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1
Broadhead, Alex. "Framing dialect in the 1800 Lyrical Ballads: Wordsworth, regionalisms and footnotes." Language and Literature: International Journal of Stylistics 19, no. 3 (August 2010): 249–63. http://dx.doi.org/10.1177/0963947010370187.
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This article addresses one of the most theoretically and linguistically vexing issues in the history of English poetic language: stylistic variation in Wordsworth and Coleridge’s Lyrical Ballads. It suggests that two footnotes, added to the 1800 edition, offer a new perspective on a question which has prompted debate since its publication: specifically, what is the relationship between Wordsworth’s use of dialect and the language of ‘low and rustic life’ promised by the 1800 Preface to Lyrical Ballads? In sections 1 and 2 the article expands on the importance of the footnotes in relation to the discussion surrounding Wordsworth’s language. Section 3 examines the departure of Lyrical Ballads from 18th-century conventions regarding the glossing of non-standard language in poetry, while section 4 explores the function of the unfootnoted and unframed regionalisms that can be found throughout the collection. Sections 5 and 6 discuss the content of the two footnotes in relation to Wordsworth’s blurring of the roles of poet and glosser, and suggest that this conflation of roles is connected to Wordsworth’s implicit blurring of Standard English and dialect in his definition of ‘low and rustic life’ (a definition explored in greater detail in section 7). The conclusion suggests that the lack of specificity in Wordsworth’s Preface and his approach to framing dialect were part of a single strategy to integrate Standard English and dialect in a more organic manner than was typical of 18th-century writing.
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Kaur, Kairit. "The Seasons by James Thomson and the Baltic German Poetry about the Seasons in the Era of Baltic Enlightenment." Interlitteraria 28, no. 2 (December 31, 2023): 301–15. http://dx.doi.org/10.12697/il.2023.28.2.9.
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Since 2016 one of my research topics has been the Baltic German reception of English poetry through the lens of cultural historical book collections in Estonia. One of my findings has been that James Thomson’s The Seasons belonged among the most often received works of English poetry by Baltic Germans in Estonia, after James Macpherson’s Poems of Ossian and John Milton’s Paradise Lost and followed by Edward Young’s Night-Thoughts. (Kaur 2018: 375) Except for Milton’s, these works are almost unknown to modern Estonian readers. Therefore a few words to introduce Thomson and his famous work should be said.
James Thomson (1700–1748) was an 18th century Scottish poet and playwright. Son of a Presbyterian minister, he studied at the College of Edinburgh to become a minister (1715–1719). However, very soon he found that preaching was not his calling and moved in 1725 to London to commit himself to literary work. There he created his poetic tetralogy in blank verse Winter (first published in 1726), Summer (1727), Spring (1728) and Autumn, which appeared together under the title The Seasons in 1730 (revised version in 1744). Enthusiastic, patriotic and full of love for flora, fauna, people, landscapes and everchanging weather conditions of his surroundings, but also of the wider world, it was received with great admiration by his British compatriots. But not only them: a new fresh interest in nature and especially in the phenomenon of the seasons as well the wish to describe and express them through poetry and other artistic means can be traced in Europe. Some years before Thomson the famous Italian composer Antonio Vivaldi had created his violin concerto The Four Seasons (1718) and a German poet and senator from the city of Hamburg, Barthold Hinrich Brockes, had started to publish his series Irdisches Vergnügen in Gott (Earthly Delight in God) (1721–1748) in which he meticulously described many objects from and views of nature as God’s creations, inspired by English and Dutch physical theology.
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Šeļa, Artjoms, Petr Plecháč, and Alie Lassche. "Semantics of European poetry is shaped by conservative forces: The relationship between poetic meter and meaning in accentual-syllabic verse." PLOS ONE 17, no. 4 (April 12, 2022): e0266556. http://dx.doi.org/10.1371/journal.pone.0266556.
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Recent advances in cultural analytics and large-scale computational studies of art, literature and film often show that long-term change in the features of artistic works happens gradually. These findings suggest that conservative forces that shape creative domains might be underestimated. To this end, we provide the first large-scale formal evidence of the association between poetic meter and semantics in 18-19th century European literatures, using Czech, German and Russian collections with additional data from English poetry and early modern Dutch songs. Our study traces this association through a series of unsupervised classifications using the abstracted semantic features of poems that are inferred for individual texts with the aid of topic modeling. Topics alone enable recognition of the meters in each observed language, as may be seen from the same-meter samples clustering together (median Adjusted Rand Index between 0.48 and 1 across traditions). In addition, this study shows that the strength of the association between form and meaning tends to decrease over time. This may reflect a shift in aesthetic conventions between the 18th and 19th centuries as individual innovation was increasingly favored in literature. Despite this decline, it remains possible to recognize semantics of the meters from past or future, which suggests the continuity in meter-meaning relationships while also revealing the historical variability of conditions across languages. This paper argues that distinct metrical forms, which are often copied in a language over centuries, also maintain long-term semantic inertia in poetry. Our findings highlight the role of the formal features of cultural items in influencing the pace and shape of cultural evolution.
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Bankauskaitė, Gabija. "Respectus Philologicus, 2011 Nr. 19 (24)." Respectus Philologicus, no. 20-25 (April 25, 2011): 1–284. http://dx.doi.org/10.15388/respectus.2011.24.
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CONTENTS
I. PROBLEMS AND SOLUTIONSMichał Mazurkiewicz (Poland). Sport versus Religion... 11Natalia А. Kuzmina (Russia). Poetry Book as a Supertext... 19Jonė Grigaliūnienė (Lithuania). Possessive Constructions as a Purely Linguistic Phenomenon?... 31
II. FACTS AND REFLECTIONSAleksandras Krasnovas, Aldona Martinonytė (Lithuania). Symbolizing of Images in Juozas Aputis Stories...40Jūratė Kumetaitienė (Lithuania). Tradition and Metamorphosis of Escapism (Running “from” or “into”) in the Modern and Postmodern Norwegian Literature...51Natalia V. Kovtun (Russia). Trickster in the Vicinity of Traditional Modern Prose...65Pavel S. Glushakov (Latvia). Semantic Processes in the Structure of Vasily Shukshin’s Poetics...81Tatyana Kamarovskaya (Belarus). Adam and the War...93Virginija Paplauskienė (Lithuania). Woman’s Language World in Liune Sutema’s Collection “Graffiti....99Jolanta Chwastyk-Kowalczyk (Poland). The Models of e-Comunication in the Polish Society of Britain and Northern Ireland...111Vilma Bijeikienė (Lithuania). How Equivocation Depends on the Way Questions are Asked: a Study in Lithuanian Political Discourse...123Viktorija Makarova (Lithuania). The One Who Names the Things, Masters Them: Ruskij vs. Rosijanin, Ruskij vs. Rosijskij in the Discourse of Russian Presidents...136Dorota Połowniak-Wawrzonek (Poland). Idioms from the Saga Film “Star Wars” in Contemporary Polish Language...144Ilona Mickienė, Inesa Birbilaitė (Lithuania). Women’s Naming in Telsiai Parish in the First Dacades of the 18th Century...158Liudmila Garbul (Lithuania). Reflection of Results of Interslavonic Language Contacts in the Russian Chancery Language of the First Half of the 17th Century (Synchronic and Diachronic Aspects). Part II...168Vilhelmina Vitkauskienė (Lithuania). Francophonie in Lithuania... 179Natalia V. Yudina (Russia). On the Role of the Russian Language in the Globalizing World of the XXI Century...189Maria Lojko (Belarus). Teaching Legal English to English Second Language Students in the US Law Schools...200
III. OPINIONElena V. Savich (Belarus). On Generation of an Integrative Method of Discourse Analysis...212Marek Weber (Poland). Lexical Analysis of Selected Lexemes Belonging to the Semantic Field ‘Computer Hardware’...220
IV. SCIENTISTS ABOUT SCIENTISTSOleg Poljakov (Lithuania). On the Female Factor in Linguistics and Around It... 228
V. OUR TRANSLATIONSBernard Sypniewski (USA). Snake in the Grass. Part II. Translated by Jurga Cibulskienė...239
VI. SCIENTIFIC LIFE CHRONICLEConferencesTatiana Larina (Russia), Laura Alba-Juez (Spain). Report and reflections of the 2010 International Conference on Intercultural Pragmatics and Communication in Madrid...246Books reviewsAleksandra M. Ponomariova (Russia). ЧЕРВИНСКИЙ, П. П., 2010. Номинативные аспекты и следствия политической коммуникации...252Gabija Bankauskaitė-Sereikienė (Lithuania). PAPLAUSKIENĖ, V., 2009. Liūnė Sutema: gyvenimo ir kūrybos keliais...255Yuri V. Shatin (Russia). Meaningful Curves. ГРИНБАУМ, О. Н., 2010. Роман А.С. Пушкина «Евгений Онегин»: ритмико-смысловой комментарий... 259Journal of scientific lifeDaiva Aliūkaitė (Lithuania). The Idea of the Database of Printed Advertisements: the Project “Sociolinguistics of Advertisements”...263Loreta Vaicekauskienė (Lithuania). The Project “Vilnius is Speaking: The Role of Vilnius Language in the Contemporary Lithuania, 2010”...265Daiva Aliūkaitė (Lithuania). The Project “Lithuanian Language: Fractures of Ideals, Ideologies and Identities”: Language Ideals from the Point of View of Ordinary Speech Community Members...267
Announce...269
VII. REQUIREMENTS FOR PUBLICATION...270
VIII. OUR AUTHORS...278
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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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Fleming, Simon D. I. "The patterns of music subscription in English, Welsh and Irish cathedrals during the Georgian era." Early Music 48, no. 2 (May 2020): 205–23. http://dx.doi.org/10.1093/em/caaa024.
