Siga este link para ver outros tipos de publicações sobre o tema: Poetics – history – 17th century.
Artigos de revistas sobre o tema "Poetics – history – 17th century"
Crie uma referência precisa em APA, MLA, Chicago, Harvard, e outros estilos
Veja os 50 melhores artigos de revistas para estudos sobre o assunto "Poetics – history – 17th century".
Ao lado de cada fonte na lista de referências, há um botão "Adicionar à bibliografia". Clique e geraremos automaticamente a citação bibliográfica do trabalho escolhido no estilo de citação de que você precisa: APA, MLA, Harvard, Chicago, Vancouver, etc.
Você também pode baixar o texto completo da publicação científica em formato .pdf e ler o resumo do trabalho online se estiver presente nos metadados.
Veja os artigos de revistas das mais diversas áreas científicas e compile uma bibliografia correta.
1
Phélippeau, Marie-Claire. "The Poetics of Water in 16th and 17th century Utopias: More, Bacon, Rabelais". Moreana 51 (Number 197-, n.º 3-4 (dezembro de 2014): 67–82. http://dx.doi.org/10.3366/more.2014.51.3-4.6.
Texto completo da fonteResumo:
This paper intends to study the poetics of water in various 16th and 17th utopias or imaginary tales: Thomas More’s Utopia (1516), Francis Bacon’s New Atlantis (1627) and François Rabelais’s Gargantua (1534), Pantagruel (1532) and Quart Livre (1552). Based on Gaston Bachelard and Gilbert Durand’s research, the analysis intends to highlight the function of the aquatic element in the writing of fantastic tales inspired notably by Lucian (A True Story). Water being the infinitely malleable substance, endowed with plural metaphors and in turn positively and negatively valued, it plays multiple roles in poetic imagination, which this analysis attempts to determine.
2
Galasheva, Tatiana. "POETICS OF THE LIFE OF ST. EPHRAIM OF TORZHOK". Проблемы исторической поэтики 21, n.º 2 (junho de 2023): 118–44. http://dx.doi.org/10.15393/j9.art.2023.12343.
Texto completo da fonteResumo:
According to legend, the Venerable Ephraim of Torzhok was an 11th century ascetic, and the “ancient scripture” about him has been lost. The history of the saint was written anew: a Brief edition of his Life was created in the last quarter of the 16th century, an Extensive one — in the second quarter of the 17th century. The subject of research of this article is the poetics of the Life of St. Ephraim of Torzhok (mainly based on the material of the rhetorically adorned Extensive edition). The text’s highly complex structure is examined and attributed to the strong dependence of the Extensive edition on the Brief edition and to the special tasks that the compiler set for himself. The question of the place of the Life in the history of the hagiographic genre, and the ways in which traditional formulas and motifs, and biblical quotations work in the text is investigated along with the fragments of the composition marked by rhetorical means. The Life was probably created not so much with a focus on the hagiographic canon, but in the genre-appropriate language: the compiler of the Extensive edition approached the traditional elements of the hagiographic genre quite freely. One of the main events of the Life, both in the Brief and Extensive versions, was specifically the creation of the text about the saint. The fragmentary nature of the Life, which combines heterogeneous elements characteristic of folk and book lives, allows us to observe the process of formation of a new type of hagiographic text that took place in the 17th century.
3
Keshavmurthy, Prashant. "Translating Rāma as a Proto-Muḥammadan Prophet: Masīḥ’s Mas̱navī-i Rām va Sītā". Numen 65, n.º 1 (1 de janeiro de 2018): 1–27. http://dx.doi.org/10.1163/15685276-12341486.
Texto completo da fonteResumo:
AbstractHow have religious communities imagined the scriptures of other communities? In answering this question, this article aims to nuance our understanding of pre-colonial and self-consciously Islamic translations into Persian of Indic language texts understood to be Hindu by considering Masīḥ’s early 17th-century Mas̱navī-i Rām va Sītā, a Persian translation of Vālmīki’s Sanskrit epic, the Rāmāyaṇa (circa 2nd century bce). It opens by remarking on a shift in the study of the relations between poetics and politics in Persian translations of Indic texts. Then, attempting to refine our understanding of this relation, it takes issue with prior studies of this poem before answering the following questions these studies fail to pose: how does the prophetological metaphysics of the prefatory chapters relate to the poetics of emotion in the main body of the tale? And what does this relation let us infer of Masīḥ’s theological conception of translation?
4
Tindemans, Klaas. "The Politics of the Poetics: Aristotle and Drama Theory in 17th Century France". Foundations of Science 13, n.º 3-4 (10 de julho de 2008): 325–36. http://dx.doi.org/10.1007/s10699-008-9131-1.
Texto completo da fonte
5
Polilova, Vera S. "The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One". Imagologiya i komparativistika, n.º 17 (2022): 7–36. http://dx.doi.org/10.17223/24099554/17/1.
Texto completo da fonteResumo:
The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
6
Prat, Enric, e Pep Vila Medinya. "«Casament de Nostra Senyora i la Nativitat del Senyor» (1627), de Rafel Ribella. Edició i estudi d’un plec solt poètic mai reimprès". SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 21, n.º 21 (22 de junho de 2023): 461. http://dx.doi.org/10.7203/scripta.21.26841.
Texto completo da fonteResumo:
Resum: Editem i anotem un plec solt del segle xvii (Barcelona, Sebastià i Jaume Mathevat, 1627), de contingut poètic i tema nadalenc, que mai no havia estat reimprès malgrat la seva qualitat literària, i del qual existeixen almenys tres exemplars. És una obra firmada però d’autor desconegut, reelaboració culta, amb elements doctrinals i moralizadors, d’un gènere de caràcter essencialment tradicional.Paraules clau: plec solt poètic, refrany-bagatel·la, Rafel Ribella, segle xvii, poema nadalenc.Abstract: Annotated edition of a four page poetic chapbook from the 17th century (Barcelona, Sebastià i Jaume Mathevat, 1627), a Christmas poem, never reprinted despite its literary quality. At least three copies are known as preserved. It is a signed work but the author is completely unknown to us, a cultured reworking of a traditional genre, a cultured reworking of a traditional genre, with addition of doctrinal and moralizing elements. Keywords: Four page poetic chapbook, nonsense rhyming word, Rafel Ribella, 17th century, Christmas poem.
7
Lavocat, Françoise. "Dido Meets Aeneas: Anachronism, Alternative History, Counterfactual Thinking and the Idea of Fiction". Journal of Literary Theory 14, n.º 2 (25 de setembro de 2020): 194–214. http://dx.doi.org/10.1515/jlt-2020-2009.
Texto completo da fonteResumo:
AbstractThe anachronistic character of the loving relationship between Dido and Aeneas was widely and commonly discussed among commentators, critics, and writers in the early modern period. From the 16th century onwards, when the word »anachronism« appeared in vernacular languages, its definition was even inseparable from the example borrowed from the Aeneid. The purpose of this article is to interrelate early modern debates on anachronism, reflections on the status of fiction and the history of fiction.Starting with the hypothesis that anachronism is a form of counterfactual, the questions posed in this article are: did forms of counterfactuals exist before the 19th century, to what extent did they differ from contemporary alternative histories and, if so, why? The story of Dido and Aeneas in the Aeneid can be considered »counterfactual«, because this version of the narrative about the queen of Carthage was opposed to another, which was considered to be historical and which made Dido a privileged embodiment of female virtue and value.Several important shifts are highlighted in this article. With the exception of St. Augustine (who saw in Vergil’s anachronism confirmation of the inanity of fiction), before the 16th century indifference towards anachronism prevailed: the two versions of Dido’s story were often juxtaposed or combined. If Vergil’s version of Dido’s story was condemned, it was for moral reasons: the exemplary version, considered more historically accurate, was favored throughout the Middle Ages, notably by Petrarch and Boccaccio.From the 16th century onwards, however, increased acquaintance with Aristotle’s Poetics promoted greater demand for rationality and plausibility in fables. This coincided with the appearance of the word »chronology« and its development, which led to a new understanding of historical time. Anachronism then appeared to be a fault against verisimilitude, and as such was strongly condemned, for example by the commentator on Aristotle, Lodovico Castelvetro. At the same time, the argument of poetic license was also often invoked: it actually became the most common position on this issue. Vergil’s literary canonization, moreover, meant that the version of Dido’s life in the Aeneid was the only story that was known and cited, and from the 17th century onwards it totally supplanted the exemplary version. Strangely enough, permissiveness towards anachronism in treatises, prefaces, or comments on literary works was not accompanied by any development of counterfactual literature in early modern period. Indeed, in both narrative and theatrical genres fiction owed its development and legitimization to the triumph of the criterion of plausibility.This article, however, discusses several examples that illustrate how the affirmation of fiction in the early modern period was expressed through minor variations on anachronism: the counterfictional form of Ronsard’s epic, La Franciade, which represents an explicit deviation from the Iliad; the metaleptic meeting of Vergil and Dido in the Underworld in Fontenelle’s Le dialogue des morts; and the provocative proposal for a completely different version of Dido’s life, which was made in an early 17th century Venetian operatic work by an author who claimed to be anti-Aristotelian. This study thus intends to provide an aspect of the story of fiction. The change of perspective on anachronism marks a retreat from moral argument, with privilege given to aesthetic criteria and relative independence with regard to history – while still moderated by the criterion of verisimilitude, as underlined by the abbé d’Aubignac, as well as Corneille.
