scholarly journals The Fairy Tale Finist the Bright Falcon (CIP 432) in the Russian folklore tradition and literature

2019 ◽  
pp. 113-127
Author(s):  
Варвара Евгеньевна Добровольская
Keyword(s):  
Middle Ages ◽  
Oral Tradition ◽  
Fairy Tale ◽  
European American ◽  
Russian Version ◽  
The Individual ◽  
Plot Type ◽  
The Middle Ages

В мировом фольклоре сюжетный тип ATU «The Prince as Bird / Принц-птица» 432 представлен у многих народов. Историю сюжета принято связывать с рыцарской поэзией Средневековья. Сюжет популярен в европейских, американских и азиатских сказочных традициях, однако русская версия имеет ряд особенностей. Помимо зафиксированных в указателе вариантов данного сюжетного типа, автор статьи выявил еще ряд текстов данного сюжетного типа. Выявлены и тексты, ошибочно причисляемые к сюжетному типу 432. Русская версия сюжета «Финист Ясный Сокол» популярна в устной и письменной традиции. Это полностью сформированный сюжет, который практически не подвергался трансформациям с 1795 г., когда один из вариантов сказки был впервые опубликован. Существуя в устном бытовании, сюжет редко соединяется с другими сюжетными типами. В основном такие контаминации являются проявлением индивидуального мастерства сказочника или свидетельством разрушения традиции. Сказка оказалась привлекательной и для авторской литературы, однако только Андрей Платонов сохранил структуру сказочного текста. В своем произведении писателю удалось продемонстрировать тенденции, происходящие с фольклорным текстом в 40 годы ХХ в. Другие авторы (Шестаков, Прокофьева, Токмакова, Шерман, Рубанов) активно использовали мотивы, присущие данному сюжетному типу, но не сохранили в своих произведениях сюжетного каркаса сказки. In world folklore, the plot type ATU “The Prince as Bird / Prince-Bird” 432 is represented in traditions of many peoples. The story is usually associated with the chivalry poetry of the Middle Ages. The plot is popular in European, American and Asian fairy - tale traditions, but the Russian version has a number of specific features. In addition to the variants of this plot type fixed in the index, the author of the article revealed a number of other texts of this plot type. In addition, texts erroneously assigned to plot type 432 were found and excepted. The Russian version of the plot “Finist the bright falcon” is popular in the oral and written tradition. This is a fully formed plot that has not undergone any transformation since 1795, when one of the versions of the tale was first published. While existing in purely oral tradition, the plot rarely connects with other plot types. Basically, such contamination is a manifestation of the individual skill of the storyteller or evidence of the destruction of tradition. The tale turned out to be attractive for the author’s literature; however, only Andrei Platonov retained the structure of the fabulous text. In his work, the writer was able to demonstrate the trends that occur with this folklore text in the 40s of the XX century. Other authors (Shestakov, Prokofiev, Tokmakova, Sherman? Rubanov) actively used the motifs inherent in this plot type, but did not save the fairy - tale story plot in their works.

scholarly journals composer phenomenon in a historical retrospect of an authorship idea formation in European musical culture of the middle ages

2021 ◽  
Vol 5 (S2) ◽  
pp. 284-302
Author(s):  
Iryna Yu Konovalova
Keyword(s):  
Middle Ages ◽  
Significant Role ◽  
Oral Tradition ◽  
Musical Culture ◽  
Late Middle Ages ◽  
European Culture ◽  
Historical Retrospect ◽  
Idea Formation ◽  
The Middle Ages

The article is devoted to comprehension of specifics and formation prerequisites of composer’s and musical authorship phenomena historical formation in European culture of the Middle Ages. Genesis of composer’s phenomenon and individual musical authorship model is considered on the basis of historical, socio-cultural and aesthetic-artistic transformations, on awareness about their dynamic’s tendencies and general cultural institutionalization of an authorship phenomenon, as well as on an increasing role of individual creativity in an artistic realm. It is stated that multi-ethnic and anonymous culture of oral tradition, folklore and Christian singing practices, as well as instrumental improvisation’s traditions, became spiritual sources of this phenomena and turn into a strong foundation of musical professionalism and creative impulse for European authorial music evolution. It is emphasized that process of composer’s formation as a creativity subject and musical professionalism carrier was stimulated by the necessity of everyday vocal-choral practice, conditioned by the spiritual context of time, by intention on theocentric world’s picture and religious – Christian outlook dominance. Significant role of secular direction development in the context of music-author’s discourse formation and composer’s figure assertion in the late Middle Ages is highlighted. 

