The article discusses the relationship of Siegfried Kapper (1820–1879), a Czech-German author of Jewish origin, to South Slavic literary cultures (in particular Serbian, Montenegrin and Croatian), ...the influence of South Slavic national poetry on his work, on Kapper’s travels throughout the South Slavic countries of the Habsburg monarchy, of his contacts with distinguished figures of Serbian and Croatian culture and the South Slavic reception of Kapper’s work, as well as the Czech reception of that part of Kapper’s work, in which he conveyed the traditions of South Slavic literary monuments and the history of Czech society. The aim of the article is above all to provide a recapitulation and evaluation of Kapper’s mediating role between German, Czech and the South Slavic literary cultures of the Western Balkans, which Kapper played within the Central European environment from the time of the national emancipatory endeavours of the 1840s until the time of his death.
"Words as Events introduces the tradition of short, communicative rhyming couplets, the mantinádes, as still sung and recited in a variety of performance situations on the island of Crete. Recently, ...these poems have also entered modern mass media and they are widely being exchanged as text messages by Cretans. Focusing on the multi-functionality of the short form, Sykäri demonstrates how the traditional register gives voice to individual experiences in spontaneous utterances. The local focus on communicative economy and artistry is further examined in a close analysis of the processes and ideals of composition. By analyzing how the “restrictions” of form and performative conventions in fact generate impulses of creativity, the author creates a theoretical approach that is sensitive to the special characteristics of the short, rhymed poetic traditions. In this interdisciplinary study, the reader is invited to become familiar with the current folklore theory of oral poetry, which has a long tradition in Finland. The author combines the results of earlier folkloristic and anthropological insights, and extends the theoretical concerns further to address questions of spontaneity and individual agency. The research data has been produced in communicative interactions during long-term fieldwork. As a result, the short, rhymed poetry, often neglected by scholars in earlier research paradigms, can now be seen in new light – specifically as dialogic poetry – through its extended, multi-layered dialogic qualities."
Roots of Lyric Welsh, Andrew
2019, 20190129, 2019-01-29, Letnik:
5350
eBook
Folk riddles, emblems, charms, and chants are a few of the traditional forms examined by Andrew Welsh to discover the means by which poetic language achieves its powerful effects. His book shows how ...the roots of lyric are embodied in primitive verse forms, how they are raised to higher powers in poetry from the Renaissance to the twentieth century, and how an awareness of them can illuminate our reading of the poetry of any age. Andrew Welsh is Associate Professor of English at Rutgers University.
Originally published in 1978.
The Princeton Legacy Library uses the latest print-on-demand technology to again make available previously out-of-print books from the distinguished backlist of Princeton University Press. These editions preserve the original texts of these important books while presenting them in durable paperback and hardcover editions. The goal of the Princeton Legacy Library is to vastly increase access to the rich scholarly heritage found in the thousands of books published by Princeton University Press since its founding in 1905.
Twenty-three years of joint endeavors and extensive field collecting of the narratives referred to in the present volume have resulted in the availability of a multimedia archive of Philippine epics, ...ballads and rituals both at the Pardo de Tavera collection of the Rizal Library, Ateneo de Manila University, and online. The linguists, anthropologists, and ethno-musicologists who have contributed to this book have long been conscious of the close links between Intangible Heritage and Tangib.
History is the basis for our interpretation of humanity’s past. Indeed, new developments in digital humanities and the digitalization of archives can place historical sources in a new light. ...Systematized historical sources allow us to see the practical changes that have occurred over centuries of ethnobotany and analyze (although sometimes solely hypothesize on) the causes of such changes. Studying history helps us to understand the influences on the evolution of local ecological knowledge regarding plant use. In ethnobotany, numerous understudied historical sources are awaiting modern interpretations. Old uses enhanced by the new possibilities offered by technology can enrich our everyday lives. Yet, understanding historical sources, especially in ethnobotany, where several disciplines are involved, is not univocal. Mistakes introduced by misidentified plants or information misinterpreted from old languages can have negative, long-term consequences. This Special Issue provides examples of the critical analyses of various historical sources and insights into ongoing historical and diachronic studies on plant use. This reprint is intended for a broad interdisciplinary audience interested in historical ethnobotany, history of plant studies, and human culture.
National heritage has always been an important resource for modern Kurdish poets. This stems from the belief that many internal, social, intellectual, political, and even educational aspects of the ...Kurdish people are demonstrated within their national heritage. These aspects are deeply rooted in the nation, expressed in a simple language, and nationally accepted. As one of the modernist Kurdish poets, Kakey Falah understood the importance of this national capital, and according to the content and concepts of his poems, tried to make use of the different aspects of this heritage such as proverbs and idioms, legend, poetry, story, songs, tradition, etc. Connecting his era to the past, he highlighted the fact that the present is the linking chain of the past and the future. For this reason, the present research seeks to show the quality and quantity of the poet’s trade with the national heritage.
