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Статті в журналах з теми "Patience (Middle English poem)"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 22 лютого 2023

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1

Pittman, Josh. "The Most Important Virtue?" Renascence 71, no. 1 (2019): 57–75. http://dx.doi.org/10.5840/renascence20197114.

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The narrator of the Middle English Cleanness states that God punishes sexual sin more harshly than any other sin. This essay argues that the rest of the BL Cotton Nero A.x manuscript continues to develop the virtue of temperance, which governs sexual behavior, as a central theme. Pearl uses temperance to bring home the dreamer’s sin and God’s justice, while Patience and SGGK employ the interrelation between temperance and fortitude in ways that make temperance foundational. Interrogating the interdependence of the virtues allows the poet to challenge the traditional hierarchy of virtues, in wh

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2

Stanley, E. G. "The Middle English Lyric and Short Poem." Notes and Queries 49, no. 1 (March 1, 2002): 113–14. http://dx.doi.org/10.1093/nq/49.1.113.

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3

Stanley, E. G. "The Middle English Lyric and Short Poem." Notes and Queries 49, no. 1 (March 1, 2002): 113–14. http://dx.doi.org/10.1093/nq/490113.

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4

Palti, K. "The Bound Earth in Patience and Other Middle English Poetry." Interdisciplinary Studies in Literature and Environment 20, no. 1 (February 6, 2013): 31–51. http://dx.doi.org/10.1093/isle/ist001.

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5

BURROW, J. A. "TWO NOTES ON THE MIDDLE ENGLISH PATIENCE , lines 56 and 329." Notes and Queries 36, no. 3 (September 1, 1989): 300–303. http://dx.doi.org/10.1093/nq/36-3-300.

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6

Smith, Ross. "J. R. R. Tolkien and the art of translating English into English." English Today 25, no. 3 (July 30, 2009): 3–11. http://dx.doi.org/10.1017/s0266078409990216.

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ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is

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7

Coleman, Janet. "The Owl and the Nightingale and Papal Theories of Marriage." Journal of Ecclesiastical History 38, no. 4 (October 1987): 517–68. http://dx.doi.org/10.1017/s0022046900023630.

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In English and American Studies in German, summaries of theses and monographs, a supplement to Anglia, 1983, there is a notice of Hans Sauer's edition of the Middle English poem the Owl and the Nightingale with a German translation. Sauer stresses ‘that no completely satisfactory interpretation of this fascinating poem has been suggested so far. At best, only some of the aspects of O & N are covered by the various allegorical explanations or by reading it as a burlesque-satirical poem - these interpretations by no means explain its significance as a whole.’ The present paper suggests that

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8

Morrison, Susan Signe. "Slow Practice as Ethical Aesthetics: The Ecocritical Strategy of Patience." Ecozon@: European Journal of Literature, Culture and Environment 11, no. 2 (September 17, 2020): 118–27. http://dx.doi.org/10.37536/ecozona.2020.11.2.3453.

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How can cultural works from the distant past –such as the Middle Ages—teach us ethical modes of behavior for today? One form of ecopoetics emerges through slow practice, making the reader collaborate in the measured process of co-creating the emotional impact of an imaginative text. Drawing on rich debates about slow cinema, this essay suggests how Chaucer’s The Clerk’s Tale—from his grand fourteenth-century poem, The Canterbury Tales—evokes a slow eco-aesthetics with ethical impact. The relative slowness of walking shapes how individuals respond to their environment. In turn, a deceleration o

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9

TARVERS, JOSEPHINE KOSTER. "A HITHERTO UNNOTICED MIDDLE ENGLISH POEM IN UNIVERSITY OF PENNSYLVANIA MS ENGLISH 6 1." Notes and Queries 32, no. 4 (December 1, 1985): 447–49. http://dx.doi.org/10.1093/nq/32-4-447.

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10

Boffey, Julia, and Paula Simpson. "A Middle English Poem on a Binding Fragment: an Early Valentine?" Review of English Studies 67, no. 282 (July 20, 2016): 844–54. http://dx.doi.org/10.1093/res/hgw074.

