Romantic Ballads Research Articles

How Heroes Are Made. Erich Kästner's The handstand on the Loreley

Erich Kästner's poem Der Handstand auf der Loreley is an intertextual reference to the well-known Romantic ballad Loreley by Heinrich Heine. There are also intertextual links to other works of German literature. Kästner wrote the poem shortly before the Nazis came to power in Germany, as he had recognized the signs of the times: the latent rearmament, but above all the propagandistically prepared, ever more explicitly expressed cult of the hero. The heroization of even the most banal things or people in everyday life was a part of National Socialist propaganda. Kästner wanted to expose this process with his text, but it was already too late.

An Analysis of the Outcomes of Language Contacts: with Specials Reference to Arabi-Malayalam

Until the 20th century, the AM script was extensively used to teach religious literature and for creative expressions among Mappilas (Muslims in Malabar) in Kerala. Most of the Mappila songs were written in AM script. The literary tradition of Mappila Muslims of Malabar is evident in the AM literature that includes Romantic Ballads, Folk Tales and Battle Songs. AM periodicals had an important role in the social reformation of the Mappilas. Several periodicals were published in AM language to preach the basic tenets of Islam to the commoners and to make them aware of the evil practices and superstitions existed in those days. This study treats AM as a contact language and it aims at isolating the contact induced elements in AM. The empiric foundation of the present study is the extensive data collected from AM literature representating different period and from different genres. The works used for data collection were Mohiyudheen Maala (1607 A D), Nool Maduhu (1737 AD), The Padappattu (War Songs) of Moyeen Kutty Vaidyar (1852AD to 1892 AD), and Chaar Dharwesh (1883 AD). The results of this study indicate that there are various borrowing patterns of grammar that occur in ARABI-MALAYALAM language contacts such as; Coordinating Conjunctions, Number Markers, Adjectives etc.

The Political Violence of the 1970s in Recent Argentine Cinema: Strategies for the Reaffectivisation of the Past in Rojo (Benjamín Naishtat, 2018)

There is a renewed momentum in twenty-first-century Argentine film to represent the 1970s in productions that, in one way or another, exhume the alliance between auteur and commercial cinemas, developed during the restoration of democracy in 1983, in order to think “differently” about the ‘70s or to recover the ‘70s of “the common people”. This essay sets out to examine the particular way political violence is expressed in the film Rojo [Red] through mise-en-scène choices associated with the aesthetics of certain popular cinemas of the 1970s and with the central role of romantic ballads during the period depicted. Attention to the use of romantic song allows us to understand the way the work constructs specific affective and cognitive appeals between the figurative diegetic universe and the spectators’ cultural memory, and to suggest that it is precisely in the territory of the family that a type of violence is engendered that would later be replicated in other social structures.

