Academic literature on the topic 'Provençal poetry Provençal language'
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Journal articles on the topic "Provençal poetry Provençal language"
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Grinina, Elena, and Galina Romanova. "Italy and Provence: Cultural Connections in the Middle Ages." Stephanos Peer reviewed multilanguage scientific journal 45, no. 1 (January 31, 2021): 36–46. http://dx.doi.org/10.24249/2309-9917-2021-45-1-36-46.
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The Provencal language and lyrics of troubadours had the highest authority in the Middle Ages, having influenced the development of poetic art, in particular, and the development of philological thought, in general, in adjacent territories. Undoubtedly, there were the closest ties of medieval Provence with Catalonia. However, Italy was also involved in the orbit of the cultural life of Provence. The purpose of the article is to show how Italy and Provence were connected in the 13th century and to what extent Italy contributed to the development and preservation of the grammar of the Provencal literary language of that era.
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Hidayatun Nur. "Pengaruh Motivasi Belajar terhadap Kemampuan Menulis Pantun Bahasa Daerah." GERAM 9, no. 1 (June 27, 2021): 38–46. http://dx.doi.org/10.25299/geram.2021.vol9(1).6735.
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Writing ability is one of the language skills possessed by a person. One of the skills to write old poetry is pantun. Pantun develops in the people of the archipelago with a variety of regional languages. This study aimed to determine the effect of learning motivation on the ability to write local language rhymes. This study uses multiple linear regression analysis. From the research results, it can be seen that the learning motivation is in a good category and the ability to write local language pantun is in a good category. The motivation of learning showed an influence on the poetry writer's ability, which was proven that the significance value was 0.000 that smaller than the probability of 0.05. From the research results, it can be seen that the learning motivation contributed 49.4% to the ability to write regional language pantun, and other factors influenced the remaining 50.6%.
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Mohar, Tjaša, and Tomaž Onič. "Margaret Atwood’s Poetry in Slovene Translation." ELOPE: English Language Overseas Perspectives and Enquiries 18, no. 1 (June 21, 2021): 125–37. http://dx.doi.org/10.4312/elope.18.1.125-137.
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Margaret Atwood is undoubtedly the most popular Canadian author in Slovenia, with eight novels translated into Slovene. Although this prolific author also writes short fiction, poetry, children’s books, and non-fiction, these remain unknown to Slovene readers, at least in their own language. Atwood has published as many poetry collections as novels, but her poetry is inaccessible in Slovene, with the exception of some thirty poems that were translated and published in literary magazines between 1999 and 2009. The article provides an overview of Atwood’s poetry volumes and the main features of her poetry, as well as a detailed overview of Atwood’s poems that have appeared in Slovene translation, with the names of translators, titles of poetry collections, dates of publication, and names of literary magazines. This is the first such overview of Slovene translations of Atwood’s poetry. Additionally, the article offers an insight into some stylistic aspects of Atwood’s poetry that have proven to be particularly challenging for translation.
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Dewi, Gita Kumala, and Sumiharti Sumiharti. "GAYA BAHASA PERBANDINGAN DALAM KUMPULAN PUISI BIARKAN JARIKU KINI YANG MENGUNGKAPKANNYA KARYA KAWE ‘ARKAAN." Aksara: Jurnal Ilmiah Pendidikan Bahasa dan Sastra Indonesia 4, no. 1 (July 26, 2020): 48. http://dx.doi.org/10.33087/aksara.v4i1.166.
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The purpose of this research is to describe figurative language of comparison in the collection of poetry Biarkan Jariku Kini yang Mengungkapkannya by Kawe ‘Arkaan which consist of three aspects, they are: proverbs, personification, and depersonification. This research uses descriptive method with content analysis. The primary data of the research is the words which contain figurative language of comparison in the collection of the poetry Biarkan Jariku Kini yang Mengungkapkannya by Kawe ‘Arkaan. Meanwhile the technique of collecting data is library study. Based on the result of the analysis, it can be found that there is figurative language in the collection of poetry Biarkan Jariku Kini yang Mengungkapkannya by Kawe ‘Arkaan. It has three aspects, they are provebs, personification, and depersonification. The result of the analysis shows: (1) 18 expressions of proverbs, (2) 51 expressions of personification, (3) no depersonification. The dominant of figurative language occured is personification.