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Abstract The quality of the music produced at Britain’s cathedrals during the 18th century has generally been accepted to have been poor, and there has been much written on the reluctance of deans and chapters to invest financially in the choirs. However, an analysis of the music purchased by such groups through subscription paints a very different picture, with some deans and chapters investing heavily in the acquisition of new music for their choir’s use. Ultimately, an analysis of the subscription lists attached to the collections of sacred music does not paint the full picture in regards to the state of sacred music at this time, but it nevertheless indicates that a more nuanced approach is necessary, with several cathedrals, particularly Durham, maintaining significant levels of investment for much of the 18th century.
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Redka, I. "Emotiveness of convergent and divergent poems: a study of late 18th- and early 21st-century English poetry." Studia Philologica 1, no. 14 (2020): 53–59. http://dx.doi.org/10.28925/2311-2425.2020.148.
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The article is devoted to the study of emotiveness of English divergent and convergent poetic texts. Emotiveness is regarded as a category of the poetic text that is formally represented by emotives (verbal means that name, express, or describe emotions). Emotive units combine within the poem creating the dominant emotive image that accompanies the central concept of the poetic text. The way the author processes and then implements his / her emotional images in the poetic text predetermines the type of poetry (according to R. Tsur) as convergent or divergent. The convergent poetry complies with the rules of traditional poetry writing (that include meter and rhythm, rhyme, etc.) while divergent poetry associates with automatic writing. The former is marked by the aesthetic design, presence of aesthetic feelings or so-called “metamorphic passions” (D. Miall). The latter contains immediate or “raw” feelings of the author, in other words, feelings that he experiences at the moment of writing. Analysis of the poems of the late 18th — early 21st century has revealed that the convergent thinking is more typical of classical poetry (for example, of the period of Romance). The genre system destruction and appearance of new trends in arts have brought forth new techniques of imagery formation. The 20th century experimental poetry becomes less convergent and more biphasic which presupposes implementation of both thinking types in poetic texts writing. Thus, the divergent thinking is called forth to shatter stale images and break them to fragments out of which new fresh images can be created due to convergence techniques. Such transformations within poetic texts have also influenced their emotive side which is closely connected with conceptual nodes. The implementation of divergent, convergent, or biphasic thinking shapes the emotive focus of a poetic piece, which may become implicit, explicit, blurred, sharp, etc.
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Lootens, Tricia. "BENGAL, BRITAIN, FRANCE: THE LOCATIONS AND TRANSLATIONS OF TORU DUTT." Victorian Literature and Culture 34, no. 2 (August 25, 2006): 573–90. http://dx.doi.org/10.1017/s1060150306051321.
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To a far greater degree than many of us have yet realized, late-nineteenth-century women's poetry may be a poetry of alien homelands: of cultural spaces, that is, in which the domestic proves alien, even as technically alien territory comes to represent some form of home. And partly for this reasosn, to explore poetry in English may require moving not only beyond Britain, but also beyond English itself. Think, for example, of Christina Rossetti, who composed poems in Italian; of Mathilde Blind, with her German accent and translation of the French edition of theJournal of Marie Bashkirtseff; of Agnes Mary Frances Robinson Darmesteter Duclaux, whose poetry preceded a long, successful career of writing in great part in and for the French; of Louisa S. Bevington Guggenberger, with her German home and husband; or, for that matter, of nineteenth-century India's first influential English-speaking woman poet, Toru Dutt. As generations of Indian critics have stressed, as early anthologizer E. C. Stedman made clear, and as certain editors of recent nineteenth-century poetry collections have also acknowledged, Dutt's writing played a suggestive role within late-century understandings of “British literature.” Indeed, even now, growing attention to her work is helping extend our conception of the geographical origins of “Victorian” poetry from Britain to Bengal. Still, if we are to develop a full exploration of Dutt's cultural presence, we may need to move further as well, connecting Indo-Anglian literature to that of France.
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Imam, Rabby. "UNRAVELING THE ENIGMA OF ECOLOGICAL EMBLEM IN ANDREW MARVELL'S POETRY." International Journal of Education Humanities and Social Science 06, no. 06 (2023): 206–15. http://dx.doi.org/10.54922/ijehss.2023.0622.
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In light of the widespread deforestation and environmental deterioration, critics were forced to adopt new perspectives and analyze the art from unique aspects. Because of this, Ecocriticism became a distinct literary genre in the 1990s. It looks into how humans relate to nature as described in writing. In this sense, much Ecocritical writing by the Romantics overlooked how important environmental issues were to 17th and 18th-century English literature. Even though he was ignored, Andrew Marvell fought for the protection of nature back in the seventeenth century. He urged people to reach a more profound emotional state when engaging with all things natural. Therefore, this essay aims to critically evaluate a few of Marvell's poems to assess him as an ecocritical poet.
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Perger, Gyula. "Somogy megyei népdalok és gyermekjátékok egy Győrött őrzött kéziratban." Kaposvári Rippl-Rónai Múzeum Közleményei, no. 1 (2013): 299–304. http://dx.doi.org/10.26080/krrmkozl.2013.1.299.
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The folk poetry of Somogy County have been known by the public from the end of the 18th century. After the initial sporadic publications the methodical collecting work of the folk-songs and children’s games started at the end of the 19th centu-ry. Béla Vikár introduced a considerable part of the folk traditions of the region in a complete volume of the Hungarian Folklore Collection series. In the 20th century a great number of collec-tions and monographs were dedicated to this topic, however, a part of the unpublished collections were unfortunately lost. The presently published folklore collection from Somogy County has been found recently in the Xántus János Museum of Győr, which was a part of the former Benedictine Historical Collection.
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Sá, Luiz Fernando Ferreira, and Miriam Piedade Mansur Andrade. "An early intersemiotic translator of Milton in Brazil." Remate de Males 43, no. 1 (July 25, 2023): 233–46. http://dx.doi.org/10.20396/remate.v43i1.8672832.
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This article provides the commented English translation of an ode (“To Milton”, composed of twelve stanzas) by the 18th-century Brazilian poet, Claudio Manuel da Costa. Our interpretation of the translated poem problematizes the fact that da Costa did not translate Milton’s works, but that he wrote an intersemiotic translation of Milton’s contributions to literature as a whole. “To Milton” concentrates and expands on themes related to Paradise Lost (hell and heaven, heavenly muses and earthly glory, civil wars and epic battles). Although there were no translations of Milton’s works into Brazilian Portuguese then, the ode illustrates the principles of intersemiotic translation, through which semantic expansions occur in the exercise of da Costa’s choices to invite Milton to participate in a nascent literary tradition; he approaches Milton as an author comparable to Camões and Torquato Tasso. Furthermore, we address the following questions: what does the commented translation reveal about Milton’s poetry that has not been as readily visible or legible? What was accomplished by bringing Milton into 18th-century Brazilian Portuguese? How is Milton accommodated to 18th-century Brazil and how is this new environment, prospectively or actually, different for having Milton in it?
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Пономарева, В. В., and В. В. Чугаев. "THEOLOGICAL THEORY IN ENGLISH POLITICAL AND LEGAL THOUGHT OF THE XVIII CENTURY." VESTNIK OF THE EAST SIBERIAN INSTITUTE OF THE MINISTRY OF INTERNAL AFFAIRS OF THE RUSSIAN FEDERATION, no. 1(100) (March 31, 2022): 47–57. http://dx.doi.org/10.55001/2312-3184.2022.52.32.004.
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Введение: статья посвящена исследованию содержания и места теологической теории в английской политико-правовой мысли XVIII века. Эволюция теологических воззрений на природу королевской власти в XVIII веке исследуется поэтапно в неразрывной взаимосвязи с закономерными изменениями в идеологическом климате английского общества.Материалы и методы: основу исследования составляют теоретические разработки английских авторов на природу королевской власти, а также художественно-поэтические произведения, изданные в рамках исследуемого периода. Методологической основой исследования послужил комплекс общенаучных (анализ, синтез, дедукция, индукция, системный, функциональный и др.) и частнонаучных (сравнительно-правовой, формально-юридический, аксиологический и др.) методов познания.Результаты исследования позволили сместить ракурс исследования политико-правовых учений XVIII века, являющихся своеобразной лакмусовой бумажкой изменений, происходящих в английском обществе в исследуемый период.Выводы и заключения: исследованные идеологические характеристики английского общества позволили по-новому представить содержание теологической теории, проявившей себя в обществе, эволюционно шагнувшем за пределы религиозного восприятия мира. Introduction: article is devoted to the study of the content and place of theological theory in the English political and legal thought of the 18th century. The evolution of theological views on the nature of royal power in the 18th century is studied in stages in an inextricable relationship with natural changes in the ideological climate of English society.Materials and methods: the study is based on theoretical developments by English authors on the nature of royalty, as well as works of art and poetry published during the period under study. The methodological basis of the study was a complex of general scientific (analysis, synthesis, deduction, induction, systemic, functional, etc.) and specific scientific (comparative legal, formal legal, axiological, etc.) methods of cognition.The result of the study allowed to shift the perspective of the study of political and legal doctrines of the 18th century, which are a kind of litmus test of the changes taking place in English society during the period under study.Findings and conclusions: the studied ideological characteristics of English society made it possible to present the content of the theological theory in a new way, which manifested itself in a society that has evolved beyond the limits of the religious perception of the world.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.
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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Fordoński, Krzysztof. "English 18th-Century Women Poets and Maciej Kazimierz Sarbiewski: Adaptation, Paraphrase, Translation." Terminus 22, no. 4 (57) (2020): 315–31. http://dx.doi.org/10.4467/20843844te.20.017.12537.
