scholarly journals Walter Scott and Ariosto’s Orlando Furioso

2019 ◽  
pp. 186-209
Author(s):  
Susan Oliver
Keyword(s):  
Literary History ◽  
Italian Renaissance ◽  
Folk Culture ◽  
Narrative Poetry ◽  
Medieval Italy ◽  
Orlando Furioso ◽  
The North ◽  
Walter Scott ◽  
Power Of Words ◽  
Renaissance Epic

Walter Scott proclaimed Ariosto his favourite Romance poet and Orlando Furioso his preferred epic. Byron subsequently called him the Ariosto of the North, and Ariosto the southern Scott. For Scott, the power of words to ‘make a ladye seem a knight’ or transform a sheeling into a palace associates Scottish folk culture with necromantic tales from medieval Italy and France. His life’s work shows the influence of the Italian Renaissance epic tradition to which the Furioso belongs. Scott’s collected ballads, narrative poetry, and novels demonstrate a complex response to Ariosto’s signature techniques of imitatio and entrelacement. His interest in oral literary history also connects him to improvisatori traditions. Scott’s interest in Ariosto extended beyond his writing career. Reading Orlando became a self-prescribed palliative for ‘mental and bodily fever’. The prospect of an ‘Orlando cure’ for frenzy is intriguing. This chapter explores the connections between Scott and Ariosto’s Furioso.

Alliterative Narrative Poetry: The Control of the Medium

Traditio ◽  
1988 ◽  
Vol 44 ◽  
pp. 419-451 ◽  
Author(s):  
John Finlayson
Keyword(s):  
Literary History ◽  
Time Frame ◽  
Geographic Region ◽  
North West ◽  
Narrative Poetry ◽  
The North ◽  
East Midlands ◽  
Alliterative Poetry ◽  
Historical Fact ◽  
Alliterative Revival

Critical approaches to alliterative poetry can and do include all the approaches imposed on literature in general. But to these must be added approaches particular to the fact that we confront a body of literature defined by a distinctive, some would say peculiar, metrical form. Alliterative poetry has been accorded a separate status precisely because it is alliterative, flourished in a relatively short time-frame, and is associated with a geographic region. For most of this century, the Alliterative Revival has reigned as an historical fact — a nationalistic metrical response, fostered by the North West Midlands baronial families, to the increasing power of the Court in the East Midlands and the pernicious influence of foreign, mainly French fashions, particularly poetic. In the last fifteen years, and at a galloping pace in the last ten, we have seen one of the massive certainties of literary history first quietly mined by the late Elizabeth Salter, and then besieged, assaulted, and overrun by an increasing band of scholarly invaders numbering among them Norman Blake, Derek Pearsall, T. Turville-Petre, and David Lawton. The Theory of the Alliterative Revival, once a Castle of Truth, now lies in ruins, picked over by its destroyers for useful material with which to build a new Tower on a Tofte. While the orthodox view of the alliterative revival has been disestablished, and no single creed has yet emerged as an authoritative substitute, there is currently underway a major re-assessment of alliterative poetry, which has both been caused by and also generated a substantial increase in scholarly knowledge of the field. The questions that have been posed and continue to be explored are mainly of the following kind: Was there a revival or simply a continuation? How and where was this revival/continuation generated and located? Should we distinguish sub-groups of alliterative poetry according to metrical variants? How do we scan alliterative verse? What are the origins of or influences on the metres and rhythms of the great alliterative works of the late fourteenth century?

