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Leporati, Matthew. "New Formalism in the Classroom: Re-Forming Epic Poetry in Wordsworth and Blake." Humanities 8, no. 2 (2019): 100. http://dx.doi.org/10.3390/h8020100.
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Recent years have seen a resurgence of interest in “New Formalism,” a close attention to textual language and structure that departs from the outdated and regressive stances of old formalisms (especially “New Criticism”) by interrogating the connections between form, history, and culture. This article surveys the contributions of New Formalism to Romanticism studies and applies its techniques to two canonical texts, suggesting that New Formalism is useful both for literary criticism and teaching literature. Opening with a survey of New Formalist theory and practices, and an overview of the theoretical innovations within New Formalism that have been made by Romantic scholars, the article applies New Formalist techniques to William Wordsworth’s Prelude and William Blake’s Milton: a Poem. Often read as poems seeking to escape the dispiriting failure of the French Revolution, these texts, I argue, engage the formal strategies of epic poetry to enter the discourse of the period, offering competing ways to conceive of the self in relation to history. Written during the Romantic epic revival, when more epics were composed than at any other time in history, these poems’ allusive dialogue with Paradise Lost and with the epic tradition more broadly allows them to think through the self’s relationship to the past, a question energized by the Revolution Controversy. I explore how Wordsworth uses allusion to link himself to Milton and ultimately Virgil, both privileging the past and thereby asserting the value of the present as a means of reiterating and restoring it; Blake, in contrast, alludes to Milton to query the very idea of dependence on the past. These readings are intertwined with my experiences of teaching, as I have employed New Formalism to encourage students to develop as writers in response to texts. An emphasis on form provides students with concrete modes of entry into discussing literature and allows instructors to help students identify and revise the forms and structures of their own writing in response to literature.
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Hershkowitz, Debra. "Patterns of Madness in Statius'Thebaid." Journal of Roman Studies 85 (November 1995): 52–64. http://dx.doi.org/10.2307/301057.
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The traditional problem of Silver Latin poetry, and Silver Latin epic especially, has been its attraction to the extravagant, the grotesque, the infinite, the absurd, in other words, its propensity for excess. Statius'Thebaidin particular has been considered guilty of this offence. Recent criticism, however, has tended to see Silver Latin poetry not simply as being excessive, but as being deeply concerned with excess—cultural, ideological, and poetic. In this paper I hope to demonstrate that such a concern is a prominent characteristic of Statius'Thebaid, by exploring perhaps the most important manifestation of excess in the poem, madness. I will argue that theThebaid's excessiveness is fundamental and necessary, rather than detrimental, to its overall effect. But this paper, like theThebaid, will not concentrate exclusively on excess, for it will prove to be only the starting-point for a specific interpretation of the patterns of action and madness in theThebaid.
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Petrovic, Sonja. "Milovan Vojicic's epic songs about the Kosovo battle 1389 in the Milman Parry collection of oral literature." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 75 (2009): 21–43. http://dx.doi.org/10.2298/pkjif0975021p.
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In "The Milman Parry Collection of Oral Literature" on Harvard University out of 131 epic songs recorded from Milovan Vojicic, several are dedicated to the popular theme of the Serbian and Balkan epic - the Kosovo Battle 1389 (Prince Lazar and Milos Obilic, The Defeat of Kosovo, ?he Kosovo Tragedy, The Kosovo Field after the Battle, The Death of Mother Jugovici, The Death of Pavle Orlovic at Kosovo, noted in 1933-34 in Nevesinje). The paper examines Vojicic?s Kosovo songs from the perspective of textual, stylistic and rhetoric criticism, poetics, and memory studies. An analysis of Milovan Vojicic?s Kosovo epic poetry leaves an impression of an active singer who has internalised tradition, and on this foundation composes new works in the traditional manner and "in the folk style". Vojicic is a literate singer who was familiar with the collections of Vuk Karadzic, Bogoljub Petranovic, the Matica Hrvatska, and the songbooks of the time. He did not hesitate to remake or rewrite songs from printed collections or periodicals, which means that his understanding of authorship was in the traditional spirit. Vojicic?s compilations lie on that delicate line between oral traditional and modern literary poetry; he is, naturally, not alone in this double role - the majority of the gusle-players who were his contemporaries could be similarly described. In the body of Kosovo epic poetry Vojicic?s songs stand out (The Death of Pavle Orlovic at Kosovo, The Kosovo Tragedy), where he abandons the printed model and achieves the kind of originality which is in fact part of tradition itself. Vojicic highly valued oral tradition and the opportunity to perform it, as part of the process of creating an image of himself as a folk gusle-player in modern terms. For this reason, his repertoire includes both old and new themes. They are sung according to the epic standard, but also in accordance with the modern standard of epic semi-literary works. In Vojicic?s world, oral tradition is an important component in viewing the historical past, and in perceiving reality and the singer?s place in it. The epic is a form of oral memory and the guardian of remembrance of past events; however it also provides a space for surveying and commenting on modern historical situations in a popularly accepted manner, at times in an ideological key, as seen in songs which gather together major historical events. This perception of the epic tradition and history is mirrored in the heterogeneity of the corpus and in the repertoire of songs, and is all a consequence of vastly changed conditions of origin, existence and acceptance, i.e. the consumption of oral works in the first half of the 20th century, in a process of interaction between literature and folklore.
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Watson, Patricia. "Axelson Revisited: the Selection of Vocabulary in Latin Poetry." Classical Quarterly 35, no. 2 (1985): 430–48. http://dx.doi.org/10.1017/s0009838800040271.
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Although it is now fifteen years since G. Williams' thorough-going criticism of B. Axelson'sUnpoetische Wörter, his discussion has failed to elicit the adverse response which might have been expected in view of the widespread influence exerted by the earlier work.The reason for this may be that Axelson's theory is so widely accepted that any refutation thereof may be disregarded. Yet surely Williams was right to point to the dangers of total reliance on statistics and to the necessity of considering the contexts in which words occur in Latin poetry. In this respect, he was not so much rejecting Axelson's work as pointing to its inadequacies: whereas Axelson would be content to label a word that occurs only rarely in poetry as ‘unpoetisch’, it is necessary, as Williams demonstrates, to take the further step of determining the effect that such a word has in a given context. This approach will be particularly helpful, for example, in the case ofparvulusat Virg.Aen.4.328, where the heightened pathos achieved by Virgil's use of a diminutive is better appreciated by the reader who is aware of the scarcity of diminutive adjectives in poetry and in epic above all. To recogniseparvulusas an ‘unpoetic word’, with Axelson, is the essential first step, but we should proceed a stage further to inquire what effect was intended by the employment of a form not normally found in elevated poetry.Of greater importance is Williams' rejection of the ‘hierarchy of genres’ theory, taken for granted by Axelson, that is, that Latin poetry may be divided into a number of higher- or lower-ranking genres and that the more elevated a genre the less unpoetic vocabulary it is liable to employ.
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Krasilnikova, E. I. "Historical Past and Historical-Cultural Heritage of Buryats as Reflected in Journal ‘Sibirskie Ogni’ (1920s-1980s): Memory Politics Aspect." Nauchnyi dialog 13, no. 4 (2024): 408–29. http://dx.doi.org/10.24224/2227-1295-2024-13-4-408-429.
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The aim of the article is to characterize representations of the history and historicalcultural heritage of the Buryats in the pages of the Sibirskie Ogni journal from the early 1920s to the late 1980s in the context of state memory politics. The methodological framework of the study was the field of “Memory Studies.” Conclusions were drawn about the intense ideologization of the historical past of the Buryats on the pages of the Sibirskie Ogni journal at all stages of the Soviet period, as well as the journal's disregard for Buryat heritage associated with the traditions of Buddhist East. Six stages of representation were identified. In the first stage (1920s), Buryat authors freely wrote in the journal about Buryat history, expressed historical grievances against Russia, and sought recognition of the value of Buryat historical-cultural heritage. In the second stage (1930s), only articles by Russian authors about Buryat history in a critical tone were published in the journal. In the third stage (1940s-1950s), Sibirskie Ogni journal printed articles with crushing criticism of inconvenient versions of Buryat history presented in national literature. In the fourth stage (1960s-1970s), Buryat history was not discussed at all in the journal. In the fifth stage (1980s), a flourishing of Buryat culture was proclaimed under the influence of Soviet leadership. After the collapse of the USSR, much was rethought and perceived as a historical mistake. The Sibirskie Ogni journal began publishing articles again on Buryat literary traditions, epic poetry, etc.
