Oliver Taplin
- Published in print:
- 2006
- Published Online:
- January 2012
- ISBN:
- 9780197263235
- eISBN:
- 9780191734328
- Item type:
- chapter
- Publisher:
- British Academy
- DOI:
- 10.5871/bacad/9780197263235.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some ...
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This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.Less
This chapter looks at the here and now and the unselfconscious use of Greek and Latin writers by contemporary British and Irish poets. In 1973 an enterprising garland-maker collected together some 850 translations from The Greek Anthology. Most of the versions by the fifty or so contributors were specially commissioned, and they included some excellent epigrams, some by poets already quite well known, including Fleur Adcock, Tony Harrison, Peter Levi, Edwin Morgan and Peter Porter. This discussion states that this volume marks a transition, from an age when a project like this had been primarily the preserve of scholars, and when classical poetry was predominantly the preserve of the few, to the present age when it has been opened up to a wide range of creative artists.
Aaron Pelttari
- Published in print:
- 2014
- Published Online:
- August 2016
- ISBN:
- 9780801452765
- eISBN:
- 9780801455001
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801452765.003.0005
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter is devoted to intertextuality, focusing on a characteristically late antique form of allusion. These allusions approximate quotations, for they set a fragment—typically of classical ...
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This chapter is devoted to intertextuality, focusing on a characteristically late antique form of allusion. These allusions approximate quotations, for they set a fragment—typically of classical poetry—off against its new context within the late antique poem. The chapter begins by discussing the ways in which allusion was employed by classical poets. It then treats allusions from late antiquity that are progressively more exposed to the presence of their reader. Because late antique allusions do not need to be read as referential, the referentiality (or not) of allusion will serve as a pivot between classical and late antique poetics. Instead of asserting their control over the tradition, late antique poets present their work as a fragmented and open text: they juxtapose independent fragments of classical poetry, they set these units in apposition to their own words, and they avoid emulation. In so doing, they reveal themselves as readers and allow their audience to engage in the continuing play of interpretation.Less
This chapter is devoted to intertextuality, focusing on a characteristically late antique form of allusion. These allusions approximate quotations, for they set a fragment—typically of classical poetry—off against its new context within the late antique poem. The chapter begins by discussing the ways in which allusion was employed by classical poets. It then treats allusions from late antiquity that are progressively more exposed to the presence of their reader. Because late antique allusions do not need to be read as referential, the referentiality (or not) of allusion will serve as a pivot between classical and late antique poetics. Instead of asserting their control over the tradition, late antique poets present their work as a fragmented and open text: they juxtapose independent fragments of classical poetry, they set these units in apposition to their own words, and they avoid emulation. In so doing, they reveal themselves as readers and allow their audience to engage in the continuing play of interpretation.
Paola Iovene
- Published in print:
- 2014
- Published Online:
- January 2015
- ISBN:
- 9780804789370
- eISBN:
- 9780804791601
- Item type:
- chapter
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804789370.003.0005
- Subject:
- Literature, World Literature
The chapter examines the complex temporal structures in works from the 1980s to the early 1990s inspired by the late Tang poet Li Shangyin. It details the reception of Li Shangyin’s poetry and its ...
