Gotowe bibliografie tematyczne / Latin Sonnets

Gotowa bibliografia na temat „Latin Sonnets”

Autor: Grafiati
Data publikacji: 25 lipca 2024
Data aktualizacji: 26 lipca 2024

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Artykuły w czasopismach na temat "Latin Sonnets"

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Blackman, Shane. ""Listen to Irene Cara", "Octavio Paz and the Nobel", "The Goals of Diego Maradona"". Latin American Literary Review 49, nr 99 (9.09.2022): 83–84. http://dx.doi.org/10.26824/lalr.333.

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These 3 sonnets explore the lives of pop-star Irene Cara, author and Nobel Prize winner Octavio Paz, and soccer legend Diego Maradona. Though one major sonnet form from literary history has included iambic pentameter, the sonnets here drop the iambic part, but keep the pentameter. In the history of the sonnet, there traditionally have been rhyme schemes. There is no particular rhyme scheme in these 3 sonnets. They are written with a mixture of free verse and rhyming. The poems span across Latin America -- from Mexico to Argentina and from Cuba to Puerto Rico -- and they celebrate the rich musical, literary, and sporting worlds of three icons and legends. The 3 sonnets employ ordinary language to describe extraordinary people, so that everyone and all readers can be inspired to be creative and to enjoy, shape, and impact the world.
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Leerintveld, Ad, i Jeroen Vandommele. "Instruments of Community". Early Modern Low Countries 6, nr 1 (29.06.2022): 71–102. http://dx.doi.org/10.51750/emlc12172.

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This article analyses the emergence and development of Dutch sonnets through Netherlandish alba amicorum from the period 1560 to 1660. It discusses the advent of the sonnet in the Renaissance literature of the Low Countries in the 1560s, showing how artists, scholars, and poets with connections to the Dutch refugee community in London became early adapters of this genre through their alba amicorum. We argue that this group used the sonnet as a form of exile literature, which communicated attachment to the fatherland and the righteous causes of the Dutch Revolt. Next, the essay explores the Dutch sonnets in the alba amicorum of Janus Dousa and Jan van Hout. Instrumental in establishing Leiden University in 1575 and expanding its reputation, both Dousa and van Hout encouraged the writing of sonnets in their alba as a means to advocate the use of Dutch as a literary language. Tracing the Dutch sonnet within the alba amicorum of the Low Countries, it is clear that the Dutch sonnet should be considered as the outcome of an emancipatory effort. At a moment in time where traditional non-personal inscriptions in alba amicorum were the mode, these poets used the sonnet to distinguish themselves from other contributors in the album, while at the same time conveying a clear message. First, Dutch sonnets in alba were written to claim a specific group identity connected to a Dutch migrant community. Second, these sonnets were adopted within the friendship books of the intellectual elite in Holland in order to assert a forefront position for the vernacular language equal to that of Latin, and which supported political and linguistic emancipation. After the establishment of the Dutch Republic and the emancipation of the Dutch language were completed in the first quarter of the seventeenth century, the sonnet seemed to have achieved currency in Netherlandish culture. Around the same time the number of sonnets in alba drastically dropped. The lack of exclusivity might have been the main cause of this decline.
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Walach, Harald. "Another Cryptogram in "Shakespeare's" Dedication to His Sonnets". Journal of Scientific Exploration 35, nr 1 (8.03.2021): 129–31. http://dx.doi.org/10.31275/20212019.

