Aim to be inspired without a miss; connect in this poetic confrontation. Both thought-provoking and flowing, the rhymes will motivate and rhythms satiate the soul. Challenges to the ordinary intersect with motivation to higher levels. Prepare to contemplate true victory as contrasting complexities clash in this duel.
An opportunity to journey through the mind body and soul of a conscious poet. You are invited to encounter the expression of emotions that harmonize with a heartbeat of rhythms. Each artful entry makes a statement after guidance on verses that flow. Connect in the presence of this poetic vortex with a spirit that has written revelations, sensations, and creations.
In The Jeweled Style, Michael Roberts offers a new approach to the Latin poetry of late antiquity, one centering on an aesthetic quality common to both the literature and the art of the period—the polychrome patterning of words and phrases or of colors and shapes. In Roberts's view, the writer or artist of this period works as a jeweler, carefully setting compositional units in a geometric framework, consistently demonstrating a preference for effects of patterning over realistic representation, and for a unity situated at a higher level than the literal, historical sequence of the narrative. Roberts's introductory chapter is followed by an anthology of representative narrative and descriptive poetry from the fourth and fifth centuries A.D. Next, Roberts traces the use of "jewels" as a literary metaphor from the first century A.D. to late antiquity. He then compares the works of late antique literature to wall and floor mosaics, ivory diptychs, Christian sarcophagi, and contemporary styles of dress. Emphasizing that the poetry of this period is not uniform, he differentiates the main genres of Christian narrative poetry—biblical and hagiographical epic—from secular examples of the jeweled style, such as the poetry of Ausonius and Sidonius. Roberts concludes by examining the influence of late antique aesthetics on the medieval poetics of Matthew of Vendôme and Geoffrey of Vinsauf. Elegantly written and augmented by twenty-three illustration, The Jeweled Style will be welcomed by many readers, including Latinists and other classicists, medievalists and Renaissance scholars specializing in literature, Byzantinists, and art historians.
The poetry of the late Roman world has a fascinating history. Sometimes an object of derision, sometimes an object of admiration, it has found numerous detractors and defenders among classicists and Latin literary critics. This volume explores the scholarly approaches to late Latin poetry that have developed over the last 40 years, and it seeks especially to develop, complement and challenge the seminal concept of the 'Jeweled Style' proposed by Michael Roberts in 1989. While Roberts's monograph has long been a vade mecum within the world of late antique literary studies, a critical reassessment of its validity as a concept is overdue. This volume invites established and emerging scholars from different research traditions to return to the influential conclusions put forward by Roberts. It asks them to examine the continued relevance of The Jeweled Style and to suggest new ways to engage it. In a joint effort, the nineteen chapters of this volume define and map the jeweled style, extending it to new genres, geographic regions, time periods and methodologies. Each contribution seeks to provide insightful analysis that integrates the last 30 years of scholarship while pursuing ambitious applications of the jeweled style within and beyond the world of late antiquity.
Before everything, endeavor to venture into the heart's fondest memories and be reminded of resounding strength. The beauty of reminiscing beyond realms is a reality in this prose. Be reminded of elegant encounters and preexisting connections. Contemplating what is to come develops by first understanding the intricacies of events before.
A groundbreaking assessment of the use medieval English history-writers made of saints' lives. The past was ever present in later medieval England, as secular and religious institutions worked to recover (or create) originary narratives that could guarantee, they hoped, their political and spiritual legitimacy. Anglo-SaxonEngland, in particular, was imagined as a spiritual "golden age" and a rich source of precedent, for kings and for the monasteries that housed early English saints' remains. This book examines the vernacular hagiography produced in a monastic context, demonstrating how writers, illuminators, and policy-makers used English saints (including St Edmund) to re-envision the bonds between ancient spiritual purity and contemporary conditions. Treating history and ethical practice as inseparable, poets such as Osbern Bokenham, Henry Bradshaw, and John Lydgate reconfigured England's history through its saints, engaging with contemporary concerns about institutional identity, authority, and ethics. Cynthia Turner Camp is an Assistant Professor of English at the University of Georgia.
Dynamic Matter investigates the life histories of Renaissance objects. Eschewing the critical tendency to study how objects relate to human needs and desires, this work foregrounds the objects themselves, demonstrating their potential to transform their environments as they travel across time and space. Integrating early modern material theories with recent critical approaches in Actor-Network Theory and object-oriented ontology, this volume extends Aristotle’s theory of dynameos—which conceptualizes matter as potentiality—and applies it to objects featured in early modern texts such as Edmund Spenser’s The Faerie Queene, Robert Hooke’s Micrographia, and William Shakespeare’s The Tempest. Individual chapters explore the dynameos of matter by examining its manifestations in particular forms: combs are inscribed with words and brushed through human hair; feathers are incorporated into garments and artwork; Prince Rupert’s glasswork drops explode; a whale becomes animated by the power of a magical bracelet; and books are drowned. These case studies highlight the potentiality matter itself possesses and that which it activates in other matter. A theorization of objects grounded in Renaissance materialist thought, Dynamic Matter examines the richness of things themselves; the larger, multiple, and changing networks in which things circulate; and the networks created by these transformative objects. In addition to the editor, the contributors to this volume include Anna Riehl Bertolet, Erika Mary Boeckeler, Naomi Howell, Emily E. F. Philbrick, Josie Schoel, Maria Shmygol, Edward McLean Test, Abbie Weinberg, and Sarah F. Williams.
The Shinkokinshū: A New Collection of Poems Ancient and Modern (ca. 1205) is supreme among the twenty-one anthologies of court poetry ordered by the Japanese emperors between the tenth and fifteenth centuries in terms of overall literary art, the high quality of the almost two thousand poems included, and the depth of poetic sentiment. Laurel Rasplica Rodd's complete translation allows the reader to appreciate the elaborate integration of the anthologized poems into a single whole by means of chronological procession or imagistic association from one poem to the next that was perfected in the Shinkokinshū by Retired Emperor Gotoba, himself a serious poet, and the courtiers he appointed as compilers, including Fujiwara no Teika, one of the greatest of Japanese poets.
Şehrengiz is an Ottoman genre of poetry written in honor of various cities and provincial towns of the Ottoman Empire from the early sixteenth century to the early eighteenth century. This book examines the urban culture of Ottoman Istanbul through Şehrengiz, as the Ottoman space culture and traditions have been shaped by a constant struggle between conflicting groups practicing political and religious attitudes at odds. By examining real and imaginary gardens, landscapes and urban spaces and associated ritualized traditions, the book questions the formation of Ottoman space culture in relation to practices of orthodox and heterodox Islamic practices and imperial politics. The study proposes that Şehrengiz was a subtext for secret rituals, performed in city spaces, carrying dissident ideals of Melami mysticism; following after the ideals of the thirteenth century Sufi philosopher Ibn al-’Arabi who proposed a theory of 'creative imagination' and a three-tiered definition of space, the ideal, the real and the intermediary (barzakh). In these rituals, marginal groups of guilds emphasized the autonomy of individual self, and suggested a novel proposition that the city shall become an intermediary space for reconciling the orthodox and heterodox worlds. In the early eighteenth century, liminal expressions of these marginal groups gave rise to new urban rituals, this time adopted by the Ottoman court society and by affluent city dwellers and expressed in the poetry of Nedîm. The author traces how a tradition that had its roots in the early sixteenth century as a marginal protest movement evolved until the early eighteenth century as a movement of urban space reform.