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Academic literature on the topic 'French Creole poetry'
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Journal articles on the topic "French Creole poetry"
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Pyndiah, Gitanjali. "Decolonizing Creole on the Mauritius islands: Creative practices in Mauritian Creole." Island Studies Journal 11, no. 2 (2016): 485–504. http://dx.doi.org/10.24043/isj.363.
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Many Caribbean and Indian Ocean islands have a common history of French and British colonization, where a Creole language developed from the contact of different colonial and African/ Indian languages. In the process, African languages died, making place for a language which retained close lexical links to the colonizer’s tongue. This paper presents the case of Mauritian Creole, a language that emerged out of a colonial context and which is now the mother tongue of 70% of Mauritians, across different ethnic and linguistic backgrounds. It pinpoints the residual colonial ideologies in the language and looks at some creative practices, focusing on its oral and scribal aspects, to formulate a ‘decolonial aesthetics’ (Mignolo, 2009). In stressing the séga angazé (protest songs) and poetry in Mauritian Creole in the history of resistance to colonization, it argues that the language is, potentially, a carrier of decolonial knowledges.
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Jones, Bridget. "Two Plays by Ina Césaire: Mémoires d'Isles and L'enfant des Passages." Theatre Research International 15, no. 3 (1990): 223–33. http://dx.doi.org/10.1017/s030788330000969x.
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In any consideration of theatre in the French Caribbean, the name Césaire is bound to be mentioned. Aimé Césaire's La Tragédie du roi Christophe (1963) is the most widely- known play in French by a black dramatist, and is now even in the repertoire of the Comédie-Française, and his plays figure widely in checklists of ‘African’ theatre. A revealing contrast can be made between the epic dramas of Aimé Césaire, written for an international audience, especially the newly independent black nations of the 1960s, and the work of his daughter, Ina. He tackles from the standpoint of Négritude major themes of historical drama: the nature of sovereignty, the forging of nationhood; he storms the heights of tragic poetry in French. She is attentive, not to the lonely hero constructing his Haitian Citadel of rock, but to the Creole voices of the grassroots. She brings to the stage the lives of ordinary women, the lore and legends that sustained the slaves and their descendants. Her achievement should of course be assessed away from her father's shadow, but the ‘divergent orientation of the two generations’ also suggests the greater confidence today in the role of Creole language and oral literature, and in a serious theatre within Martinique.
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O’Keeffe, Brian. "Afro-Creole Poetry in French from Louisiana’s Radical Civil War-Era Newspapers: A Bilingual Edition by Clint Bruce (review)." African American Review 56, no. 1 (March 2023): 146–50. http://dx.doi.org/10.1353/afa.2023.a903611.
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Toltay, F. "Analysis of Postcolonial Kazakh Poetry in the Context of Minor Literature." Iasaýı ýnıversıtetіnіń habarshysy 131, no. 1 (March 30, 2024): 223–40. http://dx.doi.org/10.47526/2024-1/2664-0686.19.
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In the article, the characteristics and manifestations of post-colonial Kazakh poetry are analysed based on the concept of “minor literature” introduced by French philosophers Gilles Deleuze and Felix Guattari to the field of social sciences and postmodern discourse. During the period of the Soviet Union, that is, in the understanding of colonialism, the literature of the colonised peoples was always considered as someone else's literature, and the author himself was excluded and considered as “another person”. Even after independence, these complexes continued on literary/cultural/political basis. As a result, the image of the typical writer in literary texts, works, language, style, political content and collective discourse has undergone significant changes. This article analyses these and other changes in post-colonial Kazakh poetry in the context of minor literature. Focusing on the works of Kazakh poets, including Turmanbay Moldagaliyev's poems written after independence, and poets such as Yesengali Raushanov, Bakhytzhan Kanapiyanov, Meirkhan Akdauletuly, Temirkhan Medetbek, Bakhyt Kenzheev, it draws attention to the deterritorialisation of the language and the transformation of the Kazakh language into a creole language and the political and collective discourse of literary works. Within the framework of these studies, the psychological impact of colonialism and emancipation tendencies in post-colonial Kazakh society and political and social issues were evaluated through literary texts.
