Relevant bibliographies by topics / English (Old) Epic poetry

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Academic literature on the topic 'English (Old) Epic poetry'

Author: Grafiati
Published: 4 June 2021
Last updated: 18 February 2022

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Journal articles on the topic "English (Old) Epic poetry"

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Anlezark, Daniel. "Poisoned places: the Avernian tradition in Old English poetry." Anglo-Saxon England 36 (November 14, 2007): 103–26. http://dx.doi.org/10.1017/s0263675107000051.

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AbstractScholars have long disputed whether or not Beowulf reflects the influence of Classical Latin literature. This essay examines the motif of the ‘poisoned place’ present in a range of texts known to the Anglo-Saxons, most famously represented by Avernus in the Aeneid. While Grendel's mere presents the best-known poisonous locale in Old English poetry, another is found in the dense and enigmatic poem Solomon and Saturn II. The relationship between these poems is discussed beside a consideration of the possibility that their use of the ‘Avernian tradition’ points to the influence of Latin epic on their Anglo-Saxon authors.
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Reichl, Karl. "The varieties of formulaic diction in Turkic oral epics." Balcanica, no. 44 (2013): 79–91. http://dx.doi.org/10.2298/balc1344079r.

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This article tries to show that the formulaic diction on the level of verse line and formulaic patterning in the composition of scenes are closely related and must be studied together. The analysis is done on the example of Turkic epics. Of the formulaic patterns the most prominent one is the variety of use of the attribute ak (white), which appears to be one of the most common epithets in Turkic epic poetry. It is usually connected with cloth (e.g. caftan, yurt), different parts of body (face, bosom), antelope, the lumps of gold given as bride-price and various kinds of arms (sword, spear) etc. It is usually denoted evaluatively as purity and beauty. In this matter Turkic epics share its position with many national epics of the middle ages including Serbian, Old English, Old German etc. The same role is analyzed for the opposite pattern ?dust of earth?, and for the two themes: preparation of the hero for his journey and council scenes which are also mutual to many medieval epic traditions such as aforementioned Serbian and others.
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Battles, Paul. "Toward a Theory of Old English Poetic Genres: Epic, Elegy, Wisdom Poetry, and the “Traditional Opening”." Studies in Philology 111, no. 1 (2014): 1–33. http://dx.doi.org/10.1353/sip.2014.0001.

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

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ABSTRACTTranslation techniques favoured by Tolkien in rendering Beowulf and other medieval poetry into modern English. J. R. R. Tolkien was a prolific translator, although most of his translation work was not actually published during his lifetime, as occurred with the greater part of his fiction. He never did any serious translation from modern foreign languages into English, but rather devoted himself to the task of turning Old English and Middle English poetry into something that could be readily understood by speakers of the modern idiom. His largest and best-known published translation is of the anonymous 14th Century poem Sir Gawain and the Green Knight, which was published posthumously with two other translations from Middle English in the volume Sir Gawain and the Green Knight, Pearl and Sir Orfeo (Allen & Unwin 1975). The translation of Middle English texts constitutes the bulk of his output in this field, both in the above volume and in the fragments that appear in his lectures and essays. However, his heart really lay in the older, pre-Norman form of the language, and particularly in the greatest piece of literature to come down to us from the Old English period, the epic poem Beowulf.
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Gvozdetskaya, Natal'ya Yu. "BEOWULF IN RUSSIA. THE LANGUAGE OF THE OLD ENGLISH HEROIC EPIC IN RUSSIAN LITERARY TRANSLATION." RSUH/RGGU Bulletin. "Literary Theory. Linguistics. Cultural Studies" Series, no. 9 (2020): 226–39. http://dx.doi.org/10.28995/2686-7249-2020-9-226-239.

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The paper is an attempt to analyze the methods of representing specific features of the language of the Old English poem Beowulf in the Russian literary translation of Vladimir Tikhomirov: alliterative collocations, synonymic groups, compounds and epic variations. These specific features of Old English poetic language are rendered in the translation through the diction of different stylistic coloring – both the high-style, even archaic words as well as the everyday words close to colloquialisms. Following the Old English poet, the translator uses the oral-epic manner of narration, neither reducing it to a limited stylization, nor turning it into an innovative experiment. The translator manages to convey the ability of the Old English poetic language to coin new compounds through creating ‘potential’ words that reveal the ‘open’ character of the Old English synonymic systems. The Russian translation of Beowulf is considered in the context of the history of English translations of the poem as well as studies of Old English and Old Scandinavian literature in Russia.
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Bjork, Robert E. "The reception history of Beowulf." SELIM. Journal of the Spanish Society for Medieval English Language and Literature. 25, no. 1 (September 29, 2020): 1–19. http://dx.doi.org/10.17811/selim.25.2020.1-19.

