Relevant bibliographies by topics / 17th century poetry

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic '17th century poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 10 March 2023

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Journal articles on the topic "17th century poetry"

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Strode, Anna. "Reliģiskie tēli 17. gadsimta latīņu kāzu dzejā Rīgā." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 26/1 (March 1, 2021): 14–28. http://dx.doi.org/10.37384/aplkp.2021.26-1.014.

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The humanists of Riga began to compose various Latin poetry texts due to the currents of European humanism, which came to Livonia soon after the Protestant Reformation took place in Livonia in the first half of the 16th century. As a result of this historical and religious impact, the level of education increased, enabling an environment for the development of the literature. The aim of the article „Religious characters in the 17th-Century Nuptial Poetry in Riga” is to bring to light the content of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis etc.) poetry written in Riga in the 17th century, providing insight into the most frequently mentioned characters and their meaning, as well as by exploring the specific features of occasional poetry to capture reader’s and researcher’s interest in the previously undiscovered cultural heritage. The subject of the study is more than 380 Latin nuptial poems, which are stored in the Department of Manuscripts and Rare Books of the Academic Library of the University of Latvia. The poems are printed at the beginning of the 17th century by the second typographer of Riga city Gerhard Schröder (?–1657). The article includes data from a classification table (created by the author) in which the main characteristic of each poem is highlighted, including the mentions of all (more than 280) characters from ancient Greek and Roman mythology, as well as biblical and historical characters. Fragments of Latin nuptial poetry written in Riga are included to portray the content of poetry more clearly. All translations of poetry in the article are done by the author.
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Basri, Muhammad Ridha. "Puitisasi Terjemahan Al-Qur’an Mohammad Diponegoro (Kajian Kabar Wigati dan Kerajaan: Puitisasi Terjemahan Al-Qur’an Juz ke-29 dan ke-30)." Nun: Jurnal Studi Alquran dan Tafsir di Nusantara 6, no. 1 (August 17, 2020): 27–63. http://dx.doi.org/10.32495/nun.v6i1.125.

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Al-Qur’an was revealed by Arabic which was commonly used in the 7th century. As the spread of Islam to many countries, language transfer of the Qur’an becomes a necessity. In Indonesia, translation began with Tarjuman al-Mustafid in the 17th century. Translation became lively in the 20th century. In addition to translation, poetry translations have also emerged. This study reviews the work of Mohammad Diponegoro, Kabar Wigati dan Kerajaan: Puitisasi Terjemahan Al-Qur’an Juz ke-29 dan ke-30, which was originally published in 1977. This work is in the form of lyric poetry and is classified as a new type of poetry. Diponegoro called his work: the poetic translation of the Qur’an, not the poetic translation as HB Jassin’s work. Mukti Ali called this work as art that was born from the Qur’an. In poetry, words are the key, which connects the reader to the poet’s ideas and intuition. Diponegoro arranges linguistic elements and diction choices like poetry in general. Understanding a poem requires an intensification process. This library research will review the poetry of Diponegoro’s translation of the Qur’an with a historical, literary, hermeneutical-interpretative approach.
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Kwon, Youngtak. "Milton’s Originality Compared to the 17th Century English Poetry." Journal of East-West Comparative Literature 53 (September 30, 2020): 27–43. http://dx.doi.org/10.29324/jewcl.2020.9.53.27.

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Almudena Vidorreta. "Women and Carriages in 17th-Century Aragonese Burlesque Poetry." Calíope 22, no. 2 (2017): 43. http://dx.doi.org/10.5325/caliope.22.2.0043.

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Volkova, Anna G. "THE RECEPTION OF FRANCISCAN MYSTICS IN EUROPEAN POETRY OF THE 17TH CENTURY." Vestnik of Kostroma State University, no. 3 (2020): 117–21. http://dx.doi.org/10.34216/1998-0817-2020-26-3-117-121.

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European poetry of the 17th century has its own complicated metaphoric language the interpretation of which depends on understanding of different contexts. It is especially true about religious poetry that does not only use metaphors, motifs and stories from the Bible but also perceive the biblical text through some confessions and often through some directions within a confession. Such cultural and historical code is important and necessary for reception and interpretation of poetical text. Franciscans as a special direction in Roman Catholic spirituality influenced very much on European literature and especially on religious poetry of Middle ages, Renaissance and Baroque i.e. the late 16th – 17th centuries. The main point of the article is studying of key images and motifs of Franciscan spirituality that were expressed in German mystical poetry (on texts by Johannes Scheffler familiarly known as Angelus Silesius). Except traditional motifs of poverty, God’s love, one can find out thoughts about relationships between the Creator and its creature popular in theology and religious experience of Franciscans in his poetry. In poetry such ideas as an experience of communication with God are transmitted through poetical language, metaphors and also through special mean of concordia discors or connecting unconnectable.
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Strode, Anna. "Rīgā 17. gadsimtā sacerētās latīņu kāzu dzejas komponentes." Aktuālās problēmas literatūras un kultūras pētniecībā: rakstu krājums, no. 25 (March 4, 2020): 212–26. http://dx.doi.org/10.37384/aplkp.2020.25.212.