Gringochos

Gringochos Chip Livingston (bio) I didn't mean to scare the Gocho. I was falling in love with the guapo and I wanted him to be comfortable, to trust me, and to see a part of Uruguay he'd never seen—this last part was the motivation I used to convince him to leave his routine. "Come on," I said, "it's a weekend. You have to know Cabo Polonio, La Paloma, Aguas Dulces. Everything's closed for the election on Sunday. We should take advantage that we can't vote and go up the coast." I'd been nervous to spend so much time with the Gocho, no more than one or two nights actually "slept over" in the year we'd been dating. His light snore more trolling motor than chainsaw. The weekend away was my push to change the dynamic, to test our compatibility, capaz, for something more established than a weekly hookup or to simply show him I wasn't a typical Gringo with bohemian grooming tendencies. And he had to know more of his new country, the eastern beaches at the least. The Gocho was on the conservative side; "Cuadrado," he described himself, drawing a square in the air before finally accepting my invitation. I kept both hands on the wheel driving east from the capital, the rambla congested with home-from-work commuters plus political campaigners waving flags and pamphlets at every backed-up stoplight. Once past the Sofitel casino in Carrasco, the traffic petered out, and the Gocho asked me if I'd been inside the old baroque hotel. I pushed my lips toward the traffic light in El Pinar, where a busker spun fire-lit bowling pins in thick yellow gloves. "We should give him fifty pesos simply for not juggling political signs." The Gocho took our first selfie out on Punta Ballena, our Ray-Bans angled to reflect the sun setting over Pan de Azúcar, silhouetting alchemical Piriapolis, and behind us a glittering Punta del Este skyline. We kissed in the car, in the almost dark, in our Airbnb overlooking [End Page 92] the Atlantic, on the starlit beach, in the two-person Jacuzzi with a view of the ocean. I tried to keep my hippy down, but funky Cabo Polonio was the place to let it all hang out. The Gocho didn't mind the tobacco I rolled and had smoked on the balcony. He even choked down two smoky puffs of the joint I'd bought, and we barefooted the beach and the sand dunes, the tiny surf and fishing town, climbed the lighthouse and posted our videos of sea lions to Instagram. We ate algae fritters and grilled corvina and fried octopus, took the last dune buggy back to the parking lot at 5 pm, everything shutting down early for Sunday's obligatory presidential vote. I'd been playing tourist guide and deejay so far, pulling from my playlist a favorite mix from Spain and the Americas, so I asked the Gocho to pick the music as we drove toward Aguas Dulces. He connected his phone to the Bluetooth. "Hola Siri, play Los Pericos." He sung to me as the first song began, "Cuídame bien, lo mío es serio." We couldn't see the sunset from Aguas Dulces, but we walked the sleepy shore till dusk, shared a short flat white coffee as the moon rose, sat on a rock until the surf splashed us to chills. Driving back to La Paloma, his playlist kept up the romantic ballads, one after another. Finally he said, "I think Siri thinks we are boyfriends." A cluster of stars hovered northwest of the road, and I asked the Gocho if he knew what planets were visible that weekend. I said I'd read about them lining up. He cut the music to ask Siri, and his phone reported that Venus, Jupiter, and Saturn would appear thirty minutes after sunset on the horizon. "Do you believe in aliens?" he asked as we drove in that direction. "Obviously," I replied. "I'm an alien. You're an alien. We're lucky we found a country so welcoming. A lot depends...

«Channel» In' Cin' as first original Chinese national monumental opera

The purpose of the article is to define the genre-specific opera of In' Cin' «Channel" (2012) as the first original China national monumental opera. The methodology consists in the application of historical and genre methods of research. The scientific novelty of work has conditioned the analysis of opera concepts of the Chinese musicologists of beginning ХХІ ages essence of which consisted in development оf criteria of original China national monumental opera: the core meaningfulness of plot, dramatic event clever as psychological motivation, "space" for the introduction of music, forming of opera situation for creation of with a plot song, the interlacing of many storylines. Conclusions. The genre specificity of the Yin Qin opera is to synthesize genres of romantic ballad opera (ballad opera), grand opera (grand opera), opera song (song opera), lyrical opera, opera legends, choral opera-mystery, opera- oratorios, opera stories, musical dramas of ideas and symbols.

Symbolism in the Russian folk art (on the example of romantic ballads)

The subject of this research is the symbols characteristic to the genre of folk ballade. The object of this research is lyrics of the Russian folk ballads. The following compilations of ballads served as the material for this research: “Russian Ballad” (edited By V. I. Chernyshev, N. p. Andreev, 1936), “Folk Ballads” (edited by D. M. Balashov, A. M. Astakhova, 1963), “Russian Folk Ballad” (edited by D. M. Balashov, 1983), “Ballads” (edited by B. P. Kirdan, 2001), “Epics. Historical Song. Ballads” (edited by A. V. Kulagina, V. A. Kovpaka, 2008). The author carefully examines the peculiarities of ballad symbolism and its functions. In the course of research, the following conclusions were formulated: consistency of the genre order depends on the presence of the system of artistic visual means; central in the poetics of ballad belongs to symbolism, parallelism, antithesis, epithets, and metaphors; symbolism in the romantic ballads is presented quite extensively; often a symbolic situation becomes a part of psychological parallelism presented in many ballad concepts; syntactic parallelism can be placed in any thematic link and amplifies by antithesis. In certain instances, antithesis appears an important technique for creating a tragic effect. Ballad poetics is subordinated to explication of the overall genre trend, including the reflection of fundamental universals and principles. The novelty of this work consists in the attempt of textual analysis of the major compilations of ballads, as well as in selection of the symbols for their further analysis within the framework of implementation of genre characteristics.

