Academic literature on the topic 'Wedding poetry (Provençal): Modern'

The poetry of Arab-Andalusian poets is a bridge between Eastern and Western culture. Its roots date back to the sixth century, when the first Bedouin songs resounded in the limitless areas of the Arabian desert. His echoes resounded in the poetry of Provençal troubadours. Traces of this poetry can be found in the works of Renaissance poets, including Petrarc. Elements of Andalusian poetry were also visible in the poetry of the Spanish court since the 16th century. The characteristic poetic forms still appeared in 20th century poetry – at least one of the most outstanding Spanish poets, Federico Garcia Llorca, reached for it. Its greatest prosperity was in the 10th andd 11th centuries, and among the outstanding Andalusian poets were both men and women. The main motive of this poetry was unfulfilled love, which remained the dominant element of modern European court poetry.

Before the brand image design, the analysis of brand positioning is the first step to build a successful brand. For the brand image design of wedding companies, consumer demand should be put in the first place, and what can stimulate consumers to produce consumer behavior should meet the following two conditions, -- explicit demand, invisible demand. Dominant demand refers to the purchase demand, while brands should pay more attention to the invisible needs of consumers to meet the psychological level. This is a key step in the brand's long-term development. This paper through the analysis of the wedding brand development market status, according to the demand of consumption as the guidance to carry out the brand image design work, from the ancient poetry and traditional wedding style to extract the design inspiration, in the visual design of the combination of traditional and modern techniques, for the wedding brand image design.

Nandong is a song usually sung by Padang people who come to trade to the island of Simeulue. Nandong poetry is sung in the form of rhymes and describes the story of human life, but over time, the poems conveyed by intelligent people are compiled into art called Nandong. Nandong poetry tells the story of human life and is displayed in wedding events to be entertained and give advice to those who are married. However, at this time, the preservation of Nandong culture seems to be fading due to the development of modern musical instruments so that local culture is rarely displayed. This study will describe the factors causing the loss of Nandong culture in Sambay village, West Aceh.

Abstract This article examines the understudied political dynamics of the televised nabaṭī poetry competition Shāʿir al-Milyūn (“Million’s Poet”) to offer a new understanding of the program. Media coverage has focused on the participation of a single female participant, while scholars have assessed Shāʿir al-Milyūn as primarily an experiment in the wedding of local tradition to modern technology, overlooking the central and complex negotiations of ruler-ruled relationships taking place on the show’s stage. Shāʿir al-Milyūn’s political aspect becomes particularly apparent in the regular performances of waṭaniyyah verse, i.e. poetry for the waṭan or homeland. Reading a waṭaniyyah poem performed during the fifth season of Shāʿir al-Milyūn by Emirati poet Aḥmad bin Hayyāy al-Manṣūrī, I argue that Shāʿir al-Milyūn, rather than merely celebrating local poetic tradition, operates as a political technology that provides both poetry contestants and the show’s princely patron with opportunities to articulate and enact expectations of proper citizenship.

AbstractThe first section of this paper examines an allusion to Propertius 3.15 at 2.239 of Statius’ Thebaid. Here Statius refers to a certain Mount Aracynthus in the context of the double marriage of Argia and Deipyle to Polynices and Tydeus. Invoked in Latin poetry as we have it a scant three times, Statius’ Aracynthus recalls Propertius 3.15.42, where the mountain is the site of Amphion’s paean celebrating the victory over Dirce, whose jealous pursuit of Antiope wrought her own destruction. Invoked in the midst of the wedding of Polynices, whose own jealousy over Eteocles will bring about his downfall, Aracynthus casts a pall over the otherwise idyllic description of the two brides and further hints at the doomed nature of their union to the two exiles, Polynices and Tydeus.The second section of this paper examines an implied reference to another Aracynthus at 2.729. This second Aracynthus, however, is Aetolian and not the Boeotian mountain of Propertius. Statius’ two Aracynthi draw us in to an obscure debate, ancient and modern, concerning the location(s) of this (or these) mountain(s) and may suggest something about his engagement with his literary models.

Who was andré Jolles? born in den helder in 1874; raised in amsterdam; in his youth a significant player in the literary Movement of the Nineties (Beweging van Negentig), whose organ was the Dutch cultural weekly De Kroniek; a close friend of Aby M. Warburg's and Johan Huizinga's—Jolles studied art history at Freiburg beginning in 1902 and then taught art history in Berlin, archaeology and cultural history in occupied Ghent during World War I, and Netherlandic and comparative literature at Leipzig from 1919 until shortly before his death, in 1946. A man of extraordinary intellectual range—his publications include essays on early Florentine painting, a dissertation on the aesthetics of Vitruvius, a habilitation thesis on Egyptian-Mycenaean ceremonial vessels, literary letters on ancient Greek art, and essays in German and Dutch on folklore, theater, dance, Boccaccio, Dante, Goethe, Zola, Ibsen, Strindberg, and Provençal and Renaissance Italian poetry—he was also an amateur playwright and an outspoken champion of modern trends in dramatic art and stage design. To his friends, he could be something of an intellectual midwife, helping Warburg to formulate what would become a signature notion, the “pathos formula,” and Huizinga to conceive The Waning of the Middle Ages (1919). Jolles's chief work, the one for which he is best known, is Einfache Formen (1930; “Simple Forms”), a collection of lectures he had delivered in German at Leipzig in 1927-28 and revised.

