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Books on the topic 'Poesia locale'
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1
Robles, Miguel. At 24th & Mission: Poesia local con esencia global. San Francisco: Jambu Press, 2010.
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Lambrinos, Stephanos. Il dialetto greco salentino nelle poesie locali: Testi, note grammaticali, vocabolario etimologico. Castrignano dei Greci (Lecce): Amaltea, 2001.
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Lambrinos, Stephanos. Il dialetto greco salentino nelle poesie locali: Testi, note grammaticali, vocabolario etimologico. Castrignano dei Greci (Le) [i.e. Lecce]: Amaltea, 2001.
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8
Martín, Fernando E. Gómez. El campo salmantino: Paisajes, figuras y costumbres en la poesía de Gabriel y Galán. Salamanca, España: Ediciones de la Diputación de Salamanca, 1992.
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9
1936-, Chappell Fred, and Fellowship of Southern Writers, eds. Locales: Poems from the Fellowship of Southern Writers. Baton Rouge: Louisiana State University Press, 2003.
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10
Gwen, Ellis. All my moonshine: Poems featuring the Wiltshire dialect, including some poems of local historical interest. Bristol: Venton, 2003.
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11
Alcides, Jofré Manuel, ed. Pateando piedras: Una antología de poesía local. [Santiago?: Instituto Nacional de la Juventud, 1992.
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14
Angeli, Bernardini Paola, ed. L' epos minore, le tradizioni locali e la poesia arcaica: Atti dell'incontro di studio, Urbino, 7 giugno 2005. Pisa: Fabrizio Serra, 2007.
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15
1920-, Holloway John, ed. The Oxford book of local verses. Oxford [Oxfordshire]: New York, 1987.
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16
Author), Fred Chappell (Corporate, and Fellowship of Southern Writers (Editor), eds. Locales: Poems from the Fellowship of Southern Writers. Louisiana State University Press, 2003.
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17
Author), Fred Chappell (Corporate, and Fellowship of Southern Writers (Editor), eds. Locales: Poems from the Fellowship of Southern Writers. Louisiana State University Press, 2003.
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18
Golden, Rachel May. Mapping Medieval Identities in Occitanian Crusade Song. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190948610.001.0001.
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Home to the troubadours and a creative monastic center, twelfth-century Occitania (the south of France) fostered a vibrant musical culture that encompassed both secular and sacred, vernacular and Latin, spanning a wealth of locally cultivated genres. Such musical-poetic impulses reflected and responded to regional practices of courtly love, chivalric ideals, votive worship, monastic theologies, pilgrimage, and Holy War. This book demonstrates the rich cross-fertilizations between early Christian Crusades and two roughly contemporaneous musical-poetic repertories of Occitania: the sacred, Latin Aquitanian versus and the vernacular troubadour lyric. These two repertories are known largely in medieval and musicological studies for reasons apart from the Crusades—for monastic piety and Marian devotion in the case of the versus, and for courtly love and authorial voices in the case of the troubadour repertory. Yet, when considered against unfolding Crusade events, these poetic-musical repertories illuminate shifting Occitanian identities and worldviews as refracted by contemporaneous devotional practices, religious beliefs, and geographies, both physical and metaphoric. The author’s contextual investigations and musical-textual interpretations reveal how Crusade songs distinctively arose out of their southern French environments, at a historical moment when Holy War and new genres of musical composition coincided. Engaging both the outer world and the poet’s subjectivity, Crusade songs shaped regional identities, enacting individual concerns, the communal homeland, religious and military aspirations, and specific historical and geopolitical positions.
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Fraleigh, Matthew. At the Borders of Chinese Literature. Edited by Carlos Rojas and Andrea Bachner. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780199383313.013.19.
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Familiarity with canonical Chinese texts and competence in the composition of Literary Sinitic poetry and prose had long provided intellectuals from the Chinese mainland, the Korean peninsula, and the Japanese archipelago with a means to communicate and even engage in literary exchanges with one another in the absence of a shared spoken language. These forms of interaction continued to thrive well into the modern period, even as relations between China, Japan, and Korea came to be structured by new forms of diplomacy premised upon the nation-state. This chapter examines poetic exchanges between East Asian intellectuals in the late nineteenth century, looking in particular at the experience of several late Qing poets, scholars, and statesmen in Japan. Even as Sinitic textuality played an important role as a shared point of reference in public discourse across the region, such commonality existed alongside distinctive performance traditions and other local frames of reference.
