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The Song of Songs: A Biography (Lives of Great Religious Books #46)
by Ilana PardesAn essential history of the greatest love poem ever writtenThe Song of Songs has been embraced for centuries as the ultimate song of love. But the kind of love readers have found in this ancient poem is strikingly varied. Ilana Pardes invites us to explore the dramatic shift from readings of the Song as a poem on divine love to celebrations of its exuberant account of human love. With a refreshingly nuanced approach, she reveals how allegorical and literal interpretations are inextricably intertwined in the Song's tumultuous life. The body in all its aspects—pleasure and pain, even erotic fervor—is key to many allegorical commentaries. And although the literal, sensual Song thrives in modernity, allegory has not disappeared. New modes of allegory have emerged in modern settings, from the literary and the scholarly to the communal.Offering rare insights into the story of this remarkable poem, Pardes traces a diverse line of passionate readers. She looks at Jewish and Christian interpreters of late antiquity who were engaged in disputes over the Song's allegorical meaning, at medieval Hebrew poets who introduced it into the opulent world of courtly banquets, and at kabbalists who used it as a springboard to the celestial spheres. She shows how feminist critics have marveled at the Song's egalitarian representation of courtship, and how it became a song of America for Walt Whitman, Herman Melville, and Toni Morrison. Throughout these explorations of the Song's reception, Pardes highlights the unparalleled beauty of its audacious language of love.
The Song of Songs: A Biography (Lives of Great Religious Books #46)
by Ilana PardesAn essential history of the greatest love poem ever writtenThe Song of Songs has been embraced for centuries as the ultimate song of love. But the kind of love readers have found in this ancient poem is strikingly varied. Ilana Pardes invites us to explore the dramatic shift from readings of the Song as a poem on divine love to celebrations of its exuberant account of human love. With a refreshingly nuanced approach, she reveals how allegorical and literal interpretations are inextricably intertwined in the Song's tumultuous life. The body in all its aspects—pleasure and pain, even erotic fervor—is key to many allegorical commentaries. And although the literal, sensual Song thrives in modernity, allegory has not disappeared. New modes of allegory have emerged in modern settings, from the literary and the scholarly to the communal.Offering rare insights into the story of this remarkable poem, Pardes traces a diverse line of passionate readers. She looks at Jewish and Christian interpreters of late antiquity who were engaged in disputes over the Song's allegorical meaning, at medieval Hebrew poets who introduced it into the opulent world of courtly banquets, and at kabbalists who used it as a springboard to the celestial spheres. She shows how feminist critics have marveled at the Song's egalitarian representation of courtship, and how it became a song of America for Walt Whitman, Herman Melville, and Toni Morrison. Throughout these explorations of the Song's reception, Pardes highlights the unparalleled beauty of its audacious language of love.
The Song of the Earth
by Jonathan BateIn the first ecological reading of English literature, Jonathan Bate traces the distinctions among "nature," "culture," and "environment" and shows how their meanings have changed since their appearance in the literature of the eighteenth century.
Song of the Earth
by Jonathan Bate'The most important critical work for decades' Bryan Appleyard, Sunday Times In the brilliantly engaging style that characterised The Genius of Shakespeare, Jonathan Bate has written a series of compelling pieces on the link between literature and the environment and why poetry matters in the new millennium. In fascinating detail, Bate explains how words like 'culture' and 'environment' have evolved since the writing of Jane Austen, Thomas Hardy and the Romantics to the present day. 'Bate presents his case with an emotional conviction which is almost impossible to resist' The Times 'Anyone familiar with Bate's The Genius of Shakespeare will know how winningly he marries erudition to liveliness' John Coldstream, Daily Telegraph 'I came away from the book deeply grateful for its impassioned song' Adam Thorpe, Sunday Telegraph
Songbook: How Lyrics Became Poetry in Medieval Europe
by Marisa GalvezToday we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies. The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
Songbook: How Lyrics Became Poetry in Medieval Europe
by Marisa GalvezToday we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies. The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
Songbook: How Lyrics Became Poetry in Medieval Europe
by Marisa GalvezToday we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies. The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
Songbook: How Lyrics Became Poetry in Medieval Europe
by Marisa GalvezToday we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies. The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
Songbook: How Lyrics Became Poetry in Medieval Europe
by Marisa GalvezToday we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies. The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
Songbook: How Lyrics Became Poetry in Medieval Europe
by Marisa GalvezToday we usually think of a book of poems as composed by a poet, rather than assembled or adapted by a network of poets and readers. But the earliest European vernacular poetries challenge these assumptions. Medieval songbooks remind us how lyric poetry was once communally produced and received—a collaboration of artists, performers, live audiences, and readers stretching across languages and societies. The only comparative study of its kind, Songbook treats what poetry was before the emergence of the modern category “poetry”: that is, how vernacular songbooks of the thirteenth to fifteenth centuries shaped our modern understanding of poetry by establishing expectations of what is a poem, what is a poet, and what is lyric poetry itself. Marisa Galvez analyzes the seminal songbooks representing the vernacular traditions of Occitan, Middle High German, and Castilian, and tracks the process by which the songbook emerged from the original performance contexts of oral publication, into a medium for preservation, and, finally, into an established literary object. Galvez reveals that songbooks—in ways that resonate with our modern practice of curated archives and playlists—contain lyric, music, images, and other nonlyric texts selected and ordered to reflect the local values and preferences of their readers. At a time when medievalists are reassessing the historical foundations of their field and especially the national literary canons established in the nineteenth century, a new examination of the songbook’s role in several vernacular traditions is more relevant than ever.
