Relevant bibliographies by topics / Literary tradition

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Literary tradition'

Author: Grafiati
Published: 4 June 2021
Last updated: 25 April 2022

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Journal articles on the topic "Literary tradition"

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Rampersad, Arnold, and Houston A. Baker. "The Literary Blues Tradition." Callaloo, no. 24 (1985): 498. http://dx.doi.org/10.2307/2930989.

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Fleming, Alison C., and Philip Edwards. "Pilgrimage and Literary Tradition." Sixteenth Century Journal 37, no. 4 (December 1, 2006): 1106. http://dx.doi.org/10.2307/20478150.

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Jauss and Thorne. "Modernity and Literary Tradition." Critical Inquiry 31, no. 2 (2005): 329. http://dx.doi.org/10.2307/3651487.

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Kargiotis, Dimitrios. "Tradition, Discipline, Literary History." Arts and Humanities in Higher Education 6, no. 2 (June 2007): 153–67. http://dx.doi.org/10.1177/1474022207076821.

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Jauss, Hans Robert. "Modernity and Literary Tradition." Critical Inquiry 31, no. 2 (January 2005): 329–64. http://dx.doi.org/10.1086/430964.

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BURT. "A Genuine Princeton Literary Tradition." Princeton University Library Chronicle 47, no. 3 (1986): 271. http://dx.doi.org/10.2307/26404355.

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del Valle Escalante, Emilio. "Rereading the Indigenista Literary Tradition." Latin American and Caribbean Ethnic Studies 10, no. 2 (May 4, 2015): 247–49. http://dx.doi.org/10.1080/17442222.2015.1059543.

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Black, Suzanne. "Imre Lakatos and Literary Tradition." Philosophy and Literature 27, no. 2 (2003): 363–81. http://dx.doi.org/10.1353/phl.2003.0039.

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Marotti, Maria Omella. "Literary Historicism and Women's Tradition." Italian Culture 13, no. 1 (January 1995): 261–71. http://dx.doi.org/10.1179/itc.1995.13.1.261.

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Klaudia Muca, Klaudia Muca. "Zerwania i ślady. O kryzysie krytyki literackiej raz jeszcze (z krakowską szkołą krytyki literackiej w tle)." Poznańskie Studia Polonistyczne. Seria Literacka, no. 36 (June 1, 2019): 309–26. http://dx.doi.org/10.14746/pspsl.2019.36.18.

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The article introduces the issue of a crisis of literary criticism in Poland in the 20th and 21st centuries. The crisis is linked to the spheres of culture described by the term literacy (or cultural literacy). One of the reasons for the crisis is the series of ruptures in the tradition of literary criticism. In order to overcome this crisis, it is crucial to relate the ruptured threads of narration on literary criticism. The Krakow school of literary criticism serves here as an example of a rupture between the present and the tradition (or heritage). Another problem analysed in the text is that of establishing a tradition and a school of thought. By verifying some of the elements of the discourse on literary criticism (e.g. Masters, ruptures, traces, melancholic position), some possibilities for overcoming the crisis are being considered.
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Dissertations / Theses on the topic "Literary tradition"

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Rowan, Jamin Creed. "Urban sympathy : reconstructing an American literary tradition." Thesis, Boston College, 2008. http://hdl.handle.net/2345/353.

