Relevant bibliographies by topics / Medieval poem

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

Academic literature on the topic 'Medieval poem'

Author: Grafiati
Published: 21 February 2023

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Journal articles on the topic "Medieval poem"

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Folkart, Barbara. "Inventing the Past: Remarks on the Re‑enactment of Medieval Poetry." Diachronie 11, no. 1 (2007): 11–32. http://dx.doi.org/10.7202/037314ar.

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Abstract Inventing the Past : Remarks on the Re-enactment of Medieval Poetry — No matter how qualified she may be from the philological standpoint, the translator of medieval poetry is immediately confronted with a sense of her own diachronic incompetence insofar as the cultural, esthetic and affective resonances of the medieval poem are concerned. The translator who chooses to produce a crib will give the modern reader a way into the surface structures of the medieval text, but will convey little of its emotional resonance. Opting for prose translation will allow her to flesh her reading out somewhat, but convey none of the meaning inherent in the form itself. Even verse translation — if it remains merely verse — will prove inadequate to the "poetry" of the original text. The only way to give the twentieth-century reader a way into the jouissance of the medieval poem, as opposed to its syntax and semantics, is to function as a poet, and produce a free-standing text. This essay discusses various writerly strategies for reactivating the poetry of the medieval poem, for producing feeling, and the sort of insight that can come only from feeling. Illustrating these considerations are a number of "derived poems" of my own, based on pieces by Charles d'Orléans.
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Vilardell Domènech, Laura. "Les vicissituds de la traducció al castellà d’elements heroics i medievals del Canigó, de Jacint Verdaguer. El cas de «La Maladeta»." SCRIPTA. Revista Internacional de Literatura i Cultura Medieval i Moderna 3, no. 3 (2014): 143. http://dx.doi.org/10.7203/scripta.3.3805.

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Resum: En aquest article s’estudien les dificultats de traduir «La Maladeta», un passatge de Canigó, de Jacint Verdaguer. Creiem que aquest fragment és prou representatiu de la temàtica del poema èpic verdaguerià, ja que ha estat un dels més traduïts a totes les llengües i, a més, conté elements heroics i medievals del poema. És per això que hem cregut oportú de fer l’anlàlisi de la traducció dels fragments, per poder treure’n unes conclusions que ens serveixin per avaluar la qualitat de cada versió.Paraules clau: Verdaguer, Canigó, medieval, traducció. Abstract: In this article we study the translation’s difficulties of «La Maladeta», an extract of Canigó by Jacint Verdaguer. We think that this piece is enough representative of the Verdaguer’s epic poem theme, because it has been one of the most translated sections of the poem, and, in addition, it contents heroic and medieval elements. So, we have considered appropriate to make the analysis of each translation of this passage, in order to draw some conclusions which help us to assess the quality of each version. Keywords: Verdaguer, Canigó, medieval, translation.
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Ensley, Mimi. "Meeting Lydgate’s Ghost: Building Medieval History in Seventeenth-Century England." Review of English Studies 71, no. 299 (2019): 251–71. http://dx.doi.org/10.1093/res/hgz084.

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Abstract This article examines a manuscript poem composed by the seventeenth-century author John Lane. Writing in what is now London, British Library, Harley MS 5243, Lane revives the medieval poet John Lydgate in order to re-tell the story of Guy of Warwick, famous from medieval romance. In Lane’s poem, Lydgate returns from beyond the grave to proclaim the historicity of Guy’s legend and simultaneously preserve his own reputation as a chronicler of English history. While some scholars suggest that Lydgate’s popularity declined in the post-Reformation period due to his reputation as the ‘Monk of Bury’, and while it is true that significantly fewer editions of Lydgate’s poems were published in the decades after the Reformation, Lane’s poem offers another window into Lydgate’s early modern reputation. I argue that Lane’s historiographic technique in his Guy of Warwick narrative mirrors Lydgate’s own poetic histories. Both Lane and Lydgate grapple with existing historical resources and compose their narratives by compiling the accreted traditions of the past, supplementing these traditions with documentary sources and artefacts. This article, thus, complicates existing scholarly narratives that align Lydgate with medieval or monastic traditions, traditions perceived to be irrecoverably transformed by the events of the Reformation in England.
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López González, Luis F. "El tiempo poético en el Cantar de mio Cid." Medievalia 54, no. 1 (2022): 87–108. http://dx.doi.org/10.19130/medievalia.2022.1.370x75.