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The chapter examines the complex temporal structures in works from the 1980s to the early 1990s inspired by the late Tang poet Li Shangyin. It details the reception of Li Shangyin’s poetry and its influence, and then analyses its place in the works of contemporary novelists Wang Meng and Ge Fei. Ge Fei’s “Brocade Zither” (1993) is characterized by a recursive structure that recalls the figure of the “strange loop” discussed in Hofstadter’s Gödel, Escher, Bach: An Eternal Golden Braid (1979; Chinese translation, 1984). The chapter focuses on fictional depictions of scenes of reading and writing, arguing that their mode of anticipation reflects an anxiety of loss of cultural identity and of life itself. Ge Fei has been appreciated for his modernist preoccupation with the elusive nature of memory. However, his writing is equally concerned with the states of apprehension that shape how characters act.Less
The chapter examines the complex temporal structures in works from the 1980s to the early 1990s inspired by the late Tang poet Li Shangyin. It details the reception of Li Shangyin’s poetry and its influence, and then analyses its place in the works of contemporary novelists Wang Meng and Ge Fei. Ge Fei’s “Brocade Zither” (1993) is characterized by a recursive structure that recalls the figure of the “strange loop” discussed in Hofstadter’s Gödel, Escher, Bach: An Eternal Golden Braid (1979; Chinese translation, 1984). The chapter focuses on fictional depictions of scenes of reading and writing, arguing that their mode of anticipation reflects an anxiety of loss of cultural identity and of life itself. Ge Fei has been appreciated for his modernist preoccupation with the elusive nature of memory. However, his writing is equally concerned with the states of apprehension that shape how characters act.
Benjamin Harshav
- Published in print:
- 1993
- Published Online:
- May 2012
- ISBN:
- 9780520079588
- eISBN:
- 9780520912960
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520079588.003.0035
- Subject:
- Anthropology, Social and Cultural Anthropology
The only language in which genuine classical poetry is created is the language of the working people. When folk poets such as Homer walked around reciting their poetry to the people, their language ...
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The only language in which genuine classical poetry is created is the language of the working people. When folk poets such as Homer walked around reciting their poetry to the people, their language was the language of the people. However, in the course of generations, the language of the people became raw material also in the hands of those whose situation in society had changed and allowed them to live a more intuitive life. As an expression of their life, they created the second language for themselves: the language of literature. Thus, a certain distance was created between literature and the people; and the real life of the people, the life of the worker, remained without a poetic or expression of artistry. Thus the seed of jealousy and class hatred, that chronic social illness, was born. A cure for these ills can only come if the working people will also be the creating people.Less
The only language in which genuine classical poetry is created is the language of the working people. When folk poets such as Homer walked around reciting their poetry to the people, their language was the language of the people. However, in the course of generations, the language of the people became raw material also in the hands of those whose situation in society had changed and allowed them to live a more intuitive life. As an expression of their life, they created the second language for themselves: the language of literature. Thus, a certain distance was created between literature and the people; and the real life of the people, the life of the worker, remained without a poetic or expression of artistry. Thus the seed of jealousy and class hatred, that chronic social illness, was born. A cure for these ills can only come if the working people will also be the creating people.
Aurelius Prudentius Clemens
- Published in print:
- 2011
- Published Online:
- August 2016
- ISBN:
- 9780801442223
- eISBN:
- 9780801463051
- Item type:
- book
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9780801442223.001.0001
- Subject:
- Classical Studies, Poetry and Poets: Classical, Early, and Medieval
Aurelius Prudentius Clemens (348–c.406) is one of the great Christian Latin writers of late antiquity. He wrote poetry that was deeply influenced by classical writers and in the process he revived ...