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Thesis advisor: Carlo Rotella
Addressing a gathering of social scientists at Boston’s Lowell Institute in 1870, Frederic Law Olmsted worried that the "restraining and confining conditions" of the American city compelled its inhabitants to "walk circumspectly, watchfully, jealously" and to "look closely upon others without sympathy." Olmsted was telling his audience what many had already been saying, and would continue to say, about urban life: sympathy was hard to come by in the city. The urban intellectuals that I examine in this study view with greater optimism the affective possibilities of the city’s social landscape. Rather than describe the city as a place that necessarily precludes or interferes with the sympathetic process, late-nineteenth- and twentieth-century urban intellectuals such as Stephen Crane, Jane Addams, W. E. B. Du Bois, Joseph Mitchell, A. J. Liebling and Jane Jacobs attempt to redefine the nature of that process. Their descriptions of urban relationships reconfigure the affective patterns that lay at the heart of a sentimental culture of sympathy—patterns that had remained, in many ways, deeply connected to those described by Adam Smith and other eighteenth-century moral philosophers. This study traces the development of what I call "urban sympathy" by demonstrating how observers of city life translate received literary and nonliterary idioms into cultural forms that capture the everyday emotions and obligations arising in the city’s small-scale contact zones—its streets, sidewalks, front stoops, theaters, cafes and corner stores. Urban Sympathy calls attention to the ways in which urban intellectuals with different religious, racial, economic, scientific and professional commitments urbanize the social project of a nineteenth-century sentimental culture. Rather than view the sympathetic exchange as dependent upon access to another’s private feelings, these writers describe an affective process that deals in publicly traded emotions. Where many see the act of identification as sympathy’s inevitable product, these observers of city life tend to characterize an awareness and preservation of differences as urban sympathy’s outcome. While scholars traditionally criticize the sympathetic process for ignoring the larger social structures in which its participants are entangled, several of these writers cultivate a sympathetic style that attempts to account for individuals and the larger social, economic and political forces that shape them
Thesis (PhD) — Boston College, 2008
Submitted to: Boston College. Graduate School of Arts and Sciences
Discipline: English
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Cater, Amanda Jane. "Theocritus and the reversal of literary tradition." Thesis, University of British Columbia, 1985. http://hdl.handle.net/2429/25362.

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My purpose is to demonstrate Theocritus' treatment of traditional literary genres. I show the specialized character of the bucolic genre by concentrating on the combination of epic, tragic and bucolic elements in selected poems of Theocritus. My concern is the portrayal of characters and character-types from myth and literary tradition and how the traditional literary portrayal has been changed. My discussion of Theocritus' poetic technique is divided into two parts. The first section deals with Theocritus' method of "reducing" or down-grading figures who have previously been presented and accepted as heroes. This section is introduced by a brief survey of the changing attitudes towards heroes in Greek literature from Homer to Theocritus. This is followed by a discussion of four poems which illustrate Theocritus' inversion of the standard portrait. This treatment ranges from a humorous recasting of the status of Polyphemos (Idyll 11) and Herakles (Idylls 13 and 24) to a critical portrayal of the Dioscuri (Idyll 22). The second part deals with the technique operating in reverse. In this section, I show how Theocritus juxtaposes epic themes with 'low-life' scenes and how the characters involved are consequently upgraded or 'elevated1. The four poems I select endow their insignificant protagonists with heroic amplitude. In Idyl 1 1, epic and tragic elements are infused into the portrayal of Daphnis the cowherd. Simaetha in Idyll 2 envisages herself as a Medea in a context of bourgeois reality. The mythological material in Idyll 3 achieves humour from the disparity of the goatherd's rustic simplicicy and his awareness of mythological precedents. Idyll 7 expands the anti-heroic material of the Odyssey and describes a goatherd with a difference. In my conclusion I demonstrate the coherence of Theocritus' treatment of epic and dramatic narrative with his programmatic statements. The passages referred to are the epilogue of Idyll 22 (212-23), the characters cited in Idyll 16 (36-57), Simichidas' speech in Idyll 7 (45-48) and the description of the herdman's cup in Idyll 1. (29-61). In the light of this, I link Theocritus' poetic method to his attitude to the function of literature and its relation to society.
Arts, Faculty of
Classical, Near Eastern and Religious Studies, Department of
Graduate
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Gress, Priti Chitnis. "Tar Baby and the Black Feminist Literary Tradition." W&M ScholarWorks, 1997. https://scholarworks.wm.edu/etd/1539626111.

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Adams, Dana W. (Dana Wills). "Female Inheritors of Hawthorne's New England Literary Tradition." Thesis, University of North Texas, 1994. https://digital.library.unt.edu/ark:/67531/metadc279406/.