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Taylor, Paul Beekman, and Sophie Bordier. "Chaucer and the Latin Muses." Traditio 47 (1992): 215–32. http://dx.doi.org/10.1017/s0362152900007236.
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Muse of the uniqueHistorical fact, defending with silenceSome world of yours beholding, a silenceNo explosion can conquer, but a lover's yesHas been known to fill.W. H. Auden, ‘Homage to Clio’The Clio and Calliope evoked in the prohemia of Books II and III of Troilus and Criseyde are handily glossed in Chaucer editions as Muses of history and epic poetry respectively, but without citations of sources for these attributions. Stephen A. Barney's notes in The Riverside Chaucer suggest that in both evocations Chaucer is following Statius rather than Dante, and both he and B. A. Windeatt mention the marginal gloss ‘Cleo domina eloquentie’ in MS Harley 2392 of Troilus. Vincent J. DiMarco's note to the name Polymya in Anelida and Arcite identifies her as Muse of ‘sacred song,’ after her name-sense ‘she who is rich in hymns,’ but DiMarco does not elaborate on her pertinence to the context of the poem. There is little in current Chaucer criticism on schemes of attributes for the Muses; and yet without an idea of what values for the Muses Chaucer is drawing upon, it is difficult to appreciate their thematic force in Troilus.
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Begass, Christoph. "Kaiserkritik in Konstantinopel. Ein Spottepigramm auf Kaiser Anastasius bei Johannes Lydus und in der Anthologia Palatina." Millennium 14, no. 1 (2017): 103–50. http://dx.doi.org/10.1515/mill-2017-0004.
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Abstract In De magistratibus John Lydus refers to an epigram of eight lines insulting emperor Anastasius (491-518) as a money-collecting Charybdis. A similar version of this poem can be found in the Greek Anthology where it is divided into two epigrams of four lines each (AP XI 270 -71). In a first step, a critical edition of the epigram is established. On this basis it becomes clear that the earlier version referred to by Lydus comes close to the original poem. A detailed commentary reveals it as work of an able and witty poet who was familiar with both classical epic poetry and the formulas used in late antique laudatory epigrams. Looking at the historical background of the epigram, the paper highlights the history and varieties of Kaiserkritik in Late Antiquity and Byzantium, while another chapter takes a closer look at the far-reaching reforms undertaken by Anastasius which were heavily criticized by contemporaries. Taking into account the function of the epigram in Lydus’ work, it seems certain that John Lydus himself composed the poem to support his general criticism of the administrative reforms of both Anastasius and Justinian.
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Wenjia, Zhu. "Ideas of Statecraft in Philip Sidney’s <i>The Defense of Poesy</i>." Humanities and Social Sciences 12, no. 2 (2024): 29–34. http://dx.doi.org/10.11648/j.hss.20241202.12.
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Philip Sidney was a famous courtier, soldier, poet and patron in Elizabethan England. As the best work of literary criticism in the English Renaissance, Sidney’s &lt;i&gt;The Defense of Poesy&lt;/i&gt; not only contains rich poetic, philosophical and aesthetic values, but also permeates with comments and suggestions on current politics, implying advanced ideas of statecraft. Studying &lt;i&gt;The Defense of Poesy&lt;/i&gt; in the context of social, political and cultural anxiety in England in the late 1570s and early 1580s, this article attempts to reveal Sidney’s creative motive and governing ideology. The adherence to ethical values shows his belief in “building the state with political virtue”; the praise of the heroic epic reveals the determination to “protect the state with military force”; the prospect of national poetics presents the vision of “strengthening the state with national culture”. Sidney reinterpreted the function of poetry and the responsibility of poets at the time of national crisis. Discussing politics in the name of poetry, Sidney expressed his efforts to create a political poetics aiming to serve the state, and demonstrated the beautiful political vision of building a “golden world” of heroic, solidary, independent, and united England. Throughout his life, Sidney turned the ideas of statecraft into an act of serving the country. After his early death in battle, he was hailed as the cultural icon and national hero of England.
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Kryzhanovska, O. O. "Artistic works of the literary group „Lanka”-MARS at the reception of the criticism of the Ukrainian diaspora." Bulletin of Luhansk Taras Shevchenko National University, no. 3 (341) (2021): 106–13. http://dx.doi.org/10.12958/2227-2844-2021-3(341)-106-113.
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The article notes that critics of the Ukrainian diaspora emphasized the significance of the works of the „Lanka”-MARS authors, considered the main strategies of their work, and determined the connection of the works with the world literary tradition. Lavrinenko's anthology „The Executed Renaissance” allows us to understand the specifics of the history of Ukrainian literature of the 1920s and 1930s. Yu. Lavrinenko represented articles about the works of B. Antonenko-Davydovych, G. Kosynka, T. Osmachka, E. Pluzhnyk, V. Pidmohylny, and D. Falkivsky, which testify to the specifics of Yu. Lavrinenko's reception. The critic called love the main characteristic of T. Osmachka's poems. Yu. Lavrineno emphasized that D. Falkivsky's poetry is characterized by simplicity and naturalness. The article defines that the critic, characterizing the poetic texts of E. Pluzhnyk, emphasizes the principles of his poetics that represent acmeistic traditions. Yu. Lavrinenko focuses on determining the main principles of V. Pidmohylny's works. The article states that Yu. Lavrinenko calls G. Kosynka a talented author of his time, in his skill the writer stands next to M. Khvylov and V. Pidmohylny, his epic works reveal a synthesis of lyricism and brutal metaphor. B. Antonenko-Davidovych's story „Death” is represented by the critic of the Ukrainian diaspora as a confrontation between man, personality and the Communist Party. The article considers the reception of Yu. Sherekh by V. Pidmohylny and T. Osmachka. The critic reveals the deep meaning of V. Pidmohylny's novel „City”, which allows the modern reader to read the work from a different angle, to see new aspects of the artistic world of the text. The article examines the strategies of interpretation of the works of T. Osmachka. Yu. Sherekh called the Ukrainian poet one of the best modern authors, saw his connection with the world tradition, with the works of D. Byron and O. Pushkin.
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van den Berg, Robbert M. "PROCLUS ON HESIOD'S WORKS AND DAYS AND ‘DIDACTIC’ POETRY." Classical Quarterly 64, no. 1 (2014): 383–97. http://dx.doi.org/10.1017/s0009838813000773.
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In their introduction to the recent excellent volume Plato & Hesiod, the editors G.R. Boys-Stones and J.H. Haubold observe that when we think about the problematic relationship between Plato and the poets, we tend to narrow this down to that between Plato and Homer. Hesiod is practically ignored. Unjustly so, the editors argue. Hesiod provides a good opportunity to start thinking more broadly about Plato's interaction with poets and poetry, not in the least because the ‘second poet’ of Greece represents a different type of poetry from Homer's heroic epics, that of didactic poetry. What goes for Plato and Hesiod goes for Proclus and Hesiod. Proclus (a.d. 410/12–85), the productive head of the Neoplatonic school in Athens, took a great interest in poetry to which he was far more positively disposed than Plato had ever been. He wrote, for example, two lengthy treatises in reaction to Socrates' devastating criticism of poetry in the Republic as part of his commentary on that work in which he tries to keep the poets within the Platonic pale. This intriguing aspect of Proclus' thought has, as one might expect, not failed to attract scholarly attention. In Proclus' case too, however, discussions tend to concentrate on his attitude towards Homer (one need only think here of Robert Lamberton's stimulating book Homer the Theologian). To some extent this is only to be expected, since much of the discussion in the Commentary on the Republic centres on passages from Homer. Proclus did not, however, disregard Hesiod: we still possess his scholia on the Works and Days, now available in a recent edition by Patrizia Marzillo.
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Komarytsia, Mariana. "The culturology horizons of Mykola Hnatyshak`s publicism." Proceedings of Research and Scientific Institute for Periodicals, no. 9(27) (2019): 376–402. http://dx.doi.org/10.37222/2524-0331-2019-9(27)-23.