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Margrave, Christie. "Malagasy ecopoetics." Journal of Romance studies 22, no. 1 (March 1, 2022): 73–104. http://dx.doi.org/10.3828/jrs.2022.4.
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Malagasy literary production has long displayed a discourse with Madagascar’s unique environment, often linking this with an exploration of island identity. This article examines and compares poetic writing in Madagascar across 350 years. It studies the anti-colonial prose poems of eighteenth-century white creole poet Évariste Parny alongside early twentieth-century poems of Jean-Joseph Rabearivelo, who brings French Symbolism into contact with traditional Malagasy verse, and lyrical poetry by the musicians in the modern folk-pop band Mahaleo, who bring a mixture of traditions to a unique Malagasy style of music. Parny, Rabearivelo, and Mahaleo all build on and break with generic convention of poetic form, and all do so to draw attention to the island’s specific experience of ecological colonial violence and to their interpretation of eco-regional identity. Their writings help us make sense of the ecological changes in Madagascar during and after colonisation, and of the human response to these changes.
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KITLV, Redactie. "Book Reviews." New West Indian Guide / Nieuwe West-Indische Gids 75, no. 3-4 (January 1, 2001): 297–357. http://dx.doi.org/10.1163/13822373-90002555.
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-Stanley L. Engerman, Heather Cateau ,Capitalism and slavery fifty years later: Eric Eustace Williams - A reassessment of the man and his work. New York: Peter Lang, 2000. xvii + 247 pp., S.H.H. Carrington (eds)-Philip D. Morgan, B.W. Higman, Writing West Indian histories. London: Macmillan Caribbean, 1999. xiv + 289 pp.-Daniel Vickers, Alison Games, Migration and the origins of the English Atlantic world. Cambridge MA: Harvard University Press, 1999. xiii + 322 pp.-Christopher L. Brown, Andrew Jackson O'Shaughnessy, An empire divided: The American revolution and the British Caribbean. Philadelphia: University of Pennsylvania Press, 2000. xviii + 357 pp.-Lennox Honychurch, Samuel M. Wilson, The indigenous people of the Caribbean. Gainesville: University Press of Florida, 1997. xiv + 253 pp.-Kenneth Bilby, Bev Carey, The Maroon story: The authentic and original history of the Maroons in the history of Jamaica 1490-1880. St. Andrew, Jamaica: Agouti Press, 1997. xvi + 656 pp.-Bernard Moitt, Doris Y. Kadish, Slavery in the Caribbean Francophone world: Distant voices, forgotten acts, forged identities. Athens: University of Georgia Press, 2000. xxiii + 247 pp.-Michael J. Guasco, Virginia Bernhard, Slaves and slaveholders in Bermuda, 1616-1782. Columbia: University of Missouri Press, 1999. xviii + 316 pp.-Michael J. Jarvis, Roger C. Smith, The maritime heritage of the Cayman Islands. Gainesville: University Press of Florida, 2000. xxii + 230 pp.-Paul E. Hoffman, Peter R. Galvin, Patterns of pillage: A geography of Caribbean-based piracy in Spanish America, 1536-1718. New York: Peter Lang, 1999. xiv + 271 pp.-David M. Stark, Raúl Mayo Santana ,Cadenas de esclavitud...y de solidaridad: Esclavos y libertos en San Juan,siglo XIX. Río Piedras: Centro de Investigaciones Sociales, Universidad de Puerto Rico, 1997. 