Polish-Ukrainian song “Hej, sokoły!” (“Hey, Eagles!”) as an intercultural communicative phenomenon

The subject of the study is the Polish version of the song “Hej, sokoły!” regarded as a multi-dimensional intercultural communicative phenomenon from the point of view of the external and internal contexts and correlations of its individual and social aspects. The analysis has been undertaken using the method of sociocultural interpretation of the external context, the method of information decoding for identifying the author’s intentions and functions of textual symbols. For the systemic and incremental study of the song the author uses the modeling method, in particular, the linear model of communication with considering the constituents: w h o – w h a t – b y w h a t m e a n s – t o w h om. In the framework of this model the article has studied the motives of writing the song, its genre peculiarities. The ways of verbalizing its semantic dominants and the addressee of the song have been determined. The conclusion states that “Hej, sokoły!” is not just a romantic ballad tinged with grief for the lost, but a certain intercultural Ukrainian-Polish phenomenon that teaches not to forget history and given a lesson in patriotism.

The Genealogy of Bram Stoker's Dracula

British author of Irish origin, Bram Stoker’s gothic horror novel, Dracula is the most reputed and popular example of the vampire literature that first emerged in seventeenth-century poetry. The first of the two key concepts that this thesis analyzes is the concept of “meme”, which was coined by the British evolutionary biologist Richard Dawkins, that can be defined as a thought, symbol or application transmitted from one individual to another via oral, written and visual methods and means of communication within a culture, replicates itself, transforms, responds to selective pressures, and the second concept is the memetic evolution of the vampire into the character, Dracula by Bram Stoker in Romantic ballads and Victorian horror narratives within the context of Evolutionary Literary Criticism which was theorized by Professor Joseph Carroll. In this regard, the qualities of the vampire phenotype that the Dracula meme inherited some qualities from its antecedent works of vampire fiction through memetic heredity, setting and plot are examined, and the evolutionary process that literary vampire predecessor had undergone towards the Transylvanian, aristocratic, seductive, stereotypical vampire. Finally, in the appendix, the prequels, sequels, and spin-offs of Dracula to demonstrate that the Dracula meme has survived and thrived notwithstanding over a century after its first publication and the selective pressures, and subsist by copying itself.

Роль смысловой доминанты в восприятии и анализе художественного произведения (на примере изучения стихотворения Р.И. Рождественского «Ушел самолет»)

The article deals with the issue of organizing "multi-layer" reading at the literature lesson. A reader’s practice is proposed, where a hermeneutical approach is implemented, which allows to identify the socio-philosophical dominant of the text and on its basis to comprehend the architectonics of the poem. On the example of studying the poem by R.I. Rozhdestvensky “The Plane left” in the 9th grade, the author shows the evolution of the reader: from variants of everyday understanding of the meaning of the word “fight” to the sociophilosophical level. Going beyond the limits of the studied work allows us to judge the author’s worldview and compare it with the views of other poets of the sixties, which contributes to the development of interpretive abilities of ninth-graders. The poetics of R.I. Rozhdestvensky’s poems is mastered by means of commented reading, which reveals information gaps in the text, and lingo-poetic analysis, which reveals the figurative structure based on the antithesis. The inductive method of comprehending meaning focuses students’ attention on non-linear connections (contextual synonyms, parallelisms) that arise when comparing the semantic dominant with the information flows in the text of the ballad. Successive synesthetic images are transforming the whole complex of realistic paintings in the final symbol of romantic ballads that promotes awareness of the philosophical problem of the significance and fragility of human life, the difficulty of the trials that befell the man of the second half of the twentieth century. In this analysis, it becomes possible to identify significant semantic “nodes” for interpreting the work. The final “convolution” of information about the text of R.I. Rozhdestvensky’s occurs in the interpretive activity of schoolchildren who correlate this work with the work of R.I. Rozhdestvensky’s, which allows us to identify the constancy of his beliefs throughout his life and the dynamics of changes in leitmotif images-symbols in his work. Comparison of the role of socio-philosophical dominant in the work of poets of the sixties contributes to the students’ comprehension of the philosophical category of unity of diversity on the example of literature. Reading practice, combining the relationship between the figurative and logical in the presentation of material and the technological nature of the educational process, provides students with a certain degree of freedom to philosophize in the classroom, and the teacher is guaranteed for the effectiveness of its use.