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The paper deals with six poems of three 18th-century English women poets—Lady Mary Chudleigh, Mary Masters, and Anne Steele “Theodosia”—inspired by the works of the greatest Polish Neo-Latin poet Maciej Kazimierz Sarbiewski. The aim of the study is to present the three authors, their biographies and literary oeuvres, and to attempt an analysis of the poems in question within this context. The biographies, social position—Chudleigh was the wife a baronet, the two others belonged to the middle class—and education of the three authoresses differ and yet they all shared the limitations resulting from the fact that they were women in 18th-century England, and were therefore denied access to academic education. The analysis of the texts and biographies has proven that it is highly improbable that either of the three women poets could translate the poems from Latin originals. All of their translations are based on earlier renditions; in the case of Chudleigh it is possible to identify the source text, that is the translation by John Norris. Inasmuch as it can be ascertained from the available biographical and critical sources and the results, the attitudes of the three poetesses towards their work varied. Only Masters acknowledged the source material in her publications. Although the current concepts of translation are different, her two poems: On a Fountain. Casimir, Lib. Epod. Ode 2 and Casimir, Lib. I. Ode 2—qualify as translations by the standards of her times. They are analysed here in detail. Neither Chudleigh nor Steele mentioned Sarbiewski in their publications. Their decision can be justified by the fact that their poems, even if clearly (though most likely indirectly) inspired by his lyrics, must be classified as free adaptations or even original poetry influenced by Sarbiewski or earlier translations and adaptations of his works.
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Borovkova, Natalia V., Anastasiya R. Pilipenko, and Mar’ya N. Yakimaha. "From England to Russia: Fluorite Vases from the Second Half of the 18th — Beginning of the 19th Centuries." Vestnik of Saint Petersburg University. Arts 12, no. 2 (2022): 380–95. http://dx.doi.org/10.21638/spbu15.2022.208.
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The article explores English stone-cutting products of the 18th century from Blue John fluorite. The objects of research are items from the Mining Museum collection. The authors have identified a wide range of analogues from various collections of Russian and European museums, auction houses. The article considers the history of the development of stone-cutting production from Blue John fluorite; possible stone-cutting workshops have been identified. In the study determined the technical and technological features of the manufacture of fluorite products in England at the end of the 18th century. The article deals with issues of attribution and reconstruction of museum items using 3D-visualization. The technical and technological features of fluorite processing and the technology for producing art objects was clarified thanks to the involvement of the laboratory base of the Center for Collective Use of the Mining University. A chemical study was carried out on samples of the substance used to stabilize the stone material of objects. On the basis a wide visual range the appearance of the destroyed vases was restored using 3D-technologies and the places of loss in objects from the Mining Museum were supplemented. The use of modern technological innovations made it possible to restore the appearance of monuments with unsatisfactory preservation and include objects of the 18th century. into scientific circulation. A significant corpus of archival documents has been revealed, giving an idea of the sources and methods of entry of items from English fluorite into the collection of the Mining Museum. The results obtained allowed us to change the idea of the formation of the collection of the Mining Museum; to supplement previously known information about the production of fluorite objects of arts and crafts in England.
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Seferbekov, Magomedkhabib R. "JOHN BELL ON THE CAMPAIGN OF PETER I TO DERBENT." History, Archeology and Ethnography of the Caucasus 18, no. 4 (December 25, 2022): 919–31. http://dx.doi.org/10.32653/ch184919-931.
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A number of publications have been devoted to the Persian campaign of Peter the Great and the stay of the Russian Imperial troops on the southwestern shores of the Caspian Sea in 1722–1735 – monographs, articles, dissertations, collections of documents and materials prepared with the use of a wide range of sources and literature. This topic continues to attract the attention of historians even today. It has acquired particular relevance in connection with the 350th anniversary of the birth of the first Russian Emperor Peter the Great and the 300th anniversary of the Persian campaign. A large number of documentary sources from the collections of the federal and regional archives of Russia cover the history of the Persian campaign and its results, which made it possible to reveal new episodes of imperial policy in the Caucasian-Caspian region in the first quarter of the 18th century. Among the most valuable sources on the history of the Persian campaign are the travel notes of the English-speaking authors – the direct participants and eyewitnesses of the events described. One of these sources is the John Bell’s book “Travels from St. Petersburg, across Russia, to different parts of Asia”, particularly, the section titled “Journey from Moscow to Derbent in Persia, in 1722”, translated by the author of the paper into Russian with commentaries. This translation may be a valuable contribution to both the ethnography and historiography of the Russian Caucasian studies of the first quarter of the 18th century.
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Jajtner, Tomáš. "Sen o českých březích: první anglické antologie české poezie v 19. století jako cyklické mystifikace." Ostrava Journal of English Philology 14, no. 2 (January 2023): 61–77. http://dx.doi.org/10.15452/ojoep.2022.14.0011.
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The article analyses the nature of the interest of English authors in Slavic (and specifically Czech) culture between the end of the 18th century to 1850. This period saw the publication of two translated anthologies of Czech poetry: Bowring’s Cheskian Anthology (1832) and Wratislaw’s Lyra Czecho‑slovanská. Bohemian Poems, Ancient and Modern (1849). The structure, form of translation and the reception of both anthologies demonstrate not only the mystification nature of the ‘Czech canon’ presented in them, but also reflect the deep internal instability of the values of Czech culture in the heyday of the Czech National Revival and in the period soon after.
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Makarova, Nina. "British Art Dealers in Rome in the Second Half of the XVIII Century." Ideas and Ideals 15, no. 1-2 (March 29, 2023): 312–25. http://dx.doi.org/10.17212/2075-0862-2023-15.1.2-312-325.
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In the second half of the 18th century, an antique market flourished in Rome. That was largely due to the increased interest in the culture of the Ancient World, associated with excavations in Pompeii and Herculaneum, as well as with the activities of the German art historian Johann Joachim Winckelmann, who was convinced of the need to turn to the art of antiquity, which, in his opinion, had ideal beauty and was capable of cultivating a noble artistic taste. In European countries and in Russia, collections of antiques were formed during that period. Travelers who came to Rome tended to buy ancient sculptures, gems, vases. They turned to antique dealers working in this art market. A special place among the antique dealers belonged to the British, such as Gavin Hamilton, Thomas Jenkins and James Byres. It is largely thanks to their efforts that excellent private collections of ancient art have been formed in Great Britain and interest in art in general has been developing. The article examines the activities of these antique dealers on the examples of two English collectors depicted in the portraits of the Italian artist Pompeo Batoni: William Weddell and Peter Beckford.
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송안나. "Characteristic Aspects of Compiling Collections of Songs and Changes of Music from the Late-18th Century to the Early-19th Century -Subjecting Garambon Chungguyeongeon(靑丘詠言)-." Korean Classical Poetry Studies 37, no. ll (November 2014): 275–303. http://dx.doi.org/10.32428/poetry.37..201411.275.
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Hao, Fu. "On English Translations of Classical Chinese Poetry." Babel. Revue internationale de la traduction / International Journal of Translation 45, no. 3 (November 15, 1999): 227–43. http://dx.doi.org/10.1075/babel.45.3.05hao.
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Abstract There have been numerous classical Chinese poems translated into English since the 18th century, and many of them enjoy more than one version. This article discusses some prominent aspects of English translation of classical Chinese poetry, such as choice of words, syntax, metre and form, and allusion, based on comparative analysis of different versions. In the language of classical Chinese poetry, the prevailing monosyllabic word often tends to be polysemous and the grammatical function of a word more flexible. There are also many grammatical ellipses in its syntax. How does a translator choose the right word and decipher the sentence? In addition, classical Chinese poetry enjoys strict verse forms and rhyme schemes, and has a tradition to employ literary allusions. How can an English version achieve an equivalent effect? To solve such problems, translators in different times and places have made various experiments. But the swing of the pendulum seems not to go beyond the two extremes, rigidly imitating the original form or freely rewriting in another language. Under proper modulation, both methods may score some points. Résumé Il y a eu de nombreux poèmes classiques en langue chinoise traduits vers la langue anglaise depuis le 18ème siècle, et plusieurs d'entre eux ont plus d'une version. Cet article discute de certains aspects particuliers de la traduction anglaise de la poésie classique chinoise tels que le choix des mots, la syntaxe, la versification et la forme ainsi que les allusions, basées sur l'analyse comparative des différentes versions. Dans le langage de la poésie classique chinoise, le mot monosyllabique qui prévaut tend à avoir plusieurs significations et la fonction grammaticale du mot à être plus souple. Il existe aussi beaucoup d'ellipses grammaticales dans sa syntaxe. Comment un traducteur choisit-il le mot exact et décompose-t-il la phrase? En outre. la poésie classique chinoise nous offre une structure en vers et un agencement de rimes très strictes et possède une tradition de l'emploi d'allusions littéraires. Comment une version anglaise peut-elle atteindre un effet équivalent? Pour résoudre ce type de problèmes, les traducteurs à différentes époques et lieux ont effectué des expériences différentes. Mais le pendule ne balance pas en dehors des deux extrêmes, l'imitation rigide de la forme originale ou sa réécriture libre dans une autre langue. Selon la modulation appropriée, chacune des deux méthodes pourrait présenter certains avantages.
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Furaih, Ameer Chasib. "A Poetics of De-colonial Resistance: A Study in Selected Poems by Evelyn Araluen Cor." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 12, no. 02 (2022): 439–56. http://dx.doi.org/10.37648/ijrssh.v12i02.029.
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First Nations peoples in Australia, as in many other colonized countries, were forced to acquired English soon after the arrival of the colonists in their country during the second half of the 18th century. In response to their land dispossession, Indigenous Australian poets adopted and adapted the language and literary forms of colonists to write a politicized literature that tackles fundamental subjects such as land rights, civil, and human rights, to name but a few. Their literary response can be traced back to the early 1800s, and it had continued through the 20th century. One example is the poem “The Stolen Generation” (1985) by Justin Leiber, which has since been considered a motto for the struggle of Aboriginal peoples against obligatory removal of children from Aboriginal families.This paper aims at examining 21th century politicized literary response of Aboriginal poets. It sheds lights on the poetry of Evelyn Araluen as a telling paradigm of decolonial poetics, demonstrating her role in the political struggle of her peoples. Analysing representative poems by the poet, including “decolonial poetics (avant gubba)” and “Runner-up: Learning Bundjalung on Tharawal,” the paper examines the interdisciplinary nature of her poetry, and demonstrates how the poet transgresses the boundaries between poetry and politics, so as to be utilized as an effective tool of political resistance.