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Elmer, David F. "THE ‘NARROW ROAD’ AND THE ETHICS OF LANGUAGE USE IN THE ILIAD AND THE ODYSSEY." Ramus 44, no. 1-2 (November 27, 2015): 155–83. http://dx.doi.org/10.1017/rmu.2015.8.
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I begin this exploration of characteristically Iliadic and Odyssean attitudes toward the traditional language in which these poems are composed by treading again a well-rutted path in the field of mid-20th century Homeric studies. In formulating his radical revision of the aesthetics of Homeric poetry, Milman Parry took as one of his guiding principles Heinrich Düntzer's notion of a contradiction between the compositional utility of the fixed epithet and its semantic value: if an epithet could be shown to have been selected on the basis of its utility in versification—and Parry's detailed examinations of extensive and economical systems of noun-epithet formulae were aimed in part at demonstrating this point—then it would be proven by that very fact that the epithet's meaning was irrelevant to its selection. Moreover, Parry asserted that the success of poetry composed in such a manner would depend on a corresponding indifference on the part of the audience, an indifference that must be, by his reasoning, categorical and absolute.
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Babić, Iva. "Uzvici u dječjem govoru i dječjoj književnosti." Magistra Iadertina 15, no. 2 (May 25, 2021): 57–88. http://dx.doi.org/10.15291/magistra.3378.
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This paper deals with the use of interjections in early language development and children’s literature with special emphasis on the syntactic role and meaning of interjections in statements and/or verses. In communication with children, children’s poetry and picture books, as well as children’s speech, interjections replace nouns, verbs and adverbs, i.e., they have a different syntactic function which is proven by the examples. Special emphasis is also being placed on the interjections’ function as exclamations in children’s statements and poetry which goes beyond sentence structure. The paper presents different development stages in acquiring first language, i.e., development stages in children’s speech production, and the frequency of using interjections in different sentence functions while mastering speech. Furthermore, it analyzes and provides examples of the use of interjections in children’s poetry from folk oral poetry to contemporary picture books as well as picture books for speech therapy. It emphasizes the influence of a child’s motor development on speech development, as well as the influence of motherese, parentese, i.e., speech which parents or guardians use with their children (baby-talk), and applying games and picture books for speech therapy in reading routines with children. Examples provided in the paper prove the polyfunctionality of interjections in children’s speech and children’s literature.
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Bammesberger, Alfred. "Proverb from Winfrid’s Time and Bede’s Death Song: Some Textual Problems in Two Eighth-Century Poems Revisited." Anglia 138, no. 2 (June 4, 2020): 259–76. http://dx.doi.org/10.1515/ang-2020-0022.
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AbstractThe sequence Oft daedlata domę foręldit (four words) in the Old English Proverb from Winfrid’s Time (ProvW, 1) defies grammatical analysis because foręldit ‘delays’ requires an accusative object. It is proposed to read Oft daed lata domę foręldit as five words, with daed (= dǣd) ‘deed’ functioning as direct object. This suggestion does not require any emendation because word division in Old English is by no means regular and there is some space between daed and lata in the manuscript anyway. The dative forms domę and gahwem (2a) function as instrumentals, with gahwem perhaps subordinated to domę. The meaning of the simplex lata lies in the area of ‘late-comer’, but ‘sluggard’, ‘laggard’ or other derogatory terms are not suitable. With regard to its genre, ProvW may be viewed in conjunction with Bede’s Death Song (BDS). The vocabulary of BDS presents some problems, but, above all, the construction of the five verse-lines is not totally clear. It is proposed that the comparative thoncsnotturra (2a) has absolute function, and that the adverbial than (2b), meaning ‘then’, introduces a fresh clause. ProvW and BDS may belong to a larger group of self-contained texts no longer extant. In a wide sense they represent the category of Wisdom Poetry in a Christian context.
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Rosmarin, Adena. "Hermeneutics versus Erotics: Shakespeare's Sonnets and Interpretive History." PMLA/Publications of the Modern Language Association of America 100, no. 1 (January 1985): 20–37. http://dx.doi.org/10.2307/462198.
