Composition Of Poetry Research Articles

Thomas More’s Account of Natural Language and the Literariness of His Polemics

Abstract In A Dialogue concerning Heresies (1529) and The Confutation of Tyndale’s Answer (1532–33), Thomas More proffers an account of natural language: the writing, speaking collectivity determines the meanings of words, and words picture the contents of the individual consciousness. All that is rendered in language, including the justifying faith of evangelical description, comes of the common, is the product of publicity. Though his twentieth- and twenty-first-century critics have thought otherwise, More’s contemporaries supposed his polemical contest with the evangelical William Tyndale a literary endeavor. In The Confutation More repeated and playfully dilated his opponent’s choicest phrases. In so doing, he sought to show the evil in Tyndale’s lexical pictures. The English were to reject both More’s religion and his account of natural language, while the evangelical doctrine, that meaning is an emanation of text, came tacitly to shape the theory and composition of profane poetry in the next century.

МУЗЫКАЛЬНОСТЬ ЛИРИКИ: ТЕОРЕТИКО-ЛИТЕРАТУРНЫЕ АСПЕКТЫ ВЗАИМОДЕЙСТВИЯ ЕВРОПЕЙСКОГО И РУССКОГО ИСКУССТВА

В статье прослеживается история взаимосвязей европейского и русского искусства, среди которых идея музыки слова была одной из самых востребованных и плодотворных, не случайно словесная музыка не только имела широкое истолкование в философии, эстетике, филологической науке, нои получила стремительное развитие в поэзии барокко, романтизма, чистого искусства, символизма. При этом музыкальность лирики осмысливалась совершенно поразному в статье обосновываются теоретиколитературные критерии музыкальности, связанные как с родовидовой спецификой лирики, так и с особенностями стихотворной речи The paper looks into the evolution of interconnections between European and Russian art, in which the concept of music of word (verbal music) was most prominent. It can be exemplified by the fact that it was researched in philosophy, aesthetics, philology and was central to poetry of Barocco, Romanticism and Symbolism. At the same time musicality of lyrical poetry has been viewed from absolutely different angles. The author defines theoretical and literary criteria of musicality related to the specifics of the poetic verse as well as the genre specifics of poetry. These methodological principles stem from a number of objective causes as the concept of music has evolved into a dynamic artistic trend. The first comprehensive theory of musical lyrical poetry in Russian poetics was propounded by A. Fet. Later Symbolism put this theory on the philosophical footing, taking it to its most developed form. On top of this, searching for musical expression of poetry brought about an array of studies in the field of poetic theory. Some musical theories of Russian poetry in the 1920th centuries are relevant in the historic perspective only. Others serve as the basis for further analysis. One of the key premises which remain relevant up to this day is that poetry is an acoustic phenomenon, thus it correlates with the structure of musical art. The analysis of Russian lyrical poetry helps define two types of poetic music: harmonious and disharmonious. The history of Russian poetry proves that the criteria of musicality have evolved naturally including aesthetic and artistic trends, genre specifics, content structure, phonetic, rhythmic and melodic structure, intonation and syntactic structure and composition of poetic verse. These criteria are also applicable to European poetry. The theory of lyrical music in contemporary literary studies as well as in the 1920th centuries serves in this paper as a foundation for defining musicality from the perspective of literary theory and poetic studies. These criteria help uncover both general approaches to musical lyrical poetry and its specific features, determined by the language, historic trends and ethnic traditions.

Eveno di Paro fra Protagora, Gorgia e Platone

Evenus of Parus plays a surprisingly important role in Plato’s account of the life and death of Socrates: in both the Apology and the Phaedo he works as a negative foil for the philosopher at two key moments, namely when he converts, respectively, to the practice of elenchus and to the composition of poetry. Evenus’ importance in Socrates’ life, I argue, reflects Plato’s appropriation of a number of his poems, which Plato reshapes so as to adapt the sophist’s relativism and values, arguably modelled on Protagoras’, to his own truth-oriented agenda. Plato’s Phaedrus echoes Gorgias’ Encomium of Helen along similar lines, that is by replacing doxa with aletheia . A pattern emerges: Plato appropriates the writings of the sophists by placing them in a markedly truth-oriented context. This helps explain a discussed piece of information, according to which Protagoras’ Antilogiai was a major influence on Plato’s Republic .

