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The essays validate the humanistic foundations and transformations of poetical theory up to their culmination in the canonical notion of lyricism established in Goethe''s time. They examine the Epicedium, a remarkable example of Baroque occasional poetry and its history through Schiller and Mörike, and they discuss its interconnections with biblical sayings, devotional literature, and poetry during the 17th and 18th centuries.
German poetry --- Lyric poetry. --- Poetics. --- History and criticism. --- Occasional poetry, lyricism, lyricism in literature, odes.
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Der Band führt in das lyrische Gesamtwerk von Ulrike Draesner ein. Eine Reihe von Interpretationen zu einzelnen Gedichten und Gedichtgruppen folgt seiner chronologischen Entwicklung und vermittelt so einen Überblick, lässt thematische Schwerpunkte erkennen und zeigt seine fakturiellen Besonderheiten. Die Interpretationen verdeutlichen dabei die Verwurzelung von Draesners Lyrik in literarischen Traditionen ebenso wie den selbständigen und innovativen Charakter ihrer experimentellen lyrischen Fakturen. Der Band will die Geschichte und das Gestaltungsspektrum des Werkzusammenhangs anhand von exemplarischen Gedichtinterpretationen nachzeichnen und zudem einen Beitrag zur Gegenwartsliteraturforschung im Allgemeinen wie zur Lyrikologie im Besonderen leisten.
Lyrik --- Gegenwartsliteratur --- Gedichte --- Poetik --- Literaturwissenschaft --- poetry --- literary studies --- contemporary literature --- lyricism --- Draesner, Ulrike, --- Criticism and interpretation.
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La poésie d’Emily Dickinson dévoile un lyrisme théâtralisé : chaque poème devient une scène où évolue une voix qui se travestit, s’altère, se diffracte en divers échos. Très influencée par l’œuvre de Shakespeare, mais également par la théâtralité ambiante de l’Amérique victorienne, Dickinson met en scène le sujet lyrique dans ce qu’il a de plus théâtral. La théâtralité de référence étant celle du dramaturge et poète élisabéthain, cette « contamination » du théâtre nous incite à élargir notre conception du lyrisme. Si l’on observe des résurgences ironiques d’une conception traditionnelle du lyrisme comme un épanchement intime, ce dernier est surtout à envisager en termes de dynamique, d’énergie. Le théâtre est pour Emily Dickinson le lieu autre où le lyrisme s’altère plus avant, la structure nodale de l’écriture lyrique et son cœur battant, le lieu de sa revitalisation. Emily Dickinson’s poetry showcases a dramatic kind of lyricism: each poem becomes a scene where the lyric voice changes shape, tone, and even gender. Strongly influenced by Shakespeare’s work and by the extremely theatrical culture of Victorian America, Dickinson stages the lyrical self at its most theatrical. The fact that the Elizabethan playwright and poet’s idiosyncratic theater was the main reference for Dickinson’s conception of drama and theatricality invites us to broaden our conception of lyricism. Although some recurrences of a more traditional approach to lyricism as an outpouring of intimate feelings appear at times – mostly tainted with a great deal of irony – lyricism will mainly be considered as the energy fueling life into the poem. The theater is for Emily Dickinson the spring of this lyrical energy, the transformative force and the crucial structure at the heart of her poetic writing.
Poetry --- Dickinson (Emily) --- Shakespeare --- lyrisme --- théâtralité --- États-Unis --- XIXe siècle --- lyricism --- drama --- United States --- 19th century
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Luigi Dallapiccola was one of twentieth century's most accomplished and admired composers. His music incorporated many of the twelve-tone techniques developed by Arnold Schoenberg, Alban Berg, and Anton von Webern, but blended their expressionistic impulses with an Italianate sense of lyricism. Brian Alegant's The Twelve-Tone Music of Luigi Dallapiccola traces the evolution of Dallapiccola's compositional technique over a thirty-year period (1942-74). Using both historical and music-analytical lenses, this book documents the influences of Webern and Schoenberg, highlights Dallapiccola's innovative handling of harmony, form, and text setting, and sheds light on several works that have been virtually ignored. Alegant's book will be a crucial source of insights for scholars and other readers interested in twentieth-century music.