8
Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice". Prospects 13 (outubro de 1988): 1–35. http://dx.doi.org/10.1017/s0361233300005226.
Texto completo da fonteResumo:
Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
9
Caldwell, Patricia. "Why Our First Poet Was a Woman: Bradstreet and the Birth of an American Poetic Voice". Prospects 13 (outubro de 1988): 1–35. http://dx.doi.org/10.1017/s0361233300006670.
Texto completo da fonteResumo:
Anne Bradstreet has come a long way since John Harvard Ellis hailed her over a century ago as “the earliest poet of her sex in America.” Today, more justly, we view Bradstreet simply as “the first authentic poetic artist in America's history” and even as “the founder of American literature.” At the same time, a more sensitive criticism is looking anew at Bradstreet's personal drama as a woman in the first years of the New England settlement: her life as a wife, as mother of eight children, as a frontier bluestocking (though still, in many critics' eyes, “restless in Puritan bonds”), and even as a feminist in the wilderness. Feminist critics in particular have revitalized our understanding of Bradstreet and her work by probing her subtle “subversion” of patriarchal traditions, both theological and poetical, and by placing her among contemporary 17th-Century women writers, making her no longer a phenomenon on the order of Doctor Johnson's dancing dog, but finally a participating voice in her age.
10
Shpak, G. V. "Between History and Poetry: Defining the Genre of the Novel in England in the Mid-17th Century". Prepodavatel XXI vek, n.º 4/2 (30 de dezembro de 2023): 288–99. http://dx.doi.org/10.31862/2073-9613-2023-4-288-299.
Texto completo da fonteResumo:
In the 17th century England, the problem of distinguishing between the imaginary (poetry) and documentary (history) was especially relevant due to the loss of the monopoly of the church and universities on the spread of knowledge about the world, as well as the increase in the number of printed books in the national language. F. Bacon distinguished three “faculties of the rational soul”: memory (history), imagination (poetry) and rational judgment (philosophy). In contrast to the Neoplatonists’ ideas, F. Bacon reserved for poetry the status of an instrument of heuristics, contributing to the spread of knowledge. In the context of the ambiguity of the boundaries of the “poetic” and “historical”, the novel occupies a special place. M. Cavendish pays attention to this “mixed” genre, defining it as a poetic text written in historical style. She attempts to revise the traditional view of the novel as a courtesan t
11
ROXAS-VILLANUEVA, RANZIVELLE MARIANNE, MAELORI KRISTA NAMBATAC e GIOVANNI TAPANG. "CHARACTERIZING ENGLISH POETIC STYLE USING COMPLEX NETWORKS". International Journal of Modern Physics C 23, n.º 02 (fevereiro de 2012): 1250009. http://dx.doi.org/10.1142/s012918311250009x.
Texto completo da fonteResumo:
Complex networks have been proven useful in characterizing written texts. Here, we use networks to probe if there exist a similarity within, and difference across, era as reflected within the poem's structure. In literary history, boundary lines are set to distinguish the change in writing styles through time. We obtain the network parameters and motif frequencies of 845 poems published from 1522 to 1931 and relate this to the writing of the Elizabethan, 17th Century, Augustan, Romantic and Victorian eras. Analysis of the different network parameters shows a significant difference of the Augustan era (1667–1780) with the rest. The network parameters and the convex hull and centroids of the motif frequencies reflect the adjectival sequence pattern of the poems of the Augustan era.
12
Petrov, Alexander Mikhailovich. "«STAND IN SPLENDOR OF YOUR GLORY, PETROZAVODSK!»: POEMS OF T. V. BALANDIN IN THE CONTEXT OF THE RUSSIAN POETIC TRADITION OF THE 18TH CENTURY". Russkaya literatura 2 (2023): 62–73. http://dx.doi.org/10.31860/0131-6095-2023-2-62-73.
Texto completo da fonteResumo:
The article deals with the way classical literary masterpieces are perceived by a provincial amateur poet. The research is based on the poems by the local history expert Tikhon Balandin (circa 1748–1830) from Petrozavodsk. The possible sources of Balandin’s poetry are outlined. The author suggests that the basis for the images and meter of Balandin’s poems are syllabic-accentual odes by M. V. Lomonosov and the works of the poets of the 17th century where the presyllabic principle of versification was used.
13
Csirkés, Ferenc. "Aspects of poetic imitation in 15th–17th-century Turkish romances. The case of theGul u Navrūz". Acta Orientalia Academiae Scientiarum Hungaricae 60, n.º 2 (junho de 2007): 195–221. http://dx.doi.org/10.1556/aorient.60.2007.2.3.
Texto completo da fonte
14
Castillo Bejarano, Rafael. "Un poco de acá y un poco de allá: Acarreo de elementos y síntesis de una poética galante de tradición hispanolusa en el primer VillamedianaA Little of This and aLittle of That: The Synthesis of a Poetics of Gallantry in the Luso-Spanish Tradition by the First Villamediana". Calíope 23, n.º 1 (1 de abril de 2018): 7–33. http://dx.doi.org/10.5325/caliope.23.1.07.
Texto completo da fonteResumo:
Abstract A Petrarchan-cancioneril style marked the first half of the literary career of Juan de Tassis, Count of Villamediana. This style, albeit intentionally old-fashioned at the beginningof the 17th century, helped create the appearance of sincerity via its intentional artistic nonchalance and spontaneity: quite convenient for the courtly image of a noblemen in theRoyal Palace. Paradoxically, this style of apparent authenticity was strengthened by close imitation, reworking, and appropriation of elements proceeding from the courtly poetictradition, both in Spanish and Portuguese, as a comparison of Villamediana's poems to those of Diego Hurtado de Mendoza, Diego de Silva y Mendoza, Camões, and several otherPortuguese maneiristas demonstrates.
15
Krzywy, Roman. "Polska epika bohaterska przed i po „Gofredzie”". Annales Universitatis Paedagogicae Cracoviensis | Studia Historicolitteraria 20 (20 de dezembro de 2020): 97–122. http://dx.doi.org/10.24917/20811853.20.6.
Texto completo da fonteResumo:
The article is a review of the most important trends in the development of the Polish epic in the 16th and 17th centuries. In the absence of significant traditions of knightly works, the creation of Polish heroic poetry should be associated primarily with the humanistic movement, whose representatives set a heroic epic at the top of the hierarchy of genres and recognized 'Eneid' as its primary model. The postulate proposed first by the Renaissance and later by the Baroque authors did not lead to the creation of a ‘real’ epic in Poland. The translations of: the Virgil’s epic poem (1590) by Andrzej Kochanowski and Book 3 of 'The Iliad' by Jan Kochanowski can be regarded as the genre substitutes. These translations seem to test whether the young Polish poetic language is able to bear the burden of an epic matter. Then again, the works of Maciej Kazimierz Sarbiewski on the Latin 'Lechias' (the 1st half of the 17th century), which was to present the beginnings of the Polish state, were not completed. Polish Renaissance authors preferred themes from modern or even recent history, choosing 'Bellum civile' by Lucan as their general model but they did not refrain from typically heroic means in the presentation of the subject. This is evidenced by such poems as 'The Prussian War' (1516) by Joannis Vislicensis or 'Radivilias' (1592) by Jan Radwan. The Latin epic works were followed by the vernacular epic in the 17th century, when the historical epic poems by Samuel Twardowski and Wacław Potocki were created, as well as in the 18th century (the example of 'The Khotyn War' by Ignacy Krasicki). The publication of Torquato Tasso’s 'Jerusalem delivered' translation by Piotr Kochanowski in 1618 introduced to the Polish literature a third variant of an epic poem, which is a combination of a heroic poem and romance motives. The translation gained enormous recognition among literary audiences and was quickly included in the canon of imitated works, but not as a model of an epic, but mainly as a source of ideas and poetic phrases (it was used not only by epic poets). The exception here is the anonymous epos entitled 'The siege of Jasna Góra of Częstochowa', whose author spiced the historical action of the recent event with romance themes, an evident reference to the Tasso’s poem. The Polish translation of Tasso’s masterpiece also contributed to the popularity of the ottava rima, as an epic verse from the second half of the 17th century (previously the Polish alexandrine dominated as the equivalent of the ancient hexameter). This verse was used both in the historical and biblical epic poems, striving to face the rhythmic challenge.
16
Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY". Philological Class 26, n.º 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.
Texto completo da fonteResumo:
The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.
17
Andreiushkina, Tatiana N. "THE HISTORY OF THE DEVELOPMENT OF THE HEXAMETER IN GERMAN POETRY". Philological Class 26, n.º 1 (2021): 22–37. http://dx.doi.org/10.51762/1fk-2021-26-01-02.
