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Статті в журналах з теми "Poetry, Medieval History and criticism"

Автор: Grafiati

Опубліковано: 4 червня 2021

Оновлено: 30 липня 2024

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1

Bender, Lucas Rambo. "Against the Monist Model of Tang Poetics." T’oung Pao 107, no. 5-6 (December 9, 2021): 633–87. http://dx.doi.org/10.1163/15685322-10705004.

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Abstract In recent decades, a significant amount of Western scholarship on traditional Chinese poetry and poetics has either proposed or assumed a vision of the art underwritten by the supposed “monism,” “nonduality,” and “immanence” of traditional Chinese worldviews. This essay argues that although these were important ideas in certain periods and contexts, they cannot be taken as unproblematically defining the world of thought in which poetry operated during the Tang dynasty. Instead, Tang writers more routinely drew in their discussions of art upon the epistemological tensions and discontinuities posited by medieval intellectual and religious traditions. For this reason, they often outlined models of poetry very different from those most common in contemporary criticism.

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2

Tüske, László. "Ibn Ṭabāṭabā’s Poetics". Arabist: Budapest Studies in Arabic 23 (2001): 211–18. http://dx.doi.org/10.58513/arabist.2001.23.20.

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In the history of Arabic literature, ‛amūd aš-šiʿr (the pillars or principles of poetry) is considered a control for the poetic activity, as well as being an important reference in classifying poets and measuring their abilities in their art. The theory is also considered one of the first critical issues that preoccupied poets and worked to establish standards and characteristics that the poet relies on so as not to deviate from the pattern followed by the ancients. This article deals with Ibn Ṭabāṭabā al-ʿAlawī’s treatise entitled ʿIyār aš-šiʿr (The Standard of Poetry). by analyzing his theoretical work and organizing the author’s thoughts. The article shows that Ibn Ṭabāṭabā systematized the knowledge and expectations related to the craft of poetry in the framework of ʿamūd aš-šiʿr. In the history of medieval Arabic criticism, Ibn Ṭabāṭabā occupies a position where he articulates a widely held view: namely, that poetry is ultimately a craft governed by established rules. In this way, he discusses the tools of poetry, the process of creating a poem, and also – in a unique way – the effect of poetic creation.

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3

Naaman, Erez. "Collaborative Composition of Classical Arabic Poetry." Arabica 65, no. 1-2 (February 27, 2018): 163–206. http://dx.doi.org/10.1163/15700585-12341476.

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Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.

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4

van Gelder, Geert Jan, and Mansour Ajami. "The Neckveins of Winter: The Controversy over Natural and Artificial Poetry in Medieval Arabic Literary Criticism." Die Welt des Islams 26, no. 1/4 (1986): 172. http://dx.doi.org/10.2307/1570768.

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5

Bezrukov, Andrii. "Origins of a New Poesy in Late Medieval Europe: Proto-Renaissance Rhymes by Giacomo da Lentini and the Dolce Stil Nuovo." LITERARY PROCESS: methodology, names, trends, no. 21 (2023): 6–13. http://dx.doi.org/10.28925/2412-2475.2023.21.1.

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The article reviews the historical and literary background of a new poesy that appeared to be an outcome of the accumulation and release of the new poets’ creative energy in late medieval Europe. We primarily deal with the poesy of the Sicilian school and the Dolce Stil Nuovo (‘sweet new style’). The interest of literary criticism in the historical and cultural background of influential literary phenomena, which have not lost their relevance, is defined by the need for reinterpreting them in new paradigms. The methods of cultural, historical, biographical, hermeneutic, and comparative analyses as well as the method of generalisation have been exploited for this research. The European poetic tradition has passed a long way in searching for new forms and means of the artistic representation of reality. The emergence of the Sicilian School on the Apennine Peninsula in the 13th century became the initial stage of the literary and linguistic history of the Old World. It marked the beginning of Italian poesy the development of the Dolce Stil Nuovo and was largely the forerunner of Dante’s and Petrarch’s poems, laying the foundations of the philosophy of lyric poetry. The Sicilians gave a powerful impetus to the further development of poetic theory, images, and themes, which would be pivotal in stilnovismo, as well as to the assimilation of many authors of the Renaissance in Europe. The appeal to certain themes and motives as well as their transformation highlighted the idea of Sicilian authors about poetry as a specific kind of philosophy. We emphasise that the time of origination and a highly cultured environment have caused the refinement of art forms and stylistic devices for revealing the conceptual content of such verses. Giacomo da Lentini reconceptualised the approaches to rhyming and poetising, and most importantly — to the psychological perception of reality and understanding of love in the metaphysical dimension. The ideological and aesthetic unity of the poets of the Dolce Stil Nuovo, who developed the innovations of da Lentini, made it possible to relate them with the writers of the early Renaissance. The article also focuses on the specifics of literary activity during the expansion of new European poetry leading to the invention of a sonnet as the poetic form that follows a particular rhyming pattern.

