krainaksiazek down for the count poetry poetry 20126327

- znaleziono 6 produktów w 5 sklepach

Down For The Count - 2846959474

55,99 zł

Down For The Count

Książki Obcojęzyczne>Angielskie>Literature & literary studies>Poetry>Individual poets

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Sklep: Gigant.pl

Down For The Count - 2850531850

249,99 zł

Down For The Count

Książki Obcojęzyczne>Angielskie>Literature & literary studies>Poetry>Individual poets

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Sklep: Gigant.pl

Natasha's Dance - 2212836413

54,10 zł

Natasha's Dance Penguin

Powieści i opowiadania

Orlando Figes

Sklep: Albertus.pl

Anonymous - Aiol - 2862023574

246,82 zł

Anonymous - Aiol Italica Press

Książki / Literatura obcojęzyczna

This chanson de geste records the exploits of the young knight, Aiol, as he reclaims his father's and mother's unjustly stolen heritage. He gains the love of a Saracen princess who converts when she is convinced by Aiol's warrior's prowess of the truth of the Christian god. He then aids the French King Louis in ending a debilitating war led by rebellious vassals and (in an allusion to the Fourth Crusade) similarly helps Emperor Grasien, the king of Venice, to end his own war against an enemy to the East. Aiol's deeds ultimately bring justice to the kingdom of France. "Aiol" also artfully recreates both the Christian culture of the West and the Islamic culture of the Levant. Poets writing in medieval French created richly textured literary metaphors or fictions about both the Christian and Muslim world, and they were themselves well aware that even though they were treating historically-based materials, they were also fabricating fictions and fictive truths, tropes and figures as literary art. Aiol's literary allusions suggest a sophistication on the part of the chanson's authors, who wrote for courts that knew well and first-hand the Muslim world. By the time of Aiol's composition there had long been fruitful cultural, trade - as well as military - interaction between the "two worlds." Islamic scholars were respected in intellectual circles in the 12th and 14th centuries, and translators briskly adapted works of Arabic science and medicine for the readers of Latin Europe. Around 80 written Old French epics are known from surviving 13th-century manuscripts. These were preserved and passed down by the aristocratic families who had commissioned them and financed their preparation. These poems, often called genealogical epics, served a number of purposes, from entertainment at important courtly occasions, such as marriages and investitures, to edification and instruction in the vernacular of the courtly world. Excerpts of these "songs of deeds" or "chansons de geste" were also publicly sung after Sunday Masses for the entertainment and instruction of the ordinary people. The institutions of the monarchy, social class, marriage and the family are explored and developed in a poetic enterprise that gave life to what might otherwise have become an academic debate. Dialectical argument structures the entire work into a richly instructive, psychologically compelling and socially pleasing whole. Taken together with "Elye of Saint Gilles," "Aiol" has become known as the geste de Saint Gilles, because both poems relate events in the lives of Julien of Saint Gilles, a literary epic hero first found in "Le Couronnement de Louis," and Julien's son, Elye and Elye's son, Aiol. The two poems are preserved in only one manuscript, the richly decorated and ornamented BNFfr 25516. It has been proposed that this geste was presented at the Parisian court of King Philip Augustus upon the occasion of the lavish, festive wedding in 1212 of Jeanne of Constantinople, countess of Flanders, to Ferrand of Portugal. Jeanne was the daughter of Count Baldwin of Flanders and Hainaut, who had, during the Fourth Crusade, been elected emperor of the Latin Empire at Constantinople. Hartman and Malicote's edition and translation is based on manuscript BNFfr 25516 and on the critical editions of W. Foerster and of J. Normand and G. Raynaud. As with their edition of "Elye of Saint Gilles," the editors have chosen simplicity and directness of approach. The translation remains faithful to the spirit and meaning of the Old French poem; creating a lively, interesting and engaging text that allows the reader to savor the rich intellectual and artistic context of the original. First English translation. Dual-Language Poetry. Introduction, notes, bibliography, and all eleven illustrations from the original Paris manuscript.

Sklep: Libristo.pl

Complete Flute Concertos - 2857690838

50,40 zł

Complete Flute Concertos Marketing Design

Nagrania muzyczneMuzyka poważna

An understanding has been passed down to us that Mozart had a somewhat jaundiced view of the flute, that he had not the inclination to lavish upon it the love and care and idiomatic poetry which give rise to the concertos for clarinet and horn and the wind parts of the operas and piano concertos. But, as Graham Rogers points out in his note, the evidence for this misunderstanding is at best circumstantial. When we listen to these concertos and fragments, we find solo parts every bit as quintessentially Mozartian as those cited above. They may not rival the piano concertos of his mature Vienna years, but they are masterpieces in their way, and are indeed the best of their kind.Best of all is the concertante piece he wrote for a wealthy French count and his harp-playing daughter. From the ceremonial C major first movement, through the gracefully fluent triple-time Andantino, to the joyous bustling finale, the music?s cloth is cut peerlessly to the technical possibilities and individual timbres of both instruments.These 1972 recordings were made by the cream of the Dutch early music movement, led by one of its alma parens, Frans Brüggen. They date from a time when early-music values of transparency, buoyancy and lightness of touch and tone were just beginning to filter through to performances of music from the Classical era, and they stand the test of time.1. Andante in C K315 6?41Concerto in C K299 for flute and harp2. I. Allegro 10?413. II. Andantino 8?194. III. Rondeau: Allegro 11?40Total Time: 37'21CD 2:Rondo in D K. Anh.1841. Allegretto grazioso 6?10Concerto in G K3132. I. Allegro maestoso 8?223. II. Adagio ma non troppo 9?274. III. Rondeau: Tempo di Minuetto 7?59Concerto in D K3145. I. Allegro aperto 7?256. II. Andante ma non troppo 6?397. III. Allegro 5?59Total Time: 52'01 Wykonawcy: Frans Vester (Fluit)Edward Witsenberg (Harp)

Sklep: Booknet.net.pl

Complete Flute Concertos - 1897927207

50,83 zł

Complete Flute Concertos marketing design

Książki naukowe>Sztuka>Muzyka, śpiew i taniec>Muzyka poważna

An understanding has been passed down to us that Mozart had a somewhat jaundiced view of the flute, that he had not the inclination to lavish upon it the love and care and idiomatic poetry which give rise to the concertos for clarinet and horn and the wind parts of the operas and piano concertos. But, as Graham Rogers points out in his note, the evidence for this misunderstanding is at best circumstantial. When we listen to these concertos and fragments, we find solo parts every bit as quintessentially Mozartian as those cited above. They may not rival the piano concertos of his mature Vienna years, but they are masterpieces in their way, and are indeed the best of their kind.Best of all is the concertante piece he wrote for a wealthy French count and his harp-playing daughter. From the ceremonial C major first movement, through the gracefully fluent triple-time Andantino, to the joyous bustling finale, the music

Sklep: Madbooks.pl

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