Madrigals, Part 4

10.31022/b221 ◽  
2021 ◽  
Author(s):  
Marco da Gagliano
Keyword(s):  
Fourteenth Century ◽  
Spoken Language ◽  
Francesco Petrarca ◽  
Giambattista Marino

Il quarto libro de madrigali a cinque voci, the fourth of six books of madrigals by the Florentine composer Marco da Gagliano, was published in 1606. The book is distinguished by the excellence of its music as well as by its varied settings of texts by some of the most celebrated poets of the day. Five of the madrigals use texts by Giovanni Battista Guarini, three by Giambattista Marino, one each by Gabriello Chiabrera, Cosimo Galletti, and Alsaldo Cebà, and a final two-part madrigal for six voices sets a sonnet by the great fourteenth-century poet Francesco Petrarca. In addition to fourteen madrigals by Gagliano, the book contains three by guest composers Luca Bati and Giovanni and Lorenzo Del Turco. Gagliano's madrigals in book 4, in contrast with those of his earlier books, are lighter and show the clear influence of the contemporary canzonetta, which is manifested in their brevity; the discrete sectioning of the music, frequently with concurrent rests in all the voices that separate the presentation of individual poetic lines; the omnipresent syllabic setting of words; and the simpler and shorter motives that are most often presented in a homophonic texture. In some of these madrigals, motives shaped by the melody and rhythm of spoken language might serve well in monodies. Indeed, in his magisterial study of the madrigal, Alfred Einstein went so far as to suggest that some of these madrigals have the effect of polyphonic, imitative arrangements of Florentine monodies.

Valla, Lorenzo (1407–57)

2018 ◽  
Author(s):  
John Monfasani
Keyword(s):  
Free Will ◽  
Fourteenth Century ◽  
Special Interest ◽  
Latin Translation ◽  
Francesco Petrarca ◽  
Latin Language ◽  
Classical Studies ◽  
Aristotelian Ethics ◽  
Linguistic Usage ◽  
The Trinity

Unlike most Renaissance humanists, Valla took a special interest in philosophy. However, his most influential writing was a work of grammar, Elegantiae Linguae Latinae (The Fine Points of the Latin Language); he had no comprehensive philosophy, nor did he write mainly on philosophy. Valla considered himself to be a revolutionary overturning received opinions, bragging that through his works he was ‘overturning all the wisdom of the ancients’. His preference for Quintilian over Cicero and criticism of classical authors shocked older humanists, and religious authorities were upset by his views on the Trinity and on papal authority, but Valla never sought the overthrow of classical studies – or the papacy for that matter. He sought rather to destroy the Aristotelianism then reigning in the universities. In De Vero Falsoque Bono (On the True and False Good) (1431), he argued for the superiority of Epicureanism over Stoic and Aristotelian ethics. In De Libero Arbitrio (On Free Will) (1439), he corrected Boethius’ treatment of free will and predestination. In the Dialectica (1438–9) he set out to reform logic and philosophy because he believed Aristotle had corrupted them. Asserting that Aristotle had falsified thought because he had falsified language, Valla was determined to show how logic rightly conformed to the linguistic usage of the classical literary authors; essentially Valla had aggressively revived the ancient competition between the rhetorical and philosophical traditions. The first great humanist, Francesco Petrarca (better known in English as Petrarch), had attempted something similar in the fourteenth century, but Valla’s knowledge of philosophy was greater than Petrarch’s and he had access to more sources. Furthermore, Valla knew Greek and could read texts which the medieval Aristotelians knew only in Latin translation.

scholarly journals The Lexicon of Dafydd ap Gwilym's Poetry

2015 ◽  
pp. 53-68
Author(s):  
Dafydd Johnston ◽  
Keyword(s):  
Fourteenth Century ◽  
Political Change ◽  
Spoken Language ◽  
The Other ◽  
Methodological Issues ◽  
Poetic Tradition ◽  
Welsh Language ◽  
The One ◽  
Core Vocabulary ◽  
New Compounds

Lexical eclecticism is a well-known characteristic of the fourteenth-century Welsh poet Dafydd ap Gwilym. This paper will offer a preliminary categorisation of the sources of his language, considering on the one hand what he inherited from the earlier poetic tradition and the various discourses of Middle Welsh prose (religious, legal, historiographical), and on the other hand innovations resulting from use of colloquial vocabulary and loanwords from French, English and Irish, as well as new compounds and abstract formations. An attempt will be made to assess the proportion of core vocabulary of the spoken language in his poetry, with due regard to the associated methodological issues. Some conclusions will be drawn about the kinds of evidence which the poetry can provide for the development of the Welsh language during a period of major socio-political change.