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Soon after the Protestant Reformation took place in Livonia in the 16th century, the currents of European humanism came to Livonia. As a result of the historical and religious impact, the level of education increased, enabling an environment for the development of the literature. Soon various Latin poetry texts int. al. 17th-century occasional poetry written by the humanists of Riga started to appear. The aim of the article is to bring to light the components of nuptial (epithalamium, ὑμέναιος/hymenaeus, carmen nuptialis, etc.) poetry written in Riga in the 17th century, as well as by exploring the specific features of occasional poetry to capture readers’ and researchers’ interest in the previously undiscovered cultural heritage. At the beginning of the article, the tradition of nuptial poetry is explained. Then, by examining the basic principles one must take into account in composing occasional poetry based on works of the ancient rhetors – Menander (Μένανδρος Ῥήτωρ, c. 3rd century), pseudo-Dionysius (pseudo-Dionysius/Διονύσιος), Himerius (Ἱμέριος, c. 315–c. 386) and the book “Seven Books on Poetry” (Poetices libri septem, 1561) written by Italian humanist Julius Caesar Scaliger (1484–1558) – a table of the most used topics in nuptial poetry is formed. Afterwards, the poetry written in Riga and its most typical components (didactics, laudation, inducement, foresight, wishes/congratulations and prayers) is compared to the topics offered by previously mentioned theoreticians. Fragments of Latin nuptial poetry written in Riga are included to portray the components of poetry more clearly. All translations of poetry included in the article are made by the author of the article.
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Hallyn, Fernand, and Roxanne Lapidus. ""A Light-Weight Artifice": Experimental Poetry in the 17th Century." SubStance 22, no. 2/3 (1993): 289. http://dx.doi.org/10.2307/3685288.

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Mašić, Madžida. "From Stylistic Devices to Imagery of 17th Century Poets." Prilozi za orijentalnu filologiju, no. 69 (January 18, 2021): 183–208. http://dx.doi.org/10.48116/issn.2303-8586.2019.69.183.

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This paper aims to present three poems written as alifnāmas (an abecedarian poem), very popular poems in diwan, tekke and folk poetry in Turkish. An abecederian poem as stylistic devices formally belongs to figures of construc­tion and this paper shed a light on three alifnāmas written by Ahmad Talib Bosnawi (one alifnāma) and Hasan Kaimi (two alifnāmas). As we know, this poems have not been presented to our scientific public until now.
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Talib, Adam. "Pseudo-Ṯaʿālibī’s Book of Youths." Arabica 59, no. 6 (2012): 599–649. http://dx.doi.org/10.1163/157005812x622885.

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Abstract This article presents a critical edition and study of a 17th/18th-century poetry collection that had previously been mistaken for al-Ṯaʿālibī’s lost Kitāb al-Ġilmān. It provides a codicological analysis of Berlin MS Wetzstein II 1786 in which the poetry collection is contained and also explains and corrects long-held misconceptions regarding al-Ṯaʿālibī’s connection with the text. Finally, the article situates this poetry collection in the context of Mamluk- and Ottoman-era epigram anthologies and the critical apparatus to the edition demonstrates the key features of intertextuality and popularity that characterised these poetry collections.
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Pritula, Anton. "East Syriac Poetry Embedded in the Manuscript Decoration: 17th—18th Centuries." Manuscripta Orientalia. International Journal for Oriental Manuscript Research 26, no. 2 (December 2020): 3–11. http://dx.doi.org/10.31250/1238-5018-2020-26-2-3-11.

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East Syriac poetry embedded in the manuscript decoration has not been studied despite its large popularity in this tradition. Such verse pieces, mostly quatrains, are known at least since the 16th century. The poems being discussed in the present paper represent a further development of this particular text group. It seems to have first appeared in the Gospel lectionaries. Later on, the other types of liturgical manuscripts also obtained different kinds of “decorative” scribal poetry. This process went on alongside the growth of the poetry's popularity in the East Syriac tradition during several centuries of the Ottoman period.
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Dissertations / Theses on the topic "17th century poetry"

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Xu, Sufeng. "Lotus flowers rising from the dark mud : late Ming courtesans and their poetry." Thesis, McGill University, 2007. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=102831.