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This paper traces both the scholarly and popular reception of the Old English epic Beowulf from the publication of the first edition of the poem in 1815 to the most recent English novel based on it from 2019. Once the work was first made available to the scholarly community, numerous editions in various languages began to appear, the most recent being in English from 2008; once editions were published, Old English scholars around the world could translate the text into their native languages beginning with Danish in 1820. Translations, in their turn, made the poem available to a general audience, which responded to the poem through an array of media: music, art, poetry, prose fiction, plays, film, television, video games, comic books, and graphic novels. The enduring, widespread appeal of the poem remains great and universal.
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Kurysheva, L. A. "On the English Source and Russian Literary Connections of N. F. Grammatin’s Ballad “Uslad and Vsemila”." Studies in Theory of Literary Plot and Narratology 16, no. 1 (2021): 5–25. http://dx.doi.org/10.25205/2410-7883-2021-1-5-25.

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The plot basis of the N. F. Grammatin’s “Uslad and Vsemila. Old Russian Ballad” (1810) – the ballad “Alonzo the Brave and the Fair Imogine” from the novel “Monk” by M. G. Lewis (1796) is determined. To establish the probable source of acquaintance with the Lewis’s ballad, in addition to the English original, Russian (1803) and French (1797) translations of the novel were used for comparison. Comparison of the texts leads to the conclusion that the author is directly acquainted with the English ballad in the original language. To give the ballad a national flavor, Grammatin used a conventional historical background, archaized vocabulary, as well as images and expressions of the national epic tradition. It has been proved that Grammatin used motives of Russian epics to create a ballad on a similar plot ATU 974 “The Homecoming Husband” from the collection of Kirsha Danilov – on Solovei Budimirovich (contamination of two plots – the matchmaking and the return of a husband to his wife’s wedding) and on Dobryna Nikitich and Alyosha Popov (the return of the husband to his wife’s wedding). The basis for combining these different sources – the supposedly “old Spanish ballad” on Alonzo and Imogine (as it is presented by Lewis in the novel) and Russian epics – were Grammatin’s general views on ancient poetry. Revealed the author’s accents in a popular plot. Compared to the English sample, Grammatin reinforces the theme of heavenly punishment for treachery. The bridegroom-dead comes not only in fulfillment of the fidelity’s vow, first of all he is the messenger of heaven, the messenger of the punishing God. The connection of Grammatin’s poem with the ballad experiments of N. M. Karamzin, V. A. Zhukovsky, I. I. Dmitriev, P. A. Katenin, S. P. Zhikharev and other contemporary works are considered.
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Gautam, Trishita, and Piyush Kumar Banerjee. "From Epic Characters to a Movie Transformation: Tracing the Journey of Beowulf from Old English Poetry to Contemporary Motion Picture." Litinfinite Journal 2, no. 1 (July 2, 2020): 22. http://dx.doi.org/10.47365/litinfinite.2.1.2020.22-29.

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France, Peter. "Scott Moncrieff's First Translation." Translation and Literature 21, no. 3 (November 2012): 364–82. http://dx.doi.org/10.3366/tal.2012.0088.

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C. K. Scott Moncrieff, famous as the translator of Proust, began his translating career in 1918 with La Chanson de Roland. Knowing nothing of Old French, he encountered this classic text while recovering from a war wound; the work of translation was a ‘solace’ in time of war, but also a homage to his friend Wilfred Owen and others who had ‘met their Rencesvals’ as the war drew to a close. Scott Moncrieff was no jingoist, but against the cynicism of Siegfried Sassoon's war poetry, he used the Old French epic to celebrate the positive values embodied in the idea of vassalage. Like his Proust, his Song of Roland sought to bring another world to life in English-speaking culture, in all its specific difference. Here this led him to adopt an archaizing and purportedly oral style, notably in the imitation of the assonanced laisses of the original.
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Al-Ibia, Salim Eflih. "A Comparative Study of Three Modern Translations of the Old English Lines (675-702) of Beowulf." Journal of Arts and Humanities 7, no. 2 (March 6, 2018): 66. http://dx.doi.org/10.18533/journal.v7i2.1337.