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6

WILLIS, KATHERINE E. C. "THE POETRY OF THE POETRIA NOVA: THE NUBES SERENA AND PEREGRINATIO OF METAPHOR." Traditio 72 (2017): 275–300. http://dx.doi.org/10.1017/tdo.2017.4.

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Geoffrey of Vinsauf's Poetria nova must be studied as a poem in its own right as thoroughly as it has been studied as a technical rhetorical treatise; although many scholars have acknowledged the brilliance of his style, few analyses thereof exist. This imbalance in criticism limits our understanding of his ideas and the appeal they held for medieval poets. This study, therefore, focuses on two images in the section on ornatus graves, or weighty ornamentation, the category of figures defined by its reliance on transumptio. In describing its moving effects, Geoffrey uses the imagery of a pilgrimage (peregrinatio) and of a “clear cloud” (nubes serena). Both help him explain how transumptive language at first displaces or hides meaning beneath something that is deceptively ordinary. When that meaning becomes clear to the reader, however, the recognition can be delightful, intoxicating, or even wondrously transporting. The images are not original to Geoffrey, nor are they drawn from the discourse of formal rhetoric. Rather, peregrinatio and the nubes serena have a rich history in liturgical drama, biblical commentary, and iconography where they signify a kind of spiritual transport remarkably similar to Geoffrey's conception of transumptio in terms of process and quality. Thus, the Poetria nova leverages the spiritual significance of the images to make a decisively literary point about the wondrous power of subtle, transumptive language. Only by recognizing the resonance of these images can we fully appreciate just how highly Geoffrey values transumptio. Approaching the Poetria nova with a poet's eye expands the range and scope of likely influences on the treatise and, more importantly, deepens our appreciation for his remarkable commitment as a poet to the affective potential of transumptive language.

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7

Gaižiūnas, Silvestras. "At the Origins of Modern Lithuanian Literary Studies. Phenomenon of Juozas Eretas." Pitannâ lìteraturoznavstva, no. 100 (December 27, 2019): 155–68. http://dx.doi.org/10.31861/pytlit2019.100.155.

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The article under studies is a critical survey of the activities of a Swiss scholar Juozas Eretas (1896–1984), one of the founders of Lithuanian Literary Studies, whose origin is closely related to the revival of the Lithuanian State (1918 р). Raised on the principles of the so-called Fribourg School, J. Eretas may be regarded as a vivid example of a catholic scientist. He emphasized the importance of the connection between research and thinking. In the 20-30s, having mastered the Lithuanian language, under the influence of the first translations of the world literary works into Lithuanian, Eretas laid the foundation of analytical criticism. He also took up the translation and, at the same time, became the founder of Lithuanian Germanic Studies, paying most of his attention to the Medieval German Literature, the heritage of mystics, the literature of “storm and drive”, particularly the works by Goethe and Schiller. In addition, Eretas made a considerable contribution to Lithuanian Theory of Literature: “Creating Philosophical Criticism in Literature” (lecture, 1922), “Philosophy and Poetry” (1924), “Methods of Literary Analysis” (1929). Eretas’ approach to German Literature was purely conceptual and rested on the idea of its universal nature (especially concerning Goethe): monographs “Young Goethe” (1932) and “Goethe Hundred Years Later” (1933). It is worth mentioning Eretas’ attitude to Goethe’s “Faust”. He interprets the main character typologically, as an eternal image of the world culture, pointing hereby to the increased attention to this image during the epoch of “storm and drive”. Eretas’ interpretation of the images of Faust and Mephistopheles, which present the idea of “dual world” that is so peculiar for Romanticism, seems very interesting and promising. Besides, Eretas was first in Lithuanian Literary Studies to refer to Goethe’s “Wilhelm Meister’s Apprenticeship” as to the novel of upbringing. Another significant subject of Eretas’ research was the History of World Mystics (the work “From the History of Mystics”, as well as the monographs on Tauler, Eckhart and Suso).

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8

Risden, E. L., and John Cherry. "Medieval Love Poetry." Sixteenth Century Journal 38, no. 3 (October 1, 2007): 836. http://dx.doi.org/10.2307/20478544.

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9

Ivanovic, Aleksandra. "Serbian medieval poetry: 20th-century literary-historical and theoretical interpretations." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 88 (2022): 79–92. http://dx.doi.org/10.2298/pkjif2288079i.

