Literary Quotations Research Articles

Ginsberg's Translations of Apollinaire and Genet in the Development of his Poetics of "Open Secrecy"

In her article "Ginsberg's Translations of Apollinaire and Genet in the Development of his Poetics of 'Open Secrecy'" Véronique Lane analyzes the extent to which the journals, letters and poems of Allen Ginsberg are marked by constant reference to literary models that give just as much weight to French as to American writers. Focusing on his long involvement with Guillaume Apollinaire and Jean Genet's works, Lane argues that Ginsberg meticulously constructed the genealogy of his poetry through a threefold strategy of literary quotation, translation and encryption. Uncovering this strategy through analysis of "Howl," "At Apollinaire's Grave," and "Death to Van Gogh's Ear!" does more than simply nuance or deepen our understanding of Ginsberg's work in the 1950s; it reveals that it was largely through his engagement with French literature that he developed the very aesthetic and hermeneutic method of his poetry.

Библейские цитаты во втором славянском переводе Исторической палеи (предварительные замечания)

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Jeanette Beer. In Their Own Words: Practices of Quotation in Early Medieval History-Writing .

Jeanette Beer’s In Their Own Words: Practices of Quotation in Early Medieval History-Writing is a welcome addition to an expanding field. Her approach in this study of various medieval historical works dating from between the ninth and thirteenth centuries involves a series of case studies foregrounding texts that broke, or appear to have broken, new ground substantively or stylistically or both: Nithard’s Historiae de dissensionibus filiorum Ludovici Pii, which contains the first extant sequence of vernacular French in the form of the famous Strasbourg Oaths; the Gesta Francorum, the earliest eyewitness account of the First Crusade (although this is a status that has been problematized in recent research); Geoffrey of Villehardouin’s and Robert of Clari’s accounts of the Fourth Crusade, the first prose histories written in French; and Li Fet des Romains, an early-thirteenth-century prose compilation and translation of all the materials that were then known concerning the career of Julius Caesar, which Beers argues is the first work of ancient history, and the first biography, to appear in French. The book’s central argument is that a close examination of each text’s practices of quotation—which can assume many forms, from the rendering of ipsissima verba to free indirect discourse, literary quotation, citation, allusion, and self-referencing—is an optimal route into an understanding of medieval historiographical practice and the influences upon it of both inherited classical forms and contemporary vernacular poetics. In so arguing, Beer sets her face against positivist minings of such texts for serviceable historical data. The point is well made, although there may be an element of pushing at an open door in light of the recent expansion of scholarly understanding of the complexity of medieval historiographical culture, in particular with respect to its regimes of truth.

A Genizah finished product for She’elat Ḥalom based on Sefer Ha-Razim

The article presents the commented edition of a medieval finished product for She’elat Ḥalom uncovered in the Cairo Genizah, which contains a literal quotation from a divinatory recipe preserved in Sefer ha-Razim (the Books of Mysteries ), a famous Jewish literary book of magic dating back to late antiquity. The pertinent citation of a section from Sefer ha-Razim in a document, whose codicological features show that it had actually been used in a magical ritual before being thrown in the storehouse of the medieval Ben Ezra synagogue, provides substantial evidence on the transmission of Jewish divinatory lore and on the relationship between literary books of magic and finished products. The article examines in detail the textual correspondence between Sefer ha-Razim and the Genizah finished product, highlighting the linguistic and ritualistic analogy between the medieval technique of She’elat Ḥalom and a specific divinatory recipe transmitted in Sefer Ha-Razim ( SHR I §§109–14).

A literatura galega nas gramáticas do século XIX

Este traballo analiza pormenorizadamente a presenza da literatura nas gramáticas de Francisco Mirás (1864), Juan Cuveiro Piñol (1868), José Antonio Saco Arce (1868) e Marcial Valladares (1892, editada en 1970), con atención ao discurso sobre a literatura, ao uso de citas literarias e ás coleccións de textos. A análise das citas literarias permite concluír que a produción literaria contemporánea –fundamentalmente poética– non é utilizada para autorizar as propostas gramaticais senón para ser obxecto de censura ou comentario crítico, ocupando o espazo de autoridade a poesía popular como representación da lingua oral. As coleccións de textos, en espazos diferenciados e separados da descrición gramatical, servirán como elemento de lexitimación da reivindicación lingüística e identitaria e contribuirán para o proceso de canonización literaria.

Textphilologische Überlegungen zu Commodian, Carmen apologeticum 449f.

