as a Second Self in the Poetry of George Herbert." Christianity & Literature 50, no. 2 (March 2001): 354–56. http://dx.doi.org/10.1177/014833310105000221.
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Viljoen, L. "’n Retoriese analise van die vyf lykdigte in T.T. Cloete se Allotroop." Literator 16, no. 3 (May 2, 1995): 81–102. http://dx.doi.org/10.4102/lit.v16i3.640.
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A rhetorical analysis of the five funerary poems in T.T. Cloete’s AlloiroopThis article works from the premise that these poems form part o f a tradition that can he traced back to the funerary poetry of the Dutch Renaissance and from there to the funeral orations of Classical times. After referring to the current revival of interest in rhetoric, attention is given to the role which rhetoric played in Renaissance poetics and the influence it had on the practice of writing funerary poetry. The funerary poems in Cloete's Allotroop are then analysed, making use of the Renaissance descriptions of and prescriptions for funerary poetry researched by S.F. Witstein in Funeraire poëzie in de Nederlandse Renaissance. These analyses prove that Cloete’s poems make use of the elements basic to the Renaissance funerary poem and the classical funeral oration namely praise (laus), mourning (luctus) and consolation (consolatio) and that the rhetorical terminology devised centuries ago can still be useful in the reading of these poems.
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John Ottenhoff. "The Pulse of Praise: Form as a Second Self in the Poetry of George Herbert (review)." George Herbert Journal 24, no. 1-2 (2000): 65–69. http://dx.doi.org/10.1353/ghj.2013.0023.
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Anoosheh, Seyed Mohammad, and Mahsa Khalili Jahromi. "A Mystical Reading of Ḥāfiẓ’s Translation by Robert Bly and Leonard Lewisohn." Theory and Practice in Language Studies 10, no. 2 (February 1, 2020): 230. http://dx.doi.org/10.17507/tpls.1002.12.
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Robert Bly and Leonard Lewisohn are among the latest translators of Ḥāfiẓ who have selectively translated thirty ghazals of Ḥāfiẓ into English. A close investigation of their translation reveals how they have manipulated the original texts to a great extent which results in having merely a mystical interpretation of Ḥāfiẓ’s multi-layered poems. However, due to the literary form of Ḥāfiẓ’s poetry which is ghazal, it can be in praise of different issues such as nature, youth, beloved, loveliness, etc.; in Bly and Lewisohn’s translation, most of them have been ascribed to divinity. In other words, by means of translation, they have rendered their own worldview along with their personal reading of Ḥāfiẓ’s poetry. The authors argue that Bly and Lewisohn’s translation renders a mystical reading of Ḥāfiẓ’s poetry and presents him as a moral preacher whose poetry is saturated with mysticism and Sufism. Being highly against the American society’s materialism, by introducing Ḥāfiẓ as a mystic and insisting on mystical and spiritual interpretation of his poetry they intend to survive their society from corruption and cater to the moral and spiritual needs of the target culture. Since American literature compared to Persian literature, lacks some repertoire related to mysticism thus Lewisohn and Bly, by means of translation try to provide their culture with a sort of nourishment in order to contribute to the amendment of the society.
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Hunter, Richard. "(B)ionic man: Callimachus' iambic programme." Proceedings of the Cambridge Philological Society 43 (1998): 41–52. http://dx.doi.org/10.1017/s0068673500002133.
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A concern with the methods and style of praise and blame recurs, unsurprisingly, throughout Callimachus'Iambi. Theiambosis the aggressive modepar excellence, and Callimachus is the most generically-conscious of poets; whether he is writing hymns, aetiological elegy or funerary epigram he is always overtly engaged with the history and development of the literary form in which he operates. The nature of iambic poetry is, however, the explicit subject of two poems in particular,Iambus1 andIambus13, which thus have a special claim to be considered ‘programmatic’. The thirteenthIambusreturns to the choliambic metre of the first four poems, the metre most associated with Hipponax, who appears himself in the firstIambusas the authorising ‘voice’ for these poems, and is apparently spoken in the voice of the poet who to some extent takes up again the themes ofIambus1 (and indeed ofAitiafr.1); thus the temptation to see a ‘closed’ poetry book, framed by these two poems, is very strong.
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Ratnikov, Aleksandr N. "PANEGYRIC TRADITIONS IN RUSSIAN LITERATURE OF THE 18TH CENTURY, PRECEDING THE FORMATION OF GAVRILA DERZHAVIN’S BATTLE ODE." Vestnik of Kostroma State University, no. 2 (2020): 126–31. http://dx.doi.org/10.34216/1998-0817-2020-26-2-126-131.
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Gavrila Derzhavin’s creative work marked an important stage in the formation of Russian poetry. Raised in the works of previous generations of poets, Gavrila Derzhavin mastered the best samples of Russian and foreign solemn panegyric works, creating on their basis a special form of his own batal ode. What contributes to a full and deep understanding of the process of formation and development of Gavrila Derzhavin’s batal lyrics, is a study of the conception of the Russian odic tradition related to the time of Peter I. The place of poetry in the life of society had been rethought during this period; poetry had been rationalised at the service of the state. Poetry texts started to be used as musical and poetry accompaniment of holidays, solemn meetings of reigning persons or praise of military successes. Russian literature responded to this request by the appearance of various samples of solemn, panegyric poetry - cantos and other solemn poems. During the reign of Peter I, who were the most prominent representatives of the panegyric lyrics were Theophan Prokopovich (1681–1736), Stefan Yavorsky (1658–1722) and Dmitri Rostovsky (1651–1709). The chosen batal works of the above-mentioned authors as well as the batal lyrical poetry by Gavrila Derzhavin are the subject of research within the framework of this article. The numerous correspondences and elements of continuity between the panegyric cantos and the odes by Gavrila Derzhavin expressed in a similar system of allegorical image-symbols, as well as in orientation to antique specimens and to biblical motifs, are revealed in the comparative study of solemn panegyric works of batal subject matter and the batal ode of Gavrila Derzhavin.
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Zulyeno, Bastian. "Sastra Sufistik Persia; Citra Kehidupan dalam Masnawi Maknawi Karya Jalaluddin Rumi." EDUCULTURAL: International Journal of Education, Culture and Humanities 1, no. 1 (August 21, 2018): 40–45. http://dx.doi.org/10.33121/educultur.v1i1.28.
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Persian literature has been developing since hundreds of years BC, this can be seen from the Zoroastrian or "Avesta" holy books. This book contains mostly about the praise and greatness of the Lord "Ahuramazda" written in the form of poetry. The name Avesta itself comes from the name of the writing and the language used in this book, therefore the researchers named this holy book with the name Avesta. Avesta is the root of ancient Persian before Parthi, Soghdi and Pahlavi. One of the scientific traditions inherited by the Persians is the science of Tasawwuf and Sufistic literature is the biological child born of him. Persian land has long been fertile with Sufism thought with its typical eastern imagination. One of the Persian maestros whose thinking was global was Jalaluddin Muhammad ibn Sultan al Ulama Bahauddin Muhammad ibn Huasain ibn khatibi Bakri Balkhi who was better known as Rumi and all the works he left behind used Persian. Sufistic or mystical literature is a work produced by Sufi poets or a wise person whose poetry is based on his Sufistic experience. This paper discusses the main theme based on several verses of poetry contained in the Masnawi Maknawi of the great works of the great Persian Sufi of the 13th century.
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Medley, Mark S. "Subversive song: Imagining Colossians 1:15–20 as a social protest hymn in the context of Roman empire." Review & Expositor 116, no. 4 (October 21, 2019): 421–35. http://dx.doi.org/10.1177/0034637319878790.
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A connection exists between the Christological hymn of praise and protest in Col 1:15–20 and popular protest music. The connection is the lyrical ability to transform political and socio-cultural realities, as well as to empower and mobilize protest and resistance against imperial power and coercive structures of domination. A special focus is on Billie Holiday’s song, “Strange Fruit,” a contemporary model of a protest song in comparison to Col 1:15–20. In the comparison, the Colossians hymn draws upon the political ideology and imagery of the Roman Empire in the form of a counter-discourse, as was Jewish resistance poetry, in ways analogous to how Holiday’s “Strange Fruit” evokes the imagery of white racial terror for the sake of raising political consciousness.
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Brown, Howard Mayer. "Ut musica poesis: Music and Poetry in France in the Late Sixteenth Century." Early Music History 13 (October 1994): 1–63. http://dx.doi.org/10.1017/s0261127900001297.
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By praising rulers, whose magnificence formed a crucial part of the world order, Pierre de Ronsard and his French colleagues in the second half of the sixteenth century often depicted the world not as it was but as it ought to be. This idea informs Margaret McGowan's book on ideal forms in the age of Ronsard, in which she explores the ways poets and painters extolled the virtues and the theatrical magnificence of perfect princes following the Horatian dictum ut pictura poesis: as is painting so is poetry. McGowan demonstrates the virtuosity of the painters and poets of the sixteenth century in shaping their hymns of praise from the subject matter and ideals of ancient Greece and Rome by following Horace's advice to regard paintings as mute poems and poems as speaking pictures. McGowan shows how artists and intellectuals pursued their goals by creating four kinds of ideal form: iconic forms, sacred images derived from classical literary sources offering princes some guarantee of immortality; triumphal forms that evoke the heroic imperial past; ideal forms of beauty to be found in contemplating the beloved; and dancing forms that mirror rituals of celebration. McGowan claims that such ideal forms were intended to enlighten the ruler himself as much as they celebrated his grandeur in the eyes of others.
