Academic literature on the topic 'Jesuit poetry, Latin (Medieval and modern)'
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Journal articles on the topic "Jesuit poetry, Latin (Medieval and modern)"
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Haskell, Yasmin. "The Vineyard of Verse." Journal of Jesuit Studies 1, no. 1 (2014): 26–46. http://dx.doi.org/10.1163/22141332-00101003.
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This review of scholarship on Jesuit humanistic literature and theater is Latin-oriented because the Society’s sixteenth-century code of studies, the Ratio Studiorum, in force for nearly two centuries, enjoined the study and imitation in Latin of the best classical authors. Notwithstanding this well-known fact, co-ordinated modern scholarship on the Latin poetry, poetics, and drama of the Old Society is patchy. We begin with questions of sources, reception, and style. Then recent work on epic, didactic, and dramatic poetry is considered, and finally, on a handful of “minor” genres. Some genres and regions are well studied (drama in the German-speaking lands), others less so. There is a general scarcity of bilingual editions and commentaries of many “classic” Jesuit authors which would, in the first instance, bring them to the attention of mainstream modern philologists and literary historians, and, in the longer term, provide a firmer basis for more synoptic and synthetic studies of Jesuit intertextuality and style(s). Along with the interest and value of this poetry as world literature, I suspect that the extent to which the Jesuits’ Latin labors in the vineyard of the classroom formed the hearts and minds of their pupils, including those who went on to become Jesuits, is underestimated.
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O'Donoghue, Bernard. "Medievalism and Writing Modern Poetry." Irish University Review 45, no. 2 (November 2015): 229–41. http://dx.doi.org/10.3366/iur.2015.0174.
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Bernard O'Donoghue argues that his choice of specialising in the medieval parts of an English degree may have been unconsciously dictated by the language and culture of an Irish Catholic upbringing and school education. At Umeraboy National School in North Cork he learned the writing and reading of English and Irish simultaneously, giving no particular privilege to the language spoken at home, English. A possible consequence of this was an everyday acceptance of unfamiliar vocabulary, which was reinforced by daily encounters with the Latin-derived language of prayer: words like ‘implored’, ‘intercession’, ‘advocate’, ‘clement’. When he did graduate work in Medieval English, he found that the cultural issues for writers like Chaucer and Dante and the Old English poets were the stock in trade of his childhood, and that the script used by the Anglo-Saxon scribes were the same as the cló gaelach of the National School of his time. Also, while operating in an imperfectly understood vocabulary might be expected to be a disadvantage in grasping the precise senses of words, the compulsion of ‘the half-stated’ or half understood was not out of place in poetry. So he ended up as a medievalist who tried to write poetry.
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Haskell, Yasmin. "Group Therapy for Venetian Adolescents? Giannantonio Bernardi’s “Prudence, a didactic prolusion” (Venice, 1709) and Jesuit Moral Counselling in Verse." Journal of Jesuit Studies 4, no. 2 (March 10, 2017): 186–208. http://dx.doi.org/10.1163/22141332-00402003.
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While Jesuits composed more Latin didactic poetry than any other order or profession in the early modern period, they—perhaps surprisingly—rarely chose moral, political, or spiritual subjects for versification in this genre. One of the few exceptions to the rule is Prudentia, prolusio didascalica (Prudence, a didactic prolusion) by the Paduan-born Jesuit Giannantonio Bernardi (1670–1743), first published in Venice in 1709. Bernardi seems to have spent his whole life as a teacher, preacher, and confessor in northern Italy, apart from a stint accompanying his penitent, the Venetian envoy and future Doge, Carlo Ruzzini, to Constantinople. This paper sets Bernardi’s didactic poem in the context of some other Jesuit didactic poems of moral or spiritual counsel, especially Pierre Mambrun’s Psychourgicon: De cultura animi (La Flèche: ex officina Gervasii Laboe, 1661), as well as a selection of his other moral writings. It finds the Jesuit dimension to Bernardi’s poem more in its literary and institutional contexts and paratexts than in the bare philosophical doctrine it relays.