204 pp., Mariano Negrón Portillo, Manuel Mayo López (eds)-Ada Ferrer, Philip A. Howard, Changing history: Afro-Cuban Cabildos and societies of color in the nineteenth century. Baton Rouge: Louisiana State University Press, 1998. xxii + 227 pp.-Alvin O. Thompson, Maurice St. Pierre, Anatomy of resistance: Anti-colonialism in Guyana 1823-1966. London: Macmillan, 1999. x + 214 pp.-Linda Peake, Barry Munslow, Guyana: Microcosm of sustainable development challenges. Aldershot, U.K. and Brookfield VT: Ashgate, 1998. x + 130 pp.-Stephen Stuempfle, Peter Mason, Bacchanal! The carnival culture of Trinidad. Philadelphia PA: Temple University Press, 1998. 191 pp.-Christine Chivallon, Catherine Benoît, Corps, jardins, mémoires: Anthropologie du corps et de l' espace à la Guadeloupe. Paris: CNRS Éditions, 2000. 309 pp.-Katherine E. Browne, Mary C. Waters, Black identities: Wsst Indian immigrant dreams and American realities. New York: Russell Sage Foundation; Cambridge MA: Harvard University Press, 1999. xvii + 413 pp.-Eric Paul Roorda, Bernardo Vega, Los Estados Unidos y Trujillo - Los días finales: 1960-61. Colección de documentos del Departamento de Estado, la CIA y los archivos del Palacio Nacional Dominicano. Santo Domingo: Fundación Cultural Dominicana, 1999. xx+ 783 pp.-Javier Figueroa-de Cárdenas, Charles D. Ameringer, The Cuban democratic experience: The Auténtico years, 1944-1952. Gainesville: University Press of Florida, 2000. ix + 230 pp.-Robert Lawless, Charles T. Williamson, The U.S. Naval mission to Haiti, 1959-1963. Annapolis MD: Naval Institute Press, 1999. xv + 395 pp.-Noel Leo Erskine, Arthur Charles Dayfoot, The shaping of the West Indian Church, 1492-1962. Kingston: The Press University of the West Indies; Gainesville: University Press of Florida, 1999. xvii + 360 pp.-Edward Baugh, Laurence A. Breiner, An introduction to West Indian poetry. Cambridge: Cambridge University Press, 1998. xxii + 261 pp.-Lydie Moudileno, Heather Hathaway, Caribbean waves: Relocating Claude McKay and Paule Marshall. Bloomington: Indiana University Press, 1999. xi + 201 pp.-Nicole Roberts, Claudette M. Williams, Charcoal and cinnamon: The politics of color in Spanish Caribbean literature. Gainesville: University Press of Florida, 2000. xii + 174 pp.-Nicole Roberts, Marie Ramos Rosado, La mujer negra en la literatura puertorriqueña: Cuentística de los setenta: (Luis Rafael Sánchez, Carmelo Rodríguez Torres, Rosario Ferré y Ana Lydia Vega). San Juan: Ed. de la Universidad de Puerto Rico, Ed. Cultural, and Instituto de Cultura Puertorriqueña, 1999. xxiv + 397 pp.-William W. Megenney, John H. McWhorter, The missing Spanish Creoles: Recovering the birth of plantation contact languages. Berkeley: University of California Press, 2000. xi + 281 pp.-Robert Chaudenson, Chris Corne, From French to Creole: The development of New Vernaculars in the French colonial world. London: University of Westminster Press, 1999. x + 263 pp.
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Yang, Liu, Gang Wang, and Hongjun Wang. "Reimagining Literary Analysis: Utilizing Artificial Intelligence to Classify Modernist French Poetry." Information 15, no. 2 (January 24, 2024): 70. http://dx.doi.org/10.3390/info15020070.