Tsvetaeva, Marina (ЦВЕТАЕВА, Марина) (1892–1941)

2018 ◽  
Author(s):  
Sibelan Forrester
Keyword(s):  
Literary History ◽  
History And Criticism ◽  
Narrative Poetry ◽  
Marina Tsvetaeva ◽  
The World ◽  
Crowd Out ◽  
The 1960S ◽  
The Revolution

One of the best-known and influential Russian modernist poets, Marina Tsvetaeva (1892–1941) wrote lyric and narrative poetry, plays, autobiographical and memoir prose, and essays in literary history and criticism. Her biography is so full of incident that it can tend to crowd out her poetry in studies of her life. Born in Moscow, she began her poetic career among the Moscow Symbolists but never joined a poetic school. She wrote all through the revolution and made a splash when she was able to publish again in the early 1920s. After emigrating in 1922 she wrote and published a great deal of poetry, but later she switched largely to prose, at least in part because it was easier to publish. Her culminating book of poetry is After Russia (Paris, 1928). Tsvetaeva returned to the USSR for family reasons in June of 1939. There she worked as a translator; she committed suicide in August 1941. Since her work began appearing more widely in the 1960s, Tsvetaeva has been recognized as a ground-breaking poet, impacting writers and poets all over the world, and she is of particular interest to feminist critics and scholars.

Epitaphic Nation: The Problem of the South and Necropolitics in Early Modern Vietnamese National Literature

PMLA ◽  
2011 ◽  
Vol 126 (3) ◽  
pp. 685-692
Author(s):  
Nguyễn-Võ Thu-Hương
Keyword(s):  
Early Modern ◽  
Literary History ◽  
State Violence ◽  
The South ◽  
The North ◽  
Literary Genealogy ◽  
The Republic ◽  
The Village ◽  
North And South ◽  
The Church

Whoever goes down to Bà Ria and happens by the cemetery in the sand at the village of Phu'ó'c Lě, I beg you to go in that cemetery and look for the grave with a cross painted half black, half white, by the side of the Church of Martyrs–to visit that grave lest it become pitiful. Because it has been two years since anyone visited or cast as much as a glance.—Nguyễn Trong QuanSO opens nguyễn trọng quản's thẩy lazaro phiển (“lazaro phiển” 22). The narrative begins at an obscure gravesite evokes the life of a man as both victim of state violence and perpetrator of private deaths. Lazaro Phiển is a ictional work written in the romanized script and was published in Saigon in 1887 in a novelistic format almost forty years before Hoàng Ngọc Phách's Tố Tâm. Yet the latter, published in Hanoi in 1925, is oten touted in official literary history as the first modern Vietnamese novel. Although Nguyễn Trọng Qu.n's narrative revolves around the recovery of an elided story, the author could not have anticipated the elision of his work from a nationalist literary genealogy that locates the origin of modern Vietnamese literature in the North. he elision was part of a general omission of works from the South in the last decades of the nineteenth century and irst two decades of the twentieth. his genealogy was by no means limited to the Democratic Republic of Vietnam in the North but was also perpetuated in the Republic of Vietnam in the South ater independence and the partitioning of the country into North and South in 1954

scholarly journals Gothic Imaginations in Primo Ottocento Opera

2021 ◽  
Author(s):  
◽  
Sarah Chesney
Keyword(s):  
Nineteenth Century ◽  
Northern Europe ◽  
Giuseppe Verdi ◽  
Scottish Literature ◽  
Gaetano Donizetti ◽  
The North ◽  
Walter Scott ◽  
The Way

