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Libros sobre el tema "Lyric genres"

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Publicado: 11 de marzo de 2023

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1

1941-, Paden William D., ed. Medieval lyric: Genres in historical context. Urbana: University of Illinois Press, 2000.

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2

Introduction to Psalms: The genres of the religious lyric of Israel. Macon, Ga: Mercer University Press, 1998.

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3

Skrebneski, Victor. Bravi: Lyric Opera of Chicago. New York: Abbeville Press, 1994.

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4

Ku, Tim-hung. A Comparative Study of Reception, Lyric Genres, and Semiotic Tools: Essays in Literary Criticism. Lewiston: The Edwin Mellen Press, 2014.

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5

Génetiot, Alain. Les genres lyriques mondains (1630-1660): Étude des poésies de Voiture, Vion d'Alibray, Sarasin et Scarron. Genève: Droz, 1990.

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6

Génetiot, Alain. Les genres lyriques mondains: 1630-1660 : étude des poésies de Voiture, Vion d'Alibray, Sarasin et Scarron. Genève: Libr. Droz, 1990.

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7

Gershwin, Ira. Lyrics on several occasions: A selection of stage & screen lyrics written for sundry situations, and now arranged in arbitrary categories : to which have been added many informative annotations & disquisitions on their why & wherefore, their whom-for, their how, and matters associative. New York: Limelight Editions, 1997.

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8

The power of genre. Minneapolis: University of Minnesota Press, 1985.

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9

Sting. Lyrics. New York: Random House Publishing Group, 2009.

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10

Lyrics. New York: Dial Press, 2007.

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11

Poetic maneuvers: Hans Magnus Enzensberger and the lyric genre. Evanston, Ill: Northwestern University Press, 2003.

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12

Swift, Laura. The hidden chorus: Echoes of genre in tragic lyric. Oxford: Oxford University Press, 2010.

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13

The hidden chorus: Echoes of genre in tragic lyric. Oxford: Oxford University Press, 2010.

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14

Lyric texts and lyric consciousness: The birth of a genre from archaic Greece to Augustan Rome. London: Routledge, 1994.

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15

Henderson, Diana E. Passion made public: Elizabethan lyric, gender, and performance. Urbana: University of Illinois Press, 1995.

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16

Performing women: Sex, gender and the medieval Iberian lyric. New York: Palgrave Macmillan, 2005.

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17

Bates, Catherine. Masculinity, gender and identity in the English Renaissance lyric. Cambridge, UK: Cambridge University Press, 2007.

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18

Thomas, Susan. Cuban zarzuela: Performing race and gender on Havana's lyric stage. Urbana: University of Illinois Press, 2008.

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19

Schukowski, Stefan. Gender im Gedicht: Zur Diskursreaktivität homoerotischer Lyrik. Bielefeld: Transcript, 2013.

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20

Rogers, William Elford. Three Genres and the Interpretation of Lyric. Princeton University Press, 2014.

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21

Rogers, William Elford. Three Genres and the Interpretation of Lyric. Princeton University Press, 2014.

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22

Rogers, William Elford. Three Genres and the Interpretation of Lyric. Princeton University Press, 2016.

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23

Rogers, William Elford. Three Genres and the Interpretation of Lyric. Princeton University Press, 2014.

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24

Paden, William D. Medieval Lyric: GENRES IN HISTORICAL CONTEXT (Illinois Medieval Studies). University of Illinois Press, 2000.

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25

Peponi, Anastasia-Erasmia. Lyric Atmospheres. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794462.003.0008.

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Lyric genres have often been associated with a particular type of aesthetic experience in which semantic concreteness may give way to more diffused modes of perception and feeling, creating vague yet all-pervasive moods or atmospheres. This phenomenon has been largely attributed to lyric poetry’s heightened musicality, which in antiquity was further enhanced by actual singing and instrumental accompaniment. This chapter contends that in some of Plato’s dialogues interesting versions of this broader issue are either openly addressed or treated as an implicit struggle that results sometimes in negative, while at other times in remarkably creative, responses. In either case, Plato’s awareness and handling of this issue illuminates neglected but exciting aspects of his encounter with mousikē, mimesis, and the verbal arts.
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26

Nogalski, James D., Hermann Gunkel y Joachim Begrich. Introduction to Psalms: The Genres of the Religious Lyric of Israel. Wipf & Stock Publishers, 2020.

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27

Nogalski, James D., Hermann Gunkel y Joachim Begrich. Introduction to Psalms: The Genres of the Religious Lyric of Israel. Wipf & Stock Publishers, 2020.

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28

Glauert, Amanda. Beethoven and the Lyric Impulse. Taylor & Francis Group, 2020.

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29

Romano, Tony, Dan Rest y Victor Skrebneski. Bravi: Lyric Opera of Chicago. Abbeville Press, 1994.

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30

Allen, William. 3. Lyric and personal poetry. Oxford University Press, 2014. http://dx.doi.org/10.1093/actrade/9780199665457.003.0003.