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Time and space are of foremost importance in the dramatic economy of medieval epic poems because they serve the important function of situating the reader spatially and chronologically. In the Cantar de Mio Cid, the poet places particular emphasis on the theme of time, enumerating the years, months, weeks, and days for his reader to present his narrative as a verisimilar, if not historic, chronicle. This study seeks to interrogate the time that elapses from the beginning of the poem to the end, arguing that the poet’s penchant for relative chronological precision betrays an effort to convey his story as historical fact. His ability to weave fiction and reality has greatly contributed to the Cantar’s timelessness, one that renders it relevant even in our modern society. The representation of time helps create the illusion of realism, helping to humanize Rodrigo Díaz and heightening the dramatic impact of the poem.
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Souza, Nadia De. "A Revival of the Romantic Era as seen through a Comparative Study of Auld Lang Syne and Sumer Is Icumen In." SMART MOVES JOURNAL IJELLH 8, no. 9 (2020): 145–50. http://dx.doi.org/10.24113/ijellh.v8i9.10776.

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The Romantic Movement of 19th century Britain is often credited to William Wordsworth, while his predecessor, Robert Burns is regarded as the pioneer of the movement with his poetic themes of simplicity, friendship, and reverence for nature and rustic life, to name a few. Yet, on looking back at the medieval ages, one comes across the anonymous poem Sumer Is Icumen In that is centred around similar themes and ideas. This, thus, calls for a more nuanced analysis and understanding of the romantic ideologies that then do not appear to be new to the 19th century, but simply recurrent of what already existed. Therefore, through a comparative study of Robert Burns’ Auld Lang Syne and the medieval poem Sumer Is Icumen In, this paper will seek to place Burns either as the pioneer of the romantic movement or as a reviver of a medieval tradition. I will explore the themes, features, and form that persist in these poems.
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Ivanovic, Aleksandra. "Serbian medieval poetry: 20th-century literary-historical and theoretical interpretations." Prilozi za knjizevnost, jezik, istoriju i folklor, no. 88 (2022): 79–92. http://dx.doi.org/10.2298/pkjif2288079i.

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This paper examines how national literary histories written in the twentieth century define medieval Serbian poetry. Grounded in the canon of Byzantine liturgical poetry and dedicated to cult practice, hymnography often did not conform to modern poetic principles, originality, and metrical form. Formalist approaches to poetry shaped the anthologies of Serbian medieval literature published in Yugoslavia in the 1960s. The editors transformed sequences from narrative prose into poetic texts, thus creating medieval poems. These cases draw attention to the importance of textual criticism and the social context in defining medieval literary genres. Exploring hymnography as a linguistic and liturgical event - a poem sung to an engaged audience - introduces new perspectives on its interpretation.
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Macedo, Jaqueline Silva de. "A Fortuna no Roman de Fauvel e sua relação com a tradição literária e religiosa da Civitate Dei e da Consolatio philosophiae na Idade Média." Revista Discente Ofícios de Clio 4, no. 7 (2020): 105. http://dx.doi.org/10.15210/clio.v4i7.16969.

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Este trabalho versará acerca da interação da tradição cristã e não cristã na representação da deusa no medievo e sob a ótica da Civitate Dei de Agostinho e da Consoloatio philosiphae de Boécio, mostrando a distinção entre "naturezas" entre Fauvel e Fortuna, esta, descrita como a própria Providência divina e equalizada à Sabedoria, sua irmã.Herdeira de divindades grega e romana, a Fortuna na Idade Média será vista como auxiliadora da providência divina perdendo o caráter deífico que lhe era próprio e sendo a ocasião e a sorte características de seu poder. Uma das narrativas poéticas medievais, no entanto, retoma a divindade de Fortuna retratando-a como filha de Deus e encarregada de governar o mundo, mas recuperando características da Antiguidade. Trata-se do Roman de Fauvel, poema elaborado na França do século XIV.Palavras-chave: Literatura medieval, Fortuna, Roman de Fauvel. AbstractThis paper will deal with the interaction of Christian and non-Christian tradition in the representation of the medieval goddess and from the perspective of Augustine's Civitate Dei and Boethius' Consolatio philosophiae, showing the distinction between "natures" Fauvel and Fortune, which is described as divine Providence itself and equalized to Wisdom, his sister.Heiress of Greek and Roman deities, Fortune in the Middle Ages will be seen as a helper of divine providence losing its deific character proper and accentuating the occasion and luck as characteristics of its performance. One of the medieval poetic narratives, however, takes up the deity of Fortune, portraying her as a daughter of God and charged with ruling the world, but recovering characteristics of antiquity. It is the Roman de Fauvel, a poem written in 14th century France.Keywords: Medieval literature, Fortune, Roman de Fauvel.
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Young, Simon. "Note: St Brigit in a medieval Welsh poem." Peritia 15 (January 2001): 279. http://dx.doi.org/10.1484/j.peri.3.446.