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This paper examines how national literary histories written in the twentieth century define medieval Serbian poetry. Grounded in the canon of Byzantine liturgical poetry and dedicated to cult practice, hymnography often did not conform to modern poetic principles, originality, and metrical form. Formalist approaches to poetry shaped the anthologies of Serbian medieval literature published in Yugoslavia in the 1960s. The editors transformed sequences from narrative prose into poetic texts, thus creating medieval poems. These cases draw attention to the importance of textual criticism and the social context in defining medieval literary genres. Exploring hymnography as a linguistic and liturgical event - a poem sung to an engaged audience - introduces new perspectives on its interpretation.

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10

Al-Abbasi, Thoraiya. "Medieval Criticism and the Artistic Value of Vagueness in Poetry." Journal of King Abdulaziz University-Arts and Humanities 17, no. 2 (2009): 169–211. http://dx.doi.org/10.4197/art.17-2.5.

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11

Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.

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12

Hornsby, Joseph, and David Aers. "Medieval Literature: Criticism, Ideology and History." South Atlantic Review 53, no. 1 (January 1988): 107. http://dx.doi.org/10.2307/3200408.

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13

Samson, Anne, and David Aers. "Medieval Literature: Criticism, Ideology and History." Modern Language Review 84, no. 4 (October 1989): 917. http://dx.doi.org/10.2307/3731173.

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14

Butterfield, Ardis. "The language of medieval music: two thirteenth-century motets." Plainsong and Medieval Music 2, no. 1 (April 1993): 1–16. http://dx.doi.org/10.1017/s0961137100000395.

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The phrase ‘the language of music’, made famous by Deryck Cooke's book of that name, is much repeated in modern music criticism. Is it possible to use this phrase in a medieval context? In what ways is the relationship between music and language in the medieval period best described? The importance of this question is clear when one considers both how high a proportion of medieval music was texted, and conversely, the extent to which the performance of much medieval poetry (even narrative poetry) involved music. We are fortunate that this very large issue has received detailed attention in John Stevens's magisterial account of medieval monophony. My attempt here is to extend the argument into the area of polyphony, concentrating on the nature of compositional activity in thirteenthcentury France. This will include discussion of how far the compositional processes of music and poetry are comparable in this period, and indeed whether they are in any way collaborative. Do the two structural systems – languages, perhaps – of music and words have any effect on each other's system of meaning?

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15

سميسم, علي كاظم. "Political criticism in Al-Jawahiri's poetry." Kufa Journal of Arts 1, no. 30 (January 23, 2017): 175–216. http://dx.doi.org/10.36317/kaj/2016/v1.i30.6070.

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The Poetry of Al-Jwahiri is a document and a history. Since literature is the essence of history, we can find within it events, culture, thought, struggle of modern Iraq and the Arab region and the attempts of the living peoples in its march towards justice and freedom taking the most sophisticated steps overcoming the romantic tendency during his era. The document of Al-Jwahiri was mixed with an elevated art and a perfect well-formed language. He combined objectivity and aesthetics he also mixed his blood and pains, excitement with his carelessness as well as his hopes and wishes. He recorded history and participated in making history through subjective and objective methods. His poetry was imprinted in the imagination and thoughts of people. It was Al-Jwahiri who called for solving the problems of Iraq which he suffered from till our time. Policy and struggle is what made his poetry a burning type of poetry and elevated his severe criticism and the political attitude is what made Al-Jwahiri an alienated loner wondering the countries of the world.

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16

Strohm, Paul. "Medieval Literature: Criticism, Ideology and History. David Aers." Speculum 63, no. 2 (April 1988): 352–54. http://dx.doi.org/10.2307/2853226.

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17

Tüske, László. "Ibn Ṭabāṭabā on the Perception and Influence of Poetry". Arabist: Budapest Studies in Arabic 17 (1996): 95–104. http://dx.doi.org/10.58513/arabist.1996.17.9.

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An exceptional place in medieval Arabic literary criticism is held by a work that can be seen as a true representation of medieval Arabic poetics in many respects: ʿIyār aš-šiʿr (The Standard of Poetry) by Ibn Ṭabāṭabā al-ʿAlawī (d. 334/933). This study provides a summary of Ibn Ṭabāṭabā’s most significant ideas concerning the creation and characteristics of poetry, particularly focusing on his insights into the reception of poems. Ibn Ṭabāṭabā stands out as the sole known author who paid attention to the reception of poems, basing his inquiries on the functioning of the senses. He formulated an intriguing experiment employing concepts such as ṭarab (joy, pleasure), aryaḥiyya (enthusiasm, rapture, generosity), and iltiḏāḏ (enjoyment, pleasure), which encompass the potential for cognitive acceptance, spiritual joy, and attitude modification. As the author emphasizes, “the [good] poem makes the coward brave”.

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18

Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (November 1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.

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19

Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (March 19, 2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.

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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.

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20

Kozodoy. "Medieval Hebrew Medical Poetry: Uses and Contexts." Aleph 11, no. 2 (2011): 213. http://dx.doi.org/10.2979/aleph.11.2.213.

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21

Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.