<p>Connections between the Gothic and opera remain a subsidiary concern to most writers on the Gothic and on opera, if they are even addressed at all. In this study I wish to illuminate how the Gothic is presented both musically and visually on stage through the setting and thematic traits in select nineteenth-century Italian operas. A number of ideas are central to this aim. Firstly, that the ‘Gothic’ dimension of ‘Gothic opera’ is overtly represented through staging. The settings of many ‘Gothic operas’ in Scotland and England reveal the continental European fascination with northern Europe and its history. This stemmed from the influx of English and Scottish literature, most prominently the Ossian poems and the works of Walter Scott and Shakespeare. Consequently, Gothic scenes such as ruined medieval castles and rugged cliffs, masked by darkness or mist are enmeshed with a northern landscape. Tartan costuming also visually situates the Gothic scenes in Northern Europe. Furthermore, the use of musical mannerisms of Scotland and England, particularly in chorus scenes, reinforces this parallel between the Gothic and the north, linking music to the visible Gothic setting. Secondly, I will explore the way in which Gothic imaginings of both immaterial and physical incarnations of the supernatural move between the latent subconscious and conscious realisation. This is evident through the interplay between voice, orchestra and the singer’s corporeality and draws upon recent operatic studies concerning representation of ‘others’, dramatisation, and theatrical spaces. This second section positions women at the heart of the Gothic in opera, as the soprano is most often the character susceptible to other-worldly encounters and madness. The fundamental figure in this study is Gaetano Donizetti (1797-1848). A number of his operas from the 1830s, especially Lucia di Lammermoor, emphasise how the Gothic may be revealed in opera. However, I conclude with a chapter on Macbeth, the ‘Gothic opera’ of Giuseppe Verdi (1813-1901), for this work demonstrates how the configuration of the Gothic is developed in musical and dramatic terms and presents a case where the supernatural influence becomes all-empowered.</p>

scholarly journals “The literary debuts of the Romanian 80’s generation”

Sæculum ◽  
2020 ◽  
Vol 49 (1) ◽  
pp. 102-112
Author(s):  
Vlad Alui Gheorghe
Keyword(s):  
Literary History ◽  
Point Of View ◽  
Individual Identity ◽  
Allen Ginsberg ◽  
Central European ◽  
The North ◽  
Historical Factors ◽  
History Of ◽  
The One ◽  
Nicolae Ceausescu

AbstractIndividual identity crisis became an obsessive theme of the Central-European literature, lived intensively in this space. From this point of view, the generations and literary promotions of the 1960 and 1970’s Romania benefited from a specific openness due to a complex of social, political and historical factors. The 80s generation appeared in a full process of strengthening the ideological vigilance after the famous July Theses introduced by Nicolae Ceausescu following the North Korean model. Although there were the same rules and the same barriers for beginners of the era, the issue was treated and felt differently. While some suffer from the delay of the debut, others are patient because they trust their chance, others give up. Even if the overall context was an oppressive one and the institution of censorship was the one that controlled the literature during the communist period, authors managed to adapt and write no matter what, they found accepted ways that did not alter their message and they published under conditions that today we can hardly call without doubt honourable. The published authors had visibility and were united around some literary circles, forming what Allen Ginsberg called in The Best Minds of My Generation: A Literary History of the Beats, «circles of liberation.»

Ethnolinguistic Study of the Colour Term System in the Kumanovo Region

2019 ◽  
Vol 14 (1-2) ◽  
pp. 174-185
Author(s):  
Alexandra Chivarzina
Keyword(s):  
Ethnic Groups ◽  
Border Zone ◽  
Folk Culture ◽  
Slavic Languages ◽  
The North ◽  
North Part ◽  
Colour Term

In 2018, within the framework of a detailed study of the colour term system in the Balkan Slavic languages, the author’s ethnolinguistic questionnaire was prepared and aimed at identifying the specifics of the colour term system and colour functioning in the traditional folk culture. In 2018, May-June, an expedition was held to the Kumanovo municipality, the north part of North Macedonia, with a view to test the questionnaire and to study the archaic phenomena of the folk culture. This area is a borderland of the three Balkan Slavic ethnic groups and a zone that preserves unique archaic features in the folk culture. Nevertheless, the Macedonian part of the borderland has not been researched enough. The problem on the colour term system in the dialect under consideration has not yet been formulated. Dialect dictionaries reflecting the peculiarities of the Kumanovo dialect have not been published yet. The collected material reveals the specifics of the colour term system and colour functioning in the Macedonian spoken dialects under consideration. The use of colour in the traditional folk culture of the population living in the border zone of the three Slavic peoples has not been studied so far. The article provides an analysis of the results of the expedition to the Kumanovo region.

Italian Renaissance epic

2010 ◽  
pp. 93-118
Author(s):  
Giuseppe Mazzotta
Keyword(s):  
Italian Renaissance ◽  
Renaissance Epic
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