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<p>In this article, I compare the modern translations of lines (675-702) of <em>Beowulf</em> in Seamus Heaney’s 2000 translation, Roy Luizza’s 1999 translation, and Edwin Morgan’s 1952 translation<em>.</em> I begin with Morgan’s text since it is the earliest translation and ends with Heaney’s translation, as it is the most recent one. My evaluations for the three texts take into consideration the syntax, the poetic dictions and the approach used by Haney, Luizza and Morgan. I choose these lines in particular because these lines describe the confrontation with Grendel, and because an evaluation of the translations of the entire epic would be an overwhelming task. The article begins with a brief introduction to Old English structure and typological descriptions so we understand the challenge the aforementioned translators of <em>Beowulf </em>have met as they worked on the original manuscript and be able to acutely evaluate the final product of their translations of the aforementioned lines.</p><p><strong>Keywords</strong>: Old English, Beowulf, modern translations </p>
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Dissertations / Theses on the topic "English (Old) Epic poetry"

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Thayer, James Dyas. "Altered identities : time and transformation in Beowulf /." view abstract or download file of text, 2002. http://wwwlib.umi.com/cr/uoregon/fullcit?p3055717.

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Thesis (Ph. D.)--University of Oregon, 2002.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 204-213). Also available for download via the World Wide Web; free to University of Oregon users. Address: http://wwwlib.umi.com/cr/uoregon/fullcit?p3055717.
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Bodie, Gary John. "A new kind of Beowulf : text, translation and technology /." view abstract or download file of text, 2007. http://proquest.umi.com/pqdweb?did=1453174591&sid=2&Fmt=2&clientId=11238&RQT=309&VName=PQD.

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Thesis (Ph. D.)--University of Oregon, 2007.
Typescript. Includes vita and abstract. Includes bibliographical references (leaves 243-254). Also available for download via the World Wide Web; free to University of Oregon users.
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Prozesky, Maria L. C. "Reading the English epic changing noetics from Beowulf to the Morte d'Arthur /." Pretoria : [s.n.], 2005. http://upetd.up.ac.za/thesis/available/etd-02282007-172136/.

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Herbison, David Ivan Currie. "The legacy of Christian epic : a study of Old English biblical and hagiographical poetry." Thesis, Queen's University Belfast, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.394463.

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Cavill, Paul. "Maxims in Old English poetry." Thesis, University of Nottingham, 1996. http://eprints.nottingham.ac.uk/11063/.

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The focus of the thesis is on maxims and gnomes in Old English poetry, but the occasional occurrence of these forms of expression in Old English prose and in other Old Germanic literature is also given attention, particularly in the earlier chapters. Chapters 1 to 3 are general, investigating a wide range of material to see how and why maxims were used, then to define the forms, and distinguish them from proverbs. The conclusions of these chapters are that maxims are ‘nomic’, they organise experience in a conventional, authoritative fashion. They are also ‘proverbial’ in the sense of being recognisable and repeatable, but they do not have the fixed form of proverbs. Chapters 4 to 7 are more specific in their focus, applying techniques from formulaic theory, paroemiology and the sociology of knowledge to the material so as to better understand how maxims are used in their contexts in the poems, and to appreciate the nature and function of the Maxims collections. The conclusions reached here are that the maxims in Beowulf 183b-88 are integral to the poem, that maxims in The Battle of Maldon show how the poet manipulated the social functions of the form for his own purposes, that there is virtually no paganism in Old English maxims, and that the Maxims poems outline and illustrate an Anglo-Saxon world view. The main contribution of the thesis is that it goes beyond traditional commentary in analysing the purpose and function of maxims. It does not merely focus on individual poems, but attempts to deal with a limited aspect of the Old English oral and literary tradition. The primary aim is to understand the general procedures of the poets in using maxims and compiling compendia of them, and then to apply insights gained from theoretical approaches to the specifics of poems.
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Momma, H. "The composition of Old English poetry /." Cambridge [GB] : Cambridge university press, 1997. http://catalogue.bnf.fr/ark:/12148/cb366995688.

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Brown, Raymond David. "Apo koinou in Old English poetry /." The Ohio State University, 1990. http://rave.ohiolink.edu/etdc/view?acc_num=osu1487684245465626.

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Larrington, Carolyne. "Old Icelandic and Old English wisdom poetry : gnomic themes and styles." Thesis, University of Oxford, 1988. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.304642.

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Belam, Judith. "La Chevalerie Ogier de Danemarche - a critical edition." Thesis, University of Reading, 1994. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.390283.

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Waller, Benjamin. "Metaphorical Space and Enclosure in Old English Poetry." Thesis, University of Oregon, 2014. http://hdl.handle.net/1794/17893.