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Torralbo Caballero, Juan de Dios. "Alexander Pope: Literary Translator and Editor, from Binfield to Twickenham." Revista Alicantina de Estudios Ingleses, no. 26 (November 15, 2013): 271. http://dx.doi.org/10.14198/raei.2013.26.19.
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This paper will discuss the translations of poetry and some of the editions that Alexander Pope produced. For this, we will consider his monumental task over the translations of the work of Homer, analysing the unprecedented economic and literary implications. In addition, we shall examine Pope’s imitations of Horace in order to highlight their content and underlying intentions, going on to present lastly his other work as an editor. This context will allow us to draw some conclusions from Pope’s own uniqueness in the English literary and creative scene during the 18th century. Pope showed himself to be independent from the prevailing circles, being outside the radius of action of patrons and the court.
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Wang, Yilin. "The Revelation of Social Reality in the Poetry of William Blake." BCP Education & Psychology 7 (November 7, 2022): 392–99. http://dx.doi.org/10.54691/bcpep.v7i.2693.
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As one of the most outstanding representatives of the Pre-Romanticism poet in the 18th century English literature, William Blake lived through and witnessed an era of great political and social upheaval and transitional period: the American War of Independence, the French Revolution, and the Industrial Revolution which brought significant and essential impact on social and historical progress in England. Coming from the social injustices and the coverage of the dark side of industrial England, Blake caught the pulse of his times through his sharp and deep insight, condemned the oppression and exploitation derived from the authority, tyranny and church, and also called on the oppressed to shatter “the mind-forged manacles” come from the ruling class. In this paper, I want to introduce and interpret the revelation of social reality in the poetry of William Blake by analyzing some of Blake’s poems in terms of main ideas, rhetorical devices, and historical contexts which are underlay and concealed in his poetry deeply.
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Mathur, Manisha. "WILLIAM BLAKE- AN ENLIGHTENED VISIONARY." International Journal of Research -GRANTHAALAYAH 2, no. 3SE (December 31, 2014): 1–4. http://dx.doi.org/10.29121/granthaalayah.v2.i3se.2014.3538.
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William Blake an English painter poet and printmaker is considered as a seminal figure in the history of poetry and visual arts of the Romantic age. In the realm of imaginative painting Blake stands quite alone, and to find any real parallel to this extraordinary man of genius one must go back to the illuminators and sculptors of the twelfth century. Born out of time, with no tradition of imaginative painting to guide him, the intense flame if his genius burns fitfully blazing with an unbearable brilliance. Blake, for his idiosyncratic views is held in high regard by critics for his expressiveness and creativity, and for the philosophical and mystical undercurrents within his work. His paintings and poetry have been characterized as part of the Romantic movement are Pre-Romantic for its large appearance in the 18th C. Reverent of the bible but hostile to the Church of England, Blake was influenced by the ideals and ambitions of the French and American Revolutions.
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Polilova, Vera S. "The Poetics of the Carnation: The Word and the Image in Russian Poetry From Trediakovsky to Brodsky (In the Context of European Tradition). Part One." Imagologiya i komparativistika, no. 17 (2022): 7–36. http://dx.doi.org/10.17223/24099554/17/1.
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The research outlines the use of the word gvozdika (Eng. ‘carnation’, a species of Dianthus) in Russian poetry. The author takes the European tradition as a framework to describe and analyse diverse representations of the carnation in Russian, mainly poetic, texts of the 18th through 20th centuries, tracing the development and expansion of “carnation-driven” contexts and associations. Part One opens with a retrospective insight into the history of the carnation in European culture, debunking several popular misconceptions, related to the flower’s history and name, which had been uncritically repeated over many decades. The ubiquity of wild carnations has contributed to the belief that, like the rose and the lily, the carnation has a two-thousand-year cultural history. Thus, it might be assumed that the carnation’s beauty and spicy aroma should have set it apart from other flowers, so that it might gradually acquire various symbolic meanings. Indeed, researchers and writers have often noted the ancient symbolism of the carnation. Moreover, both popular and academic writings place the carnation in the limited and well-defined set of plants cultivated in Antiquity. The research into the historical significance of the carnation shows that its oft-postulated antiquity is nothing but wishful thinking: the cultural history of the carnation as well as its symbolic meanings cannot be traced back as a single process from Antiquity to the Present. Until the 14th century, the carnation was referred to by many different names; its literary and symbolic genealogy can only be traced back to the 15 th or 16th century, i.e. when it was introduced into horticulture and when stable designations for it appeared in the new European languages. Our analysis draws on comparative material from Spanish, Italian, French, German, and English poetry (poems by Luis de Gongora y Argote, Francisco de Quevedo, Joachim du Bellay, Remy Belleau, Pierre de Ronsard, and others) and employs numerous multilingual sources to shed light on the history of the carnation in European languages and literatures. In addition, we briefly trace the horticultural history of the carnation in Russia. The garden carnation, or the clove pink, has been known in Russia at least since the 17th century. It was among the plants bought in Holland by the Flower Office of Peter the Great. In the 18th century, the carnation was already widespread in Russian gardens: numerous detailed articles about the carnation, its varieties and cultivations are found in botanical directories and various indexes of the late 18th century. The Alphabetical Catalogue of Plants <...> in Moscow in the Garden of the Active State Councillor Prokofy Demidov, published in 1786, lists 52 varieties of the carnation. Yet, however popular the carnation was in everyday life, it rarely appeared in Russian literature of the 17th and 18th centuries.
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Laxmiprasad, P. V. "The Poetry of T.VASUDEVA REDDY: A Critique on Bucolic Representation." American Research Journal of English and Literature 7, no. 1 (May 28, 2021): 1–8. http://dx.doi.org/10.21694/2378-9026.21008.
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ndian English Poetry is replete with both ancient and modern elements. Pre-independent and post-independent India marked two different phases in poetry. Poets predominantly dealt with conventional themes in the past. But, one distinguishing feature of Post –independent poetry has been to portray a diversified representation of multiple themes. A careful analysis of thoughts, feelings, and psyche of the poets not only genuinely but eloquently reveals urban ‘cynicism and anguish’ and reveals ‘hope and anticipation’ quite aptly. Poets differed according to the age in which they had lived but ultimately, their poetry became a subject matter of anguish and agony. There have been obvious expressions of urban life in the beginnings but as the poets emerged in the early twentieth century, rural side of the life figured prominently in their writings. PCK Prem observes, “Poetry depicting rural background and the inner world of man is also conscious of the collapse of human bonds and aspirations even as sufferings, struggles, and failures dishearten but carry elements of hope, and thus, infuse a spirit to live life persuasively”. (2006: 21) Poetry is not only a study of thoughts or emotions but it also involves reading of a huge poetic landscape, literary yield, political thought process and its evolution, and the social and economic environment. From 1920, after taking into consideration various social and historical facts, one assumes that contemporary Indian English Poetry begins its ambitious journey --- in rising cities and other rural areas, developing towns of various regions to be more specific Indian English Poetry begins its journey. One such element is the delineation of bucolic elements in poetry. India is predominantly a rural country side with 60% of population living in villages. The countryside is a geographic area located outside the cities and towns. Indian villages have low population density and small settlements. The poetry of T.V. Reddy is rooted in bucolic elements. In fact, all his poetry collections carry the hallmarks of rural life, pastoral panorama and idyllic nature. They beautify his poetry against rural background. Rural life in India forms the very basis of economy and essential living conditions. In fact, it is the backbone of development in diversity. Life in cities is always different from life in rural areas.
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Abdulla-Al-Mamun, Md. "A Marxist Reading of William Blake’s Selected Poetry: Machineries in Green Studies." Shanlax International Journal of English 9, no. 2 (March 1, 2021): 7–17. http://dx.doi.org/10.34293/english.v9i2.3625.
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Being a dweller of Romantic ecology, William Blake familiarizes his readers with the slant of pastoral landscapes through the ecological sensibilities within the promiscuous city. In his poetry, he has speculated the adventurous plantation of slums in the metropolitan city in the light of machineries and matters that pack human in the box of ambitious dreams as the monstrous dreams of the metropolitan historicity root up the pastoral landscapes of Britain. Whereas critics engage themselves to explore the relation to the outcome of numerous English cultural dominations within his poetry, this study revisits the selected ‘ecopoetics’ through the lens of Marxism to explore the threats towards the green world, especially, within the city shore on Thames. Blake as a ‘green prophet’ enunciates the rural life that is pulverized by the mobility of the mechanistic forces of city life. These mechanistic forces are manipulated by the power of government, industrial revolution, commerce, and neo-colonialism in every day’s behavior in order to ensure the submissiveness of the working class in 18th century England. Thus, the paper aims to discuss the Marxist narratives of Blake’s ‘ecosophy’ that warns us against the severe repercussion of machines and its tyrannical reverberations over the marginalized in his selected poetry.
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Klose, Christian. "Johan Niklas Byström and the so-called Venus of Stockholm. New research on a presumably lost sculpture." Opuscula. Annual of the Swedish Institutes at Athens and Rome 16 (November 15, 2023): 225–47. http://dx.doi.org/10.30549/opathrom-16-10.
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The inventory books of the Skulpturensammlung (Sculpture Collection) in the Staatliche Kunstsammlungen Dresden (Dresden State Art Collections, SKD) mention a plaster cast of a Venus sculpture, moulded from the marble so-called Venus of Stockholm. In the first half of the 19th century this statue—always considered an ancient artwork—had been owned by the Swedish sculptor Johan Niklas Byström, before it was sold to an English art collector. From that time on, the sculpture has been considered lost and it has remained unregarded by research. By contextualizing the Dresden plaster cast with other ancient Venus sculptures and textual sources, this article aims to show that the Venus of Stockholm was most likely an elaborate and mirror-reversed imitation made in its entirety in the 17th or 18th century. As such, the Venus of Stockholm was exceptional, because post-antique mirror-reversed copies of ancient sculptures are very rare. In addition, the article compares the Venus of Stockholm to statues sculpted by Byström, in order to highlight its impact on his oeuvre.