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I read with great interest the paper by Peter Sturrock and Kathleen Erickson (Sturrock & Erickson, 2020) on the Dedication in Shakespeare’s Sonnets. I am neither a scholar of literature, nor of Shakespeare, and I do not want to enter the fray as to who was the author of Shakespeare’s sonnets and plays. But I must confess that I found the arguments presented by Sturrock and Erickson intriguing. It is in that vein I would like to communicate an interesting finding. On page 302, Figure 21, of their paper, they present the Dedication of the Sonnets as a grid of 12 x 12 letters. This was done under the assumption that cryptograms can be deciphered better if they are laid out in a certain format. They then present the message they assume is contained there: “PRO PARE VOTIS EMERITER” as a devotion of Edward de Vere, the Earl of Oxford to his supposed friend, the Earl of Southampton, Henry Wriothesley. I find this a possible meaning. My experience with Latin texts – based on a translation of a medieval mystical writer from Latin into German and the reading of many original Latin texts, mainly from the middle ages and beyond (Hugo de Balma, 2017; Walach, 1994, 2010) – let another sequence jump out at me: SI PATET PRO MIRE VERO RETIRO The translation would read: "If it becomes miraculously obvious [who I am], I retire." That this is a reference of the proposed author, Edward de Vere, to himself would become clear from the double use of “vero”.
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Lacore-Martin, Emmanuelle. "De la forme littéraire comme arme politique : l’effet-recueil dans la version française de la Detectio de George Buchanan". Renaissance and Reformation 44, nr 1 (20.07.2021): 109–34. http://dx.doi.org/10.33137/rr.v44i1.37044.

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L’Histoire de Marie Royne d’Escosse constitue la dernière étape d’une trajectoire éditoriale complexe. Cette publication de 1572 contient la seule traduction en français de la Detectio, texte latin à charge écrit par George Buchanan dans le contexte de la déposition de la reine d’Ecosse entre 1567 et 1568, et augmenté au fil de ses éditions successives de pièces diverses, dont les fameux sonnets de la cassette, lettres-sonnets constituant une pièce maîtresse dans l’accusation d’adultère et de complicité d’assassinat à l’encontre de la souveraine. La présente étude montre que l’effet-recueil produit par l’adjonction des sonnets et d’autres documents au texte initial de la Detectio, opère un déplacement quant à la nature même du texte, du politique vers le littéraire, qui se trouve particulièrement renforcé, dans le contexte français, par un jeu d’échos intertextuels qui font apparaitre avec force le caractère éminemment littéraire de la production du texte de la Detectio.
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Dr. Jamal M. Al-Sayed Alawi. "The Shakespearean Poetic Rosary: The ‘Sacred Numbers’ in Shakespeare’s Sonnets". Creative Launcher 7, nr 4 (30.08.2022): 27–33. http://dx.doi.org/10.53032/tcl.2022.7.4.04.

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In human culture there are certain numbers of special importance. They are mostly used in old and modern writings as “sacred numbers” of religious and literary significance. They are present in the Greek myths, in Egyptian Pharaonic culture, in ancient Persian, in the Indian culture, and in Arab traditions; then (Islamic) culture as well as in the Biblical Western culture. These numbers are of two kinds: even and uneven or odd. The odd numbers 1, 3, 5, 7and 9 play a far more important part than the even numbers. One is Deity, three the Trinity, five the chief division, seven is the sacred number, and nine is three times three. These numbers have good function and been looked at as ‘Sacred’ or ‘Perfect’ numbers either of good omen or evil. There is another forth number, which is “10”, it comes mainly in Jewish and Islamic education in very few cases having similar religious suggestion. Shakespeare has used the number Ten in Sonnet 6 Then let not winter's ragged hand deface. “Sacred Numbers” have become a part of religion and even of modern belief, and mostly represented in the popular rituals. Shakespeare has used the “Sacred Numbers” in his works either prose or poetry, and this article is restricted to deal only with three Shakespearean sonnets where I imagine Shakespeare reciting his Latin Rosary in a poetic religious tone and drawing the cross sign on his chest and on the forehead of his sonnets in order to invoke divine protection. It seems that Shakespeare’s date of birth and death (1564 -1616) carries a certain secret of his fondness for sacred numbers; thus: The sum of the date of his birth (1564=16) is doubled in the date of his death (1616).
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Popović, Branka. "Svetlana Savić: Soneti "La Douce Nuit", "Looking on Darkness", "La vita fugge"". New Sound, nr 43-1 (2014): 157–72. http://dx.doi.org/10.5937/newso1443157p.

