Zemlia Russkaia and Zemlia Polovetskaia in the Poetic Structure of Slovo o Polku Igoreve

1992 ◽  
Vol 19 (1-4) ◽  
pp. 97-114
Author(s):  
Norman W. Ingham
Keyword(s):  
Author(s):  
J. Blake Couey

Because the book of Isaiah consists largely of poetry, understanding its poetic structures is essential for interpretation. The basic poetic unit is the line. Although single lines occur occasionally, most lines are grouped into couplets or triplets by parallelism or enjambment; these couplets or triplets are then connected to form whole poems. Structural devices at every level involve both repetition and variation. Most of the poems in Isaiah are loosely organized by a variety of devices, and no two poems are exactly alike. Large sections of the book are joined by similar kinds of devices, so that the book as a whole displays a poetic structure.


2020 ◽  
Vol 22 ◽  
pp. 91-118
Author(s):  
Stanisław Śnieżewski

The Poetic Structure of Silius Italicus' Punica (Books I-V) As concerns their poetic structure, the first five books of Silius’ Punica are very differentiated and complicated. However, all the events of the represented world concentrate around Hannibal and his improba virtus. Historical and mythological ekphrases are connected with Hannibal’s deeds. Aetiological stories seem to be invented by Silius himself. The panegyrical elements refer mainly to Domitian. Prolepses especially deserve to be noticed. Silius is influenced by learned Hellenistic poets, as well as Roman authors, mainly Ennius, Vergil, Lucan, Valerius Flaccus. In fact the author of the Punica can be described as poeta doctus.


2020 ◽  
Vol 10 ◽  
pp. 120-132
Author(s):  
B.Z. Babizhan ◽  
◽  
A.R. Berdibay ◽  
A.B. Baisakalova ◽  
Y.T. Chukmanov ◽  
...  

Kazakh music and dance has many unique features but also has many things in common with the music and dance of Mongolia and Central Asia. For Kazakhs the summer has traditionally been the best time for merry-making. They often sing and dance during summer nights on the pastures. The relevance of the study is due to the insufficient study of the Kazakh song folklore of the south-western part of Zhetysu, represented by eight districts of the borderland of Almaty and Zhambyl regions with Kyrgyzstan. This article is aimed at identifying the genre composition of the song folklore of the local tradition, the conditions of its existence, as well as the peculiarities of their musical-poetic structure and musical language. The results of this research are a contribution to the musical archeology of Kazakhstan. They can also be used in the study of the stylistic originality of the song folklore of the Kyrgyz and Uzbeks living in the border regions of Kazakhstan and Kyrgyzstan.


Author(s):  
Dennis Pardee

This chapter illustrates the similarities that exist between the data from Ugarit and the next principal literary corpus, that to be found in the Hebrew Bible. The emphasis is not on the theology or the theological politics of the two corpora, but on their literary qualities. It stresses two aspects of the Ugaritic‐Hebrew parallels: first, the points of resemblance between the two corpora in the aesthetics of poetic structure and imagery; and, second, the evolution visible in the Hebrew Bible in the areas of literary genre, subject matter, and life setting of individual poems or collections of poems. The perspective is not that of a biblical scholar, but that of someone who has spent much of his career attempting to elucidate Ugaritic texts from the epigraphic and philological perspectives.


The Stanza ◽  
2017 ◽  
pp. 82-115
Author(s):  
Ernst Häublein
Keyword(s):  

2012 ◽  
Vol 24 (3) ◽  
pp. 229-248
Author(s):  
Tim Carter

AbstractBy the last quarter of the eighteenth century, the typical Metastasian two-stanza aria text could be set to music in one of two ways: in the ternary form typical of the earlier da capo aria (stanzas 1–2–1) or in a binary one (stanzas 1–2–1–2). Why did Mozart choose one form over the other in Idomeneo (1781); what does this tell us about the role of his librettist, Giovanni Battista Varesco, both before and after the composer left Salzburg for Munich to finish composing the opera and to prepare its performance; and how might these issues enable some rational inquiry into questions of music and drama?


Isis ◽  
1992 ◽  
Vol 83 (4) ◽  
pp. 657-658
Author(s):  
William H. Donahue
Keyword(s):  

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