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22

Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (April 16, 2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.

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23

Stundžienė, Bronė. "Turning to the Beginning of the Lithuanian Folksong Publication." Tautosakos darbai 56 (December 20, 2018): 133–55. http://dx.doi.org/10.51554/td.2018.28475.

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Against certain broader context of discussing the historical reflection of relationship between pre-literate culture and writing, the author of the article pays detailed attention to the unusual transformations in folksong development that are brought about by literacy. We usually rightfully consider literacy as an unmistakable indication of cultural progress. In this regard, subsequent recording and printing of folksongs that started in later periods of literacy also merit positive evaluation. Although both modes of fixation belong to the same period of Lithuanian cultural history, however, from the middle of the 18th century until the beginning of the 19th century, printed publications of folksongs acquired immense importance. Looking from a historical distance – the present times, the author of the article reconsiders and reinterprets the sociocultural surroundings of this new mode of folklore dissemination, taking into account what aims the first folklore publishers had and whether or not they managed to achieve them. Essentially, one particular aspect in the beginning of the written Lithuanian folksong tradition is in the focus of attention – namely, how and why the state of folksong altered in the process of becoming a printed source. In the first chapter, following the historical revisions of medieval culture, the author of the article reconsiders the prehistory of folklore publication as the common European process. She takes into account the sociocultural aspects of this period: namely, creations of the “singing peasantry” – the part of the society belonging to the lower classes and engaged in agriculture, which was essentially banned from writing and ignored by the literate society. Like in the rest of Europe, in the medieval literature of the multilingual Grand Duchy of Lithuania and the Lithuanian-speaking Eastern Prussia (currently, the Lithuania Minor), contemporary reflection of folk culture was almost entirely absent or obscure until the middle of the 18th century. As noted in the second chapter, the situation of folk poetry started changing in the Lithuania Minor (the early center of the Lithuanian written culture) with Philip Ruhig publishing his linguistic treatise in 1745 and including (for research purposes) three Lithuanian folksongs. Shortly after, Gotthold Ephraim Lessing reprinted two of them in one of his “Literary Letters” (1759). Subsequently, another famous figure of the German pre-Romanticism and its ideologist Johann Gottfried von Herder included as many as eight Lithuanian folksongs translated into German into his international collection “The Voices of Peoples in Songs”. Thus, the history of Lithuanian folksong publication started with altering attitude towards the so-called “third estate”; this shift is currently regarded as a sociocultural turn inspired by pre-Romanticism and clearing the way for the poetic folk creativity allegedly harboring the “national spirit”. These ideas inspired the famous theologian and pedagogue Liudvikas Rėza (Ludwig Rhesa) to edit the first book of Lithuanian folksongs. This bilingual collection (in Lithuanian and German) saw publication in Konigsberg in 1825. However, traces of the former social separation were persistent. As such, one could name the early tendency of folklore recording and publication: to indicate just the publisher (collector), leaving aside the main actors – the folk singers, although currently they stand out as representatives of the people. Folklorists would subsequently correct this situation. The author of the article goes on to discuss the losses suffered by the folk creativity under the new conditions of literacy. Comparison of the first printed folksongs with their mode of existence in the living folksong process of the 18th – beginning of the 19th century reveals clear changes in the folksong identity. The frozen printed variant loses its capacity to change, along with its former vitality granted by the oral culture; as any other product of the written culture, the printed folksong immediately becomes the past event. Besides, transition from the oral transmission to the area of written culture turns the song into some kind of literary work: therefore, the value of the songs would for a long time since be measured by literary means, and publishing of the songs as poems (leaving out the melodies) would become a common practice. The main thing is, nevertheless, that publication of folksongs in writing and their separate reading completely erase the typical folk communication of ritual culture by means of common places of folksongs – shared for many generations in the pre-literate culture. However, the emerging parallel folksong publication opens up entirely new mode of communication. Already at the very beginning of Lithuanian folksong publication, its publisher obviously acquired individual right to edit the folklore at discretion. Selection of materials for publication (including some changes and reconstructions made along the way) followed primarily the actual purposes of publication, which included presenting the folksong image that would be more readily acceptable to the contemporary readership and satisfy the community’s expectations. It is public knowledge that Rėza, the initiator of the first Lithuanian folksong book, following the nice inspiration of his pre-Romantic period (maintaining that national spirit lived in folklore) also aspired to use folksongs in order to reveal the noble and dignified picture of the ancient Lithuanian people. Part of this picture – harmonious family and correspondingly ideal relations between its members – received vivid attention in this collection. The article concludes with interpretation of a couple of folksongs discussing a case of early insignificant corrections of the motives reflecting the ritual purpose of folksongs. So far, the author leaves aside certain prominent tendencies of re-creation that already have received harsh criticism before.