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Reddy, Sheshalatha. "THE COSMOPOLITAN NATIONALISM OF SAROJINI NAIDU, NIGHTINGALE OF INDIA." Victorian Literature and Culture 38, no. 2 (May 6, 2010): 571–89. http://dx.doi.org/10.1017/s1060150310000173.
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Sarojini Naidu (1879–1949), the English-language Indian poetess and politician, appears before the viewer in the frontispieces to her first two collections of poetry, The Golden Threshold (1905) and The Bird of Time: Songs of Life, Death and the Spring (1912). She presents herself in print, as in her oratory, as both a figure of nineteenth-century verse culture and a cosmopolitan nationalist. The Golden Threshold includes a now well-known introduction by Arthur Symons and a sketch of a young Naidu by J. B. Yeats (father of W. B. Yeats). [See Figure 1.] Arrayed in a voluminous and ruffled white dress, distinctly “Western” in style, with hands clasped together, Naidu's youthful yet grave face stares directly at the viewer. She appears here as a precocious, prepubescent Victorian poetess captured within a private setting. Yet when this volume was published in 1905, the picture, drawn during Naidu's sojourn in England in the mid-1890s when much of the poetry included in the collection was composed, must have been almost a decade old. The only sign of racial difference in the sketch is her lightly shaded skin and dark hair. The blurred sketch echoes Naidu's own ambiguous position at this time: she is neither wholly Indian nor wholly English, and she navigates uneasily between the roles of naïve student of poetry and accomplished poetess.
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Myasnikova, Antonina A. "The Scream Phenomenon in the Poetry of Ted Hughes." Studia Litterarum 8, no. 3 (2023): 46–67. http://dx.doi.org/10.22455/2500-4247-2023-8-3-46-67.
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The article examines the phenomenon of artistic depiction of the scream in the poetry of the 20th century English poet Ted Hughes. The analysis of the poems reveals a gradual semantic expansion of the poetic image: while in early animalistic and landscape lyrics the scream is interpreted as an expression of animal suffering or the personification of wild nature, later collections containing elements of the author’s mythology show the acoustic image as a metaphor of the divine presence (“Adam and the Sacred Nine”), a symptom of split consciousness (“Prometheus on his crag”), a mechanism for healing psychological traumas (“Wolfwatching”), and also acquires cosmogonic features (“Crow,” “Cave birds”). The paradigm of the meanings ends with the “birth of the logos,” marking the beginning of the character’s communication with the outside world. The semantic transformation of the investigated motif turns out to be practically significant for the study of the author’s myth evolution. Hughes’ statements in letters and interviews, as well as the facts of biography, reflect the leitmotif formation in author’s work. This fact reveals the possibility of correlating the metaphor of the scream with Ted Hughes’ “poetic voice.”
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Horgan, Alison. "Miscellaneous Spaces of Enlightenment: Dodsley, Percy, and the Midcentury Verse Miscellany." Eighteenth-Century Life 45, no. 3 (September 1, 2021): 197–212. http://dx.doi.org/10.1215/00982601-9273048.
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Using current scholarship on verse miscellanies to contextualize a comparison of Robert Dodsley's Collection of Poems by Several Hands (1748) and Thomas Percy's Reliques of Ancient English Poetry (1765), this article considers how the verse miscellany was used to different purposes by editors in the middle decades of the eighteenth century. It was, variously, a space in which to preserve poetry, to test readers’ appetites for the unfamiliar, and to establish or challenge poetic taste. Most of all, however, the verse miscellany functioned as a virtual space of the Enlightenment that encouraged literary experimentation and innovation. Editors like Dodsley and Percy used paratext not only to justify their specific poetic choices, but also to establish identity of their collection. In Dodsley's case, obvious editorial interventions are absent and the typography is elegant, while for Percy, the paratext is busy and noisy, an alternative space in the miscellany through which the collection's antiquarian character is expressed. Both collections test their reader's willingness to engage with less well-known material. This article suggests that although the two poetic collections seem to have little in common, they are both concerned with ideas of literary preservation and loss, on the one hand, and cultural progress and decline, on the other, that helped to establish the poetic miscellany as a key print genre of the Enlightenment.
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Deng, Clement Aturjong Kuot. "Is English Literature dying in South Sudan, if so, what is the way forward? A case study of Juba City Council in Four Selected schools South Sudan (CES) – Juba." European Journal of English Language and Literature Studies 12, no. 1 (January 15, 2024): 52–74. http://dx.doi.org/10.37745/ejells.2013/vol12n15274.
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The English Language has been an official Language Since British ruled settle in Sudan. It argued that it is rooted early 18th century. English language came to existence in Sudan through British Colony and Christian missionaries. It said that it was a tool of evangelizing in Sudan. Some claimed it is a tool of colonization, therefore, Muslim Brotherhood rejected the English Language and Literature because they misinterpreted that it carries soul and ideology of the west which is based on Christianity, Secularism, Capitalism and Mixed ideology of Capitalism and Socialism. It explored that the English Language came through Egypt. The Christianity and Islam were reported and spread through Egypt. The Socialism, Radicalization of Moslem brotherhood and Marxism came from Egypt. In Sudan, there is mixed relation about the issue of English Literature and Language. It observed that English language and Literature is hardly to die in Sudan and South Sudan because since English Language remains a language of Science, there is possibility of English Language to die. Literary writers, literary critics, linguists, educationists and policy makers argued that the life of English Literature is jeopardized. It believed that the challenges of any given country are beautifully reveal through Literature. Literature is expressed in poetry, drama, fiction and non-fiction. The second group think that English is not dying because English Language is an official language of South Sudan. Literature experts stressed that English Language and Literature must be supported in order to improve its qualities to compete with African countries. The majority of respondents said English Literature is dead.
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Paszkowicz, Wojciech. "Inspirations, interactions and associations: On some links between the works of Vladimir Vysotsky and English-, French- and German-language poetry, theatre and pop music." Tekstualia 2, no. 53 (July 29, 2018): 99–114. http://dx.doi.org/10.5604/01.3001.0013.3290.
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The threads binding the poetry of Vladimir Vysotsky with Russian and foreign literature have a diverse character – some convergences, similarities of his works to those of other authors can be identifi ed in the content, the subject, and the metre of the poems. Some of the literary associations are easily detectable for any recipient, others are more diffi cult to fi nd. The article focuses on the identifi ed links between the works of Vysotsky and those of foreign authors such as Pierre-Jean de Béranger, Robert Burns, and Bertolt Brecht. The convergences observed between Vysotsky’s and de Béranger’s poems, in the subject, form, and metre, indicate the affi nity of the way of thinking and ideals, as well as both poets’ love of freedom, despite the 150 year gap between their birth dates. The presented links with literature of the 18th, 19th, and 20th century widen the opportunities for interpreting the works of Vladimir Vysotsky.
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Cataldi, Claudio. "Trinity Homily XXIX De Sancto Andrea between Tradition and Innovation." Anglia 135, no. 4 (November 10, 2017): 641–68. http://dx.doi.org/10.1515/ang-2017-0066.
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AbstractRecent scholarship has challenged the view of the late twelfth-century Trinity Homilies, and of the contemporary Lambeth Homilies, as two collections that merely continue the earlier Old English vernacular homiletic tradition. This study aims to contribute to the scholarly debate on the Trinity Homilies by considering the elements of tradition and innovation featured in the twenty-ninth sermon of the collection, De Sancto Andrea. Through a discussion on the passage on the ‘Soul’s Address to the Body’ preserved in this homily, I shall show that Trinity XXIX includes both elements of continuity with the ‘Soul and Body’ literature attested in Old English homiletic texts (like the antithetical rhetorical pattern developed in the damned soul’s speech) and new features (like the motif of the ‘Signs of Death’ and the theme of ‘neglectful friends’) which reflect early Middle English developments in the ‘Soul and Body’ theme. I shall argue that the Trinity XXIX homilist probably adapted and reworked a lost Latin source into a poetic passage metrically and thematically consistent with contemporary ‘Soul and Body’ poetry. In the Appendix, I shall discuss the sources for the Latin material embedded in Trinity XXIX.1
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-1-1-89-99.
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An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
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Zolotova, Maria B. "Attribution of Decorative Marble Papers in the Study of Russian Binding of the 18th — early 20th centuries: Problems and Solutions." Bibliotekovedenie [Russian Journal of Library Science] 70, no. 1 (June 1, 2021): 89–99. http://dx.doi.org/10.25281/0869-608x-2021-70-1-89-99.
Full textAbstract:
An important stage in the study and attribution of the Russian binding of the 18th — early 20th century is the description of the flyleaf and other elements of decorative paper. First of all, this applies to paper with marble drawings (marble paper), found in the Russian book since the 18th century. Modern researchers of Russian binding of the 18th — early 20th centuries face a number of problems related to the lack of literature on the topic, including methodological and reference, the lack of specialized collections and exhibitions of decorative paper in Russia and the lack of development in the domestic book science of the terminology for describing the binding materials. This article substantiates the need to create the nomenclature of drawings and link them to a certain chronological period. The author analyses three main groups of problems: terminological, systematization of marble drawings and their chronological correlation, problems of describing paper as a material. The first group includes different interpretations of term and unclear definition of many terms; phenomena of synonymy and polysemy when using particular names of drawings (patterns). Not only historians of the book, but also librarians, restorers, masters of individual binding, second-hand booksellers and bibliophiles have their own independently formed professional dictionary, which gives place to decorative papers. This inconsistency is reinforced by borrowing French, German and English terms, which, in turn, can also be duplicated. The author notes that systematization of decorative papers with marble drawings can be based on the methods of its colouring, but such a technological approach is not sufficient to describe a specific sample of marble paper. The article shows that various patterns periodically gained and lost popularity, then returned to bookbinding practice, but with a number of characteristic changes and additions. Correct description of the paper in binding is impossible without determining its origin (Russian/foreign), the method of production and colouring (manual/machine) and the specific properties of the material itself. At the same time, there are no methods and schemes for describing decorative paper grades. The article highlights that the development of such method will help to significantly narrow the chronological framework when attributing the binding.