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Aligned with global Sustainable Development Goals (SDGs) and multidisciplinary approaches integrating AI with sustainability, this research introduces an innovative AI framework for analyzing Modern French Poetry. It applies feature extraction techniques (TF-IDF and Doc2Vec) and machine learning algorithms (especially SVM) to create a model that objectively classifies poems by their stylistic and thematic attributes, transcending traditional subjective analyses. This work demonstrates AI’s potential in literary analysis and cultural exchange, highlighting the model’s capacity to facilitate cross-cultural understanding and enhance poetry education. The efficiency of the AI model, compared to traditional methods, shows promise in optimizing resources and reducing the environmental impact of education. Future research will refine the model’s technical aspects, ensuring effectiveness, equity, and personalization in education. Expanding the model’s scope to various poetic styles and genres will enhance its accuracy and generalizability. Additionally, efforts will focus on an equitable AI tool implementation for quality education access. This research offers insights into AI’s role in advancing poetry education and contributing to sustainability goals. By overcoming the outlined limitations and integrating the model into educational platforms, it sets a path for impactful developments in computational poetry and educational technology.
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Ekman, Gabriella. "Gifts from Utopia: The Travels of Toru Dutt's Poetry." Victoriographies 3, no. 1 (May 2013): 23–45. http://dx.doi.org/10.3366/vic.2013.0104.
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Born in Calcutta in 1856 and dying only twenty-one years later of tuberculosis, the young Bengali writer Toru Dutt wrote novels and poems in English and French, translated French poetry into English, and toward the end of her life revisited Bengali myths and tales from the Ramayana in her poetry. Her multilingual poems and translations have traditionally been interpreted as seeking to dissolve or fragment cultural differences. This essay instead argues for Dutt seeking to consolidate difference, reconceived as possibility: by distributing her poems to friends in England and receiving gifts of poems in return, Dutt sought to create a transnational friendship economy involving the material exchange of poetic texts. She then theorises this exchange in the work itself, arguing in novels, poems and inexact translations for regarding the resistant materiality of poetry and language both as imperfect tools that can nonetheless be utilised to forge community and understanding – however utopian, however fragile and temporary – across seemingly incommensurable cultural differences, perhaps even across the inequities of imperial history.
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Jamasaki, Kajoko. "Japanese voices in Zenit: Daigaku Horiguchi." Zbornik Akademije umetnosti, no. 9 (2021): 122–35. http://dx.doi.org/10.5937/zbaku2109122j.
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This paper analyses the essay entitled "The Word as a Principle" by Yvan Goll (1891-1950), published in Zenit (Issue 9, November 1921), which shows the non European tendency of Avant-garde poetics. In his text, Goll emphasises the need to create a new form of poetry quoting the verses of the Japanese poet Daigaku Horiguchi (1892-1981), one of the most important Japanese poets and translators of the last century. As the son of a distinguished diplomat, a rare bilingual poet among the Japanese at the time, he published poems in French and Japanese. After reviewing research on Zenit conducted in Japan so far, the first part of this paper determines the original text of the mentioned poem. In December 1921, Horiguchi published in Paris his first collection of Tankas in French. The foreword to it was written by the famous French poet Paul Fort (1872-1960). Goll, however, did not take it from there, but from the manuscript of his anthology Les Cinq Continents, which was published in Paris in 1922. The chosen song by Horiguchi is not traditional, but shows a new poetic spirit. Although it was written in five lines, which is reminiscent of the tanka form (5; 7; 5; 7; 7), the poet introduced a new topic: how the Japanese feel in a foreign country. In order to clarify the nature of Goll's connection with Horiguchi, a detailed description of Horiguchi's life is given, focusing on his stay abroad from 1911 to 1925. It can be seen from his biography that the meeting with the French painter Marie Laurencin (1883-1956) in Madrid in 1915 marked Horiguchi's poetic turn: his interest shifted from the poetics of symbolism to the Avant-garde, as the painter introduced him to Guillaume Apollinaire's (1880-1918) poetry. After staying in foreign countries (Mexico, Belgium, Switzerland, Spain, Brazil and Romania), when he returned to Japan in 1925, Horiguchi published the Crowd under the Moon anthology, which contains translations of French songs from Parnassians to Avant-garde poets, including Yvan Goll. Although no traces of their connection can be established, it is clear that they both felt poetically related and close, with mutual respect. Finally, Goll's understanding of Japanese poetry in the context of Avant-garde poetics is considered in comparison with Miloš Crnjanski's essay entitled "For Free Verse" (1922), which also mentions Japanese poetry. While Goll emphasises the simplicity and conciseness of Japanese poetry, Crnjanski points to the improvisation as its significant feature. While Goll is searching for new poetry that is in line with living fast in the high-tech society, Crnjanski sees the everlasting connection of man with nature, which Japanese poetry is all about.