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Ağacan qızı Əliyeva, Rəna. "Peculiarities of Kadi Burhan al-din in medieval Azerbaijani poetry." SCIENTIFIC WORK 67, no. 06 (June 21, 2021): 63–67. http://dx.doi.org/10.36719/2663-4619/67/63-67.

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Kadi Burhan al-Din was one of the outstanding representatives of medieval Azerbaijani literature. He was the first poet in literature to write in the genre of tuyugh-classical genre of Turkic poetry. His diwan comprises 1,500 ghazals, 119 tuyughs. Not only individual poems of the poet, but all poetry of Kadi Burhan al-Din is very valuable for the history of Azerbaijan literature. Key words: native language, diwan, tuyugh, poetry, poet, literature, medieval

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Zahrah Hadi, Ghaidaa Abdul. "Criticism of Translation Problems in Ahmad Matar's Poetry." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 162–75. http://dx.doi.org/10.37648/ijrssh.v13i02.013.

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It is no secret to everyone that translation is very important in the exchange of cultures and sciences between different nations and civilizations. Today, it has become a bridge to pass the various sciences of poetry, history and culture from one language to another. Among the poets whose poetry was important in his translation was Ahmed Matar, whose poems were translated from Arabic into many languages, including Persian. Therefore, criticism of the translation of Ahmed Matar's poems was one of the important topics that must be taken into account in research and studies to show the importance of translation criticism in general, and criticism of translated poems by this poet in particular.

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26

Polliack, Meira, and Adele Berlin. "Biblical Poetry through Medieval Jewish Eyes." Vetus Testamentum 44, no. 3 (July 1994): 417. http://dx.doi.org/10.2307/1535224.

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27

Shepkaru, Shmuel. "Susan L. Einbinder. Beautiful Death: Jewish Poetry and Martyrdom in Medieval France. Princeton and Oxford: Princeton University Press, 2002. x, 219 pp." AJS Review 28, no. 2 (November 2004): 371–73. http://dx.doi.org/10.1017/s0364009404290213.

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Can medieval Jewish poetry teach us history? Asked differently, can scholars draw on medieval poetry (piyyutim) to reconstruct historical events? In Beautiful Death, Einbinder narrows down this matter to the case of Ashkenazic martyrological poetry. To answer this question, Einbinder has analyzed over seventy Hebrew poems from northern France, England, and Germany; they span the period following the First Crusade (1096), ending with the Rindfleisch massacres of 1298 in Germany and King Philip IV's expulsion of the French Jews in 1306.

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28

Beckett, Joshua. "A Poet’s Prophetic Vocation: The Historical, Dramatic, and Literary Trajectories of Dante Alighieri’s Ecclesial Criticism." Christianity & Literature 66, no. 4 (September 2017): 573–90. http://dx.doi.org/10.1177/0148333117697454.

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Анотація:

In his political writings, correspondence, and epic poetry, Dante Alighieri often assumed a prophetic posture. His self-understood vocation found primary expression in his direct, forceful criticism of the medieval Catholic Church, although the post hoc predictions and scriptural mimesis in which Dante engaged throughout his Commedia also funded his incisive ecclesial critique. This article discerns three trajectories of a Dantean prophetic vocation, which converge at key moments during the Commedia (particularly at Inferno XIX) to forge Dante, in all his rich complexity, into a prophet for his era.

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29

Emerton, J. A., and Hava Lazarus-Yafeh. "Intertwined Worlds. Medieval Islam and Bible Criticism." Vetus Testamentum 44, no. 1 (January 1994): 129. http://dx.doi.org/10.2307/1519436.

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Dyakonova, Elena M. "The Саnon and the Commentary. Exegesis in Japanese Classical Poetry". Studia Litterarum 5, № 3 (2020): 104–27. http://dx.doi.org/10.22455/2500-4247-2020-5-3-104-127.

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Анотація:

The study of classical religious and literary texts was the main trend of the Far Eastern traditional culture. Exegesis prompted a specific vision of philosophy, literature, and science. Examining the ties between classical texts and their commentaries is important for the better understanding of the development of the Far Eastern civilizations, including Japanese. Japanese commentaries developed, first, around central religious texts of Buddhism, Shinto, and writings by Confucius, and, second, around literary texts. This article mostly examines comments on poetic monuments of medieval Japan. These comments prompted canonization of the main literary works. Already in the early medieval time (Heian era 9–12 cc.), there appeared first comments on the classical texts of antiquity, for example, the comments to Manyōsyū (Collection of Ten Thousand Leaves, 8 c.), the first poetic anthology of Japan. These comments were an early attempt to restore the image of the Japanese recorded in the eight century in Chinese hieroglyphs. In the tenth century, the classical poetry acquired a new form, being recorded in both hieroglyphs and Japanese syllabary (hiragana). There were several genres of literary criticism in Japan: treatises on literature, commentaries on classical texts, compilations of anthologies (e.g. selection of literary texts for intricately organized collections), and poetic contests. Commentators mostly concentrated on deciphering the meaning of select words and phrases while the overall meaning of the text remained behind-the-scenes. The ordinary compilers and commentators on medieval artistic texts became elevated to the level of poets whereas comments began to form part of the canon. The canon itself appears to have been closely connected with compiling, editing, and commenting on the text.