Folk Theater and History: Constructing Indian Identity throughThe Khyal of Amar Singh Rathore

Folklores can epitomize the nation as a unifying principle crossing the horizons of regional divisions and subcultures. The connecting factors of folklores among regional and local levels give an understanding of manifold and contextual-based identities. The collective/coalesce of social memory is understood through the folk narratives. There is a cognitive and affective deliberation that structures the manner in which memory is interpreted. These narratives shape and reconstruct “identity” as they consist of a trans-subjective truth value providing ever new understanding of reality. The present research focuses on the Marwari folk Drama The Khyal of Amar Singh Rathoretranslated by Cecil Thomas Ault and folk performing art Khyal that constitutes meanings and symbols. Khyal, a popular folk dramatic art, is especially linked to martial and romantic ballads of Rajputana. It is indicative of the gap between past and present with spontaneity and originality and is seen as a transmissible entity with reference to the performing arts in the northern region of India. There is an exploration of the dynamics of the origin of the folk narrative of Amar Singh Rathore, a source of Rajasthani culture and identity thus paving way for the other folk narratives that form the pan-Indian identity. The folk literature draws cartographies of a nation or region giving a historical depth and continuity. The dissemination of historical folk anecdotes and their retellings are plausibly a move towards identification. The historical imagination and socio-cultural memory, mostly drawn from Rajasthani rural landscape, influences and reshapes history and culture of Rajasthan, thereby making it a historical artifact providing abidance and insights into folklore as a heritage/national construct. The research reflects and projects the values, feelings, ideas and identity of the groups which identify with and perform this art. Another dimension of the present study formulates an understanding of the forms and style of Khyal folk theater of Rajasthan and how The Khyal of Amar Singh Rathore communicates and travels through linguistic and cultural boundaries constructing new spatial cartographies serving as evidence of connectivity and consistencies.

«Обертоны» романтической баллады в творчестве современных композиторов Кубани (на примере произведений Константина Пашкова)

В статье рассматривается трансформация жанра романтической баллады в творчестве современного краснодарского композитора К. Пашкова. Во главу угла ставится когнитивный подход к жанру, который позволяет приблизиться к его архетипу, а затем проследить возможные пути деканонизации сложившейся жанровой формы. Опираясь на методы историко-культурологического, музыковедческого, а также сравнительного анализа делается вывод о трансляции жанровой модели романтической баллады за пределами XIX столетия. Введение в научный обиход цикла Пять пьес для струнного оркестра направлено на популяризацию творчества молодого талантливого композитора Кубани.The sociocultural existence of the genre outside its era is a problem that will never lose its relevance. In fact, the secondary use of the genre in various cultural texts is nothing more than an indicator of the viability of the morphological system of art. In the article, considering the transformation of the romantic ballad in modern culture, the author reveals the genre canon of the ballad, hidden in the depths of the authors layer of the work and turned into an image of the genre. To reconstruct the genre archetype of the ballad, its reference points are distinguished, which perform representative functions in the artistic culture. These include: the general intonation of the genrefear and sufferingarising from the invasion of the world of the dead into the world of the living plot motifs of love-in-death and fate the presence of two worldshere and beyond, which suggests a tragic outcome the character frame, consisting of a foreign alien, his beloved and a narrator compositional and dramatic balance of power corresponding to six plot functions (violation of the ritual taboo invasion of a foreign alien meeting of two worlds interaction of the worlds return of the alien wedding-funeral). The author chose the cycle Five Pieces for a String Orchestra, the work of the modern Krasnodar composer Konstantin Pashkov, as a vivid example illustrating the prolonging tendencies of the romantic ballad. Each piece of the cycle has a programmatic or genre title: No. 1 Volands Ball, No. 2 Ostinato, No. 3 Elegy, No. 4 Trioline, No. 5 Flying past Ireland. The self-explanatory names of plays 1 and 5 of the cycle send the listener to steady images, symbols of a romantic culture, in which the ball at the Satans was associated with the mythology of the Sabbath. As for the other three plays (Ostinato, Elegy and Trioline), their arrangement corresponds to three functions: invasion of a foreign alien (Ostinato), meeting of two worlds (Elegy) and return of the alien (Trioline). In the context of the whole cycle, the final piece, Flying past Ireland, is perceived as the final chord of evil spirits flying away. Thus, there is every reason to assert that the contours of the ballad genre in the Five Pieces for a String Orchestra by Pashkov are recognised at the level of a number of reference genre points. Firstly, in the depths of the subtext layer, the plot of the taboo ballad is hidden. Secondly, typical ballad motifs show through it. Thirdly, at the intonational-musical level, the main ballad characters are read. Finally, the compositional and dramatic organisation of the cycle has signs of a narrative ballad form: a prologue, a series of events enclosed in a triptych, and an epilogue. All of the above indicates that the genre of the romantic ballad is played out again in the works of modern composers. It was possible to identify the configuration of the genre signs of the ballad in the context of modern culture in the paradigm of cognitive poetics by restoring the archetypal ballad plot.