Resum: A l’antiga Grècia i Roma els epitalamis actuaven com a preludi eròtic de la nit nupcial. Claudià, a l’antiguitat tardana, va tractar el motiu del desflorament com a pugna amoris amb lasciu refinament. A partir del Quattrocento italià, l’Europa moderna va reprendre amb profusió aquesta tradició laudatòria d’erotisme estilitzat amb cants consagrats a la unió de les famílies il·lustres. El poeta barroc Francesc Fontanella (1622-1682/83) va compondre quatre magnífics epitalamis dedicats a les noces d’un enigmàtic personatge: el ‘galant Alba’. Diversos estudis han intentat, sense èxit, desvelar-ne la identitat. En aquestes composicions, Fontanella va emprar un llenguatge refinat i metafòric per descriure gradualment els estadis que porten a la unió carnal entesa com a lluita amorosa: els versos, rics en imatges florals i minerals, s’han de reconvertir al seu sentit concret a través d’una doble lectura. L’estudi inclou l’edició crítica dels textos i la contextualització del cicle dins del corpus epitalàmic europeu, així com una argumentació sobre la possible identitat dels protagonistes. Paraules clau: literatura catalana moderna; poesia barroca; epitalami; Francesc Fontanella Abstract: In ancient Greece and Rome, epithalamia acted as an erotic prelude to the wedding night. In Late Antiquity, Claudian explored the theme of deflowering as pugna amoris with lascivious refinement. As of 15th century Italian poets, modern Europe recommenced this laudatory tradition of stylised eroticism with songs devoted to the union of illustrious families. The Baroque poet Francesc Fontanella (1622-1682/3) composed four magnificent epithalamia dedicated to the wedding of an enigmatic character: ‘gallant Alba’, of whom several studies have tried, unsuccessfully, to reveal his identity. In these compositions, Fontanella employed refined, metaphorical language to gradually describe the stages of carnal union understood as a love battle: the verses, rich in floral and mineral imagery, must be transformed into their particular meaning through double reading. The study includes the critical edition of the texts and a contextualisation of the series within the European corpus of epithalamia, as well as an argument on the possible identity of the protagonists. Keywords: Early modern Catalan literature; Baroque poetry; epithalamium; Francesc Fontanella

EZRA’S CAGE”. BETWEEN POETRY AND POLITICSEzra Pound 1885–1975 was, next to Thomas Stearns Eliot, the most prominent American poet of modernist. He was considered the creator of vorticism and imagism — modern trends in art and world culture. In his works he reached to different eras and cultural trends. He was as well fascinated by medieval Provençal, Spanish and Italian literature, and Japanese art of haiku. On his work also had an impact scholasticism, Confucianism and Far East literature. In addition to poetry, Pound was also involved in literary criticism, painting and sculpture, he wrote historiosophical es­says and dramas. The greatest fame brought him, however, written for many years, „Canto”. During his stay in the British Isles he also dealt with politics and economics. He was considered a supporter of the theory of Social Credit of Hugh Douglas Clifford, aBritish engineer and economic theorist. In the early twenties Pound went to Italy. Here he became fascinated with fascism and the person of Benitto Musollini. In his works including his poetic works appeared clear fascist and anti-Semitic accents. He criticized Jewish international financiers and banking critique of usury. During World War II he gave propaganda „talks” in the Italian radio. He praised the organization of the fascist state and fascism as an idea, and at the same time warned the threat from international Jewish conspiracy. His views meant that he was accused of collaboration and treason. He was arrested and imprisoned in the US prison camp near Genoa. He spent almost amonth in aclosed cage. During his stay in the camp he had nervous breakdown. After transportation to the United States for many years he was locked out in hospital for mentally ill. After leaving the hospital, he returned to public space. Still creative, he was nominated for the most prestigious literary awards. His works have been translated into many languages around the world, including Polish. He died in Italy in 1975.