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Aurelius Prudentius Clemens (348–c.406) is one of the great Christian Latin writers of late antiquity. He wrote poetry that was deeply influenced by classical writers and in the process he revived the ethical, historical, and political functions of poetry. This aspect of his work was especially valued in the Middle Ages by Christian writers who found themselves similarly drawn to the Classical tradition. Prudentius' Hamartigenia, consisting of a 63-line preface followed by 966 lines of dactylic hexameter verse, considers the origin of sin in the universe and its consequences, culminating with a vision of judgment day: the damned are condemned to torture, worms, and flames, while the saved return to a heaven filled with delights, one of which is the pleasure of watching the torments of the damned. This book, the first new English translation in more than forty years, shows that Hamartigenia is critical for understanding late antique ideas about sin, justice, gender, violence, and the afterlife. Its radical exploration of and experimentation with language have inspired generations of thinkers and poets since—most notably John Milton, whose Paradise Lost owes much of its conception of language and its strikingly visual imagery to Prudentius' poem.Less
Aurelius Prudentius Clemens (348–c.406) is one of the great Christian Latin writers of late antiquity. He wrote poetry that was deeply influenced by classical writers and in the process he revived the ethical, historical, and political functions of poetry. This aspect of his work was especially valued in the Middle Ages by Christian writers who found themselves similarly drawn to the Classical tradition. Prudentius' Hamartigenia, consisting of a 63-line preface followed by 966 lines of dactylic hexameter verse, considers the origin of sin in the universe and its consequences, culminating with a vision of judgment day: the damned are condemned to torture, worms, and flames, while the saved return to a heaven filled with delights, one of which is the pleasure of watching the torments of the damned. This book, the first new English translation in more than forty years, shows that Hamartigenia is critical for understanding late antique ideas about sin, justice, gender, violence, and the afterlife. Its radical exploration of and experimentation with language have inspired generations of thinkers and poets since—most notably John Milton, whose Paradise Lost owes much of its conception of language and its strikingly visual imagery to Prudentius' poem.
Peter Flueckiger
- Published in print:
- 2010
- Published Online:
- June 2013
- ISBN:
- 9780804761574
- eISBN:
- 9780804776394
- Item type:
- book
- Publisher:
- Stanford University Press
- DOI:
- 10.11126/stanford/9780804761574.001.0001
- Subject:
- History, Cultural History
Many intellectuals in eighteenth-century Japan valued classical poetry in either Chinese or Japanese for its expression of unadulterated human sentiments. They also saw such poetry as a distillation ...
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Many intellectuals in eighteenth-century Japan valued classical poetry in either Chinese or Japanese for its expression of unadulterated human sentiments. They also saw such poetry as a distillation of the language and aesthetic values of ancient China and Japan, which offered models of the good government and social harmony lacking in their time. By studying the poetry of the past and composing new poetry emulating its style, they believed it possible to reform their own society. This book focuses on the development of these ideas in the life and work of Ogyu Sorai, the most influential Confucian philosopher of the eighteenth century, and that of his key disciples and critics. This study contends that the literary thought of these figures needs to be understood not just for what it has to say about the composition of poetry, but as a form of political and philosophical discourse. Unlike other works on this literature, this book argues that the increased valorization of human emotions in eighteenth-century literary thought went hand in hand with new demands for how emotions were to be regulated and socialized, and that literary and political thought of the time were thus not at odds but inextricably linked.Less
Many intellectuals in eighteenth-century Japan valued classical poetry in either Chinese or Japanese for its expression of unadulterated human sentiments. They also saw such poetry as a distillation of the language and aesthetic values of ancient China and Japan, which offered models of the good government and social harmony lacking in their time. By studying the poetry of the past and composing new poetry emulating its style, they believed it possible to reform their own society. This book focuses on the development of these ideas in the life and work of Ogyu Sorai, the most influential Confucian philosopher of the eighteenth century, and that of his key disciples and critics. This study contends that the literary thought of these figures needs to be understood not just for what it has to say about the composition of poetry, but as a form of political and philosophical discourse. Unlike other works on this literature, this book argues that the increased valorization of human emotions in eighteenth-century literary thought went hand in hand with new demands for how emotions were to be regulated and socialized, and that literary and political thought of the time were thus not at odds but inextricably linked.
Josephine Balmer
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199585090
- eISBN:
- 9780191747519
- Item type:
- book
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585090.001.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This book examines the art of classical translation from the perspective of the practitioner, arguing that translator statements such as prefaces and introductions, should be considered as much a ...