Broken Records: Materiality, Temporality, and Queer Belonging in Mexican Drag Cabaret Performance

Author(s): Tenorio, David | Abstract: In this article, I examine the ways in which drag queens are represented in the literature of Latin American authors, such as Carlos Monsivais, and Severo Sarduy. I contrast these literary representations to build on what I call an ecology of drag, a network that looks at how material objects activate different modes of perception around queerness, such as saturation and fragmentation. I situate these modes of sensing in the cabaret performance of a drag queen from Mexico City, namely Roberto Cabral. Their performances expose how the politics of sexuality and race propose a critique of history by deploying parody, and cabaret. In this transversal approach to literature, satire, and performance, I argue that drag culture combines affect and a critique of history to foster a sense of belonging in entertainment venues so as to give shape to sexual dissidence in contemporary urban Mexico. This form of sexually dissident culture can be better understood by the notion I refer to as broken record, an affective drive that connects queer memory with the sonic experiences of listening to Mexican romantic ballads. By alluding to popular songs, and literature, I associate drag performance with a repertoire of queer cultural practices that seek to foster a sense of belonging under the economies of queer nightlife. Broken records complicate the linearity of time condensed in a nostalgic nationalism, intermixing temporality, experience, and queer cultural production in the era of neoliberalism, as the practices of consumption turn sexual dissidence into a cultural capital with which queer collectives negotiate everyday life. This sense of brokenness of records metaphorically illustrates historical silences, erasures, violent acts, and misrepresentations sexual dissident cultures endure for social world-making. In this sense, drag performance is a queer cultural form that alters practices of consumption by generating belonging mediated by a sonic affectivity within global queer imaginaries, satirizing a national nostalgia for the masculinization of heroic figures, while ruffling conceptualizations of Mexican popular culture.

Баллада в современной отечественной поэзии: пути и характер трансформации жанровой формы

The article analyzes the features of transformation of ballad genre form in modern Russian poetry. Relying on theoretical propositions about the specifics of the genre, developed in the works of Yu. N. Tynianov and M. M. Bakhtin, the nature of changes in the features of the genre of ballad are explored in the creative practice of poets of the turn of 20 th -21 st centuries. The study found that the genre “image” of ballad is directly related to the feature of the modern poetic process, in which there are “traditional” and “avant-garde” paradigms. It is noted that in the works of poets-traditionalists (E. Rein, O. Khlebnikov, O. Nikolaeva, S. Kekova, D. Bykov, etc.) is dominated by a variant of the lyrical ballad, which has a philosophical, elegiac nature, and a special drama and tension are associated here with nostalgic sadness about the past, the loss of ties to the past, discomfort in the present. It is shown that the works of avant-garde poets (T. Kibirov, E. Schvarts, F. Svarovsky, A. Rovinsky, D. Vodennikov etc.) often decanonize genre characteristics of romantic ballads. It is emphasized that through the genre synthesis of ballad, lyrical cycle, parable, and fable the avant-garde poets demonstrate the instability of the era of the late 20 th century, the confusion of a man caught in the maelstrom of socio-political events. Analyzing the work of poets, the authors prove that, unlike the poets-traditionalists, the representatives of the avant-garde trend abandon traditional lyricism and actively use all the variety of postmodern techniques.

ВНЕСОК ПРЕДСТАВНИКІВ ПИСЬМЕННИЦТВА У СТАНОВЛЕННЯ УКРАЇНСЬКОЇ ЛІТЕРАТУРНОЇ МОВИ (ДРУГА ПОЛОВИНА XVIII – ПЕРША ПОЛОВИНА ХІХ СТ.)