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Gravdal, Kathryn. "Poem Unlimited: Medieval Genre Theory and the Fabliau." L'Esprit Créateur 33, no. 4 (1993): 10–17. http://dx.doi.org/10.1353/esp.1993.0065.

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Aers, David. "What Is Charity? William Langland’s Answers with Some Diachronic Questions." Religions 10, no. 8 (2019): 458. http://dx.doi.org/10.3390/rel10080458.

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Charity turns out to be the virtue which is both the root and the fruit of salvation in Langland’s Piers Plowman, a late fourteenth-century poem, the greatest theological poem in English. It takes time, suffering and error upon error for Wille, the central protagonist in Piers Plowman, to grasp Charity. Wille is both a figure of the poet and a power of the soul, voluntas, the subject of charity. Langland’s poem offers a profound and beautiful exploration of Charity and the impediments to Charity, one in which individual and collective life is inextricably bound together. This exploration is characteristic of late medieval Christianity. As such it is also an illuminating work in helping one identify and understand what happened to this virtue in the Reformation. Only through diachronic studies which engage seriously with medieval writing and culture can we hope to develop an adequate grasp of the outcomes of the Reformation in theology, ethics and politics, and, I should add, the remakings of what we understand by “person” in these outcomes. Although this essay concentrates on one long and extremely complex medieval work, it actually belongs to a diachronic inquiry. This will only be explicit in some observations on Calvin when I consider Langland’s treatment of Christ’s crucifixion and in some concluding suggestions about the history of this virtue.
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Dissertations / Theses on the topic "Medieval poem"

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Henderson, Dave. "The medieval English begging poem." Diss., Columbia, Mo. : University of Missouri-Columbia, 2008. http://hdl.handle.net/10355/5580.

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Thesis (Ph. D.)--University of Missouri-Columbia, 2008.<br>The entire dissertation/thesis text is included in the research.pdf file; the official abstract appears in the short.pdf file (which also appears in the research.pdf); a non-technical general description, or public abstract, appears in the public.pdf file. Title from title screen of research.pdf file (viewed on June 8, 2009) Vita. Includes bibliographical references.
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Hopkins, Stephen Chase Evans. "Solving the Old English Exodus: An Active Problem Solving Approach to the Poem." Miami University Honors Theses / OhioLINK, 2011. http://rave.ohiolink.edu/etdc/view?acc_num=muhonors1303488106.

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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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Lieske, Mary. "Monstrous transformations : loyalty and community in four medieval poems /." View online, 2010. http://repository.eiu.edu/theses/docs/32211131524892.pdf.

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Mussou, Amandine. "Mettre le savoir en fiction à la fin du XIVe siècle. Les Eschés amoureux en vers." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040076.

