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1
Matthews, Ricardo. "Song in Reverse: The Medieval Prosimetrum and Lyric Theory." PMLA/Publications of the Modern Language Association of America 133, no. 2 (March 2018): 296–313. http://dx.doi.org/10.1632/pmla.2018.133.2.296.
Повний текст джерелаАнотація:
Studying the medieval prosimetrum, a genre that mixes narrative with lyric, could have important ramifications for the general study of poetics. By disrupting transhistorical theories of the lyric, which proceed from a presumed continuity between ancient Greece and modernity, the prosimetrum situates the Middle Ages at the center of our understanding of modern lyric poetry. Instead of beginning with a late-eighteenth-century understanding of lyric poetry as a self-expressive voice, which scholars must then localize in a poem's historical conditions, language, and genres, the prosimetrum begins with a conventional, rhetorical poem in a variety of stated genres and then, by including a narrative frame, stages that poem as a heartfelt song sung by lovesick knights or clerks. In the prosimetrum, the playful game of conventional art, which defines the medieval love lyric in isolation, suddenly becomes a way to imagine fictional subjectivities.
2
Nigar Aghayeva. "COMPARATIVE ANALYSIS OF SOME LYRIC AND EPIC GENRES IN AZERBAIJANI AND ENGLISH CHILDREN’S FOLKLORE." International Academy Journal Web of Scholar, no. 2(44) (February 28, 2020): 17–21. http://dx.doi.org/10.31435/rsglobal_wos/28022020/6912.
Повний текст джерелаАнотація:
Children's folklore genres play a very important role in children’s development. Article is devoted to the comparative study of some lyric and epic genre features of Azerbaijani and English children's folklore. Children folklore has a lot of common peculiarities. But there are also some differences. In this regard, the subject of the research is fundamental and comparative typological analysis of the lyric and epic genres of Azerbaijani and English children’s folklore were involved to the research. Article provides a comparative analysis of both Azerbaijani and English lullabies, riddles, tongue twister, and children's songs. Thus, the similarity of folklore genres in the study is linked to the closeness of human thought and its relation to reality. The similar life conditions of Azerbaijani and English peoples and the stereotypes of behavior formed according to these situations, oral traditions, especially comparisons of children's folklore texts revealed parallels in terms of information. Similarities in connection with life conditions are clearly observed in many children's folklore genres, as well as in some lyric and epic genres.
3
Susino, Marco, and Emery Schubert. "Musical emotions in the absence of music: A cross-cultural investigation of emotion communication in music by extra-musical cues." PLOS ONE 15, no. 11 (November 18, 2020): e0241196. http://dx.doi.org/10.1371/journal.pone.0241196.
Повний текст джерелаАнотація:
Research in music and emotion has long acknowledged the importance of extra-musical cues, yet has been unable to measure their effect on emotion communication in music. The aim of this research was to understand how extra-musical cues affect emotion responses to music in two distinguishable cultures. Australian and Cuban participants (N = 276) were instructed to name an emotion in response to written lyric excerpts from eight distinct music genres, using genre labels as cues. Lyrics were presented primed with genre labels (original priming and a false, lured genre label) or unprimed. For some genres, emotion responses to the same lyrics changed based on the primed genre label. We explain these results as emotion expectations induced by extra-musical cues. This suggests that prior knowledge elicited by lyrics and music genre labels are able to affect the musical emotion responses that music can communicate, independent of the emotion contribution made by psychoacoustic features. For example, the results show a lyric excerpt that is believed to belong to the Heavy Metal genre triggers high valence/high arousal emotions compared to the same excerpt primed as Japanese Gagaku, without the need of playing any music. The present study provides novel empirical evidence of extra-musical effects on emotion and music, and supports this interpretation from a multi-genre, cross-cultural perspective. Further findings were noted in relation to fandom that also supported the emotion expectation account. Participants with high levels of fandom for a genre reported a wider range of emotions in response to the lyrics labelled as being a song from that same specific genre, compared to lower levels of fandom. Both within and across culture differences were observed, and the importance of a culture effect discussed.
4
Martin, Wallace, and William Elford Rogers. "The Three Genres and the Interpretation of Lyric." Poetics Today 7, no. 2 (1986): 381. http://dx.doi.org/10.2307/1772778.
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5
Condit-Schultz, Nathaniel, and David Huron. "Catching the Lyrics." Music Perception 32, no. 5 (June 1, 2015): 470–83. http://dx.doi.org/10.1525/mp.2015.32.5.470.
Повний текст джерелаАнотація:
Although purely instrumental music is commonplace, much of the world’s most popular music is sung with lyrics. However, it is evident that listeners don’t always attend to lyrics and that those who do aren’t always successful in deciphering them. An empirical study is reported whose goal is to measure the intelligibility of lyrics in commercial recordings of music from a variety of genres. Thirty participants were exposed to 120 brief musical excerpts from twelve song genres: Avante-garde, Blues, Classical, Country, Folk, Jazz, Musical Theater, Pop/Rock, Rhythm and Blues, Rap, Reggae, and Religious. Participants were instructed to transcribe the lyrics after hearing each excerpt once. The transcribed lyrics were then compared to the actual lyrics and intelligibility scores calculated. The different genres were found to exhibit significantly different levels of lyric intelligibility, from as low as 48% for Classical music, to as high as 96% for Jazz, with an overall average of 72%. Intelligibility scores were positively correlated with listener judgments of the general importance of lyrics. In a second experiment, participants were allowed to hear excerpts five times. Improvements to intelligibility were modest but significant after the second and third hearings, but not on further hearings.
6
Stoia, Nicholas, Kyle Adams, and Kevin Drakulich. "Rap Lyrics as Evidence." Race and Justice 8, no. 4 (January 31, 2017): 330–65. http://dx.doi.org/10.1177/2153368716688739.
Повний текст джерелаАнотація:
Recent scholarship has shed light on the troubling use of rap lyrics in criminal trials. Prosecutors have interpreted defendants’ rap lyrics as accurate descriptions of past behavior or in some cases as real threats of violence. There are at least two problems with this practice: One concerns the interpretation of art in a legalistic context and the second involves the targeting of rap over other genres and the role of racism therein. The goal of the present work is translational, to demonstrate the relevance of music scholarship on this topic to criminologists and legal experts. We highlight the usage of lyric formulas, stock lyrical topics understood by musicians and their audiences, many of which make sense only in the context of a given genre. The popularity of particular lyric formulas at particular times appears connected to contemporaneous social conditions. In African American music, these formulas have a long history, from blues, through rock and roll, to contemporary rap music. The work illustrates this through textual analyses of lyrics identifying common formulas and connecting them to relevant social factors, in order to demonstrate that fictionalized accounts of violence form the stock-in-trade of rap and should not be interpreted literally.
7
Do, Thi Cam Van. "Inter-genres in contemporary Vietnamese historical novels." Ministry of Science and Technology, Vietnam 63, no. 4 (April 30, 2021): 56–59. http://dx.doi.org/10.31276/vjst.63(4).56-59.
Повний текст джерелаАнотація:
In the development process and social movements, the literary genres do not exist independently but have interaction with each other. Novels are capable of performing genres interaction because “the novel allows to put into it many different genres, including artistic genres (short stories, lyric poems, epics, speech plays...) and non-artistic genres (literature in daily life, rhetoric, science, religion...)”[1]. Novels with traditional writing style about contemporary Vietnamese history (prominent writers such as Nguyen Xuan Khanh, Vo Thi Hao, Nguyen Mong Giac...), the interaction among literary genres is considered as the most common form. Typical forms of genre interaction in novels with historical themes are the interaction between short stories and novels, poetry and novels... Genre interaction expresses the writer’s sense of creativity and experience in the innovation requirement of literary life practice.