The purpose of the article is to find out the contribution of writers to the formation of the Ukrainian literary language in the second half of the 18th – the first half of the 19th century. The research methodology was based on the use of the activity approach to language as a phenomenon of culture, as well as the principle of historicism and systematicity in the study of the contribution of literature representatives to the formation of the Ukrainian literary language in a certain time interval. The scientific novelty of the work lies in the cultural analysis of the contribution of outstanding figures of Ukrainian culture to the development of the Ukrainian literary language. It is noted that the new Ukrainian language, which incorporates the signs of conversational-household and folklore-song languages, begins to form in the second half of the 18th century. The scientific novelty of the work The Ukrainian literary language was significantly influenced by the annexation of a part of the Ukrainian lands by Russia, as a result of which the birth of the new people-based Ukrainian literary language took place in the conditions of territorial disunity. An expressive testimony to the creation of the new Ukrainian literature is the work of Ivan Kotliarevskyi, who not only reproduced the richness of the colloquial language and drew attention to the artistic and aesthetic value of the Ukrainian language culture, but restored the Ukrainian literary language in the printed work. Using P. I. Kotliarevskyi’s creative methods, P. P. Hulak-Artemovskyi laid the foundation for the Ukrainian prose language, enriching it with new genres – epistles, romantic ballads, fables, and poem chants of psalms. The linguistic activity of Ukrainian romantics of the first half of the 19th century (P. A. Kulish, T. G. Shevchenko, N. I. Kostomarov, etc.), who with their creativity embraced all the literary genres existing at that time, is characterized by the desire to synthesize in Ukrainian literary language all the words of the folk language, in particular the eastern and western ones. So in the first half of the 19th century literature was already created, the basis of which was the folk language. Conclusions. In the second half of the 18th century there were qualitative changes in the Ukrainian literary language process, due to a number of factors that significantly determined the nature of the language-forming activity of Ukrainian figures, the nature of the entire language process and the stages of its development .

밸러드 부흥운동과 낭만적 문학 밸러드의 탄생 : 퍼시와 워즈워스를 중심으로

밸러드 부흥운동과 낭만적 문학 밸러드의 탄생 : 퍼시와 워즈워스를 중심으로

Músicas populares en Cali en los años setenta: dinámicas del campo de producción cultural

Este artículo presenta los resultados de investigación sobre las músicas populares originadas en Cali durante los años setenta y las dinámicas del campo de producción cultural. Se trata de una aproximación que permite caracterizar los procesos de produccióny circulación de los géneros musicales que fueron divulgados, principalmente, a través de medios de comunicación, en un periodo histórico de intensas transformaciones en la ciudad. Así, este estudio se concentra en los actores, las dinámicas sociales y los productos culturales de la balada romántica, el rock y las músicas bailables, que estructuraron un campo cultural con características propias. La metodología del estudio tuvo un enfoque cualitativo con un diseño documental que permitió analizar e interpretar la urdimbre de acciones, sentidos e intereses que configuran el fenómeno (Bonilla-Castro y Rodríguez, 1997). Se realizó una revisión extensa de prensa correspondiente a la década de los añossetenta en un diario local y se examinaron otros documentos, como fotografías y material bibliográfico. De manera complementaria, se realizaron doce entrevistas semiestructuradas, guiadas por los objetivos del trabajo. A partir del análisis de dicha información,se evidenciaron diferencias en los capitales económicos acumulados en los tres géneros estudiados. Se concluyó que las dinámicas de producción cultural en los años setenta son muestra de la manera en que las músicas se relacionan con diferentes culturas y clasessociales (Frith, 1987) y señalan ciertas conexiones entre etnicidad, clase y sonido, lo que plantea otra forma de leer el tema en ese periodo. De igual forma, indican que la dinámica de producción cultural estaba relacionada con las pocas posibilidades que ofrecía laciudad en términos de recursos tecnológicos para la grabación y difusión de las músicas populares.

The Lay of the Last Minstrel and Improvisatory Authorship

This essay traces what superficially appear to be contradictions in the improvisatory authorship of The Lay of the Last Minstrel. Scott, it argues, seeks to dramatize in a modern printed poem anchored by historical notes the spontaneous and occasional remit of traditional minstrelsy. The story itself, moreover, turns on actions that are notionally unforeseen (improvisus) for an uninitiated reader of romantic ballads. Seemingly from memory, Scott, through his surrogate compositional voices, refashions a range of poetic and scholarly materials from a common stock and from the corpora of others, including, controversially, an as-then unpublished but widely recited fragment by Coleridge. By masterfully reining in his plot by the closing of the text, Scott asserts his authorial control over the poem as it exists on the page and yet still maintains in a kind of living archive the open-ended nature of improvised minstrelsy.