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Les Eschés amoureux, poème allégorique de trente mille vers datant de 1370-1380, se présentent comme une réponse au Roman de la Rose, en rejouant notamment l’intrigue sur un échiquier. Conservé dans deux manuscrits inachevés, encore largement inédit, ce texte a rapidement été éclipsé par son commentaire en prose, Le Livre des eschez amoureux moralisés, rédigé par Évrart de Conty, médecin personnel de Charles V. La récente attribution des Eschés amoureux à ce même auteur hisse le poème initial au rang d’œuvre destinée à être (auto-)commentée ; cette auto-exégèse est déjà esquissée dans l’un des témoins du texte en vers, qui comprend un apparat de gloses marginales latines participant d’un projet auctorial. Les Eschés amoureux articulent ambition narrative et transmission de connaissances variées, en intégrant notamment en leur sein deux traductions d’auctoritates, les Remedia amoris d’Ovide et le De regimine principum de Gilles de Rome. Ils offrent une mise en fiction du savoir singulière, réservant souvent ce qui fonde l’autorité du discours à un commentaire à venir. Cette présente étude s’attache à examiner les stratégies de divulgation du savoir par le biais d’un récit à la fin du XIVe siècle, en analysant notamment les modèles investis par Les Eschés amoureux, l’assemblage d’éléments hétéroclites qui préside à l’élaboration de cette fiction et la fonction dévolue au commentaire<br>The Eschés amoureux, a thirty thousand verse allegorical poem written circa 1370-1380, comes as a response to the Romance of the Rose, notably playing the initial plot on a chessboard. The text can be read in two incomplete manuscripts and is still mostly unedited. It was quickly outshone by its prose commentary, Le Livre des eschez amoureux moralisés, written by Évrart de Conty, King Charles V’s personal physician. The fact that the Eschés amoureux was recently attributed to this very same author pushes the initial poem to the rank of a work that requires (self-)commentaries; the outline of this self exegesis is to be found in one of the verse manuscripts, which comes with latin marginal glosses of major and auctorial importance. The Eschés amoureux connects a narrative project to the transmission of knowledge, inserting within the poem two translations of auctoritates, the ovidian Remedia amoris and the De regimine principum by Giles of Rome. It provides a peculiar fictionalization of knowledge, often setting aside the authoritative part of the discourse and keeping it for a forthcoming commentary. The present dissertation intends to analyze the ways knowledge was conveyed through narrative at the end of the XIVth century; it considers the models involved for this specific text, the miscellaneous items brought together in one single fiction and the part played by the commentary
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Bilow, Catherine A. "O Praesul Illustris: Images of the Bishop Patron in Poems of Late Medieval Latin Offices." University of Toledo / OhioLINK, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=toledo1334801887.

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Melick, Elizabeth H. "Four Middle English Roland Romances: An Edition of Poems Drawn from Medieval Manuscripts." Kent State University / OhioLINK, 2018. http://rave.ohiolink.edu/etdc/view?acc_num=kent1523367850331762.

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MARINO, Laura. "«Quisquis ergo a natura humana corpus alienare vult, desipit»: la rappresentazione del problema corpo-anima in alcuni poemi allegorici tra XII e XIV secolo." Doctoral thesis, Università degli studi di Cassino, 2023. https://hdl.handle.net/11580/95564.

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The thesis aims to analyze and place in comparison some allegorical-didactic poems, composed in the European area between the 12th and 14th centuries; the analysis focuses on the relation between body and soul within the human individual. The four poems examined (Architrenius by John of Hauville, Anticlaudianus by Alain of Lille, Dante's Commedia, and Petrarch's Triumphi) have in common the ascensional structure and the final reunion of man with the divine: the thesis is concerned with observing how this path develops within the four narratives, through which linguistic patterns it is defined, whether or not it admits the goodness of the bodily part along with the spiritual part, and in general whether the goodness of corporeality in the human individual's path to perfection is acknowledged or denied. This theoretical discussion moves through a constellation of intertextual echoes between the analyzed works, to show the existence of a common semantic substratum signifying a shared theological problem that medieval intellectuals attempt to solve.<br>La tesi si prefigge l'obiettivo di analizzare e porre in comparazione alcuni poemi allegorico-didascalici composti in area europea tra il XII e il XIV secolo riguardo il tema della relazione tra corpo e anima all'interno dell'individuo umano. I quattro poemi esaminati (Architrenius di Giovanni di Altavilla, Anticlaudianus di Alano di Lilla, la Commedia di Dante, i Triumphi di Petrarca) hanno in comune la struttura ascensiva e il finale ricongiungimento dell'uomo con il divino: la tesi si occupa di osservare come questo percorso avvenga all'interno delle quattro narrazioni, attraverso quali modelli linguistici è definito, se ammetta o no la bontà della parte corporea insieme a quella spirituale, in generale se venga ammessa o negata la bontà della corporeità nel percorso di perfezionamento dell'individuo umano. Questa discussione teoretica si muove attraverso una costellazione di rimandi intertestuali tra le opere, a mostrare l'esistenza di un sostrato semantico comune che significhi un problema teologico condiviso che l'intellettuale medievale tenta di risolvere.
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Powers, Ashley. "The Commerce Of Time: The Influence Of Thirteenth Century Commercial Society On The Conception And Expression Of Time In Parisian Poet Rutebeuf’s Corpus." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1469089012.