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11

NEWHAUSER. "A MIDDLE ENGLISH POEM ON THE FLEETING NATURE OF MATERIAL WEALTH." Medium Ævum 71, no. 1 (2002): 74. http://dx.doi.org/10.2307/43630390.

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12

Easterling. "Ascetic Desire and the Enclosed Body in the Middle English Patience." Journal of Medieval Religious Cultures 40, no. 2 (2014): 144. http://dx.doi.org/10.5325/jmedirelicult.40.2.0144.

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13

Thomas D. Hill. "God's “Inquits” and Exegetical Speech Theory in the Middle English Patience." Journal of English and Germanic Philology 116, no. 2 (2017): 182. http://dx.doi.org/10.5406/jenglgermphil.116.2.0182.

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14

Williams, Mark. "Astrological Poetry in late medieval Wales: the case of Dafydd Nanmor’s ‘To God and the planet Saturn’." Culture and Cosmos 12, no. 02 (October 2008): 3–22. http://dx.doi.org/10.46472/cc.0212.0203.

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This paper examines the major astrological poem which survives from late medieval Wales, Dafydd Nanmor’s ‘Cywydd to God and the planet Saturn’. A close reading of the poem suggests that actual horoscopes, rather than just a vague knowledge of astrology, were accessible in Wales at the end of the Middle Ages. As a result, Dafydd Nanmor’s poem can now be dated to September 1479. This is set in the context of the sociology of English astrology at the end of the Middle Ages; by the middle of the 15th century, astrology was percolating down from the court an universities into the cultural life of t

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15

Sutton, Peter. "Alliteration in Modern and Middle English: “Piers Plowman”." Armenian Folia Anglistika 10, no. 1-2 (12) (October 15, 2014): 54–62. http://dx.doi.org/10.46991/afa/2014.10.1-2.054.

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William Langland’s 8000-line fourteenth-century poem Piers Plowman uses an alliterative rhyme scheme inherited from Old English in which, instead of a rhyme at the end of a line, at least three out of the four stressed syllables in each line begin with the same sound, and this is combined with a caesura at the mid-point of the line. Examples show that Langland does not obey the rules exactly, but he is nevertheless thought to be at the forefront of a revival of alliterative verse. Further examples demonstrate that alliteration was never entirely replaced by end-rhyme and remains a feature of p

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16

Stolyarova, Anastasiya G. "Evolution of Middle English Alliterative Phrases in 15th-Century Scottish Poetry: New Forms and Functions." Vestnik of Northern (Arctic) Federal University. Series Humanitarian and Social Sciences, no. 5 (October 10, 2020): 89–97. http://dx.doi.org/10.37482/2227-6564-v052.

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Alliterative phrases, along with traditional poetic words and substantivized epithets, are considered to be a typical feature of the diction of alliterative revival in England and Scotland, a special marker of this tradition. Formulaic alliterative phrases are quite a different phenomenon than traditional oral poetic formulas; their formulaic character is expressed in potential variation of their elements provided that the semantics and the alliteration scheme are preserved, which allows poets to create individual author variants on the basis of traditional phrases. The paper discusses the use

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17

Metlitzki, Dorothee. "The Pearl Poem in Middle and Modern English ed. by William Vantuono." Studies in the Age of Chaucer 10, no. 1 (1988): 197–201. http://dx.doi.org/10.1353/sac.1988.0036.

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18

McDermott, Ryan. "The Ordinary Gloss on Jonah." PMLA/Publications of the Modern Language Association of America 128, no. 2 (March 2013): 424–38. http://dx.doi.org/10.1632/pmla.2013.128.2.424.