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Mahmudabad, Ali Khan. Poetry of Belonging. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190121013.001.0001.
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This book examines facets of North Indian Muslim identity, c. 1850–1950. It focuses specifically on the role of literature and poetry as the medium through which certain Muslim ‘voices’ articulated, negotiated, configured, and expressed their understandings of what it meant to be Muslim and Indian, given the sociopolitical exigencies of the time. Specifically, a history of the public space of poetry will be presented and half of the book will chart a history of the mushā‘irah (poetic symposium) over this period. In doing so it will analyse the multiple ways in which this space adapted to the changing economic, social, political and technological contexts of the time. The second half of the book will present a history of the ideas that were often articulated in the space of the mushā‘irah and changing notions of the watan (homeland) amongst various Muslim individuals will be analysed. In particular, the book will seek to locate changing ideas of hubb-e watanī (patriotism) in order to offer new perspectives on how Muslim intellectuals, poets, political leaders, and journalists conceived of and expressed their relationship to India and to the trans-national Muslim community. Thus the book will seek to locate the different registers and rhetorics of belonging in order to illustrate the diverse and disparate ways in which Muslims expressed ideas of qaum (community), millat, and ummah (religious fraternity) and their effect on Indian Muslim political identity.
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Cohen, Richard I., ed. Erica Lehrer and Michael Meng (eds.), Jewish Space in Contemporary Poland. Bloomington: Indiana University Press, 2015. 312 pp. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190912628.003.0026.
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This chapter reviews the book Jewish Space in Contemporary Poland (2015), edited by Erica Lehrer and Michael Meng. Jewish Space in Contemporary Poland is a collection of essays that navigates between changing interpretations and reshapings of material sites by contemporary actors; representations of the past in Polish media (films, museum exhibits, video projects); and the poetic resonances of nostalgia and mourning. With the Holocaust as a backdrop, the book examines contemporary power politics in Poland with regard to Jewish space. Topics include Oswiecim/Auschwitz as a source of contention and conflict between both Jews and Christians and the tourism/heritage industry and local inhabitants; the politics of preservation in Polish shtetls; conflicting forms of memory (Communist, Polish nationalist, Catholic, Jewish) surrounding Holocaust/World War II memorials in Galicia; and the negotiation of conflicting understandings of Polish Jewish history in the Warsaw showcase space of the Museum of the History of Polish Jews.
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Gaztambide, María C. El Techo de la Ballena. University Press of Florida, 2019. http://dx.doi.org/10.5744/florida/9781683400707.001.0001.
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In El Techo de la Ballena, María C. Gaztambi depresents an account of the visual arts production of the Caracas-based collective El Techo de la Ballena (active 1961−69). In spite of evident convergences with other global art tendencies, these radicalized artists from Venezuela anchored their multidisciplinary interventions in a fundamental retrograde stance which, in the author’s view, represented a deliberate inversion of an internationallyaligned modernity hinging on the need for constant evolution and progress in the visual arts. El Techo’s against-the-grain position became the basis for a disorderly project of grief that counteracted the swiftness by which Venezuela fast-tracked its modernization (in the sense of material and technological progress) and consumed international modernism (its cultural production). Against this fragmentary development, El Techo deployed an integrated approach to art-making that included artworks with multiple meanings, alternative exhibition spaces, politicized actions, as well as highly confrontational printed materials. All these elements came together into a single, indivisible body of work merging the visual, the poetic, the performative, and the political. Yet Venezuela’s eroded local environment required an outright unsettling through extreme scatological content and strategies that the balleneros qualified as “a biological art, violently exuded from our bowels…” Theirs was a total output that tested the limits of art to provoke an anesthetized local public under the motto of cambiar la vida, transformar la sociedad(to change life, to transform society).
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Hoxby, Blair. Passions. Edited by Henry S. Turner. Oxford University Press, 2017. http://dx.doi.org/10.1093/oxfordhb/9780199641352.013.29.