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Pinkovskiy, Vitaly Ivanovich. "The lyrical works of Amable Tastu in a typological aspect." Philology. Issues of Theory and Practice 16, no. 11 (November 28, 2023): 4018–25. http://dx.doi.org/10.30853/phil20230612.
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The aim of the study is to provide a typological description of the lyric poetry of A. Tastu. The genre-thematic aspect, which is given predominant attention in the article, is not accidental because it allows us to judge the innovation or traditionality of the texts, the degree of the author’s involvement in the contemporary literary process. Transitional stages between significant literary phenomena (precisely the period during which A. Tastu was forming and beginning to create) are of special interest to the researcher as they allow to observe the disappearance, transformation, or preservation of old traditions. The stages provide insight into the types of artists in demand during that time, as well as an understanding of their value. Figures representing transitional periods generally do not enjoy much popularity, as the audiences tend to favour those who embody completed and cohesive periods. The scientific novelty of the work lies in the systematic consideration of the lyrical works of this remarkable French poetess in a typological aspect for the first time, ultimately allowing for the understanding of the role and significance of A. Tastu in her contemporary poetry. The obtained results suggest that the lyrical legacy of the French poetess includes works related not only to the phenomena being contemporary for the author (romantic texts), but also those connected with preceding epochs, spanning various stages such as the poetry of the 18th century, the First Empire, and the early Restoration period. Tastu’s universalism turns her work into a unique anthology of lyrical traditions spanning over a century.
Books on the topic "French Creole poetry"
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Trouillot, Lyonel. Anthologie des poètes de l'Atelier jeudi soir. Haïti]: Atelier jeudi soir, 2015.
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Seth, Catriona. Les poètes créoles du XVIIIe siècle: Parny, Bertin, Léonard. Paris: Memini, 1998.
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Hélias, Frédérique. Les nouvelles formes de la poésie réunionnaise d'expression créole. Ille-sur-Têt [France]: Editions K'A, 2006.
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Boucher, Gwenaëlle. POÈTES CRÉOLES DU XVIIIÈME SIÈCLE: - Parny, Bertin, Léonard. Paris: Editions L'Harmattan, 2009.
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Pierre-Louis, Peter. Poenm pour en nouvo sezon. [Seychelles]: Konsey Nasyonal Pour Lar Sesel, 2011.
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Axel, Gauvin, and Gauvin Robert, eds. Le gran kantik. Saint-Denis, Réunion: Éditions Udir, 2005.
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Axel, Gauvin, and Gauvin Robert, eds. Le gran kantik. Saint-Denis, Réunion: Éditions Udir, 2005.
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Michelle, Léandri, and Aubry Gilbert, eds. Chansons douces et chansons tristes: Chansons nostalgiques de l'île de la Réunion. La Réunion: Azalées éditions, 2003.
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Erica, Fanchette, and Labonte Christianne, eds. Marcelle, son desten. Mont Fleuri, Seychelles: Lenstiti Kreol, 2008.
Find full textBook chapters on the topic "French Creole poetry"
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"The Imagination of Languages." In Introduction to a Poetics of Diversity, translated by Celia Britton, 75–86. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620979.003.0005.
