Academic literature on the topic 'Prosaic literary genre'

The article analyzes the unassembled cycle of I.A. Bunin’sthree texts with the same title «In the Alps». The poem and the chronologically first short story with the same title were written at the beginning of the writer’s literary career. At that time Bunin learned from outstanding predecessors in order to find his own poetic voice and place in the field of literature. The result of the searches showed the invention of a unique genre – the genre of prosaic miniature. Then, half a century after publication of the first texts «In the Alps»,the third short story with the same titleappeared. The meaning of the toponym «The Alps» in the title of the short stories is explained by appealing to Bunin’s memoirs and self-describing notes. The concept «The Alps» in his literary works is initiated, on the one hand, by the writer’s first trip to Switzerland, and, on the other hand, by the parallel reception of the so-called «Swiss myth» in the works of European and Russian romantic poets and writers: G. G. Byron and V.A. Zhukovsky. While the motifs and imagery system of Bunin’s «alpine » cycle is inherited from his predecessors, the innovations of his literary method are demonstrated in the narrative organization of the texts.

The «from the diary» genre is difficult to study, since the indication of the origin is more significant than formal or substantial features, and the relationship between such an enhanced appeal to the origin and the development of creative design remains unclear. On the example of the use of this genre in the works by O. Sedakova, who designated a number of poetic and prosaic texts in this way, the characteristic of this genre is given as special type of literary reflection, comparable to table-talks (conversations easily), but distinguished by a more strict compositional organization. A comparison of poetic and prose works «from the diary» in the works of O. Sedakova allows to show general compositional principles of this genre, which are determined by the peculiarity of argumentation, and to explain some features of poetics. It is proved that the «from the diary» genre turns out to be a study of how non-semiotic meaning (or sense itself) is possible, not obeying the usual patterns of meaning production, but arising as a gap of experience. This genre is far from fragment or lyrical sketch, but it is, on the contrary, a thoughtful and consistent manifesto of understanding meaning as event, a special philosophy of the event and thing, stemming, inter alia, from the work of the diary organization itself. Thus, this genre, despite the marginality, is highly auto-reflective and should be considered as a productive version of autofiction.

This article examines the unfinished Mikhail Lermontov’s novel “Vadim”. This oeuvre is one of the signature works of the writer: on the one hand, it recapitulates the earlier period of Lermontov’s works, while on the other – represents a stepping stone, characterized by mastering new genres and reflecting general trends of Russian literature of the beginning of the 1830’s. The goal consists in the analysis of central conflict unfolded between the protagonists Vadim and Olga, which reflects choice of a person between good and evil. The historical-literary and hermeneutic methods are applied in the course of this research. The novelty lies in the author’s suggestion to examine romantic conflicts in the context of Christian worldview. The implications of M. Y. Lermontov’s novel are decoded via attraction of the texts of Holy Scripture, which leads to the conclusion that the beginning of work on the novel “Vadim” coincides with Lermontov’s heightened interest to the problem of good and evil in Christian understanding. Mastering the new prosaic genre, the writer continues to amplify the common to his works theme of interaction of the Divine, angelical, demonic and human beginnings.

The article is devoted to the manifestations of musicality in N.S. Leskov’s works and its influence on other artworks created on the writer’s plots (specifically, in the genre of opera). The author focuses on the tale “The Left-Hander”, using as examples phrases of one of the characters, Ataman Platov.The approach proposed by the author is based on a structural, genre and intonation-rhythmic analysis of the primary source text, with documentation of its features. The potential intonation and rhythmic variants of reading individual literary phrases, recorded using conventional musical notation, allow not only to visually compare the shades of their semantic content, but also to correlate them with the musical versions presented in R.K. Shchedrin’s opera “The Left-Hander” (2013). The correlation of the graphic schemes of intonation structures of textual and melodic phrases allows to substantively determine the correspondences and discrepancies in them. In addition, the article notes such musical expressive means that make it possible to convey the intonation of characters’ speech and to outline the characteristic features of their image, such as timbre, tempo, dynamics, etc.Basing on the conducted research, the author makes a conclusion about the influence of text intonations on the formation of perception of characters’ image and the melody of their “musical” speech.The method of intonation-rhythmic analysis of a prosaic literary text, proposed by the author, is a new development in the field of studying the problems of the mutual influence of literature and music; it can find wide application in research in this direction.