εἴπερ Ἀθηναῖοι Σμύρναν ἀπῳκίσαμεν: Análisis del Epigrama XI 442 de la Antología Palatina

Dentro de la Antología Palatina, el libro XI está compuesto por epigramas burlescos y de tema simpótico, motivo por el que sorprende su cierre, una composición de 6 versos que, aparentemente, ensalza la figura del tirano Pisístrato y su papel en la recopilación y edición de los poemas homéricos. El objetivo de este artículo es analizar detalladamente dicho epigrama con la intención de arrojar algo de luz sobre su datación, fuentes e interpretación intentando determinar si tiene cabida una lectura irónica del mismo como sugiere la crítica moderna

‘Merry sang the monks’: Cnut’s Poetry and the Liber Eliensis

This article discusses a short English verse preserved in the twelfth-century _Liber Eliensis_, which is there claimed to have been composed by Cnut during a royal visit to Ely. Often described as one of the first examples of Early Middle English verse, these few lines are also of considerable interest as evidence for Cnut’s reputation in post-Conquest England. The association of Cnut with the public performance of vernacular poetry seems particularly significant in light of the important role played by the composition and performance of skaldic poetry at Cnut’s Anglo-Danish court. This article examines Cnut’s relationship with Ely and argues that reading the Ely verse in this context can shed light not only on the interpretation of Cnut in post-Conquest Ely, but also on perceptions of the role and status of vernacular poetry in eleventh- and twelfth-century England.

Collaborative Composition of Classical Arabic Poetry

Abstract Evidence of collaborative composition of poetry goes back to the earliest documented phases in the history of Arabic literature. Already during pre-Islamic times, poets like Imruʾ al-Qays used to challenge others to complete their impromptu verse and create poetry collaboratively with them. This practice—commonly called iǧāza or tamlīṭ and essentially different from the better known poetic dueling of the naqāʾiḍ (flytings)—has shown remarkable stability and adherence to its form and dynamics in the pre-modern Arabophone world. In this article, I will discuss evidence of collaborative poetry from pre-Islamic times to the early seventh/thirteenth century, in order to present a picture of the typical situations in which it was practiced, its functions, its composition process, and formal aspects. Although usually not producing poetic masterpieces, this practice has the merit of revealing much about the processes of composing classical Arabic poetry in general. In this respect, its study and critical assessment are highly important, given the fact that medieval Arabic literary criticism does not always reflect praxis or focus on the actual practicalities of composing poetry. This practice and the contextualized way in which it was preserved allow us to see vividly the inextricable link between poetic form and the conditions in which poetry was created. It likewise sheds light on the intricate ways in which poets resisted, influenced, and manipulated others by poetic means. Based on the obvious fact that collaborative composition is imbued with the spirit of play, I offer at the end of the article criticism of Johan Huizinga’s famous play concept and his (much less famous) views of early Arabic culture and poetry in light of the evidence I studied.

Latin Verse Composition: An Introductory Lesson Plan

This article presents a two-day lesson plan for teachers who would like to incorporate basic Latin verse composition into their advanced high school classes or intermediate to advanced college courses. I begin with a brief introduction explaining why someone might want to do such a thing and what the goals of the lesson are. The lesson plan itself is divided into two parts. On Day 1 students derive necessary metrical rules themselves by close inspection of a Latin poem. On Day 2, with the careful guidance of their teacher, they produce their own Latin elegiac poem. I conclude with some further advice for teachers and a set of appendices for those who would like to take their verse composition further.