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THE ORDINARY GLOSS WAS THE MOST WIDELY USED EDITION OF THE BIBLE IN THE LATER MIDDLE AGES AND WELL INTO THE SIXTEENTH century. Medievalists know the commentary element as the Gloss to which theologians as diverse as Thomas Aquinas, Bonaventure, John Wyclif, and Martin Luther habitually referred. As the foremost vehicle for medieval exegesis, the Gloss framed biblical narratives for a wide range of vernacular religious literature, from Dante's Divine Comedy to French drama to a Middle English retelling of the Jonah story, Patience.

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19

Gasse, Rosanne. "Dowel, Dobet, and Dobest in Middle English Literature." Florilegium 14, no. 1 (January 1996): 171–95. http://dx.doi.org/10.3138/flor.14.011.

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One of the bugbears of Piers Plowman criticism has always been the definition of Dowel, Dobet, and Dobest. The attempts to elucidate these terms have been many — the best known perhaps being those that have been based upon a critical desire to equate the triad of Dowel, Dobet, and Dobest with respectively the triads of the Active, Contemplative, and Mixed lives, or the unitive, purgative, and illuminative stages of mysticism. One immediate problem with the first in particular is Will’s explicit statement in the Ctext that there are “but tweyne lyves’ (XVIII.81) and Liberum Arbitrium’s explanat

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20

Spyra, Piotr. "Beyond the Garden: On the Erotic in the Vision of the Middle English "Pearl"." Text Matters, no. 3 (November 1, 2013): 13–26. http://dx.doi.org/10.2478/texmat-2013-0023.

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The Middle English Pearl is known for its mixture of genres, moods and various discourses. The textual journey the readers of the poem embark on is a long and demanding one, leading from elegiac lamentations and the erotic outbursts of courtly love to theological debates and apocalyptic visions. The heterogeneity of the poem has often prompted critics to overlook the continuity of the erotic mode in Pearl which emerges already in the poem’s first stanza. While it is true that throughout the dream vision the language of the text never eroticizes the relationship between the Dreamer and the Pear

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21

Schustereder, Stefan. "COMING TO TERMS WITH A PAGAN PAST: THE STORY OF ST ERKENWALD." Studia Anglica Posnaniensia 48, no. 2-3 (December 1, 2013): 71–92. http://dx.doi.org/10.2478/stap-2013-0008.

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ABSTRACT The poem of St Erkenwald and his encounter with the body of a pagan judge preserved in a tomb underneath St Paul's Cathedral has never provoked an intense scholarly discussion. During the past two decades, however, the poem has altogether lost the scarce attention it used to receive. This is surprising in regards to its outstanding quality but also because of a number of peculiar characteristics the text has in comparison with other works written during the Middle Ages. Arguing for the importance of the historical details provided by the poem, my article takes a number of these peculi

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22

Honegger, Thomas. "'A Fox is a Fox is a Fox... ' The Fox and the Wolf Reconsidered." Reinardus / Yearbook of the International Reynard Society 9 (December 31, 1996): 59–74. http://dx.doi.org/10.1075/rein.9.06hon.

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Abstract The Middle English The Fox and the Wolf is the first piece of evidence that 'Renart' had crossed the 'linguistic channel' which separated the Anglo-Norman nobility from their English subjects. The article argues that the poet tries to take into account his audience's likely unfamiliarity with the scurrilous beast-epic hero by linking his poem with the already familiar traditions of the beast tale, the beast fable, as well as The Physiologus and the bestiary.

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23

Olesiejko, Jacek. "Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A." Studia Anglica Posnaniensia 45, no. 1 (January 1, 2009): 153–62. http://dx.doi.org/10.2478/v10121-009-0010-9.

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Heaven, Hell and Middangeard: The Presentation of the Universe in the Old English Genesis A Since the times of Antiquity, people have looked up to the sky and developed various conceptions of Heaven and Hell. Already in the ancient Egypt people developed the tripartite conception of universe with earth placed between the Heaven inhabited by gods above and Hell below. The Old English poetic text of Genesis (MS Junius 11; compilation dated to the 10th century) presents the earthly paradise, Hell and Middangeard (or the middle earth). Both Genesis A and B that comprise the poem indeed show a sing

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24

Xenia, Tia. "Vowel Change Found in Geoffrey Chaucer�s The House of Fame: Great Vowel Shift." Journal of Language and Literature 15, no. 1 (April 1, 2015): 36–45. http://dx.doi.org/10.24071/joll.v15i1.371.