The paper considers one of the main landscape codes of Kolyma Yukaghir hunters and fishermen, namely, the code of water / river. The significance of the water resources of the forest and taiga zone as lactating, transporting, and serving as a reference point in space is captured in the oral folklore of the forest Yukaghirs (Oduls). The image, functions, and significance of water/river according to folklore genres are considered. The pagan appeals to the deified “nursing” elements, their attendant rites, and modern functioning are analyzed. Lyric songs are closely adjacent to this genre, with the maternal nature of the water element functionally highlighted in them. In prosaic texts, the poetic component of the macro image of the water / river is reduced, and the text can directly or indirectly report a real or potential danger emanating from the water. The nursing function of the elements in them is only implied; the river acts as a transport artery, serving as a landmark on the ground. The ambivalent symbolism of water is clearly reflected in the ancient fairy-tale cycle about Mythical old peoplecannibals, legends about the struggle with neighboring peoples, little stories. In the stories about shamans, the magical power of water is actualized. The analysis of the multi-genre texts showed the ambivalence of the water element, on the one hand, lyrically sung in songs and ritual folklore, on the other, bearing a real threat and the potentiality of meeting with hostile creatures. The basis of this algorithm is the feeling of constant anxiety, the need for a quick response, and the adoption of protective responses. The factors identified could influence the formation of the ethno-psychological world of the northern nomad.

Resumo: Os textos de Adília Lopes colocam um desafio ao leitor que os quiser classificar segundo o género, seja segundo o que alguns chamaram os modos literários (categorias meta-históricas) relacionados com a perspetiva do discurso – lírico? narrativo? – seja na perspetiva da visão do homem – trágico? cómico? ou tragicómico? – seja quanto aos géneros literários (como categoria histórica) – poema? crónica? diário? – ou ainda aos subgéneros: paródia? citação? Ao longo dos textos desta autora vai-se construindo uma personagem autoral e desenhando uma crónica de costumes e vivências do quotidiano citadino, de uma classe média alta lisboeta, sob uma perspetiva em que o género, no sentido de gender é essencial. Em Estar em casa, última obra da autora, publicada em 2018, o modo menor, prosaico, pouco glorioso e paródico como é visto esse quotidiano desenha uma crónica tuga (crónica, diário ou romance?) como parece subentender o verso “Um poema um romance tuga” (LOPES, 2018, p. 20) ao usar a designação pejorativa tuga por português. Esse romance tuga é criado com base nas vozes que habitam a casa e o universo familiar do eu lírico/narradora (memórias), composto não só pelo mundo que a rodeia como pelo universo de leituras que influenciam direta e indiretamente a escrita. É nesse sentido que se analisa a obra mais recente da autora, Estar em casa. A citação de vozes várias e de textos numa perspetiva antropofágica e paródica é associada à defesa de uma imagem do corpo da mulher segundo as novas perspetivas do conceito positivo do corpo gordo.Palavras-chave: Adília Lopes; género; paródia; conceito positivo do corpo gordo; casa/mundo.Abstract: The texts of Adília Lopes pose a challenge to the reader who wants to classify them according to the genre, according to what some have called the literary modes (meta-historical categories) related to the perspective of the discourse – lyric? narrative? – whether from the perspective of man’s vision – tragic? comic? or tragicomic? – as for literary genres (as historical category) – poem? chronic daily? – or to subgenera: parody? quote? Throughout the author’s texts, an authorial character is constructed and a chronicle of customs and experiences of the daily life of a city of Lisbon, from a middle-class, under a perspective in which gender, is essential. In Estar em Casa, the last work of the author, published in 2018, the minor, prosaic, little glorious and parodic mode as seen in this everyday life draws a chronic tuga (chronicle, diary or novel?) As seems to imply the verse “A poem a romance tuga“, when using the pejorative designation tuga, by Portuguese. This tuga novel is created based on the voices that inhabit the home and the familiar universe of the lyrical / story teller (memories), composed not only by the world around it but also by the universe of readings that directly and indirectly influence writing. It is in this sense that the most recent work of the author, Estar em casa, is analyzed. The quote of various voices in an anthropophagic and parodic perspectives is associated with the defense of an image of the woman’s body, according to the new perspectives of the positive concept of the fat body.Keywords: Adília Lopes; genre; gender; parody; positive concept of fat body; home/world.

