Abschlussschwäche? Die closure des höfischen Romans zwischen Mediengeschichte und Kulturpoetik

POETICA ◽  
2020 ◽  
Vol 51 (3-4) ◽  
pp. 276-311
Author(s):  
Florian Kragl
Keyword(s):  
Literary History ◽  
Media History ◽  
Middle High German ◽  
Static State ◽  
Courtly Romance ◽  
Cultural Poetics ◽  
Narrative Progression

Abstract The article deals with the closure of the, mostly Middle High German, courtly romance, taking as primary example Heinrich von Veldeke’s Eneide. ‘Courtly closure’ is defined as a slow and tenacious fading of narrative progression, by means of gradually transforming this progression into a virtually static state, namely, the description of an enduring courtly feast. It is argued that this way of bringing a romance or a novel to its end – unusual in the course of European literary history – is motivated by several factors. Amongst these, special attention is paid to media history (episodic narration, recital) and to cultural poetics (didactic qualities of the courtly romance).

Introduction

Picture World ◽  
2020 ◽  
pp. 1-20
Author(s):  
Rachel Teukolsky
Keyword(s):  
Visual Culture ◽  
Cultural History ◽  
Mass Culture ◽  
Literary History ◽  
Media History ◽  
Culture Studies ◽  
Visual Culture Studies ◽  
Cross Media ◽  
Cultural Field ◽  
Words And Images

The introduction explores both Victorian and contemporary theories of visual culture, while developing the book’s own interdisciplinary methodology. Visual culture studies, media history, art history, literary history, and cultural history number among the book’s disciplines. The chapters move across media to study novels and poems alongside photographs and illustrations. Weaving together both visual and textual strands, the book presents a revisionist, multidisciplinary approach to “culture” as it was lived and experienced in the nineteenth century. Academic divides between the disciplines today have obscured the cross-media connections studied in the book. The book’s approach captures the historical reality of the nineteenth century’s turbulent media moment, when the bounds of high art and mass culture were not yet fixed, and words and images mingled indiscriminately in the cultural field.

scholarly journals Hate Speech and French Mediaeval Literature

2018 ◽  
Vol 51 (1-2) ◽  
pp. 63-70
Author(s):  
Miha Pintarič
Keyword(s):  
Literary History ◽  
Hate Speech ◽  
Love Poetry ◽  
Heroic Poetry ◽  
Courtly Romance ◽  
Song Of Roland ◽  
Written Word ◽  
Troubadour Poetry ◽  
Hostile Attitude

Hate speech is spoken or written word which expresses a hostile attitude of a dominating majority towards any kind of minority. The author analyses a few examples of hate speech in literary history and concludes that such a phenomenon is typical of The Song of Roland, whether uttered in a direct way or spoken between the lines. One will expect hate speech in epic and heroic poetry, less in the Troubadour poetry. Yet we come across this awkward characteristic even in their love poetry. To be quite clear, in the poetry of Bernart de Ventadorn. The last part of the article is about the courtly romance. The author concludes that hate speech can only be controlled by love, not any, but the love that makes one a better person, and which the Troubadours called fin’amors.

Unwritten Poetry

2019 ◽  
Author(s):  
Scott A. Trudell
Keyword(s):  
William Shakespeare ◽  
Literary History ◽  
Book History ◽  
Media History ◽  
Musical Performance ◽  
Literary Field ◽  
Renaissance Poetry ◽  
The Media ◽  
Synthetic Media ◽  
The Impact

Vocal music was at the heart of English Renaissance poetry and drama. Virtuosic actor-singers redefined the theatrical culture of William Shakespeare and his peers. Composers including William Byrd and Henry Lawes shaped the transmission of Renaissance lyric verse. Poets from Philip Sidney to John Milton were fascinated by the disorienting influx of musical performance into their works. Musical performance was a driving force behind the period’s theatrical and poetic movements, yet its importance to literary history has long been ignored or effaced. Unwritten Poetry reveals the impact of vocalists and composers upon the poetic culture of early modern England by studying the media through which—and by whom—its songs were made. In a literary field that was never confined to writing, media were not limited to material texts. Scott Trudell argues that the media of Renaissance poetry can be conceived as any node of transmission from singer’s larynx to actor’s body. Through his study of song, Trudell outlines a new approach to the Renaissance poetry and drama that is grounded not simply in performance history or book history but in a more synthetic media history.

The Future of the Literary Past

PMLA ◽  
2010 ◽  
Vol 125 (4) ◽  
pp. 959-967 ◽  
Author(s):  
Meredith L. McGill ◽  
Andrew Parker
Keyword(s):  
American Literature ◽  
Literary History ◽  
Media History ◽  
Paper Machine ◽  
Literary Works ◽  
Little Magazines ◽  
History Of ◽  
The Media ◽  
Serial Publication ◽  
Technology Grant

[B]y carrying us beyond paper, the adventures of technology grant us a sort of future anterior: they liberate our reading for a retrospective exploration of the past resources of paper, for its previously multimedia vectors.—Jacques Derrida, Paper MachineThis essay explores some of the ways that the contemporary mediascape has begun to transform the questions we can ask of our students and ourselves. Our subject derives from an undergraduate English course, Literary History and/as Media History, that we designed to address the lack of critical attention paid in the curriculum to the media of literary works. The course, whose catalog description follows, was intended to cover a lot of historical ground while highlighting theoretical questions that generally remain unasked in Norton Anthology–style surveys:Living in an era of rapid technological innovation, we tend to forget that print itself was once a new medium. The history of English and American literature since the Renaissance has been as much a response to the development of new material formats (scribal copying, printed playtexts, newspaper and serial publication, “little magazines,” radio, film, television, the internet) as it has been a succession of ideal literary forms (poems, plays, and novels). This course will survey literary works from the sixteenth to the twentieth century in relation to the history of media. What can these histories say to each other? Are they, indeed, one history?