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ΚΟΝΤΟΓΕΩΡΓΗΣ, ΔΗΜΗΤΡΙΟΣ Μ. "ΕΡΕΥΝΗΤΙΚΗ ΑΠΟΣΤΟΛΗ ΣΤΗ ΡΟΥΜΑΝΙΑ. ΕΛΛΗΝΙΚΕΣ ΚΟΙΝΟΤΗΤΕΣ (1829 - ΑΡΧΕΣ 20ΟΥ ΑΙΩΝΑ). ΚΑΤΑΣΤΑΤΙΚΑ - ΣΥΛΛΟΓΟΙ - ΤΑΥΤΟΤΗΤΕΣ. ΕΙΣΑΓΩΓΙΚΕΣ ΠΑΡΑΤΗΡΗΣΕΙΣ." Eoa kai Esperia 7 (January 1, 2007): 367. http://dx.doi.org/10.12681/eoaesperia.97.
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<p>While there exists already a voluminous bibliography on the GreekDiaspora in the Danubian Principalities during the 17th-18th centuries, it wasonly recently that interest was focused on the Greek communities, whichflourished in Romania in the period from the signing of the Andrianople Treatyto the 20th century.</p><p>It was during that era that a great number of Greeks, especially from Epirus,Cephallonia and Ithaca, merchants, sailors, artisans, doctors and intellectualsimmigrated to Wallachia and Moldavia. The majority of them established at theDanubian ports, mainly at Braila and Galatz, and were engaged in the vividcommerce between the principalities and Western Europe.</p><p>Notwithstanding the influential role played by the Greeks in the social andeconomic life of Romania, it was only in the Cuza-Era when the Greekcommunities were officialy founded. Probably the nationalistic state policyurged them to define their legal status more explicitly. Moreover, in the secondhalf of the 19th century a great number of churches was built and many schoolswere organized, some subsided by the community authorities, other bybenefactory associations. Furthermore, the fierce antagonism among Greeks,Jews, Austrian and English shipowners did not impede the development of themarine and riverine fleet of the Greek shipowners, while a substantial numberof banks and factories were also owned by members of the communities.</p><p>In the second part of this study are presented the results of our researchmission in various Romanian cities. The aim of our mission was to locatearchival fonds and collections referring to the economic, social, institutional andpolitical history of the Greek Diaspora in Romania. Important collections arebequeathed in the Archives of Bucharest, Galatz and Constantza, while in theArchives of Giurgiu, Tulcea and Craiova the material was less satisfactory.</p>
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Leonteva, Olga G. "THE “RUSSIAN COLLECTION” OF THE HARRY RANSOM CENTER FOR THE HUMANITIES AT TEXAS STATE UNIVERSITY AT AUSTIN." History and Archives 5, no. 2 (2023): 133–42. http://dx.doi.org/10.28995/2658-6541-2023-5-2-133-142.
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The article presents the information about the documents on the history of Russia stored at the Humanities Research Center at Texas State University at Austin (USA). The Harry Ransom Center for humanitarian studies owns an extensive collection of the documents received from individuals (free of charge or on a reimbursable basis) in the form of collections, funds, scattered documents, books, art objects from across Europe and America. The archive accepts for keeping not only the documents, but also the works of fund-makers. Visitors to the archive have an opportunity to conduct research in various fields of humanitarian knowledge: from the English dramatic poetry of the 17th century to the works of modern African novelists, from the modern French musical compositions to the Italian poetry of the 13th century. The Humanities Research Center has also collected a set of documents on Russian history, literature, music, and painting. The information on the history of Russia is contained in the diaries, letters, memoirs of Russian emigrants and American citizens. The most extensive part of the collection consists of the letters discussing the organization of political movements in the emigration environment, the issues of everyday life, the matters connected with moving from Europe to the United States. The documentary complex also includes the sketches of theatrical costumes and scenery, music score manuscripts, the photographs of the Russian artists, composers, actors who left Soviet Russia in 1918–1925. The chronological framework of the documentary complex covers the period from the First World War to the beginning of the Thaw period.
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Abba, Abba A., and Nkiru D. Onyemachi. "Weeping in the Face of Fortune: Eco-Alienation in the Niger-Delta Ecopoetics." Humanities 9, no. 3 (June 30, 2020): 54. http://dx.doi.org/10.3390/h9030054.
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Scholarship on Niger Delta ecopoetry has concentrated on the economic, socio-political and cultural implications of eco-degradation in the oil-rich Niger Delta region of the South-South in Nigeria, but falls short of addressing the trope of eco-alienation, the sense of separation between people and nature, which seems to be a significant idea in Niger Delta ecopoetics. For sure, literary studies in particular and the Humanities at large have shown considerable interest in the concept of the Anthropocene and the resultant eco-alienation which has dominated contemporary global ecopoetics since the 18th century. In the age of the Anthropocene, human beings deploy their exceptional capabilities to alter nature and its essence, including the ecosystem, which invariably leads to eco-alienation, a sense of breach in the relationship between people and nature. For the Humanities, if this Anthropocentric positioning of humans has brought socio-economic advancement to humans, it has equally eroded human values. This paper thus attempts to show that the anthropocentric positioning of humans at the center of the universe, with its resultant hyper-capitalist greed, is the premise in the discussion of eco-alienation in Tanure Ojaide’s Delta Blues and Home Songs (1998) and Nnimmo Bassey’s We Thought It Was Oil but It Was Blood (2002). Arguing that both poetry collections articulate the feeling of disconnect between the inhabitants of the Niger Delta region and the oil wealth in their community, the paper strives to demonstrate that the Niger Delta indigenes, as a result, have been compelled to perceive the oil environment no longer as a source of improved life but as a metaphor for death. Relying on ecocritical discursive strategies, and seeking to further foreground the implication of the Anthropocene in the conception of eco-alienation, the paper demonstrates how poetry, as a humanistic discipline, lives up to its promise as a powerful medium for interrogating the trope of eco-estrangement both in contemporary Niger Delta ecopoetry and in global eco-discourse.
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Heffernan, Megan. "Inventories and Invention: Material Exchange and Literary Value in Englands Helicon." Huntington Library Quarterly 85, no. 4 (December 2022): 621–42. http://dx.doi.org/10.1353/hlq.2022.a920283.
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abstract: It is well known that collections like Richard Tottel's Songes and Sonettes (1557) were retrospectively classified as miscellanies, as both the lexicon and the conceptual categories for multiauthor books were still being developed in sixteenth-century England. "Miscellany" and "anthology" are bibliographic back-formations, impositions of modern ideals of authorship and coherence on to collections that mix the labors of compilers and poets. This essay asks what histories of production and reception have been hidden by continuing to read Elizabethan poetry books as miscellanies. In particular, how has the mixed, disorderly book been taken as an essential origin point for English literary history? Heffernan's focus is Englands Helicon (1600), a book of 150 pastoral poems from the leading poets of the day. Because its mode was so consistent, this collection has most often been understood as an anthology compiled in response to the death of Philip Sidney. But by tracing its sources, Heffernan shows how dozens of poems in Englands Helicon were not at first pastorals and only gained a rural tone through the poem titles, speech tags, and attributions added in the process of printing the collection. The expansive fictions within the printed apparatus still contribute to how poems like Christopher Marlowe's "The Passionate Shepherd" are read and taught today. Englands Helicon holds a history of how a generically mixed body of work began to function as a cue for interpretation, covering the circumstances of its writing and circulation with a desire to read at scale.
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Trigg, Christopher. "Thomas Prince’s Travels and the Invention of Britain." Early American Studies: An Interdisciplinary Journal 21, no. 4 (September 2023): 507–56. http://dx.doi.org/10.1353/eam.2023.a912120.
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ABSTRACT: From 1709 to 1711, Thomas Prince (1687–1758), recent Harvard graduate and future minister of Boston’s Old South Church, traveled between Boston, Barbados, and London. His travel journal (now in the collections of the Massachusetts Historical Society) excerpted passages from English poetry and popular song from the previous five decades. By transcribing the works of a politically and religiously diverse range of authors (Whig and Tory, Nonconformist and Anglican), Prince made the case for a tolerant, patriotic, and cosmopolitan Britishness. In late February and early March 1710, while Prince was in London, Anglican minister Henry Sacheverell was impeached by Parliament for preaching a sermon questioning Nonconformists’ loyalty. During his trial, anti-Dissenter rioting broke out in London and spread across England and Wales. As Prince transcribed poems for and against Sacheverell, he bemoaned the factional contention that was undermining British unity. In the middle of the nineteenth century, Chandler Robbins Gilman and Chandler Robbins, both great-grandnephews of Prince, incorporated brief excerpts from his travel journal in fictional tales and sketches. Gilman and Robbins used these fragments to symbolize the cultural continuity between England, New England, and the United States, overlooking the contingency and fragility of British identity in Prince’s account.
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Zaikauskienė, Dalia. "Compilation and Dissemination of Lithuanian Paremias: Contemporary Resources." Vilnius University Open Series, no. 2 (July 30, 2021): 216–28. http://dx.doi.org/10.15388/vllp.2021.13.