8
Kinch, Ashby. "Medieval Lyric: Genres in Historical Context. William D. Paden." Speculum 77, no. 1 (January 2002): 231–34. http://dx.doi.org/10.2307/2903856.
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9
Scrafton, Mary. "Medieval Lyric: Genres in Historical Context (review)." Parergon 20, no. 2 (2003): 223–25. http://dx.doi.org/10.1353/pgn.2003.0015.
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10
Abdulla, Kanyaw Bakr. "Lyric in Abdullah Goran’s Poems." Halabja University Journal 6, no. 4 (December 30, 2021): 31–48. http://dx.doi.org/10.32410/huj-10396.
Повний текст джерелаАнотація:
This research entitled “Lyric in Abdullah Goran’s Poems” is a new glimpse on two aspects: one is lyric, and the other is about Goran’s poems. The research tries to deal with lyric in depth and details. And in the other hand, it endeavors to identify Goran’s lyric according to lyric’s traits and specialties. In view of the fact that lyric has connections with different genres such as music and singing, this research tries to explain those aspects that directly connect with it. That’s why the research will cover music and singing as its main subject of this study.
This research has been done according to Analytical- Descriptive method, which illustrates the lyric and its connection with music or singing, and those factors that take part in creating poetic (poetical) image, poetics and sorts of deviation from lyric poems of the poet.
The research consists of two sections, conclusion and list of sources: first section: the general perspective about lyric. First subsection: concept, term and introducing lyric. Second subsection: lyric in authors, thinkers and researchers point of views. Third subsection: the connection between lyric and music or singing. Second section: lyric in Abdullah Goran’s poems. First subsection: poetical (poetic) image by Goran. Second subsection: phonetic deviation, semantic and grammatical in the lyric poetry of the poet.
11
O'Sullivan, Daniel E. "Beyond the Chanson: (Less) Successful Troubadour Genres in Trouvère Lyric." Tenso 36, no. 1-2 (2021): 101–19. http://dx.doi.org/10.1353/ten.2021.0008.
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12
Lindel, Korbinian. "Das Zeitkriterium in der Gattungstheorie und die frühmoderne Lyrikdiskussion." Scientia Poetica 25, no. 1 (December 6, 2021): 51–92. http://dx.doi.org/10.1515/scipo-2021-002.
Повний текст джерелаАнотація:
Abstract In genre theory, epic, dramatic and lyric poetry are often defined in terms of the past, present or future. This association of genres and time tenses is, howewer, far from being self-evident: The idea is widely unknown before 1800. Following recent studies on time and genre, my article traces this ›time criterion‹ back from Emil Staiger to its origins in the mid-18th century and into the German and French Enlightenment’s discourses on poetry.
13
Meliga, Walter. "Medieval Lyric. Genres in Historical Context, Edited by William D. Paden." Studi Francesi, no. 143 (XLVIII | II) (December 1, 2004): 333. http://dx.doi.org/10.4000/studifrancesi.38928.
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14
Williams, Nicholas Morrow. "The Metaphysical Lyric of the Six Dynasties." T'oung Pao 98, no. 1-3 (2012): 65–112. http://dx.doi.org/10.1163/156853212x629901.
Повний текст джерелаАнотація:
AbstractIn the third and fourth centuries there flourished in China a literary tradition that integrated abstruse philosophizing into pentasyllabic verse: xuanyan shi or the “metaphysical lyric.” Xuanyan verse was mostly ignored in the great wave of literary critique and classification during the succeeding centuries, and much has been lost, but by using a variety of sources, ranging from the Shishuo xinyu to later imitations, we can ascertain its features and assess its later impact. Xuanyan verse played a key role in the development of early medieval poetry, providing a philosophical foundation to undergird poetic genres from which it at first appears quite alien. This article first describes the ideological and cultural context of xuanyan poetry, then surveys its major exemplars, and finally demonstrates its enduring influence.
15
Mohammad, Anwar Qader, and Lhon Qadr Abdulrahman. "The General Features of Epic and Lyrical Poetry in the Kurdish- Gorany (Hawrami) Dialect." Journal of University of Human Development 7, no. 3 (August 8, 2021): 41–51. http://dx.doi.org/10.21928/juhd.v7n3y2021.pp41-51.
Повний текст джерелаАнотація:
The well- known Russian orientalist and Kurdolog, V.F. Minorsky was the first researcher who classified Gorany Poetry into three literary genres: Epic, Religion, and Lyrical poetries.
Our study is included within the frame of research of the literature of the Gorani (Hawrami) dialect. Therefore, we attempted to investigate this topic through the poetic methods of the two literary genres: Epic and Lyric to indicate their high level style and aesthetic values.
16
Goodblatt, Chanita. "In other words: breaking the monologue in Whitman, Williams and Hughes." Language and Literature: International Journal of Stylistics 9, no. 1 (February 2000): 25–41. http://dx.doi.org/10.1177/096394700000900103.
Повний текст джерелаАнотація:
One important aspect of the ‘Whitman tradition’ in American poetry is its breaking of the monologic hegemony of the lyric voice. Focusing on this aspect necessarily assumes that a poem establishes a ‘fictional context of utterance’, particularly a ‘complex or shifting discourse situation … [which]may involve variations in deictic centre’ (Semino, 1995: 145). The resulting dialogic interplay of voices stands at the very centre of Walt Whitman’s poem ‘Out of the Cradle Endlessly Rocking’, William Carlos Williams’s ‘The Desert Music’ and Langston Hughes’s ‘Cultural Exchange’. The present discussion of dialogic interplay in the lyric text turns naturally to Bakhtin’s concept of heteroglossia. Making use of the cline of speech presentation developed by Leech and Short (1981), Bakhtin’s categories of ‘compositional-stylistic unities’ will be elaborated upon: direct authorial literary-artistic narration; the stylistically individualized speech of characters; and incorporated genres. In ‘Out of the Cradle Endlessly Rocking’ there is an interplay of voices between boy, bird and sea, within a narrative frame related by the adult and child lyric speakers. Within the more general conversation in ‘The Desert Music’ there is an interplay of the lyric speaker’s own social and poetic selves, while in ‘Cultural Exchange’ dialogic interplay is highlighted in the use Hughes makes of the ‘intimidating margins of silence’ (Culler, 1975: 161) which conventionally surround a lyric text, filling them with musical notations that comment on the lyric voice.
17
Shaw, W. David. "Lyric Displacement in the Victorian Monologue: Naturalizing the Vocative." Nineteenth-Century Literature 52, no. 3 (December 1, 1997): 302–25. http://dx.doi.org/10.2307/2933997.
Повний текст джерелаАнотація:
Though a venerable lyric tradition of apostrophizing the breeze, the dawn, or the nightingale celebrates the Romantic poet's words of power, only inmates of mental hospitals actually talk to birds, trees, or doors-much less to holes in a wall, as Pound's speaker does in "Marvoil." This essay shows how Victorian dramatic monologues substitute human auditors for nonhuman ones in an effort to naturalize a convention that nineteenth-century poets find increasingly obsolete and archaic. Instead of talking to the dawn, Tennyson's Tithonus addresses a beautiful woman, the goddess who becomes the silent auditor of his dramatic monologue. Like Coleridge's conversation poems, Browning's and Tennyson's monologues are poems of one-sided conversation in which a speaker's address to a silent auditor replaces Shelley's vocatives of direct address to the west wind or Keat's apostrophes to autumn. In recuperating an archaic convention of lyric apostrophe by humanizing the object addressed, the Victorian dramatic monologue illustrates John Keble's theory of the mechanisms by which genres are disturbed, displaced, and transformed. The dramatic monologue becomes an ascendant genre in post-Romantic literature partly because it is better equipped than lyric poetry to oppose the dogmas of a secular and scientific age in which an antiquated belief in "doing-by-saying" (including a belief in oracles, prophecies, and knowledge as divination) is in rapid and widespread retreat.