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Nineteenth-century women were a mainstay in the New England literary tradition, both as readers and authors. Indeed, women were a large part of a growing reading public, a public that distanced itself from Puritanism and developed an appetite for novels and magazine short stories. It was a culture that survived in spite of patriarchal domination of the female in social and literary status. This dissertation is a study of selected works from Nathaniel Hawthorne, Sarah Orne Jewett, and Mary E. Wilkins Freeman that show their fiction as a protest against a patriarchal society. The premise of this study is based on analyzing these works from a protest (not necessarily a feminist) view, which leads to these conclusions: rejection of the male suitor and of marriage was a protest against patriarchal institutions that purposely restricted females from realizing their potential. Furthermore, it is often the case that industrialism and abuses of male authority in selected works by Jewett and Freeman are symbols of male-driven forces that oppose the autonomy of the female. Thus my argument is that protest fiction of the nineteenth century quietly promulgates an agenda of independence for the female. It is an agenda that encourages the woman to operate beyond standard stereotypes furthered by patriarchal attitudes. I assert that Jewett and Freeman are, in fact, inheritors of Hawthorne's literary tradition, which spawned the first fully-developed, independent American heroine: Hester Prynne.
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Mournet, Terence C. "Oral tradition and literary dependency : variability and stability in the synoptic tradition and Q." Thesis, Durham University, 2003. http://etheses.dur.ac.uk/3688/.

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Despite the almost universal recognition that the Jesus tradition was, from its very beginning, oral tradition, scholars have continued to approach the question of Synoptic interrelationships from a strictly literary perspective. This study is an attempt to take seriously the Sitz im Leben within which the Synoptic Gospels were written, and to examine the possible role that oral tradition might have in determining, not only the scope of a Q text, but the way in which we envision the development of the Synoptic tradition. Previous attempts to take seriously the role of oral tradition in the formation of the Synoptic Gospels are examined, exposing the need for a much more careful analysis of the relationship between oral communication and written texts. Following such an analysis, it is suggested that solutions to the Synoptic Problem which do not take into serious account the possible influence of oral tradition in the process of Gospel composition must be deemed less than adequate. Seeking a way forward in the debate, we determined that a more thoroughly thought-through model of how oral communication functions is needed. It is proposed that the genre of folklore, while not replacing traditional literary designations, provides us with another interpretive framework through which we may gain new insight into the development of the Synoptic tradition. The folkloristic characteristics of variability and stability are discussed, followed by the presentation of recent work suggesting that these characteristics are prevalent in the Synoptic tradition. We suggest that recent studies on Q and the Synoptic Problem have not given adequate attention to the internal variability present within double tradition pericopes. A methodology is developed which will allow us to examine how the internal variability within selected double tradition pericopes might, to some extent, reflect the process of tradition transmission which preceded the tradition’s inclusion in a Gospel text. A selection of double tradition pericopes are examined, and the model of tradition transmission proposed by K. E. Bailey and J. D. G. Dunn is evaluated. The study concludes that there is a sufficient convergence of evidence to suggest that such a model is feasible for at least portions of the double tradition.
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Albu-Mohammed, Raheem Rashid Mnayit. "Making the past : the concepts of literary history and literary tradition in the works of Thomas Gray." Thesis, University of Plymouth, 2015. http://hdl.handle.net/10026.1/3362.

