LUZZASCHI'S SETTING OF DANTE: ‘QUIVI SOSPIRI, PIANTI, ED ALTI GUAI’

2009 ◽  
Vol 28 ◽  
pp. 97-138 ◽  
Author(s):  
Anthony Newcomb
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Early Years ◽  
Musical Style ◽  
Late Style

This article examines the Ferrarese cultural context surrounding the virtually unprecedented choice of a text from Dante's Commedia for setting in Luzzaschi's Second Book of Madrigals of 1576. A particular focus is the quarrel in literary criticism of the early years of the 1570s over the place of Dante in the Italian literary firmament, and the position of the influential Modenese critic and philologist Lodovico Castelvetro in this quarrel. I speculate that Castelvetro, a subject of the duke of Ferrara, may have had a role in the choice of text. I also speculate that the disastrous Ferrarese earthquakes of the early years of the decade may have resounded for Ferrarese culture in the particular lines from the Commedia. Finally, I propose that the musical style chosen by Luzzaschi for this setting was an extraordinary and retrospective homage to the late style of his teacher Cipriano de Rore, another artistic figure intimately connected with the Este court. Both Rore and Castelvetro may be seen as icons of Ferrarese cultural prestige in the ongoing battle for precedence between the Este and the Medici.

Madeleine Dring

2020 ◽  
Author(s):  
Wanda Brister ◽  
Jay Rosenblatt
Keyword(s):  
World War Ii ◽  
Royal College ◽  
Personal Experience ◽  
Art Songs ◽  
Early Years ◽  
Full Time ◽  
World War ◽  
Musical Style ◽  
Piano Students ◽  
Television Shows

This book is the first scholarly biography of Madeleine Dring (1923–1977). Using diaries, letters, and extensive archival research, the narrative examines her career and explores her music. The story of Dring’s life begins with her formal training at the Royal College of Music, first in the Junior Department and then as a full-time student, a period that also covers her personal experience of events both leading up to and during the early years of World War II. Her career is traced in detail through radio and television shows and West End revues, all productions for which she wrote music, as well as her work as an actor. Dring’s most important contemporaries are briefly discussed in relation to her life, including her teachers at the Royal College of Music, professional connections such as Felicity Gray and Laurier Lister, and her husband Roger Lord. Her musical compositions are surveyed, from the earliest works she wrote as a student to the art songs she wrote in her last years, along with various popular numbers for revues and numerous piano pieces for beginning piano students as well as those suitable for the concert hall. Each chapter singles out one or more of these works for detailed description and analysis, with attention to the qualities that characterize her distinctive musical style.

Unraveling Irony: from Linguistics to Literary Criticism and Back

2019 ◽  
Vol 5 (1) ◽  
pp. 147-173 ◽  
Author(s):  
Francisco José Ruiz de Mendoza Ibáñez ◽  
Inés Lozano-Palacio
Keyword(s):  
Literary Criticism ◽  
Systematic Study ◽  
Cultural Context ◽  
Cognitive Linguistic ◽  
Time Periods ◽  
The Relationship

This article argues for the need to strengthen the dialogue between linguistics and literary criticism to enhance existing accounts of irony in both camps. The analytical categories arising from this work allow for a more systematic study of the ins-and-outs of ironic discourse. Our proposal starts from the cognitive-linguistic view of irony, based on the activation of an echoed and an observable scenario, which are mutually exclusive. The clash between them gives rise to an attitudinal element. To this analysis, our proposal adds, on the basis of the more socio-cultural view of literary criticism, a consideration of felicity conditions and a distinction between two basic types of ironist and interpreter, together with a discussion of the communicative consequences of their possible ways of interaction. With these tools the article introduces a degree of homogeneity in the account of the relationship between irony and its socio-cultural context across different time periods.

scholarly journals Euphuism in Robert Southwell’s Religious Poetry (on the basis of “St Peter’s Complaynte”)