Research on the epistles of Su Mansh

With the in-depth study of Su Manshu , the value of his epistles has received increasing attention from the academic community. The epistles spanned the important stages of his life and the whole literary creation period, which reflected Su Manshu’s life, thoughts, emotion, character and literary achievements comprehensively and authentically. Based on examining and analyzing an abundant collection of the epistles, by looking into his poetry composition and literature translation, the thesis studies Su Manshu’s “unspeakable agony”of his life, his character, his mentality of life worries, his attitudes towards friendship and the functions of epistles in his novel creation. An overall and better understanding of Su Manshu will be achieved by studying above mentioned aspects which plays an important role in helping evaluate Su Manshu’s position in history of modern ideology , Buddhism and literature comprehensively, objectively and impartially.

Moore, Pound, Syllabics, and History

This article focuses on the poems Marianne Moore wrote during and between visits to Virginia in the mid-1930s that were published in The Pangolin and Other Verse (1936). Prompted by an exchange of letters between Moore and Ezra Pound in 1935, the essay considers relationships between the composition of verse and the fabric of national narratives. Whereas Pound detects the rhythmic coherence of a robust economy beneath the surface differences of documented history, Moore’s attention to the syllabic material of the prose she read and the stanzas she composed trained her attention on the contingent aspects of historical narrative, and on the accidental likenesses whereby nations make the selves up.

Towards a model of poetry writing development as a socially contextualised process

Theoretical explanations of learners’ poetry writing development are relatively new and, compared to other genres, rare. Neither the cognitive models of writing development, nor the descriptions of poet-practitioners or inspired experts give a fully nuanced representation of the complexity at play in poetry composition. Also missing from these models is the social context of learning to write poetry. We link Vygotsky’s work on the symbolic function of inner speech to documented accounts of poets ‘answering’ the social world to which they belong. We propose a theoretical model of development in poetry writing that takes into account learners’ fluid social contexts, and which draws on Schultz and Fecho’s survey of writing development. This fusion is a new contribution to theorisations of writing development.

The phonetic effects of onset complexity on the English syllable

In English, onset segments of the syllable do not participate in the categorical criteria which determine phonological syllable weight, yet they probabilistically impact stress assignment in novel words and influence the composition of weight-based metric verse (Kelly 2004, Ryan 2014). Together these observations suggest a phonetic motivation for the role that onsets play in English’s phonological syllable weight system, investigated here. Using 20 rhyming sets of single syllable words minimally differing in onset material (i.e., rap, trap, strap), this production study replicates results from the literature showing that the addition of segmental material to the onset accompanies a decrease in vowel duration (Gordon 2005, Ryan 2014). Furthermore, results show that the pitch and amplitude maxima of the syllable occur earlier within syllables containing more onset segments. Pitch and amplitude maxima have previously been implicated in perceptually based accounts of syllable weight (Goedemans 1998), and since stimuli were controlled for stress and categorical weight, these results suggest that the phonetic effects observed reflect general acoustic properties of onset complexity in the language. For these reasons, findings reported here suggest that perceptual acoustic effects intrinsic to onset complexity are exploited by the weight system of English despite exclusion from its categorical criteria.

A Good Idea, in Theory: Why Mathias of Linköping's Poetria Fell Short in Practice

Although highly innovative in its blend of medieval Aristotelian with Horatian and Ciceronian doctrine, the Poetria by the fourteenth-century Swedish writer Mathias of Linköping survives in only one manuscript copy and appears to have had little or no influence outside Sweden. Likely reasons for its failure to gain traction among late medieval teachers of Latin composition are (1) its sharp separation of prose from poetry, (2) its implication that verse composition is a more advanced subject than prose composition, and (3) its disproportionate reliance on theoretical precepts rather than illustrative examples.