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In the article is analyzed the Mykola Hnatyshak`s publicistic works, which are concentrated in the publications of the author’s column «From the Literary Life» in the newspaper «Meta» (Lviv, 1931—1939). This Catholic critic led this column during 1935—1939 and published there his own articles, notes, reviews and polemical materials. M. Hnatyshak founded a column to persuade those representatives of the intellectuals who believed that literature and art were social phenomena that did not bring a material benefit that these intellectuals were not wright. He also defined the conception of «Catholic literature» and «Catholic criticism». Catholic literature was in the process of formation not only in the Ukrainian literary environment of Galicia, but also in the more developed countries of the Western Europe. Hnatyshak drew attention to the fact that the Catholic literature is not limited to poetic and prose works of religious subjects, and it is possible to include in it those literary works that do not contradict the ideals of a truth, kindness and beauty. He also thought it was necessary to develop literature on a national basis, but opposed journalistic rhetoric and didacticism. A number of publications in the column «From the Literary Life» were debatable. M. Hnatyshak argued with the representative of liberal critic Mykhailo Rudnytskyi: in a public debate on topic «Should a writer have a worldview?» (14th April 1935). At the same time, M. Hnatyshak opposed M. Rudnytskyi at the same time, M. Hnatyshak opposed M. Rudnytskyi in question of evaluation criteria during awarding writers in the 1935 literary awards. M. Hnatyshak emphasized the need to know the origins in the context of the history of Ukrainian literature — works of folk poetry, chronicles, Cossack epic. «The Tale of Igor’s Campaign» is a unique monument of the XI century, which presents the mythological, Christian and knight’s spirit of knyazes times. The critic drew special attention to the inheritance of Markian Shashkevych, Taras Shevchenko and Ivan Franko. M. Hnatyshak’s other publications were reviews of new poetic and prose works, researches and periodicals. Key words: Mykola Hnatyshak, Catholic criticism, publicism, newspaper «Meta», column «From the Literary Life».
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Vanderspoel, J. "Claudian, Christ and the Cult of the Saints." Classical Quarterly 36, no. 1 (1986): 244–55. http://dx.doi.org/10.1017/s0009838800010697.
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Current scholarly opinion holds that the poet Claudian was a pagan who was able to hide sufficiently his personal views at a largely Christian court. This opinion is not unanimous: Claudian has in the past occasionally been considered a Christian, and recently that view has reappeared in print. That Claudian wrotecarm. min.32,de saluatore, should not be doubted; yet this collection of stock phrases cannot be considered Claudian'scredo. As Gnilka has shown, Claudian's treatment of the traditional gods and goddesses displays warmth and fondness beyond the requirements of epic and consequently reveals his true beliefs. The poem is an Easter card for Honorius, displaying not religious convictions, but an instinct for survival at a Christian court. The exegesis ofCarmina Minora50 here proposed suggests that Claudian was familiar enough with Christian ideas to criticise them. Nothing hinders him from repeating them when it proved advantageous.The interpretation ofcarm. min.50 depends in some measure on the literary relationship between Claudian and the Christian poet Prudentius. Specifically, it is important to ascertain whether Claudian was aware of the work of his contemporary. Several studies have argued that Prudentius read and used Claudian, but only recently has Cameron suggested Claudian also read and used Prudentius. His arguments and example are convincing and conclusive, revealing at the same time the nature of Claudian's use of his contemporary's words and ideas. Because similar echoes of Prudentius' poetry will appear in the interpretation ofcarm. min.50, it will be useful to cite the example here.
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Nilova, Anna. ""POETICS" OF ARISTOTLE IN RUSSIAN TRANSLATIONS." Проблемы исторической поэтики 19, no. 4 (2021): 7–39. http://dx.doi.org/10.15393/j9.art.2021.9822.
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The article presents an overview of the existing translations of Aristotle's “Poetics”, characterizes the features of each of them. In the preface to his translation of Aristotle's “Poetics”, V. Zakharov characterized the work of the Greek philosopher as a “dark text.” Each translation of this treatise, which forms the basis of European and world literary theory, is also its interpretation, an attempt to interpret the “dark places.” The first Russian translation of “Poetics” was made by B. Ordynsky and published in 1854, however, the Russian reader was familiar with the contents of the treatise through translations into European languages and its expositions in Russian. For instance, in the “Dictionary of Ancient and New Poetry” Ostolopov sets out the Aristotelian theory of drama and certain other aspects of “Poetics” very close to the original text. Ordynsky translated the first 18 chapters of “Poetics”, focusing on the theory of tragedy. The translator presented his interpretation of Aristotle’s concept in an extensive preface, commentaries and a lengthy “Statement.” This translation set off a critical analysis by Chernyshevsky, and influenced his dissertation “Aesthetic relations of art to reality”, in which the author polemicizes with the aesthetics of German romanticism. In 1885 V. Zakharov published the first complete Russian translation of “Poetics”, in which he offered his own interpretation of Aristotle's teaching on language and epic. The author of this translation returns to the terminology of romantic aesthetics, therefore the translation itself is outside the main line of perception of the teachings of Aristotle by domestic literary theory, which is clearly manifested in the translations of V. G. Appelrot (1893), N. N. Novosadsky (1927) and M. L. Gasparov (1978). The subject of discussion in these translations was the interpretation of the notions of μῦϑος and παθος, the concepts of mimesis and catharsis, the source of suffering and the tragic, the possibility of modernizing terminology. An important milestone in the perception and assimilation of Aristotle's treatise by Russian literary criticism was its translation by A. F. Losev, which was not published, but was used by the author in his theoretical works and in criticizing other interpretations of “Poetics”. M. M. Pozdnev penned one of the last translations of “Poetics” (2008). The translator does not seek to preserve the peculiarities of the original style and interprets “Poetics” within the framework and terms of modern literary theory, focusing on its English translations. The main subject of the translator's reflection is Aristotle's understanding of the essence and phenomenon of poetic art. Translations of the Greek philosopher's treatise reflect the history of the formation and development of the domestic theory of literature, its main topics and terminological apparatus.
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Langlands, Rebecca. "Latin Literature." Greece and Rome 63, no. 2 (2016): 256–63. http://dx.doi.org/10.1017/s0017383516000139.
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Mairéad McAuley frames her substantial study of the representation of motherhood in Latin literature in terms of highly relevant modern concerns, poignantly evoked by her opening citation of Eurydice's lament at her baby's funeral in Statius’ Thebaid 6: what really makes a mother? Biology? Care-giving? (Grief? Loss? Suffering?) How do the imprisoning stereotypes of patriarchy interact with lived experiences of mothers or with the rich metaphorical manifestations of maternity (as the focus of fear and awe, for instance, or of idealizing aesthetics, of extreme political rhetoric, or as creativity and the literary imagination?) How do individuals, texts, and societies negotiate maternity's paradoxical relationship to power? Conflicting issues of maternal power and disempowerment run through history, through Latin literature, and through the book. McAuley's focus is the representational work that mothers do in Latin literature, and she pursues this through close readings of works by Ovid, Virgil, Seneca, and Statius, by re-reading their writings in a way that privileges the theme, perspective, or voice of the mother. A lengthy introduction sets the parameters of the project and its aim (which I judge to be admirably realized) to establish a productive dialogue between modern theory (especially psychoanalysis and feminist philosophy) and ancient literature. Her study evokes a dialogue that speaks to theory – even contributes to it – but without stripping the Latin literature of its cultural specificity (and without befuddling interpretation of Latin culture with anachronism and jargon, which is often the challenge). The problem for a Latinist is that psychoanalysis is, as McAuley says, ‘not simply a body of theories about human development, it is also a mode of reading’ (23), and it is a mode of reading often at cross-purposes with the aims of literary criticism in Classical Studies: psychoanalytical notions of the universal and the foundational clash with aspirations to historical awareness and appreciation of the specifics of genre or historical moment. Acknowledging – and articulating with admirable clarity and honesty – the methodological challenges of her approach, McAuley practises what she describes as ‘reading-in-tension’ (25), holding on not only to the contradictions between patriarchal texts and their potentially subversive subtexts but also to the tense conversation between modern theory and ancient literary representation. As she puts it in her epilogue, one of her aims is to ‘release’ mothers’ voices from the pages of Latin literature in the service of modern feminism, while simultaneously preserving their alterity: ‘to pay attention to their specificity within the contexts of text, genre, and history, but not to reduce them to those contexts, in order that they speak to us within and outside them at the same time’ (392). Although McAuley presents her later sections on Seneca and Statius as the heart of the book, they are preceded by two equally weighty contributions, in the form of chapters on Virgil and Ovid, which she rightly sees as important prerequisites to understanding the significance of her later analyses. In these ‘preliminary’ chapters (which in another book might happily have been served as the main course), she sets out the paradigms that inform those discussions of Seneca and Statius’ writings. In her chapter on Virgil McAuley aims to transcend the binary notion that a feminist reading of epic entails either reflecting or resisting patriarchal values. As ‘breeders and mourners of warriors…mothers are readily incorporated into the generic code’ of epic (65), and represent an alternative source of symbolic meaning (66). Her reading of Ovid's Metamorphoses then shows how the poem brings these alternative subjects into the foreground of his own poetry, where the suffering and passion of mothers take centre-stage, allowing an exploration of imperial subjectivity itself. McAuley points out that even feminist readings can often contribute to the erasure of the mother's presence by their emphasis on the patriarchal structures that subjugate the female, and she uses a later anecdote about Octavia fainting at a reading of the Aeneid as a vivid illustration of a ‘reparative reading’ of Roman epic through the eyes of a mother (91–3). Later, in her discussion of mothers in Statian epic, McAuley writes: ‘mothers never stand free of martial epic nor are they fully constituted by it, and, as such, may be one of the most appropriate figures with which to explore issues of belatedness and authority in the genre’ (387). In short, the discourse of motherhood in Latin literature is always revealed to be powerfully implicated in the central issues of Roman literature and culture. A chapter is devoted to the themes of grief, virtue, and masculinity as explored in Seneca's consolation to his own mother, before McAuley turns her attention to the richly disturbing mothers of Senecan tragedy and Statius’ Thebaid. The book explores the metaphorical richness of motherhood in ancient Rome and beyond, but without losing sight of its corporeality, seeking indeed to complicate the long-developed binary distinction between physical reproduction (gendered as female) and abstract reproduction and creativity (gendered as male). This is a long book, but it repays careful reading, and then a return to the introduction via the epilogue, so as to reflect anew on McAuley's thoughtful articulation of her methodological choices. Her study deploys psychoanalytical approaches to reading Latin literature to excellent effect (not an easy task), always enhancing the insights of her reading of the ancient texts, and maintaining lucidity. Indeed, this is the best kind of gender study, which does not merely apply the modern framework of gender and contemporary theoretical approaches to ancient materials (though it does this very skilfully and convincingly), but in addition makes it clear why this is such a valuable endeavour for us now, and how rewarding it can be to place modern psychoanalytic theories into dialogue with the ancient Roman literature. The same tangle of issues surrounding maternity as emerges from these ancient works often persists into our modern era, and by probing those issues with close reading we risk learning much about ourselves; we learn as much when the ancient representations fail to chime with our expectations.