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It has already been understood that Great Vowel Shift (GVS) takes the major differences between the pronunciation in Middle English and Modern English. GVS is a change in pronunciation of vowel sounds in English language. The evidence of this change can be attained through written texts. It can be found by comparing Geoffrey Chaucers literary works to William Shakespeares works to see the differences. However, in this paper I focused only on analyzing the GVS in Geoffrey Chaucers poem entitled The house of Fame. The purpose of this study is to find out what kind of sound shift appears in The H

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25

Gardiner-Scott, Tanya. "The Missing Link: An Edition of the Middle English ‘Ypotis’ from York Minster MS XVI.L.12." Traditio 46 (1991): 235–59. http://dx.doi.org/10.1017/s0362152900004256.

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The Middle English Ypotis, a ‘wise child’ dialogue poem deriving from the third century A.D. Latin Altercatio Hadriani Augusti et Epicteti philosophi via the French L'Enfant sage versions, exists in fifteen texts. Fourteen of these are edited in scattered collections published in the late nineteenth and early twentieth centuries; the fifteenth, from the York Minster MS XVI.L.12 fols. 58r–69v (Yk), is the only one hitherto unavailable. Surprisingly enough, it has never been the subject of a full critical edition.

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26

Spyra, Piotr. "The God of the Middle English Cleanness and His Erotic Exhortations of Purity." Studia Anglica Posnaniensia 47, no. 4 (December 1, 2012): 133–45. http://dx.doi.org/10.2478/v10121-012-0015-7.

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Abstract The Middle English Cleanness is a poem unique in the medieval context in that it couples its homophobic discourse with a powerful vindication of sexual pleasure and its role in relationships without referring to the procreative telos of marriage. In fact, Cleanness does not even stress that the only proper arena for erotic desire is the marriage bed, with the narrator emphasising the mutuality of pleasure instead. The article investigates the text’s rhetorical interplay between the vilification of homosexuals and the divine endorsement of heterosexual lovemaking. Going beyond the esta

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27

Galloway, Andrew. "LaЗamon's Gift". PMLA/Publications of the Modern Language Association of America 121, № 3 (травень 2006): 717–34. http://dx.doi.org/10.1632/003081206x142841.

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LaЗamon's Brut, from a moment in English literary and cultural history whose sense of tradition is particularly difficult for us to comprehend–a century and a half after the Norman Conquest, at the beginnings of Middle English–has a notoriously complex relation to England's past and traditions. This essay focuses on how The Brut takes a traditional social and literary preoccupation in pre-Conquest England, the lordly gift exchange, and expands it to explore a new range of spiritual gifts (or deceptive claims to them), including professional knowledge, counsel to the powerful, and literary fame

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28

Spyra, Piotr. "Simul iustus et peccator: The Theological Significance of Shifts of Perspective in the Middle English Cleanness and Patience." Parergon 35, no. 1 (2018): 61–78. http://dx.doi.org/10.1353/pgn.2018.0003.

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29

McCrea, Adriana. "Reason's Muse: Andrew Marvell, R. Fletcher, and the Politics of Poetry in the Engagement Debate." Albion 23, no. 4 (1991): 655–80. http://dx.doi.org/10.2307/4050745.

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Andrew Marvell's “An Horatian ode upon Cromwel's return from Ireland” may not be the most famous seventeenth-century poem but it is perhaps the most enigmatic. Its elusive, haunting quality defies any strict interpretation, and, as Blair Worden has recently indicated, the poem refuses to fall neatly into any simple “royalist” or “Cromwellian” category. Rather, the “Horatian Ode” has the aspect of a cultural artifact, having captured and held the historical moment that tore asunder two ages: the pre-1649 past of hereditary monarchy with its confidence in the traditions bequeathed by time, and t

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30

Pons-Sanz, Sara M. "Norse-derived vocabulary in La estorie del evangelie." Folia Linguistica 55, s42-s2 (October 14, 2021): 461–91. http://dx.doi.org/10.1515/flin-2021-2032.

