scholarly journals Exhaustion and Recycling

2021 ◽  
Vol 1 (2) ◽  
pp. 84-118
Author(s):  
Attila Simon
Keyword(s):  
Cultural Transmission ◽  
Literary Tradition ◽  
Poetic Tradition

This paper examines the works of representative modernist authors who have rewritten the myth of the Danaids in a self-reflective way. They reuse certain elements of the myth in order to address some of the crucial issues of cultural transmission: interpretation, poetic tradition and communication. The argument focuses on the recycling of the myth of the Danaids as a symbol of endless historical-philological (Nietzsche) and psychological (Freud) interpretations, the exhaustion and the reinvention of the classical literary tradition (Babits), and the impossible possibility of mediating the living voice through telephonic communication (Proust).

Furor Liturgicus: The Religious Concerns of Russian Poetry

2020 ◽  
pp. 395-411
Author(s):  
Martha M. F. Kelly
Keyword(s):  
Eighteenth Century ◽  
Human Life ◽  
Literary Tradition ◽  
Russian Literature ◽  
The Body ◽  
Poetic Tradition ◽  
The World ◽  
Russian Poetry ◽  
Modern Russian

In a now classic 1994 article Victor Zhivov counters the idea that the eighteenth-century quest to create a modern Russian literature represented a wholesale rejection of Russia’s previous literary tradition. He shows instead how poets appropriated elements of Orthodox liturgical tradition in a bid to adapt the classical notion of ‘furor poeticus’, marking it by the eruption of Church Slavonic norms into modern poetics. This chapter demonstrates how, as Zhivov contends, elements of Orthodox liturgical culture have continued to shape the modern Russian poetic tradition from the eighteenth century into the present. In particular, Russian poets have long presented poetry as uniquely able to transform the world by drawing on Orthodox imagery of theosis or divinization—the transfiguration of human life and thus the world, by the divine light and being. The liturgically inflected religious concerns of Russian poetry that sections address include prophecy, human co-creation with God, the problem of the body, and the role of silence.

Homer and his Legacy in Gregory of Nazianzus’ ‘On his own Affairs’

2019 ◽  
Vol 139 ◽  
pp. 147-171
Author(s):  
Peter A. O’Connell
Keyword(s):  
Case Studies ◽  
Literary Tradition ◽  
Fourth Century ◽  
Second Century ◽  
Hellenistic Period ◽  
Poetic Tradition ◽  
Greek Poetry ◽  
Word Play ◽  
The New Testament ◽  
Christian Literature

AbstractThis paper investigates how Gregory of Nazianzus imitates and responds to the Greek literary tradition in the autobiographical poem ‘On his own affairs’ (2.1.1). Through six case studies, it contributes to the ongoing re-evaluation of Gregory’s literary merit. With learning, wit, subtle humour and faith, Gregory adapts and reinvents earlier poetry to express Christian themes. Imitation is at the heart of his poetic technique, but his imitations are never straight-forward. They include imitating both Homer and other poets’ imitations of Homer, learned word-play and combining references to non-Christian literature and the Septuagint. Gregory’s references add nuance to ‘On his own affairs’ and give pleasure to readers trained to judge poetry by comparing it to earlier poetry, especially the Homeric epics. They also demonstrate the breadth of his scholarship, which extends to Homeric variants, Platonic epigrams and the entirety of the New Testament and Septuagint. Above all, Gregory insists that he is a rightful participant in a living poetic tradition. He writes Greek poetry for the fourth century AD, just as Oppian did in the second century and Apollonius and Callimachus did in the Hellenistic period.

scholarly journals Female Voice in Urdu Poetry

2021 ◽  
Vol 4 (3) ◽  
pp. 758-767
Author(s):  
Zayana Nasir
Keyword(s):  
Twentieth Century ◽  
Eighteenth Century ◽  
Literary Tradition ◽  
Female Voice ◽  
Feminist Movement ◽  
Women Poets ◽  
Writing Style ◽  
Poetic Tradition ◽  
Secondary Sources ◽  
The Status

This essay aims at understanding the development and struggles of a ‘female voice’ within Urdu poetic tradition through the writings of women poets of the Nineteenth century in contrast to the women poets of the twentieth-century feminist movement. The women in traditional Urdu poetry have remained a silent cruel beloved, the image offered is that of a ‘feckless beloved, endowed with heavenly beauty, reigned: fair to face, doe-eyed, dark hair, tall and willowy, a woman who vacillated from indifference, shyness and modesty to wanton cruelty. The essay is an attempt to understand the level of autonomy of the female voice in the poems of women poets through the years. To portray the development of a feminine expression in Urdu poetry the paper will be ranging from the poems of tawaifs (courtesan) of the eighteenth century like Mah Laqa Chanda, their attempts to acquire a place within the patrilineal Urdu literary tradition; the rekhti tradition where men wrote poems in a female voice, to the twentieth century feminist poets like Kishwar Naheed and Fehmida Riaz. The paper is based on Hakim Fasihuddin Ranj’s anthology ‘Baharistan-i-Naz’ which provides a brief yet important introduction on the status of various tawaif poets within the Urdu literary circle; Rahat Azmi’s Halat-i-Mah Laqa, a biographical work on the life and works of Mah Laqa Bai Chanda; and Rukhsana Ahmad’s ‘We Sinful Women’, a compilation of the original and translated works of feminist women poets of twentieth-century Pakistan. Various secondary sources have been used to understand the dynamics behind the writing style of these poets and how similar terms came to be used for portraying completely distinct themes.