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BERMEJO BARRERA, JOSE CARLOS. "ON HISTORY CONSIDERED AS EPIC POETRY." History and Theory 44, no. 2 (2005): 182–94. http://dx.doi.org/10.1111/j.1468-2303.2005.00317.x.
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Bowie, Ewen L. "Greek Table-Talk before Plato." Rhetorica 11, no. 4 (1993): 355–71. http://dx.doi.org/10.1525/rh.1993.11.4.355.
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Abstract: This essay analyses conversation at archaic and classical Greek banquets and symposia, using first epic, then elegiac and lyric poetry, and finally Old Comedy. Epic offers few topics, mostiy arising from the situation of a guest. Those of sympotic poetry, from which prose exchanges may cautiously be inferred, are more numerous:reflection, praise of the living and the dead, consolation of the bereaved, proclamations of likes and dislikes, declarations of love,narrative of one's own erotic experiences or (scandalously) of others',personal criticism and abuse, and the telling of fables. Many of these verbal interventions are competitive. Comedy reinforces the prevalence of an ethos of entertainment, corroborating the telling of fables and adding creditable anecdotes about one's career, singing skolia,and playing games of "comparisons" and riddles.
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Reynolds, R. Clay, and R. S. Gwynn. "New Expansive Poetry: Theory, Criticism, History." South Central Review 17, no. 3 (2000): 141. http://dx.doi.org/10.2307/3190100.
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Мыреева, А. Н. "Hero and Folklore-Mythological beginning in the conceptual sphere of a historical and biographical novel Manchaary by M. Gogolev – Kyndyl." Эпосоведение, no. 1(17) (March 28, 2020): 112–21. http://dx.doi.org/10.25587/svfu.2020.17.58371.
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Выявление роли фольклорно-мифологического начала в своеобразии национальной картины мира в литературном произведении находит выражение в системе художественных концептов, образующих концептосферу, в которой воплощается культурно-исторический, духовно-нравственный опыт нации. Актуальность избранной темы определяется малой изученностью данной проблемы в якутском литературоведении, в частности, в жанрологии. В этом плане особый интерес представляет выявление роли фольклорно-мифологического начала и олонхо в концептосфере национального мира в самом крупном эпическом жанре в романе, который получил высокое развитие в якутской литературе второй половины ХХ в. В последней четверти XX в. знаменательно появление жанра собственно исторического и философского романа, что является показателем высокого уровня развития литературы. В 1990-е гг., в переломный момент, эволюции умопредставлений, утраты прежних ориентиров и неясности новых, роман как форму миропознания характеризует освобождение от социальных и культурных догм и канонов, что отразилось и в жанровой динамике. Лучшие романы якутских авторов отличает широкий историко-культурный, этногенетический аспект осмысления истории народа. Возросшая роль личностного начала определила актуализацию новых форм романного мышления, обогащение реалистического в основе письма новым обращением к народно-поэтическим, фольклорным истокам, мифу, олонхо, что позволило углубить философский план повествования, усилить гуманистический пафос. Одно из вершинных проявлений развития жанра романа характерно для творчества народного писателя Якутии И. М. Гоголева Кындыла. Творческое наследие писателя многогранно, отмечено достижениями во всех основных жанрах литературы: в поэзии, в прозе и в драме. Значимым событием в литературе стали его романы Черный стерх , Богиня милосердия , Третий глаз . В ряду произведений писателя выделяется историко-биографический роман Манчаары (2001). Цели и задачи работы определены выявлением роли фольклорно-мифологического начала и олонхо в концептосфере национального мира в романе Манчаары . Использованы историко-культурный, типологический, концептуальный методы исследования. The identification of the role of the folklore and mythological principle in the uniqueness of the national picture of the world in a literary work finds expression in the system of artistic concepts that form the conceptual sphere, which embodies the cultural, historical, spiritual and moral experience of the nation. The relevance of the chosen topic is determined by the low degree of research of this problem in Yakut literary criticism, in particular, in genre studies. In this regard, of particular interest is the identification of the role of folklore and mythological beginning and olonkho in the conceptual sphere of the national world in the largest epic genre-in the novel, which was highly developed in the Yakut literature of the second half of the twentieth century. In the last quarter of the XX century, the emergence of the genre of the historical and philosophical novel itself is significant, which is an indicator of the high level of development of literature. In the 90-ies, at a turning point, the evolution of mental representations, the loss of former landmarks and the ambiguity of new ones, the novel as a form of world knowledge characterizes the liberation from social and cultural dogmas and canons, which was reflected in the genre dynamics. The best novels of Yakut authors are distinguished by a wide historical, cultural, ethno-genetic aspect of understanding the history of the people. The increased role of personality has identified the mainstreaming of new forms of novel thinking, the enrichment of a realistic based letter new appeal to folk poetry, folk roots, the myth, the olonkho, which allowed to deepen the philosophical terms of narrative, heighten the pathos. One of the top manifestations of the development of the genre of the novel is characteristic of the work of the peoples writer of Yakutia I. M. Gogolev Kyndyl. The creative heritage of the writer is multifaceted, marked by achievements in all major genres of literature: poetry, prose and drama. A significant event in literature were his novels: Black Crane, Goddess of Mercy, The Third Eye. Among the works of the writer stands out historical and biographical novel Manchaary (2001). The goals and objectives of the work are determined by the identification of the role of folklore and mythological principle and olonkho in the conceptual sphere of the national world in the novel Manchaary. Historical-cultural, typological, conceptual methods of research are used.
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V, Renuka. "Techniques in Tamil Haiku Poetry." Indian Journal of Tamil 4, no. 4 (2024): 14–20. http://dx.doi.org/10.54392/ijot2343.