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Shakespeare's sonnets are designed to seem written by a poet and spoken by a lover. This conspicuous ambidexterity, compounded by our declining tolerance for such deftness, has made them infamously problematic. They simultaneously flaunt and flout the correspondence between the lover's pen and his heart, between the artifice of his “rhetoric,” characteristic of much Tudor literature, and the rhetoric of his sincerity, characteristic of the Romantic poetics that has proven their sternest judge. The sonnets thus pose internally the very problem that informs their extensive interpretive history. But they also propose its solution: their sustained balance of verba and res, of verbally erotic and hermeneutically chaste designs, exalts the conflict of these designs, displaying its poetic power. And this paradoxical resolution of the poet's dilemma solves the critic's as well: it suggests a way of making a richly correspondent and yet reasoned sense of the sonnets and, indeed, of any literary text.
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Soltic, Jorie. "The Late Medieval Greek Vernacular Πολιτικὸς Στίχος Poetry: A Modern Linguistic Analysis into Intonation Units." Journal of Greek Linguistics 14, no. 1 (2014): 84–116. http://dx.doi.org/10.1163/15699846-01401004.
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The Late Medieval Greek “vernacular” (12th–15th c.) is one of the least studied stages of the history of the Greek language. The lack of interest by linguists can presumably be ascribed to its major source, i.e. metrical πολιτικὸς στίχος poetry. The language of this type of poetry has been labelled a “Kunstsprache”, because of its oral-formulaic character and because of its mixed idiom incorporating vernacular yet also archaizing elements. In this article, however, I demonstrate that the Late Medieval Greek πολιτικὸς στίχος poetry should not automatically be excluded from linguistic research, given that it clearly possesses a strongly vernacular, i.e. spoken, syntactic base: its underlying syntax runs in a very natural way. This is proven by the fact that we can apply the modern linguistic concept of the Intonation Unit, the basic unit of analysis in contemporary spoken(!) languages, to the texts composed in the πολιτικὸς στίχος: far from having an artificial syntax, the πολιτικὸς στίχος poetry is conceptually made up of short, simple “chunks” of information. More precisely, each verse consists of two (stylized) Intonation Units, demarcated by the fixed caesura, which can thus be equated with an Intonation Unit boundary. This thesis is supported by various arguments, both of a metrical and of a syntactico-semantic nature. Arguments belonging to the former category are the length of each half-line, the possibility of stress on the first syllable of each half-line, the origin of the metre, and especially the avoidance of elision at the caesura. In the second category of (syntactico-semantic) evidence, we can consider the tendency of each half-line for constituting a grammatical sense-unit. I also bring forward some little-studied syntactic features of Late Medieval Greek: first, I pay attention to the distribution of the archaizing “Wackernagel particles”, which do not only appear in second position in the verse, but also occur after the first word/constituent following the caesura and thus further confirm my thesis. The same holds for the position of “corrective afterthoughts”, for the verbs and pronominal objects taking the singular are consistently separated from their plural referents by the caesura. Once the Intonation Unit is thus established as a meaningful methodological tool for the analysis of the πολιτικὸς στίχος poetry, the way is cleared for more linguistic research on the Late Medieval Greek vernacular.
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Synnes, Oddgeir, Kristin Lie Romm, and Hilde Bondevik. "The poetics of vulnerability: creative writing among young adults in treatment for psychosis in light of Ricoeur’s and Kristeva’s philosophy of language and subjectivity." Medicine, Health Care and Philosophy 24, no. 2 (January 16, 2021): 173–87. http://dx.doi.org/10.1007/s11019-020-09998-5.
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AbstractThere is a growing interest in the application of creative writing in the treatment of mental illness. Nonpharmacological approaches have shown that access to poetic, creative language can allow for the verbalisation of illness experiences, as well as for self-expressions that can include other facets of the subject outside of the disease. In particular, creative writing in a safe group context has proven to be of particular importance. In this article, we present a pilot on a creative writing group for young adults in treatment for psychosis. We set the texts and experiences from the writing group in dialogue with Paul Ricoeur’s and Julia Kristeva’s philosophies on poetic language as meaning making and part of subject formation. The focus is on language as materiality and potentiality and on the patient’s inherent linguistic resources as founded in a group dynamic. As a whole, the project seeks to give an increased theoretical and empirical understanding of the potentiality of language and creativity for healing experiences, participation and meaning-making processes among vulnerable people. Furthermore, a practice founded in poetic language might critically address both the general and biomedical understanding of the subject and disease.