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Cornish, Alison. "A Lady Asks: The Gender of Vulgarization in Late Medieval Italy." PMLA/Publications of the Modern Language Association of America 115, no. 2 (March 2000): 166–80. http://dx.doi.org/10.2307/463254.
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Classical texts were extensively translated into the vernacular in Italy during the period when Italian poetry began, and the “mentality” of translation is traceable in this early verse. Vernacularization is gendered female, especially in the conventions of lyric poetry. As exemplified in some thirteenth- and fourteenth-century poems and their prose commentaries, “vulgarization” is often presented as a discourse to women, who are conceived as a superior rather than an inferior audience. Instead of demeaning the Latin original, this kind of vulgarization paradoxically ennobles both the learned or scientific content and the young language in which it is written. This peculiar moment of Italian literary history contrasts with concurrent translation in France, with the subsequent abandonment of vulgarization under the influence of Petrarch, and with modern notions of the politics of translation.
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VELYCHKO, M., and O. BRATEL. "The role of Andaluzian poetry in the formation and development of the lyrics of the Provencal troubadours." Bulletin of Taras Shevchenko National University of Kyiv. Oriental Languages and Literatures, no. 26 (2020): 45–48. http://dx.doi.org/10.17721/1728-242x.2020.26.45-48.
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In the review article the theories of the Arabic origin of West European chivalrous poetry were analyzed. The article deals with the problem of the direct interaction between Arabic and European literary traditions, in particular, the probability of the impact of the Arab-Spanish strophic poetry on Provencal troubadour's lyrics and the possibility of the influence of Andalusian poetry on Spanish and Provencal. So that it is established that al-Andalus was a multilingual society in which the Andalusi Romance dialects were spoken and written alongside Arabic. In Europe, and from scholars working in departments of modern national languages, this usually means the discussion of what it means to write in Middle English, or German, or French instead of Latin. The Andalusian poets could easily convey in Romance the motives and themes inherent in Arabic classical literature, and with the help of the Arabic language they expressed elements of Roman folk poetry. The analysis of various researches showed that the issue of the historical and geographical formation and development of Arab-Spanish poetry during the Middle Ages were studied by Arab and European sceintists of past centuries, as well as by the modern literary scientists. Modern studies of the Arab-Spanish medieval stanza do not deny the existence of an interaction between European and Arabic lyrics, but the role of this interaction on the scale of the history of world literature remains unclear. Lyrics of the troubadours of the 11th–14th centuries was a unique synthesis of many literary elements of church Latin poetry, folk poetry and Arab influences, and strongly influenced on the history of Italian, Spanish, English, Portuguese, German literature.
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Schendl, Herbert. "Code-switching in early English literature." Language and Literature: International Journal of Stylistics 24, no. 3 (August 2015): 233–48. http://dx.doi.org/10.1177/0963947015585245.
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Code-switching has been a frequent feature of literary texts from the beginning of English literary tradition to the present time. The medieval period, in particular, with its complex multilingual situation, has provided a fruitful background for multilingual texts, and will be the focus of the present article. After looking at the linguistic background of the period and some specifics of medieval literature and of historical code-switching, the article discusses the main functions of code-switching in medieval poetry and drama, especially in regard to the different but changing status of the three main languages of literacy: Latin, French and English. This functional-pragmatic approach is complemented by a section on syntactic aspects of medieval literary code-switching, which also contains a brief comparison with modern spoken code-switching and shows some important similarities and differences between the two sets of data.
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Gerber, Amanda. "Marginal Geography: Pedagogical Design in Medieval Commentaries on Classical Poems." Journal of Medieval and Early Modern Studies 53, no. 2 (May 1, 2023): 225–59. http://dx.doi.org/10.1215/10829636-10416585.
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This article explores the nature and significance of geographical diagrams in medieval commentaries on classical Roman poems. It situates these diagrams within larger conversations about cartographic traditions and the pedagogical contexts for which these diagrams were originally designed. Modern scholars have only begun to address these geographical diagrams in histories of cartography, but not in textual studies. In surveying a range of ninth- to fifteenth-century manuscripts especially of Lucan's poetry, the article uncovers the sources of geographical diagrams that recur in cartography, encyclopedias, and other pedagogical tools, illustrating how medieval academics developed paratexts to shape an extensive program of geographical explication. Geographical diagrams and other textual annotations accompanying classical poems established a distinct pedagogical strand of cartography that served medieval students’ training in Latin composition and understanding of the ancient world.