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Tamil haiku poems are characterized by the unique characteristics of expressing the feelings, such as mild sadness, mild humor, it have only three lines, it is very simple, it has emphasis on all life, it resembles the nature of lightning in a vortex system and it also express innermost feelings. Symposium itself has given the boom to Tamil poetry which everyone desires. However, the metaphor technique, irony technique, symbolic technique, question answer technique, narrative technique, title technique, component technique, myth technique, criticism technique, pun technique, figurative variety technique, dark technique, are studied well in this type of poetry. These kind of techniques popularised the Tamil Haiku poems. Tamil haiku poems are written in a question-and-answer format, with present-day justice, matching the justices found in old mythological and epic stories, and criticizing contemporary political and social justice. With such types of Tamil poems, the poet's opinion is revealed in a subtle way, and the value and beauty of the Tamil language is enhanced.
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Plumtree, J. K. "ONEGIN AND MANAS, VALIKHANOV AND BELINSKY; RUSSIAN LITERARY CRITICISM AND KYRGYZ ORAL POETRY." Vestnik Bishkek state university af K Karasaev 67, no. 1 (2024): 76–84. http://dx.doi.org/10.35254/bsu/2024.67.11.
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This paper examines the original context of the words ‘encyclopaedia’ and ‘epic’ concerning Manas. A New Historicism approach to the origin of this association, an 1861 Russian-language publication by Chokan Valikhanov, illuminates his likely use of a formulation - both verbal and conceptual - of literary critic Vissarion Belinsky, and placing Valikhanov’s interest in epics in pan-European (and Russian) early-nineteenth century socio-political context. Valikhanov’s comments display the placing of an interpretative framework from Russian literary criticism onto Kyrgyz oral poetry. This paper questions the continued use of the terminology related to nineteenth-century Russian colonialism and its significant impact on the Manas interpretation and valueing.
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سميسم, علي كاظم. "Political criticism in Al-Jawahiri's poetry." Kufa Journal of Arts 1, no. 30 (2017): 175–216. http://dx.doi.org/10.36317/kaj/2016/v1.i30.6070.
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The Poetry of Al-Jwahiri is a document and a history. Since literature is the essence of history, we can find within it events, culture, thought, struggle of modern Iraq and the Arab region and the attempts of the living peoples in its march towards justice and freedom taking the most sophisticated steps overcoming the romantic tendency during his era. The document of Al-Jwahiri was mixed with an elevated art and a perfect well-formed language. He combined objectivity and aesthetics he also mixed his blood and pains, excitement with his carelessness as well as his hopes and wishes. He recorded history and participated in making history through subjective and objective methods. His poetry was imprinted in the imagination and thoughts of people. It was Al-Jwahiri who called for solving the problems of Iraq which he suffered from till our time. Policy and struggle is what made his poetry a burning type of poetry and elevated his severe criticism and the political attitude is what made Al-Jwahiri an alienated loner wondering the countries of the world.
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Mamyt, А. А. "Genesis of Poetry and Heroic Epic." Iasaýı ýnıversıtetіnіń habarshysy 131, no. 1 (2024): 52–63. http://dx.doi.org/10.47526/2024-1/2664-0686.05.
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The article conducts a scientific analysis of the origin of poetry. On this issue, scientific examinations of opinions were carried out in works published at different times, and general patterns of the emergence of art as a whole were analyzed. Based on the research of scientists, an analysis is carried out of the manifestation of everyday needs and fantasies of man in the early era, which were prerequisites for the birth and formation of arts, including poetry. It is scientifically postulated that collective labor actions during primitive community construction, superstitions committed during the departure of hunters as a result of strong fear from the mysterious forces of nature, actions during the period of expulsion of harmful dark forces caused the rhythm of dance and melody. It is concluded that over time, these rhythms and melodies gave rise to initial samples of poetry. The genesis of the Kazakh heroic epic is associated with the emergence of poems. Poems of praise to hunters, forms of poetry reflecting heroic campaigns, served as the basis for the birth of epic. An analysis of works related to personalities who created early poetic samples and a heroic epic was carried out. In Kazakh folklore, conclusions related to the history of the emergence and formation of types of shaman (bucks) and storyteller (zhyrau) are differentiated. The attitude of bucks and zhyrau to the formation and development of the heroic epic is comprehensively analyzed and generalized scientifically.
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Lipka, Michael. "Aretalogical Poetry: A Forgotten Genre of Greek Literature." Philologus 162, no. 2 (2018): 208–31. http://dx.doi.org/10.1515/phil-2018-0005.
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AbstractThe article deals with a hitherto largely neglected group of poetic texts that is characterized by the representation of the vicissitudes and deeds of a single hero (or god) through a third-person omniscient authorial voice, henceforth called ‘aretalogical poetry’. I want to demonstrate that in terms of form, contents, intertextual ‘self-awareness’ and long-term influence, aretalogical poetry qualifies as a fully-fledged epic genre comparable to bucolic or didactic poetry. In order not to blur my argument, I will focus on heroic aretalogies, and on Heracleids and Theseids in particular, because of their prominence in the minds of ancient literary critics. In the case of Heraclean aretalogies, it is expedient to distinguish further between aretalogies of ‘epic’ and ‘lyric epic’ (i.e. lyric poets such as Stesichorus, who writes ‘epic’ aretalogies).
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Raksamani, Kusuma. "The Validity of the Rasa Literary Concept: An Approach to the Didactic Tale of PHRA Chaisurjya." MANUSYA 9, no. 3 (2006): 67–72. http://dx.doi.org/10.1163/26659077-00903004.
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The rasa (emotive aesthetics), one of the major theories of Sanskrit literary criticism, has been expounded and evaluated in many scholarly studies by Indian and other Sanskritists. Some of them maintain that since the rasa deals with the universalized human emotions, it has validity not only for Indian but for other literatures as well. The rasa can be applied to any kind of emotive poetry such as lyric, epic, drama and satire. However, in Thai literature an emotive definition of poetry encompasses a great variety of works. A question is then raised in this paper about whether the rasa can be applied to a Thai poem of didactic nature. Phra Chaisuriya, a versified tale by Sunthon Phu, is selected as an example of study.
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Beckett, Joshua. "A Poet’s Prophetic Vocation: The Historical, Dramatic, and Literary Trajectories of Dante Alighieri’s Ecclesial Criticism." Christianity & Literature 66, no. 4 (2017): 573–90. http://dx.doi.org/10.1177/0148333117697454.
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In his political writings, correspondence, and epic poetry, Dante Alighieri often assumed a prophetic posture. His self-understood vocation found primary expression in his direct, forceful criticism of the medieval Catholic Church, although the post hoc predictions and scriptural mimesis in which Dante engaged throughout his Commedia also funded his incisive ecclesial critique. This article discerns three trajectories of a Dantean prophetic vocation, which converge at key moments during the Commedia (particularly at Inferno XIX) to forge Dante, in all his rich complexity, into a prophet for his era.
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Hardie, Philip. "Flavian Epicists on Virgil's Epic Technique." Ramus 18, no. 1-2 (1989): 3–20. http://dx.doi.org/10.1017/s0048671x00003015.
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Despite some notable recent essays in the rehabilitation of the Latin epic of the first century A.D., there remains a prejudice that post-Virgilian epicists are slavishly imitative in a way that Virgil (and his contemporaries in other genres) are not. The following three studies, in Valerius Flaccus, Statius, and Silius Italicus, are contributions to an argument, currently being conducted on a wide front, that imitation, even of a very close kind, may behave in a dynamic and creative way; in particular I wish to show how the epigone may function as an implicit literary analyst or critic, anticipating the results of twentieth-century criticism. My three examples take their starting-point from what I see as a general modern consensus about the nature of Virgilian epic, but the direction could be reversed, that is, we might use post-Virgilian epic as a critical aid toourreading of Virgil.I take individual passages from the Flavian epics in whichtwo(or more) passages of theAeneidare laid under contribution; analysis of such passages reveals that the later poets were reading Virgil with an eye to structural correspondences or contrasts, and to image-structures reaching from the small scale of the ‘multiple-correspondence simile’ to the large scale of patterns that arch over the whole text, features that have been at the centre of much modern Virgilian criticism. Repeated reading of theAeneidreinforces the impression of a vast structure of self-allusion and self-comment aiming for a maximal transparency of the text to itself, in so far as theprima materiaof language will allow, and demanding a ‘simultaneous reading’ that is more spatial than temporal. The fragmentary state of previous large-scale Hellenistic poetry makes it difficult to judge of the originality of Virgil in this extreme extension of the features of repetition and self-allusion that characterize all literary works; but, for example, every increase in our knowledge of Callimachus'Aitiamakes it seem more likely that it was constructed in a similar way.