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Abstract While the study of Norse-derived terms in medieval English has benefitted from recent etymological advances (e.g. the Gersum project), the exploration of their process of integration lags behind. The latter requires the analysis of the dialectal and semantic distribution of the terms, as well as their interactions with other members of their lexico-semantic fields. This paper offers a case study of this approach by presenting the first comprehensive account of the Norse-derived terms included in La estorie del evangelie, an early Middle English poem from south Lincolnshire/north Norfo

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31

Pons-Sanz, Sara M. "Norse-derived vocabulary in La estorie del evangelie." Folia Linguistica 55, s42-s2 (October 14, 2021): 461–91. http://dx.doi.org/10.1515/flin-2021-2032.

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Abstract While the study of Norse-derived terms in medieval English has benefitted from recent etymological advances (e.g. the Gersum project), the exploration of their process of integration lags behind. The latter requires the analysis of the dialectal and semantic distribution of the terms, as well as their interactions with other members of their lexico-semantic fields. This paper offers a case study of this approach by presenting the first comprehensive account of the Norse-derived terms included in La estorie del evangelie, an early Middle English poem from south Lincolnshire/north Norfo

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32

Bryant, Brantley L., and Asa Simon Mittman. "Travels of the Blemmye-Folke’: A Previously Unknown Middle English Poem in the Collection of Miskatonic University." Listening 52, no. 3 (2017): 117–26. http://dx.doi.org/10.5840/listening201752314.

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33

Olesiejko, Jacek. "Nebuchadnezzar’s Mind and Memory in the Old English “Daniel”." Anglica Wratislaviensia 59 (December 28, 2021): 65–90. http://dx.doi.org/10.19195/0301-7966.59.5.

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As Mary Carruthers observes in her seminal Book of Memory, the cultivation of memory was considered a mark of superior ethics in the Middle Ages. She claims, for example, that “the choice to train one’s memory or not, for the ancients and medievals, was not a choice dictated by convenience: it was a matter of ethics. A person without a memory, if such a thing could be, is a person without moral character and, in a basic sense, without humanity” (Carruthers 14). In the present article, which aims to discuss the Old English biblical paraphrase Daniel, I argue that memory plays an important, if n

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34

Frantzen, Allen J. "The Disclosure of Sodomy in Cleanness." PMLA/Publications of the Modern Language Association of America 111, no. 3 (May 1996): 451–64. http://dx.doi.org/10.2307/463168.

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Cleanness, an alliterative Middle English poem attributed to the author of Sir Gawain and the Green Knight, contains a graphic account of the destruction of Sodom. Elaborating the theme of cleanness, the poet advocates not only sexual purity but also right conduct and respect for God's will. Exhortations to clean behavior are conventional; less expected are the poem's bold censure of “unclean” sexual acts, especially sodomy, and insistence that the clergy maintain vigilant surveillance of sexual wrongdoing. A poem with a salacious cast, Cleanness takes unusual risks in describing sodomy while

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35

Feng, Wang, and Huang Hongxia. "An Application of the "Harmony-Guided Criteria" to the English translation of Song ci: A Case Study of "Immortals at the Magpie Bridge" by Qin Guan." International Linguistics Research 3, no. 3 (September 1, 2020): p22. http://dx.doi.org/10.30560/ilr.v3n3p22.