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Aquilano, Mark Thomas. "Micer Francisco Imperial: A Genoese-Sevillano Poet of Dream Visions." Diss., The University of Arizona, 2010. http://hdl.handle.net/10150/195803.

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Chapter one provides a multifaceted panorama of the Genoese community in medieval Seville that helps to link Francisco Imperial, an early 15th century poet, to a group of foreigners and naturalized Castilian subjects who, despite their marginality, contributed greatly to the kingdom's emergence as a global superpower by the end of the Middle Ages. Chapter two examines materialist and scientific dream theories from the classical, medieval and contemporary periods side by side, yielding a complementary platform from which to plumb the depths of dream vision texts. The third and fourth chapters place Imperial's most important poem, his Dezir a las siete virtudes (c. 1407) within the spiritually vital literary tradition of the dream vision, a genre with roots in classical antiquity and early Christian accounts of otherworld journeys. An examination of several representative Western European, Islamic and Castilian literary dream visions in Chapter 3 and of Imperial's Dezir in Chapter 4 is grounded in the insightful theoretical perspectives on the genre developed by Kathryn Lynch, Paul Piehler and Robert McMahon. The fourth and final chapter also offers a biographical sketch of Francisco Imperial and an overview of the Imperiale family that are based in part on original documentation, allowing a new vantage point from which to appreciate the rich life circumstances that gave birth to a uniquely resonant poetic voice.
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Books on the topic "Medieval poem"

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Burrow, J. A. Thinking in poetry: Three medieval examples. Birkbeck College, 1993.

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Blevins, Richard. Medieval Ohio: A poem for D.A. Levy. Spuyten Duyvil, 2011.

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Layamon's Brut: The poem and its sources. Brewer, 1989.

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The quatrain version of Gast of Gy: A late medieval poem. Edwin Mellen Press, 2010.

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A journey into love: Meditating with the medieval poem Piers Plowman. Marymount Institute Press, 2008.

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1942-, McDonough Christopher James, ed. Moriuht: A Norman Latin poem from the early eleventh century. Pontifical Institute of Mediaeval Studies, 1995.

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The matter of courtesy: Medieval courtesy books and the Gawain-poet. D.S. Brewer, 1985.

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Resolution of the debate in the medieval poem, The owl and the nightingale. E. Mellen Press, 1999.

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Scase, Wendy. Visions of Piers Plowman: A medieval poem and the production of the present. University of Birmingham, School of Humanities, 2001.

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Hofmann, Dietrich. Die Versstrukturen der altsächsischen Stabreimgedichte Heliand und Genesis. C. Winter, 1991.

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Book chapters on the topic "Medieval poem"

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Blades, John. "Three Medieval Love Stories." In John Keats: The Poem. Macmillan Education UK, 2002. http://dx.doi.org/10.1007/978-1-137-11221-7_5.

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Caporicci, Camilla. "Turning the Song of Songs into English poetry: Gervase Markham’s Poem of Poems. Or Sions Muse." In The Medieval Translator. Brepols Publishers, 2020. http://dx.doi.org/10.1484/m.tmt-eb.5.120917.

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Lendinara, Patrizia. "A Poem for All Seasons: Alcuin’s “O vos, est aetas”." In Teaching and Learning in Medieval Europe. Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.pjml-eb.5.113257.

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Wieland, Gernot. "A New Look at the Poem “Archalis clamare triumuir”." In Publications of the Journal of Medieval Latin. Brepols Publishers, 2006. http://dx.doi.org/10.1484/m.pjml-eb.3.897.

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Fierro, Maribel. "The “Bestsellers” of al-Andalus." In Artistic and Cultural Dialogues in the Late Medieval Mediterranean. Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-53366-3_2.

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AbstractThere is almost no library holding Arabic manuscripts that does not include copies of some works written by Andalusi scholars, such as al-Shāṭibı̄’s (d. 590/1194) poem on Qur’ānic readings and Ibn Mālik al-Jayyānı̄’s (d. 672/1274) poem on grammar. The popularity of these and other works—related in some cases to their didacticism and in others to their encyclopaedic character—can now be ascertained thanks to the database Historia de los Autores y Transmisores Andalusíes. But why did they become so popular given that similar works produced outside al-Andalus also enjoyed circulation in the Islamic world? Are these works today those that enjoy greater popularity from among the Andalusi production? This chapter aims to provide answers to these and other questions.
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Bell, Kimberly. "“Rounes to Rede”: Ludic Reading Games in the Alliterative Wheel of Fortune Poem Somer Someday." In Games and Gaming in Medieval Literature. Palgrave Macmillan US, 2015. http://dx.doi.org/10.1057/9781137497529_9.