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Hikam, Mustaqimah. "Ngadi Wunu Wunungo: Islamic Acculturation and The Culture Of Gorontalo in Tadarus Al-Quran." Al-Ulum 20, no. 2 (December 14, 2020): 499–511. http://dx.doi.org/10.30603/au.v20i2.1337.
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This paper focuses on the ngadi wunu wunungo tradition as an acculturation of Islam and Gorontalonese culture in the Qur'anic tadarus in Bone Bolango district. This study used the qualitative method by employing the approach of living the Quran, sociology, culture, and da'wah. The research used interviews, observation, and documentation of the ngadi wunu wunungo tradition. The data sources were the ulama, traditional leaders, community leaders, and participants of ngadi wunu wunungo in Bone Bolango. Findings; Empirical data in the field shows Islam's acculturation and Gorontalo culture in the ngadi wunu wunungo tradition. This is evident from its form, which is a combination of tadarus Al-Qur'an interspersed with the praise of Allah SWT, Sholawat Nabi, Gorontalo poetry, which contains advice and is voiced in a tone that screeched high and buzzed. The research empirically shows that the implementation of ngadi wunu wunungo is a da'wah that must be carried out in Dutch colonialism by ulama and traditional leaders, making this cultural acculturation.
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Tindarika, Regaria. "NILAI-NILAI DALAM KESENIAN HADRAH DI KOTA PONTIANAK." Jurnal Pendidikan Sosiologi dan Humaniora 12, no. 1 (April 16, 2021): 1. http://dx.doi.org/10.26418/j-psh.v12i1.46319.
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This study describes the values contained in Hadrah art in Pontianak, West Kalimantan. Hadrah is closely related to Islamic art because the poetry that is sung contains praise for the Creator and Prophet Muhammad Sallallahu Alaihi Wasallam and advice. Using qualitative research methods with an anthropological approach. Data collection techniques used interviews, observation, literature study, and data validity testing by extending observations and triangulation. Based on the data analysis, it can be concluded that Hadrah art has existed in Pontianak since the 17th century. This art was brought by traders from Hadramaut Arabian Peninsula, South Yemen. Initially, this art was used as a means of spreading Islam in the city of Pontianak. Along with the development of the times, this art is used as a spectacle to entertain the audience. In Hadrah art there are several values, among others, the value of truth, beauty, morals, and religion. Through the values contained in the art of Hadrah, it can form human beings who believe and fear Allah Subhanahu Wa Ta'ala, have noble character according to the example of the Prophet Muhammad Sallallahu Alaihi Wasallam and become good citizens.
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Romanova, Natalya. "Reprezentation of emotions in the texts of «Younger Edda»." Vìsnik Marìupolʹsʹkogo deržavnogo unìversitetu. Serìâ: Fìlologìâ 12, no. 21 (2019): 157–65. http://dx.doi.org/10.34079/2226-3055-2019-12-21-157-165.
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The article considers the emotions of Icelandic ethnic group of the first half of the 18th century. Its poetic vision is presented in the collection of skaldic poems by Snorre Sturluson «Younger Edda». The Skaldic verses were created by some experienced, famous Norwegian and Icelandic skalds, dedicated not so much to a king or a military leader as to his feuds in order to satisfy young skalds’ need for knowledge. This poetry is equated with mastery, it is both transparent and difficult to understand, simple and tricky, it reports only facts, albeit in an incomplete volume and not very clearly. The facts record peacefulness, tolerance, judiciousness, thrift, decency, patriotism, a passion for power, honors, wealth, pomp and crowded feasts, as well as cowardice, indecision, inconstancy, superficial feelings, deceit, enmity, aggression, cruelty, anger, cowardice. For a song of praise, the skald could receive from the hero both a reward, for example, weapons (sword, shield), uniforms (chain mail), and exile or violent death. From some other skalds, one could hear constructive criticism, and even ridicule. Structurally, «Younger Edda» consists of three parts, which are very different from each other in form and content: «Prologue», «Vision of the Gulvi», «Language of Poetry». The fourth part – «List of sizes» – unfortunately, has not been translated into Russian. The status of emotions - highlighted «Christian» and «pagan» ones – is defined only for the first and second parts. «Christian emotions» are objectified by lexical (emotive, emotive-evaluative vocabulary), phraseological (idioms), syntactic (part of a sentence, complex sentences) means and stylistic techniques (word order, hyperbole, comparison), verbalization of «pagan emotions» provide phraseological (variant idioms, turns), lexical (connotative, emotive-evaluative, emotive, emotional, stylistically colored vocabulary), syntactic (simple, complex (hypotaxis, parataxis), complicated sentences), with supersentence (saying) units, proper names (hydronyms, theonyms, zoonyms, mifonimys, hrononimys, pragmatonimys, hrematonimys) and stylistic devices (metaphor, simile, hyperbole, sarcasm, quasi-rhetorical question, repetition, anaphora, transfer). The ambivalence and philosophical nature of «Christian emotions», based on human cognitive activity and magic, the unique mythological and poetic nature of «pagan emotions», focused on natural phenomena of the surrounding world, wild and sacred animals, wild animals, and sacral animals, are revealed. The authors examine the corpus of «Christian emotions and their variants» including wonder, happiness, passion, sympathy, respect, doubt, greed, disrespect, unwillingness, distrust, superficiality and «pagan emotions and their variants», namely: interest, love, laughter, fun, pleasant, anger, rage, anger, aggression, sarcasm, hatred, revenge, fear, misery, unpleasant, not fear, shame.
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Sarhan, Inquiry Assist prof Dr Saadoun Taha. "(Dawn of the thyme in the fuller of the praise) Hafiz Imam Jalal al-Din al-Suyuti (T 911H)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES, no. 226(1) (September 1, 2018): 31–44. http://dx.doi.org/10.36473/ujhss.v0i226(1).185.
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The meanings of it, so he sent an Arab Qur'an to those who had a heart or heard a martyr, and prayers and peace on those who are mosques of the words, and the ruling and the separation of speech – Sayyidina Muhammad (peace and blessings of Allaah be upon him) and his followers Religious Day .The motive for writing and investigating the dawn of the Thracian is to convey the fullest praise that we have in our hands. Which prompted me to achieve it is that I have seen it in the books of the Al Suyuti of fatwas in the investigation of Sheikh Mohamed Mohieddin Abdel Hamid but the Sheikh did not achieve the investigation that satisfies the purpose, all that he did the show of the book, not to mention the existence of some disagreement between the print and the manuscript, they remained a separate copy in the head In the lion's library, I did not stand on all those who wrote about the Al Suyuti mentioning this message, it took a space in my mind and committed to achieve it despite its smallness and committed to achieve the message:
Edit the text according to contemporary spelling rules, and adjust it in shape.
The graduation of Qur'anic verses and poetry and their seizure in form.
To take care to achieve the issues mentioned by the author in the letter and comment on what he saw in need of it.
Documenting the opinions and statements contained in the books mentioned in the letter.
Translation of the information contained in the letter.
This effort I put in the hands of the reader, and the help is from God.
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Sarhan, Inquiry Assist prof Dr Saadoun Taha. "(Dawn of the thyme in the fuller of the praise) Hafiz Imam Jalal al-Din al-Suyuti (T 911H)." ALUSTATH JOURNAL FOR HUMAN AND SOCIAL SCIENCES 226, no. 1 (September 1, 2018): 31–44. http://dx.doi.org/10.36473/ujhss.v226i1.185.
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The meanings of it, so he sent an Arab Qur'an to those who had a heart or heard a martyr, and prayers and peace on those who are mosques of the words, and the ruling and the separation of speech – Sayyidina Muhammad (peace and blessings of Allaah be upon him) and his followers Religious Day .The motive for writing and investigating the dawn of the Thracian is to convey the fullest praise that we have in our hands. Which prompted me to achieve it is that I have seen it in the books of the Al Suyuti of fatwas in the investigation of Sheikh Mohamed Mohieddin Abdel Hamid but the Sheikh did not achieve the investigation that satisfies the purpose, all that he did the show of the book, not to mention the existence of some disagreement between the print and the manuscript, they remained a separate copy in the head In the lion's library, I did not stand on all those who wrote about the Al Suyuti mentioning this message, it took a space in my mind and committed to achieve it despite its smallness and committed to achieve the message:
Edit the text according to contemporary spelling rules, and adjust it in shape.
The graduation of Qur'anic verses and poetry and their seizure in form.
To take care to achieve the issues mentioned by the author in the letter and comment on what he saw in need of it.
Documenting the opinions and statements contained in the books mentioned in the letter.
Translation of the information contained in the letter.