Parodies of the Pre-Raphaelite Ballad Refrain

2016 ◽  
Vol 71 (2) ◽  
pp. 227-255 ◽  
Author(s):  
Carolyn Williams
Keyword(s):  
Nineteenth Century ◽  
Literary History ◽  
Meaning Making ◽  
Gradual Increase ◽  
Oscar Wilde ◽  
Walter Pater ◽  
Making Meaning ◽  
Eighteenth And Nineteenth Centuries ◽  
Narrative Progression

Carolyn Williams, “Parodies of the Pre-Raphaelite Ballad Refrain” (pp. 227–255) Parodies of literary ballads changed over the course of the nineteenth century, as did their implicit commentaries on practices of poetic revival in general. In the 1870s and 1880s a focused reaction against the Pre-Raphaelite ballad refrain has much to show us about the function of the refrain, which operates as a timing device yet also guides a gradual increase in the ballad’s incrementally modulated sense of pain, making meaning by turning away from narrative progression and meaning-making. Debates about the poetics of revival, a subject across the eighteenth and nineteenth centuries, culminate in the great theorizations of Walter Pater and Oscar Wilde, who both comment on the ballad refrain. The dynamics of literary history may also be illuminated by this attention to parodies of the ballad refrain, for the role of the refrain within any given ballad may be seen as homologous to the role of parody within literary history—simultaneously interrupting, turning away, and binding a sense of continuity. This essay glances at the ballads of “Bon Gaultier” (1845) and demonstrates the general parodic interest in—and defenses of—the Pre-Raphaelite ballad refrain later in the century, before attending to parodies of D. G. Rossetti’s “Sister Helen” (1870, 1881) by Robert Buchanan in 1871 and Henry Duff Traill in 1882.

Europe in the Global History of Culture, or: Journeying to a Japanese Cape with Friedrich Kittler1

2019 ◽  
Vol 51 (1) ◽  
pp. 113-134
Author(s):  
Yūji Nawata
Keyword(s):  
Cultural History ◽  
Literary History ◽  
Media History ◽  
Computer Hardware ◽  
Global History ◽  
German Studies ◽  
Friedrich Kittler ◽  
Humboldt University ◽  
History Of ◽  
History Of Culture

Abstract Allow me to begin with two explanatory notes. The first concerns the title of this lecture: Europe in the Global History of Culture, or: Journeying to a Japanese Cape with Friedrich Kittler. The subsidiary title Journeying to a Japanese Cape with Friedrich Kittler sounds as if I travelled from abroad across a vast sea to a cape in Japan, enjoying a voyage with the thinker and cultural historian, Friedrich Kittler. Unfortunately, this is not true. It was a much less romantic journey in a taxi we took from Tokyo. At all events, we both undertook an excursion to the coast. I will be talking about this journey. Please also allow me, therefore, to share private experiences with you. I do this in order to place this thinker in an intercultural context and explore his relevance to comparative studies. So, who was Friedrich Kittler? He was born in 1943 in Saxony, emigrated from East to West when Germany was divided, and studied in Freiburg – mainly German Studies. In his books from the 1980s, such as Aufschreibesysteme 1800/1900 (Discourse Networks 1800/1900) and Grammophon Film Typewriter (Gramophone, Film, Typewriter), he developed the method of analysing literary history as part of media studies, defining “media” as things like books, phonograph or computer hardware. In 1993, after the reunification of Germany, he took up a professorship in “Aesthetics and the History of Media” at the Humboldt University, where he remained until his death in 2011 in Berlin. He always identified as a historian. His research focus was cultural history from antiquity onwards. For him, the core of cultural history was media history, and the history of literature was part of media history. For approximately the last ten years of his life his focus was on a large project, a cultural history of Europe from antiquity to the present. In 2007 Friedrich Kittler, the expert on Europe, came to Japan, and this is what I will be talking about here. My focus is therefore on Europe, Japan, and the sea that connects Europe and Japan and the European Friedrich Kittler in an intercultural context. So, that was my first explanatory note.

Feminist Media History

2011 ◽  
Author(s):  
Maria DiCenzo ◽  
Lucy Delap ◽  
Leila Ryan
Keyword(s):  
Media History

On Practical Validity of Quantity Theory of Money, or How Much the Dogmatism of Monetary Authorities Costs

2008 ◽  
pp. 31-45 ◽  
Author(s):  
S. Glazyev
Keyword(s):  
Monetary Policy ◽  
Economic Development ◽  
Money Supply ◽  
Market Equilibrium ◽  
Static State ◽  
Quantity Theory ◽  
Monetary Authorities ◽  
State Of The Economy ◽  
Market Organization

The article critically considers basic postulates of quantity theory of money. It shows that they reflect the static state of the economy in abstract models of market equilibrium but do not prove true in actual economic processes. In contrast to monetarists’ view, prices can rise as well as fall even if other variables of the monetarist equation are stable. Thus it cannot be used for grounding monetary policy. The author comes to the conclusion on the dogmatism of Russian monetary authorities that seriously hinders the country’s economic development. He proposes to switch to market organization of money supply basing on regulation of the refinancing rate.

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