18
Dale, Stephen F. "The Poetry and Autobiography of the Bâbur-nâma." Journal of Asian Studies 55, no. 3 (August 1996): 635–64. http://dx.doi.org/10.2307/2646449.
Повний текст джерелаАнотація:
Literary biography is a difficult art to practice when the subject is a premodern Muslim poet. Even in the work of such explicitly autobiographical western writers as the twentieth-century Russian poet Anna Akhmatova the relationship between art and life can be tantalizingly ambiguous. In the case of most well-known classical Muslim poets, though, the connection between life and literature is usually indeterminable. To personalize the lyrics of the great fourteenth-century Persian poet Hafiz is as problematic as trying to glean autobiographical details from Shakespeare's sonnets. The reasons are essentially the same. Little is known of these poets' lives, and their poems exemplify lyric and panegyric genres that were not intended to be autobiographical or idiosyncratic. Neither Hafiz nor Shakespeare were Romantics, and they did not write introspective or self-revealing poems.
19
Creach, Jerome F. D. "Book Review: Introduction to Psalms: The Genres of the Religious Lyric of Israel." Interpretation: A Journal of Bible and Theology 53, no. 3 (July 1999): 306. http://dx.doi.org/10.1177/002096439905300311.
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20
Vrana, Laura. "Genre Experiments: Thylias Moss’s Slave Moth and the Poetic Neo-Slave Narrative." MELUS 46, no. 2 (May 10, 2021): 111–30. http://dx.doi.org/10.1093/melus/mlab020.
Повний текст джерелаАнотація:
Abstract As histories of experimentation on the enslaved receive scholarly attention, so too are neo-slave narratives representing and commenting on this aspect of enslavement, in both their content and their form. This article examines Thylias Moss’s genre-troubling Slave Moth: A Narrative in Verse (2004), a neo-slave text that depicts an enslaved woman named Varl treated as an object of psychological experimentation. Varl develops a strong subjectivity through becoming a subject performing experiments: aesthetic experiments in how she chooses to represent her narrative in stitched cloths. The subtly experimental poetic devices through which Moss crafts this representation highlight that this protagonist possesses an alternate, generative epistemology that differs meaningfully from her master’s scientific worldview and thereby enables fugitive, temporary agency and freedom. By analyzing Slave Moth, I argue that the ethically problematic epistemology that generated experiments on the enslaved has certainly not dissipated and that it indirectly undergirds lyric theory’s failure to engage form in texts by nonwhite poets. Through contrasting close attention to formal devices by which Moss undermines teleological narrative, this essay postulates that “lyric time” enables fleeting, yet nevertheless generative, subversions of the formal expectations readers impose on texts representing enslavement. Reading Slave Moth through such a lens suggests potential middle-ground formal alternatives to wholly rejecting either narrative or lyric as genres and to thereby asymptotically approaching adequate representation of enslavement.
21
Reisner, Marina L. "King Yima — Jam — Jamshid: From Mythological Hero to Literary Image." Vestnik of Saint Petersburg University. Asian and African Studies 12, no. 3 (2020): 348–67. http://dx.doi.org/10.21638/spbu13.2020.303.
Повний текст джерелаАнотація:
The article is devoted to the evolution of the mythological personage, ancient king, and cultural hero Yima in Persian literature of the Muslim period. With the help of translations of the Avesta as well as commentary and theological texts of Middle Persian literature, the work depicts Yima’s main creative functions as the keeper and protector of living beings, ruler of the world in the “Golden Age,” grantor of corporeal immortality, upholder of the cosmic and social order, and savior of the world from a natural catastrophe. These functions are opposed by the role of Yima as the first sinner, through whose fault the “Golden Age” was lost. The rudiments of the complex of mythological legends that have developed around Yima are reflected in Shahnama, the great epos that continued the Iranian narrative tradition of ancient times and the early Middle Ages. All the motifs based on Jam-Jamshid’s legends in different genres of lyric and lyric-epic poetry of XI–XIV centuries can be divided into three groups and they reflect the dual attitude towards this hero. The choice of a motif of a certain group in Persian classical poetry directly depended on genre context (panegyric, didactic, mysticallegoric, anacreontic). In lyric-epic and lyric poetry (qasida and qhazal), the circle of motifs connected with Jam-Jamshid are concentrated around Jamshid’s Throne and Jamshid’s Cup. Some similarities of Jamshid and Suleiman stories led to a merging of the two heroes in the Iranian tradition and even to a contamination of their roles and attributes. Sufi poets often used the motif Jamshid’s Cup showing the entire Universe (jam-i giti-nama) as a symbol of mystical knowledge.
22
LeGette, Casie. "The Lyric Speaker Goes to Gaol: British Poetry and Radical Prisoners, 1820–1845." Nineteenth-Century Literature 67, no. 1 (June 1, 2012): 1–28. http://dx.doi.org/10.1525/ncl.2012.67.1.1.
Повний текст джерелаАнотація:
This essay considers a collection of poems written by nineteenth-century political prisoners and published in the radical press. I situate these poems in the context of debates that raged at the time over whether or not political prisoners should have access to reading and writing materials. Thanks both to the sheer number of these prisoners and to their determination to remain politically active, the prison became a primary site of nineteenth-century radical print culture. Although radical prisoners wrote in a variety of genres, the short lyric poem offered a particularly apt form for expression. The familiar tropes of the Romantic lyric are regularly deployed in these poems, but, given the material conditions of imprisonment, these tropes can start to look quite different. Here, I consider the implications of this particular cultural moment, when metaphors of imprisonment and solitude butted up against the lived experience of prison. I examine the ways in which radical prisoners made the Romantic lyric their own, but also the ways in which imprisonment conditioned Romanticism itself.
23
Щітова, С. А., and О. С. Желтобрюхова. "Chamber-vocal works by S. Rakhmaninov as model of the development for archetypal features of russian classical romance (on the example of early-period romances for the average voice)." Музикознавча думка Дніпропетровщини, no. 13 (August 15, 2018): 94–104. http://dx.doi.org/10.15421/22189.
Повний текст джерелаАнотація:
The target of the work is investigating the development of archetypal features of the Russian classical romance in the chamber-vocal S. Rakhmaninov’s creation of early period on the example of romances for the average voice. Vocal miniatures are the kind of lyric diary of the composer, which fully embodies the whole range of characteristic images and feelings. In this sense, romances are the kind of encyclopedia of Rakhmaninov’s creativity: it is impossible to find such wealth and variety of states, perhaps even in his brilliant concerts and symphonies. The methodology of the study is to use the art history, historical and cultural, analytical and comparative typological methods. This methodological campaign allows you to analyze the features of the genres of elegy, Russian song, „gesture romance” and their own interpretation by the composer. The scientific novelty of the work consists in broadening the concept of the imaginative multidimensionality of Rakhmaninov’s vocal miniatures, which is due to the synthesis of various traditions of the national school. Vocal works „contain” a full thematic „spectrumˮ of his musical world. Conclusions. The archetypal features of the Russian classical romance and the origins of vocal lyrics are most evident in the early period of the composerʼs work. Obviously, the scope of the scientific article does not allow paying serious attention to the entire vocal creativity of the author of the Bells, to consider 83 romances in full. Therefore, the work is limited studying of works for medium voice and piano. They fully embody the main genre and style features of Rakhmaninov’s chamber-vocal creativity. The early romances of the composer-lyric poet determine the future development of the chamber-vocal genre, anticipating the innovative treatment of vocal plays.
