scholarly journals Un paseo por los paisajes poéticos de Antonio Gala: El poema de Tobías desangelado en clave de lírica de viajes

2020 ◽  
Vol 29 ◽  
Author(s):  
Pedro J. Plaza González
Keyword(s):  
Travel Literature ◽  
Lyric Poetry ◽  
Theatrical Production ◽  
Antonio Gala

Frente a su producción teatral o a sus novelas, la poesía de Antonio Gala ha sido mucho menos estudiada por la academia. En este artículo se realiza un acercamiento a la poesía de Gala, en concreto a su libro El poema de Tobías desangelado (2005), proponiendo una lectura, entre otras posibles, del poemario, que es una peregrinatio vitae y una peregrinatio amoris, en clave de lírica de viajes en particular y en clave de literatura de viajes en general. Para ello, tomando como referencia principal el trabajo de Idoia Arbillaga, se analiza y ejemplifica la concreción de las cuestiones retóricas propias del género presentes en el texto —inventio, dispositio, elocutio, etcétera— y se recopilan y organizan todos los elementos relativos al viaje, al paseo y al paisaje que Gala reúne en sus poemas —los vehículos utilizados, el contacto con otras culturas, sus religiones, sus monumentos, el compañero de peripecias, etcétera—. Compared to his theatrical production or his novels, Antonio Gala’s poetry has been much less studied by the academy. In this article, an approach to Gala’s poetry is made, specifically to his book El poema de Tobías desangelado (2005), proposing a reading, among other possible ones, of the book of poems, which is a peregrinatio vitae and a peregrinatio amoris too, in terms of travel lyric poetry in particular and in terms of travel literature in general. To do this, taking the work of Idoia Arbillaga as the main reference, the specific rhetorical issues of the genre present in the text are analyzed and exemplified —inventio, dispositio, elocutio, etc.— and all the elements related to the trip, also to the path and to the landscape, that Gala gathers in his poems, are collected and organized —the vehicles used, the contact with other cultures, their religions, their monuments, the companion, and so on—.

Rewriting Renaissance ornithology: Jean Baptiste Faultrier's “Traitté general des oyseaux” (1660)

2008 ◽  
Vol 35 (2) ◽  
pp. 319-338 ◽  
Author(s):  
I. CHARMANTIER ◽  
M. GREENGRASS ◽  
T. R. BIRKHEAD
Keyword(s):  
Seventeenth Century ◽  
Natural History ◽  
Travel Literature

“Traitté general des oyseaux” was written in 1660 by Jean Baptiste Faultrier, a taxman working in Louis XIV's royal hunting lodge. The 787-page, un-illustrated manuscript was dedicated to the all-powerful Nicolas Fouquet, Louis XIV's superintendent of the finances. Faultrier used an impressive variety of sources, from the natural history treatises of Aldrovandi and Belon, to falconry treatises, Italian bird-keeping manuals, Thevet's travel literature, and husbandry books. Faultrier's work brought together many facets of ornithology, and placed natural history, hunting and bird-keeping on the same level. Although on a par with Jonston's De avibus (1650), Faultrier's “Traitté” was never printed and remained unknown until 2004. Analysis of the content reveals how Faultrier worked and his aim in writing such a manuscript, which is one of the only ornithology works of seventeenth-century France.

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.

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

“Sou Inglesa! Sou Inglesa!”: Memórias de uma Menina Anglo-Portuguesa (1907-1930)

2017 ◽  
pp. 141-155
Author(s):  
Miguel Alarcão
Keyword(s):  
Everyday Life ◽  
Social History ◽  
Travel Literature ◽  
Growing Up ◽  
Recent Past ◽  
Self And Other ◽  
Cultural Encounter ◽  
The Social ◽  
History Of ◽  
The Times

Textualizing the memory(ies) of physical and cultural encounter(s) between Self and Other, travel literature/writing often combines subjectivity with documental information which may prove relevant to better assess mentalities, everyday life and the social history of any given ‘timeplace’. That is the case with Growing up English. Memories of Portugal 1907-1930, by D. J. Baylis (née Bucknall), prefaced by Peter Mollet as “(…) a remarkably vivid and well written observation of the times expressed with humour and not little ‘carinho’. In all they make excellent reading especially for those of us interested in the recent past.” (Baylis: 2)

«Благочестивые путешествия» в Иерусалим: российские паломники-писатели XVIII столетия

2019 ◽  
Author(s):  
S.A. Kirillina
Keyword(s):  
Travel Literature ◽  
Religious Affiliation ◽  
Russian Literature ◽  
Social Background ◽  
Cultural Significance ◽  
Research Focus ◽  
Russian Orthodoxy ◽  
Ottoman History ◽  
Holy Places

Abstract The culmination of long-term development of the traditional pilgrimage genre in Russian literature falls on the eighteenth century. Reports of Russian pilgrims to the Christian Holy Places of the Middle East produced during this period, not only precede the nineteenth century the Golden age of travel literature in Russia, but also retain their great historical and cultural significance and still remain a subject of research for scholars dwelling on the Arab-Ottoman history. The authors attention is focused on 12 pilgrims accounts written by Ivan Lukjanov (dates of travel: 17011703), Makariy and Seliverst (17041707), Andrey Ignatiev (17071708), Ippolit Vishenskiy (17071709), Varlaam (17121714), Matvey Nechaev (17211722), Sylvester and Nicodim (1722), Vasiliy Grigorowich-Barskiy (17231747), Serapion (17491751), Ignatiy Denshin (17661776), Leontiy (17631765) and Meletiy (17931794). The research focus of the article is on the personalities of the pilgrimagewriters, their biographical data and social background as well as the fates of their writings after their completion. Some of the pilgrims accounts received due credit long after they had been produced, others gained great popularity at the time of writing and some of them were almost forgotten and mostly neglected by scholars of the following generations. The article also deals with the religious affiliation of the pilgrimage-writers, which predetermined their perception of the Arab-Ottoman world through the prism of Russian Orthodoxy and the values preached by this particular brand of Christianity.Аннотация В XVIII в. традиционный паломнический жанр в русской словесности достиг подлинного расцвета и подошел к своему логическому завершению. Паломнические описания Святой Земли, составленные в XVIII в., не только предваряют XIX столетие золотой век путешествий в русской литературе, но и сохраняют свою самостоятельную историко-культурную значимость, а их содержательная сторона продолжает оставаться объектом исследований ученых, в том числе арабистов и османистов. Внимание автора сосредоточено на 12 паломнических описаниях, авторство которых принадлежит Ивану Лукьянову (даты путешествия: 17011703 гг.), Макарию и Селиверсту (17041707 гг.), Андрею Игнатьеву (17071708 гг.), Ипполиту Вишенскому (17071709 гг.), Варлааму (17121714 гг.), Матвею Нечаеву (17211722 гг.), Сильвестру и Никодиму (1722 г.), Василию Григоровичу-Барскому (17231747 гг.), Серапиону (17491751 гг.), Игнатию Деншину (17661776 гг.), Леонтию (17631765 гг.) и Мелетию (17931794 гг.). В исследовательском фокусе статьи находятся личности паломников и дошедшие до нас сведения об их биографиях, их социальное происхождение, а также последующая судьба их произведений. Одни письменные свидетельства богомольцев о хождениях к святым местам Ближнего Востока завоевали признание современников, другие были по достоинству оценены значительно позднее, а некоторые практически выпали из поля зрения последующих поколений исследователей. В статье также отдельно рассмотрена конфессиональная принадлежность паломников-писателей, которая предопределила их восприятие арабо-османского мира сквозь призму Русского Православия.

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