Songlines (Modern Plays)
by Tallulah BrownStevie is 17. She's peak cool, or so she thinks. In the middle of the wide-eyed stagger from girlhood to womanhood Stevie is sent to live in the middle of nowhere with her grandma. Suffolk – the home of doggers, folklore and Stan. Stan is peak geek, not that he knows. There are secrets in the marshland, songs that will show Stevie the way.Interwoven with beautiful live folk music from award-winning band TRILLS. Songlines is a coming-of-age love story in all its awkward teen glory.This edition is published to coincide with the production at the Pleasance Courtyard Beneath, Edinburgh in August 2018 presented by HighTide and DugOut Theatre.
Songlines (Modern Plays)
by Tallulah BrownStevie is 17. She's peak cool, or so she thinks. In the middle of the wide-eyed stagger from girlhood to womanhood Stevie is sent to live in the middle of nowhere with her grandma. Suffolk – the home of doggers, folklore and Stan. Stan is peak geek, not that he knows. There are secrets in the marshland, songs that will show Stevie the way.Interwoven with beautiful live folk music from award-winning band TRILLS. Songlines is a coming-of-age love story in all its awkward teen glory.This edition is published to coincide with the production at the Pleasance Courtyard Beneath, Edinburgh in August 2018 presented by HighTide and DugOut Theatre.
Songs from the Steppes: The Poems Of Makhtumkuli
by Brian AldissAn oddity among Aldiss works - verse translations.
Songs in Dark Times: Yiddish Poetry Of Struggle From Scottsboro To Palestine
by Amelia M. GlaserA probing reading of leftist Jewish poets who, during the interwar period, drew on the trauma of pogroms to depict the suffering of other marginalized peoples.Between the world wars, a generation of Jewish leftist poets reached out to other embattled peoples of the earth—Palestinian Arabs, African Americans, Spanish Republicans—in Yiddish verse. Songs in Dark Times examines the richly layered meanings of this project, grounded in Jewish collective trauma but embracing a global community of the oppressed.The long 1930s, Amelia M. Glaser proposes, gave rise to a genre of internationalist modernism in which tropes of national collective memory were rewritten as the shared experiences of many national groups. The utopian Jews of Songs in Dark Times effectively globalized the pogroms in a bold and sometimes fraught literary move that asserted continuity with anti-Arab violence and black lynching. As communists and fellow travelers, the writers also sought to integrate particular experiences of suffering into a borderless narrative of class struggle. Glaser resurrects their poems from the pages of forgotten Yiddish communist periodicals, particularly the New York–based Morgn Frayhayt (Morning Freedom) and the Soviet literary journal Royte Velt (Red World). Alongside compelling analysis, Glaser includes her own translations of ten poems previously unavailable in English, including Malka Lee’s “God’s Black Lamb,” Moyshe Nadir’s “Closer,” and Esther Shumiatsher’s “At the Border of China.”These poets dreamed of a moment when “we” could mean “we workers” rather than “we Jews.” Songs in Dark Times takes on the beauty and difficulty of that dream, in the minds of Yiddish writers who sought to heal the world by translating pain.