24
Abdullayeva, Umida. "ROLE-PLAYING LYRICS IN THE WORKS OF USMAN AZIM." Scientific Reports of Bukhara State University 5, no. 5 (December 30, 2021): 167–78. http://dx.doi.org/10.52297/2181-1466/2021/5/5/15.
Повний текст джерелаАнотація:
Introduction. In today's new Uzbekistan, the vast opportunities created in all areas of science are making an invaluable contribution to their development. In particular, recent research in the field of literature has helped students who have read the new Uzbek literature and its theoretical updates to understand their ideological content through the analysis of poetic genres. The main part of the theory of Uzbek literature consists of lyrical, epic and dramatic works of modern modern Uzbek literature, the main theme of which is the idea of analyzing the work of art in terms of form and content. This article is devoted to the interpretation of works with the content of role-playing lyrics, introduced as a novelty in the new Uzbek literature. The essence of the concept of role-playing lyrics in the article is to study and resolve the contradictions arising from the approach to the concept of role-playing lyrics according to the content of works in the new Uzbek literature, as well as the emergence of various studies of role-playing lyrics. An attempt was made to unravel the mystery. It helps to understand the ideas and philosophical ideas put forward in the examples of role-playing lyrics in the new Uzbek literature. It clarifies the reader's perception of the content of Osman Azim's works and helps to fully, accurately and easily understand them. Research method. In the new Uzbek literature, in particular, samples of role-playing lyrics in the works of the poet Usmon Azim have been identified and analyzed. Poems depicting the role of the lyrical hero, his image of time and space, the content and essence of the role play, the lyrical image of the heroes of myths and legends in the work of the poet It is recommended to introduce the concept of role-playing lyrics in Uzbek literature. Research results and discussion. In secondary schools, lyceums and universities, it serves as a material for the analysis and reading of works of art in terms of theory and content. The lyrical works available in the new Uzbek literature are divided into genres according to their form and content. In the 60's in the Uzbek literature there were poems (in the textbook of the literary scholar D. Kuronov - role-playing lyrics (in Russian literature "rolevaya lyrica"), which clearly showed the incompatibility of the poet's personality with the lyrical hero. The reason why such poems are called role-playing lyrics is that in them the poet enters into the psyche of another person, as if he plays his role and depicts his heart in the play. One of the most important issues today is whether current lyric samples are accepted as a genre, what their characteristics are as a genre, and how existing lyrical samples are expressed in world and Uzbek literature. Opinions in this area require a clear scientific conclusion. In this research, we aim to explore and explore the content of examples of role-playing lyrics available in the new Uzbek literature. To this end, our research has the following objectives: - Comparative and analytical study of approaches to the concept of role-playing lyrics; - explain the differences between role-playing lyricism and monologue speech on a scientific basis, study the views of scholars on the theory of role-playing lyricism; - To study the skill of the poet Usmon Azim to create a sample of performing lyrics and to study the content of such poems; - to think about the art and ideas of poems, which express the harmony of folklore and role-playing lyricism; - Comparative and analytical study of examples of role-playing lyrics in world and Uzbek literature; - Comparative analysis of samples of role-playing lyrics according to their content. Conclusion. The types of lyricism in the new Uzbek literature, in particular, the concept of role-playing lyricism, have been scientifically studied through the opinions of scholars. The diversity of ideas in the samples of performing lyrics in world and Uzbek literature was examined in the example of creative work. In terms of content analysis, it has been scientifically proven that role-playing lyricism is a genre, which in turn serves to reveal the poet's personality. In this type of lyric poetry, the poet's poetic conclusion is explained through the work of Osman Azim. The content of the samples of performing lyrics was analyzed for the first time through the work of representatives of the new Uzbek literature. The lyrical protagonist and the performing lyrical image have been studied on a scientific basis. A new method was used to explain ideas such as the poet's personality and his ability to convey his thoughts in the image of another person. Samples of role-playing lyrics in Uzbek and world literature were compared.
25
Zhang, Jiarui. "Quotation as a Basis for Intertextuality in Sumerian Cult Lyric and City Laments." DABIR 9, no. 1 (November 30, 2022): 86–94. http://dx.doi.org/10.1163/29497833-00901010.
Повний текст джерелаАнотація:
This short communication investigates the concept of intertextuality in Sumerian literary texts, by studying the use of quotations in cult lyric and so-called City Laments. These text genres exhibit a series of intertextual borrowings, and the aim of this study is to discuss some examples of the use of quotations in these texts, as one of the most basic and important features of intertextuality in Sumerian literature.
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Duke, Craig. "Lyric Forms as “Performed” Speech in Das Rheingold and Die Walküre." Journal of Music Theory 65, no. 2 (October 1, 2021): 287–323. http://dx.doi.org/10.1215/00222909-9143204.
Повний текст джерелаАнотація:
Abstract There is growing recognition that Richard Wagner's mature works—the music dramas—owed much to earlier nineteenth-century opera. In the often-contentious area of Wagnerian form, analysts have tended to draw more on Wagner's writings and the Formenlehre tradition than on operatic models, but recent studies by Karol Berger and Ji-Yeon Lee have shown examples of opera-specific formal types in the music dramas. This article demonstrates Wagner's continued use of one such formal type—lyric form (AABA or AABC)—in five examples from Das Rheingold and Die Walküre. The first part of this article proposes a conceptual revision of lyric form as a conventional configuration of both music and text, which are united by a shared set of music-rhetorical functions. The second part shows how Wagner's lyric forms integrate into the surrounding dramatic continuity as extroverted, performative monologues within realistic conversations. The third part analyzes the much “looser” lyric form in “Wotan's Farewell” from the end of Die Walküre, which displays both Wotan's intimate, self-expressive communication and Wagner's increasing flexibility with the template. These analyses show that operatic formal types were compatible with Wagner's Gesamtkunstwerk aesthetic, and the analytic method suggests a path toward further engagement with other nineteenth-century opera and other genres that combine music, text, and dramatic storytelling.
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MAK, SU YIN. "Schubert's Sonata Forms and the Poetics of the Lyric." Journal of Musicology 23, no. 2 (2006): 263–306. http://dx.doi.org/10.1525/jm.2006.23.2.263.
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ABSTRACT Although recent scholarship has witnessed a welcome disavowal of the view that Schubert's formal and tonal designs in sonata form compositions bespeak the song composer's inability to master large-scale instrumental genres, it remains a commonplace to characterize Schubert's unorthodox practice as ““lyrical.”” Yet the historical, theoretical, and aesthetic bases of this lyricism have received little critical attention. A systematic and historically grounded approach to the notion of lyrical form in Schubert may be established by appealing to the rhetorical distinction between hypotaxis and parataxis, which pervaded late 18th-century discussions of both music and language. In particular, parataxis, a style that deliberately omits syntactical connections and relies instead on juxtaposition and parallelism, offers a suggestive technical link between Schubert's instrumental practice and the discursive techniques of contemporaneous lyric poetry. There are also aesthetic connections between idealist views of the lyric and the composer's own artistic beliefs, as confirmed by biographical documents. Schubert's approach to form was as much informed by these literary sensibilities as by the Classical compositional tradition. Like poets for whom the lyric served both as an Arcadian ideal of song and as an alternative to the prosaic realities of the present, Schubert evoked the lyric within the context of the sonata as a means of reunifying the dissociated sensibility of the Enlightenment. In so doing, he secured a place for the poetic imagination in instrumental music.