2021 ◽  
pp. 82-90
Author(s):  
А. Н. Чекова
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Focus Of Attention ◽  
Religious Conflict ◽  
Writing Style ◽  
Religious Poetry ◽  
Systematic Analysis ◽  
Poetic Expression ◽  
Poetic Texts ◽  
Stylistic Unity

В статье рассматривается духовная лирика поэта-проповедника Р. Саутвелла (1561–1595) как представителя Елизаветинской эпохи. Основное внимание уделяется влиянию на творчество автора такого литературного направления, как эвфуизм. Чтобы продемонстрировать, насколько активно и целенаправленно поэт прибегает к эвфуистическим приемам, и достичь понимания того, с какой целью он это делает, кратко рассматривается биография Р. Саутвелла в рамках религиозного конфликта между католиками и протестантами, являющегося историко-культурным контекстом, в который вписано творчество поэта. Проводится подробный лингвостилистический анализ 26 лирических текстов из стихотворного цикла «Сетование святого Петра» с элементами лингвопоэтического анализа. Новизна данного исследования состоит в том, что впервые систематический анализ лирики Р. Саутвелла проводится с позиций лингвистики, а не литературоведения или религии. По результатам анализа автор делает вывод, что эвфуистические приемы позволили Р. Саутвеллу не только ярко и наглядно отразить в своих текстах остроту религиозного конфликта, в эпицентре и под непосредственным влиянием которого, а также сопутствовавших этому конфликту противоречий обеспечили сохранение стилистического единства во всех текстах рассматриваемого цикла. The article concentrates on the religious poetry of Robert Southwell (1561–1595) as a representative of the Elizabethan era; the focus of attention is the influence of euphuism on the poet’s writing style. Southwell actively and purposefully employs euphuistic means of expression, such as parallelism and especially alliteration, in his works; in order to achieve a better understanding of the reasoning behind this stylistic choice, Southwell’s biography is briefly examined within the framework of the religious conflict between Catholics and Protestants, which provides the historical and cultural context for Southwell’s texts. A detailed linguostylistic and linguopoetic analysis of 26 excerpts from his didactic religious poem “St Peter’s Complaynte” is then carried out. The novelty of the research lies in the fact that this article, unlike most previous works focused on Robert Southwell’s poetry, carries out a systematic analysis of Southwell's poems from a linguistic standpoint, as opposed to that of literary criticism or religion. Based on the results of the analysis, the author of the article concludes that employing euphuistic means of poetic expression as actively as Southwell does allows the poet to achieve a more vivid depiction of the religious conflict in the eye and under the influence of which his poetic texts were born; moreover, euphuism serves to create a stylistic unity between all the poetic texts that comprise “St Peter’s Complaynte”.

scholarly journals The performative Katherine Mansfield

2021 ◽  
Author(s):  
◽  
Nicola Saker
Keyword(s):  
Popular Culture ◽  
Cultural Context ◽  
Turn Of The Century ◽  
Early Years ◽  
Active Engagement ◽  
Katherine Mansfield ◽  
Performance Culture ◽  
The Third ◽  
Personal Performance

<p>This thesis looks at the role of performance in Katherine Mansfield’s life and its influence on her writing technique. It argues that there is a consistent thread of active engagement with performance throughout Mansfield’s life which profoundly influenced the content, construction and technique of her writing.   It is divided into three chapters. The first examines Mansfield’s early years and the cultural context of colonial, Victorian Wellington and its performance culture as well as the familial and educational influences that surrounded her.  The second chapter explores her later cultural context in London in the first decade after the turn of the century. The importance of popular culture such as music hall is examined, and Mansfield’s professional and personal performance experience is defined.  The third chapter involves a close reading and analysis of Mansfield’s dramatic techniques through the examination of the stories as well as her use of theatrical imagery, motifs, allusions and plot details.</p>

Temporality

2016 ◽  
Author(s):  
Theodore Martin
Keyword(s):  
Literary Criticism ◽  
Cultural Context ◽  
Temporal Structure ◽  
Environmental Crisis ◽  
Literary Texts ◽  
Narrative Form ◽  
19Th Century Literature ◽  
Postmodern Fiction ◽  
Wide Range ◽  
History Of