The feeling that traditional textual philology has largely solved its tasks has become prevalent in classical scholarship. This contribution argues the case for recognising the ongoing necessity of textual-philological work. This necessity is demonstrated by way of discussing a textually and interpretatively difficult passage from the poet Commodian, Carmen apologeticum 449f. In contrast to the opinion hitherto put forward that Commodian quotes freely from Psalm 109, a literal quotation from John 20,17 can be ascertained. This renders the conjecture ascende for transmitted ascendo dispensable, is consistent with the author’s usual quotational practice of actually quoting literally after explicitly introducing a quotation, and, through the quotation selected, seamlessly assimilates into the author’s modalistic-docetic theology. Within the context of the same verses, the variant prophet< ia> should be considered, apart from the conjecture prophet< ae>, in order to heal the corrupt propheti.

Hello Sha-kitty-peare?: Shakespeares Cutified in Japanese Anime Imagination

The first decades of the twenty-first century witnessed a great proliferation of partial adaptations of and references to Shakespeare and his works, in Japanese manga comics and animation films. Such heterogeneous and fragmentary pieces of Shakespeare range from literal or visual quotations from his plays to sacrilegious cute recreations of the playwright himself. This essay will not only illuminate diverse ways of animating Shakespeare’s texts by primarily discussing three recent animated films, Romeo x Juliet (2007), and Zetsuen no Tempest [“The Blast of Tempest”] (2012), but also consider transmutations of Shakespeare himself in animated films such as Romeo x Juliet and Horizon in the Middle of Nowhere (2011), where the playwright is both demystified and cutified in the current fashion of manga-animation characters. This essay will also explore the ways in which the fans of such manga comics and animated films (are often expected to) collaborate and interact with each other to recognize and interpret Shakespearean texts in those works via blogs and fan sites on the Internet. How Shakespeare haunts the contemporary Japanese imagination will be expounded through the analyses of manganized-animated texts that bear “the signature of the Thing ‘Shakespeare’” (Derrida 25).

How Do We Know about the Circulation of Books in al-Andalus? The Case of al-Bakrī’s Kitāb al-Anwār

The circulation of books in al-Andalus (= Muslim Iberia) has been mapped in the Historia de los Autores y Transmisores de al-Andalus (HATA), using the data found in literary sources (biographical dictionaries, bibliographical repertoires, chronicles, and other sources), manuscripts, translations, and quotations. There are certain books that can be assumed to have circulated in al-Andalus only through their presence among “minority” communities such as the Mudejars and Moriscos, and the evidence provided by translations from Arabic into other languages. Al-Bakrī’s Kitāb al-anwār is one such book. In this paper, the reasons for the silence of the Arabic literary sources are explored.

The “Well-Timed Quotation”

Bulgakov's predilection for literary quotations in his early works is explored in his novel White Guard as a strategy for embedded cultural critique of the new Soviet state.

Vila-Matas-<em>sur-Mer</em> o <em>la dolce vita</em> por las callejas del «cine-cita»

In this essay our purpose is to analyze the way Enrique Vila-Matas (Barcelona, 1948) inherited modernists’ fascination for cinema and how he revisits it in his books, mixing up his early enthusiasm as a fledgling director with a certain uneasiness toward the critical conviction that his generation was deeply influenced by a cinematic perspective. Vila-Matas’ will to develop new narrative instruments with the intent to distance himself from his contemporary colleagues in merging cinema and literature will finally bring him to adopt an original posture in matching together literary quotations and images, rearranging and improving the godardian method of combining together different semiotic languages.

Money, die Ware, and Marx's Shakespeare

This article reads Marx's reading of Shakespeare through close attention to Shakespearian quotation in Capital. Using two recent accounts of reading Marx as a starting point, it argues against traditional interpretations of Marxian literary quotation as a merely decorative quirk of authorship, and in favour of tracing the development of Marx's textual practice of the deployment of literary quotation for theatrical, satirical, antagonistic ends. It argues that theatrical language in Capital, which includes quotation from A Midsummer Night's Dream, is intimately bound up with Marx's argument concerning commodities and money, and is not simply an ornamental foil to the explication of economic categories. It concludes by offering some reflections on the changing nature of Marx's ‘use’ of Shakespeare by comparing his quotation of Timon of Athens in 1844 to the quotation of A Midsummer Night's Dream in 1867.