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This book examines the art of classical translation from the perspective of the practitioner, arguing that translator statements such as prefaces and introductions, should be considered as much a part of creative writing as literary theory. From translating Sappho and other classical women poets, as well as Catullus and Ovid, to poetry collections inspired by classical literature, this book's author discusses her relationship with her source texts and uncovers the various strategies and approaches she has employed in their transformations into English. In particular, the book reveals how the need for radical translation strategies in any rendition of classical texts into English can inspire the poet/translator to new poetic forms and approaches. Above all, it considers how, through the masks or personae of ancient voices, such works offer writers a means of expressing dangerous or difficult subject matter they might not otherwise have been able to broach.Less
This book examines the art of classical translation from the perspective of the practitioner, arguing that translator statements such as prefaces and introductions, should be considered as much a part of creative writing as literary theory. From translating Sappho and other classical women poets, as well as Catullus and Ovid, to poetry collections inspired by classical literature, this book's author discusses her relationship with her source texts and uncovers the various strategies and approaches she has employed in their transformations into English. In particular, the book reveals how the need for radical translation strategies in any rendition of classical texts into English can inspire the poet/translator to new poetic forms and approaches. Above all, it considers how, through the masks or personae of ancient voices, such works offer writers a means of expressing dangerous or difficult subject matter they might not otherwise have been able to broach.
Josephine Balmer
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199585090
- eISBN:
- 9780191747519
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585090.003.0003
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter begins with an overview of translations of classical poetry by women translators through the ages, examining, in particular, their prefaces and author statements, including those by Lucy ...
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This chapter begins with an overview of translations of classical poetry by women translators through the ages, examining, in particular, their prefaces and author statements, including those by Lucy Hutchinson, Anne Finch, Elizabeth Barrett Browning, Anna Swanwick, and H.D., through to Mary Barnard, Diane Rayor, and Sarah Ruden. It concludes with Josephine Balmer’s own personal statement, exploring the paths that led her to classical poetry translation.Less
This chapter begins with an overview of translations of classical poetry by women translators through the ages, examining, in particular, their prefaces and author statements, including those by Lucy Hutchinson, Anne Finch, Elizabeth Barrett Browning, Anna Swanwick, and H.D., through to Mary Barnard, Diane Rayor, and Sarah Ruden. It concludes with Josephine Balmer’s own personal statement, exploring the paths that led her to classical poetry translation.
Roberto Simanowski
- Published in print:
- 2011
- Published Online:
- August 2015
- ISBN:
- 9780816667376
- eISBN:
- 9781452946788
- Item type:
- chapter
- Publisher:
- University of Minnesota Press
- DOI:
- 10.5749/minnesota/9780816667376.003.0003
- Subject:
- Art, Art Theory and Criticism
This chapter describes the contemporary kinetic concrete poetry and its distinction from classical concrete poetry. It identifies the connection between software art, mannerism, postmodernism, ...
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This chapter describes the contemporary kinetic concrete poetry and its distinction from classical concrete poetry. It identifies the connection between software art, mannerism, postmodernism, Generation Flash, and the aesthetics of the spectacle. It also compares the culture of the depthless image in the digital age to the pure painting of the avant-garde art of the previous century.Less
This chapter describes the contemporary kinetic concrete poetry and its distinction from classical concrete poetry. It identifies the connection between software art, mannerism, postmodernism, Generation Flash, and the aesthetics of the spectacle. It also compares the culture of the depthless image in the digital age to the pure painting of the avant-garde art of the previous century.
Josephine Balmer
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199585090
- eISBN:
- 9780191747519
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585090.003.0004
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter presents an overview of the difficulties of translating fragmented classical poetry, in particular Greek lyric poetry, examining the main differences between classical and contemporary ...
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This chapter presents an overview of the difficulties of translating fragmented classical poetry, in particular Greek lyric poetry, examining the main differences between classical and contemporary poetry translation. It discusses the mythology of Sappho and considers current perceptions of ancient culture.Less
This chapter presents an overview of the difficulties of translating fragmented classical poetry, in particular Greek lyric poetry, examining the main differences between classical and contemporary poetry translation. It discusses the mythology of Sappho and considers current perceptions of ancient culture.