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The dissertation examines the close but overlooked relationship between male poetry societies and the sharp rise of literary courtesans in the late Ming. I attempt to identify a particular group of men who devoted exclusive efforts to the promotion of courtesan culture, that is, urban dwellers of prosperous Jiangnan, who fashioned themselves as retired literati, devoting themselves to art, recreation, and self-invention, instead of government office. I also offer a new interpretation for the decline of courtesan culture after the Ming-Qing transition.
Chapter 1 provides an overview of the social-cultural context in which late Ming courtesans flourished. I emphasize office-holding as losing its appeal for late Ming nonconformists who sought other alternative means of self-realization. Chapter 2 examines the importance of poetry by courtesans in literati culture as demonstrated by their visible inclusion in late Ming and early Qing anthologies of women's writings. Chapter 3 examines the life and poetry of individual courtesans through three case studies. Together, these three chapters illustrate the strong identification between nonconformist literati and the courtesans they extolled at both collective and individual levels.
In Chapter 4, by focusing on the context and texts of the poetry collection of the courtesan Chen Susu and on writings about her, I illustrate the efforts by both male and female literati in the early Qing to reproduce the cultural glory of late Ming courtesans. However, despite their cooperative efforts, courtesans became inevitably marginalized in literati culture as talented women of the gentry flourished.
This dissertation as a whole explores how male literati and courtesans responded to the social and literary milieu of late Ming Jiangnan to shed light on aspects of the intersection of self and society in this floating world. This courtesan culture was a counterculture in that: (1) it was deep-rooted in male poetry societies, a cultural space that was formed in opposition to government office; (2) in valuing romantic relationship and friendship, the promoters of this culture deliberately deemphasized the most primary human relations as defined in the Confucian tradition; (3) this culture conditioned, motivated, and promoted serious relationships between literati and courtesans, which fundamentally undermined orthodox values.
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Griffith, Catherine Lloyd. "William Phylip, ei fywyd a'i waith." Thesis, Bangor University, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.340493.

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D'Arcadia, Luís Fernando Campos. "Ut pictura poesis : a poesia vulgar "pintada" por Antônio da Fonseca Soares /." Assis : [s.n.], 2012. http://hdl.handle.net/11449/94014.

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Orientador: Carlos Eduardo Mendes de Moraes
Banca: Ricardo Magalhães Bulhões
Banca: Odilon Helou Fleury Curado
Resumo: Esse trabalho visa ao exame da poesia contida no manuscrito 2998 da sala de reservados da Biblioteca Geral da Universidade de Coimbra, da autoria do português Antônio da Fonseca Soares (1631-1682). Conhecido principalmente por sua obra sacra, a qual assinava como Frei Antônio das Chagas, o seu legado vulgar constitui, igualmente, importante acervo para os estudos da poesia de expressão lusófona. Assim, elegemos esse veio menos conhecido para propor a ampliação dos estudos acerca da produção literáriada época, assim como para rever modelos e métodos de estudo que podem vir a incluir seu nome no cânone dos estudo literários dos seiscentos. O aspecto cantral desse nosso estudo é a descrição. Elementos que permeia grande parte dos 104 romances desse corpus, no sentido de procurar compreender a prática descritiva do autor e, ainda, a medida do possível, demonstrar elementos básicos que explicitaram as diretrizes que um autor do século XVII tinha em mãos para a construção de poemas descritivos em geral. Para tal recorremos a discussões em torno das disciplinas de Retórica e Poética, desde a herança clássica, no princípio ut pictura poesis, com Aristóteles, Horácio, Cícero e Quintiliano, passando pelo tratamento dado à descrição passando pelo tratamentos dado à descrição na retórica de preceptistas seiscentistas, notadamente Tesauro, Cesare Ripa e Antonio Sebastião de Santo Antônio, até a autores atuais que trataram do assunto, como João Adolfo Hansen, Francis Cairns e Maria do Socorro Fernandes Carvalho
Abstract: This dissertation intends to exam the poetry of the manuscript 2998 of the reserved collection of the General Library of the University of Coimbra, attributed to the Portuguese author Antônio da Fonseca Soares (1631-1682). Primarily known for his religious work, writing as Frei Antônio das Chagas, his legacy as a worldly author is important for the comprehension of "vulgar" lusophone expression. The focus of the study is the descriptive procedure within the 104 romances of the corpus, in order to understand poetics of the author, as well as to demonstrate some of the guidelines of description available to seventeenth century authors in general, when that is possible. For that we examine some of the aspects surrounding the disciplines of Rhetorics and Poetics, starting at the classical heritage, in the ut pictura poesis principle, then going through the rhetorical work of seventeenth century authorities, ending in the theoretical approaches of modern scholars
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Lazar, Jessica. "1603 - the wonderfull yeare : literary responses to the accession of James I." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:a0b0e575-da98-405d-81d8-8ddd0bf53924.