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Soneti [Sonnets] by Svetlana Savić were composed between 2008 and 2012. The cycle comprises three pieces: "La Douce Nuit" for violoncello, piano, and electronics, as well as "Looking on Darkness" and "La vita fugge" for a female voice, violoncello, piano, and electronics. Here, the work is analysed from the perspective of the author's modernist orientation towards sound as a specific tool of music as a medium, which defined multiple poetic aspects in creating this work and had repercussions on the treatment of the text, the ensemble - both its acoustic and electronic layers - the forming and relationship between individual layers of texture, as well as the choice of music material. Dealing with sound, searching for a specific acoustic quality is revealed already in the title, Soneti, because the term sonnet, which refers to a 13th-century Italian poetic form, comes from the Italian word sonetto, derived from the Latin word sonus, meaning sound. However, although Savić looks for particular acoustic qualities and sound is her main material, the resulting work is full of associations, musical and extramusical alike, and reaches out to other kinds of artistic expression. The composer never loses sight of her extramusical content and thus her composition generates a peculiar sort of interference between the acoustic and the verbal - the music absorbs the verbal, turning words into sounds and sound into words. At certain moments, this is joined by the visual component.
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Putnam, Michael C. J. "Virgil and Sannazaro's Ekphrastic Vision". Ramus 40, nr 1 (2011): 73–86. http://dx.doi.org/10.1017/s0048671x00000205.

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If the Neapolitan humanist Jacopo Sannazaro (1458-1530) receives any recognition in scholarly circles these days, it is usually for his Arcadia, an elaborate pastoral in twelve books, each combining prose and verse, that forms one of the most important links between the work of Petrarch, its inspiration, and that of Sir Philip Sidney. The Arcadia, published first authoritatively in 1504, is written in Italian, as are the hundred or so surviving Rime (songs and sonnets), largely products of the last decade of the fifteenth century. But Sannazaro was also a prolific writer in Latin. It is a question worth asking why, after the success of his vernacular magnum opus, he opted to use primarily a classical language for the major poetry that occupied his attention for the opening decades of the subsequent century. Perhaps a confirmation of his allegiance to Christian humanism is one reason. Perhaps also it was his devotion to Virgil whose three great works provided him with the most telling impetus for his own achievements in the Augustan poet's tongue.
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Mampieri, Martina. "From Menasseh ben Israel to Solomon Proops : Amsterdam Jewish Druckwesen in the Library of Isaiah Sonne*". Studia Rosenthaliana: Journal of the History, Culture and Heritage of the Jews in the Netherlands 46, nr 1 (1.11.2020): 97–116. http://dx.doi.org/10.5117/sr2020.1-2.005.mamp.

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Abstract The Isaiah Sonne collection, today preserved in library of the Ben-Zvi Institute in Jerusalem, contains some seventy copies of Jewish books in several languages (Hebrew, Spanish, Portuguese, Latin, and Dutch) printed in Amsterdam during the seventeenth and eighteenth centuries. This sub-collection within Sonne’s wider library, second in number only his copies of Venetian editions, confirms Sonne’s particular interest in Jewish printing in Amsterdam ‐ an interest that runs through his published scholarship and through these books, in the form of Sonne’s marginalia. By connecting his interest as a book collector to his scholarship on Amsterdam Jewry in the early modern era, this article intends to give a first presentation of the Amsterdam editions from the Sonne collection and reflect on the circulation of his particular copies throughout time and space on the basis of material evidence.
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Carter, Tim. "Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy". Journal of Musicology 29, nr 4 (2012): 461–76. http://dx.doi.org/10.1525/jm.2012.29.4.461.

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The numerous documents associated with the controversy launched in 1600 by the Bolognese music theorist Giovanni Maria Artusi (1546–1613) against the madrigals of Claudio Monteverdi (1567–1643) have been well studied by scholars. But no one has yet engaged with the encomia included in the front and back matter of the printed books lying at the heart of the dispute: three sonnets (two by Vicenzo Maria Sandri and one by Mutio Manfredi) and a Latin carmen (by Erycius Puteanus) in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by the poet and theologian Cherubino Ferrari in Monteverdi’s Il quinto libro de madrigali a cinque voci (1605). Although one might dismiss them as mere “occasional” poetry flattering Artusi, on the one hand, and Monteverdi, on the other, as well as their respective patrons, close reading suggests that these encomia represent attempts to claim the high ground not just on musical but also on philosophical and even religious terms. Ferrari’s praise of the composer finds a clear echo in Alessandro Striggio the Younger’s libretto for Monteverdi’s opera Orfeo (1607). All this provides an intriguing footnote, and perhaps something more, both to the controversy over the seconda pratica madrigal and to Orfeo in their broader Ferrarese and Mantuan contexts.
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Kottaparamban, Musadhique, Elsadig Hussein Fadlalla Ali i Fawzi Eltayeb Yousuf Ahmed. "Stories From the Margin: Theorizing and Historicizing Testimonial Writings in Regional Indian Literature". Journal of Language Teaching and Research 14, nr 4 (1.07.2023): 918–26. http://dx.doi.org/10.17507/jltr.1404.08.