Texto completo da fonteResumo:
The article traces the history of the development of the hexameter on German soil: from the use of the Leonin hexameter in the Middle Ages and the Reformation, the mixed Latin-German hexameter in the period of humanism (in the form of carmina eroica) and the German hexameter in the 18th–19th centuries (mainly in the form of elegy, epigram and idyll) to derivatives and ironic forms of the XX century (memorandum, instructive poem, etc.). Klopstock played a significant role in the spread of the hexameter in German poetry, bringing a fresh stream to German poetry by rejecting the prevailing in the 17th century predominantly alternating Alexandrian verse. Voss also inspired his contemporaries to create distiches with his translations of Homer’s poems. The flowering of the hexameter falls on the period of classicism: Goethe and Schiller created the best and purest examples of this poetic meter. Goethe and Schiller during the Enlightenment, Hölderlin, Novalis and Kleist in romanticism, Rückert, Platen and Mörike in post-romanticism introduced variety and movement into the hexameter by means of different types of caesura in verse. Austrian poets (Saar, Weinheber, Bachmann) appeal to hexameter as a classic form of German verse, Hauptmann uses it to create a large poetic form. The poets of the pre-war and war period (Colmar, Schröder, Holthusen) seek in him an aesthetic support in an era of timelessness. Poets of the former GDR (Brecht, Bobrowski, Müller), poets of the Federal Republic of Germany (Grünbein, Herbst) use it sporadically and in a transformed form, but at the same time take into account the thematic and genre traditions associated with this antique meter. Most foreign researchers, when determining the hexameter, speak of its dactylic component and only from the middle of the 20th century some of them (Kayser, Mönnighof) note, in addition to the spondees, the possibility of using chorees in the initial syllables of a verse.
18
Miernecka, Martyna. "Szafa z kochankami. Praktyki przesłaniania, odsłaniania i zasłaniania historii Obór w twórczości Mirona Białoszewskiego". Białostockie Studia Literaturoznawcze, n.º 21 (2022): 21–47. http://dx.doi.org/10.15290/bsl.2022.21.02.
Texto completo da fonteResumo:
The aim of this article is to capture one of the unveilings of the history of the manor house in Obory, near Warsaw, and to analyse the principle structuring the essence of transformation of this place in Miron Białoszewski’s work. Using the geocritical method, the author examinesthe relationship between characters and things related to this place selected by Białoszewski and the poetics he used. The frequently recurring motif of the wardrobe was juxtaposed with the analys is of inventories andwills belonging to the owner of the manor at the turn of the 17th and18th centuries, which are preserved in The Central Archivesof Historical Records in Warsaw. The main part of the article is devoted to the aestheticsand functions of 18th-century furniture in relation to the context of thecourt culture of that time, which Białoszewski explored poetically. In his works he played out the tension between the covering and uncovering ofthe secrets hidden in the complicated security systems of baroque furniture.This tension accumulates in the spatial nature of Obory: it is a remoteand hidden place. Its location allowed Białoszewski to practice covering, uncovering and recovering the history of the manor. These practices notonly constituted the structuring principle of the writer’spoetics, but they also open up the possibility of following the transformations of places of such semantic complexity as Obory. They allow us to capture the dynamics of changes that often involve inverting their previous meanings, e.g. in the context of agricultural reform, and also help to expose the related conflicts.
19
Ляпин, Д. А. "The Past by the Eyes of the Impostor: Russian Troubles in Poetic Works False-Shuisky". Диалог со временем, n.º 82(82) (21 de abril de 2023): 156–65. http://dx.doi.org/10.21267/aquilo.2023.82.82.009.
Texto completo da fonteResumo:
Формирование образа прошлого в общественном историческом сознании все-гда тесно связано с государственной политикой. Для России периода правле-ния первых Романовых эта проблема имела особую актуальность в отношении Смутного времени – гражданской войны и внутреннего кризиса, приведшего к воцарению новой династии. К середине XVII в. благодаря памятникам публи-цистики и официальным летописям сформировались общие представления о данных событиях, закрепившиеся впоследствии в историографии. В этой связи вызывает интерес иная, оригинальная трактовка русской Смуты, которая при-надлежит самозванцу Лже-Шуйскому (Тимофею Акиндинову). Он изложил свои взгляды в поэтическом цикле «Декларации Московскому посольству» 1646 г. Одно из его стихотворений, вошедших в данную Декларацию, посвя-щено истории Филарета Романова – якобы главного виновника случившейся в России катастрофы. The formation of the image of the past in the historical consciousness of people is closely connected with state policy. In a traditional authoritarian society, as auto-cratic Russia was under the first Romanovs and as it remained until the death of this dynasty, important attention was paid to the events of the immediate past. By the middle of the 17th century, thanks to the monuments of journalism and chronicles, general ideas about the events of the beginning of the century were formed. Then this tradition was fixed in historiography. This tradition is opposed by the interpre-tation of the Russian Time of Troubles by the impostor False Shuisky (Timofei Akindinov), set forth by him in the poetry cycle “Declaration to the Moscow Em-bassy” of 1646. One of the poems included in the Declaration is dedicated to the history of Filaret Romanov.
20
Bogdanov, Andrey P. "Power of the Legend: the Tale of Sloven and Rus in Russian Chronicles of the 17th Century". Studia Litterarum 7, n.º 1 (2022): 184–201. http://dx.doi.org/10.22455/2500-4247-2022-7-1-184-201.
Texto completo da fonteResumo:
The article examines the influence of the 1630s Novgorod literary tale about the descendants of Noah, the Scythian princes Sloven and Rus, the Great City of Slovensk, which later became Novgorod, the empire they founded and their descendant Gostomysl, for the broad circles of scholarly book lovers of the 17th – early 18th centuries. The author tries to explain why this tale became extremely popular among highly educated chroniclers and was included into the largest chronicle and chronographic monuments, from the Code of 1652 to the Russian Chronograph, as well as into works of the annalistic scriptorium of Patriarch Joachim, the Novgorod Zabelinskaya Chronicle, Latukhin’s Book of Degrees, the Synopsis and the Detailed Chronicle from the Beginning of Russia to the Battle of Poltava. The tale remained stable in the writings of the overwhelming majority of authors, who were accustomed in other cases to seriously revise, shorten or supplement the text. The fact that the attempt remake the tale in a scholarly way and to integrate it into the chronographic text was unique and unsuccessful makes us think that ancient scribes and readers of their works, like M.V. Lomonosov later, were attracted by the literary merits of this poetic legend. We see the opposite picture in the history of the similarly conceived scholarly story about Mosokh existence, confirming this conclusion by constant alterations of its text.
21
Fernée, Tadd Graham. "Tolerance or a War on Shadows: John Milton’s Paradise Lost, the English Civil War, and the kaleidoscopic early modern frontier". English Studies at NBU 3, n.º 2 (30 de dezembro de 2017): 53–73. http://dx.doi.org/10.33919/esnbu.17.2.1.
Texto completo da fonteResumo:
This article comprises two sections. The first analyses John Milton’s Paradise Lost in terms of the frontier dividing Providence and Chaos. Chaos is represented in violent images of the colonial world, the English Civil War, and Scientific Revolution cosmology. Providence intends to justify the ways of God in history. Milton’s retelling of the traditional Biblical Fall allegorises the 17th century Scientific Revolution, English society overwhelmed by market forces, and early modern nation-building wars. The second section analyses the English Civil War, focusing on Providence and Natural Rights. The Natural Rights defence of pluralism was the work of political refugees, attempting to curtail atrocities done in the name of Providence. Providence, meanwhile, was a political weapon, amidst new forces of capitalism, dynastic rivalry, and nationalism. This article examines Milton’s poetic visions, and the institutions and actions that characterized his political life in the English Revolution, and their interconnection.
22
Markova, Tatyana N. "Fantasy in the Russian-Language Segment of Literature of Kazakhstan". Вестник Пермского университета. Российская и зарубежная филология 14, n.º 3 (2022): 106–12. http://dx.doi.org/10.17072/2073-6681-2022-3-106-112.
Texto completo da fonteResumo:
The turn of the 20th–21st centuries is characterized by highly intensive processes of national self-identification. An important role in this process is played by fantasy as a popular genre of popular literature. The study of Kazakh fantasy is of academic interest due to its popularity with readers, the dynamic transformation of the genre structure. The article demonstrates a wide genre spectrum of Kazakh fantasy books and their authors. In the novel Resurrecting Legends Timur Yermashev turns to the heroic page in the history of the Kazakhs – the Orbulak battle of the 17th century. Ilyaz Nurgaliyev consistently works with national myths and folklore images of the Turkic peoples. Azamat Baigaliev and Kira Nurullina write about aliens. Sabyr Kairkhanov in the format of urban fantasy (the novel Synchro) raises the question of the ambiguous role of the Semipalatinsk test site in the life of the Kazakhs. An example of the combination of children’s and adventure fantasy is the novel by Zira Naurzbayeva and Lily Kalaus In Search of the Golden Bowl: The Adventures of Batu and His Friends. Particularly popular are fantasy texts with plots based on the facts of national history, those resurrecting the heroes of Kazakhstani mythology, national traditions and customs. The themes and poetics of Kazakh fantasy are in line with the processes developing in modern prose, the nature of the transformation of the genre correlates with the changing readership. Fantasy readers are mainly representatives of a certain social and age group, those attracted by the topical issues raised – the growth of national self-consciousness – combined with an exciting adventurous plot. The entertaining genre of popular literature has taken on an important ideological function – to promote and shape the national identity of the Kazakhs in a situation of geopolitical changes.
23
Rusmana, Tatang, e Endut Ahadiat. ""Wawacan Nata Sukma": Tracing the traces of classical Sundanese literature from the dark history of colonialism to the identity politics of oppressed nations from a performing arts perspective". Technium Social Sciences Journal 54 (9 de fevereiro de 2024): 276–91. http://dx.doi.org/10.47577/tssj.v54i1.10458.
