In the medieval treatise in prose called Arte de trovar, tenson is explained as a kind of cantiga (song) between two troubadours who debate using strophic turns. In the explanation it is also said ...that the lyric debate could be d'amor, d'amigo and d'escarnho. This classification should be observed in relation to the three main Galician lyric genres (cantigas de amor, cantigas de amigo and cantigas de escarnio e maldizer), and their organization inside the manuscripts. The aim of this paper is to reflect on the notion of the tenson in the Galician-Portuguese poetic movement through the definition given by the Arte de trovar, through some rubrics and some references in the cantigas. It also examines the distribution of the thirty-three Galician-Portuguese lyric debates inside the Cancioneiro da Biblioteca Nacional (cod. 10991) and the Cancioneiro da Vaticana (Vat. Lat. 4803).
En este trabajo focalizamos un corpus conformado por una serie de textos de diferente
inscripción genérica -cartas, reseñas críticas, estudios introductorios de compilaciones de
poesía popular ...argentina-. En dicho corpus analizamos, a partir de categorías provenientes
del ámbito de los estudios del discurso -en especial, desde las perspectivas de Marc
Angenot y de Dominique Maingueneau- una de las disputas constitutivas en la formación
del campo de estudios relacionados con la literatura popular en la Argentina: la disputa
sobre el valor documental de los materiales recogidos en la Encuesta Folklórica de 1921.
Para ello, nos centramos en dos momentos que consideramos especialmente significativos:
un momento inicial, que gira en torno a la publicación en 1926 del primero de los grandes
cancioneros populares compilados por Juan Alfonso Carrizo, y un momento de
consolidación de las posiciones institucionales, que gira en torno a la publicación en 1941
del Romancero de Ismael Moya por el Instituto de Literatura Argentina de la UBA. En
estos dos momentos de la polémica se ponen en juego algunas cuestiones que se relacionan
con dos tramas entrelazadas: una trama que podemos pensar como teórica, que involucra el
estatuto mismo con el que se piensan los estudios en torno a la cultura popular en la
Argentina, entendidos dichos estudios como un campo discursivo (Maingueneau, 1984: 34)
atravesado por conflictos y disputas, pero unificado por elementos hegemónicos, y una
trama política, que remite a los posicionamientos de los sujetos que intervienen en la
disputa, inscriptos en el marco de dos grandes formaciones discursivas (Arnoux, 2006: 36).
En un caso, nos hallamos en el marco de un nacionalismo de corte institucional y
democrático y, en el otro, de un tradicionalismo de corte hispanista y católico, que en
algunos momentos se identifica a sí mismo, no sin tensiones, también como un
nacionalismo.
In this work we focus on a corpus consisting of a series of texts of varied genre -letters,
critical reviews, introductory studies for compilations of Argentinian popular poetry-. We
examine within this corpus, based on categories addressed by Discourse Studies -in
particular, from the perspectives of Marc Angenot and Dominique Maingueneau-, a
constituent dispute in the formation of the field of studies related to popular literature in
Argentina: the dispute over the documentary value of the materials collected in Encuesta
Folklórica de 1921 (the Folk Survey of 1921). To do this, we focus on two moments that
we find particularly significant: an initial stage, which revolves around the publication in
1926 of the first of the great popular songbooks compiled by Juan Alfonso Carrizo, and
then a consolidation moment for institutional positions, which revolves around the
publication in 1941 of the Romancero of Ismael Moya by the Institute of Argentine
Literature, of the University of Buenos Aires. In these two moments of the controversy
some issues, related to two interwoven plots, come into play: a plot that we can think of as
a theoretical one, involving the status through which studies on popular culture in the
Argentina are thought, conceived these studies as a discursive field (Maingueneau, 1984:
34) crossed by conflicts and disputes, but unified by hegemonic elements; and a political
plot, which refers to the positions of the agents involved in the dispute, enrolled within the
space of two large discursive formations (Arnoux, 2006: 36). On one side we are in the
framework of an institutional and democratic nationalism and, on the other, in a Hispanic
and Catholic traditionalism, which sometimes can identify itself, not without tensions, also
as a nationalism.
Vestiges de magnificences réputées diaprées, les vers produits à l'occasion des fêtes de cour de la seconde moitié du XVIe siècle ont longtemps été considérés comme des objets littéraires dépourvus ...de tout intérêt. Et pourtant la génération de la Pléiade, bien plus connue aujourd’hui pour ses recueils poétiques devenus classiques, a aussi été à l’origine d’une poésie impromptue qui a donné au poète un rôle fondamental de maître des plaisirs de la cour. Non content de rester à son pupitre ou dans sa « librairie », le poète devait prendre en charge la mise en scène de ses compositions, jouer parfois le rôle de l’un des personnages et travailler en collaboration avec d’autres artistes, d’une manière non plus solitaire mais tout à fait collégiale. Sa poésie non seulement agrémente la fête mais la colore, la suscite et la structure : des vers chantés aux vers gravés dans les décors ou encore sur des petits billets tombant en cascade sur le monarque au moment de son arrivée, la poésie est omniprésente dans la fête dont elle se fait, à divers niveaux, la « légende. Contribuant à dramatiser et à sacraliser l'histoire de France, cette poésie se développe en outre sur l'esthétique des merveilles qui caractérise les fêtes de cette époque. Enfin les genres poétiques qui y apparaissent (mascarades, momeries, cartels, etc.) s'influencent alors les uns les autres et se développent au carrefour de multiples pratiques poétiques.