Al-Fārābīs Kommentar zum Almagest in sekundärer Überlieferung bei Ibn aṣ-Ṣalāḥ: Ein vorläufiger Bericht

Abstract Ibn al-Ṣalāḥ (d. 1154 CE) wrote a critique on chapter V. 17 of al-Fārābī’s commentary on the Almagest, which is preserved in a unique MS in Mashhad. More than half of its text consists of literal quotations of al-Fārābī’s commentary, which previously was considered to be lost. A commentary on books IX–XIII of the Almagest, handed down anonymously in two MSS and recently discovered was attributed to al-Fārābī. Thomann 2010–2011. This assumption can now be tested on a more secure basis. Al-Fārābī’s commentary was evidently not limited to the cosmological parts of the Almagest, but reached far into the mathematical parts, and makes the existence of books IX– XIII more likely. Furthermore, comments are verbose and larger in size than Ptolemy’s corresponding text, especially in the geometrical proofs. Finally, the quoted passages of al-Fārābī concern the calculation of parallaxes. In the two extant Arabic translations of the Almagest Greek parallaxis ist translated by ikhtilāf al-manẓar (“difference of the aspect”), and this became the standard term in astronomical works. But in the passages of al-Fārābī, the uncommon expression inḥirāf al-manẓar (“inclination of the aspect”) is consistently used instead. Parallaxis occurs only in one chapter of books IX–XIII and the anonymous commentary uses the expression inḥirāf al-manẓar. This striking common feature corroborates the attribution of the commentary of books IX–XIII to al-Fārābī. An edition and translation of the texts is in preparation.

The describer's dictionary: a treasury of terms and literary quotations

The describer's dictionary: a treasury of terms and literary quotations

Interest in truth versus beauty: Intellect and Openness reflect different pathways towards interest

Openness and Intellect have been proposed as different pathways towards cognitive exploration, yet this distinction remains untested with respect to the exploratory emotion of interest. In this study we examined multi-level appraisal processes to determine whether Openness and Intellect differ in their effects on interest. University undergraduates (N=99) rated their interest in seven literary quotations, and appraised the quotations for their novelty and understanding. Both Openness and Intellect predicted greater interest, but via different pathways. In between-person analyses, understanding mediated the Intellect/interest but not the Openness/interest relationship (i.e., high-Intellect people are more interested through greater understanding). In within-person analyses, Openness (but not Intellect) significantly moderated the understanding/interest relationship. High-Openness people experienced greater interest in difficult to understand quotations. Results highlight the need to examine within-person effects and to consider the lower-level elements of personality. These findings distinguish Openness and Intellect in terms of pathways towards interest and provide a dynamic understanding of the differences between them.

LITERARY QUOTATION AS LITERARY PERFORMANCE IN SUETONIUS

Most acts of literary quotation in Suetonius are ironical reflections by emperor-characters on the burdens of imperial rule, deployed at transitional moments in the biographies. Consideration of literary performance traditions in Suetonius' society, from the classroom to the recitatio to the acroamata at dinner parties, allows us to understand these transitional quotations as moments in which Suetonius' listener is invited to sympathize with the emperor-character as a fellow enthusiast for literature. The biography of Nero reverses this scheme, as Nero's quotations bathetically distance him from the listener.

Problem przekładu cytatów literackich w tekście naukowym

The article concerns the translation of a scientific text containing literary quotations, which poses difficulties for the translator that are different than those occurring in the case of a literary text. Quotations in scientific texts play a role that differs from the one performed while being distinct literary texts, and therefore their translation also has to be different. The research material was my own translation (from Russian into Polish) of my book in the field of literary studies. The article aimed at the analysis of translation of quotations occurring in the book. These quotations illustrate theoretical deliberations on such aspects as culturally-marked elements and intertext as well as the structural arrangement of the original work.

Acerca del hielo en el islam medieval

The history of ice in medieval Arab societies is obscured behind a mosaic of a variety of references and scholarly citations. Beyond al-Qalqashandī's reference to organised ice trafficking in fourteenth-century Mamluk Egypt, we do not have conclusive evidence on the origin and use of ice as a consumer product. In this paper we trace its presence based on three genres of references: historical and literary quotations, medicine and literature pertaining to food. These references allow us to consider the extent of ice consumption in the Arab world before the ninth century, as well as the existence of an organised trade throughout the Middle Ages from that time. However, contrary to the Persian world, with its well-documented Iranian yakhchals, we still know virtually nothing about ice-houses in medieval Arab societies. We also know very little about the profession of the thallāj or ice-seller, or whether the widespread consumption of ice that originated in Spain in the sixteenth century was in fact a legacy of an earlier trade in al-Andalus.

Direct and indirect speech in Spanish language news reports

This work uses data from two Spanish language newspapers: Granma from Cuba and El Nuevo Herald from Miami to analyze pragmatic and social factors that underlie the use of reported speech in news texts. This study examines pragmatic and social constraints on journalists’ choice of reporting speech structures. Journalists use direct speech to provide a literal quotation of another’s voice, whereas indirect speech is presents the journalists’ own rendition of the quoted words. The qualitative and quantitative analyses reveal that Granma and El Nuevo Herald exhibit different patterns of use of direct and indirect speech, which are motivated by the two newspapers’ ideological perspectives and the level of political and social power of the news actors.