This effort I put in the hands of the reader, and the help is from God.
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Parto, Parto, Yulianto Bambang, and Kisyani Kisyani. "Analysis of Discourse Structure in Higher Education Hymns (Studies at State Universities in East Java)." Budapest International Research and Critics in Linguistics and Education (BirLE) Journal 3, no. 4 (December 11, 2020): 2097–105. http://dx.doi.org/10.33258/birle.v3i4.1471.
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The purpose of this research is to describe and find the discourse structure of college hymns through macro structure, superstructure, and micro structure. This research was conducted using a qualitative descriptive approach. Source of hymn data for seven state universities in East Java. The selection of seven state universities in East Java was based on the reason that the ways in which higher education hymns were created were similar so that the results of this study could become a reference in the meaning of university hymns in general. Based on the results of data analysis, it can be concluded that (1) the hymn of state universities in East Java has similarities in its macro structure, namely the theme of praise or worship, (2) the superstructure or schematic structure of the hymn in public universities in East Java begins with the naming or title of the hymn which is similar, namely beginning with the word hymn and followed by the name of the institution; In general, the form of a hymn is made in stanzas like a song or poetry (3) semantically a college hymn generally leads the audience to an opinion that the university is praiseworthy and proud, (4) based on the cohesion of the hymn of state universities in East Java generally the hymn descriptions are related to the title, either the overall description or the description of the sections or the comparisons, even each line in the hymn of public universities in East Java refers to or is directed at the institution whose name is mentioned in the title; active and passive sentences, (5) diction in the hymn text of state universities in East Java, like songs in general, are very concerned with the harmony of the sound of language or emphasizing rhyme and poetry, especially diction at the end of the line (6) hymns of public universities in East Java tends to use simple language, but from the analysis results it is found that several styles of language.
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Nisa, Hilda Khoirun, Tati Sri Uswati, and Itaristanti Itaristanti. "KESANTUNAN BERBAHASA PADA PERIBAHASA INDONESIA BERMAKNA SINDIRAN: KAJIAN PRAGMATIK." HUMANIKA 27, no. 1 (July 19, 2020): 44–58. http://dx.doi.org/10.14710/humanika.v27i1.31020.
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Immoral problems at the form of sarkasme which is identical with behavior insinuate in have leanguage, pushing research qualitative this to identify form proverb of Indonesian have a meaning of insinuation, to descirbe his context and meaning, and also obedient to describe of suavity principles hanve language at proverb of Indonesian have a meaning of insinuation. The target reached to pass method correct reading with descriptive approach qualitative. Source of data in this research refer at proverb dictionary in application of offline Fifth KBBI Edition and also dictionary print Proverb and Poetry Indonesia as other source. Proverb data have a meaning of insinuation mustered to pass documentation technique, continuation technique correct reading free entangle to speak, and technique note. Authenticity of data gathered data, to be strived with testing credibility through range of time in lengthening of peroeption, durability of fokus aa make up of assidinity, and triangulation of is source of data. Here in after analyse data done with technique link to conpare to equalize and link to compare to differentiate which is mustered in method correspond extralingual. This research yield proverb from have a meaning of insinuation pursuant to classification theory of majas marginally, among others form oposition of contradiction type, coherent of repetation type, retoris, and climax, and also comparison of supposing type of word, symbolic, and comparison of diction. Third of the form both of the same aim to the strengthen insinuation meaning in proverb. Besides, yielded also proverb meaning and context have a meaning of insinuation influenced by relation at the opposite of its of him which share to assist interpretation of used association. Context and the meaning constitute obediently of suavity principles have language of Leech at proverb of insinuation, proven of teared meaning which implied by figurative language, at the same time become marker of principal bowing to interest as elementary principle which obeyed by proverb of insinuation. Proven other obedient at humility principle, wise, and praise.
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Jabb, Lama. "THE CONSCIOUSNESS OF THE PAST IN THE CREATIVITY OF THE PRESENT:MODERN TIBETAN LITERATURE AND SOCIAL CHANGE." International Journal of Asian Studies 8, no. 1 (January 2011): 89–95. http://dx.doi.org/10.1017/s147959141000029x.
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Thus sings Sangdhor in a metrical poem in praise of Tibetan versification, countering an anti-verse sentiment that is prevalent on the contemporary Tibetan literary scene. Since the flourishing of free verse form in the 1980s, thanks to the pioneering works of Dhondup Gyal, many Tibetan writers have attacked metrical composition for its perceived inflexible, archaic and inadaptable form and uniformity of content. Sangdhor, one of the most iconoclastic and forward-thinking intellectuals writing in Tibetan today, vehemently refutes such a stance on the grounds that the bulk of great Tibetan works, literary or otherwise, are set in verse. To underscore his point he writes the cited poem in a “leaping and flying” style of themgur(‘poem-songs’) genre. In fact, most of his many innovative poems are written in an eclectic style drawing on Tibet's rich literary tradition, Buddhist texts, oral sources and contemporary writings. Their content is equally diverse yet most of all current. It is infused with social and religious criticism, themes of romance and eroticism, critical literary commentary and current Tibetan affairs. His poems, like those of many other writers, show that metered poetry is very much a part of modern Tibetan literature. As he draws on classical literature and indigenous oral traditions for his own literary innovation, to borrow a concept from Northrop Frye, in Sangdhor's work we can “see an enormous number of converging patterns of significance” that is a complication of Tibetan literary formulas stretching to the narratives of the distant past.2Therefore, it must be borne in mind that modern Tibetan literature transcends a theory of rupture which many scholars overstress to the point of overlooking its deep, outspread roots. Some parts of these roots predate both the 1980s, which saw a flourishing of new Tibetan writing, and the Chinese takeover of Tibet in the 1950s that has had a profound impact on Tibetan cultural production.
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Sukma, Irawan, and Slamet T. Suparno. "Kesenian senjang antara tradisi dalam arus globalisasi sebagai media propaganda." Dewa Ruci: Jurnal Pengkajian dan Penciptaan Seni 13, no. 2 (July 11, 2018): 122–31. http://dx.doi.org/10.33153/dewaruci.v13i2.2510.
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Penelitian ini difokuskan bentuk kesenian Senjang secara tekstual berdasarkan periodisasi zaman, keberadaan dan fungsi kesenian Senjang secara kontekstual dan kesenian Senjang mampu eksis sampai dengan saat ini. Senjang merupakan sastra lisan yang berbentuk pantun bersahut biasanya ditampilkan berpasangan dan disertai instrumen musik. Namun instrumen musik yang dimaksud bukan berfungsi sebagai musik pengiring seperti pada umumnya suatu lagu, tetapi instrumen musik Senjang berfungsi sebagai intro, interlude, atau coda yang dimainkan secara berulang ulang dengan melodi yang sama. Artinya saat syair pantun dilantunkan oleh pe-Senjang, musik instrumen diam, dan saat musik instrumen berbunyi pe-Senjang diam. Inilah bentuk yang khas dari kesenian Senjang. Metode yangdigunakan adalah kualitatif interpretatif dalam menganalisis keberlangsungan Senjang yang mengalami perubahan baik bentuk maupun fungsinya. Senjang yang pada awal keberadaannya tanpa instrumen musik, terus bergerak dan berkembang mengikuti arus zaman sampai pada era saat ini menggunakan keyboard. Fungsi Senjang dimanfaatkan sebagai media propaganda bagi penguasa, terbukti dari bentuk syair pantunnya berisi tentang pujian dan sanjungan dari pesanan pengguna jasa. Senjang masih eksis dan memiliki tempat tersendiri di hati masyarakat Kabupaten Musi Banyuasin. ABSTRACTThis study discusses the form of a textual gap based on the periodization of the times, discusses and functions of Senjang with contextual and artistic aspects of Senjang able to exist today. Slang is an oral literature consisting of friendly rhymes, usually free of pairs, and releasing musical instruments. However, the musical instruments that are issued are not as musical accompaniment in general, but Senjang musical instruments are used as intro, interlude, or coda which is played repeatedly with the same melody. Regarding when the poem is sung by the artist, the musical instrument is silent, and the musical instrument when the sound is silent. This is a typical form of Senjang art. The method used is interpretive qualitative in analyzing the continuity of the Senate that corrects changes in both form and function. The slang which initially began without musical instruments, continued to move and develop following the era until the present time using the keyboard. The function of the Senjang is used as a media for propaganda for the authorities, as evidenced by the form of the poetry of the poem which contains praise and flattery from the orders of service users. The gap still exists and has a separate place in the hearts of the people of Musi Banyuasin Regency.
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Novák, Radomil. "Contrapuntal text and rondo (in the poetry of Desmond Egan and Jaroslav Seifert)." Acta Universitatis Lodziensis. Folia Litteraria Polonica 52, no. 1 (March 28, 2019): 345–58. http://dx.doi.org/10.18778/1505-9057.52.20.