Texto completo da fonteResumo:
Reading about the Sundanese people of Bandung Regency after the 17th century, one can learn from the Wawacan literary works, which helped shape the collective minds of the people. Wawacan is strongly influenced by Islamic teachings, which are depicted in sagas in the form of poetry called dangding (poetic bond). This research examines Wawacan Nata Sukma, written anonymously by the people of Banjaran on the slopes of Mount Cupu Pangalengan in Bandung Regency. Writing using Pegon (Arabic) letters, Sundanese language, 1833 AD (18th century) during the "forced cultivation" period of growing coffee under Dutch colonialism. The story Wawacan Nata Sukma contains the metaphorical, wild, intriguing, and patriotic resistance of the character "Nata Sukma". Staged from 1930 to 1960 in Bandung Regency. Nata Sukma struggled beyond war and oppression. He succeeded in deepening knowledge, changing fate, and achieving a dignified life after defeating the kings of five countries. Wawacan Nata Sukma is a reportage and portrait of events that occurred during the "forced cultivation" period and is related to the politics of the national identity of the oppressed. Research uses a hermeneutic perspective and qualitative methods in describing and analyzing phenomena, events, social activities, attitudes, beliefs, perceptions, and thoughts of people individually and in groups.
24
Savel’eva, Natalya V. "On the history of the texts of the Moscow Anfologion of 1660: Chapters… from the book Paradise and Tetrastichae sententiae by Gregory Nazianzen". Vestnik of Saint Petersburg University. Language and Literature 18, n.º 1 (2021): 147–86. http://dx.doi.org/10.21638/spbu09.2021.109.
Texto completo da fonteResumo:
The article is devoted to the publication history of two poetic gnomologies (collections of maxims) as part of the collection “Anfologion” published in 1660 at the Moscow Print Yard. This collection house primarily published works translated from the Modern Greek Venetian editions, which presented new versions of monuments of hagiography and Byzantine patristic heritage, theological treatises and poetic works of medieval Christian authors. Some translations were made by the publisher — director (spravshchik) of the Printing House Arseny Grek. Among his translations there were also collections of poetic maxims Chapters… from the book Paradise and Tetrastichae sententiae by Gregory Nazianzen. Until now these texts were known in Slavic translation only from the Moscow edition of 1660. The article provides information about the previously unknown translation of both gnomologies, found in a Western Russian manuscript of the early 17th century. The study of the texts showed that one of them ( Chapters… from the Book Paradise ) was published in Anfologion in this translation, and the newly found translation of the maxims of Gregory Nazianzen was used by Arseny Greek to work on his text. The author expresses a hypothesis about the origin of the newly found translation of two gnomologies from the literary circles of the Ostrog Book publishing Center, and its possible attribution to Cyprian, the author, publisher and translator directly related to the works of the Ostrog printing house and the printing house of the Derman Monastery. Newly found translations are published in the Appendix.
25
Petrov, Alexander. "SPIRITUAL VERSES ABOUT TSAREVICH JOASAPH: PLOTS AND METRICAL MODELS". Antropologicheskij forum 17, n.º 49 (junho de 2021): 88–131. http://dx.doi.org/10.31250/1815-8870-2021-17-49-88-131.
Texto completo da fonteResumo:
The article considers the problem of the development of metrical forms of the cycle of folklore spiritual verses about Tsarevich Joasaph. Spiritual verses related to the literary tradition are used as supplementary material. The aim of the research is to trace the evolution of the metrics of folklore spiritual verses about Tsarevich Joasaph in the context of the history of Russian versification. The tasks of the research are the formation of a database of texts, differentiation of the texts into thematic groups, selection of method of work, and the analysis of folk and literary variants. The research methodology is determined by its complex nature, being at the intersection of folklore, linguistics, and literary studies. Taking into account the heterogeneity of the material, special methods are used for texts created within the framework of different systems of versification: syllabic, accentual, and syllabic-accentual. The entire corpus of texts consists of seven types of plots and can be divided into metrical groups depending on the time and the environment of their creation. The earliest known text dates from the 16th century; it is a free, non-rhymed accentual verse. A significant corpus of texts was created in the 17th century, in line with the literary syllabic system of versification; these are spiritual verses with 8 or 13 syllables per line. Some of these were assimilated by folk culture and subsequently lost their syllabic equality of lines, becoming close to the accentual system. Literary texts of the 18th–19th centuries are closer to the syllabic-accentual system; sometimes they include polymetric poetic forms. Folklore texts collected in the 19th–20th centuries are based mainly on the accentual system of versification (dolnik, taktovik, accentual verse); however, as we move towards the 20th century, syllabic-accentual tendencies also intensify in this area. In the 20th century, the tradition of spiritual poetry was based on syllabic-accentual models borrowed from the works of Russian classics. The long history of the existence of this poetic cycle is, in general, in line with the evolution of Russian versification. At the same time, if the syllabic-accentual verse has been formed since the 18th century in the literary tradition of spiritual poetry, then in folklore it spread relatively late. Reliable examples of syllabic-accentual versification are found in folklore spiritual verses about Tsarevich Joasaph from the second half of the 19th century.
26
Feldman, Walter. "The Celestial Sphere, the Wheel of Fortune, and Fate in the Gazels of Nâʾilî and Bâkî". International Journal of Middle East Studies 28, n.º 2 (maio de 1996): 193–215. http://dx.doi.org/10.1017/s0020743800063133.
Texto completo da fonteResumo:
The poet known as Bâkî (d. 1600), the “King of Poets” of Sultan Suleiman I (1520–66), is generally acknowledged as the leading figure of the so-called “classical age” of Ottoman poetry (roughly from the mid-15th to the beginning of the 17th century), while the poet known as Nâʾilî (d. 1666) was a pivotal figure in the break between this classical age and the “post-classical age,” roughly the early modern era extending from 1600 to 1800. On the broadest level this break was signaled by a change in the use of metaphorical language. This paper will contrast the treatment of one series of metaphors common in the lyric gazels within the divâns of both poets, although further examples could be found within other poetic genres, especially the panegyric kasîde. It will also attempt to interpret the significance of these metaphors in Nâʾilî's poetry and to demonstrate their distance from the usage of the classical Ottoman period, exemplified by Bâkî.
27
Ratiani, Irma. "Georgian Literature before the Weltliteratur". Journal of Foreign Languages and Cultures 7, n.º 2 (28 de dezembro de 2023): 016–24. http://dx.doi.org/10.53397/hunnu.jflc.202302002.
Texto completo da fonteResumo:
The history of Georgian writing starts much earlier than when Goethe introduced the term “Weltliteratur.” It starts from the era of Christianity from the 4th century. Due to the fast spread of Christianity in the Early Medieval period, Georgia was already included in the European net of Christian writing. All branches of Christian spiritual literature were presented. Georgian culture and literature naturally were developing in the frame of the Western European tradition. The period of the 11th-12th centuries was a Golden Era for Georgia, and the heyday of fame for Georgian culture and literature as well. Precisely during this period, “The Knight in the Panther’s Skin” was created by Shota Rustaveli. Apart from its aesthetic, philosophical, and worldview depth, it is a first text in Georgian literature as well as in European literature which reflects the clashing of two huge universes in Georgian culture—the West and the East. The Western principles are revealed in the Christian worldview of the text, in the way of thinking of the author and in its genre; however, the 12th century is already a period of strengthening of the influence of Eastern culture and literature in the European part of the Caucasus, and Rustaveli regards with obvious favor the Oriental poetic motifs. Unfortunately, at this stage of European literary history, Georgian literature was separated from the Western European literary process due to tragic political events. As for literature, it was a period of almost three centuries of silence. After the fall of Constantinople, Georgian literature had to move closer to the Eastern area as an historically offered alternative. From the 17th century, the process of the returning of Georgian political and cultural life back within the European frame had been started. Genuine Georgian writers were able to tie Georgian literature to the cultural models of European Classicism and the Enlightenment.
28
Korzo, Margarita. "On the Erudition of a (non)Orthodox Author from the first third of the 17th C.: The Case of Kasijan Sakovyč". Slovene 11, n.º 1 (2022): 166–91. http://dx.doi.org/10.31168/2305-6754.2022.11.1.7.
Texto completo da fonteResumo:
Kasijan Sakovyč (сa. 1578–1647) can rightfully be attributed to one of the most educated representatives of both Orthodox and Uniate monasticism in Polish-Lithuanian Commonwealth of the first third of the 17th century. Kasijan’s diversity in terms of literary genres reflects his wide knowledge. Thus, his polemical treatises against the Orthodox Church and, partly, against the Uniates, echoed the events of his personal biography: after 1625, Sakovyč converted from Orthodox Christianity to the Uniate Church; in 1640, he became a Catholic. Two textbooks (compilations from Pseudo-Aristoteles) were partly related to his teaching activity and rectorship at Kyiv Brotherhood school. A rhymed funeral eulogy for the Hetman of Zaporozhian Cossacks, Petro Sahaidachny, testifies to Kasijan’s poetic talents. The present article aims to investigate Sakovyč’s writings as a means to reconstruct his personal “resource” or texts or books that he read and used in his literary activity. Two prefaces by Kasijan (a dedication to the nobleman Aleksander Zasławski and an appeal to the ‘pious reader’) are used for this case study, both written for “Desiderosus, abo Scieszka do miłości Bożey” (Desiderosus or a Path to God’s Love) (Kraków, 1625). The work is a Polish translation of an anonymous Spanish treatise ca. 1515, which was prepared by Kasper Wilkowski (died after 1589) and published three times during the late 16th century. Attributing Latin phrases, maxims, quotations, and references to historical figures and works, visual images, etc., that are used in both prefaces, allows one to suggest what books were known and available to Sakovyč and could have been the source of his erudition.