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This study explores Thomas Gray’s concepts of literary history, tradition, and the past. It proffers critical examinations of Gray’s literary and historical thoughts, illustrating the extent of the complexity of the mid‐century cultural and intellectual climate in which Gray and his contemporaries were writing. It shows the aesthetic, cultural, and political dimensions of canonicity in the course of examining the ideological motivation behind Gray’s literary history. Though much of Gray’s poetry is private and written for a narrow literary circle, his literary history seems engaged with issues of public concerns. Gray’s literary history must not be understood as a mere objective scholarly study, but as an ideological narrative invented to promote specific national and cultural agendas. Though Gray’s plan for his History of English Poetry was inspired directly by Pope’s scheme of writing a history of English poetry, Gray’s historiography represents a challenge to Pope’s most fundamental “neo‐classical” premises of canonicity in that it aligns English literary poetry back to the literary tradition of ancient Britain and resituates the English literary canon in an entirely different theoretical framework. Gray reworked Pope’s historical scheme to suits the need of the political and intellectual agendas of his own time: the national need for a distinctive cultural identity, which was promoted by and led to the emergence of a more national and less partisan atmosphere. Gray’s comprehensive project of literary history charts the birth and development of what he views as an English “high‐cultural” tradition, whose origins he attributes to the classical and Celtic antiquity. In Gray’s view, this tradition reaches its peak with the rise of Elizabethan literary culture; a culture which was later challenged by the “French” model which dominated British literary culture from the Restoration to Gray’s time. Gray’s literary history is to be examined in this study in relation to the concept of canonformation. Gray’s historiographical study of literary culture of ancient Britain, his historicization of Chaucerian and medieval texts, his celebration of Elizabethan literary culture, and his polemical attack on “neo‐classical” literary ideals intend to relocate the process of canon‐formation within a “pure” source of national literary heritage, something which provides cultural momentum for the emergence of a historiography and an aesthetics promoting Gray’s idea of the continuity of tradition. As is the case in his poetry, the concept of cultural continuity is also central to Gray’s literary history, and permeates through his periodization, historicism, criticism, and his concept of the transformation of tradition.
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Oliphant, Charles Jamyang. "Extracting the essence : 'bcud len' in the Tibetan literary tradition." Thesis, University of Oxford, 2016. https://ora.ox.ac.uk/objects/uuid:72121806-b3f5-4e87-8a9a-02b8b24ad12d.

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The Tibetan practice of bcud len, or 'extracting the essence', has been for long a neglected aspect of Tibetan medical and spiritual knowledge with scattered evidence and little certainty regarding its origins or the extent of its effective presence, either in the past or at currently. In this study, seventy-three texts have been identified and tabulated. Of these, sixty-seven have been summarised and commented on, and five of these, each representative of one type of the practice, have been translated in full. All but a handful of these texts have not been translated previously. The research findings suggest that, whatever its influences from Indian, Chinese or other medical cultures, bcud len soon evolved into a distinctively Tibetan method of life enhancement, with teachings that emphasise both spiritual and medical aims and the use of indigenous Tibetan remedies, accompanied in some cases by particular rituals. The content of the texts indicates that the term bcud len can be applied legitimately to practices involving ritually empowered pills and elixirs which are ingested, respiratory and yogic exercises, dietary restrictions and rituals involving mantra recitation, visualisation and yab yum union with a consort, in that all these are considered to be means of obtaining 'the essence'. The teachings offer extensive material for those interested in the evolution and contemporary practice of Tibetan medicine, especially its botanical aspects, and for historians of ritual. In particular, the texts provide ample evidence of the lineage tradition in Tibetan religious culture, citing examples of transmissions through gter ma, whereby teachings are preserved in secret to be recovered at a future date by a gter ton or treasure revealer. The final section contains conversations with Tibetan doctors, lamas and contemporary practitioners of bcud len in Asia and the West that complement recent ethnographic studies in the field testifying to the continuing vitality of the tradition.
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Stamps, Dennis Lee. "A literary-rhetorical reading of the opening and closing of 1 Corinthians." Thesis, Durham University, 1994. http://etheses.dur.ac.uk/960/.

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Bozeman, Terry Sinclair. "The Good Cut: The Barbershop in the African American Literary Tradition." Digital Archive @ GSU, 2009. http://digitalarchive.gsu.edu/english_diss/49.