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This paper is concerned with the complicated relationships between poetry and music. It tries to show that one of the common denominators between both arts can be the musical form in poetry, strictly speaking a method of poetry creation based on a musical principle. For this paper, two illustrations of this process are chosen: an Irish poet Desmond Egan’s contrapuntal poems (chosen from all Egan’s poetry) and a Czech poet Jaroslav Seifert’s Mozart in Prague. The conclusions concern the impact on the reader’s reception of poetic texts, which in their graphic form or theme stimulate references to music. We conclude that knowing (active and passive) the musical principles of counterpoint and ronda can help readers to better understand the structure, theme and meaning of the texts.
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Moreira, Marcello, and José Fernando Sales Gonçalves. "O retrato reverso da donna: retrato satírico em metáforas de doce em Fênix Renascida / The Reverse Portrait of the Donna: Satirical Portrait in Candy Metaphors in Fênix Renascida." Caligrama: Revista de Estudos Românicos 24, no. 3 (December 18, 2019): 105. http://dx.doi.org/10.17851/2238-3824.24.3.105-123.
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Resumo: Este artigo propõe-se analisar um dos gêneros mais produtivos da poesia palaciana portuguesa dos séculos XVI e XVII, o retrato elogioso da donna, de fundo petrarquista, largamente praticado no Quinhentos por poetas como Luís de Camões, Pero de Andrade Caminha e Sá de Miranda, e, no século seguinte, pelos poetas cujas obras foram reunidas nas coletâneas de verso Fênix Renascida e Postilhão de Apolo. Demonstra-se a prática de “notação” do retrato elogioso, discutem-se os preceitos retóricos e poéticos que o regravam, sua utilidade como controle dos afetos cortesãos, e como o seu contrário, o retrato cômico, especificamente aquele construído à base de metáforas de doce, valendo-se dos mesmos lugares comuns de invenção, disposição e elocução do gênero, articula a imagem reversa da donna, transformando a illustratio ou evidentia (de forte apelo visual), própria do retrato de tipo alto, em “apetite”, “gustação”, “gula” e “satisfação sexual”.Palavras-chave: sátira; retrato poético; elogio da donna; ars laudandi; Fênix Renascida.Abstract: This article proposes to analyze one of the most productive poetry genres of Portuguese palace in the 16th and 17th Centuries – praise of a lady, fundamentally Petrarchan, largely practiced in the 1500s by poets such as Luís de Camões, Pero de Andrade Caminha, and Sá de Miranda, and in the following century, by poets whose works were reunited in the collections of verses Phoenix Reborn (Fênix Renascida) and Apollo’s Postilion (Postilhão de Apolo). The practice of “Notation” in the complimentary portrait is demonstrated, the rhetorical and poetic precepts that are rewritten are discussed, its usefulness as a control on courtier affections as well as how its opposite, the comedic portrait, specifically that one built upon sweet metaphors, using the same commonplaces of invention, arrangement and elocution of the genre, articulates the reverse image of a lady, transforming the illustration or evidentia (of strong visual appeal), typical of the higher type portrait, into “appetite”, “gustation”, “gluttony”, and “sexual satisfaction”.Keywords: satire; poetic portrait; praise of a donna; ars laudandi; Phoenix Reborn.
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Folkart, Barbara. "Poetry as Knowing." TTR : traduction, terminologie, rédaction 12, no. 1 (February 26, 2007): 31–55. http://dx.doi.org/10.7202/037352ar.
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Abstract Poetry as Knowing — Like the pure sciences, poetry is first and foremost a cognitive instrument, one of the most rigorous modes of knowing that exist. Everything about it is shaped by the search for insight, or even truth. Poets are no more in the business of "making pretty" than molecular biologists or computer nerds; they put us into un-mediated contact with the grid of the world, force us to dig deeper than ever before into the amorphous business of being. This they do by "making it new". Poetry is a "counter idiomatic" practise, one that grates against the words of the tribe, its received ideas and its verities. And "form" — whether "free" or forged out of constraints — plays an all-important part in making it new for us. Form is decorative only to the illiterate. For the competent receiver, it is acutely, intensely functional. By giving it form, making it new, forcing us out of the lexicalized varieties that have gone stale on us, poetry makes us feel our way to new truths, or to a gut knowledge of old ones. Hence the maïeutic function of poetry. The very fact that poetry is so intolerant of the already-said is what explains the irreplicability or what Berman referred to as la lettre and makes the poem refractory to translation. Yet, most practitioners conceive of translation as a way of replicating what's already there. It's hard to imagine a more anti-poetic stance.
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Kuduma, Anda. "Lokālais un globālais Guntas Šnipkes dzejā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 143–51. http://dx.doi.org/10.37384/aplkp.2020.25.143.
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The article deals with the representation and interaction of the local and global elements in Liepāja poet and professional architect Gunta Šnipke’s poetry writing. The research aims to establish and evaluate the importance of local and global aspects in Šnipke’s poetry creation process by determining the conceptually characteristic ways in the formation of poetic expression. The article particularly emphasizes the phenomenon of memory which reveals the dimension of time in Šnipke’s poetry space, allows to speak not only of the individual but also of the cultural memory by precise emphasis of concrete geographic places, topographic details (showing both the local and global scale) which have directed the author to an observation. The phenomenon of memory reveals the dimension of time and illuminates several levels of individual and collective memory – historical, cultural, autobiographical, feminine. The theoretical and methodological basis of the research includes the viewpoints of feminism theoreticians (Rosi Braidotti, Virginia Woolf and others) on the aspects of mental nomadism in the perspective of gender studies, as well as several aspects of the cultural memory research (works by Aleida Assmann, Marija Semjonova and others). The local and global issues have been researched mostly in Šnipke’s newest poetry collection “Ceļi” (‘Roads’, 2018) concurrently demonstrating the broader context and development process of the poet’s creative activity since the publishing of the first two poetry collections – “…Bērns ienāca…” (‘…A Child Came in…’, 1995), “...Un jūra” (‘…And the Sea”, 2008). The dominant of Šnipke’s poetic expression is a powerful impulse of thought which allows the creation of broader contexts concerning the current events and phenomena, thus expanding the boundaries of experience established by the strict form. The poet’s strong intellect is in a certain confrontation with an equally strong emotional experience. Šnipke’s poetry is characterised not only by the natural union of the intellectual and emotional elements in one poem but also by a successful amalgamation of various important levels – geographical, cultural and historical, social and personal, autobiographical. This feature is soundly used in creating the artistic concept of the poetry collection “Ceļi”. The collection was highly praised by professionals and awarded by several significant literary prizes. Šnipke’s poetry coincides with the current tendencies in the contemporary Latvian poetry process both in content and form; the poetic thought is mostly expressed in expanded and associatively dense syntactic structures. Šnipke’s poetry complies with the feminine poetry tendency to record the history of one’s own family within significant historic events pouring the individual experiences into layers of collective experience. Personal and seemingly insignificant becomes of global importance joining the space of common European memory, the distant and foreign phenomena are made closer and more understandable. In the longer forms, a woman and the feminine language become the main narrators of the past.
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Mustafayeva, Nailya B. "Stanza form of mukhammas in Azerbaijan lyrics in 20th century." Neophilology, no. 21 (2020): 76–84. http://dx.doi.org/10.20310/2587-6953-2020-6-21-76-84.
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In Azerbaijan literature of the early 20th century mukhammas were created, they were distinguished by the search for new forms and the problematic range. For example, Sabir began mukhammas with beit (couplets) of tarji, repeated it at the end of each stanza. Many other poets repeated a similar technique afterwards. There are other features of the mukhammas of the specified period; the topic in general covered lyric and poetic, patriotic, social and political, philosophical, and religious issues. The patriotic mukhammas included a description of the nature beauties, the motherland defenders courage, the impulses of those who strove for the progress of the country, for its freedom. The number of satirical mukhammas increased. Takhmis (imitations) were written on classical poems, including Fuzuli’s ghazals. At the early 20th century in Azerbaijan, as well as in other places of the Russian Empire, political activity grew among the population. The famous poet Mahammad Hadi wrote in his mukhammas about the need to achieve freedom. After all, only free people can achieve true progress and prosperity. In Soviet times, a number of poets continued to write their poems in the classical style. Poets such as V. Abbaszade Hammal, M.S. Ordubadi, A. Nazmi, Mikayil Rafili, Ali Nazim, Suleiman Rustam, Mikayil Mushfig praised their native land in their mukhammas, at the same time they did not forget to note the role of the Communist Party in the prosperity of the country. A lot of poems were devoted to international events, criticism of the imperialist forces. During World War II, Aliaga Vahid in his mukhammas predicted German fascism an inevitable defeat, expressed admiration for the heroism of Soviet soldiers. In the second half and at the end of the 20th century, the number of mukhammas on religious themes is growing in Azerbaijan poetry. A number of poets have moved from writing poetry in the classical nazm style to the mukhammas genre.
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Thunberg, Lars. "Grundtvig og de latinske salmer - et teologisk perspektiv." Grundtvig-Studier 43, no. 1 (January 1, 1992): 67–92. http://dx.doi.org/10.7146/grs.v43i1.16076.