scholarly journals «Cancioneros plurilingües en el Nápoles español: ‘Versos de Juan de la Vega’ (Mattia Cancer, 1552)»

1970 ◽  
Vol 28 ◽  
pp. 189-210
Author(s):  
Maria D'Agostino ◽  
Antonia Gargano
Keyword(s):  
Sixteenth Century ◽  
Critical Edition ◽  
Cultural Context ◽  
Literary Tradition ◽  
Remarkable Feature ◽  
Poetic Tradition ◽  
Palabras Clave ◽  
Literary Quality

Resumen: Objetivo del artículo es la presentación de un libro de rimas publicado en Nápoles por el editor Mattia Cancer en 1552 con el título de Versos de Juan de la Vega y dedicado al virrey don Pedro de Toledo. El único ejemplar de esta colección de poemas, prácticamente desconocida, se conserva, hasta donde alcanzamos, en la Biblioteca de la Società napoletana di storia patria. La obra, a pesar de su escasa calidad literaria, adquiere un gran valor documental en relación con el ambiente histórico y cultural en que fue producida, además de tener cierto signi cado para la historia de las formas poéticas españolas, en una fase especialmente representativa de su desarrollo. La mayor parte de los 97 poemas que forman la colección son textos laudatorios dedicados a importantes personajes de la nobleza cortesana del virreyno, tanto italianos como españoles; sin embargo, la característica más sobresaliente de la obra es que se trata de un cancionero trilingüe, con poemas en español, italiano y latín. Su carácter plurilingüe participa, por lo tanto, de una tradición más amplia y de más larga duración, que tuvo en la ciudad partenopea uno de sus centros más fecundos ya en tiempos de la Corona de Aragón y que perduró hasta nales del siglo XVI. Sobre Juan de la Vega, autor del cancionero, de momento tenemos solo las noticias que se deducen de los textos, mientras que, por lo que se re ere a sus com- posiciones, si bien es cierto que la impresión que se recibe de una primera lectura es que en su poesía hay un eclecticismo en el uso que hace de los textos poéticos pertenecientes a la tradición más en boga en ese momento sin que puedan entenderse siempre las razones de los préstamos, también es cierto que profundizando en el análisis es posible detectar, en algunas circunstancias, rasgos de originalidad en la recuperación de dicha tradición que llegan a revitalizar semánticamente motivos literarios y usos lingüísticos. Estas son las razones que nos han convencido, además del valor histórico del rarísimo impreso, para considerar llegada la hora de volver a sacarlo a la luz en una nueva edición comentada. Palabras clave: Poesía. Siglo XVI. Nápoles. Juan de la Vega. Pedro de Toledo. Abstract: This article considers the Versos de Juan de la Vega, an unpublished poetry book dedicated to the viceroy don Pedro de Toledo, and printed in Naples in 1552 by Mattia Cancer. Hitherto, the only known copy of this book is kept at the Società Napoletana di Storia Patria.Despite their scarce literary quality, the Versos are noteworthy because they offer insights in the historical and cultural context in which they were written, and represent a signi cant case in point in relation to the development of contemporary Spanish poetic forms. The majority of the 97 texts celebrate Italian and Spanish noblemen and courtesans of the Vicekingdom. However, the most remarkable feature of the Versos is that they were written in three languages: Italian, Spanish and Latin. Since the Aragonese kingdom and throughout the sixteenth century, Naples was one of the most ourishing centers for multilingual poetry.Very little is known of Juan de La Vega, except for what can be learnt from his own verses. By reading his Versos, the rst impression is that his poetry is eclectic in the use he makes in his own texts of the fashionable poetic tradition at that time. However, a closer analysis of these texts reveals, in some cases, de La Vega’s original ways of reinterpreting that very literary tradition, and thus semantically revitalize literary and linguistic themes. Because of all these interesting aspects –aside from the historic value of such a rare work– we have decided to prepare a new critical edition of the Versos the Juan de La Vega. Keywords: Poetry. Sixteenth century. Naples. Juan de la Vega. Pedro de Toledo. 

scholarly journals PERKEMBANGAN PUISI ARAB MODERN

2011 ◽  
Vol 10 (2) ◽  
pp. 2834
Author(s):  
Taufiq A. Dardiri
Keyword(s):  
General Pattern ◽  
Literary Tradition ◽  
External Factors ◽  
Arabic Literature ◽  
The West ◽  
Arabic Poetry ◽  
Poetic Tradition ◽  
History Of ◽  
Diachronic Study ◽  
Modern Arabic