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This chapter examines the theory of the passions in relation to early modern theatre. It first considers the reception of Aristotle’sPoeticsand particularly how the writings of ancient critics located the essence of tragedy in the passions that it imitated and aroused. It then turns to John Dryden and John Milton, who both regarded the passions, not ‘character’, as the most important objects of imitation, and reconstructs a critical and poetic world in which the ‘personation’ of passion was thought to be essential to the formal capacities of theatre and the source of the profound collective experiences it made possible. It also explores the passions in dramatic poetry and on stage, along with the emergence of character as a more important unit of dramatic meaning than passion. The chapter concludes by suggesting that William Shakespeare also sought to represent and sway the passions, and therefore did not lie outside the mainstream of early modern theatre.
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Freer, Alexander. Wordsworth's Unremembered Pleasure. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198856986.001.0001.
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Wordsworth’s writing detects and investigates pleasures that are overlooked, underacknowledged, and ‘unremembered’. This book explores Wordsworth’s sustained interest in the ethical and aesthetic value of lost, inaccessible, and unfelt pleasure throughout his poetry and critical prose. Such pleasures are marginal and fleeting; they pass by silently and are recognized only retrospectively. Yet they shape the aims, technique, and ultimately the whole affective economy of Wordsworth’s writing. Rather than understanding the domain of pleasure to be subjective personal experience, Wordsworth posits affects and attachments beyond conscious experience and possession. By tracing the intertwined history of romanticism and psychoanalysis, the work teases Wordsworth’s interest in unnoticed experience apart from the psychoanalytic concepts that have shaped our understanding of it. Reading Wordsworth against Freud, it rethinks central critical categories: repression, sublimation, mourning, happiness, pleasure, and the gift. In Wordsworth’s account of composition, it locates the resources to rethink poetic pleasure: not as wish-fulfilment, nor as aesthetic escape, but as an engaged and reparative relation to the world.
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Lerner, Ross. Unknowing Fanaticism. Fordham University Press, 2019. http://dx.doi.org/10.5422/fordham/9780823283873.001.0001.
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We may think we know what defines religious fanaticism: violent action undertaken with dogmatic certainty. But the term “fanatic,” from the European Reformation to today, has never been a stable term. Then and now it has been reductively defined to justify state violence and to delegitimize alternative sources of authority. Unknowing Fanaticism rejects the simplified binary of fanatical religion and rational politics and turns to Renaissance literature to demonstrate that fanaticism was integral to how both modern politics and poetics developed, from the German Peasant Revolts of the 1520s to the English Civil War in the mid-seventeenth century. This book traces two entangled approaches to fanaticism in the long Reformation: the targeting of it as a political threat and the engagement with it as an epistemological and poetic problem. In the first, thinkers of modernity from Martin Luther to Thomas Hobbes and John Locke positioned themselves against fanaticism to dismiss dissent and abet theological and political control. In the second, the poets of fanaticism investigated the link between fanatical self-annihilation—the process by which one could become a vessel for divine violence—and the practices of writing poetry. Edmund Spenser, John Donne, and John Milton recognized in the fanatic’s claim to be a passive instrument of God their own incapacity to know and depict the origins of fanaticism. This crisis led these writers to experiment with poetic techniques that would allow them to address fanaticism’s tendency to unsettle the boundaries between reason and revelation, human will and divine agency.
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Talbot, Ian, and Tahir Kamran. Poets, Wrestlers and Cricketers. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190642938.003.0005.
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Chapter four discusses the impact of colonial rule on traditional cultural and sporting pastimes and the new activities that emerged, most notably cricket. There are three case studies of mushairas (poetic contests), wrestling and cricket. The chapter reveals how their key participants in Lahore were able to perform on a wider stage because of the communications revolution. Nonetheless, they remained rooted in the mohallas and local institutions of the city. Lahore’s mushairas of the 1870s which received contributions from Muhammad Hussain Azad and Altaf Hussain Hali are seen as possessing an important impact on the evolution of Urdu poetry in North India. Competitions took Lahore’s most famous wrestler Gama from his akhara (wrestling arena) in the city to England. Many of Lahore’s most famous colonial era cricketers lived in the Bhati Gate and Mochi Gate area. The fierce rivalry in the 1920s and 1930s between Islamia College and Government College drew talent from across the Punjab. Cricket was not divided on communal lines, Lala Amarnath the future Indian test captain who toured England in the 1930s played for the Crescent Club based at Minto Park which was patronized by the middle class Rana family of the Mochi Gate locality.