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Testimonio is a new genre that emerged in the 1960s in Latin America and came to be used by liberation and social movements of women, black, Adivasis, and other oppressed people. As the oppressed reasserted themselves publicly, their voices became more audible, and they began to vigorously develop their strategies for effective communication. When the oppressed find the existing genre is not appropriate to express their feelings, they start to introduce new forms of literature; it is because of the existing genre’s inadequacy of representing the oppressed in early literary forms like novels, short stories, essays, picaresque novels, lyrics, sonnets, autobiographies, and secular theatres. This paper is an attempt to engage with the ongoing debate of the testimonio literature in post-colonial Writings. Taking some works written in Indian Regional Literature, we pose the question that the marginalized and indigenous people start to reflect on their lives through literature and a new type of genre called ‘Testimonio Literature’ is slowly emerging from the margin. To extend the scope of the question, we take a few autobiographical anecdotes and narratives on such marginalized lives. We argue that marginalized lives have never been represented as they deserve, and their identity is always hidden in the wider genre of literature.
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Książki na temat "Latin Sonnets"

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Shakespeare, William. Gulielmi Shakespeare carmina quae sonnets nuncupantur latine reddita =: Latin elegies after William Shakespeare's sonnets = Lateinische Elegien nach den Sonetten Shakespeares. Dozwil: Edition Signathur, 2006.

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Villegas, Néstor Díaz de. Por el camino de Sade: Sonetos = Sade's way : sonnets. [United States?]: Pureplay Press, 2003.

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Petrarca, Francesco. Canzoniere. Manchester: Carcanet, 2000.

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Petrarca, Francesco. Rerum vulgarium fragmenta: Codice Vat. Lat. 3195. Padua: Antenore, 2003.

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Petrarca, Francesco. Canzoniere. Torino: Einaudi, 1992.

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Petrarca, Francesco. Quattordici sonetti nelle letterature europee. Locarno [Switzerland]: Armando Dadò, 2001.

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Petrarca, Francesco. Canzoniere. Milano: A. Mondadori, 2004.

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Petrarca, Francesco. Canzoniere: Rerum vulgarium fragmenta. Torino: G. Einaudi, 2005.

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Petrarca, Francesco. Canzoniere. Roma: Donzelli, 1996.

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Petrarca, Francesco. The Canzoniere: Rerum vulgarium fragmenta. Market Harborough: Troubador in association with Hull Italian Texts, 2000.

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Części książek na temat "Latin Sonnets"

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"Thomas Russell (1762-88)". W A Century of Sonnets, redaktorzy Paula R. Feldman i Daniel Robinson, 48–49. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0014.

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Abstract William Wordsworth admired Thomas Russell’s sonnets and recommended some of them to the anthologist Alexander Dyce. Russell, however, did not live long enough to fulfill the promise of his brilliant success in Latin and other language studies at Oxford. His posthumously published Sonnets and Miscellaneous Poems (1789) includes among the sonnets translations of Petrarch and Camoens.
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Edmondson, Paul, i Stanley Wells. "The Early Publication of the Sonnets". W Shakespeare’s Sonnets, 3–12. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780199256105.003.0001.