In 1904, medievalist critic William Henry Schofield declared that the fourteenth-century poem Pearl was not an elegy, overturning an assumption that had persisted since the poem's first publication in 1864. This article focuses on the question of Pearl's genre and its relation to the Victorian literary culture into which the poem was reborn. I argue that Victorian critics did not read Pearl simply as an elegy, but as a Victorian elegy, a genre with a very particular cluster of thematic and formal attributes – and, indeed, a heightened sensitivity to the fit between theme and form. Although Pearl is five centuries older than In Memoriam, its long latency as a manuscript and its subsequent revival fourteen years into the In Memoriam craze created the impression that the medieval poem followed and was somehow derived from the Victorian one. This article proposes that Victorian models of form and genre were powerful enough to work backward. Pearl's late-century reception demonstrates how thoroughly In Memoriam defined Victorian poetics not only by instigating new prosodic fashions, but also by shaping the reading practices with which Victorians approached their literary historical past.

Lullabies are essentially sung for their soothing nature but, as this article shows, they have other important functions. One of the most important of these is that lullabies may provide much-needed language stimulation with important long-term consequences for future learning. This paper begins the work of addressing the dearth of scholarly research on lullabies, especially in the Yoruba (Nigeria: Niger-Congo) culture. It looks at the range of themes, dictions, and prosody that are intertwined to reveal Yoruba beliefs and world-views about children, starting with their time in the womb. The study uses a descriptive survey method to analyse data collected through participant observation. It shows that Yoruba lullabies not only offer insights into Yoruba cultural beliefs but also depend greatly on figurative expression and prosodic systems. These rich literary qualities identify lullabies as the earliest sub-genre of children's poetry.

Current discussions on the development of modern literary genres and aesthetic conventions in nineteenth-century colonial Bengal have tended, perhaps because of its relative neglect in the modern day, to ignore the seminal role of poetry in formulating the nationalist imagination. In academic discourse, the coming together of the birth of the novel, the concept of history and the idea of the nation-state under the sign of the modern has led to a collective blindness toward the forceful intervention of poetry and song in imagining the nation. Thus Dipesh Chakrabarty, in a chapter devoted to poetry in Provincializing Europe, ironically elides any mention of it at the crucial instance of the formulation of national modernity, when he takes his argument about the division between the prosaic and the poetic in Tagore further to say, without mentioning the seminal role of poetry, that: ‘The new prose of fiction—novels and short stories—was thus seen as intimately connected to questions of political modernity’. Partha Chatterjee discusses, in the introduction to The Nation and Its Fragments, the shaping of critical discourse in colonial Bengal in relation to drama, the novel, and even art, but ignores completely the fiercely contested and controversial processes by which modern Bengali poetry and literary criticism were formulated. ‘The desire to construct an aesthetic form that was modern and national’, to use his words, ‘was shown in its most exaggerated shape’ not, it is my contention, in the Bengal school of art in the 1920s as he says, but long before that in the poetry of Rangalal Banerjee, Hemchandra Bandyopadhyay, Madhusudan Dutt, and Nabinchandra Sen, and in the literary criticism and controversy surrounding their work.