Dissertations / Theses on the topic "Provençal poetry Provençal language"
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Newmann, Alba Rebecca. ""Language is not a vague province": mapping and twentieth-century American poetry." Thesis, 2006. http://hdl.handle.net/2152/2586.
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Mona, Mulaleni Jacob. "The teaching of Xitsonga poetry to secondary school learners in Mhala, Mpumalange Province with reference to a sample of poems from the anthologies of Masebenza B.J., Chauke S.P. and Magaisa J.M." Thesis, 1997. http://hdl.handle.net/10386/2161.
Full textBooks on the topic "Provençal poetry Provençal language"
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Vleck, Amelia Eileen Van. Memory and re-creation in troubadour lyric. Berkeley: University of California Press, 1991.
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Vleck, Amelia Eileen Van. Memory and re-creation in troubadour lyric. Berkeley: University of California Press, 1991.
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Memory and re-creation in troubadour lyric. Berkeley: University of California Press, 1991.
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Vleck, Amelia Eileen Van. Memory and re-creation in troubadour lyric. Berkeley: University of California Press, 1991.
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Crowley, Lara M. Manuscript Matters. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198821861.001.0001.
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Manuscript Matters illuminates responses to some of John Donne’s most elusive texts by his contemporary audiences. Since examples of seventeenth-century literary criticism prove somewhat rare and frequently ambiguous, this book emphasizes a critical framework rarely used for exhibiting early readers’ exegeses of literary texts: the complete manuscripts containing them. Many literary manuscripts that include poems by Donne and his contemporaries were compiled during their lifetimes, often by members of their circles. For this reason, and because various early modern poems and prose works satirize topical events and prominent figures in highly coded language, attempting to understand early literary interpretations proves challenging but highly valuable. Compilers, scribes, owners, and other readers—men and women who shared in Donne’s political, religious, and social contexts—offer clues to their literary responses within a range of features related to the construction and subsequent use of the manuscripts. This study’s findings call us to investigate more extensively and systematically how certain early manuscripts were constructed through analysis of such features as scripts, titles, sequence of contents, ascriptions, and variant diction. While such studies can throw light on many early modern texts, exploring artifacts containing Donne’s works proves particularly useful because more of his poetry circulated in manuscript than did that of any other early modern poet. Manuscript Matters engages Donne’s satiric, lyric, and religious poetry, as well as his prose paradoxes and problems—refocusing modern interpretation through an early modern lens.
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Williams, Wes. ‘Invisible Guests’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198794776.003.0007.
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Poetry has long been concerned with truth grasped as a form of communicable proof. But poets know about failed communication, too: when Virgil’s Aeneas tries, three times, to embrace the shade of his dead father, he moves to a distinctive ternary rhythm; one that is repeated throughout human history. This chapter, centred on a close reading of ‘Album, V’, part of Seamus Heaney’s final collection, Human Chain, discusses the experiments in inference which poetry enacts as a sustained, reflexive inquiry into the conditions and limits of communicability. Exploring both intertextual relations between ancient and modern poets and the contextual implications of shared sights, sounds, memories, gestures, and words, Heaney’s work moves between languages, genres, and generations. In so doing, it exemplifies the enduring salience and force of what Sperber and Wilson term ‘poetic effects’: generating common knowledge, they prove to be links in the chain of human, embodied cognition.
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Jones, Chris. ‘From scarped cliff and quarried stone a thousand types gone’. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198824527.003.0007.
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Tennyson’s knowledge of Anglo-Saxon is reassessed in order to disprove the common opinion that he had only rudimentary knowledge of the language, and relied mainly on his son’s prose translation of The Battle of Brunanburh in order to make a poetic version of that text. Detailed examination of manuscript evidence proves that Tennyson applied himself to serious and sustained study of Anglo-Saxon, and this chapter identifies for the first time texts, including dictionaries, that he used to teach himself Anglo-Saxon. It is argued that Tennyson’s poetry exhibits traits of both phases of nineteenth-century Anglo-Saxonism that Fossil Poetry identifies. The chapter closes by reading the Anglo-Saxonist etymological layer of several poems by Tennyson, including In Memoriam.
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Rhodes, Neil. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198704102.003.0008.