29
Park, Myoung Hui. "The Life of Nampo Geum Man-Young, A Literary Person of Honam In The 17th Century and Development of Yeomrakpung Poetry". Korean Language and Literature 121 (30 de julho de 2022): 53–80. http://dx.doi.org/10.21793/koreall.2022.121.53.
Texto completo da fonteResumo:
This study aimed to examine the development aspect of Yeomrakpung poetry by Nampo Kim Man-Young, a literary person of Honam in the 17th century and the meaning and perspective of the poetry. Yeomrakpung is related to the poetical style of Confucian scholars in Song Dynasty. Kim Man-Young’s poetry was connected to Yeomrakpung because it was mentioned in the preface and epilogue of his collection of literary works and his records.
Kim Man-Young is a local Confucian scholar who was born in Naju, Jeonnam in the 17th century and finished his life there. At that time, he was recommended for an official post by many people due to his learning and virtue, and good behaviors, but he was a local scholar from noble family who stayed out of the government service. He was also much respected by many local people as he lived a life as a Confucian scholar. Meanwhile, he was naturally engaged in writing poems while living a common life and approximately 530 poems with 460 themes were handed down. Of all the poems handed down, 85 poems with 73 themes were classified into Yeomrakpung poetry.
It was suggested that the main themes of Yeomrakpung poetry by Kim Man-Young were moral mind, government property, nature and reading. Specifically, he expressed the will of moral mind training, acquired the exquisite principles through government property, admired nature, declared he would obey to nature, dealt with pleasure of reading and criticized Scriptures. Therefore, this study recognized that they were main themes of Yeomrakpung poetry and specifically examined the development aspect.
In Chinese poetry history in Korea, Yeomrakpung poetry continued since Confucianism of Song Dynasty had been introduced. It is meaningful that Kim Man-Young’s Yeomrakpung poetry naturally reflected his academic world through poetry and revealed his peculiar characteristics. Kim Man Young witnessed difficulties of local people while living in local areas and expressed what he saw in his poetry. This study suggested that future studies should pay attention to it.
30
MacNeil, Anne. "Ariosto, Opera, and the 17th Century: Evolution in the Poetics of Delight. Edward Milton Anderson. Ed. Nicola Badolato. With Amyrose McCue Gill. Historiae Musicae Cultores 132. Florence: Olschki, 2017. xii + 278 pp. €32." Renaissance Quarterly 73, n.º 1 (2020): 343–44. http://dx.doi.org/10.1017/rqx.2019.578.
Texto completo da fonte
31
Engberg-Pedersen, Anders. "Wallenstein's Contingency Media". Romanticism 24, n.º 3 (outubro de 2018): 231–44. http://dx.doi.org/10.3366/rom.2018.0383.
Texto completo da fonteResumo:
In the history of warfare various media and technologies have been devised both to enable contingent events in the form of scenarios and simulations and to reign them in and bring the proliferation of possible futures under control. War games, horoscopes, astrolabes, celestial and topographical maps have in different ways served as ‘contingency media’, i.e. tools that enable strategic thought and action under conditions of uncertainty. Through the prism of Schiller's Wallenstein from 1799, this essay examines the development of military contingency media from the 17th to the early 19th century. Delving into the disagreements between Johannes Kepler and the historical Wallenstein about the reach and power of astrological star charts and horoscopes, the essay analyzes Schiller's late Enlightenment critique of astrological contingency media as well as his transformation of them into productive poetic devices. Finally, it situates the play in the context of military theory around 1800 in which contingency emerged as a central factor of large-scale warfare. A historically complex document, Wallenstein serves as an archive of the shifting conceptions of war and of the media devised to manage its uncertain futures.
32
Tomorug-Znaienko, Myroslava. "Restoration of the Self through History and Myth in Lina Kostenko’s “Marusia Churai”". Слово і Час, n.º 6 (21 de junho de 2019): 39–45. http://dx.doi.org/10.33608/0236-1477.2019.06.39-45.
Texto completo da fonteResumo:
The paper analyzes Lina Kostenko’s historical novel in verse portraying the life of the 17th century Ukrainian minstrel poet Marusia Churai, condemned to death for poisoning her faithless lover. This work, which grows out of Kostenko’s individualized mythical perception of Marusia Churai legend, represents a unique individual construct in which the heroines’ quest for self-realization is kept in tune with the same yearning of the poetess herself; the author’s attitude towards the myth resembles the heroine’s relations with history. The narrative mode of the novel functions mainly in three aspects; these are the heroine’s confrontation with the carnivalized reality of her trial; her subjective journey inward, into the ruined self, when her execution was pending; and her objective pilgrimage outward, into the history of her ruined land, after getting pardon. The paper touches upon various aspects of the heroine’s perception of history. The main character is depicted as a witness of contemporary events and a bearer of the Word who keeps harmony with the sacred truth of the past. The Hetman’s ‘pardon’ allows Marusia to move freely through history in order to achieve a deeper understanding of her ruined land and seize its spirit. In the experience of the heroine the historical reality appears as versatile and polyphonic, at the same time remaining integral and inseparable from her personality. Kostenko asserts the rights of poets to create their own epochs, to recreate the past or present from within their own mythical experience, becoming thus not only myth-bearers but also mythmakers.
33
TCHAROS, STEFANIE. "The Serenata in Early 18th––Century Rome: Sight, Sound, Ritual, and the Signification of Meaning". Journal of Musicology 23, n.º 4 (2006): 528–68. http://dx.doi.org/10.1525/jm.2006.23.4.528.
Texto completo da fonteResumo:
ABSTRACT By the turn of the 18th century serenatas performed in Rome's urban squares as political or dynastic propaganda were a well-established ritual. In this public forum the effect of sound produced by large instrumental forces was a central feature, yet the serenata was a complex performance in which music was but one element in a series of other displays. Though undoubtedly an important part of the serenata, music's role in this multifaceted performance and its effect on audiences remain unclear. Part of that ambiguity stems from the serenata's ability to service both public and private consumption. Patrons exploited this dual nature, using the more spectacular elements of the serenata to influence the public at large, while also relying on other elements (primarily word and sound) to sway elite audiences. In the context of Rome and its dynastic politics, Giacomo Buonaccorsi's and Pietro Paolo Bencini's serenata Le gare festive in applauso alla Real Casa di Francia (1704) demonstrates how the serenata's dichotomous structures and multiplicity of meaning were deeply linked to larger cultural frameworks and social tensions——in this case, brewing over the War of Spanish Succession. The serenata was both a musical work and a performed event effectively shaped by the genre's ritual practice and by history and politics in late 17th- and early 18th-century Rome. The logic of the serenata's ritual practice shows significant correspondences to the genre's narrative strategies. Within the serenata, allegory served as the catalyst to express layers of meaning to diverse audiences. But more than that, allegory provided the means by which music was contained and its delivery marked. For public audiences, sound was as much visual as it was aural, an immediate and palpable special effect. For privileged listeners, music required reflection as to how spectacular effects acquired deeper meaning when anchored in the significance of the poetic text. Thus music in the serenata was not merely an element in a multifaceted performance but was multidimensional in itself, uniquely straddling both sides of the public/private divide.
34
Galbayar, Gombosyryn, e Maria P. Petrova. "The Hidden Meanings and Poetic Features of the Treatise “Činggis-un yisün örlüg-tei öničin köbegün-ü čečelegsen šastir”". Vestnik of Saint Petersburg University. Asian and African Studies 14, n.º 3 (2022): 488–506. http://dx.doi.org/10.21638/spbu13.2022.307.
Texto completo da fonteResumo:
The extant variants of the now-lost treatise Činggis-un yisün örlüg-tei önöčin köbegün-ü čečelegsen šastir are attested in the 17th-18th century Mongolian historical chronicles Altan Tobči / The Golden Chronicle (1655) by Lubsangdanjin and the Bolor Erike / “Crystal Rosary” / (1774-1775) by Rasipungsug. This article addresses the history of transmission, translations, and studies of this text, and demonstrates that the Činggis-un yisün örlüg-tei öničin köbegün-ü čečelegsen šastir is not merely an account of Chinggis Khan’s discussion with his nine high officials about the benefits and evils of alcohol, but contains deeper hidden meanings. Specifically, this paper offers the following four findings: First, based on comparison with Mongolian historical sources, this paper clarifies the origins of Chinggis Khan’s nine high officials, how they befriended Chinggis Khan, their merits and accomplishments, and their deaths. Based on these sources, we have determined that the events described in the Činggis-un yisün örlüg-tei öničin köbegün-ü čečelegsen šastir date to 1206-1207. Second, this paper discusses the hidden meaning that Bo’orchu, Muqali, Boqorul, Jebe, who wish to abstain from alcohol and diligently perform their duties, befriended Chinggis Khan in their childhood without seeking any benefit, were fully trustworthy officials, whereas Sorqan-Shira, Jelme, Yelü Chucai, Qara Kiru and Shigi-Qutuqu - who, in their own words, wish to drink alcohol and revel - befriended Chinggis Khan later out of self-benefit, and were untrustworthy officials. Third, the paper discusses the symbolism of the order of the speakers’ words on alcohol as it relates to the ranks of Chinggis Khan’s officials, as well as Mongolian cultural symbolism relating to directions. Fourth, based on the debate in the text between the orphan boy, wise nobleman Chindagha, and Chinggis Khan, this paper discusses the fact that one reason Chinggis Khan’s state was powerful is that he listened to average people and he was able to reflect their ideas in national affairs. Fifth, this paper demonstrates that the text retains important features of deep hidden meaning and poetic verse characteristic of 13th century Mongolian literature.
