An important reintroduction to this literature, this compilation of Thomas Crane's original translations of Italian folk stories includes new critical analysis. For 19th-century folklorist Thomas Crane, the value of collecting, translating, and reproducing folktales lay in their "internationalism"—their capacity to reveal how the customs of a particular group, no matter how unique, are linked to many others. In his classic collection, edited and updated by contemporary folklorist Jack Zipes, Crane traces the roots of Italian folktales to their origins, often in the Orient, then shows how they diffused in unpredictable and marvelous ways throughout Italy and over the centuries. A contemporary of the brothers Grimm, Crane offers a richer, more complex selection of oral and literary tales. Unlike the Grimms, he doesn't edit or modify the tales, which deal openly with surprisingly contemporary subjects: murder, adultery, incest, child abuse, and brutal vengeance.
.. ذُهل الملك، وكافأ المنجم (سلطعون) بكمية كبيرة من المال، ودعاه إلى مأدبة عشاء في القصر، وكان بين مأكولات المأدبة صحن من (السلطعونات)، وهي طعام نادر، لذلك كان الملك وبعض المدعوين فقط يعرفون اسمها. قال الملك للمنجم سلطعون: أيها المنجم، لابد أنك قادر على أن تخبرني باسم الشيء الذي في هذا الصحن!! تملكت الحيرة المنجم المسكين، وأخذ يهمهم، لكن بصوت سمعه الآخرون، قائلاً: آه يا سلطعون! أي مأزق أوقعت نفسك فيه يا سلطعون!! فنهض كل من لم يكن يعرف أن اسمه سلطعون مصرحين بأنه أعظم منجم في العالم!!". إنها محاولات عفوية وممتعة لتفسير ظواهر الكون، وأسرار الكائنات.. وبين مقدماتها الثابتة: "يحكى أن.." وخواتيمها المتشابهة: "وعاشوا جميعاً في سعادة وهناء" تَنُوس الحكايات الإيطالية مثل بندول ساعة الجدار، أما نحن فنغوص فيها مستمتعين وجامعين لآلئ جميلة ونادرة.
تمَّ تناقلها، من جيل إلى جيل شفوياً، قبل أن تُدون بأسلوب جديد، لكن الحكايات الشعبية الإيطالية كان غرضها التسلية والإمتاع مثل غيرها من حكايات الشعوب أكثر منه التعليم والإرشاد، وخاصة في (حكايات الجنيّات). اللافت للنظر في حكايات إيطاليا أنها تبدأ عموماً بافتتاحية ثابتة، مثل: «كان يا ما كان..» أو «يحكى أنّ..» أو «عاش في قديم الزمان..»، وتتباين خواتيمها أحياناً، لكنها بشكل عام تكون :«وعاشوا جميعاً في سعادة وهناء»
“Scherza coi fanti e lascia stare i santi” is an Italian sentence that means “don’t mix the sacred with the profane”. Clearly, more than two-thousand years of Christianity have molded and deeply influenced the culture and traditions of many parts of Italy. This book is formed by tales Selected from the Book: Italian Popular Tales by Thomas Frederick Crane. These stories will present the origin of many idioms and customs of many Italian regions, and also how in many Italian tales' tradition, religious characters – such as Saint Peter or the Holy Mary or even the Devil - replace the classic fairytale characters: fairies, robbers, gnomes and so on.
This book takes a new look at the place occupied by medieval Spanish epic within European folk and literary tradition. Thomas Montgomery traces the origins of key parts of most known medieval Spanish epics to an ancient myth. He shows how the myth of the initiation of the young warrior, shown by Georges Dum&ézil to be fundamental to the belief systems of widely distributed Indo-European peoples, was variously adapted to shape the action of texts including the Siete Infantes de Lara, the Mocedades de Rodrigo, and the Poema de Mio Cid, in which it accounts for the peculiar behavior of the Infantes de Carri&ón. Montgomery also connects the same mythic tradition to works as diverse as Tristan and the Chanson de Roland. In a preliterate society, the oral presentation of this archetypal lore required a special language capable of re-creating the ritualized behavior of the epic characters and maintaining the ceremonial tone of the performance. Focusing on the Poema de Mio Cid, Montgomery examines the ways in which the poetic language worked to evoke a feeling of group unity that absorbed the audience and still works its spell upon today's readers.
This book examines the broad varieties of religious belief, religious practices, and the influence of religion within medieval society. Religion in the Middle Ages was not monolithic. Medieval religion and the Latin Church are not synonymous. While theology and liturgy are important, an examination of animal trials, gargoyles, last judgments, various aspects of the medieval underworld, and the quest for salvation illuminate lesser known dimensions of religion in the Middle Ages. Several themes run throughout the book including visual culture, heresy and heretics, law and legal procedure, along with sexuality and an awareness of mentalities and anxieties. Although an expanse of 800 years has passed, the remains of those other Middle Ages can be seen today, forcing us to reassess our evaluations of this alluring and often overlooked past.
This book argues that current criticism tends to take the mythology of love either too innocently or too skeptically and therefore distorts the complex roles played by the god of love in longer narrative poems and discursive works of the Middle Ages and the Renaissance.
There has long been a need to introduce performing-arts enthusiasts and students to the fascinating field of iconography, both as manifested in art history and in its more pragmatic or applied forms. Yet relatively little systematic effort has been made to collect and interpret centuries of such visual evidence in the light of the best available art-historical information, combined with corroborating textual documentation and insights from the histories of performance disciplines. Aspiring iconographers of the performing arts need to be aware that there are often several levels of interpretation which great works of visual art will sustain. This book explores these levels of interpretation: a surface or literal reading, a deeper reading of the work which seeks to enter the mind of the artist and asks how and why he put a given work together, and the deepest reading of the work relating it to the artistic traditions and culture in which the artist lived. In expounding on these levels of iconographic interpretations four discourses by scholars active in the study of visual records are given in relation to traditions, techniques, and trends: performance in general (Katritzky), music (Heck), theatre (Erenstein), and dance (Smith). Effort is made to keep abreast of modern technology influencing iconographic representations as on the Internet and virtual reality.Thomas F. Heck is Professor of Musicology and Head of the Music and Dance Library at the Ohio State University.
An authoritative, broad, and practical survey of the social, psychological, and physical development of American teenagers. In Adolescence in America, more than 100 leading experts from the fields of biology, medicine, behavioral and social science, law, education, and the humanities piece together the puzzle of adolescence. In readable, accessible language they analyze the explosion of research that has reshaped the study of adolescence in the last 30 years and explain how today's leading scientists and practitioners view the challenges of this developmental period. Best of all, they show parents how to apply the latest scientific knowledge, such as the 40 "developmental assets" that predict a child's behavior, to their own family situation. Two volumes of A-Z entries provide an authoritative view of teen-related subjects--from bullying to learning styles to risk perception Contributors include leading biologists, medical researchers, behavioral and social scientists, attorneys, and educators
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