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The conclusion uses the contrast between the English verse anthology Belvedere, published by John Bodenham in 1600, and Erasmus’ proverb collection of 1499 to suggest how literary culture in England evolves in the course of the sixteenth century: the role of literary arbiter is transferred from an international scholar of formidable learning to an upwardly mobile grocer with a taste for poetry, and the resources of literature have been transferred from Latin, the common language of Europe, to common English. This concluding chapter reprises the themes and argument of the book and ends with the observation that by 1600 the commonalty was not just the labouring class, but also constituted a readership and an audience.
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Blades, Andrew, and Piers Pennington, eds. Poetry & the Dictionary. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781789620566.001.0001.
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Poetry is an ancient verbal art, which has its roots in the oral epics and fragments that survive from classical times. Dictionaries of English, by contrast, are a comparatively recent phenomenon, beginning with the ‘hard words’ that Robert Cawdrey gathered in A Table Alphabeticall in 1604 and extending to the present edition of the Oxford English Dictionary, with its ongoing revisions. This innovative collection of essays is the first volume to explore the ways in which dictionaries have stimulated the imaginations of modern and contemporary poets from Britain, Ireland, and America, while also considering how poetry has itself been a rich source of material for lexicographers. As well as gauging the influence of major dictionaries like the OED, the essays single out encounters with more specialised works and broach uses of words that are not typically included in dictionaries. In doing so, the contributors not only cast familiar questions of ambiguity and etymology in a fresh light, but they also reveal a number of surprising and energising points of contact, from Hugh MacDiarmid’s rediscovery of Scots to Tina Darragh’s visual appropriations of dictionary pages. As such, Poetry & the Dictionary will prove an indispensable volume for all readers – academic or not – who find themselves fascinated by the language’s many involutions.
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Jahner, Jennifer. Literature and Law in the Era of Magna Carta. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198847724.001.0001.
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Literature and Law in the Era of Magna Carta traces the fortunes of literary training and experimentation across the early history of the English common law, from its beginnings in the reign of Henry II to its tumultuous consolidations under the reigns of John and Henry III. The period from the mid-twelfth through the thirteenth centuries witnessed an outpouring of innovative legal writing in England, from Magna Carta to the scores of statute books that preserved its provisions. An era of civil war and imperial fracture, it also proved a time of intensive self-definition, as communities both lay and ecclesiastic used law to articulate collective identities. Literature and Law in the Era of Magna Carta uncovers the role that grammatical and rhetorical training played in shaping these arguments for legal self-definition. Beginning with Thomas Becket, the book interweaves the histories of literary pedagogy and English law, showing how foundational lessons in poetics helped generate both a language and theory of corporate autonomy. Geoffrey of Vinsauf’s phenomenally popular Latin compositional handbook, the Poetria nova, finds its place against the diplomatic backdrop of the English Interdict, while Robert Grosseteste’s Anglo-French devotional poem, the Château d’Amour, is situated within the landscape of property law and Jewish-Christian interactions. Exploring a shared vocabulary across legal and grammatical fields, this book argues that poetic habits of thought proved central to constructing the narratives that medieval law tells about itself and that later scholars tell about the origins of English constitutionalism.
Book chapters on the topic "Provençal poetry Provençal language"
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Kosick, Rebecca. "How Poetry Matters." In Material Poetics in Hemispheric America, 1–27. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474474603.003.0001.
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This chapter opens a discussion of how language’s vitality registers in and as material. It assesses the reception of material poetics in late twentieth century North America and compares the examples featured in this book with other investments in poetic materiality. The chapter offers a discussion of the term ‘concrete poetry’ which has lost some of the contextual specificity that historically adhered to it. This history is proved as a way of situating Brazilian concretism and as a way of distinguishing the term’s use from other names for sympathetic forms such as ‘visual poetry’. This chapter makes the case for the term ‘material poetics’ and demonstrates how many of the hybrid linguistic-material practices in the Americas built on early theorisations of language’s matter, which were undertaken with notable depth by the so-called ‘noigandres’ group of Brazilian concrete poets. Literary studies’ adoption of theories of objects and matter are explored along with debates within literary studies that investigate how we read. The introduction takes this book’s featured artists and poets to be its primary theorists and works to test and reframe contemporary thinking on objects by positing the matter of language as its object of study.
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Currie, Arabella. "Moderns of the Past, Moderns of the Future." In Celts, Romans, Britons, 161–78. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198863076.003.0009.