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Grundtvig and the Latin Hymns - A Theological PerspectiveBy Lars ThunbergA number of scholars have devoted attention to Grundtvig’s hymns, as they are represented in his magnificent Sang-Værk. The hymns form a kind of corona of Christian poetry, intended for the congregation to use in its worship and outside the church. A number of them are congenial renderings of hymns from other traditions: the Greek, the Latin, the Anglo-Saxon, beside the Lutheran. As far as the Greek and the Latin material is concerned, Jørgen Elbek, the literary historian, has made a remarkable contribution. This article follows up Elbek’s intentions.In his Sang-Værk Grundtvig follows the principle that his collection of hymns should reflect what is given - to Christendom as a whole, and the Danish congregation specifically - through the seven historical traditions: the Hebraic, the Greek, the Latin, the English, the German, the Nordic (= Danish) and possibly a seventh, not yet fully discovered. Theoretically Grundtvig develops this idea in his late work Christenhedens Syvstieme, where an Indian congregation is indicated as the seventh one. Elbek has shown that - against this background - Grundtvig wanted to give to the Danish Church a collection of hymns, expressing the unison hymnody of the present day Danish congregation..Among the classical traditions, the Latin ‘congregation’ occupies a particular place. This particularity, however, is a problem to Grundtvig at the same time. Elbek has underlined that Grundtvig was aware of the fact that no Christian is basically able to speak on behalf of the universal Church. Thus, this is also true of Grundtvig himself in his translation/rendering of Greek or Latin hymns. His translation of them into present-day Danish involves a contextualisation, which means that they are at the same time felt to be close and familiar as well as distinct from their original setting. They become songs of praise, integrated into the Danish contemporary situation.However, it is characteristic of Grundtvig that he is very faithful to his Latin originals (which he studied in different versions and very carefully), and at the same time feels free to render them according to his own understanding of what is of importance to his own Danish Church. This combination of faithfulness and freedom is a genuine expression of Grundtvig’s unique ability as a hymn writer. He uses it to express his very personal feeling of what is - as a matter of fact - universal Christian belief.In the article these principles of Grundtvig are illustrated through a short analysis of his rendering of the following 14 Latin hymns: Conditor alme siderum, Veni redemptor gentium, Puer natus in Bethlehem, Vexilla regis prodeunt, Salve crux arbor, Stabat mater dolorosa, Salve mundi salutare, Mane prima sabbad, Mundi renovatio, Zyma vetus expurgetur, Laus tibi Christi, Beata nobis gaudia, Urbs beata Ierusalem and Pange lingua gloriosi.
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Bienz, John. "Julia Carolyn Guernsey, The Pulse of Praise: Form as Second Self in the Poetry of George Herbert Newark: University of Delaware Press, 1999. 270 pp. $46.50. ISBN: 0-87413-679-2. - Jeffrey Powers-Beck, 'Writing the Flesh: The Herbert Family Dialogue Pittsburgh: Duquesne University Press, 1998. xviii + 281 pp. $54.50. ISBN: 0-8207-0293-5." Renaissance Quarterly 53, no. 3 (2000): 919–22. http://dx.doi.org/10.2307/2901520.
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Klein, Joachim. "Praising the Ruler: Panegyrical Poetry and Russian Absolutism." Slovene 4, no. 2 (2015): 36–71. http://dx.doi.org/10.31168/2305-6754.2015.4.2.2.
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It is difficult to overrate the importance of the panegyric tradition for early modern Russian literature. Between the middle of the 17th to the end of the 18th century, it was practiced in many different genres—almost all Russian poets praised the ruler. This poetry deserves our interest as a specific form of political literature. As such it is not only relevant for the cult of the Russian monarchs, but it also sheds some light on the political mentality of their loyal—and literate—subjects in the age of Russian absolutism. Panegyrical poetry is per definitionem a thoroughly affirmative, noncritical form of political literature. But this did not prevent it from offering a certain scope for the expression of diverse and even contradictory political ideals. This can be exemplified by the panegyrical poems written in the early 1760s in the context of the coup d’état staged by Catherine II and against the backdrop of the Russo-Prussian peace treaty initiated by her predecessor, Peter III. In this situation, a fundamental difference of opinion about the tasks of the monarch and the mission of the Russian state emerged.
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Grethlein, Jonas. "Divine, Human and Poetic Time in Pindar, Pythian 9." Mnemosyne 64, no. 3 (2011): 383–409. http://dx.doi.org/10.1163/156852511x505097.
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AbstractThis paper argues that Pythian 9, hailed for its romantic charm, also throws into relief an aspect that is widely assumed to be absent from it, specifically the gap between men and gods. That is, differences between the praise for Telesicrates and the Apollo and Alexidamus myths indicate that the swiftness even of a Pythian victor does not compare with the immediacy with which gods realize their desires. Furthermore, a narratological reading, elucidating the ‘content of the form’, suggests that the ode’s temporal organization, particularly the aspects of order and duration, underscores the discrepancy between divine and human times.
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Harrison, S. J. "The Praise Singer: Horace Censorinus and Odes 4. 8." Journal of Roman Studies 80 (November 1990): 31–43. http://dx.doi.org/10.2307/300279.
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The criticism of the eighth ode of Horace's fourth book has been bedevilled by three major uncertainties: probable interpolation in its text, confusion about the identity of its addressee, and doubt as to its literary quality.1 These issues will form the central concerns of this discussion. Earlier critics have been consistently scathing in their view of Odes. 4. 8: some editors have even gone so far as to deny Horatian authorship,2 many have made dismissive judgements, following the verdict of Wilamowitz (‘really very bad’), and a recent commentator has classed 4. 8 as ‘the least lyrical of the Odes … much of it, indeed, reads like prose—limpid, logical, but pedestrian’.3 I shall not claim that the poem is a previously unacknowledged masterpiece of inspiration, but that it has been underestimated as a poetic artefact: as a careful analysis will show, it is a well-conceived, well-finished and allusive piece, relevant to its addressee and cohering well both with the following ode to Lollius and with the purposes of Book 4 as a whole.
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Bieda, Esteban. "Gorgias en el Banquete de Platón. Ecos del Encomio de Helena en el discurso de Agatón." Elenchos 31, no. 2 (June 1, 2010): 213–42. http://dx.doi.org/10.1515/elen-2010-310203.
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Abstract After Agathon's speech in Plato's Symposium, Socrates takes a little time to make some comments about it. One of these comments is that the speech brought Gorgias to his memory (198 c 2-5). In this article we intend to track down in three complementary levels the diverse reasons why this recollection took place: (A) regarding the form of the speech, we will try to show that there is an equivalence in how both Gorgias in his Encomium to Helen and the character of Agathon in the Symposium construct their respective logoi; (B) regarding the style of writing, we will see the frequent use in the poet's speech of the rhetoric resource of "saying things alike'' (isa legein) usually ascribed to Gorgias; (C) finally, regarding the contents of both speeches we will try to show that many of the elements used by the sophist to praise the logos in his Encomium to Helen may be found, more or less, in Agathon's praise of Eros. The article will try to show, thus, which are the precise elements that may have made Socrates remember Gorgias after listening to the tragic poet.
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Holt, Else Kragelund. "Stat op i Gry, min Gud! Tre gammeltestamentlige salmer, gendigtet af Grundtvig." Grundtvig-Studier 47, no. 1 (January 1, 1996): 77–96. http://dx.doi.org/10.7146/grs.v47i1.16226.