This final dissertation is aimed to analyse the different ways in which feminism can influence and convey its ideas and values through literature, especially Young Adult fiction. In fact, this dissertation relies upon the translation of various paragraphs of Holly Bourne’s YA novel, What’s a Girl Gotta Do? As for the structure of the dissertation, the first chapter will explore the contributions to literature of feminist translators and critics, by illustrating their aims and strategies. As evidence, the second chapter will establish a general framework regarding the role of women in the history of the Italian publishing market. Moreover, the chapter also contains a study that I performed analysing the digital catalogues of five different Italian publishing houses: Arnoldo Mondadori Editore, Fanucci Editore, DeA Planeta Libri, Casa Editrice Nord and Il Saggiatore. From the third chapter on, the focus is shifted to Young Adult literature, so the chapter will introduce thoroughly this type of narrative, by illustrating its features, its main themes and its role in conveying feminist values to teenagers. Then, the following chapter will focus on Holly Bourne, by presenting her biography and her novels, however the emphasis will also be on her idea of feminism and on the introduction of the main characters of What’s a Girl Gotta Do? The fifth chapter will delve into the feminist critical analysis of the novel, by taking into consideration the main themes of the book, particularly feminism, the way in which the main female characters are portrayed and the nature of their relationship with male characters. In the end, it will be considered if the novel provides young readers some positive and realistic female role models. Finally, the last chapter will present the translation of the selected paragraphs of What’s a Girl Gotta Do?, including an analysis of the difficulties faced during the translation process and the solutions adopted.

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This research has as focus the possibilities of communication as result of the relationship between the chronicles and poetry of Cecília Meireles. In the first moment we turn to the comparison of her verses and prose, our corpus of study: the book Episódio Humano, published posthumously in 2007. We present, a minuscious analysis of the elements that compose the poetic genre, besides the definition of chronicle, the caracteristics and transformation along the history. The thoughts of Roman Jakobson, Jean Cohen, Tzevtan Todorov, Henry Suhamy, Maurice-Jean Lefebve, Octavio Paz, Antonio Candido and Massaud Moisés were essential to the development of this work. Through the inherent poetic sign aspects we can see the possible dialogues found between the different texts of Cecília Meireles, and answer the essential question: Is there poeticity in the chronicles Episódio Humano? In other words, is there confluence between the prose and the poetry in the studied work? Does the carioca writer reveal herself on prose the poetess she is on verses? Critics of the first phase of modernism or of a more mature moment of our literature helped us to answer this question. By preparing the chapter Critical Fortune of Cecília Meireles , we obteined some important reviews regarding the production of the poetess. Here is a brief definition about the art of the writer under the light of the critic Nunes Sampaio: The poetry of Cecília Meireles is one of the most pure, beautiful and valuable manifestation of the contemporary literature . This thought is intended just tostir our expectation in relation to Cecília s poetry
Esta pesquisa tem como abordagem as possibilidades comunicativas que resultam das relações entre a crônica e a poesia de Cecília Meireles. Para tanto, recorremos, num primeiro momento, à comparação entre os versos da escritora e a sua obra em prosa, nosso corpus de estudo: o livro Episódio Humano, publicado postumamente em 2007. Apresentamos, ainda, uma minuciosa análise dos elementos que compõem o gênero poético, além da definição sobre crônica, suas características e transformações ao longo da história. O pensamento de teóricos como Roman Jakobson, Jean Cohen, Tzevtan Todorov, Henry Suhamy, Maurice-Jean Lefebve, Octavio Paz, Antonio Candido e Massaud Moisés foram essenciais para o desenvolvimento deste trabalho. Por meio da abordagem dos aspectos inerentes ao signo poético, vislumbramos os possíveis diálogos existentes entre os textos distintos de Cecília Meireles, e respondemos à pergunta essencial: há poeticidade nas crônicas de Episódio Humano? Ou seja, há confluência entre a prosa e a poesia na obra estudada? A escritora carioca revela-se, na prosa, a poeta que é nos versos? Críticos da fase primeira do modernismo ou de um momento mais maduro de nossa literatura nos ajudaram a responder a esse questionamento. Ao elaborarmos o capítulo Fortuna crítica de Cecília Meireles , obtivemos algumas preciosas opiniões acerca da produção da poeta. Eis uma breve definição sobre a arte da escritora à luz do crítico Nunes Sampaio: A poesia de Cecília Meireles é uma das mais puras, belas e válidas manifestações da literatura contemporânea. Esse pensamento serve apenas para aguçar as nossas expectativas em relação à poética ceciliana