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This chapter complements the volume’s focus on Celtic–Classical interactions within the notion of Britishness by examining the role of such a dialogue in Ireland’s attempts to extricate itself from the British Empire, and by emphasizing the part that Irish scholars and poets have played in shaping Celtic, Roman, and British identities. It focuses on the Revivalist translator and neurologist, George Sigerson (1836–1925), whose comparative reading of ‘Celtic’ and Latin poetry set out to prove an Irish influence on Latin verse, on the one hand by arguing that Cicero was directly influenced in his poetry by a Celtic druid, and on the other by proving that the author of the first Latin biblical epic of Late Antiquity was Irish. The chapter examines these arguments for the forgotten Celticization of Rome in the light of colonial mimicry, before asking how Sigerson put his theories of the postcolonial power of cross-linguistic influence into practice in his own translation strategy. It concludes by highlighting the lasting implications of Sigerson’s call for a new way of reading texts across languages, attuned to verbal and stylistic echoes and so able to dismantle any strict divide between the Celtic and the Classical.
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Chojnowski, Ryszard. "Lokalizacja gier – głos praktyka." In Beyond Language, 268–98. Æ Academic, 2018. http://dx.doi.org/10.52769/bl1.0014.rcho.
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The aim of this article is a thorough analysis of game localization, including an indepth description of the localization process in its complexity. The fact is that game translators have to deal with a number of obstacles, such as the lack of the full version of the game, thus missing access to some necessary information. The author presents some real solutions that may enable the translator to face such hindrance. A valuable asset is the detailed presentation of computer tools (CAT), including Trados or Wordfast, which aid game localization and limit the translator’s struggles to the text only, eliminating technical obstacles. Another purpose of the article is to present a variety of text types which the translator has to face: dialogues, interface text, lyrics or rhymed poetry, to show how important comprehensive knowledge is in this profession. The article constitutes a starting point for all those interested in game localization, which may prove more complex than one might assume.
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Gaudern, Mia. "Paul Muldoon’s Onomastics." In The Etymological Poetry of W. H. Auden, J. H. Prynne, and Paul Muldoon, 153–79. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198850458.003.0007.
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This chapter explores Muldoon’s use of names, of both people and places, in the contexts of Northern Irish conflict and traditional Irish name lore. It addresses the political and poetic implications of Muldoon’s commitment to the proverb nomen est omen, focusing on instances of dinnseanchas, charactonymy, prosopopoeia, the transferral of names, and name translation. Naming is an etymological event in the sense that names are chosen from a language for a new purpose; their subsequent relationship to that language is paradoxical, as Derrida shows in ‘Des Tours de Babel’. In Muldoon, any temptation to interpret names from within the language—to see names as omens—is itself ominous.
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Martin, Meredith. "The Stigma of Meter." In The Rise and Fall of Meter. Princeton University Press, 2012. http://dx.doi.org/10.23943/princeton/9780691152738.003.0003.
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This chapter resituates Gerard Manley Hopkins, whose name has become synonymous with metrical experiment, within the prosodic, philological, and theological debates of his time. His commitment to defining accent and stress in English was a critical turning point in his thinking about his identity as a Catholic and as an Englishman. It argues that his attempt to create a new English meter was a particularly Victorian engagement with poetic form, national identity, and the English language. Broader movements in comparative philology (particularly those associated with scholars such as Max Müller and Richard Chevenix Trench) influenced Hopkins's attempts to reconcile the history of English and the materiality of meter with his Catholic beliefs. Hopkins is used to prove that even the most obscure and alienated-seeming poet must be read as part of the broader debate about what meter can do for the quickly changing nation. Hopkins's successes and failures, anticipate later attempts to examine the constituent parts of meter and the English language.
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Ferriss-Hill, Jennifer. "Humano." In Horace's Ars Poetica, 39–99. Princeton University Press, 2019. http://dx.doi.org/10.23943/princeton/9780691195025.003.0002.
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This chapter discusses the first word of the Ars Poetica, humano (human), which heralds the poem's concern with all that living entails. This casts the scope of the work far beyond poetry from the start. As the poem progresses, this is borne out by Horace's striking focus on human emotions, on life cycles (whether of people or words), on nature and human nature, and on spoken language, all of which are given far greater prominence than seems justified in the ostensible context of creating believable characters for the stage. Horace's concern is with all human endeavor—the ars vivendi (art of living). If the Ars Poetica is read for how it expresses itself, moreover, rather than merely for what it says, it emerges as an ideal exemplum of art, the whole proving seamless and lending itself to being remade in new ways by every reader and upon every reading.