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Grundtvig 's version of Three Old Testament HymnsBy Else Kragelund HoltThe article seeks to demonstrate the significance of Grundtvig’s interpretative use of the old Testament in Sangværk /. The methodological inspiration for the study is not to be found in the ongoing Grundtvig research, but in Old Testament exegesis, especially in the shape of Tradition History and Wirkungsgeschickte.The questions raised are not primarily why Grundtvig did so and so with his Old Testament Vorlage, but rather what he did with it. The material of the investigation is three hymns from the Easter part of the Sangværk. According to Grundtvig, SV #206, / de gyldne Himmel-Sale (»In the Golden Halls of Heaven«), was written »after the 16th Psalm of David«. On the basis of its form, this psalm should be designated as a psalm of confidence, i.e. a psalm expressing trust in the Lord’s will to take care of those faithful to him, while life will be burdensome to the godless. The Psalmist presents himself as a man obedient to God (v.2), a man who knows that the Lord has given him counsel (v.7), and that He will not let him meet an untimely death (v. 10). One might expect Grundtvig to use Ps 16 as an expression of the Christian’s joy of life, but this is not what he does. Presumably inspired by Christian Vi’s Danish Bible, he reproduces Ps 16 as a heavenly dialogue between the Father and the Son. The Father consults the Son about how mankind can be delivered. Whereas Ps 16 depicts God as the support of man, Grundtvig uses the words of the psalm as a prediction of Christ supporting the Father’s plan of deliverance. In stanza six the speaker changes: Jesus praises the Father for the help that He will show him, when He is to fight Death. Ps 16, 9-10 becomes a prediction of Jesus’ victory over Death, and Ps 16, 11, correspondingly, a prediction of the Ascension. Grundtvig uses Ps 16 »prophetically«, reinterpreting the Old Testament motif of the guidance of the Lord in a different context. Where Ps 16 has an earthly orientation, the perspective of the reproduction becomes cosmic - and, one might add, part of the Easter service in church.SV #207 - O min Gud, min Gud og Fader! (»Oh, My God, My God and Father!«) is said to be »the 22nd Psalm of David, freely translated«. This is the psalm which opens with Jesus’ last words from the Cross: My God, my God, why hast thou forsaken me? The Old Testament psalm is a personal lament. Vv. 2-22a describe the despair of one, abandoned by God and community, vv. 22b-31 are the praise of a man whose cries have been heard.Grundtvig does not overtly take up the theme of the Passion. Rather he reproduces the psalm very closely, as if to make it usable as a hymn for the Danish church. Nevertheless, a personal adaptation is detectable. First, the hymn talks to God as a father - a divine metaphor, which is not used in the Book of Psalms at all. Here the words from the Cross are traceable. Another vestige of the Passion can be found in the beginning of the hymn, where the poet asks »my God and Father« to »stay with me now«. It seems as if the worshipper has not yet been abandoned, but that he knows that he will be, like Jesus in Gethsemane. Finally, Grundtvig identifies the enemy from whom the worshipper asks to be saved, as Death.In SV #209 - Stat op i Gry, min Gud! stat op! (.Arise at Dawn! My God, Arise.) Grundtvig again translates the Old Testament psalm very closely. PS 68 is a rather martial psalm of thanksgiving for a royal victory, and Grundtvig uses it to portray the victorious resurrection of Christ. Literally between the lines, Grundtvig puts christological interpretations, using allusions to Christmas for instance, and to the Word that bears a giant’s strength. In stanza four Grundtvig changes the reference of the Old Testament psalm to the Wanderings in the Wilderness as a metaphor of fertility and creation (vv. 8-9), using, instead, the stream rising in Eden (Gen 2,4) which he interprets as baptism.What can be concluded is that Grundtvig at the same time re-writes and reinterprets the Old Testament poetry more or less in the tradition of how the Old Testament was re-interpreted in the New.
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Gallagher, Rob. "Dirty footprints and degenerate archives: Tabitha Nikolai’s impure walking sims." Journal of Gaming & Virtual Worlds 12, no. 1 (March 1, 2020): 105–22. http://dx.doi.org/10.1386/jgvw_00007_1.
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Tabitha Nikolai’s Shrine Maidens of the Unseelie Court and Ineffable Glossolalia are impure specimens of the walking sim. While these are still first-person games that see players exploring eerily underpopulated environments and archiving textual fragments, they are at once more aesthetically reflexive and more referentially dense than many walking sims. Accommodating giant spiders, Weimar sexologists, messageboard trolls and quotations from Roman poetry, Nikolai’s unorthodox spins on the ‘archival adventure’ reflect her interest in queer and trans history and her commitment to interrogating discourses of purity, progress and redemption. Reviewing critical discussions of the walking sim alongside queer, trans and decolonial perspectives on archives, identity and subjectification, the article argues that while walking sims have often been praised for telling emotionally engaging stories, in Nikolai’s hands the form assumes different function: that of reckoning with history and exploring subjectivity.
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Hariandi, Ahmad, Suci Dewi Asmara, Sinta Nofria, Arini Meliza, and Ida Fransiska Lingga. "ANALISIS NILAI MORAL AGAMA DALAM SYAIR GURU SYUKUR TERUSAN JAMBI." Jurnal PAI Raden Fatah 2, no. 2 (June 3, 2020): 117–31. http://dx.doi.org/10.19109/pairf.v2i2.4698.
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This research aims to know the meaning and moral contained in the poetry of Haji Syukur. He conveyed his preaching through poetry that according to Haji Syukur, the people of Jambi easily understand him through Seloko or Pantun. The poems spoken by Haji Syukur are also often used by people in the area of Jambi who in the activities of community deliberations, in giving advice, can also be used in the sleep of children, and storytelling. The poems spoken by Haji Syukur contain the story of Islamic religious teachings.Further research on the activity of analyzing the works of the teacher H. Syukur specifically the poems of his work.In this study we use content analysis techniques to process the data that has been collected. With this technique researchers will be able to easily find out the contents, meaning of poetry, and moral values that are embedded in poetry. So that researchers at the end of the paper can easily conclude the results of the desired research.The words of Haji Syukur or the often-called Guru Syukur in the form of aspects are also not too difficult to understand, the lyrics are practical and often also used by society in their daily lives, and Seloko or Pantun is also a Community needs in certain events and when people relax in a community gathering. In the Haji Syukur poem’s can also distinguish the nature of the character of Islam with the people of the calamites, the good and the wicked, the praises and the Unblemish. In the verses of gratitude teachers speak between two opposite things, Haji Syukur also gives the difference two things aloud, so that the community easier to capture what the meaning conveyed through the poem and the the lyrics are easier for the community to hear.
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Patti, Chris J. "Hopeful Lament." Departures in Critical Qualitative Research 4, no. 1 (2015): 127–30. http://dx.doi.org/10.1525/dcqr.2015.4.1.127.
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A personal reading of Robin M. Boylorn's rich, troubling, critical, and beautifully composed text Sweetwater inspired the author to respond in the poetic form of the blues. Mixing major (hopeful) and minor (heartbreaking) themes and written as a lament, the author confronts the sorrow of marginalization and praises the brave and hopeful power of Boylorn's writing, which speaks in personal, familial, and cultural registers about the oppression and resilience of Southern black women. This song resolves by highlighting the philosophical and theoretical possibilities made possible by the critical auto/ethnographic storytelling exemplified in Sweetwater.
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Egan, James. "Rhetoric and Poetic in Milton's Polemics of 1659–60." Rhetorica 31, no. 1 (2013): 73–110. http://dx.doi.org/10.1525/rh.2013.31.1.73.
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Recurring features of Miltonic rhetoric during the 1640s include the structural patterns of the oration and the animadversion, widespread deployment of the classical high, low, and middle styles, and an epideictic mode of praise and blame. Equally noteworthy is the close relationship of rhetoric and poetic. These features can be used as a template to characterize Milton's work in 1659–60, his final period as a political controversialist. Five texts make up this period: Civil Power (1659), Likeliest Means (1659), two editions of The Readie Way (1660), and Brief Notes (1660). In 1659–60 the oration remains Milton's preferred form of public, inaugural address, yet traces of the Puritan sermon can also be found. As he had done in the 1640s, Milton later relied on the classical low style for argument, documentation, and narration. The poetic qualities of Miltonic polemic are as evident in 1659–60 as they had been in the 1640s. The well-developed mimetic identity of the second edition of The Readie Way represents a sophistication of the localized mimesis of the 1640s.
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Stachura-Lupa, Renata. "Kremer, Tarnowski, Rydel - związki nie tylko tekstowe." Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 19 (December 25, 2019): 66–78. http://dx.doi.org/10.24917/20811853.19.5.
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The paper shows connections between Stanisław Tarnowski and Lucjan Rydel and his family. Tarnowski was a disciple of Józef Kremer, while Rydel was a pupil of Tarnowski. Kremer’s views on art, to some extent, shaped Tarnowski’s aesthetic thought, especially when it comes to the perception of beauty and creative act. Kremer accompanied Tarnowski at the beginning of his scientific career. Rydel used to attend Tarnowski’s speeches in his gymnasium period, and then as a student of the Jagiellonian University. He belonged to a narrow group of Young Poland writers, whose work was appreciated by the critic. He included papers about Rydel in Przegląd Polski. [78] Renata Stachura-Lupa In 1899 Tarnowski welcomed a debut volume by Rydel, appreciating his ‘inherent gift, acquired skill, good taste and musical ear, as well as playing with the difficulty of form,’ which contributed to ‘truly brilliant results.’ He praised the author for ‘his honest feelings’, at the same time noticing the dominance of sadness in his poetry, which was supposed to be typical of ‘young’ poetry, reflecting the depressing mood in the nation, caused by ‘the state of the motherland.’ In 1901 in Przegląd Polski he published a dissertation Nowe kierunki dramatu i „Zaczarowane koło” Lucjana Rydla, in which he made an ‘analysis’ of his disciple’s art. What he found particularly valuable was the method of presenting the countryside, which proved he was well-acquainted with its reality. However, it was only the trilogy Zygmunt August that he regarded as a masterpiece and ‘the best historical tragedy we’ve ever had’.
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Potnitseva, T. N. "ABOUT RECKLESSNESS AND NOT ONLY ABOUT IT (O.GOLDSMITH’S POETIC MINIATURES ABOUT LOVE)." English and American Studies 1, no. 16 (September 7, 2019): 179–89. http://dx.doi.org/10.15421/381925.