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Long, Megan Kaes. Hearing Homophony. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190851903.001.0001.
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This book examines a repertoire of homophonic vernacular partsongs composed around the turn of the seventeenth century, and considers how these partsongs exploit rhythm, meter, phrase structure, and form to craft harmonic trajectories. Giovanni Giacomo Gastoldi, Thomas Morley, Hans Leo Hassler, and their contemporaries engineered a particular kind of centricity that is distinctively tonal: they strategically deployed dominant harmonies at regular periodicities and in combination with poetic, phrase structural, and formal cues, thereby creating expectation for tonic harmonies. Homophony provided an ideal venue for these experiments: spurred by an increasing demand for comprehensible texts, composers of partsongs developed rigid text-setting procedures that promoted both metrical regularity and consistent phrase rhythm. This rhythmic consistency had a ripple effect: it encouraged composers to design symmetrical phrase structures and to build comprehensible, repetitive, and predictable formal structures. Thus, homophonic partsongs create and exploit trajectories from dominants to tonics on multiple scales, from cadence to sub-phrase to phrase to form. Ultimately, this book argues for a model of tonality—and of tonality’s history—that centers not pitch, but rhythm and meter. Metrically oriented harmonic trajectories encourage tonal expectation. And we can locate these trajectories in a variety of repertoires, including those that we traditionally understand as “modal.”
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Duarte, Daniele Almeida, and Denise Kloeckner Sbardelotto. Barragens e seus impactos. Edufatecie, 2021. http://dx.doi.org/10.33872/edufatecie.barragens.
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Entram em cena estudos sobre o tema cumprindo não somente uma postura científica que expressa rigor acadêmico, mas também social e ético-político ao reverberar as vozes das pessoas atingidas por barragens e daqueles mobilizados para lidar com seus efeitos devastadores. São populações ribeirinhas, comunidades e trabalhadores que tiveram sua atividade usurpada ou cessada pelas novas condições de existência, trabalhadores que sofreram com acidente de trabalho ampliado, trabalhadores acionados para atuar com desastres efetivados e aqueles que atuam na ponta, dia a dia, nos equipamentos socioassistenciais para lidar com as mazelas de quem sofre/sofreu o processo de expulsão de seus modos de vida. Percebemos, nesse cenário que as diferentes barragens e etapas de sua concepção resguardam similaridades com a vivência da catástrofe acerca de seus desdobramentos que acometem histórias de crianças, jovens, adultos e velhos que se imiscuem à lama, poeira e concreto. Nesse percurso, as resistências e enfrentamentos junto aos movimentos sociais, organizações de base, lideranças locais e distintos coletivos são fundamentais para confrontar o desamparo e a morte – seja de si, seja da memória.
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Martin, Randall. Shakespeare and Ecology. Oxford University Press, 2015. http://dx.doi.org/10.1093/oso/9780199567027.001.0001.
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Shakespeare and Ecology is the first book to explore the topical contexts that shaped the environmental knowledge and politics of Shakespeare and his audiences. Early modern England experienced unprecedented environmental challenges including climate change, population growth, resource shortfalls, and habitat destruction which anticipate today's globally magnified crises. Shakespeare wove these events into the poetic textures and embodied action of his drama, contributing to the formation of a public ecological consciousness, while opening creative pathways for re-imagining future human relationships with the natural world and non-human life. This book begins with an overview of ecological modernity across Shakespeare's work before focusing on three major environmental controversies in particular plays: deforestation in The Merry Wives of Windsor and The Tempest; profit-driven agriculture in As You Like It; and gunpowder warfare and remedial cultivation in Henry IV Parts One and Two, Henry V, and Macbeth. A fourth chapter examines the interdependency of local and global eco-relations in Cymbeline, and the final chapter explores Darwinian micro-ecologies in Hamlet and Antony and Cleopatra. An epilogue suggests that Shakespeare's greatest potential for mobilizing modern ecological ideas and practices lies in contemporary performance. Shakespeare and Ecology illuminates the historical antecedents of modern ecological knowledge and activism, and explores Shakespeare's capacity for generating imaginative and performative responses to today's environmental challenges.