35
Kirilov, D. A. "REPRESENTATION OF LORD LIEUTENANTS AND LORD JUSTICES OF IRELAND IN IRISH ODES AND POEMS, 1701–1714". Вестник Пермского университета. История, n.º 2(53) (2021): 148–59. http://dx.doi.org/10.17072/2219-3111-2021-2-148-159.
Texto completo da fonteResumo:
In the late 17th and early 18th century, Ireland experienced a constitutional struggle in parliament, as well as the gradual development of a party system along the English partisan lines. Reflection of those events in the public sphere (primarily in the works of Molyneux and Swift) remains a popular research topic for Irish historians. This article attempts to look at the development of the Irish political system by examining poetic works in support of the chief governors of Ireland: lord lieutenants and lord justices of 1701–1714. Irish poems dedicated to governors were usually similar to English odes, which in turn were influenced by Abraham Cowley’s Pindarics. Irish odes to lord lieutenants of 1701–1711 had significant genre similarities, and most of them were also similar in general means of representing the chief governor. It was of utmost importance for the authors to show the brilliant ancestry of the ode’s hero; perhaps even more important for them was to show the similarity between the viceroy and the monarch, since the former was supposed to represent the latter. There were, however, significant differences between the odes, which were attributed to the shifting context of Irish politics. The odes of 1707 and 1711 are much more embedded in politics than the odes of 1701 and 1703: since at least 1707, the authors were more likely to include lord lieutenants in the context of Irish and British partisanship, while simultaneously emphasizing the loyalty of recipients to Queen Anne in her struggle against parties. The zenith of partisanship in Ireland coincides with the appearance of short poems with some features of an ode in 1710, which closely associate the figure of the lord lieutenant or lord justice with the Whigs or Tories.
36
Andrianova, Irina. "Stenography and Literature: What did Western European and Russian Writers Master the Art of Shorthand Writing For?" Studia Slavica Academiae Scientiarum Hungaricae 64, n.º 1 (junho de 2019): 1–11. http://dx.doi.org/10.1556/060.2019.64101.
Texto completo da fonteResumo:
What brings together Daniel Defoe, Charles Dickens, Vsevolod Krestovsky, Nikolai Chernyshevsky, Fyodor Dostoevsky, Аlexander Kuprin, George Bernard Shaw, and Аstrid Lindgren, i.e. writers from different countries and belonging to different epochs? In their creative work, they all used stenography, or rapid writing, permitting a person to listen to true speech and record it simultaneously. This paper discloses the role of stenography in literary activities of European and Russian writers in the 19th and early 20th centuries. Some researchers believe that the first ties between shorthand and literature appeared in the days of Shakespeare when the playwright's competitors used shorthand to put down the texts of his plays. Others have convincingly refuted this viewpoint, proving that such records never existed. The most famous English novelist in the 17th and 18th centuries Daniel Defoe can be considered one of the first writers who used shorthand in his literary work. The writers mastering the art of shorthand writing such as Defoe, Dickens, and Lindgren were popular in various professional spheres (among others, the secret service, journalism, and secretarial service) where they successfully applied their skills in shorthand writing. Stenography was an integral part of a creative process of the authors who resorted to it (Dostoevsky, Krestovsky, Shaw, and Lindgren). It economized their time and efforts, saved them from poverty and from the terms of enslavement stipulated in the contracts between writers and publishers. It is mainly thanks to stenography that their works became renowned all over the world. If Charles Dickens called himself “the best writer-stenographer” of the 19th century, F. M. Dostoevsky became a great admirer of the “high art” of shorthand. He was the second writer in Russia (following V. Krestovsky), who applied shorthand writing in his literary work but the only one in the world literature for whom stenography became something more than just shorthand. This art modified and enriched the model of his creative process not for a while but for life, and it had an influence on the poetics of his novels and the story A Gentle Creature, and led to changes in the writer's private life. In the course of the years of the marriage of Dostoevsky and his stenographer Anna Snitkina, the author's artistic talent came to the peak. The largest and most important part of his literary writings was created in that period. As a matter of fact, having become the “photograph” of live speech two centuries ago, shorthand made a revolution in the world, and became art and science for people. However, its history did not turn to be everlasting. In the 21st century, the art of shorthand writing is on the edge of disappearing and in deep crisis. The author of the paper touches upon the problem of revival of social interest in stenography and its maintenance as an art. Archival collections in Europe and Russia contain numerous documents written in short-hand by means of various shorthand systems. If humanity does not study shorthand and loses the ability to read verbatim records, the content of these documents will be hidden for us forever.
37
Ūsaitytė, Jurgita. "Personal Collections of Texts from the Second Half of the 19th Century along with Their Historical Context". Tautosakos darbai 55 (25 de junho de 2018): 107–33. http://dx.doi.org/10.51554/td.2018.28501.
Texto completo da fonteResumo:
The subject of the article comprises Lithuanian collections of texts from the second half of the 19th century, compiled by individuals of peasant origins and preserved at the Lithuanian Folklore Archives. The research involves over 40 of such collections, in which part or majority of the inscriptions consist of poetic pieces: personal poetic compositions or folksongs chiefly selected from printed sources of the time. The analysis in the article focuses on the contents of these texts, describing various components of their repertoire, attempting at establishing and identifying the sources, from which the individual texts could have originated. Analysis of these collections takes into account the social and cultural context in Lithuania of the 19th century, chiefly defined by the imperial policy of the tsarist Russia, essentially aiming at strengthening the loyalty of the Lithuanian population to the official government, and the movement of national revival, striving to enhance the Lithuanian national self-consciousness. The author assumes the main motive behind the compilation of the personal collections of texts to be the issue of problematic availability of the Lithuanian press, partly caused by the four decades-long ban of printing in Latin alphabet, which had fatal harmful consequences to the development of the Lithuanian national culture. The author of the article concludes that majority of the collections in question probably comprised texts published by the illegal Lithuanian press of the time: newspapers, calendars, books of religious literature or popular fiction, folklore publications, or manuscripts by other people. However, the possibility of some texts finding their way into these collections directly from oral tradition is also valid. Analysis of the poetic repertoire of the personal collections enables asserting that their compilers / owners equally appreciated rather diverse written pieces – both literary compositions (mainly individual poetry) and folksongs. Such stratification of individual poetry and traditional songs derived from the interest in Lithuanian folklore, which was particularly characteristic to the culture of the national revival, and from the fact that in publications of the second half of the 19th century both individual poems and folksongs appeared as poetic compositions of the same nature.According to the scarce personal data occurring in the manuscripts and mostly representing provenance, the author of the article attempts drawing a broad-brush portrait of the compiler of the textual collection. This must have been a rather young male of peasant origins, who has graduated from primary school (either illegal or official one) and attended gymnasium or seminary; literate in Lithuanian, Polish and Russian; open to the ideas of the national revival and interested in the available written sources of religious or secular kind.The manuscripts compiled for individual purposes discussed in this article emerge as an important source for the analysis of relationship between individual creativity and writing in general with folklore. The Lithuanian collections of texts from the second half of the 19th century have captured a moment in the confluence of written and oral tradition, which rather than being identified with merging of these cultural systems should be perceived as a certain stage of adapting individual literary creativity to the folklore communication. We should regard these compilations of textual materials as belonging to the written culture rather than folklore as oral tradition.The author also investigates the issue of traditionalism, of historical continuity in relation to these collections of texts picked out and copied from miscellaneous sources. The Lithuanian personal collections of texts from the second half of the 19th century functioning in the peasant society should be related to the earlier traditional collections of texts in Latin, Polish, and old Slavonic languages from the 17th – beginning of the 19th century Lithuania. The Lithuanian data thus becomes part of the wider European historical and cultural context. Personal collections of texts as a rather peculiar genre relate to the commonplace books thriving in the Renaissance period, which served in the humanist educational system as means for disciplined reading. The article presents a retrospective survey of subsequent changes in content and form experienced by these extract books / collections of texts on their way from the academic discourse to the private everyday sphere.
38
Hansen, Jens Morten. "On the origin of natural history: Steno’s modern, but forgotten philosophy of science." Bulletin of the Geological Society of Denmark 57 (1 de novembro de 2009): 1–24. http://dx.doi.org/10.37570/bgsd-2009-57-01.