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Tsyhanok, Olha, and Valentyna Galagan. "RELIGIOUS POETRY IN THE POETICS TEACHING MANUAL FONS CASTALIUS [CASTALIAN SOURCE] (1685)." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 15(83) (November 24, 2022): 56–61. http://dx.doi.org/10.25264/2519-2558-2022-15(83)-56-61.
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The article analyzes nineteen religious verses in Kiev poetics teaching manual Fons Castalius [Castalian source] (1685). It is chronologically the first textbook of poetry, which exactly belongs to the Kyiv-Mohyla Academy and whose year of creating is not in doubt. Since the modern scientific description of the Ukrainian poetics teaching manuals not exist, the short description of the manuscript was made in the article. The poetics teaching manual consists of two roughly equal parts. The first one describes the general rhetorical information – on periods, amplification, epistles and chria. The religious poems are in the second part of the manual, that deals with the poetics proper, and illustrate first of all the small poetic forms. The spiritual poems constitute about a fifth part of all poetic examples. From the spiritual poetry, 16 verses are written in Latin and only three in Polish, mostly moral and didactic. The following thematic groups of religious poems are established: on God, Jesus Christ (5 verses); about the saints incl. the Virgin Mary (6); on the characters of Bible, the sacraments and religious attributes (5); the moral and didactic verses (3). The anonymous author of the Kiev poetics Fons Castalius (1685) has presented to the audience of his lectures the spiritual poetry on a variety of religious topics. Among the religious poems are works of the well-known poets and anonymous authors, popular works and the texts which are appearing for the first time. We find some of them in the later manuscripts of the Jesuit College in the Western Ukraine and the Kiev-Mohyla Academy.
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Vincent, Robert Hudson. "Baroco: The Logic of English Baroque Poetics." Modern Language Quarterly 80, no. 3 (September 1, 2019): 233–59. http://dx.doi.org/10.1215/00267929-7569598.
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Abstract As many scholars, including the editors of the Oxford English Dictionary, continue to cite false etymologies of the baroque, this article returns to a Scholastic syllogism called baroco to demonstrate the relevance of medieval logic to the history of aesthetics. The syllogism is connected to early modern art forms that Enlightenment critics considered excessively complicated or absurdly confusing. Focusing on the emergence of baroque logic in Neo-Latin rhetoric and English poetics, this article traces the development of increasingly outlandish rhetorical practices of copia during the sixteenth century that led to similarly far-fetched poetic practices during the seventeenth century. John Stockwood’s Progymnasma scholasticum (1597) is read alongside Richard Crashaw’s Epigrammatum sacrorum liber (1634) and Steps to the Temple (1646) to reveal the effects of Erasmian rhetorical exercises on English educational practices and the production of English baroque poetry. In the end, the article demonstrates the conceptual unity of the baroque by showing the consistency between critiques of baroco, critiques of English metaphysical poetry, and critiques of baroque art during the Enlightenment.
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Butterfield, Ardis. "ENTÉ: A SURVEY AND REASSESSMENT OF THE TERM IN THIRTEENTH- AND FOURTEENTH-CENTURY MUSIC AND POETRY." Early Music History 22 (August 2003): 67–101. http://dx.doi.org/10.1017/s0261127903003024.