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de Castro Monteiro, Ricardo Nogueira. "Meaning, Identity Constructions and Deconstructions in the Song/Poem “Swift Bird”, by the Andalusian Medieval Poetess Wallada Bint al-Mustakfi." In Readings in Numanities. Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-66914-4_8.

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Sponsler, Claire. "Text and Textile: Lydgate’s Tapestry Poems." In Medieval Fabrications. Palgrave Macmillan US, 2004. http://dx.doi.org/10.1007/978-1-137-09675-3_2.

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Cré, Marleen. "Hoccleve the Poet: A Miniature." In The Medieval Translator. Brepols Publishers, 2018. http://dx.doi.org/10.1484/m.tmt-eb.5.111979.

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Yeager, R. F. "Gower in Winter: Last Poems." In The Medieval Python. Palgrave Macmillan US, 2012. http://dx.doi.org/10.1057/9781137075055_9.

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Conference papers on the topic "Medieval poem"

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Мир-Багирзаде, Ф. А. "Oriental symbolism of the ballet "Seven beauties" based on the poem by Nizami Ganjavi." In Современное социально-гуманитарное образование: векторы развития в год науки и технологий: материалы VI международной конференции (г. Москва, МПГУ, 22–23 апреля 2021 г.). Crossref, 2021. http://dx.doi.org/10.37492/etno.2021.91.54.086.

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автор исследует творческие интерпретации произведения поэта-гуманиста Низами Гянджеви (XII в.) из цикла «Хамсе» «Семь красавиц». Поэт, был подлинным эрудитом, знатоком не только коранических текстов, истории, античной и мусульманской философии, но и астрономии. Данная статья – попытка проследить ориентальную символику образов Гянджеви в одной из творческих интерпретаций поэмы «Семь красавиц», через призму хореографического и сценографического искусства. Метод исследования – семиотический анализ, объект исследования – балет «Семь красавиц», объединивший достижения современной европейской хореографии и средневековую восточную поэзию с присущей ей образностью, поставленный на музыку азербайджанского композитора Кары Караева. Композитор К. Караев активно использовал самобытные музыкальные традиции Азербайджана (музыкальные гармонии, мелодика ашугов и элементы народных азербайджанских ладов), сочетая их с европейскими мелодиями и ритмами. Анализируя фильм-балет «Семь красавиц» (1982, режиссер Федор Слидовкер) и новую постановку театра оперы и балета им. М.Ф. Ахундова (2011), автор прослеживает трансформацию либретто и предлагает собственное прочтение символики метафоричного произведения классика Низами Гянджеви. Поиски истины, красоты и справедливости всегда были уделом мыслящего человека. Восточные поэты воспевали этот поиск, этот долгий и трудный путь к истине, идеальному миру. Придворные интриги, роскошь дворца и повседневная жизнь простого народа, благородство, коварство и любовь переплелись в этой метафоричной восточной притче, которая легла в основу нескольких интерпретаций балета «Семь красавиц». Несмотря на большую степень условности, свойственной этому жанру сценического искусства, фильм-балет характеризуется драматургической многоплановостью, органическим сплетением развивающихся сюжетных линий, динамической взаимосвязью социального и лирико-психологического конфликтов. Трансформация либретто балета «Семь красавиц» свидетельствует о новом, более глубоком прочтении, приближению его к идейно-философской метафоричной концепции оригинальной поэмы Низами Гянджеви, воспетому поэтом вечному поиску истины, любви и справедливости со свойственной ему ориентальной образностью. the author explores creative interpretations of the work of the humanist poet Nizami Ganjavi (XII century) from the cycle "Khamse" – "Seven beauties". The poet was a true polymath, an expert not only in Quranic texts, history, ancient and Muslim philosophy, but also in astronomy. This article is an attempt to trace the Oriental symbolism of Ganjavi's images in one of the creative interpretations of the poem "Seven beauties", through the prism of choreographic and scenographic art. The method of research is semiotic analysis, the object of research is the ballet "Seven beauties", which combines the achievements of modern European choreography and medieval Eastern poetry with its inherent imagery, set to the music of the Azerbaijani composer Gara Garayev. The composer G. Garayev actively used the original musical traditions of Azerbaijan (musical harmonies, melodies of ashugs and elements of Azerbaijani folk modes), combining them with European melodies and rhythms. Analyzing the film-ballet "Seven beauties" (1982, directed by Fyodor Slidovker) and the new production of the Opera and ballet theater named after M. F. Akhundov (2011), the author traces the transformation of the libretto and offers his own interpretation of the symbolism of the metaphorical work of the classic Nizami Ganjavi. The search for truth, beauty, and justice has always been the province of the thinking man. Eastern poets sang of this search, this long and difficult path to the truth, the ideal world. Court intrigues, the luxury of the Palace and the daily life of the common people, nobility, guile and love are intertwined in this metaphorical Eastern parable, which formed the basis of several interpretations of the ballet "Seven beauties". Despite the great degree of conventionality inherent in this genre of stage art, the film-ballet is characterized by a dramatic diversity, an organic interweaving of developing storylines, and a dynamic relationship between social and lyrical-psychological conflicts. The transformation of the libretto of the ballet "Seven beauties" indicates a new, deeper reading, approaching it to the ideological and philosophical metaphorical concept of the original poem by Nizami Ganjavi, the poet's eternal search for truth, love and justice with its characteristic Oriental imagery.
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Jain, Priyanka. "Descolonizando a recitação de imagens." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.150.g295.