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Ezra Pound's Cathay set the stage for a translation of free verse and influenced many translators such as Arthur Waley and Kenneth Rexroth. However, before Pound, rhymed Chinese poems were mainly translated into rhymed English poems by Herbert Giles, W. J. B. Fletcher, etc. Is it necessary to challenge the dominant translation poetics of free verse and insist that rhymed Chinese poems are best translated into rhymed English poems? Six English versions of a Song ci poem "Immortals at the Magpie Bridge" on the Chinese Valentine's Day were analyzed in details based on the newly proposed "Harmony-

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36

Harty, Kevin J. "Notes Towards a Close Reading of David Lowery’s 2021 Film The Green Knight ." Journal of the International Arthurian Society 10, no. 1 (September 1, 2022): 29–51. http://dx.doi.org/10.1515/jias-2022-0004.

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Abstract This essay offers a close reading of David Lowery’s 2021 film The Green Knight suggesting that the director has consciously subverted the text of his source to produce an always intriguing film whose debts to the medieval are many. Unlike previous directors whose ‘Gawain’ films failed even to engage with their medieval source, Lowery follows details in his source when it suits his purpose, but, more often than not, he adds scenes to, or deletes scenes from, the fourteenth-century Middle English poem. His additions are especially noteworthy in how they offer an alternate, perhaps even

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37

Alaiyed, Majedah A. "Code-switching between English and Arabic in Vernacular Poetry." World Journal of English Language 12, no. 8 (October 6, 2022): 113. http://dx.doi.org/10.5430/wjel.v12n8p113.

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This descriptive qualitative study investigates the types and functions of code-switching between English and vernacular Arabic in eight vernacular poems. In order to do this, eight published audio and video recordings of poems obtained from YouTube are analysed using a qualitative method of data analysis. The content analysis reveals two main types of code-switching: code-switching between sentences (inter-sentential) and code-switching within sentences (intra-sentential). Its possible functions are humour, reporting a conversation between the poet and an English speaker, quoting an English s

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38

Cornelius, Ian. "The Text of the ABC of Aristotle in the ‘Winchester Anthology’." Anglia 139, no. 2 (June 1, 2021): 400–418. http://dx.doi.org/10.1515/ang-2021-0026.

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Abstract The Middle English ABC of Aristotle is an alliterative abecedary poem that survives in fifteen manuscript copies dating between the mid-fifteenth and early sixteenth centuries. The most eccentric copy, bearing the greatest number of unique textual variants, is in London, British Library, Additional 60577, a commonplace book and miscellany of verse and prose known today as the ‘Winchester Anthology’. The Winchester copy of the ABC of Aristotle is distinguished from all others by changes to vocabulary, idiom, and prosody. The result is a unique redaction, illustrating the kind of litera

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Philippovsky, German Y. "The legacy of the European Romantics and the motif of a traveler in the night (A. S. Pushkin and M. Y. Lermontov)." Verhnevolzhski Philological Bulletin 1, no. 28 (2022): 8–16. http://dx.doi.org/10.20323/2499-9679-2022-1-28-8-16.

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This article examines European origins of Pushkin's and Lermontov's romantic motif 'wandering in the night' in the works of German and English Romantic poets. The image of the night as an «echo» of the day held an important place in the hierarchy of «universal empathy» in the Romanticist poetic thinking («the light also shines in the night», interpret-ing the biblical text: «and the light shines in darkness, and darkness has not embraced it» (John 1:5). In the famous works by Pushkin and Lermontov, «The Winter Road», «The Possessed», and «I Go Out Alone on the Road...», wander-ing in the night

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Yujie, Li, and Wang Feng. "On the English Translation of Li Qingzhao’s Ci-poems--A Contrastive Study on the Translations of the Ci-Poem “To the Tune of Tipsy in Flower Shade”." English Literature and Language Review, no. 55 (May 15, 2019): 64–70. http://dx.doi.org/10.32861/ellr.55.64.70.

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Li Qingzhao (1084-ca. 1155?) is widely lauded as the most celebrated and talented woman poet in the history of classical Chinese literature. This study, with the theoretical guidance of Dr. Wang Feng’s “Harmony-Guided Three-Level Poetry Translation Criteria”, focuses on a comparative analysis of the collected renditions of the ci-poem “to the tune of Tipsy in Flower Shade” at the macro, middle and micro levels, to further promote the translation and communication of classical Chinese literature. This study aims to exert far-reaching influences on the process of Chinese literature going global,

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Chuilleanáin, Eiléan Ní. "The Ages of a Woman and the Middle Ages." Irish University Review 45, no. 2 (November 2015): 199–214. http://dx.doi.org/10.3366/iur.2015.0172.

