Relevant bibliographies by topics / Andalusian poetry of the XI century

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Academic literature on the topic 'Andalusian poetry of the XI century'

Author: Grafiati
Published: 24 April 2022

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Journal articles on the topic "Andalusian poetry of the XI century"

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Janowska, Karolina. "Amor udrí – la poesía cortesana árabe en la Península Ibérica." Forum Filologiczne Ateneum, no. 1(7)2019 (December 31, 2019): 323–42. http://dx.doi.org/10.36575/2353-2912/1(7)2019.323.

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The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.
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Dye, Jill, Danni Glover, Robert Scott, and James Harriman-Smith. "XI The Eighteenth Century." Year's Work in English Studies 98, no. 1 (2019): 582–619. http://dx.doi.org/10.1093/ywes/maz009.

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Abstract This chapter has four sections: 1. General and Prose; 2. The Novel; 3. Poetry; 4. Drama. Section 1 is by Jill Dye; section 2 is by Danni Glover; section 3 is by Robert Scott; section 4 is by James Harriman-Smith.
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García, Miguel Ángel. "La copla andaluza y los poetas." Revue Romane / Langue et littérature. International Journal of Romance Languages and Literatures 48, no. 2 (December 5, 2013): 328–53. http://dx.doi.org/10.1075/rro.48.2.07ang.

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From the so-called «fin de siglo» to the thirties some of the Spanish poets relied on the folk song –and more specifically on the «cante jondo» or flamenco– to define an alleged Andalusian soul. In opposition to the cheerful, colourful and folkloric Andalusia described by poets like Reina and Rueda, there are other Modernist authors like Villaespesa, Sánchez Rodríguez, Juan Ramón Jiménez or Darío who refined the literary image of Andalusia from the distinctive notes of sadness or grief, thus initiating a thematic chain which from the twenties extended Lorca’s image of «Andalucía del llanto» under Neopopularism and the Vanguard movement. This trend continued in the next decade, when Cansinos Assens and the Caba brothers placed similar emphasis on tragic Andalusia, based on an analysis of the «cante jondo» in which metaphysical, social and historical aspects were mixed. This paper aims to examine some of the key aspects of the relation between the sadness of the Andalusian song and Spanish poetry in the first third of the 20th century.
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김근태. "A study on the Aspect of Reception in Jiang-xi School of Poetry poetical circles in 19th Century of Chosun Dynasty." HANMUNHAKRONCHIP: Journal of Korean Literature in Chinese 51, no. ll (October 2018): 263–88. http://dx.doi.org/10.17260/jklc.2018.51..263.

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Knapp, Steven. "Stephen M. Fallon. Milton among the Philosophers: Poetry and Materialism in Seventeenth-Century England. Ithaca, NY: Cornell University Press, 1991. xi + 264 pp. $34.50." Renaissance Quarterly 46, no. 3 (1993): 617–19. http://dx.doi.org/10.2307/3039132.

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Sorensen, Joseph T. "Poetry as Image: The Visual Culture of Waka in Sixteenth-Century Japan. Tomoko Sakomura. Japanese Visual Culture 16. Leiden: Brill, 2016. xi + 260 pp. $128." Renaissance Quarterly 71, no. 1 (2018): 256–57. http://dx.doi.org/10.1086/697783.

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Birro, Renan Marques. "SOBRE MATADORES DE DRAGÕES: ALUSÕES POÉTICAS AO HEROI SIGURÐR FÁFNISBANI E AO ARCANJO MIGUEL NA POESIA ESCANDINAVA DO SÉCULO XI * ON DRAGON SLAYERS: POETIC ALLUSIONS ABOUT THE HERO SIGURÐR FÁFNISBANI AND MICHAEL THE ARCHANGEL IN SKALDIC POETRY (XIth CENTURY)." História e Cultura 5, no. 1 (March 29, 2016): 73. http://dx.doi.org/10.18223/hiscult.v5i1.1732.