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'1603. The Wonderfull Yeare: Literary Responses to the Accession of James I' argues that when James VI of Scotland was proclaimed James I of England on 24 March 1603, the printed verse pamphlets that greeted his accession presented him as a figure of hope and promise for the Englishmen now subject to his rule. However, they also demonstrate hitherto unrecognized concerns that James might also be a figure of threat to the very national strength, Protestant progress, and moral, cultural, and political renaissance for which he was being touted as harbinger and champion. The poems therefore transform an insecure and undetermined figure into a symbol that represents (and enables) promise and hope. PART ONE explores how the poetry seeks to address the uncertainty and fragility, both social and political, that arose from popular fears about the accession; and to dissuade dissenters (and make secure and unassailable the throne, and thereby the state of England), through celebration of the new monarch. Perceived legal, political, and dynastic concerns were exacerbated by concrete difficulties when James was proclaimed King of England, and so he was more than fifty miles from the English border (only reaching London for the first time in early May); his absence was further prolonged by plague; this plague also deferred the immediate sanction of public festivities that should have accompanied his July coronation. An English Jacobean icon was configured in literature to accommodate and address these threats and hazards, neutralizing fears surrounding the idea of the accession with confidence in the idea of the king it brings. In the texts that respond to James's accession we observe his appropriation as a figure of hope and promise. PART 2 looks to more personal hopes and fears, albeit within the national context. It considers how the poets engage with the King's own established iconography and intentions, publicly available to view within his own writing - and especially poetry. The image that is already established there has the potential either to obstruct or to enable national and personal causes and ambitions (whether political, religious, or cultural). The poetry therefore develops strategies to negotiate with and so appropriate the King's own self-fashioning.
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Kershaw, Alison. "The poetic of the Cosmic Christ in Thomas Traherne's 'The Kingdom of God'." University of Western Australia. School of Social and Cultural Studies, 2006. http://theses.library.uwa.edu.au/adt-WU2006.0085.

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[Truncated abstract] In this thesis I examine the poetics of Thomas Traherne’s often over-looked Christology through a reading of The Kingdom of God. This work, probably written in the early 1670s, was not discovered until 1997, and not published until 2005. To date, no extended studies of the work have been published. It is my argument that Traherne develops an expansive and energetic poetic expressive of the theme of the ‘Cosmic Christ’ in which Christ is understood to be the source, the sustaining life, cohesive bond, and redemptive goal, of the universe, and his body to encompass all things. While the term ‘Cosmic Christ’ is largely of 20th century origin, its application to Traherne is defended on the grounds that it describes not so much a modern theology, as an ancient theology rediscovered in the context of an expanding cosmology. Cosmic Christology lies, according to Joseph Sittler,“tightly enfolded in the Church’s innermost heart and memory,” and its unfolding in Traherne’s Kingdom of God is accomplished through the knitting together of an essentially Patristic and Pauline Christology with the discoveries and speculations of seventeenth century science: from the infinity of the universe to the workings of atoms. … The thesis concludes with a distillation of Traherne’s Christic poetic The Word Incarnate. The terms put forward by Cosmic Christology are used to explicate Traherne’s intrepid poetic. In his most remarkable passages, Traherne employs language not only as a rhetorical tool at the service of theological reasoning, but to directly body forth his sense of Christ at the centre of world and self. He promises to “rend the Vail” and to reveal “the secrets of the most holy place.” Scorning more “Timorous Spirits,” he undertakes to communicate and “consider it all.”
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D’Arcadia, Luís Fernando Campos [UNESP]. "Ut pictura poesis: a poesia vulgar pintada por Antônio da Fonseca Soares." Universidade Estadual Paulista (UNESP), 2012. http://hdl.handle.net/11449/94014.

