scholarly journals Die klassiflkasie van die antieke Griekse liriekvorms

Literator ◽  
1994 ◽  
Vol 15 (1) ◽  
pp. 145-158
Author(s):  
W. J. Henderson
Keyword(s):  
Lyric Poetry ◽  
General Term ◽  
Classical Period

Early Greek lyric poetry was composed for and performed on specific occasions. Instead o f a general term such as our 'lyric particular forms of 'lyric’ were composed for particular occasions and for particular ways of performance. In this article such distinctions as are encountered among the poets themselves, as well as the theoretical classifications of the 'lyric' forms in the Classical period (5th to late 4th century) as exemplified by Plato and Aristotle, and in the Hellenistic or Alexandrian period (late 4th to 1st century B.C.) - as reflected, inter alia, in the Chrestomatheia of Proclus (410-485 C.E.) are examined.

Versification

2019 ◽  
pp. 227-250
Author(s):  
Howard Jones ◽  
Martin H. Jones
Keyword(s):  
Lyric Poetry ◽  
Classical Period ◽  
Middle High German ◽  
General Account ◽  
Verse Forms ◽  
Selection Of

This chapter describes the chief features of versification in poetry written in the Middle High German Classical period (c.1170–c.1230) and in the remainder of the Middle High German period. The four parts of the chapter treat metre (anacrusis, interior of the line, cadence), rhyme (types of rhyme, rhyme schemes), lines of verse in context (rhythmical continuity or discontinuity between lines of verse, metrical and syntactical structures, rhyming couplets and syntactical structures), and verse forms (non-strophic verse, strophic verse in heroic and lyric poetry, the ‘Stollenstrophe’). Tips for the scansion of verse are included. Technical terminology in English and German is explained throughout. Examples are in the main drawn from the selection of texts (Chapter 5). In the case of lyric verse, the general account in this chapter is supplemented by metrical analyses of each song included in the selection.

Panhelėninio tapatumo konstravimas klasikiniame graikų istoriniame diskurse

2020 ◽  
Author(s):  
◽  
Alius Jaskelevičius
Keyword(s):  
Classical Period ◽  
Historical Discourse

Construction of Panhellenic Identity in the Greek Historical Discourse of the Classical Period

Le datif et le génitif prépositionnels dans le latin mérovingien à travers l’étude des chartes des 7ème et 8ème siècles

2020 ◽  
Vol 59 (1-4) ◽  
pp. 267-279
Author(s):  
Gaëtan Schaller
Keyword(s):  
Classical Period ◽  
Fixed Position ◽  
Indirect Object

Abstract:This paper intends to investigate the development of the periphrastic form for the dative and genitive in the Merovingian charters. The periphrastic forms are reserved in Classical Latin to some special uses: the indirect object after a verb that has the prefix ad- and the partitive function of the genitive they replace. These forms extend to new uses in the Late Latin and are the new majoritarian form for the indirect object, but remain a minoritarian variant for the functions of the classical genitive. The genitival functions adapt to new forms of expression: the periphrastic form and a fixed position in the sentence immediately after the noun, its complete. This paper tries to show and to corroborate by means of statistics and chosen examples of the 7th and 8th centuries the development of these forms, which were still rare in the classical period.

Der fliegende Pfeil

2010 ◽  
Vol 55 (1) ◽  
pp. 69-89
Author(s):  
Katharina Münchberg
Keyword(s):  
Lyric Poetry ◽  
Modern Art ◽  
Sensory Perception ◽  
Spatial Change ◽  
Modern Age ◽  
Time Space

Die Kunst der Moderne, insbesondere die Lyrik, entwickelt eine eigene ästhetische Konzeption der Bewegung, die mit der klassischen Vorstellung der Bewegung als räumlicher Veränderung eines Körpers in der Zeit bricht. Baudelaires À une Passante, Rimbauds Bateauivre und Paul Valérys Le Cimetière marin sind drei paradigmatische Texte der französischen Moderne, in denen Bewegung als zeiträumliches Kontinuum reflektiert und in der Dynamik der Sprache materialisiert wird. Die moderne Kunst, so erweist sich, ist selbst Bewegung und stiftet Bewegung. Sie wird zu einer Kunst des Werdens, nicht der Substanz, zu einer Kunst der reinen sinnlichen Wahrnehmung, nicht des Begriffes, zu einer Kunst der diskontinuierlichen Erlebnisse, nicht der Erfahrung.<br><br>The art of the modern age, particularly the lyric poetry, develops an own aesthetic conception of the movement which breaks with the classic idea of the movement as a spatial change of a body in time. Baudelaires À une Passante, Rimbauds Bateau ivre and Paul Valérys Le Cimetière Marin are three paradigmatic texts of the French modern age, in which movement is reflected as a time-space-continuum and materialized in the dynamic of language. Modern art is itself movement and causes movement. It becomes an art of the development, not sub- stance, an art of pure sensory perception, not concept, an art of discontinuous adventures, not experience.