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This essay springs from the experience of translating the Old Irish ‘Song of the Woman of Beare’, and from researching its reception in the twentieth century. The poem was rediscovered in the 1890s and the scholarly reaction is tinged with Victorian preoccupations, including the bohemian cult of François Villon. In Ireland it is aligned with Pearse's ‘Mise Éire’, and with the work of later poets such as Austin Clarke. But as well as voicing the ancient text, the Woman of Beare appears in folklore in both Ireland and Scotland, and there are interesting parallels and divergences between the trad

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Pattwell, Niamh. "‘I heard him in that ancient poem’: An Interview with Frank McGuinness on the Influence of Old and Middle English Literature on his Writing." Irish University Review 45, no. 2 (November 2015): 215–28. http://dx.doi.org/10.3366/iur.2015.0173.

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In this interview, conducted in the Summer of 2014, Frank McGuinness talks about his introduction to Old and Middle English as a student in University College Dublin and its influence on his writings. Particular attention is given to his enormously successful play, Someone Who'll Watch Over Me, which was nominated for two New York Critics awards in 1993. In the interview, Mc Guinness addresses the place of earlier literature on the university curriculum and how we might continue to assert its value. His remarks on the importance of allowing students access to the whole range of literature of a

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Witalisz, Władysław. "“I cluppe and I cusse as I wood wore”: Erotic Imagery in Middle English Mystical Writings." Text Matters, no. 3 (November 1, 2013): 58–70. http://dx.doi.org/10.2478/texmat-2013-0026.

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The mutual influences of the medieval discourse of courtly love and the literary visions of divine love have long been recognized by readers of medieval lyrical poetry and devotional writings. They are especially visible in the affinities between the language used to construct the picture of the ideal courtly lady and the images of the Virgin Mary. Praises of Mary’s physical beauty, strewn with erotic implications, are an example of a strictly male eroticization of the medieval Marian discourse, rooted in Bernard of Clairvaux’s allegorical reading of the Song of Songs, where Mary is imagined a

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Runstedler, Curtis. "The Benevolent Medieval Werewolf in William of Palerne." Gothic Studies 21, no. 1 (May 2019): 54–67. http://dx.doi.org/10.3366/gothic.2019.0007.

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This article argues that the werewolf of the medieval romance displays behaviour comparable with modern studies of the wolf. In the dualistic medieval world of nature versus society, however, this seems inconsistent. How does the medieval werewolf exhibit realistic traits of the wolf? I examine the realistic lupine qualities of the werewolf Alphouns in the Middle English poem William of Palerne to justify my argument. Citing examples from his actions in the wilderness, I argue that Alphouns's lupine behaviour is comparable to traits such as cognitive mind-mapping and surrogate parental roles,

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Haft, Adele J. "Earle Birney’s “Mappemounde”: Visualizing Poetry With Maps." Cartographic Perspectives, no. 43 (September 1, 2002): 4–24. http://dx.doi.org/10.14714/cp43.534.

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This paper is about “Mappemounde,” a beautiful but difficult poem composed in 1945 by the esteemed Canadian poet Earle Birney. While exploring the reasons for its composition, we examine the poem’s debts to Old and Middle English poetry as well as to medieval world maps known as mappaemundi, especially those made in England prior to 1400. But Birney took only so much from these maps. In search of more elusive inspirations, both cartographic and otherwise, we uncover other sources: Anglo-Saxon poems never before associated with “Mappemounde,” maps from the Age of Discovery and beyond, concealed

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Bledsoe, Jenny C. "Women’s Work and Men’s Devotions: The Fabrics of the Passion in “O Vernicle”." Medieval Feminist Forum 57, no. 1 (2021): 49–77. http://dx.doi.org/10.32773/hiij3544.