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Made available in DSpace on 2014-06-11T19:26:51Z (GMT). No. of bitstreams: 0 Previous issue date: 2012-02-09Bitstream added on 2014-06-13T19:26:58Z : No. of bitstreams: 1 darcadia_lfc_me_assis.pdf: 621341 bytes, checksum: 8b58f0eb331ff852999d251dde6eab61 (MD5)
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Esse trabalho visa ao exame da poesia contida no manuscrito 2998 da sala de reservados da Biblioteca Geral da Universidade de Coimbra, da autoria do português Antônio da Fonseca Soares (1631-1682). Conhecido principalmente por sua obra sacra, a qual assinava como Frei Antônio das Chagas, o seu legado vulgar constitui, igualmente, importante acervo para os estudos da poesia de expressão lusófona. Assim, elegemos esse veio menos conhecido para propor a ampliação dos estudos acerca da produção literáriada época, assim como para rever modelos e métodos de estudo que podem vir a incluir seu nome no cânone dos estudo literários dos seiscentos. O aspecto cantral desse nosso estudo é a descrição. Elementos que permeia grande parte dos 104 romances desse corpus, no sentido de procurar compreender a prática descritiva do autor e, ainda, a medida do possível, demonstrar elementos básicos que explicitaram as diretrizes que um autor do século XVII tinha em mãos para a construção de poemas descritivos em geral. Para tal recorremos a discussões em torno das disciplinas de Retórica e Poética, desde a herança clássica, no princípio ut pictura poesis, com Aristóteles, Horácio, Cícero e Quintiliano, passando pelo tratamento dado à descrição passando pelo tratamentos dado à descrição na retórica de preceptistas seiscentistas, notadamente Tesauro, Cesare Ripa e Antonio Sebastião de Santo Antônio, até a autores atuais que trataram do assunto, como João Adolfo Hansen, Francis Cairns e Maria do Socorro Fernandes Carvalho
This dissertation intends to exam the poetry of the manuscript 2998 of the reserved collection of the General Library of the University of Coimbra, attributed to the Portuguese author Antônio da Fonseca Soares (1631-1682). Primarily known for his religious work, writing as Frei Antônio das Chagas, his legacy as a worldly author is important for the comprehension of “vulgar” lusophone expression. The focus of the study is the descriptive procedure within the 104 romances of the corpus, in order to understand poetics of the author, as well as to demonstrate some of the guidelines of description available to seventeenth century authors in general, when that is possible. For that we examine some of the aspects surrounding the disciplines of Rhetorics and Poetics, starting at the classical heritage, in the ut pictura poesis principle, then going through the rhetorical work of seventeenth century authorities, ending in the theoretical approaches of modern scholars
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Brooks, Scott A. "To move, to please, and to teach : the new poetry and the new music, and the works of Edmund Spenser and John Milton, 1579-1674." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/5034.

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By examining Renaissance criticism both literary and musical, framed in the context of the contemporaneous obsession with the works of Plato, Aristotle, and Horace, among others, this thesis identifies the parallels in poetic and musical practices of the time that coalesce to form a unified idea about the poet-as-singer, and his role in society. Edmund Spenser and John Milton, who both, in various ways, lived in periods of upheaval, identified themselves as the poet-singer, and comprehending their poetry in the context of this idea is essential to a fuller appreciation thereof. The first chapter addresses the role that the study of rhetoric and the power of oratory played in shaping attitudes about poetry, and how the importance of sound, of an innate musicality to poetry, was pivotal in the turn from quantitative to accentual-syllabic verse. In addition, the philosophical idea of music, inherited from antiquity, is explained in order elucidate the significance of “artifice” and “proportion”. With this as a backdrop, the chapters following examine first the work of Spenser, and then of Milton, demonstrating the central role that music played in the composition of their verse. Also significant, in the case of Milton, is the revolution undertaken by the Florentine Camerata around the turn of the seventeenth century, which culminated in the birth of opera. The sources employed by this group of scholars and artists are identical to those which shaped the idea of the poet-as-singer, and analysing their works in tandem yields new insights into those poems which are considered among the finest achievements in English literature.
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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632." Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.

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BIGNOTTI, LAURA. "Convenzionalità barocca e coscienza individuale nella lirica religiosa di Johann Christian Günther." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/166.

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Da tempo la critica letteraria si interroga sulla possibilità di riconoscere nella lirica di Johann Christian Günther il primo esempio di lirica soggettiva dopo la grande stagione retorica seicentesca. Gli studi tesi ad indagare il valore innovativo della sua poesia sono stati sinora dedicati quasi esclusivamente ai suoi Liebeslieder o Klagelieder; il presente lavoro si concentra invece sull'analisi dei suoi canti spirituali. La ricerca qui condotta intende dimostrare come anche nella geistliche lyrik Günther proponga spesso una rilettura in chiave personale, se non talora autobiografica, di motivi tradizionali, per quanto sopravvivano in essa elementi tipici della poesia barocca. Se i canti giovanili rimangono per lo più ancorati all'imitazione, scarsamente originale, di modelli preesistenti, le composizioni attribuibili alla fase più matura della produzione del poeta testimoniano un'evoluzione nel suo approccio alla materia sacra; tale evoluzione, rispetto alla quale si ravvisa, in particolare, l'influenza del pietismo, prende forma nell'elaborazione sempre più consapevole ed originale di motivi e tematiche. Il lavoro prende in esame diversi gruppi di liriche: il ciclo di Perikopenlieder noti come Geistliche oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget; la Bibeldichtung güntheriana, i Weihnachtslieder e i Bußlieder dell'autore slesiano.
Critical interest in the rich literary production of Johann Christian Günther has been focussing on the possibility of recognizing in his poems the first example of subjective poetry after the great rhetoric season of the 17th century. Most studies investigating the innovative value of Günther's work concentrate on his Liebeslieder or Klagelieder. The present work concentrates instead on his religious poems, and aims to demonstrate that also in his geistliche Lyrik the author is able to offer a personal, sometimes autobiographical, reading of traditional themes, despite the persistence of typical baroque elements. While his early lyrics tend to remain faithful to the scarcely original imitation of pre-existing models, his later poems show a different approach to religious material. This evolution takes the form of a personal and conscious elaboration of spiritual themes, characterized by a considerable influence of pietism. The present research examines in particular Günther's Perikopenlieder, known as Geistliche Oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget, his Bibeldichtung, his Weihnachtslieder and his Bußlieder.
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BIGNOTTI, LAURA. "Convenzionalità barocca e coscienza individuale nella lirica religiosa di Johann Christian Günther." Doctoral thesis, Università Cattolica del Sacro Cuore, 2007. http://hdl.handle.net/10280/166.

