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Добірка наукової літератури з теми "Latin Sonnets"

Автор: Grafiati

Опубліковано: 25 липня 2024

Оновлено: 31 липня 2025

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Статті в журналах з теми "Latin Sonnets"

Blackman, Shane. ""Listen to Irene Cara", "Octavio Paz and the Nobel", "The Goals of Diego Maradona"." Latin American Literary Review 49, no. 99 (2022): 83–84. http://dx.doi.org/10.26824/lalr.333.

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These 3 sonnets explore the lives of pop-star Irene Cara, author and Nobel Prize winner Octavio Paz, and soccer legend Diego Maradona. Though one major sonnet form from literary history has included iambic pentameter, the sonnets here drop the iambic part, but keep the pentameter. In the history of the sonnet, there traditionally have been rhyme schemes. There is no particular rhyme scheme in these 3 sonnets. They are written with a mixture of free verse and rhyming. The poems span across Latin America -- from Mexico to Argentina and from Cuba to Puerto Rico -- and they celebrate the rich musi

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Leerintveld, Ad, and Jeroen Vandommele. "Instruments of Community." Early Modern Low Countries 6, no. 1 (2022): 71–102. http://dx.doi.org/10.51750/emlc12172.

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This article analyses the emergence and development of Dutch sonnets through Netherlandish alba amicorum from the period 1560 to 1660. It discusses the advent of the sonnet in the Renaissance literature of the Low Countries in the 1560s, showing how artists, scholars, and poets with connections to the Dutch refugee community in London became early adapters of this genre through their alba amicorum. We argue that this group used the sonnet as a form of exile literature, which communicated attachment to the fatherland and the righteous causes of the Dutch Revolt. Next, the essay explores the Dut

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Walach, Harald. "Another Cryptogram in "Shakespeare's" Dedication to His Sonnets." Journal of Scientific Exploration 35, no. 1 (2021): 129–31. http://dx.doi.org/10.31275/20212019.

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I read with great interest the paper by Peter Sturrock and Kathleen Erickson (Sturrock & Erickson, 2020) on the Dedication in Shakespeare’s Sonnets. I am neither a scholar of literature, nor of Shakespeare, and I do not want to enter the fray as to who was the author of Shakespeare’s sonnets and plays. But I must confess that I found the arguments presented by Sturrock and Erickson intriguing. It is in that vein I would like to communicate an interesting finding. On page 302, Figure 21, of their paper, they present the Dedication of the Sonnets as a grid of 12 x 12 letters. This was done u

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Lacore-Martin, Emmanuelle. "De la forme littéraire comme arme politique : l’effet-recueil dans la version française de la Detectio de George Buchanan." Renaissance and Reformation 44, no. 1 (2021): 109–34. http://dx.doi.org/10.33137/rr.v44i1.37044.

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L’Histoire de Marie Royne d’Escosse constitue la dernière étape d’une trajectoire éditoriale complexe. Cette publication de 1572 contient la seule traduction en français de la Detectio, texte latin à charge écrit par George Buchanan dans le contexte de la déposition de la reine d’Ecosse entre 1567 et 1568, et augmenté au fil de ses éditions successives de pièces diverses, dont les fameux sonnets de la cassette, lettres-sonnets constituant une pièce maîtresse dans l’accusation d’adultère et de complicité d’assassinat à l’encontre de la souveraine. La présente étude montre que l’effet-recueil pr

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Dr. Jamal M. Al-Sayed Alawi. "The Shakespearean Poetic Rosary: The ‘Sacred Numbers’ in Shakespeare’s Sonnets." Creative Launcher 7, no. 4 (2022): 27–33. http://dx.doi.org/10.53032/tcl.2022.7.4.04.

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In human culture there are certain numbers of special importance. They are mostly used in old and modern writings as “sacred numbers” of religious and literary significance. They are present in the Greek myths, in Egyptian Pharaonic culture, in ancient Persian, in the Indian culture, and in Arab traditions; then (Islamic) culture as well as in the Biblical Western culture. These numbers are of two kinds: even and uneven or odd. The odd numbers 1, 3, 5, 7and 9 play a far more important part than the even numbers. One is Deity, three the Trinity, five the chief division, seven is the sacred numb

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Popović, Branka. "Svetlana Savić: Soneti "La Douce Nuit", "Looking on Darkness", "La vita fugge"." New Sound, no. 43-1 (2014): 157–72. http://dx.doi.org/10.5937/newso1443157p.