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The medieval term enté, meaning ‘grafted’, has a long and varied history in musicological study. It is usually held to refer to the practice of grafting a refrain (whether text or melody or both) onto a longer work, such as a motet voice. For modern scholars its chief importance lies in its association with the thirteenth-century motet: it has been discussed principally in its role as a classificatory term, where it occurs as a rubric in several medieval manuscript lyric collections, and is also mentioned (in Latin) in a well-known passage from the musical treatise De musica (c.1300) by Johannes de Grocheio. After a period of settled usage in the work of such scholars as Friedrich Ludwig, Friedrich Gennrich and Yvonne Rokseth, the term has been freshly examined by Mark Everist, and the settled usage declared incorrect. Everist’s stimulating revisionary argument has ensured that we cannot continue to use the term without care. It seems appropriate to consider the implications of his case more fully, and take the opportunity to reassess the term in the light of his arguments. In particular, since he proposes that a motet enté is characterized by a specifically musical technique, his work raises the issue of how far in that case we are to understand grafting as a textual procedure. This essay attempts two kinds of assessment: one, a revisiting of the term in relation to the motet; and the other, a wider, historical look at the term in poetic as well as musical contexts.
Dissertations / Theses on the topic "Jesuit poetry, Latin (Medieval and modern)"
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Wong, Alexander Tsiong. "Aspects of the kiss-poem 1450-1700 : the neo-Latin basium genre and its influence on early modern British verse." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.708782.
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Latowsky, Anne Austin. "Imaginative possession : Charlemagne and the East from Einhard to the Voyage of Charlemagne /." Thesis, Connect to this title online; UW restricted, 2004. http://hdl.handle.net/1773/8309.
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Hacksley, Timothy Christopher. "A critical edition of the poems of Henry Vaux (c. 1559-1587) in MS. Folger Bd with STC 22957." Thesis, Rhodes University, 2008. http://eprints.ru.ac.za/1704/.
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Feile, Tomes Maya Caterina. "Neo-Latin America : the poetics of the "New World" in early modern epic : studies in José Manuel Peramás's 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza 1777)." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/273742.
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This is an investigation of the epic poetry produced in and about the Ibero-American world during the early modern period (sixteenth to eighteenth centuries) in trilingual perspective: in addition to the more familiar Spanish- and Portuguese-language texts, consideration is also––and, for the purposes of the thesis, above all––given to material in Latin. Latin was the third of the international literary languages of the Iberian imperial world; it is also by far the most neglected, having fallen between the cracks of modern disciplinary boundaries in their current configurations. The thesis seeks to rehabilitate the Latin-language component as a fully-fledged member of the Ibero-American epic tradition, arguing that it demands to be analysed with reference not only to the classical and classicising traditions but to those same themes and concerns––in this case, the centre|periphery binary––as are investigated for counterparts when in Spanish or Portuguese. The crucial difference is that––while the ends may be the same––the means of thematising these issues derive in form and signifying power from interactions with the conceptual vocabularies and frameworks of the Greco-Roman epic tradition. How is America represented and New World space figured––even produced––in a poetic idiom first developed by ancient Mediterranean cultures with no conception whatsoever of the continent of the western hemisphere? At the core is one such long neglected Ibero-American Latin-language epic by a figure who lived across the Iberian imperial world: the 'De Invento Novo Orbe Inductoque Illuc Christi Sacrificio' (Faenza, 1777) by Catalan-born Jesuit José Manuel Peramás. Peramás’s epic––which has never been the subject of a literary-critical study before––is offered as a test case: an exercise in analysing a Latin-language Hispanic epic qua Hispanic epic and setting it into Ibero-American literary-cultural context. This is to be understood in relation to the field of so-called ‘New World poetics’: an at present emergent zone of inquiry within Iberian colonial studies which until now has been developing almost completely without reference to the Latin-language portion of the corpus.
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Connolly, Margaret. "An edition of 'Contemplations of the dread and love of God'." Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/2786.