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Few African American males do not have at least one memory of a barbershop. The barbershop is a space that finds a home in virtually every community in which you find Black males. To some degree, virtually all genres and periods of African American literary expression have situated the barbershop as a mediating space in the formulation of a Black masculine identity. The barbershop as mediating space allows Black males the opportunity to view themselves and also critique the ways in which they are gazed upon by the literary imagination. African American authors, through the use of the barbershop, bring to the center the construction of this space in Black masculinity identity formation. ¬ Although a common presence in African American literature, the barbershop has not received any serious, i.e. book length examinations in literary analysis. I argue that the historical portrayal of the barbershop as mediating space problematizes the intersections of ancestor, culture, history, memory and literary imagination to reveal the intricate relationship between Black males and the space. I seek to address the gap in coverage of the literary treatment of the African American barbershop as mediating structure in the formulation of a black masculine identity. My research will show that we cannot fully understand the literary formation of Black masculine identity unless we attend to the barbershop as a formative mediating space.
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Bozeman, Terry. "The good cut the barbershop in the African American literary tradition /." unrestricted, 2007. http://etd.gsu.edu/theses/available/etd-04242007-132217/.

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Thesis (Ph. D.)--Georgia State University, 2007.
Title from file title page. Thomas McHaney, committee chair; Carolyn Denard, Mary Zeigler, committee members. Electronic text (192 p.) : digital, PDF file. Description based on contents viewed Nov. 5, 2007. Includes bibliographical references (p. 180-192).
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Books on the topic "Literary tradition"

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Williams, J. E. Caerwyn. The Irish literary tradition. Cardiff: University of Wales Press, 1992.

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Pilgrimage and literary tradition. New York: Cambridge University Press, 2005.

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K, Ford Patrick, ed. The Irish literary tradition. Cardiff: Univ.Wales P., 1992.

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Lloyd, King. Towards a Caribbean literary tradition. St. Augustine [Trinidad and Tobago]: L. King, 1990.

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John, Montague, and Kennelly Brendan, eds. Myth, history, and literary tradition. [Dundalk]: Dundalk Arts Publications, 1989.

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Constructive destruction: Kafka's aphorisms, literary tradition, and literary transformation. Tübingen: M. Niemeyer, 1987.

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Boccaccio and the European literary tradition. Roma: Edizioni di storia e letteratura, 2014.

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Kilcup, Karen L. Robert Frost and feminine literary tradition. Ann Arbor: University of Michigan Press, 1998.

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Smith, Mack. Literary realism and the ekphrastic tradition. University Park, Pa: Pennsylvania State University Press, 1995.

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Traylor, Eleanor. The humanities and Afro-American literary tradition. [Washington, D.C.]: D.C. Community Humanities Council, 1988.

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Book chapters on the topic "Literary tradition"

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Hale, John K. "The Classical Literary Tradition." In A New Companion to Milton, 22–36. Chichester, UK: John Wiley & Sons, Ltd, 2016. http://dx.doi.org/10.1002/9781118827833.ch2.

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Nihei, Chikako. "Distancing Japanese Literary Tradition." In Haruki Murakami, 8–25. New York, NY : Routledge, 2019. |: Routledge, 2019. http://dx.doi.org/10.4324/9780367266653-2.

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Lammel, Annamária, and Ilona Nagy. "9. The Bible and the Hungarian peasant tradition." In Literary Anthropology, 173. Amsterdam: John Benjamins Publishing Company, 1988. http://dx.doi.org/10.1075/z.36.13lam.

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Whelan, Timothy. "A Nonconformist Women’s Literary Tradition." In Other British Voices, 9–21. New York: Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137343611_2.

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Üstünsöz, İrem. "Censorship of “obscene” literary translations." In Tradition,Tension and Translation in Turkey, 219–32. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/btl.118.11ust.

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Jasper, David. "Holding to the Tradition." In The New Testament and the Literary Imagination, 59–71. London: Palgrave Macmillan UK, 1987. http://dx.doi.org/10.1007/978-1-349-08535-4_5.

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Farooqi, Mehr Afshan. "The Illusion of Form and the Power of Tradition." In Urdu Literary Culture, 147–70. New York: Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137026927_6.

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Bauer, Heike. "How To Imagine Sexuality?: English Sexology and the Literary Tradition." In English Literary Sexology, 52–81. London: Palgrave Macmillan UK, 2009. http://dx.doi.org/10.1057/9780230234086_3.