This article aims to study the development of Arabic poetry from its early phase to its modern one. Having used a historical-diachronic study of form and content of Arabic poetry, this article concludes that Arabic poetry, as the oldest genre in the Arabic literary tradition, has hardly developed. Not until  the 20th century, more commonly known in the history of Arabic literature as As}r al-Nahd}ah, that the awareness of the absence of creativity in Arabic poetry and external factors due to the interaction of Arab with the West have given birth the seeds of modern Arabic poetry. At least, there are five schools of modern Arabic poetry, namely: Neo Classical (al-Muhāfizun) with such its central figures as Mahmud Sami and Ahmad al-Barudi Syauqy; Western Romanticism, which was pioneered by Khalil Mutran; Madrasah Dīwān, which was propagandized by Abd al-Rahman Shukri, Abbas Mahmud al-'Aqad, and Ibrahim Abd al-Qadir al-Mazini; Madrasah Apollo, which was carried by Ahmad Zaki Abu Syadi; and Madrasah al-Muhajir, which is pioneered by Jibran Khalil Jibran. Each has contributed their part in Arabic poetry formally as well as contentially. Those schools have became a tradition of modern Arabic poetry. The emergence of modern Arabic poetic tradition has been accompanied by three general pattern-  the influence of literary patterns of the more advanced cultures, the escapism, and the search for identity.

Voices of Authority

2018 ◽  
pp. 139-178
Author(s):  
Maria Michela Sassi
Keyword(s):  
Literary Tradition ◽  
Fifth Century ◽  
Epic Poetry ◽  
Poetic Tradition ◽  
Rational Argumentation ◽  
Authorial Voice ◽  
Number Of Authors

This chapter examines how Greek authors placed their activity within a recognized literary tradition, that of epic poetry, in order to give authority to their message. It first explains how a certain number of authors stress their detachment from the poetic tradition in combining the choice of new contents with new and more appropriate guarantees of truth, taking into account the views of the Homeric bard and other philosophers such as Hesiod and Xenophanes with respect to the Muses. It then considers Empedocles and Parmenides's adoption of the formal trappings of epic poetry as soundbox for their authorial voice, as well as the role played by reason in the evolution of Presocratic thought. It concludes with a discussion of how, during the second half of the fifth century BCE, prose became the medium of rational argumentation par excellence.

Arabic Poetry in the Twenty-First Century: Translation and Multilingualism

2021 ◽  
Vol 52 (1-2) ◽  
pp. 147-169
Author(s):  
Huda J. Fakhreddine
Keyword(s):  
Literary History ◽  
Literary Tradition ◽  
Arabic Language ◽  
First Century ◽  
Poetic Language ◽  
Prose Poem ◽  
Arabic Poetry ◽  
Poetic Tradition ◽  
Twenty First Century

Abstract This paper examines the work of a sample of contemporary Arab prose poets whose poetic investments exceed the linguistic parameters of previous generations. Unlike the pioneers of the prose poem in Arabic in the early 1960s, the poets of this generation are not interested in interrogating Arabic poetic language or reimagining Arabic literary history. Instead, these poets embrace the Arabic literary tradition as an open multi-generic practice exercised in the space between multiple literary and linguistic traditions. This essay shows how their deliberate detachment from the Arabic poetic tradition, as well as from the inheritance of the early modernists, reveals a relationship with the Arabic language that differs from that of their predecessors. Their poetry is thus born translated: it is multilingual and exophonic in its motivations.

scholarly journals Os Argonautas, de Apolônio de Rodes, e a tradição literária

2009 ◽  
Vol 1 (2) ◽  
pp. 85
Author(s):  
Thais Evangelista de Assis Caldas
Keyword(s):  
Literary Tradition ◽  
Title Page ◽  
Poetic Tradition ◽  
Epic Poems

<div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span>O objetivo deste artigo é investigar a tradição poética da Grécia que diz respeito ao mito de Jasão e Medeia. Assim, será analisado o jogo intertextual entre a epopeia alexandrina – representada pela obra <em>Os Argonautas</em>, de Apolônio de Rodes – e as poesias homérica, hesiódica e pindárica e também a tragédia euripidiana Medeia e os idílios XIII e XXII de Teócrito.</span></p><p><span><br /></span></p><p><strong>Apollonius of Rhodes’ Argonauts and literary tradition </strong></p><p><strong>Abstract</strong></p><div class="page" title="Page 1"><div class="section"><div class="layoutArea"><div class="column"><p><span>The aim of this paper is to investigate the Greek poetic tradition of the myth of Jason and Medea. This paper also analyzes the intertextual relationships between the Alexandrian Epic - represented by Apollonius of Rhodes’ Argonauts - and the Homeric poems, Hesiod and </span>Pindar and also the Euripidean tragedy Medea and the idylls of Theocritus XIII and XXII.</p><div class="page" title="Page 1"><div class="layoutArea"><div class="column"><p><span><strong>Keywords:</strong> Apollonius of Rhodes’ Argonauts; Alexandrian epic poems; intertextuality. </span></p></div></div></div></div></div></div></div><p><span><br /></span></p></div></div></div>

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