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A recitação de imagens é a arte de contar histórias em verso, acompanhada por um acessório visual, como uma pintura em pergaminho ou uma tapeçaria. Numerosas práticas de recitação de imagens eram ativas na Índia, mas sofreram durante a colonização pelos britânicos de várias maneiras. A sutil censura vitoriana do tema do erótico expresso nas narrativas religiosas (que formavam a maior parte do gênero de recitação de imagens), o apagamento da oratura como primitiva, o rebaixamento das práticas de recitação de imagens como arte popular e a divisão entre imagens (objeto e adereços que podem ser exibidos em museus) e recitação (aspectos performativos que não poderiam ser facilmente museificados), enquanto enchia museus europeus com artefatos coloniais, infligiu enormes danos às tradições vivas de recitação de imagens na Índia. Minha pesquisa, conduzida pela prática, busca descolonizar a recitação de imagens para desfazer estes danos. Seguindo o apelo de Walter Mignolo para desvincular-se da hegemonia ocidental, procuro destacar (em vez de noções europeias de beleza e estética) teorias indianas clássicas de afeto (de cerca de 300 d.C.), que podem produzir prazer estético no espectador. Assim, usando a teoria Rasa indiana clássica, bem como a subversão, eu crio narrativas contemporâneas para recitação de imagens usando fatos empíricos de pesquisas científicas (Neurociência, Microbiologia, Fitoquímica e Meteorologia) que são auxiliadas por adereços visuais feitos por amalgamação da estética da pintura em miniatura indiana medieval também como ilustração médica contemporânea. Uma pesquisa conduzida pela prática é o único método para resgatar a prática da recitação de imagens, assim como a prática contemporânea das neo-miniaturas resgatou o gênero das pinturas em miniatura da classificação do kitsch oriental. Ao investir em temas eróticos e oratura, bem como reunir imagem e recitação, espero remover os efeitos adversos da colonização de alguns gêneros de artes indianas. Concretamente, minha prática visa contemporizar a poesia sânscrita erótica clássica, que existe desde 1.000 a.C., compondo poesia erótica que incorpora pesquisa científica e criando composições de imagem e texto, como antes eram encontradas nas miniaturas indianas medievais. A segunda abordagem visa reviver a recitação de imagens usando um arquétipo indiano clássico de uma heroína que sai para encontrar seu amante enfrentando graves perigos e contemporizando-o com a leitura de neurociências. Por meio da prática, descubro minhas memórias corporais que vêm à tona durante a performance; o papel da respiração na voz; como a imagem, o texto, a voz e a performance influenciam uns aos outros iterativamente; e como o efeito é transferido através da performance para o espectador. Por meio da prática, estabeleço um campo mais amplo para os recém-chegados com maior vigor e validade do que, simplesmente, fazer eco a um apelo teórico à descolonização. A uma apresentação da recitação da imagem, será incorporado um vídeo de dez minutos.
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