ТУЛЬСКИЙ ПЕСЕННЫЙ ФОЛЬКЛОР: ЖАНРОВОСТИЛИСТИЧЕСКИЕ И ДИАЛЕКТНЫЕ ОСОБЕННОСТИ

Krasovskaya Nelli Alexandrovna – Ph. D. of philology, professor of Russian language and literature dpt. Russian philology and document study faculty. Tula State Pedagogic University of L.N. Tolstoy. Bortuleva Yulia Anatolievna – lecturer. Solo and chorus folklore singing dpt. Tula college of arts. Abstract . The article analyzes the works of Tula folklore recorded in the western part of the Tula region, in terms of genre, stylistic and linguistic features. The relevance of the study is related to the fact that Tula folk songs has not been studied, linguistic features of the works are not subjected to serious analysis. The article describes the features of the genre of songs recorded in Belevsky district of Tula region, including the ancient fortunetelling chants, wedding ceremony songs, romantic ballads etc., it is cited numerous examples in the lyrics that reflect the dialectal features of the phonetic, grammatical, lexical levels. According to the authors, a modern folk song genre retains its diversity and is a kind of storeroom containing priceless linguistic wealth. The analysis allows to draw conclusions about the presence and well-preserved in the recorded music of South Russian dialect phonetic and grammatical features. So far, there is no established typology of Tula dialects, therefore, according to the authors, the fixation of folklore in the territories bordering on Tula dialects, is very important and interesting for further descriptive and comparative work on identifying the eastern and south-south-west differences in Tula dialects. Key words : folklore, song, Tula dialects, dialectal features.

“My Foolish Heart:” Bill Evans and the Public Life of Feelings

After 1961, any published commentary on Evans seemed incomplete without a comment on the peculiar emotional register of his ballad playing in the trio setting. The fervor of Evans's fans and the sheer quantity of praise he received in Down Beat magazine was enough to inspire skepticism in some corners. This essay analyzes the critical reputation of Evans's emotional signature in the 1960s with regard to the material most crucial to that part of his reputation: the popular romantic ballad. Following a discussion of the problem of anti-sentimentalism in jazz criticism and scholarship, the essay moves to the Evans trio's celebrated 1961 recording of “My Foolish Heart.” After considering the film song's lyrics and noting some musical characteristics of the Evans trio's performance, the essay turns to the whirl of critical discourse that met this and other Evans recordings in the 1960s. Special attention is given to the rhetoric of poignancy in jazz criticism. In the late 1950s and early 1960s, “poignant” and a related cluster of evaluative terms about music and emotions (e.g., introversion, introspection, lyrical, impressionistic, and reflective) circulated around the ballad playing of Evans, his former bandleader Miles Davis, and others. The circulation of the term “poignant” and its analogues in jazz writing was in part a response to the gendered reputation of “sentimental music” as feminine, emotionally excessive, and aesthetically inferior. Although he strongly regretted his reputation as a ballad specialist (which he found diminishing), Evans's balladry nonetheless exemplified his stated project of pursuing what he called the “finer feelings” in music. The pianist's sense of jazz's relationship to the “finer feelings” in the 1960s also informed his vocal resistance to emerging paradigms of expanded improvisational freedom and new avenues of tonality, timbre, and emotional communication in music.

Carducci e Prati. Storia e teoria della ballata romantica

This article seeks to define the place held by the Romantic ballad in Carducci’s critical reflections and poetry. An analysis of his essay Giovanni Prati (1884) makes it possible to identify what Carducci considered to be the origins, the dictates and the exclusively German auctoritates of the genre. This article traces the critical context of his historical and theoretical study and the interest it generated, while also reconstructing the origins and various phases of its development through the examination of some of Carducci’s other prose works. Lastly, Carducci’s poetry is taken into consideration, focusing first on his translations of Balladen and their literary and political significance and then on those poems which are usually ascribed to the Italian ballad tradition. By setting them within the broader framework of Carducci’s anti-Romanticism, the ideological worth, poetic intentions and original and innovative features of these poems can fully emerge.