Beginning from the End: Strategies of Composition in Lyrical Improvisation with End Rhyme

Beginning from the End:Strategies of Composition in Lyrical Improvisation with End Rhyme Venla Sykäri (bio) Having studied why rhyming couplets are such an effective vehicle of lyrical communication in contemporary Cretan tradition for over a decade, the first time I attended a freestyle rap battle in Helsinki the expression seemed profoundly familiar to me. At first sight differences between the two oral poetic cultures might seem striking: language, style, communicative contexts, and social implantation—in two socially and linguistically distinct corners of Europe. Nevertheless, the major argumentative images developed within the improvised flow of rapping tended to be verbalized in a couplet form very similar to that in Crete. In addition to the structural similarity of these core units, both traditions share the role of end rhyme as a primary parameter in composition, as well as the argumentative ambition. These qualifiers also characterize the rhetorical structure of several other traditional forms of contest poetry, which I have recently been able to verify in the performance of improvised gloses in Mallorca. The target of this paper is to analyze the structural and rhetorical principles that seem to be emblematic of extempore composition in all three of these rhymed forms of oral poetry.1 The analysis focuses on the methods that improvisers employ in the construction of end rhyme patterns and in structuring the semantic hierarchy of verse units in the spontaneous composition of verses in these traditions. End rhyme is a poetic device that ties verses together with parallel sound patterns situated at the ends of the lines. Although Richard Bauman (1977:18-19) specifically states that "the structural principles underlying the parallel constructions may serve as mnemonic aids to the performer of a fixed traditional text, or enhance the fluency of the improvisational or spontaneous performance," the role of rhyme is often acknowledged only as a mnemotechnic device that is utilized to help the memory in the performance of an existing, pre-composed text. In this paper, by contrast, I will speak of end rhyme's role as a creative and cognitive device in the improvised oral composition of verses. The methods of structuring the poetic discourse by situating sound patterns at the ends of the lines are the very heart of the cognitive practice, skill, and art of lyrical improvisation with end rhyme. These methods further relate to a model of semantic hierarchy, in which semantic weight, the argument, is also at the end of a structural unit of composition. The fact that the improviser has to command a technique of structuring the verses in a manner that is often the reverse to what the audience perceives is largely unknown outside the communities of improvisers. I also address a type of orally composed poetry, rhymed poetry with an argumentative core, which, in spite of the historical depth of its roots and nearly universal distribution, has so far received little attention in English language research. In what follows I focus on the poetic traditions of the Cretan rhyming couplets called mandinadhes, Mallorcan gloses, and Finnish improvised rap, freestyle. These poetic idioms all have end rhyme but they differ in their culture-specific conventions of performance and also in how the utterance as a whole is structured and composed. Mandinadhes represent a short, compact couplet form that states a desired point within its two lines. Improvised gloses are one example of the contest poetry stanzas of approximately eight to ten lines with a fixed rhyme pattern typical of the Southern European and Ibero-American areas. In Finnish improvised rap the length of the strophe can be either free or regularized by a time limit, but utterances often contain 16-24 lines. In addition to the length of utterances, the speed of rapping is very rapid. Both of these factors contribute to a greater variety in structuring the utterance as a whole. Each section of this essay will introduce the basic characteristics of the poetic idioms addressed, give one or several textualized examples of utterances in the tradition, analyze the rhyming and placement of semantic weight in these utterances, and then look at how individual improvisers explain their method. Following this I draw some conclusions concerning the similarities and differences...

Classical Chinese Poetry in Singapore: Witnesses to Social and Cultural Transformations in the Chinese Community by Bing Wang