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‘Lyric and personal poetry’ focuses on a wide range of poetry, from early Greek lyric to Roman love elegy. These various forms are united in their basis in the world of the speaker (the ‘I’ of the poem), whose ideas and experiences come to the fore. Greek lyric poetry embraces all early Greek poetry that is not epic or drama, and is sub-divided into smaller genres — iambus, elegy, and lyric poetry proper, both solo and choral. The main performance venues for these different forms of poetry were the symposium and the public festival. The lyric poetry of Sappho, Pindar, Ovid, Catullus, Tibullus, Propertius, and Horace is discussed.
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31

Lombardi, Elena. Addressees and Readers in Lyric Poetry. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198818960.003.0003.

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This chapter explores the role of the woman addressee in lyric poetry, the most intersubjective and inter-gendered of genres. I look at the ways in which early Italian poets construct their beloveds as agents, rather than passive elements, of poetry: as addressees, respondents, interlocutors, readers, editors, and commissioners. After an analysis of the figure of the incipitarian ‘Donna’ of many early poems, I explore the vocal figure of the woman-as-critic, and the ways in which she is ventriloquized by the male poet to give voice to a ‘more earnest’ outlook on courtly poetry. I then move on to Dante’s serial stagings of the invention of women interlocutors in the Vita Nuova, and explore them as part of Dante’s engaging reinvention of the ‘mixed vernacular audience’ of courtly poetry.
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32

Hadjimichael, Theodora A. The Emergence of the Lyric Canon. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198810865.001.0001.

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This book explores the process of canonization of Greek lyric, as well as the textual transmission, and preservation of the lyric poems from the archaic period through to their emergence from the Library at Alexandria as edited texts. It takes into account a broad range of primary material, and focuses on specific genres, authors, philosophical schools, and scholarly activities that played a critical role in the survival and canonization of lyric poetry: comedy, Plato, Aristotle’s Peripatos, and the Hellenistic scholars. It explores therefore the way in which fifth- and fourth-century sources received and interpreted lyric material, and the role they played both in the scholarly work of the Alexandrians and in the creation of what we conventionally call the Hellenistic Lyric Canon by considering the changing contexts within which lyric songs and texts operated. With the exception of Bacchylides, whose reception and Hellenistic reputation is analysed separately, it becomes clear that the canonization of the lyric poets follows a pattern of transmission and reception. The overall analysis demonstrates that the process of canonization was already at work in the fifth- and fourth-centuries BC and that the Lyric Canon remained stable and unchanged up to the Hellenistic era, when it was inherited by the Hellenistic scholars.
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33

Glauert, Amanda. Beethoven and the Lyric Impulse: Essays on Beethoven Song. Taylor & Francis Group, 2022.

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34

Glauert, Amanda. Beethoven and the Lyric Impulse: Essays on Beethoven Song. Taylor & Francis Group, 2020.

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35

Beethoven and the Lyric Impulse: Essays on Beethoven Song. Taylor & Francis Group, 2020.

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36

Glauert, Amanda. Beethoven and the Lyric Impulse: Essays on Beethoven Song. Taylor & Francis Group, 2020.

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37

Spelman, Henry. Genre and Tradition. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821274.003.0006.

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Whereas previous chapters focused on Pindar’s epinicians, this chapter broadens the scope of inquiry to consider Pindar’s other genres and also earlier lyric. First, it turns to Pindar’s fragmentary cultic poetry to see what can be determined about the representations and realities of secondary reception as they relate to genre. The conclusion emerges that, though the rhetoric of permanence is less common outside the epinicians, Pindar’s other genres also aimed to engage audiences beyond their first performance. Next, this chapter turns to earlier lyric in order to investigate how Pindar’s orientation towards a layered public relates to the lyric tradition from which he emerges. It is argued that, while fifth-century professional poets celebrate their literary afterlife with exceptional brio, earlier lyric poets also associated wide and lasting dissemination with poetic excellence.
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38

Gershwin, Ira. Lyrics on Several Occasions. Limelight Editions, 2004.

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39

Gershwin, Ira. Lyrics on Several Occasions: A Selection of Stage and Screen Lyrics. Proscenium Publishers, 1986.

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40

Gershwin, Ira. Lyrics on Several Occasions. Limelight Editions, 2004.

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41

Manuel, Peter. The Trajectories of Transplants. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038815.003.0002.

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Most of the North Indian music heritage brought to the Caribbean consisted of folk styles and genres that were predominantly text-driven, in that their expressive interest lay primarily in lyric content rather than purely musical dimensions. The vitality of such genres in the Caribbean has been gravely undermined by the decline of the Bhojpuri language. And yet, the fate of these music idioms has not been one of uniform decadence. This chapter discusses three genres of Bhojpuri-region narrative song—birha, the Ālhā epic, and antiphonal Ramayan singing—suggesting how their functions, inherent features, and relation to print culture have conditioned their trajectories in the Caribbean context.
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42

Wilhelm, James J. Lyrics of the Middle Ages. Taylor & Francis Group, 2019.

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43

Wilhelm, James J. Lyrics of the Middle Ages. Taylor & Francis Group, 2020.

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44

Wilhelm, James J. Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2019.

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45

Wilhelm, James J. Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2016.

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46

Wilhelm, James J. Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2019.

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47

Wilhelm, James J. Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2014.

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48

Wilhelm, James J. Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2014.

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49

Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2019.

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50

Wilhelm, James J. Lyrics of the Middle Ages: An Anthology. Taylor & Francis Group, 2014.

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