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Libros sobre el tema "Epics (form)"

Autor: Grafiati
Publicado: 4 de junio de 2021
Última modificación: 28 de julio de 2025

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1

Phillips, Peter. Bravery and eloquence: Poetry in the Arabic popular epics (siyar shaʻbīyah). The Department of Near Eastern Languages and Civilizations, Harvard University, 2014.

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2

Turner, Frederick. Epic: Form, content, and history. Transaction Publishers, 2012.

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3

Cabani, Maria Cristina. Le forme del cantare epico-cavalleresco. M. Pacini Fazzi, 1988.

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4

Cumming, Mark. A disimprisoned epic: Form and vision in Carlyle's French Revolution. University of Pennsylvania Press, 1988.

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5

Meletinskiĭ, E. M. The Elder Edda and early forms of the epic. Parnaso, 1998.

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6

Peter, Collier. The Fords: An American epic. Summit Books, 1987.

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7

Borris, Kenneth. Allegory and epic in English Renaissance literature: Heroic form in Sidney, Spenser, and Milton. Cambridge University Press, 2000.

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8

Peter, Collier. The Fords: An American epic. Summit Books, 1987.

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9

Moretti, Franco. Opere mondo: Saggio sulla forma epica dal Faust a Cent'anni di solitudine. Einaudi, 1994.

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10

Nikiforov, V. M. Stadii ėpicheskikh kolliziĭ v olonkho: Formy folʹklornoĭ i knizhnoĭ transformat︠s︡ii. Nauka, 2002.

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11

Keller, Lynn. Forms of expansion: Recent long poems by women. University of Chicago Press, 1997.

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12

Bragina, D. G. (Darii︠a︡ Grigorʹevna) та I︠A︡kutskiĭ gosudarstvennyĭ universitet im. M.K. Ammosova, ред. Bolʹshai︠a︡ ėpicheskai︠a︡ forma v russkoĭ literature: Puti zhanrovogo izuchenii︠a︡. "Nauka", 2007.

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13

International Folk Epic Conference (1985 University College, Dublin). The heroic process: Form, function and fantasy in folk epic : the proceedings of the International Folk Epic Conference, University College Dublin, 2-6 September 1985. The Glendale Press, 1987.

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14

Bo, Almqvist, Ó Catháin Séamas, and Ó Héalaí Pádraig, eds. The heroic process: Form, function, and fantasy in folk epic : the proceedings of the International Folk Epic Conference, University College, Dublin, 2-6 September 1985. Glendale Press, 1987.

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15

Rieks, Rudolf. Affekte und Strukturen: Pathos als ein Form- und Wirkprinzip von Vergils Aeneis. C.H. Beck, 1989.

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16

Ramos, Oscar Gerardo. Categorías de la epopeya. Instituto Caro y Cuervo, 1988.

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17

Ramos, Oscar Gerardo. Categorías de la epopeya. Instituto Caro y Cuervo, 1988.

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18

Ivani︠u︡k, B. P. Slovarʹ liro-ėpicheskikh zhanrov. Elet︠s︡kiĭ gosudarstvennyĭ universitet im. I.A. Bunina, 2019.

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19

Pettinelli, Rosanna Alhaique. Forme e percorsi dei romanzi di cavalleria da Boiardo a Brusantino. Bulzoni, 2004.

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20

Boutet, Dominique. La chanson de geste: Forme et signification d'une écriture épique du Moyen Age. PUF, 1993.

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21

Tamarchenko, N. D. Teorii͡a︡ literaturnykh rodov i zhanrov--ėpika. Tverskoĭ gosuniversitet, 2001.

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22

Sacks, Richard. The traditional phrase in Homer: Two studies in form, meaning, and interpretation. Brill, 1987.

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23

Montgomery, Will. Short Form American Poetry. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9780748695324.001.0001.

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Discussion of the modernist line in American 20<sup>th</sup> century and contemporary poetry has been dominated by such long-form monuments as Pound’s Cantos, Williams’s Paterson, and Olson’s Maximus. This study analyses and discusses a countervailing tradition of short-form work. Beginning with Imagism, it argues that the short and short-lined poem is a central feature of American 20th-century poetry, lacking neither the intellectual ambition nor the expressive range of the well known epics. The counter-tradition it suggests runs from imagism through such key figures as Williams, Oppen, Niede
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24

Jablow, Alta. Gassire's Lute: A West African Epic. Waveland Press, 1990.

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25

Nemmers, Adam. American Modern(ist) Epic. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781949979664.001.0001.

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American Modern(ist) Epic argues that during the 1920s and ‘30s a cadre of minority novelists revitalized the classic epic form in an effort to recast the United States according to modern, diverse, and pluralistic grounds. Rather than adhere to the reification of static culture (as did ancient verse epic), in their prose epics Gertrude Stein and John Dos Passos utilized recursion, bricolage, and polyphony to represent the multifarious immediacy and movement of the modern world. Meanwhile, H. T. Tsiang and Richard Wright created absurd and insipid anti-heroes for their epics, contesting the he
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26

Sammons, Benjamin. Device and Composition in the Greek Epic Cycle. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190614843.001.0001.