Reviewed by: Classical Chinese Poetry in Singapore: Witnesses to Social and Cultural Transformations in the Chinese Community by Bing Wang Jing-yi Qu (bio) Bing Wang. Classical Chinese Poetry in Singapore: Witnesses to Social and Cultural Transformations in the Chinese Community. Lanham, MD: Lexington Books, 2017. xi, 187 pp. Hardcover $90.00, isbn 978-1-4985-3515-1. I am pleased to see that the author, who like me was engaged in the study of ancient Chinese literature before coming to Singapore, has chosen to focus on the development of classical Chinese poetry in Singapore (CCPS) since 1881, assessing the role of these poetic compositions and their associations in different periods from the perspective of sociocultural change. Ordinary readers may find it difficult to believe that literary production, such as the writing of poetry, actually occurred on a small island centered on economy and trade, which became the center of literary production, communication, and consumption in Southeast Asia. What is more surprising is that this trend has continued to this day, though the overall momentum is no longer as strong as in the last century. However, compared with the study of classical Chinese poetry (Han poetry) in East Asian countries such as Japan and South Korea, literary writing with distinctive Chinese traditional cultural characteristics in Southeast Asian countries has not received enough attention in current [End Page 240] academic circles. One possible reason is that scholars believe that all local poets in Southeast Asia are ethnic Chinese who immigrated early or late, an assumption not made about non-Chinese writers in East Asian countries. Nevertheless, this particular cultural phenomenon is worth studying, especially in the context of the 200th anniversary of the founding of modern Singapore and the global spread of Chinese culture. I think that helping young readers who are not familiar with Chinese literary heritage in Singapore or other countries understand the evolution of CCPS and its underestimated value (p. 7) is the author's creative motivation and the book's most valuable function. Readers may hold the stereotype that CCPS is completely transplanted from China, with no significant innovation in form or content. This was indeed the case for the majority of poems written by writers or officials who lived in Singapore in the early days. This poetry differed from that from Mainland China, however, in that the content of the poetry involved the natural scenery of tropical rainforests and the customs of the island. However, this situation changed in the works of the first generation of naturalized immigrants and the second generation, as the poets' internal identity and the external appearance of the poetry gradually became localized (p. 28). CCPS has the essence of Chinese traditional culture but also has its own characteristics, so its complexity, uniqueness and the importance of the inheritance and development of Chinese culture in the Chinese community are highlighted. The author devotes many words to elaborating three important aims: (1) to analyze the evolution of the poets' identity from the perspective of views of Nanyang; (2) to assess the significance of these elite groups to the construction of Singapore's cultural space from the perspective of the poet community; and (3) to examine the influence of various media on poetry composition and publishing from the perspective of the publishing medium. In other words, the author does not follow the practice of most literary monographs focusing on appreciation of poetic texts and evaluation of artistic achievements. Rather, he closely links the literary production of classical poetry with the social environment and cultural atmosphere of the time, tracing the sociocultural transformation of Singapore's Chinese community. Though I cannot confirm whether this transition from textual analysis to cultural-historical analysis shows that CCPS is uneven in quality, it at least broadens the horizon of literary research. Identity, cultural space, and media are three key words related to the development of CCPS, and this core content occupies three chapters of the book. Given the complexity of Singaporean Chinese immigrants, the author skillfully uses the view of "Nanyang" held by different groups of people as the criterion for distinguishing their identity. Thus, sojourning and naturalization informed the identity of the first generation of immigrants after...

Emerging Poetry Composition and Poetic Expression in 4 year Olds Stemming from Forest Activities

Emerging Poetry Composition and Poetic Expression in 4 year Olds Stemming from Forest Activities

Memories, Crossings, and Station Stops: Displaced Pasts into Present Teaching of Language and Art

Whether photographed from the missing pages of a summer day, or surrounded by the light of spectral clouds passing through a whisper, stories that provoke connections between person and place can be both powerful and inspiring in the recurring creation of teaching narratives. What happens when we, a professor and a doctoral student, come together to critically inquire into the displaced pasts of our present selves for future teachers of language and art? Which locations will we select? Where will our dialogue take us? We respond in a composition of poetry, prose, and image.

A Companion to Alain Chartier (c. 1385–1430): Father of French Eloquence. Edited by Daisy Delogu, Joan E. McRae, and Emma Cayley.

