This paper discusses the function, purpose, place and formal characteristics of the Greek and Roman mythological motifs in the poems that are part of Carmina Burana, a medieval collection of poetry ...dating from the first half of the 13th century. Different relations established between the aforementioned motifs and lyrical subjects are also examined, as well as how these motifs fit into the context of the individual poem and the entirety of Carmina Burana. The paper focuses exclusively on the motifs which belong to the ancient Greek and Roman traditions, and not on those of the Judeo-Christian provenance, although the latter are numerous in their own right. Also, as Publius Ovidius Naso is often regarded as the main influence on the goliards, traces of his works and militaristic concepts of love visible in the poems of Carmina Burana are also highlighted and examined. The focus of this paper is on those poems which belong to the basic thematic elements usually attributed to the goliards, including tavern, wine, gambling, physical love and satirical and anticlerical overtones.
Among the runic texts in Latin from Bryggen in Bergen, N 603 has many attractive qualities: the runic stick is inscribed on three sides ( a , b and c ), with each text of approximately equal length ...and syntactically and logically complete (although with minor lacunae at both ends). The texts reveal great intelligence and independence on the part of the cleric who composed them. Each of the texts contributes to the summary of a message from a lover to his beloved lady. Aslak Liestøl, who submitted the rune-stick to a thorough investigation and analysis, ably demonstrated that certain stanzas known from the Carmina Burana collection of love poems (no. 88 and no. 71) formed the basis of the texts. He did, however, leave some difficulties unresolved. There are, for example, a few Latin concepts which benefit from further semantic discussion. In addition, the slightly damaged stick still offers its interpreter some challenges. It is to be hoped that a closer reading of the poems in question will show that a fuller reconstruction of the wording of the rune-stick’s text is possible.
This essay offers a new reading of Carmen Buranus no. 48 as an integrated Latin-vernacular hybrid in which secular courtly love, represented in the stanza from the Tagelied by Otto von Botenlouben ...that concludes the Latin poem, is conscripted into a crusading agenda and subverted. The
call of the dawnsong watchman, taken up by the lady, becomes the call to crusade for the knight. The proposed dating and context is ca. 1213, during the propagandistic run-up to the fifth crusade, which caused controversy in German courtly circles (Walther von der Vogelweide, Thomasin von
Zerklaere).
In 1981, Andrew Birkin was awarded the BAFTA for Best Short Film for his adaptation of Saki’s ‘Sredni Vashtar’ (1911). This article explores the film’s soundscape to show how it participates in the ...construction of the oppositional system that underpins Saki’s short story. Carl Orff’s ‘O Fortuna’ is used as a symbolic signifier strictly associated with the world of the child, as opposed to the adult’s. The piece interacts with diegetic sounds to create a complex web of echoes and dissonances. Thus, ‘O Fortuna’ is set in sharp contrast with the tick-tock of the clock that can be heard in the dreary Edwardian house. As it is associated with the colour red, the music also highlights by contrast the greyness of a constraining adult world. Colour and music thus combine to give shape to the world of a child chafing under the yoke of the real.
Ich was ein Chint so wolgetan (CB 185) Ich was ein chint so wolgetan, virgo dum florebam, do brist mich div werlt al, omnibus placebam. Ko sem še devištva cvet kot dekle nosila, ves se mi je ...klanjal svet, vsem bila sem mila.
El artículo se refiere a la importancia de los goliardos como representantes de la literatura latina medieval. Asimismo, presenta de manera general la situación de la Curia Romana en el siglo XII y ...analiza un poema de los Carmina Burana como ejemplo de crítica satírica contra la corrupción de la Iglesia católica.
The paper compares some epigrams of Cassia, a nun and poetess living in the 9th century in Constantinople, with songs from the collection Carmina Burana (CB), written in Western Europe between the ...11th and the 13th centuries. The author presents her own translations of the poems and discusses their possible interpretation. What unites Cassia with Latin chants is the miniature form, the accuracy of observations on man and society, and satire. The poems were also composed in similar circumstances: the Greek poetess was a nun, the authors of the Latin songs were clerics and scholars. Yet the image of love is different in those two groups. In the CB, we find songs of sensual, erotic nature, while Cassia writes about love in its spiritual dimension. Moreover, the texts exemplify completely different attitudes to the clergy: Cassia writes beautiful praise of the life of monks, while the CB are full of cutting satire. The CB are a very rewarding material for the translator. Full of simple rhymes and rhythms, with a regular structure, they are easy to translate into Polish. Since we are accustomed to mediaeval poetry being just that: a rhythmic and rhymed text with a simple arrangement of sentences, the measures of mediaeval chants can be used in translation to introduce the reader not only to the content, but also to the form of those Latin songs. Cassia's poetry has a closer connection with music; her songs about saints are not rhythmic, rhyming nor isosylabic, but melody gives certain rhythm to the structure of the sentence. Translation, therefore, should provide some equivalent of the music. In contrast, Cassia's satirical poetry was not meant to be sung and it was written in iambic verse, easier to render in translation.
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