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The paper focuses on two poetic miniatures about love by the English writer of the XVIII th century O.Goldsmith. These miniatures embody the specificity of the writer’s manner and the main artistic and ideological tendencies of the time. That specificity finds its expression first of all in the mixture of different styles and pathos – serious and playful. All that scholars correlate not only with Goldsmith’s individual manner but with the aesthetic of rococo. The interest to Goldsmith’s art is growing nowadays. That is proved by an amount of investigations, dissertations appeared recently. But what concerns the Ukrainian literary studies one must admit a fair and sad conclusion of D Chik that the creative art of Goldsmith has not been yet a special object of investigation in Ukraine. Though his name and his works where always touched upon in the context of many Ukrainian investigations of the literature of the XVIIIth century. The priority of the Dnipro University school of the scholars studying the European literary XVIIIthe c. is certain. The both verses deal with the specific aspect of love located outside the borders of “legalized proprieties” but which are so attractive for the author’s attention due to many causes more than any other of the common “morally steadfast plots” about love. The poems are similar in an obvious two-sided depiction, in an exquisite playfulness which attributes them both with the style of rococo. Here the female’s or mistress’s qualities and properties are praised but they are those which according to the logic of things had to cause only conviction. And thus a demonstrated intention of moralizing turns into joke. The poems chosen for the analysis embody the author’ s idea about microcosm of a man’s existence where there are its own “crazy laws” and where it is possible to have fun and not to be pessimistic, according to D.Zatonsky’s judgment, in one’s reflection about “ sins of men’s attitude to the life”, and where it is possible “to reject decisively regulations and respectability”. All that, without any doubt, made Goldsmith a forerunner of Romanticism. The joking verses about love includes in themselves, as it is seen, much of what goes beyond the borders of the topic chosen by Golsmith. “A lovely woman” turns out to be a concretized image of a common recognizable man, one of those «good people all of every sort», for whom so often the writer appeals and whom he loves and sympathizes with so much. In investigating the diversity of a man’s essence Goldsmith revealed some common rules of existence and in different forms of his art the writer thought about that. In the paradoxical encounter of the serious and the comic in the plot of the poetic miniatures as well as in the style Goldsmith embodies in his own way his perception and adoption of a human being what he is with all his weak sides and faults. The playful component of the XVIIIth century writers’ poetry and Goldsmith poetry included is a sign of a free breathing of a poetic soul which rejects all stereotypes and “rules” as exhausted to the full. The idea of frailty of life and its finiteness no matter how lofty the man’s aspirations could be is transformed in the poetry of a great mockingbird. The poems quite contrary are full of life and life-affirming pathos. Not rejecting the very thought about man’s mortality Goldsmith calls for a life acceptance in all its appearances. And this call is embodied in the form of a mischievous game. Goldsmith’s conversation with his reader at that is a sign of a boiling vital energy.
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Braček, Tadej. "Fact, Myth and Legend in Matthew Arnold’s Westminster Abbey." ELOPE: English Language Overseas Perspectives and Enquiries 4, no. 1-2 (June 16, 2007): 99–106. http://dx.doi.org/10.4312/elope.4.1-2.99-106.
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The paper deals with the multilayered elegy “Westminster Abbey;” which was not given a lot of attention by Matthew Arnold’s critics. The poem is dedicated to Arnold’s life-long friend Dean Stanley; who was; like Arnold himself; “a child of light.” The term refers to their common fight against Philistinism in the English society of the time. As the poem is about a real person; it contains real data; such as excerpts from Stanley’s life; described in the form of praise. However; the poem also introduces the old Saxon legend of consecration of the Abbey; namely the consecration by the light; performed by the First Apostle (St Peter) himself. In addition to the legend; Arnold also used some classical Greek allusions to depict the late Dean’s character. In one of the allusions; Stanley is associated with Demophon; whose immortality was never achieved due to the fault of another human; and in the second he is transformed into an everlasting oracle of the Abbey using the Trophonius; a builder of Delphi; metaphor. All elements of the poem form a homogenous eulogy; making it worthwhile reading for English scholars and students; and possibly a candidate for the English poetic canon.
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Neilson, Shane. "A New Materialisms Poetics of Touch: David Eastham’s Understand: 50 Memowriter Poems." Canadian Journal of Disability Studies 10, no. 1 (March 4, 2021): 160–84. http://dx.doi.org/10.15353/cjds.v10i1.733.
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Although often mentioned in summarial histories of “first” authors with autism, the work of the Canadian David Eastham has not been analyzed at the level of form to date. Using Melanie Yergeau’s scholarship challenging the ruling episteme of biomedicine when it comes to neurodivergence, this paper considers biographical elements of Eastham’s life to confirm biomedical primacy in the accounts made by others. Then Eastham’s own work undergoes formal analysis to show how Eastham’s own words resisted the episteme while, even today, those means of those same words, provided by the contested practise of Facilitated Communication, are challenged by biomedicine. The method of close reading is used to interpret Eastham’s work, as guided by the theory inherent to new materialisms. The result is exposing an uncomfortable match between medical models and the alternative embodiment concept when it comes to interpreting the poetry of disabled people.
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Taylor, P. Ruth. "Valerius' Flavian Argonautica." Classical Quarterly 44, no. 1 (May 1994): 212–35. http://dx.doi.org/10.1017/s0009838800017316.
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‘[Valerius'] Argonautica is a story of high adventure, not a poème à thèse’: so stated Garson in 1965. Strand later added that the essential nature of this poem and the choice of subject-matter was determined by poetic inability; he describes the prooemium to Valerius' Argonautica as ‘a recusatio: the theme of the fall of Jerusalem is beyond his powers, and it would instead be treated by Domitian who was fit for such an arduous task; Valerius had to content himself with the theme of an old myth’. It is these two opinions that I wish to question in this article. Indeed, alarm bells immediately sound at Strand's interpretation of the poet's recusatio. It has long been recognized that the original Callimachean recusatio was twisted by the Augustan poets. Gordon Williams analyses their practice thus: ‘They sadly regret that their poor talents will not rise to great subjects – and the subjects to which they will not rise are not the old mythological tales but the great affairs of contemporary Roman history and, in particular, the deeds of Augustus. It is clear, however, that they are using this form of poem to enumerate and praise the great deeds of Augustus, under the guise of proposing their own inability.’ No-one hesitates to agree that Valerius was well versed in the Augustan poets. It is dangerous, therefore, to assume without question that he was deceived by their insincerity. There is in fact good reason to examine the alternative possibility, namely that Valerius understood well the practice of his literary predecessors, that he dared to tread in their footsteps and that he succeeded in the supreme duty of a poet, that is to say, the business of ensuring that ars celavit artem.
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Corona, Guillermo Laín. "El humo dormido, de Gabriel Miró." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 1 (June 21, 2013): 79–99. http://dx.doi.org/10.1075/rro.48.1.04lai.
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From the beginning of his literary career, Gabriel Miró (Alicante, 1879 — Madrid, 1930) has been considered a poet in prose, a lyricist or even a stylist. Of course, one cannot ignore that Miró’s work is highly poetic, as for the beauty of his language and landscapes or for some themes easily associated with Romantic lyrical commonplaces. But this is just a superficial screen behind which other narrative qualities are hidden. Indeed, Miró seems to use lyricism to deliberately conceal the narration, somewhat as a form of subliming it. This can be best seen when analysing El humo dormido (1919), for it is one of his books that has most often been praised as lyrical, but, although not exactly a novel, it hides a strong narrative structure of apprenticeship with an allegorical political meaning.
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Menn, Esther M. "No Ordinary Lament: Relecture and the Identity of the Distressed in Psalm 22." Harvard Theological Review 93, no. 4 (October 2000): 301–41. http://dx.doi.org/10.1017/s0017816000016370.
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One of the most significant shifts in Psalms scholarship in recent years has been the emergence of a new interest in tracing how early religious communities interpreted this religious poetry within the context of an emerging scriptural canon. Whereas the form-critical studies that dominated much of the twentieth century concentrate on recovering the originalSitz im Leben(or “life setting”) of the liturgical compositions collected in the Psalter within Israel's religious cult, the recent scholarly turn emphasizes how these prayers and praises came to be reread in light of narratives and other material found elsewhere in the Bible. In point of fact, the earliest evidence for this practice of canonical relecture is preserved within the Book of Psalms itself, where historical superscriptions correlate a number of psalms with specific events in King David's life. Through the addition of superscriptions, the moving penitential prayer found in Psalm 51 becomes “A Psalm of David, when Nathan the prophet came to him, after he had gone in to Bathsheba” (compare 2 Samuel 11-12), the lament of an individual surrounded by threatening enemies found in Psalm 3 becomes “A Psalm of David, when he fled from Absalom his son” (compare 2 Samuel 15-18), and so forth.
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Cherkashina, O. V., N. M. Utesheva, and O. M. Yakymchuk. "Spiritual chants for the female choir a cappella by IrynaAleksiichuk: features of the interpretation of canonical text." Aspects of Historical Musicology 17, no. 17 (September 15, 2019): 60–73. http://dx.doi.org/10.34064/khnum2-17.04.