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This thesis presents an edition of Contemplations of the Dread and Love of God, a late Middle English devotional prose text for which no critical edition is currently available. I have transcribed and collated the text from all sixteen extant manuscripts and the 1506 printed edition. An investigation of the errors and variants according to the classical method of textual criticism has yielded little in the way of conclusive results, and it has therefore not proved possible to construct a stemma of manuscripts from the corpus of evidence as it now exists. My edition therefore uses one manuscript (Maidstone MS Museum 6) as a base; I emend the text of Maidstone where necessary, and cite variants from all the other witnesses to show all differences of substance. A full critical apparatus is provided, comprising: the text with variants, textual notes and glossary. The introduction includes a full description of all the manuscripts and the two early printed editions, an outline of the methods of textual criticism applied and their results, and an explanation of the choice of base manuscript; information about the language of the Maidstone manuscript and the date of the text are also provided, as is an outline of my editorial principles. The thesis also contains two appendices. The first of these deals briefly with the twenty-two instances where individual chapters of Contemplations appear in other manuscript compilations; the second discusses the English and Latin prayers which follow the full text in some manuscripts.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Whelan, Fiona Elizabeth. "Morals and manners in twelfth-century England : 'Urbanus Magnus' and courtesy literature." Thesis, University of Oxford, 2015. https://ora.ox.ac.uk/objects/uuid:4ccb50b9-7e0e-49c8-b9c5-104dfefa3fea.
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This thesis investigates the twelfth-century Latin poem entitled Urbanus magnus or 'The Book of the Civilised Man', attributed to Daniel of Beccles. This is a poem dedicated to the cultivation of a civilised life, aimed primarily at clerics although its use extends to nobility, and specifically the noble householder. This thesis focuses on the text as a primary source for an understanding of social life in medieval England, and uses the content of the text to explore issues such as the medieval household, social hierarchy, the body, and food and diet. Urbanus magnus is commonly referred to as a 'courtesy text'. This thesis seeks to understand Urbanus magnus outside of that attribution, and to situate the text in the context of twelfth and thirteenth-century England. Thus far, scholarship of courtesy literature has focused on later texts such as thirteenth-century vernacular 'courtesy texts' or humanist works as exemplified by Erasmus's De civilitate morum puerilium. This scholarship looks back to the twelfth century and sees texts such as Urbanus magnus as 'early Latin courtesy texts'. This teleological view relegates such earlier texts to positions at the genesis of the genre and blindly assumes that they belong to the corpus of 'courtesy literature'. This neglects both their individual importance and their respective origins. This thesis examines Urbanus magnus as a didactic text which contains elements of 'courtesy literature', but also displays moral and ethical concerns. At the heart of the thesis is the question: should Urbanus magnus be considered as part of the genre of courtesy literature? This question does not have a simple answer, but this thesis shows that some elements and sections of Urbanus magnus do conform to the characteristics of courtesy literature. However, there are further sections that reflect other literary traditions. In addition to morals and ethics, Urbanus magus reflects other genres such as satire, and also reveals social issues in twelfth-century England such as the rise of anti-curiale sentiment and resentment of upward social mobility. This thesis provides an examination of Urbanus magnus through the most prevalent themes in the text. Firstly, it explores the dynamics of the medieval household, along with issues such as social mobility and hierarchy. Secondly, it focuses on the depiction of the body and bodily restraint, covering topics such as speech, bodily emissions, and sexual activity. Thirdly, it discusses food and diet, including table manners, food consumption, and dietary effects of foodstuffs. The penultimate chapter looks at the manuscript dissemination of the text to investigate the different uses which Urbanus magnus found in subsequent centuries. The delineation of Urbanus magnus as part of the genre of courtesy literature ignores the social, cultural, and literary impact on the creation of the text. In response, this thesis has two aims. The first is to minimise the notion of genre, and treat Urbanus magnus as a text in its own right, and as a product of the twelfth century. The second shows that Urbanus magnus reflects both continuity and change in society in England following the Norman Conquest.
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Tilly, Georges. "Un manifeste posthume de l'humanisme aragonais : le De hortis Hesperidum de Giovanni Pontano De hortis Hesperidum." Thesis, Normandie, 2020. http://www.theses.fr/2020NORMR084.