Que signifie repenser l’Histoire littéraire et l’Histoire du roman comme Histoire culturelle ? Le point de départ de notre questionnement sur les formes de représentation adoptées par l’Histoire littéraire porte sur la doxa critique selon laquelle il existe une relation génétique entre l’épopée et le roman, dont la source se trouve dans ce qu’il est convenu de voir comme le texte fondateur de la littérature, l’épopée d’Homère et celui de la théorie littéraire, la Poétique d’Aristote. Si l’épopée homérique est une œuvre de la tradition orale, quelle est sa relation avec le roman, issu, lui, de la scripturalité et de l’émergence de la prose ? Si les récits en prose narrative de fiction apparaissent dans des civilisations sans épopée, quelle est la condition nécessaire pour leur émergence ? Si, de plus, l’apparition d’une prose narrative de fiction est précédée de plusieurs siècles de celle d’une historiographie et que ce phénomène se répète aussi bien dans la Grèce classique qu’au Moyen Âge européen, ou encore en Chine, quelle est la condition nécessaire pour l’essor du roman ? Nous présentons ici l’ébauche d’une Histoire alternative des origines du roman dans la Weltliteratur, en relation avec l’émergence de la scripturalité et la prose et l’essor de l’historiographie À la croisée de plusieurs disciplines académiques, notamment entre les sciences humaines et sociales, notre recherche fait appel d’une part à la théorie et à l’Histoire de la littérature, d’autre part à l’Histoire de l’historiographie, ainsi qu’à la théorie et la philosophie de l’Histoire
Is it possible to rethink Literary History and in particular the History of the Novel as Cultural History which seeks to differentiate between an historical object and it’s representation? Considering the critical doxa, according to which, there exists a genetic link between epics and the novel, leads to one of Western thinking’s most stubborn myths. If epics, and particularly Homer’s, is seen as the novel’s ascendant , although it belongs to oral tradition, how does it explain the fact that as Ancient civilizations as Egypt or China or Israel developed sophisticated prose narratives without having epics? Moreover, if Western literary history refers to Aristotle’s Poetics as it’s foundational text, although by the time it was written, fictional prose didn’t exist yet, and was only to develop a few centuries later, shouldn’t we seek for the missing link between the oral tradition and the rise of the novel? As against this hegemonic and unhistorical representation that considers the novel genre as a Western invention, and as opposed to the historical circumstances that gave birth to the novel, we consider that the key to understanding this phenomenon lies in the emergence of literacy and prose. Indeed, in all civilizations that developed fictional prose writing, it was systematically preceded, not by epics, but by historiography. Our PHD dissertation presents an alternative History of the novel, whose angle is intercultural and interdisciplinary, aiming at recreating a new chronology of the emergence of the novel as a an inevitable historical genre in world’s literature