Turkish folk poetry is a rich resource reflecting the common taste and thoughts of world of the community and hosting many values in its essence. It is possible to find in it the critical and ...ironical aspects of reality besides many cultural values. In this context, the impact of irony on folk culture/poetry is examined in our study, moving from some examples of various genres. The reflections of irony on contemporary products was examined in various studies, yet what its reflections on classical and folk poem are, whether they carry elements recalling the ironic expression has not been emphasized or not shown interest considering they will not sufficiently contain irony. In study, although not so intense as in satire and humor, evidences that the facilities of irony has been utilized in many instances, are revealed and examined. It is demonstrated that many genres such as allusion, satire, burlesque, travesty has been source for the expression of irony, again “reverse advice epics” in lovers and “shathiyyas” in sufism literature draw attention in this respect. It has been studied that at the poems written in different conditions and periods, on a large scale from individualistic to socialistic and from love and belief to nature, ironic narration has an undeniable part
Bellek ve belleğe ilişkin olan hatıralar, hatırlama ve unutma gibi unsurlar, bireysel yaşantımızda merkezî bir rol oynarlar. Kimliğimizin inşasında kurucu bir rol üstlenen bellek, aynı zamanda ...toplumun ve kültürün varlığında, onun sürdürülmesinde de hayati bir fonksiyon üstlenir. Bununla birlikte kişisel deneyimlerimizin depolanabilir hâle gelmesi otobiyografik bellek aracılığıyla mümkün olabilmektedir. Öte yandan bütün insanlar için önem taşımasına karşılık sanatçıların eserlerini oluşturma sürecinde temel başvuru kaynaklarının geçmiş deneyimleri olması, onlar için otobiyografik belleği ayrıcalıklı bir hâle getirir. Bahsedilen nedenlerle sanatçıların genelde bellek, özelde ise otobiyografik bellek algılarının sorunsallaştırılması, onların eserlerini anlamak için elzemdir. Bu kapsamda çalışmada, Türk halk şiirinin önde gelen isimlerinden biri olan Âşık Veysel’in şiirlerinde bellek algısı, belleğin işlevi ve niteliği üzerine bir tartışma yürütülmüştür. Modern Türk şairleri için daha görünür bir sorunsal olan bellek, Âşık Veysel’in şiirlerinde, Türk halk şiirinin genelinde olduğu gibi, örtük bir işlev ve anlama sahiptir. Bu bağlamda Âşık Veysel’in şiirlerinde bellek ya da eş anlamlısı olarak hafıza sözcüklerinin geçmemesi düşündürücüdür. Ancak onun bir şiirinde “Dostlar beni hatırlasın” demesi ve sık sık şiirlerinde özellikle aşka dair yaşanmışlıklarını konu edinmesi, bizi Âşık Veysel’in şiirlerinde bellek konusunu sorgulamak için teşvik eder. Bu makalede, bahsedilen kapsamda ünlü sanatçının şiirleri bellek kavramı merkezinde incelenmiş ve kalbin, belleğe ait özelliklerle donatıldığı ve bellek metaforu olarak konumlandırıldığı sonucuna varılmıştır. Âşık Veysel’in kalbe bellek özellikleri atfetme durumunu anlamlandırma uğraşında öncelikle felsefede ve psikolojide belleğin alımlanışı tartışılmıştır. Yazıda, Platon’un hatırlamayı “namevcut bir şeyin mevcut temsili” şeklinde paradoksal bir şekilde açımlamasına; Aristoteles’in zaman kavramı ile şimdi arasındaki bağlantının altını çizmesine ve “Bellekten söz ederken, sadece geçmişte olanlarla ilgili olarak söz edilebilir.” vurgusuna değinilmiştir. Ayrıca Augustinus’un düşüncelerine de yer verilerek belleğin, hâlihazırda olmayan şeylerin bilhassa imgelerle temsilini gerçekleştirdiği söylenmiştir. Diğer taraftan psikoloji ile nörolojinin bellek araştırmalarında özellikle son çeyrek asırda önemli bir mesafe aldığı ve böylelikle gelenekselleşmiş kalıp düşünceleri yerle bir ettiği gözlemi aktarılmıştır. Klasik algılayışta belleğin mutlak kontrolümüzde olduğu varsayılırken son dönemde yapılan çalışmalarla belleğimizin kendi iradesinin olduğunun ortaya çıktığına işaret edilmiştir. Bu noktada unutmamaya çalıştığımız hatıraları unutan belleğimizin aksi bir tavırla unutmaya çalıştığımız şeyleri olur olmaz zamanlarda gün yüzüne çıkarması durumu anımsatılmıştır. Yine araştırmacıların, her hatırlamanın anıyı yeni baştan şekillendirdiğine dair tartışmaları ele alınmıştır. İkinci düzlemde ise kalbi, araştırmalarının odağına alan bazı araştırmacılara ve onların “dinamik sistemler hafıza teorisi” kavramsallaştırmasından hareket ederek kalbin belleği olduğuna yönelik savlarına yer ayrılmıştır. Son aşamada ise inşa edilen kuramsal temelden hareketle Âşık Veysel’in şiirlerinde kalbin tıpkı bellek gibi geçmişe dair hatıraları, bilgileri, duyguları vb. depolaması ve kalpte saklananların istençli ya da istençsiz bir şekilde gün yüzüne çıkması tartışılmıştır. Bununla birlikte Âşık Veysel’in “Hatırlamak Uyanmaktır.” ve “Hatırlamak Yaşamdır.” kav-ramsal metaforlarını belleğin yerine kalbi ikame ederek kullandığı tespitinde bulunulmuş ve böylelikle onun şiirlerinde kalbin bellek metaforu oluşu ortaya konmaya çalışılmıştır. Son olarak bu çalışmanın, kalbin belleğini konu edinen başka şairlerin değerlendirilebilmesi için bir emsal teşkil edeceği vurgulanmalıdır.