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Abstract Shakespeare’s sonnets as we know them were first printed as a collection in 1609, towards the end of his career. But some of them had already been overed to readers either publicly or privately. The first mention of Shakespeare as a writer of sonnets comes in Palladis Tamia, or Wit’s Treasury, a book published in 1598 by the Cambridge-educated clergyman Francis Meres (1565–1647), who was well acquainted with the literary scene. The bulk of this volume is an anthology of supposedly wise sayings culled from classical and modern writers, but Meres adds a ‘Comparative Discourse of our English Poets with the Greek, Latin, and Italian Poets’ in which he writes admiringly of Shakespeare as both playwright and poet, saying that ‘the sweet witty soul of Ovid lives in mellixuous and honey-tongued Shakespeare, witness his Venus and Adonis, his Lucrece, his sugared sonnets among his private friends, etc.
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Praetorius, Michael. "Concerning Compositions With Humorous Secular Texts, But Not in Set Verse Patterns, Such as Dialogues, Canzonas, Canzonettas, and Arias". W Syntagma Musicum III, 31–32. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195145632.003.0005.

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Abstract Those such as the previously-mentioned sonnets (cantilena or cantio in Latin, which are generic terms; chanson in French) are actually secular or courting songs that are sung. Their style varies from poet to poet, and they do not have the same number of stanzas or lines, nor are they always in the same form, almost like the hymns of Pindar or the odes of Horace. The following is an example from Petrarch
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Miola, Robert S. "William Byrd". W Early Modern Catholicism, 312. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0049.

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Abstract A devout Catholic his whole life, William Byrd (1543–1623) was the most accomplished and proliWc musician of his time. Writing for the Church of England and for Catholic services, he revolutionized the use of keyboard, popularized the madrigal, and excelled in Latin sacred music. Byrd wrote Cantiones Sacrae (1575), Psalms, Sonnets, & Songs of Sadness & Piety (1588), contributed to The Fitzwilliam Virginal Book (1612–19), and composed motets as well as voice and consort music.
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Ross, Catherine E. "England’s Public and Grammar Schools". W Educating the Romantic Poets, 49–70. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781837644452.003.0003.

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This chapter explains the methodical way in which very young pupils at the schools were taught Latin and Greek vocabulary, pronunciation, and grammar rules. Every night boys read and parsed short passages from classical texts or scripture, memorized each text and the relevant grammar rules. Several times a week they wrote short imitations in verse. Detailed lessons in prosody were an early and constant part of this instruction. The regularity of writing practice meant that a youngster might enter university having already composed close to 100 prose essays and the equivalent of 300 sonnets. An example of the effects of this training is young Wordsworth’s use of meter in ‘Written as a School Exercise at Hawkshead’. Coleridge’s comments about the long-term effects of verse composition in school are cited. The respect Romantic period critics had for classical prosody is noted as well, along with their disdain for poets who varied from its dictates.
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Jackson, Christine. "Musician and Poet". W Courtier, Scholar, and Man of the Sword, 263–82. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0013.

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Music-making was a popular leisure activity in aristocratic households in the early seventeenth century and a growing number of courtier poets wrote and exchanged verse in aristocratic salons and literary coteries. Chapter 12 continues the exploration of Herbert’s intellectual achievements and reputation as a polymath. It traces his interest in playing the lute and singing, and the musical preferences and fashions demonstrated by the music books he owned and the preludes, fantasias, pavanes, galliards, courantes, voltes, sarabands, and airs assembled in his unique manuscript lute book. It probes his inclusion among the metaphysical poets, exploring the influence of John Donne and Giambattista Marino, but also that of Ben Jonson, Thomas Carew, and Sir Philip Sidney, and of Horace, Juvenal, and Ovid. It uses the themes of love, beauty, immortality, and death to examine examples of his sonnets, elegies, epitaphs, satires, and lyrical poems, some of which were published posthumously as The Occasional Verses of Lord Herbert of Cherbury in 1665, and looks briefly at his Latin philosophical poems and his rough draft for a masque. It explores his preference for deploying verbal ingenuity and erudition rather than feelings, his deployment of metaphysical conceits and concepts, his innovative experimentation with rhyme and the extent of his participation in the literary coterie culture of the times. It claims a place for him among the leading minor poets and suggests that this was an impressive achievement for a man heavily engaged in other intellectual fields as well as political and estate matters.
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Arkins, Brian. "Michael Longley Appropriates Latin Poetry". W Living Classics, 152–62. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199233731.003.0010.