Communication media as a means to convey information is traditional and modern. The rapid development of communication technology in modern media by some communication experts is allegedly able to change the traditional form of communication found in Indonesia. The author is interested to know the benefits of the implementation of the Gorontalo tribal tradition as a traditional communication media play a role in development in the village of Titidu? By using the method of observation and in-depth interviews with 34 sources obtained from purposive sampling techniques. This study was also complemented by a literature review to deepen data and data processing using descriptive qualitative analysis. The findings show the existence of traditional media that still survive in the village of Titidu aims to preserve the traditions of the Gorontalo tribal people who place the tradition based on syara 'and syara' based on the book of God as a way of life, so that the culture of Gorontalo people highly values traditions especially those with Islamic nuances. The tradition is related to customs in the form of wedding ceremonies, coronation and reception of officials, funerals, hair cutting and weighting. Art in the form of remembrance (obeyed), burdah (buruda), funds and zamrah. Dance movements or sports such as langga, longgo, and literature in the form of prose and poetry. By implementing interpersonal, group, free and social communication to socialize regional development in the fields of innovation (health, education, national defense, arts, development), government policy, program accountability in the village head's remarks.Media komunikasi sebagai sarana untuk menyampaikan informasi bersifat tradisional dan modern. Pesatnya perkembangan teknologi komunikasi pada media modern oleh beberapa pakar komunikasi disinyalir dapat merubah bentuk komunikasi tradisional yang terdapat di Indonesia. Penulis tertarik untuk mengetahui manfaat pelaksanaan tradisi suku Gorontalo sebagai media komunikasi tradisional berperan dalam pembangunan di Desa Titidu. Dengan menggunakan metode observasi dan wawancara mendalam terhadap 34 narasumber yang di dapat dari teknik sampling purposive. Penelitian ini juga dilengkapi dengan kajian pustaka untuk memperdalam data serta pengolahan data menggunakan analisis deskriptif kualitatif. Temuan menunjukkan keberadaan media tradisional yang masih bertahan di Desa Titidu bertujuan untuk melestarikan tradisi masyarakat suku Gorontalo yang menempatkan adat bersendikan syara’ dan syara’ bersendikan kitab Allah sebagai pandangan hidup, sehingga secara kultural masyarakat Gorontalo sangat menghargai tradisi-tradisi terutama yang bernuansa Islami. Tradisi tersebut berhubungan dengan adat istiadat berupa upacara pernikahan, penobatan dan penyambutan pejabat, pemakaman, pengguntingan rambut serta pembeatan. Kesenian berupa dzikir (diikili), burdah (buruda), dana-dana dan zamrah. Gerak atau olahraga tarian seperti langga, longgo, dan sastra berupa prosa maupun puisi. Dengan menerapkan komunikasi antar pribadi, kelompok, bebas dan sosial untuk mensosialisasikan pembanguan daerah pada bidang inovasi (kesehatan, pendidikan, bela negara, kesenian, pembangunan), kebijakan pemerintah, pertanggungjawaban program dalam sambutan kepala desa.

ABSTRACT: Gabriel Bocángel’s silva «El retrato» (c. 1638) is a textual Trojan horse in the war for poetic patronage in the early modern Spanish court. Written on the wedding of the poet’s cousin to Juan de Cetina, secretary to the Admiral of Castile, the poem is a verbal portrait of the bride that undermines not only the tradition of the descriptio puellae, but also the Count-Duke of Olivares’s power. As a panegyric of the latter’s enemy, the text employs the botanical images of the laurel and the ivy, exploiting the full sense of their symbolic meaning. As an appeal for the patronage of poetry and letters at court and an exercise in «self-fashioning» (Greenblatt), the text makes the lovers’ and the poet’s pursuits parallel to the «siege» of Daphne; the poet, as a new Apollo, sings and weaves a complex poetic fabric in which different tensions are ultimately resolved in the image of the Admiral’s laurelcrowned brow, to which both the couple’s and the poet’s ambitions aspire. KEYWORDS Bocángel; Patronage; Silva; Olivares; Baroque; Emblems. RESUMEN: La silva «El retrato» (c. 1638) de Gabriel Bocángel es un caballo de Troya en la guerra por el patronazgo poético en el contexto de la corte española del siglo XVII. Escrita con motivo de la boda de la prima del poeta con Juan de Cetina, secretario del Almirante de Castilla, el poema es un retrato verbal de la novia que socava no sólo la tradición de la descriptio puellae, sino el poder del Conde-Duque de Olivares, enemigo acérrimo del Almirante. Como panegírico de este último, el texto emplea las imágenes botánicas del laurel y la hiedra explotando el pleno sentido de su significado emblemático y simbólico. Como petición de patronazgo de la poesía y las letras en la corte y como ejercicio de «self-fashioning» (Greenblatt), el texto pone en paralelo los objetivos de los amantes y del poeta con el acoso a Dafne; como nuevo Apolo, el poeta canta tejiendo un complejo tapiz en el que distintas tensiones se resuelven finalmente en la imagen de la frente del Almirante, coronada de laureles, a la que aspiran por igual las ambiciones de los amantes y del propio poeta.

Lea Goldberg [1911-1970] is one of modern Hebrew literature’s most significant poet/translators. This thesis approaches her early poetry and prose from the perspective of three theories of translation. ‘Polysystems’, ‘norms’, and ‘pseudotranslation’ grew from the scholarly and translation-lineage in Hebrew literary studies that Goldberg herself contributed to. Utilizing these three methods of reading, this thesis argues that translation’s thematization in Goldberg’s creative work is evidence for the poet’s ideal for a cosmopolitan, multilingual, national literature in the new Jewish State. This receptive stance to previous and concurrent literary traditions was met with much skepticism and criticism from Goldberg’s colleagues, and as a result, Goldberg’s oeuvre occupies a more peripheral position than several of her contemporaries.