Biography and Autobiography in the Italian Renaissance

Mapping Lives ◽  
2004 ◽  
Author(s):  
Martin McLaughlin
Keyword(s):  
Middle Ages ◽  
Italian Renaissance ◽  
Classical Models ◽  
The Subject ◽  
De Viris Illustribus ◽  
The Individual ◽  
The Middle Ages

During the period of 1300–1600, autobiography and biography flourished in Italy despite the controversial thesis of the ‘rise of the individual’ during the Italian Renaissance. In the same period, a typology of biographical works emerged distinguishing the Middle Ages and the Renaissance in Italy. These three strands of biography are: collection of lives, a De viris illustribus tradition, revived in Petrarch's work of the same name and inspired by Classical lives of famous rulers, by medieval Viri illustres, and by famous writers and artists; individual biographies, again either of a single ruler or of an individual, and once more derived from Classical models, such as Boccaccio's De vita et moribus Francisci Petrarcchi and Trattatello in laude di Dante; and autobiography, which was pioneered by Petrarch through his Secretum, a purportedly secret dialogue in which St. Augustine was the subject. This chapter discusses distinctive examples of the three strands of biography, with emphasis on the biographies and autobiographies of the writers. It charts the rise and principal developments of these genres during 1350 to 1550.

The Origins and Development of Municipal Military Service in the Leonese and Castilian Reconquest, 800–1250

Traditio ◽  
1970 ◽  
Vol 26 ◽  
pp. 91-111 ◽  
Author(s):  
James F. Powers
Keyword(s):  
Middle Ages ◽  
Military Service ◽  
Modern Society ◽  
The State ◽  
The Other ◽  
Contemporary History ◽  
Military Institutions ◽  
The Individual ◽  
The Middle Ages

In modern society, enmeshed with confrontations involving the individual, military service and the state, historians are often inclined to make comparisons with the distant past which offer relief from the pressures of contemporary history. Regarding military service, the Middle Ages are occasionally suggested as an age when combat was sporadic, when only the small feudal aristocracy encountered a martial obligation, and when the remainder of society could concentrate on the other burdens of life, free of the paraphernalia of war, hot or cold. As with many romantic generalizations concerning the period, the comparative bliss of the medieval non-combatant is open to question. Many would note, however, that the feudal classes did possess a monopoly on warfare for several centuries in parts of Continental Europe, and would tend to place all discussion of military institutions within a feudal context.

scholarly journals Law in action, law in books: the practicality of medieval theft law

2002 ◽  
Vol 17 (3) ◽  
pp. 309-331 ◽  
Author(s):  
RICHARD W. IRELAND
Keyword(s):  
Middle Ages ◽  
Public Order ◽  
England And Wales ◽  
Functional Perspective ◽  
The Social ◽  
The Law ◽  
Medieval Law ◽  
Perpetrators And Victims ◽  
The Individual ◽  
The Middle Ages

This article approaches the medieval law of theft from a ‘functional’ perspective. It seeks, that is, to consider the rules of law principally in relation to the social circumstances which give rise to them and upon which they, in turn, have an impact. Concentrating primarily upon material from England and Wales, the essay considers general issues of definition, jurisdiction and proof in the law of the middle ages before concentrating specifically upon the rules respecting theft. The ideas of manifest and non-manifest theft are explored in an attempt to discover why the law distinguished between them. Potential difficulties concerning the bringing of theft actions and the defences which might be offered to them are also examined and related to the practical world in which perpetrators and victims of theft found themselves. Finally, the possible tension between the satisfaction of the demands of the individual victim and the wider desire to maintain public order is investigated.

Italian Fables in Verse

PMLA ◽  
1906 ◽  
Vol 21 (1) ◽  
pp. 226-278
Author(s):  
Kenneth McKenzie
Keyword(s):  
Fifteenth Century ◽  
Middle Ages ◽  
Twelfth Century ◽  
Oral Tradition ◽  
Classical Antiquity ◽  
Folk Tales ◽  
The People ◽  
Medieval Europe ◽  
Four Books ◽  
The Middle Ages

Before the revival of Greek learning in the fifteenth century, the Æsopic fables of classical antiquity were known in Europe through Latin collections derived from Phædrus. Two of these collections were particularly well known; one which goes under the name of Romulus, written in prose in the tenth century; and a metrical version of the larger part of Romulus, written in the twelfth century. This metrical collection, called in the Middle Ages Esopus, is now ascribed to Walter of England, but is often called Anonymus Neveleti. Another metrical version of Romulus was made a little later by Alexander Neckam, and the fables of Avianus, also, were known to some extent. These collections, with numerous recensions and derivatives in Latin, and translations into many different languages, form a body of written fable-literature whose development can for the most part be clearly traced. At the same time, beast-fables were extensively employed in school and pulpit, and were continually repeated for entertainment as well as for instruction. Thus there was current all over Europe a great mass of fable-literature in oral tradition. The oral versions came in part from the written fable-books; others originated as folk-tales in medieval Europe; others had descended orally from ancient Greece, or had been brought from the Orient. Many are still current among the people in all parts of Europe, and beyond. From this mass of traditional material, heterogeneous collections of popular stories, including beast-fables, were reduced to writing in Latin and in other languages. An example of this process is found in the Esope of Marie de France, the earliest known fable-book in a modern vernacular, which was translated into French in the twelfth century from an English work which is now lost. Forty of Marie's fables, less than two-fifths of the whole number, came from a recension of the original Romulus called Romulus Nilantii; the others from popular stories of various kinds. Similarly, the important Æsop of Heinrich Steinhöwel contains the Romulus fables in four books, followed by seventeen fables called Extravagantes, others from the recently published Latin version of the Greek fables, from Avianus, from the Disciplina Clericalis of Petrus Alphonsus, and from Poggio,—in all, nine books, printed in Latin with a German translation about 1480, and speedily translated into many languages (including English, by Caxton in 1484, from the French version). The Extravagantes, like other collections, and like the episodes of the beast-epic (little known in Italy), came from popular tradition. Many writers show by incidental references that they were familiar with fables, although they may not have regarded them as worthy of serious attention,—writers like Dante, and his commentator Benvenuto da Imola. Moreover, the animal-lore of the bestiaries and of works like the Fiore di Virtù is closely akin to that of the fables. It is evident, then, that the collections descended from Phædrus, important though they were, represented but a fraction of the fable-literature that was current in the Middle Ages.