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Hu, Jiansheng. "New Development of Chinese Literary Anthropology." In Big Tradition and Chinese Mythological Studies, 37–49. Singapore: Springer Singapore, 2020. http://dx.doi.org/10.1007/978-981-15-4634-1_4.

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Anderson, Miranda. "Extending Literary Theory and the Psychoanalytic Tradition." In The Renaissance Extended Mind, 41–67. London: Palgrave Macmillan UK, 2015. http://dx.doi.org/10.1057/9781137412850_2.

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Conference papers on the topic "Literary tradition"

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Marcus, Solomon. "HIDDEN SIGNS. THE LITERARY FACE OF THE NON-LITERARY TEXTS." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-004.

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Petrilli, Susan, and Augusto Ponzio. "SEMANALYSIS AND LINGUISTICS IN JULIA KRISTEVA. LITERARY WRITING, DIALOGUE, STRANGENES." In New Semiotics. Between Tradition and Innovation. IASS Publications, 2015. http://dx.doi.org/10.24308/iass-2014-162.

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Mahinina, Natalia, Liliya Nasrutdinova, and Natalia Arzhantseva. "Literary Works of Jury Koval and Folk's Laughter Tradition." In Proceedings of the 1st International Scientific Practical Conference "The Individual and Society in the Modern Geopolitical Environment" (ISMGE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/ismge-19.2019.84.

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Zhurkova, M. S., and E. A. Khomutnikova. "The Genesis of Dystopian Meaning Structure and its Relation to Utopian Literary Tradition." In Proceedings of the 2nd International Conference on Education Science and Social Development (ESSD 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/essd-19.2019.42.

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Ma, Haojie. "Study on the Contemporary Hui Writers' Literary View of Tradition and Modern Hodgepodge." In Proceedings of the 5th International Conference on Arts, Design and Contemporary Education (ICADCE 2019). Paris, France: Atlantis Press, 2019. http://dx.doi.org/10.2991/icadce-19.2019.36.

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Filip, Schneider. "Etnografický obraz Arabov v Byzancii 10. storočia." In Orientalia antiqua nova XXI. Západočeská univerzita v Plzni, 2021. http://dx.doi.org/10.24132/zcu.2021.10392-97-119.

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Roman historians developed a tradition of placing ethno graphic information into their works. The “Other” was an everyday reality of the Roman state. With its expansion more nations came into its orbit and thus to the attention of its writers. Arabs were among many others whom the Romans confronted. The position of the Arabs changed rapidly since the emergence of Islam in the 7th century. From a peripheral nation they became the major superpower in the East. The Roman/Byzantine perception did change due to various factors, such as the emergence of new religion as well as military expansion of the newly founded Arab state. It was in this period when ethnographic tradition under went a major transformation. Ethnography was in decline with snippets of information throughout literary works instead of vast descriptions of the “Other” as known in antiquity. Merging the snippets, however, a more coher ent image may occur. The aim of this paper is to look on the ethnographic information about Arabs in three literary works of the 10th century Byzantium – the Taktika, De administran do imperio and History of Leo the Deacon. Arabs will be analysed under the scope of elements that affected Byzantine perception on them – religion, military, and ethnic stereotypes. With the analysis I intend not only to gain a more coherent picture about the ethnographic perception of the Arabs in Byzantium, but also the differ ence of the perception among its various social classes.
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Storozhuk, Alexander. "PU SONGLING’S LITERARY HERITAGE AND ITS TRANSLATIONS INTO RUSSIAN." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.06.