Aphorism. --- Dallapiccola, Luigi, 1904-1975 -- Criticism and interpretation. --- Music. --- Dallapiccola, Luigi, --- Criticism and interpretation. --- Dallapikkola, Luidzhi, --- 20th Century Music. --- Compositional Technique. --- Expressionism. --- Form. --- Harmony. --- Italian Lyricism. --- Luigi Dallapiccola. --- Musical Innovation. --- Schoenberg. --- Text Setting. --- Twelve-Tone Music. --- Webern. --- MUSIC / History & Criticism.
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La 4e de couverture indique : "Il a été répété que le siècle de Voltaire aurait été « un siècle sans poésie », bien que les vers aient connu une très grande faveur. Conscients de cette contradiction, certains ont parlé de « poésie sans poésie ». Au-delà de tout a priori, les auteurs de ce volume esquissent un panorama des poésies française, italienne, espagnole, portugaise, allemande et anglaise du XVIIIe siècle, de la romance à la poésie philosophique, en passant par la fable. Sont traitées les questions du genre, de la réception, de l’esthétique, de la constitution d’un champ littéraire, voire d’un public. Les différences ou ressemblances entre les cultures sont considérées, ainsi que le rôle que les femmes-auteurs ont pu jouer."
Poetry --- French literature --- anno 1700-1799 --- Poésie --- Lyrisme (littérature) --- Mouvement des Lumières. --- Iriarte, Tomás de, --- Criticism and interpretation. --- Poetry, Modern --- European poetry --- Lyric poetry --- Enlightenment --- Lyricism (Literature) --- History and criticism. --- History and criticism --- European poetry - 18th century - History and criticism - Congresses
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French drama --- French drama (Tragedy) --- Lyric poetry --- History and criticism --- 17th century --- Lyricism --- French drama (Tragedy) / 17th century / History and criticism. --- Literature --- Lyric poetry / History and criticism. --- Drama. --- Französisch. --- Pathos. --- Aesthetics. --- Geschichte 1634-1648. --- French drama - 17th century - History and criticism --- French drama (Tragedy) - History and criticism --- Lyric poetry - History and criticism
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Madeleine de l'Aubespine (1546-1596), the toast of courtly and literary circles in sixteenth-century Paris, penned beautiful love poems to famous women of her day. The well-connected daughter and wife of prominent French secretaries of state, l'Aubespine was celebrated by her male peers for her erotic lyricism and scathingly original voice. Rather than adopt the conventional self-effacement that defined female poets of the time, l'Aubespine's speakers are sexual, dominant, and defiant; and her subjects are women who are able to manipulate, rebuke, and even humiliate men. Unavailable in English until now and only recently identified from scattered and sometimes misattributed sources, l'Aubespine's poems and literary works are presented here in Anna Klosowska's vibrant translation. This collection, which features one of the first French lesbian sonnets as well as reproductions of l'Aubespine's poetic translations of Ovid and Ariosto, will be heralded by students and scholars in literature, history, and women's studies as an important addition to the Renaissance canon.
POETRY / General. --- L'Aubespine, Madeleine de, --- Aubespine, Madeleine de l', --- De l'Aubespine, Madeleine, --- madeleine de laubespine, gender, female poet, women writers, poetry, love, lyricism, erotics, sexuality, feminism, dominance, defiance, humiliation, femme fatale, manipulation, power, authority, class, wealth, beauty, lesbian, queer, lgbt, lgbtq, lgbtqia, ovid, ariosto, renaissance, literature, history, heroides, orlando furioso, translation, anthology, collection, canon.
