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The Old English Pharaoh: A Neglected ubi sunt Poem 古英国法老:一首被忽视的乌比桑特诗
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-02-11 DOI: 10.1007/s11061-022-09757-2
Francisco J. Rozano-García
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引用次数: 0
Recuperating Ruíz de Alarcón: Los empeños de un engaño as Source Text for Calderón de la Barca and Sor Juana Inés de la Cruz 恢复ruiz de alarcon:欺骗的承诺作为calderon de la Barca和Sor Juana ines de la Cruz的来源文本
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-19 DOI: 10.1007/s11061-022-09759-0
E. Cowling
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引用次数: 1
The Wanderer and the Legacy of Pathetic Fallacy 《流浪者》与可悲谬论的遗产
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-18 DOI: 10.1007/s11061-022-09754-5
Harriet Soper
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引用次数: 1
Correction to: La mujer disfrazada de hombre en el teatro de Shakespeare y Lope de Vega: articulación e implicaciones de un recurso dramático 更正:在莎士比亚和洛普·德·维加的戏剧中伪装成男人的女人:戏剧资源的表达和含义
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-13 DOI: 10.1007/s11061-022-09746-5
Daniel Nisa Cáceres, Rosario Moreno Soldevila
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引用次数: 1
The Battle of Brunanburh: The Lanchester Hypothesis 布鲁南堡战役:兰彻斯特假说
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-09 DOI: 10.1007/s11061-022-09758-1
P. Cavill
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引用次数: 0
Un poema europeo en el romanticismo español: El bulto vestido del negro capuz (1835) de Patricio de la Escosura 西班牙浪漫主义中的一首欧洲诗:帕特里西奥·德拉·埃斯科苏拉(1835年)的《穿黑兜帽的胖子》
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-07 DOI: 10.1007/s11061-022-09756-3
Raquel Gutiérrez Sebastián
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引用次数: 0
Correction to: The Subversion of Francoist Rhetoric in Blas de Otero’s Pido la paz y la palabra 更正:布拉斯·德·奥特罗的《我请求和平与话语》中对弗朗索瓦斯特修辞的颠覆
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-04 DOI: 10.1007/s11061-022-09755-4
S. O’Donoghue
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引用次数: 0
Correction to: The Animal Nurse in Late Medieval Narrative and its Relation to Genre 修正:中世纪晚期叙事中的动物护士及其与体裁的关系
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-03 DOI: 10.1007/s11061-022-09760-7
Christine Ferlampin-Acher
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引用次数: 0
Exiles: Medieval Experiences of Isolation. 《流亡者:中世纪的孤立经历》
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-01 DOI: 10.1007/s11061-022-09741-w
Erin Sebo

For most people alive today, the COVID-19 pandemic was our first experience of widespread isolation. However, among medieval cultures, with low population density and limited urbanisation, isolation, especially through exile, was common as a political expedient or even, as now, as a method of controlling the spread of illness. This is reflected across myriad aspects of medieval culture, from pilgrim badges to legal codes. Stories and tropes of isolation are common in medieval literature. From the immrama which often include depictions of the isolation of voyages, to images of homesickness in romances or Crusade narratives to descriptions of isolation in exile in Old English elegies and Old Norse sagas. In many instances, the literature reveals a greater fear of loneliness than death, so much so that isolation was used both as a form of punishment considered as severe as mutilation in some parts of medieval Europe, and as an important religious practice, since many people willingly distanced themselves from society in pursuit of salvation through hardship. This introductory essay introduces a dossier on medieval experiences of isolation.

对于今天活着的大多数人来说,2019冠状病毒病大流行是我们第一次经历广泛的隔离。然而,在人口密度低、城市化程度有限的中世纪文化中,隔离,特别是通过流放,作为一种政治权宜之计,甚至像现在一样,作为控制疾病传播的一种方法,是很常见的。这反映在中世纪文化的方方面面,从朝圣者的徽章到法典。隔离的故事和比喻在中世纪文学中很常见。从immrama(通常包括对航行中孤立的描述)到浪漫小说或十字军叙事中的乡愁形象,再到古英语挽歌和古挪威传奇中对流放中孤立的描述。在许多情况下,文学揭示了对孤独比死亡更大的恐惧,以至于在中世纪欧洲的一些地区,孤立被视为一种惩罚形式,被认为与残害一样严重,而且作为一种重要的宗教习俗,因为许多人愿意通过艰难困苦来寻求救赎,从而与社会保持距离。这篇介绍性的文章介绍了中世纪孤立经历的档案。
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引用次数: 0
To and Fro Between Eros and Thanatos: What Where and the Death Drive. 厄洛斯和塔纳托斯之间的来回:什么,哪里和死亡驱动。
IF 0.2 3区 文学 Q1 Arts and Humanities Pub Date : 2023-01-01 DOI: 10.1007/s11061-022-09744-7
Jooyeup Lee

This paper tries to read What Where as Beckett's realistic and pessimistic presentation of the ontological conditions of the human history, which the play defines as investigation, exploitation and quest for the ultimate truth. Its analysis finds that this presentation has important threads in common with the criticism of civilization in the later Freud's metapsychology, which formulated "an all-embracing, grand theory of the psyche" in terms of the development of the individual as well as the evolution of the entire species on the basis of the maxim that "ontogeny recapitulates phylogeny" What Where enacts this Freudian vision in theatrical terms as its theater version foregrounds the phylogenetic scale with the physical subjections happening among the characters and its television version the interior depth of the mind with the maneuvering of the television images. Another important commonality is that the character Bam is presented as a figure pertaining to Freud's concept of the death drive. The resulting theatrical picture is a sobering and realistic testimony to the individual and collective human existence that has always survived on questionings about, exploitation of and quest for a different object. This strikes a chord with how Beckett's characters embody his poetics of 'senility,' and leads to the political implications of freedom without hope or meaning, which is the infinite task of Beckett's senile characters.

本文试图解读《在哪里》是贝克特对人类历史本体论状况的现实主义和悲观主义表现,该剧将其定义为对终极真理的调查、利用和追求。它的分析发现,这种表现与后来弗洛伊德的元心理学中对文明的批评有重要的共同之处,后者提出了“一种无所不包的,关于个体的发展以及整个物种的进化基于"个体发育概括了系统发育"的格言,《在哪里》将弗洛伊德的观点用戏剧的形式表现出来,因为戏剧版本突出了系统发育的尺度,角色之间的身体从属关系,而电视版本则是心灵的内部深度,通过电视图像的操纵。另一个重要的共同点是,角色Bam被呈现为一个与弗洛伊德的死亡驱力概念有关的人物。由此产生的戏剧画面是对个人和集体存在的清醒和现实的见证,这种存在总是在对不同对象的质疑、利用和追求中生存下来。这与贝克特的人物如何体现他的“衰老”诗学产生了共鸣,并导致了没有希望和意义的自由的政治含义,这是贝克特的老年人物的无限任务。
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引用次数: 0
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