MELO, Bárbara Olímpia Ramos de. A apropriação dos gêneros textuais: concepções, diretrizes e expectativas na alfabetização de jovens e adultos. 2003. 108f. Dissertação (Mestrado em Linguistica) – Universidade Federal do Ceará, Departamento de Letras Vernaculas, Programa de Pós-Graduação em Linguística, Fortaleza-CE, 2003.
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Taking into consideracition that the written language is a means of interaction among people and that it is in that perspective that it should be taught in literacy classes, the main objective of this work was to investigate how it is conceived in the teaching-learning process of writting skills in youth and adult’s literacy programmer . To this end, we analysed the curricular proposal, the textbook used in youth and adult’s literacy classes and the teacher’s manual, as well as questionnaires answered by students and teachers. As theorical support for the alphabetization process, we researched works by Ferreiro (1983) and follwers, Tfouni (1988) and Soares (2000) sewed as theorical basis for the issues pertaining literacy. Bakthin (2000) was the basis for the central notion of textual genre. In general lines, we noticed that the teaching writing skills happens permeated by the following problems: a) despite the fact that curricular proposal and the teacher’s manual present a conception of writing based on social-cognitive aspects, this approach is not present in the in-training sessions or the writing activities carried out in the classroom; b) textual genre definition as well as the designation of the various textual genres required in classroom activities is still very unstable; c) the textual genres proposed in the writing activities do not fulfill the student’s learning expectations ; d) there is a discrepancy between what the teacher says he/she is working in the classroom and what the student says he/she is learning
Levando em consideração que a língua escrita é um meio de interação entre as pessoas e que é nessa perspectiva que devem ser desenvolvidas as atividades em ambiente de sala de aula de alfabetização, o objetivo principal desse trabalho foi investigar como é concebido o processo de ensino-aprendizagem da escrita em um programa de alfabetização de jovens e adultos. Para isso, analisamos a proposta curricular, o livro didático de alfabetização de jovens e adultos e seu respectivo manual do professor, além de questionários respondidos por alunos e alfabetizadores. Para tanto, recorremos ao suporte teórico de Ferreiro (1999) e seguidores para as questões pertinentes à alfabetização; Tfouni (1988) e Soares (2000) fundamentaram as questões relativas ao letramento; e Bakthin (2000) respaldou a noção central de gênero textual. Constatamos, em linhas gerais, que o ensino da escrita ainda acontece permeado por problemas de diversas ordens a seguir enumeradas: a) apesar de a proposta curricular e do manual do professor do livro didático esboçarem uma concepção de escrita atrelada ao seu aspecto sócio-comunicativo, não é isso que acontece nas orientações didáticas e nas atividades de produção de texto; b) a designação para gênero textual e para os diversos gêneros textuais solicitados nas atividades ainda é muito instável; c) os gêneros textuais trabalhados em sala de aula não coincidem com aqueles mais presentes nas esferas comunicativas em que os alfabetizandos interagem; d) os gêneros textuais propostos nas atividades de escrita não atendem às expectativas de aprendizagem dos alunos; e) há uma incoerência entre aquilo que o professor afirma estar trabalhando em sala de aula e aquilo que o aluno diz estar aprendendo

Individually Published Czech Festive and Occasional Preachings of the End of the 17th and the First Two Thirds of the 18th Century Miloš Sládek The thesis concentrates on the area of festive and occasional homiletics in Bohemia after the Battle of White Mountain. Since the end of the 17th century, homiletics had represented the Czech leading literary genre with extraordinary influence on the masses. This influence was even strenghtened when printed preachings gradually became popular reading. The main focus of the thesis is on the questions of preparation of preaching, problematics of preaching handbooks, relationship of a preacher and his listeners, as well as the area of Classicist and conceptual preaching. The Baroque concept is described in connections with the aspect of growing author's self-esteem at that time. Editions of chosen sixteen preachings with introductions are added to demonstrate (or relativise) the conclusions of the first part of the thesis. Festive preaching in Bohemia was essentially influenced by legends, German Catholic preaching and myths and folk-tales. Emphasis on Christian morality is typical for Sunday preaching, however, it also appears in festive preachings. The influence of festive and occasional preaching of the end of the 17th and the first half of the 18th century on...