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Soneti [Sonnets] by Svetlana Savić were composed between 2008 and 2012. The cycle comprises three pieces: "La Douce Nuit" for violoncello, piano, and electronics, as well as "Looking on Darkness" and "La vita fugge" for a female voice, violoncello, piano, and electronics. Here, the work is analysed from the perspective of the author's modernist orientation towards sound as a specific tool of music as a medium, which defined multiple poetic aspects in creating this work and had repercussions on the treatment of the text, the ensemble - both its acoustic and electronic layers - the forming and r

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Putnam, Michael C. J. "Virgil and Sannazaro's Ekphrastic Vision." Ramus 40, no. 1 (2011): 73–86. http://dx.doi.org/10.1017/s0048671x00000205.

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If the Neapolitan humanist Jacopo Sannazaro (1458-1530) receives any recognition in scholarly circles these days, it is usually for his Arcadia, an elaborate pastoral in twelve books, each combining prose and verse, that forms one of the most important links between the work of Petrarch, its inspiration, and that of Sir Philip Sidney. The Arcadia, published first authoritatively in 1504, is written in Italian, as are the hundred or so surviving Rime (songs and sonnets), largely products of the last decade of the fifteenth century. But Sannazaro was also a prolific writer in Latin. It is a ques

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Carter, Tim. "Cerberus Barks in Vain: Poetic Asides in the Artusi–Monteverdi Controversy." Journal of Musicology 29, no. 4 (2012): 461–76. http://dx.doi.org/10.1525/jm.2012.29.4.461.

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The numerous documents associated with the controversy launched in 1600 by the Bolognese music theorist Giovanni Maria Artusi (1546–1613) against the madrigals of Claudio Monteverdi (1567–1643) have been well studied by scholars. But no one has yet engaged with the encomia included in the front and back matter of the printed books lying at the heart of the dispute: three sonnets (two by Vicenzo Maria Sandri and one by Mutio Manfredi) and a Latin carmen (by Erycius Puteanus) in the treatise L’Artusi, overo Delle imperfettioni della moderna musica (1600), and two madrigals by the poet and theolo

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Kottaparamban, Musadhique, Elsadig Hussein Fadlalla Ali, and Fawzi Eltayeb Yousuf Ahmed. "Stories From the Margin: Theorizing and Historicizing Testimonial Writings in Regional Indian Literature." Journal of Language Teaching and Research 14, no. 4 (2023): 918–26. http://dx.doi.org/10.17507/jltr.1404.08.

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Testimonio is a new genre that emerged in the 1960s in Latin America and came to be used by liberation and social movements of women, black, Adivasis, and other oppressed people. As the oppressed reasserted themselves publicly, their voices became more audible, and they began to vigorously develop their strategies for effective communication. When the oppressed find the existing genre is not appropriate to express their feelings, they start to introduce new forms of literature; it is because of the existing genre’s inadequacy of representing the oppressed in early literary forms like novels, s

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Mampieri, Martina. "From Menasseh ben Israel to Solomon Proops : Amsterdam Jewish Druckwesen in the Library of Isaiah Sonne*." Studia Rosenthaliana: Journal of the History, Culture and Heritage of the Jews in the Netherlands 46, no. 1 (2020): 97–116. http://dx.doi.org/10.5117/sr2020.1-2.005.mamp.

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Abstract The Isaiah Sonne collection, today preserved in library of the Ben-Zvi Institute in Jerusalem, contains some seventy copies of Jewish books in several languages (Hebrew, Spanish, Portuguese, Latin, and Dutch) printed in Amsterdam during the seventeenth and eighteenth centuries. This sub-collection within Sonne’s wider library, second in number only his copies of Venetian editions, confirms Sonne’s particular interest in Jewish printing in Amsterdam ‐ an interest that runs through his published scholarship and through these books, in the form of Sonne’s marginalia. By connecting his in

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Книги з теми "Latin Sonnets"

Shakespeare, William. Gulielmi Shakespeare carmina quae sonnets nuncupantur latine reddita =: Latin elegies after William Shakespeare's sonnets = Lateinische Elegien nach den Sonetten Shakespeares. Edition Signathur, 2006.