Creating an Audience for a British School: L. E. L.’s Poetical Catalogue of Pictures in The Literary Gazette

Art! my worship is for thee-- The heart's entire devotion. When I look Upon thy radiant wonders, every pulse Is thrill'd as in the presence of divinity. (1) These opening lines of Letitia Elizabeth Landon's Poetical Catalogue of Pictures-nine poems published in The Literary Gazette between March and August 1823--convey the rapture of a connoisseur who perceives in Art transcendent genius. (2) One might expect that the poem's subject is an Old Master painting or a Greco-Roman sculpture, for the speaker's language of devotion reflects the enthusiasm of Hazlitt for the landscapes of Claude Lorraine or Byron for the Belvedere Apollo. (3) But Landon's subject is not the art of the past but of the present. These four lines comprise the first part of a nine-line epigraph that prefaces a poem called Vandyke consulting his Mistress on a Picture in Cooke's Exhibition. The title indicates that the picture appeared in William Cooke's Exhibition of Engravings by Living British Artists, an event that took place at Cooke's 9 Soho Square print shop and home. (4) Landon's poem suggests a wider and more controversial definition of Beautiful Art, which includes not only a genre scene by a living British artist but also the reproductive art of engraving. Whether the Literary Gazette editor William Jerdan commissioned the poems or Landon conceived of the series herself is uncertain; nonetheless, the sequence of nine poems form a cohesive group, documenting paintings and at least one engraving that appeared in London between 1822 and 1823. The Poetical Catalogue is strikingly original in the periodical literature of this decade in its attempt to create an audience for British artists, including printmakers, and while Landon's participation in giftbook and annual culture has received critical attention, her role as a writer for the Literary Gazette has not been fully explored. (5) Landon's serialized poems not only versify different aspects of art writing in this period, particularly the exhibition catalogue entry and the generalist art review, but also anticipate the rise of written exclusively for literary annual illustrations. I Landon knew William Jerdan and his family from childhood, and her involvement in the Literary Gazette originates in their close working relationship and secret love affair. (6) Landon grew tip across the street from Jerdan and his family in Brompton, and, admiring her literary ambition and talent, he published her first poem in the Literary Gazette in March 1820. (7) Jerdan's tutelage, as his biographer Susan Matoff characterizes their relationship, launched Landon's career as an author. At this time Jerdan took Landon to exhibitions of paintings, an art form he especially enjoyed, and one which was a direct inspiration for her poetry (Matoff, p. 127). It is in this period that Landon began writing unsigned reviews for Jerdan, who credits her with doing little less for the Gazette than I did myself' (cited in Matoff, p. 129). In the summer of 1822, Jerdan introduced Landon to his friend the artist Richard Dagley for whom she wrote three poems entitled Sketches from designs by Mr. Dagley, published in July and August issues of the Literary Gazette. Matoff notes that it was quite an achievement for Landon to produce about pictures in a magazine which did not print the illustrations from which the poems derived (p. 131.) It is likely that Landon saw the pictures either in an exhibition or in print reproduction and wrote the Literary Gazette's art notices. Landon's choice of title asserts the relevance of her poetic sequence in public art discourse: Poetical Catalogue of Pictures is--as the second word of the title announces--a kind of exhibition catalogue within the pages of a periodical. The role of the exhibition catalogue by the 1820s was both to document the pictures in an exhibition and contribute to the experience of looking at a picture by including literary quotations. …

Stasis in Moltmann e Schmitt

The essay introduces an original interpretation of Moltmann’s thought on Christian kenosis , according to the fundamental critical method known as ‘close reading’. On this ground, the Author brings to the surface the complex bulk of literary quotations which give substance to a specific passage in Moltmann’s work “The Crucified God”. Quotations become an intellectual device apt to produce meaning through its proper deferral and suspension. Within this framework, the Author’s main purpose is to put at the centre of the scene the explicit reference made by Moltmann to C. Schmitt’s concept of stasis , in order to explain the self-emptying of God even in a political perspective, as a kind of internal battle within divinity. The theological canon (Christian kenosis as moulded by Moltmann) is conceptually linked to the political anti-canon ( stasis and exception as defined by C. Schmitt). In this perspective the structural relationship between Theology and Politics, usually epitomized by the synthetic expression of ‘political theology’, comes to be re-substantiated.