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Resumo: Este artículo versa sobre diferentes tradições de matadores de dragões na Escandinávia medieval, a saber, Sigurðr Fáfnisbani e são Miguel arcanjo. A partir das transformações religiosas do período, das adequações poéticas ao novo credo e conforme a audiência, os skáld teciam suas composições, no intuito de permanecer com os favores da aristocracia escandinava. É verossímil, portanto, que a influência cristã tenha contribuído para moldar algumas composições poéticas semilegendárias e mitológicas desde a etapa de criação. É verossímil, portanto, que a influência cristã era sentida na composição de poemas semilegendários e mitológicos em língua vernacular. Palavras-chave: Sigurðr; Miguel; Poesia Escáldica; Escandinávia Medieval. Abstract: This article explores two traditions on dragon slayers in Medieval Scandinavia, i.e., Sigurðr Fáfnisbani and saint Michael theArchangel. Considering the religious transformations at that time, the poetical changes with the introduction of a new faith, and the audience reception, the skáld “wove” their compositions to maintain their favorable positions among the scandinavian aristocracy. Possibly the christian influence was present since the composition of semi legendary and mythological poems in vernacular language. Keywords: Sigurðr; Michael; Skaldic Poetry; MedievalScandinavia.
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Myers, Joanne E. "Cynthia. Scheinberg, Women’s Poetry and Religion in Victorian England: Jewish Identity and Christian Culture. Cambridge Studies in Nineteenth‐Century Literature and Culture. New York: Cambridge University Press, 2002. xi+275 pp. $55.00 (cloth)." Journal of Religion 84, no. 4 (October 2004): 673–75. http://dx.doi.org/10.1086/427013.

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Royo Guillén, José Ignacio, Francisco José Navarro Cabeza, and Serafín Benedí Monge. "Un paisaje sacralizado por grabados rupestres protohistóricos e históricos en las hoces del río Mesa (Calmarza, Zaragoza) = A Sacralized Landscape by Protohistoric and Historical Rock Engravings in the Gorges of the River Mesa (Calmarza, Zaragoza)." Espacio Tiempo y Forma. Serie I, Prehistoria y Arqueología, no. 13 (December 15, 2020): 105. http://dx.doi.org/10.5944/etfi.13.2020.28894.

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Los estudios sobre grabados rupestres al aire libre de cronología postpaleolítica, adolecen de importantes carencias que, en el valle medio del Ebro, se han visto superadas con la llegada del tercer milenio. Con la presentación de este trabajo se pretende dar a conocer un nuevo núcleo de grabados rupestres, localizado en el extremo suroeste de la provincia de Zaragoza, en las gargantas calcáreas del río Mesa. Entre los nuevos enclaves rupestres, destacan los abrigos con grabados protohistóricos, pero muy especialmente los de cronología medieval andalusí y los de iconografía cristiana entre los siglos XIV y XVIII, con perduraciones hasta mediados del siglo XIX y algunas escenas relacionadas con la primera Guerra Carlista en Aragón. La distribución de los hallazgos, su tipología e iconografía y los restos arqueológicos asociados, permiten documentar una importante ocupación del territorio desde la Iª Edad del Hierro y la sacralización del paisaje a través del arte rupestre, con pervivencias que se perpetúan a lo largo de la Edad Media y Moderna, destacando como novedad la presencia de un importante conjunto de inscripciones epigráficas islámicas que deben situarse entre los siglos XI y XII. AbstractThe studies on open-air rock engravings in post-Paleolithic chronology suffer from important deficiencies, which in the middle valley of the Ebro, have been overcome with the arrival of the third millennium.With the presentation of this work, the aim is to make known a new nucleus of rock engravings, located in the extreme southwest of the province of Zaragoza, in the limestone gorges of the River Mesa. Among the new rock engravings, the shelters with protohistoric engravings stand out, but especially those with a medieval Andalusian chronology and those with Christian iconography between the 14th and 18th centuries, which lasted until the middle of the 19th century and some scenes related to the first Carlist War in Aragon. The distribution of the findings, their typology and iconography and the associated archaeological remains, allow us to document an important occupation of the territory since the First Iron Age and the sacralization of the landscape through rock art, with survivals that are perpetuated throughout the Middle and Modern Ages, highlighting as a novelty the presence of an important set of Islamic epigraphic inscriptions that must be located between the 11th and 12th centuries.
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Brickhouse, Anna. "The Black Legend of Texas." PMLA/Publications of the Modern Language Association of America 131, no. 3 (May 2016): 735–42. http://dx.doi.org/10.1632/pmla.2016.131.3.735.