Songs of Gods, Songs of Humans: The Epic Tradition of the Ainu
by Donald L. Phillipi Gary SnyderAs an especially beautiful and pure example of the archaic epic styles that were once current among the hunting and fishing peoples of northern Asia, the Ainu epic folklore is of immense literary value. This collection and English translation by Donald Philippi contains thirty-three representative selections from a number of epic genres including mythic epics, culture hero epics, women's epics, and heroic epics. This is the first time, outside of Japan, that the Ainu epic folklore has been treated in a comprehensive manner.Originally published in 1979.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.
Songs of Grace and Redemption
by John Donnelly- I had a dream where every time I ever did anything or went anywhere or said anything, people would say: 'Someone else just did that, you're just copying them aren't you?' Turns out I never had a single original thought my whole life. How scary is that?- That's funny. I had that dream too.In the city, there is who we are and who we want to be. Five desperate people make life-changing decisions to rescue themselves - and each other - through random acts of kindness.An urban fairytale of house wine, home porn, maps, cats and heavy metal, Songs of Grace and Redemption premiered at Theatre 503, London, in October 2007 in a production by Liminal Theatre.
Songs of Silence (Caribbean Modern Classics)
by Dr Curdella ForbesThere have been many great and enduring works of literature by Caribbean authors over the last century. The Caribbean Contemporary Classics collection celebrates these deep and vibrant stories, overflowing with life and acute observations about society.'Falling in the spaces between knowing and not knowing, between silence and not speaking'Told from the perspective of Marlene, Songs of Silence is a vivid collection of reflections and recollections that meander through life in rural Jamaica, observing the lives and bonds of its colourful, boisterous inhabitants. Rich, poetical and profoundly contemplative, the recollections transcend the gossip and intrigue, the unsaid thoughts and silences, to ossify in a maturation of selfhood. It is not the 'Bam! Baddam!' of Papacita but rather the murmur of the river, this inexplicable river, and its cool morning misty silence that settles across this collection, singing to it and to the reader in a thoughtful lull and soft hum.
Songs of Silence (Caribbean Modern Classics)
by Dr Curdella ForbesThere have been many great and enduring works of literature by Caribbean authors over the last century. The Caribbean Contemporary Classics collection celebrates these deep and vibrant stories, overflowing with life and acute observations about society.'Falling in the spaces between knowing and not knowing, between silence and not speaking'Told from the perspective of Marlene, Songs of Silence is a vivid collection of reflections and recollections that meander through life in rural Jamaica, observing the lives and bonds of its colourful, boisterous inhabitants. Rich, poetical and profoundly contemplative, the recollections transcend the gossip and intrigue, the unsaid thoughts and silences, to ossify in a maturation of selfhood. It is not the 'Bam! Baddam!' of Papacita but rather the murmur of the river, this inexplicable river, and its cool morning misty silence that settles across this collection, singing to it and to the reader in a thoughtful lull and soft hum.
Songs of Something Else: Selected Poems of Gunnar Ekelof
by James Larson Leonard NathanTranslators Leonard Nathan and James Larson present seventy-five poems from Gunnar Ekelof's middle phase (1938-1959), a period that saw the production of his richest and most enduring poetry.Originally published in 1982.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.
Songs of the Doomed: More Notes on the Death of the American Dream (Gonzo Papers #Vol. 3)
by Hunter Thompson'I was thinking; my mind was running at top speed, scanning and sorting my options. They ranged all the way from Dumb and Dangerous to Crazy, Evil, and utterly wrong from the start . . . stand back. We are on the brink. Yes. I have an idea.' When Hunter S. Thompson has an idea, you just have to listen – and he shares many of his unique ideas in this collection of journalism, social commentary, short fiction and autobiography. Divided into sections by decade, Songs of the Doomed begins with a furious condemnation of the US justice system and ends with the author’s own version of the events that led to his extraordinary court case. Stopping off at the infamous summit conference in Elko, Illinois; Saigon in 1975 (the war zone Thompson was fired while en route to); and Palm Beach in the eighties for the Pulitzer divorce, here – in true Gonzo fashion – is the long strange trip from Kennedy to Nixon to Quayle. ‘Mr Thompson’s best work of the past three decades’ New York Times Book Review ‘There are many hideously funny stories in this collection. Thompson writing on mescalin, staying on for the fall of Saigon, explaining what it must be like to be a multimillionaire in Palm Beach . . .’ Independent on Sunday ‘Dead funny . . . That our guru has made it this far merits drinks and dynamite all round at the Woody Creek Road and Gun Club (and spiritually affiliated North London branches). That he is still alive, and at large, defies medical and legal beliefs’ Andy Kershaw, Literary Review ‘Proves that you can’t keep the old bastard quiet . . . a superb offering’ City Limits
Songs of the Women Troubadours (Garland Library Of Mediaeval Literature Ser. #Vol. 97a)
by Matilda Tomaryn Bruckner Laurie Shepard Sarah WhiteThis work offers an edition and translation of some 30 poems by the trobairitz, a remarkable group of women poets from the twelfth and thirteenth centuries, who composed in the style and language of the troubadours. Introductory essays and notes by specialists in the field place the poems in literary, linguistic, historical, social and cultural contexts. English versions facing Occitan texts elucidate the original language and themes, while supplying poems that can be enjoyed by contemporary readers . The varied corpus includes love songs (cansos), debate poems (tensos), political satires (sirventes) and other lyrical sub-genres (including dawn-song, lament, ballad, chanson de mal mariee). To represent the range of female voices available in the lyric corpus of the troubadours, the editors have selected songs consistently attributed to historically documented women poets, as well as songs whose authorship is open to question. The latter may be presented by the manuscripts with or without a named woman poet, but all offer female speakers personae characteristic of troubadour poets in general.