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D’Alessio, Giovan Battista. "The Problem of the Absent I." AION (filol.) Annali dell’Università degli Studi di Napoli “L’Orientale” 42, no. 1 (November 12, 2020): 1–30. http://dx.doi.org/10.1163/17246172-40010032.
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Abstract One of the greatest paradoxes of ancient Greek lyric poetry is its fundamental tension between the vivid evocation of a performance communicative context and the capability of the text to transcend the context itself. A key aspect of this is the way in which language can exploit both poles of this tension: the presentness of the performance and the transcendence of the text. This is a source of crucial interpretative problems, as well as of complex expressive potentialities. The focus of this paper is to examine some of the ways in which the shift of the use of first person indexicals serves the dialogue between text and performance, proceeding through three stages. In the first place I briefly analyze some different genres of discourse (drama, epistle, lyric) that in Archaic and Classical Greek display a complex use of indexicality calling attention to the ‘mediated’ nature of the communication process (§ 2). In the second stage I revise some examples of ‘mediated’ indexicality in Greek lyric in general (§ 3) and in Pindaric poetry in particular (§ 4). In the third stage I locate these cases within a wider comparative approach, exploring a suitable theoretical explanation of this important feature (§ 5).
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Zhilyakov, Sergey V. "Poetics of the epitaph “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet: genre attributes". Vestnik of Kostroma State University 27, № 2 (28 червня 2021): 110–16. http://dx.doi.org/10.34216/1998-0817-2021-27-2-110-116.
Повний текст джерелаАнотація:
The article examines the poetics of an epitaph “On the Death...ˮ on the example of the work of the same name proposed for analysis by the poem “On the Death of Alexander Druzhinin, January 19, 1864ˮ by Afanasy Fet. The purpose of the analysis is to determine the genre of the poem, which still remains unclear. The novelty of the author's approach is due to the fact that the discovery through analysis of such genre-forming attributes as genesis dating back to the epicedium (a kind of mourning elegy), genre “concept of personality”, burial portrait, the characteristic principle of figurative visualisation, dating of writing, that allows us to reveal the independent genre status of the poem. It is the genetic heredity of the epicidium, around which other considered genre attributes are concentrated, that helps to define the poem “On the Death...ˮ as a special genre form associated with mortal and memorial genres – the epitaph and the poem “In Memoriam...ˮ. Since the set of genre attributes, the composition of which may vary depending on the object of research, is ideally modelling in nature, the method of its application can be used in the future when studying both the genre poem “In Memoriam...ˮ and other lyric genres.
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Humeniuk, Olha. "The Poetics of Folk Love Songs of the Crimean Tatars." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 54, no. 1 (July 15, 2022): 239–52. http://dx.doi.org/10.36770/bp.678.
Повний текст джерелаАнотація:
The author of the article investigates the poetics, genre, and style structure of the folk love songs of the Crimean Tatars. Based on the works by such folklorists as Oleksiy Olesnytsky, Asan Refatov, Yahya Sherfedinov, Fevzi Aliyev, Ilyas Bakhshysh and others, but primarily on authentic texts, she allocates two main genres of folk lyrics of the Crimean Tatars, in which love motifs dominate. The most ancient is maqam. Characteristic of these lyrical compositions, a deep dramatic quality dictates a special emotional expressiveness. It is clearly shown with the help of exquisite figuration, such as wide chants in singing. Philosophical meditation is also a typical feature of these folk works. The other lyric genre, tiurkiu, is very widespread in the folk songs of Crimean Tatars, especially from the 19th century to our time. It covers laconic songs, which have easy lively rhythms. In the love tiurkiu, apart from the most widespread songs about unhappy love, it is also possible to distinguish two more genres: songs about overcoming alarms and troubles and songs about happy love. The perceptive description of the sadness and happiness of love, expresses a wide range of feelings, delicate shades of mood, an abundance of outstanding intonation, picturesque metaphors and symbolic concentration of the laconic imagery, the dynamic development of the lyrical plot, where the shapes of the narrative plot can often be guessed, the coherence and liveliness of the composition (line, retrospective, mosaic), the system of expressive repetitions, which reinforces the ornamental quality and, simultaneously, the clear coherence of the narration, the sophisticated sound and rhythmic organization: these are the main peculiarities of the poetic world of the Crimean Tatar folk love song.
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Harpham, Geoffrey Galt. "Genre and the Institution of Research: Three American Instances." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1635–43. http://dx.doi.org/10.1632/pmla.2007.122.5.1635.
Повний текст джерелаАнотація:
No concept is more fundamental to literary study than genre. It is virtually impossible to think seriously about literature without considering the codes or conventions that structure literary texts. Aristotle's distinction between the “poetic kinds” of epic and drama and Horace's insistence on poetic decorum are early attempts to distinguish among types of creative expression in order to understand and appreciate the specific excellences of each. The most enduring typology of genres divides literature into three classes, depending on who speaks in and therefore controls the work. As M. H. Abrams represents these distinctions, they consist of “lyric (uttered throughout in the first person), epic or narrative (in which the narrator speaks in the first person, then lets his characters speak for themselves); and drama (in which the characters do all the talking).” Other divisions have been proposed (e.g., Northrop Frye's division of comedy, tragedy, irony, and satire), as have more nuanced accounts of genre itself that focus on how genres can cross, mix, and stretch to include deviations from type. But as a means of imposing a preliminary principle of order on an immense and various field, genre is an indispensable concept.
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Sipkina, Nina Ya. "Cycle of Poems “Aleshkin’s Thoughts” by R.I. Rozhdestvensky: Development of the Traditions of the Genres of Children’s Folklore." Proceedings of Southern Federal University. Philology 25, no. 3 (September 30, 2021): 131–43. http://dx.doi.org/10.18522/1995-0640-2021-3-131-143.
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In the third decade of the twenty-first century, the bundle of poetic energy left by talented poets as a legacy to the generation of Russian people who stepped into the world of high technologies does not allow them to sleep peacefully. This is evidenced by the endless stream of films and programs about people who managed to melt the block of totalitarianism. We are talking about the poets of the sixties, including R. I. Rozhdestvensky. His work for more than sixty years excites the reader: lyrics (landscape, love, philosophical, civil, confessional) and poems (“Requiem”, “Dedication”, “Before you Come”, “Waiting”, etc.). This article analyzes the cycle of poems “Aleshkin’s Thoughts” by R. I. Rozhdestvensky, which reflects the artistic world of childhood and has autobiographical features. The poet’s childhood associations were embedded in the poems-monologues of the three-yearold lyric character. The influence of children’s folklore on the structure and content of the cycle is traced. The development of genres of children’s folklore (fairy tales, jokes, nursery rhymes, tall tales, shifters, parodies, witticisms, horror stories, teasers, mimicry, mockingbirds, jokes, excuses, etc.) in the poems “Aleshkin’s thoughts” is revealed. It is noted that the continuation of the development of genres of children’s folklore in the work helped to reflect the serious-laughing perception of the author of the cycle on the life events of the baby.
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Ram, Harsha. "The Sonnet and the Mukhambazi: Genre Wars on the Edges of the Russian Empire." PMLA/Publications of the Modern Language Association of America 122, no. 5 (October 2007): 1548–70. http://dx.doi.org/10.1632/pmla.2007.122.5.1548.