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Glissant and Gauvin discuss languages: the fact that language is no longer linked to identity, and the harm done by monolingualism. It is wrong to defend Creole ‘monolinguistically’: ‘créolité’ is an essentialist movement, unlike creolization. The imagination of languages allows us to see how languages meet up in the Chaos-World; it exists in some Western literature of the 20th century (e.g., Beckett, Pound, Joyce). Exoticism can be either positive or negative. Glissant himself has been influenced by the memory of Creole folk tales and also the work of Faulkner. For Antilleans, the French language has frozen into a kind of dead perfection. The shift from oral to written has necessitated the immediate construction of new forms of language in both Creole and French. ‘Subverting the language’ takes place through creolization and rejecting monolingualism. Prose is less able to do this than poetry and this leads to a dismantling of the traditional genres.
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Kinsella, John. "Auguste Lacaussade." In Polysituatedness. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781526113344.003.0023.
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Le Réunion has become a significant point in my lived geography (and that of my family). It is an island of diverse cultures and heritages, and in all discourse and life on the island the spectre and reality of its history of slavery is present. The affirmation of identity of those people with slave heritage and the crimes committed in the name of the French state (and financial gain in itself) make of the island a memorial place, a place of warning of the evils of colonial displacement and profiteering, as well as an affirmation of the strength of individuals and communities to overcome such traumatic origins. This remarkable (geologically young) island with its semi-tropical volcanic and mountainous habitats, its isolated cirques, its vibrant Creole language, its religious and ethnic diversity, and its pluralism ‘wrestling’ with the notion (and reality) of the French state, makes for a remarkable history of polysituatedness in poetry and literature in general....
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Bowness, Alan. "Poetry And Painting: Baudelaire, Mallarmé, Apollinaire, And Their Painter Friends." In Poetry and Painting, 1–18. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780198151982.003.0001.
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Abstract It is a striking fact that the three men who successively did so much to create modern French poetry—Baudelaire, Mallarme, and Apollinaire—were all deeply responsive to the visual art of their contemporaries, and had many painter friends. There is no precedent for this in any earlier phase of French literature, nor do we find any thing that is comparable in the parallel literary cultures of Germany or England. In England, it is true, one notices another strange particularity, not found elsewhere, that of the painter-poet, equally at home in two arts.
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Rosenthal, Adam R. "Baudelaire and the Gift of Pleasing." In Poetics and the Gift, 213–42. Edinburgh University Press, 2022. http://dx.doi.org/10.3366/edinburgh/9781474488402.003.0010.
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This chapter looks at the interconnection of poetry and giving in the nineteenth-century French poet, Charles Baudelaire, by examining the prose poem ‘The Fairies’ Gifts.’ Published in the Flowers of Evil, ‘The Fairies’ Gifts’ offers a parable of poetry and explores the difficulty of separating aesthetic objects from economic ones. As with Emerson and Kant, for Baudelaire, the question as to the place of poetry comes down to the nature of the pleasure it offers. Similar to Thoreau, however, what ‘The Fairies’ Gifts’ ultimately shows is that the role of the poem is no longer to create a pure aesthetic pleasure removed from the interested exchange of the market, but rather, precisely, to trouble the difference between these two realms without, however, simply collapsing them.
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Hunter, David. "Rhyme." In Understanding French Verse, 55–68. Oxford University PressNew York, NY, 2005. http://dx.doi.org/10.1093/oso/9780195177169.003.0006.
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Abstract In Chapter 4 we saw the importance of rhyme in delineating stanzas. In this chapter, I examine rhyme in more detail, as an element of verse in its own right. I then explore briefly the wider sound patterns that poets create in their works.
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Erkkila, Betsy. "Whitman and the Poetics of Democracy." In The Oxford Handbook of Rhetoric and Political Theory. Oxford University Press, 2024. http://dx.doi.org/10.1093/oxfordhb/9780190220945.013.25.
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Abstract This chapter examines Whitman’s democratic poetics, his attempt to create a democratic language, form, content, and myth commensurate with the experimental politics of the American republic, to embody in his poetic persona America’s unique political identity, and to engage the reader as an active participant in the process of poetic and democratic creation. The chapter explores the roots of Whitman’s democratic poetics in the radical political and aesthetic thought of the American and the French Revolutions. Focusing on Leaves of Grass as a language experiment grounded in the idioms of the spoken language, this essay also examines the various democratizing strategies Whitman used to individualize, equalize, and connect people, labor, body, sex, and kosmos in an overall pattern of many in one that highlights the role of the reader and the future in the ongoing process of personal, poetic, and democratic creation.
