Getting Acquainted With Alfonso Hernández-Catá

Traditionally it has been considered that Castilian cancionero poetry has hardly preserved diálogos interestróficos, such as the primitive tensón. However, the Cancionero de Palacio contains a very significant sample of the different possibilities of the cancioneril dialogic mold: beyond poetic dialogue forms more common in Fifteenth Century Spanish poetry, through whole texts juxtaposed, the Cancionero de Palacio contains several other more original forms, and as a result it serves as a codex unicus. This article offers, for the first time, an analysis of all the diálogos interestróficos collected in this Cancionero. This analysis contradicts the widely held view about the rarity and scarcity of these texts and confirms the originality of the dialogic schemes and the strong presence of polyphonic texts in this colectánea. The article presents a list of twelve compositions—a very significant number—in which the dialogue articulates all the text, with voices alternating stanza to stanza or even within each stanza. After establishing this body of work, the study centers on a typological analysis based on the voices found in these poems.     

Recent Books in the Field of Medieval Literature

The main objective of this article is to analyze the relationship between the novísimos poets—Pedro Gimferrer, Luis Antonio de Villena, Leopoldo María Panero, and Guillermo Carnero, among others—and the avant-garde movements in Spain. If during the forties the garcilasismo opposed the avant-garde, in the seventies, with the novísimos, the -ismos returned to be considered not as a radical change but as one more stage in the evolution of Spanish poetry. The -ismos are now considered not as a subversive departure from the past, but as part of Spanish artistic heritage and tradition, thus reconciling tradition and modernity or even converting the vanguard into literary tradition. The -ismos are described not as an absolute novelty but simply as a process of innovation in the same way, with their own poetic precedents, as the garcilasistas and the neoromantics of the past.     

社会大变革时期的文体抗争——以詹安泰对旧体诗歌的坚守与传承为视点

20世纪前半叶是社会大变革时期,也是文化大转型时期,诗歌文体经历了较大变化,白话新诗以强劲的革命姿势崭露头角后发展迅速,并最终在新旧交替战中以主流形态进驻诗坛中心,而长期居于风雅中心的旧体诗歌生存窘境则日益凸现,逐渐减弱了话语权,黯然淡出诗坛核心圈。身历其间的传统诗人如詹安泰者经过长期艰苦的坚守、挣扎与调整,最终将旧体诗歌的创作、研究与传承结合起来,确保了大变革时期传统文体的有效延续,也确定了他们在20世纪诗学史中的独特地位与价值。     

The Purpose of Porphyry's Letter to Marcella

Porphyry's Letter to Marcella was ostensibly written by the Neoplatonic philosopher, while away on a mission on behalf of the Greeks, in order to encourage his wife, Marcella, to continue her study of philosophy during his absence. The precise date of the letter is uncertain. It is here argued that it was intended for public circulation and should be seen in association with Porphyry's anti-Christian polemic. It can be interpreted as a protreptic text intended to convert its readers to true philosophy, and it is suggested that it was directed to those women who might otherwise be attracted to Christianity. Marcella can be said to represent the intended readership of the letter.     

Readers-in-conversations: a politics of reading in literary geographies

While the role of readers in literary geographies has been theoretically acknowledged, the methodological practice of engaging with multiple readers is little and far between. This gap between theory and practice has perpetuated understandings of texts as static representations and of readers as passive and homogeneous. Such problematic notions urgently need to be contested and this paper is one such attempt. Using a case study of Singapore poetry and its resistance to state-driven landscape change, I engage with twenty-one Singaporean readers through an online, asynchronous forum to demonstrate the challenging but rich process of studying reader reception. In doing so, I show how the dynamic co-enactment of responses by multiple readers-in-conversations leads to both complementarities and clashes. This not only reveals a more nuanced understanding of the author–text–reader(s) interactions, but also points to an inevitable politics of reading present in the study of all textual representations.     

蔡其矫诗歌意境的创造和人格涵养

蔡其矫诗歌以传统为骨子,他尊重传统的诗歌创作原理,注重开拓诗的意境,努力寻找景与情的契合,形成其诗歌意境优美灵动、梦幻空灵、苍凉悲壮神奇的三大特色。这些特色又与其人格息息相关,但因其时代的变迁,人生经验和艺术修养的积淀,诗的意境表现呈现阶段性跳跃。     

Maps and Memory: Readings of Cartography in Twelfth- and Thirteenth-Century Song China

ABSTRACT

This essay traces the early history of the genre of the empire map in China, examines twelfth-century steles and printed maps of the Chinese territories, and analyses contemporary viewings and readings of maps in this genre. It argues that such maps reached a much broader readership of literate elites over the course of the Song Dynasty (960–1279) and acquired new political significance as maps became powerful symbols in debates concerning the pros and cons of negotiated peace.     

The Political Style of Hubert H. Humphrey

Abstract

Political philosophy has a “curious” place in intellectual affairs. It wants to know whether philosophy has a place in the city. It also is aware that once political things have accomplished their purpose, the major issues of what-it-is-to-be-a-human-being remain. Aristotle warned that politics was not the highest science as such, but an understanding of politics that saw no place for anything but the political would end in a tyrannical exclusion of the human good from public life. Politics would claim that its definition of the good was the only definition. This exclusion meant that there was no natural or transcendent order to which man was open. The discipline of political philosophy, at its best, is open both to human and, indirectly, to divine things, as Artistotle intimated.     

Masculinity and its metonyms

The author responds to the articles in this issue by demonstrating how a twentieth-century poem might provide us with a fresh perspective on the situated historical understandings of bodies gendered as male provided here. Amichai uses the literary figure of metonymy to show how ‘a man’ has no time for history: he allows a part to speak for the whole, and a specific cultural moment to stand for any time. Historians and literary scholars alike would benefit from attending to our own metonyms, and the historical continuities we assume or assert as we seek to investigate cultural difference.     

《乐府诗集》“相和歌辞”题解释读

“相和歌辞”是郭茂倩编撰的《乐府诗集》中的重要部分。郭氏往往在各曲调名下撰写解释、说明的文字,其中常引录南朝陈释智匠的《古今乐录》一书,而《古今乐录》又常引述晋朝荀勖、南朝宋张永、齐王僧虔的著作。由于这样辗转引述,且《古今乐录》及其所引的著作久已不传,故今人阅读时颇感困难。本文即对郭氏所撰写的“相和歌辞”的若干题解加以分析,并得出了某些比较重要的结论。