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31

ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.

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32

Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (April 30, 2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.

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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.

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33

Markov, Alexander. "Contemporary Russian Poetry in the Period of Intense Events." Philosophy. Journal of the Higher School of Economics VI, no. 3 (September 30, 2022): 256–88. http://dx.doi.org/10.17323/2587-8719-2022-3-256-288.

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This article examines the impact of being inside the intense development of events on contemporary Russian poetry as a set of institutions of production and consumption of texts. We prove that under this influence of events, not only individual ways of texts' existence are changing, but also the very meaning of media and social contexts of poetry development. Poetry turns out to be an area not so much of comprehending current reality as differentiating the very modes of utterance that represent the actual state of affairs. Therefore, in the period of events, poetry partly returns to the representational principles of the old art, but there also appear new ways of poetry expansion, from illustrated publication to collaborations with intellectuals, commentators or artistic communities, which enable it to operate in the field of public discourse. The following shifts are taking place in Russian poetry now: (1) the rejection of reliance on former resources of relevance for the sake of establishing new infrastructures of social attention; (2) the creation of new forms of justification of poetic expression, different from previous criticism or statements; (3) the problematic action in the political field in differentiating figures of “proper” and “other”; (4) metacriticism of poetics as a figurative text structure, along with implicit indications of the limitations of figurative writing. As a result, in contemporary Russian poetry, the problematization of the other as unpredictable, dangerous, and yet necessary entirely coincides with the latest postcolonial, gender, and social criticism.

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Dutta,, Ranjeeta. "Book review: Whitney Cox, Politics, Kingship, and Poetry in Medieval South India: Moonset on Sunrise Mountain." Studies in History 37, no. 1 (February 2021): 124–26. http://dx.doi.org/10.1177/02576430211007626.

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35

Montover, Nate, and Albrecht Classen. "Late-Medieval German Women's Poetry: Secular and Religious Songs." Sixteenth Century Journal 37, no. 3 (October 1, 2006): 773. http://dx.doi.org/10.2307/20478001.

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36

Schwerhoff, Gerd, Benjamin Seebröker, Alexander Kästner, and Wiebke Voigt. "Hard numbers? The long-term decline in violence reassessed. Empirical objections and fresh perspectives." Continuity and Change 36, no. 1 (April 27, 2021): 1–32. http://dx.doi.org/10.1017/s0268416021000096.

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AbstractOver the last decades social scientists have alleged that violence has decreased in Europe since late medieval times. They consider homicide rates a valid indicator for this claim. Thorough source criticism, however, raises serious doubts about the decline thesis having any substantial empirical foundation. Forms and contents of the sources are immensely heterogeneous and a closer look at the alleged richness of the data uncovers remarkable gaps. Furthermore, medieval and early modern population estimates are highly unreliable. Thus, we argue that historical research on violence should return to focus on specific historical constellations, accept the need for painstaking source criticism and pay careful attention to the contexts of violence.

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37

Bürgel, J. C., Mansour Ajami, and J. C. Burgel. "The Neckveins of Winter. The Controversy over Natural and Artificial Poetry in Medieval Arabic Literary Criticism." Journal of the American Oriental Society 105, no. 4 (October 1985): 740. http://dx.doi.org/10.2307/602743.

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38

Hopwood, Llewelyn. "Creative Bilingualism in Late-Medieval Welsh Poetry." Studia Celtica 55, no. 1 (December 1, 2021): 97–120. http://dx.doi.org/10.16922/sc.55.5.

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This article considers why bilingual poets from medieval Wales exploited their various languages as avenues of creativity. It discusses five poems from the fifteenth and sixteenth centuries that synthesize Welsh and either English or Latin to varying degrees. The article untangles the conscious and often complex linguistic integration, using the term 'extralinguistic bilingualism' to do so with two exclusively English poems that nonetheless use Welsh strict metre and 'orthography'. One of these is a series of once anonymous English englynion recently found to be the work of prolific poet Tudur Aled, who flourished in the last quarter of the fifteenth century and the first quarter of the sixteenth century. By examining the poems in tandem and contextualizing their apparent isolation within Wales's contemporary linguistic landscape and within the phenomena of multilingual poetry, Marian lyrics and 'aureate' diction, the impetus behind their curious hybridity is queried. It is argued that comedy, piety and literary craft are key considerations, and that all are connected by an overarching concern for relative linguistic prestige: the perceived divergence between the social and literary status of each language.