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Tian, Xiaofei, ed. Reading Du Fu. Hong Kong University Press, 2020. http://dx.doi.org/10.5790/hongkong/9789888528448.001.0001.
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This is the first collection of English essays on Du Fu, commonly regarded the greatest Chinese poet. Contributed by well-known experts of Chinese literature as well as scholars of a younger generation, these essays are engaged in historically nuanced close reading of Du Fu’s poems, both canonical and less known, from new angles and in various contexts. They discuss a series of critical issues, including the local and the imperial; the body politic and the individual body; poetry and geography; perspectives on the complicated relation of religion and literature; materiality and contemporary reception of Du Fu; poetry and visual art; tradition and modernity. Many of the poems analyzed in the volume were written in the backwater Kuizhou, far from Du Fu’s earlier residence in the capital city Chang’an, at a time when the Tang dynasty was going through devastating social and political disturbances. The authors contend that Du Fu’s isolation from the elite literary establishments allowed him to become a pioneer who introduced a new order to the Chinese poetic discourse. However, his attention to details in everyday reality, his preoccupation with domestic life and the larger issues embroiled in it, his humor, and his ability to surprise tend to be obscured by the clichéd image of the “poet sage” and “poet historian”—an image this collection of essays successfully complicates.
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Graves, Margaret S. Arts of Allusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190695910.001.0001.
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The art of the object reached unparalleled heights in the medieval Islamic world, yet the deep intellectual dimensions of ceramics, metalwares, and other plastic arts in this milieu have not always been acknowledged. Arts of Allusion reveals the object as a crucial site where premodern craftsmen of the eastern Mediterranean and Persianate realms engaged their creations in fertile dialogue with poetry, literature, painting, and, perhaps most strikingly, architecture. Through close studies of objects from the ninth to the thirteenth centuries, this book reveals that allusions to architecture abound across media in the portable arts of the medieval Islamic world. Arts of Allusion draws upon a broad range of material evidence as well as medieval texts, from works of philosophy and ethics to marketplace manuals, to locate its subjects in a nuanced cultural landscape where the material, visual, and verbal realms were intertwined. Moving far beyond the initial identification of architectural types with their miniature counterparts in the plastic arts, it develops a series of new frameworks for exploring the intelligent art of the allusive object. These address materiality, representation, and perception, and examine contemporary literary and poetic paradigms of metaphor, description, and indirect reference as tools for approaching the plastic arts. Arts of Allusion makes a powerful case for the role of the intellect in the applied arts and for the communicative potential of ornament. Simultaneously, it argues for the reinstatement of craftsmanship into Islamic intellectual history.
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Liveley, Genevieve. Narratology. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199687701.001.0001.
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This book explores the extraordinary contribution that classical poetics has made to twentieth- and twenty-first-century theories of narrative. Its aim is not to argue that modern narratologies simply present ‘old wine in new wineskins’, but to identify the diachronic affinities shared between ancient and modern stories about storytelling, recognizing that modern narratologists bring particular expertise to bear upon ancient literary theory and offer valuable insights into the interpretation of some notoriously difficult texts. By interrogating ancient and modern narratologies through the mutually imbricating dynamics of their reception it aims to arrive at a better understanding of both. Each chapter selects a key moment in the history of narratology on which to focus, zooming in from an overview of significant phases to look at core theories and texts—from the Russian formalists, Chicago school neo-Aristotelians, through the prestructuralists, structuralists, and poststructuralists, to the latest unnatural and antimimetic narratologists. The reception history that thus unfolds offers some remarkable plot twists. It unmasks Plato as an unreliable narrator and theorist, and offers a rare glimpse of Aristotle putting narrative theory into practice in the role of storyteller in his work On Poets. In Horace’s Ars Poetica and in the works of ancient scholia critics and commentators it locates a rhetorically conceived poetics and a sophisticated reader-response-based narratology evincing a keen interest in audience affect and cognition—and anticipating the cognitive turn in narratology’s mot recent postclassical phase.