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Da tempo la critica letteraria si interroga sulla possibilità di riconoscere nella lirica di Johann Christian Günther il primo esempio di lirica soggettiva dopo la grande stagione retorica seicentesca. Gli studi tesi ad indagare il valore innovativo della sua poesia sono stati sinora dedicati quasi esclusivamente ai suoi Liebeslieder o Klagelieder; il presente lavoro si concentra invece sull'analisi dei suoi canti spirituali. La ricerca qui condotta intende dimostrare come anche nella geistliche lyrik Günther proponga spesso una rilettura in chiave personale, se non talora autobiografica, di motivi tradizionali, per quanto sopravvivano in essa elementi tipici della poesia barocca. Se i canti giovanili rimangono per lo più ancorati all'imitazione, scarsamente originale, di modelli preesistenti, le composizioni attribuibili alla fase più matura della produzione del poeta testimoniano un'evoluzione nel suo approccio alla materia sacra; tale evoluzione, rispetto alla quale si ravvisa, in particolare, l'influenza del pietismo, prende forma nell'elaborazione sempre più consapevole ed originale di motivi e tematiche. Il lavoro prende in esame diversi gruppi di liriche: il ciclo di Perikopenlieder noti come Geistliche oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget; la Bibeldichtung güntheriana, i Weihnachtslieder e i Bußlieder dell'autore slesiano.
Critical interest in the rich literary production of Johann Christian Günther has been focussing on the possibility of recognizing in his poems the first example of subjective poetry after the great rhetoric season of the 17th century. Most studies investigating the innovative value of Günther's work concentrate on his Liebeslieder or Klagelieder. The present work concentrates instead on his religious poems, and aims to demonstrate that also in his geistliche Lyrik the author is able to offer a personal, sometimes autobiographical, reading of traditional themes, despite the persistence of typical baroque elements. While his early lyrics tend to remain faithful to the scarcely original imitation of pre-existing models, his later poems show a different approach to religious material. This evolution takes the form of a personal and conscious elaboration of spiritual themes, characterized by a considerable influence of pietism. The present research examines in particular Günther's Perikopenlieder, known as Geistliche Oden uber einige Sonn- und Festtage des sogenannten Christlichen Jahres des Herrn de Sacy verfertiget, his Bibeldichtung, his Weihnachtslieder and his Bußlieder.
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Books on the topic "17th century poetry"

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Stephen, Mantell, and Films for the Humanities (Firm), eds. Milton and 17th-century poetry [videorecording]. Princeton: Films for the Humanities, 1988.

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The romanticism of 17th century Japanese poetry. Lewiston, N.Y: E. Mellen Press, 1998.

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Kanta, Gupta, and Jayaratha 12th/13th cent, eds. Sanskrit Śaiva kāvyas: From 12th century to 17th century A.D. Delhi: Nag Publishers, 2002.

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Publications, Adam Matthew, ed. Literary manuscripts: 17th and 18th century poetry from the Brotherton Library, University of Leeds. Marlborough, Wiltshire: Adam Matthew Publications, 2006.

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The tapestry of popular songs in 16th- and 17th-century China: Reading, imitation, and desire. Leiden: Brill, 2005.

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Yisrayel. A story in a truthful language: Neo-Syriac poems by Israel of Alqosh and Joseph of Telkepe, North Iraq, 17th century. Netherlands: s.n., 2000.

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William, Brooks, and Zaiser Rainer 1955-, eds. Theatre, fiction, and poetry in the French long seventeenth century =: Le théâtre, le roman, et la poésie à l'âge classique. Oxford: Peter Lang, 2007.