This excellent volume — the medieval author’s first ‘Companion’ — consolidates the increasing critical attention directed to Alain Chartier over the past decade, its essays collectively making a persuasive case for him as ‘the most widely influential European writer of the fifteenth century’ (p. 279). Fourteen chapters are divided between four parts, locating Chartier in relation to his cultural, literary, and material context (Part One); proposing a range of approaches to his work (Part Two); focusing on the idea of ‘textual communities’ as a conceptual principle of both authorship and reception (Part Three); and mapping the cultural and chronological reach of his influence (Part Four). An important shared objective of the contributions is to promote the permeability of category boundaries that have previously operated in Chartier scholarship — between his professional identities as writer and diplomat, between his prose and verse compositions, and between Latin and vernacular works in his œuvre. This objective is pursued effectively through the practice of revisiting works in several chapters across the book, which elaborates in different contexts the cultural significance of well-known texts, such as the Belle Dame sans mercy , as well as drawing attention to important, less appreciated pieces, like Le Livre des quatre dames . The chapters themselves constitute a satisfying combination of synthesizing essays (such as the elegant overview of Chartier’s œuvre furnished by James Laidlaw, or Camille Serchuk’s examination of all thirty-two illuminated manuscripts) and critical analyses (Andrea Tarnowski’s study of the persona as a figure apart, or Daisy Delogu’s performative approach to gender roles). They are uniformly engaging and lucid, and strike a commendable balance between accessibility to the less familiar reader (the volume could readily be recommended on undergraduate reading lists, for example) and stimulating interest for the more specialist scholar. Of particular note is the collection’s very successful realization of its aim to offer Chartier’s texts as ‘a point of entry into larger questions’ (p. 11): the essays not only augment and richly contextualize our specific understanding of the writer — exploring the role of poet as public servant that he pioneered (Adrian Armstrong) or establishing his significance in medieval debates about chivalry (Craig Taylor); they also deploy Chartier to map key concerns of late medieval literary culture, furthering our appreciation of the early printed-book marketplace (Olivia Robinson), or of the power of poetry to effect political and social change during the Hundred Years’ War (Deborah McGrady). In this respect, the volume is of great value to scholars of the later Middle Ages more broadly, a value that could only be enhanced by an increased use of cross-referencing between chapters, to aid the reader approaching its essays selectively rather than sequentially — this would be especially helpful, for instance, between synthesizing chapters on influence in Part Four and earlier contributions on context in Part One. In sum, this collection is an exemplary piece of ‘Companion’ scholarship, which establishes emphatically Chartier’s importance in medieval French studies and beyond.

Le poète en vacances à l’été 1913

In the summer of 1913, the Intransigeant’s irreverent chroniclers of literary life, Les Treize, asked fellow authors to share their holiday plans with the newspaper’s readers. The initial responses supplied information on lengthy projects said to be advancing toward completion in favorable writing conditions, away from usual constraints for some and deadlines for others. After the Intransigeant’s publication of a quatrain Apollinaire sent by postcard, the format of the submissions changed and poets began a friendly contest to outdo one another in verse composition ostensibly related to monuments or sites of literary history encountered over the summer, while also anchored in the language of the game and its participants. The seasonal rhymesters included Andre Billy, Roger Allard, Louis de Gonzague Frick, Gaston Picard, Jacques Dyssord, Fagus, Lucien Rolmer, Fernand Divoire (founder of Les Treize), and Paul Fort who devised a patchwork from the poetic heritage; even the fictitious Georges-Merize entered the fray with a quatrain in Gil Blas that mirrored Apollinaire’s summer sky. The vacation stanzas from 1913 may be read in contrast to the impending wartime lives and writings of the poets, a blue horizon of a different hue.

The Presence of Poetry, the Poetry of Presence

The composition and performance of Arabic Sufi poetry is the most characteristic artistic tradition of West African Sufi communities, and yet this tradition has yet to receive the scholarly attention it deserves. In this article, I sketch an outline of a theory of Sufi poetics, and then apply this theory to interpret a performance of a popular Arabic poem of the Senegalese Shaykh Ibrahim Niasse (d. 1975), founder of the most popular branch of the Tijāniyya in West Africa.