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Abstract Michael Longley1 is not only one of Ireland’s leading contemporary poets, but, in the words of John Burnside, ‘one of the finest lyric poets of our century’ (the twentieth). A significant part of the achievement of Longley, who studied Classics at the Royal Belfast Academical Institution and at Trinity College, Dublin, is his appropriation of material from the Graeco-Roman world. Eliot said ‘mature poets steal’; Longley concurs in regard to Homer’s image of a poppy: ‘an image Virgil steals … and so do I’ (CP 255). The two Classical areas specially prominent in Longley are Homer and Latin poetry. Crucial here is the fact that poems from an apparently remote past contrive both to register a distancing effect in relation to the present, and simultaneously to offer commentary on that present. Hence Longley’s iconic sonnet ‘Ceasefire’ (CP 225), which was first published in The Irish Times just days after the first IRA ceasefire in 1994, owes its undoubted power to its spectacular use of what linguistic critics call underlexicalization, the refusal to name names: we all know that the poem is about Northern Ireland, but it is nowhere mentioned.
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"The English and Latin Texts". W A Brefe Dialoge bitwene a Christen Father and his stobborne Sonne, redaktor Douglas H. Parker. Toronto: University of Toronto Press, 1999. http://dx.doi.org/10.3138/9781442670273-005.

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"Appendix B: The Latin Text". W A Brefe Dialoge bitwene a Christen Father and his stobborne Sonne, redaktor Douglas H. Parker. Toronto: University of Toronto Press, 1999. http://dx.doi.org/10.3138/9781442670273-013.

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"Landmarks of Modern Literature". W The New York Public Library’s Books of the Century, redaktorzy Elizabeth Diefendorf i Diana Bryan, 8–33. Oxford University PressNew York, NY, 1996. http://dx.doi.org/10.1093/oso/9780195108972.003.0002.

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Abstract One by one, the great writers most representative of the first part of this century broke with inherited traditions and remade literary forms. Novelists, especially Joyce and Woolf, experimented with stream of consciousness and interior monologue. Eliot and, later, Auden employed the rhythms of ordinary urban speech in their poetry. Pirandello overturned dramatic convention, blurring the line between actor and character. Other great writers looked back: Chekhov’s three sisters, diminished and despairing, to Moscow; Proust to childhood; Yeats to Ireland’s infancy; and Millay to the traditional sonnet. After the Great Depression and the century’s second global war, extraordinary writers found new language for old subjects. Nabokov produced a dark satire of sexuality and Ellison a harrowing account of marginality and rage. Writers from Latin America introduced magic realism and other playful and mythic enhancements in their fiction. The 24 writers in this section recast literature. Their books, each in its own way, confused and unsettled, challenged and renamed, echoing the turbulence of the century.
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Raporty organizacyjne na temat "Latin Sonnets"

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Biasca, Federico. La prise en charge des personnes converties à l’islam par les associations musulmanes en Suisse latine. Freiburg (Schweiz): Schweizerisches Zentrum für Islam und Gesellschaft (SZIG), Freiburg, 2024. http://dx.doi.org/10.51363/unifr.szigs.2024.011.

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La conversion à l’islam fait l’objet d’une attention scientifique et médiatique accrue en contexte européen, mais pour l’heure peu de recherches ont porté sur l’aspect institutionnel de ce phéno-mène. Cela est particulièrement vrai dans le contexte helvétique. Or face à la demande des per-sonnes converties, ou désireuses d’embrasser l’islam, les associations musulmanes en Suisse ont commencé à mettre en place des activités en leur direction. Cette étude, de nature exploratoire, porte sur ces dernières en mettant en lumière leurs formes et contenus. Elle analyse, en partant de la réalité de 15 associations musulmanes de Suisse romande et italienne, la prise en charge proposée par les référent·e·s des converti·e·s au sein de ces associations, appelés dans cette re-cherche les ‘agents de conversion’. Les entretiens effectués avec ces agents ainsi que d’autres res-ponsables musulmans fournissent la plus grande partie du matériel empirique de cette recherche, qui a été complété par un ensemble d’observations d’une partie des activités organisées en direc-tion des converti·e·s ainsi que par la récolte du matériel employé avec ces derniers par les associations.
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