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La thèse étudie le dernier poème écrit par l’humaniste Giovanni Pontano (1429-1503) au tournant du XVIe siècle, le De hortis Hesperidum, une géorgique sur les jardins d’agrumes. Plusieurs chapitres de description de l’œuvre puis une étude historique et pluridisciplinaire s’attachent à jeter de la lumière sur ce testament méconnu de l'humanisme napolitain. Le poème est tout d’abord considéré au regard des diverses lectures qui en furent faites depuis son origine jusqu’à nos jours et, en particulier, de son influence sur la littérature de l’âge classique en Europe. Puis on mène un examen de la versification du poème, de l’histoire du texte et dans l’étude de ses différents témoins, on établit les principes de l’édition qui figure en fin d’ouvrage. Comme le De hortis Hesperidum est le premier texte moderne à suivre la leçon de Virgile en matière de poème didactique, l’étude s’emploie ensuite à dévoiler les ficelles de la recréation du genre géorgique à l’aube de l’époque moderne, en y examinant les formes de narration, le rôle des digressions dans le texte, la présentation du dédicataire et du dédicant. Mais le De hortis Hesperidum est aussi un poème scientifique d’un intérêt précoce pour les agrumes dont il établit les variétés et dont il décrit précisément la culture, avec un tropisme certain pour les jardins d’apparat dont il présage la vogue au XVIe siècle à Naples comme dans toute l’Italie : on y découvre les prémices du jardin maniériste. Ce poème est enfin la peinture d’une vie académique et aristocratique élevée en un idéal que le poète cherche à préserver du tumulte des guerres d’Italie. En complément de l’étude, cette thèse présente la première traduction française intégrale du texte ainsi qu’une nouvelle édition à l’orthographe restituée d’après l’unique manuscrit connuThe present thesis studies the last poem written by the humanist Giovanni Pontano (1429-1503) in the latefifteenth century/beginning of the sixteenth century : De hortis Hesperidum, a georgic on citrus gardens.Some descriptive chapters, followed by a more analytical and multidisciplinary study, cast light on thisoverlooked testament of Napolitan humanism. The poem is at first considered through its various readingsover time and in particular through its influence on the literature of European classical age. Then, theversification and the textual history of the poem are assessed and the principles of the current edition areestablished, thanks to a careful examination of its testimonies. Since De hortis Hesperidum is the first moderntext to imitate Vergil’s way of composing didactic poetry, the study deciphers the recreation of the georgicgenre at the begining of the modern period, by considering narrations patterns, digression’s role, the way ofpresenting the dedicatee or the poet himself. De hortis Hesperidum is also a scientific poem that demonstratesan early interest for citrus trees, by establishing their varieties and describing their culture, with an obviousattraction for ornemental gardens that foreteils their popularity in sixteenth century Naples and Italy,foreshadowing the beginnings of manierist gardens. Finally the poem pictures the aristocratical life of thePontanian academy. It gives the aspect of an ideal time, kept safe from the commotion of the Italian wars,thanks to the poet. In addition to this study, the thesis countains the first complete French translation of thetext and a new edition in which spelling has been corrected on the only known manuscript of the poem
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Taylor, Leslie Anne. "The eight monophonic political planctus of the Florence manuscript." Thesis, 1994. http://hdl.handle.net/2429/5150.
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The medieval planctus is a Latin lament, composed in great numbers on Biblical themes as
well as for the death of political figures or the destruction of cities. It appeared in both
monophonic and polyphonic form, and had counterparts in a number of vernacular languages. The
manuscript Biblioteca Mediceo-Laurenziana Pluteo 29.1, known as the Florence manuscript,
contains eight monophonic planctus in the memory of well-known public figures of the late twelfth
and early thirteenth centuries. This thesis will examine these compositions as a collection.
The monophonic repertoire of the middle ages has been examined in a relatively limited
fashion; the florid Latin repertoire, which includes these planctus, has been studied hardly at all.
This thesis will provide a musical analysis based upon the text, to prove that the underlying
compositional basis for these widely disparate pieces was the same. The planctus span a period of
seventy years, and differ greatly in length, textual structure, and musical form. However, as this
work will demonstrate, despite their differences, they follow essentially the same inner logic.