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On a Clear April Morning, by Marcos Iolovitch, is a lyrical and riveting coming of age story set among early twentieth-century settlers brought to an almost unknown Jewish farming experiment in an isolated corner of Brazil. This autobiographical novel is filled with drama, joy, disasters, romance, and humor. It travels from farms where the crops won’t grow to towns where the Yiddish-speaking protagonist falls in love, befriends sons of German immigrants, studies philosophy with the Jesuits, and becomes an important member of Brazil’s literary world. This first English edition includes elucidating historical notes on the origin of Jewish farming communities in the U.S., Canada and South America by the translator, Merrie Blocker, a retired U.S. Foreign Service officer.
Jews --- Hebrews --- Israelites --- Jewish people --- Jewry --- Judaic people --- Judaists --- Ethnology --- Religious adherents --- Semites --- Judaism --- Baron Hirsch. --- Brazil. --- Fiction. --- Jewish Colonization Association. --- Jews. --- Judaism. --- Latin America. --- Porto Alegre. --- Portuguese. --- Rio Grande do Sul. --- Russian Jews. --- Yiddish. --- alcoholism. --- antisemitism. --- autobiographical novel. --- bildungsroman. --- coming of age. --- countryside. --- emigres. --- empathy. --- farming communities. --- immigration. --- irony. --- lyricism. --- music. --- philosophy. --- poverty. --- romance. --- spring. --- tragedy. --- twentieth century. --- Iolovitch, Marcos,
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Luigi Dallapiccola (1904-1975) was one of the most important Italian composers of the twentieth century. As well as writing several operas, he composed a large number of works in which the human voice, whether in solo or in chorus, plays an important role. Dallapiccola also set texts by writers as diverse as James Joyce, Salvatore Quasimodo, Antonio Machado, Goethe, and Heine. This book is the first in English to deal with Dallapiccola as a whole, from the first, hesitant vocal compositions of his student years up to the works of his last decade, in which Italian lyricism is combined with great formal rigor. The author suggests that Dallapiccola should be understood not only as an influential figure in the post-war developments of Italian music, but also as one who renewed and revitalized the older traditions of Italian music. Raymond Fearn is Professor of Music at Keele University.
Dallapiccola, Luigi --- Critique et interpretation. --- Composers --- Compositeurs --- Biography --- Biographies --- Dallapiccola, Luigi, --- Criticism and interpretation. --- Antonio Machado. --- Formal Rigor. --- Goethe. --- Heine. --- Human Voice. --- Italian Composer. --- Italian Lyricism. --- Italian Music. --- James Joyce. --- Luigi Dallapiccola. --- Operas. --- Post-War Developments. --- Salvatore Quasimodo. --- Traditional Traditions. --- Twentieth Century.
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A stunning musical biography of Stevie Nicks that paints a portrait of an artist, not a caricature of a superstar. Reflective and expansive, Mirror in the Sky situates Stevie Nicks as one of the finest songwriters of the twentieth century. This biography from distinguished music historian Simon Morrison examines Nicks as a singer and songwriter before and beyond her career with Fleetwood Mac, from the Arizona landscape of her childhood to the strobe-lit Night of 1000 Stevies celebrations. The book uniquely: Analyzes Nicks's craft--the grain of her voice, the poetry of her lyrics, the melodic and harmonic syntax of her songs. Identifies the American folk and country influences on her musical imagination that place her within a distinctly American tradition of women songwriters. Draws from oral histories and surprising archival discoveries to connect Nicks's story to those of California's above- and underground music industries, innovations in recording technology, and gendered restrictions.
Rock musicians --- Singers --- Women singers --- Nicks, Stevie. --- 20th century musicians. --- 80s. --- 90s. --- Gold dust woman. --- artistry. --- books for music lovers. --- cultural biography. --- fans. --- feminism. --- icons. --- lyricism. --- singer songwriters of the 70s. --- sings in Fleetwood mac. --- untold history of rock and roll. --- voice. --- who wrote dreams. --- women in music.
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