Texto completo da fonteResumo:
Nicolaus Steno (Niels Stensen, 1638–86) is considered to be the founder of geology as a discipline of modern science, and is also considered to be founder of scientific conceptions of the human glands, muscles, heart and brain. With respect to his anatomical results the judgment of posterity has always considered Steno to be one of the founders of modern anatomy, whereas Steno’s paternity to the methods known to day of all students of geology was almost forgotten during the 130 yr from 1700 to 1830. Besides geology and anatomy there are still important sides of Steno’s scientific contributions to be rediscovered. Steno’s general philosophy of science is one of the clearest formulated philosophies of modern science as it appeared during the 17th Century. It includes • separation of scientific methods from religious arguments, • a principle of how to seek “demonstrative certainty” by demanding considerations from both reductionist and holist perspectives, • a series of purely structural (semiotic) principles developing a stringent basis for the pragmatic, historic (diachronous) sciences as opposed to the categorical, timeless (achronous) sciences, • “Steno’s ladder of knowledge” by which he formulated the leading principle of modern science i.e., how true knowledge about deeper, hidden causes (“what we are ignorant about”) can be approached by combining analogue experiences with logic reasoning. However, Steno’s ideas and influence on the general principles of modern science are still quite unknown outside Scandinavia, Italy, France and Germany. This unfortunate situation may be explained with the fact that most of his philosophical statements have not been translated to English until recent decades. Several Latin philologists state that Steno’s Latin language is of great beauty and poetic value, and that translations to other languages cannot give justice to Steno’s texts. Thus, translations may have seemed too difficult. Steno’s ideas on the philosophy of science appear in both his many anatomical and in his fewer geological papers, all of which with one exception (in French) were written in Latin. A concentration of his philosophy of science was given by himself in his last scientific lecture “Prooemium” (1673), which was not translated from Latin to English before 1994. Therefore, after the decline of Latin as a scientific language Steno’s philosophy of science and ideas on scientific reasoning remained quite unknown, although his ideas should be considered extremely modern and path finding for the scientific revolution of the bio- and geo-sciences. Moreover, Steno’s philosophy of science is comparable to Immanuel Kant’s 80 yr younger theory on perception, Charles S. Peirce’s 230 yr younger theory on abduction, and—especially—Karl R. Popper’s 300 yr younger theory on scientific discovery by conjecture and refutation.
39
Sagatova, A. S. "Ұлттық сананың дүниетанымдық үлгілері". BULLETIN of the L.N. Gumilyov Eurasian National University. Historical sciences. Philosophy. Religion Series 139, n.º 2 (2022): 218–33. http://dx.doi.org/10.32523/2616-7255-2022-139-2-218-233.
Texto completo da fonteResumo:
First President of the Republic of Kazakhstan N. Nazarbaev noted that the roots of the modernization of society go back to a deep history. This article provides a comprehensive analysis of the life and activities of the sages, brilliant thinkers of the Kazakh people as a reflection of the worldview models of national consciousness. The main idea of the article is to study the work of Bukhar-zhyrau, one of the most outstanding personalities in the history of the 17th century, endowed with wisdom, poetic eloquence, and deep self-awareness. The historical, political and social conditions in which the Kazakh society lives are the basis for the development of the national worldview in the course of the centuries-old development of the desire for independence. The historical, political and social conditions in which Kazakhstani society lives are the basis for the development of the national worldview in the course of the centuries-old 232 development of the desire for independence. The author focuses on the fact that the transfer of such an archive fund to the younger generation is an actual problem of today. The main goal of the author is to show the dignity of our native language in the continuity of generations, popularizing the rich cultural and spiritual heritage of Kazakh wisdom. This, in turn, will become the main factor extolling the inviolability of the modern state from the point of view of educating the younger generation in the spirit of patriotism. And they are based on the desire for the future through reflection, conclusions, and drawing lessons from the past. The development and revival of our national culture, respect for the spiritual heritage and traditions of our people in history – is a testament of its independence in the global world. Spiritual heritage – is moral values, which are the core of the national mentality of any nation. The life experience of our ancestors, transmitted from generation to generation, is associated with the ability of a person to know and feel the world, to perceive the world around him. Historical time points that the heritage of their ancestors has become an inspiration for future generations. Spiritual heritage is the source of the development of moral values. The heritage of ancestors and morality are formed as a result of comprehensive relations in society. Morality – is the values and norms that govern people's behavior, exactly morality that reveals the innermost of human nature.
40
Busto Cortina, Juan C. "Nuevos textos literarios asturianos del XVII y un nuevo testimonio del entremés de L'Alcalde". Revista de Filoloxía Asturiana 17, n.º 17 (10 de janeiro de 2018): 93. http://dx.doi.org/10.17811/rfa.17.2017.93-146.
Texto completo da fonteResumo:
A partir de la reciente publicación de dos ediciones de poesía asturiana del siglo XVII, se examinan y sistematizan algunas informaciones sobre los poetas que participaron en los certámenes poéticos de 1639, 1665 y 1666. Los treinta años que separan uno y otros certámenes, y el ámbito jesuita donde se desarrolla el primero, hizo que muy pocos de los poetas que intervinieron en el de 1639 participasen en los que tuvieron lugar en la segunda mitad de siglo, hasta hace poco los únicos conocidos. Se pone en relación este tipo de poesía celebrativa que se compone en asturiano con lo que se produce en otros lugares de España. En el ámbito universitario salmantino se acogen textos en sayagués y también se emplea el sayagués (junto con el asturiano) en el certamen ovetense de 1639, en lo que pudo tener que ver la procedencia salmantina de su compilador, el P. Andrés Mendo. Sin embargo, mientras el sayagués pierde importancia en su uso literario a lo largo del XVII (ello se ve claramente en los villancicos), el empleo de otras lenguas irá en cambio en aumento a partir de este siglo. Ello es manifiesto en Galicia, en Navarra y en Asturias, cuyas lenguas vernáculas tendrán cabida en diversos certámenes durante este periodo. Se destaca el interés de otra nueva celebración poética de la que no había noticia hasta ahora: la que tiene lugar con la llegada a Asturias del obispo Ambrosio Ignacio de Spínola. En este contexto surge el nombre de un poeta completamente ignorado: Juan García de Prada, que muestra seguir de cerca el magisterio de Marirreguera en el uso de la octava real y de otros recursos literarios. Se dedica una especial atención al surgimiento de los primeros testimonios literarios manuscritos en asturiano que deben ser datados en la segunda mitad del XVII. Asimismo, se examina el caso particular de alguna obra regueriana: el Romance a Santa Eulalia de Mérida y el entremés de El Alcalde. De este entremés se ofrece una versión inédita contenida en un manuscrito de la primera mitad del XVIII, primer testimonio manuscrito de una obra de Marirreguera. Este testimonio presenta algunos rasgos lingüísticos (el empleo del pronombre -ye en función de dativo) que también aparecen en los poemas de García de Prada de la segunda mitad del XVII.Palabras clave: poesía asturiana del XVII; poesía celebrativa; Juan García de Prada; Andrés Mendo; Marirreguera; historia de la lengua asturiana; teatro de ‘entremés’.From the recent publication of two editions of Asturian poetry of the 17th century, some information on the poets who participated in the poetic contests of 1639, 1665 and 1666 are examined and systematized. The thirty years that separate one and other contests, and the Jesuit area where the first one was developed, made that very few of the poets who intervened in the one of 1639 could do so in those that took place in the second half of the century, the only ones known till recent times. This type of celebratory poetry that is composed in Asturian relates with what is produced in other places of Spain. In the University of Salamanca, texts are given in Sayagués, and the Sayagués (together with the Asturian) is also used in the competition of Oviedo in 1639, with which the Salmantine origin of its compiler, Fr. Andrés Mendo, could have had somethings to do. However, while the Sayagués lost importance in its literary use throughout the seventeenth century (this is clearly seen in the villancicos), the use of other languages will gradually increase from this century on. This is evident in Galicia, Pamplona and Asturias whose vernacular languages will have room in various competitions during this period. The interest of another new poetic celebration of which unknown is highlights: the one that takes place with the arrival in Asturias of the bishop Ambrosio Ignacio de Spínola. In this context comes the name of a completely ignored poet: Juan García de Prada, who shows to follow closely the magisterium of Marirreguera in the use of the real octave and other literary resources. Particular attention is given to the emergence of the first literary manuscripts testimonies in Asturian that must be dated in the second half of the xvii. Also the particular case of some Marirreguera’s work is examined: the «Romance to Santa Eulalia of Mérida» and the «El Alcalde» entremés. From this entremés an unpublished version contained in a manuscript of the first half of the xviii, first manuscript testimony of a work of Marirreguera is offered. This testimony presents some linguistic features (the use of the pronoun -ye in function of dative) that also appear in the poems of García de Prada of the second half of the xvii.Keywords: Asturian poetry of the 17th century; celebratory poetry; Juan García de Prada; Andrés Mendo; Marirreguera; history of the Asturian language; theatrical ‘entremés’.
41
Gross, Alan G., Joseph E. Harmon e Michael S. Reidy. "Argument and 17th-Century Science". Social Studies of Science 30, n.º 3 (junho de 2000): 371–96. http://dx.doi.org/10.1177/030631200030003002.
Texto completo da fonte
42
Niebelska-Rajca, Barbara. "Convention as the Source of the Avant-Garde. Remarks on the Inventiveness of Poetics of the Past". Roczniki Humanistyczne 66, n.º 1 SELECTED PAPERS IN ENGLISH (23 de outubro de 2019): 19–31. http://dx.doi.org/10.18290/rh.2018.66.1-2e.
Texto completo da fonteResumo:
The Polish version of the article was published in “Roczniki Humanistyczne,” vol. 59 (2011), issue 1.