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Among The Many Significant Contributions of Raúl Coronado's A World Not to Come: A History Of Latino Writing and Print Culture is its vivid account of a lost Latino public sphere, a little-known milieu of hispanophone intellectual culture dating back to the early nineteenth century and formed in the historical interstices of Spanish American colonies, emergent Latin American nations, and the early imperial interests of the United States. In this respect, the book builds on the foundational work of Kirsten Silva Gruesz's Ambassadors of Culture: The Transamerican Origins of Latino Writing, which gave definitive shape to the field of early Latino studies by addressing what were then (and in some ways still are) the “methodological problems of proposing to locate the ‘origins’ of Latino writing in the nineteenth century.” Gruesz unfolded a vast panorama of forgotten Spanish-language print culture throughout the United States, from Philadelphia and New York to New Orleans and California, in which letters, stories, essays, and above all poetry bequeathed what she showed convincingly were “important, even crucial, ways of understanding the world” that had been largely lost to history (x). Coronado's book carries forward this project of recovery, exploring a particular scene of early Latino writing centered in Texas during its last revolutionary decades as one of the Interior Provinces of New Spain, its abrupt transition to an independent republic, and its eventual annexation by the United States. As a “history of textuality” rather than a study of literary culture per se (28), the book tells the story of the first printing presses in Texas but also evinces the importance of manuscript circulation as well as private and sometimes unfinished texts. A World Not to Come concerns both print culture and origins but refuses to fetishize either, attending to the past not to “the degree that it is a measure of the future,” as Rosaura Sánchez once put it, but for the very opposite reason: because it portended a future that was never realized (qtd. in Gruesz, Ambassadors xi).
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Dissertations / Theses on the topic "Andalusian poetry of the XI century"

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Chiabotti, Francesco. "Entre soufisme et savoir islamique : l'oeuvre de ῾Abd al-Karīm al-Qushayrī (376-465 / 986-1072)." Thesis, Aix-Marseille, 2014. http://www.theses.fr/2014AIXM3096.

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La présente étude veut représenter un essai de synthèse des aspects les plus remarquables de la production littéraire et du rôle dans l'histoire du soufisme du maître soufi et théologien khorassanien Abū l-Qāsim ῾Abd al-Karīm b. Hawāzin al-Qushayrī (376-465/ 986-1072). Trois axes principaux sont développés : la vie de Qushayrī et la dynamique de diffusion de son oeuvre, l'analyse du corpus qushayrien (étude des manuscrits et état de l'édition), les aspects les plus remarquables de sa doctrine. L'idée principale qui guide ce travail est la saisie de la relation qu'on aperçoit, dans l'oeuvre de Qushayrī, entre le soufisme et les différents savoirs islamiques. Quelle est la véritable nature de cet « effet miroir » que Qushayrī opère entre le savoir exotérique et la connaissance ésotérique propre au soufisme ? Dans quelle mesure Qushayrī innove et dans quelle mesure peut-on le considérer comme un « transmetteur fidèle » d'un patrimoine à la fois spirituel et savant dont il se veut l'héritier ? Après la redéfinition de la relation soufisme-savoir, notre deuxième objectif est de jeter une nouvelle lumière sur «Qushayrī le maître», un maître que les sources plus anciennes appellent ustādh imām, savant et religieux à la fois. Par delà le souci normatif qui traverse l'oeuvre qushayrienne, n'en demeure pas moins un appel au voyage et au dépassement vers la connaissance de Dieu. Comme le dit le maître soufi Dhū l-Nūn l'Egyptien d'après la Risāla de Qushayrī, « tout ce que tu peux concevoir dans ton imagination, Dieu est différent de cela »
This dissertation is the first monograph on the life and work of the immensely influential Nishapuri Sufi and theologian ʿAbd al-Karīm b. Hawāzim al-Qushayrī (376-465/986-1072). On the basis of unpublished manuscripts and textual marginalia (isnāds, ijāzas and colophons) as well as recently published critical editions, the present study has three primary research nodes: 1) Qushayrī's formation as a thinker and the dynamics that made for the successful diffusion of his work; 2) the Qushayrian corpus (a survey of extant manuscripts, editions and secondary scholarship); and 3) the most important aspects of Qushayrī's project. A number of important questions will be pursued, including: How should we understand the interplay between exoteric and esoteric knowledge that pervades Qushayrī's writings? To what extent does Qushayrī redefine the spiritual and scholarly traditions he inherited, and how does he conceive of his role as transmitter? Finally, this study addresses the role of Qushayrī as a spiritual master. Questioning previous assumptions as to the ways in which Qushayrī's spiritual influence was propagated, I demonstrate that Qushayrī emerged as a charismatic spiritual master in his own lifetime, directly establishing a Sufi-scholarly tradition that our sources term Qushayriyya
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Books on the topic "Andalusian poetry of the XI century"