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39

Raft, Zeb. "The Beginning of Literati Poetry: Four Poems from First-century BCE China." T'oung Pao 96, no. 1 (2010): 74–124. http://dx.doi.org/10.1163/156853210x514568.

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AbstractThis article examines a set of four tetrasyllabic poems from the first century BCE, situating them between the ancient poetry of the Shijing and the medieval poetry that would appear two centuries later. The author outlines the emergence of a learned elite in the latter half of the Western Han and shows how the intellectual and socio-political background of this group is instantiated in the poems. As statements of a classicist mentality ascendant in the late Western Han, the poems stand firmly in their age, but as products of this newly emerging group they bear definite connection to the literati poetry of medieval China. Thus, the poems offer a viewpoint onto both the scholarly culture of the first century BCE and the poetic culture of early medieval China.

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40

Fest, Bradley J., and Rachel Blau DuPlessis. "Something Worth Leaving in Shards: An Interview with Rachel Blau DuPlessis." boundary 2 50, no. 2 (May 1, 2023): 1–30. http://dx.doi.org/10.1215/01903659-10300579.

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Abstract This interview with poet, essayist, literary critic, and collagist Rachel Blau DuPlessis was conducted via email correspondence between June 11 and August 29, 2020. Author of over a dozen volumes of poetry and half a dozen books in modernist studies, poetics, and feminist criticism, DuPlessis reflects broadly on her career in this interview. She discusses the ongoing role of feminism in her writing and thought, the forms of the fold and the fragment, the relationship between her poetry and criticism, her work in and on the long poem, and her post-Drafts poetry, including her (at the time) most recent book, Late Work (2020). The interview concludes with a conversation about the relationship between poetry and theorizing practices and a meditation on writing during a global pandemic.

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41

Classen, Albrecht. "Homoerotic and Homosexual Perspectives in Medieval Poetry and Verse Narratives: Indirect Evidence of a Hidden Discourse." Amsterdamer Beiträge zur älteren Germanistik 83, no. 2 (September 6, 2023): 234–49. http://dx.doi.org/10.1163/18756719-12340294.

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Abstract Although it proves to be a difficult task, we still can identify more literary texts from the Middle Ages addressing homoerotic love than we might have expected. Even when poets voiced severe criticism and radically condemned homosexuality, their comments serve us well to identify more specifically the actual discourse behind the official scene. Although legal and Church authorities consistently characterized ‘sodomy’ as one of the worst sins a Christian could commit, since late antiquity, and certainly throughout the Middle Ages, the phenomenon, a biological fact, existed, of course, and was also addressed in veiled or open language. This article examines a selection of relevant literary and didactic works that shed more light on this issue.

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42

Blackmore, Josiah. "Medieval Galician-Portuguese Poetry: An Anthology.Frede Jensen." Speculum 70, no. 1 (January 1995): 157–58. http://dx.doi.org/10.2307/2864736.

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43

Haidari, A. A. "A medieval Persian satirist." Bulletin of the School of Oriental and African Studies 49, no. 1 (February 1986): 117–27. http://dx.doi.org/10.1017/s0041977x00042531.

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The thirteenth and fourteenth centuries are outstanding chapters even in such an eventful history as that of Persia. The former witnessed the Mongol invasion and occupation; the latter ended amidst the campaigns to Timur. Although the Mongol onslaught caused much destruction, the unexpected literary outburst of the period remains a monument to the indestructible spirit of man. It is ironic that an age of terror and devastation should bring in its wake an unprecedented flowering of culture, as though the phoenix rises renewed from the ashes. For this very period produced the three greatest Persian poets, namely, Rūmī, Sa‘dī and Ḥāfiṣ, and the age in which they lived is by common consent regarded as the Golden Age of Persian poetry. In prose too, although to a lesser extent, fine work was produced, most notably of course, Sa‘dī's Gulistān.

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44

Riedel, Dagmar Anne. "Medieval Arabic Literature between History and Psychology: Gustave von Grunebaum’s Approach to Literary Criticism." Arabist: Budapest Studies in Arabic 19-20 (1998): 111–22. http://dx.doi.org/10.58513/arabist.1998.19-20.11.

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This paper deals with Gustave von Grunebaum’s approach to literary criticism. The topic accounts for his reputation within the scientific community of Near Eastern studies. In this article, I am only interested in Grunebaum’s understanding of medieval Arabic literature. Since Grunebaum was a prolific author, I have to focus on a small selection of his writings. I shall argue that Grunebaum’s contribution to the understanding of medieval Arabic literature is the contribution of a historian rather than that of a literary critic.