Modern theoretical-literary treatises, defined as normative poetics, are usually connected with the dominance of the convention and normativism, with obligatory rules, canonical concepts and restrictive directives hampering originality. The present text tries to revise the conviction that convention is a dominant tendency in the development of the old theoretical thought; it tends to show the avant-garde aspects of modern poetics and to present the relations between what is conventional and what is innovative in the most original theoretical texts of late Renaissance and Baroque. Examples of two avant-garde modern poetics—Francesco Patrizi’s theory of wonder formed at the end of the 16th century and the 17th century Emanuele Tesauro’s conceptistic theory—show that tradition and convention are necessary elements of inventive theories. The avant-garde of poetics of the past, contrary to the avant-garde of the 20th century, is not born from the defiance of the earlier theories but is formed by way of modernizing and transforming them. Old inventive theories—despite all the departures from tradition—are still part of the classical paradigm. Hence, the avant-garde character of late-Renaissance and Baroque theoretical reflection consists in a peculiar synergy of convention and novelty.
43
Medugno, Marco. "Postcolonial Poetics: 21st-Century Critical Readings". Interventions 22, n.º 2 (19 de setembro de 2019): 296–99. http://dx.doi.org/10.1080/1369801x.2019.1660204.
Texto completo da fonte
44
Puzanov, Vladimir. "Western Siberia and nomads in the 17th – early 18th centuries". OOO "Zhurnal "Voprosy Istorii" 2023, n.º 11-2 (1 de novembro de 2023): 04–21. http://dx.doi.org/10.31166/voprosyistorii202311statyi43.
Texto completo da fonteResumo:
Since the beginning of the 17th century, the nomads Oirats came to the southern borders of Siberia, who often attacked the lands of Russian counties. In the 17th century, the eastern counties of Siberia - Krasnoyarsk, Tomsk, Tarsky - suffered from the raids of nomads. In the first decades of the 17th century, Russian colonization occupied the lands along the Ture River with tributaries Tagil, Nice and Pyshma. In the 1620s, at the request of the population, the government organizes the construction of prisons and other fortifications in the settlements in the south of Siberia. In the 1630s in the south of Siberia, local Cossacks appeared to protect the settlements. In the 1650s, the construction of prisons along the river Iset’ began. In Siberia, military people were the numerically predominant group of the Russian population throughout the 17th century.
45
Ilie, Liviu Marius. "ACUMULAREA ȘI RISIPIREA AVERII: DISPUTE PATRIMONIALE ÎNTR-O FAMILIE DIN MEHEDINȚI (SEC. XVII – XVIII)* (I)". Analele Universităţii din Craiova seria Istorie 28, n.º 1 (31 de julho de 2023): 23–30. http://dx.doi.org/10.52846/aucsi.2023.1.02.
Texto completo da fonteResumo:
Small families are often very important for understanding premodern society. The ownership of the land based on kinship can reveal very complicated relations inside the small communities; gathering the fortune and dividing it into pieces was a recurrent process that characterized the Wallachian society during 17th and 18th centuries. This study is devoted to a family from Smârdeșteț – a small village from Mehedinți county – considering their genealogy and their possession of land and Roma people. Six generations can be traced along these two centuries, the men and women accumulating and wasting the fortune along their lives. Only the first half of the 17th century is investigated in this article; a subsequent study will analyse the second half of the 17th century and the 18th century.
46
Stone, R. "HISTORY OF SCIENCE: Championing a 17th Century Underdog". Science 301, n.º 5630 (11 de julho de 2003): 152. http://dx.doi.org/10.1126/science.301.5630.152.
Texto completo da fonte
47
Kuzmina, Marina D. "“Alphabet Scribe” in the History of Russian Literature". Philology 19, n.º 9 (2020): 87–101. http://dx.doi.org/10.25205/1818-7919-2020-19-9-87-101.
Texto completo da fonteResumo:
The article is dedicated to the study of the most significant and popular Old Russian scribe – “Alphabetical”, written in the late 16th – early 17th century according to researchers. The assumption is made that it was replenished and adjusted over several decades, quickly responding to the demands of the times and reflecting the main processes that took place in Russian literature of the 16th and especially the 17th century. The scribe reflected the central feature of this period: the interaction of the traditional and the new, with an emphasis on the new. It demonstrates such new aspects of Russian literature of the 17th century as secularization, democratization, fiction, and individualization. It is rather telling that the vast majority of sample messages are private letters written for relatives and friends. Particularly noteworthy are the samples of ‘anti-friendly’ letters, some of which are parodies of friendly letters. They make up an organic part of the 17th century parodies, namely such satirical texts as Kalyazinsky Petition, The Dowry Document, The Tale of Ersh Ershovich, The Service of the Tavern. As it is known, parodies play a crucial role in the turning periods of literary development, which was the 17th century. In this era, first of all, the most stable and therefore most recognizable genres were parodied: business (petitions, dowry, court documents, etc.) and church (hagiographies, prayers, akathists, church services, etc.) writing. Quite noteworthy is the appearance along with these parodies of the parody of the epistolary genre, indicating that it had fully developed, and occupied a proper place in the system of literature genres, and was unmistakably recognized by authors and readers. Moreover, a new, ‘secular’ version had developed and was recognized: friendly letters, which were by no means educational, unlike those popular in Ancient Russian literature of previous centuries.
48
Kuzmina, Marina D. "“Alphabet Scribe” in the History of Russian Literature". Philology 19, n.º 9 (2020): 87–101. http://dx.doi.org/10.25205/1818-7919-2020-19-9-87-101.
Texto completo da fonteResumo:
The article is dedicated to the study of the most significant and popular Old Russian scribe – “Alphabetical”, written in the late 16th – early 17th century according to researchers. The assumption is made that it was replenished and adjusted over several decades, quickly responding to the demands of the times and reflecting the main processes that took place in Russian literature of the 16th and especially the 17th century. The scribe reflected the central feature of this period: the interaction of the traditional and the new, with an emphasis on the new. It demonstrates such new aspects of Russian literature of the 17th century as secularization, democratization, fiction, and individualization. It is rather telling that the vast majority of sample messages are private letters written for relatives and friends. Particularly noteworthy are the samples of ‘anti-friendly’ letters, some of which are parodies of friendly letters. They make up an organic part of the 17th century parodies, namely such satirical texts as Kalyazinsky Petition, The Dowry Document, The Tale of Ersh Ershovich, The Service of the Tavern. As it is known, parodies play a crucial role in the turning periods of literary development, which was the 17th century. In this era, first of all, the most stable and therefore most recognizable genres were parodied: business (petitions, dowry, court documents, etc.) and church (hagiographies, prayers, akathists, church services, etc.) writing. Quite noteworthy is the appearance along with these parodies of the parody of the epistolary genre, indicating that it had fully developed, and occupied a proper place in the system of literature genres, and was unmistakably recognized by authors and readers. Moreover, a new, ‘secular’ version had developed and was recognized: friendly letters, which were by no means educational, unlike those popular in Ancient Russian literature of previous centuries.
49
Truong, Anh Thuan, e Thi Vinh Linh Nguyen. "Trade Activities and the Spread of Christianity by Portugal: Port of Faifo (Vietnam)". Vestnik of Saint Petersburg University. History 67, n.º 1 (2022): 128–43. http://dx.doi.org/10.21638/11701/spbu02.2022.109.
Texto completo da fonteResumo:
In the 16th and 17th centuries, Faifo (Hoi An, Quang Nam province) emerged as one of the busiest international trading ports in Southeast Asia in general and in Vietnam in particular. At the same time, in Europe, Portugal and its formidable navy discovered a new maritime route to Asia. Using this knowledge, the Portuguese became one of the first Western states to explore this part of the world and laid the foundation for trade and missionary activities in a number of different countries and locations there. Among them, Faifo (in Vietnam) was a notable example. In fact, for almost a century (from the second half of the 16th century to the middle of the 17th century), the Portuguese had established business relationships and played an important role in trading activities in Faifo. Meanwhile, the Portuguese Crown strongly supported the Jesuit priests, aiding them in becoming the first Catholic missionary force based in Vietnam, thereby allowing for the introduction and spread of Christianity in Faifo as well as in other locations around Cochinchina. However, at the end of the 17th century, for a number of different factors, Portugal gradually lost its important role in trading and missionary activities in the port of Faifo. This article examines the Portuguese commercial and missionary activities in Faifo in the 16th and 17th centuries. It also aims to make a specific contribution to clarifying the relationship of exchange between Vietnam and Portugal in the 16th and 17th centuries.
50
Cecalupo, Chiara. "Maltese antiquarians of early-modern age and the cave church of Mellieha". Revista de História da Sociedade e da Cultura 23, n.º 2 (15 de dezembro de 2023): 11–34. http://dx.doi.org/10.14195/1645-2259_23-2_1.
Texto completo da fonteResumo:
This article aims at presenting some unpublished documents about historiographical research on Maltese Christian Middle Ages written by a Discalced Carmelite friar in the 17th century and recently discovered in the Archives of the Generalate of the Discalced Carmelites in Rome. This is the occasion to report some accounts of Maltese and European scholars regarding one of the most important Medieval sites of Malta (the Church of Our Lady of Mellieha) and to underline how scholars and missionaries of the 17th century related with the historical and archaeological affected by close contacts with Islam. The paper wants therefore to contribute on describing how scholars of the 17th century approached the multicultural and often turbulent aspects of the main Mediterranean areas and how they contributed in assessing the nascent study of Arabic language and culture in terms of historiographic structuring of Mediterranean identity.