Pierre Cachia
- Published in print:
- 2011
- Published Online:
- March 2012
- ISBN:
- 9780748640867
- eISBN:
- 9780748653300
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640867.003.0004
- Subject:
- Society and Culture, Middle Eastern Studies
While modern Arabs have changed their attitude to the language in some respects, few have given serious attention to popular literature. This chapter discusses popular literature with emphasis on ...
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While modern Arabs have changed their attitude to the language in some respects, few have given serious attention to popular literature. This chapter discusses popular literature with emphasis on Mustafa Ibrahim Ajaj. Mustaf Ibrahim Ajaj was a literate who wrote in a language that the public understood. While he composed in classical Arabic and in accordance with the conventions of Arabic poetry, he used colloquial language and employed a variety of postclassical metrical forms. Most of them are in a hemistich in classical poetry which forms a complete unit, called here ‘a line’.Less
While modern Arabs have changed their attitude to the language in some respects, few have given serious attention to popular literature. This chapter discusses popular literature with emphasis on Mustafa Ibrahim Ajaj. Mustaf Ibrahim Ajaj was a literate who wrote in a language that the public understood. While he composed in classical Arabic and in accordance with the conventions of Arabic poetry, he used colloquial language and employed a variety of postclassical metrical forms. Most of them are in a hemistich in classical poetry which forms a complete unit, called here ‘a line’.
Josephine Balmer
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199585090
- eISBN:
- 9780191747519
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585090.003.0001
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter considers how, as the role of the translator as writer moves increasingly to the fore, the personal statements of translators are beginning to be viewed as an integral part of literary ...
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This chapter considers how, as the role of the translator as writer moves increasingly to the fore, the personal statements of translators are beginning to be viewed as an integral part of literary history. It examines the history of such statements, beginning with Catullus, Cicero, Quintilian, Pliny, and Jerome in the Roman world, before moving on to prefaces and introductions to classical poetry translation in Anglo-Saxon and medieval English and Scots, from King Alfred through Gavin Douglas to William Caxton and Arthur Golding.Less
This chapter considers how, as the role of the translator as writer moves increasingly to the fore, the personal statements of translators are beginning to be viewed as an integral part of literary history. It examines the history of such statements, beginning with Catullus, Cicero, Quintilian, Pliny, and Jerome in the Roman world, before moving on to prefaces and introductions to classical poetry translation in Anglo-Saxon and medieval English and Scots, from King Alfred through Gavin Douglas to William Caxton and Arthur Golding.
Josephine Balmer
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780199585090
- eISBN:
- 9780191747519
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199585090.003.0006
- Subject:
- Classical Studies, Literary Studies: Classical, Early, and Medieval
This chapter examines further the importance of scholarship and research in classical poetry translation, with particular reference to the translation of fragmented works by Greek and Roman women ...
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This chapter examines further the importance of scholarship and research in classical poetry translation, with particular reference to the translation of fragmented works by Greek and Roman women poets. Through discussions of poets such as Corinna, Telesilla, Praxilla, Hedyle, and Erinna, and translations from Josephine Balmer’s Classical Women Poets (1996), as well as versions by Diane Rayor and Michael Longley, it explores the creative leaps that working on such incomplete, tattered sources might require.Less
This chapter examines further the importance of scholarship and research in classical poetry translation, with particular reference to the translation of fragmented works by Greek and Roman women poets. Through discussions of poets such as Corinna, Telesilla, Praxilla, Hedyle, and Erinna, and translations from Josephine Balmer’s Classical Women Poets (1996), as well as versions by Diane Rayor and Michael Longley, it explores the creative leaps that working on such incomplete, tattered sources might require.
Philip V. Bohlman
- Published in print:
- 2017
- Published Online:
- September 2017
- ISBN:
- 9780520234949
- eISBN:
- 9780520966444
- Item type:
- chapter
- Publisher:
- University of California Press
- DOI:
- 10.1525/california/9780520234949.003.0010
- Subject:
- Music, Ethnomusicology, World Music
Herder turned to the imaginary Scottish bard, Ossian, again at the end of his life, this time comparing him directly to Homer. In Chapter 5 Herder admits clearly that he recognizes that Ossian was ...