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45

Besserman, Lawrence, and Charlotte Clutterbuck. "Encounters with God in Medieval and Early Modern English Poetry." Sixteenth Century Journal 38, no. 2 (July 1, 2007): 459. http://dx.doi.org/10.2307/20478376.

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46

Shnaweh, Lect Dr Masar Ghazi. "Significant cultural patterns and their references in the poetry of Safi al-Din al-Hilli." Thi Qar Arts Journal 2, no. 40 (December 27, 2022): 222–33. http://dx.doi.org/10.32792/tqartj.v2i40.377.

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The emergence of cultural criticism at the end of the last century brought about a qualitative leap in the field of critical practice as a whole, as we see a distinct shift from criticism of literature to criticism of culture, which has become a focused discourse in this field. Cultural criticism often embraces culture and never separates from it. Just as it takes from every science a party that combines contextual and systematic approaches, even theories of reading and reception, criticism of reader response and deconstruction, as it was based on psychology, sociology and history and relied on everything that would happen in addition to literature as a cultural phenomenon. It is striking that cultural criticism is based on a central idea that stems from and returns to, which is the criticism of fairness, especially the cultural defects that are implicit in every discourse or that are hidden behind the linguistic textual fabric. what they are. Al-Hilli’s poetry conceals cultural patterns in which reality is critiqued from a behavioral, economic, political and religious point of view, providing the reader with an integrated picture of his society. We have relied on the categories of cultural criticism as a floating critical activity that refuses to fall under any approach, and uses procedural tools of various sources, which belong to different sciences such as anthropology, psychology, and history. In order to answer the research questions and its problems, the research plan was as follows: Introduction: I tried through it to provide an overview and familiarity with the subject and its basic forms. The first requirement: the most important tributaries of cultural criticism and its background knowledge: 1: The concept of cultural pattern 2: systemic function 3: the cultural sentence 4: the cultural sentence 5: The total metaphor * The second requirement: an overview of the social and poetic papers of the poet Safi al-Din al-Hilli (677-752 AH / 1277-1339 AD).

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Lubas-Bartoszyńska, Regina. "Tłumaczka Aleksandra Olędzka-Frybesowa jako eseistka i poetka." Przestrzenie Teorii, no. 31 (December 6, 2019): 373–86. http://dx.doi.org/10.14746/pt.2019.31.20.

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This article presents the essays and poems of Aleksandra Olędzka-Frybesowa, who was a renowned translator from French and also English. In her essays, Olędzka-Frybesowa specialises in the Romanesque and Gothic architecture and sculpture of Western Europe as well as European painting from Medieval Ages onwards. She is also familiar with the art of South-East Europe. Her essays cover literary criticism devoted especially to poetry, with a particular interest in French and mystical poetry, as well as haiku, which was also her own artistic activity. The author of this article analyses Olędzka-Frybesowa’s ten volumes of poems, which follow a thematic pattern, especially the theme of wind (air). The analysis provides various insights into a variety of functions of this particular theme, from reality-based meanings to mystical and ethical features. This variety of funtions of the wind theme is supported by a particular melody of the poem and its abundant use of metaphors.

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48

Stanco, Michele. "Art and beauty. Linguistic versus psychological aesthetic theories." Recherches anglaises et nord-américaines 36, no. 1 (2003): 47–68. http://dx.doi.org/10.3406/ranam.2003.1668.

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In his dialogues Plato distinguished poetry as ‘inspiration from poetry as ‘technique’. Taking a hint from this archetypal distinction (as well as, inevitably, from the overstaying opposition between ‘idea’ and ‘matter’), the paper explores some of the most momentous phases in the history of criticism, from the earliest documents on poetry to the contemporary aesthetic debate. In so doing, it points to the irremediable and continuing dualism of a critical tradition, which has alternatively emphasised the ideal elements of beauty or the material constituents of art.

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49

Hoogvliet, Margriet. "Metaphorical Images of the Sacred Workshop." Church History and Religious Culture 99, no. 3-4 (December 4, 2019): 387–411. http://dx.doi.org/10.1163/18712428-09903005.

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Abstract The textual witnesses of religious poetry produced by the late medieval confraternity of the Puy Notre-Dame in Amiens, in northern France, give an example of a type of religious text which allows us to reconstruct the interplay between the religious field and the social field of commerce and artisanal production. After discussing the practices of producing and staging religious poetry in confraternities in late medieval and early modern France as “hybrid forums”, the article discusses several examples of texts from unpublished manuscripts. It argues that the vivid imagery of the poems dedicated to the Virgin Mary allowed a mutual exchange of resources. While the members of the ordained religious gathered support and a popularized religious language, the participating laypeople could imbue their everyday work with a form of sacrality.

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50

Swift, H. J. "Poetry, Knowledge, and Community in Late Medieval France." French Studies 64, no. 1 (December 17, 2009): 75–76. http://dx.doi.org/10.1093/fs/knp245.

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