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Assadi, Jamal, and Mahmoud Naamneh. "Intertextuality in Arabic Criticism: Saadi Yousef’s Mobile Model as an Example." Advances in Language and Literary Studies 9, no. 6 (2018): 49. http://dx.doi.org/10.7575/aiac.alls.v.9n.6p.49.
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This article traces the development of the notion of intertextuality among modern Arab critics back to its roots in the Western critical theory. It also studies the hypothesis, which supports the presence of a special mythological intertextuality in the poetry of Saadi Yousef, the modern Iraqi poet. His mythological intertextuality is manifested in the composition, and content of his poetry. In the process of employing the device of intertextuality, Saadi invests ancient Iraqi myths. This article, in which we will discuss the famous Babylonian myth known as Gilgamesh Epic, will refer to Saadi’s use of this device as “the intertextuality of the mobile model.” Compared with conventional types of intertextuality, this type combines between the past text, that is the myth, and the present text, i. e. the poem through three axes. First, the investment of a past myth to serve present purposes; second, the employment of a past myth to read the present and the third axis entails the use of the present for the sake of influencing the present text. The purpose is to illustrate the benefits of the past myths and the mechanisms employed by Saadi Yousef and to examine the goals that have motivated the poet to choose one of the most ancient texts written at all.
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Peric, Djordje. "The life and forgotten poetry collections of Danica-Zorka Raskovic." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 81 (2015): 129–46. http://dx.doi.org/10.2298/pkjif1581129p.
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The paper discusses a little-known Serbian poetess from the second half of the 19th century, Danica-Zorka Raskovic (1849-1910). Based on archival research and a lot of new information, it also features her compiled biography. All her poetical works which she wrote between ages 17 and 19 are presented in the text. They include: Eulogy (Slavopoj, two collections, 1866, 1867), Euphony (Milosplet, 1868) and Elegy (Tugospev, 1868). The last book, Elegy, composed as an integral work, is an attempt at writing an epic. Eulogy celebrates the 50th anniversary of the Principality of Serbia (1815-1865), glorifies the Obrenovic dynasty, especially Prince Mihailo, Anka Obrenovic and other persons. Literary criticism judged the seventeen-year-old poetess? work too harshly (S. Novakovic, V. Jagic). However, her appearance on the 1870s Serbian literary scene is interesting, because she is one of the oldest Belgrade poetesses.
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Houston, John Porter. "French Romantic Poetry, Literary History, and the Newer Criticism." Romance Quarterly 34, no. 4 (1987): 389–95. http://dx.doi.org/10.1080/08831157.1987.11000479.
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Odnoral, Valeria. "The New Lyric Studies of the 21th Century: The Aesthetic and the Social in Poetry Criticism." Ideas and Ideals 13, no. 1-2 (2021): 401–13. http://dx.doi.org/10.17212/2075-0862-2021-13.1.2-401-413.
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The article considers the problem of correlation of aesthetic form and social content in contemporary poetry through the prism of contemporary poetry criticism, in particular, the New Lyric Studies of 2008 (M. Perloff, Y. Prins, R. Terada, V. Jackson, etc.). A representation of the lyrics as a genre of poetry, in which historically structured subjectivism and identity of author are interrelated with poetic writing, is at the center of the New Lyric Studies. In this context the lyrics is relative and volatile but also is the closest genre to the poetic nature, that allows to merge an autonomous entity of poetry with ‘agendas’ in the poem, which were difficult to connect in either too formal or too contextual critical approaches to the poetry in the 20th century. This became possible in the conditions of New Lyric critics speaking up against a substitution of poetry and literary criticism for historical, anthropological and cultural criticism because of the high popularity of cultural studies in the 1990s and the ensuing incorporation of interdisciplinarity in literary studies. Despite the objective of New Lyric critics to revitalize a theoretical study of poetry in the spirit of academic criticism of the New Criticism, the modifications in the methods for producing, existence and broadcasting of poetry and therefore in poetry of the last 50 years, poetry itself prevented the New Lyric from becoming the regressive movement. Some representatives of the New Lyric Studies subsequently expressed the need to study poetry in terms of new historical poetics and to create different methods capable to analyze the relations between culture and poetic form – between the social and the aesthetic. Having considered advantages and limitations of the New Lyric studies in the context of contemporary poetry discourse, reflecting not only the nature of contemporary criticism, but also perhaps the history of poetry criticism of 20-21th centuries, which is the dynamical coexistence and the mutual succession of different movements, the author draws a conclusion that this movement defines the right vector for the reconciliation of the long-standing struggle of formalism and contextualism in the poetry criticism as well as social and aesthetic components which poetic work includes.
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Ergashevna Sabirova, Nasiba. "Cənubi və şimali Xorəzm epik məktəbləri". SCIENTIFIC WORK 77, № 4 (2022): 26–31. http://dx.doi.org/10.36719/2663-4619/77/26-31.
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In this article we will talk about Khorezm epic schools and their peculiarities. It is said that the ethnogenetic history of the people has a significant impact on the formation of different schools of epic poetry, as any ethnic group preserves its ancient traditions, which can be clearly seen in the epic schools of Khorezm.Also, art critic B.Matyokubov in his pamphlet divided the Khorezm epic into three shops based on the information given by Bola Bakhshi, folklorist S.R.Ruzimbaev also commented on Khorezm epics, Bakhshi schools, and there are two traditions of epic poetry in the oasis. The article is analyzed on the basis of the classification of traditions of epic poetry of South and North Khorezm, the similarities and differences of epic schools are proved by examples taken from Khorezm epics. Key words: epic, Khorezmepic schools, South Khorezmepic school, North Khorezmepic school, Khorezmepic stores, upper store, middle store, Osh (Lower) store, Khorezmbakhshi, Bola bakhshi, Oshiq Aydinpir Nəsibə Erqaşevna Sabirova Cənubi və şimali Xorəzm epik məktəbləri Xülasə Bu yazıda Xorəzm epik məktəbləri və onların özünəməxsus xüsusiyyətlərindən bəhs edəcəyik. Bildirilir ki, hər bir etnik qrup öz qədim ənənələrini qoruyub saxladığından, xalqın etnogenetik tarixi müxtəlif epik şeir məktəblərinin formalaşmasına mühüm təsir göstərir ki, bunu Xorəzmin epik məktəblərində də aydın görmək mümkündür. .Matyokubov öz pamfletində Xorəzm dastanını Bola Baxşinin verdiyi məlumata əsasən üç dükana ayırmış, folklorşünas S.R.Ruzımbayev də Xorəzm dastanlarına, baxşı məktəblərinə münasibət bildirmiş, oazisdə iki epik şeir ənənəsi mövcuddur. Məqalədə Cənubi və Şimali Xorəzm epik poeziya ənənələrinin təsnifatı əsasında təhlil edilmiş, epos məktəblərinin oxşar və fərqli cəhətləri Xorəzm dastanlarından götürülmüş nümunələrlə sübut edilmişdir. Açar sözlər: dastan, Xorəzmepik məktəbləri, Cənubi Xorəzmepik məktəbi, Şimali Xorəzmepik məktəbi, Xorəzmepik dükanları, yuxarı mağaza, orta mağaza, Oş (Aşağı) mağazası, Xorəzmbaxşı, Bola baxşı, Aşıq Aydınpir
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Gregory, Tobias. "Tasso's God: Divine Action in Gerusalemme Liberata." Renaissance Quarterly 55, no. 2 (2002): 559–95. http://dx.doi.org/10.2307/1262318.
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This essay examines a subject largely ignored in Tasso criticism: the role of supernatural powers in the epic action of the Liberata. Tasso introduces divine characters, notably God and Satan, at several crucial moments. The presence in the epic plot of an intervening God who is at once partisan and omnipotent brings to the fore certain narrative and theological problems; these problems are not Tasso's alone, but inhere in the attempt to construct a Christian supernatural on the classical epic model. The divine action of the Liberata sheds light on the religious ideology of the poem, and on an issue of broader significance: the uneasy marriage of monotheism and epic narrative.
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Grbić, Igor. "The Mahabharata and the epic Kosovo poems." Kultura, no. 181 (2023): 33–43. http://dx.doi.org/10.5937/kultura2381033g.