Memory and recollections related to it, factors like remembering and forgetting play a central role in our personal lives. Memory, which has a constitutive role in the establishment of our identities, is also vital for the existence and maintenance of society and culture. In addition to this, it is through the autobiographical memory that our personal experiences can become storable. On the other hand, even though autobiographical memory is important for all people, it is privileged for artists since their past experiences are the basic resources for them while creating their works. Thus, problematizing the artists’ perceptions of memory in general and of autobiographical memory specifically is requisite to understand their works. Within this framework, a discussion on the perception of memory, its function and quality in Âşık Veysel’s, one of the prominent names in Turkish folk poetry, poems is held. Memory, which is a more visible problem for modern Turkish poets, has an implicit function and meaning in Âşık Veysel’s poems as it is in Turkish folk poetry in general. In this context, it is thought provoking that neither the word “memory” nor its synonyms are mentioned in Âşık Veysel’s poems. However, the facts that he says “Let friends remember me” in one of his poems and that he frequently mentions his life experiences, especially related to love, in his poems encourages us to question memory in Âşık Veysel’s poetry. In this article, the famous artist’s poems are analysed in the centre of the memory concept, and it is concluded that he equips the heart with characteristics specific to memory, and places it as a metaphor for memory in this way. While trying to explain the way Âşık Veysel attributes the characteristics of memory to the heart, the perception of memory in philosophy and psychology is discussed in the first place. Plato’s paradoxical explanation of memory as “the existing representation of a non-existing thing”, Aristotle’s emphasis on the connection between the time concept and now, and the statement as “Only the ones having taken place in the past can be mentioned while talking about memory” are focused on in the article. Furthermore, memory is stated to present currently non-existing things especially through images by referring to Augustine’s thoughts. On the other hand, the observation of the fact that psychology and neurology have gained ground significantly in terms of research on memory in the quarter century particularly, and that this has destroyed the traditionalized cliché thoughts is conveyed. It is pointed out that while it is assumed in classical understanding that memory is in our absolute control, the recent studies have revealed that our memory has its own will. At this point, it is reminded that our memory, which forgets things we try not to, brings out the things actually try to forget in and out of season. The researchers’ discussions on the fact that every remembering reshapes the memory are dealt with. Secondly, some researchers focusing mainly on the heart in their studies, and their claims that the heart has a memory are covered in relation to their conceptualization of “the dynamic systems memory theory”. Built upon the hypothetical basis, it is discussed in the last part that the heart stores memories, information, feelings etc. from the past, just like a memory in Âşık Veysel’s poems, and that the things stored in the heart come to light intentionally or unintentionally. It is also found out that Âşık Veysel uses metaphors of “Remembering is Waking up” and “Remembering is Life” by replacing memory with heart. Therefore, it is aimed to put forward that the heart is a metaphor for memory in his poems. Finally, it should be noted that this study will be an example to analyse other poets mentioning the memory of the heart.
Popular Turkish Love Lyrics and Folk Legends is the first illustrated anthology of Turkish folk poetry and legends published in the United States. Talat Halman’s eloquent telling of these engaging ...stories and his fluid translations of the love lyrics, accompanied by Zeki Fndko?lu’s vibrant serigraphs, serve as a marvelous introduction to the rich world of Turkish folktales and lyrics.
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