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Genres travel in multiple directions. This article maps the evolution and movement of two lyric genres in Georgia, a small nation situated south of the Caucasus mountains, between Russia, Turkey, and Iran. The mukhambazi arose from a polyglot urban culture rooted in Near Eastern traditions of bardic performance and festivity, while the sonnet was imported around the time of the Russian Revolution as a marker of European modernization. The brief coexistence of these two genres allows for a reexamination of the foundational opposition between East and West. Moving beyond the familiar dichotomy of tradition and modernity, this essay explores the texts and debates of more than a century, reconstructing the discrepant cosmopolitanisms and multiple modernities that typified the Caucasus region. In doing so, it seeks both to make available a literary archive unknown to American readers and to contribute to ongoing debates on the relations between the local, the national, and the imperial as cultural formations.
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SOUSSOU, Moulay Youssef. "Le « jeune » Flaubert et l’apprentissage des genres littéraires." FRANCISOLA 3, no. 1 (July 9, 2018): 34. http://dx.doi.org/10.17509/francisola.v3i1.11889.
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RÉSUMÉ. L’étude des premiers écrits de Flaubert est un domaine encore inexploré. Une telle étude est tellement salutaire pour saisir la formation de l’écrivain et décrire l’évolution de son style à travers les différentes étapes de son œuvre de jeunesse marquée par l’exploration de plusieurs genres littéraires. Pourquoi le jeune écrivain privilégie-t-il deux genres majeurs, le genre autobiographique qui lui permet de concrétiser sa faculté lyrique et le genre théâtral où se révèle sa nature oratoire ? Le style de Flaubert est animé par les deux dimensions lyrique et oratoire, lesquelles dimensions marquent le premier roman de maturité Madame Bovary. Si ce roman marque un tournant dans la carrière de l’auteur c’est d’une part parce qu’il cumule les procédés de l’œuvre de jeunesse et d’autre part constitue le dépouillement du style de cette même œuvre. C’est avec et contre les procédés de l’écriture romantique que Flaubert forgera son style. Mots clés : Evolution, Flaubert, Genre, style, Roman. ABSTRACT. The study of Flaubert's early writings is a domain that has not been explored yet. Conducting such a study is so beneficial for grasping the writer's formation and describing the evolution of his style through the different stages of his youthful work, which is marked by the exploration of several literary genres. Why does the young writer privilege two major genres, the autobiographical genre that allows him to concretize his lyric faculty and the theatrical genre in which his oratorical nature is revealed? Flaubert's style is animated by the two lyrical and oratorical dimensions, which characterize maturity of his first novel Madame Bovary. If this novel marks a turning point in the author’s career, it is because, on the one hand, it combines the processes of the work of youth, and, on the other hand, it consitutes the emerging style of the same work. It is with and against the processes of romantic writing that Flaubert forges his style. Keywords : Evolution, Flaubert, genre, novel, style.
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Gunawan, Septia Tri, Didin Nuruddin Hidayat, Alek Alek, and Nida Husna. "Figurative language used in Blackpink featuring Selena Gomez's song lyric "Ice Cream": A discourse analysis." Journal of Applied Studies in Language 5, no. 1 (June 5, 2021): 1–9. http://dx.doi.org/10.31940/jasl.v5i1.2281.
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A pop song is one of the popular genres widespread in society. The label 'popular' is used as it covers a diverse range of masses, started from pre-dominantly youth to adult, that target them as the market. To the extent of the popular meaning, a song is supported with alluring music video clips, entertaining musical instruments, and lyrics that make an addiction by turning the repeat mode on a music player. Regardless, no all of the songs carried by singers incorporate lyric meanings of what they indeed seem. They thus frequently embed figurative features of the language to fit the context of a song. The figurative language feature is a variety of language that authors operate to convey out of the comprehension of literal meaning. It then involves no surface context instead of a deep one. Therefore, this descriptive qualitative analysis study was conducted to investigate how figurative language features carry and influence the meaning behind BLACKPINK-Selena Gomez's song Ice Cream. The findings showed that metaphor (48%) was the most frequent figure spotted in the musical discourse, followed respectively by simile (28%), hyperbole (12%), and repetition (12%). It indicated the song was intended to convey the lyrics contained no real-context meanings that can cause misleading or even be puzzlement if the listeners cannot comprehend the song as a whole. Therefore, further research may comprehensively consider this issue with different perspectives to broaden the language field.
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D-Vasilescu, Elena Ene. "Generation (γενεά) in Gregory Nazianzen’s poem On the Son". Akropolis: Journal of Hellenic Studies 1 (27 грудня 2017): 169–84. http://dx.doi.org/10.35296/jhs.v1i0.11.
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The article examines the nature of the dogmatics found in the poetry written by Gregory of Nazianzus (c. 329-390) through a particular case-study, the poem On the Son. It demonstrates that his lyric composition contains the same doctrine conveyed by the orations authored by him and exposes the manner in which he employs similar terminology in works belonging to both genres. In order to attain its objective my article compares the above-mentioned piece with Orations 29 and 30 that bear the same title.
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Romanova, Irina V. "The Resurrection of the Genre Book Review: Artemova S.Yu. Lyric Genres Today. Tver, Tver State University Publ., 2020. 191 p." New Philological Bulletin, no. 4 (2021): 440–47. http://dx.doi.org/10.54770/20729316_2021_4_440.
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EVERIST, MARK. "Theatres of litigation: Stage music at the Théâtre de la Renaissance, 1838–1840." Cambridge Opera Journal 16, no. 2 (July 2004): 133–61. http://dx.doi.org/10.1017/s095458670400182x.
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From 1807 to 1864, Parisian music drama was governed by a system of licences that controlled the repertory of its three main lyric theatres: the Opéra (variously Académie Royale, Nationale and Impériale de Musique), the Théâtre-Italien and the Opéra-Comique. Between 1838 and 1840, the Théâtre de la Renaissance gained a licence to put on stage music, and quickly succeeded in establishing a reputation for energetic management, imaginative programming together with artistically and financially successful performances. It could do this only by exploiting what were effectively newly invented types of music drama: vaudeville avec airs nouveaux and opéra de genre. The invented genres however brought the theatre into legal conflict with the Opéra-Comique and Opéra respectively, and opened up a domain of jurisprudence –associated with repertory rather than copyright – hitherto unsuspected.
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Kulikova, Elena Yu. "Vitaly Ryabinin’s “Japanese watercolors”: genre and stanza experiments." Sibirskiy filologicheskiy zhurnal, no. 3 (2021): 100–112. http://dx.doi.org/10.17223/18137083/76/8.
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“Exotic” themes, extremely popular in art at the turn of the 19th-20th centuries, craving for “foreign,” for extraordinary travels to Africa, India, the East, determined not only the properties of plot-motive complexes in literature, painting, and music but also the features of genre structure of the Silver Age works. In his microcycle “Japanese watercolors” from the poetic book “Melody-trill chords,” the poet V. Ryabinin operates with lyric genres (sonnet, romance) and stanza forms (sextins, hexameters). Stylized genres and stanzas reveal the author’s technique and show classic solid forms in a new aspect. The poet uses Japanese names (“Niavari,” “Nipu,” “Kitamura”), immerses the reader into the world of Japanese words and images (“Harakiri,” “Arigato,” “Geisha,” “Sayonara,” “hasivar”), mentions geographical names (“Fujiyama,” “Sumidagawa,” “Kurisan”), and even composes the poems in the hokku (haiku) genre. These are exactly “watercolors” - the poems combining the richness of tone, dense and bright construction of space, and “black and white” graphicality of images and motives. To emphasize this protuberant solidity, “sketches” are placed in strict forms. Thus, from “drawing” to “drawing”, from text to text, the reader moves in the world of Japanese shadows created by Ryabinin. “Watercolors” are an attempt to comprehend the colors and shades of the Japanese soul by a European - sometimes in a European manner, using “Western tools.” From the oriental genres, the poet chooses only the hokku, and the rest of the poems are created in terms of European classical forms, the Japanese theme entirely penetrating the cycle of “Watercolours.”.