The analyses contained in the thesis are based upon study of both the syntax and poetry of
the text, and seek to discover the relationship of the music to these textual aspects. Various facets
of the music (cadence structure, melodic outline, ambitus, and mode) are included in the study. In
the process of this study, other facts about the planctus also come to light: the importance of
pitches grouped into melodic phrases; mode as an expressive tool rather than a restrictive set of
parameters; and the presence of various forms of descriptive composition, or word-painting, often
considered not to exist in medieval music. The thesis draws conclusions regarding these aspects of
the music, and how they are all used to the greater expression of the texts. The results of this
analysis conclude that the eight planctus, while differing in surface characteristics, are the outcome
of a single compositional approach, that of the text as a departure point for the music.
Books on the topic "Jesuit poetry, Latin (Medieval and modern)"
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Ancidei, Giuliana. Notas para la biografía del padre jesuita y poeta latino Alejandro Rapicani. México: Universidad Nacional Autónoma de México, Instituto de Investigaciones Filológicas, 1996.
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W, Sommer Anton F., and Fritsch Thomas -1726, eds. Opuscula poetica. Wien: Im Selbstverlag, 2005.
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Mertz, James J. Jesuit Latin poets of the 17th and 18th centuries: An anthology of neo-Latin poetry. Wauconda, Ill: Bolchazy-Carducci, 1989.
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Bidermann, Jakob, 1577 or 1578-1639, Bidermann, Jakob, 1577 or 1578-1639, and Sinn Christian 1962-, eds. Heroides: Frauen-Briefe : mit akademischen Würden und der Erlaubnis der Ordensoberen gedruckt, Dillingen 1642. Konstanz: Edition Isele, 2005.
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Messer, Neal A., and Rodrigo de Valdés. Poema heroyco hispano-latino panegyrico de la fundación, y grandezas de la muy noble, y leal ciudad de Lima. New York, NY: Peter Lang Publishing, Inc., 2017.
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(7th), Freiburger Neulateinische Symposion. Sarbiewski, der polnische Horaz. Tübingen: Gunter Narr, 2006.
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Anchieta, José de. José de Anchieta, primer mariólogo jesuita: Texto latino de sus poemas mariológicos. Granada: Facultad de Teología, 1997.
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Severus. Severi Episcopi (Malacitani (?)) In Evangelia libri XII: Das Trierer Fragment der Bücher VII-X. München: Verlag der Bayerischen Akademie der Wissenschaften, 1994.
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Dronke, Peter. Latin and vernacular poets of the Middle Ages. Hampshire: Variorum, 1991.
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1943-, Marcos Casquero Manuel-Antonio, and Oroz Reta José, eds. Lirica latina medieval. Madrid: Biblioteca de Autores Cristianos, 1995.
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Haskell, Yasmin Annabel. "Introduction." In Loyola's Bees. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262849.003.0001.
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From antiquity, to the Middle Ages, to the Renaissance, and to the early modern period, a genre of poetry flourished in the West that has fallen out of favour in the recent times. This is didactic poetry, poetry of instruction in astronomy, hunting, farming, philosophy, and in all fields of sciences, arts, and recreational activities. In the seventeenth and eighteenth centuries, Jesuits produced a great quantity of Latin didactic poems. These poems revealed of the early modern Jesuits, local literary fashions, classical traditions, contemporary events and inventions, scientific developments, cultural knowledge, and social mores. Didactic poetry was the best literary genre for the cultivation of the Jesuits, the modern teaching order par excellence. The majority of Jesuit didactic poems were written by teachers, most of whom were writing in a radically transformed world of print and science, and in the scholarly language of Latin that was facing its gradual decline in the eighteenth century. Most of these poems were initially written for their fellow Jesuits and not for the proper literary classes of humanities and rhetoric. By the turn of the eighteenth century, didactic poems began to take a special place among the Jesuits, and a consciousness of contributions to the Jesuit tradition and microtradition ensued wherein the didactic poems took a special part.
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Haskell, Yasmin Annabel. "Arts of Life: The Poetry of Inner and Outer Refinement." In Loyola's Bees. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262849.003.0006.