Die imaginierte Natur des Papstes – Die Chambre du Cerf in Avignon

2019 ◽  
Vol 82 (4) ◽  
pp. 461-475
Author(s):  
Dieter Blume
Keyword(s):  
Fourteenth Century ◽  
Francesco Petrarca ◽  
The People ◽  
Similar Elements ◽  
Strong Contrast

Abstract In a private room for Clemens VI (1342– 1352) in the palace of the popes at Avignon, frescoes show a peaceful vision of nature with flowering trees, numerous birds, and hunting scenes. There is a strong contrast between the castle-like architecture of the tower in which the room is located and the expansive view of plants and animals offered by the paintings. All of the people in the frescoes are more or less youthful, some collecting fruits, some bathing, and others trying to catch birds or rabbits. It is a very selective impression of nature, with much left out. The experience of nature articulated in the same period by Francesco Petrarca uses very similar elements. Apart from all differences, the frescoes and the writings of Petrarca share a newly emerged interest in nature in the middle of the fourteenth century.

scholarly journals Some Observations on Demonstrative Pronouns in the Tarnovo Edition of the Stishen Prologue

2021 ◽  
Vol 20 (2) ◽  
pp. 9-19
Author(s):  
Aneta Tihova
Keyword(s):  
Fourteenth Century ◽  
Spoken Language ◽  
Personal Pronouns ◽  
Person Pronoun ◽  
Demonstrative Pronouns ◽  
Third Person

The article successively examines the demonstrative pronouns for general display, for close people and objects, for distant people and objects and for enumerating, which have the function of the 3rd person forms of personal pronouns in the Tarnovo edition of the Stishen Prologue (a calendar hagiographic collection, translated in the first half of the fourteenth century). It is established that the semantics of the demonstrative forms is determined by the context: in a combination with a noun form they have an indicative meaning, and in a combination with a verb form they mean a third-person pronoun, for example, съи блажен!и which means този блаженият (“this blissful one”), съи бэше means той беше (“he was”). The use of the elongated forms for masculine тъи, for feminine тя, for the plural тие / тйе which later turn into he, she and they, as well as the presence of the new forms тои, characteristic of the spoken language, are historically significant.

scholarly journals Fromsickertosure: the contact-induced lexical layering within the Medieval English adjectives of certainty

2018 ◽  
Vol 22 (2) ◽  
pp. 283-300
Author(s):  
RAFAŁ MOLENCKI
Keyword(s):  
Sixteenth Century ◽  
Middle English ◽  
Old English ◽  
Fourteenth Century ◽  
Thirteenth Century ◽  
Spoken Language ◽  
Standard English ◽  
Bilingual Speakers ◽  
Relative Paucity ◽  
Anglo Norman

The major Old English adjective of certainty was(ge)wiss, which in early Middle English came to be replaced withsickerderived from very weakly attested Old Englishsicor, a word of ultimate Romance origin (from Latinsēcūrus). The relative paucity of occurrences of both adjectives in theDictionary of Old Englishcorpus is attributed to their use in mostly spoken language. The rapid increase in the usage ofsickerin the thirteenth century is a mystery with possible, yet difficult to prove, Norse and/or Anglo-Norman influence. The fourteenth century marks the appearance ofsureandcertainborrowed from Anglo-Norman first by bilingual speakers and writers, and the quick diffusion of the new lexemes to all dialects and genres. This article looks at the adoption of the different senses of these polysemous adjectives into Middle English in the context of subjectification, which appears to affect not only semantic developments within one language but also the process of borrowing. Whensureandcertainwere used epistemically, they tended to occur in the predicative position, usually following the copula. It took several centuries of lexical layering (coexistence of synonyms) beforesickerwas lost from Standard English in the sixteenth century.

New Evidence On The Origins Of The Kunta—I

1975 ◽  
Vol 38 (1) ◽  
pp. 103-123 ◽  
Author(s):  
Thomas Whitcomb
Keyword(s):  
Fourteenth Century ◽  
Spoken Language ◽  
Eighth Century ◽  
Western Sahara ◽  
Arabic Speaking ◽  
New Evidence

The conversion of the Znāga of the western Sahara 1 to Islam may have begun as early as the second/eighth century, but the spread of Arabic as a spoken language in the area began only with the immigration of Arabic-speaking tribes 2 in the eighth/fourteenth century, and the development of many of the conventional Arab and Muslim perspectives which now exist among most tribes of Znāga origin seems to have taken place only during the last two or three centuries.

scholarly journals Parenthetical “I say (you)” in Late Medieval Greek vernacular

2015 ◽  
Vol 16 (2) ◽  
pp. 187-217
Author(s):  
Jorie Soltic
Keyword(s):  
Fourteenth Century ◽  
Representational Content ◽  
Discourse Markers ◽  
Spoken Language ◽  
First Person ◽  
Late Medieval ◽  
Filled Pauses ◽  
Pragmatic Function ◽  
Marked Preference ◽  
Conceptual Meaning

In this paper, I argue that the first-person singular of the “ordinary” verb λέγω/λαλῶ (‘I say’) in the thirteenth- to fourteenth-century political verse narratives Chronicle of Morea and War of Troy does not always carry its “normal”, representational content (‘I inform/assure [you]’). Frequently, λέγω/λαλῶ structures the discourse rather than conveying conceptual meaning and, thus, has procedural meaning. In this respect, the verb can be compared to modern discourse markers (i.e., semantically reduced items which abound in spoken language). An important − yet not decisive − criterion to distinguish the conceptual from the procedural use is the position of λέγω/λαλῶ: all “DM-like” examples are parenthetical. As for their precise pragmatic function, these forms are used, in particular, to signal a clarification towards the listener (“I mean”) or, more generally, to grab the attention of the audience. Applied to the modern binary distinction between interpersonal and textual discourse markers, they thus belong to the former category. Finally, I tentatively relate the observation that the procedural parenthetical examples show a marked preference for pre-caesural position to the concept of “filled pauses”, which makes sense given the adopted oral style of the Late Medieval Greek political verse narratives.

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