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Petrarca, Francesco. Canzoniere. Carcanet, 2000.

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Petrarca, Francesco. Rerum vulgarium fragmenta: Codice Vat. Lat. 3195. Antenore, 2003.

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Petrarca, Francesco. Canzoniere. Einaudi, 1992.

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Petrarca, Francesco. Quattordici sonetti nelle letterature europee. Armando Dadò, 2001.

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Petrarca, Francesco. Canzoniere: Rerum vulgarium fragmenta. G. Einaudi, 2005.

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Petrarca, Francesco. Canzoniere. Donzelli, 1996.

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Petrarca, Francesco. The Canzoniere: Rerum vulgarium fragmenta. Troubador in association with Hull Italian Texts, 2000.

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Petrarca, Francesco. Petrarch's Canzoniere in the English Renaissance. Rodopi, 2005.

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Petrarca, Francesco. Canzoniere. A. Mondadori, 1985.

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Частини книг з теми "Latin Sonnets"

"Thomas Russell (1762-88)." In A Century of Sonnets, edited by Paula R. Feldman and Daniel Robinson. Oxford University PressNew York, NY, 1999. http://dx.doi.org/10.1093/oso/9780195115611.003.0014.

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Abstract William Wordsworth admired Thomas Russell’s sonnets and recommended some of them to the anthologist Alexander Dyce. Russell, however, did not live long enough to fulfill the promise of his brilliant success in Latin and other language studies at Oxford. His posthumously published Sonnets and Miscellaneous Poems (1789) includes among the sonnets translations of Petrarch and Camoens.

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Edmondson, Paul, and Stanley Wells. "The Early Publication of the Sonnets." In Shakespeare’s Sonnets. Oxford University PressOxford, 2004. http://dx.doi.org/10.1093/oso/9780199256105.003.0001.

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Abstract Shakespeare’s sonnets as we know them were first printed as a collection in 1609, towards the end of his career. But some of them had already been overed to readers either publicly or privately. The first mention of Shakespeare as a writer of sonnets comes in Palladis Tamia, or Wit’s Treasury, a book published in 1598 by the Cambridge-educated clergyman Francis Meres (1565–1647), who was well acquainted with the literary scene. The bulk of this volume is an anthology of supposedly wise sayings culled from classical and modern writers, but Meres adds a ‘Comparative Discourse of our Eng

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Praetorius, Michael. "Concerning Compositions With Humorous Secular Texts, But Not in Set Verse Patterns, Such as Dialogues, Canzonas, Canzonettas, and Arias." In Syntagma Musicum III. Oxford University PressNew York, NY, 1994. http://dx.doi.org/10.1093/oso/9780195145632.003.0005.

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Abstract Those such as the previously-mentioned sonnets (cantilena or cantio in Latin, which are generic terms; chanson in French) are actually secular or courting songs that are sung. Their style varies from poet to poet, and they do not have the same number of stanzas or lines, nor are they always in the same form, almost like the hymns of Pindar or the odes of Horace. The following is an example from Petrarch

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Miola, Robert S. "William Byrd." In Early Modern Catholicism. Oxford University PressOxford, 2007. http://dx.doi.org/10.1093/oso/9780199259854.003.0049.

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Abstract A devout Catholic his whole life, William Byrd (1543–1623) was the most accomplished and proliWc musician of his time. Writing for the Church of England and for Catholic services, he revolutionized the use of keyboard, popularized the madrigal, and excelled in Latin sacred music. Byrd wrote Cantiones Sacrae (1575), Psalms, Sonnets, & Songs of Sadness & Piety (1588), contributed to The Fitzwilliam Virginal Book (1612–19), and composed motets as well as voice and consort music.