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The Collection of Lithuanian Proverbs and Proverbial Phrases built by the Institute of Lithuanian Literature and Folklore in Vilnius presents a thorough view of the corpus of traditional paremias. A larger part of the Collection consists of archival data, another one – of paremias collected from written sources.Archival data – that is paremias mostly from the Lithuanian Folklore Archive (LTR), Lithuanian Scientific Society’s Archive (LMD). These texts are mainly samples of the spoken language and dialects. The oldest archive collections are from the 19th century. Another large part of Lithuanian paremias compilation consists of texts collected from written sources. It is worth to mention, that we have around 1500 proverbs from the period of the 16th to the 18th centuries.The collection is accessible through three resources: they are the Card Index, the publication “Lithuanian Proverbs and Proverbial Phrases” (LPP), and The Electronic Compilation of Proverbs and Proverbial Phrases (eLPP).The Card Index was the first organized and systematized resource of Lithuanian paremias and served as the base for LPP and eLPP. The Card Index was created in 1970–1990 following the initiative of professor Kazys Grigas, who was also the author of the system of it. There are around 50 000 proverb types and more than 200 000 variant texts in the Card Index.At the end of the 20th century, LPP was started to be compiled. There have been three volumes published until now (Vol. 1 – 2000, Vol. 2 – 2008, Vol. 3 – 2019). LPP presents carefully sorted data without duplicates, copies, and fakes, and it has some additional data: Lithuanian paremias equivalents (in Latvian, Polish, German, English, Latin, and Russian) and type titles’ translations into English, German, and Russian.In 1998, eLPP was started and in 2018, after receiving funding from the Lithuanian Research Council (LMTLT), the database was updated. Now, the database also has an English version. eLPP includes the Card Index’ data and LPP data as well, with an exception of paremias variants. Due to the recently observed rising need to find an explanation of a saying, the category “Interpretation” has been introduced. The newly programmed search engine now contains functions of a simple search, advanced search, and selection lists. The database address is http://archyvas.llti.lt/elpp/lt, an email for comments and questions is patarles@llti.lt.
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Movchan, Raiisa. "‘Works and Days’ of Valerii Shevchuk (to the 80th Anniversary of Birth)." Слово і Час, no. 9 (September 8, 2019): 21–33. http://dx.doi.org/10.33608/0236-1477.2019.09.21-33.
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The essay is focused on the classic of the 20th century Ukrainian literature Valerii Shevchuk and his complex and diverse literary work in various genres. He is a writer (poet, prose writer, play writer), historian of culture, literary scholar, archivist, translator, memoirist, prominent representative of Kyiv Sixtiers, leader of ‘Zhytomyr prose school’ and forerunner of Ukrainian postmodernists. Special attention is paid to the sources of the author’s work, its metaphysical connection with Zhytomyr where he was born, and Kyiv where he has been living and writing and endured a decade of forced solitude remaining free, where he truly established himself as a Ukrainian writer. His research activity and translation work, focused on Ukrainian history and Old Ukrainian literature (particularly of the 16th–18th centuries), provoked the writer’s interest in Ukrainian Baroque tradition and its transformation in his own works.
It all started with poetry, which he never stopped writing. That is why the subjective stuff is also important in his prose, which is rational in its neo-baroque basis. The essay provides a general overview of the specific features of Shevchuk’s individual style, which is characterized by combination of realistic authenticity with convention or irreality, ‘high’ and ‘low’ narration style, travesty of storylines and images, parabolic technique, historiosophy, irony, etc. Worthy of separate attention and high esteem is the scholarly work of the writer and his contribution to the general field of culture. This activity includes preparation of different anthologies and collections, numerous translations of Kyivan Rus texts into modern Ukrainian, many articles, prefaces, extensive historical and cultural studies, etc. The work of Valerii Shevchuk is important for the humanities and promotes self-consciousness and self-empowerment of Ukrainians, as well as their communication with the world cultural heritage.
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Guermanova, Natalia. "G. HICKES AND THE DEVELOPMENT OF GERMANIC STUDIES IN GREAT BRITAIN AT THE END OF THE 17th AND THE BEGINNING OF THE 18th CENTURIES." Lomonosov Journal of Philology, no. 4, 2023 (August 23, 2023): 72–81. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-04-6.
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The article analyses the contribution of G. Hickes (1642–1715), the author of an Anglo-Saxon grammar and Linguarum vett. septentrionalium thesaurus grammatico-criticus et archæologicus, into the intellectual life of his time. Gathering around him the group of ‘Oxford saxonists’, he promoted the study of the AngloSaxon language and culture, the publication of texts in ancient Germanic languages and their translation into Late Modern English. In the context of the history of comparative linguistics, his works, in which Anglo-Saxon was considered alongside other Germanic languages, testify, in spite of their deficiencies, to the emergence in that early period of such important concepts as a parent language and a family tree. His achievements include the first description of Anglo-Saxon dialects and poetry. Taking into consideration Hickes’ attainments, one might find it strange that many of his contemporaries viewed his research and that of other Oxford saxonists in a critical light. The first reason lay in the intellectual climate of his time. In an age when most British intellectuals saw their historical roots in the culture of Ancient Greece and Rome, the scholars suggested a principally different interpretation of the roots of the British nation. In fact, they contributed to the emergence of a new AngloSaxon identity. Secondly, their contemporaries found strange and pedantic their scholarly methods of textological analysis, which, actually, were quite close to modern ones, and the dry style of their works, the abundance of terms and complicated syntactic structures. The third explanation is the practical bias of most prescriptive grammars of the 18th century, which looked for criteria of correctness not in historical records, but in contemporary usage.
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Bowdler, Roger. "ROMANTICISM AND REMEMBERING." Baltic Journal of Art History 25 (October 25, 2023): 63–88. http://dx.doi.org/10.12697/bjah.2023.25.04.
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This article looks at the celebrated poem Elegy in a CountryChurchyard (1751) by Thomas Gray, and links it to the place of itsinspiration, Stoke Poges, Buckinghamshire. The development ofEnglish churchyard memorials is considered, followed by a briefdiscussion of the Graveyard School of poetry, which consideredthemes of mortality and melancholy set in the context of burialgrounds. This formed a strand of proto-romanticism and wasinfluential across Europe. The poem is then analysed in terms of itsdiscussion of rural approaches to death and remembrance. A surveyof mid-18th century churchyard memorials at Stoke Poges is thenprovided, and their imagery discussed: most of these post-date thepublication of the poem. Thomas Gray died in 1771 and was buriedin the tomb of his mother and aunt. He subsequently received amemorial in Westminster Abbey. A later owner of Stoke Park, themanor house of the estate, John Penn, was eager to commemoratethe poet. He commissioned the celebrated architect James Wyatt todesign a memorial which would be visible from the main house.This was erected in 1799, and consisted of a sarcophagus raised on
a tall base, the sides of which were inscribed with extracts fromthe Elegy. This was a highly unusual form of parkland memorialcelebrating a poet and his best-known work, which has subsequentlybecome one of the best-known verses in the English language.There is irony in that the poem is a discussion of rural humilityand yet was celebrated through an imposing monument, raisedby an extremely wealthy owner as a feature in his private park.
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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij28072339n.
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The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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Pop Zarieva, Natalija. "THE ENDURANCE OF THE GOTHIC THE ROMANTICS’ CONTRIBUTION TO THE VAMPIRE MYTH." Knowledge International Journal 28, no. 7 (December 10, 2018): 2339–44. http://dx.doi.org/10.35120/kij29082339n.
Full textAbstract:
The end of the eighteenth century and the beginning of the nineteenth century, also known as the period of Romanticism, were marked with the interest of the authors in nature and emotions, but also in the supernatural, horrible and the exotic. Although it was the era of reason and the progress of sciences, critics have identified the significance of the Gothic influence on the works of most of the English Romantic figures, among which Lord Byron is known to have had the major influence on the creation and persistence of the vampire figure, as a Gothic trope, haunting the last and this century’s literature and film. This paper attempts to unravel the origins and nature of the mysterious cultural appeal to the literary vampire by tracing its origins from Eastern European folklore, the first poem titled “Der Vampir”(1743) by Heinrich Ossenfelder, to the German Sturm and Drang poets, such as Johann Wolfgang Goethe and Gottfried August Buerger and their respective poems “Die Braut von Korinth” (1789) and “Lenore” (1773). The role of British ballad writers Southey, Lewis and Scott and their ballad collections will be considered as a significant effort to “renew the spirit” of British poetry which according to Scott had reached “a remarkably low ebb in Britain” (as cited in Thomson, 2002, p.80). Another literary figure engaged in writing Gothic ballads following the tradition of Mathew Lewis, not so well-known during her time, was the Scottish writer Anne Bannerman. Her ballad “Dark Ladie” deserves special attention in this context, as it features a female character who is transformed from the previous ballad tradition: from a passive victim of male seduction, here she becomes a fatal woman who comes back from the undead to seek for revenge and initiates the line of female vampires such as Keats’s “Lamia” and Coleridge’s “Christabel”. Thus, this paper elaborates on the major contributors to the Gothic stream in poetry in the specific period, mainly ballads, and traces the presence and development of Gothic elements and vampiric features. The continuous appeal to the Gothic found its place in the works of several major English Romantics, even though they put great effort to differentiate their poetry from the popular literature of the day – Gothic novels. This paper will concentrate on Lord Byron’s Oriental tale The Giaour (1813) and Samuel Taylor Coleridge’s The Rime of the Ancient Mariner (1798). Both works incorporate Gothic themes, settings and characters, but there hasn’t been much literary focus with reference to the vampire theme they are based on. Although, critics have observed the contribution of the ambivalent vampire figure in Romantic literature, critical evaluation of the growth of this Gothic character in these two poems until now is incomplete. Hence, we will focus on Byron and Coleridge’s appropriation of the vampire figure and their contribution to the growth of this character. The various metaphoric usages of this character will also be explored and defined to determine their purpose.