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Abts, Devon. "“A Billion Times Told Lovelier”." In The Fire That Breaks, 129–52. Liverpool University Press, 2020. http://dx.doi.org/10.3828/liverpool/9781942954361.003.0008.
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While Gerard Manley Hopkins’s formal innovations have been widely celebrated, his originality as a theological thinker has been overlooked. Hopkins’s well-known debts to Duns Scotus and Ignatius of Loyola have unjustly eclipsed other strands of his theological thought, leading to a reductive view of his religious thinking. There is a tendency among some scholars to sever Hopkins’s poetic innovations from his religious legacy and, at times, view his faith as an affliction that shackled his creativity. However, the tensions between Hopkins’s priestly and poetic vocations were not, in fact, disabling, and Geoffrey Hill’s reading of Hopkins reveals the latter to be a unique theological thinker, not just a poetic innovator. Hill demonstrates an unparalleled grasp of Hopkins’s theological ingenuity and collapses the division between Hopkins’s theological and poetic legacies, proving that each is reciprocally sustained in the other. Hill’s own use of language, in turn, is deeply informed by Hopkins’s poetic legacy. Hill believed that to combat linguistic degeneration, speech must remain vital, and, for him, this meant writing against the grain of history and linguistic decay in order to disturb expectation. This belief is shaped by Hopkins’s own theology of language, registered at the level of his poetics, the weighty and dense rhythms of which can be viewed as a mimetic for his ethical, moral, and theological perceptions.
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Lepper, Verena M. "Ancient Egyptian Literature." In Ancient Egyptian Literature. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265420.003.0011.
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This chapter discusses the genre and style of Ancient Egyptian literature. Through the application of lexicostatistics, it analyses a total of fifty texts. Having examined the vocabulary size of Middle Egyptian narratives, Late Egyptian narratives, speeches, and dialogues, the texts under investigation are grouped into genres such as ‘religious texts’, ‘artful prose’, ‘poetry’, ‘teachings’, and so on. On the basis of texts existing in several copies, it becomes apparent that a text maintains a constant vocabulary richness independent of its length. Each copy therefore facilitates the determination of the genre of a text. Furthermore, the language of a text (Middle or Late Egyptian) proves not to be decisive for the vocabulary richness of a text, but rather it is genre that is indicative. The chapter also investigates the question of the practical function of texts, which can best be detected during experimental reading.
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Mangalagiri, Adhira. "Slave of the Colonizer." In Beyond Pan-Asianism, 29–66. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780190129118.003.0002.
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This chapter reads Chinese poetry, short stories, and novels (1900–30) that engage the much-despised figure of the Indian policeman stationed by the British in China’s semi-colonial treaty ports. Grappling with the challenge of apprehending this Indian figure—who held the unique capacity to frustrate entrenched binaries of colonized and colonizer, brother and enemy, self and other—the Chinese texts articulate an antagonism at once founded upon intimacy and yet in expression of conflict. The texts engage in an exercise of thinking China and India together outside the tenets of pan-Asianist solidarity, extending a form of relation born out of repulsion. Although it erodes friendly ties, this mode of China–India thought proves generative, reshaping debates on literary language, national autonomy, and revolution underway in late Qing and early Republican China, and telling the story of modern Chinese literature’s development anew from the perspective of this unlikely Indian interlocuter.
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Thomas, Jayne. "‘The dead man touched me from the past’:1 Tennyson’s In Memoriam and Wordsworth." In Tennyson Echoing Wordsworth, 80–120. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474436878.003.0004.
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This chapter examines Tennyson’s In Memoriam (1850). Tennyson was open about the difficulties he sustained in writing the poem, and this chapter argues that the Wordsworthian borrowings in the poem help the later poet to work toward finding a form of consolation, however tenuous this consolation subsequently proves to be, and therefore to make his accommodations with his faith, with the claims of nineteenth-century science and religion, but also with the loss of Arthur Henry Hallam, the direct subject of the poem. It also examines how the Wordsworthian language in In Memoriam helps Tennyson both to stabilise his ‘public’ voice and to develop the pastoral elements of elegy. The borrowings from Wordsworth form a chamber of echoes that Tennyson harnesses, reworks, reconfigures, replays in a different context and in a different time. At times the later poet is unable fully to transfigure and rework Wordsworth’s language, but is constrained, limited, inhibited by it, and these effects make themselves manifest in the poem too.