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1914-, Sternfeld Frederick William, Caldwell John 1938-, Olleson Edward, and Wollenberg Susan, eds. The Well enchanting skill: Music, poetry, and drama in the culture of the Renaissance : essays in honour of F.W. Sternfeld. Oxford: Clarendon Press, 1990.

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Poetry and the making of the English literary past, 1660-1781. Oxford: Oxford University Press, 2001.

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Donne, John. Selected poetry. Oxford: Oxford University Press, 1998.

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Book chapters on the topic "17th century poetry"

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Garrett, John. "The Later 17th Century: Andrew Marvell." In British Poetry Since the Sixteenth Century, 61–69. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-27937-1_5.

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Garrett, John. "The Early 17th Century: Donne and Herbert." In British Poetry Since the Sixteenth Century, 49–60. London: Palgrave Macmillan UK, 1986. http://dx.doi.org/10.1007/978-1-349-27937-1_4.

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Niedzwiedz, Jakub. "Poetic Mapping of the Polish Crown at the Turn of the 16th and 17th Centuries and Its Relation to Cartographic Imitation in Renaissance Poetry." In Biblioteca di Studi Slavistici, 117–36. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-198-3.07.

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The paper is devoted to the problem of imitation of maps in the late Renaissance Polish poetry (between 1580 and 1630). The author first discusses the special interest in cartography that existed among the Polish elite and poets of the period. The main thesis of the paper is that poets widely used map-based techniques in constructing their poems. Imitation (imitatio) played a crucial role in this process. To illustrate this concept, the author analyses the work of five poets: S.F. Klonowic, K. Miaskowski, S. Petrycy, M.K. Sarbiewski and Sz. Szymonowic. Looking at the shared topoi used in poems and maps and investigating how the late Renaissance poets described the territory of the Polish-Lithuanian Commonwealth, allows the author to draw a similarity between controlling space in poetry and maps. This suggests the idea of ruling over space might be related to the 16th-century idea of a God-like poet.
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Fordoński, Krzysztof. "The Subversive Power of Father Matthias. The Poetry of Maciej Kazimierz Sarbiewski as Vehicle for Political Propaganda in England of the 17th Century." In Second Language Learning and Teaching, 387–97. Berlin, Heidelberg: Springer Berlin Heidelberg, 2012. http://dx.doi.org/10.1007/978-3-642-21994-8_35.

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Tietz, Manfred. "El teatro del Siglo de Oro y su paulatina presencia en la cultura y la literatura teatrales en los países de habla alemana durante los siglos XVII y XVIII." In Studi e saggi, 77–114. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-150-1.7.

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The presence of the theatre of the Spanish Siglo de Oro in the theatre and literary culture of Germany (or the German-speaking countries) in the 17th and 18th centuries is a multifaceted one, and was influenced by many factors. We have to take in account that in the second half of the 17th century and in a large part of the 18th century Spain had been a terra incognita for the Germanic world. This long lack of basic knowledge led to a decontextualization of the Golden Age theatre and sometimes to an unconditional enthusiasm that was not based on historical realities. The protagonists of the ‘construction’ of a ‘Spanish national theatre’ included Lessing, Herder, Goethe, the Schlegel brothers and the philosopher Schelling, the most prominent German intellectuals of the time. Within this ‘construction’ Lope de Vega, Rojas Zorrilla and, above all, Calderón de la Barca are the three icons that will guide both the theory and the practice of drama during the ‘two most Spanish decades’ of German literary history (1790-1810), even reaching - in the secularized world of the classics and the first generation of German Romantics - the ‘deification’ of Calderón as perfect poet and author of modern tragedies (without paying much attention to his comedias in a stricter sense and without taking account of his autos sacramentales).
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Woods, Marjorie Curry. "A Medieval Rhetorical Manual in the 17th Century: The Case of Christian Daum and the Poetria nova." In Textes et Etudes du Moyen Âge, 201–9. Turnhout: Brepols Publishers, 2008. http://dx.doi.org/10.1484/m.tema-eb.3.2223.

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"The Poetological Frontispiece in 17th-Century German Poetry." In Gateways to the Book, 151–233. BRILL, 2021. http://dx.doi.org/10.1163/9789004464520_006.

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Feldman, Walter. "Music, Poetry, and Composition in the Ayin." In From Rumi to the Whirling Dervishes, 193–217. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474491853.003.0009.