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From a corpus of Greek epics known in antiquity as the “Epic Cycle,” six poems dealt with the same Trojan War mythology as the Homeric poems. Though they are now lost, these poems were much read and much discussed in ancient times, not only for their content but for their mysterious relationship with the more famous works attributed to Homer. This study shows that these lost poems belonged, compositionally, to essentially the same tradition as the Homeric poems. It demonstrates that various compositional devices well-known from the Homeric epics were also fundamental to the narrative construct
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27

Lowe, John J. Epic Sanskrit. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198793571.003.0004.

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This chapter provides a detailed account of the transitive noun and adjective categories attested in Epic Sanskrit. The major Sanskrit epics, the Mahabharata and the Ramayana, provide a large body of data in a form of Sanskrit slightly later than Vedic Prose, and close to the ‘Classical’ Sanskrit language. There is considerably more evidence for transitive nouns and adjectives in the epics than in Vedic Prose, but compared with the Rigveda transitive nouns and adjectives are still less common, and show less morphological variety. Again, statistical analysis shows that there is a clear correlat
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28

Turner, Frederick. Epic: Form, Content, and History. Taylor & Francis Group, 2017.

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29

Turner, Frederick. Epic: Form, Content, and History. Taylor & Francis Group, 2017.

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30

Turner, Frederick. Epic: Form, Content, and History. Taylor & Francis Group, 2017.

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31

Epic: Form, Content, and History. Transaction Publishers, 2012.

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32

Neely, Julianne. Invitation to Form: Epic Mix. Peach Mag, 2023.

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33

Epic: Form, Content, and History. Taylor & Francis Group, 2012.

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34

Macintosh, Fiona, and Justine McConnell. Performing Epic or Telling Tales. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198846581.001.0001.

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Performing Epic or Telling Tales takes the new millennium as a starting point for an exploration of the turn to narrative in twenty-first-century theatre, which is often also a turn to Graeco-Roman epic. However, the dominant focus of Performing Epic is less on ‘what’ the recent epic turn in the theatre consists of than ‘why’ it seems to be so prevalent. The authors explain this turn with reference not only to the translation and scholarly histories of the epics but also to earlier performance traditions and, notably, to recent theoretical debates relating to text-based ‘drama’ and performance
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35

Sullivan, Catherine. Epic Rat: A Story in Poetic Form. Independently Published, 2020.

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36

Literary form as postcolonial critique: Epic proportions. Ashgate, 2012.

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37

Burkitt, Katharine. Literary Form As Postcolonial Critique: Epic Proportions. Taylor & Francis Group, 2016.

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38

Burkitt, Katharine. Literary Form As Postcolonial Critique: Epic Proportions. Taylor & Francis Group, 2016.

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39

Burkitt, Katharine. Literary Form As Postcolonial Critique: Epic Proportions. Taylor & Francis Group, 2016.

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40

Burkitt, Katharine. Literary Form As Postcolonial Critique: Epic Proportions. Taylor & Francis Group, 2017.

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41

Burkitt, Katharine. Literary Form As Postcolonial Critique: Epic Proportions. Taylor & Francis Group, 2016.

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42

Wils, Clara. Form and Fury: An Epic Fantasy Reverse Harem. Gryphon's Gate Publishing, 2022.

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43

Cumming, Mark. Disimprisoned Epic: Form and Vision in Carlyle's French Revolution. University of Pennsylvania Press, 1988.

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44

Sharrock, Alison, Daniel Möller, and Mats Malm, eds. Metamorphic Readings. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198864066.001.0001.

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Ovid’s remarkable and endlessly fascinating Metamorphoses is one of the best known and most popular works of classical literature, and perhaps the most influential of all on later European literature and culture. Loved for its vast repository of mythic material as well as its sophisticated manipulation of story-telling, the poem can be appreciated on many different levels and by audiences of very different backgrounds and educational experiences, whether it is for the tale of Pyramus and Thisbe or the endless but endlessly fascinating debate over the generic status of this epic which breaks al
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45

Almquist, Bo. The Heroic Process: Form, Function and Fantasy in Folk Epic. Irish Books & Media, 1987.

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46

Oliver, Matthew, Donald E. Palumbo, and C. W. Sullivan III. Magic Words, Magic Worlds: Form and Style in Epic Fantasy. McFarland & Company, Incorporated Publishers, 2022.

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47

Quint, David. Epic and Empire: Politics and Generic Form from Virgil to Milton. Princeton University Press, 2021.

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48

Epic and empire: Politics and generic form from Virgil to Milton. Princeton University Press, 1993.

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49

Turkic oral epic poetry: Tradition, forms, poetic structure. Garland, 1992.

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50

Huber, Judith. Latin and medieval French in the motion verb typology. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190657802.003.0007.

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Since Latin and medieval French are the contact languages from which the path verbs analysed in chapter 9 are borrowed, this chapter summarizes earlier research on Latin and medieval French in the motion verb typology and offers a case study on motion expression in the prose parts of the Old French Aucassin et Nicolette. It is shown that while medieval French can be called satellite-framing with respect to the structures used to talk about motion, which typically feature satellites (though less often in the form of adverbs than in medieval English), the use of path verbs is considerably higher
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