Dos escritos destinados a la reina Isabel: Colación muy provechosa. Tratado de loores de San Juan Evangelista by Hernando de Talavera

Reviewed by: Dos escritos destinados a la reina Isabel: Colación muy provechosa. Tratado de loores de San Juan Evangelista by Hernando de Talavera Mark D. Johnston Talavera, Hernando de. Dos escritos destinados a la reina Isabel: Colación muy provechosa. Tratado de loores de San Juan Evangelista. Ed. Carmen Parrilla. Colección Parnaseo 24. Valencia: Universitat de València, 2014. 265 pp. ISBN: 978-84-370-9564-6 Scholarship on Hernando de Talavera (1430?-1507), confessor to Isabel I, one of her chief political operatives, and first archbishop of Granada, has burgeoned since the 1492 quincentenary of the kingdom’s annexation to Castile, but he remains one of the most under-studied major figures of his era. Carmen Parrilla’s edition of two unpublished writings by Talavera is therefore a welcome addition to the very limited modern library of his vast written oeuvre. Parilla’s introduction to her edition begins with Talavera’s biography (11-32), critically evaluating modern conjectures about key details of his obscure early life, such as his birthdate and converso ancestry (12-3), as well as the still uncertain date (probably early 1475) of his appointment as Isabel’s confessor (18-21). After a quick review of Talavera’s many prose works (32-7), Parrilla devotes (somewhat oddly) equal space to his few verse compositions and translations (37-42). The remainder of her introduction thoroughly analyzes the contents of the Colación and Loores (44-86), then describes their lone known witness (MS 332 of the Biblioteca Lázaro Galdiano) and her editorial norms (87-98). [End Page 146] Scholars of the era will surely appreciate Parrilla’s insightful analysis of how these two devotional texts functioned as both moral and political counsel to the young Queen Isabel, an effort to which many authors contributed, motivated by a common “afán instructivo articulado por una inflexión reformadora y legitimadora” (10). Talavera wrote the Colación in 1476 at Isabel’s request, adapting a sermon that she had heard him deliver as prior at the Hieronymite convent of Santa María de Prado in Valladolid during Advent of 1475; his revised version “conlleva un sentido inaugural potenciado por el comienzo del año litúrgico y su plan renovador. Tiene algo de gesto ritual efectivo que celebra, afianza y legitima el poder político de la nueva soberana” (49). Written very shortly later, and also at Isabel’s request, the Loores applies exegetical, hagiographical, dogmatic, and devotional arguments to explaining, with extensive digressions, the relative status of Christ, John the Baptist, John the Evangelist (the queen’s santo patrono), and the apostle Peter, which offer a pretext for frequent moral and political instruction to Isabel (74-5, 86). Parrilla’s editions of the Colación (99-132) and of the Loores (133-244) are carefully prepared, and document exhaustively, in their notes, the sources of every biblical, theological, hagiographical, philosophical, or scientific reference in Talavera’s two texts, providing thus a catalog of imagery and themes that recur in later propaganda for the Catholic Monarchs. The volume ends with a rich bibliography (245-61), perhaps the best available on Talavera, though marred by occasional typographical errors, such as: “Clásico [sic] Hispánicos” (247); “clouster” for “cloister” (253); and “De l’homelie [sic] au sermon” (255). Like so many recent scholarly works, this edition brims with useful notes and references but lacks any indexes to help readers locate specific data. These material imperfections do not, however, detract from the overall value of Parrilla’s edition as a valuable contribution to understanding the nascent political, cultural, and spiritual ideologies of Isabel and Ferdinand’s regime. [End Page 147] Mark D. Johnston DePaul University Copyright © 2016 MLA Forum, LLC Medieval Iberian