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Ferreira de Castro, Junior César. "In the Trace of Gerardo Mello Mourão: The Inter-Gender Hybridism and the Formation of Epiliric Poetry in Contemporary Brazilian Literature." Logos Universality Mentality Education Novelty: Philosophy & Humanistic Sciences 8, no. 2 (December 28, 2020): 35–50. http://dx.doi.org/10.18662/lumenphs/8.2/44.
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In its configurative and representational basis, contemporary literature has established a warm dialogue with the classic and modern canons for the formation of literary genres that distance themselves from the poetics in force in order to establish their own aesthetics since the contemporary is in maintaining this gaze fixed on the present by returning to the past to deny or affirm it as the tradition of the new or the new of tradition (PAZ, 2000). The present study is justified in raising the reflection on the form of the epic and the lyric based on the transformations that occurred over the centuries to found an epic-lyric poetry as a renewing style of contemporary Brazilian poetry, the object of this research, which is based on the works Invention of the sea and Os peãs, by Gerardo Mello Mourão. The objective is to demonstrate the resistance of the epic in the current world by the hybrid composition that is established in the act of its production by the exteriority of the real along with the narrator's subjectivity. The problem of intergeneric hybridism is developed through bibliographic and qualitative research with intermediation of the deductive method and through the aesthetic-philosophical bias to demonstrate that it becomes the guiding element of this avant-garde style capable of establishing historical events through the temporality built by the world text. This whole discussion is centered on Aristotle (1992) and Boileau (1990), going through Hegel (1997), Lukacs (2000) and Bakhtin (2010) until arriving at Staiger (1997), Lima (2002), Greenfield (2006) and Kristeva (1995), showing that the epic-lyric poem is supported by the pluridiscursive dialogism maintained between the nature of the stylization of the lyric and epos as a style and not as a novelized process.
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Plumley, Yolanda. "Citation and allusion in the late Ars nova: The case of Esperance and the En attendant songs." Early Music History 18 (October 1999): 287–363. http://dx.doi.org/10.1017/s0261127900001881.
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In his Prologue, Guillaume de Machaut lists the ballade entée, or ‘grafted ballade’, as one of the many genres he is inspired to write to praise and honour all ladies. It is unclear from this fleeting reference, however, exactly what type of work Machaut meant by this term and whether he was referring to a purely poetic form or to one that involved music. That the practice of citation in lyric poetry was well established at this time is demonstrated by Machaut's own output, which reveals him to have been a master of this art; this literary tradition was to continue to thrive in the later fourteenth century.
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Zańko, Aldona. "„Tam zaczyna się mój świat” – Hans Christian Andersen wobec ojczyzny na przykładzie wybranych utworów pisarza z gatunku tzw. pieśni o ojczyźnie (fœdrelandssang)." Przegląd Humanistyczny 62, no. 2 (461) (October 4, 2018): 89–100. http://dx.doi.org/10.5604/01.3001.0012.5793.
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This article discusses the patriotic themes in the works of the Danish writer Hans Christian Andersen. These considerations are based on selected “songs about the fatherland” written by the author discussed in the perspective of the program of the Danish national Romantic era. Based on the analytical material, the author carries out the reconstruction of Andersen’s vision of the fatherland, pointing to its multidimensionality dictated by the historical and literary context. Focusing on lyric poetry, the article also contributes to the broadening of Andersen’s reception in Poland to include the genres marginalized so far, giving a more complete picture of the fairy tale writer’s works.
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Karmila Dewi, Ni Luh, and Ni Made Ayu Widiastuti. "An Analysis of Slang Words in Song Lyrics Used in the Songs “That’s What I Like”, “Smoke On The Water”, and “Ch-Check It Out”." Udayana Journal of Social Sciences and Humanities (UJoSSH) 4, no. 2 (September 29, 2020): 85. http://dx.doi.org/10.24843/ujossh.2020.v04.i02.p08.
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The paper entitled “An Analysis of Slang Words in Song Lyrics Used in the Songs “That’s What I Like”, “Smoke On The Water”, and “Ch-Check It Out”. This study concern with the analysis of slang words in the Songs “That’s What I Like”, “Smoke On The Water”, and “Ch-Check It Out”. There are three statement problems (1) What are the types of slang words used in the song? (2) What is the meaning of slang words in the three sample that are in the lyric? (3) What is dominant type of slang words of three song lyrics? The data of this study were collected from three song lyrics in different genres: pop, rock, and rap song. Documentation method was used to collect the data and qualitative method was used to describe the types of slang words, the meaning of slang word, and dominant types of slang words that used in three song lyrics. The writer used theory of the types slang by Patridge (2004:204) and the meaning of the slang word used theory by Geoffrey Leech (1974).There are six types of slang words which are found in this study such as four slang words in publicity, four slang in public School and University, twenty one slang words in society, three slang in theatre, one soldier’s slang, and one public house slang. Then, there are six meanings of slang word are found by the writer: seven in collocative meaning, six in conceptual meaning, five in stylistic meaning, three in connotative meaning, six in reflected meaning and four in affective meaning. From the analysis that were found that society slang and collocative meaning mostly found and used in there song lyrics.
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Delany, Sheila. "English 380: Literature in Translation: Medieval Jewish Literature; Studies in medieval culture." Florilegium 20, no. 1 (January 2003): 201–5. http://dx.doi.org/10.3138/flor.20.047.
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Jewish culture has a continuous existence of nearly three millennia. This course isolates a small portion of it to read, in translation, work composed during the Middle Ages by authors from several countries and in several genres: parable and fantasy, lyric and lament, polemic, marriage manual, romance. Some of our material has not been translated into English before and is not yet available in print. We are fortunate to have brand-new pre-print copies of Meir of Norwich and especially of the famous Yiddish romance the Bovo-buch (in the course-pack)—an early modern version of a widely-read (non-Jewish) medieval text. Primary texts will be supplemented by scholarly books on which each student will offer a short class presentation.
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Sparling, Heather. "“Music is Language and Language is Music”." Ethnologies 25, no. 2 (April 13, 2004): 145–71. http://dx.doi.org/10.7202/008052ar.
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Abstract In this article, the author considers the effects of language attitudes, a sociolinguistic concern, on musical practice. This article assumes that language and music attitudes are related as different expressions in and of a common cultural context. The author demonstrates how Scots Gaelic language attitudes in Cape Breton (where a few hundred people still speak the language) have developed, and considers the possible interplay with current attitudes towards two particular Gaelic song genres. Gaelic language learners and native/fluent speakers in Cape Breton articulated distinct and opposing attitudes towards the song genre of puirt-a-beul [mouth music], and these attitudes are examined in relation to those towards the Gaelic language and compared with their response to eight-line songs, a literary Gaelic song type. Detailed musical and lyric analyses of three Gaelic songs are provided to illustrate the connection between language and music attitudes. The current attitude towards Gaelic in Cape Breton is traced through the history of language policy in Scotland and Cape Breton. These sociolinguistic and musicological analyses are supplemented with ethnographic evidence.
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Fiorenza, Giancarlo. "Penelope’s Web: Francesco Primaticcio’s Epic Revision at Fontainebleau*." Renaissance Quarterly 59, no. 3 (2006): 795–827. http://dx.doi.org/10.1353/ren.2008.0370.