Conference papers on the topic "Provençal poetry Provençal language"
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Cao, Thi Hao. "Research on Tay Ethnic Minority Literature in Vietnam Under Cultural View." In GLOCAL Conference on Asian Linguistic Anthropology 2019. The GLOCAL Unit, SOAS University of London, 2019. http://dx.doi.org/10.47298/cala2019.3-3.
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The Tay people are an ethnic minority of Vietnam. Tay literature has many unique facets with relevance to cultural identity. It plays an important part in the diversity and richness of Vietnamese literature. In this study, Tay literature in Vietnam is analyzed through a cultural perspective, by placing Tay literature in its development from its birth to the present, together with the formation of the ethnic group, and historical and cultural conditions, focusing on the typical customs of the Tay people in Vietnam. The researcher examines Tay literature through poems of Nôm Tày, through the works of some prominent authors, such as Vi Hong, Cao Duy Son, in the Cao Bang province of Vietnam. Cao Bang is home to many Tay ethnic people and many typical Tay authors. The research also locates individual contributions of those authors and their works in terms of artistic language use and cultural symbolic features of the Tay people. In terms of art language, the article isolates the unique use of Nôm Tay characters to compose stories which affect the traditional Tay luon, sli, and so forth, and hence the use of language that influences poetry and proverbs of Tay people in the story of Vi Hong, Cao Duy Son. Assuming a symbolic framework, the article examines the symbols of birds and flowers in Nôm Tay poetry and the composition of Vi Hong, Cao Duy Son, so to point out the uniqueness of the Tay identity. The above research issue is necessary to help us better appreciate the cultural values preserved in Tay literature, thereby, affirming the unique cultural identity of the Tay people and planning to preserve and develop these unique cultural features from which emerges the risk of falling into oblivion in modern social life in Vietnam. In addition, this is also a research direction that can be extended to Thai, Mong, Dao, etc, ethnic minorities in Vietnam.
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Mangwegape, Bridget. "TEACHING SETSWANA PROVERBS AT THE INSTITUTION OF HIGHER LEARNING IN SOUTH AFRICA." In International Conference on Education and New Developments. inScience Press, 2021. http://dx.doi.org/10.36315/2021end118.
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The paper sought to investigate how first year University student’s-teachers understand and instil appreciation of the beauty of Setswana language. Since the proverbs are carriers of cultural values, practices, rituals, and traditional poetry, they are rich in meaning, they can be used to teach moral values for the sake of teaching character building among the students and teaching Setswana at the same time. Proverbs contain values of wisdom, discipline, fairness, preparedness, destiny, happiness, and efforts. Proverbs are short sayings that contain some wisdom or observation about life and or role-play and to use a few of the proverbs to reinforce the meaning, using proverbs as a pedagogical strategy, the researcher has observed that student teachers find it difficult to learn and teach learners at school. Students-teacher’s think and feel about how they conceptualize proverbs, how they define their knowledge and use of Setswana proverbs. The lecturer observed how the nature of proverbs are linked to the culture embedded in the language. In Setswana language there is a proverb that says, “Ngwana sejo o a tlhakanelwa” (A child is a food around which we all gather) which implies that the upbringing of a child is a communal responsibility and not an individual responsibility. Put in simple terms, a child is a child to all parents or adults, since a child’s success is not a family’s success but the success of the community. In doing so, the paper will explore on how student-teachers could make use of proverbs to keep the class interested in learning Setswana proverbs. As a means of gathering qualitative data, a questionnaire was designed and administered to student-teachers and semi-structured interviews were conducted with student teachers. The findings revealed that despite those students-teachers’ positive attitudes towards proverb instruction, they did not view their knowledge of Setswana proverbs as well as the teaching of proverbs. The paper displays that proverbs constitute an important repository of valid materials that can provide student-teachers with new instructional ideas and strategies in teaching Setswana proverbs and to teach different content, which includes Ubuntu and vocabulary and good behaviour. Proverbs must be taught and used by teachers and learners in their daily communication in class and outside the classroom in order to improve their language proficiency.