scholarly journals Bruxas y meigas andan xuntas. Mitoloxía y realidá de la bruxería llionesa = Witches and sorceresses walk together. Mythology and reality of leonese witchcraft

2020 ◽  
pp. 11
Author(s):  
Nicolás Bartolomé Pérez
Keyword(s):  
Middle Ages ◽  
Oral Tradition ◽  
The Witch ◽  
The Middle Ages

<p class="Pa8"><strong>Resume</strong><br /><br />El presente trabayu estudia la figura de la bruxa na rexón llionesa analizando las suas manifestaciones na tradición oral, es­pecialmente las distintas tipoloxías de liendas que protagonizan, pues la imaxe d’estos personaxes fantásticos en Llión, al igual qu’ocurre n’outros territorios ibéricos, parez conformada sobre antiguas creyencias mitolóxicas relativas a númenes femininos nocturnos que s’asimiloron al estereotipu de la bruxa satánica que xurdíu a finales de la Edá Media.</p><p> </p><p><strong>Abstract</strong><br /><br /></p><p class="Pa8">The present work studies the figure of the witch in the region of León by analysing its manifestations in the oral tradition, espe­cially the different typologies of legends in which they play a lead­ing role, since the portrayal of these fantastic characters in León, as in other Iberian territories, seems shaped by ancient mythological beliefs related to nocturnal female numina that were assimilated to the stereotype of the satanic witch that arose at the end of the Middle Ages.</p>

scholarly journals The Individual and Society in the Middle Ages.

Man ◽  
1968 ◽  
Vol 3 (1) ◽  
pp. 165
Author(s):  
Robert M. Goldstein ◽  
Walter Ullmann
Keyword(s):  
Middle Ages ◽  
The Individual ◽  
The Middle Ages

scholarly journals O cruzamento entre o Sagrado e o Profano na temática do Amor Cortês * The intersection between the Sacred and the Profane in the theme of Courtly Love

2014 ◽  
Vol 2 (3) ◽  
pp. 442
Author(s):  
LIGIA CRISTINA CARVALHO
Keyword(s):  
Middle Ages ◽  
Fifth Century ◽  
Courtly Love ◽  
The Self ◽  
Knowledge Of God ◽  
The Bible ◽  
Opposite Sex ◽  
The Individual ◽  
The Church ◽  
The Middle Ages

<p><strong>Resumo</strong>: Por ter sido elaborado dentro de uma sociedade religiosa cristã medieval, que tem a Bíblia como paradigma e a Igreja como norteadora espiritual e comportamental, pelo menos desde o século V, o amor cortês caracteriza-se pela tensão dos contrários que marca tão singularmente o perfil histórico e cultural da Idade Média. Para Santo Agostinho, o amor eleva o indivíduo à verdade, ao conhecimento unitivo de Deus. Em conformidade com a ideia de Santo Agostinho, o amor cortês era tido como fonte de todo o bem. Entretanto, na literatura cortês, não era o conhecimento de uma verdade transcendente que se consegue com o amor, mas um enobrecimento do próprio ser em sua realidade terrena e, além disto, este amor não se dirige a Deus, mas ao próximo de sexo oposto. Dito isto, neste artigo discutiremos o cruzamento entre o sagrado e o profano na temática do amor cortês.</p><p><strong>Palavras-chave</strong>: Idade Média Central – Literatura cavaleiresca – Amor cortês.</p><p> </p><p><strong>Abstract</strong>: Because of drawning into a medieval Christian religious society, which has the Bible as a paradigm and the Church as a spiritual and behavioral guiding, at least since the fifth century, courtly love is characterized by the tension of opposites that mark the historical and cultural profile of the Middle Ages so singularly. For St. Augustine, love elevates the individual to the truth, to the unitive knowledge of God. In accordance with the idea of St. Augustine, courtly love was taken as the source of all good. However, in courtly literature, the knowledge of a transcendent truth was not achieved by love, but an ennoblement of the self in its earthly reality and, moreover, this love is not addressed to God but to others of the opposite sex. Said that, this article will discuss the intersection between the sacred and the profane in the theme of courtly love.</p><p><strong>Keywords</strong>: Central Middle Ages – Chivalric literature – Courteous love.</p>

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