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This article explores how male Cistercians producing an early fifteenth-century miscellaneous manuscript made devotional use of images representing women’s textile labor. An early manuscript copy of “O Vernicle,” a Middle English arma Christi poem, appears in Royal 17 A. xxvii, likely produced at Bordesley Abbey. The Royal version of “O Vernicle” features a unique marginal illumination of two women of Bethlehem and Jerusalem wearing green and red dresses. The woman in green holds a baby swaddled in a green and blue cloth with red stripes, similar to a Scottish tartan. Three other examples demo

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Classen, Albrecht. "The Nibelungenlied with the Klage, ed. and trans. with an intro. by William Whobrey. Indianapolis, IN, and Cambridge: Hackett, 2018, xxv, 282 pp." Mediaevistik 31, no. 1 (January 1, 2018): 417. http://dx.doi.org/10.3726/med012018_417.

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One of the indicators for the global importance of the anonymous Nibelungenlied certainly proves to be the great interest to develop new translations into modern languages, here English. William Whobrey, who used to teach at Yale University, endeavors to render this major epic poem, along with the sequel, the Klage, once again into an updated English version. He is fully aware of the many previous efforts and acknowledges them, but he insists that his translation deserves particular attention especially for three reasons. First, he worked hard to offer a maximum level of clarity particularly f

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Shahabuddin. "VENUGOPAL'S SELF-CONFESSION AND POETRY." International Journal of Research -GRANTHAALAYAH 6, no. 8 (August 31, 2018): 179–88. http://dx.doi.org/10.29121/granthaalayah.v6.i8.2018.1423.

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English: Venugopal has a distinct identity in Hindi poetry. The atmosphere of disillusionment and the social status quo had an effect on your poem. Oriented towards Akavita. But soon you realized his regression. As a result, progressives were oriented towards the stream. The land of reality shaped beautiful dreams of the future. Your poem conveys the hopes, dreams, feelings, sensations of the common man. It also exposes the middle class weaknesses while being sympathetic towards the neglected workers and is a proponent of action against the power. It shares the golden dreams of the future, in

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Zhang, Tingting. "Chiński przekład "Pana Tadeusza". Historia, fenomen, problemy i inspiracje." Bibliotekarz Podlaski Ogólnopolskie Naukowe Pismo Bibliotekoznawcze i Bibliologiczne 55, no. 2 (November 4, 2022): 235–50. http://dx.doi.org/10.36770/bp.703.

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The aim of this paper is to describe the reception of the literature of Polish Romanticism in China, as well as its long and winding road to the Middle Kingdom. The article addresses the ideological beginnings of the existence of Adam Mickiewicz’s works in the consciousness of Chinese people. The author analyses two translations of Pan Tadeusz into Chinese, made during the first half of the 20th century. Information about Polish Romanticism and the works of its most eminent representatives reached China at a very crucial historical moment for the Middle Kingdom, almost immediately arousing the

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Classen, Albrecht. "Huon of Bordeaux: First Modern English Translation by Catherine M. Jones and William W. Kibler. Medieval & Renaissance Text Series. New York and Bristol: Italica Press, 2021, xxiii, 329 pp." Mediaevistik 34, no. 1 (January 1, 2021): 429–30. http://dx.doi.org/10.3726/med.2021.01.99.

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Abstract: William Shakespeare’s A Midsummer Night’s Dream (1595 or 1596) was based to some extent on the English translation of the Old French Huon of Bordeaux by John Bourchier, 2nd Baron Berners (1467–19 March 1533) from 1513 (not 1533, as Jones and Kibler state, xxi). Already before Shakespeare, a play with the title Hewen of Burdocize had been performed in 1593. A Middle Dutch translation had also made this text available to the non-French audience. Huon continued to be highly popular throughout the following centuries, apart from Shakespeare’s play, if we think, for instance, of Christoph

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