Time is not a strictly literary category, yet literature is unthinkable without time. The events of a story unfold over time. The narration of that story imposes a separate order of time (chronological, discontinuous, in medias res). The reading of that narrative may take its own sweet time. Then there is the fact that literature itself exists in time. Transmitted across generations, literary texts cannot help but remind us of how times have changed. In doing so, they also show us how prior historical moments were indelibly shaped by their own specific philosophies and technologies of timekeeping—from the forms of sacred time that informed medieval writing; to the clash between national time and natural history that preoccupied the Romantics; to the technological standardization of time that shaped 19th-century literature; to the theories of psychological time that emerged in tandem with modernism; to the fragmented and foreshortened digital times that underlie postmodern fiction. Time, in short, shapes literature several times over: from reading experience to narrative form to cultural context. In this way, literature can be read as a peculiarly sensitive timepiece of its own, both reflecting and responding to the complex and varied history of shared time. Over the course of the 20th century, literary time has become an increasingly prominent issue for literary critics. Time was first installed at the heart of literary criticism by way of narrative theory and narratology, which sought to explain narrative’s irreducibly temporal structure. Soon, though, formalist and phenomenological approaches to time would give way to more historically and politically attuned methods, which have emphasized modern time’s enmeshment in imperialism, industrial capitalism, and globalization. In today’s critical landscape, time is a crucial and contested topic in a wide range of subfields, offering us indispensable insights into the history and ideology of modernity; the temporal politics of nationalism, colonialism, and racial oppression; the alternate timescales of environmental crisis and geological change; and the transformations of life and work that structure postmodern and postindustrial society.

The Notebooks of Alexander Skryabin

2018 ◽  
Author(s):  
Simon Nicholls
Keyword(s):  
Early Years ◽  
Russian Philosophy ◽  
World War ◽  
Musical Style ◽  
Ancient Greek ◽  
Indian Culture ◽  
Silver Age ◽  
Political Events ◽  
The First World War ◽  
First World

Skryabin’s life spanned the tumultuous political events and artistic developments of the end of the nineteenth century and the early years of the twentieth but was cut short before the end of the First World War. In an era when the Russian musical scene was relatively conservative, he aligned himself with the poets, philosophers, and dramatists of the Silver Age. Possessed by an apocalyptic vision, aspects of which he shared with other Russian thinkers and artists of the period, Skryabin transformed his Romantic musical style into a far-reaching, radical instrument for the expression of his ideas. The core of the book is a full translation of the 1919 Moscow publication of Skryabin’s writings with the original introduction by Skryabin’s close friend Boris de Schloezer, brother of the composer’s life partner, Tat′yana. Schloezer’s introduction gives a vivid impression of the final years of Skryabin’s life. This text is supplemented by relevant letters and other writings. The commentary has been researched from original materials, drawing on accounts by the composer’s friends and associates. The roots of Skryabin’s thought in ancient Greek and German idealist philosophy, the writings of Nietzsche, Indian culture, Russian philosophy, and the Theosophical writings of H. P. Blavatsky are analysed, and accounts of the Poem of Ecstasy and Prometheus, the Poem of Fire show their relation to Skryabin’s world of ideas. A biographical section relates the development of the thought to the incidents of the composer’s life.

Queen’s Jubilee

2021 ◽  
pp. 232-243
Author(s):  
Nick Braae
Keyword(s):  
Health It ◽  
Musical Style ◽  
Late Style

Queen’s final album before Mercury’s death was widely viewed as a return to Queen’s distinct style, and also includes a number of reflective lyrics that were likely written with knowledge of the singer’s ill health. It is demonstrated how the title track embodies the idiolect principles of Queen’s 1970s output in terms of exploring new stylistic ground, while staying rooted in the familiar textural and arrangement patterns. Drawing on Said and Straus, Innuendo can be viewed as reflecting a ‘late style’ for Queen, but one that is defined by a retreat to a past musical style of their own, in contrast to other conceptions of this aesthetic defined in relation to classical composers.