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Herder turned to the imaginary Scottish bard, Ossian, again at the end of his life, this time comparing him directly to Homer. In Chapter 5 Herder admits clearly that he recognizes that Ossian was the invention of James Macpherson, but he moves beyond the Ossian controversy to reflect on the nature of epic as a genre of national narrative formed from the bridge between oral and written traditions. An aesthetic of national character in folk song emerges more fully formed at the end of his life as Herder draws attention to the ways in which Scottish, Irish, and Welsh attributes are evident in the Ossian epics in ways quite unlike the attributes of the ancient Greeks in Homer.Less
Herder turned to the imaginary Scottish bard, Ossian, again at the end of his life, this time comparing him directly to Homer. In Chapter 5 Herder admits clearly that he recognizes that Ossian was the invention of James Macpherson, but he moves beyond the Ossian controversy to reflect on the nature of epic as a genre of national narrative formed from the bridge between oral and written traditions. An aesthetic of national character in folk song emerges more fully formed at the end of his life as Herder draws attention to the ways in which Scottish, Irish, and Welsh attributes are evident in the Ossian epics in ways quite unlike the attributes of the ancient Greeks in Homer.
Chibli Mallat
- Published in print:
- 2015
- Published Online:
- January 2015
- ISBN:
- 9780199394203
- eISBN:
- 9780199394234
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780199394203.003.0004
- Subject:
- Law, Private International Law, Philosophy of Law
This chapter examines, in a millennium-deep cultural perspective, the way in which persisting patterns of political language in the Middle East and beyond have been shattered by nonviolence. In a ...
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This chapter examines, in a millennium-deep cultural perspective, the way in which persisting patterns of political language in the Middle East and beyond have been shattered by nonviolence. In a first part, it describes the dominance of the concept of terrorism and the way it was undermined by the Middle East nonviolent revolution. It examines then the ambiguity of the Middle East central political concepts of fitna, bid‘a, and jihad, including the historical divide between Sunnism and Shi‘ism. It rediscovers legal, poetical, historical, and philosophical nonviolent testimonies of Middle Eastern culture prefiguring ‘Abd al-Rahman al-Kawakibi and the nonviolent advocates of the contemporary Middle East.Less
This chapter examines, in a millennium-deep cultural perspective, the way in which persisting patterns of political language in the Middle East and beyond have been shattered by nonviolence. In a first part, it describes the dominance of the concept of terrorism and the way it was undermined by the Middle East nonviolent revolution. It examines then the ambiguity of the Middle East central political concepts of fitna, bid‘a, and jihad, including the historical divide between Sunnism and Shi‘ism. It rediscovers legal, poetical, historical, and philosophical nonviolent testimonies of Middle Eastern culture prefiguring ‘Abd al-Rahman al-Kawakibi and the nonviolent advocates of the contemporary Middle East.
Robert Cummings
- Published in print:
- 2010
- Published Online:
- March 2015
- ISBN:
- 9780199246212
- eISBN:
- 9780191803376
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:osobl/9780199246212.003.0005
- Subject:
- Literature, 16th-century and Renaissance Literature
This chapter examines the impact of translated literature on the development of particular literary genres. These include the dialogue and the epistle; modern fiction; and classical poetic genres. It ...
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This chapter examines the impact of translated literature on the development of particular literary genres. These include the dialogue and the epistle; modern fiction; and classical poetic genres. It also discusses how the sonnet, beginning in the fifteenth century, puts down roots in every major Western European language and was in most cases almost instantly naturalized.Less
This chapter examines the impact of translated literature on the development of particular literary genres. These include the dialogue and the epistle; modern fiction; and classical poetic genres. It also discusses how the sonnet, beginning in the fifteenth century, puts down roots in every major Western European language and was in most cases almost instantly naturalized.