The collection of essays intends to show that everything about Byron’s poetic work baffles the scholarly desire for neat categorisations. Various attempts at re-mapping Romanticism have given ample evidence of the fact that, as one of the ‘big six’ in the Romantic canon, Byron outgrows Romanticism and epitomises the fallacious character of a period that has always been compared to a dangerous quicksand. In his self-incurred marginality, Byron subjects the entire genre of poetry to a severe process of deconstruction: his œuvre ranges from verse tale to “epic narratives”, versified romances and poems which subvert the rigorous metrical and formal requirements and turn poetic forms into leaky vessels of incoherent quotations, intertextual reference and Molly Bloomian soliloquies.Taking to his role as a cultural fence-sitter, scoffer and outsider who watches his literary ambience from the stern perspective of a Neo-Classicist, Byron unveils and lays bare the repressed strata of human savagery which Romantic poetry normally glosses over and ignores.Doing the exact opposite of what Novalis and others circumscribed as the ‘poeticisation’ of prosaic 19^th-century reality, Byron subscribes to the idea that man is irretrievably a bête humaine, much more akin to the liver-devouring vulture than to Prometheus. It is this premise of ontological marginality that is eventually reflected in all aspects of Byron’s textual, generic, thematic and topographical marginality.

Bakhtin as a philosopher and a student of the novel is intent upon the novel’s role in the history of consciousness. His project fails if he is wrong about the dialogic nature of consciousness or the cultural centrality of the novel as the only discourse that can model human consciousness and its intersubjective character. Inventing the Novel is an argument in four stages: the Introduction surveys Bakhtin’s life and his theoretical work in the 1920s, which grounded his work on the novel, as investigated in following chapters. Chapter 1 sketches Bakhtin’s view of literary history as an agonistic dialogue of genres, concluding with his claim that the novel originates as a new way of evaluating time. Chapter 2 explores Bakhtin’s theory of chronotopes: how do forms of time and space in ancient fiction delimit the possible representation of the human? Chapter 3 assesses Bakhtin’s poetics of genre in his account of Menippean satire as crucial in the history of the novel. Chapter 4 uses Petronius to address the prosaics of the novel, exploring Bakhtin’s account of how novelists of “the second stylistic line” orchestrate the babble of voices expressive of an era into “a microcosm of heteroglossia,” focusing it through the consciousness of characters “on the boundary” between I and thou. Insofar as this analysis succeeds, it evinces the truth of Bakhtin’s claim that the role of Petronius’s Satyrica in the history of the novel is “immense.”

This book presents a commentary on and an analysis of P. Leiden I 344 recto, which contains the poem variously called The Dialogue of Ipuwer and the Lord of All or The Admonitions (Mahnworte), from the Middle Kingdom of ancient Egypt. The first part of the book comprises an analysis of several literary aspects of the poem, including its unity, compositional date, reception, possible setting, genre, literary style and meaning. It also offers a literary reading of the poem within the context of the cultural and intellectual milieu that produced it. The second part of the book provides a detailed translation, commentary to, and literary reading of, the poem, subdivided into sections that largely follow the divisions within the manuscript. A metrical transliteration is given, broadly following the prosodic principles of Gerhard Fecht, which provide a pragmatic formal mode of analysis. The degree to which these are relevant to the compositional structure of the poem is discussed.

Chapter 3 tells the story of the multiple recordings made between 1890 and 1920, both by the poet himself and by actors and elocutionists, of Tennyson’s poem “The Charge of The Light Brigade.” It analyzes the kinds of performance and genre that informed the production of these recordings and locates the speech sounds heard on them in debates of the period about elocution and verse speaking. An account of late Victorian methods of “dramatic” interpretation as elaborated by Samuel Silas Curry in Imagination and Dramatic Instinct opens into a longer genealogy of oral interpretation, and considers the import of New Criticism as a method of literary interpretation that worked to silence oral performance in the classroom. The close listening in this chapter also explores the potential of digital speech analysis tools to help us to fix and visualize elocutionary, prosodic features of these recordings of “Charge.”