Songs of the Women Troubadours
by Matilda Tomaryn Bruckner Laurie Shepard Sarah WhiteThis work offers an edition and translation of some 30 poems by the trobairitz, a remarkable group of women poets from the twelfth and thirteenth centuries, who composed in the style and language of the troubadours. Introductory essays and notes by specialists in the field place the poems in literary, linguistic, historical, social and cultural contexts. English versions facing Occitan texts elucidate the original language and themes, while supplying poems that can be enjoyed by contemporary readers . The varied corpus includes love songs (cansos), debate poems (tensos), political satires (sirventes) and other lyrical sub-genres (including dawn-song, lament, ballad, chanson de mal mariee). To represent the range of female voices available in the lyric corpus of the troubadours, the editors have selected songs consistently attributed to historically documented women poets, as well as songs whose authorship is open to question. The latter may be presented by the manuscripts with or without a named woman poet, but all offer female speakers personae characteristic of troubadour poets in general.
Sonic Modernity: Representing Sound in Literature, Culture and the Arts (Edinburgh Critical Studies In Modernist Culture Ser.)
by Sam Halliday"Drawing on a wealth of texts and thinkers, the book shows the distinctive nature of sonic cultures in modernity. Arguing that these cultures are not reducible to sound alone, the book further shows that these encompass representations of sound in 'other' media: especially literature; but also, cinema and painting. Figures discussed include canonical writers such as Joyce, Richardson, and Woolf; relatively neglected writers such as Henry Roth and Bryher; and a whole host of musicians, artists, and other commentators, including Wagner, Schoenberg, Kandinsky, Adorno, and Benjamin. Conceptually as well as topically diverse, the book engages issues such as city noise and 'foreign' accents, representations of sound in 'silent' cinema, the relationship of music to language, and the effects of technology on sonic production and reception. "
The Sonnet
by Stephen ReganThe Sonnet provides a comprehensive study of one of the oldest and most popular forms of poetry, widely used by Shakespeare, Milton, and Wordsworth, and still used centuries later by poets such as Seamus Heaney, Tony Harrison, and Carol Ann Duffy. This book traces the development of the sonnet from its origins in medieval Italy to its widespread acceptance in modern Britain, Ireland, and America. It shows how the sonnet emerges from the aristocratic courtly centres of Renaissance Europe and gradually becomes the chosen form of radical political poets such as Milton. The book draws on detailed critical analysis of some of the best-known sonnets written in English to explain how the sonnet functions as a poetic form, and it argues that the flexibility and versatility of the sonnet have given it a special place in literary history and tradition.
The Sonnet
by Stephen ReganThe Sonnet provides a comprehensive study of one of the oldest and most popular forms of poetry, widely used by Shakespeare, Milton, and Wordsworth, and still used centuries later by poets such as Seamus Heaney, Tony Harrison, and Carol Ann Duffy. This book traces the development of the sonnet from its origins in medieval Italy to its widespread acceptance in modern Britain, Ireland, and America. It shows how the sonnet emerges from the aristocratic courtly centres of Renaissance Europe and gradually becomes the chosen form of radical political poets such as Milton. The book draws on detailed critical analysis of some of the best-known sonnets written in English to explain how the sonnet functions as a poetic form, and it argues that the flexibility and versatility of the sonnet have given it a special place in literary history and tradition.