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Comparisons between the epic Mahabharata, the world's largest literary work, and the quantitatively modest corpus of epic poems referring to the Battle of Kosovo in 1389, have drawn scholarly attention mainly focused on the larger and the better-known example of epic poetry. The lesser attention paid to the epic Kosovo poems prefers a genetic approach, i.e. identifying the common traits and tracing their variations back to their common Proto-Indo-European origin and, presumably, the common protomyth. The overlaps typically include the heroic characters, motifs and plot segments. The article highlights and analyses similarities that do not necessarily share the same historical and geographical background but still include expressive, stylistic and aesthetic parallelisms and elements that rather point towards common archetypal origins in the human imagination generally. The differences between the corpora are then easily interpreted as simply as many adaptations and autonomous expressions of separate cultures. This paper bypasses the shared characteristics that are typical of epic poetry as such, and focuses on the various stylistic devices like the hyperbole, descriptions of nature, lyrical sections and motifs. A factor crucial for adequately understanding the two epic corpora, and their relationship, is the fact that they stand at two poles of the history of the epic: while the discourse of the Mahabharata is fascinating in its primitiveness, the Kosovo poems show a high degree of aesthetic self-awareness.
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YILMAZ, Tuğba. "THEMATIC APPROACH TO AZIM SUYUN’S POEMS." SOCIAL SCIENCE DEVELOPMENT JOURNAL 8, no. 35 (2023): 14–24. http://dx.doi.org/10.31567/ssd.808.
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Azim Suyun was born on February 22, 1948 in the village of Nakurt, in the province of Samarkand, Uzbekistan. He is known for his works in the genres of story, drama, epic, poetry and translation in Uzbek Literature. In addition to his; he has many works written about poetry and poet. The poet is one of the important figures of Uzbek Literature in the Soviet and Independence Period. Azim Suyun did not remain indifferent to the problems of the age in which he lived, and dealt with the existing troubles and the events he personally witnessed in his works. At the same time, the poet drew attention to the unique beauties of the geography he lived in after mentioning the historical importance of the ancient cities of Uzbekistan. Between 1978 and 2020, Azim Suyun came to the forefront with his works written on many subjects such as love, nature, family, homeland, nation, independence, language, religion, goodness, philosophy, historical and literary figures, poets and poetry, criticism and so on. In the study, after the subjects that the poet mainly deals with in his poems are mentioned, his works are examined thematically. It covered classified under eight headings as “Poems About Homeland and Nation”, “Literary Personalities”, “Poems About Poet”, “Criticism Poems”, “Poems on Religious Subjects”, “Poems About Nature”, “Poems About Seasons” and “Love Poems”. In this study, it is aimed to introduce his works by emphasizing the aesthetic power and poetic features of the poet’s poems.
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Zohar Weiman-Kelman. "Touching Time: Poetry, History, and the Erotics of Yiddish." Criticism 59, no. 1 (2017): 99. http://dx.doi.org/10.13110/criticism.59.1.0099.
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Muir, James. "Poetry and Philosophy: Plato’s Spirit and Literary Criticism." European Legacy 19, no. 3 (2014): 403–6. http://dx.doi.org/10.1080/10848770.2014.898954.
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Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica". Peitho. Examina Antiqua 8, № 1 (2017): 379–90. http://dx.doi.org/10.14746/pea.2017.1.24.
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The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
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Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Evaluating Innovation (τὸ καινόν) in Greek Theory of Musical Education: “Ancient” versus “New” Music in Ps. Plut. De musica". Peitho. Examina Antiqua, № 1(8) (24 жовтня 2017): 379–90. http://dx.doi.org/10.14746/peitho.2017.12238.
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The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from the pre-Homeric epic poetry to the lyric poetry of the fourth century B.C. Importantly, the work contains also an evaluation of the role of music in the process of educating and training the citizens. Ps. Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
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Gostoli, Antonietta. "Τὸ καλόν as a Criterion for Judging Innovation (τὸ καινόν) in Greek Musical Pedagogy". Greek and Roman Musical Studies 7, № 1 (2019): 21–32. http://dx.doi.org/10.1163/22129758-12341332.
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Abstract The Pseudo-Plutarchan De musica provides us with the oldest history of Greek lyric poetry from pre-Homeric epic poetry to the lyric poetry of the fourth century BC. Importantly, the work also contains an evaluation of the role of music in the process of educating and training citizens. Pseudo-Plutarch (Aristoxenus) considers the καλόν in the aesthetic and ethical sense, which makes it incompatible with the καινόν dictated by the new poetic and musical season.
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Zahrah Hadi, Ghaidaa Abdul. "Criticism of Translation Problems in Ahmad Matar's Poetry." INTERNATIONAL JOURNAL OF RESEARCH IN SOCIAL SCIENCES & HUMANITIES 13, no. 02 (2023): 162–75. http://dx.doi.org/10.37648/ijrssh.v13i02.013.
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It is no secret to everyone that translation is very important in the exchange of cultures and sciences between different nations and civilizations. Today, it has become a bridge to pass the various sciences of poetry, history and culture from one language to another. Among the poets whose poetry was important in his translation was Ahmed Matar, whose poems were translated from Arabic into many languages, including Persian. Therefore, criticism of the translation of Ahmed Matar's poems was one of the important topics that must be taken into account in research and studies to show the importance of translation criticism in general, and criticism of translated poems by this poet in particular.
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Zelenenka, Iryna, Alla Vinnichuk, Viktor Krupka, Viktoriia Tkachenko, and Viktor Iaruchyk. "Ecological and Aesthetic Potential of Works about Chornobyl: Technogenic Disaster as a Literary Problem." Interdisciplinary Literary Studies 26, no. 2 (2024): 237–59. http://dx.doi.org/10.5325/intelitestud.26.2.0237.
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ABSTRACT This article is aimed at revealing the theme of the Chornobyl disaster as an apocalypse in the lyrical works of Ukrainian poets. The prerequisites for the development of the phenomenon of the “post-Chornobyl library” are revealed, the works of outstanding sixtiers (Ivan Drach, Lina Kostenko, Borys Oliynyk, and Dmytro Pavlychko) are considered, the elements that are called to the accident at the Chornobyl nuclear power plant are highlighted, and an imagery analysis of the selected works is carried out. Discourses about the catastrophe, apocalypse, and postapocalypse are highlighted to demonstrate Chornobyl, in lyrics and lyrical epic, as the largest man-made environmental and humanitarian tragedy. The connection between the Chornobyl discourse in literature and criticism of the Soviet regime as a manifestation of inhumanity and totalitarianism is revealed. An array of ecological poetry of lesser-known authors is processed and their contribution to the poetry of the paradigm is indicated, and a detailed analysis of the ecological lyrics of the late twentieth and early twenty-first centuries by authors Nina Hnatiuk, Tetiana Yakovenko, and Valentyna Storozhuk is carried out.
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ABU-HAIDAR, J. A. "WHITHER THE CRITICISM OF CLASSICAL ARABIC POETRY?" Journal of Semitic Studies XL, no. 2 (1995): 259–81. http://dx.doi.org/10.1093/jss/xl.2.259.
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Berthoud, Luiza Esper. "Art History and Other Stories." ARS (São Paulo) 18, no. 38 (2020): 197–217. http://dx.doi.org/10.11606/issn.2178-0447.ars.2020.162471.
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Through the analysis of one erroneous piece of art criticism, an essay by Goethe that re-imagines a lost ancient sculpture, I demonstrate the difficulty that the discipline of art history has with conceptualizing the experience of art making and how one ought to respond to it. I re-examine the relationship between art making and art appreciation informed by ideas such as the Aristotelian view of Poiesis, Iris Murdoch’s praise of art in an unreligious age, and Giorgio Agamben’s call for the unity between poetry and philosophy. I also argue that much of modern art criticism has forgotten Arts’ earlier conceptual vocation, and propose methods of appreciating art that are in themselves artistic.
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Markov, Alexander. "Contemporary Russian Poetry in the Period of Intense Events." Philosophy. Journal of the Higher School of Economics VI, no. 3 (2022): 256–88. http://dx.doi.org/10.17323/2587-8719-2022-3-256-288.