The poems written for court festivals in the second half of the Sixteenth century have long been considered unworthy of the attention of scholars of French literature. However, these colourful traces of famously splendid court festivities involved many of the poets of the generation of the “Pléiade”, remembered today mostly for its classic collections of poetry. Nonetheless, these poets also participated in the practice of composing impromptu poetical pieces, which effectively made them the masters of court entertainment. These poets did not restrict their activities to their study or their “librarie”, but designed the sets and organised the saging of their masques – sometimes even playing some of the parts – and collaborating with other artists. The part played by the poet in these festivals is far from being solitary: it is essentially collaborative. His verses are not a mere ornament of the festivities, but are their very life, giving them shape and colour. Poetry plays a part in all aspects of the festivals at court: it is sung, but also inscribed on elements of the décor and showered down on the monarch when he arrives. In this sense, poetry is the “légende” of the celebrations, serving as a caption and as a way creating a legendary, sacred and dramatic representation of power. This poetry also participates in the aesthetic of the maraviglia characteristic of manneristic and baroque festivals. The poetic genres that they involve (masques, mummeries, cartels etc.) mutually influenced each other and developed as hybrid forms which were grew out of the intertwining of many different poetic traditions.
Poetry has long been overlooked as a source for writing about and interpreting Vietnamese history. However, it proves to be a very valuable guide for investigating the troubled world of late ...18th century Vietnam, and particularly the Tay Son upheavals, which are reflected in an extensive and diverse body of surviving poetry. This article demonstrates, through various types of poems from this period, the potential that verse holds as an important historical source, and offers numerous excerpts from a range of poems that served as records of events, laments for fallen soldiers, political commentaries, and as a type of weapon in personal and political confrontations. By examining poetry, historians can begin to explore the thoughtworlds of this era, and move away from studies of military and diplomatic events.
In the years following the Bandung Conference of 1955, poetry that captured the "voice of the people" became a strategy of the project of Third-Worldism. Mahmoud Darwish (b. 1941, Birwah, d. 2008, ...Houston) was one of the poet-intellectuals who identified his poetry with this strategy, and with the importance of putting the Palestinian "voice" in conversation with other struggles. Though understood as a national poet of Palestine, reading his 1964 Awrāq al-Zaytūn (Olive Leaves) in the parallel context of Third-Worldism helps to understand the role of poetic genre in this era's debates about popular language, and sheds light on the transnational commonalities of post-Bandung anticolonial poetry. Analysis focuses on two poetic genres that Darwish adopted in the early 1960s-genres designed to capture this voice of the people. Reading his work in this light gives insight into hitherto unexplored facets of modern Arabic metapoetry, and why the dramatization of speech became the primary mode through which the "voice" of the Palestinian people could be captured.
The study undertook a graphostylistic analysis of Remi Raji's poems in the anthology entitled Web of Remembrance. The selected poems in the Anthology include "Bound to remember," "Malediction for ...maximum ruler", "An African voting games", "st. clinton's song" and "Light must break". The poems were analysed from the perspective of the linguistic framework of graphostylistics following Halliday (1971) and Mukarovsky (1964), concepts of foregrounding and deviation. The study adopted graphological deviational approach to analyse the six texts across various graphological tactics of punctuation, capitalization, spacing, hyphenation and internal norms. It is discovered that the language employed in the Web of Remembrance is essentially centred on graphostylistics. The selected poems for the study manifested deviations at various graphological tactics (punctuation, capitalization, hyphenation, spacing and internal norm). These graphological devices were used by the poet to capture the messages of the poems which are basically on condemnation and apprehension of the evils, atrocities, oppression and injustice perpetrated by the erstwhile African political leaders, both at home and abroad and advocates the need for revolutionary change. The study showed how graphostylistics has been effectively manipulated to communicate in Web of Remembrance as demonstrated in the six selected poems from the anthology. The study proved that graphostylistics is a reliable linguistic tool for the study of literary texts, particularly, the poetic genre. It equally demonstrated that graphological components or devices of language could illuminate, to a large extent, the communicative goals of a poetic genre as an instance of language use. Adapted from the source document
This article is devoted to daowang shi, or poems composed in memory of deceased wives, a so for largely neglected genre of medieval Chinese poetry which has been practiced continuous up to modern ...times. First, the relationship of the genre fo other threnodic genres of the early medieval period is introduced. Second, first examples of the daowang genre, namely poems by Pan Yue (247-300), are examined from the point of view of the establishment of the genre conventions and their impact on later daowang poetry. This is followed by examination of various daowang poems from late Six Dynasties through all of the Tang period. Attention is paid to conventionalized ways of expression and poetic forms, to the themes of love and of yongwu in connection with the daowang genre, to its deepening private dimension, as well to the daowang genre as social poetry. In these relations, compositions by both major and lesser poets of the Tang period are discussed.
PDF