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Background. The choral creativity of a modern Ukrainian composer Iryna Aleksiichuk is multifaceted and diverse. It includes spiritual chants, cycles of arrangements of Ukrainian and Balkan folk songs, choral works on poetry of Ukrainian and foreign poets (“Letters from the shell” and “Otherworld’ Games” on the verses by O. Stepanenko, “How Volodya flew quickly from the mountain” on the words by D. Harms), etc. The objective of this study is to find out the features of interpretation the canonical text in spiritual chants for a female choir a cappella by I. Aleksiichuk. Methods of studying. The holistic musical-theoretical analysis is applied to determine the figurative content of the work, to identify the peculiarities of form-building and the use of compositional ways of expressiveness (the intonational structure of the basic elements of the form, the tonal-harmonic plan, the methods of development of the thematic material). In the analysis of music the method of comparison was used (to identify correspondence between the means of musical expressiveness and the features of the canonical text). Results. The material of the analysis are four chants (“The King of Heaven”, “Glory to the Father, and the Son, and the Holy Spirit”, “My voice to the Lord”, “Holy, holy, Lord of Sabaoth”), which are united in the cycle “Spiritual chants for female choir a cappella”. In the process of researching the algorithm of sequence of the chants in the cycle is revealed, as well as the correspondence of musical means of expressiveness to canonical text. It is concluded that all chants expressly convey the meaning and the features of the canonical text. Musical structures clearly correlate to verbal. The greatest number of repetitions in the chants the stable formulations of the canonical text acquires: “Lord have mercy”, “Hallelujah”, “Glory to the Father, and to the Son, and to the Holy Spirit”, “Holy Lord”. The semantic significance of the canonical text is reproduced through the rich harmony and inventional polyphony, through the changes of time signatures, text repetitions, the wide choir range, dramatic development and contrasts of all means of expressiveness. Four abovementioned spiritual chants for the female choir a cappella on the canonical texts were written by I. Aleksiichuk in different times during 2002–2011. The order of the canonical text and the logic of the deployment of the musical material allowed the composer to combine them into a fourpart concert for a female choir. The cycle begins with the evening prayer “The King of the Heaven” (prayer to the Holy Spirit). This prayer is а part of the early and evening Church rules. Anumber of services that are performed during the day in the Orthodox Church opens by the evening Divine service, since the day, according to the Church’s Charter, begins in the evening. That is why in first the evening service is, which included the repentant prayers for everyday sins and gratitude to God for this day. The chanting begins and ends with the sound of the bells that by and by go silent. The similarity of the finale to the introduction, the repetition of the musical and verbal texts contributes to the roundness of the musical form and helps to its holistic perception. The music of the incantation “Glory to the Father, and the Son, and the Holy Spirit” reproduces his exalted character. Applied by the author the ways of expressiveness correspond to the canonical text, which glorifies the God in his three hypostases. The definitive feature of the musical work is the presence of a genre sign characterizing of Orthodox worship, the bells. This feature is reproduced in the homophonic-harmonic texture of the composition relying on the main harmonic functions, singing the repeated sounds, etc. In this chant, I. Aleksiichuk is working on three small parts of the canonical text: “Glory to the Father, and to the Son, and to the Holy Spirit”, “now and always and forever” and “Hallelujah”, giving each of them the certain musical themes. The complete formula of prayer sounds in the work three times gaining dynamic development. In the third chorus, “My voice to the Lord”, verses from Psalm 141 are used. This Psalm is the prayer of David to the Lord in the cave in time of his persecution by Saul. Of the seven verses of David’s Psalm, I. Aleksiychuk used four – 1, 2, 4, 5, in which the main content of the work is concentrated. The last part of the cycle is the hymn “Holy, holy, Lord of Sabaoth” performing finale function. This prayer is a part of the Eucharistic canon and it sounds in the most important section of the Divine Liturgy – the Liturgy of the Faithful. The chant begins immediately with the glorification of the God. Conclusions. An analysis of spiritual chants with canonical texts for the female choir a cappella by I. Aleksiichuk illustrates the following. All the songs very clearly express the meaning and features of the canonical text. I.Aleksiichuk choses three-part forms with reprise, in which clearly, according to the text, the musical structures built; the stable formulations of the canonical text “Lord have mercy”, “Hallelujah”, “Glory to the Father, and the Son, and the Holy Spirit”, “Holy Lord” are most often repeated; at the end of the three chants (except «My voice to the Lord»), the final confirming formula of the prayers “Amen” sounds; means of expressiveness (changing of meter signatures, repetitions of the sounds, a wide range of the choir, singing of the main sounds of melody) are designed to create the illusion of chime that is the genre sign of the Orthodox worship; the semantic meaning of the canonical text is passing through the rich harmony, in which dissonances and chromaticism aggravate the expressiveness of the spoken words, through the dramatic development of the words of praise (“Hallelujah”, “Glory to the Father, and Son”), poly-timbre sounds, contrasting of all means of expressiveness, etc.
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Mustafaeva, Samida Toshmukhammedovna. "Conditions For The Formation Of Ming Romans." American Journal of Social Science and Education Innovations 02, no. 10 (October 31, 2020): 440–44. http://dx.doi.org/10.37547/tajssei/volume02issue10-71.
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The Ming period is recognized as a period that introduced a new genre to Chinese literature, especially Chinese prose. During this period, novels from the masterpieces of Chinese literature saw the light of day. They are a valuable source for the study of Chinese literary language, as well as providing valuable information on the plot, historical facts, and the Darwin. In particular, the novel "Three Kingdoms", created in the Ming period, has a large volume and a plot rich in sharp turns, the events of the novel are based on the collapse of the Eastern Khanate, in general, various contradictions in public administration, political, military and foreign relations. The diversity in the author’s depiction of contradictions and struggles, the uniqueness in the depiction of each event, demonstrates the writer’s unparalleled artistic skill. In contrast to the "Three Kingdoms", the plot of “Water Margins” is based on the peasant uprisings and struggles; the play depicts the emergence, development and decline of the peasant uprising. The play praises a number of rebellious heroes, most of the protagonists of the work are extremely vivid, and their character is clearly described. The influence of the successful creation of the novels “Three Kingdoms” and “Water Margins” on the creation of historical and heroic novels of the next period is incomparable. The first phase of the Ming period was a turning point in the history of literature. With the end of the Yuan Dynasty (元朝 Yuán cháo 1206-1368) and the beginning of the Ming Dynasty, no other significant works were created during this period, except for two major novels, the Three Kingdoms (《三国演义》) and the River Basins (《水浒传》). It was not until 1465 that there was a renewal in drama and folk poetry.
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Elinson, Alexander Eben. "Contrapuntal Composition in a Muwashshah Family, or Variations On a Panegyric Theme'." Medieval Encounters 7, no. 2 (2001): 174–96. http://dx.doi.org/10.1163/157006701x00049.
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AbstractThe unique structural qualities of the Andalusi strophic poem (muwashshah or zajal) lent itself to a type of poetic interaction called muārada, commonly translated as "literary imitation." By composing within the parameters of an already established metrical, rhythmic, and melodic scheme, as well as sometimes sharing the final lines of the poem (the kharja), poets opened up a dialogue with their audience, and/or their fellow poets. However, these "imitations" were more than simplistic copies of of one another composed for virtuosic show. When executed well, a muārada provided a variation, praise, parody, response, or combination of these, of the original work, which would not be lost on the audience familiar with the form. In this paper, I will examine three strophic pocms that share a common kharja, in addition to elements of thematic development, rhyme scheme, and metrical patterns. In our set, we have what appears to be three panegyrics -a muwashshah composed in classical Arabic, a muwashshah-like zajal in Andalusī colloquial Arabic, and a muwashshah in Hebrew. Through a close reading of the poems, I will show that despite their shared features and surface similarities, they are, in fact, quite distinct in language, tone, and purpose, thus calling into question their generic designation as panegyric poems.
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Krishnan, Lakshmi. "THE ELEMENT OF LIVING STORM: SWINBURNE AND THE BRONTËS." Victorian Literature and Culture 41, no. 3 (September 2013): 463–85. http://dx.doi.org/10.1017/s1060150313000053.
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That Algernon Charles Swinburne loved the Brontës is well known, and his interest in them well documented. His admiration for Charlotte and Emily, in particular, prompted two studies, a short book and an article, which were instrumental in establishing their critical reputation as it exists today. “Those great twin sisters in genius,” as he wrote in 1877, held a powerful sway over Swinburne's imagination (A Note 188–200). He considered them his Yorkshire kinswomen, bred in the wild borderlands of the North (although Swinburne was born in London and spent most of his life in southern England, his family was based in Northumberland, and he never lost his allegiance to the county, calling himself a “Borderer” to the very end). He sensed in their work – Emily's especially – the haunting, poetic influence of the moors, a passionate, romantic spirit that saturated his own verse and prose. More, they were his novelistic predecessors, and his essays on them shed considerable light on his own fictional practice. In framing himself as the Brontës’ apologist, Swinburne was “far ahead of his time,” shaping Victorian criticism (Hyder 15–16). His praise of Wuthering Heights is considered “by some literary historians to be epochmaking” and altered the way in which novels were discussed, analysed, and ultimately evaluated (Watson 247). There are also striking features that suggest Swinburne's own novel Lesbia Brandon – in its trans-genre form and unique milieu – was conceived as an exercise in the manner of Wuthering Heights.