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This article examines the impact of being inside the intense development of events on contemporary Russian poetry as a set of institutions of production and consumption of texts. We prove that under this influence of events, not only individual ways of texts' existence are changing, but also the very meaning of media and social contexts of poetry development. Poetry turns out to be an area not so much of comprehending current reality as differentiating the very modes of utterance that represent the actual state of affairs. Therefore, in the period of events, poetry partly returns to the representational principles of the old art, but there also appear new ways of poetry expansion, from illustrated publication to collaborations with intellectuals, commentators or artistic communities, which enable it to operate in the field of public discourse. The following shifts are taking place in Russian poetry now: (1) the rejection of reliance on former resources of relevance for the sake of establishing new infrastructures of social attention; (2) the creation of new forms of justification of poetic expression, different from previous criticism or statements; (3) the problematic action in the political field in differentiating figures of “proper” and “other”; (4) metacriticism of poetics as a figurative text structure, along with implicit indications of the limitations of figurative writing. As a result, in contemporary Russian poetry, the problematization of the other as unpredictable, dangerous, and yet necessary entirely coincides with the latest postcolonial, gender, and social criticism.
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R, Rajeshwari. "The linguistic personality of the poet Vali through Krishna Vijayam." International Research Journal of Tamil 3, S-2 (2021): 46–49. http://dx.doi.org/10.34256/irjt21s29.
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Epics and Puranas are the most prominent elements of the language that show case the importance and importance of a language. These are the mirrors of time, and there are numerous epic stories. The legends of these legends, which have been written and written from time to time, are known to the stories and philosophies of literary taste. The purpose of this article is to explain the linguistic character of the poet Theerata viḷaiyattup pillai in the first part of the book Krishna Vijayam, written by the poet Vaali, with Krishna, the head of Villiparatham, the epic hero. Vaali, who has written over ten thousand film music albums, has made several achievements in the field of cinema but has also contributed to tamil films. His poetry, which had its own place in the history of Tamil poetry, has its own significance.
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Shevchuk, Svitlana, and Iurii Mosenkis. "Languages of the Kyivan Rus’ as an object of information war and linguistic reconstruction." Ukrainian Linguistics, no. 53 (2023): 186–96. http://dx.doi.org/10.17721/um/53(2023).186-196.
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The article is devoted to the problem of the Kyivan Rus’ language situation (e.g., oral and literary languages) and the ideological struggle over this heritage. The oral epic and cultic languages were reconstructed for the first time. Not only now, but during several centuries brutal moscovite agressors attempt to took, to deform, to destroy all signs of Ukrainian identity: language, literature, folklore, history, church, other manifestations of culture. The Kyivan Rus’ is among many objects of linguistic, historical, and other falsifications. Intentionally, the russian language has no distinctions between “of Rus’” and “of russia”: both these terms have one designations – to underline the falsified “transition” from the Kyivan Rus’ (true Ukraine) to moscovia (politically renamed as “russia”, from the Byzantine name of Ukraine Rosia). The origin of the Ukrainian language is a key problem of Ukrainian linguistics, but it is also a historical, political, and defensive question. However, only several Ukrainian linguists focuse their attention on this important and difficult interdisciplinary problem. One aspects of it is prehistory and history of the Ukrainian poetic (especially epic) language, partially reflected in the medieval chronicles and the Tale of Ihor’s Campaign. The proposed model of the linguistic situation in the Kyivan Rus’ is a close contact between the Ukrainian version of the Church Slavonic language (only literary initially) and the native Ukrainian epic language (folklore, interdialectal, only oral initially). Also, the linguistic reconstructions of rhymed epic poetry in the chronicles are proposed. The Tale of Ihor’s Campaign is reconstructed as a series of related songs. Every song has common rhyme (monorhyme), whereas many lines of the poem in general represent holorhyme (pantorhyme), known in contemporary European (e.g., German) poetry. Therefore, the language(s) of the Kyivan Rus’ reflect(s) very high level of development, manifested by the rhymed epic languafe of the folklore origin. Now the history and pre-history of the Ukrainian language need a re-interpretation to defend from the moscovite falsifications, spread in the information space.
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Canova-Green, Marie-Claude. "From Tragicomedy to Epic: The Court Ballets of Desmarets de Saint-Sorlin." Dance Research 25, no. 2 (2007): 156–66. http://dx.doi.org/10.3366/drs.2007.25.2.156.
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It was customary in the seventeenth century to assimilate court ballet with drama, as both art forms were seen to strive for a common aim: the imitation or representation of nature. However, critics were also keen to point out their essential differences, for, unlike tragedy, ballet disregarded the rules of neo-classical aesthetics and its only concern seemed to be to please and to entertain. This was particularly evident in the court ballets written by Desmarets de Saint-Sorlin between 1639 and 1641. Unsurprisingly, they were singled out for special criticism by theorists of the ballet, who highlighted their dramatic shortcomings, and failed to see that they constituted another form of dramatic aesthetics, which was conspicuous precisely because of its emancipation from the strictures of Aristotelian theory. It could be said that the ballets of Desmarets had all the hallmarks of contemporary tragicomedy: irregularity of construction, diversity of action, disregard for the unity of tone, etc., but in adapting the principles of this new aesthetics to the ballet, Desmarets ran the risk of transgressing the boundaries of tragicomedy and even of drama, approaching a genre which was no longer dramatic but narrative, i.e. epic poetry.
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Fest, Bradley J., and Rachel Blau DuPlessis. "Something Worth Leaving in Shards: An Interview with Rachel Blau DuPlessis." boundary 2 50, no. 2 (2023): 1–30. http://dx.doi.org/10.1215/01903659-10300579.
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Abstract This interview with poet, essayist, literary critic, and collagist Rachel Blau DuPlessis was conducted via email correspondence between June 11 and August 29, 2020. Author of over a dozen volumes of poetry and half a dozen books in modernist studies, poetics, and feminist criticism, DuPlessis reflects broadly on her career in this interview. She discusses the ongoing role of feminism in her writing and thought, the forms of the fold and the fragment, the relationship between her poetry and criticism, her work in and on the long poem, and her post-Drafts poetry, including her (at the time) most recent book, Late Work (2020). The interview concludes with a conversation about the relationship between poetry and theorizing practices and a meditation on writing during a global pandemic.
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Fokin, Aleksandr A., та Zalina M. Semenova. "Образ Ильи Муромца в сравнительно-историческом и историко-функциональном аспектах". Бюллетень Калмыцкого научного центра Российской академии наук, № 3 (25 грудня 2023): 135–51. http://dx.doi.org/10.22162/2587-6503-2023-3-27-135-151.
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Introduction. Bylina is an ancient Russian epic song about the life and heroic deeds of Russian heroes, as well as about events or remarkable episodes in the national history of the 11th–16th centuries. Cycles of epics about Ilya Muromets are formed on the basis of ancient legends, united by the origin and character of the main character. It is not the name of the hero, but artistic plots inherited from the distant past that form the basis on which the historical epic develops. The purpose of the article is to identify the conditions for the formation and transformation of epic stories about Ilya Muromets. Material and methods. Classic works of Russian literary criticism and folkloristics, individual plots of the Russian epic and the epic of neighboring peoples are analyzed. Comparative-historical and historical-functional research methods were used. Results. The scientific work examines the history of the development of the image of the Russian hero Ilya Muromets as a gradual “democratization” of the hero of the ancient Russian epic. A wide range of works of Russian, Belarusian, Serbian, Adyghe, Georgian, Ossetian folklore is analyzed. The points of view of folklorists of the 19th–20th centuries on the history, existence, methods and means of broadcasting the poetic biography of Ilya Muromets are presented and interpreted.; their scientific methods and approaches. Epic plots are traced, united by the name of Ilya and having not only an “external” but also a deep internal connection, determined by folk ideas about the hero, his entire appearance, growing on the basis of the entire set of artistic plots. The Conclusion is drawn about the “reworking” in Russian epics of the motifs of magical-heroic fairy tales, the heroic epic of the peoples of the North Caucasus, Transcaucasia and other ethnic groups.
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Lajić Mihajlović, Danka, and Bojana Radovanović. "Black (metal) epics: Remediation of tradition in the case of Gavranovi from Serbia." Metal Music Studies 8, no. 2 (2022): 225–43. http://dx.doi.org/10.1386/mms_00076_1.
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Prompted by the emergence of Serbian black metal supergroup Gavranovi and their two singles released in 2020, this article offers an interdisciplinary and intertextual reading of this project. In this article, collaborative efforts of musicology and ethnomusicology are employed in interpreting the new readings of Serbian epic tradition in the context of extreme metal, as well as its positioning in the history of Serbian extreme metal scene in general. By using the gusle, a traditional instrument, as well as the postulates of Serbian epic poetry, Gavranovi participate in contemporary remediation of tradition, which will be examined through the lens of (inter)textual analysis.