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Rochelson, Meri-Jane. "“THEY THAT WALK IN DARKNESS”: GHETTO TRAGEDIES: THE USES OF CHRISTIANITY IN ISRAEL ZANGWILL’S FICTION." Victorian Literature and Culture 27, no. 1 (March 1999): 219–33. http://dx.doi.org/10.1017/s1060150399271124.
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AT THE END of the Victorian era and in the first decades of the twentieth century, Israel Zangwill was a well-known name in Europe, America, and even the Middle East. The enormous success of his 1892 novel Children of the Ghetto had made Zangwill the spokesperson for English Jewry throughout the world, as he revealed and explained an alien community to its non-Jewish neighbors and made the universe of the Jewish immigrants more intelligible to their acculturated coreligionists. An early Zionist, Zangwill met with Theodore Herzl in London and attended the first Zionist Congress in Basel in 1897; he continued to participate in the movement until 1905, when he formed his own nationalist group, the Jewish Territorial Organization (ITO). He became active in the pacifist and feminist movements of the early 1900s, and his literary output of that period for the most part reflects those interests, although he still explored issues of Jewish identity in numerous short stories and the highly popular play The Melting Pot (1908). In all, Zangwill published eight novels, nine collections of short fiction, eleven plays, and a volume of poetry, writing on both Jewish and more general themes; and (with the exception of some of his later thesis drama) his work was for the most part both popular and acclaimed. During the later 1880s and 1890s Zangwill was a prolific journalist, publishing columns on literature and current topics not only in the Jewish Standard, but also in the comic paper Puck (later Ariel, which he also edited), the Critic, and the Pall Mall Magazine. In short, he was very much a turn-of-the-century literary personality, esteemed as one of their own by his Jewish readers, but also prominent in the more general transatlantic literary milieu.
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Krasavchenko, Tatiana. "AT THE ORIGINS OF BRITISH GOTHIC: SHAKESPEARE’S TRAGEDIES TITUS ANDRONICUS AND MACBETH." Lomonosov Journal of Philology, no. 5, 2023 (October 23, 2023): 115–25. http://dx.doi.org/10.55959/msu0130-0075-9-2023-47-05-9.
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The study of the most ‘bloody’ Shakespeare’s dramas — his first tragedy Titus Andronicus (1588–1593, staged 1594) and the last of his four great tragedies, Macbeth (1606) — makes clear the presence and gradual sophistication of the gothic vector in his work, and reveals topoi that have become universals of Gothic literature. Among them are horror as an inescapable component of human existence; evil and villains who violate the moral norm and the balance in society and nature; victim heroines; mysterious, supernatural element; demonized past; and most importantly — the theme of God and devil. Titus Andronicus is considered here in a new perspective as a ‘tragedy without a hero’ and as a gothic grotesque with elements of the comic, which are supposed to dilute the atmosphere of horror but only intensify it. Shakespeare retained the ‘horror aesthetics’ in Macbeth, a play about ‘the drug of power’, but he transferred the source of evil, that shakes society and nature, into the consciousness of man. The metaphysical view of life is strong in Shakespeare’s tragedies, but there is no single religious ideology as in the poetry of Dante. Poet, sensitive to various trends which fed the air of the early Modern period, Shakespeare conveyed the unsteady atmosphere of life in the late 16th — early 17th century. The sources of horror in his tragedies one can find in historical and literary tradition (Ovid, Seneca, chronicles), but first of all — in the social and cultural discourse of the epoch. Following the tradition of Shakespeare who was the key figure of English literary mainstream, Gothic authors of the late 18th — early 19th centuries (H. Walpole, A. Radcliffe, W. Beckford a.o.) legitimized their own, considered marginal, genre.
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Ziemba, Antoni. "Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia." Porta Aurea, no. 19 (December 22, 2020): 35–56. http://dx.doi.org/10.26881/porta.2020.19.01.
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In the first half of the 19th century in literature on art the term ‘Old Masters’ was disseminated (Alte Meister, maître ancienns, etc.), this in relation to the concept of New Masters. However, contrary to the widespread view, it did not result from the name institutionalization of public museums (in Munich the name Alte Pinakothek was given in 1853, while in Dresden the Gemäldegalerie Alte Meister was given its name only after 1956). Both names, however, feature in collection catalogues, books, articles, press reports, as well as tourist guides. The term ‘Old Masters’ with reference to the artists of the modern era appeared in the late 17th century among the circles of English connoisseurs, amateur experts in art (John Evelyn, 1696). Meanwhile, the Great Tradition: from Filippo Villani and Alberti to Bellori, Baldinucci, and even Winckelmann, implied the use of the category of ‘Old Masters’ (antico, vecchio) in reference to ancient: Greek-Roman artists. There existed this general conceptual opposition: old (identified with ancient) v. new (the modern era).
An attempt is made to answer when this tradition was broken with, when and from what sources the concept (and subsequently the term) ‘Old Masters’ to define artists later than ancient was formed; namely the artists who are today referred to as mediaeval and modern (13th–18th c.). It was not a single moment in history, but a long intermittent process, leading to 18th- century connoisseurs and scholars who formalized early-modern collecting, antiquarian market, and museology.
The discerning and naming of the category in-between ancient masters (those referred to appropriately as ‘old’) and contemporary or recent (‘new’) artists resulted from the attempts made to systemize and categorize the chronology of art history for the needs of new collector- and connoisseurship in the second half of the 16th and in the 17th century. The old continuum of history of art was disrupted by Giorgio Vasari (Vite, 1550, 1568) who created the category of ‘non-ancient old’, ‘our old masters’, or ‘old-new’ masters (vecchi e non antichi, vecchi maestri nostri, i nostri vecchi, i vecchi moderni). The intuition of this ‘in-between’ the vecchi moderni and maestri moderni can be found in some writers-connoisseurs in the early 17th (e.g. Giulio Mancini). The Vasarian category of the ‘old modern’ is most fully reflected in the compartmentalizing of history conducted by Carel van Mander (Het Schilder-Boeck, 1604), who divided painters into: 1) oude (oude antijcke), ancient, antique, 2) oude modern, namely old modern; 3) modern; very modern, living currently. The oude modern constitute a sequence of artists beginning with the Van Eyck brothers to Marten de Vosa, preceding the era of ‘the famous living Netherlandish painters’.
The in-between status of ‘old modern’ was the topic of discourse among the academic circles, formulated by Jean de La Bruyère (1688; the principle of moving the caesura between antiquité and modernité), Charles Perrault (1687–1697: category of le notre siècle preceded by le siècle passé, namely the grand masters of the Renaissance), and Pellegrino Antonio Orlandi writing from the position of an academic studioso for connoisseurs and collectors (Abecedario pittorico, 1704, 1719, 1733, 1753; the antichimoderni category as distinct from the i viventi).
Together with Christian von Mechel (1781, 1783) the new understanding of ‘old modernity’ enters the scholarly domain of museology and the devising of displays in royal and ducal galleries opened to the public, undergoing the division into national categories (schools) and chronological ones in history of art becoming more a science (hence the alte niederländische/deutsche Meister or Schule). While planning and describing painterly schools at the Vienna Belvedere Gallery, the learned historian and expert creates a tripartite division of history, already without any reference to antiquity, and with a meaningful shift in eras: Alte, Neuere, and lebende Meister, namely ‘Old Masters’ (14th–16th/17th c.), ‘New Masters’ (Late 17th c. and the first half of the 18th c.), and contemporary ‘living artists’. The Alte Meister ceases to define ancient artists, while at the same time the unequivocally intensifying hegemony of antique attitudes in collecting and museology leads almost to an ardent defence of the right to collect only ‘new’ masters, namely those active recently or contemporarily. It is undertaken with fervour by Ludwig Christian von Hagedorn in his correspondence with his brother (1748), reflecting the Enlightenment cult of modernité, crucial for the mental culture of pre-Revolution France, and also having impact on the German region. As much as the new terminology became well rooted in the German-speaking regions (also in terminology applied in auction catalogues in 1719–1800, and obviously in the 19th century for good) and English-speaking ones (where the term ‘Old Masters’ was also used in press in reference to the collections of the National Gallery formed in 1824), in the French circles of the 18th century the traditional division into the ‘old’, namely ancient, and ‘new’, namely modern, was maintained (e.g. Recueil d’Estampes by Pierre Crozat), and in the early 19th century, adopted were the terms used in writings in relation to the Academy Salon (from 1791 located at Louvre’s Salon Carré) which was the venue for alternating displays of old and contemporary art, this justified in view of political and nationalistic legitimization of the oeuvre of the French through the connection with the tradition of the great masters of the past (Charles-Paul Landon, Pierre-Marie Gault de Saint-Germain).
As for the German-speaking regions, what played a particular role in consolidating the term: alte Meister, was the increasing Enlightenment – Romantic Medievalism as well as the cult of the Germanic past, and with it a revaluation of old-German painting: altdeutsch. The revision of old-German art in Weimar and Dresden, particularly within the Kunstfreunde circles, took place: from the category of barbarism and Gothic ineptitude, to the apology of the Teutonic spirit and true religiousness of the German Middle Ages (partic. Johann Gottlob von Quandt, Johann Wolfgang von Goethe). In this respect what actually had an impact was the traditional terminology backup formed in the Renaissance Humanist Germanics (ethnogenetic studies in ancient Germanic peoples, their customs, and language), which introduced the understanding of ancient times different from classical-ancient or Biblical-Christian into German historiography, and prepared grounds for the altdeutsche Geschichte and altdeutsche Kunst/Meister concepts. A different source area must have been provided by the Reformation and its iconoclasm, as well as the reaction to it, both on the Catholic, post-Tridentine side, and moderate Lutheran: in the form of paintings, often regarded by the people as ‘holy’ and ‘miraculous’; these were frequently ancient presentations, either Italo-Byzantine icons or works respected for their old age. Their ‘antiquity’ value raised by their defenders as symbols of the precedence of Christian cult at a given place contributed to the development of the concept of ‘ancient’ and ‘old’ painters in the 17th–18th century.