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While the political and social spaces of Old English literature are fairly well understood, this project examines the conceptual spaces in Old English poetry. The Anglo-Saxons possessed a richly metaphorical understanding of the world, not merely in the sense of artistically ornamental metaphor, but in Lakoff and Johnson's sense of conceptual metaphor, which reflects the structures of thought through which a culture understands their world. Three domains exhibit developed systems of conceptual metaphor for the Anglo-Saxons: the self, death, and the world. First, the Anglo-Saxon self is composed of four distinct entities--body, mind, soul, and a life-force--which each behave independently as they compete for control in poems like The Wanderer, The Seafarer, and Soul and Body. Second, death for the Anglo-Saxon is expressed through a number of metaphors involving the status or placement of the body: removal to a distant place; separation of the body and the soul; location down on or within the earth; and the loss of life as a possession. Predominance of a particular metaphor contributes to the effects of individual poems, from The Fates of the Apostles and Beowulf to The Battle of Maldon and The Wife's Lament. Third, the Anglo-Saxon world is a large structure like a building, with its three primary components--heaven, hell, and earth--each themselves presented as building-like structures. Old English poetry, including native versions of Genesis, reveal heaven to be a protective Anglo-Saxon hall, while hell is a cold prison. The earth, in poems like Christ II and Guthlac B, is either a wide plain or a comforting house. Christ I connects these worlds through gates, including Mary, characterized as a wall-door. Finally, the apocalyptic Christ III employs metaphorical spaces for all three conceptual domains treated in this study but dramatizes their breakdown even as it reveals spatial enclosure the overarching structure of metaphorical concepts in Old English poetry.
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Books on the topic "English (Old) Epic poetry"

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Images of community in old English poetry. Cambridge: Cambridge University Press, 1996.

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Beowulf and four related Old English poems: A verse translation. Lewiston, N.Y: Edwin Mellen Press, 2010.

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Beowulf and other Old English poems. Philadelphia: University of Pennsylvania Press, 2011.

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Old English poetry and the genealogy of events. East Lansing, MI: Colleagues Press, 1993.

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Interactions of thought and language in Old English poetry. Cambridge: Cambridge University Press, 1995.

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Translating Beowulf: Modern versions in English verse. Cambridge, UK: D.S. Brewer, 2011.

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Vickman, Jeffrey. A metrical concordance to Beowulf. Binghamton, N.Y: Center for Medieval and Early Renaissance Studies, State University of New York at Binghamton, 1991.

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Clark, Francelia Mason. Theme in oral epic and in Beowulf. New York: Garland, 1995.

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Child, Clarence Griffin, and Gummere Francis Barton. Beowulf. Ann Arbor, MI: Borders Classics by special arrangement with Ann Arbor Media Group, 2007.

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Jones, Shirley. Ellor-gāst: [a set of eight aquatints by Shirley Jones illustrating eight passages from Beowulf, translated, set & printed by her]. [Croydon, Surrey]: Red Hen Press, 1986.

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Book chapters on the topic "English (Old) Epic poetry"

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Anlezark, Daniel. "Old English Epic Poetry: Beowulf." In A Companion to Medieval Poetry, 141–60. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch8.

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Clarke, Catherine A. M. "Old English Poetry." In The Blackwell Companion to the Bible in English Literature, 61–75. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444324174.ch5.

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Hough, Carole, and John Corbett. "Introducing Old English Poetry." In Beginning Old English, 90–106. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-34119-8_6.

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Ashurst, David. "Old English Wisdom Poetry." In A Companion to Medieval Poetry, 125–40. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch7.

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Hough, Carole, and John Corbett. "Translating Old English Poetry: Beowulf." In Beginning Old English, 107–30. London: Macmillan Education UK, 2013. http://dx.doi.org/10.1007/978-1-137-34119-8_7.

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Jayatilaka, Rohini. "Old English Manuscripts and Readers." In A Companion to Medieval Poetry, 51–64. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch3.

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Lester, G. A. "Old English Poetic Diction." In The Language of Old and Middle English Poetry, 47–66. London: Macmillan Education UK, 1996. http://dx.doi.org/10.1007/978-1-349-24561-1_4.

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Orchard, Andy. "Old English and Latin Poetic Traditions." In A Companion to Medieval Poetry, 65–82. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch4.

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Anlezark, Daniel. "Old English Biblical and Devotional Poetry." In A Companion to Medieval Poetry, 101–24. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch6.

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Magennis, Hugh. "Germanic Legend and Old English Heroic Poetry." In A Companion to Medieval Poetry, 83–100. Oxford, UK: Wiley-Blackwell, 2010. http://dx.doi.org/10.1002/9781444319095.ch5.

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Conference papers on the topic "English (Old) Epic poetry"

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Yatsenko, Maria. "qCaedmon's Hymnq in the Context of the Old English Christian Poetry (with special reference to the Song of the Three Youths)." In 45th International Philological Conference (IPC 2016). Paris, France: Atlantis Press, 2017. http://dx.doi.org/10.2991/ipc-16.2017.32.

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