Tonality Induction: A Statistical Approach Applied Cross-Culturally

2000 ◽  
Vol 17 (4) ◽  
pp. 461-479 ◽  
Author(s):  
Carol L. Krumhansl
Keyword(s):  
Cultural Context ◽  
Statistical Approach ◽  
Higher Order ◽  
Cross Cultural ◽  
Order Transition ◽  
The Other ◽  
Strong Correlations ◽  
Musical Style ◽  
Transitional Probabilities

Sensitivity to tone distributions has been proposed as a mechanism underlying tonality induction. This sensitivity is considered in a cross-cultural context using two styles of music, Finnish spiritual folk hymns and North Sami yoiks. Previous research on melodic continuation judgments showed strong correlations with the statistics of the musical style, specifically, the tone distributions and two- and three-tone transitions. This article develops models using these three kinds of statistics to categorize short initial segments as coming from one style or the other. The model using tone distributions was found to make numerous categorization errors, which can be understood because the tone distributions for these styles are similar. However, categorization was better for the models that used two- and three-tone transitions. The major differences between the transitional probabilities in the styles were analyzed, and these differences were used to account for the cases that the models found difficult. These results point to listeners' sensitivity to higher order transition information and its utility for style identification.

musical style discrimination in the early years

2007 ◽  
Vol 5 (1) ◽  
pp. 32-46 ◽  
Author(s):  
Nigel A. Marshall ◽  
David J. Hargreaves
Keyword(s):  
Early Years ◽  
Musical Style

scholarly journals SAGIT RAMIYEV’S DRAMATURGY IN LITERARY AND CULTURAL CONTEXT DURING THE BEGINNING OF THE XXTH CENTURY

2019 ◽  
Vol 8 (7) ◽  
Author(s):  
Liliya F. Nuriyeva ◽  
Tagir Sh. Gilazov ◽  
Flera S. Saifulina ◽  
Zinulla Zh. Mutiev
Keyword(s):  
Twentieth Century ◽  
Literary Criticism ◽  
Cultural Context ◽  
Cultural Renewal ◽  
Early Twentieth Century ◽  
Relationship Types ◽  
Literary Process ◽  
Historical Comparative ◽  
Important Position ◽  
Literary Methods

The article analyzes the work by Sagit Ramiev, who created his own poetry school in the early twentieth century. The object of scientific analysis in this work is his plays (“Live, Zubeida, and I live”; “Exemplary Madrassah”). It is known that at the beginning of the twentieth century the Tatar people were undergoing socially spiritual and cultural renewal. The active development of the national periodical press, publishing, literary criticism has a positive effect on the creative activities of writer devoters during this period. The problem of the reconstruction of the Tatar society is raised in the works of Tatar literature classics and such famous personalities as G. Iskhaki, F. Amirkhan, G. Kulakhmetov, I. Bikkulov and others. Among the pressing problems raised in Tatar literature at the beginning of the twentieth century, the female problem occupies an important position. Writers and playwrights believe that without a positive solution of society attitude towards women and the women issue, they can't achieve the progress in Tatar society.These social and cultural conditions positively affect the formation of the ideological and aesthetic concept of S. Ramiev's works.The study subject of this article is the continuation of the traditions begun by the classics of Tatar literature in the field of topics and problems, in the system of images and literary methods, the identification of literary relationship types in the ideological content of S. Ramiev’s plays. Along with this, attention is paid to the traditions that provide a connection with the literary and historical periods of the national art of words, as well as to the identification of individual features in S. Ramiev’s works. The study of the playwright’s work in the context of the literary and cultural context of the early twentieth century makes the scientific novelty of this study.The methods and principles have been used in scientific searches to comment on literary phenomena and the literary process in close interconnection and development - the principle of historicism, cultural-historical, comparative-historical, and biographical principle.

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