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As the longest individual section of the ayin, the First Selam demonstrates the vision of the ayin’s composer. It also signals the start of the ‘whirling’ of the semazens. This chapter compares three compositions for the First Selam; the anonynous Dügah, Mustafa Dede’s later 17th century Beyati, and Ismail Dede’s early 19th century Saba Ayini. Almost all existing First Selams utilize the usul devr-i revan in 14/8. By comparing a variety of theoretical and poetic texts in both Persian and Turkish we learn that this usul had already characterized Sufi sama’ practices in Greater Iran, at least by the 16th century. A further comparison of notated examples of secular Ottoman music from both 17th century notated and later oral sources with, and the earliest of the Mevlevi ayins, reveals major differences in compositional techniques. Thus the Mevlevi First Selam emerges as a key locus for the creation of a ‘mystical’ musical form. İt may also be the sole survivor of a lost tradition of Iranian Sufi composition for the sama’.
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Stoeva-Holm, Dessislava. "Deutsch – eine beliebte Sprachwahl. Schwedische Dichtkunst im Zeitalter des Barock." In Beiträge zur germanistischen Sprachwissenschaft. Festschrift für Lenka Vaňková, 311–24. University of Ostrava, 2022. http://dx.doi.org/10.15452/beitrage.2022.13.

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Writing poetry in different languages is a widespread cultural technique in the Swedish Empire in the 17th century, which is strongly linked to status issues, but also stems from the poets' efforts to be able to reach a pan-European educated audience. Even if poems in German have Swedish templates and are written by the same poet, they cannot always be classified as own-translations, as they offer evidence of a striking artistic work on the German texts.
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Staf, Irina K. "The Formation of Meta-Language in French Literature in the 16th Century: from Poetical Treatises to “Libraries”." In “The History of Literature”: Non-scientific sources of a scientific genre, 93–131. A.M. Gorky Institute of World Literature of the Russian Academy of Sciences, 2022. http://dx.doi.org/10.22455/978-5-9208-0684-0-93-131.

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“The article deals with the changes which the concept of literature underwent in 16th century France. The late medieval concept of poetry as fabula, allegorical fiction, is replaced in the middle of the century (by T. Sébillet, J. Peletier du Mans, Ronsard) by the Platonic idea of an innate divine gift. The idea of poetry-philosophy describing all possible phenomena of the universe henceforth serves as a prerequisite for the creation of works perfect from a formal point of view. The idea of the relation between poetry and rhetoric as well as the models to be imitated by the poet changes. Lists of canonical authors turn into a poetic topos as early as the late Middle Ages, but under the influence of Pleiades’ theories there is an increased interest in the figure of the “great author”, a symbol of national language and poetry, whose emergence means the achievement of the national culture of the Golden Age. Lists, however, are transformed at the end of the century into the first attempts to describe the totality of French literature (Lacroix du Maine and A. Duverdier’s “Libraries of France”) and its history (a work on ancient poets by C. Fauchet and Book VII of E. Pasquier’s “Inquiries into France”). In the Renaissance disputes and polemics becomes more visible the outlines of both the literary canon, which was embodied in the 17th century, and the historical approach to literature.
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Conference papers on the topic "17th century poetry"

1

Гусева, О. В. "Женский голос в современной польской поэзии." In Межкультурное и межъязыковое взаимодействие в пространстве Славии (к 110-летию со дня рождения С. Б. Бернштейна). Институт славяноведения РАН, 2021. http://dx.doi.org/10.31168/0459-6.46.

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Women have been involved in the creation of Polish literature since the 17th century. A new page in the history of Polish literature, which came after 1989, is associated with the rapid development of feminism. An important phenomenon of poetry at the beginning of the XXI century was the abundance of female names: at this time, the authors of the older generation, such as V. Szymborska, E. Lipska, K. Miłobędzka, J. Hartwig, continue to create, but new names also appear: J. Mueller, M. Cyranowicz, J. Bargielska, M. Podgórnik, M. Lebda, J. Fiedorchuk, M. B. Kielar. Contemporary Polish women’s poetry is very soulful, sensual and deep, it is filled with empathy, and at the same time it is subjective. Corporeality and frankness become one of the characteristic features of women’s writing: women’s poetry tells more openly and directly about the most intimate experiences.
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Rotaru, Ioan-Gheorghe. "Sabbatarian Literature from the 17th Century and the Contribution of Simon Pechi." In Filologia modernă: realizări şi perspective în context european. “Bogdan Petriceicu-Hasdeu” Institute of Romanian Philology, Republic of Moldova, 2021. http://dx.doi.org/10.52505/filomod.2021.15.38.

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Both Sabbatarianism and its poetic creation from this period were under the influence of Simon Péchi. Most of the poetic creations of the Sabbatarians came from the pen of Péchi, who also outlined the future direction regarding this kind of creation. The concern of the Sabbatarians was for the translation of Jewish religious hymns, as well as for their processing. And the literature which emerged, and which until now is an almost unknown poetic literature, which is not even very wide and which has come to us with many shortcomings, in one respect is unmatched and especially full of teachings as regarding that radical change, through which Sabbatarianism has passed from the moment Simon Péchi has reached to lead it.
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