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Beer, Gillian. "Problems of Description in the Language of Discovery." In Open Fields: Science in Cultural Encounter, 149–72. Oxford University PressOxford, 1996. http://dx.doi.org/10.1093/oso/9780198183693.003.0008.
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Abstract Discovery is a matter not only of reaching new conclusions but of redescribing what is known and taken for granted. Scientific enquiry constantly revives questions which are answered both in science and literature at changing levels of description. Description must find ways out of the circle of current presumptions if it is to create knowledge or fresh insight. Yet all description draws, often unknowingly, upon shared cultural assumptions which underwrite its neutral and authoritative status and conceal the embedded designs upon which describing depends. How can the language of scientists and of poets (in the broadest sense) resist such designs and disturb teleological patterns which may otherwise lock their project into the circle of the foreknown? How much do the discursive strategies of scientists and poets have in common? Are we able to pinpoint stable distinctions between scientific communication and poetic communication in relation to the problem of describing? These are questions I shall consider by means of example in this essay.
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Esposito, Nicola. "Suggestioni cortesi ed elementi di letteratura cavalleresca nelle ballate del Pecorone." In La tradizione prosimetrica in volgare da Dante a Bembo Atti del convegno internazionale di studi (Venezia, 26-27 giugno 2023). Venice: Fondazione Università Ca’ Foscari, 2024. http://dx.doi.org/10.30687/978-88-6969-821-7/006.
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In his Pecorone, especially within the twenty-five ballads, Ser Giovanni brings together a significant and intricate array of courtly and chivalric literary elements. This essay recognizes the influence of models derived from Boccaccio’s Decameron while also exploring the innovative contributions made by the author of Pecorone. Through a meticulous analysis of selected ballads, this paper illustrates how Ser Giovanni possessed both a profound understanding of themes and texts specific to French literature and a distinct compositional ingeniousness, which enabled him to create an original blend of poetic elements drawing on a variety of traditions.
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Stokes, Martin. "Conclusion." In Music and Citizenship, 140—C4N29. Oxford University PressNew York, 2023. http://dx.doi.org/10.1093/oso/9780197555187.003.0004.
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Abstract This chapter brings the volume to a close with a discussion of some recent debates about multicultural performance in France in the aftermath of the Bataclan massacre in Paris on 13 November 2015. It discusses slam poet Marc Nammour’s “99” Project, ethnomusicologist Frédéric Deval’s “transcultural” programming at Royaumont Abbey, postcolonial debates about creole citizenship, and the death, at the Bataclan, of a young French North African musician, Kheireddine Sahbi—a student of andalusi music who died with his violin in his hands. Islam in Europe has sharpened debates about citizenship. Music, the chapter shows, is implicated and entangled in ways that bear on the emphases and critical angles of this book. The volume ends with a brief meditation on citizenship and music as craft.
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Bullen, J. B. "Introduction." In The Pre-Raphaelite Body, 1–5. Oxford University PressOxford, 1998. http://dx.doi.org/10.1093/oso/9780198182573.003.0001.
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Abstract Pre-Raphaelitism was the first avant-garde movement in British painting. Around 1848 a group of artists openly challenged the prevailing pictorial conventions in order to create a visual language for fresh and unusual ways of representing the material world. The early pictorial ideals were short-lived and the group soon broke up. What persisted was the nonconformist motive, and other groupings and combinations of artists-inspired mainly by Dante Gabriel Rossetti-continued to paint against the grain of the academic tradition well into the latter part of the nineteenth century. What was originally a movement in painting was later joined by poetry and criticism, and though the aims changed this strain in British art and literature continued to be called ‘Pre-Raphaelitism ‘ by contemporaries.