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Ross, Catherine E. "England’s Public and Grammar Schools." In Educating the Romantic Poets. Liverpool University Press, 2023. http://dx.doi.org/10.3828/liverpool/9781837644452.003.0003.

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This chapter explains the methodical way in which very young pupils at the schools were taught Latin and Greek vocabulary, pronunciation, and grammar rules. Every night boys read and parsed short passages from classical texts or scripture, memorized each text and the relevant grammar rules. Several times a week they wrote short imitations in verse. Detailed lessons in prosody were an early and constant part of this instruction. The regularity of writing practice meant that a youngster might enter university having already composed close to 100 prose essays and the equivalent of 300 sonnets. An

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Caporicci, Camilla. "A long journey." In The Song of Songs and Its Tradition in Renaissance Love Lyric. Oxford University PressOxford, 2024. https://doi.org/10.1093/oso/9780192848833.003.0002.

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Abstract This chapter traces the role of the Song of Songs in the rise and development of the European tradition of love lyric poetry, from its medieval origins to the thirteenth century. After an exploration of the early Christian and medieval exegesis of the Song of Songs, it takes into account both the Latin and vernacular roots of medieval love lyric. It traces the influence of the biblical book in medieval Latin verse, including the poems Deus amet puellam and Iam, dulcis amica, uenito, and the two anthologies Carmina Cantabrigiensia and Carmina Burana. It focuses then on troubadour poetr

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Jackson, Christine. "Musician and Poet." In Courtier, Scholar, and Man of the Sword. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780192847225.003.0013.

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Music-making was a popular leisure activity in aristocratic households in the early seventeenth century and a growing number of courtier poets wrote and exchanged verse in aristocratic salons and literary coteries. Chapter 12 continues the exploration of Herbert’s intellectual achievements and reputation as a polymath. It traces his interest in playing the lute and singing, and the musical preferences and fashions demonstrated by the music books he owned and the preludes, fantasias, pavanes, galliards, courantes, voltes, sarabands, and airs assembled in his unique manuscript lute book. It prob

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Arkins, Brian. "Michael Longley Appropriates Latin Poetry." In Living Classics. Oxford University PressOxford, 2009. http://dx.doi.org/10.1093/oso/9780199233731.003.0010.

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Abstract Michael Longley1 is not only one of Ireland’s leading contemporary poets, but, in the words of John Burnside, ‘one of the finest lyric poets of our century’ (the twentieth). A significant part of the achievement of Longley, who studied Classics at the Royal Belfast Academical Institution and at Trinity College, Dublin, is his appropriation of material from the Graeco-Roman world. Eliot said ‘mature poets steal’; Longley concurs in regard to Homer’s image of a poppy: ‘an image Virgil steals … and so do I’ (CP 255). The two Classical areas specially prominent in Longley are Homer and La

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"The English and Latin Texts." In A Brefe Dialoge bitwene a Christen Father and his stobborne Sonne, edited by Douglas H. Parker. University of Toronto Press, 1999. http://dx.doi.org/10.3138/9781442670273-005.

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"Appendix B: The Latin Text." In A Brefe Dialoge bitwene a Christen Father and his stobborne Sonne, edited by Douglas H. Parker. University of Toronto Press, 1999. http://dx.doi.org/10.3138/9781442670273-013.

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Звіти організацій з теми "Latin Sonnets"

Biasca, Federico. La prise en charge des personnes converties à l’islam par les associations musulmanes en Suisse latine. Schweizerisches Zentrum für Islam und Gesellschaft (SZIG), Freiburg, 2024. http://dx.doi.org/10.51363/unifr.szigs.2024.011.

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La conversion à l’islam fait l’objet d’une attention scientifique et médiatique accrue en contexte européen, mais pour l’heure peu de recherches ont porté sur l’aspect institutionnel de ce phéno-mène. Cela est particulièrement vrai dans le contexte helvétique. Or face à la demande des per-sonnes converties, ou désireuses d’embrasser l’islam, les associations musulmanes en Suisse ont commencé à mettre en place des activités en leur direction. Cette étude, de nature exploratoire, porte sur ces dernières en mettant en lumière leurs formes et contenus. Elle analyse, en partant de la réalité de 15

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