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While speaking of Pu Songling’s (1640–1715) impact on the Chinese literature one can’t help mentioning his short stories about fox turnskins and other wonders, known in English as Strange Tales from the Chinese Studio (Liao Zhai zhi yi). Commonly here the general survey concludes, and the main efforts are directed to analysis of the author’s pencraft and concealed political implications, since most of the plots are believed to be not original but adopted from earlier oeuvre. Thus the two major implied notions can be worded in the following fashion: 1) Strange Tales are the only work by Pu Songling to be mentioned and 2) they happen to be quite a secondary piece of literature based on borrowed stories and twisted about to serve the new main objective — mockery on social and political routine of the author’s present. The chief idea of the article is to cast a doubt on both of these notions and to show diversity and richness of Pu Songling’s genres and subjects as well as finding out the basis of these texts’ attractiveness for readers for more than 300 years. The other goal of the paper is to give a short overview of Pu Songling’s translations into Russian and their influence on the literary tradition of modern Russian prose. The main focus is put on the difficulties any translator is to face, on the quest for the optimal form of reproduction of the original’s peculiarities. Since the language of Pu Songling’s stories is Classical Chinese (wenyan), the author’s mastership in reproduction of different speech styles including common vernacular is also to be mentioned and analyzed.
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Ngo Thi Thanh, Quy, and Minh Nguyen Thi Hong. "Vietnamese Proverbs: Values Preserved in Modern Society." In GLOCAL Conference on Asian Linguistic Anthropology 2020. The GLOCAL Unit, SOAS University of London, 2020. http://dx.doi.org/10.47298/cala2020.4-4.

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Vietnamese proverbs has created long-lasting values which are being passed on to the modern society with numerous passions. These values include humanistic values confirming the human position in life. They also comprise social values and human philosophy as well as aesthetic values. Therefore, typical proverbs of the Viet people which have beem transferred to the younger generations via literary works such as Việt điện u linh (A collection of Vietnamese misteries) in the 14th century, Lĩnh Nam chích quái (A selection of the Viet extraordinary stories) in the 15th century are still being passed on until the present days. With the foundation of traditional Vietnamese proverbs, modern proverbs have undergone profound changes as seen in modern life through different forms of media including printed and audiovisual media as well as internet. It is obvious that traditional proverbs has regenerated in the new appearance. Proverbs are reproduced in modern literary works. Proverbs are also recreated and transformed in prose, poetry and drama. The movement and development of proverbs in our modern society confirm their deep values of the traditional culture. Writers, journalists and artists of other art forms have not only received the art tradition of word use of the ancestors but more importantly they have inherited the culural environment, humanistic values and life philosophies in order to transfer to the next generations. Henceforth, in the modern society Vietnamese proverbs are not obliterated but remain their vitality with different forms and have been of the Vietnamese people’s favourite.
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9

Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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10

Kravtsova, Marina. "“A LOST TREASURE”: ON FOLK ORIGINS OF THE VERSES OF CHU (CHUCI)." In 9th International Conference ISSUES OF FAR EASTERN LITERATURES. St. Petersburg State University, 2021. http://dx.doi.org/10.21638/11701/9785288062049.17.

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This article is focused on analysis of the hypothesis of the local song folklore origins of the famous poetic phenomenon chuci (elegies/songs of Chu) that represents the literary heritage of the southern (Yangtze Basin) region of the Ancient China (the Zhou epoch, 11th–3rd centuries B. C.) and is associated with the emergence of the Chinese poetry. Although today the thesis about the folklore origins of chuci, or rather of the poetic pieces presented by the Chuci (Verses/Elegies of Chu, Songs of the South) collection, is generally accepted, the author argues that, first, during the 1st–7th centuries A. D. the chuci poetry was stable considered within the Chinese book knowledge to be created by exclusively the literary genius of Qu Yuan (4th–3rd centuries B. C.), the great poet of the Chu Kingdom (11th–3rd centuries B. C.). Secondly, the views on chuci as an autochthonous (“southern”) poetic tradition dating back to the local folk art emerged in the 12th–13th centuries and finally established itself in the Chinese literature studies of the first third of the 20th century, all these under the influence of the ideological processes, caused by synchronic historical and political events. Thirdly, although the existence of developed song-poetic folklore in Chu Kingdom seems quite permissible, it for some reason remained out of fixation by that day written sources, including transmitted texts and archaeological materials (epigraphic inscription and excavated manuscripts). Therefore, almost nothing is known as a matter of fact of the hypothetic Chu song folklore what makes it impossible to recognize its true influence on origins and further on evolution of the chuci tradition.
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