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Francesco Primaticcio designed his celebrated Galerie d’Ulysse at Fontainebleau (now destroyed) at a time when the epic genre was being updated and redefined. One of the most popular scenes from the gallery, Ulysses and Penelope recounting their adventures to one another in bed (from book 23 of theOdyssey),was adapted and revised in an independent composition by Primaticcio himself:Ulysses and Penelope(Toledo Museum of Art, ca. 1560). In contrast to the Fontainebleau mural, the artist’s self-conscious, refined pictorial language for his canvas converts epic energy into lyric sentimentality. As a result, Penelope becomes the central focus of the new composition. Through the language of gesture the painting stresses such themes as beauty and desire, and further employs such prized poetic devices as reversal (peripeteia) and recognition (anagnorisis). By responding to the formal prescriptions of both the epic and romance genres, Primaticcio exploits the expressive and visual potential of the Homeric episode in an utterly novel way. The painting opens up questions into ways of reading, viewing, and interpreting mythic subject matter in sixteenth-century France.
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Eltsova, Elena Vlasovna. "WAYS OF DEVELOPMENT OF KOMI POETRY IN THE SECOND HALF OF THE 20TH - FIRST QUARTER OF THE 21ST CENTURIES." Yearbook of Finno-Ugric Studies 15, no. 3 (September 28, 2021): 446–56. http://dx.doi.org/10.35634/2224-9443-2021-15-3-446-456.
Повний текст джерелаАнотація:
The article examines the process of the historical development of Komi poetry in the 1946-2020s. The author's composition of several periods is presented in detail: the first post-war decade, 1960-1980s, 1990-2000s. The closest attention is paid to the characteristics of the work of the leading poets of these years: I. Vavilin, S. Popov, F. Shcherbacov, A. Vaneev, V. Popov, G. Yushkov, A. Misharina, V. Timin, G. Butyreva, A. Luzhikov; their main genre and thematic preferences are determined. For the first time, the description of the unified process of development of Komi poetry in the second half of the 20 - first quarter of the 21 centuries includes the newest period of the 1990s - 2000s in its connection with previous periods. A review of poetic works (poems and verses) over several decades led to the conclusion that Komi poetry since the end of the Great Patriotic War has gone through a difficult, ambiguous of development. It suffered significant losses during the repression of the 1930s and during the war years, but was able to recover and reach a new level of development. During these years, several generations of authors took part in the development of Komi poetry, turning in their work to the development of a variety of topics, genres, forms. The process of mastering by poetry in different periods of genres of European and Eastern literatures is especially noted: rubai, sonnet and wreath of sonnets, vers libre, tanka, hokku. The development of such a major lyric-epic genre of poetry as a poem is traced as one of the most important in the work.
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Rybina, M. S. "EKPHRASIS AS MEMORY SPACE IN M. PROUST’s “PORTRAITS DE PEINTRES”." Bulletin of Udmurt University. Series History and Philology 32, no. 3 (July 8, 2022): 630–35. http://dx.doi.org/10.35634/2412-9534-2022-32-3-630-635.
Повний текст джерелаАнотація:
The article considers ekphrasis as one of the ways to create visual images in M. Proust’s “Portraits de Peintres”. The relevance of the research is resulted from arising interest to the phenomenon of literary visuality as well as the absence of specialised works devoted to the early lyric cycle of French modernist. The purpose of the article is to analyse devices of intersemiotic translation from a visual impression into a verbal description. Despite the full neglect on the part his contemporaries and researchers’ scepticism to Proust’s sole lyric cycle, this early experience contains, in our view, a repertoire of Proust’s recurring images and motifs. Artistic discourse of “Portraits de Peintres” refers, at a minimum, to three artistic codes: traditional genres of painting, literary ekphrasis, musical illustration. M.Proust combines the details of several paintings in his description, thus creating a text-puzzle, in which recognisable objects and the sequence of their appearance represent the manner of an artist and/or the style of an epoch in the mind of a recipient. Ekphrasis does not refer to the particular painting but to the genre image: “rural landscape” (Cuyp), “elegiac landscape” (Potter), “ceremonial portrait” (Van Dyck), “theatre scenery” (Watteau). They correspond to four literary models: idyll (Cuyp), lamentation (Potter), panegyric (Van Dyck), madrigal (Watteau). “Portraits de Peintres” gave rise to the layering typical for “later” Proust, when each time the text encourages to guess the new source of the “quotation”: symbolic landscape of the Dutch art, “portrait gallery” of great artists, emblematic puzzle image. The analysis of visuality in Proust’s cycle allows to assume that his Ekphrasis is not oriented to an individual artwork but to a text corpus even if the object of imitation comprises the individual style.
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Currie, Bruno. "Intertextuality in Early Greek Poetry: The Special Case of Epinician." Trends in Classics 13, no. 2 (November 1, 2021): 289–362. http://dx.doi.org/10.1515/tc-2021-0011.
Повний текст джерелаАнотація:
Abstract This paper offers a reappraisal of the role of intertextuality in fifth-century BCE epinician poetry by means of a comparison with the role of intertextuality in all of early Greek hexameter poetry, ‘lyric epic’, and fifth-century BCE tragedy and comedy. By considering the ways in which performance culture as well as the production of written texts affects the prospects for intertextuality, it challenges a scholarly view that would straightforwardly correlate intertextuality in early Greek poetry with an increasing use and dissemination of written texts. Rather, ‘performance rivalry’ (a term understood to encompass both intra- and intergeneric competition between poetic works that were performed either on the same occasion or on closely related occasions) is identified as a plausible catalyst of intertextuality in all of the poetic genres considered, from the eighth or seventh century to the fifth century BCE. It is argued that fifth-century epinician poetry displays frequent, fine-grained, and allusive intertextuality with a range of early hexameter poetry: the Iliad, the poems of the Epic Cycle, and various ‘Hesiodic’ poems – poetry that in all probability featured in the sixth-fifth century BCE rhapsodic repertoire. It is also argued that, contrary to what is maintained in some recent Pindaric scholarship, there is no comparable case to be made for a frequent, significant, and allusive intrageneric intertextuality between epinician poems: in this respect, the case of epinician makes a very striking contrast with epic, tragedy, and comedy – poetic genres to which intrageneric intertextuality was absolutely fundamental. It is suggested that the presence or absence of intrageneric intertextuality in the genres in question is likely to be associated with the presence or absence of performance rivalry. A further factor identified as having the potential to inhibit intrageneric intertextuality in epinician is the undesirability of having one poem appear to be ‘bettered’ by another in a genre were all poems were commissioned to exalt individual patrons. This, again, is a situation that did not arise for epic, tragedy, or comedy, where a kind of competitive or ‘zero-sum’ intertextuality could be (and was) unproblematically embraced. Intertextuality in epinician thus appears to present a special case vis-à-vis the other major poetic genres of early Greece, whose workings can both be illuminated by consideration of the workings of intertextuality in epic, tragedy, and comedy, and can in turn illuminate something of the workings of intertextuality in those genres.
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Avulova Nargiza Toxirovna. "Colors and their artistic image creation features." International Journal on Integrated Education 3, no. 10 (October 20, 2020): 251–54. http://dx.doi.org/10.31149/ijie.v3i10.747.
Повний текст джерелаАнотація:
Colors have long been used by artists as a means of depicting unique and beautiful landscapes, to ensure the attractiveness of speech, to create an artistic image in poetry. The colors are used in works of art, mainly in lyrical genres, reveals the appearance of inner experiences, emotions, beauty and creative influence. In poetry, such forms of art as allegory, allegory and irony are expressed through colors.Classical and modern Persian-Tajik poets skillfully used the means of color in their work, creating beautiful and unique images through their artistic potential. Nowadays, in Tajik literature, the properties of colors to create an artistic image have not been fully studied. This article describes the features of colors in lyric art and their role in poetry on the basis of concrete evidence from the poems of new Tajik poets.