On the sources of cosmopolitanism as an idea: The Russian and the European views

2020 ◽  
pp. 44-69
Author(s):  
E. E. Dmitrieva
Keyword(s):  
Comparative Literature ◽  
Literary History ◽  
World Literature ◽  
Literary Work ◽  
General Term ◽  
Literary Process ◽  
The Difference ◽  
Literary Environment

The article is concerned with the difference in understanding of the term ‘cosmopolitan’ inRussiaandFrance. Often considered a predominantly negative phenomenon inRussia, cosmopolitanism fi st provoked a discussion at the time when the emphasis shifted from ideology to understanding of the historical-literary process. Since the late 18th c., the idea of the possible existence of a literary work within the global literary environment (the concept of world literature)   was adjusted by the ‘golden chain’ metaphor, which enabled implementation of the ‘universality’ concept as a unity principally separate from the French idée universelle. During this evolutionary period emerged a distinctive subject of literary history: fi st, ‘humanity’ as a general term (initially identifi    with universalism or cosmopolitanism), and then ‘a nation’. But it is the discovery of the national that the author believes is connected with particularism and provincialism,   the latter summoning the memory of the noble intention of universalism and cosmopolitanism. An interim summary of the process was produced by Joseph Texte, a professor of comparative literature inLyon, at the end of the 19th c.

Notes on How to Read the Song of Songs

2020 ◽  
Author(s):  
Я. Эйделькинд
Keyword(s):  
Old Testament ◽  
Gender Stereotypes ◽  
Cultural Context ◽  
Lyric Poetry ◽  
Song Of Songs ◽  
Widespread Belief ◽  
Female Voices ◽  
Speaking Voice

Эта статья содержит ряд соображений о том, как читать Песнь песней. Будучи сборником лирической поэзии, Песнь песней работает в первую очередь со звуком и не имеет сюжета. Важную роль играет принцип разнообразия и контраста. Серьёзный тон сменяется юмористическим, и наоборот. Гендерные стереотипы сохраняют свою силу в одних случаях, но подрываются в других. Сексуальная физиология, вопреки распространенному мнению, не находится на первом плане — гораздо важнее эмоции (факт, противоречащий как «духовным», так и «плотским» прочтениям). Отождествление читателя с лирическим голосом ведёт к субъективным интерпретациям. Последние вполне законны, пока не претендуют на то, чтобы быть единственно верными. Три контекста помогают понять Песнь песней: древний культурный контекст, более узкий контекст Ветхого Завета и контекст лирической традиции от древности до наших дней. This article is an attempt to formulate some principles of reading the Songs of Songs that would take into account its genre and poetic features. Being a collection of lyric poetry, the Song of Songs works primarily with sound and has no plot. An important role in its composition plays the principle of diversity and contrast. A serious tone gives place to a humorous one, and vice versa. Female voices alternate with male ones; gender stereotypes in some cases retain their power, but in others are subverted. Sexual physiology, contrary to a widespread belief, is not in the foreground — much more important are emotions. This fact belies both “spiritual” and “carnal” readings. The Song of Songs involves an identification of the reader with the lyrical speaking voice and provokes subjective interpretations. These are legitimate as long as they do not pretend to be the only true ones. Three contexts help to understand Song of Songs: ancient cultural context, a narrower Old Testament context and the context of the lyrical tradition from antiquity to the present day.

Noos precedes phren in Greek Lyric Poetry

1977 ◽  
Vol 46 (1) ◽  
pp. 41-51
Author(s):  
Shirley M. Darcus
Keyword(s):  
Lyric Poetry

Administrative Responsibility

1996 ◽  
Vol 13 (4) ◽  
pp. 497-517
Author(s):  
Abdel Rahman Ahmed Abdel Rahman
Keyword(s):  
Law Enforcement ◽  
Social Services ◽  
Public Trust ◽  
General Term ◽  
Public Utilities ◽  
Potential Threat ◽  
The Public ◽  
Public Bureaucracy ◽  
Basic Services ◽  
Administrative Responsibility

Public bureaucracies, a general term including government agenciesand departments in the areas of public utilities, social services, regulatoryservices, security, and law enforcement, are indispensable to our welfare;we need them for the provision of these basic services. To provide theseservices, bureaucracies need such resources as power and money. Thepower of bureaucracies is compounded by their virtual monopoly of technicalexpertise, which puts bureaucrats at the forefront of public policymaking.Indispensable to our welfare though they are, public bureaucracies alsopose a potential threat. In view of the technical knowledge they have andtheir consequent important role in policy making, they may dominate publiclife. In other words, they may develop into a power elite and, as a result,act as masters of the public rather than as its servants. More disturbingly,they may not use the public trust to serve the public or respond to its needs.Still more disturbingly, they may breach the public trust or abuse the powerentrusted to them.All of these possibilities have given rise to a widespread fear ofbureaucracy. In some societies, this fear has reached pandemic levels.Fear of bureaucracy is not unwarranted; there is a consensus and concernin administrative and academic circles that the degree of bureaucraticaccountability has declined in both developed and developingcountries. A central issue with public bureaucracy has always beenhow to make it behave responsibly or in the public interest. Despite aplethora of mechanisms for ensuring administrative responsibility orbureaucratic responsiveness, many public bureaucracies may still be unresponsive and unaccountable ...

On the Limitation and Openendedness of the Shari‘ah’s Necessary Universals

2016 ◽  
Vol 33 (2) ◽  
pp. 50-68
Author(s):  
AbdulHameed Badmas Yusuf
Keyword(s):  
Basic Needs ◽  
Classical Period ◽  
Modern Period

The claim that the necessary universals (al-kullīyāt al-ḍarūrīyah) of the Shari‘ah are limited to five values (viz., religion, life, intellect, progeny, and property) is a subject of debate. Some scholars argue in favor of it, while others assert that this category should be open-ended. This argument started as early as the classical period and has, in the modern period, continued to elicit more divergentopinions. This study seeks to critically examine the viewpoints of various modern scholars/writers, especially those who oppose this limitation. It shall establish that these five values represent humanity’s basic needs perfectly. As such, other values that have been proposed can only be regarded either as means or as complements in relation to them.

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