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Byron, Byron George Gordon. Don Juan, cantos X, XI, XII, and XVII manuscript: A facsimile of the original draft manuscripts in the University of London Library. New York: Garland Pub., 1993.

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Nicholson. Don Juan, Cantos X, XI, XII & XVII: A Facsimile of the Original Draft Manuscripts in the University of London Library (Manuscripts of the Younger Romantics). Routledge, 1993.

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Book chapters on the topic "Andalusian poetry of the XI century"

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"XI MUYONG / HSI MU-YUNG (1943- )." In Twentieth-century Chinese Women's Poetry: An Anthology, 161–65. Routledge, 2014. http://dx.doi.org/10.4324/9781315698557-32.

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Juárez-Almendros, Encarnación. "The Artifice of Syphilitic and Damaged Female Bodies in Literature." In Disabled Bodies in Early Modern Spanish Literature, 56–82. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940780.003.0003.

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This chapter examines the literary depiction of the broken and contaminated corporality of female prostitutes as illustrated in Francisco Delicado’s La Lozana andaluza [Portrait of Lozana: The Lusty Andalusian Woman] (1528), Miguel de Cervantes’s Casamiento engañoso [The Deceitful Marriage] (1613), La tía fingida [The pretended aunt], a novel attributed to Cervantes, and Francisco de Quevedo’s satiric poetry written in the first half of the seventeenth century. These works share a common representation of syphilis as a gendered metaphor of physical and moral decay that functions in opposition both to male embodiment and to the ideal of the integrity of the female body, expressed in the concept of virginity and chastity. Furthermore, they exemplify the development of the syphilitic trope through the century as well as the diverse solutions to taming alterity.
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Wang, David Der-wei. "Six Modernist Poets in Search of Du Fu." In Reading Du Fu, 143–64. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528448.003.0010.

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Conventional wisdom has it that Chinese modernism arose as part of the May Fourth literary reform, a movement purportedly predicated on radical anti-traditionalism. The fact that Du Fu is the “author” worshiped by multiple modern Chinese poets during the past century prods us to reconsider the motivations of Chinese literary modernity. Their “search” for the ancient “sage of poetry” not only points to a unique dialogical relationship between the moderns and a premodern “author” but also offers an important clue to the genealogy of Chinese literary modernity. The way in which Chinese modernists have continually treated Du Fu as a source of inspiration, finding in him a kindred spirit, is a highly intriguing phenomenon. This essay introduces six modernist Chinese and Sinophone poets in search of Du Fu—Huang Canran 黃燦然‎, Xi Chuan 西川‎, Wai-lim Yip 葉維廉‎, Xiao Kaiyu 蕭開愚‎, Luo Fu 洛夫‎, and Luo Qing 羅青‎—along with their aspirations and conjurations, appropriations and revisions.
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