Both in eastern and western countries, in monuments of ancient and medieval literature, the detective's elements appear. Literary critics note that in works of the famous writer E. Poe, it is ...considered this literary genre. Detective literature of the Far East countries developed, generally under the influence of works by the western authors. In this work, detective literature of Korea, China and Japan will be considered. When writing this work, the authors used the following methods of research: descriptive, comparative-historical and comparative.
Conference Report of the Fribourg Colloquium 2021 Paradigms and Perspectives of a Comparative Medieval Literature (8-10 September 2021), organised by medieval literature scholars of the Institut ...d’études médiévales at the University of Fribourg (Switzerland).
A longstanding enigma in the criticism of The Dream of the Rood concerns the identity of the dreamer who receives the vision of the cross on which Christ was crucified. Questions such as who he is ...and why he in particular has received this dream are not easily answered based on the few details provided in the extant poem. Here, Xu and Wei argue that the poem contains some clues to the identity of the dreamer that acquire greater significance when read in connection with the story of Caedmon and an episode from the Old English Daniel. By triangulating between Caedmon, Daniel, and The Dream of the Rood, they suggest how early medieval audiences might have understood the dreamer and associated him with a paradigmatic type of speaker in Old English poetry.
Vita Radbodi Nissen, Peter; Hunink, Vincent
2023
eBook
Odprti dostop
The Low Countries in the early Middle Ages. Christianity is on the rise, partly due to the efforts of missionaries such as Willibrord and Boniface. Yet the process of Christianisation is laborious. ...This is well illustrated in Vita Radbodi, a tenth-century Latin biography of bishop Radboud of Utrecht (c. 850-917). In it, Radboud is depicted as a pious, serious and studious young man, who is called to the episcopate after many years of study. As bishop, he encounters problems with unbelieving Frisians and ferocious Normans. Thus, he is forced to move his seat from Utrecht to the safer Deventer. The text offers a positive portrait of Radboud as a holy role model figure. He acts energetically, performs miracles and, of course, also possesses prophetic gifts. For instance, he predicts his own end well in time. The text ends with a vision of the Mother of God and Radboud's death and burial. Some twenty years after the first edition by Peter Nissen and Vincent Hunink, the text is now being reissued on the occasion of Radboud University's centenary.
When Lancelot was composed in the first decades of the thirteenth century, it was the first large-scale work of vernacular prose fiction in the post-classical West. Despite its inauguration of a form ...which has endured for the last eight centuries, it has received scant attention from historians and theorists of the novel. This study argues for a reconsideration of its relevance, grounded in an excavation of its innovations in the treatment of character. Instead of arguing that Lancelotoffers a primitive form of the characters we find in novels today, I show how its representation of human nature anchors character complexity in the body in unique ways.I depart from the observation that major characters in Lancelot are often explicitly presented as bipartite systems: a heart and a body, an interior and an exterior, each with traits of their own. This binary, which is drawn from earlier lyric poetry, is literalized and stabilized in Lancelot to produce what I call “embodied character”. The relative positions of heart and body vis-à-vis the outside world endow them with different affordances and amplify the risk of disaggregation, prompting internal conflict and suffering. I show how many of the episodes and larger narratives in this work are premised on this dual nature of the embodied person, i.e. of the specific forms of vulnerability which it engenders, including damage to the exterior through its exposure to the physical world; harm to the interior due to its natural incompatibility with social norms; and the estrangement of one from the other as a consequence.The regularity of these challenges to bodily order suggests a metafictional preoccupation with the slipperiness of what constitutes a character. This turns the extratextual audience of Lancelotinto a jury of last resort, asking them to recognize characters where other characters cannot—to understand both their insides and outsides, their pasts and their present. This privileged position of the audience in terms of access to information ultimately amplifies the perspectival nature of the text which is already implied by the naturalization of individual difference through its location in the material body. That is to say, if a destructive conflict between two characters can be understood as the product of hearts and bodies that cannot choose to be otherwise, it is reasonable to expect that the audience may not choose to condemn either of them. This legibility of motivation, with its potential for moral relativism, calls into question easy answers to the interpersonal dilemmas showcased in hundreds of individual episodes, instead soliciting reflection and discussion.While suffering is a source of differentiation between individuals, it is also implicated in the collective project to which most characters in Lancelot subscribe: chevalerie, by which we may understand the pursuit of order and civility through the monopolization of peacetime violence by knights. The success of chevalerieis predicated on knights aiding those in need, so to the extent that true suffering denotes legitimate need, the interpretation of suffering—an attempt to read the interior through the exterior— becomes an essential activity within collective life. At the same time, the interventions offered by knights often require a separation of their own hearts and bodies by turning the latter into a social tool. This tendency towards fragmentation in turn impairs the health of the collective body by depriving it of the reflective hearts which are needed to steward it. In this sense, the social vision of this work is grounded in the makeup of the human form.
Hasta ahora, la crítica había localizado el tema lírico conocido como El debate de las flores en algunos poemas de la Edad Media, así como en determinadas cancioncillas del folclore sefardí, ...balcánico, rumano y húngaro. Los objetivos de este artículo son, por un lado, dar a conocer algunos paralelos hispánicos y magrebíes, y, por otro, describir ciertas analogías de esos testimonios españoles, sefardíes e hispanoamericanos con las versiones árabes.
This article considers how Bartolomé de Torres Naharro's Comedia Trofea (1517) represents the process of global colonization of the African and Southeast Asian coasts initiated with the Portuguese ...imperial expansion of the mid- to late fifteenth century. This drama, in essence, maps an emerging empire, highlighting key protagonists and places. Analysis here concentrates on the drama's parade of African kings (Monicongo, Mandinga, Capa, Milindo, Aden), considering how the representation of these rulers on stage proffers a cartography that supersedes the longstanding European conception of Africa that had remained entrenched from the influential world map of Claudius Ptolemy dating from Antiquity to the mid-fifteenth century. New place names and ethnicities evoked within the Comedia Trofea align with European imperialist projects and colonization, both justified in the drama with reference to evangelization and a Eurocentric notion of a civilizing process. This study also ponders the implications of this play's composition and performance in the context of ostentatious courtly festivities, where the aim was to elicit orientalist wonder through the representation of African kings.