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In the ancient didactic poems, man is regularly presented as a product of cultivation or as an object of art. In the preceding chapters, Jesuit poets framed snapshots of ideal life in Virgilian terms. While there are no specific examples of classical verses and poems that dealt on the preservation of physical, mental and spiritual life, procreation, and child-rearing, Ovid's Ars amatoria and Remedia amoris provided models for poets writing conventions of sexual and social relations. However, Ovid's immoral morality poems had to be handled with great care by the didactic poets of the Society of Jesuits. In Horace, whose satire of human foibles was more chaste, the Jesuits found a perfect model for the purpose of modern moralizing. In his Ars poetica, Jesuits began to cast life as art and art as life. This chapter explores the role of art as conceived by the Society of Jesuits, including its spiritual, social, and cultural poetry. It also discusses the paradox of the paucity of the Jesuit didactics devoted to the religious life. Although the Jesuits wrote a great quantity of Latin theological and devotional verses, they nevertheless succeeded because of their preservation of its secular interior. This approach was a perfect vehicle for winning the hearts of the Catholic public for disseminating Jesuit culture in a manner that was as inoffensive as it was invisible.
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Haskell, Yasmin Annabel. "Gentle Labour: Jesuit Georgic in the Age of Louis XIV." In Loyola's Bees. British Academy, 2003. http://dx.doi.org/10.5871/bacad/9780197262849.003.0002.
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René Rapin, the father of Jesuit georgic poetry, manoeuvred his intellectual life between the ancients and the moderns with an instinct for conciliation and compromise that made him an effective apostle to the world. He is best remembered for his Horti, a classical-style didactic poem in four books that celebrated the victory of the moderns over the ancients in horticultural art. His poem, which is secular in appearance, is motivated by (mildly concealed) religion and Jesuito-political impulses, and cultural and literary impulses, particularly those of Virgil. This chapter discusses some of the developments in the Italian Renaissance georgic poetry to better understand Rapin's contribution to the early modern Latin georgic. It considers the latter Latin poems on horticulture and sericulture, which bear resemblance to the ancient model yet are considerably shorter than Virgil's. These latter georgic poems predicated on a Nature that is mild and marvellous, and centred on the artistic manipulation of Nature. In the Italian Renaissance, the ‘recreational georgics’ were dominated by pastoral ease, which is ironic, given the prominent thematic of labour in the original georgics. While the georgics were poems that celebrated nature and labour in gardens, by the turn of the eighteenth century, French Jesuits had identified the didactic genre of georgics as a flexible medium for exhibiting their modern Latinity and advertising their honnêteté.
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Aguirre, Mercedes, and Richard Buxton. "From the Medieval to the Baroque." In Cyclops, 235–304. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198713777.003.0010.
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This chapter is the first of the authors’ two substantial investigations into the post-classical reception of Cyclopean mythology. The account begins in the European Middle Ages, with representations of ‘races’ of Wild Men, some of whom are one-eyed. A more explicit echo of the classical Cyclopes occurs in numerous allegorical readings of the Ulysses–Polyphemus and Polyphemus–Galatea–Acis encounters. For all the apparent implausibility of such readings, it is important to realize that in allegory myths constitute a site for the allegorist’s display of interpretative prowess. The myths’ continuing relevance, and indeed their very survival, are thereby enhanced rather than reduced. The next section of the chapter looks at some virtuoso painted Polyphemuses from major Renaissance artists; after that the argument turns to some early modern one-eyed ogres, and then to the blacksmiths, returning to the theme of fire. There follows a detailed look at some Cyclopes sculpted in grottoes—a development of the ancient motif of the cave. The chapter concludes with studies of some major literary reworkings within the framework of European pastoral, ranging from the poetry of Dante (Latin eclogues) Marino, and Góngora, through baroque opera, to the contrasting Spanish dramas of Juan Pérez de Montalbán and José de Cañizares.
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"7 Vom Aristarchus zur Jesuiten-Poesie: Zum dynamischen Wechselbezug von Latein und Landessprache in den deutschen Landen in der Frühen Neuzeit / From Aristarch to Jesuit Poetry: The Shifting Interrelation between Latin and the Vernacular in the German Lands in Early Modern Times." In Bilingual Europe, 118–43. BRILL, 2015. http://dx.doi.org/10.1163/9789004289635_009.
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